The myth that’s been floating about numerous sites is that 2014 was a dreadful year for horror. It must be admitted that on the commercial end, the genre felt devoid of genius. But when you examine the indie and foreign productions released this year, you’re going to find a myriad of sterling productions. There were a lot of true treasures that flew under the radar, and if you missed any of these, well.. you’re only depriving yourselves!
That’s why we’re here to help!
Dead Snow 2: Red vs. Dead: Everything that was awesome about Dead Snow is shockingly outdone by its immediate follow-up, Dead Snow 2: Red vs. Dead. The humor is off the charts, the performances are top-notch, the gore is great, and there’s one damn grandiose finale. Yes, folks, it’s definitely a stronger piece of art than the original Dead Snow.
Life After Beth: If you’re on the hunt for a zombie film of a different variety, Life After Beth is one to check out. The black humor is infectious, the performances from Aubrey Plaza and Dane Dehaan are stunning, and the comedically inclined John C. Reilly is never once outshined. Just so much amazingness in the film!
The Babadook: Initially, The Babadook looked as though it could be another run-of-the-mill possession flick with a creepy monster. While hints of those elements are present, this is far more a psychological chiller that descends into the ranks of palpable terror. You have to see this amazing, amazing film. Trust this: It will scare you.
The Cabining: Every few years we really need a comedic slasher that steers clear of the unexpected. The Cabining is that picture. Don’t get me wrong; there are some obvious cliches at work, but there’s also a certain degree of love invested in the film, and it pays off in stellar fashion. The cast is great, and believe it or not, the big reveal is also satisfying.
Oculus: A mindfuck of a film that blends reality with tormented childhood memories and a creepy supernatural presence. This is one of the year’s few commercially embraced films, and for as creepy and oddly cohesive as it is, it must be said that it was well worthy of the respect it pulled down from fans.
Septic Man: Septic Man arrived on the heels of big buzz. Then the chatter died away and a sizable portion of the genre community all but forgot the film. It’s worth remembering. There’s some pitch black comedy infused, but it’s more the general sensation of viewing a vintage mutation movie that really sucks the viewer in.
Exists: Eduardo Sánchez’s return to the found footage format that cast his name into significant cinematic circles in the 1990s is definitely one of two top-notch found footage films to hit the market this year. Exists isn’t your typical handycam flick, but it offers tons of action, eerie visuals, great personalities, and a reveal that is absolutely to die for.
Housebound: This is probably my pick for greatest horror comedy of the year. Housebound came out of nowhere, and at first glance no one knew what to expect. Then the movie dropped, and we were amazed at how marvelous it was. You’ll find some of 2014’s best comedy here as a result of colorful characters and wild facial expressions showcased throughout, but the joy stretches far beyond that.
The Houses October Built: This isn’t a universally beloved found footage film, but that doesn’t change the fact that it boasts an amazing presence, a great premise, astonishingly believable characters, and a villainous climax that won’t leave you feeling too warm inside!
Horns: Horns wasn’t a universally loved film either. There are a few difference between the film and Joe Hill’s original novel, but I’ll be damned if it isn’t fairly faithful to Hill’s tale. Daniel Radcliffe is just manic enough to work well, there are some serviceable examples of special effects, and while predictable, it’s still a damn treat to behold. For my money, this one is significantly stronger than The Woman in Black.
The Last Showing: The Last Showing has flown under the radar in a major way. That’s damn criminal too, as it is one of Robert Englund’s greatest films. Englund gets to show an entirely different character here, but make no mistake: This dude is still a lunatic. This one picks up a few points for creativity, but it’s Englund’s performance that takes things to new heights.
The Purge: Anarchy: No need to spend a wealth of time discussing this one. What must, however, be said is that every illogical decision made in the first film is (THANK GOD!!) left to rot in a gutter somewhere. This is the Purge film I wanted to see the first time around!
Shock Value: This is all about an actual serial killer who’s blackmailed into starring in a hardcore horror flick. It’s inventive, it’s one of the most underrated flicks of the year, and it most certainly shouldn’t be! The cast does a sublime job, and a few of these characters are absolutely engrossing. Don’t miss it!
Wolves: Wolves was a really weird flick. It has a lot of technical problems to juggle, but in contrast, it’s a very entertaining flick. There’s something about the werewolf effects that drew immediate memories of some of the classic werewolf tales. The practical effects are stellar, and while it ultimately amounts to a well-written “teeny bopper” flick, don’t pass on it due to the questionable trailers. It’s a great beer and popcorn flick.
The Sacrament: Ti West has a knack for taking human strain and making it completely engrossing. This crazed cult flick is as savage as they come, but it’s the early character exploration that really forces viewers to invest full attention. The craziness that unfolds as the pic progresses is just cake icing.
The Scribbler: While dark on all fronts, The Scribbler isn’t an outright genre piece. But it is astonishing. First-rate visuals and cinematography set this one far apart from the norm. Forced to describe it in a single sentence: The Scribbler is a visual treasure with enough stunning sequences to leave your jaw on the floor.
Found: Hands down the absolute darkest picture in this list, Found will completely fuck with your head. It’s part coming-of-age tale, part serial killer tale, and eventually that all segues into a paralyzing finale pitting all key characters against one another. It may be a low budget film, but holy hell is it amazing.
Snowpiercer: This unique post-apocalyptic chiller taps into original ideas, and it works extremely well. The world’s final survivors are trapped on a souped-up train designed to circle the world without stopping. To stop means to put everyone’s health at risk due to the fatal cold that’s overtaken the world. The abominations occurring within the train, however, lead to an uprising that will result in mass bloodshed and startling revelations. A classic in the making.
Zombeavers: Zombeavers isn’t a serious movie. At all. Just the same, it really brings back memories of awesome – and successful – exploitation films of the 1970s. There’s a very adequate cast involved, boat loads of laughs, and some of the more entertaining villains you’ll see on film.
Under the Skin: Under the Skin is not going to win fans over universally. It’s a slow burn affair that leaves viewers wondering what’s happening to ScarJo’s character. But that astonishing revelation will leave you baffled. A brilliant, artsy film that relies primarily on visuals, Under the Skin is one for the artistic lovers, though anyone hoping to see Scarlett Johansson completely nude will also find some… enjoyment from this one!
Stage Fright: There’s no denying the fact that Stage Fright was met with some seriously mixed reviews. In this writer’s opinion, it’s one of the finest musicals to hit the market in some time. There’s good, offensive; a hokey appearance from Meat Loaf; and a few pleasing death sequences. Hell, even the jingles those goofball kids sing turned my frown upside down.
All Cheerleaders Die: Hands down one of the finest “teeny bopper” flicks to hit shelves this year, All Cheerleaders Die had a bit of everything and broke every rule in the book. An asshole jock punches his girlfriend. Then he drives her off a cliff, killing her. Then the fantastical elements arise as a lowly witch resurrects them all. But when they return, they’re bloodthirsty monsters. Still it gets worse; those assholes who had a part in their execution learn exactly how the cheerleaders were brought back to life and want a piece of that magic. What ensues is a supernatural battle for the ages!
The Canal: The Canal was an admittedly predictable film. The viewer knows everything that will and does happen in the picture. That doesn’t change the fact that it’s a beautifully shot film that features the heavily underrated Rupert Evans. The film, about a haunted home and the possession that befalls its residents, sports some eerie visuals and commands a sense of true sympathy.
The Town That Dreaded Sundown: The Town That Dreaded Sundown proved to be a strong remake. It utilized elements of the original film and kept the atmosphere of Charles B. Pierce’s original alive and breathing, all the while delivering something new. Anticipate some tweaks to the story, and look for a different conclusion. But make no mistake; this is a picture well worth investigating!
The Dead 2: Somehow The Ford Brothers’ new zombie outburst hasn’t earned many places on “Best of the Year” films. Believe this: It’s one of the greatest zombie movies I’ve ever seen. The guerrilla nature of the picture leaves a sense of dread in the viewer, while the filming locations are absolutely stunning. Great acting, great action, and of course, great zombie mayhem earn this a nod from me. Don’t miss it.