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The best Shudder original horror films

Host (Directed by Rob Savage, 2020) 

In the midst of the Covid-19 lockdowns, Rob Savage joined a virtual meeting with a team of his friends, however, halfway through the camaraderie, Savage convinced the group that he was hearing strange noises coming from his suspectedly haunted attic. Equipped with his device in hand, he virtually led his friends into the cold, pitch-black loft, little did they know, Savage had pre-edited a jumpscare clip of a demon lurching out and spliced it into the meeting. Plenty of screams and gasps were followed by laughter and applause at this truly epic prank. Savage posted this nifty play online, which led to attention from major outlets.

The viral success, teamed with his filmmaking history and clear talents in the horror field led to a bidding war from film studios for him to take this idea and adapt it into a full-length feature. Shudder won the rights and the rest was history. Host was met with heaps of praise, particularly in ode to the film’s organic quality, with the film packing in doses of realism despite the fantastical, paranormal storyline – meaning that the ghostly apparitions became all the more provoking and genuinely frightful.

The film additionally makes use of its desktop, Vérité aesthetics, creating an internal and seemingly authentic zoom call, which many can recall was quite a sign of the times circa Host’s release. Particularly for viewers who watched Host upon its initial release, the film injected a breath of fresh air into cinema. It was a time when cinema visits were largely prohibited and being trapped at home was the ‘norm’, so to get a brand new horror that was conceptualised, filmed and released at such a dark time was a true treat that still rocks five years on. 

Caveat (Directed by Damian McCarthy, 2020) 

For horror lovers who have seen nearly every ‘must-see’ and ‘classic’ film that the genre has to offer, it can be difficult to stifle a little scare or jump out of them, let alone a whopping frightful experience that will have them watching through peaked fingers. However, as Irish filmmaker Damian McCarthy proves, this is definitely possible as his debut feature Caveat is host to some of the scariest moments modern horror has to offer.

It can be said that Caveat is a slow burn and a film that honestly takes a while to make sense, yet the deliberately drawn out narrative is ultimately to the film’s benefit as the finale will make viewers wish they could return to the creepy, yet tame atmosphere of the first act. This effective white-knuckle maker follows Issac (Johnny French), who is hired by Moe (Ben Caplan) to watch over his niece Olga (Leila Sykes), who has a habit of going catatonic with stress after the disappearance of her mother and death of her father.

The job seems easy, but there is one caveat… Issac has to remain harnessed in a chained armour, to which only Olga possesses the key. As one can expect, this supposed ‘easy’ mission soon goes array, leading to a chilling conclusion. Caveat’s simplicity is key to its success as the stripped back setting, limited cast and confined storyline becomes a testament to low-budget independent cinema that allows excellent talent such as McCarthy the chance to release a film that is terrifying to the core. 

Oddity (Directed by Damian McCarthy, 2024)

If Damian McCarthy’s Caveat hits a nerve, just wait until you watch his second feature Oddity. This nail-bitingly frightful, morbidly intriguing and utterly sinister horror is one for the ages, with the film being a catalyst for nightmares. Oddity begins with Dani (Carolyn Bracken), all alone refurbishing her mainly empty, new countryside home, whilst her psychiatrist husband Ted (Gwilym Lee), works nights at a mental health hospital. As the sun goes down and the dark loneliness of the night washes the peculiar wraparound design of the barren house, Dani receives a knock on the door from Olin (Tadhg Murphy), one of Ted’s patients informing her that whilst she tended to her car a man entered the house.

What follows is a journey into hell as the film combines some of the most startling moments that horror has to offer. To describe Oddity as less than an experience would be a disservice to how fear-stricken the film forces you to feel. There are countless ways in which McCarthy provokes a shiver, namely the setting of Dani and Tim’s house. The structure is pleasant on paper: open plan, modernly styled but with country house bricks and a manorial themed essence. However, in the case of Oddity (whose plot is nearly entirely set inside the house), the openness allows for a sense of exposure where there is nowhere to run and hide.

Further stirring the pot is the isolated, rural setting. As someone who grew up only a stone’s throw away from where Oddity was filmed and set in West Cork, Ireland, I can attest to how sequestered and therefore cut-off and secluded such a setting can be. Under the right circumstances, just like Oddity, this desolation can be devastating if tragedy were to strike. It’s a film that enforces a damning sense of vulnerability as we become witness to some of the most malevolent and ominous terror one can imagine.  

The Sadness (Directed by Rob Jabbaz, 2021) 

This Taiwanese Shudder original continuously oversteps the mark, creating shocking scenes that are beyond revolting in their barbarity to the point of the film gaining a reputation for being a seriously ‘depraved’ watch. As per its reputation, The Sadness is a study into the depravity hidden deep within the psyche and what happens when the innermost savage facets of the human condition is unleashed into the everyday.

The film implements this thought as it sees a viral pandemic shift to the point of no return as a virus unexpectedly mutates, turning people into murderous sadists. The Sadness plays on the horror of the zombie subgenre, with the psychology and physiology of creatures being known for their visceral abject quality that instantly unnerves. The film weaponises the core characteristics of the zombie, by making them even more distressing. Rather than the creature killing for feed, like an intrinsic, animalistic need to hunt and get to the flesh as quickly as possible, The Sadness makes its monster take pleasure in the capture and slow killing of their victim as they torture, mutilate and sexually abuse their target with the biggest self-satisfying grin on their face. The Sadness has no care for life, instead wanting to show the fragileness of civility as it crumbles to the bone. 

You’ll Never Find Me (Directed by Indianna Bell and Josiah Allen, 2023) 

Patrick (Brendan Rock) sits alone in his muted and dimly lit caravan late one night. The rain pelts down on the metal roof. The wind violently batters the curtained windows. The storm is in full bloom, so why is there a loud knock at the front door? You’ll Never Find Me is haunting in its portrayal of Patrick and his late night guest (Jordan Cowen), as the film continually misleads and melts in surreal moments that create a brooding, atmospherically tense horror that is not to be forgotten.

It is the kind of musings that could be thematically compared to a Hitchockian thriller as You’ll Never Find Me ties in an intimate narrative with a filmmaking style that embodies a bubbling pot that is waiting to boil over at any minute. Exacerbating the grittiness of this Aussie Shudder original are the performances by Rock and Cowen, whose combined talents are what allows the film to not feel contained despite its single setting, and to not feel one-dimensional despite only having two present characters. It is rare to come across a film that peels away at you and makes you think, digging until it reaches flesh and unearths a narrative woven with an air of eerie personableness. 

Satan’s Slaves (2017) and Satan’s Slaves 2: Communion (2022) (Directed by Joko Anwar) 

As a child, Joko Anwar snuck into a cinema screen that was playing ‘Satan’s Slaves’ (1980), a horror following a family who are plagued by the supernatural after the matriarch of the family dies. As Anwar grew older and became a budding film enthusiast, filmmaker, writer and critic, he would pester Satan’s Slaves production company, Rapi Films, for him to receive first rights if they were to ever remake his favourite horror film. Lo and behold, roughly thirty-six years after Anwar snuck into the screening of Satan’s Slaves, Rapi signed off the golden rights to Anwar’s dream film, allowing him to take reign and remake the cult classic. Anwar’s remake of Satan’s Slaves, (which acts a prequel to the events in the 1980 film) and its equally as enchantingly disturbed sequel have gone down in Indonesian cinema history as being one of the country’s most successful films, grossing an equivalent $35 million on a combined budget of just over a $1 million.

These benchmark films feature deeply woven narrative structures that tie in an array of lore that helps conjure the rich backstory and various character arcs that take center stage throughout both films. Anwar’s focus on developing the internal mythology surrounding the plot began years prior to the actual making of the films, with the director conjuring the storyline throughout his career as a creator, lovingly spending time crafting exactly how he would retell and expand the story of his favourite film. Both films follow the plot of a family ravished by grief and the consequences that occur due to their deceased mother’s ‘deal with the devil’. Each film ends with more questions than answers, paving the way for the continuation of this soap-opera-esque twisted storyline, with the sequel concluding with a neat and ready setup for the third film which Anwar has teased will be the last notch in this bone-chilling demonic tale. 

Speak No Evil (Directed by Christian Tafdrup, 2022) 

Quite often when characters make so-called ‘stupid’ decisions and take the wrong route to their own demise, viewers bash the film, taking aim at the piece for being nonsensical and frustrating. An example that falls into this category is Speak No Evil. But rather than director Christian Tafdrup and co-writer, Mads Tafdrup, falling prey to poor writing, Speak No Evil is purposefully and meticulously planned to be one of horror’s most infuriating plots. The film follows the meek Bjørn (Morten Burian), and his slightly less passive but still people-pleasing wife Louise (Sidsel Siem Koch), who along with their young daughter Agnes (Liva Forsberg) embark on a beautiful trip to sunny Italy.

Whilst holidaying they meet Dutch couple, Patrick (Fedja van Huêt) and Karin (Karina Smulders) and their young boy Abel (Marius Damslev). The families hit it off and decide to meet up again, however, the atmosphere soon sours leading to an almighty, shocking turn of events. Speak No Evil is a film about submission and agreeableness, how people often conform, bootlick even, to exercise malleability and appease to those who do the opposite and take stride and exert their backbone. Certain decisions are made throughout the film to exercise this divide and create a provocative think piece. This Shudder original is unlike any other, with the film rapidly gaining a large following and receiving heaps of praise and critical acclaim all within a few weeks of its release. Just around the one year mark after its premiere, it was announced that it would be receiving an American remake by Blumhouse Studios starring James McAvoy and Mackenzie Davis. Whilst the remake was surprisingly effective and quite misanthropic just as the original source material, it didn’t quite reach the level of the superb and compelling Shudder Original. Just as the remake demonstrates, Speak No Evil is a one-of-a-kind whose effectiveness is unrepeatable. 

Violation (Directed by Madeleine Sims-Fewer and Dusty Mancinelli, 2020)

Violation is a brutal take on a very real horror story as we see Miriam (Madeleine Sims-Fewer) and her husband Caleb (Obi Abili) travel to the remote countryside to visit her sister, Greta (Anna Maguire) and her partner Dylan (Jesse LaVercombe). The weekend flows smoothly, but as the sun goes down and the campfire mellows and Caleb and Greta retreat to their respective rooms, Dylan shockingly rapes his sister-in-law Miriam. Dylan downplays the assault and proclaims it was a mutually exclusive, consensual act, leading Miriam to plan revenge against the ultimate violation. The film feels deeply intimate, akin to a personal attack on the viewer where the gut-wrenching visceral take on violence acts as a complete invasion and encroachment to the mind and senses.

Violation is not afraid to show the multidimensional perspectives of such an attack, as many rape-revenge films employ a cathartic element to the situation, which typically ends with the victim feeling a sense of empowerment, an almost silver-lining-like/twisted relief. However, Violation’s portrayal of vengeance is not glossy, smile-inducing or cathartic by any means. Alternatively, it makes the viewer feel unclean and saddened by the entire situation. To be clear, Dylan is never made out to be a force to feel sorrow with, only anger; but Miriam’s descent is just as damning to her healing. Violation is a unique film that will make you emotional, angry, sick and infuriated as this slice-of-life piece unravels. 

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Dead Northern’s Best Horror Films of 2024

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. 

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