The daunting prospect of loss is one that is immune to none; it’s the lingering sense of doom over the injustice of life, the haunting conclusion that we all face. Yet, what if we could banish that dread and thrive in the comfort of blissful existence? This is precisely the colossal scope that Tariq Sayed’s debut feature film Issac considers.
This must-see feature follows Nicholas (Johnny Vivash) and Sarah (Kathryn Louise), a couple plagued by the death of their child to a genetic disease. In the throes of misery, they join a clinical trial that produces perfectly healthy genetically modified infants. However, it is not long before their new son Issac begins to act increasingly erratic, leaving the couple no choice but to unearth the terrifying secret behind it all.
Issac flourishes in its soul-tarnishing narrative that explores how far scientific innovation is willing to go to achieve greatness and how the cruel fates of turbulent nature may not be so inferior after all – akin to a Black Mirror episode, but on steroids! Within this same vein, Issac takes heed with its futuristic talons and dares to expand past archetypal sci-fi probings and entwines a brutal strain of reality against the fantastical backdrop.
Sayed unravels the film in an inherently familiar but chilling environment, the British countryside, which is equipped with all the ominous scenery that woodland habitats innately emit. There is a fitting lack of eccentricity that would have otherwise over-embellished the impeccably written story; instead of soap opera dramatics, the naturally isolating forestry and closed cast act as engrossing prompts for the chaos to ensue.
Furthering the stunningly nihilistic tonal palette and applaudable cinematography are the fantastic performances from Vivash and Louise, who both ignite the screen with passionate portrayals of parents pushed to the absolute limit. Additionally enriching the film are appearances from the likes of Catriona MacColl, who was a regular Lucio Fulci collaborator, with the actress featuring in classics such as The Beyond, City of the Living Dead, and The House by the Cemetery.
Isaac is a brilliant addition to the world of independent cinema, an ode to the vast capabilities that indie horror consistently offers. Sayed is a creator that should be on everyones ‘to-watch’ list, with the praiseworthy director currently developing more exciting projects to be unveiled in the future…
Check out the full festival programme and get your tickets here!!
Conjuring a film permeated with a terrifying, unforgettable tale is Sins of the Father, a work of mysticism from the director of the Oxford Comma Film Cooperative, Vanessa M.H Powers.
Aden (David Michaeli) and his mother, Sarah (Nora Targonski O’Brien), are faced with the daunting task of selling their old family home, a place filled with troubled memories. In the midst of making the house barren, they discover a mass of menacing secrets…
The film’s diegesis is utterly imbued with an omnipotent nature that calls to one of cinema’s finest keynotes – folk horror. The horticulture of folklore that runs throughout Sins of the Father creates an enchanting landscape brimming with eerie lighting and an unearthly sense of isolation that makes the film’s sinister reveals even more threatening. Seconding the nexus of deadly folkloric tones is the intricate writing from Tristan M. Corrigan, whose blisteringly chilling script absorbs us into the foreboding antics and creates a beyond ominous experience we won’t ever forget.
It is to no avail that independent film is the backbone of cinema, purporting the veins of filmmaking and ensuring that the brilliant minds such as that of Powers are able to translate their visions. When it comes to Sins of the Father, we can see the beauty of homegrown horror on every inch of the screen. The performances are powerful and an ode to dedicated acting, the setting is quaintly complex, and the cinematography is intense, as each frame seizes our attention.
The labyrinth of distressing familial undertones is perfectly suited to the likes of Hereditary (2018) and Relic (2020), particularly in the sense of how the deeply embedded lines of generational trauma can have the ability to inflict a sense of harm across every inch of one’s life. Sins of the Father is uncomfortably confrontational, taking heed of its own uneasy atmospheric tone to create a film wrapped up in terror and trepidation.
Check out the full festival programme and get your tickets here!!
Jamie Lancaster (Lyndsey Craine) stands bloodied, wielding a chainsaw, surrounded by the gory remains of her friends, before Britain’s take on Gale Weathers enters the frame describing the treacherous crime scene as Jamie is escorted away by police. However, this conclusion is far from over as we learn what really happened that one fateful night, as Jamie joins forces at the station with crooks and officers to fight off a motley crew of bloodthirsty brutes.
Stewart Sparke’s How to Kill Monsters is a genre busting exploration into monstrous frights as the film takes on a slew of creatures, fanged beasts, and evil mogwai-like savages. Combine this with the throwback vibes to classic 1980s horror that we all know and love (Gremlins, The Thing and Evil Dead 2 to name a few), How to Kill Monsters is a bona-fide must-see for any thrill seeker desperate for a bloodied, hilarious dash of monster madness.
Taking centre stage is the immense practical effects that would make the likes of Tom Savini proud as each and every inch of the lovecraft-esque creatures are made with old school tender, love and carnage as Sparke utilises specially crafted miniatures and meticulously crafted puppetry to bring the entire film to life.
Complimenting the immersive visuals is the fantastic performances from all, with each character adding an individual flair to the story. Special praise has to be applied to the one and only Jamie Lancaster, played by Britain’s own scream queen, Lyndsey Craine. Sparke and Craine have been collaborating for years, with a particular mention owed to the award winning splatter fest, Book of Monsters(2018). With the duo growing together as creative minds over the years, How to Kill Monsters is a bespoke feature with story beats that feels incredibly natural and despite the fanasticallity.
Seconding the warmth that the film emits is the quick witted self-reflexivity that runs concurrently with the narrative. Each scene is basked in laugh out loud meta-humour that makes for an entertaining ride from start to finish, with the jokes-a-minute approach giving the likes of Scream, The Cabin in the Woods and Return to Horror High a run for their money.
How to Kill Monsters is a must-see tale of the unexpected, with every act bashing apart any form of predictability, ultimately making for one hell of a gnarly ride!
Check out the full festival programme and get your tickets here!!
Have you ever watched someone run upstairs, when you know that you would have run outside? Have you yelled at the screen, because there’s a killer stalking right behind those happy campers? Do you secretly want to be in your own scary movie? Then there’s good news – because we did too.
Parable Games is proud to present to you: SHIVER – the Horror Movie Role-playing Game! Now you and your friends can find out once and for all who would survive a rampaging killer at summer camp, who would make it through the zombie apocalypse, and which one of you is most likely to use the others as bait for a hissing alien monster!
SHIVER is a tabletop role-playing game, or an “RPG” – but what does that actually mean? Well, it means that it’s a game where you play as individual characters, playing out a story created by another player – known as the Director, and the other players make up the cast of characters.
These characters are the kind you’d usually find in a horror movie: a jock, a cheerleader, an Antarctic scientist, a space marine… Whatever, wherever or whenever your story takes place, SHIVER gives you simple tools to make sure your characters fit in to your world.
“This sounds a little complicated” you might be thinking, and you’d be right. It does “sound” complicated – but it actually isn’t! Parable Games loves games (surprise-surprise), but what we love more is getting new people to play games. SHIVER is designed to be a game that you can pick up and have fun with, even if you’ve never played anything more complicated than snakes and ladders.
So, how does it work? SHIVER uses an intuitive symbol dice system, where each symbol represents a different “skill” – or to put it a different way, a different way your characters might solve problems. Solving problems with your fists? Then you’re lying on your Grit skill. Maybe you face your challenges more with your brain than your brawn? Then that’s Smarts. Different characters have different skill strengths and weaknesses based on their personality, but each of them can try anything – here’s nothing like learning a new skill when your (fictional) life is on the line!
Why not gather your friends round for a scary movie night, but this time you’re all going to be in the movie! All you need to get started is the SHIVER Core Rulebook. With this simple and easy to read guide to the dark and unknown (world of RPG rules), you’ve got all you need to get started. We have a free online digital dice roller so if you wanted to roll ‘dem bones virtually, go ahead and give it a try.
With the SHIVER Core Rulebook you can run stories anywhere from a cabin in the woods to the International Space Station, and any-when from the dawn of mankind to the space faring future. Whatever your imagination can conjure up, SHIVER can help you turn it into an interactive, spooky experience.
Of course, horror is a varied and many headed beast. We know that. That’s why we’re always working on expansions for the game – new books themed around some of our favourite horror sub-genres…
Gothic horror – with Vampires, Frankenstein’s Monster, and the Wolfman fighting supernatural horrors in Victorian London? We’ve got it covered in SHIVER Gothic.
Maybe your tastes lie less in the fantastical – maybe you’re more of a “nothing’s scarier than a guy with a knife who just… SNAPS” type. If that’s your modus operandi, then you’d need to keep an eye out for SHIVER: Slasher. A decades spanning story where the killers always come back, but the survivors aren’t guaranteed as much.
If you struggle with the hardcore violence in horror, or maybe you want a more safe way to introduce your love of the genre to sceptical friends or family – then SHIVER: Blockbuster is the answer you’re looking for. Giant Sharks, Spaceship Adventures, Ghost Pirates and Skeletal Dragons? Launch your own mega-horror-franchise with bang!
We love horror, and we love horror movies. It’s why we’re proud to sponsor Dead Northern, and why we can’t wait to be there, but most of all it’s why we made SHIVER to begin with. We wanted to play our favourite horror movies, but also make our own – and besides, how many games can you play where you actually get to kill your friends and still get to keep your friends? Not many, I’ll tell you!
Want to give SHIVER a try? You can sign up to our mailing list and receive a copy of our QuickStart version of the game!
Clever and socially provocative, Talk to Me is the horror breakout of not only the summer but the year. It centres around grief stricken teenager Mia (Sophie Wilde) who, along with a group of high school friends, experiments with an embalmed hand that possesses the special ability to connect with the dead and allows users to grant spirits permission to enter their bodies.
This innovative picture comes from the minds of Australian filmmakers Danny and Michael Philippou known primarily for their pioneering Youtube content on their channel RackaRacka. Talk to Me premiered at Sundance Film Festival and was rightfully an instant hit with audiences and film companies alike; the movie was picked up by infamous production and distribution company A24. Not only does Talk to Me provide a haunting yet beautiful viewing experience, it dives into the importance of identity and tackles the idea of how a horror movie would play out in the modern, digital age.
The film’s directors have spoken about how Talk to Me explores the theme of connection and how Mia, shrouded in grief from the recent loss of her mother, is yearning for a connection to anyone or anything that will make her feel something (Fandango, 2023). Though what stood out to me the most was Mia’s connection to herself; her sense of identity. As aforementioned, Mia is struggling to cope with the passing of her mother and the consequential grief that has begun to consume her. As a result we realise that a part of Mia has died along with her mother, leaving a gaping hole in her sense of self that she is desperate to fill. Enter the embalmed hand which allows one’s body and soul to be consumed by a relentless cycle of spirits.
This addictive activity works on two levels to fill the void left by Mia’s mother. Firstly, the euphoric feeling of being possessed functions like a drug, providing her with temporary relief from the hopelessness and loss that currently defines her. Secondly, the act of allowing a spirit to physically force itself inside her shows Mia’s desperation to find an identity again, even if it is not her own. Talk to Me follows Mia on her distorted and somewhat futile journey to find herself again and warns that altering your reality – using drugs or possession – cannot change the circumstances under which your identity was broken in the first place.
(ScreenRant, 2023)
Elaborating on the subject of reality, Talk to Me further examines a world in which we are perceived and scrutinised through a digital eye. We are introduced to the hand via a snapchat story in which a girl is clearly suffering at the hands of whichever spirit is coursing through her. When the camera draws back we see her distress illuminated by the light of several phone cameras, eager to document her torment. Furthermore at all the parties hosted by Joss (Chris Alosio) and Hayley (Zoe Terakes) – the current owners of the hand – every possession is filmed and made public.
This highlights the significance social media has on an individual’s reputation as, a humiliating experience with the hand would obviously bring with it an embarrassing reputation, later exhibited when Daniel (Otis Dhanji) has a turn with the hand. The film encourages viewers to realise the importance society places on a social media presence and a digital reputation; this generation is so immunised to the pain and suffering of others that they will happily record and publicise it if it promises a positive online reaction for themselves. It is only when Mia requests they use the hand outside the presence of phones and social media that the focus shifts from creating thrills and a viral video to Mia’s dependency on possession in order to feel whole again.
(BlackGirlNerds, 2023)
Talk to Me not only blurs the lines between the real world and the digital one but as the story develops we see Mia’s reality and the spirit world begin to intertwine. In between Mia’s innumerable possessions she begins to encounter spirits outside the use of the hand. Specifically she starts to see her mother who makes her question what is right and wrong and encourages her to inch further away from her own sanity.
Mia is presented with a morally impossible decision in order to save her friend with the manipulative spirit of her mother looming over her shoulder, trying to force her decision. The climax of Talk to Me is beautifully twisted as it portrays a loving mother-daughter relationship ripped apart by death and warped by grief. Here the Philippou brothers stunningly capture the fragility of the human mind and how the death of a loved one can cause our tether to reality to unravel.
Talk to Me exhibits all the shock and exhilaration ever present in Danny and Michael Philippou’s work and presents a unique ability to portray dark, mature and malevolent themes in a heartfelt and delicate way. The film emphasises a modern society’s dependence on a sense of identity established through our connections to one another and governed by how we present ourselves online.
Talk to Me sheds light on the fact that we are all one emotionally wrenching experience away from losing our grip on reality and severing all ties from our own sense of self.
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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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 theDead 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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Rob Savage has proven his status as one of the most exciting horror filmmakers actively creating in the current market. His feature debut, Host (2020), made the common Zoom session a playground for ghostly antics to ensue. Following shortly was the enigmatically charged Dashcam (2021) which barrelled in intense humour amidst the backdrop of a live stream. Adding to Savage’s growing filmography is The Boogeyman, an adaption of the Stephen King short story of the same name (1973).
Even in its most complex form, King’s story is simple, far from complicated, and a fundamentally brilliant portrayal of primal fears. Its own directness is what makes it a classic. Bumps in the night, the monster under the bed, and the scared of the dark logic all haunt us at one point; with this in his peripheral, Savage takes heed from extensive explanations and backstories surrounding simplistic innate frights to tackle a narrative brimming with unpretentious scares, and delivering a horror that grapples with urban-legend-like terrains.
As with many big studio-produced films, the story replicates a wave, interweaving emotionally dense performances in between the big scares, working with a continuous play of highs and lows. And for all of the loud, gotcha frights to succeed, a solid backdrop is essential. The film is graced by the talents of Sophie Thatcher (Yellowjackets), Chris Messina (Air), Vivien Lyra Blair (Bird Box) and David Dastmalchian (Dune), all of whom carry the dramatic storyline with ease, but most notably Thatcher, who plays the role of a grieving adolescent heavy with the weight of her sister’s trauma. Thatcher exceeds expectations and propagates the sympathetic tone of the film, ensuring a connection between the screen and the viewer.
The Boogeyman thrives on its traditional expositions, with each act defining a clear climax and then disequilibrium. However, whilst the film is far from dull, there does seem to be an error in restraint. Going from independent to studio filmmaking is a giant leap in creative freedom. It is not uncommon for executives to push specific characteristics or scenes that may generate more of a buzz, increasing the chances of financial success. Whilst this aspect leans more on the positive side, there is such a thing as too much emphasis on creating a film that ‘all’ audiences will love. Savage is such a fierce director, a true force. And yet, The Boogeyman sits at 90% ferocity rather than 100%.
It’s noted that initially, the film had that oomph factor one expects with Savage’s talents, but during test screening, audiences found the original cut too scary, meaning that specific tweaks had to be made. By no fault of the cast and crew, The Boogeyman has a slight fall when it comes down to the fear factor. However, a factor that boosts the film back towards its well-deserved acclaim is its atmosphere which is perfect for cinema viewings – just as movies are made to be seen!
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1 – One film has never made it out of the nasties list
As any horror fan will tell you, the ‘nasty’ period was brutal for the genre, with every film on the list going through rigorous censorship campaigns, resulting in many films not being released fully uncut until the mid-2000s. However, despite the times moving on, one film has still never seen the light of day in the UK. The banned culprit in discussion is Gestapo’s Last Orgy (1977), an exploitation flick centred on the horrors of war.
2 – The media’s concern went further than you could believe
In an interview regarding the nasties’ ability to infect the public’s minds, MP Graham Bright, stated that “research is taking place and it will show that these films not only affect young people, but I believe they affect dogs as well”.
3 – House of Commons goes to the cinema
As part of the NVALA (National Viewers and Listeners Association) campaign to ban the rise of horror, the organisation compiled a compilation of some of the more bloody moments from the films in question. This compilation was shown to ‘prove’ how horrid these films were, eventually convicning parliament to create laws and legislations that would change the path of horror cinema for decades to come.
4 – Real or fake – the case of Cannibal Holocaust (1980)
The infamous Cannibal Holocaust was not neccesarily the ‘worst’ film on the list. However, its use of firsthand footage and its mondo influences meant that director Ruggero Deodato was actually arrested for obscenity. The graphic material was so absurdly gruesome that the authorities eventually changed his charge to murder, as there was ‘no way’ that the performers actually went through the stunts voluntarily. Eventually, the case was settled when Deodato brought out the cast and proved that they were in fact still alive.
5 – Havoc at the video store
When the authorities were at the peak of prosecuting films, they would patrol local video shops hunting for obscene films. However, due to the officers not actually viewing the films, they did not always know which movies to lift from the shops. According to official documentation, Dolly Parton’s comedy musical ‘The Best Little Whorehouse in Texas’ (1982) as well as the acclaimed Apocalypse Now (1979) was seized simply due to their names.
6 – False evidence
It was not uncommon to see newspapers and reports comment upon the nasties as being equivalent to exercises in sadism that have the potential to tarnish the minds of Britain’s youth. However, when this was actually investigated, the results pointed elsewhere. Dr Guy Cumberbath was more than hesitant over the claims, resulting in him interviewing students at primary schools about the latest nasties. Most of the kids admitted to watching these films and enjoying them, but as part of the study, Cumberbatch would ask about fake titles that didn’t actually exist, all of which the participants would claim to have consumed.
7 – The rise in popularity
The protests against the nasties were vigorous and strict, yet that did not stop the list of films gaining significant positive attention. One of the more popular nasties was Sam Raimi’s The Evil Dead (1981), with the film’s first VHS release in 1983 (prior to the Video Recordings Act [1984]) garnered £100,000 in profit from its UK sales, making it both one of the quickest selling video releases in the history of home video.
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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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