Being a horror fan can be a grueling experience. As one of the cheapest, and more regularly profitable types of films out there, horror movies are produced en masse. But, instead of swimming, Scrooge McDuck style, in a sea of horror glee, fans of the genre often find themselves, instead, sifting through piles of cheaply produced, poorly written garbage in hopes of finding something, anything, worthwhile. And after being burned by too many sub-par Full Moon productions or shoddy pantomimes of newer successes, most of you (like myself) have instead opted to watch the true gems of the genre over and over again.
By now you could draw out a map of Haddonfield, Illinois complete with the best places to hide from unstoppable, yet remarkably slow, masked serial killers. You could recite the award winning Sawyer family chili recipe, complete with those rather troublesome hard-shell pepper corns, by heart. And you know that reciting lines from The Day the Earth stood still in the middle of the forest will likely cause comically deadly spirits to rise up and swallow your soul after physically and psychologically torturing you and your loved ones.
While as cherished as these horror classics are, rewatching them you can’t help but yearn for the experience of seeing them for the first time. Reliving the rapt attention, the horrific revelations, and the rising tension as you fall under the spell of a brand new story. And while the list below is unlikely to present you with anything that will reach the glory of Romero’s Dead series or memorable faces of Freddy or Jason, it is full of lesser known movies that will surprise and delight fans of the genre who’ve seen just about everything else and simply want something new.
That is not to say there aren’t a lot of really good new horror movies out there right now destined to be classics. If you haven’t seen It Follows for instance, you are a damn fool who needs to get their priorities in order. In the meantime, however, here are several movies you may have missed. All of them are ready and waiting on Netflix, just in time for the holiday season.
Stakeland
Taking a premise that could have gone the way of Blade or John Carpenter’s Vampires, Stakeland delivers something that is closer to Cormac McCarthy’s The Road…with vampires. Set in a world where vampires have pushed humanity to the brink of extinction Stakeland offers us a quiet, contemplative, almost episodic journey in to a post-apocalyptic wasteland. While the languid pacing of the movie works within the narrative, it does border on tedium at times and could benefit from some tighter editing. This isn’t helped by the use of some well-worn post-apocalyptic genre tropes. But that is by and large the biggest complaint that can be lobbed at the movie. It doesn’t bowl you over with spoon fed expositional dialogue, instead opting for subtle world building - such as the use of poached vampire teeth as a form of rare currency. Nor is it wrought with overly campy effects or characters.
The writing/directing/ and acting team of Nick Demici and Jim Mickle work very efficiently with their limited resources to provide an interesting and creative story. And if you are not familiar with the works of these guys, get familiar. They are putting out some of the best indie horror stuff out there at the moment. IF you don’t believe me, check out Stakeland and tell me I’m wrong.
Late Phases
Late Phases could almost be a double bill with Stakeland, not only for the shared leading roles of Nick Demici but for effective use of moderate budgets. Whereas Stakeland is a sprawling road movie, Late Phases is very self-contained intiamte character piece. The movie gets high marks for taking a premise that should be utterly, ridiculously, stupid and yet churns out a great take on the werewolf mythology.
Nick Demici (here channeling classic tough guys like Charles Bronson and Clint Eastwood with surprising deft) plays the gruff Ambrose McKinley; a blind war veteran who does not suffer fools lightly. After a life of strained familial relationships Ambrose’s son (played by the often welcome Ethan Embry) somewhat unceremoniously places his father in a retirement community. On his first night there Ambrose’s neighbor is ripped apart by a werewolf. Instead of idly waiting around for the creature to make a meal of him during the next full moon, Ambrose spends the next month preparing. What follows is equal part character study of a man coming to terms with the choices he’s made and a solid werewolf mystery.
It would be silly to expect that a movie about a blind man fighting werewolves to not stretch our suspension of disbelief to the breaking point, but Late Phases isn’t egregious about it. This is largely due to the superb performance by Demici and great supporting characters who never outstay their welcome, and always add to the overall story. There are no real surprise in the movie beyond the quality of the film itself. The revelation of the werewolf and the culminating events are pretty predictable. And with a concept that is laughably bad, the movie should not have worked at all. But it does, exceedingly so, and it is well worth your time.
Mr. Jones
Admittedly I have soft spot for PG-13 horror movies. A movie that attempts to tell something horrific without relying on gore and other similar, easier, routes is admirable. The other side of that though is that a PG-13 horror movie must up its game in almost every other respect in order to achieve its goal. And there are some that really and truly succeed, Skeleton Key, Insidious, Drag Me to Hell, The Others, and The Ring - just to name a few. Mr. Jones almost falls into that category.
Let me be clear, this movie has a lot of short comings. A lot. Plot lines that go nowhere, shoehorned narrative events to drive the story, weak dialogue, bad acting, and extremely poor use of the found footage style; are chief among its issues but by no means the only ones. Given its plethora of rather serious faults it is surprising then that this movie would be recommended at all. Right? Well, Mr. Jones has one thing going for it which ends up counting for a lot. It has an especially original plot, one I won’t spoil for you here. And at a rather breezy 84 minutes it manages to pack it all in with some wonderful visuals and concepts. Calling it a good movie, would be a stretch, but it is an imaginative one. And so if you are a little tired of zombies, vampires, and demonic possession, give Mr. Jones a try.
Creep
Easily my favorite recommendation on this list, Creep lives up to its title in spades. Written, Directed, and starring Patrick Brice, Creep is a ‘can’t miss’ for fans of the found footage style and is a solid enough entry to stand against even the staunchest of the sub-genre’s detractors. Creator Patrick Brice plays Aaron, a man who accepts a one day job as a videographer for Josef, a terminally ill man who wishes to leave a video diary to his unborn son. Played by the always affable Mark Duplass (The League, Safety Not Guaranteed) Josef initially comes across as a genial but socially awkward man, whose genuinely cringe inducing goofball antics start to have more and more unsettling undertones. The script is clever and engrossing, but is pushed to the next level by its relatively plausible plot and fairly realistic depiction of mental illness. Behind the camera, Brice uses his understanding of the found footage subgenre to play with the audiences expectations to great effect. The subtly in tonal shift in this movie is, in itself, fantastic. The less said about this film, the better. It is something best seen for yourself.
The Shrine
I watched this one on the recommendation of a friend whose taste I normally trust and hold in high regard. And admittedly, about a third of the way in, I switched it off to watch something else. The dialogue was poor and the acting wasn’t much better, and while the mystery at the heart of it was interesting – it just wasn’t enough. I spent a month or so wondering if my friend had lost his touch, or if he was just off his game this one time? Finally, I decided to put a little faith in my friend and finish watching. I was glad that I did. Around the midway point the movie finds its footing; providing a tale that is fairly original, solid production values, and a satisfying conclusion.
The story revolves around Carmen, a self-absorbed journalist who amidst arguing with her photographer boyfriend Marcus, is slipping into professional limbo of mediocrity. Desperate for one more chance at the limelight Carmen eschews her editor’s assignment of bees disappearing at a local farm for a juicer story of tourists disappearing in rural Poland. She convinces her boyfriend to come along on the assignment as well as her naïve intern Sara. The set up and the mystery are indeed engaging, but the characters, Carmen in particular, are irritating and the unfolding narrative is so clichéd it is at times grating. However, once the mystery is fully exposed and we learn the fate of the tourists, the movie moves on with a brisk pace that provides a few scares and some genuine creativity. For a story that would have arguably done better in a shorter anthology series rather than a feature length film, The Shrine has a fair amount to offer to less discerning horror fans.
The Taking of Deborah Logan
The Taking of Deborah Logan is rather standard fare; a found footage movie about a group documentary filmmakers following an elderly lady in the later stages of Alzheimer’s and her daughter/care taker who is struggling to cope with the emotional, physical, and financial stress of it all. Soon, it becomes evident that something more supernatural than dementia might be the cause of the titular characters increasingly erratic, and at times dangerous, behavior.
It is this Alzheimer’s twist on the well-worn sub genres of found footage and demonic possession that helps earn its place on the list but it is the acting that secures it. Soap star Jill Larson turns out a considerably nuanced and convincing performance as the aging mother. And equally noteworthy is Anne Ramesy as the alcoholic and perpetually troubled daughter.
However, the movies inability to sustain any sort of worth wile story telling in the third act keeps it from being actually memorable. To be honest, it’s all a bit of a mess in the end. But, it is still better than most of the other horror movies steaming on the net right now.
The Sacrament
This movie is pure tension…if you’re unfamiliar with the tragedy of Jonestown that is. Filmmaker Ti West delivers a fictional account of the infamous events that occurred at the behest of cult leader Jim Jones back in 1978. While it stays true to the narrative beats of the real events, West’s decision to completely fictionalize the story allows the movie to really breathe. The result is that The Sacrament is able to accurately retell the atmosphere of fear and violence that Jones inflicted upon his followers without worrying about strict adherence to facts. This approach creates something that feels more respectful and honest than your standard biopic and yet still provides a cracking good thriller.
West, who made his name with slow burn horror films like House of the Devil which harken back to the styles of the 70’s and 80’s in both narrative and aesthetics, made an interesting choice to go with the found footage style here. But it pays off. When done right found footage provides a level of intimacy with the protagonist that is otherwise absent from most horror films. We are forced to take the journey with them and are provided with no refuge from the terror they face. It is subtly and nuances in these films that creates the feeling of authenticity not just a first person perspective and shaky camera work. And that is just what we get in The Sacrament.
Reporters/photographers Patrick, Sam, and Jake are invited by Patrick’s sister to visit the community of Eden Parish. Greeted by armed guards the group quickly realize that all is not as promised in the community. The mounting unease becomes palpable through the interviews with the denizens of this self-proclaimed paradise. And the fear and urgency the protagonists undergo is both legitimate and shared by the audience. Their desperation to expose the cult for what it is allows for believable use of first person perspective. The performances feel genuine and are utter captivating. The only real flaw in the film is that knowing the story of the Jonestown Massacre removes nearly every surprise the movie has to offer. If you are unfamiliar, this movie serves as a great jumping off point to one of America’s biggest tragedies as well as a genuinely scary movie.
Pontypool
I am a sucker for a bottle episode in fiction. I love them; truly and dearly. For those of you who are unaware, a bottle episode is a story that is typically used in episodic television series. Where instead of having our intrepid heroes going to different locations and set pieces, they are trapped in single setting for the duration of the episode (outside of the establishing few minutes and maybe the last scene or two)
The single setting story is extremely common place on stage and thus has made its way into cinema since the mediums inception. Movies like Reservoir Dogs, 12 Angry Men or Man of Earth are among my favorite examples. These single setting stories are typically indicative of a character driven narratives where clever dialogue is the law of the land. And Pontypool is a movie that, while not as good as those I mentioned, fits comfortably in that description. It is the story of a zombie-like outbreak told strictly from inside the confines of a radio station.
Character actor Stephen McHattie (Watchmen, A History of Violence) plays an aging radio shock jock, Grant Mazzy, whose antics, and less than professional behavior has him starting over in small job in Nowheresville, Ontario aka Pontypool. In the midst of a snowstorm, Mazzy and a sparse group of coworkers struggle to keep off each other’s nerves. But big ego’s and hurt feelings become the least of their worries when frantic calls and reports of city wide violence begin to flood into the station. Virtually nothing of the outbreak is seen in Pontypool and the terror is derived from the well-established and intertwining character archs and ever developing calls to the radio station. This puts a great deal of onus on the actors to sell the reality of the situation, and they all, more or less rise, to the occasion.
A less than stellar third act and some cheesy dialogue stops this movie from being great, but that doesn’t mean you should pass it up. By all accounts Pontypool is a lot of fun and a very clever entry into the over saturated zombie market.
Mercy
As I frist started to watch Mercy I became concerned that the true horror of what I was about to watch lay only in its’ opening credits. It turned out that this was an adaptation of Stephen King’s short story “Gramma”. Now, I am one of King’s “constant readers”, and am happy to watch or read anything associated with his work, but why wasn’t his name on the title? Or mentioned in the description? Sai King’s name is a definite draw, almost every adaptation or merchandising has his name plastered on the title – Stephen King’s It, Stephen King’s The Stand, Stephen King’s commode scrubber – the man is basically a walking, talking product - with good reason – he is a brilliant writer. So why wasn’t this called Stephen King’s Mercy? Is this going to be a situation like The Lawnmower Man where the film bears little to no relation to King’s work? Did he refuse to let them use his name on the title? You know things are bad if Stephen King won’t even give you a pity endorsement. I once saw him give a blurb on that back of a furniture store flyer. “Informative. Riveting. I couldn’t put it down. – Stephen King” He’s actually that nice. So not hearing much about this was concerning.
Then seeing McG’s name up on the screen as a producer made my heart sink a little lower. I mean he seems really nice, but his best work is Terminator Salvation. And that’s hardly a commendation.
Thankfully, as the move started to roll on some of my fears were put aside (though its merits as an adaptation are likely questionable [I have only the vuagest of memories of story istelf other than being a little disturbed by it]). To its utmost credit the film boasts a fairly solid cast. Walking Dead’s ‘Coarl’ (Chandler Riggs) stars as our story’s protagonist George and Shirely Knight as the titular Mercy, his beloved Grandma. However, when Mercy rapidly slips into dementia, George’s family takes her in and they are forced to cope with her petty and occasionally violent outbursts. George begins to learn that his sweet grandmother is not what she seemed and that these outbursts stared long before the disease and may have supernatural overtones. Through it all, George begins to question who is grandmother really is, though he never really questions his love for her. Which is the actual heart of the tale. But that heart gets lost a bit along the way.
Coming from a short story it’s obvious there is going to be some padding to make a feature length film. And most of these additions come in the form of a great cast of townsfolk and relatives, all played by relatively well-known names and faces. This is also the films largest downfall. The movie introduces a lot of sub plots and backstories as George learns more about his grandmother from those who knew her best, but they are clunky and often poorly developed. Similarly, the hallmarks of King’s writing are present, as are the Lovecraftian elements he used in the source material. But they are all misplaced or poorly developed making them ultimately ineffective. And yet, inexplicably, all these elements become central to the events in the final act. It isn’t that the last act is bad, it’s actually quite well done with some great sequences of magic and mayhem. However, the sudden importance of the sub plots are extremely jarring and thus feel rushed.
High production values and solid acting are what really save this movie and on those values alone it can be worth a watch if you’re not expecting a lot. And it’s not that Mercy is a bad film, though it’s not without its problems. It just that with a little more work Mercy could have been a really great horror flick, making for a frustrating movie going experience. So if you are in the mood for rural witchcraft, old gods, and well framed cinematic gore, Mercy may be right up your alley.
The Canal
There are two things I typically don’t like in horror movies...1. Families with small children. Being a father I am already terrified enough of something happening to my children, I don’t really need to be reminded of that fear. 2. Unreliable narrators. In other genres the unreliable narrator is actually one of my favorite techniques. However, in horror movies it either results in the “it’s all a dream” scenario – where there is no actual arch or point to the narrative and I am left with a hollow tale. Or, the depiction of mental illness is so grossly inaccurate and over the top that the result is, as the Bard said “… a tale. Told by an idiot, full of sound and fury, signifying nothing.” The Canal features both aspects quite prominently, but to great effect.
Rupert Evans (Hellboy, The Man in the High Castle) plays David, a film archivist whose domestic life is starting to fall apart. And after learning about a series of grisly murders that have taken place in his home, his sanity begins to crumble as well. David’s life soon spirals out of control as he is convinced that a demonic force is hunting him and his family.
The film constantly volleys back and forth between the cause of David’s woes being mental demons and literal one. Every time David, and consequently the audience, is convinced it’s one writer and director Ivan Kavanagh gives us a reason to consider the other. The mood is somber, the events depressing, and the creatures that haunt David and his family are both wonderfully imagined and unnervingly grotesque. The Canal is by no means thrilling and offers up few scares. Its horror is derived from a bleak, unrelenting, sense of torture and madness that is captured on film beautify. While, by no means a classic, The Canal is a worthy effort in the genre and surly not for the faint of heart.
From the Dark
From the Dark is sure to please both the casual and more discerning horror fans. Set in the Irish country side From the Dark takes old horror tropes and gives them a light polishing; giving the audience something that feels both familiar and exciting. On their way to a country get away for the weekend, young lovers Mark and Sarah take a wrong turn and end up stuck on muddy country road. With no phone service and miles from anywhere Mark sets off to find a house. What Mark finds is an old sod famer who has unwittingly let loose a creature of relentless menace. Both Mark and Sarah are soon forced to fight for their lives
The chemistry between Stephen Cromwell (Mark) and Niam Algar (Sarah) rings true as the couple tease and bicker with one another before the whole situation goes south. There is just enough character development to engage us in the characters without causing the pacing to suffer. Which is one of the strong points of the film. At a nice 90 minutes the movie never falters from its momentum. Dialogue in general is kept to a minimum and with a premise and a monster that are relatively simple, it only serves the tale. The viewer is instead allowed to engage the film from a more visceral perspective and thus relating to the characters situation more.
Director Conor McMahon wisely leaves the creature by and large unseen. Instead we only catch blurry or shadowed figures in the background and the occasional fleeting glance. Gore is satisfyingly present here but not the focus. While we are occasional bombarded with moments of sheer brutality, but it is the ever present monster in the shadows and a pervasive sense of urgency that drives this thrilling creature feature. And though From the Dark offers little in terms of actual surprise and provides only minor twists on well-trodden territory, it is a lot of fun.