O:9:"MagpieRSS":23:{s:6:"parser";i:0;s:12:"current_item";a:0:{}s:5:"items";a:10:{i:0;a:11:{s:5:"title";s:69:"The Stand: Henry Zaga Talks Playing Nick Andros in Stephen King Adapt";s:4:"link";s:113:"https://movielatest.movs.world/movie-actors/the-stand-henry-zaga-talks-playing-nick-andros-in-stephen-king-adapt/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harold Kent";}s:7:"pubdate";s:31:"Thu, 03 Feb 2022 12:01:44 +0000";s:8:"category";s:64:"Movie ActorsadaptAndrosHenryKingNickPlayingstandStephenTalksZaga";s:4:"guid";s:39:"https://movielatest.movs.world/?p=30619";s:11:"description";s:694:"| With CBS All Access’ upcoming 9-episode adaptation of Stephen King‘s 1978 novel The Stand ready to be unleashed starting Thursday, December 17 (with episodes airing weekly on Thursdays), to say that we were surprised to catch the first official teaser during Sunday night’s MTV VMA Awards would be an understatement. So you can imagine how ... Read more";s:7:"content";a:1:{s:7:"encoded";s:13925:"

|

With CBS All Access’ upcoming 9-episode adaptation of Stephen King‘s 1978 novel The Stand ready to be unleashed starting Thursday, December 17 (with episodes airing weekly on Thursdays), to say that we were surprised to catch the first official teaser during Sunday night’s MTV VMA Awards would be an understatement. So you can imagine how we were feeling when Bleeding Cool Editor-in-Chief Kaitlyn Booth did us a serious solid by asking actor Henry Zaga what his experience was like working on the project and playing Nick Andros during his interview to promote his film New Mutants (Roberto da Costa aka Sunspot). Zaga’s Nick Andros is a young deaf and mute man who finds himself in a position of authority when the unthinkable happens and has a habit of risking his own well-being for the safety of others. As Zaga sees it, Nick’s a character who will have a lasting impact on him well beyond his time on the project.

Photo Cr: CBS All Access/CBS 2020 CBS Interactive, Inc. All Rights Reserved.

“The Stand was an honor, just to put it lightly because I didn’t even know that I had it in me to draw so much from for Nick. Nick’s become such a special character. I’ll have him with me forever. He sees that goodness in every person. The most evil person you meet, he would try and see the good in him or her and try to draw from that. He’s really fearless in that way,” Zaga explained. “He says no to The Devil himself, you know, and becomes the godly woman’s right-hand man. And her voice as a deaf man. I learned so much from playing this character, from ASL, which is one of the most beautiful languages I could ever dream to learn. It’s so expressive and so personal, too.”

Nick’s nomadic aspects were also appealing to Zaga. “To really feeling like, you know, you have to rely on people’s kindness to have a home. Nick is a drifter. He doesn’t have a home. He goes from house to house, from farm to farm, offering labor in exchange for a meal. It was an honor, to say the least. I learned so much. And I got to work with Josh [Boone] again, which is always wonderful.”

Here’s a Look at CBS All Access’ “The Stand”

The limited series’s ensemble cast includes Alexander Skarsgard, Whoopi Goldberg, James Marsden, Amber Heard, Heather Graham, Greg Kinnear, Odessa Young, Henry Zaga, Jovan Adepo, Owen Teague, Brad William Henke, Daniel Sunjata, Nat Wolff, Eion Bailey, Katherine McNamara, Hamish Linklater, and Fiona Dourif. Here’s a look at our cast of characters, as well as the new preview images that were released with the announcement.

Marsden’s Stu Redman is an ordinary working-class factory man in an extraordinary situation with a damaged quality to him that belies his exterior. Heard’s Nadine Cross is a deeply conflicted woman who feels the consequences of her actions but is still compelled by her allegiance to Randall Flagg, the Dark Man. Young’s Frannie Goldsmith is a pregnant young woman navigating a strange new world, who also has the foresight to recognize that there is evil lurking beyond Flagg. Zaga’s Nick Andros is a young deaf and mute man who finds himself in a position of authority when the unthinkable happens. He has a habit of risking his own well-being for the safety of others.

Pictured (l-r): Jovan Adepo as Larry Underwood and Heather Graham as Rita Blakemoor of the the CBS All Access series THE STAND. Photo Cr: Best Possible Screengrab/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.
Pictured (l-r): Jovan Adepo as Larry Underwood and Heather Graham as Rita Blakemoor of the the CBS All Access series THE STAND. Photo Cr: Best Possible Screengrab/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.

Goldberg’s Mother Abagail is a prophet who receives visions from God and guides survivors of the superglue. Adepo’s Larry Underwood is a young musician with a taste for fame, as well as illegal substances. When the plague hits, he is forced to confront his demons as he makes his way to the new world. Teague’s Harold Lauder goes in search of others with fellow survivor Frannie Goldsmith. While his intentions are good, jealousy and his infatuation with Frannie threaten to lead him down a dark path. Henke’s Tom Cullen is Nick Andros’ traveling companion who is developmentally disabled due to a terrible fall as a child. A sweet soul, he will be instrumental in their fight for survival. Sunjata’s Cobb is a member of the military tasked with supervising Stu Redman as the government searches for a cure during the outbreak of the superglue.

Auto Draft
Pictured: Alexander Skarsgård as Randall Flagg of the the CBS All Access series THE STAND. Photo Cr: Robert Falconer/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.

Skarsgard’s Randall Flagg is the living, breathing personification of all things dark and evil. Wolff’s Lloyd Henreid is a petty criminal who becomes fiercely loyal to Flagg. Bailey’s Teddy Weizak is a superflu survivor and member of the body crew, alongside Harold, in Boulder, CO. McNamara’s Julie Lawry is a small-town girl with a wild side who is one of Lloyd’s conquests in Las Vegas. Linklater’s Dr. Ellis is a military colonel and infectious-disease specialist who dreams of being the hero who stops the superglue. Graham’s Rita Blakemoor is a wealthy woman who is ill-prepared for the end of the world and attempts to escape superflu-infested New York City. Kinnear’s Glen Bateman is a widowed professor when the superflu hits – one accustomed to a solitary life. When he encounters other survivors, Glen’s curiosity is piqued by Mother Abagail’s visions. Dourif’s “Rat Woman” is one of Randall Flagg’s evil lackeys.

Auto Draft
Pictured: Whoopi Goldberg as Mother Abagail of the the CBS All Access series THE STAND. Photo Cr: James Minchin/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.

Written by Josh Boone and Ben Cavell, the limited series also includes a King-penned final episode coda that provides a new aspect and perspective to the ending not found in the book. Boone is directing the first and last episodes, and executive producing alongside showrunner Taylor Elmore, Will Weiske, Jimmy Miller, Roy Lee, and Richard P. Rubinstein, with CBS Televisions Studios serving as studio. Jake Braver, Jill Killington, Owen King, Knate Lee, and Stephen Welke also produce.

Enjoyed this? Please share on social media!

We would like to give thanks to the writer of this write-up for this outstanding material

The Stand: Henry Zaga Talks Playing Nick Andros in Stephen King Adapt

";}s:7:"summary";s:694:"| With CBS All Access’ upcoming 9-episode adaptation of Stephen King‘s 1978 novel The Stand ready to be unleashed starting Thursday, December 17 (with episodes airing weekly on Thursdays), to say that we were surprised to catch the first official teaser during Sunday night’s MTV VMA Awards would be an understatement. So you can imagine how ... Read more";s:12:"atom_content";s:13925:"

|

With CBS All Access’ upcoming 9-episode adaptation of Stephen King‘s 1978 novel The Stand ready to be unleashed starting Thursday, December 17 (with episodes airing weekly on Thursdays), to say that we were surprised to catch the first official teaser during Sunday night’s MTV VMA Awards would be an understatement. So you can imagine how we were feeling when Bleeding Cool Editor-in-Chief Kaitlyn Booth did us a serious solid by asking actor Henry Zaga what his experience was like working on the project and playing Nick Andros during his interview to promote his film New Mutants (Roberto da Costa aka Sunspot). Zaga’s Nick Andros is a young deaf and mute man who finds himself in a position of authority when the unthinkable happens and has a habit of risking his own well-being for the safety of others. As Zaga sees it, Nick’s a character who will have a lasting impact on him well beyond his time on the project.

Photo Cr: CBS All Access/CBS 2020 CBS Interactive, Inc. All Rights Reserved.

“The Stand was an honor, just to put it lightly because I didn’t even know that I had it in me to draw so much from for Nick. Nick’s become such a special character. I’ll have him with me forever. He sees that goodness in every person. The most evil person you meet, he would try and see the good in him or her and try to draw from that. He’s really fearless in that way,” Zaga explained. “He says no to The Devil himself, you know, and becomes the godly woman’s right-hand man. And her voice as a deaf man. I learned so much from playing this character, from ASL, which is one of the most beautiful languages I could ever dream to learn. It’s so expressive and so personal, too.”

Nick’s nomadic aspects were also appealing to Zaga. “To really feeling like, you know, you have to rely on people’s kindness to have a home. Nick is a drifter. He doesn’t have a home. He goes from house to house, from farm to farm, offering labor in exchange for a meal. It was an honor, to say the least. I learned so much. And I got to work with Josh [Boone] again, which is always wonderful.”

Here’s a Look at CBS All Access’ “The Stand”

The limited series’s ensemble cast includes Alexander Skarsgard, Whoopi Goldberg, James Marsden, Amber Heard, Heather Graham, Greg Kinnear, Odessa Young, Henry Zaga, Jovan Adepo, Owen Teague, Brad William Henke, Daniel Sunjata, Nat Wolff, Eion Bailey, Katherine McNamara, Hamish Linklater, and Fiona Dourif. Here’s a look at our cast of characters, as well as the new preview images that were released with the announcement.

Marsden’s Stu Redman is an ordinary working-class factory man in an extraordinary situation with a damaged quality to him that belies his exterior. Heard’s Nadine Cross is a deeply conflicted woman who feels the consequences of her actions but is still compelled by her allegiance to Randall Flagg, the Dark Man. Young’s Frannie Goldsmith is a pregnant young woman navigating a strange new world, who also has the foresight to recognize that there is evil lurking beyond Flagg. Zaga’s Nick Andros is a young deaf and mute man who finds himself in a position of authority when the unthinkable happens. He has a habit of risking his own well-being for the safety of others.

Pictured (l-r): Jovan Adepo as Larry Underwood and Heather Graham as Rita Blakemoor of the the CBS All Access series THE STAND. Photo Cr: Best Possible Screengrab/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.
Pictured (l-r): Jovan Adepo as Larry Underwood and Heather Graham as Rita Blakemoor of the the CBS All Access series THE STAND. Photo Cr: Best Possible Screengrab/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.

Goldberg’s Mother Abagail is a prophet who receives visions from God and guides survivors of the superglue. Adepo’s Larry Underwood is a young musician with a taste for fame, as well as illegal substances. When the plague hits, he is forced to confront his demons as he makes his way to the new world. Teague’s Harold Lauder goes in search of others with fellow survivor Frannie Goldsmith. While his intentions are good, jealousy and his infatuation with Frannie threaten to lead him down a dark path. Henke’s Tom Cullen is Nick Andros’ traveling companion who is developmentally disabled due to a terrible fall as a child. A sweet soul, he will be instrumental in their fight for survival. Sunjata’s Cobb is a member of the military tasked with supervising Stu Redman as the government searches for a cure during the outbreak of the superglue.

Auto Draft
Pictured: Alexander Skarsgård as Randall Flagg of the the CBS All Access series THE STAND. Photo Cr: Robert Falconer/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.

Skarsgard’s Randall Flagg is the living, breathing personification of all things dark and evil. Wolff’s Lloyd Henreid is a petty criminal who becomes fiercely loyal to Flagg. Bailey’s Teddy Weizak is a superflu survivor and member of the body crew, alongside Harold, in Boulder, CO. McNamara’s Julie Lawry is a small-town girl with a wild side who is one of Lloyd’s conquests in Las Vegas. Linklater’s Dr. Ellis is a military colonel and infectious-disease specialist who dreams of being the hero who stops the superglue. Graham’s Rita Blakemoor is a wealthy woman who is ill-prepared for the end of the world and attempts to escape superflu-infested New York City. Kinnear’s Glen Bateman is a widowed professor when the superflu hits – one accustomed to a solitary life. When he encounters other survivors, Glen’s curiosity is piqued by Mother Abagail’s visions. Dourif’s “Rat Woman” is one of Randall Flagg’s evil lackeys.

Auto Draft
Pictured: Whoopi Goldberg as Mother Abagail of the the CBS All Access series THE STAND. Photo Cr: James Minchin/CBS ©2020 CBS Interactive, Inc. All Rights Reserved.

Written by Josh Boone and Ben Cavell, the limited series also includes a King-penned final episode coda that provides a new aspect and perspective to the ending not found in the book. Boone is directing the first and last episodes, and executive producing alongside showrunner Taylor Elmore, Will Weiske, Jimmy Miller, Roy Lee, and Richard P. Rubinstein, with CBS Televisions Studios serving as studio. Jake Braver, Jill Killington, Owen King, Knate Lee, and Stephen Welke also produce.

Enjoyed this? Please share on social media!

We would like to give thanks to the writer of this write-up for this outstanding material

The Stand: Henry Zaga Talks Playing Nick Andros in Stephen King Adapt

";s:14:"date_timestamp";i:1643889704;}i:1;a:11:{s:5:"title";s:86:"Halle Berry in “Little Black Dress” Stuns at “Moonfall” Premiere — Celebwell";s:4:"link";s:115:"https://movielatest.movs.world/movie-actors/halle-berry-in-little-black-dress-stuns-at-moonfall-premiere-celebwell/";s:2:"dc";a:1:{s:7:"creator";s:9:"Blue Holt";}s:7:"pubdate";s:31:"Thu, 03 Feb 2022 12:00:00 +0000";s:8:"category";s:62:"Movie ActorsBerryBlackCelebwelldressHalleMoonfallpremierestuns";s:4:"guid";s:39:"https://movielatest.movs.world/?p=30613";s:11:"description";s:701:"Actress Halle Berry has been considered one of the most stunning women in Hollywood since the beginning of her career. And she’d probably remain that way even after the moon came crashing to Earth. That’s the premise of her new movie—Moonfall—and this week, she hit the premiere in a little black dress, showing off legs ... Read more";s:7:"content";a:1:{s:7:"encoded";s:11763:"

Actress Halle Berry has been considered one of the most stunning women in Hollywood since the beginning of her career. And she’d probably remain that way even after the moon came crashing to Earth. That’s the premise of her new movie—Moonfall—and this week, she hit the premiere in a little black dress, showing off legs for days. How does she stay so fit? Read on to see 5 ways Halle Berry stays in shape and the photos that prove they work—and to get beach-ready yourself, don’t miss these essential 30 Best-Ever Celebrity Bathing Suit Photos!

Amy Sussman/Getty Images

While Berry might look ageless, she says to WhoWhatWear.com that her age does not matter or define her. She also encourages other women to adapt this approach, especially because men don’t let their ages define them. “Age is just a number, and I have never felt defined by it,” Berry says. “It is a bit frustrating that people want to place so much emphasis on the age of women. Somehow, it feels a bit degrading, like it puts us at a disadvantage. Men get older, and they get sexier, but women just get old. I think that the older we get, the better we become. We just have to convince ourselves of that fact because I absolutely believe it to be true!”

Jon Kopaloff/Getty Images for Lionsgate

“Being diagnosed with diabetes when I was 19—that was an aha moment that just changed my whole life,” said Berry to BAZAAR.com. “When I realized that I had a disease that I could actually manage by my diet and exercise, and live longer and stay healthier? That’s when I got really committed to making fitness and exercise and diet a real part of my life.”

Jon Kopaloff/Getty Images for Lionsgate

For her Netflix movie Bruised, which she also directed, Berry told POPSUGAR that she did six different styles of martial arts, as well; as her usual yoga and Pilates “. . all of these disciplines I had to learn elements of in order to present myself, and to have one believe that I really was this world class fighter that had been doing it probably for most of my life. So I pushed myself harder than I think I’ve ever pushed myself. I know I trained more hours, probably six days a week, about four, five hours a day, for at least a good year in my life.”

Kevin Winter/Getty Images

Berry founded the wellness site Rē•spin. “During this pandemic over at Rē•spin and also with my trainer, Peter Lee Thomas, with our Fitness Fridays [on Instagram], we’ve been really trying to inspire people to work out at home,” Berry told BAZAAR.com. “We’ve been telling them that you don’t have to have a big membership to stay healthy, and stay well, and stay fit and strong.”

Frazer Harrison/WireImage

“I don’t know if we’ve always been provided ways that we can stay fit and be well within a means that’s affordable. I think for so long people thought, ‘You have to have a trainer. You have to have a gym membership. You have to have all this equipment. You have to eat certain meals. That costs a certain amount,'” said Berry to Harper’s. “I think we’ve talked ourselves out of being fit, sometimes, because we think it’s something that’s unobtainable or not affordable. I do like FitOn for that reason, because we are learning that it is affordable, it is manageable, and anybody can do it. You just have to have the will and the desire. And you have to make up your mind that it’s important. That’s the hard work that people have to do.”

We wish to say thanks to the writer of this article for this amazing material

Halle Berry in “Little Black Dress” Stuns at “Moonfall” Premiere — Celebwell

";}s:7:"summary";s:701:"Actress Halle Berry has been considered one of the most stunning women in Hollywood since the beginning of her career. And she’d probably remain that way even after the moon came crashing to Earth. That’s the premise of her new movie—Moonfall—and this week, she hit the premiere in a little black dress, showing off legs ... Read more";s:12:"atom_content";s:11763:"

Actress Halle Berry has been considered one of the most stunning women in Hollywood since the beginning of her career. And she’d probably remain that way even after the moon came crashing to Earth. That’s the premise of her new movie—Moonfall—and this week, she hit the premiere in a little black dress, showing off legs for days. How does she stay so fit? Read on to see 5 ways Halle Berry stays in shape and the photos that prove they work—and to get beach-ready yourself, don’t miss these essential 30 Best-Ever Celebrity Bathing Suit Photos!

Amy Sussman/Getty Images

While Berry might look ageless, she says to WhoWhatWear.com that her age does not matter or define her. She also encourages other women to adapt this approach, especially because men don’t let their ages define them. “Age is just a number, and I have never felt defined by it,” Berry says. “It is a bit frustrating that people want to place so much emphasis on the age of women. Somehow, it feels a bit degrading, like it puts us at a disadvantage. Men get older, and they get sexier, but women just get old. I think that the older we get, the better we become. We just have to convince ourselves of that fact because I absolutely believe it to be true!”

Jon Kopaloff/Getty Images for Lionsgate

“Being diagnosed with diabetes when I was 19—that was an aha moment that just changed my whole life,” said Berry to BAZAAR.com. “When I realized that I had a disease that I could actually manage by my diet and exercise, and live longer and stay healthier? That’s when I got really committed to making fitness and exercise and diet a real part of my life.”

Jon Kopaloff/Getty Images for Lionsgate

For her Netflix movie Bruised, which she also directed, Berry told POPSUGAR that she did six different styles of martial arts, as well; as her usual yoga and Pilates “. . all of these disciplines I had to learn elements of in order to present myself, and to have one believe that I really was this world class fighter that had been doing it probably for most of my life. So I pushed myself harder than I think I’ve ever pushed myself. I know I trained more hours, probably six days a week, about four, five hours a day, for at least a good year in my life.”

Kevin Winter/Getty Images

Berry founded the wellness site Rē•spin. “During this pandemic over at Rē•spin and also with my trainer, Peter Lee Thomas, with our Fitness Fridays [on Instagram], we’ve been really trying to inspire people to work out at home,” Berry told BAZAAR.com. “We’ve been telling them that you don’t have to have a big membership to stay healthy, and stay well, and stay fit and strong.”

Frazer Harrison/WireImage

“I don’t know if we’ve always been provided ways that we can stay fit and be well within a means that’s affordable. I think for so long people thought, ‘You have to have a trainer. You have to have a gym membership. You have to have all this equipment. You have to eat certain meals. That costs a certain amount,'” said Berry to Harper’s. “I think we’ve talked ourselves out of being fit, sometimes, because we think it’s something that’s unobtainable or not affordable. I do like FitOn for that reason, because we are learning that it is affordable, it is manageable, and anybody can do it. You just have to have the will and the desire. And you have to make up your mind that it’s important. That’s the hard work that people have to do.”

We wish to say thanks to the writer of this article for this amazing material

Halle Berry in “Little Black Dress” Stuns at “Moonfall” Premiere — Celebwell

";s:14:"date_timestamp";i:1643889600;}i:2;a:11:{s:5:"title";s:75:"Mandy Moore wants Olivia Rodrigo to star in ‘A Walk to Remember’ reboot";s:4:"link";s:114:"https://movielatest.movs.world/movie-actors/mandy-moore-wants-olivia-rodrigo-to-star-in-a-walk-to-remember-reboot/";s:2:"dc";a:1:{s:7:"creator";s:8:"Tim Hall";}s:7:"pubdate";s:31:"Thu, 03 Feb 2022 11:39:13 +0000";s:8:"category";s:57:"Movie ActorsMandyMooreOliviaRebootrememberRodrigoStarwalk";s:4:"guid";s:39:"https://movielatest.movs.world/?p=30607";s:11:"description";s:665:"The iconic romantic drama A Walk to Remember is celebrating its 20th anniversary this year, and Mandy Moore thinks it’s time for the 2002 film to have its reboot—and she already has someone in mind to play the lead role: Olivia Rodrigo. In an exclusive interview with PEOPLE, Moore, who played Jamie Sullivan, said that ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4712:"

The iconic romantic drama A Walk to Remember is celebrating its 20th anniversary this year, and Mandy Moore thinks it’s time for the 2002 film to have its reboot—and she already has someone in mind to play the lead role: Olivia Rodrigo.

In an exclusive interview with PEOPLE, Moore, who played Jamie Sullivan, said that she’d love to see a remake of the film. “I would love to see it. It’s been long enough that, yeah, I feel like we’ve earned our place in cinematic history for a reboot at this point.”

Moore also shared that she would love to see Olivia Rodrigo play her own role as Jamie Sullivan, saying, “I don’t know, Olivia Rodrigo or something like that. Someone could redo the film.”

A Walk to Remember had previously marked its 20th anniversary where Moore and her fellow co-star Shane West (who played Landon Carter) posted a throwback photo from the film.

Moore wrote in her Instagram post, “20 years ago, “A Walk to Remember” premiered in theaters. It unequivocally changed the course of my life and career and these 2 gentlemen were such a large part of it all.

She added, “Thanks to all those who have found and loved this movie and continue to pass it on. It (and @adamshankman & @theshanewest) will forever hold a very special place in my heart.”

Moore also admitted in a TikTok video that she hadn’t seen the movie in over a decade and planned to celebrate the film’s anniversary by watching it. She said, “I haven’t seen the movie in over a decade. I can’t think of a better way to celebrate than to watch the movie with all of you.”

@themandymoore What better day to watch #awalktoremember ♬ original sound – Mandy Moore

Meanwhile, West took to his Instagram account his appreciation to both Moore and the film’s director Adam Shankman. He said, “20 years… my god. What can I say that hasn’t already been said? These two mean the world to me. The unconditional love from the fans. It’s rare we get an experience like this/something to hold onto. I’ll cherish this for the rest of my life.”

A Walk to Remember follows the story of North Carolina teens Jamie Sullivan and Landon Carter, who unexpectedly develop a powerful and inspirational relationship. The film is based on Nicholas Sparks’ 1999 novel of the same name.

 

Other POP! stories you might like:

Olivia Rodrigo might have to rethink ‘Drivers License’ after getting a ticket

Mandy Moore transports us back to 2002 as she performs ‘Only Hope’ on Instagram Live

We wish to say thanks to the author of this article for this incredible content

Mandy Moore wants Olivia Rodrigo to star in ‘A Walk to Remember’ reboot

";}s:7:"summary";s:665:"The iconic romantic drama A Walk to Remember is celebrating its 20th anniversary this year, and Mandy Moore thinks it’s time for the 2002 film to have its reboot—and she already has someone in mind to play the lead role: Olivia Rodrigo. In an exclusive interview with PEOPLE, Moore, who played Jamie Sullivan, said that ... Read more";s:12:"atom_content";s:4712:"

The iconic romantic drama A Walk to Remember is celebrating its 20th anniversary this year, and Mandy Moore thinks it’s time for the 2002 film to have its reboot—and she already has someone in mind to play the lead role: Olivia Rodrigo.

In an exclusive interview with PEOPLE, Moore, who played Jamie Sullivan, said that she’d love to see a remake of the film. “I would love to see it. It’s been long enough that, yeah, I feel like we’ve earned our place in cinematic history for a reboot at this point.”

Moore also shared that she would love to see Olivia Rodrigo play her own role as Jamie Sullivan, saying, “I don’t know, Olivia Rodrigo or something like that. Someone could redo the film.”

A Walk to Remember had previously marked its 20th anniversary where Moore and her fellow co-star Shane West (who played Landon Carter) posted a throwback photo from the film.

Moore wrote in her Instagram post, “20 years ago, “A Walk to Remember” premiered in theaters. It unequivocally changed the course of my life and career and these 2 gentlemen were such a large part of it all.

She added, “Thanks to all those who have found and loved this movie and continue to pass it on. It (and @adamshankman & @theshanewest) will forever hold a very special place in my heart.”

Moore also admitted in a TikTok video that she hadn’t seen the movie in over a decade and planned to celebrate the film’s anniversary by watching it. She said, “I haven’t seen the movie in over a decade. I can’t think of a better way to celebrate than to watch the movie with all of you.”

@themandymoore What better day to watch #awalktoremember ♬ original sound – Mandy Moore

Meanwhile, West took to his Instagram account his appreciation to both Moore and the film’s director Adam Shankman. He said, “20 years… my god. What can I say that hasn’t already been said? These two mean the world to me. The unconditional love from the fans. It’s rare we get an experience like this/something to hold onto. I’ll cherish this for the rest of my life.”

A Walk to Remember follows the story of North Carolina teens Jamie Sullivan and Landon Carter, who unexpectedly develop a powerful and inspirational relationship. The film is based on Nicholas Sparks’ 1999 novel of the same name.

 

Other POP! stories you might like:

Olivia Rodrigo might have to rethink ‘Drivers License’ after getting a ticket

Mandy Moore transports us back to 2002 as she performs ‘Only Hope’ on Instagram Live

We wish to say thanks to the author of this article for this incredible content

Mandy Moore wants Olivia Rodrigo to star in ‘A Walk to Remember’ reboot

";s:14:"date_timestamp";i:1643888353;}i:3;a:11:{s:5:"title";s:74:"The Tick: Peter Serafinowicz, Jackie Earle Haley, Griffin Newman Interview";s:4:"link";s:116:"https://movielatest.movs.world/movie-actors/the-tick-peter-serafinowicz-jackie-earle-haley-griffin-newman-interview/";s:2:"dc";a:1:{s:7:"creator";s:10:"Tom Pauler";}s:7:"pubdate";s:31:"Thu, 03 Feb 2022 11:37:08 +0000";s:8:"category";s:71:"Movie ActorsEarleGriffinHaleyInterviewJackieNewmanPeterSerafinowiczTick";s:4:"guid";s:39:"https://movielatest.movs.world/?p=30601";s:11:"description";s:643:"Plus, the cast tease what’s coming up in the second half of season 1 and why it’s not a typical superhero series. – While at New York Comic-Con over the weekend, I got to sit down with three of the stars of Amazon’s hit series The Tick for an exclusive interview. As you’ll see when you ... Read more";s:7:"content";a:1:{s:7:"encoded";s:16372:"

Plus, the cast tease what’s coming up in the second half of season 1 and why it’s not a typical superhero series.


the-tick-peter-serafinowicz-jackie-earle-hayley-griffin-newman-interview-slice

While at New York Comic-Con over the weekend, I got to sit down with three of the stars of Amazon’s hit series The Tick for an exclusive interview. As you’ll see when you watch the interview, the conversation was literally all over the place and it was a blast to goof around with Peter Serafinowicz, Jackie Earle Haley and Griffin Newman. Some of the highlights include the challenges of trying to film when you can’t hear anything while wearing your costume, why The Tick is not a typical superhero series, how the show has found its identity, what they collect, how people have reacted to Peter Serafinowicz’s Sassy Trump videos, memorable moments from filming, making the first two episodes with Wally Pfister, what’s coming up in the second half of season one, and so much more. If you’ve never seen The Tick, it’s really well done and unlike any superhero show on TV. Also, it’s only six episodes. So if you’ve got Amazon Prime check them out!

COLLIDER VIDEO OF THE DAY


the-tick-poster

If you’re not familiar with the show, The Tick exists in a world where superheroes have been real for decades, and a strange man in a blue suit with antennae, aka The Tick (Peter Serafinowicz), becomes convinced that Arthur (Griffin Newman), an accountant with mental health issues, is the sidekick he needs to save the world from a global supervillain (Jackie Earle Haley) thought to be dead. As they work to uncover the conspiracy, Arthur must learn to break out of his safe and unheroic shell while Tick must overcome his own existential crisis before they can help anyone else.

Here’s exactly what we talked about followed by the official synopsis.

Peter Serafinowicz, Jackie Earle Haley, Griffin Newman:


Below is the official synopsis for The Tick:

In a world where superheroes have been real for decades, an underdog accountant with zero powers comes to realize his city is owned by a global super villain long-thought dead. As he struggles to uncover this conspiracy, he falls in league with a strange blue superhero. The pilot for The Tick starred Peter Serafinowicz (Guardians of the Galaxy), Griffin Newman (Vinyl), Jackie Earle Haley (Watchmen), Valorie Curry (House of Lies), Yara Martinez (Jane the Virgin) and Brendan Hines (Scorpion). The Tick is executive produced by Ben Edlund (Supernatural), Barry Josephson (Bones) and Barry Sonnenfeld (A Series of Unfortunate Events), directed by Wally Pfister (The Dark Knight), and written by Edlund. The Tick is a co-production with Sony Pictures Television.


the-tick-peter-serafinowicz-01
Image via Amazon Studios

the-tick-peter-serafinowicz-03
Image via Amazon Studios

the-tick-poster
Image via Amazon Studios


everythings-gonna-be-all-white-social
‘Everything’s gonna be all white’ Trailer Reexamines America’s History Through a BIPOC Perspective

The three part series was directed by Sacha Jenkins.

Read Next


About The Author

Steve Weintraub
(9700 Articles Published)

Steven Weintraub launched Collider in the summer of 2005. As Editor-in-chief, he has taken the site from a small bedroom operation to having millions of readers around the world. If you’d like to follow Steven on Twitter or Instagram, you can expect plenty of breaking news, exclusive interviews, and pictures of cats doing stupid things.

More
From Steve Weintraub

We would love to give thanks to the author of this article for this outstanding content

The Tick: Peter Serafinowicz, Jackie Earle Haley, Griffin Newman Interview

";}s:7:"summary";s:643:"Plus, the cast tease what’s coming up in the second half of season 1 and why it’s not a typical superhero series. – While at New York Comic-Con over the weekend, I got to sit down with three of the stars of Amazon’s hit series The Tick for an exclusive interview. As you’ll see when you ... Read more";s:12:"atom_content";s:16372:"

Plus, the cast tease what’s coming up in the second half of season 1 and why it’s not a typical superhero series.


the-tick-peter-serafinowicz-jackie-earle-hayley-griffin-newman-interview-slice

While at New York Comic-Con over the weekend, I got to sit down with three of the stars of Amazon’s hit series The Tick for an exclusive interview. As you’ll see when you watch the interview, the conversation was literally all over the place and it was a blast to goof around with Peter Serafinowicz, Jackie Earle Haley and Griffin Newman. Some of the highlights include the challenges of trying to film when you can’t hear anything while wearing your costume, why The Tick is not a typical superhero series, how the show has found its identity, what they collect, how people have reacted to Peter Serafinowicz’s Sassy Trump videos, memorable moments from filming, making the first two episodes with Wally Pfister, what’s coming up in the second half of season one, and so much more. If you’ve never seen The Tick, it’s really well done and unlike any superhero show on TV. Also, it’s only six episodes. So if you’ve got Amazon Prime check them out!

COLLIDER VIDEO OF THE DAY


the-tick-poster

If you’re not familiar with the show, The Tick exists in a world where superheroes have been real for decades, and a strange man in a blue suit with antennae, aka The Tick (Peter Serafinowicz), becomes convinced that Arthur (Griffin Newman), an accountant with mental health issues, is the sidekick he needs to save the world from a global supervillain (Jackie Earle Haley) thought to be dead. As they work to uncover the conspiracy, Arthur must learn to break out of his safe and unheroic shell while Tick must overcome his own existential crisis before they can help anyone else.

Here’s exactly what we talked about followed by the official synopsis.

Peter Serafinowicz, Jackie Earle Haley, Griffin Newman:


Below is the official synopsis for The Tick:

In a world where superheroes have been real for decades, an underdog accountant with zero powers comes to realize his city is owned by a global super villain long-thought dead. As he struggles to uncover this conspiracy, he falls in league with a strange blue superhero. The pilot for The Tick starred Peter Serafinowicz (Guardians of the Galaxy), Griffin Newman (Vinyl), Jackie Earle Haley (Watchmen), Valorie Curry (House of Lies), Yara Martinez (Jane the Virgin) and Brendan Hines (Scorpion). The Tick is executive produced by Ben Edlund (Supernatural), Barry Josephson (Bones) and Barry Sonnenfeld (A Series of Unfortunate Events), directed by Wally Pfister (The Dark Knight), and written by Edlund. The Tick is a co-production with Sony Pictures Television.


the-tick-peter-serafinowicz-01
Image via Amazon Studios

the-tick-peter-serafinowicz-03
Image via Amazon Studios

the-tick-poster
Image via Amazon Studios


everythings-gonna-be-all-white-social
‘Everything’s gonna be all white’ Trailer Reexamines America’s History Through a BIPOC Perspective

The three part series was directed by Sacha Jenkins.

Read Next


About The Author

Steve Weintraub
(9700 Articles Published)

Steven Weintraub launched Collider in the summer of 2005. As Editor-in-chief, he has taken the site from a small bedroom operation to having millions of readers around the world. If you’d like to follow Steven on Twitter or Instagram, you can expect plenty of breaking news, exclusive interviews, and pictures of cats doing stupid things.

More
From Steve Weintraub

We would love to give thanks to the author of this article for this outstanding content

The Tick: Peter Serafinowicz, Jackie Earle Haley, Griffin Newman Interview

";s:14:"date_timestamp";i:1643888228;}i:4;a:11:{s:5:"title";s:76:"Kerten Hospitality sbarca in Europa con un boutique hotel nel centro di Roma";s:4:"link";s:118:"https://movielatest.movs.world/lifestyle/kerten-hospitality-sbarca-in-europa-con-un-boutique-hotel-nel-centro-di-roma/";s:2:"dc";a:1:{s:7:"creator";s:10:"Holly June";}s:7:"pubdate";s:31:"Thu, 03 Feb 2022 11:36:07 +0000";s:8:"category";s:64:"LifestyleboutiqueCentroEuropahospitalityhotelKertennelRomasbarca";s:4:"guid";s:39:"https://movielatest.movs.world/?p=30595";s:11:"description";s:722:"Aprirà nel 2023 il nuovo Cloud 7 Hotel Roma, primo progetto europeo del gruppo Kerten Hospitality. L’iniziativa è frutto dell’accordo con la famiglia Santucci, oggi alla terza generazione e storica proprietaria dell’immobile. Prevede la completa ristrutturazione di un palazzo di cinque piani per oltre 1.600 metri quadrati di superficie, situato tra via del Corso e ... Read more";s:7:"content";a:1:{s:7:"encoded";s:2635:"

Aprirà nel 2023 il nuovo Cloud 7 Hotel Roma, primo progetto europeo del gruppo Kerten Hospitality. L’iniziativa è frutto dell’accordo con la famiglia Santucci, oggi alla terza generazione e storica proprietaria dell’immobile. Prevede la completa ristrutturazione di un palazzo di cinque piani per oltre 1.600 metri quadrati di superficie, situato tra via del Corso e via di Pietra, a pochi passi dalla fontana di Trevi e dal Pantheon. Il tutto, per un investimento complessivo di più di 4 milioni di euro.

Realizzato ai primi del Novecento, l’edificio, che nel corso degli anni ha ospitato anche il Banco di Roma e l’ambasciata del Camerun, verrà quindi convertito in un boutique hotel dai tratti sostenibili e lifestyle, pensato per interagire con la comunità locale, il quartiere, il personale e i clienti.

“Dopo una crescita esponenziale in Medio Oriente, siamo molto orgogliosi di poter entrare nel mercato del Vecchio continente con il nostro concept innovativo Cloud 7 attraverso la porta della città Eterna, Roma – spiega il responsabile sviluppo Kerten Hospitality in Europa, Theo Bortoluzzi -. L’obiettivo che ci poniamo è quello di integrare, nella medesima struttura, tecnologia, servizi e innovazione, rispettando la visione della proprietà, ma condividendo l’ambizione di creare una destinazione che possa far nascere sentimenti, connessioni e ricordi indimenticabili per i clienti, generando allo stesso tempo ritorni di lungo termine per gli investitori”.

Con base a Dublino, Kerten Hospitality gestisce alberghi, residenze, ristoranti e spazi lavorativi attraverso i propri marchi lifestyle Cloud 7, The House Hotel, Ouspace, nonché vari brand f&b. Il gruppo include oggi più di 35 progetti, molti dei quali in apertura tra il 2022 e il 2023 e concentrati specialmente in Giordania, Arabia Saudita, Egitto e Georgia.

 

We would like to thank the writer of this short article for this awesome content

Kerten Hospitality sbarca in Europa con un boutique hotel nel centro di Roma

";}s:7:"summary";s:722:"Aprirà nel 2023 il nuovo Cloud 7 Hotel Roma, primo progetto europeo del gruppo Kerten Hospitality. L’iniziativa è frutto dell’accordo con la famiglia Santucci, oggi alla terza generazione e storica proprietaria dell’immobile. Prevede la completa ristrutturazione di un palazzo di cinque piani per oltre 1.600 metri quadrati di superficie, situato tra via del Corso e ... Read more";s:12:"atom_content";s:2635:"

Aprirà nel 2023 il nuovo Cloud 7 Hotel Roma, primo progetto europeo del gruppo Kerten Hospitality. L’iniziativa è frutto dell’accordo con la famiglia Santucci, oggi alla terza generazione e storica proprietaria dell’immobile. Prevede la completa ristrutturazione di un palazzo di cinque piani per oltre 1.600 metri quadrati di superficie, situato tra via del Corso e via di Pietra, a pochi passi dalla fontana di Trevi e dal Pantheon. Il tutto, per un investimento complessivo di più di 4 milioni di euro.

Realizzato ai primi del Novecento, l’edificio, che nel corso degli anni ha ospitato anche il Banco di Roma e l’ambasciata del Camerun, verrà quindi convertito in un boutique hotel dai tratti sostenibili e lifestyle, pensato per interagire con la comunità locale, il quartiere, il personale e i clienti.

“Dopo una crescita esponenziale in Medio Oriente, siamo molto orgogliosi di poter entrare nel mercato del Vecchio continente con il nostro concept innovativo Cloud 7 attraverso la porta della città Eterna, Roma – spiega il responsabile sviluppo Kerten Hospitality in Europa, Theo Bortoluzzi -. L’obiettivo che ci poniamo è quello di integrare, nella medesima struttura, tecnologia, servizi e innovazione, rispettando la visione della proprietà, ma condividendo l’ambizione di creare una destinazione che possa far nascere sentimenti, connessioni e ricordi indimenticabili per i clienti, generando allo stesso tempo ritorni di lungo termine per gli investitori”.

Con base a Dublino, Kerten Hospitality gestisce alberghi, residenze, ristoranti e spazi lavorativi attraverso i propri marchi lifestyle Cloud 7, The House Hotel, Ouspace, nonché vari brand f&b. Il gruppo include oggi più di 35 progetti, molti dei quali in apertura tra il 2022 e il 2023 e concentrati specialmente in Giordania, Arabia Saudita, Egitto e Georgia.

 

We would like to thank the writer of this short article for this awesome content

Kerten Hospitality sbarca in Europa con un boutique hotel nel centro di Roma

";s:14:"date_timestamp";i:1643888167;}i:5;a:11:{s:5:"title";s:46:"The 40 Best Horror Movies on Netflix Right Now";s:4:"link";s:90:"https://movielatest.movs.world/scream-away/the-40-best-horror-movies-on-netflix-right-now/";s:2:"dc";a:1:{s:7:"creator";s:11:"Harry World";}s:7:"pubdate";s:31:"Thu, 03 Feb 2022 11:32:01 +0000";s:8:"category";s:30:"Scream AwayHorrorMoviesNetflix";s:4:"guid";s:39:"https://movielatest.movs.world/?p=30589";s:11:"description";s:620:"Assessing the quality of offerings available from Netflix in 2021, it quickly becomes clear that their horror library is a real mixed bag. 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 ... Read more";s:7:"content";a:1:{s:7:"encoded";s:89030:"

Assessing the quality of offerings available from Netflix in 2021, it quickly becomes clear that their horror library is a real mixed bag. 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. 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. 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.

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, Raw or newer films like His House and the Fear Street trilogy. 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 Midnight Mass, either. They’re not technically movies, but they’re impossible to leave off this list. Also: The Exorcist is back? Watch out!

We invite you to use this list as a guide. The lowest-ranked films are of the “fun-bad” variety—flawed, but easily enjoyable for one reason or another. The highest-ranked films are obviously essentials.

You may also want to check out the following horror-centric lists:

The 100 best horror films of all time.

The 100 best vampire movies of all time.

The 50 best zombie movies of all time.

The 40 best horror movies on Hulu

The 80 best horror movies on Amazon Prime

The 50 best horror movies streaming on Shudder

The 50 best movies about serial killers

The 50 best slasher movies of all time

The 50 best ghost movies of all time



the-exorcist-poster.jpg
Year: 1973
Director: William Friedkin
Stars: Linda Blair, Ellen Burstyn, Max von Sydow, Jason Miller, Lee J. Cobb
Rating: R
Runtime: 122 minutes


Watch on Netflix


The Exorcist is a bit of a safe pick, but then you wrestle with whether any other film on this list is more disturbing, more influential or just plain scarier than this movie, and there simply isn’t one. The film radiates an aura of dread—it feels somehow unclean and tilted, even before all of the possession scenes begin. Segments like the “demon face” flash on the screen for an eighth of a second, disorienting the viewer and giving you a sense that you can never, ever let your guard down. It worms its way under your skin and then stays there forever. The film constantly wears down any sense of hope that both the audience and the characters might have, making you feel as if there’s no way that this priest (Jason Miller), not particularly strong in his own faith, is going to be able to save the possessed little girl (Linda Blair). Even his eventual “victory” is a very hollow thing, as later explored by author William Peter Blatty in The Exorcist III. Watching it is an ordeal, even after having seen it multiple times before. The Exorcist is a great film by any definition. —Jim Vorel



raw-movie-poster.jpg
Year: 2016
Director: Julia Ducournou
Stars: Garance Marillier, Ella Rumpf, Laurent Lucas
Rating: R
Runtime: 99 minutes


Watch on Netflix

If you’re the proud owner of a twisted sense of humor, you might tell your friends that Julia Ducournau’s Raw is a “coming of age movie” in a bid to trick them into seeing it. Yes, the film’s protagonist, naive incoming college student Justine (Garance Marillier), comes of age over the course of its running time; she parties, she breaks out of her shell, and she learns about who she really is as a person on the verge of adulthood. But most kids who come of age in the movies don’t realize that they’ve spent their lives unwittingly suppressing an innate, nigh-insatiable need to consume raw meat. “Hey,” you’re thinking, “that’s the name of the movie!” You’re right! It is! Allow Ducournau her cheekiness. More than a wink and nod to the picture’s visceral particulars, Raw is an open concession to the harrowing quality of Justine’s grim blossoming. Nasty as the film gets, and it does indeed get nasty, the harshest sensations Ducournau articulates here tend to be the ones we can’t detect by merely looking: Fear of feminine sexuality, family legacies, popularity politics, and uncertainty of self govern Raw’s horrors as much as exposed and bloody flesh. It’s a gorefest that offers no apologies and plenty more to chew on than its effects. —Andy Crump



his-house-2020-poster.jpg
Year: 2020
Director: Remi Weekes
Stars: Wunmi Mosaku, Sope Dirisu, Matt Smith
Rating: NR
Runtime: 93 minutes


Watch on Netflix

Nothing sucks the energy out of horror than movies that withhold on horror. 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. Remi Weekes’ His House doesn’t screw around. 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. 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. 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. But Weeks is equally invested in making his viewers leap out of their skins. —Andy Crump



haunting of hill house poster (Custom).jpg
Year: 2018
Director: Mike Flanagan
Stars: Henry Thomas, Michiel Huisman, Carla Gugino, Elizabeth Reaser, Oliver Jackson-Cohen, Kate Siegel, Victoria Pedretti
Runtime: 10 episodes


Watch on Netflix

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. The monsters, ghosts, and things that go bump on the wall are off-screen, barely shown, or obscured by shadow. 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. Well, maybe “inconsistency” is the wrong word. 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. 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. —Jacob Oller



midnight-mass-poster.jpg
Year: 2021
Director: Mike Flanagan
Stars: Zach Gilford, Kate Siegel, Kristin Lehman, Samantha Sloyan, Henry Thomas, Hamish Linklater
Rating: N/A


Watch on Netflix

On Midnight Mass’ Crockett Island, every islander feels rife with misfortune. The recent oil spill nearly annihilated the fish supply, tanking the island’s local fishing economy. Their homes splinter and peel in neglect to the ocean’s elements. The majority of residents have fled the island for lack of opportunity, leaving a paltry few behind. Only two ferries can take them to the mainland. Hope runs in short supply—and a major storm brews on the horizon.

Everything beyond that for this seven-episode series is a true spoiler, but what can be said is that even with its dabblings in the supernatural, Midnight Mass (created by The Haunting’s Mike Flanagan, in his most recent collaboration with Netflix), is a show that burrows inwards instead of outwards. With both the physical claustrophobia of Crockett’s setting and the internal suffering of characters placed in center stage, Midnight Mass concerns itself with horrors within: addictive tendencies, secret histories, and questions of forgiveness and belief. At one glance, it’s a series that’s mined Catholic guilt for gold. In another, it’s a measured, yet spooky take on group psychology, the need for faith in sorrow, and the ethics of leadership with such vulnerable followers, weighing whether these impulses represent human goodness, evil, or simply nothing at all.

“Blessed are those who have not seen and have believed.” Midnight Mass offers a chance for anyone to be doubting Thomas or true believer. What difference is a miracle from a supernatural event, anyway? —Katherine Smith



it-follows-poster.jpg
Year: 2015
Director: David Robert Mitchell
Stars: Maika Monroe, Keir Gilchrist, Daniel Zovatto, Jake Weary, Olivia Luccardi, Lili Sepe
Rating: R
Runtime: 100 minutes


Watch on Netflix

The specter of Old Detroit haunts It Follows. In a dilapidating ice cream stand on 12 Mile, in the ’60s-style ranch homes of Ferndale or Berkley, in a game of Parcheesi played by pale teenagers with nasally, nothing accents—if you’ve never been, you’d never recognize the stale, gray nostalgia creeping into every corner of David Robert Mitchell’s terrifying film. But it’s there, and it feels like SE Michigan. The music, the muted but strangely sumptuous color palette, the incessant anachronism: In style alone, Mitchell is an auteur seemingly emerged fully formed from the unhealthy womb of Metro Detroit. Cycles and circles concentrically fill out It Follows, from the particularly insular rules of the film’s horror plot, to the youthful, fleshy roundness of the faces and bodies of this small group of main characters, never letting the audience forget that, in so many ways, these people are still children. In other words, Mitchell is clear about his story: This has happened before, and it will happen again. All of which wouldn’t work were Mitchell less concerned with creating a genuinely unnerving film, but every aesthetic flourish, every fully circular pan is in thrall to breathing morbid life into a single image: someone, anyone slowly separating from the background, from one’s nightmares, and walking toward you, as if Death itself were to appear unannounced next to you in public, ready to steal your breath with little to no aplomb. Initially, Mitchell’s whole conceit—passing on a haunting through intercourse—seems to bury conservative sexual politics under typical horror movie tropes, proclaiming to be a progressive genre pic when it functionally does nothing to further our ideas of slasher fare. You fornicate, you find punishment for your flagrant, loveless sinning, right? (The film has more in common with a Judd Apatow joint than you’d expect.) Instead, Mitchell never once judges his characters for doing what practically every teenager wants to do; he simply lays bare, through a complex allegory, the realities of teenage sex. There is no principled implication behind Mitchell’s intent; the cold conclusion of sexual intercourse is that, in some manner, you are sharing a certain degree of your physicality with everyone with whom your partner has shared the same. That he accompanies this admission with genuine respect and empathy for the kinds of characters who, in any other horror movie, would be little more than visceral fodder for a sadistic spirit, elevates It Follows from the realm of disguised moral play into a sickly scary coming-of-age tale. Likewise, Mitchell inherently understands that there is practically nothing more eerie than the slightly off-kilter ordinary, trusting the film’s true horror to the tricks our minds play when we forget to check our periphery. It Follows is a film that thrives in the borders, not so much about the horror that leaps out in front of you, but the deeper anxiety that waits at the verge of consciousness—until, one day soon, it’s there, reminding you that your time is limited, and that you will never be safe. Forget the risks of teenage sex, It Follows is a penetrating metaphor for growing up. —Dom Sinacola



creep poster (Custom).jpg
Year: 2014
Director: Patrick Brice
Stars: Mark Duplass, Patrick Brice
Rating: R
Runtime: 77 minutes


Watch on Netflix


Creep is a somewhat predictable but cheerfully demented little indie horror film, the directorial debut by Brice, who also released this year’s The Overnight. 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. It leans entirely on its performances, which are excellent. Duplass, who can be charming and kooky in something like Safety Not Guaranteed, shines here as the deranged lunatic who forces himself into the protagonist’s life and haunts his every waking moment. The early moments of back-and-forth between the pair crackle with a sort of awkward intensity. Anyone genre-savvy will no doubt see where it’s going, but it’s a well-crafted ride that succeeds on the strength of chemistry between its two principal leads in a way that reminds me of the scenes between Domhnall Gleeson and Oscar Isaac in Ex Machina. —Jim Vorel



conjuring.jpg
Year: 2013
Director: James Wan
Stars: Vera Farmiga, Patrick Wilson, Ron Livingston, Lili Taylor
Rating: R
Runtime: 112 minutes


Watch on Netflix

Let it be known: James Wan is, in any fair estimation, an above average director of horror films at the very least. The progenitor of big money series such as Saw and Insidious has a knack for crafting populist horror that still carries a streak of his own artistic identity, a Spielbergian gift for what speaks to the multiplex audience without entirely sacrificing characterization. Several of his films sit just outside the top 100, if this list were ever to be expanded, but The Conjuring can’t be denied as the Wan representative because it is far and away the scariest of all his feature films. Reminding me of the experience of first seeing Paranormal Activity in a crowded multiplex, The Conjuring has a way of subverting when and where you expect the scares to arrive. Its haunted house/possession story is nothing you haven’t seen before, but few films in this oeuvre in recent years have had half the stylishness that Wan imparts on an old, creaking farmstead in Rhode Island. The film toys with audience’s expectations by throwing big scares at you without standard Hollywood Jump Scare build-ups, simultaneously evoking classic golden age ghost stories such as Robert Wise’s The Haunting. Its intensity, effects work and unrelenting nature set it several tiers above the PG-13 horror against which it was primarily competing. It’s interesting to note that The Conjuring actually did receive an “R” rating despite a lack of overt “violence,” gore or sexuality. It was simply too frightening to deny, and that is worthy of respect. —Jim Vorel



im-thinking-of-ending.jpg
Year: 2020
Director: Charlie Kaufman
Stars: Jessie Buckley, Jesse Plemons, Toni Collette, David Thewlis
Rating: R
Runtime: 134 minutes


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Many viewers will think of ending I’m Thinking of Ending Things not long after it’s started. A cross-dissolve cascade of crude shots details the interior of a farmhouse or an apartment, or the interior of an interior. A woman we have not yet seen is practically mid-narration, telling us something for which we have no context. It feels wrong, off-putting. Something is not right. This is not how movies are supposed to work. Finally we see the woman, played brilliantly by Jessie Buckley. She is standing on the street as puffy snowflakes start to fall, like we’re within a 3-D snow globe with her. She looks up at a window a couple stories up. We see an old man looking down out of a window. We see Jesse Plemons looking down out of a window. We see Jesse Plemmons in the next shot picking up Jessie Buckley in his worn car. The movie music twinkles and swirls. Jessie Buckley’s Lucy or Lucia or Amy is thinking of ending things with Jesse’s Jake. Things aren’t going to go anywhere good, seems to be the reasoning. Jake drives the car and sometimes talks; his behaviors seem fairly consistent until they’re not, until some gesture boils up like a foreign object from another self. Louisa or Lucy is forthcoming, a fountain of personality and knowledge and interests. But sometimes she slows to a trickle, or is quiet, and suddenly she is someone else who is the same person but perhaps with different memories, different interests. Sometimes she is a painter, sometimes a physicist, sometimes neither. Jessie and Jesse are great. Their performances and their characters are hard to describe. The best movie of 2020 is terrible at being a “movie.” It does not subscribe to common patterns, rhythms, or tropes. It doesn’t even try to be a great movie, really, it simply tries to dissect the life of the mind of the other, and to do that by any cinematic means possible. The self-awareness of the film could have been unbearable, except awareness (and our fragmentary experience of it) is so entirely the point of everything that the film is wrapped up within and that is wrapped up within it. To say the film accepts both the beauty and ugliness of life would be a platitude that the film itself rejects. To say that “love conquers all,” even moreso. But these false truths flit in and about the film’s peripheral vision: illusions or ghosts, but welcome ones. —Chad Betz



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Year: 2010
Director: Matt Reeves
Stars: Kodi Smit-McPhee, Chloe Grace Moretz, Elias Koteas, Richard Jenkins
Rating: R
Runtime: 116 minutes


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Practically more supernatural a creature than its starring monster, Let Me In is not only an Americanized adaptation of a foreign film that isn’t a waste of everyone’s time, it’s arguably superior than the film it’s based upon. Like the original Swedish film, Let the Right One In, Matt Reeves’ update teases a remarkable amount of tension and intrigue through meticulous plotting and arresting imagery. Though set in Los Alamos, New Mexico, rather than Stockholm, the choice of place for relocation initially seems an odd one—but it turns out it’s not the icy Swedish darkness that harbors the sense of unease. It’s the isolation of a 12-year-old boy, neglected by parents and any real parental figure. Owen’s (Kodi Smit-McPhee) bond with the eternally youthful vampire Abby (Chloë Grace Moretz) is as effective and chilling here as it is in the original, thanks in no small part to its two phenomenal young leads. No question there’s a modern horror classic here, from the unlikeliest of origins. —Scott Wold



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Year: 1994
Director: Neil Jordan
Stars: Brad Pitt, Tom Cruise, Kirsten Dunst, Antonio Banderas, Christian Slater
Rating: R
Runtime: 122 minutes


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Anne Rice’s 1976 gothic novel about bloodsuckers in Spanish Louisiana got the epic big-screen treatment almost two decades after its debut, and 200 years after its narrator Louis’ induction into the immortal realm. New Orleans—home to many “cities of the dead” or above-ground cemeteries, due in part to the plagues that ravaged late 18th century slums—is also the perfect setting for a grief-stricken, navel-gazing young plantation owner like Louis (played by Brad Pitt) to lose himself. Preening and stalking his way through the streets, Louis’ maker and lead vamp Lestat (Tom Cruise) embodies an otherworldly decadence and European sophistication. Cruise, whose casting was initially criticized by Rice herself, nails it as a glib, undead dandy. A preteen Kirsten Dunst steals scenes as a spitfire orphan-turned-ageless bloodsucker, while Antonio Banderas and Stephen Rea terrify in their limited screen time. Director Neil Jordan, working with cinematographer Philippe Rousselot and production designer Dante Ferretti, captures their nocturnal existence in hedonistic hues and the light of lanterns strewn throughout the French Quarter, a universe that still stands frozen in time. —Amanda Schurr



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Year: 2015
Director: Guillermo del Toro
Stars: Tom Hiddleston, Jessica Chastain, Mia Wasikowska
Rating: R
Runtime: 119 minutes


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Crimson Peak follows the traditions of gothic romance by design: “I made this movie to present and reverse some of the normal tropes, while following them, of the gothic romance,” del Toro says on the Arrow Blu-ray’s audio commentary track, a note made during the introduction between his protagonist, Edith Cushing (Mia Wasikowska), and her first of two love interests, Sir Thomas Sharpe (Tom Hiddleston), a baronet come to the U.S. to win over her father, the magnate Carter Cushing (Jim Beaver), and obtain financial backing for his very own clay-mining contraption. The exchange between Thomas and Edith in this scene is crucial to what the film’s trying to accomplish: “I’m sorry,” he says to her, the manuscript on her desk having caught his eye. “I don’t mean to pry, but this is a piece of fiction, is it not?”

It is. It’s her fiction, in fact, a piece she’s written for publication in the pages of The Atlantic Monthly. With a glance, the story has ensnared him. “Ghosts,” he remarks, an inscrutable smile on his lips. Edith goes on defense, stammering, “Well, the ghosts are just a metaphor, really,” but Thomas isn’t finished: “They’ve always fascinated me. You see, where I come from, ghosts are not to be taken lightly.” Thomas means this as flattery and not admonition, and flattered is how Edith reacts, excitement spreading across her face at encountering a kindred spirit to accompany the actual spirits she’s yet to meet. Thomas gets it. When she speaks with him, Edith doesn’t need to compromise her fondness for ghost stories, as she must with her peers. She can openly appreciate them on their own terms. And so can Crimson Peak. Del Toro adores the production components of the gothic romance; he’s enamored with the pomp, the circumstance, the costumes. They give him a veil of propriety, because Crimson Peak doesn’t pull its punches. The audience finds out what kind of film it is from the opening shot of Edith’s face, decorated by open wounds, and from the follow-up sequence, in which young Edith (Sofia Wells) is visited in dead of night by her late mother’s blackened osseous specter. Crimson Peak doesn’t care about catering to taste or achieving universality. It cares about freaking its viewers the hell out. After all, if “horror” as a genre acts as a massive umbrella sheltering all manner of aesthetics and approaches, the exercise should always be about sending an audience away with a powerful need to sleep with the lights on. —Andy Crump



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Year: 2017
Director: Patrick Brice
Stars: Mark Duplass, Desiree Akhavan, Karan Soni
Rating: N/A
Runtime: 80 minutes


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Creep was not a movie begging for a sequel. About one of cinema’s more unique serial killers—a man who seemingly needs to form close personal bonds with his quarry before dispatching them as testaments to his “art”—the 2014 original was self-sufficient enough. But Creep 2 is that rare follow-up wherein the goal seems to be not “let’s do it again,” but “let’s go deeper”—and by deeper, we mean much deeper, as this film plumbs the psyche of the central psychopath (who now goes by) Aaron (Mark Duplass) in ways both wholly unexpected and shockingly sincere, as we witness (and somehow sympathize with) a killer who has lost his passion for murder, and thus his zest for life. In truth, the film almost forgoes the idea of being a “horror movie,” remaining one only because we know of the atrocities Aaron has committed in the past, meanwhile becoming much more of an interpersonal drama about two people exploring the boundaries of trust and vulnerability. Desiree Akhavan is stunning as Sara, the film’s only other principal lead, creating a character who is able to connect in a humanistic way with Aaron unlike anything a fan of the first film might think possible. Two performers bare it all, both literally and figuratively: Creep 2 is one of the most surprising, emotionally resonant horror films in recent memory. —Jim Vorel



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Year: 1987
Director: Joel Schumacher
Stars: Kiefer Sutherland, Jason Patric, Corey Haim, Dianne Wiest, Jami Gertz, Corey Feldman, Alex Winter
Rating: R
Runtime: 98 minutes


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If vampires are among the original heartthrobs, it makes all the more sense for Joel Schumacher—he of Brat Pack and other generic onscreen glossiness—to have doubled down with a Tiger Beat collage of ’80s teen idols: Jason Patric, Kiefer Sutherland, Jami Gertz and the Coreys (Haim and Feldman). Patric and Haim are siblings who sense something is amiss in their new coastal California town, where a lot of people have gone missing lately. While Patric’s Michael falls in with hottie Star (Gertz) and her gang leader/vamp BF David (Sutherland), Haim’s Sam bonds with the nerdy vampire-hunting Frog brothers, Edgar and Allan (get it?), at the local comic book store. It’s super slick, cheesy and a nostalgia trip for the pre-Twilight generation. Schumacher scores bonus points for casting Dianne Wiest as a newly single mom, Edward Herrmann as her suspicious new suitor, and Barnard Hughes as the boys’ curmudgeonly gramps. Despite its titular hat tip to J.M. Barrie, The Lost Boys is about as deep as a baby’s premolars, but don’t let that stop you from “vamping out.” —Amanda Schurr



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Year: 2021
Director: Leigh Janiak
Stars: Kiana Madeira, Olivia Scott Welch, Benjamin Flores Jr., Julia Rehwald, Fred Hechinger, Maya Hawke
Rating: R
Runtime: 107 minutes


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The first film in Netflix’s trilogy of R.L. Stine Fear Street adaptations quickly announces itself as a far more vicious and bloody beast than any of the family friendly Goosebumps installments of recent years, successfully carving out its own place in the modern meta-slasher canon while hinting at an exciting conclusion to come. 1994 garbs itself in slasher history, being particularly referential of Scream while also including numerous allusions to much more obscure ‘80s slashers such as Intruder, but it simultaneously (and cleverly) distracts the audience from some of its deeper mysteries, to be explored more fully in Fear Street: 1978 and Fear Street: 1666. What we’re left with is a film that lays its mythology out nicely, buoyed both by engaging supporting characters and cinematic violence that is significantly more grisly than audiences are likely to expect. Suffice to say, the kills of Fear Street aren’t messing around, and once that bread slicer makes an appearance, your jaw is likely to drop. Sequels 1978 and 1666, meanwhile, keep up just enough momentum to complete the ambitious trilogy. —Jim Vorel



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Year: 2019
Director: David Marmor
Stars: Nicole Brydon Bloom, Giles Matthey, Alan Blumenfeld, Celeste Sully
Rating: NR
Runtime: 90 minutes


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In the middle of a horrifying housing crisis, 1BR holds up a mirror to the isolation and desperation crushing the greater population of Los Angeles. Hollywood and the surrounding areas may be viewed globally as a home for opulence, but the majority of Los Angeles county lives closer to the poverty line than the shoreline. These extreme levels of impoverishment come with about two dozen cults masquerading as sub-culture, a mortifying picture of co-dependancy, a coerced dismissal of personal rights, and loneliness. Sarah (Nicole Brydon Bloom), a recent Los Angeles transplant, needs to find a place to live. She also needs to get into college. Oh, and Sarah needs to figure out how to navigate her uptight boss. She’s the blueprint for every mid-twenties late bloomer. The apartment hunt has been a nightmare with limited funds, but then she finds the perfect apartment. The space is close to work, affordable, and comes with one extremely cute neighbor. Unfortunately, the property is owned by a cult, obsessed with making a perfect community. Prone to extreme measures, the group, known only as CDE Properties, watches the little colony 24 hours a day. Their tried-and-true method of converting new tenants includes sleep deprivation, solitary confinement, and threats of extreme pain. Sarah does her best to resist these tactics while simultaneously convincing her captors that she’s becoming one of them. In his feature film debut, writer/director David Marmor crafts a chilling survival story in the sun-bleached desert and stark fluorescent lighting of wearisome offices. A visceral expression of fear and longing, 1BR could be a new cult classic. With incredible performances, a solid twist and the possibility of a franchise sequel, 1BR aims high. The good news is the film hits most of its targets. —Joelle Monique



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Year: 2020
Director: Marc Meyers
Stars: Alexandra Daddario, Amy Forsyth, Maddie Hasson, Keean Johnson, Logan Miller, Austin Swift, Johnny Knoxville
Rating: R
Runtime: 91 minutes


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Roughly 30 minutes into Marc Meyers’ We Summon the Darkness, the tables turn. The twist isn’t telegraphed. Paranoid viewers might catch the scent of something “off,” the way people with hyperosmia know the milk’s gone bad before opening up the carton, but noticing the clues that Meyers, screenwriter Alan Trezza and the film’s main cast—Alexandra Daddario, Maddie Hasson and Amy Forsyth—leave on the screen takes a little deductive reasoning and a lot of psychological study. No one gives anything away. Instead, Meyers carefully pulls the truth from the set-up, and in the process hints at not a small amount of relish on his part. He’s having fun. A good twist should be fun, and We Summon the Darkness does indeed have a good twist, but Meyers, Trezza and especially Daddario appear to realize that the pleasure of a twist isn’t the reveal, it’s figuring out how to hide the twist in plain sight. This is, at first, a horror story about teenagers uniting under the banner of heavy metal in 1980s America, a time when God-fearing Christian bedwetters saw proof of devil worship everywhere they gawked and blamed the rise of Satanism on objectively awesome things like Dungeons & Dragons and Dio. Half an hour in, We Summon the Darkness still is that story, but told from the perspective of religious vultures who happily exploit the fears of the flock to profit the church. It’s a ferocious joy to watch, particularly in light of how well We Summon the Darkness holds back on secrets. Tipping the hand too much would be easy; the tells only become clear after the fact, couched in a choice of words here, a moment of hesitation there, a dose of forced enthusiasm there. For as unrestrained as things get, it’s the initial restraint that’s most memorable. —Andy Crump



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Year: 2017
Director: Mike Flanagan
Stars: Carla Gugino, Bruce Greenwood
Rating: N/A
Runtime: 103 minutes


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Director Mike Flanagan’s Gerald’s Game trims fat, condenses and slims, stripping away some of the odder quirks of Stephen King’s novel to get at the heart of themes underneath. The result is a tense, effective thriller that goes out of its way to highlight two strong actors (Bruce Greenwood and Carla Gugino) in an unfettered celebration of their craft. This is nothing new for Flanagan, whose recent output in the horror genre has been commendable. It’s hard to overlook some of the recurring themes in his work, beginning with 2011’s Absentia and all the way through the wildly imaginative Oculus, Hush and Ouija: Origin of Evil. Every one of these films centers around a strong-willed female lead, as does Gerald’s Game. Is this coincidence? Or is the director drawn to stories that reflect the struggle of women to claim independence in their lives by shedding old scars or ghosts, be they literal or figurative? Either way, it made Flanagan an obvious fit for Gerald’s Game, an unassuming, overachieving little thriller that is blessed by two performers capable of handling the lion’s share of the dramatic challenges it presents. —Jim Vorel



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Year: 1992
Director: Francis Ford Coppola
Stars: Gary Oldman, Keanu Reeves, Winona Ryder, Anthony Hopkins
Rating: R
Runtime: 128 minutes


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Based on the 1897 Gothic horror classic, Francis Ford Coppola’s unabashedly over-the-top adaptation is at times as chuckle-worthy as it is impressive. The period detail and production design is sumptuous, and the traditional, non-CGI special effects—a deliberate nod by Coppola to the novel’s turn-of-the-century origins, which coincided with early filmmaking—are the stuff of lavish spectacle. Be it Gary Oldman (relishing the role, and some masterful makeup) as the soulful but ruthless bloodsucker, Winona Ryder as his long-lost love, or Anthony Hopkins as the equally storied Dr. Van Helsing, nothing about the film or its performances is subtle—and that’s before we get to Keanu Reeves. Try as he might as the British lawyer fiancé to Ryder’s Mina, Reeves can’t help but flail onscreen, a Ted out of water among an ensemble that also includes Richard E. Grant, Cary Elwes and a marvelous Tom Waits as R.M. Renfield. When Coppola’s overwrought romantic vision works, it’s intoxicating. When it doesn’t, it’s an operatic circle jerk, albeit a still riveting one. —Amanda Schurr



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Year: 2017
Director: Neill Blomkamp
Stars: Sigourney Weaver, Carly Pope, Dakota Fanning, Steve Boyle
Rating: NR
Runtime: 72 minutes


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Originally released on YouTube throughout 2017, this is a collection of experimental (but well budgeted) sci-fi and horror short films from District 9 director Neill Blomkamp, all of which seem like seeds for potential feature film projects. Oats Studio was a project conceived by Blomkamp to do practical VFX testing while also fleshing out some of his crazier ideas, and each one of the major projects within it is very impressive in its own way. Sci-fi feature Rakka imagines an Earth overrun by telepathic reptilian aliens, as human survivors carry on a desperate and seemingly futile resistance, while Firebase pits a soldier against a reality warping “River God” in a southeast Asian military conflict. The true star of the show, though, is perhaps the pure horror of Zygote, in which Dakota Fanning plays a researcher on the run from a truly hideous creature that has taken over her facility, with heavy vibes of The Thing and last year’s PC game Carrion. The creature of Zygote, with its dozens of borrowed human limbs, is perhaps one of the most demented monsters we’ve seen in the horror world in recent memory, which means this short film really deserves to be seen by a bigger audience. —Jim Vorel



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Year: 2018
Director: Gareth Evans
Stars: Dan Stevens, Lucy Boynton, Mark Lewis Jones, Bill Milner, Michael Sheen
Rating: NR
Runtime: 129 minutes


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After the first two entries of The Raid made him a monolithic figure among action movie junkies, Apostle functions as the wider world’s introduction to the visceral filmmaking stylings of Welsh director Gareth Evans. Where his first films almost had the aesthetic of a videogame come to life—they’re about as close to a big screen adaptation of Streets of Rage as you’re ever going to find—Apostle might as well represent Evans’ desire to be taken seriously as a visual director and auteur. To do so, he’s explored some well-trodden ground in the form of the rural “cult infiltration movie,” making comparisons to the likes of The Wicker Man (or even Ti West’s The Sacrament) inevitable. However, Apostle forces its way into the year-end conversation of 2018’s best horror cinema through sheer style and verve. Every frame is beautifully composed, from the foreboding arrival of Dan Stevens’ smoldering character at the island cult compound, to the fantastically icky Grand Guignol of the third act, in which viscera flows with hedonistic abandon. Evans knows exactly how long to needle the audience with a slow-burning mystery before letting the blood dams burst; his conclusion both embraces supernatural craziness and uncomfortably realistic human violence. Gone is the precision of combat of The Raid, replaced by a clumsier brand of wanton savagery that is empowered not by honor but by desperate faith. Evans correctly concludes that this form of violence is far more frightening. —Jim Vorel



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Year: 2019
Director: Galder Gaztelu-Urrutia
Stars: Iván Massagué, Zorion Eguileor, Antonia San Juan, Emilio Buale Coka, Alexandra Masangkay
Rating: NR
Runtime: 94 minutes


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The Platform benefits immensely from the strength of its simple, high-concept premise and all the superfluous information that is withheld from the viewer. It doesn’t matter that we don’t know why exactly people are placed into this diabolical, vertical prison structure, in which the only sustenance arrives once a day in the form of a steadily descending, increasingly gross stone slab piled high with perishables. Nor do we really need to know how this apparent social experiment operates, although the repeated glimpses we get at cooks slaving over perfect dishes to be sent down to the doomed convicts is no doubt designed to needle at our curiosity. What matters is that we observe the differences in human reaction to this plight—the ways that different personalities react to adversity with an “us or them” mentality, or a predatory hunger, or a spontaneous drive toward self-sacrificing altruism. The fact that the position of the prisoners is constantly in flux is key—it gives them both a tangible reason to be the change they want to see in their world, and an almost impossible temptation to do the exact opposite out of distrust of their neighbors. One expects a nihilistic streak here, and you won’t be disappointed—but there’s a few glimmers of hope shining through the cracks as well. Just enough, perhaps, to twist the knife that much deeper. —Jim Vorel



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Year: 2016
Director: Mike Flanagan
Stars: John Gallagher Jr., Michael Trucco, Kate Siegel
Rating: R
Runtime: 81 minutes


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Hush is a simple, intimate film at heart, and one that takes more than a few cues from Bryan Bertino’s The Strangers, among other home-invasion thrillers. Director Mike Flanagan, whose Oculus is one of the decade’s better, more underrated horror films, remains a promising voice in horror, although Hush plays things considerably safer than that ambitious haunted mirror tale did. Here, the gimmick is that the sole woman being menaced by a masked intruder outside her woodland home is in fact deaf and mute—i.e., she can’t hear him coming or call for help. At first, the film appears as if it will truly echo The Strangers and keep both the killer’s identity and motivations secretive, but those expectations are subverted surprisingly quickly. It all boils down into more or less exactly the type of cat-and-mouse game you would expect, but the film manages to elevate itself in a couple of ways. First is the performance of actress Kate Siegel as protagonist Maddie, who displays just the right level of both vulnerability and resolve, without making too many of the boneheaded slasher film character choices that encourage you to stand up and yell at the screen. Second is the tangible sense of physicality the film manages in its scenes of violence, which are satisfyingly visceral. Ultimately it’s the villain who may leave a little something to be desired at times, but Hush is at the very least a satisfying way to spend a night in with Netflix. —Jim Vorel



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Year: 2018
Directors: Yolanda Ramke, Ben Howling
Stars: Martin Freeman, Simone Landers, Anthony Hayes, David Gulpili, Susie Porter, Caren Pistorius
Rating: NR
Runtime: 105 minutes


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We’ve had enough takes on worldwide zombie apocalypses to last undead enthusiasts long through, well, a worldwide zombie apocalypse. Of those takes, few are inspired, a few more are watchable though workmanlike and most are dreck, whether in TV or movie form. Cargo, a collaborative directing effort between Yolanda Ramke and Ben Howling, falls somewhere in between “inspired” and “workmanlike,” which is to say it’s well worth seeking out on Netflix if you’ve a powerful need to watch twitching, walking corpses menace a family trying to survive while isolated in Australia’s Outback. Martin Freeman plays Andy, stubborn husband to his wife, Kay (Susie Porter), and loving dad to their daughter, Rosie; he’s piloting a houseboat to safer shores, or that’s the hope. Then Kay takes a zombie bite, forcing a change of plans and setting them down the path to ruin and tragedy. For a certain kind of horror purist, Cargo denies the expectations of the genre. It’s not an especially scary movie. It is, however, a moody, atmospheric movie, replacing scares with a nearly overwhelming sense of sadness. If that’s not enough for you, then at least be sated by the excellent FX work. Here, zombies present as victims of debilitating illness: A waxen, carious fluid seeps from their eyes and mouths, which is suitably nauseating in the stead of workaday splatter. All the same, Cargo is never half as stomach-churning as it is simply devastating. —Andy Crump



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Year: 2016
Director: Babak Anvari
Stars: Narges Rashidi, Avin Manshadi, Bobby Naderi, Ray Haratian, Arash Marandi
Rating: PG-13
Runtime: 84 minutes


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For most of the film, Babak Anvari is crafting a stifling period drama, a horror movie of a different sort that tangibly conveys the claustrophobia of Iran during its tumultuous post-revolution period. Anvari, himself of a family that eventually fled the Ayatollah’s rule, has made Under the Shadow as statement of rebellion and tribute to his own mother. It’s a distinctly feminist film: Shideh (Narges Rashidi) is cast as the tough heroine fighting back against greater hostile forces—a horror movie archetype that takes on even more potency in this setting. Seeing Shideh defy the Khomeini regime by watching a Jane Fonda workout video, banned by the state, is almost as stirring as seeing her overcome her personal demons by protecting her child from a more literal one. —Brogan Morris



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Year: 2018
Director: Daniel Goldhaber
Stars: Madeline Brewer, Patch Darragh, Melora Walters, Devin Druid, Imani Hakim, Michael Dempsey
Rating: NR
Runtime: 95 minutes


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As so many films in 2018 have shown us, the identities we create online—that we digitally design, foster and mature, often to the detriment of whatever we have going on IRL—will inevitably surpass us. The horror of Daniel Goldhaber’s Cam, based on the Isa Mazzei’s script (in turn, based on her real experiences as a sex worker), is in this loss: that no one is ever truly in control of these fabricated identities; that the more real they become, the less they belong to the person most affected. Welcome Alice (Madeline Brewer), an ambitious camgirl who compensates for the exhausting rigor of online popularity (and, therefore, economic viability) with gruesome stunts and a rigorous set of principles dictating what she will, and won’t, do in her capacity as female fantasy. She’s successful, tossing funds to her mom (Melora Walters) and brother (Devin Druid) without being totally honest about her job, but she could be more successful, trying whatever she can (within reason) to scale the ranking system enforced by the site she uses to broadcast her shows. With dexterous ease, Mazzei’s script both introduces the exigencies of camgirl life while never stooping to judge Alice’s choice of employment, contextualizing an inevitable revelation to her family not as one of embarrassment, but as an impenetrable morass of shame through which every sex worker must struggle to be taken seriously. So much so that when someone who looks exactly like Alice—who operates under her screen name but is willing to do the things Alice once refused—gains leaps and bounds in the camgirl charts, Goldhaber and Mazzei derive less tension from the explanation and discovery of what’s really going on rather than the harsh truth of just how vulnerable Alice is—and we all are—to the cold, brutal, indifferent violence of this online world we’ve built for ourselves. —Dom Sinacola



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Year: 2017
Director: David Bruckner
Stars: Rafe Spall, Arsher Ali, Robert James-Collier, Sam Troughton
Rating: NR
Runtime: 94 minutes


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A prime example of what might be termed the “bro horror” subgenre, The Ritual’s characters are a band of lifelong mates united in mourning a friend who has recently been killed in a brutal liquor store robbery. Luke (Rafe Spall) is the member of the group who shoulders the greatest burden of guilt, being the only one who was in the store at the time, paralyzed with indecision and cowardice while he watched his friend die. The other members clearly blame Luke for this to varying degrees, and one senses that their decision to journey to Sweden for a hiking trip deep into the wilderness is less to honor their dead friend’s memory, and more to determine if their bond can ever be repaired, or whether the recrimination stemming from the death is insurmountable. Where The Ritual excels is technically, in both its imagery and sound design. Cinematographer Andrew Shulkind’s crisp images and deep focus are a welcome respite from the overly dark, muddy look of so many modern horror films with similar settings (such as Bryan Bertino’s The Monster), and the forested location shots, regardless of where they may have been filmed, are uniformly stunning. Numerous shots of tree clusters evoke Celtic knot-like imagery, these dense puzzles of foliage clearly hiding dire secrets, and we are shown just enough through the film’s first two thirds to keep the mystery palpable and engaging. Director David Bruckner, who is best known for directing well-regarded segments of horror anthologies such as V/H/S, The Signal and Southbound, demonstrates a talent here for suggestion and subtlety, aided by some excellent sound design that emphasizes every rustling leaf and creaking tree branch. Unfortunately, the characters are a bit thin for what is meant to be a character-driven film, and the big payoff can’t quite maintain the atmosphere of the film’s first two acts. Still, The Ritual is a great-looking film, and one that features one of the more memorably “WTF!” monster designs in recent memory. It’s worth a look for that alone. —Jim Vorel



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Year: 2021
Director: Leigh Janiak
Stars: Kiana Madeira, Ashley Zukerman, Gillian Jacobs, Olivia Scott Welch, Benjamin Flores Jr., Darrell Britt-Gibson
Rating: R
Runtime: 114 minutes


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The first two entries in Netflix’s Fear Street trilogy from director Leigh Janiak have been widely described (and widely praised) within the bounds of language often devoted to slasher movies—as solid “popcorn entertainment” and “simple fun” that represents, in this case, a welcome divergence from the more serious streak of arthouse horror we’ve been experiencing of late. And although it is true that there’s nothing “elevated” or pretentious about any of these three Fear Street entries, to simply think of them as slasher films isn’t quite right either, despite their gory flair. They’re not even really meta-slashers in the mold of Scream, which was relentlessly name-checked by critics as they appraised first entry Fear Street: 1994 in particular. Rather, the real meat of this trilogy is a metaphysical, supernatural mystery that spans across lifetimes and centuries—it’s a story that uses the trappings of slasher cinema in two different eras, the ‘90s and ‘70s, in order to get at eventual themes of scapegoating, privilege and corrupted history. This is the bigger message that final entry Fear Street Part Three: 1666 attempts to deliver, albeit in a clumsier manner than its previous time jump, in a more difficult setting to truly capture. Three movies in, the little absurdities of this series are beginning to mount, but it at least manages to remain briskly entertaining and pretty damn bloody. —Jim Vorel



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Year: 2016
Director: James Wan
Stars: Vera Farmiga, Patrick Wilson, Frances O’Connor, Madison Wolfe, Simon McBurney, Franka Potente
Rating: R
Runtime: 134 minutes


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The film is a blast as a funhouse-style genre exercise, but there’s very little holding it all together. If The Conjuring offended some with its historical revisionism, at least that film had cohesion. The Conjuring 2, meanwhile, plays with themes that never wind up being fully developed. Once the Warrens come to the Hodgsons’ aid, Ed explains that wicked spirits have a particular affinity for negative energy, and tend to manifest when bad things happen to people in their lives. “They like to kick us when we’re down,” he tells Peggy, and the Hodgsons are indeed down by anyone’s definition. Their home is deteriorated: The walls are peeling, the woodwork is cracked, and the cupboards are bare of biscuits. But matters of economy and class are window dressing. The film’s core is Janet’s overwhelming sense of loneliness. As the primary target of her family’s supernatural tormentor, she has become totally isolated from her friends at school. We don’t really see that, though. We just hear about it. The film’s script, penned by returning twin sibling screenwriting duo Chad and Carey Hayes, plus Wan, plus David Leslie Johnson, puts more emphasis on Lorraine’s premonitions of Ed’s death in an instance of just-too-muchery. —Andy Crump



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Year: 2017
Director: Robin Aubert
Stars: Marc-André Grondin, Monia Chokri, Brigitte Poupart, Luc Proulx, Charlotte St-Martin
Rating: NR
Runtime: 96 minutes


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Genre geeks didn’t seem to take a lot of notice of Ravenous, beyond its Best Canadian Film award at the Toronto International Film Festival—perhaps the result of an “indie zombie drama” subgenre that seems to have run its course through films such as The Battery, and perhaps because it’s performed in French rather than English. Regardless, this is a competently crafted little drama thriller for the zombie completist, full of excellent performances from no-name actors and an intriguing take on the results of zombification. The infected here at times seem like your standard Romero ghouls, but they’re also a bit more: lost souls who have hung onto some kind of strange, rudimentary culture all their own. These aspects of the zombie plague are always hinted at, never extrapolated, but it enhances the profound feelings of loss and sadness present in Ravenous. —Jim Vorel



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Year: 2017
Director: McG
Stars: Samara Weaving, Judah Lewis, Hana Mae Lee, Robbie Amell, Bella Thorne
Rating: NR
Runtime: 85 minutes


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The Babysitter is a little guileless in its overt desire to be lovingly described as an ’80s slasher homage, but simultaneously effective enough to earn a good measure of that approval it craves. With twists care of Fright Night and Night of the Demons, it’s at its best not when trying to slavishly recreate a past decade, but when letting its hyper-charismatic teenage characters run wild. Stylish, gory and profane to a fault, The Babysitter features a handful of bang-up performances, like Judah Lewis as a late-blooming 12-year-old, Robbie Amell as a nigh-invincible football jock and Samara Weaving as the title character, the girl of Lewis’s dreams—right up until she tries to sacrifice him to the devil. Fast-moving (only 85 minutes!) and frequently hilarious, it’s probably the best unit of popcorn horror entertainment that Netflix has managed to put out so far. —Jim Vorel



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Year: 2017
Director: Paco Plaza
Stars: Sandra Escacena
Rating: NR
Runtime: 105 minutes


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Paco Plaza, the Spanish director of landmark 2007 found footage horror film R.E.C., has largely delivered diminishing returns via R.E.C. sequels. Verónica, therefore, has been received as a welcome venture into a new concept for the director, even if the results are decidedly on the derivative side. A spirit/demonic possession movie in the vein of Witchboard, the film follows a 15-year-old Spanish student (Sandra Escacena) who unwittingly invites evil into her home while conducting a ouija seance with her school chums. Where the movie shines best is largely on the presentation side: It looks great whenever its images aren’t too dark, capturing an interesting moment in history by setting the film in 1991 Spain. Charismatic performances from multiple child actors serve to bolster a story that unfortunately feels frustratingly familiar, recycling elements of Ouija, The Last Exorcism and practically every possession film ever written. This is very well-trodden ground, but Verónica is at the very least more than competent, even if it’s not the revelation for which we were hoping from the director. —Jim Vorel



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Year: 2017
Director: Zak Hilditch
Stars: Thomas Janes, Neal McDonough, Molly Parker
Rating: NR
Runtime: 101 minutes


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A chameleonic performance from Thomas Jane anchors this understated, gothic story set in Depression-era Middle America, told in the style of a confession by the husband (who we can tell right from the get-go is haunted by some horrible crime). When his wife (Molly Parker) insists on selling the land she’s inherited rather than work it, Jane’s unsophisticated field hand harangues their son (Dylan Schmid) into becoming an accomplice in her grisly murder. As with every Grand Guignol tale, though, we already know that the worst part isn’t the act of killing, but the endless paranoia of living with it. In the case of the movie’s guilty narrator, that means a vengeful and inevitable haunting filled with all the foreboding and creepy imagery you came to see. Stephen King adaptations have their hits and their misses, but this is a straightforward story that gets by on the power of a dread-steeped plot and some compelling performances by good character actors you’ll most likely always be happy to see get screen time. —Kenneth Lowe



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Year: 2017
Director: Eli Craig
Stars: Adam Scott, Evangeline Lilly
Rating: NR
Runtime: 95 minutes


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Seven years after he gave us Tucker & Dale vs. Evil, one of the best horror comedies in recent memory, director Eli Craig has finally returned with an exclusive for Netflix, Little Evil. An obvious parody of The Omen and other “evil kid” movies, Little Evil wears its influences and references on its sleeve in ways that, while not particularly clever, are at least loving. Adam Scott is the sad-sack father who somehow became swept up in a whirlwind romance and marriage, all while being unfazed by the fact that his new step-son is the kind of kid who dresses like a pint-sized Angus Young and trails catastrophes behind him wherever he goes. Evangeline Lilly is the boy’s foxy mother, whose motivations are suspect throughout. Does she know that her child is the spawn of Satan, or as his mother is she just willfully blind to the obvious evil growing under her nose? The film can boast a pretty impressive supporting cast, from Donald Faison and Chris D’elia as fellow step-dads, to Clancy Brown as a fire-and-brimstone preacher, but never does it fully commit toward either its jokes or attempts to frighten. The final 30 minutes are the most interesting, leading the plot in an unexpected direction that redefines the audience’s perception of the demon child, but it still makes for a somewhat uneven execution. Tucker & Dale this is not, but it’s still a serviceable return for Craig. —Jim Vorel



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Year: 2021
Director: Leigh Janiak
Stars: Sadie Sink, Emily Rudd, Ryan Simpkins, McCabe Slye, Ted Sutherland, Ashley Zukerman, Jordana Spiro, Gillian Jacobs, Kiana Madeira, Benjamin Flores Jr.
Rating: R
Runtime: 110 minutes


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That’s pretty much Fear Street Part 2: 1978 in a nutshell. This second entry of director Leigh Janiak’s ambitious R.L. Stine adaptation trilogy for Netflix hits the ground running, with plenty of momentum provided by the surprisingly visceral Fear Street: 1994, and although it follows through on that film’s lively visuals and gruesome deaths, it finds itself hurting somewhat for compelling characters and variety in what it’s able to offer. Bound by its retro summer camp theming and the obvious horror allusions that theming implies, 1978 is a more lightweight diversion that occasionally finds itself spinning its wheels, although it does redeem itself with a startling transition into the jumping off point for final entry Fear Street: 1666. Nevertheless, it feels like middle child syndrome has likely come into play in this second chapter. —Jim Vorel



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Year: 2020
Director: Cho Il-hyung
Stars: Yoo Ah-in, Park Shin-hye
Rating: NR
Runtime: 99 minutes


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Fans of zombie cinema were hotly anticipating at least one South Korean zombie feature this year: Peninsula, the sequel to the much-loved Train to Busan was heavily hyped, but ultimately fell far short of the original. Thankfully, though, there was another Korean zombie flick waiting in the wings to step into its place, in the form of the significantly more successful (if modest) #Alive. Fans of the original World War Z novel will certainly find this story familiar, as it’s suspiciously similar to one of that book’s better-loved passages, about a young gamer/hacker in Japan who is so deeply engrossed in the web, he fails to notice the world descending into a zombie apocalypse around him, before finally being forced to unplug and go on the run. Here, the same basic premise is simply transplanted to South Korea, where the introverted protagonist must rappel down the side of his apartment building to avoid the prowling dead, while also looking for other survivors hiding among the carnage. It’s a much tighter, more neatly executed story than the disappointing excesses of Peninsula, perfect for pandemic-era viewing. —Jim Vorel



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Year: 2021
Director: S.K. Dale
Stars: Megan Fox, Eoin Macken, Callan Mulvey, Jack Roth, Aml Ameen
Rating: R
Runtime: 88 minutes


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Till Death initially doesn’t appear to play to Megan Fox’s strengths. For about 10 minutes, it’s a dour marital drama where Emma (Fox) extricates herself from an affair in an attempt to reconcile with her wealthy husband Mark (Eoin Macken). It quickly becomes clear that Mark is controlling and abusive, but he’s able to keep his worst tendencies just tamped-down enough to give Emma some hope—until she wakes up the morning after their seeming reconciliation handcuffed to her beau … who promptly shoots himself in the head. The burden of Emma’s terrible relationship becomes physicalized and literalized as she has to drag the bastard around with her as she evades the criminals Mark has hired to come after her. This trim, compact movie is primarily a thriller, but it has horror-adjacent elements—practical gore; Mark’s Jigsaw-esque messages from beyond the grave; dark and gruesome flashes of humor—and that’s what ultimately makes it such a great match for Fox. From her popping red lipstick in the pre-mayhem sections to the blood splatter that perfectly soaks half of her face, Fox looks like a femme fatale captured mid-morph into scream queen. After years of objectification, she feels in control of her bombshell image. —Jesse Hassenger



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Year: 1997
Director: Jim Gillespie
Stars: Jennifer Love Hewitt, Sarah Michelle Gellar, Ryan Phillippe, Freddie Prinze Jr., Johnny Galecki, Bridgette Wilson
Rating: R
Runtime: 101 minutes


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It’s sort of ironic that writer Kevin Williamson followed up Scream (no, Wes Craven didn’t actually write the screenplay for Scream), the film that revitalized the tired slasher genre in 1996 by examining its tropes and cliches, by writing a true-to-form, classical, ’80s-style slasher, but that’s exactly what he did. Whereas Scream sets out to reinvent—or more accurately, wink at—the wheel, I Know What You Did Last Summer had no such grand ambitions in mind. This is instead a movie made to capitalize on the former, although it does so with style. In truth, it seems heavily inspired by slashers in the mold of Prom Night in particular, wherein the guilty parties in an old crime are hunted down one by one. As for the cast, it’s just about the most ’90s assemblage in horror history, from Sarah Michelle Gellar and Jennifer Love Hewitt to Ryan Phillippe and Freddie Prinze Jr., each more perfectly coiffed than the last. Even the famous chase scene of Prom Night gets revisited, but even more than was true in the ’80s, the true purpose of the film is to show off its nubile young cast of budding stars. It’s fun as a time capsule—perhaps more fun now than it was in 1997, truth be told—but it will always find itself in Scream’s shadow. —Jim Vorel



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Year: 2019
Director: Richard Shepard
Starring: Allison Williams, Logan Browning, Steven Weber, Alaina Huffman
Rating: NR
Runtime: 90 minutes


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What should horror movies be judged by? Airtight narrative logic, or imaginatively deranged imagery? Scores matter, scripts matter, but by the end of the movie what tends to matter most are the visuals, and Richard Shepard’s new movie, The Perfection, sears its visuals into the viewer’s mind like branding on livestock, right up to its final shot, one of the genre’s most indelible since horror became the taste of the day in the mid 2010s. It’s a twisted kind of miracle that anyone who watches The Perfection will never be the same, and a testament to horror’s power to bend minds and spur nightmares with a single picture. But the movie also reminds us that as much as pictures often come first, plotting usually should come a very close second. The film begins promisingly enough: After abandoning her career to care for her dying mother, cello prodigy Charlotte (Allison Williams) returns to the music world to reclaim her standing as the Bachoff Academy of Music’s star pupil, which means sabotaging the current title holder, Lizzie (Logan Browning). Charlotte reaches out to her old teachers, Anton (Steven Weber) and Paloma (Alaina Huffman), travels to Shanghai as Bachoff selects its latest student, and cozies up to Lizzie. They flatter each other. They flirt. They drink, go partying, then make passionate love in a hotel, filmed with cinematographer Vanja Cernul’s lurid gaze. Maybe Charlotte bears Lizzie no grudge. Maybe they really do admire each other to romantic heights. And then they travel to rural China, where Lizzie grows increasingly sick, starts puking up bugs, discovers yet more bugs dithering about under the skin on her arm, and, when offered a butcher’s cleaver by Charlotte, chops off her hand. This is the climax to The Perfection’s first half hour, ruined by a single viewing of the trailer. It’s also where Shepard springs the first of several fakeouts, stealing a page from Michael Haneke’s playbook. At its best, The Perfection is an homage to 1970s horror movies and 1980s thrillers, a glorious, multi-hewed mind screw. When Shepard sticks to this aesthetic, the movie soars on grotesque wings. When he commits the cardinal sin of demystifying the mysterious, it’s a major drag. A little ambiguity goes a long, long way in horror. —Andy Crump



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Year: 2009
Director: Marcus Nispel
Stars: Jared Padalecki, Danielle Panabaker, Aaron Yoo, Amanda Righetti, Travis Van Winkle, Derek Mears
Rating: R
Runtime: 97 minutes


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The 2009 remake of Friday the 13th simultaneously delivered as loving a tribute to the F13 series as one could reasonably expect, and highlighted exactly why that sort of tribute has trouble standing on its own outside of the golden era of slasher movies in the early 1980s. The pieces are here—the blood and guts, the extremely gratuitous nudity, the idiot characters—but as with other Platinum Dunes horror remakes of the era (especially 2010’s Nightmare on Elm Street), the film has no ideas of its own to contribute. It comes off as simply a string of finger-pointing moments, begging the viewer to “remember this?”, while executing most of those moments in ways far less satisfying than the first four Friday the 13th movies it’s using as inspiration. Even the action feels muddy and poorly lit in a way that was never problematic in the original run of the series. It’s a film that sought to please fans of the series who came armed with the lowest of expectations. —Jim Vorel

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The 40 Best Horror Movies on Netflix Right Now

";}s:7:"summary";s:620:"Assessing the quality of offerings available from Netflix in 2021, it quickly becomes clear that their horror library is a real mixed bag. 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 ... Read more";s:12:"atom_content";s:89030:"

Assessing the quality of offerings available from Netflix in 2021, it quickly becomes clear that their horror library is a real mixed bag. 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. 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. 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.

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, Raw or newer films like His House and the Fear Street trilogy. 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 Midnight Mass, either. They’re not technically movies, but they’re impossible to leave off this list. Also: The Exorcist is back? Watch out!

We invite you to use this list as a guide. The lowest-ranked films are of the “fun-bad” variety—flawed, but easily enjoyable for one reason or another. The highest-ranked films are obviously essentials.

You may also want to check out the following horror-centric lists:

The 100 best horror films of all time.

The 100 best vampire movies of all time.

The 50 best zombie movies of all time.

The 40 best horror movies on Hulu

The 80 best horror movies on Amazon Prime

The 50 best horror movies streaming on Shudder

The 50 best movies about serial killers

The 50 best slasher movies of all time

The 50 best ghost movies of all time



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Year: 1973
Director: William Friedkin
Stars: Linda Blair, Ellen Burstyn, Max von Sydow, Jason Miller, Lee J. Cobb
Rating: R
Runtime: 122 minutes


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The Exorcist is a bit of a safe pick, but then you wrestle with whether any other film on this list is more disturbing, more influential or just plain scarier than this movie, and there simply isn’t one. The film radiates an aura of dread—it feels somehow unclean and tilted, even before all of the possession scenes begin. Segments like the “demon face” flash on the screen for an eighth of a second, disorienting the viewer and giving you a sense that you can never, ever let your guard down. It worms its way under your skin and then stays there forever. The film constantly wears down any sense of hope that both the audience and the characters might have, making you feel as if there’s no way that this priest (Jason Miller), not particularly strong in his own faith, is going to be able to save the possessed little girl (Linda Blair). Even his eventual “victory” is a very hollow thing, as later explored by author William Peter Blatty in The Exorcist III. Watching it is an ordeal, even after having seen it multiple times before. The Exorcist is a great film by any definition. —Jim Vorel



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Year: 2016
Director: Julia Ducournou
Stars: Garance Marillier, Ella Rumpf, Laurent Lucas
Rating: R
Runtime: 99 minutes


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If you’re the proud owner of a twisted sense of humor, you might tell your friends that Julia Ducournau’s Raw is a “coming of age movie” in a bid to trick them into seeing it. Yes, the film’s protagonist, naive incoming college student Justine (Garance Marillier), comes of age over the course of its running time; she parties, she breaks out of her shell, and she learns about who she really is as a person on the verge of adulthood. But most kids who come of age in the movies don’t realize that they’ve spent their lives unwittingly suppressing an innate, nigh-insatiable need to consume raw meat. “Hey,” you’re thinking, “that’s the name of the movie!” You’re right! It is! Allow Ducournau her cheekiness. More than a wink and nod to the picture’s visceral particulars, Raw is an open concession to the harrowing quality of Justine’s grim blossoming. Nasty as the film gets, and it does indeed get nasty, the harshest sensations Ducournau articulates here tend to be the ones we can’t detect by merely looking: Fear of feminine sexuality, family legacies, popularity politics, and uncertainty of self govern Raw’s horrors as much as exposed and bloody flesh. It’s a gorefest that offers no apologies and plenty more to chew on than its effects. —Andy Crump



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Year: 2020
Director: Remi Weekes
Stars: Wunmi Mosaku, Sope Dirisu, Matt Smith
Rating: NR
Runtime: 93 minutes


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Nothing sucks the energy out of horror than movies that withhold on horror. 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. Remi Weekes’ His House doesn’t screw around. 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. 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. 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. But Weeks is equally invested in making his viewers leap out of their skins. —Andy Crump



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Year: 2018
Director: Mike Flanagan
Stars: Henry Thomas, Michiel Huisman, Carla Gugino, Elizabeth Reaser, Oliver Jackson-Cohen, Kate Siegel, Victoria Pedretti
Runtime: 10 episodes


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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. The monsters, ghosts, and things that go bump on the wall are off-screen, barely shown, or obscured by shadow. 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. Well, maybe “inconsistency” is the wrong word. 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. 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. —Jacob Oller



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Year: 2021
Director: Mike Flanagan
Stars: Zach Gilford, Kate Siegel, Kristin Lehman, Samantha Sloyan, Henry Thomas, Hamish Linklater
Rating: N/A


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On Midnight Mass’ Crockett Island, every islander feels rife with misfortune. The recent oil spill nearly annihilated the fish supply, tanking the island’s local fishing economy. Their homes splinter and peel in neglect to the ocean’s elements. The majority of residents have fled the island for lack of opportunity, leaving a paltry few behind. Only two ferries can take them to the mainland. Hope runs in short supply—and a major storm brews on the horizon.

Everything beyond that for this seven-episode series is a true spoiler, but what can be said is that even with its dabblings in the supernatural, Midnight Mass (created by The Haunting’s Mike Flanagan, in his most recent collaboration with Netflix), is a show that burrows inwards instead of outwards. With both the physical claustrophobia of Crockett’s setting and the internal suffering of characters placed in center stage, Midnight Mass concerns itself with horrors within: addictive tendencies, secret histories, and questions of forgiveness and belief. At one glance, it’s a series that’s mined Catholic guilt for gold. In another, it’s a measured, yet spooky take on group psychology, the need for faith in sorrow, and the ethics of leadership with such vulnerable followers, weighing whether these impulses represent human goodness, evil, or simply nothing at all.

“Blessed are those who have not seen and have believed.” Midnight Mass offers a chance for anyone to be doubting Thomas or true believer. What difference is a miracle from a supernatural event, anyway? —Katherine Smith



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Year: 2015
Director: David Robert Mitchell
Stars: Maika Monroe, Keir Gilchrist, Daniel Zovatto, Jake Weary, Olivia Luccardi, Lili Sepe
Rating: R
Runtime: 100 minutes


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The specter of Old Detroit haunts It Follows. In a dilapidating ice cream stand on 12 Mile, in the ’60s-style ranch homes of Ferndale or Berkley, in a game of Parcheesi played by pale teenagers with nasally, nothing accents—if you’ve never been, you’d never recognize the stale, gray nostalgia creeping into every corner of David Robert Mitchell’s terrifying film. But it’s there, and it feels like SE Michigan. The music, the muted but strangely sumptuous color palette, the incessant anachronism: In style alone, Mitchell is an auteur seemingly emerged fully formed from the unhealthy womb of Metro Detroit. Cycles and circles concentrically fill out It Follows, from the particularly insular rules of the film’s horror plot, to the youthful, fleshy roundness of the faces and bodies of this small group of main characters, never letting the audience forget that, in so many ways, these people are still children. In other words, Mitchell is clear about his story: This has happened before, and it will happen again. All of which wouldn’t work were Mitchell less concerned with creating a genuinely unnerving film, but every aesthetic flourish, every fully circular pan is in thrall to breathing morbid life into a single image: someone, anyone slowly separating from the background, from one’s nightmares, and walking toward you, as if Death itself were to appear unannounced next to you in public, ready to steal your breath with little to no aplomb. Initially, Mitchell’s whole conceit—passing on a haunting through intercourse—seems to bury conservative sexual politics under typical horror movie tropes, proclaiming to be a progressive genre pic when it functionally does nothing to further our ideas of slasher fare. You fornicate, you find punishment for your flagrant, loveless sinning, right? (The film has more in common with a Judd Apatow joint than you’d expect.) Instead, Mitchell never once judges his characters for doing what practically every teenager wants to do; he simply lays bare, through a complex allegory, the realities of teenage sex. There is no principled implication behind Mitchell’s intent; the cold conclusion of sexual intercourse is that, in some manner, you are sharing a certain degree of your physicality with everyone with whom your partner has shared the same. That he accompanies this admission with genuine respect and empathy for the kinds of characters who, in any other horror movie, would be little more than visceral fodder for a sadistic spirit, elevates It Follows from the realm of disguised moral play into a sickly scary coming-of-age tale. Likewise, Mitchell inherently understands that there is practically nothing more eerie than the slightly off-kilter ordinary, trusting the film’s true horror to the tricks our minds play when we forget to check our periphery. It Follows is a film that thrives in the borders, not so much about the horror that leaps out in front of you, but the deeper anxiety that waits at the verge of consciousness—until, one day soon, it’s there, reminding you that your time is limited, and that you will never be safe. Forget the risks of teenage sex, It Follows is a penetrating metaphor for growing up. —Dom Sinacola



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Year: 2014
Director: Patrick Brice
Stars: Mark Duplass, Patrick Brice
Rating: R
Runtime: 77 minutes


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Creep is a somewhat predictable but cheerfully demented little indie horror film, the directorial debut by Brice, who also released this year’s The Overnight. 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. It leans entirely on its performances, which are excellent. Duplass, who can be charming and kooky in something like Safety Not Guaranteed, shines here as the deranged lunatic who forces himself into the protagonist’s life and haunts his every waking moment. The early moments of back-and-forth between the pair crackle with a sort of awkward intensity. Anyone genre-savvy will no doubt see where it’s going, but it’s a well-crafted ride that succeeds on the strength of chemistry between its two principal leads in a way that reminds me of the scenes between Domhnall Gleeson and Oscar Isaac in Ex Machina. —Jim Vorel



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Year: 2013
Director: James Wan
Stars: Vera Farmiga, Patrick Wilson, Ron Livingston, Lili Taylor
Rating: R
Runtime: 112 minutes


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Let it be known: James Wan is, in any fair estimation, an above average director of horror films at the very least. The progenitor of big money series such as Saw and Insidious has a knack for crafting populist horror that still carries a streak of his own artistic identity, a Spielbergian gift for what speaks to the multiplex audience without entirely sacrificing characterization. Several of his films sit just outside the top 100, if this list were ever to be expanded, but The Conjuring can’t be denied as the Wan representative because it is far and away the scariest of all his feature films. Reminding me of the experience of first seeing Paranormal Activity in a crowded multiplex, The Conjuring has a way of subverting when and where you expect the scares to arrive. Its haunted house/possession story is nothing you haven’t seen before, but few films in this oeuvre in recent years have had half the stylishness that Wan imparts on an old, creaking farmstead in Rhode Island. The film toys with audience’s expectations by throwing big scares at you without standard Hollywood Jump Scare build-ups, simultaneously evoking classic golden age ghost stories such as Robert Wise’s The Haunting. Its intensity, effects work and unrelenting nature set it several tiers above the PG-13 horror against which it was primarily competing. It’s interesting to note that The Conjuring actually did receive an “R” rating despite a lack of overt “violence,” gore or sexuality. It was simply too frightening to deny, and that is worthy of respect. —Jim Vorel



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Year: 2020
Director: Charlie Kaufman
Stars: Jessie Buckley, Jesse Plemons, Toni Collette, David Thewlis
Rating: R
Runtime: 134 minutes


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Many viewers will think of ending I’m Thinking of Ending Things not long after it’s started. A cross-dissolve cascade of crude shots details the interior of a farmhouse or an apartment, or the interior of an interior. A woman we have not yet seen is practically mid-narration, telling us something for which we have no context. It feels wrong, off-putting. Something is not right. This is not how movies are supposed to work. Finally we see the woman, played brilliantly by Jessie Buckley. She is standing on the street as puffy snowflakes start to fall, like we’re within a 3-D snow globe with her. She looks up at a window a couple stories up. We see an old man looking down out of a window. We see Jesse Plemons looking down out of a window. We see Jesse Plemmons in the next shot picking up Jessie Buckley in his worn car. The movie music twinkles and swirls. Jessie Buckley’s Lucy or Lucia or Amy is thinking of ending things with Jesse’s Jake. Things aren’t going to go anywhere good, seems to be the reasoning. Jake drives the car and sometimes talks; his behaviors seem fairly consistent until they’re not, until some gesture boils up like a foreign object from another self. Louisa or Lucy is forthcoming, a fountain of personality and knowledge and interests. But sometimes she slows to a trickle, or is quiet, and suddenly she is someone else who is the same person but perhaps with different memories, different interests. Sometimes she is a painter, sometimes a physicist, sometimes neither. Jessie and Jesse are great. Their performances and their characters are hard to describe. The best movie of 2020 is terrible at being a “movie.” It does not subscribe to common patterns, rhythms, or tropes. It doesn’t even try to be a great movie, really, it simply tries to dissect the life of the mind of the other, and to do that by any cinematic means possible. The self-awareness of the film could have been unbearable, except awareness (and our fragmentary experience of it) is so entirely the point of everything that the film is wrapped up within and that is wrapped up within it. To say the film accepts both the beauty and ugliness of life would be a platitude that the film itself rejects. To say that “love conquers all,” even moreso. But these false truths flit in and about the film’s peripheral vision: illusions or ghosts, but welcome ones. —Chad Betz



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Year: 2010
Director: Matt Reeves
Stars: Kodi Smit-McPhee, Chloe Grace Moretz, Elias Koteas, Richard Jenkins
Rating: R
Runtime: 116 minutes


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Practically more supernatural a creature than its starring monster, Let Me In is not only an Americanized adaptation of a foreign film that isn’t a waste of everyone’s time, it’s arguably superior than the film it’s based upon. Like the original Swedish film, Let the Right One In, Matt Reeves’ update teases a remarkable amount of tension and intrigue through meticulous plotting and arresting imagery. Though set in Los Alamos, New Mexico, rather than Stockholm, the choice of place for relocation initially seems an odd one—but it turns out it’s not the icy Swedish darkness that harbors the sense of unease. It’s the isolation of a 12-year-old boy, neglected by parents and any real parental figure. Owen’s (Kodi Smit-McPhee) bond with the eternally youthful vampire Abby (Chloë Grace Moretz) is as effective and chilling here as it is in the original, thanks in no small part to its two phenomenal young leads. No question there’s a modern horror classic here, from the unlikeliest of origins. —Scott Wold



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Year: 1994
Director: Neil Jordan
Stars: Brad Pitt, Tom Cruise, Kirsten Dunst, Antonio Banderas, Christian Slater
Rating: R
Runtime: 122 minutes


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Anne Rice’s 1976 gothic novel about bloodsuckers in Spanish Louisiana got the epic big-screen treatment almost two decades after its debut, and 200 years after its narrator Louis’ induction into the immortal realm. New Orleans—home to many “cities of the dead” or above-ground cemeteries, due in part to the plagues that ravaged late 18th century slums—is also the perfect setting for a grief-stricken, navel-gazing young plantation owner like Louis (played by Brad Pitt) to lose himself. Preening and stalking his way through the streets, Louis’ maker and lead vamp Lestat (Tom Cruise) embodies an otherworldly decadence and European sophistication. Cruise, whose casting was initially criticized by Rice herself, nails it as a glib, undead dandy. A preteen Kirsten Dunst steals scenes as a spitfire orphan-turned-ageless bloodsucker, while Antonio Banderas and Stephen Rea terrify in their limited screen time. Director Neil Jordan, working with cinematographer Philippe Rousselot and production designer Dante Ferretti, captures their nocturnal existence in hedonistic hues and the light of lanterns strewn throughout the French Quarter, a universe that still stands frozen in time. —Amanda Schurr



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Year: 2015
Director: Guillermo del Toro
Stars: Tom Hiddleston, Jessica Chastain, Mia Wasikowska
Rating: R
Runtime: 119 minutes


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Crimson Peak follows the traditions of gothic romance by design: “I made this movie to present and reverse some of the normal tropes, while following them, of the gothic romance,” del Toro says on the Arrow Blu-ray’s audio commentary track, a note made during the introduction between his protagonist, Edith Cushing (Mia Wasikowska), and her first of two love interests, Sir Thomas Sharpe (Tom Hiddleston), a baronet come to the U.S. to win over her father, the magnate Carter Cushing (Jim Beaver), and obtain financial backing for his very own clay-mining contraption. The exchange between Thomas and Edith in this scene is crucial to what the film’s trying to accomplish: “I’m sorry,” he says to her, the manuscript on her desk having caught his eye. “I don’t mean to pry, but this is a piece of fiction, is it not?”

It is. It’s her fiction, in fact, a piece she’s written for publication in the pages of The Atlantic Monthly. With a glance, the story has ensnared him. “Ghosts,” he remarks, an inscrutable smile on his lips. Edith goes on defense, stammering, “Well, the ghosts are just a metaphor, really,” but Thomas isn’t finished: “They’ve always fascinated me. You see, where I come from, ghosts are not to be taken lightly.” Thomas means this as flattery and not admonition, and flattered is how Edith reacts, excitement spreading across her face at encountering a kindred spirit to accompany the actual spirits she’s yet to meet. Thomas gets it. When she speaks with him, Edith doesn’t need to compromise her fondness for ghost stories, as she must with her peers. She can openly appreciate them on their own terms. And so can Crimson Peak. Del Toro adores the production components of the gothic romance; he’s enamored with the pomp, the circumstance, the costumes. They give him a veil of propriety, because Crimson Peak doesn’t pull its punches. The audience finds out what kind of film it is from the opening shot of Edith’s face, decorated by open wounds, and from the follow-up sequence, in which young Edith (Sofia Wells) is visited in dead of night by her late mother’s blackened osseous specter. Crimson Peak doesn’t care about catering to taste or achieving universality. It cares about freaking its viewers the hell out. After all, if “horror” as a genre acts as a massive umbrella sheltering all manner of aesthetics and approaches, the exercise should always be about sending an audience away with a powerful need to sleep with the lights on. —Andy Crump



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Year: 2017
Director: Patrick Brice
Stars: Mark Duplass, Desiree Akhavan, Karan Soni
Rating: N/A
Runtime: 80 minutes


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Creep was not a movie begging for a sequel. About one of cinema’s more unique serial killers—a man who seemingly needs to form close personal bonds with his quarry before dispatching them as testaments to his “art”—the 2014 original was self-sufficient enough. But Creep 2 is that rare follow-up wherein the goal seems to be not “let’s do it again,” but “let’s go deeper”—and by deeper, we mean much deeper, as this film plumbs the psyche of the central psychopath (who now goes by) Aaron (Mark Duplass) in ways both wholly unexpected and shockingly sincere, as we witness (and somehow sympathize with) a killer who has lost his passion for murder, and thus his zest for life. In truth, the film almost forgoes the idea of being a “horror movie,” remaining one only because we know of the atrocities Aaron has committed in the past, meanwhile becoming much more of an interpersonal drama about two people exploring the boundaries of trust and vulnerability. Desiree Akhavan is stunning as Sara, the film’s only other principal lead, creating a character who is able to connect in a humanistic way with Aaron unlike anything a fan of the first film might think possible. Two performers bare it all, both literally and figuratively: Creep 2 is one of the most surprising, emotionally resonant horror films in recent memory. —Jim Vorel



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Year: 1987
Director: Joel Schumacher
Stars: Kiefer Sutherland, Jason Patric, Corey Haim, Dianne Wiest, Jami Gertz, Corey Feldman, Alex Winter
Rating: R
Runtime: 98 minutes


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If vampires are among the original heartthrobs, it makes all the more sense for Joel Schumacher—he of Brat Pack and other generic onscreen glossiness—to have doubled down with a Tiger Beat collage of ’80s teen idols: Jason Patric, Kiefer Sutherland, Jami Gertz and the Coreys (Haim and Feldman). Patric and Haim are siblings who sense something is amiss in their new coastal California town, where a lot of people have gone missing lately. While Patric’s Michael falls in with hottie Star (Gertz) and her gang leader/vamp BF David (Sutherland), Haim’s Sam bonds with the nerdy vampire-hunting Frog brothers, Edgar and Allan (get it?), at the local comic book store. It’s super slick, cheesy and a nostalgia trip for the pre-Twilight generation. Schumacher scores bonus points for casting Dianne Wiest as a newly single mom, Edward Herrmann as her suspicious new suitor, and Barnard Hughes as the boys’ curmudgeonly gramps. Despite its titular hat tip to J.M. Barrie, The Lost Boys is about as deep as a baby’s premolars, but don’t let that stop you from “vamping out.” —Amanda Schurr



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Year: 2021
Director: Leigh Janiak
Stars: Kiana Madeira, Olivia Scott Welch, Benjamin Flores Jr., Julia Rehwald, Fred Hechinger, Maya Hawke
Rating: R
Runtime: 107 minutes


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The first film in Netflix’s trilogy of R.L. Stine Fear Street adaptations quickly announces itself as a far more vicious and bloody beast than any of the family friendly Goosebumps installments of recent years, successfully carving out its own place in the modern meta-slasher canon while hinting at an exciting conclusion to come. 1994 garbs itself in slasher history, being particularly referential of Scream while also including numerous allusions to much more obscure ‘80s slashers such as Intruder, but it simultaneously (and cleverly) distracts the audience from some of its deeper mysteries, to be explored more fully in Fear Street: 1978 and Fear Street: 1666. What we’re left with is a film that lays its mythology out nicely, buoyed both by engaging supporting characters and cinematic violence that is significantly more grisly than audiences are likely to expect. Suffice to say, the kills of Fear Street aren’t messing around, and once that bread slicer makes an appearance, your jaw is likely to drop. Sequels 1978 and 1666, meanwhile, keep up just enough momentum to complete the ambitious trilogy. —Jim Vorel



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Year: 2019
Director: David Marmor
Stars: Nicole Brydon Bloom, Giles Matthey, Alan Blumenfeld, Celeste Sully
Rating: NR
Runtime: 90 minutes


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In the middle of a horrifying housing crisis, 1BR holds up a mirror to the isolation and desperation crushing the greater population of Los Angeles. Hollywood and the surrounding areas may be viewed globally as a home for opulence, but the majority of Los Angeles county lives closer to the poverty line than the shoreline. These extreme levels of impoverishment come with about two dozen cults masquerading as sub-culture, a mortifying picture of co-dependancy, a coerced dismissal of personal rights, and loneliness. Sarah (Nicole Brydon Bloom), a recent Los Angeles transplant, needs to find a place to live. She also needs to get into college. Oh, and Sarah needs to figure out how to navigate her uptight boss. She’s the blueprint for every mid-twenties late bloomer. The apartment hunt has been a nightmare with limited funds, but then she finds the perfect apartment. The space is close to work, affordable, and comes with one extremely cute neighbor. Unfortunately, the property is owned by a cult, obsessed with making a perfect community. Prone to extreme measures, the group, known only as CDE Properties, watches the little colony 24 hours a day. Their tried-and-true method of converting new tenants includes sleep deprivation, solitary confinement, and threats of extreme pain. Sarah does her best to resist these tactics while simultaneously convincing her captors that she’s becoming one of them. In his feature film debut, writer/director David Marmor crafts a chilling survival story in the sun-bleached desert and stark fluorescent lighting of wearisome offices. A visceral expression of fear and longing, 1BR could be a new cult classic. With incredible performances, a solid twist and the possibility of a franchise sequel, 1BR aims high. The good news is the film hits most of its targets. —Joelle Monique



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Year: 2020
Director: Marc Meyers
Stars: Alexandra Daddario, Amy Forsyth, Maddie Hasson, Keean Johnson, Logan Miller, Austin Swift, Johnny Knoxville
Rating: R
Runtime: 91 minutes


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Roughly 30 minutes into Marc Meyers’ We Summon the Darkness, the tables turn. The twist isn’t telegraphed. Paranoid viewers might catch the scent of something “off,” the way people with hyperosmia know the milk’s gone bad before opening up the carton, but noticing the clues that Meyers, screenwriter Alan Trezza and the film’s main cast—Alexandra Daddario, Maddie Hasson and Amy Forsyth—leave on the screen takes a little deductive reasoning and a lot of psychological study. No one gives anything away. Instead, Meyers carefully pulls the truth from the set-up, and in the process hints at not a small amount of relish on his part. He’s having fun. A good twist should be fun, and We Summon the Darkness does indeed have a good twist, but Meyers, Trezza and especially Daddario appear to realize that the pleasure of a twist isn’t the reveal, it’s figuring out how to hide the twist in plain sight. This is, at first, a horror story about teenagers uniting under the banner of heavy metal in 1980s America, a time when God-fearing Christian bedwetters saw proof of devil worship everywhere they gawked and blamed the rise of Satanism on objectively awesome things like Dungeons & Dragons and Dio. Half an hour in, We Summon the Darkness still is that story, but told from the perspective of religious vultures who happily exploit the fears of the flock to profit the church. It’s a ferocious joy to watch, particularly in light of how well We Summon the Darkness holds back on secrets. Tipping the hand too much would be easy; the tells only become clear after the fact, couched in a choice of words here, a moment of hesitation there, a dose of forced enthusiasm there. For as unrestrained as things get, it’s the initial restraint that’s most memorable. —Andy Crump



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Year: 2017
Director: Mike Flanagan
Stars: Carla Gugino, Bruce Greenwood
Rating: N/A
Runtime: 103 minutes


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Director Mike Flanagan’s Gerald’s Game trims fat, condenses and slims, stripping away some of the odder quirks of Stephen King’s novel to get at the heart of themes underneath. The result is a tense, effective thriller that goes out of its way to highlight two strong actors (Bruce Greenwood and Carla Gugino) in an unfettered celebration of their craft. This is nothing new for Flanagan, whose recent output in the horror genre has been commendable. It’s hard to overlook some of the recurring themes in his work, beginning with 2011’s Absentia and all the way through the wildly imaginative Oculus, Hush and Ouija: Origin of Evil. Every one of these films centers around a strong-willed female lead, as does Gerald’s Game. Is this coincidence? Or is the director drawn to stories that reflect the struggle of women to claim independence in their lives by shedding old scars or ghosts, be they literal or figurative? Either way, it made Flanagan an obvious fit for Gerald’s Game, an unassuming, overachieving little thriller that is blessed by two performers capable of handling the lion’s share of the dramatic challenges it presents. —Jim Vorel



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Year: 1992
Director: Francis Ford Coppola
Stars: Gary Oldman, Keanu Reeves, Winona Ryder, Anthony Hopkins
Rating: R
Runtime: 128 minutes


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Based on the 1897 Gothic horror classic, Francis Ford Coppola’s unabashedly over-the-top adaptation is at times as chuckle-worthy as it is impressive. The period detail and production design is sumptuous, and the traditional, non-CGI special effects—a deliberate nod by Coppola to the novel’s turn-of-the-century origins, which coincided with early filmmaking—are the stuff of lavish spectacle. Be it Gary Oldman (relishing the role, and some masterful makeup) as the soulful but ruthless bloodsucker, Winona Ryder as his long-lost love, or Anthony Hopkins as the equally storied Dr. Van Helsing, nothing about the film or its performances is subtle—and that’s before we get to Keanu Reeves. Try as he might as the British lawyer fiancé to Ryder’s Mina, Reeves can’t help but flail onscreen, a Ted out of water among an ensemble that also includes Richard E. Grant, Cary Elwes and a marvelous Tom Waits as R.M. Renfield. When Coppola’s overwrought romantic vision works, it’s intoxicating. When it doesn’t, it’s an operatic circle jerk, albeit a still riveting one. —Amanda Schurr



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Year: 2017
Director: Neill Blomkamp
Stars: Sigourney Weaver, Carly Pope, Dakota Fanning, Steve Boyle
Rating: NR
Runtime: 72 minutes


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Originally released on YouTube throughout 2017, this is a collection of experimental (but well budgeted) sci-fi and horror short films from District 9 director Neill Blomkamp, all of which seem like seeds for potential feature film projects. Oats Studio was a project conceived by Blomkamp to do practical VFX testing while also fleshing out some of his crazier ideas, and each one of the major projects within it is very impressive in its own way. Sci-fi feature Rakka imagines an Earth overrun by telepathic reptilian aliens, as human survivors carry on a desperate and seemingly futile resistance, while Firebase pits a soldier against a reality warping “River God” in a southeast Asian military conflict. The true star of the show, though, is perhaps the pure horror of Zygote, in which Dakota Fanning plays a researcher on the run from a truly hideous creature that has taken over her facility, with heavy vibes of The Thing and last year’s PC game Carrion. The creature of Zygote, with its dozens of borrowed human limbs, is perhaps one of the most demented monsters we’ve seen in the horror world in recent memory, which means this short film really deserves to be seen by a bigger audience. —Jim Vorel



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Year: 2018
Director: Gareth Evans
Stars: Dan Stevens, Lucy Boynton, Mark Lewis Jones, Bill Milner, Michael Sheen
Rating: NR
Runtime: 129 minutes


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After the first two entries of The Raid made him a monolithic figure among action movie junkies, Apostle functions as the wider world’s introduction to the visceral filmmaking stylings of Welsh director Gareth Evans. Where his first films almost had the aesthetic of a videogame come to life—they’re about as close to a big screen adaptation of Streets of Rage as you’re ever going to find—Apostle might as well represent Evans’ desire to be taken seriously as a visual director and auteur. To do so, he’s explored some well-trodden ground in the form of the rural “cult infiltration movie,” making comparisons to the likes of The Wicker Man (or even Ti West’s The Sacrament) inevitable. However, Apostle forces its way into the year-end conversation of 2018’s best horror cinema through sheer style and verve. Every frame is beautifully composed, from the foreboding arrival of Dan Stevens’ smoldering character at the island cult compound, to the fantastically icky Grand Guignol of the third act, in which viscera flows with hedonistic abandon. Evans knows exactly how long to needle the audience with a slow-burning mystery before letting the blood dams burst; his conclusion both embraces supernatural craziness and uncomfortably realistic human violence. Gone is the precision of combat of The Raid, replaced by a clumsier brand of wanton savagery that is empowered not by honor but by desperate faith. Evans correctly concludes that this form of violence is far more frightening. —Jim Vorel



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Year: 2019
Director: Galder Gaztelu-Urrutia
Stars: Iván Massagué, Zorion Eguileor, Antonia San Juan, Emilio Buale Coka, Alexandra Masangkay
Rating: NR
Runtime: 94 minutes


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The Platform benefits immensely from the strength of its simple, high-concept premise and all the superfluous information that is withheld from the viewer. It doesn’t matter that we don’t know why exactly people are placed into this diabolical, vertical prison structure, in which the only sustenance arrives once a day in the form of a steadily descending, increasingly gross stone slab piled high with perishables. Nor do we really need to know how this apparent social experiment operates, although the repeated glimpses we get at cooks slaving over perfect dishes to be sent down to the doomed convicts is no doubt designed to needle at our curiosity. What matters is that we observe the differences in human reaction to this plight—the ways that different personalities react to adversity with an “us or them” mentality, or a predatory hunger, or a spontaneous drive toward self-sacrificing altruism. The fact that the position of the prisoners is constantly in flux is key—it gives them both a tangible reason to be the change they want to see in their world, and an almost impossible temptation to do the exact opposite out of distrust of their neighbors. One expects a nihilistic streak here, and you won’t be disappointed—but there’s a few glimmers of hope shining through the cracks as well. Just enough, perhaps, to twist the knife that much deeper. —Jim Vorel



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Year: 2016
Director: Mike Flanagan
Stars: John Gallagher Jr., Michael Trucco, Kate Siegel
Rating: R
Runtime: 81 minutes


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Hush is a simple, intimate film at heart, and one that takes more than a few cues from Bryan Bertino’s The Strangers, among other home-invasion thrillers. Director Mike Flanagan, whose Oculus is one of the decade’s better, more underrated horror films, remains a promising voice in horror, although Hush plays things considerably safer than that ambitious haunted mirror tale did. Here, the gimmick is that the sole woman being menaced by a masked intruder outside her woodland home is in fact deaf and mute—i.e., she can’t hear him coming or call for help. At first, the film appears as if it will truly echo The Strangers and keep both the killer’s identity and motivations secretive, but those expectations are subverted surprisingly quickly. It all boils down into more or less exactly the type of cat-and-mouse game you would expect, but the film manages to elevate itself in a couple of ways. First is the performance of actress Kate Siegel as protagonist Maddie, who displays just the right level of both vulnerability and resolve, without making too many of the boneheaded slasher film character choices that encourage you to stand up and yell at the screen. Second is the tangible sense of physicality the film manages in its scenes of violence, which are satisfyingly visceral. Ultimately it’s the villain who may leave a little something to be desired at times, but Hush is at the very least a satisfying way to spend a night in with Netflix. —Jim Vorel



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Year: 2018
Directors: Yolanda Ramke, Ben Howling
Stars: Martin Freeman, Simone Landers, Anthony Hayes, David Gulpili, Susie Porter, Caren Pistorius
Rating: NR
Runtime: 105 minutes


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We’ve had enough takes on worldwide zombie apocalypses to last undead enthusiasts long through, well, a worldwide zombie apocalypse. Of those takes, few are inspired, a few more are watchable though workmanlike and most are dreck, whether in TV or movie form. Cargo, a collaborative directing effort between Yolanda Ramke and Ben Howling, falls somewhere in between “inspired” and “workmanlike,” which is to say it’s well worth seeking out on Netflix if you’ve a powerful need to watch twitching, walking corpses menace a family trying to survive while isolated in Australia’s Outback. Martin Freeman plays Andy, stubborn husband to his wife, Kay (Susie Porter), and loving dad to their daughter, Rosie; he’s piloting a houseboat to safer shores, or that’s the hope. Then Kay takes a zombie bite, forcing a change of plans and setting them down the path to ruin and tragedy. For a certain kind of horror purist, Cargo denies the expectations of the genre. It’s not an especially scary movie. It is, however, a moody, atmospheric movie, replacing scares with a nearly overwhelming sense of sadness. If that’s not enough for you, then at least be sated by the excellent FX work. Here, zombies present as victims of debilitating illness: A waxen, carious fluid seeps from their eyes and mouths, which is suitably nauseating in the stead of workaday splatter. All the same, Cargo is never half as stomach-churning as it is simply devastating. —Andy Crump



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Year: 2016
Director: Babak Anvari
Stars: Narges Rashidi, Avin Manshadi, Bobby Naderi, Ray Haratian, Arash Marandi
Rating: PG-13
Runtime: 84 minutes


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For most of the film, Babak Anvari is crafting a stifling period drama, a horror movie of a different sort that tangibly conveys the claustrophobia of Iran during its tumultuous post-revolution period. Anvari, himself of a family that eventually fled the Ayatollah’s rule, has made Under the Shadow as statement of rebellion and tribute to his own mother. It’s a distinctly feminist film: Shideh (Narges Rashidi) is cast as the tough heroine fighting back against greater hostile forces—a horror movie archetype that takes on even more potency in this setting. Seeing Shideh defy the Khomeini regime by watching a Jane Fonda workout video, banned by the state, is almost as stirring as seeing her overcome her personal demons by protecting her child from a more literal one. —Brogan Morris



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Year: 2018
Director: Daniel Goldhaber
Stars: Madeline Brewer, Patch Darragh, Melora Walters, Devin Druid, Imani Hakim, Michael Dempsey
Rating: NR
Runtime: 95 minutes


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As so many films in 2018 have shown us, the identities we create online—that we digitally design, foster and mature, often to the detriment of whatever we have going on IRL—will inevitably surpass us. The horror of Daniel Goldhaber’s Cam, based on the Isa Mazzei’s script (in turn, based on her real experiences as a sex worker), is in this loss: that no one is ever truly in control of these fabricated identities; that the more real they become, the less they belong to the person most affected. Welcome Alice (Madeline Brewer), an ambitious camgirl who compensates for the exhausting rigor of online popularity (and, therefore, economic viability) with gruesome stunts and a rigorous set of principles dictating what she will, and won’t, do in her capacity as female fantasy. She’s successful, tossing funds to her mom (Melora Walters) and brother (Devin Druid) without being totally honest about her job, but she could be more successful, trying whatever she can (within reason) to scale the ranking system enforced by the site she uses to broadcast her shows. With dexterous ease, Mazzei’s script both introduces the exigencies of camgirl life while never stooping to judge Alice’s choice of employment, contextualizing an inevitable revelation to her family not as one of embarrassment, but as an impenetrable morass of shame through which every sex worker must struggle to be taken seriously. So much so that when someone who looks exactly like Alice—who operates under her screen name but is willing to do the things Alice once refused—gains leaps and bounds in the camgirl charts, Goldhaber and Mazzei derive less tension from the explanation and discovery of what’s really going on rather than the harsh truth of just how vulnerable Alice is—and we all are—to the cold, brutal, indifferent violence of this online world we’ve built for ourselves. —Dom Sinacola



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Year: 2017
Director: David Bruckner
Stars: Rafe Spall, Arsher Ali, Robert James-Collier, Sam Troughton
Rating: NR
Runtime: 94 minutes


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A prime example of what might be termed the “bro horror” subgenre, The Ritual’s characters are a band of lifelong mates united in mourning a friend who has recently been killed in a brutal liquor store robbery. Luke (Rafe Spall) is the member of the group who shoulders the greatest burden of guilt, being the only one who was in the store at the time, paralyzed with indecision and cowardice while he watched his friend die. The other members clearly blame Luke for this to varying degrees, and one senses that their decision to journey to Sweden for a hiking trip deep into the wilderness is less to honor their dead friend’s memory, and more to determine if their bond can ever be repaired, or whether the recrimination stemming from the death is insurmountable. Where The Ritual excels is technically, in both its imagery and sound design. Cinematographer Andrew Shulkind’s crisp images and deep focus are a welcome respite from the overly dark, muddy look of so many modern horror films with similar settings (such as Bryan Bertino’s The Monster), and the forested location shots, regardless of where they may have been filmed, are uniformly stunning. Numerous shots of tree clusters evoke Celtic knot-like imagery, these dense puzzles of foliage clearly hiding dire secrets, and we are shown just enough through the film’s first two thirds to keep the mystery palpable and engaging. Director David Bruckner, who is best known for directing well-regarded segments of horror anthologies such as V/H/S, The Signal and Southbound, demonstrates a talent here for suggestion and subtlety, aided by some excellent sound design that emphasizes every rustling leaf and creaking tree branch. Unfortunately, the characters are a bit thin for what is meant to be a character-driven film, and the big payoff can’t quite maintain the atmosphere of the film’s first two acts. Still, The Ritual is a great-looking film, and one that features one of the more memorably “WTF!” monster designs in recent memory. It’s worth a look for that alone. —Jim Vorel



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Year: 2021
Director: Leigh Janiak
Stars: Kiana Madeira, Ashley Zukerman, Gillian Jacobs, Olivia Scott Welch, Benjamin Flores Jr., Darrell Britt-Gibson
Rating: R
Runtime: 114 minutes


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The first two entries in Netflix’s Fear Street trilogy from director Leigh Janiak have been widely described (and widely praised) within the bounds of language often devoted to slasher movies—as solid “popcorn entertainment” and “simple fun” that represents, in this case, a welcome divergence from the more serious streak of arthouse horror we’ve been experiencing of late. And although it is true that there’s nothing “elevated” or pretentious about any of these three Fear Street entries, to simply think of them as slasher films isn’t quite right either, despite their gory flair. They’re not even really meta-slashers in the mold of Scream, which was relentlessly name-checked by critics as they appraised first entry Fear Street: 1994 in particular. Rather, the real meat of this trilogy is a metaphysical, supernatural mystery that spans across lifetimes and centuries—it’s a story that uses the trappings of slasher cinema in two different eras, the ‘90s and ‘70s, in order to get at eventual themes of scapegoating, privilege and corrupted history. This is the bigger message that final entry Fear Street Part Three: 1666 attempts to deliver, albeit in a clumsier manner than its previous time jump, in a more difficult setting to truly capture. Three movies in, the little absurdities of this series are beginning to mount, but it at least manages to remain briskly entertaining and pretty damn bloody. —Jim Vorel



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Year: 2016
Director: James Wan
Stars: Vera Farmiga, Patrick Wilson, Frances O’Connor, Madison Wolfe, Simon McBurney, Franka Potente
Rating: R
Runtime: 134 minutes


Watch on Netflix

The film is a blast as a funhouse-style genre exercise, but there’s very little holding it all together. If The Conjuring offended some with its historical revisionism, at least that film had cohesion. The Conjuring 2, meanwhile, plays with themes that never wind up being fully developed. Once the Warrens come to the Hodgsons’ aid, Ed explains that wicked spirits have a particular affinity for negative energy, and tend to manifest when bad things happen to people in their lives. “They like to kick us when we’re down,” he tells Peggy, and the Hodgsons are indeed down by anyone’s definition. Their home is deteriorated: The walls are peeling, the woodwork is cracked, and the cupboards are bare of biscuits. But matters of economy and class are window dressing. The film’s core is Janet’s overwhelming sense of loneliness. As the primary target of her family’s supernatural tormentor, she has become totally isolated from her friends at school. We don’t really see that, though. We just hear about it. The film’s script, penned by returning twin sibling screenwriting duo Chad and Carey Hayes, plus Wan, plus David Leslie Johnson, puts more emphasis on Lorraine’s premonitions of Ed’s death in an instance of just-too-muchery. —Andy Crump



ravenous 2017 poster (Custom).jpg
Year: 2017
Director: Robin Aubert
Stars: Marc-André Grondin, Monia Chokri, Brigitte Poupart, Luc Proulx, Charlotte St-Martin
Rating: NR
Runtime: 96 minutes


Watch on Netflix

Genre geeks didn’t seem to take a lot of notice of Ravenous, beyond its Best Canadian Film award at the Toronto International Film Festival—perhaps the result of an “indie zombie drama” subgenre that seems to have run its course through films such as The Battery, and perhaps because it’s performed in French rather than English. Regardless, this is a competently crafted little drama thriller for the zombie completist, full of excellent performances from no-name actors and an intriguing take on the results of zombification. The infected here at times seem like your standard Romero ghouls, but they’re also a bit more: lost souls who have hung onto some kind of strange, rudimentary culture all their own. These aspects of the zombie plague are always hinted at, never extrapolated, but it enhances the profound feelings of loss and sadness present in Ravenous. —Jim Vorel



the babysitter poster (Custom).jpg
Year: 2017
Director: McG
Stars: Samara Weaving, Judah Lewis, Hana Mae Lee, Robbie Amell, Bella Thorne
Rating: NR
Runtime: 85 minutes


Watch on Netflix


The Babysitter is a little guileless in its overt desire to be lovingly described as an ’80s slasher homage, but simultaneously effective enough to earn a good measure of that approval it craves. With twists care of Fright Night and Night of the Demons, it’s at its best not when trying to slavishly recreate a past decade, but when letting its hyper-charismatic teenage characters run wild. Stylish, gory and profane to a fault, The Babysitter features a handful of bang-up performances, like Judah Lewis as a late-blooming 12-year-old, Robbie Amell as a nigh-invincible football jock and Samara Weaving as the title character, the girl of Lewis’s dreams—right up until she tries to sacrifice him to the devil. Fast-moving (only 85 minutes!) and frequently hilarious, it’s probably the best unit of popcorn horror entertainment that Netflix has managed to put out so far. —Jim Vorel



veronica horror poster (Custom).jpg
Year: 2017
Director: Paco Plaza
Stars: Sandra Escacena
Rating: NR
Runtime: 105 minutes


Watch on Netflix

Paco Plaza, the Spanish director of landmark 2007 found footage horror film R.E.C., has largely delivered diminishing returns via R.E.C. sequels. Verónica, therefore, has been received as a welcome venture into a new concept for the director, even if the results are decidedly on the derivative side. A spirit/demonic possession movie in the vein of Witchboard, the film follows a 15-year-old Spanish student (Sandra Escacena) who unwittingly invites evil into her home while conducting a ouija seance with her school chums. Where the movie shines best is largely on the presentation side: It looks great whenever its images aren’t too dark, capturing an interesting moment in history by setting the film in 1991 Spain. Charismatic performances from multiple child actors serve to bolster a story that unfortunately feels frustratingly familiar, recycling elements of Ouija, The Last Exorcism and practically every possession film ever written. This is very well-trodden ground, but Verónica is at the very least more than competent, even if it’s not the revelation for which we were hoping from the director. —Jim Vorel



1922.jpg
Year: 2017
Director: Zak Hilditch
Stars: Thomas Janes, Neal McDonough, Molly Parker
Rating: NR
Runtime: 101 minutes


Watch on Netflix

A chameleonic performance from Thomas Jane anchors this understated, gothic story set in Depression-era Middle America, told in the style of a confession by the husband (who we can tell right from the get-go is haunted by some horrible crime). When his wife (Molly Parker) insists on selling the land she’s inherited rather than work it, Jane’s unsophisticated field hand harangues their son (Dylan Schmid) into becoming an accomplice in her grisly murder. As with every Grand Guignol tale, though, we already know that the worst part isn’t the act of killing, but the endless paranoia of living with it. In the case of the movie’s guilty narrator, that means a vengeful and inevitable haunting filled with all the foreboding and creepy imagery you came to see. Stephen King adaptations have their hits and their misses, but this is a straightforward story that gets by on the power of a dread-steeped plot and some compelling performances by good character actors you’ll most likely always be happy to see get screen time. —Kenneth Lowe



little evil poster (Custom).jpg
Year: 2017
Director: Eli Craig
Stars: Adam Scott, Evangeline Lilly
Rating: NR
Runtime: 95 minutes


Watch on Netflix

Seven years after he gave us Tucker & Dale vs. Evil, one of the best horror comedies in recent memory, director Eli Craig has finally returned with an exclusive for Netflix, Little Evil. An obvious parody of The Omen and other “evil kid” movies, Little Evil wears its influences and references on its sleeve in ways that, while not particularly clever, are at least loving. Adam Scott is the sad-sack father who somehow became swept up in a whirlwind romance and marriage, all while being unfazed by the fact that his new step-son is the kind of kid who dresses like a pint-sized Angus Young and trails catastrophes behind him wherever he goes. Evangeline Lilly is the boy’s foxy mother, whose motivations are suspect throughout. Does she know that her child is the spawn of Satan, or as his mother is she just willfully blind to the obvious evil growing under her nose? The film can boast a pretty impressive supporting cast, from Donald Faison and Chris D’elia as fellow step-dads, to Clancy Brown as a fire-and-brimstone preacher, but never does it fully commit toward either its jokes or attempts to frighten. The final 30 minutes are the most interesting, leading the plot in an unexpected direction that redefines the audience’s perception of the demon child, but it still makes for a somewhat uneven execution. Tucker & Dale this is not, but it’s still a serviceable return for Craig. —Jim Vorel



fear-street-1978-poster.jpg
Year: 2021
Director: Leigh Janiak
Stars: Sadie Sink, Emily Rudd, Ryan Simpkins, McCabe Slye, Ted Sutherland, Ashley Zukerman, Jordana Spiro, Gillian Jacobs, Kiana Madeira, Benjamin Flores Jr.
Rating: R
Runtime: 110 minutes


Watch on Netflix

That’s pretty much Fear Street Part 2: 1978 in a nutshell. This second entry of director Leigh Janiak’s ambitious R.L. Stine adaptation trilogy for Netflix hits the ground running, with plenty of momentum provided by the surprisingly visceral Fear Street: 1994, and although it follows through on that film’s lively visuals and gruesome deaths, it finds itself hurting somewhat for compelling characters and variety in what it’s able to offer. Bound by its retro summer camp theming and the obvious horror allusions that theming implies, 1978 is a more lightweight diversion that occasionally finds itself spinning its wheels, although it does redeem itself with a startling transition into the jumping off point for final entry Fear Street: 1666. Nevertheless, it feels like middle child syndrome has likely come into play in this second chapter. —Jim Vorel



alive-zombie-movie-poster.jpg
Year: 2020
Director: Cho Il-hyung
Stars: Yoo Ah-in, Park Shin-hye
Rating: NR
Runtime: 99 minutes


Watch on Netflix

Fans of zombie cinema were hotly anticipating at least one South Korean zombie feature this year: Peninsula, the sequel to the much-loved Train to Busan was heavily hyped, but ultimately fell far short of the original. Thankfully, though, there was another Korean zombie flick waiting in the wings to step into its place, in the form of the significantly more successful (if modest) #Alive. Fans of the original World War Z novel will certainly find this story familiar, as it’s suspiciously similar to one of that book’s better-loved passages, about a young gamer/hacker in Japan who is so deeply engrossed in the web, he fails to notice the world descending into a zombie apocalypse around him, before finally being forced to unplug and go on the run. Here, the same basic premise is simply transplanted to South Korea, where the introverted protagonist must rappel down the side of his apartment building to avoid the prowling dead, while also looking for other survivors hiding among the carnage. It’s a much tighter, more neatly executed story than the disappointing excesses of Peninsula, perfect for pandemic-era viewing. —Jim Vorel



till-death-poster.jpg
Year: 2021
Director: S.K. Dale
Stars: Megan Fox, Eoin Macken, Callan Mulvey, Jack Roth, Aml Ameen
Rating: R
Runtime: 88 minutes


Watch on Netflix


Till Death initially doesn’t appear to play to Megan Fox’s strengths. For about 10 minutes, it’s a dour marital drama where Emma (Fox) extricates herself from an affair in an attempt to reconcile with her wealthy husband Mark (Eoin Macken). It quickly becomes clear that Mark is controlling and abusive, but he’s able to keep his worst tendencies just tamped-down enough to give Emma some hope—until she wakes up the morning after their seeming reconciliation handcuffed to her beau … who promptly shoots himself in the head. The burden of Emma’s terrible relationship becomes physicalized and literalized as she has to drag the bastard around with her as she evades the criminals Mark has hired to come after her. This trim, compact movie is primarily a thriller, but it has horror-adjacent elements—practical gore; Mark’s Jigsaw-esque messages from beyond the grave; dark and gruesome flashes of humor—and that’s what ultimately makes it such a great match for Fox. From her popping red lipstick in the pre-mayhem sections to the blood splatter that perfectly soaks half of her face, Fox looks like a femme fatale captured mid-morph into scream queen. After years of objectification, she feels in control of her bombshell image. —Jesse Hassenger



i-know-what-you-did-poster.jpg
Year: 1997
Director: Jim Gillespie
Stars: Jennifer Love Hewitt, Sarah Michelle Gellar, Ryan Phillippe, Freddie Prinze Jr., Johnny Galecki, Bridgette Wilson
Rating: R
Runtime: 101 minutes


Watch on Netflix

It’s sort of ironic that writer Kevin Williamson followed up Scream (no, Wes Craven didn’t actually write the screenplay for Scream), the film that revitalized the tired slasher genre in 1996 by examining its tropes and cliches, by writing a true-to-form, classical, ’80s-style slasher, but that’s exactly what he did. Whereas Scream sets out to reinvent—or more accurately, wink at—the wheel, I Know What You Did Last Summer had no such grand ambitions in mind. This is instead a movie made to capitalize on the former, although it does so with style. In truth, it seems heavily inspired by slashers in the mold of Prom Night in particular, wherein the guilty parties in an old crime are hunted down one by one. As for the cast, it’s just about the most ’90s assemblage in horror history, from Sarah Michelle Gellar and Jennifer Love Hewitt to Ryan Phillippe and Freddie Prinze Jr., each more perfectly coiffed than the last. Even the famous chase scene of Prom Night gets revisited, but even more than was true in the ’80s, the true purpose of the film is to show off its nubile young cast of budding stars. It’s fun as a time capsule—perhaps more fun now than it was in 1997, truth be told—but it will always find itself in Scream’s shadow. —Jim Vorel



the perfection poster (Custom).jpg
Year: 2019
Director: Richard Shepard
Starring: Allison Williams, Logan Browning, Steven Weber, Alaina Huffman
Rating: NR
Runtime: 90 minutes


Watch on Netflix

What should horror movies be judged by? Airtight narrative logic, or imaginatively deranged imagery? Scores matter, scripts matter, but by the end of the movie what tends to matter most are the visuals, and Richard Shepard’s new movie, The Perfection, sears its visuals into the viewer’s mind like branding on livestock, right up to its final shot, one of the genre’s most indelible since horror became the taste of the day in the mid 2010s. It’s a twisted kind of miracle that anyone who watches The Perfection will never be the same, and a testament to horror’s power to bend minds and spur nightmares with a single picture. But the movie also reminds us that as much as pictures often come first, plotting usually should come a very close second. The film begins promisingly enough: After abandoning her career to care for her dying mother, cello prodigy Charlotte (Allison Williams) returns to the music world to reclaim her standing as the Bachoff Academy of Music’s star pupil, which means sabotaging the current title holder, Lizzie (Logan Browning). Charlotte reaches out to her old teachers, Anton (Steven Weber) and Paloma (Alaina Huffman), travels to Shanghai as Bachoff selects its latest student, and cozies up to Lizzie. They flatter each other. They flirt. They drink, go partying, then make passionate love in a hotel, filmed with cinematographer Vanja Cernul’s lurid gaze. Maybe Charlotte bears Lizzie no grudge. Maybe they really do admire each other to romantic heights. And then they travel to rural China, where Lizzie grows increasingly sick, starts puking up bugs, discovers yet more bugs dithering about under the skin on her arm, and, when offered a butcher’s cleaver by Charlotte, chops off her hand. This is the climax to The Perfection’s first half hour, ruined by a single viewing of the trailer. It’s also where Shepard springs the first of several fakeouts, stealing a page from Michael Haneke’s playbook. At its best, The Perfection is an homage to 1970s horror movies and 1980s thrillers, a glorious, multi-hewed mind screw. When Shepard sticks to this aesthetic, the movie soars on grotesque wings. When he commits the cardinal sin of demystifying the mysterious, it’s a major drag. A little ambiguity goes a long, long way in horror. —Andy Crump



friday-13-2009-poster.jpg
Year: 2009
Director: Marcus Nispel
Stars: Jared Padalecki, Danielle Panabaker, Aaron Yoo, Amanda Righetti, Travis Van Winkle, Derek Mears
Rating: R
Runtime: 97 minutes


Watch on Netflix

The 2009 remake of Friday the 13th simultaneously delivered as loving a tribute to the F13 series as one could reasonably expect, and highlighted exactly why that sort of tribute has trouble standing on its own outside of the golden era of slasher movies in the early 1980s. The pieces are here—the blood and guts, the extremely gratuitous nudity, the idiot characters—but as with other Platinum Dunes horror remakes of the era (especially 2010’s Nightmare on Elm Street), the film has no ideas of its own to contribute. It comes off as simply a string of finger-pointing moments, begging the viewer to “remember this?”, while executing most of those moments in ways far less satisfying than the first four Friday the 13th movies it’s using as inspiration. Even the action feels muddy and poorly lit in a way that was never problematic in the original run of the series. It’s a film that sought to please fans of the series who came armed with the lowest of expectations. —Jim Vorel

We would like to say thanks to the writer of this write-up for this amazing web content

The 40 Best Horror Movies on Netflix Right Now

";s:14:"date_timestamp";i:1643887921;}i:6;a:11:{s:5:"title";s:106:"Seth Rogen Wiki, Bio, Age, Parents, Ethnicity, Height, Wife, Net Worth, Career, & More | The Paradise News";s:4:"link";s:138:"https://movielatest.movs.world/movie-actors/seth-rogen-wiki-bio-age-parents-ethnicity-height-wife-net-worth-career-more-the-paradise-news/";s:2:"dc";a:1:{s:7:"creator";s:12:"Sally Scully";}s:7:"pubdate";s:31:"Thu, 03 Feb 2022 11:21:50 +0000";s:8:"category";s:80:"Movie ActorsageBiocareerEthnicityHeightNewsParadiseparentsRogenSethwifeWikiworth";s:4:"guid";s:39:"https://movielatest.movs.world/?p=30583";s:11:"description";s:749:"Seth Rogen Wiki:- Seth Rogen is the most popular comedian, actor, and filmmaker. he moved to Los Angeles for a part in Judd Apatow’s series Freaks and Geeks and then got a part on the sitcom Undeclared, which also hired him as a writer. In this article, we bring all the information about Seth Rogen ... Read more";s:7:"content";a:1:{s:7:"encoded";s:23116:"

Seth Rogen Wiki:- Seth Rogen is the most popular comedian, actor, and filmmaker. he moved to Los Angeles for a part in Judd Apatow’s series Freaks and Geeks and then got a part on the sitcom Undeclared, which also hired him as a writer. In this article, we bring all the information about Seth Rogen just like his wife’s name, Weeding, Height, Family, Age, Career and ethnicity, his net worth, and more details that you want to know.

Seth Rogen Wiki [Bio, Age, Height]

Real Name Seth Rogen
Nickname  Seth
Profession  comedian, actor, and filmmaker
Famous As comedian, actor, and filmmaker
Marital Status married
Wife/Girlfriend Name Lauren Miller
Physical Status 
Age 39 Year Old (Approx)
Height (Approx) In centimeters-177 cm (Approx)
In meters- 1.77 m (Approx)
In Feet Inches-5.10 (Approx)
Weight (Approx) In Kilograms-75 kg  (Approx)
In Pounds- 165 lbs (Approx)
Eye Colour Brown
Hair Colour Blonde
Personal Information
Date of Birth  15 April 1982
Birth Place Vancouver, British Columbia, Canada
Religion Not Known
Nationality American-Canadian
Ethnicity Not Known
School Name  Vancouver Talmud Torah School and Point Grey Secondary School
College Name  Not Known University
Qualifications Graduate
Family Status
Father Name Mark Rogen
Mother Name Sandy Rogen
Sister/Brother Not Known
Children Not Known
Career 
Source Of Income comedian, actor, and filmmaker
Appeared As comedian, actor, and filmmaker
Net Worth (Approx) Not Known

Seth Rogen Wiki, Education & Career

Seth Rogen Wiki, Parents

Seth Rogen was born on 15 April 1982 in Vancouver, British Columbia, Canada. By profession, He is a comedian, actor, and filmmaker. He completes his education at  Vancouver Talmud Torah School and Point Grey Secondary School & then he enrolled at  Not Known University. His Father’s Name is Mark Rogen and His Mother’s Name is Sandy Rogen. If you are searching about Seth Rogen Biography and want to know everything about his personal information, his career then you are at the right place and the whole set of information becomes a must-read for you.

Seth Rogen Parents & Wife Name

                Seth Rogen’s Father’s Name                            Mark Rogen
               Seth Rogen’s Mother’s Name                     Sandy Rogen
                Seth Rogen’s Wife’s Name         Lauren Miller

Seth Rogen Wiki, Weeding

Seth Rogen is a comedian, actor, and filmmaker. He completes his education at primary school & not known University. He began his career at a very young age. Since childhood, He interested in acting. In 1999, He was debuted in the movie Freaks and Geeks as ‘Ken Miller’. He gained lots of popularity in his life.

AVvXsEiBIBZWvfb7TUVWT36bBhijB 0udGgWybmbfGUpHUouBW2nIG3fIY bH3Bh0NNiauPrttN6mDx0oFQNOCACx0ioIvYbg yCTJC1JsLqCzBGixwyXikLwOJ5eHK0dRtGVmCPWD0lZiKHt QWpUAN4Zoqr04zvJRlW 7AxjBVeFPyMiZvwr IAL1Up5l=w200 h167 | Seth Rogen Wiki, Bio, Age, Parents, Ethnicity, Height, Wife, Net Worth, Career, & More | The Paradise News

He is also a popular stand-up comedian from Vancouver who moved to Los Angeles to participate in the series “Freaks and Geeks”, Seth Rogen is also a popular writer who was hired by the sitcom. According to Social media reports and the latest news, His relationship status is married and his Wife’s name is Lauren Miller. So keep reading the article and checking his complete information. Seth Rogen Wiki

Read Also:- ED Durr Wiki, Bio, Age, Wife, Real Name, Net Worth, Ethnicity & Facts

Seth Rogen Wiki Profiles [Instagram, Twitter, Wikipedia]

FAQ About Seth Rogen Wiki

Q.1 Who is Seth Rogen?

Ans. Seth Rogen is a comedian, actor, and filmmaker.

Q.2 Who is the Wife/Girlfriend of Seth Rogen?

Ans.Lauren Miller

Q.3 What is the Age of Seth Rogen?

Ans. 39 Years Old 

Post Content Source:- arealnews.com & Wikipedia

We wish to give thanks to the writer of this short article for this amazing material

Seth Rogen Wiki, Bio, Age, Parents, Ethnicity, Height, Wife, Net Worth, Career, & More | The Paradise News

";}s:7:"summary";s:749:"Seth Rogen Wiki:- Seth Rogen is the most popular comedian, actor, and filmmaker. he moved to Los Angeles for a part in Judd Apatow’s series Freaks and Geeks and then got a part on the sitcom Undeclared, which also hired him as a writer. In this article, we bring all the information about Seth Rogen ... Read more";s:12:"atom_content";s:23116:"

Seth Rogen Wiki:- Seth Rogen is the most popular comedian, actor, and filmmaker. he moved to Los Angeles for a part in Judd Apatow’s series Freaks and Geeks and then got a part on the sitcom Undeclared, which also hired him as a writer. In this article, we bring all the information about Seth Rogen just like his wife’s name, Weeding, Height, Family, Age, Career and ethnicity, his net worth, and more details that you want to know.

Seth Rogen Wiki [Bio, Age, Height]

Real Name Seth Rogen
Nickname  Seth
Profession  comedian, actor, and filmmaker
Famous As comedian, actor, and filmmaker
Marital Status married
Wife/Girlfriend Name Lauren Miller
Physical Status 
Age 39 Year Old (Approx)
Height (Approx) In centimeters-177 cm (Approx)
In meters- 1.77 m (Approx)
In Feet Inches-5.10 (Approx)
Weight (Approx) In Kilograms-75 kg  (Approx)
In Pounds- 165 lbs (Approx)
Eye Colour Brown
Hair Colour Blonde
Personal Information
Date of Birth  15 April 1982
Birth Place Vancouver, British Columbia, Canada
Religion Not Known
Nationality American-Canadian
Ethnicity Not Known
School Name  Vancouver Talmud Torah School and Point Grey Secondary School
College Name  Not Known University
Qualifications Graduate
Family Status
Father Name Mark Rogen
Mother Name Sandy Rogen
Sister/Brother Not Known
Children Not Known
Career 
Source Of Income comedian, actor, and filmmaker
Appeared As comedian, actor, and filmmaker
Net Worth (Approx) Not Known

Seth Rogen Wiki, Education & Career

Seth Rogen Wiki, Parents

Seth Rogen was born on 15 April 1982 in Vancouver, British Columbia, Canada. By profession, He is a comedian, actor, and filmmaker. He completes his education at  Vancouver Talmud Torah School and Point Grey Secondary School & then he enrolled at  Not Known University. His Father’s Name is Mark Rogen and His Mother’s Name is Sandy Rogen. If you are searching about Seth Rogen Biography and want to know everything about his personal information, his career then you are at the right place and the whole set of information becomes a must-read for you.

Seth Rogen Parents & Wife Name

                Seth Rogen’s Father’s Name                            Mark Rogen
               Seth Rogen’s Mother’s Name                     Sandy Rogen
                Seth Rogen’s Wife’s Name         Lauren Miller

Seth Rogen Wiki, Weeding

Seth Rogen is a comedian, actor, and filmmaker. He completes his education at primary school & not known University. He began his career at a very young age. Since childhood, He interested in acting. In 1999, He was debuted in the movie Freaks and Geeks as ‘Ken Miller’. He gained lots of popularity in his life.

AVvXsEiBIBZWvfb7TUVWT36bBhijB 0udGgWybmbfGUpHUouBW2nIG3fIY bH3Bh0NNiauPrttN6mDx0oFQNOCACx0ioIvYbg yCTJC1JsLqCzBGixwyXikLwOJ5eHK0dRtGVmCPWD0lZiKHt QWpUAN4Zoqr04zvJRlW 7AxjBVeFPyMiZvwr IAL1Up5l=w200 h167 | Seth Rogen Wiki, Bio, Age, Parents, Ethnicity, Height, Wife, Net Worth, Career, & More | The Paradise News

He is also a popular stand-up comedian from Vancouver who moved to Los Angeles to participate in the series “Freaks and Geeks”, Seth Rogen is also a popular writer who was hired by the sitcom. According to Social media reports and the latest news, His relationship status is married and his Wife’s name is Lauren Miller. So keep reading the article and checking his complete information. Seth Rogen Wiki

Read Also:- ED Durr Wiki, Bio, Age, Wife, Real Name, Net Worth, Ethnicity & Facts

Seth Rogen Wiki Profiles [Instagram, Twitter, Wikipedia]

FAQ About Seth Rogen Wiki

Q.1 Who is Seth Rogen?

Ans. Seth Rogen is a comedian, actor, and filmmaker.

Q.2 Who is the Wife/Girlfriend of Seth Rogen?

Ans.Lauren Miller

Q.3 What is the Age of Seth Rogen?

Ans. 39 Years Old 

Post Content Source:- arealnews.com & Wikipedia

We wish to give thanks to the writer of this short article for this amazing material

Seth Rogen Wiki, Bio, Age, Parents, Ethnicity, Height, Wife, Net Worth, Career, & More | The Paradise News

";s:14:"date_timestamp";i:1643887310;}i:7;a:11:{s:5:"title";s:82:"Meet Francesca Hayward, the ballerina playing Victoria in the ‘Cats’ the movie";s:4:"link";s:120:"https://movielatest.movs.world/movie-actors/meet-francesca-hayward-the-ballerina-playing-victoria-in-the-cats-the-movie/";s:2:"dc";a:1:{s:7:"creator";s:10:"Lance Kind";}s:7:"pubdate";s:31:"Thu, 03 Feb 2022 11:18:22 +0000";s:8:"category";s:65:"Movie ActorsballerinaCatsFrancescaHaywardMeetMoviePlayingVictoria";s:4:"guid";s:39:"https://movielatest.movs.world/?p=30577";s:11:"description";s:699:"19 December 2019, 13:26 | Updated: 19 December 2019, 13:31 The ‘Cats’ remake has come out in cinemas (to mixed reviews…). And a new face takes centre stage playing Victoria, alongside Judi Dench, Ian McKellen, Taylor Swift, James Corden et al. Amidst a cast of literally scores of famous faces in the live-action remake of ... Read more";s:7:"content";a:1:{s:7:"encoded";s:7149:"

19 December 2019, 13:26 | Updated: 19 December 2019, 13:31


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The ‘Cats’ remake has come out in cinemas (to mixed reviews…). And a new face takes centre stage playing Victoria, alongside Judi Dench, Ian McKellen, Taylor Swift, James Corden et al.

Amidst a cast of literally scores of famous faces in the live-action remake of Cats, there’s one that’s less familiar.

Appearing next to the likes of Taylor Swift, Judi Dench, Ian McKellen, Idris Elba, Rebel Wilson, Jennifer Hudson and James Corden is Royal Ballet dancer, Francesca Hayward.

Read more: How Francesca Hayward went from the Royal Ballet to Hollywood >

Francesca is playing Victoria the White Cat, the principal dancer in the Andrew Lloyd Webber musical.

Francesca Hayward plays Victoria in Cats (2019) live-action remake

Francesca Hayward plays Victoria in Cats (2019) live-action remake.

Picture:
Universal


Who is Francesca Hayward, who plays Victoria in the Cats live action remake?

Francesca Hayward is an English ballet dancer. Most recently, she has held the position of Principal at The Royal Ballet in London, and she joined the company back in 2010.

She studied at The Royal Ballet School prior to that and, according to her IMDB biography, was inspired to become a ballerina when she watched a video of Tchaikovsky’s The Nutcracker at the age of two.

Hayward’s Royal Opera House biography cites an impressive array of awards, including the Lynn Seymour Award for Expressive Dance and the accolade of 2010 Young British Dancer of the Year.

The ballerina recently told Classic FM: “I took a few months off to film Cats, so I definitely feel like I need to be at the Royal Opera House for a while just cementing myself back there again. But I’m definitely open to loads more opportunities now.”

Francesca Hayward plays Victoria in Cats (2019) live-action remake

Francesca Hayward plays Victoria in Cats (2019) live-action remake.

Picture:
Universal


Who else is in the cast of the Cats live action remake?

Ballet dancer Francesca Hayward is in the remake of Cats with Taylor Swift (Bombalurina), James Corden (Bustopher Jones), Dame Judi Dench (Old Deuteronomy), Sir Ian McKellen (Gus the Theatre Cat), Idris Elba (Macavity), Jennifer Hudson (Grizabella), Ray Winstone (Growltiger), Rebel Wilson (Jennyanydots) and singer Jason Derulo (Rum Tum Tugger).

Read more: We just watched the Cats movie trailer and died nine times >

Who directed the Cats live action remake?

The 2019 live action remake of Andrew Lloyd Webber’s musical, Cats, is directed by Tom Hooper (The King’s Speech, Les Misérables).

When is the Cats live-action remake released in the UK?

The Cats live-action remake is out in UK cinemas on 20 December 2019.

We want to give thanks to the writer of this article for this outstanding content

Meet Francesca Hayward, the ballerina playing Victoria in the ‘Cats’ the movie

";}s:7:"summary";s:699:"19 December 2019, 13:26 | Updated: 19 December 2019, 13:31 The ‘Cats’ remake has come out in cinemas (to mixed reviews…). And a new face takes centre stage playing Victoria, alongside Judi Dench, Ian McKellen, Taylor Swift, James Corden et al. Amidst a cast of literally scores of famous faces in the live-action remake of ... Read more";s:12:"atom_content";s:7149:"

19 December 2019, 13:26 | Updated: 19 December 2019, 13:31


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The ‘Cats’ remake has come out in cinemas (to mixed reviews…). And a new face takes centre stage playing Victoria, alongside Judi Dench, Ian McKellen, Taylor Swift, James Corden et al.

Amidst a cast of literally scores of famous faces in the live-action remake of Cats, there’s one that’s less familiar.

Appearing next to the likes of Taylor Swift, Judi Dench, Ian McKellen, Idris Elba, Rebel Wilson, Jennifer Hudson and James Corden is Royal Ballet dancer, Francesca Hayward.

Read more: How Francesca Hayward went from the Royal Ballet to Hollywood >

Francesca is playing Victoria the White Cat, the principal dancer in the Andrew Lloyd Webber musical.

Francesca Hayward plays Victoria in Cats (2019) live-action remake

Francesca Hayward plays Victoria in Cats (2019) live-action remake.

Picture:
Universal


Who is Francesca Hayward, who plays Victoria in the Cats live action remake?

Francesca Hayward is an English ballet dancer. Most recently, she has held the position of Principal at The Royal Ballet in London, and she joined the company back in 2010.

She studied at The Royal Ballet School prior to that and, according to her IMDB biography, was inspired to become a ballerina when she watched a video of Tchaikovsky’s The Nutcracker at the age of two.

Hayward’s Royal Opera House biography cites an impressive array of awards, including the Lynn Seymour Award for Expressive Dance and the accolade of 2010 Young British Dancer of the Year.

The ballerina recently told Classic FM: “I took a few months off to film Cats, so I definitely feel like I need to be at the Royal Opera House for a while just cementing myself back there again. But I’m definitely open to loads more opportunities now.”

Francesca Hayward plays Victoria in Cats (2019) live-action remake

Francesca Hayward plays Victoria in Cats (2019) live-action remake.

Picture:
Universal


Who else is in the cast of the Cats live action remake?

Ballet dancer Francesca Hayward is in the remake of Cats with Taylor Swift (Bombalurina), James Corden (Bustopher Jones), Dame Judi Dench (Old Deuteronomy), Sir Ian McKellen (Gus the Theatre Cat), Idris Elba (Macavity), Jennifer Hudson (Grizabella), Ray Winstone (Growltiger), Rebel Wilson (Jennyanydots) and singer Jason Derulo (Rum Tum Tugger).

Read more: We just watched the Cats movie trailer and died nine times >

Who directed the Cats live action remake?

The 2019 live action remake of Andrew Lloyd Webber’s musical, Cats, is directed by Tom Hooper (The King’s Speech, Les Misérables).

When is the Cats live-action remake released in the UK?

The Cats live-action remake is out in UK cinemas on 20 December 2019.

We want to give thanks to the writer of this article for this outstanding content

Meet Francesca Hayward, the ballerina playing Victoria in the ‘Cats’ the movie

";s:14:"date_timestamp";i:1643887102;}i:8;a:11:{s:5:"title";s:56:"Where are the Foreigners of the First International Age?";s:4:"link";s:104:"https://movielatest.movs.world/healthandscience/where-are-the-foreigners-of-the-first-international-age/";s:2:"dc";a:1:{s:7:"creator";s:12:"Tony Grantly";}s:7:"pubdate";s:31:"Thu, 03 Feb 2022 10:45:07 +0000";s:8:"category";s:44:"Health And ScienceageForeignersInternational";s:4:"guid";s:39:"https://movielatest.movs.world/?p=30572";s:11:"description";s:689:"Journal Reference: Tara Ingman, Stefanie Eisenmann, Eirini Skourtanioti, Murat Akar, Jana Ilgner, Guido Alberto Gnecchi Ruscone, Petrus le Roux, Rula Shafiq, Gunnar U. Neumann, Marcel Keller, Cäcilia Freund, Sara Marzo, Mary Lucas, Johannes Krause, Patrick Roberts, K. Aslıhan Yener, Philipp W. Stockhammer. Human mobility at Tell Atchana (Alalakh), Hatay, Turkey during the 2nd millennium BC: ... Read more";s:7:"content";a:1:{s:7:"encoded";s:4020:"

Journal Reference:

  1. Tara Ingman, Stefanie Eisenmann, Eirini Skourtanioti, Murat Akar, Jana Ilgner, Guido Alberto Gnecchi Ruscone, Petrus le Roux, Rula Shafiq, Gunnar U. Neumann, Marcel Keller, Cäcilia Freund, Sara Marzo, Mary Lucas, Johannes Krause, Patrick Roberts, K. Aslıhan Yener, Philipp W. Stockhammer. Human mobility at Tell Atchana (Alalakh), Hatay, Turkey during the 2nd millennium BC: Integration of isotopic and genomic evidence. PLOS ONE, 2021; 16 (6): e0241883 DOI: 10.1371/journal.pone.0241883

A new study conducted by an interdisciplinary team of archaeologists, geneticists, and isotope experts, and published in PLOS ONE, investigated the movement of people in this period at a single regional center, a Bronze Age city-state called Alalakh in present-day southeastern Turkey. Their results indicate that the majority buried at Alalakh were raised locally and descended from people who lived in the region.

The team’s goal was to see if the high levels of interregional connectivity evidenced by the architecture, texts, and artifacts found at the site during 20 years of excavations, sponsored by the Turkish Ministry of Culture and Tourism and Hatay Mustafa Kemal University, could be detected among the population buried at the city.

To do so, they conducted strontium and oxygen isotope analyses on tooth enamel, which can detect whether an individual grew up locally at Alalakh or moved there only during adulthood. The genetic data on the other hand can be used to determine where a person’s recent ancestors came from.

The isotope analysis identified several non-local individuals. However, their DNA showed an ancestry that was local to Alalakh and neighbouring regions. “There are two possible explanations for our findings,” said co-lead author Stefanie Eisenmann from the Max Planck Institute for the Science of Human History. “Either these individuals are short-distance migrants from the region or return-migrants, people whose parents or grandparents originally came from Alalakh.”

Only one sampled individual, an adult woman, was not part of the local gene pool, instead showing ancestry that most closely matched groups in Central Asia. However, her isotopic signatures suggested a local upbringing. “We expected the isotope analysis to show that this person immigrated to Alalakh, since her genetic data was so different from the rest of the population, so we were surprised to see that she was likely native to Alalakh. It could have been her parents or grandparents who made the move, instead,” explained Tara Ingman, the other lead-author of the study from Koç University.

While different types of mobility were identified, including short-distance, long-distance, and return migration, there were no complete foreigners in the dataset. Most people were born and raised at Alalakh and also their ancestors came from the region.

“There are several ways to explain this. It is possible that far less long-distance migrants were living at Alalakh than we had previously thought. Another possibility is that we haven’t found their graves, yet. Perhaps most individuals that came from far away were not buried directly at Alalakh, or in a way we cannot trace,” said Murat Akar, director of the excavations.

We would like to thank the author of this post for this outstanding material

Where are the Foreigners of the First International Age?

";}s:7:"summary";s:689:"Journal Reference: Tara Ingman, Stefanie Eisenmann, Eirini Skourtanioti, Murat Akar, Jana Ilgner, Guido Alberto Gnecchi Ruscone, Petrus le Roux, Rula Shafiq, Gunnar U. Neumann, Marcel Keller, Cäcilia Freund, Sara Marzo, Mary Lucas, Johannes Krause, Patrick Roberts, K. Aslıhan Yener, Philipp W. Stockhammer. Human mobility at Tell Atchana (Alalakh), Hatay, Turkey during the 2nd millennium BC: ... Read more";s:12:"atom_content";s:4020:"

Journal Reference:

  1. Tara Ingman, Stefanie Eisenmann, Eirini Skourtanioti, Murat Akar, Jana Ilgner, Guido Alberto Gnecchi Ruscone, Petrus le Roux, Rula Shafiq, Gunnar U. Neumann, Marcel Keller, Cäcilia Freund, Sara Marzo, Mary Lucas, Johannes Krause, Patrick Roberts, K. Aslıhan Yener, Philipp W. Stockhammer. Human mobility at Tell Atchana (Alalakh), Hatay, Turkey during the 2nd millennium BC: Integration of isotopic and genomic evidence. PLOS ONE, 2021; 16 (6): e0241883 DOI: 10.1371/journal.pone.0241883

A new study conducted by an interdisciplinary team of archaeologists, geneticists, and isotope experts, and published in PLOS ONE, investigated the movement of people in this period at a single regional center, a Bronze Age city-state called Alalakh in present-day southeastern Turkey. Their results indicate that the majority buried at Alalakh were raised locally and descended from people who lived in the region.

The team’s goal was to see if the high levels of interregional connectivity evidenced by the architecture, texts, and artifacts found at the site during 20 years of excavations, sponsored by the Turkish Ministry of Culture and Tourism and Hatay Mustafa Kemal University, could be detected among the population buried at the city.

To do so, they conducted strontium and oxygen isotope analyses on tooth enamel, which can detect whether an individual grew up locally at Alalakh or moved there only during adulthood. The genetic data on the other hand can be used to determine where a person’s recent ancestors came from.

The isotope analysis identified several non-local individuals. However, their DNA showed an ancestry that was local to Alalakh and neighbouring regions. “There are two possible explanations for our findings,” said co-lead author Stefanie Eisenmann from the Max Planck Institute for the Science of Human History. “Either these individuals are short-distance migrants from the region or return-migrants, people whose parents or grandparents originally came from Alalakh.”

Only one sampled individual, an adult woman, was not part of the local gene pool, instead showing ancestry that most closely matched groups in Central Asia. However, her isotopic signatures suggested a local upbringing. “We expected the isotope analysis to show that this person immigrated to Alalakh, since her genetic data was so different from the rest of the population, so we were surprised to see that she was likely native to Alalakh. It could have been her parents or grandparents who made the move, instead,” explained Tara Ingman, the other lead-author of the study from Koç University.

While different types of mobility were identified, including short-distance, long-distance, and return migration, there were no complete foreigners in the dataset. Most people were born and raised at Alalakh and also their ancestors came from the region.

“There are several ways to explain this. It is possible that far less long-distance migrants were living at Alalakh than we had previously thought. Another possibility is that we haven’t found their graves, yet. Perhaps most individuals that came from far away were not buried directly at Alalakh, or in a way we cannot trace,” said Murat Akar, director of the excavations.

We would like to thank the author of this post for this outstanding material

Where are the Foreigners of the First International Age?

";s:14:"date_timestamp";i:1643885107;}i:9;a:11:{s:5:"title";s:87:"3 Gaya Foto Kekinian Listy Chan, Gamer yang Diselingkuhi Ericko Lim : Okezone Celebrity";s:4:"link";s:122:"https://movielatest.movs.world/shows/3-gaya-foto-kekinian-listy-chan-gamer-yang-diselingkuhi-ericko-lim-okezone-celebrity/";s:2:"dc";a:1:{s:7:"creator";s:10:"Debby Kent";}s:7:"pubdate";s:31:"Thu, 03 Feb 2022 10:43:32 +0000";s:8:"category";s:76:"ShowsCelebrityChanDiselingkuhiErickoFOTOgamerGayaKekinianLimListyOkezoneyang";s:4:"guid";s:39:"https://movielatest.movs.world/?p=30566";s:11:"description";s:769:"JAKARTA– Gaya foto kekinian Listy Chan banyak menarik perhatian. Eks pro-player EVOS ini sempat membuat heboh lantaran menjadi selingkuhan Ericko Lim pada 2020. Kala itu Ericko Lim masih menjalin hubungan dengan Youtuber Jessica Jane. Kali ini, Listy Chan kembali menjadi sorotan lantaran diselingkuhi oleh Ericko Lim. Dia bahkan menyebut kejadian tersebut bagai karma untuknya. ... Read more";s:7:"content";a:1:{s:7:"encoded";s:3908:"

JAKARTAGaya foto kekinian Listy Chan banyak menarik perhatian. Eks pro-player EVOS ini sempat membuat heboh lantaran menjadi selingkuhan Ericko Lim pada 2020.

Kala itu Ericko Lim masih menjalin hubungan dengan Youtuber Jessica Jane. Kali ini, Listy Chan kembali menjadi sorotan lantaran diselingkuhi oleh Ericko Lim. Dia bahkan menyebut kejadian tersebut bagai karma untuknya.


Selain asmara, gaya foto sang gamer juga kerap menjadi perhatian, berikut 3 gaya kekinian ala Listy Chan dirangkum Okezone, Kamis (3/2/2022).

1. Dress Mini Hitam

Listy Chan memilih tampilan yang simple dengan dress hitam mini kala berada di sebuah beach club di Bali. Dia membiarakan kakinya yang jenjang terekspos. Tak hanya itu tato di lengan hingga kakinya pun terlihat jelas. Listy Chan menyempurnakan penampilannya dengan kacamata yang ditaruh di atas kepalanya.

2. Gaya ala Jepang

Listy Chan

Meskipun terlihat tomboy, Listy Chan juga kerap tampil feminim di Instagram. Kali ini dia tampil dengan kemeja knit berwarna putih gading yang dipadukan dengan rompi berwarna senada. Dia kemudian memadukan penampilannya itu dengan rok tartan rempel pendek berwarna merah.

3. Swag

Listy Chan

Listy Chan kerap tampil berbeda dengan rambutnya yang sering berganti-ganti warna. Kali ini sang gamers terlihat mewarnai rambutnya dengan warna hijau dan biru. Dia juga terlihat mengenakan crop top kaos hitam yang setengah tanpa langan.

Dia kemudian memadukannya dengan hotpants jeans. Listy Chan juga terlihat memamerkan tato di lengan kanannya. Dia kemudian bergaya dua jari ke arah kamera.

We wish to give thanks to the writer of this article for this incredible web content

3 Gaya Foto Kekinian Listy Chan, Gamer yang Diselingkuhi Ericko Lim : Okezone Celebrity

";}s:7:"summary";s:769:"JAKARTA– Gaya foto kekinian Listy Chan banyak menarik perhatian. Eks pro-player EVOS ini sempat membuat heboh lantaran menjadi selingkuhan Ericko Lim pada 2020. Kala itu Ericko Lim masih menjalin hubungan dengan Youtuber Jessica Jane. Kali ini, Listy Chan kembali menjadi sorotan lantaran diselingkuhi oleh Ericko Lim. Dia bahkan menyebut kejadian tersebut bagai karma untuknya. ... Read more";s:12:"atom_content";s:3908:"

JAKARTAGaya foto kekinian Listy Chan banyak menarik perhatian. Eks pro-player EVOS ini sempat membuat heboh lantaran menjadi selingkuhan Ericko Lim pada 2020.

Kala itu Ericko Lim masih menjalin hubungan dengan Youtuber Jessica Jane. Kali ini, Listy Chan kembali menjadi sorotan lantaran diselingkuhi oleh Ericko Lim. Dia bahkan menyebut kejadian tersebut bagai karma untuknya.


Selain asmara, gaya foto sang gamer juga kerap menjadi perhatian, berikut 3 gaya kekinian ala Listy Chan dirangkum Okezone, Kamis (3/2/2022).

1. Dress Mini Hitam

Listy Chan memilih tampilan yang simple dengan dress hitam mini kala berada di sebuah beach club di Bali. Dia membiarakan kakinya yang jenjang terekspos. Tak hanya itu tato di lengan hingga kakinya pun terlihat jelas. Listy Chan menyempurnakan penampilannya dengan kacamata yang ditaruh di atas kepalanya.

2. Gaya ala Jepang

Listy Chan

Meskipun terlihat tomboy, Listy Chan juga kerap tampil feminim di Instagram. Kali ini dia tampil dengan kemeja knit berwarna putih gading yang dipadukan dengan rompi berwarna senada. Dia kemudian memadukan penampilannya itu dengan rok tartan rempel pendek berwarna merah.

3. Swag

Listy Chan

Listy Chan kerap tampil berbeda dengan rambutnya yang sering berganti-ganti warna. Kali ini sang gamers terlihat mewarnai rambutnya dengan warna hijau dan biru. Dia juga terlihat mengenakan crop top kaos hitam yang setengah tanpa langan.

Dia kemudian memadukannya dengan hotpants jeans. Listy Chan juga terlihat memamerkan tato di lengan kanannya. Dia kemudian bergaya dua jari ke arah kamera.

We wish to give thanks to the writer of this article for this incredible web content

3 Gaya Foto Kekinian Listy Chan, Gamer yang Diselingkuhi Ericko Lim : Okezone Celebrity

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