In order to avoid referring to the setting of Snakes on a Plane, the words "elevated" and "horror" were rarely used together fifteen years ago. Found footage was also thought to be the spookiest new technique for frightening audiences, and at least in terms of box office receipts, October meant one thing: it was time for a new Saw film.
So, certainly, since Den of Geek's debut in 2007, a lot has changed in the world of horror and the bigger film industry. We have been covering how the horror genre appeared to mature throughout it all. Even though there are some significant outliers, including more than a handful below, the 2000s are usually regarded as a low point in the art of making viewers jump, the 2010s witnessed a resurgence in the genre. There has been a wide variety of high-quality options for both critics and gorehounds, whether they be "elevated" or enjoyable crowd-pleasers that know when to say boo.
Ergo, we at Den of Geek, along with some of our readers on Twitter, have put our heads together and voted on what are the 25 best horror movies of the last 15 years. Enjoy.
The Bible is one of the scariest novels ever written when viewed in the proper crimson light. And what people have been doing to each other and themselves for millennia in its name can undoubtedly give you the creeps. Saint Maud, the writer-eerie director's feature-length debut, makes use of this truth in a chilling way.
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Saint Maud explores how having moral convictions that are distinctly mediaeval might result in a terrifying journey into Hell. The film stars Morfydd Clark, who will also be seen in Rings of Power. With evocative imagery and an even more bracing lead performance, plus rich supporting work by Jennifer Ehle, Saint Maud is a head trip that more folks need to discover since its spring 2020 rollout was muted by the pandemic. – David Crow
Raw, Julia Ducournau's directorial debut, is one of the few horror movies to so effectively touch into feminine fears and dreams. When Justine (Garance Marillier), a young vegetarian, enrols in college, she is made to consume meat as part of a hazing, which sends her down a dark path that her older sister has already travelled. This narrative about a cannibal refers to certain pyschosexual needs that typically remain repressed and is disgusting, visceral, and humorous. With her subsequent film Titane, which went on to win the Palme d'Or, Ducournau established herself as one of the most intriguing new voices in horror today.
It accomplishes a rare feat as the second film adaptation of Stephen King's massive novel about a child-eating clown from outer space: it captures briefly and precisely what makes King's writing so captivating to the imagination. The monster we know as "Pennywise the Dancing Clown," performed to terrifying perfection by a smiling Bill Skarsgrd, has a cosmic, almost Lovecraftian weirdness to it, yet there is just as much obsession on what makes a small New England community thrive (and die). And more than any film since Stand By Me, It embraces the all-American spirit of hope that permeates most of King's works (1986).
It's "Losers Club," made up of seven exemplary young performers, encounters some very horrifying things, yet their unwavering humanity somehow makes it all feel affirming. In actuality, this film only covers the first half of Stephen King's book, but director Andy Muschietti does a remarkable job of bringing that part to the better aspects of King's character, even if it's filtered through a devilish grin.
The third film in Jordan Peele's horror trilogy adds a sizable dash of science fiction. Daniel Kaluuya and Keke Palmer play a brother and sister who take over running a failing ranch after their father is murdered by a stray nickel that falls from the sky. The two come up with a strategy to obtain the ideal footage to demonstrate the existence of extraterrestrial life when a massive object arrives in the sky. Do not, however, undervalue the alien species you are peri.
Nope is the biggest movie that Jordan Peele has ever made, and it has at least one truly terrifying scene that will stay with you for a long time.
The Greek tragedy Iphigenia in Aulis by Euripides served as the inspiration for Yorgos Lanthimos' singularly unnerving horror film. A young man (Barry Keoghan) is invited into the family life of a surgeon played by Colin Farrell, which sparks controversy. The Killing of a Sacred Deer is a slow-burning revenge story where thoughtless individuals are forced to do terrible decisions. It is a modern fable. While Farrell and Nicole Kidman as his wife are excellent, Keoghan stands out as charismatic and unsettling—he is incredibly strange but also somehow fascinating, much like the movie itself.
Even though it listed J.J. Abrams as a producer and was widely regarded as a failure when it was released in theatres in 2018, Overlord quickly developed a cult following despite its possibly poorly handled distribution. To be honest, it's a strange movie to sum up with a catchy one-liner, what with the WWII setting and the experimental serum that transforms normal people into monsters.
Nevertheless, everyone in Overlord is working hard, and rookie filmmaker Julius Avery masterfully blends the various genres as a motley crew of soldiers crash-land and stumble across a Nazi conspiracy that falls somewhere between Saving Private Ryan, Re-Animator, Dog Soldiers, and Michael Mann's The Keep.
This action-packed body horror yarn also boasted one of the strongest up-and-coming casts around with Jovan Adepo (Babylon), Bokeem Woodbine (Halo), Pilou Asbæk (Game of Thrones), and Wyatt Russell (Thunderbolts) all scrapping to be the MVP.
The third full-length movie that Ti West produced also served to establish him as one of the genre's freshest new directors. Although he has created many new genre masterpieces both before and since, The House of the Devil was the film that first made many people realise how well he understands the terminology used in the genre.
The House of the Devil, which is set in the 1980s and proudly displays its vintage influences (including religious horror movements from the 1960s and '70s), is an exercise in understanding that the prospect of something terrible is far more terrifying than any picture of babysitters being torn apart. So for almost the entirety of Devil’s 95 minutes, we must shadow star Jacqueline Donahue as she slowly comes to understand just how damned she is. When the Devil worshippers finally come for her at the end, it’s almost a relief.
Director Scott Derrickson found himself back on familiar terrain with this 2012 mini-classic, which Derrickson co-wrote with C. Robert Cargill, after an ill-advised venture into science fiction with a worthless remake of The Day the Earth Stood Still. The movie centres on Ellison Oswalt, an author of real crime stories played by Ethan Hawke, who relocates his family into a home where the previous occupants were brutally killed. When Oswalt, who is planning to publish a book on the case, finds a box of home movies in the attic, he realises that he has stumbled into something more stranger and more frightening than he could have ever anticipated.
Derrickson establishes a mood of oppressive dread from the first scene, which is a "home movie" of the family who previously resided in the house being executed by hanging. Another ingenious way that the "found footage" subgenre is incorporated into an otherwise conventional story is through Oswalt's watching of the other film reels that he finds along the way. The majority of the running length of the film is legitimately unsettling, and Derrickson does a good job of maintaining the atmosphere even though he may have gone overboard with the jump scares. But in the end, a series of unsettling scenes, a novel new threat, and Hawke's convincing portrayal of a desperate, progressively frantic family guy help Sinister make an impression.
At this point in his acting career, Nicolas Cage has become one of the most productive actors of his generation, appearing in what seems like an endless stream of weird genre films. And probably none is more peculiar, unreservedly trippy, and colourful than Mandy, Panos Cosmatos' masterpiece from last year. Mandy as a movie and Cage's performance in it are considerably more than a novelty or oddity, despite the fact that some people may quickly focus on that one scene where Cage, dressed in tighty-whities, chugs a handle of vodka and alternatively rages and weeps.
Given that Red, played by Nicolas Cage, had just witnessed unspeakable horrors inflicted on a loved one by an apparent satanic gang of motorcyclists, this is a sorrowful moment rather than a wacky one. And then there are the amounts of LSD that characters allegedly drink throughout the film, whose lysergic haze seeps into the picture and brings with it magnificent hues that only serve to heighten the unnerving effects of the relentless cruelty and increasingly horrifying acts of violence.
Cage gives his strongest performance in more than a decade as the haunted Red, while Cosmatos effortlessly conjures up images from vintage Dungeons & Dragons Monster Manuals, heavy metal and prog rock album covers, and other vividly terrifying horrors. Mandy is not for the timid, but if you're prepared to go on the journey, you'll be rewarded.
Black Swan was a "elevated horror" film before the term turned into a meaningless buzzword, making it one of the few films on this list to receive an acting Academy Award. With this film, filmmaker Darren Aronofsky gently updates the 1965 film Repulsion for a contemporary audience. By contrasting the self-destruction required by all art forms, high and low, he also crafts an intriguing companion piece to his earlier film, The Wrestler (2008).
But in Black Swan, Natalie Portman gives a great portrayal as an intensely repressed ballet dancer whose innocent ambition "to be flawless" spirals into blissful insanity. As a result, the act of self-annihilation is actually wonderful. In less skilled hands, the conclusion can be interpreted as depressing and cruel, but Portman's intense satisfaction conveys that a victory has been achieved.
This bizarre mockumentary about a girl who drowned in a dam and the effects it had on her family is an Australian oddity from director Joel Anderson. The film has elements of Twin Peaks, but it also contains a lot of pathos. I feel that something horrible is going to happen to me, admits Alice Palmer, a disturbed youngster with dark secrets, to a psychic. Despite the fact that it hasn't yet affected me, I have the impression that something negative has happened to me. And it's approaching. It has. It is. And it's intolerable once you see what Alice has seen.
In 2009, Girlfight filmmaker Karyn Kusama delved head-first into Jennifer's Body, creating a specifically feminist cult horror film as a result. Fans of this underappreciated gem have always existed, but the #MeToo movement has made people appreciate it more clearly. The main plot is, in fact, very basic. In order to further their own careers, a group of men sacrifice a young woman in the film's opening scene. The devastation that ensues cuts to the bone as tortured Jennifer (Megan Fox) uses a hungry darkness inside to protect her mental and physical well-being. The essentials.
In 2009, Girlfight filmmaker Karyn Kusama delved head-first into Jennifer's Body, creating a specifically feminist cult horror film as a result. Fans of this underappreciated gem have always existed, but the #MeToo movement has made people appreciate it more clearly. The main plot is, in fact, very basic. In order to further their own careers, a group of men sacrifice a young woman in the film's opening scene. The devastation that ensues cuts to the bone as tortured Jennifer (Megan Fox) uses a hungry darkness inside to protect her mental and physical well-being.
In updating the well-known H.G. Wells tale, Leigh Whannell makes some very wise decisions. This movie is about his wife, not some insane scientist who develops a way to become invisible. Elisabeth Moss gives a stunning lead performance as the mistreated spouse who is informed that her husband has committed suicide in this narrative of domestic abuse. But she is wiser than that. No one believes the mouse in this tight cat-and-mouse game because the cat is invisible, and a pivotal moment in a restaurant is truly upsetting and pure nightmare material.
A Quiet Place by John Krasinski quietly raised the bar for science fiction horror. We only know that the extraterrestrial invaders are blind and hunt by sound; we have no idea where they come from or why they are attacking. For 89 days, the Abbott family has been exchanging nonverbal messages. Evelyn Abbott from Emily Blunt is expecting. Infants cry. With barely approximately five minutes of speech in the 90-minute film, the quiet is practically deafening. When the first line is said 40 minutes in, the audience is forced to pay closer attention. Pure motion picture narrative results from this. You'd want to shout if you could.
This second film from Hereditary filmmaker Ari Aster is wall-to-wall trauma. It may sound like a gimmick to have a horror film that is nearly entirely set in wide daylight. Midsommar, in contrast to Hereditary, at least has a sense of humour, as freshly widowed Dani (Florence Pugh) travels to a rural Swedish village with her douchebag boyfriend (Jack Reynor) and his friends to take part in the midsummer celebrations. This is a nightmare psychedelic journey with one of the most delectable endings in recent memory. It has elements of The Wicker Man, Aster's trademark violent deaths, and storming performances from the entire cast.
When it debuted in 2014, Australian director Jennifer Kent's remarkable directorial debut, "Elevated Horror," shook both audiences and the horror genre. It is widely regarded as one of the movies that helped usher in the still-existing era of "elevated horror." Essie Davis provides a moving portrayal as a young widowed mother who may be dealing with a mental breakdown or a supernatural presence in her home, or possibly both. The thing, in the greatest tradition of great horror tales, develops into a potent metaphor for unspoken pain, and the movie maintains an atmosphere that is both legitimately horrifying and quite sad.
An anomaly, an enigmatic riddle in the dark, is sometimes how a filmmaker quietly uses a bump in the night. And sometimes a director just wants to make you jump as their rollercoaster speeds toward the next drop for the nth time. James Wan is the latter kind of storyteller, and The Conjuring, a spectacle that aims to make you scream and smile in equal measure, is the pinnacle of his thrill ride.
The work director James Wan and performers Patrick Wilson and Vera Farmiga put into making the stereotypical "paranormal investigators" into sympathetic superheroes, however, elevates the original 2013 film. It's eerily adorable and the best haunted house attraction in town.
An anomaly, an enigmatic riddle in the dark, is sometimes how a filmmaker quietly uses a bump in the night. And sometimes a director just wants to make you jump as their rollercoaster speeds toward the next drop for the nth time. James Wan is the latter kind of storyteller, and The Conjuring, a spectacle that aims to make you scream and smile in equal measure, is the pinnacle of his thrill ride.
The work director James Wan and performers Patrick Wilson and Vera Farmiga put into making the stereotypical "paranormal investigators" into sympathetic superheroes, however, elevates the original 2013 film. It's eerily adorable and the best haunted house attraction in town.
This 2008 Swedish horror film is impossible to ignore. Since its debut, there have been three adaptations: an American remake, a play, and, starting in October, a 10-part Showtime TV series. The film version of John Ajvide Lindquist's book by Tomas Alfredson has a distinct atmosphere, genuine beauty, and memorable scenes. (The swimming pool revenge scenario in the Wednesday Addams series teaser for Netflix is undoubtedly a parody.) It's a unique love story between a young kid and a peculiar female who, according to her, isn't a girl that takes place in the 1980s. The ongoing infatuation is understandable given the film's dark and poetic content and the compelling performances of its actors.
Before superhero movies appropriated (and overused) their signature style, meta-textual humour from authors like Drew Goddard and Joss Whedon felt daring and thrilling. Consider The Cabin in the Woods as an illustration. This self-aware chiller is a mocking dissection of its genre while also being a heartfelt, R-rated love letter to it. The film achieves this impression by blending pretty much every bloody horror cliché from the previous 50 years until red paste drips off your walls.
It should be a mess, but surprisingly, it's a marvel, especially when Richard Jenkins and Bradley Whitford are there to make fun of the most recent cliché we keep using.
Before superhero movies appropriated (and overused) their signature style, meta-textual humour from authors like Drew Goddard and Joss Whedon felt daring and thrilling. Consider The Cabin in the Woods as an illustration. This self-aware chiller is a mocking dissection of its genre while also being a heartfelt, R-rated love letter to it. The film achieves this impression by blending pretty much every bloody horror cliché from the previous 50 years until red paste drips off your walls.
It should be a mess, but surprisingly, it's a marvel, especially when Richard Jenkins and Bradley Whitford are there to make fun of the most recent cliché we keep using.
A slow-burning and frightful examination of religious faith, humanity's relationship with nature, and the seductive and/or malevolent power of both, Robert Eggers' feature debut as a writer-director is still one of the best horror movies of this or any other decade.
A strict Puritan patriarch and his family attempted to live as devout a life as they could in the 1630s while being cut off from their neighbours. However, the enormous forest that surrounded their property had other plans. While the titular monster is reimagined as a primaeval force virtually beyond human comprehension, the atmosphere, historical details, and locale are masterfully conveyed. We can thank Eggers for bringing the captivating Anya Taylor-Joy to the world in her first feature role, and he continues to be a filmmaker to watch.
When Hereditary debuted in Sundance in 2018, writer-director Ari Aster burst onto the horror landscape like a Stage 4 Linda Blair possession. Hereditary was the most wretchedly distressing misery anyone had seen at the movies in years, despite technically being a profound and moving metaphor about bereavement and how the things we don't say fester.
Hereditary is a slow-moving slide into the darkest, dingiest of hells, telling the tale of a small, isolated family initially struggling with the loss of a maternal grandmother. Because this is the abyss that almost every Graham family member believes they deserved on some level. Toni Collette's Annie is the most pitifully condemned. When you find out who it is, the star delivers a stunning, career-best performance that endures to this day.
The debut work of writer-director Jordan Peele is a masterfully executed racial satire about the false sense of security. It's a noteworthy debut that conveys its message with wit and unforgettable imagery. what purpose? White liberals can start the Jaws theme playing in a Black man's head for good reason in addition to overt racism as a threat to their safety. What pictures? A dead deer, a spoon that spins hypnotically, and "the Sunken Place."
The title itself is convoluted. Get Out isn't just what viewers of horror films scream at the screen; it's also what your inner voice tells you when you're scared even if everyone keeps telling you everything is fine. When Chris (Daniel Kaluuya) pays his white girlfriend's parents for the first time, he is repeatedly assured of that. Chris finds out that things are everything but fine with horrible tension. Get Out was a critically acclaimed, financially rewarding, and award-winning hit for Blumhouse Productions. It also made history.
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