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DO NOT watch alone! – The scariest horror movies of the past 10 years

We love horror movies. But the truth is that every year the number of productions of the genre that really succeed in giving us shivers is very low. And just to differentiate, fear is not fear. There are several types of horror feature films, within the most varied proposals. For fans and those who are already used to watching such productions, the vast majority serve only as escape entertainment. Those who really manage to mark us are few. Of course, it also depends from person to person.

Many prefer to be scared in the dark movie theater, with the so-called jumpscares. But personally, it’s always best to reflect on what we’ve just seen, and the more realism a horror movie can feel, the more meaningful it becomes. After all, the crudeness of reality will always be scarier than fantasy. So the best and most impactful movies of any genre always end up being the ones that manage to create identifiable situations thanks to well-developed characters.

With that in mind, we bring you a new story with a snapshot of the horror movies from the past ten years that have impressed the most, leaving their mark. Well, at least in this one he writes to you. Find out and be sure to comment on which ones have most recently impressed you below. These are the movies we don’t like to see on our own.

The Witch is one of those movies that has done well for everyone involved. Creator of the Sundance Film Festival, which then traveled to the Toronto Film Festival (where I got to see it), the film transformed its director Robert Eggers into one of the most prominent voices in the genre today. Its stimulating films are not easily accessible for those who are only looking for the scare in the malls, falling more under the term “horror art”. No wonder critics and intellectuals ate it with flour, guaranteeing 90% approval for the feature film.

In addition to Eggers, another major beneficiary of the film was its protagonist, daughter Anya Taylor-Joy, who became a global sensation overnight, participating in everything from Fragmentedo to Emma and Os Novos Mutantes, to O Gambito da Queen. The plot, set in New England from 1630, features a peasant family haunted by possible supernatural forces, black magic, witchcraft and possession. Joy lives in Thomasin, the eldest daughter of the family. The ending is so wildly delusional that it turns out to be a worthy heir to Rosemary’s Baby (1968). Eggers’ most recent film, The Lighthouse (2019), could make the list if it was scarier than weird (in a good way).

Three years after The Witch, another filmmaker has risen to the top of the hill as one of the kings of today’s horror cinema. Ari Aster does not have the pretension of so-called “art cinema”, succeeding in making horror films accessible to everyone, but with content and thought that hovers above the so-called “movies of art”. entertainment ”. In short, the filmmaker has succeeded in appropriating the best of both worlds in his career. So, from his first job in charge of a feature film, with this hereditary, Aster has created a puzzling masterpiece that promises to leave you sleepless or full of nightmares. Personal experience.

Much more than easy scares, what he creates in the film is a family drama of people who seem truly cursed due to the constant tragedies that befall them. Something very identifiable and not dependent on any supernatural content. Although they do exist and are the icing on the cake here. Before ending the article, it is worth mentioning the filmmaker’s next work, the much talked about Midsommer, a work that subverts his previous production, especially in the contrast between shadows and light. Hereditary has 89% critical approval.

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Strong analogy with sexually transmitted diseases, it is the great masterpiece of the career of young filmmaker David Robert Mitchell, who after the film lets his success go to his head and travels in mayonnaise with the ambitious The Mystery by Silver Lake (2018). Either way, Mitchell is creating a tense film here that is a pure homage to ’70s cinema, especially Halloween (1978) – check out the soundtracks. In the plot, a curse is passed from person to person after the sexual act. Now the new “tainted” role of cutie Maika Monroe, has to find a way to get rid of the torment without having to transmit the evil. The feature has no less than 95% press approval.

It was recently reported that actress Naomi Watts will star in the North American version of this Austrian work from directors Severin Fiala and Veronika Franz. Knowing that most of the remakes don’t match the originals, we suggest you go for this version. Released in 2014, the film has 85% critical approval.

In the plot, two twin brothers living in a beautiful secluded mansion in a rural part of town begin to find their mother’s behavior strange, returning from plastic surgery unrecognizable, both physically (from the bandages of the des bandages prevent the children from seeing the woman’s face) and her apparently erratic behavior towards the couple, to the point that they suspect that this woman is indeed his mother. If you like dizzying twists and turns, wait and see what’s created here. In the list, we could also cite the most recent work of the director duo, the equally disturbing O Chalé (2019), which also features children as protagonists of a tragic story mixing religious cults and fanaticism.

Anyone who has watched the famous What Was Left Behind (2020), from Netflix, more or less knows what to find in this feature. Both use social terror about a country’s conflicts as a real monster and a reason for terror. The analogy is clear and the style already generates its own subgenre. What if What’s Left Behind removed the fear of transition from two African immigrants to England, needing to overcome the tragedies of their old country while facing new ghosts – some real ones such as prejudice against immigrants; Under the Shadow brings the terror of post-revolutionary 1980s devastation to Tehran.

A young mother goes out of her way to raise her baby girl while her husband goes on a journey, with armed conflict and bombardments looming in the wake of her home. At the same time, frightening events related to the appearance of an entity in the broken home challenge his comprehension. Directed by Iranian Babak Anvari, who went on to create the equally terrifying Visceral Contact (2019) in Hollywood. Under the Shadow has the highest critical rating on the list at 99%.

Now comes to the list a movie that celebrates 10 years of its 2021 debut and has an excellent 80% critical approval rating on Rotten Tomatoes. The Hotel da Morte grew out of the South By Southwest Festival in the United States and went on to make a career in horror events. Unfortunately in Brazil, the film arrived directly on video without going through the cinemas. The icy plot brought recognition in the genre to filmmaker Ti West and decides to pay homage to urban legends who speak of hotels considered haunted. Here, a famous hotel has its days numbered until its final closure, and two receptionists, with little to do and adept at paranormal investigations, are confronted with the mystique that surrounds the place where they work. Blonde Sara Paxton plays protagonist Claire. It’s just freezing.

Filmmaker Rob Zombie has made a career out of violent productions about sadistic serial killers, including giving his clue to what classic Halloween should look like (twice). However, it is common knowledge that Zombie tends to exaggerate the graphics of his horror and gore. The off-curve point of his filmography is This Ladies of Salem, where the director trades veiled torture for real fear by betting on a supernatural plot involving a DJ whose neighbors in a grisly apartment building are a trio of Satanist witches. Everything completely derails when the protagonist receives a disc with an ancestral recording and begins to listen to it. Here Zombie is scary because of the story and the pictures, not because of the bloodshed.

Known at the time as “the movie in which Scarlett Johansson appears completely naked”, the film is complex science fiction and as questioning as the classic 2001 – A Space Odyssey (1968). But much more underestimated. In addition to the highly reflective content, the artwork is a true cinematic study, with spellbinding imagery, a soundtrack that will stay in your head for days (or maybe forever), and everything is constructed essentially without the use of dialogue. It is an adventure in itself to make sense of and try to bring together what we understand about the story at the end of the exhibition. What we can say is that Johansson is actually a man-hunter alien being, who would put the Predator to shame in terms of its effectiveness in its mission. Disturbing is the right word to define the feature film which, despite its extreme quality, is not for all tastes or all audiences. Under the Skin has an 84% approval rating from critics.

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