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2024 horror film releases

1- MaXXXine (Directed by T.I. West)

Completing T.I. West’s zealous ‘X’ trilogy is MaXXXine, a cinematic epilogue following massacre survivor Maxine’s (Mia Goth) journey to stardom in the early 1980s. With West’s signature homage to gritty nostalgia-driven thematics and Goth’s ability to immersive herself into her characters with visceral ease, MaXXXine will certainly be an unmissable slasher. 


2- Shelby Oaks (Directed by Chris Stuckmann)

Youtuber Chris Stuckmann’s directorial debut has already made waves across the independent film industry, with its Kickstarter campaign breaking records as the upcoming found footage inspired horror crossed the $1 million point early last year. Shelby Oaks tackles the story of a missing paranormal investigative team and the pandora’s box of hell that their disappearance unleashes.

3- Late Night with the Devil (Directed by Cameron and Colin Cairnes)

This highly anticipated Australian horror burst onto the scene with nothing but rave reviews after its premiere at the South by Southwest Film Festival. Taking centre stage is David Dastmalchian as Jack Delroy, a smooth-talking late-night talk show host whose show quickly goes south one fateful night after he interviews a survivor of a satanic mass suicide. 

4- Lisa Frankenstein (Directed by Zelda Williams)

One of horror’s favourite writers, Diablo Cody (creator of Jennifer’s Body [2009]), is back with the 1980s set Lisa Frankenstein, a morbid, fresh and ghastly take on the classic Frankenstein monster’s tale. Kathryn Newton plays the role of enigmatic teenager Lisa Swallows, who falls head over heels with a living corpse (Cole Sprouse). Dressed with bubblegum pink aesthetics and a ghoulish love story, Lisa Frankenstin makes for a perfect spooky Valentine’s watch as it hits screens on the 9th of February. 

5- Saw XI (Director TBC) 

A new entry into the neverending, blood-filled, gore-ridden Saw franchise is heading to theatres in late September. However, this is all that is known about the latest cog in Jigsaw’s grand plan so far. Despite its acclaim, writers of the warmly received Saw X (2023), Peter Goldfinger and Josh Stolberg, will not be returning to carry on the Saw legacy. Although the mystery is strong surrounding this upcoming release, one thing is for certain: Jigsaw’s game is far from over!

6- Longlegs (Directed by Oz Perkins)

The chilling teaser trailer for Oz Perkins ‘Longlegs’ has been haunting the internet since the new year, with small snippets of malevolent stills and unnerving clips of tense, unfamiliar symbols appearing all over social media. This sure-to-be hit follows FBI agent Lee Harker (Maika Monroe) as she is assigned to an unsolved case of a serial killer linked to the occult. 

7- Hell of a Summer (Directed by Finn Wolfhard and Billy Bryk)

Hell of a Summer follows the structure of a classic (and unbeatable) summer camp slasher, complete with a mysterious masked killer who lurks the grounds looking for prey. Whilst a strong sense of familiarity rings true, what Hell of a Summer does promise is an extremely gory, wild and savage take on a genre favourite. 

8- Terrifier 3 (Directed by Damien Leone) 

Horror’s residential terrifying clown – ‘Art’ (David Howard Thornton) has been scaring the wits out of people since his first appearance in Damien Leone’s short film The 9th Circle (2008), and now he’s back yet again for the highly anticipated Terrifier 3. With its first look trailer already rapidly making the rounds, this upcoming Christmas-based slasher will certainly be making some noise when it gets released come 25th October. 

9- The Toxic Avenger (Directed by Macon Blair) 

It takes a bold crew to tackle Troma Entertainment’s bold cult classic, The Toxic Avenger (1984). However, from the looks of the fiery trailer and the talented cast including none other than Peter Dinklage and Elijah Wood, the fifth entry into the ‘Toxie’ franchise is set to be an offbeat, untamed, maverick-like beast of a film. Catch the latest Lloyd Kaufman and Michael Herz produced flick later this year. 

10- Baghead (Directed by Alberto Corredor) 

Hitting theatres on the 26th of January is Baghead, a paranormal horror following Iris Lark (Freya Allan), who inherits a broken-down pub she soon discovers a sinister presence lurking underneath the premises. Baghead’s corpus of dread surrounds the rhetoric of loss, decay and the dwellings of mortality.

11- Abigail (Directed by Matt Bettinelli-Olpin and Tyler Gillett) 

From the creators of Ready or Not (2019), Scream V (2022) and Scream VI (2023) is the upcoming creature feature Abigail. Based on Dracula’s Daughter (1936), Abigail takes on vampirism with a vicious twist as the enthralling plot follows a group of kidnappers who abduct the daughter of an influential figure for ransom, only to discover their victim’s bloody appetite…

12- The Strangers: Chapter 1 (Directed by Renny Harlin) 

Despite the rumours, The Strangers: Chapter 1 is not a sequel nor a remake of the 2008 contemporary classic, The Strangers (Bryan Bertino). Alternatively, this Renny Harlin feature is the first of a standalone trilogy that occurs simultaneously with the original ‘08 timeline. With this being said, in Chapter 1 expect plenty of home invasion thrills, intense frights and most notably, some of the scariest masks horror has to offer. 

13- Nosferatu (Directed by Robert Eggars) 

Robert Eggars may just be the perfect choice to bring the infamous Count Orlok back to life, with his ability to convey macabre yet beautiful narratives, alongside his brilliant stylistic techniques that consistently utilise the likes of dramatic chiaroscuro lighting. Joining Eggars in bringing Nosferatu to old and new audiences to the screen are performers Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin and Willem Dafoe. 


14- Your Monster (Directed by Caroline Lindy) 

Based on Caroline Lindy’s 2019 short film of the same name is Your Monster, a horror comedy with a heartwarming dash of morbid romance. The film follows Laura Franco (Melissa Barrera), a young woman simultaneously dealing with a breakup and a cancer diagnosis. However, her world is about to get increasingly stranger as she uncovers a petrifying but oddly endearing monster (Tommy Dewey) residing in her closet. 

15- The First Omen (Directed by Arkasha Stevenson) 

The Omen (1976) still lives on 48 years later as Arkasha Stevenson introduces The First Omen, a prequel to the original Richard Donner directed tale of horror’s deadliest child. The film chronicles Margaret (Nell Tiger Free), a young American nun sent to a church in Rome. However, she soon discovers a conspiracy within the Lord’s house as they attempt to bring about the birth of an evil incarnate. The 6th entry into the all-mighty franchise is set to be theatrically released on April 5th. 

16- In a Violent Nature (Directed by Chris Nash) 

This indie horror follows a masked silent man as he makes his way through a secluded forest (and a sea of bodies). In a Violent Nature proves that slashers are alive and well, with this slick yet dauntingly raw and seriously creative horror forgoing cliches and putting an original twist on the beloved subgenre with the film following the perspective of the antagonist. 

15- Dust Bunny (Directed by Bryan Fuller) 

Mads Mikkelsen and Sigourney Weaver star in Bryan Fuller’s (Hannibal [2013-15] developer) feature debut film about an eight-year-old girl who pleads with her neighbour to kill the monster hiding under her bed who massacred her family. The seemingly outlandish but entertaining concept of Dust Bunny is said to be rife with a throwback vibe, reminiscent of dark yet oddly comedic and heartwarming horrors from the 1980s such as The Lost Boys (1987).

16- The Watchers (Directed by Ishana Night Shyamalan) 

M. Night Shyamalan’s daughter Ishana makes her directorial debut with The Watchers, an eerie creature feature that amalgamates with a secluded forest horror setting as we follow young artist Mina (Dakota Fanning) who finds herself trapped alongside three strangers in an isolated forest in Ireland surrounded by sinister beasts. 

17- Handling the Dead (Directed by Thea Hvistendahl)

Adapted from the 2005 John Ajvide Lindqvist (Let the Right One In [2004]) novel of the same name is Handling the Dead, a Norweigan zombie film that tells the tale of three families whose lives are plunged into madness when their deceased loved ones are reanimated. The film strips back the hecticness of the archetypal zombie territory and opts for a muted, haunting atmosphere where the emotional anti becomes the driving force. 

18- The Home (Directed by James DeMonaco) 

After troubled retirement home worker Max (Pete Davidson), discovers that his patients are harbouring a menacing secret, he begins to reveal connections between his upbringing in a foster care setting and the ominous happenings at the ill-omened home. The Home sees James DeMonaco back with another horror following on from his work with The Purge franchise.

19- Imaginary (Directed by Jeff Wadlow) 

Joining the likes of the Chucky TV series (2021-), Megan (2023) and Five Nights at Freddy’s (2023) is Jeff Wadlow’s ‘Imaginary‘ which is set to hit theatres on March 8th. Imaginary’s ‘evil toy comes to life’ is a stuffed bear named Chauncey who was the beloved childhood companion of Jessica (DeWanda Wise). However, when Jessica’s stepdaughter Alice (Pyper Braun) gets hold of Chauncey and her once innocent behaviour turns vicious, Jessica realises that Chauncey holds a wicked secret.

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The scariest moments from the Insidious franchise

10- Soundless screams (Insidious: The Last Key [2018]) 

Insidious: The Last Key often goes unrecognised in the grand scheme of the Insidious universe despite being the franchise’s most profitable film, meaning that many of its brilliant surprises also go overlooked. One of these potent frights showcases a fear that many of us will have experienced in some of our worst night terrors – attempting to scream, but nothing comes out. The scene shows a key-clawed demon plunging its talons into its victim’s throat, trapping their breath and brutally silencing them. The harsh effects of such a moment make us squirm at the mere thought of running out of breath in a room full of air. 

9- Ultraviolet (Insidious [2010]) 

The first entry into the Insidious franchise remains one of the best out of the bunch, mainly due to its simple scares that build up slowly, leaving us in suspense as we sit and wait for a big jolt to the senses. This brutally slow tension is brilliantly captured in the picture-taking sequence as we follow paranormal investigator Tucker around the haunted home, looking through a UV lens to identify suspicious activity. As Tucker flicks through the lens settings, we see an ordinary hallway plain as day, that is, until two wide-eyed ghosts suddenly appear in the frame, grinning ear to ear with the most menacing smile possible. It’s a classic scare. One that takes minimal moves to enact, but the slow anticipation of knowing you are in for a fright provides the scene with maximum payoff. 


8- Beware of the wardrobe (Insidious: Chapter 2 [2013]) 

Tin canned walkie-talkies make a terrifying comeback in Insidious: Chapter 2 as we see the Lambert brothers trying to settle after the events of the first film. Upping the nostalgia factor is the inclusion of the tried and tested closet jumpscare. A sleepy Dalton soon realises that it’s not his brother at the other end of the line, but instead a sinister voice with bad intentions. As Dalton begins to sit up in anticipation, replicating the viewer’s goosebumps, a gangly monster leaps out from the closet and bolts to the door before turning to Dalton and unleashing an almighty scream as it glares a haunting stare from its jet-black eyes. It’s a scene to behold and an instance that brings us back to our innermost fears of monsters lurking in the dark crevices of our rooms. 


7- Baby monitor (Insidious) 

Since their mass popularisation in the mid-1980s, baby monitors have become a pinnacle prop in cinema, with films such as The Baby’s Room (2006), Nocturnal Animals (2016) and Lullaby (2022) all utilsing the radio system as a horror instigator. In Insidious, the baby monitor tactic is used continuously to elicit big scares over small instances of time, with the strange utterances heard over the transmitter multiple times. In the beginning, each baby check ends in a fake scare, one where the spookiness is almost a hoax. However, during the third case, the camera finally reveals a pale-faced, vampiric-like, suited ghost ominously staring over the child. The baby monitor scene is an exercise in deceit, ceaselessly building up until we no longer expect a reveal of any sort, until that dreaded moment where we are taken by utter surprise.


6-  Crossing the street (Insidious: Chapter 3 [2015]) 


Insidious: Chapter 3 is brimming with some truly underrated shocks and startles, with the ‘car crash’ scene being a prime example of the film’s ability to seize the reins and make an ordinary segment transform into a nightmare. Quinn Brenner is a troubled young girl haunted by her mother’s death. Hoping to regain a sense of normalcy, she pursues her dreams of entering a performing arts school. After a mediocre audition, she is left even more disheartened; despite that, her night is about to worsen. Crossing the street, she sees an eerie figure waving at her in a hospital gown, catching her attention in the middle of the road. Suddenly a screeching car comes into the frame, smashing into Quinn as she falls lifeless on the floor. It is one of Insidious’ more grounded scares, with the terror of an unfortunate real-life affair, with the zooming car and sudden collision with Quinn’s helpless body being somehow more terrifying than a world of ghosts and ghouls.


5- Sheet ghosts (Insidious: Chapter 2) 

Joining the likes of baby monitors and closet ghouls is another quintessential genre favourite, the classic sheet ghost. The blank, expressionless demeanour that the cloaked spirits withhold provides the perfect minimalistic scare where just the visual alone is enough to send shivers up your spine. In Insidious 2, we are confronted with a ghastly team of veiled feinds, sat eerily still with their clawed, decayed hands peeking out from underneath the cloth. The image alone is the definition of nightmare fuel and is utterly unforgettable.

4- Knock-knock (Insidious: Chapter 3)

The horrifying scene begins rather innocently with Quinn gleaming from hearing her ‘neighbour-meets-crush’ knocking on her bedroom wall from the otherside. Their sweet morse code leads to Quinn texting her admirer, only for him to reveal that no one is home. The sudden realisation that the knock is coming from a sinister presence makes our stomachs drop at the pertriyfing awakening.

3- The big reveal (Insidious) 

Insidious begins as a rather mundane, yet alarming, haunted house meets possession story. However, during the finale, all hell is let loose as a whole movie universe is unleashed, revealing that the paranormal happenings run further into the veins of the Lambert family than anyone could have ever imagined. Within this reveal, the Insidious franchise was birthed, with the film’s layered lore opening up within the final act. 


2- Tiptoe through the Tulips (Insidious)

Many of us will be familiar with the nerve-wracking ring of Tiny Tim’s falsetto voice singing his hit ‘Tiptoe Through the Tulips’, thanks to its appearance on many creepy internet videos. However, its best use has to be in the first entry into the Insidious world, with the song playing over one of the series’ scariest moments. As Renai unpacks belongings into her new, seemingly ‘unhaunted’ home, a little boy appears in the corner of the frame dancing along to the spooky chime of horror’s scariest song.


1- The Lipstick-Faced Demon (Insidious) 

It would be criminal not to include the franchise’s most iconic jumpscare in this list. While Dalton’s grandmother discusses how the demon attacking Dalton may hold a greater significance than first believed, the now-infamous ‘Lipstick-Faced Demon’ appears behind Josh with a brazen ferocity, followed by the most gut-wrenchingly loud orchestral swell. The result of the stunning score combined with the incredible graphics of the demon and the sudden hecticness of the incident makes this scene the most memorable and effective in the franchise.

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Post-2000s movies that would’ve definitely made the video nasties list

The video nasties captured an era in horror that is known for its splatters, slashers and slayings, with nearly every film being truly disturbing and graphic. As time has moved on and cinema has become increasingly expressive, an endless amount of explicit films have entered the market. Many contemporary horror films would not have just made the video nasties list, they would have caused complete civil uproar.

In ode to this, here is Dead Northern’s official guide on post-2000s movies that would’ve definitly made the video nasties list.

1- The August Underground Trilogy (Fred Vogel, 2003-2007)

Whilst this is not a singular film, it would be criminal not to include all three entries from the infamous August Underground Trilogy on this list. The Fred Vogel and Allen Peters created series exudes its ghastly energy primarily due to its firsthand perspective, posing as found footage that dares to show every crevice, slash, and deadly deed using a point-of-view angle. If the personalised feel of the film is not enough to turn viewers’ stomachs, then the heaps of incredibly vicious violence are bound to do the trick. 

2- Atroz (Lex Ortega, 2015) 

Similar to August Underground is Atroz, a semi-mondo film that explores the dark depths of humanity and the will to create absolute destruction. The film speaks for itself; every scene is atrociously outrageous, but one particular moment truly bites the bullet and takes the film from hardcore to pure extremity. As those steel-nerved viewers will know, Atroz’s utilisation of barbed wire and a handheld camera makes for one of the most unsettling experiences ever to taint the screen.

3- Irréversible (Gaspar Noé, 2002) 

Gaspar Noé is known for being a provocative auteur, with each of his films startling, riveting, and stirring the audiences in ways they never thought possible. His incredibly dark films include I Stand Alone (1998), Climax (2018) and, most importantly, Irréversible. The most notorious scene from the film must be the immensely cruel tunnel ordeal that shows one of the worst crimes possible in an unforgiving manner. However, an aspect of Irréversible that gets commonly overlooked is the revenge sequences showcasing the impressive talents of Vincent Cassell and Albert Dupontel. 

4- A Serbian Film (Srdjan Spasojevic, 2010) 

In the confines of mainstream cinema, A Serbian Film has become somewhat of a curse word that, when uttered, instigates a slew of harsh comments and side-eyes from offended spectators. A Serbian Film’s strikingly disturbed subject matters often overshine the remarkable cinematography and performances within the film. Each visually captivating scene is made even better by Srđan Spasojević’s portrayal of Miloš, an exotic actor pushed to the brink of insanity. 

5- Inside (Alexandre Bustillo and Julien Maury, 2007) 

The Christmas movie market is donned by classics such as It’s a Wonderful Life (1946), the heartwarming Love Actually (2003), or the gut-wrenchingly bloody tale of a Christmas Eve Home Invasion flick… The Alexandre Bustillo and Julien Maury directed horror belongs to the marvellous string of French cinema known as ‘New French Extremity’, with each subgenre entry being utterly barbaric and definitely worth watching. Inside takes one of the most vulnerable subjects, pregnancy, and creates a blood-soaked thrill ride that promises some mental scarring after viewing.

6- Dream Home (Ho-Cheung Pang, 2010) 

Dream Home’s chaotically violent content is a cut above the rest. Every kill scene is steeped with such creative ferocity that it’s nearly impossible to forget the ruthless acts, particularly a segment involving an unorthodox use of a vacuum cleaner. Seconding the film’s impressive visuals is the equally saddening backstory that documents the severity of the housing crisis, poverty, and healthcare.

7- Antichrist (Lars von Trier, 2009)

Like Gaspar Noé, Lars von Trier is a brilliant director with a keen eye for abominable terror. Out of his countless portrayals of the gritty side of humanity, the most callous and beyond entertaining film is Antichrist. The movie is not necessarily extreme, but the final act introduces visuals that would have placed Antichrist straight on the nasties list!

8- Dard Divorce (Olaf Ittenbach, 2007) 

Olaf Ittenbach’s Dard Divorce takes the phrase ‘not for the faint-hearted’ to the extreme, with Ittenbach’s no holds barred approach resulting in some of horror’s most intense imagery. Dard Divorce will leave you quivering in disgust but still craving more. 

9- Visitor Q (Takashi Miike, 2001) 

Visitor Q is just one example of acclaimed director Takashi Miike’s incredibly sordid work, with the likes of Audition (1999), Ichi the Killer (2001), Gozu (2003) and Lesson of the Evil (2012) all defining his signature style of depraved cinema. Visitor Q is quite the extraordinary ride into the land of taboo, with nearly every controversial subject matter appearing very detailed throughout the film, whether that’s incest, coprophilia, necrophilia, domestic violence and sodomization.

10- Thanatomorphose (Éric Falardeau, 2012)

Thanatomorphose is astonishingly morbid, repulsive, and somehow impossible not to be fascinated by. The film takes body horror to heights that have never been previously explored in such a graphic way, taking inspiration from The Fly (1986) and Cabin Fever (2002) to portray a metamorphosis journey that shocks and disgusts from beginning to end. 

11- Baskin (Can Evrenol, 2015) 

What begins as an investigative horror following a group of police officers on a strange call ends up in complete shambles as the film takes violent surrealism to radical extremes. Cult practises and dwindling mentalities, followed by eye gouging, disembowelments, and slit throats, all take centre stage in the criminally underrated Turkish extravaganza. 

12- Snuff 102 (Mariano Peralta, 2007) 

Mariano Peralta’s terribly callous exploration into ‘real’ death would have surpassed the woes of the video nasty list and resulted in utter pandemonium across the media thanks to Snuff 102’s unnerving study into rebellious filmmaking. No act of violence is left to the imagination as the viewer is subjected to copious displays of evil, horrid, and maniacal acts that many will argue should never be witnessed, simulated or not. 

13- The Human Centipede 2 (The Full Sequence) (Tom Six, 2011) 

There was not a corner of the internet where Tom Six’s The Human Centipede (2009) was not the hot topic of discussion, with his on-screen visions of humanised insects capturing the intrigue of millions. However, out of the Centipede trilogy, the entry that takes horror to the extreme is the highly underrated sequel. Everything from the black and white colour grading to the devilishly dark performance by Laurence R. Harvey makes The Human Centipede 2 the modern horror classic that it is. 

14- Terrifier 2 (Damien Leone, 2022) 

Continuing down the path of gnarly sequels is Damien Leone’s continuation of Art the Clown’s (David Howard Thornton) wicked antics, which exhibit a rich display of glorious practical effects. The film is an exercise in exploitation, with nearly every scene caked in viscera, flesh, and more blood than the video’s nasty list has ever seen. 

15- The Sadness (Rob Jabbaz, 2021) 

The Sadness is by no means the most extreme film on this list. Yet, it most definitely stands for everything that the video nasties advocated against – the film literally is an exploration into a zombie-like virus where the primary symptom is an uptake in sadism. 

16- Scrapbook (Eric Stanze, 2000)

Scrapbook takes some of the worst subjects matters one could ever conjure and exploits them in the most viscerally extreme ways, resulting in the graphic images being burned into the viewer’s psyche. Eric Stanze’s cruel dive into assault was required to make over 15 minutes of cuts in order just to receive an 18 rating.

17- Septic (Brian Paulin, 2022)

Brian Paulin’s depraved, disturbed, and distressing Septic is the newest and one of the most immoral entries on this list. Septic takes ‘goresploitation’ to the extreme, with every crime imaginable unravelling onscreen without limitations.

18- The Act of Killing (Joshua Oppenheimer, 2012)

The only documentary on this list is the not to be missed Act of Killing, an invasive telling of real-life crimes that took place during ‘The Indonesian Mass Killings 1965-1966’. Joshua Oppenheimer takes advantage of interviewing the perpetrators of these crimes as they openly and, at times, gleefully recall their abhorrent acts in graphic detail.

19- Capture Kill Release (Nick McAnulty and Brian Allan Stewart, 2016)

Many of the list’s entries include faux snuff films and found footage frights, yet few reach the levels that Capture Kill Release does. the film is brutally realistic and heinous in its approach to the obsession with true crime.

20- Stoic (Uwe Boll, 2009)

Stoic differs on this list due to its heavy ties to the arthouse drama genre rather than gory splatters or found footage films; however, do not let its labelling fool you, Stoic is a Uwe Boll film through and through – a nihilistic, abominable descent into the evilest deeds imaginable.

21- Dumplings (Fruit Chan, 2004)

A controversial film indeed is Dumplings, which originated as a segment in the Chinese anthology film, Three…Extremes. The trials and tribulations of this Fruit Chan directed feature are best left to the imagination, but be warned, you may never look at a dumpling the same way again…

22– Martyrs (Pascal Laugier, 2008)

Despite its harsh take on the moralities and questions of life and the great beyond, Martyrs has become horror royalty, with many viewers praising its effectiveness. The film explores both the fruitfulness and pointlessness of human life and whether or not ultimate sacrifice is genuinely achievable.

23- X (Ti West, 2022)

Ti West’s triumphant return to the horror genre had an incredibly warm reception, with fans counting X as a modern horror must-see. X may be slightly tame in the grand scheme of current releases. Still, the film’s displays of the adult entertainment industry against the backdrop of murderous mayhem would have certainly had the video nasty campaigners in hysterics.

24- Philosophy of a Knife (Andrey Iskanov, 2008)

The Philosophy of a Knife takes inspiration from similar films such as Man Behind the Sun to expose the horrors of war and the absolutely inhumane crimes committed within history. Certainly not for the faint-hearted or easily squeamish is a film that will forever go down in history as a monstrous expose.

25- Where the Dead Go To Die (Jimmy ScreamerClauz, 2012)

It is extremely rare to find a film that confuses and startles as much as Where the Dead Go to Die, with every scene making the worlds of Silent Hill or Tetsuo seem totally logical. This animated extreme can only be described as an acid trip into the most bizarre situation anyone could ever fathom.

26- The Strange Thing About the Johnsons (Ari Aster, 2011)

The only short film on this list is a stunningly macabre piece of work from Hereditary and Midsommar director Ari Aster. Upon first glance, this short may seem like a typical suburban thriller where seedy secrets lie beneath the quaint underbelly, but, the scandal in this case, is so gutwrenchingly unholy that it makes Hereditary’s synopsis seem like a fantasy.

27- Grotesque (Kōji Shiraishi, 2009)

Grotesque has still not legally seen the light of day in the UK, with the film being outright banned by the BBFC due to it being a sheer exercise in sadism, void of any redeeming emotion. Whilst hardcore genre fans will argue that the film offers an allegory, Grotesque really is nothing but a gnarly, twisted whale of a time from start to finish.

28- The Bunny Game (Adam Rehmeier, 2011)

The Bunny Game suffers a similar fate to Grotesuqe with the British censorship board banning its release, this time as a result of the film having the potential to cause serious harm, which, upon watching the film, can be fairly estimated, with every inch of the screen showcasing torturous assaultive exploits in full glory.

29- Long Pigs (Nathan Hynes and Chris Power, 2007)

In a similar fashion to films such as Man Bites Dog and The Last Horror Movie, Long Pigs is a mockumentary revelling in the ‘humanity’ of serial killers and the easy-going explanations of their horrendous deeds. Where Long Pigs differs from this typical style of filmmaking is within its beyond rudimental approach to subjects such as cannibalism which take place eerily naturally on screen thanks to the documentary methodology.

30- Melancholie der Engel (Marian Dora, 2009)

Marian Dora is a filmmaker whose work such as Cannibal and Melancholie der Engel, take already graphic exploits and presents them in such a way that nightmares are almost always guranteed after watching. The film does not know where to draw the line as nearly every crime known to man is displayed in an unbearably realistic fashion where simulated or not, you will be pondering whether what you’ve witnessed is legal!

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Every Black Mirror episode ranked from worst to best

Since Charlie Brooker’s Black Mirror premiered in 2011, it has been captivating and disturbing its viewers, warning them of technology’s eerie potential. With the latest season making its premiere, here is Dead Northern’s guide on every Black Mirror episode ranked from worst to best.

27- The Waldo Moment (Season 2 – Ep. 3) 

The Waldo Moment has definitely become one of the more disliked episodes. It’s not a stereotypically ‘bad’ premise, yet it fails to excite, disturb, or entertain. On its own, this tale of puppetry gone mad does intrigue, but it simply fails in comparison when standing next to the superb offerings from the rest of the show. 

26- Men Against Fire (Season 3 – Ep. 5)

Men Against Fire follows the story of Stripe (Malachi Kirby), a traumatised soldier who begins to experience strange sensations that alter his perception and expose the true horror of war. This Black Mirror episode achieves the show’s will to unravel societal issues, but its incredibly bleak tone does not offer much of a rewatch factor nor immerse us as intensely as it could have. 

25- San Junipero (Season 3 – Ep.4) 

San Junipero is a controversial entry at number 20, an otherwise beloved show episode. It’s a clever feat showcasing the whimsical nature that hides within each one of us, always desperate to prolong the positives of life. San Junipero is heartwarming and breaking at the same time, and above all, it feels somewhat out of place against the show’s darker entries such as ‘The National Anthem’ or ‘White Bear’. 

24- Metalhead (Season 4 – Ep.5) 

Metalhead is often forgotten in the grand scheme of the Black Mirror world, possibly due to its potent lack of dialogue and the drawn-out storyline that would have been better suited to a runtime of under 30 minutes rather than the 41-minute runtime that it has. Despite the bleakness, the visuals are spectacular, showcasing some brilliantly crafted special effects. 

23- Hang the DJ (Season 4 – Ep.4) 

Surprisingly, Black Mirror has featured many love stories throughout its run; of course, nearly all of them result in a far-from-happy ending. Hang the Dj’s premise of a dating app that estimates the match’s relationship length makes for a delightfully tragic ending that will catch you off guard no matter how many times you watch it. 

22- Hated in the Nation (Season 3 – Ep.6) 

Hated in the Nation remains the longest Black Mirror episode, replicating a full-length feature. The politically charged episode tackles the ever-present rhetoric of the dangers surrounding social media and how simple comments and replies can unravel a world of hell beyond the keyboard. 

21- Rachel, Jack and Ashley Too (Season 5 – Ep.3) 

Black Mirror and technologically charged plots go hand in hand, with many episodes piggybacking off of the horror of the internet, smartphones and surveillance. Rachel, Jack and Ashley Too takes aim at virtual assistant technology and how it has the potential to have a mind of its own. This surprisingly effective episode showcases Miley Cyrus in her best role yet as she performs as a troubled singer. 

20- Mazey Day (Season 6 – Ep.4)

Mazey Day is a partial creature feature, as well as an expedition into grief, along with a touch of symbolism regarding the exploitation found within spectacles. This concoction makes for a fruitfully entertaining episode, which, unfortunately sometimes bites off more than it can chew. 

19- USS Callister (Season 4 – Ep.1) 

Outright inspired by Star Trek, this intergalactic trip is one of the more humorous episodes of the entire show, with plenty of tidbits and giggles amidst the disturbed background of what happens when a video game is taken to impossible heights. 

18- Be Right Back (Season 2 – Ep.1) 

Every once in a while, Black Mirror will stray away from horror and thriller and anchor onto pure tragedy. Be Right Back tests everyone’s moral constraints, the rights and wrongs of what to do when a loved one passes away. Many of the show’s episodes will make you ponder; however, Be Right Back will genuinely have you questioning what you would do in such circumstances.

17- Fifteen Million Merits (Season 1 – Ep.2) 

Fifteen Million Merits is a testament to Daniel Kalyuua’s talents, with the episode primarily following his character Bingham in a world where humanity and currency are on an equal playing field. 

16- Nosedive (Season 3 – Ep.1) 

Nosedive and the current reality are not too far apart, with the episode focusing on what would happen if your life and wellbeing was directly linked to how you present yourself in an online-like world.

15- The Entire History of You (Season 1 – Ep.3) 

Whilst memories can be warm and special, there are aspects of our lives that are best kept in the dark. The Entire History of You takes this idea of controlled memories and transforms it into a world of trickery where lies, affairs, and harrowing grievances are all brought to the forefront. 

14- Playtest (Season 3 – Ep.2) 

Playtest strains away from the thriller aspect of Black Mirror and diverts into complete sci-fi terrain. The episode focuses on the scariest threat of all, our own personalised fears, with the plot exercising what happens when we strive to make technology too personalised. 

13- Joan is Awful (Season 6 – Ep.1) 

The first episode of the latest series is Joan is Awful, a comical and tragic story about the increasing use of A.I. in film and television. Whilst Black Mirror is known for its extremities, Joan is Awful is worryingly close to home for many media fans, mainly due to the episode’s use of fabricated reality and computer-generated entertainment. 

12- White Christmas (Season 2 – Ep.4)

Christmas specials typically fall on the lighter side of events, but in the world of Black Mirror, Brooker could not have come up with a bleaker plot. White Christmas is a foreboding anecdote about the deep and darkest secrets that lie within every one of us and how no matter how buried these affairs may be, they always have a way of worming to the surface. 

11- Striking Vipers (Season 5 – Ep.1) 

Striking Vipers offers nothing but jaw-dropping bombshells throughout the entire episode, with the plot taking the unexpected route at every turn. Similar to ‘San Junipero’, Striking Vipers explores virtual reality and escapism, except with a much less harmonious ending for everyone involved. 

10- Demon 79 (Season 6 – Ep.5) 

Black Mirror is known for its societal warnings about the rise and intelligence of technology. However, Demon 79 bashes away this archetype in favour of an armageddon-like story. It’s a unique episode that entirely stands out against the rest and opens the door for the world of Black Mirror, exploring alternative strains of themes and subjects. 

9- Black Museum (Season 4 – Ep.6) 

Black Museum is an absolute must-see for any Black Mirror fan, with each frame being filled with plenty of easter eggs from the show’s previous episodes. The premise is highly similar to many episodes, particularly ‘White Christmas’ and ‘Playtest’, with the whole narrative of mind transportation playing a significant role. Yet, unlike the two previous entries, Black Museum’s unforeseen curveballs make it stand above the rest. 

8- Smithereens (Season 5 – Ep. 2) 

Another criminally undervalued episode is Smithereens, starring the Damsen Idris and Andrew Scott, who steal the entire show unlike any other episode. Smithereens is part character study and part high-paced action thriller that warns about the dangers of social media. Whilst nearly every episode of Black Mirror has some thin veil of the truth lying within it, Smithereens has one of the more plausible fates events, making it undeniably harrowing. 

7- Arkangel (Season 4 – Ep.2) 

With censorship on the rise, Arkangel seems more timely (and more scary) than ever. A tale of protection gone wrong and the dangers of restrictions make Arkangel the creepy nightmare that it is. Despite some mixed reviews, Arkangel is an excellent example of how Black Mirror manages to both alert and intrigue at the same time. 

6- Beyond the Sea (Season 6 – Ep.3) 

Black Mirror has a penchant for beginning the episode in one particular terrain and ending up in a completely another emotional dimension. Beyond the Sea is melancholic, dull, and lacking in charisma – all of which are deliberate attributes that emphasise the episode’s existential allegory on the treacherous nature of isolation. 

5- Crocodile (Season 4 – Ep.3) 

A severely underrated and critically controversial episode is Crocodile, which takes the premise of a spiralling lie to new extremes, where every act of deceit, no matter how small, results in utter mayhem. Crocodile is a fantastic take on a somewhat overused storyline, making it one of the show’s most memorable episodes. 

4- White Bear (Season 2 – Ep.2)

Another winning episode from the freshman days of Black Mirror is White Bear, a suffocatingly barbaric ride into what happens when the laws of justice are let loose. White Bear begins in an eerie place where nothing seems to make sense; however, when you compare the first act to the brutal ending, the starting point seems like a fairytale. 

3- The National Anthem (Season 1 – Ep.1)

Black Mirror’s first episode, The National Anthem, is a pure force that shakes, surprises and submerses us into a world of deceit where bizarre sequences of events are made incredibly and terrifyingly realistic. The episode takes a heinous storyline and brilliantly implies the ‘tell-don’t-show’ rule, where our imaginations are left to do the dirty work, often resulting in images that are more chaotically cruel than the screen could ever reveal. 

2- Loch Henry (Season 6 – Ep.2) 

The beam and fascination of true crime seems to have society in a chokehold at the moment, with countless individuals becoming hooked on the ghastly and morbid world of real crime. However, one question that has consistently arisen since the allure of true crime began long ago is whether or not the indoctrination of genuine terror and real-life horror is ethical.

1- Shut Up and Dance (Season 3 – Ep.3) 

Contentious subject matters consistently make for intriguing entertainment. Whilst this is a bold statement within itself, when a piece of media both raises awareness and compels graphic dangers, the result can be riveting. This is precisely what makes Shut Up and Dance a phenomenal episode of Black Mirror and arguably the show’s best feature yet. Each twist and turn is brimming with tension and awe, eventually building to a harrowing ending that both catches you off guard and remains ingrained in your conscious long after watching.

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Top Ten Video Nasties

Dead Northern picks its ‘Top Ten Video Nasties’, in celebration of our new monthly event ‘Nasty Video Club’!

10 – Tenebrae (Directed by Dario Argento, 1982) 

Throughout Dario Argento’s lengthy career, he has become synonymous with the Giallo subgenre of horror cinema, known for its hyper-stylised, theatrical films that focused on the fantasticality of the narrative. Whilst the video nasties have become heavily linked to slashers, an era of cinema that many forget is heavily twinned with the nasties is Giallo. One of the must-see films within this confine is Tenebrae, a stunning yet dramatically horrific tale of deceit and betrayal. Surprisingly, Tenebrae remained on the list until 1999; however, unlike many of the list’s entries, Tenebrae still managed to gain quite a reputation despite its censorship in the UK.

What propels Tenebrae into the video nasties hall of fame is the film’s most bloody and glorious scene, featuring a sudden axe attack which shows the victim flail her bloody, axe-wounded arm across an entire sterile white-coloured kitchen, painting the walls with bright red. As with many Giallo films, Tenebrae is a pure feat for the eyes, basking in the glory of beautifully morbid visuals and creating scenes that stand the test of time. 

9- Blood Feast (Directed by Herschell Gordon, 1963) 

Blood Feast is the oldest film on the video nasties list and one of the most underrated entries. The Herschell Gordon directed film is a junior feat from the early days of the splatter era. It is known for its pure bloodshed and frenzied chaos that focuses on heavy gore and violence, with the film’s storyline coming second to the visuals. Blood Feast fleshes out a myriad of themes, from cannibalism and ceremonial feasts to a whodunit mystery showcasing authorities trying their darndest to work out who is the culprit causing all of the murderous madness.

Whilst many video nasties have gone on to become outstanding classics, with burgeoning reputations following in its wake, Blood Feast has yet to reach this acclaimed status. Many horror icons, including none other than Stephen King, have gone on to declare their disdain for this film, yet, there is something so moreish about this 1960s classic. Indeed, the performances are not entirely polished, nor is the dialogue anything outstanding. However, Blood Feast belongs to that homegrown, grassroots string of horror that gives credence to independent filmmaking.

8- The Driller Killer (Directed by Abel Ferrara, 1979) 

The Driller Killer screams ‘video nasties’. Everything about the film is entwined with what the nasty list epitomises; it has a catchy name, countless instances of violence, and is an all-around whale of a time. The film had one of the more severe punishments during the nasty reign, with the slasher not being reinstated until 2002 and belonging to the prosecuted section of the list.

However, the gore is so overtly over the top that any form of realism is entirely stripped, yet it is within this fantasticality that The Driller Killer shines. The flagrant score overpowers the dialogue at times, and the animated acting that thrives alongside the ludicrous character decisions propels the film into typical ‘nasty’ terrain where excessiveness trumps quality. 

7- The Burning (Directed by Tony Maylam, 1981) 

During the early 1980s, there was a massive boom in the horror market, with slashers, splatters, and gorefests rallying in the crowds and making financial waves in the process. Studios were desperate to capitalise on the success, with The Burning’s campsite premise eventually gaining interest. Upon its release, reviews were mixed, with horror still being a critically contentious subject. Despite The Burning not capturing critics’ attention, the film drew interest from the censorship board, which made excessive cuts for the cinema release. As the nasty epidemic grew, The Burning caused further outrage despite the public being openly allowed to watch it in theatres years prior. It was not until 2002 that audiences could watch The Burning in its full glory, with all of its murderous mayhem.


6- The Funhouse (Directed by Tobe Hooper, 1981) 

Tobe Hooper is known for the one and only Texas Chainsaw Massacre (1974), the quintessential piece of horror history. However, The Funhouse still remains a criminally underrated diamond from his extensive filmography. The film is a terrifying circus of what happens when a carnival turns deadly, with the fairground antics collaborating with the multiple slayings, impalements, and electrocutions. Compared to its fellow comrades on the list, The Funhouse had an easy ride, obtaining a cinema release years prior and then being released uncut in 1987.


5- Dead & Buried (Directed by Gary Sherman, 1981)

For a gruesome video nasty with an abundance of visceral gore and ghastly frights, Dead & Buried has an incredibly gripping story that keeps audiences on their toes with immense amounts of suspense and tension. The writing duo Dan O’Bannon and Ronald Shusett are at the hands of the grasping script. Amongst their credits are Return of the Living Dead (1985), Total Recall (1990), and the original story for Alien (1979). The film oozes relentless excitement, with each twist and turn complimenting the gnaly practical effects.


4- The Last House on the Left (Directed by Wes Craven, 1972) 

Prior to A Nightmare on Elm Street (1984) and Scream (1996), there was the utterly savage, brutal, and unforgettable The Last House on the Left. This 1970s classic based on Ingmar Bergman’s The Virgin Spring (1960) is a film that was deemed so barbaric that the BBFC did not release the full uncut version until 2008, not to mention the several post-nasties campaigns fighting against the release appeals made against the film for decades.

In decoding the film, there are a plethora of reasons raised as to why it remains just as disturbing now as it did decades ago, namely the realism that Craven applies to depict the horror. Despite the offbeat, out-of-place soundtrack and questionable acting, the events are beyond harrowing thanks to the unflinching camera that aims to show as much terror as humanly possible. 

3- The Beyond (Directed by Lucio Fulci, 1981)

Another giallo classic to round off the list is The Beyond, a certified Lucio Fulci must-see. With The Beyond being the second entry in his ‘Gates of Hell’ trilogy (also including City of The Living Dead [1980] and The House by the Cemetary [1981]), its of no surprise that the film induces a blood-curdling, white-knuckled ride into delightful frights.

The Beyond’s contemporary cult reception is a warm welcome considering its contentious release, with the film not receiving an uncut release in the UK until 2001, as well as it not being available for public viewing until 1996 in the U.S.

2- Possession (Directed by Andrzej Żuławski, 1981)

Known as one of the most unhinged horror film’s from the eighties’ due to the infamous ‘tunnel scene’ is Possession, a European, graphic horror with an art-house flare that can only be described as eccentrically bizarre. Unlike many films that have a beginning, middle, end, rounded up with a solid conclusion, Possession ends with even more questions raised. To add to the narrative connundrem is the aforementioned tunnel escapade, which is a stunning exercise into how crucial performances can be in attaining affect. The film is definitely not for the faint of heart, eyes, or mind!

1- The Evil Dead (Directed by Sam Raimi, 1981)

Considering The Evil Dead’s contemporary reception, it can be easily forgotten how controversial the film was at the time of its release. Raimi’s deadite adventures has not faltered at the hands of time whatsoever, with every inch of the film being just as entertaining now, if not more, than when it first hit the screens.

Everything, from the chilling dialogue sung and screamed by the evil creatures, the unforgettable tree sequence, the first word read from the Necronomicon, and Ash’s (Bruce Campbell) iconic catchphrases is an essential part of horror film history. If there was the ultimate entry from the video nasty list, The Evil Dead will always be crowned winner.

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Bloody love stories – The best couples in horror movies

1- Dewey & Gale (Scream) 

With Scream 6’s release just around the corner, the highlighting of Scream’s staple duo Dewey Riley (David Arquette) and Gale Weathers (Courteney Cox) has never been more important. The pair nail the opposites attract trope, with Gale’s fierceness and Dewey’s softness being a perfect match to track down the copious Ghostface killers. Their on-screen chemistry was made even more present due to the fact that Arquette and Cox were married for over a decade. 

2- Chucky and Tiffany (Bride of Chucky) 

Chucky (Brad Dourif) and Tiffany (Jennifer Tilly) are the definitive killer couple who really are bad to the bone (or plastic in their case). The murderous team bring tough love to the forefront as their brutal jabs, constant bickering, and subsequent decimation of one another somehow lead to an iconic horror couple. Over the years, the pair have appeared in four movies together, as well as featuring in Chucky (2021-), the acclaimed TV series adaption of the franchise. 

3- Evelyn and Lee (A Quiet Place) 

Evelyn (Emily Blunt) and Lee Abbot (John Krasinski) belong to the blossoming Quiet Place franchise, which revels in the duo battling an apocalyptic landscape whilst still devoting themselves entirely to their marriage and children. In what can only be described as an extremely emotional state of affairs is the parting of Lee and Evelyn’s long partnership after the tragic ending of the first film. But the reason why the couple made such an impact with just one film is due to their impeccable connection in real life, with the pair being together since 2008. 

4- Shaun and Liz (Shaun of the Dead) 

Shaun (Simon Pegg) and Liz (Kate Ashfield) stray more on the unconventional side, particularly as they spend the majority of the film trying to juggle a fresh breakup with the impending doom that comes with a zombie outbreak. The beauty of Shaun and Liz revolves around the simplicity of their relationship, they break up, they make up, and ultimately create a dishevelled vibe that makes the dreaded zombie situation all the more heightened. 

5- Seth and Veronica (The Fly) 

Lying beneath the visceral body horror and Cronenbergian madness is The Fly’s rather emotional tonality as we see Seth (Jeff Goldblum) metamorphosis into a grotesque fly as his love interest Veronica (Geena Davis) has to watch him succumb to his illness. The Fly lures us in with all of its dismay and visual aesthetics, but what truly forces us to stay invested is the tragedy that comes between Seth and Veronica coming to terms with the impending deathly fate. 

6- Adelaide and Gabe (US) 

Adelaide (Lupita Nyong’o) and Gabe (Winston Duke) are one of the rare horror couples whose relationship remains unchallenged throughout the film; there are no affairs, serious disputes, or mentions of past mistakes. Rather than act as an instigator of tension, Peele simply infuses their marriage as part of the story. Through this subtlety it’s a given that we become invested in the outcome of the characters, meaning that every knock, blow, and tragedy stings just that little bit more. 

7- Deena and Sam (Fear Street)

The Fear Street trilogy was certainly a standout surprise when it hit Netflix back in 2021, with each film surveying the unique stylisations that come with Summer slashers, witchy archaic atmospheres, and modern-day teen horror. Amidst all the chaos and thrills of every film, one running aspect that remained strong was the relationship between the two leads Deena (Kiana Madeira) and Sam (Olivia Scott Welch)—acting as a refreshing spin on the typical jock and cheerleader dynamic seen within the archetypal teen horror flick. 

8- Morticia and Gomez (The Addams Family) 

Whilst the world has taken Wednesday under its wing, the relationship between Morticia (Anjelica Huston) and Gomez Addams (Raul Julia) has simultaneously grown in popularity amongst newer audiences. But, Gomez’s cinematic love story has been brewing for years with their relationship first appearing on screen all the way back in 1964 in the original sitcom. 

9- Big John and Little John (Halloween Kills) 

Now… Big John (Scott MacArthur) and Little John (Michael McDonald) may not hold the strongest presence within the horror genre as their appearance in Halloween Kills was very much brief, but their impact was definitely not underwhelming. The hilarious duo is possibly one of the best factors in Halloween Kills, with the pair’s stellar comedic line delivery, and eventual brutal dismay making for a more than memorable watch. 

10- Ed and Lorraine Warren (The Conjuring) 

Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) have been at the top of the horror love story hierarchy since their appearance in the first of many entries in the ever-growing Conjuring universe. The possession-battling duo are always shown battling it out together, at each other’s side. So much so, that even the latest Conjuring film (The Conjuring: The Devil Made Me Do It) focused on the relationship between the Warrens as a backbone for the entire film. 

Looking for something different to do this Valentines weekend? our Bloody Valentine Séance event coming 11.02.23

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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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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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