10 Powerful Women of Now Streaming Horror
Netflix hasn’t exactly been generous to us horror fans over the last few months. New additions are relatively slim, and the majority seem to be completely dismissible.
But there’s still magic to find on the streaming outlet, old and new; you’ve just got to search for it… or take the road less motivated and let us do the searching for you!
Here are 10 films that showcase some seriously powerful ladies in front of the camera.
Fright Night 2 – Gerri Dandridge
Fright Night 2 may be one of the biggest surprises in years. It’s a far cry from a terrific picture, but it’s strangely magnetic and – in my humble opinion – superior to the final two acts of Craig Gillespie’s 2011 remake. There are a handful of “big” action sequences and the cinematography is impressive. We only meet a few likable players, but they’re enough to keep us invested in the film.
The leading lady of power in this straight-to-video sequel (it’s a lot closer to a reimaging than a sequel) is none of other than professor Gerri Dandridge, who – as you know just by the name, whether you’ve seen the flick or not – is a blood sucker. She also happens to be a bloodsucker, which she uses to her advantage. Gerri’s got huge presence, and this was a perfect chance for Jaime Murray to flex her dominant female chops in front of the camera.
The Hallow – Clare Hitchens
Poor Clare goes through hell in this nightmarish tale of creatures lurking in the darkness surrounding her home. The atmosphere is truly stunning, and the performances are stellar on all fronts, as are the script and special effects. Corin Hardy’s 2015 creature feature is very polished, and a lot of different players deserve credit for such a feat.
Clare essentially watches the life she’s grown to love wither away before her eyes. But it’s a long, tense journey; and only a woman of supreme strength could endure such an astonishing and harrowing adventure. Kudos, Bojana Novakovic! You did this character a justice that few could rival.
Final Girl – Veronica
Veronica undergoes years of training in order to rid the world of bad guys. But when she finds an entire group of psychos who love to take young ladies out into the woods and hunt them, she learns that everyone has their limits. Can she handle the entire group, or will she become another tally on the belts of these sadistic brats?
I wasn’t a huge fan of Final Girl. I think there were a lot of missed opportunities here, and with so much backstory entirely ignored, it’s hard to care too much for anyone in the entire cast. That said, whether I like it or not, the film looks good and allows Abigail Breslin’s performance to shine pretty strong. Even if she isn’t pitch-perfect in every scene, she’s a surprisingly impressive Final Girl.
The Ward – Kristen
Hated by many and loved by few, I found John Carpenter’s The Ward to be an eerie, often shocking and claustrophobic piece of work. It’s not up to par with Carpenter classics like The Thing or Halloween, but I find it more entertaining than films like Vampires, Village of the Damned, and Ghosts of Mars. That’s impressive because I like all three of those flicks. But I see The Ward as a stronger effort, and a whole lot of that is a result of the work put forth by Amber Heard in the role of Kristin.
Heard is a hard-ass in the film, but as the story progresses, we see some chinks in her armor. She loosens up a bit. That gives Kristen the chance to create memorable sequences on a few different layers. It’s great seeing her vicious, but it’s also nice to see some vulnerability boil to the surface. The Ward allows for that and more from Kristen, who, as it turns out, has a pretty gnarly and powerful secret.
Curse of Chucky – Nica
Curse of Chucky shocked just about everyone; it’s the greatest Child’s Play flick since the inaugural film. Super dark in tone and completely ruthless when the tides turn for the worse, Curse of Chucky was a far cry from the previous few franchise installments. Don Mancini takes the story back to its roots, and it pays off, as does Fiona Dourif’s performance.
Handicapped, forever wheelchair-bound, Dourif’s character, Nica, doesn’t look too imposing or powerful. In fact, initially she looks a bit fragile. And then shit gets crazy in the film and Nica’s defensive mindset spins 180 degrees. Survival instinct takes over, and whether handicapped or not, she’s not going down without a fight for the ages.
Last Shift – Jessica Loren
Last Shift is a creepy little flick with impressive special effects and an utterly hopeless vibe. It’s a massive mindfuck, haunted house (in this case police station) story that slaps us in the face with an ongoing stream of evil imagery. It’s shocking on a number of occasions, but what really stands out is one woman’s ability to keep her head screwed on for more than five minutes in this setting.
How Jessica even attempts to gather herself in such a situation is unreal, but Jessica does just that, and Juliana Harkavy ensures that her depiction of the character is a memorable one. She damn near walks through Hell, but she’s no coward and she’s willing to prove it. One of those rare indie films that turns out to be super badass, Last Shift needs to be seen, and Harkavy needs to be respected.
[REC] 4 – Ángela Vidal
We’ll just slice through the butter real quick here: While everyone was busy hating [REC] 4, I was seeing a creative way to carry on with the original story. Sure, there are a couple plot hiccups, and yes, director Jaume Balagueró takes the story out of the first-person perspective zone and delivers a more standard picture, but it’s really not a bad picture. We get to see a very important and familiar face return to the franchise, and if you thought her work in initial film was great in a savage way, wait until you see [REC] 4.
Ángela Vidal doesn’t just return to this terrifying world, she rips right through it.
Gone are the days of wide smiles and innocent charm. She’s trusting no one, taking no chances, and, when it comes time, slaughtering anyone who looks at her sideways. Angela’s never been this ruthless, but I can’t help loving her mercilessness.
Underworld/Underworld: Evolution – Selene
Everyone is at the very least familiar with the Underworld franchise and the fact that it’s a story pitting vampires against werewolves. What those who have passed will have missed is the impact that Kate Beckinsale’s character, Selene, leaves on the viewer. She holds no remorse for her actions, and she’ll kill anything she feels she must. Slaughter, defy, outright rebel, Selene does it all with the power of a feared army.
Haunter – Lisa
Vincenzo Natali’s Haunter remains quite the overlooked piece of work. There’s no reason to steer clear of this one, though; it’s pretty creative and, in a few shots, ridiculously creepy. A finale I found quite gratifying left a few critics displeased, but I really thought it was a smart way to wrap the flick. It’s a solid 3.5- to 4-star feature.
The film is carried by Abigail Breslin’s character, Lisa, who seems to be trapped in some awkward rendition of Groundhog Day. But why is this happening, and how can she break the cycle and move forward? It’s a question heavily pondered by Lisa, who musters up big moxie to bring an end to a mystery that’s been torturing her for too damn long.
Byzantium – Clara
Holy shit, is Byzantium a beautiful film! And holy shit, if Byzantium isn’t at times surprisingly graphic. There’s a quality story here, and while it may feel a little too glossy for some, it never treads into that Twilight area. It’s a stunner to watch, and if you can’t respect the city shots or the sprawling, green and wide open landscape sequences, maybe you’ll enjoy one of the finest beheadings caught on film.
Saoirse Ronan takes top billing, but it’s Gemma Arterton’s performance as Clara that completely steals the show. She wields her sexuality like a sword, and when she needs to, she’s just fine with draining a man dry. Her brash attitude and don’t-give-a-fuck demeanor are priceless. This woman oozes power.
