Starring the ever-prolific Mark Duplass, it’s a character study of two men-naive videographer and not-so-secretly psychotic recluse, the latter of which hires the former to come document his life out in a cabin in the woods. Jacob OllerĬreep is a somewhat predictable but cheerfully demented little indie horror film, the directorial debut by Brice, who also released this year’s The Overnight. By embracing the squirm-and the time necessary to get us to squirm rather than jump- The Haunting of Hill House is great at creating troubling scenarios, and even better about letting us marinate in them. The only thing that feels truly inconsistent while watching it is your mind: You’re constantly wary of being tricked, but the construction of its scenes often gets you anyway. Well, maybe “inconsistency” is the wrong word.
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The series even goes back to some of the first film adaptation’s decisions, in terms of camera movement and shot design, in order to develop uneasiness and inconsistency. The monsters, ghosts, and things that go bump on the wall are off-screen, barely shown, or obscured by shadow. The aesthetic of The Haunting of Hill House makes it work not only as horror TV, but also as a deft adaptation of Shirley Jackson’s classic novel. Stars: Henry Thomas, Michiel Huisman, Carla Gugino, Elizabeth Reaser, Oliver Jackson-Cohen, Kate Siegel, Victoria Pedretti But Weeks is equally invested in making his viewers leap out of their skins. Weekes is deeply invested in Bol and Rial as people, in where they come from, what led them to leave, and most of all what they did to leave.
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Ultimately, this is a movie about the inescapable innate grief of immigrant stories, a companion piece to contemporary independent cinema like Jonas Carpignano’s Mediterranea, which captures the dangers facing immigrants on the road and at their destinations with brutal neorealist clarity. The film begins with a tragedy, and within 10 minutes of that opening handily out-grudges The Grudge by leaving ghosts strewn on the floor and across the stairs where his protagonists can trip over them. Remi Weekes’ His House doesn’t screw around. Movies can scare audiences in a variety of ways, of course, but the very least a horror movie can be is scary instead of screwing around. Nothing sucks the energy out of horror than movies that withhold on horror. Stars: Wunmi Mosaku, Sope Dirisu, Matt Smith The 50 best horror movies streaming on Shudder The 80 best horror movies on Amazon Prime You may also want to check out the following horror-centric lists: The highest-ranked films are obviously essentials. The lowest-ranked films are of the “fun-bad” variety-flawed, but easily enjoyable for one reason or another. We invite you to use this list as a guide. They’re not technically movies, but they’re impossible to leave off this list. Don’t expect to find many franchise staples in the mold of Halloween or A Nightmare on Elm Street, but don’t sleep on The Haunting of Hill House or Bly Manor, either. Still, there are quality films to be found here, typically of the modern variety, from comedies like The Babysitter to more obscure (and disturbing) titles such as Creep, I’m Thinking of Ending Things or newer films like His House and the Fear Street trilogy. All of those films are now gone-usually replaced by low-budget, direct-to-VOD films with suspiciously similar one-word titles, like Demonic, Desolate and Incarnate. At various points in the last year, for instance, Netflix could boast The Shining, Scream, Jaws, The Silence of the Lambs or Young Frankenstein, along with recent indie greats like The Witch, The Descent or The Babadook. As competing services, and especially genre-specific ones such as Shudder, continue to expand their horror movie collections, it’s harder and harder for Netflix to project any sense of comprehensiveness, and its library becomes more static and reliant upon Netflix Originals on a monthly basis. Assessing the quality of offerings available from Netflix in 2021, it quickly becomes clear that their horror library is a real mixed bag.
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