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The Past Decade in Horror, Part 2

By Ashley

About a week ago, Andreas posted his top 10 horror films of the past decade for The Montana Mancave Massacre and now it’s my turn up to bat. We spent quite a while discussing what we thought were the best horror films of the past ten years and then to narrow that list down even more while trying to avoid a lot of overlap between our lists. It wasn’t too hard: we’re both die-hard horror fans and love a lot of the same films but still have very specific tastes and things that appeal to us especially. So, without further babbling, here’s my list of the top 10 films from the past decade!

10. Grace (Paul Solet, 2009)

As I’ve shown time and time again, I am a sucker for pregnancy/infant/child related horror. Due to my own internalized fears about pregnancy and children, even the worst of this type of film could still chill me. Grace was an unexpected gem for me. After Madeline’s obsessive attempts to have a baby in a completely controlled environment fail, she gives birth to an undead baby who lives on Madeline’s blood. I thought it did well with the typical “evil baby, scary pregnancy” cliches. It could have gone in the direction of the It’s Alive remake and made the baby like a wild animal eating people’s throats out, but Grace offered up a much more subtle horror. We watch as this young, widowed mother literally lets herself be drained, physically and mentally, for the sake of her child.

9. The Others (Alejandro Amenábar, 2001)

I was about 12 the first time I saw this movie and it seriously scared me; I slept with my light on for a few days afterward. As an adult, the film still chills me. Nicole Kidman gives a powerful, sometimes icy performance (which is kind of her thing but it really works here) as the long-suffering mother of two photosensitive children. I love The Others because it really is an old-fashioned haunted house story: large, dark shadowy manor, foggy woods, ghosts hiding behind curtains. Something else I love about it is how emotional the story and the characters are. I sometimes feel that horror films tend to shy away from tapping into the emotional potentials of the genre, as if being sad and being afraid are two mutually exclusive emotions. The twist ending may not pack that much of a surprising punch but what the climax lacks in creativity it makes up for in raw emotion.

8. Shaun of the Dead (Edgar Wright, 2004)

Shaun of the Dead is one of the best zombie parodies ever. It manages to quite flawlessly mesh comedy, horror and romance. Shaun is so perfectly balanced: it never gets so cheeky in its self-awareness like some movies (cough *Zombieland* cough) that it renders the horror aspects of the film ineffective, and the romance doesn’t overwhelm the plot or feel shoehorned in. In any other slacker comedy, our loveable but lazy and ambitionless protagonist would learn to be more responsible and hardworking through a series of wacky events; in Shaun, he learns it through a series of wacky and terrifying events that involve beating zombies with a cricket bat, pretending to be the undead, and defending their very penetrable fortress of a pub.

7. Ils (David Moreau & Xavier Palud, 2006)

I love French horror and I love home invasion movies. Pretty simple. I live in mortal fear of someone not just breaking into my home, but fucking with me while they do it. Coming in and messing with a person’s home is such a violation; our homes are where we go to be safe and the idea of people entering it and making it dangerous is terrifying. This movie is often compared to The Strangers, which came out 2 years later, and in my opinion Ils is the superior film. Mostly because Ils is not fueled by an Idiot Plot; our two main characters don’t leave each other alone or get caught by the people invading their home because they make foolish mistakes. The only reason they (spoiler) get caught by their assailants is because they’re simply outnumbered. It’s so simple and so chilling.

6. The House of the Devil (Ti West, 2009)

I want more movies like this movie. I am the audience for this movie. Slow and atmospheric, it builds quietly, bides its time, gives the audience little jolts of fear but for most of the film deprives us of any release in adrenaline. It just builds and builds and builds, winding the viewer up tight with expectation. It’s a pitch-perfect throwback to the horror of the late ’70s and ’80s; it emulates all we love about that era’s horror flicks while managing to be a superior film than most of them. It takes some of the best horror cliches—Satanists, babysitter, scary house in the middle of nowhere, satanic pregnancy—and turns them into something new. It’s a weird, satisfying blend of familiarity and modernity. And I still maintain that “Are you not the babysitter?” is one of the most chilling lines in recent horror cinema.

5. The Descent (Neil Marshall, 2005)

The Descent scared the ever-loving shit out of me even before we got to the scary, wall-climbing cave people: tight caves and crumbling rocks, claustrophobic sets, total darkness and total vulnerability and helplessness on the part of our characters. Scary shit, for sure. And then they get attacked by the creepy cave creatures. One of the things that sets it apart from other horror films is that not only is the cast entirely female, but most of them actually act like they like each other. You get the sense that these women are actually friends, not backbiting teenagers whose only defining characteristics are either “have boobs and die sexy” or “have boobs and be final girl” like we’re usually served up in typical horror. Even with Sarah and Juno, between whom there is a very palpable rift, you can sense that they’re at least trying to work things out. I have kind of a thing for bleak endings (some of my favorite movies include The Stepford Wives and Martyrs), so this movie, from start to finish, is right up my alley.

4. Oldboy (Park Chan-Wook, 2003)

Some people don’t consider this a horror movie and I’ll admit that it’s definitely got a revenge plot going on rather than a straight-up horror narrative. But I feel like often times revenge films (and especially South Korean revenge films) have lots of horror aspects. And in any case, this movie scared me pretty intensely. The very premise is scary enough; kidnapped and trapped for 15 years, no idea why, your captors never talk to you or tell you anything. And then you’re let go, again no explanation. Beyond that, all-consuming revenge is a concept that deeply frightens me: all you exist for, all you want, your entire identity is wrapped up in revenge. And then, in the case of our protagonist Dae-su, to reach the end of your endeavors only to find it was all for naught, that this was the plan all along and, worst of all, that you’ve been fucking your daughter. I’d cut my tongue off too. And that ending. Does Mi-do have any idea who Dae-su is? Has Dae-su really forgotten the truth about who this woman is? Or is he so desperate for love and comfort that he’s willing to pretend he doesn’t know, just to keep the love of his lover-daughter? Creepy, disturbing, intensely unsettling stuff.

3. Let the Right One In (Tomas Alfredson, 2008)

This is the only overlap between my and Andreas’s lists and it really can’t be avoided. Let The Right One In is undeniably one of the best, most powerful, beautiful films of this past decade, horror or otherwise. Since Andreas already discussed this film in his list I’ll keep this brief. Oskar and Eli are one of recent horror’s most deeply sweet and troubled couples. The quiet of this film is what gets me; it’s not full of screams and a pounding soundtrack. It’s so quiet that you can literally hear the snow falling in the opening scene. It’s such a full and complete quiet that when something terrifying does happen and someone gets their throat eaten or someone screams it’s like shattering glass. I could literally go on about this movie for days, so suffice it to say that I love Let the Right One In.

2. Martyrs (Pascal Laugier, 2008)

Something else I love is the New French Extremity. I can’t explain why I love Martyrs so much. I saw it and didn’t sleep for about two days. Not because I was afraid but because the movie had affected me so deeply that I couldn’t stop thinking about it. What was this movie trying to say? What was it saying about women and violence and religion and mental illness? Why am I so drawn to a film that doesn’t have a single ounce of joy or hope? Because Martyrs is not an enjoyable film; it’s an endurance test from start to finish. I guess one of the reasons why I love it, why I’m drawn to it, why I consider it one of my all time favorite horror movies is because, other than being a deeply terrifying film, every time I watch it I spend days thinking. I like movies that make me think and this one does that in spades. Ultra-violence and incredibly unsatisfying ending aside, it’s an intensely intellectual film in that it encourages (and sometimes forces) people to think about what is happening.

1. Inside (Julien Maury & Alexandre Bustillo, 2007)

Long time readers of this blog should already know that I am a big fan of this movie. I’ve written at length about it a few times. I’ve mentioned my deeply internalized fears of pregnancy and children and how that manifests itself as a deep fear and love of all horror movies involving pregnancy/infants/children.  Inside is everything I love about pregnancy horror: I love the way these horror films take the clichés about pregnant women and twist them through the codes of the genre, turning maternity into a horrifying perversion of itself. We all know the stereotypes about Mama Bears and snooty moms who bicker with each other and all that jazz. But once horror gets its hands on these ideas, bickering turns to terrifying stalking and bloody show downs and pregnancy turns into an all-out, no-holds-barred war. And frail little Sara’s hugely swollen, vulnerable body is the battleground.

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The Past Decade in Horror, Part 1

By Andreas

It’s list-making time again! The alliteration-loving Marvin the Macabre over at The Montana Mancave Massacre has challenged horror bloggers to name their top 10 horror movies of the past 10 years. So of course, we had to do it. (I came up with a similar list of 20 horror faves from all time periods back in October.) You can expect Ashley’s top 10 sometime soon; in the meantime, here’s mine: ten rewatchable, well-made movies, and the best that recent horror has to offer.

10. Splice (Vincenzo Natali, 2010)

I found a lot to dislike in the bioethical child-rearing allegory Splice: it adopts a lot of horror cliches without taking them anywhere; its writing is only clever in spates; and it goes completely off the rails at the end. But it’s got terrific special effects (especially in the creation of its monster, Dren) and when it’s darkly funny, it really the mark. That, plus its icy blue/green color palette and Adrien Brody’s hotness, sneaks it onto my list at #10.

9. Seed of Chucky (Don Mancini, 2004)

So many slasher sequels of the past decade have been formulaic, low-quality retreads. Hence why Seed of Chucky is such a breath of fresh air: it revels in its franchise’s inherent absurdity, piling meta-jokes and gory self-parody on top of its “killer doll on a rampage” premise. Turning the Child’s Play set-up inside out, Hollywood-style, is oodles of fun—as is seeing Jennifer Tilly finally get her equivalent of Being John Malkovich.

8. Coraline (Henry Selick, 2009)

You can call it “children’s fantasy” all you want; I’m telling you, Coraline is an animated horror movie. The title character’s dream-turned-nightmare constitutes one of the decade’s most imaginative horror landscapes, and there’s no villain quite like the Other Mother, voiced with menacing sweetness by Teri Hatcher. Selick’s fluid stop-motion artistry and Neil Gaiman’s very scary novel turned out to be a match made in horror heaven.

7. Pontypool (Bruce McDonald, 2009)

No zombie movie of the 2000s (and there were a lot of them) had a twist quite as original as Pontypool‘s: here, the vector of disease isn’t saliva or blood, but words. Set in a claustrophobic radio station off in rural Ontario, the film milks all the terror it can out of talk radio call-ins—bleak audio-only testimonies to the increasingly violent havoc outside. The terror is counterbalanced only by the rough, reliable growl of Stephen McHattie, giving a powerful performance as a hotshot DJ trying to keep cool. Semiotic horror: that’s something you don’t see everyday.


6. The Host (Bong Joon-ho, 2006)

This Korean monster movie casts off the genre straitjacket from the very beginning, and fearlessly mixes slapstick, tragedy, and anti-imperialist critique to tell the story of one family’s vendetta against a giant fish monster. Strange, stylish, and spectacular, The Host rewrites the rules of kaiju cinema while playing the audience’s heartstrings like a giant killer harp.

5. [REC] (Jaume Balagueró and Paco Plaza, 2007)

Handheld Blair Witch rip-offs are a dime a dozen these days. Literally: they’re cheap to shoot, and often profitable. (See: Paranormal Activity.) But [REC] takes the caught-on-tape aesthetic into new territory, bringing the audience right into the heart of a quarantined zombie outbreak. It’s ceaselessly visceral and inventive, and introduces reporter Angela Vidal, one of my favorite recent final girls. Few movies beat [REC] when it comes to inducing raw, physical fear. (Not even [REC] 2, though it certainly tried.)

4. May (Lucky McKee, 2002)

I’m not shy about my love of May. I did write 1/4 of my senior thesis about it, after all. It’s a quirky, cute, romantic, gruesome, twisted, bloody, perverse indie horror confection, melding Frankenstein and Repulsion with something Zooey Deschanel might star in. It’s the bittersweet tale of an obsessive, attractive misfit and the lengths she goes to for love. It’s really, really good! Essential viewing if you’re interested in horror of the past decade, or any time.

3. Caché (Michael Haneke, 2005)

For many stupid reasons, art films like Caché that debut at Cannes are rarely seen as authentic horror. But it is! It so is, and it’s one of the eeriest, most disturbing horror movies of the 2000s. It only has a single scene of actual gore, but that’s nothing compared to the lingering unease and uncertainty instilled by the rest of the movie. Who sent those tapes and letters, utterly destroying the Laurent family’s bourgeois comfort? It’s a question that persists after countless gratuitous slasher deaths have faded.

2. 28 Days Later… (Danny Boyle, 2002)

Boyle’s vision of post-apocalyptic, zombie-infested England is an elegy to a vanishing way of life (i.e., humanity). A hardy quartet of survivors make an arduous cross-country trek, punctuated both by bursts of violence and rare moments of beauty. In such a ruined world, 28 Days Later asks, can any altruism or compassion bloom? For all its brutality, it’s an unusually tender horror movie, with stars Cillian Murphy and Naomie Harris doing very subtle, striking work. This is the new millennium’s gold standard of what a zombie movie can look like.

1. Let the Right One In (Tomas Alfredson, 2008)

Really, what else could top this list? Not a single misstep mars Alfredson’s note-perfect adaptation of John Lindqvist’s young-love vampire novel. Sweet, delicate, and shockingly violent, Let the Right One In is as cool and crystalline as a snowflake. Oskar and Eli’s bizarre relationship is a refuge for two abused outsiders, two kids just trying to make a go of it in this hard world. It’s a theme we can all relate to and, in Alfredson’s gentle hands, it’s also the most beautiful, unforgettable horror movie of the 21st century.

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