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2023 – Horror Film Releases

(from left) Dracula (Nicolas Cage) and Renfield (Nicholas Hoult) in Renfield, directed by Chris McKay.


Evil Dead Rise (Directed by Lee Cronin) Release date: 21st April 

2023 is hitting off with a “groovy” start as the fifth entry into the Evil Dead franchise will be hitting the big screen in just a couple of months. Rumours of a sequel to Fede Álvarez Evil Dead (2013) and promises of Sam Raimi writing a separate feature into the franchise have been stirring for years, with fans eagerly waiting for the return of Necronomicon antics. Just as all hope was disparaged Lee Cronin (director of The Hole in the Ground [2019]) was announced as the filmmaker of this new and very much unique instalment. Instead of following the usual cabin setting, Cronin takes us on a metropolis ride of demonic hell as the film documents possession, mommy issues, and plenty of manic gore all within the confines of Los Angeles. 

M3GAN (Directed by Gerard Johnstone) Release date: 13th January 

Chucky and Annabelle are in the company of a new ‘friend till the end’ as Gerard Johnstone and Jason Blum welcome M3GAN. The news of the latest possessed doll feature may not have had the warmest welcomes at first due to the continuous spur of toy-gone-wrong horrors entering the scene. However, upon the trailer’s release, the internet took M3GAN under its wing. And before the film had even been released, M3GAN was a viral sensation. The film follows Gemma (Allison Williams), a tech designer struggling to come to terms with unexpected guardianship, and the deadly quirks that come with designing an evil, sinisterly-lifelike A.I. doll.

There’s Something Wrong with the Children (Directed by Roxanne Benjamin) Release date: 17th January 

There’s Something Wrong with the Children comes from the mind of Roxanne Benjamin, who is most notable for directing segments in Southbound (2015) and XX (2017). The hauntingly titled film tackles a children-gone-mad storyline after a family weekend trip results in supernatural happenings.


Scream 6 (Directed by Matt Bettinelli-Olpin & Tyler Gillett) Release date: 10th March 

Ghostface is a certified horror household name, with every Scream feature becoming an instant classic amongst audiences. Adding to the beloved franchise is Matt Bettinelli-Olpin and Tyler Gillett’s follow-up to last year’s Scream. Very few details have been released regarding what, who, and when Ghostface is on the hunt for despite the March release date. What we do know is that Woodsboro is seemingly no more, as the latest survivors Sam (Melissa Barrera), Tara (Jenna Ortega), Mindy (Jasmin Savoy Brown) and Chad (Mason Goodling) head to New York City to escape the trauma from Ghostface’s slayings. Returning to the franchise is everyone’s favourite reporter Gale Weathers (Courteney Cox) and Scream 4 legend Kirby (Hayden Panettiere).


Cuckoo (Directed by Tilman Singer) Release date: TBC 

Luz (2018) director Tilman Singer is set to deliver a seemingly bloody, tense tale as press images reveal Euphoria’s Hunter Schafer bandaged and bruised, hiding from a blurred but nevertheless eerie figure in what appears to be a library. Despite the little information and closed details, what we do know is that the baseline plot follows a 17-year-old girl, forced to relocate to a strange resort where everything is not what it seems.


Knock at the Cabin (Directed by M. Night Shyamalan) Release date: 3rd February 

Based on the novel The Cabin at the End of the World (2018) is Knock at the Cabin. M. Night Shyamalan knows how to put on a display of cryptic dread that aims to take the unpredictable road for the entire film, with The Sixth Sense (1999) and The Visit (2015) both absconding into the unknown. The impressive cast for this apocalyptic-based horror is Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bord, Abby Quinn, and Rupert Grin. The film’s events revolve around a family being taken hostage by a crew of armed strangers, demanding that they have to make an impossible choice in order to save the world.

Renfield (Directed by Chris McKay) Release date: 14th April 

One of this year’s more unexpected entries is Renfield, an original and slightly more irreverent take on a Dracula tale. Nicholas Hoult is Renfield, the footman to Count Dracula (Nicolas Cage). After an eternity of tiring work, Renfield ventures beyond the vampiric layer to see what lies beyond. However, the path to freedom is not as easy as one would expect. Based on the promotional material, this upcoming bloodsucking feat promises the perfect vampy mix of off-kilter humour and savage frights

Saw X (Directed by Kevin Greutert) Release date: 27th October 

Ever since 2004, Saw has not left the margins of popular horror cinema. Whether it’s the ruthless kills that don’t hold back or the puzzling enigmas that come with every film, Saw has it all. Adding to the long line of blood-soaked terror is Saw X, the latest addition directed by Kevin Greutert. With a fairly long wait, until its release, details are kept sorely tight, but Jigsaw’s upcoming antics are in good hands with Greutert previously editing The Strangers (2008) and The Collection (2012). 

Missing (Directed by Nick Johnson and Will Merrick) Release date: 20th January 

Just as found footage horror captured audience’s attention and dominated the market years ago, its sister strain- desktop horror- has been similarly latching its hooks into digitalised-centric cinema. From the team of Searching (2019?) comes Missing, a cryptic thriller following a struggling daughter (Storm Reid) as she searches for her missing mother (Nia Long). 

Infinity pool (Directed by Brandon Cronenberg) Release date: 27th January 

It would be unfair to comment on Brandon Cronenberg’s talent as being only connected to his father (legendary David Cronenberg), as Brandon has proved with Antiviral (2012) and Possessor (2020) that he is very much his own auteur. Infinity Pool brings about the talents of Mia Goth, Cleopatra Coleman, and Alexander Skarsgård in this sci-fi tale.

Skinamarink (Directed by Kyle Edward Ball) Release date: 13th January 

Skinamarink is living proof that independent, micro-budget features can stand up against the blockbusters with Kyle Edward Ball’s upcoming exploration into hellish descents bringing about immense amounts of hype. To gather research for the plot, Ball asked on his Youtube channel (Bitesized Nightmares) about people’s worst nightmares, creating an eerily relatable horror that aims to get right under the viewer’s skin.


MaXXXine (Directed by TI West) Release date: 18th March 

MaXXXine is the final (for now) entry into the X trilogy, directed by TI West. Unlike its predecessor Pearl (2022), MaXXXine will not go back in time but instead forward, with the film’s events following directly on from the finale of X (2022). The precise plot details are yet to be revealed, but West has given a brief hint– MaXXXine will follow Mia Goth’s savage on-screen persona Maxine as she goes on to pursue a career in Hollywood following on from the massacre in the first film.

Alone at Night (Directed by Jimmy Giannopoulos) Release date: 20th January 

Alone at Night is set to take viewers by storm as this full-throttle story follows Vicky (Ashley Benson), a cam model who undergoes a battle of survival when a masked killer hunts her down. Alone at Night brings about the talents of Pamela Anderson, Luis Guzmán, Paris Hilton, Winnie Harlow, Sky Ferreria, and G-Eazy to deliver a vivid, neon-lit, slasher.

V/H/S 85 (Directed by Miscellaneous) Release date: TBC 

The latest V/H/S film is set all around many horror fans’ favourite movie decade, the 1980s. This retro throwback will feature several segments from epic filmmakers including David Bruckner, Scott Derrickson, Gigi Saul Guerrero, Natasha Kermani and Mike P. Nelson.


Humane (Directed by Caitlin Cronenberg) Release date: Post-production 

The Cronenberg’s are having a great time at the movies this year as Caitlin Cronenberg brings Humane into the mix of thrilling horrors this year. Humane chronicles an apocalyptic-Esque storyline chronicling a family dinner party gone wrong after a new governmental euthanasia system goes array.

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Reviews Top Horror

Dead Northern’s Top Horror Films of 2022

1- Speak No Evil (Directed by Christian Tafdrup) 

Two families meet on holiday, leading to an impromptu trip, but when the groups reunite, a series of misunderstandings wedges a dangerous divide.

Shudder has become an absolute go-to streaming platform for all things macabre and morbid, with hundreds of classics and hidden gems lining the service. Yet, there is one film that truly stands above the rest. Speak No Evil has dominated the horror game since its release. Which is no surprise considering its unexpected paths, commanding characters, and astonishing story beats that will leave your jaw on the floor before the film has even reached its peak. Speak No Evil understands the severity of the mundane; in fact, it’s the very blandness of passive behaviour that ends up being the catalyst for terror. Tafdrup makes no mistakes when it comes to devising tricky situations, which makes the most innocent of actions exude a suspicious level of insincerity.

2- Men (Directed by Alex Garland) 

Harper (Jessie Buckley) embarks on a countryside trip to get over the death of her husband. Whilst there, strange villagers interrupt her peace with growing ferocity.

Men is quite possibly one of 2022’s most controversial films, not necessarily due to the graphicness of ‘that’ ending… But, rather what Garland puts forth within the socially conscious A24 gem. Much of the criticism stems from Buckley’s role as a woeful widow, innately making her character development slip into distressed territories. However, as our review (link) points out, Men actively pursues a freeing emotional palette that disavows the one-dimensionality that is often seen within female roles. Men allows Harper to express grief without wearing a ‘final girl’ cloak that would have stripped Buckley of her incredibly intimate performance. Further ingraining this tone of allowing oneself to be a wreck (especially considering the film’s context) is Garland’s layered set design that flourishes in nature-based aesthetics, and intense soundscapes that transport the viewer into a mythical hellish landscape.

3- Watcher (Directed by Chloe Okuno) 

When Julia (Maika Monroe) and her partner Francis (Karl Glusman), relocate to Budapest for work, Julia begins to loose her grip on reality as she suspects that she has a stalker watching and following her every move.

Watcher unravels with an air of noir mystery, devoting a certain cryptic sleekness within a mystery-based narrative. Further implicating this ‘classic’ quality is the intricately woven sense of dismantlement that slowly unwinds until the tension reaches an unbearable, but purgative peak in the final scene. The ties between Watcher and Giallo cinema are clear, except, rather than heavily entwining the villain within the film, Okuno meddles with the idea of troubled psyches and questionable motives, akin to a modern Hitchcockian tale. This is where the true beauty of the film lies, within its own unpredictability.

4- You Won’t Be Alone (Directed by Goran Stolevski) 

As part of a ruthless curse, a young woman is forced to live a life of uncertainty through a transformative, witchy form.

This Macedonian set horror stormed through the Sundance Film Festival (22) with an impeccable response from both audiences and critics alike. It was the slow, chilling buildup, the exceptional performances, and the artful manner that allowed Stolevski’s debut to garner this immediate praise. You Won’t Be Alone tackles heavy subject matters such as solitude lifestyles, hidden identities, and envious behaviours to create a film brimming with depth and a brooding sense of dread that refuses to quit for the entire runtime. 

5- X (Directed by Ti West)

A team of adult filmmakers rents out a cabin in rural Texas to make the biggest erotic film yet, however, things soon go array when the land owners catch onto their plans.

Ti West has been on the scene for years, with films such as The House of the Devil (2009) and The Innkeepers (2011) rightfully earning their spot in the modern horror hall of fame. Adding to his extensive portfolio is X, a rather salacious number that takes no prisoners, especially when it comes down to the nitty-gritty details… X draws inspiration from the hardy grindhouse films of the 1970s, especially concerning the infamous skinflicks that cruised the scene at the time. X refuses to rely on its indelicate nature to conjure a favourable response, opting to additionally focus on stellar performances and a whopping soundtrack. West’s return to horror has been met with open arms, with X‘s prequel ‘Pearl’ only being released five months after the premiere of its predecessor. With the third entry in this budding franchise being released next year, could West be onto a winning trilogy?

6- Bodies Bodies Bodies (Directed by Halina Reijn) 

After an incident ends in tragedy during a storm, a group of twenty-somethings must make it through the night.

As fantastic as horror comedies can be (Shaun of the Dead [2004] and Little Monsters [2019] to name a few) it can sometimes be hard to find one that perfectly balances satire without becoming drenched in silly slapstick. Bodies Bodies Bodies nails this tricky footing of satirical dark humour through its genuine labyrinth-like story which hones in on the classic ‘Cluedo’ framing, as well as fleshing out its essential characters with the ideal amount of sincerity – just enough to care, but still cruel enough to root for the ‘villain’. Speaking of villains, what makes Bodies such a must-see is its bitterly hilarious take on the flaws of human temperaments, introducing quite a morbid take on the indoctrination of social media and the domination of cyber lifestyles. 

7- The Lies of Our Confines (Directed by Leon Oldstrong) 

During a trip to the Highlands of Scotland, one of a group of young Black males from the inner city come across a corn doll, harboring an angered spirit…

The Lies of Our Confines is living proof that independent cinema is just as, if not better than any blockbuster. This powerhouse of a film commands the attention of the audience from start to finish, with its dynamic cinematography and potent framing making use of the ample woodland setting. The rural habitat and rich narrative thrive thanks to the basis of the film’s diegesis. Horror, particularly that with an essence of neo-folk origins is lacking a much-needed boost of representation, presenting one-dimensional stories with no variety. The Lies of Our Confines breaks down that barrier and is a demonstration of the necessity of modern indie film.

8- Crimes of the Future (Directed by David Cronenberg) 

A performance artist (Viggo Mortensen), begins to grow new organs to remove them as part of his shows.

Cronenberg reached legendary status a fairly long time ago, with films such as Videodrome (1983) and Crash (1996) being just two examples of his sensational filmography. Crimes of the Future brings Cronenberg back to his sci-fi roots, and it’s more than obvious that this is where his bizarre, but stunning auteurship works best. The film is easy to spoil, but just be aware that this instant hit is a chaotic journey into the obscene and absurd, with a somewhat sporadic sense of lustiness that could only be pulled off by Cronenberg’s cinematic wit.

9- Master (Directed by Mariama Diallo) 

At a prestigious university, three women are finding their footing amidst a troublesome, and elitist presence haunting the grounds.

Master is truly a hidden gem, with the film not receiving all of the attention that it really does deserve. The college setting works incredibly well within the genre, there really is just something so sinister about old halls and urban legends within a scholarly environment that has a sinister lure. Except, rather than Master indulging in sorority frights (as seen with so many college films), Diallo dips into brave, and ghostly territory to create a film so rich and entwined with allegorical groundings that it is nearly impossible not to take away a lingering reaction. Master knows how to manipulate a scare out of its viewer, but it also knows not to overindulge in jumpscares, making it a go-to for any movie night.

10- Eating Miss Campbell (Directed by Liam Regan) 

When Beth Conner (Lyndsey Craine), a devout vegan high schooler, falls for her English teacher (Lala Barlow) she develops an untamed appetite for flesh.

Eating Miss Campbell is a bonanza of boisterous, frenzied, and rather cathartic obscenity–i.e., it’s a beautiful rarity that budding filmmakers should take note of for inspiration. Regan leaves no stone unturned within the latest Troma classic, with the film juggling contentious subject matters with a witty, and daring sense of humour that is quite unmatched. Throughout the 84-minute runtime, Regan, along with lead performer Craine show off their bountiful capabilities, making Eating Miss Campbell an absolute standout entry from 2022.

11- Dashcam (Directed by Rob Savage) 

Livestreamer Annie (Annie Hardy) jets to London at the start of the pandemic, leading to one hell of an unforgettable night.

The dream team comprised of Rob Savage along with writers Gemma Hurley and Jed Shepherd are the minds behind one of this century’s most impactful horrors, Host (2020). Continuing their cyber-minded work is Dashcam, a gloriously unfriendly tale of the objectionable nature of social media, all told through the perspective of a hilariously unwholesome character, played by the one and only Hardy. Dashcam has equal measures of thrilling, bloody frights and cynicism, with a means to create one of 2022’s most unique and brutish films.

12- Nope (Directed by Jordan Peele) 

After a suspected UFO flies over a Californian ranch, a brother and sister duo (Daniel Kayuua and Keke Palmer) bands together to capture the flying object on film.

Prior to Nope, Peele had only two films in his horror credits, yet the sheer adoration for his work was and still is fantastically immense, and rightly so. Nope understands its own excessive portrayal of spectacles. In fact, that is precisely what Nope actionizes. Peele’s work is laden with meta-commentary that focuses on the trajectory of human behaviour, all tied together with truly career-defining performances by Kalyuua and Palmer.

13- The Stranger (Directed by Mike Clarke & Paul Gerrard) 

The lives of an unsuspecting mother (Jennifer Preston) and daughter (Isabella Percival) are forever changed when an unexpected stranger (Damien Ashley) turns up at their guest house.

 The cryptic nature of The Stranger’s narrative path is the reason behind the film’s robust and rigorous flow, allowing for a slow buildup of dread and unease that makes for a notably insidious ending. Completely the thrilling ride is The Stranger’s double-edged disposition; the film is as much of a mind invasion as it is home, making the film a true cinematic experience. 

14- Searching for Veslemøy (Directed by Leo X. Robertson)

Searching for Veslemøy is a witty, eerie, and above all hilarious mockumentary that dares to go down the off-kilter route with Robertson’s talented filmmaking style allowing for bleak humour and a morbid sensibility to perfectly meld together. Further digging into the film’s style—the performances led by Tom Montgomery also pushes a hefty level of sincerity to the overarching found-footage method that manages to stand out amongst the popular sub genre. Searching for Veslemøy is a must see on anyone’s watchlist!

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Review – Christmas Bloody Christmas (2022)

What’s not to love about Christmas? There are extra long queues at the shops, endless presents to wrap, and a robotic Santa on a killing spree…

Joe Begos’s Christmas Bloody Christmas takes frosty frights to a whole new level, with Shudder’s latest hit generating immense hype and smashing reviews. 

Begos seasonal slash fest delivers gory, over-the-top mayhem infused with just enough sarcasm and satire without being ridiculous. The savage, absurd atmosphere is very much owed to the film’s awareness of its own ludicrous story, akin to Josh Ruben’s Scare Me (2020), which similarly thrived in a sense of horrific hilarity. Many comparisons could be made to Christmas Bloody Christmas, whether that’s to fellow Shudder releases, or to classic yuletide horror flicks, yet, there is a restorative sense of ‘newness’ that is crucial in the film’s success. This air of imagination that breathes in wicked vibrancy to festive horror is the film’s heavy stylization, most of which is founded in the neon-inspired lighting, which paints a slick glow across the gory kills; most of which focuses on Santa’s swinging axe.

In lieu of this buzzing aesthetic, Christmas Bloody Christmas also breaks down the barriers of traditional character dynamics. Yes, there is a fair amount of characters simply existing as movie meat, but the lead protagonist Tori (Riley Dandy), is an epic badass who refuses to fit into the archetypal final girl role. 

The film is almost a spiritual resident within the Troma Entertainments hall of fame. It just has that gritty, frenzied essence that focuses on the amusement factor and makes the most of its seasonal background to create a memorable and noteworthy addition to a longline of classic Christmas horrors. 

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Original vs remake Reviews

Original VS Remake – Black Christmas (1974) vs. (2006)

The consumption of festive horror has rapidly increased over the years, with every season bringing about a brand new handful of not-so-jolly frights. And whilst many of these entries make for a perfect movie night next to a decorated tree, no other holiday horror has captured the same level of utter dread and catastrophe as Bob Clark’s Black Christmas (1974). The film chronicles the fear of a group of sorority sisters after they receive obscene phone calls from a strange man over the landline. Despite their flustered response, they soon shake the calls off. That is until a series of strange disappearances unveil the dark nature of the mysterious assailant. 

Wading through the film’s expansive depths is the overarching ambiguous nature that employs the whodunit storytelling arc, along with a personalised and closed narrative that creates a strange composition of being both vague to deter predictability, with a dose of emotional intimacy to forge a bond to the protagonists. As unbalanced as this may seem, Clark wholeheartedly knows how to juggle juxtaposed themes to create a distinctive result. The phone calls act as an instigator for terror to ensue, and like a ticking time bomb, the more phone calls received, the more vulgar and abhorrent they become. In fact, the profanities uttered are said in such a gravelly and inhumane tone that it almost creates the assumption that surely the caller cannot be a real person.

 Making the viciousness all the more threatening is the aforementioned personable quality. The viewer has a string of characters to follow, particularly the feisty Barb (Margot Kidder), who you cannot help but be drawn to (despite the lude humour), and then Jess (Olivia Hussey), the ‘girl next door’ who is fighting a losing battle with her forceful boyfriend, Peter (Keir Dullea). 

This nuanced duplicity of Black Christmas managing to be subtle but extreme, and quiet but loud is a strong component in its successful makeup and gives credence to the film’s ability to conjure a multidimensional response. The proclivity to forecast such tonality is always a goal for filmmakers, yet it is a rather difficult aspect to achieve, making Black Christmas an achievement in all reigns. 

The hedonistic gravitas that pushes the horror to the forefront is at heart connected to the laborious production where Clark meticulously worked to achieve a multifaceted study. Screenwriter Roy Moore developed the script with urban legends in mind, particularly the story surrounding a babysitter who receives repeated calls asking her to check the children. Quite eerie indeed. After a remodelling by producers where the background was changed to a university setting, the script made its way to Clark. However, he believed it to be too typical and added his own flare, including a touch of dark comedy, alterations to the dialogue, and a sense of prudence and capability to the sorority sisters. The zeitgeist of the time flourished in painting college students as being devoid of common sense, and with Clark wanting to create a piece that was more than gore-bait, he gave the final girl, Jess, a strong sensibility with difficult issues at hand. 

With the formidable tension, thoroughly explored dispositions, and tenacious ploy of dread the original Black Christmas is a nirvana of yuletide terror and festive alarm. What comes with this status is an inevitable track record for a lasting legacy…and remakes. 

There is no hate intended towards remakes, in fact, they can be just as, if not better than the original. When it comes to Black Christmas it can be difficult to hold it up next to such a classic. It has its strengths and a few weaknesses, but it does come from a well-intended place. Director Glen Morgan caught the attention of Dimension Films, who wanted to collaborate in recreating Clark’s 1970s hit. For Morgan, the aim from the very beginning was to recognise the significance of the original and not simply retell the already cemented work, but to re-flourish elements that stood out within a modern infrastructure. This is the primary thesis that allows Black Christmas (2006) to be a fan favourite and cult classic for many today. It understands its limitations of being a remake, yet it stands tall and works within its boundaries. 

The consequence of these developments included a deeper dive into the killer at the end of the phone line, and what made him a monster. Comparisons between Rob Zombie’s Halloween (2007) and Morgan’s insistent fleshing out of the backstory have been rightfully made. It could be said that the film’s main backbone is compiled by a complex backstory that has all the ingredients to create an analogical and somewhat more frightful result. However, from a critical perspective, this is the film’s primary undoing. 

In the original, the killer (now known as Billy) was not given an identity, let alone a history. The most information obtained comes from Billy’s dialogue, suggesting some sort of forbidden bond between himself and an unknown person simply referred to as Agnes. As with any popular film, over time audiences created their own folklore for characters and their possible backgrounds. The apex of Billy’s personality revolves around the perverse nature of his actions, with his dialogue and murders divulging gritty content. Morgan dives straight into the fables of Billy’s background and elaborates on who this ‘Agnes’ is and why Billy is a monster in the first place. 

The remake establishes (in heavy flashback-based detail) that Billy’s (Robert Mann) mother, Constance (Karin Konoval), kills his father on Christmas Eve, burying the corpse in the house’s crawl space. After years pass Billy’s abuse worsens as Constance rapes him, resulting in an interbred child named Agnes (Dean Friss) and Billy later killing his mother, as well as disfiguring Agnes with a Christmas tree topper. 

The rather dicey background is honestly quite out there for a widely released piece of cinema. Morgan’s plump retelling is impressive and makes for a ghastly and entertaining watch. Yet, the chance of suspense is completely lost amidst the packed surroundings. The original kept every little morsel of information tightly wrapped up for the entire film, even the ending is a double edged sword with the killer not being caught. There was no mask donned by Billy to create a spectacle, the absence of his presence felt in the kill scenes (with a focus on pov instead) tied in with his impenetrable demeanour, and most importantly the lack of answers made him even less human, and more beastly. 

Clark’s Billy was an unstoppable force who the audience couldn’t pinpoint why he is such a sadistic person. It opened the opportunity for our minds to go absolutely berserk in working out the mystery. We were forced to project our own fears and anxieties onto Billy, making him everyone’s tailored nightmare. Whilst Morgan’s bravery is commendable and works as a standalone feat, the cruelty of Clark’s omnipotent villain is sorely missed when comparing the two films. 

The remake is not solely steeped in pessimism, alternatively, there are many fantastic qualities that the film obtains. One aspect that truly amps up the fear factor and puts an impressive stamp on Black Christmas is the brutal killings. 2006 was a bloody time for horror thanks to the rise in ‘torture-porn’ works such as Saw (2004) and Hostel (2005) dominating the field with their ‘go hard or go home attitude. The fight to appease gory appetites was a rising issue, with studios resulting in painting every slasher with as much blood as possible. Black Christmas was no exception to this rule. 

Arguably, with a fairly violent predecessor, the basis of every spectacle in the remake may not have been a complete shocker as some kills followed a similar path to Clark’s original splatter scenes. Still, somehow Morgan manages to take the inspiration in his stride and forge some extremely unique sequences that deserve a round of applause. The classic opening kill of Black Christmas (in both entries) involves an unlucky sorority sister being suffocated by a plastic bag, before being left to rot whilst the rest of the house goes about their merry way.

The cruel beginnings of both films are a perfect example of the difference between Clark and Morgan’s paths. Clark lengthens the scene by intercutting the full kill with scenes of Billy climbing up into the house and creeping around like a lurch (all shown from his eyes), before also showing the college tenants’ reaction to the obscene phone calls. As Billy wraps the plastic bag around Clare’s (Lynne Griffin) head, we watch as the sheet takes away any breath left, before showing her lifeless corpse in a swinging rocking chair in the attic as Billy mumbles nursery rhymes in the background. 

In Morgan’s adaption, the kill occurs within a fracture of the time as Clair (Leela Savasta) is swiftly suffocated by a plastic bag and stabbed in the eye with a pen all within two minutes of the title card’s appearance. It’s a gnarly death and certainly more visually visceral, with the rapid frames taking the audience by dire surprise and showing them that this remake is not here to mess around. However, whilst this fun fire of gory madness makes for an entertaining popcorn movie, its missing that certain magic that Clark captured. 

As the remake moves along, Morgan is given the chance to shine with his throwback essentialities that allow the film to have a reminiscent quality that rings back to camp 1980s slashers. The vibrant characters who take Barb’s witty euphemisms and dial them up to the max are what make the film glow with a warm, easy-going vibe that makes viewers come back to watch the gore-fest every holiday season. And whilst there were some excellent examples of eighties slashers that went above and beyond in making their characters more than kill currency, Black Christmas (2006) goes full throttle in creating over-the-top deaths that have the opportunity to introduce contemporary audiences to a slew of similarly minded films such as The Slumber Party Massacre (1982) and The House on Sorority Row (1982). 

The sheer awareness that Morgan obtained throughout the filming process is an exemplary mold that other successful remakes embraced including The Hills Have Eyes (2006) and My Bloody Valentine (2009). Fashioning a remake with a spine that acknowledges its predecessor and creates a similarly-minded film but with updated aesthetics is what allows Black Christmas to be a gory Christmastime classic. 

The slasher genre is forever in debt to Black Christmas and Clark’s visionary delights that wielded an archetypal sorority narrative with festive darkness to garner an everlastingly appealing horror.  And with the consistent regenerative nature of horror and the churning out of remakes, Black Christmas (2006) is certainly not the worst recreation floating about. Instead, it’s a grand effort in keeping the memory of the original alive and bring forth attention to the original from audiences who might have missed out on Clark’s genre-defining staple. 

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Ten unmissable Christmas movie kills


1- The rocking chair – Black Christmas (Directed by Bob Clark, 1974) 

Black Christmas is a horror that remains a public favourite all these years later for great reasons. The glossy darkness of this sorority fright is brimming with a holiday essence that embraces that idyllic juxtaposition of Christmas horror. With countless kills under its belt, it’s nearly impossible to pick just one entry from Bob Clark’s seventies bloodfest. However, one is just that cut above the rest. Before the film’s crazed killer works his way through his hapless prey, he sets his sights on Clare (Lynne Griffin). Clare’s end is brutal; she is suffocated with a plastic wrap before being positioned on a rocking chair in view of the attic window for everyone to see. What works incredibly well is the subtlety of the kill. Whilst harsh, the true beauty of the act is in its imagery of a lifeless corpse rocking back and forth in view of an entire street, but no one ever notices her and she remains undiscovered…


2- Stair birth – Inside (Directed by Julien Maury & Alexandre Bustillo, 2007) 

French horror has a penchant for yuletide frights, with Deadly Games (1989), Sheitan (2006), and The Advent Calendar (2021) all thriving in the extremism of French cinema whilst still featuring the spark of festivity. However, one film that leads the pack is Inside. A pregnant widow (Alysson Paradis) fending off a mad woman (Béatrice Dalle) on Christmas Eve is a fierce venture without heaps of savagery, yet Julien Maury and Alexandre Bustillo refuse to settle for a pg-13 rating. Inside defines the word merciless, particularly within the ending scene. After the house has been painted with blood and countless people have been murdered, the intruder finally gets her hands on the prize. In an act of revenge, the killer performs an impromptu and forced caesarian on a dirty staircase, with the camera not shielding away from the bloody viscera and gore as we see a fetus being plucked from a hopeless woman.

3- The wood chipper – Silent Night (Directed by Steven C. Miller, 2012) 

Scary Santa’s are a given for any Christmas slashfest, with Steven C. Miller’s Silent Night being no exception. As a small town begins to succumb to an evil St. Nick (Rick Skene), Sherrif Cooper (Malcolm McDowell) and Deputy Bradimore (Jaime King) have to work through a series of grizzly murders to get down to the bottom of the savage case. Films like these are exceptional at creating kills by the dozen, with Silent Night featuring everything from Christmas light electrocution to groin impalements. One kill that is the cardinal of the film is the wood chipper scene. As Santa Claus slices his way through the town, he gets his hands on a doomed victim and shoves her feet first into a woodchipper as tonnes of matter spews out the funnel!

4- Paint can experiment – Better Watch Out (Directed by Chris Peckover, 2016) 

Better Watch Out (or Home Alone’s evil twin) has become a modern Christmas classic, leading the viewer in all sorts of directions before delivering a great twist that kickstarts the ‘real’ movie. After its revealed that the sweet boy Luke (Levi Miller), whom Ashley (Olivia DeJonge) is babysitting turns out to have a deadly crush on her, all hell breaks loose. A sequence of tense events leads to the film’s most untamed moment; after Ashley’s boyfriend Ricky (Aleks Mikic) arrives at the house, Luke takes it upon himself to try out a trick he saw in Home Alone where a paint can is swung toward someone. However, instead of Ricky getting a comedic bump on the head, his head is squished by the tins completely annihilating him and painting the walls in the process.

5- Death by nutcracker – Christmas Evil (Directed by Lewis Jackson, 1980)

Christmas Evil follows suit with various festive horrors following a maniacal Santa on the loose. Where Lewis Jackson’s Santa-gone-wild feature differs is within the gnarly kills that play out with a keen callous energy. After a collection of events rile up evil Father Christmas, in this case also known as Harry (a disgruntled factory worker [Brandon Maggart]), he decides to go on a rampage, making a heavy steel weapon in the shape of an inconspicuous nutcracker toy. Harry arrives at a church where people on his ‘naughty’ list attend, but as a group of big-talkers block him from ticking off his Christmas list he grabs the nutcracker and rams the sharp end right into one’s eyesocket before taking a toy hatchet and smashing the blade down on two more people’s heads, leaving a bloody trail of chaos.

6- Blender whirl – Red Christmas (Directed by Craig Anderson, 2016) 

The wickedly cruel Ozploitation flick Red Christmas may have received a very mixed reception due to the film’s contentious subject matter surrounding life v. choice matters, however, the deliberately offensive horror does offer superb kills including a bear trap closing on someone’s face, an umbrella stabbing straight through the forehead, and a seatbelt strangulation. However, the most startling and original scene is when the spinning blade of a blender is met with the back of someone’s head. As the Christmas day mayhem runs through to the night, one victim is forced back onto a kitchen counter where the blender’s motor is on high speed. After what feels like forever, tensely waiting for the inevitable kill, the unbearable death is finally in action as we see the man’s eyes pool up with red as blood seeps out of every orifice as his brain is swirled around.

7- Antler hanging – Silent Night, Deadly Night (Directed by Charles E. Sellier, Jr., 1984)

Silent Night, Deadly Night erupted onto the scene with an unreal amount of hate, with the film even getting a live ‘shame on you comment directed at the film crew during the Siskel and Ebert show. And yet all these years later it’s now a cult classic must-see. The film seeks out another man-with-the-bag story, centering on Billy Chapman (Robert Brian Wilson), who after a series of unfortunate events reaches his tether. Rightfully earning its place on the list is the film’s plethora of instant-classic kills, particularly the ending of Denise (Linnea Quigley). Billy hoists Denise up in the air and meticulously and slowly plants her down on a set of sharp antlers, before leaving her like a dangling morbid ornament.

8- Mason family massacre – Santa’s Slay (Directed by David Steiman, 2005) 

Akin to a tin of Quality Street, Santa’s Slay has a bit of something for everyone. Irreverent humour, plenty of vulgarity and lude comments, as well as a heaping dose of over-the-top, violence for the sake of it. It’s difficult to pin just one demise as Santa’s Slay rivets within all of the copious brutality, but there is certainly one scene that feeds right into Christmas horrors’ hands. During the first act, Santa (Bill Goldberg), makes his way down the chimney of the Mason family to massacre the lot of them. The turbulent sequence displays whole new levels of madness that thrives in its own depravity, with Santa blow torching the scalp of the matriarch before drowning her in a bowl of eggnog, using the Christmas tree topper as a shuriken, and ramming a turkey leg down a man’s throat.

9- Flesh cookies – Black Christmas (Directed by Glen Morgan, 2006) 

The original Black Christmas is a genuinely frightful experience, utilising a tense atmosphere and a suspenseful mystery element to garner a foreboding sense of dread. The 2006 remake is nearly just as effective but in a totally alternative way. Glen Morgan’s retelling is the ultimate teen horror that understands its almost asinine 2000s vibe and runs with it. The film dives deep into Billy’s (Robert Mann) cruel backstory and shines a light on his barbaric ways. During the film’s goriest peak we see Billy murder his mother by batting her repeatedly with a rolling pin, going overboard with the bludgeoning. Once she is shown lifeless on the floor, he grabs a gingerbread cookie cutter and begins to carve out pieces of her skin before baking them. Billy’s last moments of freedom before prison shows him chilling at the dining table eating the ‘cookies’ with a glass of milk like a deranged Santa. Truly disgusting!


10- Jack-in-the-box – Krampus (Directed by Michael Doughtery, 2015) 

The lore of Krampus runs deep within German culture, with the anthropormorphic creature acting as an assistant to Santa, gifting disobeying children with birch rods. Many films have attempted to tell the Krampus legend, particularly A Christmas Horror Story (2015) greatly featuring some very gruesome short stories, but one horror that stands out above them all is Michael Dougherty’s Krampus, starring Toni Collette and Adam Scott. Krampus envisions a develishly grim Christmas, where Krampus’s evil sidekicks include re-animated mini but mighty gingerbreads, evil elves, and a giant jack-in-the-box with massive fangs and a horrid, glazed expression. Krampus’s standout kill includes that very jack-in-the-box as it eats a small child whole with ease.

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Must-see winter horror movies


1- The Shining (Directed by Stanley Kubrick, 1980)

Jack Torrance (Jack Nicholson) moves his wife and son to The Overlook Hotel after accepting a job as an off-peak caretaker, however, after a storm traps them in the hotel, Jack slowly begins to lose his grip on reality. 

Any horror film list would be incomplete without The Shining, let alone a winter horror list. Kubrick’s alternative adaption of Stephen King’s 1977 novel of the same name may have had a rocky reception upon its release (no surprises there Hollywood!), but over time the film has endured an endless riptide of praise, with Kubrick’s demanding attention to detail encapsulating the horror genres habitual urge to dig deeper under the surface, fleshing out daunting truths. Lead Jack Nicholson and Shelley Duvall’s enigmatic performances shock and frighten to the point of no return, and no matter how many times one may watch The Shining, it never fails to give you the chills. 

2- Frozen (Adam Green, 2010) 

After an unsuspecting trio becomes stranded on a ski lift they have to make the decision to either wait it out for the weekend until opening day or to take the chance and jump. 

Adam Green’s snowy expedition is simply 90 minutes of nail-biting, foot-tapping tension. The closed setting is a stunning trope when done well, with Frozen being an exemplary feat in contained horror. The nightmare inducing situation allows for countless intense scares, including lurking wildlife, dreaded frostbite, and super effective psychological mind games that will keep you guessing the outcome until the very end. Amalgamating the minimalistic position with a no-holds-barred attitude brings a heavy dose of trepidation to the film that makes an exciting skiing holiday seem like your worst possible nightmare. 

3- Curtains (Directed by Richard Ciupka, 1983) 

A group of aspiring actresses audition for a role in a prestigious filmmaker’s new movie, however, a masked killer is on the loose and out for blood. 

Many eighties slashers may adhere to campgrounds and teenage-ridden forestry, but the criminally underrated Curtains forgoes commonality to deliver an icy scare that thrives in the madness of its own unhinged plot. With a light brush of meta-commentary on cinema and a ragtag of untrusty characters whose appearances are not just movie-meat currency, Curtains adopts an unconventional position within the slasher market, joining the likes of Sleepaway Camp (1983), and April Fools Day (1986), where the inventive kills are just as prevalent as the whodunnit aspect. 

4- Dead Snow (Directed by Tommy Wirkola, 2009)

A team of medical students travels to the Artic mountains for a fun weekend, little do they know that a troop of Nazi zombies lies beneath them. 

Nothing screams ‘winter horror’ as much as Dead Snow, a Nazi zombie hybrid that actually manages to bypass its absurdly sounding plot to be rather frightening at times. The sincere brutality is made all the more present by the unbelievably graphic kills, ranging from your average zombie frenzies to full-on disembowelments. Dead Snow recognises it’s satirical innateness, leaving more than enough room for Tommy Wirkola to go on the lam and make use of zombie politics to create pitch dark jokes and over the top irreverent plot points. 

5- Pontypool (Directed by Bruce McDonald, 2008) 

During an average night at the radio station, a report comes in detailing a deadly virus that is spread via the English language. 

Based on the second novel in the Pontypool Trilogy (Tony Burgess) is Bruce McDonald’s carefully conducted feature that transforms a radio studio into the most hellish place imaginable. Pontypool understands the fear of confinement, and how claustrophobia-inducing settings and situations can provoke such an intense sense of dread. The dreary melancholy of the sickness at hand perfectly harmonises with the harrowing severity of a virus-based storyline, which in itself is enough to conjure the most horrible nightmares imaginable. 

6- Cold Prey (Directed by Roar Uthaug, 2006)

After an injury during a thrill-seeking excursion, a group of snowboarders travels to an abandoned lodge to call for help, but something much darker lies in store for them. 

The popularity of this Norwegian snowy slasher is strong, but it should be way rifer than it is. Cold Prey tackles a cat-and-mouse-like game as the motley crew of slasher victims run from a mysterious killer who shows zero mercy. Throughout the exhilarating journey, the film dashes through bloody leaps and bounds to put on a brutal and brilliant show that has the sensibility to display fleshed-out characters whilst also having the gravitas to deliver shock after shock. 

7- The Wolf of Snow Hollow (Directed by Jim Cummings, 2020) 

Troubled police officer, John Marshall (Jim Cummings) begins to stray from his straight-laced ways after his small town seems to come under attack from werewolves. 

The Wolf of Snow Hollow came onto the scene with a whopping ferocity, commanding a beyond-positive reputation within the two years since its release. And anyone whose seen Jim Cumming’s lycanthropic feature will certainly understand all of the praise. The film ever so carefully balances well-timed jokes (with a focus on dark humour) with an enveloping story that is both cryptic and intense. Further complimenting the full-bodied tale are the stellar performances by Cummings himself, along with the likes of Robert Foster (Mulholland Drive), and Riki Lindhome (The Last House on the Left). 

8- Let the Right One In (Directed by Tomas Alfredson, 2008) 

The constantly bullied Oskar (Kåre Hedebrant) finds an endearing connection and unexpected revenge when he meets Eli (Lina Leandersson), the strange new girl in town. 

Horror, no matter how good, does not always receive the warmest welcome from mainstream cinema. However, every once in a while a film comes about that is so excellent that not even horror-hating critics can deny its distinction. Let the Right One In’s rightful status is owed to the innately stylized fashion that vampires behold in cinema. It’s the delicateness juxtaposed with that infamous beastly quality that follows the undead in such a mysterious way that always makes the viewer want more. Promoting that habitual command that Let the Right One In thrives in is the film’s rather emotive narrative that dares to tiptoe into the more fragile side of human reflection to shell out a well-rounded motive and create a lingering viewing effect. 

9- Misery (Directed by Rob Reiner, 1990)

When successful author Paul Sheldon (James Caan) gets into a car accident, his number one fan Annie Wilkes (Kathy Bates) comes to his rescue and brings him back to her secluded cabin. 


Being based on Stephen King’s 1987 novel of the same name, it’s no surprise that Misery has had audiences squirming in their seats ever since the film’s release 32 years ago. Kathy Bates and James Caan truly make Misery the extreme adventure it is, with their talents putting on classic, but unique displays of that captive vs. villain narrative that can work so well when done perfectly. Even further encouraging the film’s high-stakes state of affairs is the isolated cabin setting that really hones in on Paul’s trapped position, and Annie’s malevolent, domineering repute.

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Thought Bubble 2022 Special – Horror comic book adaptions

To celebrate our first year representing everything horror at Thought Bubble Comic Art Festival, here’s our list of the best comic adaptations to film!


The Crow (Directed by Alex Proyas, 1994)

A year after his death, musician Eric Draven (Brandon Lee) awakens from his grave to avenge the death of his fiancé. 

The Crow is a vengeance tale complete with a dark romance spin and ripe kinetic energy that shines thanks to the film’s comic book roots. Adapted from James O’Barr’s series of the same name, The Crow has gone on to release an extra three films, a TV series, and an upcoming reboot starring Bill Skarsgård as the avenging musician. The Crow is infamous for the tragic death of Brandon Lee, who passed away on set. However, the film went on to earn a cult-level status that has kept Lee’s legacy as Eric Draven in high regard for over two decades now. 

Hellboy (Directed by Guillermo del Toro, 2004)

In an attempt to win the war, a team of Nazis accidentally summon a demon into the human world. Years on, the creature works to fight evil away, however, when forces from his past arise to the surface, Hellboy (Ron Perlman) finds himself in the toughest battle of them all. 

Originally conceived from the mind of comic book artist Mike Mignola is Hellboy, a half-human/half-demon straight from East Bromwich..?! (According to the comics). Both in the adaption and the comic book Hellboy may be a beastly crimson demon, but he sides with the ‘good’ and helps to keep the universe safe from paranormal incidents. The first filmic entry into the franchise, and quite easily the best pick, has to be Guillermo del Toro’s take on a hybrid demon/action movie complete with exceptional character design, an immersive universe that compliments the fantastical elements and an off-kilter sense of humour that melds in perfectly with del Toro’s Sharp directorial eye. 

30 Days of Night (Directed by David Slade, 2007)

Just as the small Alaskan town of Barrow enters its 30-day polar night, a swarm of vampires takes over the land. 

Rapid, bloodthirsty, remorseless, and evil vampires do not usually belong in snowy movies. Yet, David Slade’s adaption of Steve Niles comic book miniseries resulted in one of the most nail-bitingly tense horrors of the mid-2000s. The polar night backdrop entwines with the fear factor of the creatures impeccably well, allowing for the isolated landscape to have this eerie, inescapable aura surrounding it the entire time. Furthering the intense thrill ride is the practical effects that make the most of the brutal kills, leaving no gory detail hidden. 30 Days of Night is a daring feat that has no qualms in threatening the life of every character, no matter how central they are to the story. 

Blade (Directed by Stephen Norrington, 1998) 

A Half-mortal/half-vampire takes on a vow of revenge to rid the world of vampires. 

Many superhero franchise fans may have noticed that newer additions to the Marvel universe such as Doctor Strange in the Multiverse of Madness (2022) and Werewolf by Night (2022) have been amping up the fright factor. However, these were not Marvel’s first attempts at drifting into the dark side. Blade first appeared in Marvel’s regime in The Tomb of Dracula #10 (1973) where the ruthless vampire hunter, known as Blade (played by Wesley Snipes in the adaption), will stop at nothing to rid the world of evil vampires. Blade has an undeniable smooth quality that emits this ‘cool’ aesthetic, feeding into the leather-clad band of vampire films that saw a resurgence in the late 1990s. 

Ichi the Killer (Directed by Takashi Miike, 2001)

Whilst searching for his missing mob boss, Kakihara (Tadanobu Asano) comes across Ichi (Nao Ômori), a psychotic killer who knows no limitations. 

In 1993 Hideo Yamamoto wrote and illustrated Ichi, a graphically violent manga that in 2001 was adapted into an even more horrifically savage horror. Directed by one of Japan’s most intense filmmakers, Takashi Miike’s Ichi the Killer has been fully banned in Malaysia, and Norway and refused distribution in Germany. Just like its original source the film begins at 100mph and refuses to slow down, fully fleshing out the quick-paced action with more than enough cruelty and energetic stylisation to ensure a wild time from start to finish. Ichi the Killer is a risk even for experienced gore-hounds, let alone new viewers! 

Constantine (Directed by Francis Lawrence, 2005)

Exorcist and demonologist by trade John Constantine (Keanu Reeves) go on a mission to help solve a mysterious case that has the potential to end mankind. 

DC Comics’ Hellblazer was loosely adapted in 2005 with the Keanu Reeves led Constantine, following an exorcist with the ability to banish demons from the earth.  Although the Francis Lawrence adaptation differs quite considerably compared to the comic, the film still manages to transport the audience into a cryptically contrived world filled of battles of good vs. evil, coupled with impressive visuals and gripping dynamics throughout. Constantine has fallen under the radar over the years, but with the ever-rising popularity of comic book adaptions and news of its sequel in the works, could Constantine be seeing a second coming? 

Tales from the Crypt (Miscellaneous, 1989-1996)

Join the Crypt Keeper for some of horror’s most frightening stories. 

Based on EC Comics series in which each issue would feature multiple horror-based stories accompanied by vivid graphics is Tales From the Crypt. The show has earned itself a massive name within horror, with the anthology-based work producing multiple spin-offs, a cartoon series, a game show, and radio series. In keeping with its source material, Tales from the Crypt balances ghostly frights with a dark sense of humour, mainly found within the show host known as The Crypt Keeper (voiced by John Kassir) whose corpse-like appearance, one-liner jokes, and ultimately creepy demeanor perfectly compliment the madness of each story. 

I Am Not Okay with This (Directed by Johnathan Entwistle, 2020) 

Sydney (Sophia Lillis) is a normal teenage girl battling through the trials and tribulations of girlhood, high school, and her superpowers.

Although short-lived with Netflix cancelling after just one season (despite the high ratings and positive reviews), I Am Not Okay with This still remains one of the more impressive television adaptations of a graphic novel. With a show so entwined with social hierarchies and teenage exploitations, as well as the whole ‘existential crisis over one’s supernatural abilities, a strong lead is necessary. And that’s exactly why I Am Not Okay with This excels; the character of Sydney is both incredibly well written and portrayed, making this one-season show a must-watch for anyone. And lets not forget to mention that incredible finale that had viewers’ jaws dropped to the floor. 

The Walking Dead (Miscellaneous, 2010-2022) 

After a deadly outbreak, flesh-eating walkers dominate the earth, leaving the few survivors to fend for themselves in a deadly world. 

The Walking Dead is not only one of the most successful comic book adaptations across the board, but it is also one of the most acclaimed zombie TV series to ever exist, with over 155 nominations for awards (ranging from Emmys and Golden Globes to the Fangoria Chainsaw and Critics Choice awards). The Walking Dead is based on the comic series of the same name which ran for 193 issues before ending in 2020. Over time the show has been praised for its internal conflicts, digging into the moralities of survivors and how ugly society can be when put under pressure, reminiscent of classic zombie narratives seen in Romero’s Dead series. 

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Review – Barbarian: Airbnb gone wrong

When Tess (Georgina Campbell) arrives at her Airbnb on the sketchy side of town, the last thing she expects is for someone to be already staying there. With no other options available she decides to accept the offer and stay the night. Little does she no, the house holds a dark secret.

2022 has been the polar opposite of a sleepy year for the horror genre. We started off strong with the latest Scream, illuminated springtime with X, and Men, followed by summer scorchers including Nope and Speak No Evil. At the cusp of autumn and winter, where festive romcoms parade the halls, Smile, Bodies Bodies Bodies, and Terrifier 2 took the bull by the horns and kept gory delights at the forefront of mainstream releases. However, no other film has quite grasped such a collective attention, bared an incredible amount of adoration, and shown modern horror a more nerve-shaking nightmare than Barbarian! 

Barbarian (2022), Trailer 1 | Flicks

Barbarian comes from the mind of  Zach Cregger, mainly known for his acting career, however, it is certain that his dynamic style will be furnishing future horror hits as Barbarian has defied records and grossed over nine times its budget. 

To quote an interesting comment made during the press release of Don’t Worry Darling, Barbarian ‘feels like a movie’, an actual movie… This may seem like a rather ambiguous claim, but it is indeed very true when it comes to Cregger’s take on the increasingly popular real-estate horror genre. Every antic has so much gravitas holding it up, where complete immersion is inevitable, you will genuinely feel overwhelmed by the utter madness on screen. 

Barbarian might be the scariest film you see this year | SYFY WIRE

The home has been an exploited topic in horror for a while now, with invasion exploits dominating the market, yet these niche-for-now rental horrors that thrive on the lack of the of ‘home’ and more on the unfamiliarity and alienation of entering into someone else’s ‘home’ movies are slowly redefining the topic of home invasions. Dave Franco’s The Rental (2020), Brandon Christensen’s Superhost (2021) and now Barbarian have formed somewhat of an unholy trinity of Airbnb terrors. 

Barbarian Gets All-New Trailer Embracing the Comedy of the Horror Adventure

The insidious nature at which Cregger handles Barbaran’s subject matter is a boastful testament to the slow churners of classic cinema akin to Alfred Hitchcock’s plot dynamics, Terence Fisher’s depictions of good vs evil, and Mario Bava’s embellishment of visual tenaciousness. The film understands the immediate cautious view that audiences will latch onto from the very first scene. Straight away Tess is placed in a vulnerable situation, with the unkept neighbourhood and dimly lit street highlighting the emptiness and isolating reality. After struggling to enter her rented accommodation she is met by an -overly- charming man who insists on her entering the property for her own ‘safety’ to settle the double booked circumstance. Whilst Skarsgård is an established actor with many credits, it is nearly impossible to fully detach our perception of his role as Pennywise from the IT (2017) reboot. His character, Keith, may seem like a nice guy, but so are most deceptively cruel villains. And through his prior attachment to one of cinema’s most popular antagonists, his performance as Keith sets alarm bells ringing straight away. 

Barbarian horror film is a renter's worst nightmare - Geeky Gadgets

Cregger took inspiration from the book The Gift of Fear (1997) which chronicles the notion of intuition and how we internalise red flags to make judgements that unknowingly save our lives everyday. Keith is the obstacle, the threat; after all he is the person instigating Tess’s entry into an unfamiliar habitat. And Tess replicates us. Every step she takes into the danger, we are begrudgingly tiptoeing behind her, shouting at the screen for her to get back in her car and watching the events unfold between peeking fingers. 

Whatever twist, shakeup, or 180 you are expecting, abandon it. With Barbarian nothing is as it seems.

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Ten must-see movies for Halloween

1- Haunt (Directed by Scott Beck & Bryan Woods, 2019) 

On a Halloween night out, a group of friends attend an immersive haunt. Little do they know that the spooky theatricals hold a deadly threat. 

Over the years, innocent pumpkin carving traditions and trick-or-treating have been overshadowed by the budding extreme ‘haunts’ experience; promising bone-chilling frights in a controlled environment. However, amongst the rise of these attractions, there has been an ongoing conspiracy regarding the limits these haunts will exceed. Beck and Woods deliver possibly one of the most frightening and uncomfortably realistic takes on a ‘house of horrors’ narrative. With an ambiguous motive and nightmarish boogeymen wreaking havoc on the ragtag group, Haunt ensures that no audience member will be left unscathed after 90 minutes of electric, intense scares. 

2- Night of the Demons (Directed by Kevin S. Tenney, 1988) 

A team of high school students host a seance inside an abandoned funeral parlour as part of a Halloween party. 

Teens finding themselves trapped in a cursed, isolated location is not unfamiliar territory for any viewer, yet Night of the Demons manages to subvert that sense of familiarity to distract and tease with already formed expectations before delivering one hell of a disturbing third act. The instigator of the terror, Angela Franklin (Amelia Kinkade), has become a staple for 1980s horror, with her eccentric antics embodying the film’s zaniness and natural ability to launch a tidal wave of gory fun. All of the animated absurdity is balanced with the madly creative practical effects that range from grossly infected skin to graphic eye gouging. 

3- Hell Fest (Directed by Gregory Plotkin, 2018) 

The travelling theme park ‘Hell Fest’ promises the ultimate ghoulish experience, however, all hell breaks loose when a masked killer transforms the carnival into their own murderous playground.

The adrenaline-pumping nature of theme parks during fright nights is enough to summon a scare-ridden horror on its own, however, rather than Hell Fest simply relying upon the innate creepiness, Plotkin adds in immersive set designs, gloriously disturbing kills, and an almighty, ominous force behind the lead antagonist (known as The Other). The sheer ferocity of Hell Fest thrives on the pedal to the metal detailing that refuses to slow down or ease off at any point. 

4- Trick (Directed by Patrick Lussier, 2019)

On one fateful Halloween night, Patrick ‘Trick’ Weaver manages to escape from the police after massacring his classmates at a party. Despite Trick’s ‘deadly’ wounds, a masked killer continuously reappears every Halloween. Has Trick somehow survived or is there something much more sinister at play? 

Like a nostalgic driven 1990s thriller, Trick continuously convolutes with its cryptic plot that will have the viewer in an eerie mind spin decoding the mystery within. Lussier, known for editing the Scream franchise (1-3) and directing the 2009 remake My Bloody Valentine, comes his take on a Halloween-centred horror. Akin to the judicial background of a Saw thriller is Trick’s richly entwined story that doesn’t just wallow in vicious kills, it also delves into the rocky territory that follows with the horrific aftermath of massacres. Joining all that fleshy exposition are the intense Halloween elements that refuse to let you forget that Trick is a film dedicated purely to the allure of spooky season itself. 

5- Halloween II (Directed by Rick Rosenthal, 1981) 

In the aftermath of Michael Myers (Jonathan Prince) and Laurie Strode’s (Jamie Lee Curtis) bloody battle it is revealed that Myers escaped, leading Dr. Loomis (Donald Pleasence) and Strode to kill The Shape for good. 

With the original Halloween creators Debra Hill and John Carpenter taking on the writing duties, and first time feature director Rosenthal’s eagerness for the film to be dedicated to its predecessor, Halloween II has become somewhat of an absolute staple amidst the franchise’s thirteen films. Halloween II is where Myer’s long and dense evolvement starts, with the film bashing apart his banality through injecting an interesting and at times contentious backstory for his motives; nevertheless, this sequel is brimming with creative kills and immensely tense chases that seem to take the unpredictable route at all times. 

6- Hell House LLC (Directed by Stephen Cognetti) 

On a quest to create the most terrifying Halloween house experience, a group of professional ‘haunters’ take over the Abaddon Hotel, known for its horrifying incident that occurred many years prior. 


With Halloween being the time of year where horror-hounds seem to be the most at home, it can be difficult to watch a film that continues to scare even after multiple watches- This is where Hell House comes into focus. Cognetti’s concoction of bitterly cold, spine tingling terrors will have even the most habituated horror fans sitting on the edge of their seats. The premise of a haunt gone wrong is now a classic trope, that when done well can make for a remarkably memorable film. Hell House takes the classic idea of ghostly apparitions and dark hallways to conjure awfully realistic scares that make for an unforgettable finale. 

7- Trick ‘r Treat (Directed by Michael Dougherty, 2007) 

Four Halloween-themed connected stories show the consequences of breaking Halloween traditions.

 

All Hallows’ Eve would not be complete without a screening of Trick ‘r Treat, possibly one of horror’s most infamous cult films in recent years. Every little detail within Dougherty’s spooky extravaganza is doused with ghostly, autumnal motif’s, whether that be pumpkins and fall leaves dressing every street, auburn lighting glowing throughout the set, or the film’s central character, Sam (Quinn Lord), who is sure to put tradition breakers in their place. The seasonal decorations are infectious, even putting Halloween Scrooge’s in the haunting mood. 

8- Terrifier (Damien Leone, 2016) 

The sinisterly minded Art the Clown (David Howard Thornton) terrorises a group of people on Halloween night. 

Art’s history goes way back to the short film ‘The 9th Circle’ (2008). Fourteen years later, horror’s most vicious clown has become one of the most notorious villains in modern horror. Terrifier both perfectly captures the chaotic brilliance of Art and tests how far he is willing to go to create ultimate destruction. Healthy doses of sawing into hanging bodies, face eating, and mutilation take over the screen making it clear from the beginning that Terrifier is not here to tease. If abundances of gore and a maniacally twisted time is what you’re after, Terrifier has to take the crown at your Halloween movie marathon. 

9- 31 (Directed by Rob Zombie, 2016)

A ragtag group of carnival workers are taken hostage before having to fight tooth and nail to survive the night. 

Rob Zombie is no stranger to the horror scene whatsoever, with his barbarically minded films such as House of 1000 Corpses (2003) and The Devil’s Rejects (2005) creating incredibly detailed worlds for the vivaciously cruel characters to thrive in. 31 takes the audience through bloody and awfully offensive grounds like a filmic rollercoaster to deliver a fright to remember. The film puts the abducted group through various battles with a motley crew of slighting antagonists including Doom-Head (Richard Brake), who makes Zombie’s Captain Spaulding (Sid Haig) and Otis Driftwood (Bill Moseley) seem PG-13! 

10- Tales of Halloween

(Directed by Darren Lynn Bousman, Axelle Carolyn, Adam Gierasch, Andrew Kasch, Neil Marshall, Mike Mendez, Dave Parker, Ryan Schifrin, John Skipp and Paul Solet, 2015) 

Ten interwoven stories focusing on ghoulish monsters, devils, aliens, urban legends, and mad men band together to create a creepy anthology tale. 

Tales of Halloween manages to cram ten grisly stories into a 97 minute time frame, all whilst remaining original, exciting, and most importantly scary. Anthologies have an innate way of having something for everyone, leaving Tales of Halloween to thrive in its own variety. Accompanied by a self-aware comedic atmosphere, the film utilises the short runtime of every story to create a quick to the point punch that results in equal levels of laughs and eerie vibes. 

Looking for more top horror lists and reviews? Check out our blog here..

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Dead Northern Festival News and Reviews Reviews

Dead Northern 2022 Festival Review – The Stranger (World Premiere)

Moving on from the murder of her husband, Amanda (Jennifer Preston) and her teenage daughter, Karli (Isabella Percival) up and move to a tranquil bed and breakfast situated within the rural countryside. However, their tragedies are only furthered by the arrival of Kyle (Damien Ashley), a mysterious guest.  Kyle begins to go into a downward spiral, haunted by a sinister force.

The Stranger tightly grasps onto the fragility of a broken family as a vessel for unearthly horror to seep through and thrive amidst the already brittle dynamics. Through unmatched writing that puts the audience through one of the most nerve shredding 80 minutes of their life, through to the startlingly graphic effects, The Stranger is a wickedly cruel feat that should not be missed. 

The directorial team behind The Stranger is made up by Mike Clarke and Paul Gerrard, who respectively join forces to conjure a bone chilling tour de force that was entirely shot in the UK. Clarke’s keen eye for thrilling filmmaking is clear in many of his previous projects, including the acclaimed A Hand to Play (2013), which featured Hellraiser’s Doug Bradley, Paper and Plastic (2013), and Love’s Innocence Lost (2016). Gerrard is infamous for his originality, peppering dystopian, mind-augmenting themes throughout his work as seen in his conceptual designs for The Hole in the Ground (2019), The Dark and the Wicked (2020), and The Reckoning (2020). 

Their track record of outstanding works is made even more prominent thanks to The Stranger, which helps lead the way for modern, indie horror. Every strain within the film, whether that be the mystifying visuals, the looming sense of dread, or the sensational performances by Ashley, Preston, and Percival, the film captivates. 

The invasion of the body and space is a prodigious element in macabre cinema, with the threat of one’s annexe being claimed, alerting an immediate spike of worry in even the most tenured of audiences. The melancholic air of loss that Amanda and Kari emit due to their recent experience of death adds to The Stranger’s enigma, combating the refusal to follow in the footsteps of generic invasion movies with formulaic backstories. Instead, Clarke and Gerrard channel the unexpected at every approach possible. No matter what direction The Stranger insinuates, there’s always an unexpected corkscrew in the road. 

The vigorous leaps and bounds that the film chronicles is assisted by the setting, atmosphere, cinematography, sound, lighting, and effects. The isolated restraints that the wilderness holds is a tool within its own right. Gerrard and Clarke fully take advantage of the vastness to further place the characters in an even more vulnerable state. Encapsulated by the camera that surveys the emptiness is the eerily dark tone that washes over the film like a grim shadow of death, straight away setting the mood for melancholy and menacing antics to prosper. As the film reaches the moment of truth, a barrage of sheer sensation, both emotional and psychical, of panic is unwillingly forced. 

The Stranger is a symphony of horrific excellence, dominating the screen and marking its place as one of 2022’s most exciting features. 

Check out the film and much more at this years festival, tickets here…