Every year I watch an assload of horror films. I mean it, I've counted watching nearly two-hundred in the past twelve months. This year, however, I did things a little differently (and in a way that most horror nerds would probably find offensive): I watched mostly new stuff. Sure, I watched some older classics (2014 would be the year that I, shockingly, first watched "Frankenstein" and "The Cabinet of Dr.Caligari" after years of putting it off) and the like, but I fit nearly one-hundred and thirty brand-spanking new horror films into my busy schedule.
As is the case every year, most of them were outright terrible. For each good movie there is probably at least a dozen dog-vomit amateur-hour garbage bins filled with cliches, terrible acting and embarrassingly inept directorial decisions.
But there was some greatness out there, too. A surprisingly high amount of it, actually, and a lot of it really came across (to me, anyway) as truly something special. That doesn't entirely apply to all of the entries on this list, but even the lower films discussed here had something good going for it. I'll try hard to provide insight without actually offering up spoilers, but consider this a vague warning: While I'm giving it my best shot, there could be some minor spoilage happening here.
There were some films that I decided not to use here on the basis of my not being entirely sure if they truly counted as part of the genre, such as the almost-great "Grand Piano" and the creepy but somewhat unfocused "Jamie Marks Is Dead." Both of those films are worth checking out, but they were left off of this list. So, enough with the boring introduction stuff and onto the movies themselves.
25. The Damned
What's the deal?:While being far from a great film, "The Damned" mostly kicks the list off by being something so simple and effective: it's just a basic horror film. It has no big hook or gimmick, no high concepts or deep subversive ideals, it only has a standard genre set-up and delivery. Peter Facinelli stars as a young father looking to connect with his daughter in Columbia. Along with his young wife (the girls step-mother), his sister and some hangers on, Peter finds himself stranded in a secluded inn after a rain storm washes out the road: suffice to say, the inn has a horrible demon living in it who seeks to kill everybody. That's basically it: people trapped in a house with a monster. Nothing to complicated about that at all. But that's what gives "The Damned" (also known by the much better title "Gallows Hill") its power: it is utterly without pretension. It's also pretty well acted, with Carolina Guerra giving a rather strong and startlingly creepy performance.
Seen here: Guerra acting.
Why it's 25: The whole thing comes off as generally satisfying, while not being anything truly special or memorable. It's just an old-school horror outing with enough interest points to be entertaining and a refreshing air of self-awareness. It knows it isn't special, but it doesn't want to be
24. Shock Value
What's the deal?: While possessing some ups and downs, "Shock Value" is primarily a horror-comedy that wants very hard to be far stranger than it actually turns out, but the effort is certainly appreciated. It's premise is fairly simple: A mediocre, small-potatoes horror director stumbles upon a real serial killer doing their thing, and decides to blackmail said killer into starring in his next film.
What occurs is mostly funny, even occasionally oddly charming, but still feels somewhat amateurish in presentation. Writer/Star Anthony Bravo brings some decent material but a mostly uneven performance. Bravo is at his best when providing quieter moments of intensity, which unfortunately doesn't happen nearly enough in the film, but his chemistry with actress Michelle Campbell(playing the directors mousy, harried "producer") provides some really great moments.
The poster seems somewhat misleading...
Why its 24: It's not winning any beauty contests or academy awards, but it's a perfectly serviceable and entertaining film.
23. Apocalyptic
What's the Deal?: Found footage is a tricky, often creatively bankrupt narrative crutch. Not being a fan of the subgenre, there was a lot of skepticism going on that was mostly dissipated.
Oh god, more found-footage!
Overall, "Apocalyptic" is a decent little film. A documentrian and her smart-ass camera man are tipped off to the existence of a strange little cult living in a commune in the wilderness. Believing that such whack jobs are generally journalistic dynamite, the pair seek out the cult and find them to unquestioningly be the creepy nutjobs they expected them to be. The small cast of central protaganists manages to curb some of found-footages normal problems by keeping camera work tight, intimate and fairly stable: all things found-footage is supposed to be.
Why it's 23: It isn't the similar but far superior "The Sacrament"(more on that later) and isn't entirely successful when it comes to the pay-off, but there are some very interesting things said about faith, journalistic integrity, and morality, as well as some genuinely creepy and disturbing sequences.
22. Don't Blink
What's the deal?: The past couple of years has seen an uprising of strange little high concept horror films. 2013 saw a handful of films focusing on time alteration ("Triangle," "Plus One," and "Mine Games" all spring to mind...and all were pretty damn good), usually created by some sort of phenomena. "Don't Blink" is very reminiscent of that story-style. A group of friends, headed by Mena Suvari and Brian Austin Green, travel out to a secluded resort where they find...nothing. Nobody is around, there are strange temperature fluctuations and even the animals are M.I.A. Then, one by one, people start disappearing...
Also, Scut Farkus.
Why it's 22: While the overall plot seems occasionally half-baked (which is bound to happen when your story has to be driven by the unanswerable question "what is going on") there's some very strong dialogue and character-driven scenes that make things very enjoyable. When a character, faced with serious horror-movie shit, basically just says "Screw it, I'm out of here" things always seem right with the world. While the situation lacks stable logic, the attitudes and reactions of those affected by said situation are incredibly honest and sensible.
21. Coherence
What's the deal?: Much in the same vein as "Don't Blink," "Coherence" operates in the high concept realm as well. In fact, it's hard to really think on them both without drawing obvious comparisons.
Like washed up TV stars. Nicky needs the work.
"Coherence" does offer more explanations to it's high-concept mind-fuckery, however. A group of friends gather for a New Years party with their own various likes, dislikes, feuds and slights and, after a comet passes by, they discover that there might just be other versions of themselves...down the street...celebrating new years...
Why it's 21: It's better than "Don't Blink" but only by a hair. While "Blink" is sort of straight-forward and mostly lacking in artistic pretension, "Coherence" has the feel of an art-house labor of love. Unfortunately, that is both a blessing and a curse, since it often alienates the viewer by getting too self-involved even as it manages to be intelligent and ethereal.
20. Wer
What's The Deal?: I'll admit to having a soft spot for Werewolf movies and, while certainly not an instant classic by any means, "Wer" handles itself very well. After a brutal slaying of a family of three. a beautiful defense attorney is called in to represent the prime suspect: a big hairy giant of a man with a fairly rough genetic condition that makes him pretty wolfy. As the attorney and her team, predictably dysfunctional, attempt to get to the bottom of things...well...shit gets real.
Shit about to get real.
Why it's 20: Much like it's main subject, "Wer" feels like a hybrid movie. The shaky handheld camera work apes found-footage without actually being found-footage, which allows the few strengths that style has to be front and center without suffering from it's weaknesses. The effects work is really quite good, too, especially when viewing in the aforementioned narrative style. Seeing startlingly real looking super-strength looks great when it looks like someone barely caught it on film while standing right there.
19. The Returned
What's The Deal?: The world's first post-zombie film arrived in 2014, which brings some good news and some bad news. The good news is that "The Returned" is a rather intelligent and subversive takedown of human nature and governments when it comes to disease and, well, social differences. The bad news is that it's ultimately a little too smart for it's own good...and occasionally a little dull.
Shoulda brought a book...
Plot wise, "The Returned" brings a lot to the table. Sometime in the near future, the zombie outbreak everybody and their Mom knows is going to happen happens. However, science prevails and a cure is discovered for the infected (now called The Returned). As long as they maintain regular injections of said cure, the brain-starved undead are fully capable of being normal people. In this new world, a couple copes with the boyfriend's condition while the rest of the world ranges from seeing the returned as normal people or, of course, second class citizens who are capable of causing the end of the world any time now. Things are awkward for the couple, but things get worse when rumors of a cure shortage start popping up...
Why it's 19: It probably is the most socially-conscious film on this list. It's condemnation of the narrow-mindedness of the people when it comes to minorities and the sick are incredibly relevant in a year that saw a global ebola panic and ongoing questions about the treatment of people of color and homosexuals. While the film is a slow burn, the world building and existential crisis at it's heart is thought-provoking and emotionally charged. It just seems to run for a long, long time.
18. The Taking of Deborah Logan
What's The Deal?: Another found-footage entry that works far more often than it doesn't. Primarily, this is for the fairly strong metaphor at it's core: Dementia is a frightening thing to go through and to witness, and often can make someone become an entirely different person. So, why not say this old lady is literally being invaded by another person?
This isn't even her at her scariest.
As the film runs with that central premise and the proceedings filmed and commented on by a trio of graduate students, things get pretty damned scary. No kidding, some of this year's best scares are in "Taking," all the while being mixed in with some pretty responsible attention to the stresses and fears placed upon a family being affected by encroaching dementia.
Why it's 18: It's actually pretty scary, for one. Two, I like found footage films that can resist the temptation to do open-ended conclusions. Three, it's just a pretty well-made film with a wonderful actress at the fore-front. Definitely this year's biggest surprise.
17. Housebound
What's The Deal?: 2014 saw a pretty impressive number of decent horror-comedies. While "Housebound" is not the best of those, it was still a pretty fun ride.
A messy ride, but still fun.
Very much feeling like some of Peter Jackson's early work (and not just because it's from New Zealand), "Housebound" provides an unusual central character in a young woman who, following a disastrous robbery attempt, is forced into house arrest with her somewhat doddering Mother at her creaky childhood home. The young woman is certainly bemused, but her concerns get much bigger when it comes to her attention that the house might be haunted...
Why it's 17: It's fun. The characters are silly enough to be entertaining but not so silly that they aren't cartoonish, everyone is clearly having a blast and. while it does spin somewhat out of control by the time the credits roll, it keeps a good head on it's shoulders.
16. Starry Eyes
What's The Deal?: A pretty, emotionally unstable and fragile would-be actress is struggling along with everyone else in Hollywood. However, a strange audition leaves her in a position that might just allow her to get her big break...there are just a few strings attached.
Spoiler: It obviously goes really well for her.
"Starry Eyes" reveals it's best weapon to be star Alex Essoe, who brings a lot of magnetic charisma and paradoxically combines it with a creepy repulsiveness...in the end, the viewer isn't really certain whether they should be cheering her on or not. Also: body horror. A lot of it. The entire film has a strange, unsettling surreality that keeps things moving along nicely.
Why it's 16: Much like "Coherence" earlier on the list, "Starry Eyes" has a strong art-house feel to it. That independent movie charm makes it a film that the viewer very much wants to like, since it feels inherently like an underdog. It stumbles here and there but never falls down, and takes it's own limitations in stride like a champ. It's unpleasant, but endearing.
15. In Fear
What's The Deal: A young couple, still in a very new relationship, decide to head out to a secluded bed and breakfast for a romantic getaway...even though neither is really all that sure about the relationship having any staying power. That dynamic, a rare one for a horror film (usually featuring couples who are deeply in love or what have you), drives the central action as the pair find themselves hopelessly lost. Then, as they search for a way out, it starts to feel more and more like someone is intentionally leading them astray...
Seems like it could happen.
Why it's 15: The cast is really great, featuring under-utilized TV actors like Ian De Caestecker of "Agents of S.H.I.E.L.D." and Allen Leech of "Downton Abbey" and a quiet menace to the proceedings that make the inevitable violence all the more shocking and brutal.
14. Lord Of Tears
What's The Deal?: A fairly weak-willed scottish schoolteacher returns to his childhood home, a brooding manor in the scottish highlands, hoping to find answers about his recurring nightmares. Quietly, he starts investigating and begins to discover that he might have some deeply repressed and frightening memories from his childhood.
"Lord Of Tears" is a strange movie. Things work well enough for the most part, but occasionally falls prey to a peculiar sense of pretension that threatens to derail it. For instance, there's a pivotal scene where a young woman performs a dance, which warms the main character's heart and creates a bond. It's a lovely scene. For the first few minutes, anyway, before you realize the director has decided to show the entire dance. It's not just that instance as well. There's a lot of strong and occasionally frightening imagery throughout the film that, again feeling almost like too much pride or self-congratulation, gets overused and losing effect.
Ffffffuck....
Why it's 14: Considering it's a brooding, scottish ghost story some pretension is understandable, even if it does feel a little too full of itself for it's own good. A lot of the imagery and photography is really well done, giving the movie an expansive feeling of emptiness that is indicitive of the story and it's overall aspirations.
13. Stage Fright
What's The Deal?: If someone had told me in January that one of the year's best horror films was going to be a musical slasher film, I likely would have been dubious at the very least. I tell you this so you take me seriously when I say: One of the best horror films of the year is a musical slasher film. A musical slasher comedy, actually.
How the hell does that even work?!
Why it's 13: There's a real aura of self-mockery throughout "Stage Fright" that makes it an incredibly endearing piece. Among the chaos is self-referential humor about both musicals and slasher films and the type of people who patronize those potentially polarizing concepts. The film has a load of fun being a parody of films like "High School Musical" on one hand and then jumping to the other side and teasing "Scream." It feels very much like, in the hands of less talented individuals, it could have easily being a shrill, irritating mess but "Stage Fright" maintains some wonderful balance. Viewing tip: listen to the music during the end credits. There's one last bonus song that is really quite funny.
12. The Den
What's The Deal?: "The Den" mostly benefits from being a very ballsy film. It's central narrative through line is again vaguely found-footage like, but manages to distance itself nicely from the usual narrative pitfalls that movies of it's kind tend to trip over. A young woman manages to get a grant that will allow her to spend twenty-four hours a day on a video-chat roulette program as research for a sociological study on how people behave on the internet. The film is shown as entirely appearing on the screen of a laptop computer, complete with chat windows opening and closing, web browsers being used, emails read, all while comfortably resting on the very attractive face of star Melanie Papalia. Of course, since it's a horror film, it's only a matter of time before she comes across something horrific she didn't plan on encountering...
Spoiler: It's furries. It's always furries.
Why it's 12: Web-based horror hasn't had an awful lot of success. Primarily this is due to the actual total immersion of audiences to net-culture, making it very hard to get said audience to swallow outdated notions of "the evils of the internet." Those fears were everywhere in 1995, but not so much in 2014. That being said, "The Den" manages to be a creative, fast-paced and believable story and asks very little of the audience.
11. Proxy
What's The Deal?: "Proxy" is both an interesting failure and a misfired success at the same time, which is a very weird idea to wrap one's head around. From it's startling early moments of violence and trauma, the film makes it clear that it's not screwing around and will subject you to nearly anything. The first half of this thing is filled with a creeping psychosis and a sense of depravity that is unlike just about anything I've encountered. Following characters that seem to get more and more insane by the moment forces us into mindsets we're not even remotely prepared to face. Unfortunately, the second half loses some of it's punch with an unusual plot-switch but remains suitably effective in its exploration on human psychosis and its relationship with tragedies both real and imagined.
Also boning.
Why it's 11: While not all of it works, "Proxy" shows so much strength of will and total conviction. Unlike a lot of horror films, it is absolutely sure of itself in every conceivable way and reveals itself as being brave enough to give everything it has, good and bad. "Proxy" is brutal and shocking and unafraid to be ugly.
10. Dead Snow 2: Red Vs. Dead
What's The Deal?: Picking up directly where the gloriously insane dutch horror/comedy "Dead Snow" left off, our hapless hero is now the prime suspect in the death of all of his friends and unable to get anyone to believe him about the Nazi Zombies crawling out of the mountains to wreak havoc upon the world of the living. Eventually discovering new allies and some unusual powers, our hero must now find a way to stop the encroaching hordes from destroying civilization as we know it.
It's as batshit as it sounds. Being a sequel, it's difficult to examine without trying to compare it to its predecessor but it really does need to be understood as it's own piece, and as a strong one at that. While the charm of the first one cannot be understated or dismissed, one has to see "Dead Snow 2" as equal but different: it IS a continuation, it has a lot of the same delirious gore and comedic over-the-top violence, and loads of visual humor that occasionally will elicit more groans than laughs (intentionally, too).
It's better than it looks.
Why it's 10: It's just balls out fun, just like the original. While more "Army of Darkness" than "Evil Dead 2," "Dead Snow 2" offers up silly horror fun without a trace of irony.
9. The Town That Dreaded Sundown
What's The Deal?: The mere mention of remakes or reboots tend to cause disruption with moviegoers, and nobody feels the sting quite like horror fans. Whether you find them abhorrent or pleasing is between you and your god, but I tend to come down somewhere in the middle. There are decent ones, there just aren't a LOT of decent ones. This update of the '70's pseudo-classic actually works really well by managing to make use of a cleverness that manages to be endearing rather than smug. When "Town" opens, it reminds us the original was based on a true series of murders that occurred on the border between Texas and Arkansas in for 1940's. So when the first shot is of kids at at a drive-in for a screening of Charles B. Peirces' weirdo-slasher and subsequently finding themselves running afoul of a copycat killer who is apeing both the original slayings AND the 1970's movie about said slayings, we're led to discover that we aren't really watching a remake at all: it's a sequel.
Gonna be a star.
Why it's 9: While not treading any new ground, "Town" provides a nice normal slasher flick without becoming too gimmicky or modernistic. It's clear the filmmakers have a genuine affection for the genre, and offer up a nice slice of throwback slasher violence. It also stars the lovely Allison Timlin, who also co-starred in the excellent "Odd Thomas" this year as well.
8. Only Lovers Left Alive
What's The Deal?: "Only Lovers Left Alive" is a very odd film. It's playful, it's ponderous, it's challenging. Much is made of the pairing of powerhouse (and strangely ethereal) actors Tom Hiddleston and Tilda Swinton as two ancient vampire hipsters who, after a long time apart, reunite and rekindle their romance all while noting on the changes in the world of art and music, both good and bad. It's essentially a plotless film, mostly wanting to be a thoughtful character study and pop culture examination, both of which it succeeds in doing with flying colors.
There's a lot of this, too.
The only real threat of a plot comes in the form of younger vampire Mia Wasikowska, who is mostly an antagonist by way of being different, but even this is shortly done and returns to the film's brooding musings.
Why it's 8: "Only Lovers Left Alive" defiantly refuses to be normal. The pacing is deliberate and slow, it's questions are methodically poured over with drawn-out patience because, well, it's central characters certainly aren't in a hurry. It's certainly artsy and more than a little pretentious, but it wants to wallow in it's own thought process in a way that is both self-indulgent but also quietly beautiful.
7. Oculus
What's The Deal?: Director Mike Flanagan takes a step closer to mainstream success following his excellent sleeper debut "Absentia" with this disorienting sensory mindscrew. Flanagan is a thinking-man's director, and he shows that well-thought-out construction in this story about two siblings who are confronting an evil mirror with the power to completely shatter sensory perception that, years ago, destroyed their lives. As the mirror begins it's battle against the pair, so does it also attack the viewer, disrupting traditional narrative tropes and even seemingly destroy time and space. As two stories- one happening now and the other a flashback- slowly seem to converge the movie challenges the viewer to keep up, and never slows down to let you catch your breath.
The kid's probably sick of hearing Stephen King comparisons, too.
Why it's 7: "Oculus" probably shouldn't have worked, and yet it did. Much like "Absentia," "Oculus" utilizes daring narrative devices that could, and quite likely did with some, completely alienate audiences. Unlike most horror films, I found myself continually thinking about and even questioning "Oculus" for days following my first viewing of it.
6. Late Phases
What's The Deal?: "Late Phases" tells a simple story with charm, humor and a lot of dignity. A retired and blind war veteran moves into a retirement community where his abrupt and grouchy nature tends to alienate a lot of his neighbors. However, just as he's starting to settle in, he is attacked in his home by a Werewolf. Knowing about Werewolves, our hero spends the next thirty days preparing for the next encounter.
The best horror movie character of the year.
Why it's 6: The stellar performance of lead actor Nick Damici is supported nicely by a sharp, witty script and crisp direction to make a pretty damned good Werewolf movie, as well as a surprisingly poignant character study.
5. The Sacrament
What's The Deal?: Over the past few years, Ti West has been quietly making horror films that avoid spectacle and tell simple scary stories. With films like "The Innkeepers" and "House Of The Devil," West has been pushing forward to the future by respecting it's past. While "The Sacrament" is less of a throwback than those other films, West puts his simple and quiet style to work by making one of the best found-footage films ever made. Wests strong instincts keep every single moment of film infused with a sense of impending doom, even scenes that are more focused on a laugh than a scare. The story is a simple one: three journalists travel to a isolated commune to locate one of the groups sister, who has fallen in with a cult run by an incredibly charismatic and sinister leader.
Yo.
Why it's 5: A more subversive and intelligent outing than the similar "Apocalyptic," "The Sacrament" manages to both be very unnerving and frighteningly real. The overtones to real-life cults and the terrible things belief can make people do are front and center here, which excellent results. Ti West seems poised to continue to be the front runner of the next generation of horror masters.
4. Odd Thomas
What's The Deal?: Based on a novel by Dean Koontz, "Odd Thomas" is a refreshing, charming action-adventure horror film about the titular character and his ability to see ghosts and help them to move on to the next stage of existence. Borrowing a healthy amount of film noir, Odd stumbles onto a bizarre mystery and an evil plot that threatens everyone in his home town. Along with his beautiful, snarky girlfriend Stormy (the amazing Allison Timlin), Odd has to find a way to save the day.
The very charming couple.
Why it's 4: Easily the most pleasant surprise of the year. "Odd Thomas" manages to be exciting, charming, funny, and heartbreaking in all the right ways. Anton Yelchin does surprisingly well as a leading man, and Timlin will steal your heart as Stormy.
3. What We Do In The Shadows
What's The Deal?: The best horror comedy in years, "What We Do In The Shadows" is sort of "Interview With The Vampire" meets "This Is Spinal Tap." Its gloriously funny, unabashedly geeky, and the most affectionate parody perhaps ever. A documentary crew begins to follow a group of outdated and fairly ineffective Vampires throughout the course of a couple of months, recording their private failures and successes and various trials and tribulations with amazingly funny results.
This is exactly what it looks like.
Why it's 3: It's very, very funny and expertly done with tremendous class. Highly recommended.
2. Under The Skin
What's The Deal?: Laboriously paced, deeply moody and quietly ponderous sci-fi/horror hybrid features Scarlett Johanssen giving the best performance of her career. Johanssen plays an alien who wanders the cities and countryside preying on men for undisclosed reasons. She is very good at what she does, until she starts to identify with humanity and begins to explore the sensations that are unmistakenly alien to her. Words cannot express how truly slow and thoughtful "Under The Skin" is, or how good Johanssen is in it. Scarlett gives a performance of true absence, of someone whose emotions are accomplished fabrications, all against a backdrop of hauntingly beautiful imagery and deep ruminations on what a human truly is.
It's way better than "Lucy," but that was okay, too.
Why it's 2: If you have the patience to watch something that is truly a work of art, "Under The Skin" is the movie for you. If you do not have patience, ignore it altogether. But it's such a stunning thing of beauty, and one of the best films of 2014.
1. The Babadook
What's The Deal?: Featuring an amazing lead performance, a simple but effective monster, and deep metaphorical musings on tragedy, parenting, and the difficulty of raising a child who is a little bit different. Six years after the simultaneous death of her husband and birth of her son, a middle-aged nurse deals with her sons hyperactivity and emotional neediness while avoiding dealing with the emotional toll of losing her husband. Things get worse, however, when they find a mysterious pop-up book about the titular beastie.
It's the most terrifying pop-up book ever.
Why it's #1: Nothing is what it seems in "The Babadook" and it makes for an incredibly fascinating viewing experience. It's narrative is bumpy and very unusual, it's visual style has a ton of subtle metaphor, and the central metaphor is uncomfortable and very raw. We watch helplessly as a woman completely unravels; first figuratively and then more literally as the horror movie portion of the film takes off, and we're presented with an unflinching portrayl of loss, stress and depression and how hard it can take hold when lives are defined by tragedy. "The Babadook" is truly something special, and highly recommended.
Honorable Mention: "Afflicted," "Rigor Mortis," "Summer of Blood," "Kristy" and "Savaged."
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