Dread Central’s Top 10 Horror Movies of 2021
For the past two weeks, Dread Central staff have been sharing their top horror movies of this year. What’s been so exciting about editing these lists is seeing how diverse our picks are. All of us staff writers and editors love horror, obviously, but what KIND of horror do we really gravitate to, especially in such a strange year like this one? Some of us found comfort in franchise reboots and continuations. Others of us found catharsis in the sad and tragic. And others found laughter and terror all in one thanks for a year of horror-comedies. Regardless of where our favorites fell, we all found comfort in horror in 2021.
2022 promises another incredible year for horror, from a new Scream and Hellraiser to new work from Jordan Peele, Robert Eggers, and Ari Aster. While our times are certainly unprecedented and every day feels like a new hell, there’s one constant: our love of horror movies. And that’s something that deserves to be celebrated 365 days a year.
Without further ado, we present Dread Central’s top 10 favorite horror movies of 2021.
10. We Need To Do Something
We Need To Do Something is sensational. It’s genuinely scary and features Pat Healy doing what Pat Healy does best. Directed by Sean King O’Grady and written by Max Booth III, adapted from his novella of the same name, We Need to do Something follows a family trapped in their bathroom during a tornado, soon finding themselves unable to leave. It’s a wildly unpredictable experience, one predicated on ever-increasing insanity and paranoia. It’s fresh, original, fun, and subversive where it counts most. You need to do something and watch this movie.
– Chad Collins, Staff Writer
9. Psycho Goreman
“Everyone wanted to see Steven Kostanski’s ’80s-inspired horror fantasy the second they saw the first image of the titular character. PG for short, Psycho Goreman is essentially an alien wishmaster that any conniving kid would want for their very own. Receiving almost universal acclaim, the R-rated kids movie from Canada seems to be the odds-on favorite to wind up on the most top ten lists this year. If we count our blessings this holiday season, there might even be a sequel on the horizon.”
– Drew Tinnin, Staff Writer
8. Malignant
“I’ve always thought of James Wan as a very talented filmmaker. But my enjoyment of his films has been somewhat hit-or-miss. This one was a big hit for me. It is completely off-the-rails and combines elements of the giallo with body horror to deliver an unexpected and unpredictable ride. The ending is as surreal as it is unexpected. If you’ve sat this one out due to the polarizing reaction from fans, I suggest giving it a go and making up your own mind. I certainly had a blast watching it.”
– Tyler Doupe, Staff Writer
7. My Heart Can’t Beat Unless You Tell It To
“I love a good emotionally devastating horror movie. And Jonathan Cuartas’ My Heart Can’t Beat Unless You Tell It To is just that. Patrick Fugit plays Dwight, who lives with his sister Jessie and sickly younger brother Thomas. As one of Thomas’ caretakers, Dwight is tasked with helping keep Thomas alive by whatever means necessary. And for Thomas, that means providing him with a fresh supply of blood. Yes, Thomas is a vampire, but he’s a very sickly creature of the night. He can’t leave the house and is incredibly weak. So, his siblings must provide for him. The film dives into the horrors and trauma of taking care of a dying loved one and what it means to give up your life for their health. There are no easy answers here but the subject is handled beautifully and with nuance.”
– Mary Beth McAndrews, Editor-In-Chief
6. Werewolves Within
“Josh Ruben and Mishna Wolff’s adaptation of Ubisoft’s Werewolves Within, a first-generation VR game, resulted in something altogether unexpected. The entire cast is built out of the most talented underdogs you could have ever hoped to dream up. From superstars Sam Richardson and Sarah Burns to prestige players Michaela Watkins and Cheyenne Jackson, this all-hands-on-deck ensemble brings the horror-comedy to life like a book in The Pagemaster. While the ending might leave you hungry for seconds, the relentless laughs in this snowy Punch and Judy puppet show reek of future classic material.”
– Josh Korngut, Managing Editor
5. Saint Maud
“Let me tell you, the literal last second of Rose Glass’ Saint Maud is perfect horror storytelling. And the rest of the film is pretty damn good, too. Glass takes the expectations of a religious, specifically Catholic, horror and creates something quite blasphemous (I mean that as a high compliment). Maud (Morfydd Clark) is a holier-than-thou lover of God who thinks her way is the best, and only, way to worship. And that involves a lot of religious ecstasy (read: orgasms) and self-flagellation. She’s our unreliable narrator, walking us through her world and making us see a place full of miraculous possibilities, but not without a little pain along the way. We question her every move until that infamous last second, where Glass blows it all up in our faces with a throat-ripping scream.”
– Mary Beth McAndrews, Editor-In-Chief
4. Chucky
“Don Mancini is a horror hero. He has done what was previously believed as an impossible task: adapting a beloved legacy franchise into a top-shelf network series. And on SYFY no less. While my tower feels lonely, I have been ringing the bell about both Curse of Chucky and Cult of Chucky since these titles were released in 2013 and 2017 respectfully. These late-game entries also performed impossible tasks: seamlessly stitching queerness, humour and horror together in a way that never discredits the heart of the story, but constantly furthers it. Chucky picks up the mantle where Curse and Cult left off, and she looks good in a crown. However, it’s Alyvia Alyn Lind as preteen Lexi and her relationship with younger sister Caroline that really showcases why this series is so important.”
– Josh Korngut, Managing Editor
3. Candyman
“Nia Costa’s Candyman is the only Candyman I will be acknowledging from here on out. Not only is this movie visually stunning but it also captures that tense but artistic aesthetic of the 70s movies people keep trying to convince are still bops. I also love that the themes it hits are relevant for most Black artists, as well as the history of the Candyman films. We need to start asking who gets to tell these stories and what do they lose when the wrong people tell them. On top of that, it gave us a new excuse to stare wistfully at Yahya Abdul-Mateen II as he gives another powerhouse performance.
– Sharai Bohannon, Staff Writer
2. The Night House
“The Night House is terrifying. Full stop. Horror movies can haunt, disturb, and entertain, though they’re not always capable of truly scaring. It’s an unfortunate side-effect of overexposure and overconsumption– watching hundreds of horror movies a year is bound to do that. But The Night House is the real deal. Rebecca Hall has never been better as Beth, a widow grieving her husband, Owen (Evan Jonigkeit) after he dies by suicide. Soon after, she begins to suspect his presence remains in the house, though this being a horror movie and all, it almost certainly isn’t. Director David Bruckner delivers gangbusters scares, many of which occur one after the other. The audience is consistently on edge, mesmerized by Hall’s rapturous performance and Bruckner’s subversive reworking of haunted house tropes. It’s not just one of the year’s best, but one of the best haunted house movies in years.”
– Chad Collins, Staff Writer
1. Titane
“I have written about Julia Ducournau’s follow-up to Raw a few times this year. First, with my review following the film’s premiere at TIFF back in September. Then again when I did my top picks of the fest. But I could keep talking about this film forever.
While 2021 has often been about comfort watches, I find myself most fulfilled by films that challenge me. No film did that more this year than Titane. Inviting us in with the provocative promise of seeing a woman (Agathe Rousselle as Alexia) get impregnated by a car, Ducournau takes a hard turn into the heartfelt with the film’s second half. I laughed, I cried and I squirmed watching the story unfold. Ducournau, Rousselle and Vincent Lindon (who playing grieving dad and firefighter Vincent) led me on an unpredictable yet heartfelt ride. I never quite knew where we were going next.
I get why some folks don’t enjoy this film. But I thought it was a shining beacon of hope in a sea of remakes, sequels and prequels. I truly hope that it gets some awards attention this year. But if it doesn’t, at the very least we can be assured that there is a genre filmmaker out there who will continue to shock, surprise and subvert our expectations, whether we like it or not.”
– Emily Gagne, Newsletter Editor
Categorized:Best of 2021 News
