Like so many other Scorsese films, the physical brutality and anger of man is not just a struggle against the horrors of war, homicide, and genocide, but also against the beast inside, the one that resides in all people and isn't always so easy to tame or keep in its cage. Director Jalmari Helander paces this strange and hugely enjoyable with the zippy pace of a Christmas comedy, and in the script, he beautifully balances the pulpy elements of the story - poor hunters ransoming St. Nick - with the perspective of one of the hunters' children (Onni Tommila), who rightly takes the warning of a belligerent, lunatic Clause very seriously. – Chris Cabin, In remaking one of George A. Romero's lesser-known masterworks, Breck Eisner spins a chilling vision of unexplained, untreatable madness, and suggests that his true place was always in horror, rather than in unbearable adventure pictures like Sahara. A complete list of Horror movies in 2010. 10 Best Horror Movie Posters Of The 2010s, Ranked. "Get Out" topped our list. The Skin I Live In thrives by it’s writhing narrative of twists and turns, so plot is best left out of any summary, but in brief, Robert is a world-renown plastic surgeon obsessed with inventing a new, indestructible type of human skin after his wife burned alive in a car crash. The creature feature has never been as poignant or as romantic as it is in Spring. Natalie Portman leads the film in possibly the finest work of her impressive career as Nina, a prima ballerina cast in the role of The Sawn Queen, who simply wants to be perfect. Gorgeously shot in a palette of blood red and ice blue, fearlessly acted by all involved, I Saw the Devil is an unflinching deep dive into the most inhuman elements of human nature. Blue Ruin (2013) Far removed from the tragic cool of hep cats like Robert Mitchum and Humphrey Bogart, Blue Ruin anti-hero Dwight Evans (Macon Blair) is an overqualified loser. It's a much bigger deal to his cannibalistic brood, who must now take on his responsibilities of performing family rituals and putting, er, dinner on the table. Co-directors Justin Benson and Aaron Moorhead staked a significant claim in indie horror with this stunning and genre-bending meet-cute of a troubled man from the U.S. and the mysterious woman from Italy with a dark, deadly secret. Title Director Cast Country Subgenre/Notes Bloody Doll: Teruyoshi Ishii: Jiro Wang, Zhou Qiqi, Don Li: China: Horror: Bugs: Yan Jia: Xia Zitong, Zhang Zilin, Eric … October 30, 2019 1:24 pm. Soon after settling in, Ellison comes across what winds up being one the eeriest parts of the film, home movies documenting the hanging and a handful of other gruesome family murders in different locations. More than any other decade, the 2010s have taught us that horror can come from anywhere and everywhere, and we can’t get enough. For decades, horror has often been relegated to B-movie fare and tended to be considered a lesser-than genre outlier. – Haleigh Foutch, Trust me, you weren't the only one who did a full Tina Belcher groan when it was announced that an American remake of Let the Right One In was in the works, less than a year after the masterful original hit the states. – Chris Cabin, The titular backwater buddies of Tucker & Dale vs. But we did it anyway. It stars Ethan Hawke as Ellison Oswalt, a true crime writer who’s desperately searching for the grisly material that could lead to his next big hit. and Himizu offered a double-buck shot of macabre madness, the latter being a tougher, more unsettling work while the former was a blast of inventive nonsense; he follows it up this year with the similarly strange Tokyo Tribe. And like so many frightening stories, the monster isn't entirely put back in the closet when the film ends, suggesting that, along with a storyline involving chemical weapons, our undiluted, bestial nature has already gone way beyond the point of no return. –Michael Roffman, Stephen King’s 1992 novel takes place almost exclusively from the confines of a single room, where protagonist Jessie Burlingame lies handcuffed to the bed. A man collapses in a mall and pukes up a tide of black blood, causing a bit of a scene amongst Mexico's denizens and the media. Hereditary (2018) “Toni Collette’s scream when seeing her daughter made me wish that there was an Oscar category for best scream. Anyone who saw David Robert Mitchell’s charming coming-of-age debut The Myth of the American Sleepover (2010) would have been unlikely to predict his next venture would be a horror movie, not least one so endlessly provocative and relentlessly unnerving. Thanks to an ingenious core concept, Cabin in the Woods lets you have loads of fun with familiar situations, victims and creatures, but also lets you indulge and appreciate them in a whole new way - like all at once in an elevator bank for example. He thinks he finds it in the story of a family of four that’s found dead, hanging from a tree in their backyard. As Robert Legard, Antonio Banderas is a chilling portrait of one such remorseless genius, spurred on by grief and a thirst for revenge. The physicality of it is impressive; every bit of Jessie’s discomfort, pain, and fear is keenly felt. The ease of production didn’t necessarily mean that those who envisioned and made these films had the scrappy problem-solving abilities that Walter Hill had, or even had the heightened sense of composition that made Carpenter a legend. Some of the best horror movies of the last ten years have found originality in reworking, rather than remaking, old ideas. – Chris Cabin, Few directors have had as much fun with death and destruction as the prolific Shion Sono has. At the forefront of this adaptation is a powerfully complex and raw performance by Carla Gugino. – Chris Cabin, If there were any doubts of Rob Zombie's seriousness as a horror filmmaker in his first four films, The Lords of Salem cemented him as one of the most alluringly unhinged artists in the game. Comment. From The Devil's Rejects to High Tension, the slasher film has been turned on its head, presenting evil as something truly frightening instead of just an excuse to throw blood and guts at the screen. 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