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Dead Northern’s Best Horror Films of 2024

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

Abigail is part heist movie, part monstrous horror. A film of two halves. The first half plays on its own genre stereotypes and known ploys, lulling us into a sense of familiarity, before ripping the curtain back and unveiling an exhilarating ride that ceases to calm right until the credits roll. The film thrives in its fantastic performances by Melissa Barrera and Alisha Weir, who together add a depth of performativity that elevates the entire project. Abigail brings unprecedented levels of bloodied mischievous and anarchy to the screen, making Carrie’s prom meltdown (1976) or the blood elevator scene in The Shining (1980) seem like a papercut worth of gore. Abigail’s bountiful twists and turns, alongside the impressive scoring and unmissable performances, make this one of the best films of the year. 

Longlegs (Directed by Os Perkins) 

Longlegs epitomises fear, with the film exhibiting some of horror’s most frightening imagery to date, mainly in the form of the titular villain himself ‘Longlegs’ – a devil-worshipping man whose energy and appearance are nothing less than nightmare fuel. The enigmatic Longlegs is portrayed by the one and only Nicholas Cage, who enters into the uncanny role with a disturbed naturalness. Despite Longlegs’ strange appearance, the costumery of his garb, personhood and appearance is not entirely alien, with his expressions still resembling some form of a person. It is this precise aura of realism entwined with absurdity that makes Longlegs a film steeped in an uncanny atmosphere. Fantasticality combines with the monotonous every day to create a horror that lingers with the viewer long after watching. 

Kill Your Lover (Directed by Alix Austin and Keir Siewert) 

Kill Your Lover portrays deeply seeded toxicity within tainted relationships with a level of understanding and richness that is rare to come by. Exemplifying the portrayal of poisonous dynamics is the film’s stellar effects that take the form of body horror, combined with a touch of sci-fi-like venom and a hint of uncanny viscerality that is both gripping and distressing. 

In a Violent Nature (Directed by Chris Nash) 

Many reviews for Chris Nash’s feature debut commented upon the film’s slowness and its supposed style-over-substance approach. Perhaps the film is ambient-heavy and leisurely in its pacing, yet it is this precise unhurried, tender sense of built-up dread that makes the film the atmospheric, almost hypnotic slasher that it is. The switching of typical slasher perspectives and toning is both refreshing and satisfying, particularly when a plethora of truly gnarly kills are thrown into the mix. 

Oddity (Directed by Damian McCarthy) 

Damian McCarthy’s Caveat (2020) has one of horror’s most terrifying scares, which was so intense, freaky and suspenseful that it seemed the director had peaked. In no way could he top his own debut. However, not only did Oddity go above and beyond, it blew nearly every horror film out of the park with its shuddery, pulse-pounding frights that will have even the strongest of horror fans watching with the lights on (not that I am speaking from experience…). With the combination of an excellently spooky location, mysterious lore and a whodunit-like backbone, Oddity is bound to provoke one hell of a reaction. 

You’ll Never Find Me (Directed by Josiah Allen and Indianna Bell) 

This Australian horror brings new meaning to the word ‘tension’ as we are fed the plot bit by bit, with directors Indianna Bell and Josiah Allen opting for a painstakingly disconcerting breadcrumb approach. The entire film is one whole build-up to a disturbing conclusion, provoking an array of dreaded thoughts as we play detective in getting to the bottom of the film’s devastating conundrum. The drip-feed-esque terror is exacerbated by the film’s single location of a rural low-lit caravan, where the confined, desolate environment allows for the unnerving tension to be heightened to new extremes. 

Woman of the Hour (Directed by Anna Kendrick) 

Regarding the context of genre capacities, Woman of the Hour does not cast itself as a horror film, however, anyone who has bared the ‘parking lot’ scene knows that this anxiety-inducing story is a lesson in dark cinema. Actress Anna Kendrick is both in front of and behind the camera in this retelling of serial killer ‘Rodney Alcala’ (also known as ‘the dating game killer’ due to his winning appearance on a dating show). Despite the sensitive origins of the narrative, the film is not exploitative of the heinous acts of Alcala, with the film instead showing the true barbarism of his crimes. Kendrick is joined by actor Daniel Zovatto who portrays the slimy, wretched killer in all of his evil ways, which gives credence to him being a perpetrator, not an idol. Woman of the Hour is a crime adaptation done respectfully and rightfully. 

Milk and Serial (Directed by Curry Barker) 

Milk and Serial is independent cinema at its finest, showing the capabilities of just an idea and a camera, forging large budgets, additional crew, expensive studio equipment and top locations. The film stars Curry Barker, who also serves as the writer, director, producer, composer, cinematographer and editor. This straight-to-YouTube horror appeared on the streaming platform via Barker and co-creator Cooper Tomlinson’s channel ‘That’s a Bad Idea’, which typically posts sketch comedy skits and short films. Part of the film’s effectiveness stems from its sporadic release. The only marketing was self-promotional posts on social media platforms from the likes of Barker, yet the film, which is essentially a long YouTube video, has amassed over one million views, alongside glowing reviews from major media outlets. Milk and Serial is a film replicating the new age of filmmaking that thrives in the grassroots approach to creating cinema that stands alongside wide releases. 

The Substance (Directed by Coralie Fargeat)

Body horror has never looked so good in Coralie Fargeat’s The Substance, starring Demi Moore and Margaret Qualley. The Substance is powerfully symbolic in its thematics, with the film reflecting on the consequences of obsession and addiction over beauty, particularly the evolution of one’s beauty over time. These dramatic, figurative elements are unveiled slowly as the film unravels, with the conclusion piecing together all of the gruesome tidbits portrayed throughout the film, leading to a ghastly, heinous ending that is shocking, unsettling and marvellously sick. 

Heretic (Directed by Scott Beck and Bryan Woods) 

Heretic stirs many questions that range from the philosophy of belief systems and religion to the strange psyche of the human condition. Yet the most prominent thought to arise from this provocative film surrounds Hugh Grant’s previous missed opportunities as a horror performer. If religious horror seems overdone, simply watch Heretic just for Grant’s unbelievably macabre role! Heretic’s cryptic narrative and uneasy atmosphere melt together to form a horror steeped in layers upon layers of mystery, chaos and hectic emotions that make it one of this year’s most interesting pieces of cinema. 

All This Time (Directed by Rob Worsey) 

All This Time is a unique spin on a gothic tale that thrives on a groundhog-like cyclical nature where the consequences of time enforce a sinister sense of being trapped within the most devastating and haunting of nightmares. The dreaded emotions of confinement and anxiety fuse and create a film that is a testament to independent cinema. All This Time is an enigma in every way possible, with the film being a true slow-burn right down to the bone. 

Speak No Evil (Directed by James Watkins) 

Christian Tafdrup’s Danish horror Speak No Evil (2022) erupted onto the horror scene like a fireball, picking up accolades and nothing but positive reviews. However, there was a collective eye roll when only a year later it was confirmed that there would be an American remake. Yet, by some strange turn of events, the remake surpassed every expectation and ended up being an excellent recreation. Speak No Evil nailed the excruciating frustration felt in the original, alongside the grand reveals and scenes of disturbed unease, all with a sense of originality that gives hope to the future of contentiously received remakes. 

Strange Darling (Directed by JT Mollner)

Strange Darling is a remix of linear filmmaking in the best way possible, subbing a coherent narrative for something much more surreal, twisted and utterly absorbing in all of its complexity. Joining the feverish assembly of events is the film’s stylish aesthetics and looks that resemble the lurid, boldness of giallo horror, but with a neon spin, emphasising the daringness of the entire movie. 

Cuckoo (Directed by Tilman Singer) 

Hunter Schafer excels in this mind-warping horror that is akin to that of a contorted circus of outlandish disarray. The film’s overall composition resembles a kaleidoscope of terror, with the villainy of the film being so far-fetched and ridiculous that it makes the entire premise absolutely bonkers. Cuckoo is 102 minutes of pure devilish fun that will certainly hold up for many rewatches. 

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

David Dastmalchian excels as late-night television host Jack Delroy, with the actor adding the necessary pizzazz and flair needed for such a forefront role. The film takes all of the best elements of occult cinema, from possessed youths through to religious cults, and dials them up to the max. Late Night with the Devil’s storytelling device is presented in the form of a lost broadcast from a fictional 1970s talk show, which makes for an immersive, gripping journey from start to finish. 

Terrifier 3 (Directed by Damian Leone) 

Everyone’s favourite clown returns in Damien Leone’s highly anticipated Terrifier 3, which is just as gory and stomach-churning as the rumour mill purported. The Terrifier films are brilliant because they do not know when to stop, they will just keep pushing the limit with each scene, with the third and latest entry being the most daring one yet. Complimenting the visceral experience is the equally as fleshed-out plot that continues with the lore developed in its predecessor, trickling a hint into the exciting future that Terrifier has to offer. 

MadS (Directed by David Moreau) 

MadS is nothing less than riveting, with the film being a single 90-minute long take with no breaks. The characters and events change and evolve, yet the camera does not take a single cut. Commenting from a technical point alone, MadS is a feat worthy of extensive praise, but director David Moreau refuses to rely solely on the sheer tactility of the one-shot approach, as the film is equally as wild through its tonality and plot points. 

Red Rooms (Directed by Pascal Plante)

Quite possibly the most underrated gem of the year is Pascal Plante’s Red Rooms, a psychological horror that exposes the morality of obsession and the capacity of self-destruction to appease the curious mind. Where Red Rooms reaches its pinnacle of effectiveness is within its intelligent displays of the film’s central spectacle and how it handles a rich, broad issue surrounding the dark side of media. 

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

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Dead Northern Festival News and Reviews News

Dead Northern 2024 – Award winners!

It goes without saying the entire selection for this years fest deserve recognition for their talents as film makers and artists. So narrowing this down to just a handful of award winners has been extremely difficult for this year’s judges panel!

With that said, lets take a look at all the incredibly deserving award winners from the 2024 Dead Northern Horror Film Festival!

Best Feature Film – Kill Your Lover

Directing duo Alix Austin and Keir Siewert delivered a gnarly, grotesque, and emotionally raw feat of tainted love, where body horror and a cerebral narrative collide together to create the must-see ‘Kill Your Lover’.

From the initial setup right up until the credits begin to roll, the entire film is slick with an uncomfortable sense of intimacy. Intimate through its nature of chronicling a toxic relationship. Intimate through its portrayal of up close and personal graphic body horror, and intimate in how it feels as if we have been positioned to voyeuristically gaze like a fly on the wall as Dakota and Axel experience the terrifying motions of their damning monstrosity.

Kill Your Lover is a standout feature and deserving winner that speaks to the creator’s exhilarating storytelling talents. From Austin’s incredible short horror ‘Sucker’ (2022), to Siewert and Austin’s team effort on the anthological entry ‘It’s Inside’ in Isolation (2021), it is a sure thing that this duo is one to watch.

(Directors Alix & Kier celebrating along side Cinematographer Oscar Garth)

Dead Northern Award (Best northern Submission) – All This Time

Writer and director Rob Worsey delivered a standout, complex and thought-provoking second feature that, alongside his zombie-themed feature debut, Among the Living (2022), proves that Worsey is a talent to be watched.

The film dabbles in equal amounts of trepidation, theatrical drama, and gothic horror to form an unholy trinity of emotively triggered fear. For instance, as we see Grace come to terms with the disturbed histories that lie in wait, not once does the film become gimmicky in its scares; instead, bouts of unease are stirred, and waves of darkness are weaponised, collectively espousing a film that is as tonally rich as it is visually impactful.

Worsey’s uncanny ability to stir tension and assemble well-crafted scares that linger like a troubling night-terror are at an all-time high throughout All This Time – A worthy winner of the Best Northern submission to the 2024 fest.

(Writer & Director Rob Worsey, Producer Kate Worsey with cast members Emily Rose Holt and Lyndsey Craine)

Best International Feature Film – The Stickman’s Hollow

The Stickman’s Hollow resembles a multifaceted labyrinth, feeding its complex story bit by bit, acting like a serpentine. It is the slow feed of a terrifying story, the intricate weaving of eerie details and the intimate mode of filmmaking that make this found footage horror unmissable and the jury’s top international submission for 2024.

Composing the heart of the film is all of the plentiful mystery, mythology and lore, which is made all the more effective due to its detailed backstory. The Stickman’s Hollow is based on a chilling true story from Director Jack Cox’s childhood of girl who became lost in the local Vancouver woods. And the story goes… the lost child was presumed to be dead, but after a year had passed there were reported sightings of a feral child roaming the forest and eating the remains of animal carcasses. Found near the spotted sightings were strange carvings of male figures, which all point to sinister misdeeds.

Whilst The Stickman’s Hollow is a fictional story, Cox based the tale on the countless, spine-chilling questions that arise when one thinks of a story of such calibre. What happened to the missing girl? How did the carvings come about? And why do missing persons cases in the backwoods go unsolved? Fictional or not, this is nightmare fuel!

Amplifying the intensity is the fact that the filming location is that of where the backstory occurred, conjuring a level of dread that is often difficult to capture on screen. Adding to the unease felt is the film’s found footage fashion that immediately immerses and stirs a level of uncomfortable immediacy. The suspense brought forth, the anxiety formulated and the foreboding alarm mould together throughout this noteworthy expedition into The Stickman’s Hollow.

Unfortunately the team couldn’t make the fest but look out for our interview with cast an crew coming soon to our socials and YouTube channel!

Best Short Film – Skulk

Claire (Elina Gavare) wakes in the night to the sound of screaming foxes. She remains annoyed yet unfazed at the common disturbance, that is, until she sees a strange figure outside her window. It’s not unusual to hear the screeching cries of foxes in the dead of night, with their innate raspy, almost-painful sounding screams being the nocturnal anthem of the British public.

However, does it ever cross one’s mind that what they think are foxes calling out could be human screams or something even worse? This is precisely what director Max Ward so effectively conveys in Skulk. In the wee small hours of the night, the mind plays tricks on us, and with imaginations running wild, our worst nightmare seems only around the corner, or in the case of Skulk, maybe it’s already inside…

This masterfully delivered short won over the jury with it’s fantastic performances, downright creepy cinematography and perfect delivery of horror.

Fresh Meat Award – The Bloke in the Boot

Northern city boy Mogg (Jude Pollitt) accidentally kills his driving examiner (Stewart James Barham) after a failed test, leaving him to call his lifelong friend Gaps (Oliver Barry-Brook). With a body stuffed in the boot, the pair embark on a road trip to Wales to dispose of the mess. Part situational horror, part traditional British comedy as we join Mogg and Gaps on what can be defined as one of the most stressful types of road trips.

This thoroughly entertaining short acts as an exaggerated imitation of Northern British bonds and colloquialisms, which are built upon by the film’s self-deprecating humour, which is sure to provide belly laughs amidst the dramatic thriller roots additionally explored. Another specificity not to miss is The Bloke in the Boot’s genuinely admirable visual work that displays the grand cinematic views that the UK has to offer.

With the brazen duo’s antics, the unapologetically hilarious British cynicism, and the impressive displays of the countryside’s landscape, The Bloke in the Boot stood out to the jury this year as an immensely talented group of filmmakers to keep your eye on.

(Cast member Jude Polllitt-Berthereau & Director Taylor Caddick celebrating their win on the Sunday of the fest)

Best Cinematography – The Rising of the Sap

Produced by the BFI is Susie Jones’ The Rising of the Sap, a folk horror short following Bea’s (Darci Shaw) unwitting journey into ‘The Rising’ and her mother Elizabeth’s (Joanna Scanlan) fight to stop it. Where this film flourishes is the performances, which work to elevate Jones’ outstanding story following the darkness found lurking within the human condition.

As the film unravels, the folkloric elements intertwine with the character study of Bea’s fascinations and Elizabeth’s troubles to create a horror saturated with paranoia, isolation, manipulation and deception. Adding to the thought-provoking narrative is the film’s masterly composition of evocative imagery that is both gritty and visceral yet charmingly suave and ultimately became the panel’s favourite for Best Cinematography of 2024.

Congratulations to the team and particularly Paul Mortlock – cinematographer on the production.

Best Performance – Becca Hirani – The Monster Beneath us

Bursting with tales of losing control and challenging reality, all entwined with a hint of familial trauma and ladened with a haunting gothic aesthetic that bodes stunning imagery and a grippingly tense atmosphere is Sophie Osbourne’s The Monster Beneath Us.

The Monster Beneath Us’ cunning ability to rouse great terror inch by inch is a testament to the film’s sundry charms, from the evocative performances and the thoughtful milieu of designs that echo the time period all the way through to the atmospheric soundscape that conspires with the harrowingly toned cinematography

Becca Hirani’s performance as Lady Grace Abbington captured the Jury’s attention for her fantastic portrayal of a mother consumed with grief and loss.

(Becca posing with her award on the Sunday of the fest)

Best Supporting Performance – Ellen Jane Thomas – Scopophobia

Scopophobia’s female driven cast with fleshed out, complex characters, gnarly (and unbelievably gory) practical effects, powerful scoring, immensely captivating visuals and directorial dynamics all amalgamate together to create one hell of a horrifying and wicked elixir pot that is a testament to the brilliance of independent horror filmmaking.

It’s within this elixir pot we see an outstanding performance from Ellen Jane Thomas as Mia!

(Ellen celebrating the win at the Dead Northern Awards party)

Best Special Effects – Black Hole Barry

Prior to Scott’s (Michael Batten) boyfriend Robin (Joseph Potter) moving in, he ventures out for one last wild night of freedom. Unbeknownst to him, his secret philandering will soon result in an almighty reckoning. The exceptional results of this demonic horror are a testament to independent filmmaking, with its extremely unique and unorthodox exaggeration of adulterous characters being a hilariously dark and twisted spin on genre cinema.

It was the uniquely designed demon that grabbed the attention of the Jury for this years special effects award!

(The Black Hole Barry team grabbing a photo before their screening at the fest)

Bloody Good Death Award – Little Brown Bird

On the shortest day of the year, the overworked farmer Kate (Eliza Butterworth) must care for her ailing father (John Rhys-Davies), who has dementia and is convinced that something is hunting them. Little Brown Bird is an emotionally charged film that tackles the living loss of a loved one through dementia, with the relationship between Kate and her father being a focal point for the affective narrative to flourish.

In tandem with the riveting, poignant story is the film’s moving scoring, which has a softness akin to a lullaby that works to further the dimensional relationship between the father-daughter bond amidst an air of uncertainty and mystery.

Without spoiling this fantastic film there is a whole bunch of gnarly kills that stood out to the jury and left us thoroughly entertained!

(Director Peter Rogers with his newly won trophy)

That’s a wrap on Dead Northern 2024, see you again next year!

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

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Dead Northern Festival News and Reviews Reviews

Dead Northern 2024 Festival Review – Kill Your Lover

Directing duo Alix Austin and Keir Siewert deliver a gnarly, grotesque, and emotionally raw feat of tainted love, where body horror and a cerebral narrativisation collide together to create the must-see ‘Kill Your Lover’. 

Strained couple Axel (Shane Quigley Murphy) and Dakota (Paige Gilmour) have long lost the passion that oozed from their early days together; with Dakota now desperate to break free and put an end to her partner’s controlling hold. However, whilst on the cusp of delivering him the bad news, Axel falls ill with a monstrous infection, one that spews poison, splinters skin and turns its host into a corrosive mess – and worst of all…it’s contagious. 

From the initial setup right up until the credits begin to roll, the entire film is slick with an uncomfortable sense of intimacy. Intimate through its nature of chronicling a toxic relationship. Intimate through its portrayal of up close and personal graphic body horror, and intimate in how it feels as if we have been positioned to voyeuristically gaze like a fly on the wall as Dakota and Axel experience the terrifying motions of their damning monstrosity.

The private, immediate view the audience experiences feels disturbed, as if we are that of a prying eye. It is this precise dark, troubling anxiety that makes Kill Your Lover’s stirring approach so effective. As much as the film is a splattery gore fest, Austin and Siewert manage to penetrate the layers of fleshy horror and create a tone that is ripe with metaphors into destructive, venomous kinship and feeling inescapable dread at the hands of someone you once used to unconditionally love. 

The film’s continuous lashings of affective energy also transfers itself into the sophisticated aesthetic that manages to balance obscure bloodiness whilst not faltering to unwarranted butchery – which for a film of such calibre would take away from the complex emotive aura. For instance, as the film escalates to the point of sheer horror-filled pandemonium as the treacherous infection spreads, an array of brilliant effects come to fruition. The makeup and design is gruesome, ghastly and macabre in the most unique way possible. The gravity of the fearsome visuals is made all the more nightmarish at the hands of the crafty and powerful performances from leads Gilmour and Quigley Murphy, both of whom excel at portraying depthful, intricate and complicated characters. 

Kill Your Lover is a standout feature that speaks to the creator’s exhilarating storytelling talents. From Austin’s incredible short horror ‘Sucker’ (2022), to Siewert and Austin’s team effort on the anthological entry ‘It’s Inside’ in Isolation (2021), it is a sure thing that this duo is one to watch. 

Catch the film Saturday 28th September at the 2024 festival, tickets and details here.

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News

Press release – SUCKER creators first feature film wraps Principal Photography!

kill your lover movie poster

PRINCIPAL PHOTOGRAPHY WRAPS ON TOXIC RELATIONSHIP HORROR “KILL YOUR LOVER” WITH SPECIAL EFFECTS MAKE UP ARTIST FROM “WINNIE-THE-POOH: BLOOD AND HONEY”

Married co-directing team Switchblade Cinema, Alix Austin and Keir Siewert (AK), have just wrapped on their debut horror feature KILL YOUR LOVER: A psychological drama with a punk edge and skin-crawling body horror, where ‘Blue Valentine’ meets ‘The Fly’.
Known for their stylized cinematography and love of practical make-up effects, Austin and Siewert have joined forces with Special Effects and Prosthetics Artist Rebecca Wheeler from the much-discussed upcoming WINNIE-THE-POOH horror (Other credits include: AQUAMAN 2, BOILING POINT).

Still from ‘Do Not Resuscitate’


Having previously worked with Wheeler on horror short DO NOT RESUSCITATE (linked below), AK are looking to take an even bigger and bolder swing with KILL YOUR LOVER – “Else what would be the point?”, says Austin, “we know there’s a lot of competing content out there and we know we need to cut through the white noise. With a machete if need be!”


With several ‘Best Horror’ and ‘Best FX’ awards under their belt, Switchblade Cinema are tackling the full breadth of the toxic relationship in KILL YOUR LOVER: the good, the bad and the downright ugly.
“When Dakota tries to break off her toxic relationship with Axel, it starts transforming him into a monstrous creature with increased aggression, a touch that melts skin and worst of all, he’s contagious…” Above photo still from ‘Do Not Resuscitate’


The film will feature tense horror sequences, heartbreaking interpersonal drama and creative kills alike. KILL YOUR LOVER is the epitome of the phrase ‘death by a thousand cuts’.


To learn more about Switchblade Cinema and KILL YOUR LOVER, visit: www.switchblade-cinema.com/kill-your-lover