Searching for horror movies, suggestions? Identify a horror movie with a girl on a boat. Scary Good; Amazon Originals; Star Wars on IMDb; Celebs, Events & Photos. Here's a countdown of the 26 highest-earning horror movie franchises according to unadjusted domestic box office gross. It's my girl b day and we'd like to sit down and watch a good scary/thriller/horror movie. Looking for some horror movie suggestions. Serenity is the name of the ship (and the movie that came out years later).
Looking for some horror movie suggestions : Scarymovies. UPCOMING MOVIES2. Movie. Date. The Belko Experiment.
March 1. 7Keep Watching. March 2. 4The Blackcoat's Daughter. March 3. 1The Void. April 7. Amityville: The Awakening.
June 3. 0Annabelle 2. Aug 1. 1It Comes at Night. Aug 2. 5IT (remake)Sep 8. Friday the 1. 3th. Oct 1. 3Insidious 4. Oct 2. 0Wrong Turn. October. Hellraiser: Judgment.
TBAJeepers Creepers 3: Cathedral. TBAChucky 7. TBAChildren of the Corn: Runaway.
Les diaboliques (original title) Unrated . Buy Movie and TV Show DVDs. DPReview Digital Photography. Free web-based film recommendation service. Watch random movie trailers instantly, no need to login!
TBAHalloween. TBAThe Dark Tapes. TBABride of Frankenstein. TBACrepitus. TBADay of the Dead. TBAGhostbusters 4.
TBAIsland of the Dolls. TBATower of Terror.
TBATrick 'r Treat 2. TBAHOUSE RULESSpoilers are not allowed. If we catch you posting one, your comment will be removed. Please flair your posts! It makes it much easier for everyone.
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For horror geeks like myself, it has been clear for a long time that Netflix isn’t particularly interested in “genre film” audiences, and rarely makes an effort to specifically court them. The last time I compiled this list before Halloween of 2. Is it any wonder that horror- only services such as Shudder seem to be thriving and growing? By the way—you can check out our ranking of films in Shudder’s library here. This time, however, some things have changed. For the first time, I’ve actually increased the size of this list—from the 6.
Netflix. As per usual, we’ve lost some great films since the last time it was updated: Previous #1 pick The Exorcist, Spielberg’s classic Jaws and Stuart Gordon’s amazing Re- Animator among them. But for the first time, Netflix may have actually added more quality than it lost, from classics such as The Shining and An American Werewolf in London to brand new indie horror films like Baskin or Under the Shadow. Other recent horror films such as It Follows and We Are Still Here have finally joined the service as well, broadening its horror appeal. So as much as I’m surprised to say it: Netflix actually seems to have improved its horror selection this time.
For example, Netflix is very lacking in classics and franchise staples. Don’t expect to find any Halloween or Friday the 1. George Romero’s zombie classics—not even Night of the Living Dead, which is free in the public domain for them to exhibit.
What they can claim, though, is a decent number of more recent, solid indie horror pictures such as The Babadook, Starry Eyes or The Canal. The key is knowing which films to watch, and not getting sucked into watching the direct- to- VOD trash.
Thus, we invite you to use this list as a guide. The lowest- ranked films are of the “fun- bad” variety—flawed, but easily enjoyable for one reason or another. The highest- ranked films are obviously classics. Check them out, and let me know about any great horror films currently on Netflix that you think deserved a spot on the list. The Brainiac (El Baron del Terror) Year: 1. Director: Chano Urueta. I honestly wish Netflix had more films in the library akin to The Brainiac, and less of the modern horror trash.
Seeing this weird old gem of ’6. Mexican zero- budget horror makes me curious how exactly it ended up on the streaming service—what’s the story behind how this random film, about a sorcerer who returns from the dead as a brain- sucking ape man, was deemed worthy? Did someone from Netflix actually watch it at some point, or was it accidentally uploaded as part of a package deal of some kind? Has anyone (besides me) ever streamed it? It’s a film that looks like it could very well have been shot by a young Roger Corman, featuring some guffaw- inducing monster costumes and delightfully incompetent performers.
All that it’s missing is a luchador hero, but you can’t have everything. Sharknado Year: 2. Director: Anthony C. Ferrante. B- movie geeks and bad movie fans are not kind to the original Sharknado, and I don’t think that’s entirely fair.
It gets flak from that audience for being “purposefully bad,” but it is possible to make an entertainingly goofy film in this way . Now dragged down by an increasingly forced run of sequels, all of which I’ve reviewed for Paste because I’m a crazy person, it’s easy to lose sight of how slapdash (and thus amusing) the first film was.
There’s absolutely no budget behind Sharknado, which makes the gaffes introduced by a tight shooting schedule all the more apparent and hilarious. The sky goes from dark to sunny in between shots in the same scene. The film idles in place for 2. Tara Reid tries to get dialog to come out of her mouth, and fails spectacularly. In short: There’s fun stuff here. Don’t be a bad movie hipster; embrace the original Sharknado. The sequels, feel free to ignore.
Zombeavers Year: 2. Director: Jordan Rubin. Look, if you don’t know before you ever hit “play” exactly what you should be expecting from Zombeavers, I’m not sure how much I can help you.
It’s a film about toxic waste- spawned zombie beavers, people. It’s halfhearted as both a horror film and a comedy, with a preponderance of jokes that thud and just enough that will draw an ashamed chuckle.
It feels like a throwback to the straight- to- VHS horror schlock of the ’8. By the time people start turning into WERE- BEAVERS near the film’s end, you’ll have settled into a good groove of mocking its flaws and enjoying its alternating shamelessness and reverence for the genre—because at least they attempt some interesting practical effects. Good on you, Zombeavers. It’s trash, but a step above the bottom of the barrel. The ABCs of Death Year: 2. Directors: Various directors The ABCs of Death is an anthology film with a great premise: 2. Unfortunately, the results are as scattershot as you would expect, and for every good entry there are two uninteresting, confusing or just plain “gross for gross sake” ones.
It’s worth seeing, however, for the two or three entries that are really great, which also happen to be from three very promising directors—Nacho Vigalondo’s “A is for Apocalypse,” Marcel Sarmiento’s “D is for Dogfight” and Adam Wingard’s “Q is for Quack.” The “D” entry is probably the star of the show and the one that attracted the most critical praise when it came out, for good reason. It’s a grungy, uncompromising, brutal inversion of a typical story between a man and his dog, and it’s beautiful looking to boot. Stephen King’s Thinner Year: 1. Director: Tom Holand Thinner is certainly quite a few rungs down the Stephen King adaptation ladder, but it’s also a curiously memorable movie. Everyone in it is a sleazeball—including our would- be protagonist, Billy—and the town is like the one in Napolean Dynamite, in the sense that failure and degradation just permeate seemingly every facet of the lives of its residents. No wonder they decided to bring in a carnival run by gypsies to cheer everyone up, right?
After smacking one of them with his car, obese lawyer Billy ends up cursed with a spell that causes him to rapidly lose weight and waste away to nothing. It’s sort of like Drag Me to Hell, except without any characters you actually want to root for.
But at least it’s fun to chuckle at Robert John Burke’s fat suit and prosthetic chipmunk cheeks, while they last. Dead Silence Year: 2. Director: James Wan. This film actually has a small if significant fanbase among the horror community—you’ll often see people citing it as “underrated,” possibly because it comes from Saw, Insidious and The Conjuring maestro James Wan. It is, however, Wan’s weakest film, one that feels somewhat like a perfunctory follow- up to Saw, which is pretty much exactly what it is. Screenwriter Leigh Whannell has said as much; that it was a film he was essentially made to write as quickly as possible to capitalize on the success of Saw.
It is, however, a very different movie than the former—a combination of ghost story and Twilight Zone- like urban legend/morality tale about an evil ventriloquist who returns from the dead to stalk a family through dolls—but she can only kill you if you scream, hence the title. Wan’s signature visual style goes a long way toward making Dead Silence interesting, but the plot and characters seem closer to something you’d see in a Fear.
Net or Syfy television movie. There are kernels of an interesting film here, but the best work of both Wan and Whannell was still yet to come. I Am the Pretty Thing That Lives in the House Year: 2. Director: Osgood Perkins. This somewhat labored ghost story premiered at the Toronto International Film Fest before being picked up by Netflix for distribution, but the festival circuit is really its natural home. It’s a staid, extremely patient haunted house yarn with some intriguing performances, but it’s likely to be too slow to be appreciated by many modern audiences. A woman moves into a creaky old home to become the live- in nurse for an elderly horror author with dementia, but she soon finds herself being sucked into the ghost story that makes up the author’s most famous book.
That likely sounds like a fairly conventional horror movie premise, because it’s the delivery that sets this film apart rather than the summation. We glide through the house with minimal, whispered dialog and occasional narration, and although it does build a palpable sense of unease, the payoffs are few and far between. I couldn’t help but be reminded of H.
P. Mendoza’s similarly experimental 2. I Am A Ghost, which is equally laconic but more visually arresting. I Am the Pretty Thing has grand artistic aspirations of some kind behind it, but has trouble giving them vibrancy. This is a horror film for audiences with solid attention spans. What We Become Year: 2.
Director: Bo Mikkelson. The thing that limits a film the likes of What We Become is its familiarity. It’s a tight- knit family drama zombie movie, following a single family unit as they experience the tropes we’ve seen in nearly every “serious” indie zombie film of the last 1. Even the title is taken directly from one of the trade paperbacks of The Walking Dead comic, and that comic’s modern, Romero- esque outlook feels like heavy inspiration for the film.
It’s not to say that it isn’t effective . What We Become is well shot and handles its minimal story effectively, but it struggles somewhat to justify its own existence. The third act, thankfully, does ratchet up both the tension and action, paying off in some effective bloodletting that takes a bit too long to arrive. It’s a film that is very indicative of the state of modern indie zombie films, both in the U.
S. The Fury Year: 1. Director: Brian De Palma. Two years after Carrie, Hollywood came calling to Brian De Palma, asking “Hey, want to make more or less the same film again?” Brian’s presumptive response: “Sure, let’s do exactly that.” Okay, to be fair it’s not exactly the same as Carrie, but it’s still a horror movie about psychic teens with telekinesis, so we’re more than halfway there.