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It has taken me a long time to kind of admit that horror may actually be my favorite genre. I’m not quite at Stephen King level of “The worst horror films I’ve ever seen was awesome” – but I do think that for the most part, even bad horror movies offer something – some moment, some scare, that stick with you. And horror is such a wide genre – that it incorporates so much – and sometimes the best ones are the ones that barely get released, so you have to watch a lot. So, below is my annual report on horror – starting from the worst, and each section gets progressively better until we get to the top 15. I have expanded my view on what constitutes horror films – there are a few here that are borderline (the three that I have seen others list that I don’t is Claire Denis’ High Life and Jennifer Kent’s The Nightingale and Bong Joon-ho’s Parasite – which I really just didn’t see as horror – not for qualitative reasons, but other, harder to define reasons). And I should also point out a few I didn’t see. More so than any other category, I would love to hear from others about horror films not here that you loved this year.
In terms of being flat out bad we had: Bliss (Joe Begos) is a needlessly provocative, clichéd descent into drug addled hell, which just proves Begos saw Ferrara’s The Addiction. Captive State (Rupert Wyatt) a lifeless, sci-fi, horror film that went nowhere. The Curse of La Llorna (Michael Chaves) the worst, and probably most boring, of the Conjuring films. The Haunting of Sharon Tate (Daniel Farrands) the downright worst film of the year – an offensive looking at the final days of Sharon Tate. Hellboy (Neil Marshall) a dull, boring version of the famed comic book character. In the Tall Grass (Vincenzo Natali) has some good atmosphere – as you expect from Natali – and not all that much else. Just a Breath Away (Daniel Roby) a low budget disaster movie that shows why special effects are probably needed in a film like this. Lords of Chaos (Jonas Akerlund) a based on real life event, that used horror movie tactics to no real end.Possum (Matthew Holness) looked great, but there’s just nothing here that Cronenberg didn’t do way better a long time in Spider.
Better, but still rather mediocre there was: 47 Meters Down: Uncaged (Johannes Roberts) which gets the job done of being a satisfying shark attack movie – but just barely. Gwen (William McGregor) a slow burn horror that is too slow, and not enough burn. Knife + Heart (Yann Gonzalez) is kind of a horror film crossed with Boogie Nights, if it was set in the world of gay porn – and its okay, but not as much fun as it should have been. The Prodigy (Nicholas McCarthy) is mediocre evil kid horror film for a mainstream audience, which holds your attention when its running, and then fades immediately. Zombieland: Double Tap (Ruben Fleischer) is an entertaining time waster of a horror comedy – that is really just a pale imitation of the original, but the time passes pleasantly enough.
The following films were solid – actually good – without being truly great, or even approaching it: Annabelle Comes Home (Gary Dauberman) was the kind of fun Conjuring movie that was needed after the disappointments of The Nun and The Curse of La Llorna. The Changeover (Miranda Harcourt & Stuart McKenzie) wants to be the new Heavenly Creatures – and has some elements that work very well, just not at that level. Child’s Play (Lars Klevberg) is a fun remake of the 1980s horror classic, with Chucky upgraded for the internet age. Hagazussa: A Heathen’s Curse (Lukas Feigelfeld) looks great, and builds tension expertly before going to some truly disturbing places – but is perhaps too slow a burn. Happy Death 2U (Christopher Landon) wasn’t quite as much fun as the first film- but you have to give it credit for finding a way to exist at all. I Trapped the Devil (Josh Lobo) is a no budget horror film about a man who thinks he has the devil trapped in his basement – and maybe, is right. Piercing (Nicholas Pesce) is a deliberately provocative film about a man who wants to kill a prostitute – but gets more than he bargained for. 3 from Hell (Rob Zombie) proved that the provocateur still has some juice left in him – making an old man horror movie that is a mix of all of his influences, but is still pure Rob Zombie. Velvet Buzzsaw (Dan Gilroy) has a great setup satirizing the art world, but once it becomes a series of strange, Final Destination-type kills, it loses something – still worth a look.
Finally, there are the runners-up – the ones that could have made the list in another year. Body at Brighton Rock (Roxanne Benjamin) finds an inexperienced park ranger stuck in the woods overnight, perhaps not alone which is 1980s style fun. Braid (Mitzi Peirone) is one of the oddest films of the year, and announced a bright new talent – even if I’m not quite sure it comes together in the end. Brightburn (David Yarovesky) decides to tell the story of what would happen if Superman was a horror movie villain – and inventive idea, done well, but not exceptionally well. The Dead Center (Billy Senese) is a kind of twist on the zombie drama – that is better in setup than in the climax, but is still a very effective, very well-acted low budget horror film. Escape Room (Adam Robitel) has stuck with me a. lot more than I thought it would – a visually inventive film about those annoying rooms my wife keeps making me go to. Greta (Neil Jordan) has Isabelle Huppert going delightfully over-the-top as an obsessed older woman/stalker/killer. Harpoon (Rob Grant) is kind of comedy/thriller, that gets grisly near the end – and manages those tonal shifts very well. The Hole in the Ground (Lee Cronin) is an extremely well made and well-acted and very creepy horror movie – I do kind of wish it went somewhere less obvious though. Ladyworld (Amanda Kramer) traps a bunch of teenage girls in a house by themselves, perhaps at the end of the world in a horror tinged Mean Girls meets Lord of the Flies. One Cut from the Dead (Shin’ichrp Ueda) is a very odd, very funny zombie comedy about making a zombie movie – it never quite hits the heights of the one shot wonder of the first third, but it’s a blast. The Perfection (Richard Shepard) is a bonkers, over-the-top Netflix movie, seemingly designed to generate controversy, and keep you glued to your seat – and it succeeded. Pet Semetary (Kevin Kolsch & Dennis Widmyer) is a good adaptation of King’s novel – until it decides to change things too much, and pretty much cut the heart out of the thing – although it’s still creepy, and Amy Seimetz is great. Scary Stories to Tell in the Dark (Andre Ovredal) is a new sleepover classic – made especially for kids who are probably a little too young to watch horror – with some great set pieces that haunt you. Sweetheart (J.D. Dillard) is a low-budget creature feature done right – with some truly dark surprises. Tigers Are Not Afraif (Issa Lopez) is a Guillermo Del Toro inspired mixture of horror, fantasy and real world problems – it isn’t quite as good as Del Toro’s best, but it’s a great start to a career, with some killer moments.
15. Ma (Tate Taylor)
You can pick on Ma if you want to – it is undeniably and unapologetically a cheesy B-movie, and the filmmakers really should have thought through the racial implications of having a middle aged black woman terrorizing a group of white kids (then again, it’s the same director as The Help – so thinking through the racial implications of things isn’t Tate Taylor’s strong suit). And yet, Ma is such a cheesy good time – and has such a wonderful Octavia Spencer performance in the title role as a woman wanting revenge for her awful teenage years by taking it out on a current crop of teenagers – that I had a blast watching it. This is how you do a mainstream B-horror movie right.
14. It: Chapter II (Andy Muschietti)
There’s no denying that It Chapter II isn’t the film that the first film was – it has so much ground to cover, and so much of it is episodic that it ends up feeling both truncated and drawn out at the same time – not to mention the fact that the (understandable) decision to split the film in two – the first being the kid version of the losers, the second being the adult version – hurts this film in a way it didn’t hurt the first. And yet – the film is still effective, still quite scary when Bill Skarsgard goes nuts with Pennywise, and anchored by some really good performances among the adults – specifically Bill Hader. Yes, the film is too episodic, but so many of those episodes work wonderfully well. I still don’t think we’ve seen the definitive version of Stephen King’s masterpiece – one may not be possible – but these two films will do (even if the first is significantly better than the second).
13. Luz (Tilman Singer)
Tilman Singer’s debut film was this technically innovative film – with a stunning opening act, and a haunting conclusion, with a very strange extended second act. It is a possession story of a sorts – about a pair of young women who knew each other in high school, who meet up by chance when one gets in the others cab – and the strange, violent incident that happened there. It’s not exactly clear everything that happened there, and the storytelling can be a little sloppy. But it’s such an exciting film for its formal brilliance – especially in that first act – that I cannot help but admire the hell out of the film – and cannot wait to see what Singer will do next – hopefully with more money, and perhaps a slightly better screenplay.
12. Doctor Sleep (Mike Flanagan)
Easily the best Stephen King adaptation of the year – even if it made the least money – what Mike Flanagan is able to pull off with Doctor Sleep is perhaps even more impressive than had he made a masterpiece, which he didn’t. What is able to do is somehow take Stephen King’s 2013’s sequel to The Shining, which at times read like a giant middle finger to Stanley Kubrick, whose 1980 film King hates, and turns it into both a fairly faithful (in spirit) adaptation to King’s novel, and at the time a stunning homage to Kubrick’s film. The film is genuinely upsetting and scary at points – Rebecca Ferguson is legitimately great at lead villain Rose the Hat, and the last act of the film is a treat for those who, like me, have seen Kubrick’s The Shining far too many times, since it is a masterpiece. It perhaps tries too hard to please everyone to be a great film – but I really did enjoy it.
11. Climax (Gaspar Noe)
Gaspar Noe’s Climax is only kind of a horror movie – although the film does completely descend into madness and violence through the course of the film. It is a 1990s set film about a dance troupe, gathered together in a large warehouse right before they are about to hit the road to perform – going through one last rehearsal, then they find they cannot get out, and they have been drugged, and things start to go horribly wrong. The dance sequence that opens the film truly is great – and the sustained chaos that Noe is able to portray throughout the film makes it the provocateur’s best film in a long time (probably since Irreversible) even if it’s not quite as ambitious as Enter the Void or as overtly sexual as Love – it’s overall far more satisfying – and a must for adventurous genre fans those looking for a different kind of horror film.
10. Ready or Not (Matt Bettinelli-Olpin & Tyler Gillett)
Ready or Not is a viscerally entertaining horror/comedy with a great performance by Samara Weaving as a woman marrying into a very rich family, who built their fortune on games, who is forced to play a game on her wedding night – not realizing it’s the most dangerous game, and she is the prey. The film is a riot from beginning to end that goes all out, and ends up in the only place that makes logical sense. This isn’t a deep film – the eat the rich theme is more stated than explored – but it’s so much fun that you don’t really care. The film gets as bloody as you would want – and is also hilarious (it’s nice to have Adam Brody back in a role that puts his particular set of skills to good use).
9. The Dead Don’t Die (Jim Jarmusch)
I know a lot of people thought that Jim Jarmusch’s latest film was a misfire – and if you want to compare it to his last two films, Only Lovers Left Alive and Paterson (perhaps my two favorite of his films) then sure, it’s nowhere near that good. What The Dead Don’t Die is though is a very funny take and update on the George A. Romero zombie films – one of those films for the age of Trump and global warming – but in a hilarious, deadpan way – led by a great cast, no one more so than Adam Driver, who is terrific. The film is wonderfully entertaining and drily hilarious right up until it isn’t – and the film goes down the nihilistic endpoint that is only natural. No, it’s not one of Jarmusch’s best films – but it’s a lot better than it was given credit for.
8. Crawl (Alexandre Aja)
I really enjoyed Alexandre Aja’s Crawl when I saw it in the summer – and I think I underrated it at the time. This is pure B-movie joy – with a young woman (Kaya Scodelario) trapped in her basement with her father (Barry Pepper) during a Hurricane in Florida, with more than one deadly alligator trying to eat them both. It really is hard to imagine a film like this being executed better in a mainstream film – the film is gloriously, unapologetically cheesy and fun, and leans into the un-believability of the premise – and ends up with a film that is an utter and complete delight.
7. Starfish (A.T. White)
A.T. White’s debut film is a kind of horror film – it’s about a woman who travels back to a town she once lived in for a funeral of her best friend, and then when an apocalyptic event happens, she has to piece together clues from her dead friend to perhaps save humanity – unless of course she ends it. The film is really more of a meditation on grief than an out-and-out horror film – with a great performance by Virginia Gardner in the lead role – who simply wants to collapse and grieve, but cannot do it. These kind of low budget, end-of-the-world scenarios can be difficult to pull off – but White’s film is a complex film, with brilliant sound design, that is moving and touching and quietly profound. Oh, and yeah, it is a monster movie in its way. I get it if you don’t think this is a horror film – but if you think it’s a horror, then it’s one of the best of the year.
6. Little Joe (Jessica Hausner)
Jessica Hausner’s Little Joe is a very creepy horror film – not one full of blood, guts or gore in anyway – not even death – but rather just a nerve jangling atmosphere (helped by the expert sound design and score) and creeping paranoia. It is about a doctor (a wonderful Emily Beecham – a surprise, but fine, winner of the Best Actress prize at Cannes) who has come up with a new flower that smelling will make you happy. But does it work too well – are these manufactured emotions not genuine, and not worthy? Is there some sort of body snatcher thing going on here? I understand why people were offended by the concept and message – but I think Hausner’s film leave enough ambiguity to it all that it just makes it unsettling and incendiary, rather than just offensive. It is also just a supremely creepy film that is unsettling creeps under your skin.
5. The Wind (Emma Tammi)
Emma Tammi’s debut film is a cross between a feminist Western and a horror film. It’s about two young couples, alone in the prairie with no one else around – and what happens when jealously and paranoia descends on them – and just perhaps, there’s something outside the house other than The Wind. The film is scary in the way it uses the vastness of the space – the darkness that surrounds them – and the sound of that howling wind outside. The terror here is more mental than anything else – how being so isolated and alone in the middle of nowhere can drive you mad – and how much more that weighed on women during this time. The two performances by the women – by Julia Goldani Telles as the younger, pregnant women who first grows mad, and by Caitlin Gerard in the lead – who tries so hard to keep things together, but is cannot quite do. Emma Tammi is a bold, brave new voice in horror films – and The Wind is a wonderful film.
4. In Fabric (Peter Strickland)
You probably shouldn’t be able to make a horror movie about a haunted dress – who kills whoever owns it – that moves from one victim to another, and make it so entertaining, so weird, so scary and so much fun – but here we are, and Peter Strickland has done it. The film is basically split in two – the first involving Marianne Jean-Baptiste, a divorced mother of a 20-year-old son who still lives at home, and an office drone – who treats herself to a nice, new red dress – and it’s the worst mistake of her life. The dress then moves onto a young couple (including the wonderful Hayley Squires) – they’ve been together for years, and are just not getting married – and they both end up wearing the dress. Add in some strange, Lynch-ian asides in the store where the dress comes from, and you have one of the strangest, most unique horror films of the year. It may not quite be as good as Berberian Sound Studio or The Duke of Burgundy – but its further proof that Strickland is a terrific filmmaker.
3. The Lighthouse (Robert Eggers)
The Lighthouse is as an overt a horror film as Eggers’ masterful debut – The Witch (I almost didn’t include it at all on this list) – but it is a film that is designed to get in your head, and drive you as insane as the two main characters go – to get inside their heads, into their nightmares. Robert Pattison and Willem Dafoe are both brilliant as the younger and older men assigned to take care of an isolated lighthouse – poking and prodding each other, enduring each other – and then facing the horrors of the lighthouse, both supernatural and natural, real and imagined. The sound design is truly excellent – truly terrifying – and the black and white cinematography, in a narrow aspect ratio, does the same thing. The film started as a “ghost story in a lighthouse” = and while that isn’t quite what Eggers made, it is a scary and horrifying film – proving Eggers is as good as any director working in horror today.
2. Us (Jordan Peele)
Jordan Peele’s Get Out was a cultural phenomenon the likes of which we rarely see – especially with horror film. His follow-up film, Us, didn’t quite have that impact – but for my money is a better, scarier and more complex film. The story of one family, beset by a group of doppelgängers who arrive at their vacation home in order to murder them in many things at once. It is a legitimately scary home invasion movie – taken on a pure visceral level, it is violent and bloody and brilliant. As the film progresses, the allegory of America ability to paper over their past, to exploit and then move on becomes clear. If you wanted to, you could nitpick the logistical concerns in the film – but that seems meaningless. This is a brilliant horror film – in almost any other year, it would take the top place on this list. An absolutely brilliant film – one of the very best horror films of the decade.
1. Midsommar (Ari Aster)
Much like Jordan Peele, Ari Aster followed up his brilliant debut horror film – in this case, last year’s Hereditary – with an even better film in 2019. Midsommar is a long film – two and a half hours – and is basically a long break-up movie combined with a folk horror film in the vein of The Wicker Man. Florence Pugh is great in the lead role – a young woman suffering from depression, and getting over a horrific personal tragedy, who travels with her boyfriend (Jack Reynor) and his friends to a remote village in Sweden, where all the problems in their relationship come to forefront. The film is full of horrific images – but the horror is really a constant thrum of dread under the surface as their lives fall apart. It is the opposite film of Hereditary visually – that film was all darkness and shadow, this one in horror in the blinding sunshine. But they share that dread – that horror coming from the everyday relationships that define us. With Aster – not to mention Peele – we have two of the very best, most promising voices in horror working at the top of their game in the same year.
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