Category Archives: The Worm in Movies

“Caché”, “Aliens”, and “The Witch” Quick Reviews

It is the holidays, and what better way to relax than review the backlog of movies I wasn’t able to see because of a hectic schedule all year. I usually rank the movies I watch in a marathon from my most fave to the least (because I’m a stupid idiot), but the ones listed below are really great in their own different ways, so no ranking. The three I’ve seen so far are below (and up there in the title lol).

Caché (2005), or Hidden in English, is a perfectly-paced quiet thriller that uses ‘colonial guilt’ as subtext to the intriguing storyline. It dethroned The White Ribbon as my third favorite Michael Haneke film. My first and second are Funny Games and Amour.

Aliens (1986) is an action-packed horror that IMO is so much better than its predecessor. While at times a bit loud because of the action scenes, it still managed to be more frightening than the low-key Alien because of the proper use of editing, and the scary showmanship of the ‘Queen.’

The Witch (2016) is a horror mystery that thrives in its ability to scare your wits not by cheap shocks and gore, but by  its suggestive power found underneath its enigmatic symbolism and the script’s subtlety.

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Red White & Blue (2010): Love Loss, Blood Loss


“Red White & Blue” is an example of independent cinema that uses a grand plot and makes everything work with subtlety, very strong performances and a rarely seen type of narrative that adds to the effectiveness of this horror/suspense drama.

The intro shows a trailer trash brunette named Erica who sleeps with different men every night in a small Texas town. In the apartment compound where she lives, there’s Noah who is a well-meaning bearded dude who will help her when she gets fired from her job as a house cleaner. Erica rejects his acts of kindness at first but will later give in because he really is a stand-up guy (aw shucks). Conflict arises when one of the men who Erica had a one-night stand with discovers she left something behind that has potential to ruin his entire life. That sounds vague, but I’m afraid that is as far as I can go because more details mean less thrill punches. Just trust me when I say it has a really good story that is intelligently wrapped around the tropes of horror/suspense movie conventions.

The cinematography projects a dark and warm atmosphere that would probably taste like honey but would feel like it has an aftertaste of poison. Huge credit should be given to whoever thought of shooting in Austin, Texas because the setting is pretty scenic. I didn’t think for a second that Leatherface resides in the area. The BGM that is mostly comprised of piano arrangements works effectively as it has resemblance to what was successfully used in Takashi Shimizu’s “The Grudge” and “Marebito.” It sounds pretty but you also feel the sense of dread fucking up your psyche.

Simon Rumley carefully peels out the layers of his characters by providing concise moments of well-written dialogue exchange and encapsulating the poignancy in the two lead’s portrayal. It rings true in the dramatic scenes of Amanda Fuller (Erica) and Noah Taylor (Nate) together where they blew the roof off. I mean, the acting displayed here alone deserves a loud praise.

This is one of the more mature horror movies that I have ever encountered, and it definitely is one that I could say one of the best from the genre that I have seen in the last five years.

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The Fault In Our Stars (2014): Okay If Not Good

The unwillingness of a movie to bend for premature respect from easily fooled moviegoers is a trait that makes it stand out. Josh Boone-directed “The Fault in our Stars” is a major motion picture, and while it still has plenty of inauthentic shades of histrionic fervor, it manages to present an uncontrived plot treatment and characters that feel real albeit a little too likeable to draw a connection from. Shailene Woodley takes her character from “The Spectacular Now” and harnesses it to maturity and replaces its ultra(dumb)niceness with sharpness, and borrows the unflinching but vulnerable strength of her character from “The Descendants.” She delivered awesome as always.

The movie could use some more despondency as it is a little too bright even in its dramatic scenes, but I suspect it’s deliberately that way to fend for the target demographic. It’s a small issue, and doesn’t really affect the overall movie that much, so it’s okay. I guess. Maybe.

“You are a side effect of an evolutionary process that cares little for individual lives. You are a failed experiment in mutation.”

I have a thing for cynicism more than the tear-jerking stuff that I must admit I also have a soft spot for. While bawling in the movies makes me feel good on the inside, it’s the face-slapping truths that give grounding and a clearer perspective on a version of humanity that is untethered by chains of sentimentality and cinema magic. The quote above is from novelist Peter Van Houten (Willem Dafoe) — directed mean-spiritedly at cancer-stricken Hazel (Woodley). The scene makes you want to gut Peter, but what he said has stuck with me even after leaving the theater. I don’t want to think I’m grasping at straws by saying it doesn’t apply only to people diagnosed with grave illnesses. I believe we are all literally and metaphorically under repair, and the world doesn’t really give a shit if we drop off the face of the earth in the process. Nothing is ever personal and as Gus puts it, “the world is not a wish-granting factory”, so we should stop being so fucking sensitive. The movie is a good cry-fest, but the skepticism found in some characters pushes it a step further from the teen flicks that are plagued by schmaltz and coming-of-age contrivances.

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The Bling Ring (2013): Materialism, Idiocy and Wrong Priorities


The entertainment industry has always capitalized on celebrities’ public image. This has led to a lot of people’s fascination with whatever their idols are up to and into without feeling the need to apply perspective from anywhere but the shrine of “stars” they admire more than themselves. This NBA player has this shoe named after him so it is definitely more valuable than the dental work you need because oral hygiene, in your opinion, is less important. This model who rose to fame for her involvement in a sex video wore this skirt at an awards festival so it is only right that you spend your allowance for the month to buy one to show your friends you can be, in your own way, a better-dressed stripper who you can leave a party with at two bottles of beer and a kiss on the ear. Admiring celebrities and wanting to be them is not necessarily an awful thing if, say, you understand that being shallow makes people look dumb and you actually want to at least replicate the moral values of those who do humanitarian efforts like Bono or Angelina Jolie. However, this is not the case for the majority, and the celebrity-obsessed culture they are a part of is what Sofia Coppola starkly presented in “The Bling Ring.”

The movie is based on the lives of affluent teenagers who stole high-end goods amounting to $ 3 million from the homes of Hollywood celebrities in California. They were able to victimize Paris Hilton, Lindsay Lohan, Orlando Bloom, Audrina Patridge and Brian Austin Green. The media called them the “Bling Ring.”

The gang is comprised of Rebecca, Marc, Nicki, Chloe, and Sam. Marc, a meek and awkward transferee from another high school, was approached by Rebecca (future ring leader) in the locker area and they quickly hit it off as they share the same interests. The latter introduced the former to the other three. With Marc attending his first party with his new pals, he didn’t feel alone and probably thought he should do everything he can to please them, especially Rebecca who he would call his best friend. She took him outside the house where they were partying at and showed him her kind of fun – opening unlocked cars and taking money, gadgets, cocaine and other valuables she can get her hands on. Marc, beguiled at first, went with the flow and that is how the robbing spree started. They easily persuaded Nicki, Sam and Chloe to tag along with their break-ins. They visited celebrity websites and targeted those who were out of town. They picked Paris because they thought she seems to be the kind of person who would leave her key under the doormat and, according to Nico (Marc in the film) in a real-life interview, she is “dumb” and “doesn’t contribute anything to the society.” (I can’t say I disagree. She was robbed six times and it took her two months to discover there’s been a break-in.)

Since these kids are well-off, what could possibly be the reason for their kleptomania?

Most of these Cali kids’ hobbies include cocaine-snorting, pill-popping, clubbing and shopping. Sofia did not really dig into the psychology of how these kids acquired such behaviors, but I felt it’s intentional. They are self-centered (except for maybe Marc who just wants to have company to keep), and geographically near the “stars” that they are crazy about.  In a generation where many celebrities share everything on Facebook, Twitter and Instagram, any young-minded individual raised on bad TV will fall easily into obsessing, and their perception of what is and what should not be a necessity becomes muddled. You could say that some would want to be their idols by wanting to have the stuff they have, but in the “Bling Ring’s” case, they take it up a notch by actually stealing stuff from people they so love they want to have the exact clothes, bags, jewelry and fragrance they are wearing. In the film, it’s clear that all, with the exception of Marc, didn’t even think what they were doing is considered felony. One explanation for that is they are all spoiled rotten rich kids who don’t think taking responsibility for their actions is a big deal. I mean, in the last act when Rebecca was brought in the police station for questioning, she fangirlingly asked what Lindsay said upon learning they stole from her. It’s also not going to take deep analysis to figure out the level of IQ these kids have. They will brag about their exploits at parties, and would not even wear gloves or disguise of any kind when entering the victims’ houses.

Unsurprisingly, this being a movie from the same director who helmed “The Virgin Suicides”, “Lost in Translation” and “Marie Antoinette”, the cinematography makes images that are seemingly empty on the surface but are projected in stylish photographs filled with moody colors and an un-energetic brightness that suggest a foreboding ugly conclusion — eliciting feelings of wonder and uneasiness at the same time. The long takes that are sometimes devoid of dialogue and score felt gaps that are both enigmatic and comfortable places where you can allow yourself to take in the carefully-handled scenes that has Sofia’s signature stamped all over it. Emma Watson, whose American accent is better than the one she used in “The Perks of Being a Wallflower”, is hilarious as Nicki (the dumbest Valley teenager in the gang). Newcomers Katie Chang (Rebecca) and Israel Broussard (Marc) gave what you would call a decent debut for a major movie. Claire Julien (Chloe) has that X factor onscreen that I can’t quite point my finger at, and it always draws my attention whenever she enters the screen. The musical score that includes modern pop and urban tunes is suitable for the caricature that Sofia is trying to paint throughout the story. “The Bling Ring” is not so concerned of peeling out layers that will give viewers a more comprehensive look at why the characters did what they did.  Would it hurt to add dimensions to these characters? No, but Sofia’s intentions, in my opinion, don’t really want to go to that extent. It’s metaphorical in a way that the superficial is dressed up in a conspicuous style.

“Too many bottles of this wine we can’t pronounce…”

The first line of Frank Ocean’s “Super Rich Kids”, played at the closing billboard, is a perfect representation of a culture in our society that is enamored by materialism, idiocy and wrong priorities. We don’t need it, we certainly can live without it, but we want to have it.

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5 Awesome Horror Films Nobody’s Putting On Their Top List

1. Joshua (2007)


Horror movies involving kids as their central antagonist have always been extra creepy. While ‘Omen’ is the most popular and lauded movie with that concept, others have also tried to replicate its techniques with varying results that could be considered as fine but less-stellar. (See: The Brood, Orphan, Children of the Corn) The one that could probably go head to head with the aforementioned classic is ‘Joshua’. The movie gives us an introductory portrait of a family grasping at straws with the birth of their second child. Now that young Joshua’s parents’ focus is on her baby sister, he tries to take some of their attention back by terrorizing the household in degrees unimaginable. The pacing of the movie is slow, building up its sinister ambiance that will crescendo to the last act when the title character finally unveils a face so evil it embeds its mark in your head. The movie has a style that is a reminiscent of Roman Polanski; having subtlety and intelligence that only a few filmmakers nowadays can pull off successfully.

2. Toolbox Murders (2004)


Helmed by the director of the original ‘Chainsaw Massacre’, this gem faded into obscurity for reasons I’m not quite sure I understand. The tenants of an apartment building are being troubled by mysterious circumstances. Strange noises are being heard; teeth are being used as wall decors; and, well, people die. Later in the film, we meet with a balaclava-wearing man who is causing the entire conundrum and he looks fucking scary as hell. The plot is nothing new, but what separates ‘Toolbox Murders’ from the rest of the pact is its well-fashioned throwback style and the punch it packs whenever tension is mounting around the characters of the movie. Here, Tobe Hooper proves he still got what it takes to direct an effective slasher film. The impressive set-design is noteworthy as it gives the frightening villain a mutilating platform that made the athmosphere of the film even more creepy and claustrophobic, making the watching experience suspenseful as it is masterful-looking.

3. Grace (2009)


Madeline, a married woman who would do anything to be a mother, finds her dream shattered when she birthed a baby with a pale skin and without a beating heart. Having difficulty accepting that fate, she took her lifeless offspring into her home and held onto its little body until, unexpectedly, ‘it’ started to chew her nipples. That and gallons of blood and a psycho mother-in-law and an old lesbian lover fill the whole reel of Paul Solet’s 2009 movie. Here, the occurrences don’t try to evoke repugnance just for the sake of disturbing our psyche. It presents us a dramatic play of parenting gone berserk, demanding empathy and understanding from us amid the horrible actions done by the well-meaning but somewhat disoriented protagonist. Disquieting and very low-key, ‘Grace’ is a monster movie crawling, whimpering and springing up under the skirts of motherhood.

4. Ginger Snaps 2: Unleashed (2004)


‘Ginger Snaps’ would have made the list if this is your usual countdown of the genre’s best. Let’s say this is that list. Heck, I would still put ‘Ginger Snaps 2: Unleased’ ahead of its predecessor. The movie can definitely stand on its own and rarely will you see a sequel that looks and feels so original. Against her will, Brigitte continues her struggle to fight off the werewolf genes at a mental facility for teenage women. She meets new friends that would tag along with her when she escapes. A big angry werewolf tails behind her throughout this ordeal. The last quarter of the movie takes places at the empty house of one of her new friends. What transpired there is, of course, a delicious and twisted secret. The theme for this movie is very different from the first one and I will tell you that this should be the standard for making better sequels. The unpopular formula did wonders. Fangs of varying kinds will sure to catch you off-guard.

5. Jenifer (Masters of Horror, Season 1 Episode 4, 2005)


Forgive me if you are blindsided by the surprising inclusion of a TV episode here. As much as I wanted to reward a full-length film as my list-ender, let me tell you from here on out that ‘Jenifer’ deserves to be recognized for being a provocative piece of work that it is. The story follows a police officer saving a disfigured young woman named Jenifer from being killed by an old man. He takes her home as she appears to be retarded (she doesn’t talk and only makes creepy sounds similar to a cat murmur) and have nowhere to go. He becomes drawn to her for reasons that are too weird to solidify. After a couple of loony scenes, it becomes clear that there are problems with Jenifer that turn the lead’s life into a mess. Directed by Dario Argento from the collection of the now kaput anthology series ‘Masters of Horror’, ‘Jenifer’ is a weird bag of stuff. It is repulsive, erotic, sad and infuriating. The overall effect is… really something. It is probably the enigma of it that I keep on looking back at the movie and be cast under its befuddling spell. Needless to say, I highly recommend it.

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dddd‘The Canyons’ is an ultra-low budget erotic thriller about a group of people in Los Angeles whose lives took a left turn when recent lies and past secrets came crashing down their already troubled existence.

Christian is a trust fund guy who’s producing a movie to convince his ‘asshole’ father that he’s doing something worthwhile with his life. Tara is her girlfriend who used to be an actress but quitted because getting off with rich dudes is more convenient. Ryan is a struggling model-actor who is cast in Christian’s movie. These are the three major characters of ‘The Canyons.’ How is one connected to the other is something for you to find out.

I have preferences which I would’ve wanted to be incorporated in the movie, but I think the imperfections and the occasional awfulness are there to prove the point that Ellis and Schrader want the viewers to see.  As what the former tweeted (which I believe is now deleted), it’s not about the plot and the characters. It’s about the mood and the underlying metaphor that makes a certain kind of movie or in this case, ‘The Canyons’, remarkable. The movie does not aim to be loved nor does it want to give any kind of pleasure to average moviegoers or even the ones who have a wider and varied taste in cinema. What it wants to do is become a product that will remind us that movies of the tackiest quality are getting released for cash-grabs and that it’s destroying the essence of why movies are being watched and made. It’s like an infomercial from serious filmmakers out there who would like to appeal to studio honchos to stop tolerating the idiocy of the masses and start producing stuff that has potential to thwart the decaying intellectual capacity of mainstream cinema.

If you are planning to see ‘The Canyons,’ I suggest that you do some research first. To say the least, this is not your ordinary film. This is not even a movie to look for some weird, depressing or artsy stuff. However, if you want to be enlightened and see a rare if not a new kind of work that is free from any form of pandering, I hope you can get through it with an open mind.

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GINGER AND ROSA (2013): A visual masterpiece and a showcase for Elle Fanning’s talent

A scene from 'Ginger and Rosa'

Ginger and Rosa are best friends.  They grew up together messing around with boys and their Moms.  Aside from living at a time in London where a nuclear holocaust could happen any day, everything is going smoothly in their teenage life. That is until Rosa took a romantic interest in Ginger’s father; causing their relationship to fall apart along with the visions they obtained together.

The movie has interesting things to say about how people are drawn into different kinds of ideals. Each character possesses a longing for a change of scenery in a world that is slowly turning into an unbearable dystopia. Everyone has something they feel the need to fight for; dreams of unison and a state of being in which they want everybody to be in. But much like some of the characters, they end up dwelling with what’s left alive and existential — their own selves.

The cinematography is superb. Saying that it’s beautifully shot is doing it a disservice. From the long shot of the two lead’s walk by the sea to the the close-ups that magnifies the portrait of  their disillusioned faces, the imagery is dazzling. Since I find every frame without fault and wondrous, I will say that it’s perfect. It kind of reminds me of Seamus McGarvey‘s work in 2007’s ‘Atonement.’

Featuring a great cast that includes Annette Bening, Timothy Spall and Christina Hendricks, Elle Fanning proves to be a force that can hold a movie together really well. Her eyes and her youthful face register a mesmerizing power on screen that it captivates your entire attention until the scene calls for an exit. The kid can  act her butt off. I will not be surprised if she scores plenty of acting nods for her role here as disenchanted Ginger.

While ‘Ginger and Rosa’ poses as a coming of age tale, you’d be surprised to discover a film that is both a visual and an emotional flare with chunks of philosophical content that is as good as day-reading Freud while being distracted by the huge amount of charisma and talent that Elle Fanning has in her possession.

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The Hamiltons (2006): More than the sum of its parts

vlcsnap-2013-08-09-17h29m45s79In search for films to watch on the weekend, I found a blog that recommends horror movies I have never heard of. Being a huge fan of the genre, I was a little excited to see titles that are off my radar. The list includes the 70s film ‘Messiah of Evil’, the other adaptation of ‘I am Legend’ called ‘The Omega Man’, the cleverly-titled mockumentary ‘Home Video’, and so on.

Among the selection, the one that caught my eye was ‘The Hamiltons.’ The blog’s introduction to the independent film says ‘it’s better to see it without knowing much about it’ or something like that. Discovering that the movie was only reviewed by three critics on Rotten Tomatoes, I suddenly felt disinterested. Usually, the plan is to list down a couple of titles and then trim it down to the most well-received if not the most reviewed. Still, I gave it a chance. I decided to download it and conditioned myself to not give a shit if it sucks. But what do I fucking know? It was a pleasant surprise. In fact, I didn’t expect to like ‘The Hamiltons’ more than I thought I would.

It’s a story of four siblings who moves around the country a lot for reasons that are purposely undisclosed. They lost both of their parents at an early age. They seem like the typical dysfunctional family, but actually, ‘dysfunctional’ doesn’t even come close to describing the kind of family that they really are. As I would really like for a lot of people to see The Hamiltons, I will now stop divulging additional plot details.

The low-budget stigma is apparent throughout the movie. The set design looks cheap and the camera-work is ameteurish, but almost all the actors who play major roles are good. The complex but tight relationship between the Hamilton siblings is a thing of beauty and rarity for the genre. Even the supporting characters have well-structured roles which is refreshing to watch. They are not cardboard caricatures you could find easily in your ordinary horror flick. I can definitely say that this is the movie’s biggest strength.

One of the impressive things the movie also has in spades is its ambience. It pretty much gets an A for its subtle yet nervous mood. The scoring also adds a nice touch. It doesn’t go over the top when tension escalates. It’s not out to murder eardrums with unnecessary loud booming noises.

As for the writing, the dialogue exchange between the characters in many scenes and the main protagonist’s poignant narration are crafted in such authentic form. It’s believable and is an absolute step-up from the usual offerings of the genre. It doesn’t become stupid or annoying unlike the same old lines you hear from horror movies when the story gets to the point where a character’s life is in danger or when the antagonist explains the reason for his/her bloodlust. More importantly, it doesn’t treat the viewer like a stupid kid who needs to be spoon-fed with information that could be easily attained through mere attentiveness or little careful observation.

Some might be put off by ‘The Hamiltons’ low-grade production value, but those who are prepared to look beneath the surface will find a masterfully told horror drama that favors mood and a well-thought-out story over gore and cheap shocks. It also serves as an allegory of what it means to be part of a sequestered community in a world where doing what you can to live is something you can only do behind closed doors.

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DON’T LOOK NOW (1973): Short on scares and not as profound as it wants to be

DOn'tIt is probably my fault that I believed, without reservations, the high praises Don’t Look Now received from the so-called top critics online. Believe me, I wanted to love the film for its impressive style and atmosphere, but unfortunately, that alone can’t compensate for its inept plot that started out as enigmatic, but ended up as pure horse shit.

John and Laura lost their daughter in a drowning accident. They went to Venice for a job that John was contracted with. While eating at a restaurant, Laura met two old sisters (one is psychic but blind) who claimed they see the ghost of their daughter. Laura believed them. John did not.


Meanwhile, John is being troubled by apparitions. The two old sisters warned Laura that John’s life is in danger. He kept on seeing a red caped girl who resembles the image of her daughter at a dark alley.  Later on, Laura fled back to England to check on their other kid. The same day, John thought he saw Laura with the two sisters riding an adorned boat. He was worried. Apparently, there’s a killer on the loose. He then consulted the police. The two old sisters were brought in for questioning. They were released briefly after John confirmed that Laura is where she’s supposed to be. Laura returned to Venice.  John, after taking the other blind sister home, saw the red caped girl and followed her at a deserted building. It turns out that she’s not their dead daughter. She’s an old ugly dwarf who’s on a murder spree. Upon confrontation, she slits John’s throat. They had a procession by the river. The end.

I read somewhere that the movie is filled with symbols and subtexts, and that it’s about dealing with grief and premonitions. Well, meditation on this-that or not, the problem for me is the story as a whole is not compelling nor interesting enough to be given two shits about.  It really was not able to struck a chord in me because there isn’t much to chew on. The worst part of it all is it didn’t even scare me once. It’s a goddamn horror movie! While I do appreciate the oftentimes eerie mood and the enigmatic Venice setting, it didn’t amount to anything that’s gonna cut through the bone. And let’s not talk about that ending. That might be the most atrocious joke that I have ever seen in my entire life. I’m sorry, but I’m just not gonna get scared by an ugly dwarf, even by one who has a butcher knife in hand.

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10 of the Most Horrific Movies Ever Made


They’re filthy. They make you sick. They’re depressing. Clearly you have to be demented to have a fetish watching these movies.
Why not watch a comedy flick and laugh yourself like crazy? A romantic film to fall in love?

First, if I wanted to laugh, I would talk to politicians and LOL over their desperate attempts to look respectful and caring. Second, If I want to fall in love, I would climb a tree and watch a mother pigeon feed its little birdies.

I love horror movies because they represent the art of misery. You can’t call someone stupid for wanting to go to a gallery. I dare call horror movies a magnificent painting of a wide-range art. Art is a wide sea of understanding, it’s receptive to the most illogical reasoning, but what art is not is a clean piece of cotton. You will never know art if you’re not stained with mud. People who love horror movies have the hunger for misery. They know it’s eyes, and they are courageous to look at them. The right kind of people who enjoy horror movies do not rejoice with entertainment. They enjoy it because they are presented the darkness of the world. They would like to see things that are not visible in the synthetic scenery that fools everyone.

They enjoy it because they are devastated and at the same time, fascinated to realize that they still feel human. This sounds silly and a bit dramatic, but it is fucking true.

Here are 10 of the most horrific movies ever made:

1. Martyrs – Directed by Pascaul Laugier

“Intense, disorienting, unsettling, upsetting, polarising – Martyrs is all these things but it is also intelligent, moving and strangely uplifting. If you want to be put through the wringer by a film, make it this one.” – Anton Bitel, Film4

2. Inside – Directed by  Alexandre Bustillo and Julien Maury

“I dare call ‘Inside’ a classic because it is such a damn good horror movie. It also happens to be one of the bloodiest things ever produced — anywhere.” – Lucius Gore, ESplatter

3. Funny Games – Directed by Michael Haneke

“This is a piece of art. The direction is amazing, the performances are top-notch, and the pot-boiling pace is pitch-perfect.” – Clint Morris, Moviehole

4. Antichrist – Directed by Lars Von Trier

“Purely as a visual and visceral experience, puckish writer-diretor Lars von Trier produces an enormously powerful phantasmagoria that deals with and reproduces the effects of fear and depression.” – Mark Pfeiffer, Reel Times: Reflections on Cinema

5. The Loved Ones – Directed by Sean Byrne

“Horror fans are going to love this, but those who recognize a filmmaking skill to go along with the gore may appreciate it even more.” – Erik Childress,

6. I Saw the Devil – Directed by Ji-woon Kim

“…a gritty, brutal, and consistently uncompromising thriller that does, for the most part, feel like South Korea’s answer to Se7en.” – David Nusair, Reel Film Reviews

7. Suspiria – Directed by Dario Argento

“It’s always fascinating to watch; the thrills and spills are so classy and fast that the movie becomes in effect what horror movies seemed like when you were too young to get in to see them.” – Geoff Andrew, Time Out

8. The House of the Devil – Directed by Ti West

“Like Paranormal Activity and Let The Right One In, Ti West’s shocker favours old-school tropes – plot, character, suggestion and suspense – over gorno extravagance. Seems like the Devil has great taste in films too.” – Jamie Graham, Total Film

9. A Serbian Film – Directed by Srdjan Spasojevic

“The rare piece of transgressive art that’s more grimly meditative than satirical or allegorical, A Serbian Film’s most daring aspect may be the muddle of soul-searching it demands from its audience.” – Joseph Jon Lanthier, Slant Magazine

10. Henry: Portrait of a Serial Killer – Directed by

John McNaughton

“A low-budget tour de force that provides an unforgettable portrait of the pathology of a man for whom killing is not a crime but simply a way of passing time and relieving boredom.” – Roger Ebert, Chicago Sun-Times

(Quotes are taken from 

Big thanks to the rightful owners of the pictures used in making this piece more entertaining)

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