Hindered by a very limited cinematic release, The Borderlands has since enjoyed a quiet cult following, with director Elliot Goldner using the limited tricks at its disposal to bring English folk horror to new contemporary heights. When a young couple find themselves feeling unsettled by their new house, they decide to install a series of cameras. Cue a Blair Witch-esque movie, as each CCTV device captures every single noise and occurrence in the house… and quickly confirms that there’s far more malevolent forces at play than mice. So, naturally, all we want to do at the moment is curl up on the sofa in front of a terrifying horror film. Why should Michael Myers, Ghostface, Leatherface, and Candyman have all the fun of being back for the 20s?
However, it is written by Joko Anwar, who wrote and directed Impetigore, so it makes sense. After a night out, a group of friends are returning home to Jakarta when they nearly run over a woman in the road. The group agree to take her home… to her house… in the middle of nowhere. When a group of friends visit their late grandfather’s farmhouse, they find that next door is a family of killers. One of the family members includes ‘Leatherface’ who has an interest in using a power saw to kill his victims. If you go down to the woods today… be sure to take a whistle and a torch, okay?
The most infamous film of the new wave French extremity movement, Martyrs brings untold nastiness to the mainstream fold, encased within a story that is inarguably original and strangely insightful. Based on the novel of the same name by author Koji Suzuki, 2002s Dark Water follows a mother and her young daughter who move into an eerie apartment that appears to be falling apart due to water damage. Creepy and atmospheric, Dark Water is spiked with a terrifying narrative backbone that gives the film meaning beyond its surface scares and leaves several particularly memorable images burnt into the retinas. A director almost solely responsible for the sharp rise in J-horror popularity throughout the late 20th century, along with Hideo Nakata’s ‘90s classic Ringu, Dark Water would bring a bleak tale of Japanese terror to Western audiences. More recently, independent distribution company A24 has brought eerie low-budget psychological horror into the mainstream, elevated to be more than just cheap gore.
“In the same way that Host is really about planting a flag and saying, ‘This is what it’s like being in lockdown during 2020,’ Dashcam is doing the same but in a different way. It’s trying to be like, ‘This is how people were feeling and interacting with each other at this time.’” The film screened to great critical fanfare earlier in 2021 so 2022 is looking likely for a general release. And while Halloween may be over, the dark nights mean there’s no better time to re-watch some of the films which scared the living daylights out of us. This Indonesian https://www.wikipedia.org/ is meant for a youngish audience, so it’s a bit more lighthearted than some of the others on this list.
Starting in May, Horror Channel journeys into the history of genre cinema with The Vintage Vault, which will present double-bills of classic sci-fi and horror films every Sunday night. This June, Horror Channel once again journeys into the history of genre cinema with The Vintage Vault, presenting double-bills of classic sci-fi and horror films every Sunday night. Intrigued by this, we’ve applied Bound’s theory to our hunt for the most terrifying https://www.factory-publishing.com/s around. We’ve also included the UK’s favourite horror movies, as found by OLBG research who have been tracking Google searches on the genre, and have dug deep into our own personal experiences with the scariest film genre around.
Horror, as a genre, had to wade through quagmires of found-footage junk in the early 2000s and supernatural Insidious lookalikes of post-2010, it has continued to innovate and inspire behind the scenes. Horror films of late seem to be an amalgamation of different tones and style, with each new great shining new light on horror’s darkest corners. Is less innovative than it is appropriative, thriving off the cinematic excess of directors such as Dario Argento, Mario Bava and Emilio Miraglia.