MFF Reader Poll Results: What Are Your Favorite 21st Century Horror Films That Don’t Appear on “Best of” Lists
Hello all. Mark here.
I wanted to give a quick shout out to Shock Till You Drop for naming this one of “Top 10 Horror lists” of 2015!
I’ve learned a couple things throughout the course of the finding the best horror film of the 21st century. The first is that nobody will ever agree on a winner. The second is that everybody is passionate about movies that don’t get as much recognition as they should. For some reason these movies are near and dear to peoples hearts and even though they will never be on “best of” lists we still champion them when asked. For instance, you need to watch Cheap Thrills, Honeymoon, Creep and Spring.
When I unleashed the 21st century horror film results I included a poll that featured horror films that rarely ever appear on “best of” lists. I wanted the under appreciated to get some love. I compiled the list from reading through Reddit, AV Club, MFF comments and scouring the internet for under appreciated horror films. I also offered an “other” box for people to write in their votes (is there a movie called Your mom? Three people wrote that in). 5,300 votes later we have an eclectic list of films. (that nobody will agree on!)
Remember that this isn’t a “best of” list. This was simply meant to give fan favorite films a second life. I promise there won’t be a “best of” list of the films that didn’t make this list.
Here are the other five lists I’ve released in the last two weeks.
Top 21 21st Century horror films as voted on by the MFF readers.
Top 20 Critically Rated Horror films according to Rotten Tomatoes and Metacritic Critics
Before you jump into the lists I made sure to check copious “best of” horror lists to make sure these films didn’t pop up often (if you scour the internet you will find a random list I’m sure). Movies like May, The House of the Devil, Eden Lake, Splinter, Bug, Amer, Antichrist, Dawn of the Dead, Maniac, Inside, Attack the Block, I Saw the Devil, The Mist, You’re Next, The Loved Ones, Evil Dead, Ginger Snaps, Devil’s Rejects, Excision, 28 Weeks Later and Cloverfield were mentioned various times in horror websites and the MFF polls so I decided not to add them to the voting lists. Check out my 21st century critic/horror posts for the links.
I also started up a discussion thread (not asking for upvotes) on Dreadit and got a ton of horror movies that will never be on a “best of” list. I’m hoping this list will give a nice counterbalance to the films below. Splinter, Triangle, The Signal, Grave Encounters, The Collector, The Shrine, 1408, American Mary, Altered, The Burrowers, The Pact, Wer, Tusk, Halloween (2007) and Joshua didn’t make the top 14 but they are well regarded and have their champions.
The reason I’ve included 14 movies is because the voting between 10 and 14 was really close and some of these films were separated by only a few votes.
14. House of 1,000 Corpses (2003)
Written by Chris Kelly (check out his bonkers horror short film centering around Christmas)
House of 1000 Corpses is what a horror lover always wanted in a film: It’s quick, gory and there’s a simple story involving lots of death. Rob Zombie created a throwback to classic 1970s and 80s horror films with an updated twist. Using old school horror tactics with new school camera angles and lighting, Zombie creates a film that throws its audience on its head and leaves them there. Some audiences will love it, some won’t understand it and others will hate it. It’s hard to find something right or wrong with this movie because it is in a world all its own. House of 1000 Corpses is its own thing in its own world that exists only in the minds of hardcore horror fans.
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13. Joy Ride (2001)
While I was collecting data from Rotten Tomatoes, Metacritic and IMDb I noticed a surprising trend. Critics and audiences really like Joy Ride (73.2 cumulative score). Director John Dahl (Rounders, The Last Seduction) and writers Clay Tarver and J.J. Abrams created a blue collar thriller that was way better than it had any right to be. Vulture wrote an article about Paul Walker and I love what they said about the film.
And let’s not forget that the guy made some great films, too. Joy Ride, the 2001 gearhead horror flick in which Walker and his ex-con brother Steve Zahn run afoul of a deranged trucker, is masterful, and it works in part because the actor is so good at just plain freaking out. His character gets it from all sides: the psycho trucker, the hillbillies he crosses at various rest stops, his shady brother who keeps macking on the girl he loves (played by Leelee Sobieski). At one point, the Psycho Mysterious Trucker calls Walker in his hotel room to tell him Zahn’s in the other hotel room trying to seduce Sobieski; so Walker has to run over there and both warn his companions that the bad guy is still out there and also confront his brother about the whole hitting-on-his-girl thing. He handles it the way any of us would: by totally losing it. And it’s glorious fun to watch.
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12. Devil (2010)
I am a big fan of Devil (even the toast bit). It is an under appreciated horror film that starts strong and doesn’t overstay its welcome. The opening shot of Philly upside down does a fine job of establishing dread and proving that the world is upside down. It has a refreshing lack of pretense and it simply wants to tell the world a new story. Shakespeare it ain’t but it was never intended to be the next Exorcist, Omen or Sixth Sense. The horror landscape has a dearth of original ideas so it pains me when something trying to be original gets dismissed before it ever hits the movie screens (people laughed out loud when they saw “produced by M. Night Shyamalan”).
The lack of interest and preconceived notions is a shame because Devil is a neat little one-off film that features a claustrophobic vibe and singular story. The 52% Rotten Tomatoes rating is better than the standard horror film rating and it is light years ahead of the 25% average of Shyamalan’s prior three films. Devil features one of the coolest openings of recent memory and I loved the grey and off-kilter vibe it established. Also, I have no problem with toast being used a devil detector.
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11. Constantine (2005)
Keanu Reeves is the reason Constantine has stayed on the radar for over 10 years. He plays the role with a devil may care attitude that loads up on cynicism and self-awareness. Constantine is a fun little horror hybrid that features Keanu talking smack to spiders, battling a euro trash devil and hanging out with Tilda Swinton’s Gabriel. Constantine is a weird film that throws you into the action and is chock full of personality. Richard Corliss sums up the charm of the film with this quote about Reeves:
Halfway through Constantine, a fully clad Keanu Reeves steps into a shallow pail of water, sits on a chair next to it and holds a cat in his lap. Any actor who can retain his charisma in this weird-silly moment–can keep us watching, and admiring his dutiful nonchalance–deserves to be called a movie star.
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10. Dog Soldiers (2002)
This line from Dog Soldiers sums up the film.
We are now up against live, hostile targets. So, if Little Red Riding Hood should show up with a bazooka and a bad attitude, I expect you to chin the bitch.
Dog Soldiers is an action packed spectacle that doesn’t reinvent the wheel. However, it makes the wheel look amazing. It is a fun ride that borrows heavily from other films but shows all the traits of Neil Marshall’s (The Descent) future films. Dog Soldiers walks a fine line of humor, violence and suspense. For instance, after a massive kitchen brawl the werewolves get the upper hand and a soldier says “I hope I give you the sh*ts. You f**king wimp.” Dog Soldiers exemplifies independent horror and is urgent and exciting in ways very few films can match.
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9. Behind the Mask: The Rise of Leslie Vernon (2006)
Leslie Vernon/Mancuso is a wonderful creation because he is equal parts self-aware, funny and dangerous. Behind the Mask loves the horror genre and has a blast playing with the familiar tropes (virgins, backstories, walking). Director Scott Glosserman gathered a killers row of familiar faces (Robert Englund, Scott Wilson, Zelba Rubinstein) and introduced the world to a fresh-faced future killer.
I think what keeps this film going is the same thing that made Trick r’ Treat explode. It has a loyal audience who spread around the DVD and have a genuine love for it. When I unleashed my “best of” lists the most commented on exclusion was Behind the Mask. Many people have commented in the last two weeks that “Behind the Mask doesn’t get the love it deserves.” It is the kind of film that has a loyal following but tiny audience. That is why I am happy that it made it on this list
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8. Mothman Prophecies (2002)
Written by Zach Beckler (Check out the trailer for his film Interior).
One of the most underrated films of the 21st Century, The Mothman Prophecies is first and foremost a film about mood. This is not a film about answers or truths, because it has neither. This is not about the search for the Mothman, but the inherent fear and unease we have of what is beyond our control and comprehension, and it expresses that beautifully. About a widowed journalist who ends up in a small town on his way out of Washington. He has no idea how he got there, and some townspeople claim he has been there all week, knocking on doors. This is not the only strange thing happening, and it all comes back to sightings of a mythical creature called The Mothman. This film has an eeriness and a discomfort to it unlike many films I’ve seen. Every strange thing that happens feels both random and imminent.
There is a standout scene where the journalist finally gets to talk to this creature, which calls itself Indrid Cold. The scene makes both perfect and no sense, and is horribly unsettling, as the journalist asks Indrid to prove himself by naming things in the room it can’t possibly see or know. Directed by Mark Pellington, famous for the video for Jeremy by Pearl Jam, the entire film has a cold and somber tone, with wonderfully abstract use of scene transitions, as if from the point of view of something with infinite perspective. In the end, the film leaves you without a safety net; there are no explanations for what has happened. There are things bigger than us, and the only thing we know is the most terrifying thing: that they are out there.
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7. As Above So Below (2014)
Written by Megan (my wonderful wife)
I didn’t want to watch this movie. In truth, I don’t usually enjoy horror movies and when Mark suggests one to watch, I usually decline. But with nothing else piquing my interest that evening and a very cool poster, I reluctantly agreed to watch As Above, So Below… and you know what? I’m a huge fan. I know that the internet does not love this movie and I don’t really care, because what AASB and I have is special and the haters cannot spoil it. This movie is structured like an adventure film, with the feeling of traversing great distances (literally to hell and back) in the span of 93 minutes, but you never leave the French catacombs. Those catacombs though… they really are a character in this movie and I believe are the source of any and all feels (of the horror related variety) that the viewer experiences.
Finally, there is the overall story arc, when all hope seems to be fading and the characters are dropping like flies, something surprising happens. The main character digs deep and finds her hope and will to live and starts us on a course out of the darkness for the team, I found this refreshing. So at the end of the movie, you’ve been on an adventure in a totally creepy/cool setting and you aren’t totally depressed or scared out of your mind… I call that a win.
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6. Slither (2006)
Jack MacReady: It’s obvious the bastard’s got lyme disease!
Bill Pardy: What?
Jack MacReady: Lyme disease. You touch some deer feces, and then you… eat a sandwich without washin’ your hands. You got your lyme disease!
Bill Pardy: And that makes you look like a squid?
Slither is The Thing made by Troma alumni. It is a comedic body horror film that boomeranged over audiences heads in 2006 and now is coming back full circle. The practical effects combined with James Gunn’s script created a bonkers masterpiece of gross special effects and fantastic dialogue (I can’t get drunk. I have too much muscle mass). Slither love has been gaining steam through the years and people are starting to appreciate the joyfully obscene and gross creature feature. I remember walking out of the theater with a smile on my face and an appreciation of all things James Gunn. What makes Slither so special is that it is different from all of its horror comrads. It is a weird little thing that wear its R-rating on its sleeve and doesn’t care if you like it or not.
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5. Orphan (2009)
While reading through the Rotten Tomatoes critic reviews you can’t help but notice a pattern. Words and phrases like sleazy, gross, trashy, ludicrous, murderous psycho brat, amoral, fetishistic, overwrought, shameless, perverse and effective pop up all over the place. Mick Lasalle of the San Francisco Chronicle gives a great summation of Orphan.
So sloppy, so lowdown, so shameless and so entertaining, Orphan provides everything you might expect in a psycho-child thriller, but with such excess and exuberance that it still has the power to surprise.
When I first saw the trailers for Orphan it annoyed me. I had zero desire to watch some movie where good actors (Vera Farmiga, Peter Saarsgard) deal with another evil kid. I was wrong! The tagline “There’s something wrong with Esther” is true. Just thinking about the plot twist hurts my soul. Orphan is a creepy little thing that dared to be really really ridiculously weird.
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4. Oculus (2013)
Written by MFF’s Horror Leviathan John Leavengood.
“Horror is generally (and fairly) characterized by one-dimensional characters stereotypically struggling to serviceably act their way through flat writing to occupy screentime until they drink, vandalize, premaritally fornicate, or do whatever it is that justifies their upcoming death. Despite this, a few bold filmmakers press on and we find the occasional pleasant surprise in The Cabin in the Woods (2012), The Conjuring (2013), and other films with products aimed at more than simply turning a profit and instead bringing us new spins on classic tropes and even some entirely original ideas.
I feel that Oculus (2014) is one of those refreshing films; a clever and hypnotic submission to the genre. Thoughtful cinematography, deliberately distracting lighting and scene-cut transitions mislead our own disoriented sense of time along with that of our protagonists’. Both creepy and engaging, this psychologically driven ghost story weaves our protagonists’ tortured past into their present with a shockingly smart script. This is definitely the best evil mirror movie on the market, and a superior horror film overall as well! It’s clever, it keeps us guessing, and there’s nothing like it. You may be left with more questions than answers. But this is a quality of deliberately disorienting mystery rather than plot-holed writing.”
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3. 30 Days of Night (2007)
Tristan Sinns of Dread Central wrote an amazing review (Ebert quoted it) for 30 Days of Night. I love the way Sinns discussed the vampires and the incredibly effective bird’s-eye view attack scene.
The vampires of 30 Days of Night bring new energy to the mythos and they do this in practice by simply being more primitive. This type of monster is so out of the mold of the modern take on vampires that it is fair to call them more of a werewolf archetype than a vampire. Vampires, on the whole, are creatures with the power of seduction; while werewolves are monsters of rage. These particular vampires have rage aplenty and are so good at killing that they’ve no need, at all, to seduce anything. They are filthy, ugly things, and they don’t care if you like them; they only care if you’re dead.
In 30 Days of Night, director David Slade has proven he has a knack for tense contextual horror; those awful situations that manage to creep right under your skin. The townsfolk’s fight to survive is a horrendous and passionate battle. There’s one shot in particular that is simply stunning; a bird’s eye view of a frozen street, panning slowly over the breadth of nearly the entire town, capturing a long and frenzied battle between the vampires and their victims. This shot goes on and on and does so much to impress the impact and scale of the devastation and horror faced by the small Alaskan town.
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2. Jeepers Creepers (2001)
Jeepers Creepers starts off as a creepy road trip film and ends with a punch to the audiences face. The bad guy is a force of evil who drives an old truck and must have a sense of humor because it plays “jeepers creeper” while detaching people’s peepers. He is an ancient being called “the creeper” who creeps every twenty-third spring for twenty-three days. What Jeepers Creepers excelled at (in the beginning at least) was creating a sense of dread in the unknown. What is this monster? Will it be cool enough to warrant a sequel? Will the mythos be absolutely crushed in the sequel?
What makes Jeepers Creepers so memorable is the absolute eye gouge of an ending. Jeepers Creepers shows us that teenagers in horror films can be likable and proves a movie about a creeper who steals peepers while listening to Jeepers Creepers can actually be scary.
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1. Insidious (2010)
Insidious does something glorious. It tells a simple story about a family under attack and creates a world you want to see more of. Not only are there likable characters but the creatures in Insidious are pure nightmare creations (sans Darth Maul comparisons). Sitting in the theater watching Patrick Wilson traverse The Further while knowingly walking into the den of a jerky red demon is one of the most stressful moments in recent horror. They are good people battling evil creatures in a familiar (poltergeist-y) world that develops its own personality. The limited budget and practical effects worked towards the films advantage because it had to rely on practical effects, monster creations and solid acting to carry the day. It is rare when we get very good actors being harassed by red-faced demons.
I love that the family actually moves away from the “haunting” and Lin Shaye has proven herself to be the Insidious MVP (I really like 2 & 3). This one million dollar independent wonder sparked off a new crop of cheap and profitable horror and opened the door for the fantastic 2014-2015 horror films we are experiencing.
Viva la Insidious!
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The world needs movies like The Man From U.N.C.L.E. I bet right now you are wondering why we need another television to film adaptation. The movie is a breath of fresh air that never takes itself too seriously and is a lot of fun. It wears its cheekiness on its sleeve and gives the viewers a breezy 90 minutes full of fun action, believable chemistry and good looking people. Guy Ritchie (Snatch, Sherlock) is a master of style and you could tell he enjoyed his time directing U.N.C.L.E. If I had to sum up the film in one moment it would be when Napoleon Solo (Henry Cavill) gets drugged and he makes himself comfortable before he passes out.
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The film revolves around The Americans and Russians teaming up to stop the Germans from getting their hands on powerful world hurting technology. The plot is an excuse for Armie Hammer, Henry Cavill and Alicia Vikander to travel around the world in search of action, tailored suits and wrestling. I love that nobody uses their natural accents and seem to be loving it. It is nice seeing Henry Cavill and Armie Hammer do something other than play a morose Superman or second fiddle to Johnny Depp. The two have a nice chemistry and the film is at its best when they are bickering. The two men are joined by the always reliable Alicia Vikander (Ex-Machina) who brings her sly sensibilities and easily holds her own against her tailored suited co-stars.
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I really enjoy The Man From U.N.C.L.E. because it knows exactly what it is and has fun with that confidence. It may be an unnecessary movie but still proves to be effective. There is a moment when they are attacking a German compound and are engaged in a boat chase in a closed marina. Cavill gets thrown from the boat and finds his way to a cargo van where a conveniently located picnic basket of dinner awaits him. He sits in the van enjoying the food and wine while Hammer drives around in the background being chased by a heavily armed gunboat. The moment is cheeky, fun and ends with a cargo van landing atop a boat. Of course, the duo arrive safely back to their hotel (totally dry) and are able to meet the villain before she becomes suspicious of them.
The Man From U.N.C.L.E is way better than it has any right to be. Guy Ritchie imbues it with a wonderful visual style and the actors are all game. If you get a chance check it out in theaters before it becomes a hit on DVD. It is worth your time and will leave you with a smile on your face.
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Fantastic Four: The Planet Zero of Superhero Films
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Now that The Fantastic Four has been in the theaters for a few weeks and the dust has settled I’ve decided to write a review. I know the reports of infighting, reshoots and odd behavior helped mold opinion and had a lot of sway into the final product. However, I want to stay away from the speculation and talk about the movie that was dumped into the theaters. It is a weird little thing that is devoid of life and lacks the necessary wonder, charm and action to make it memorable. It is full of personable actors yet gives us nothing memorable. When compared to “bad” superhero movies like X-Men: The last Stand at least they offered some truly odd decisions and Vinnie Jones saying “I’m the Juggernaut, bitch.” The comic book movie I’d compare F4 to is The Green Lantern. Both films had plenty of talent yet did nothing more than create 90 minutes of nothing.
Do you remember the scene in Josh Trank’s Chronicle where the newly powered teenagers discover they can fly and they take off into the sky? It is a moment of pure joy and awe that was punctuated by an airplane bursting through a cloud and almost smacking the teenagers. Their youthful exuberance and sudden knowledge of their powers almost caused them a whole lot of pain and carnage. You bought into the moment because you believe three kids who could fly would do so with reckless abandon.
The teenagers in Chronicle got drunk, found a hole with a glowing rock in it and had to learn to deal with their troubles. There was joy, anger, anguish and most importantly fun. Director Josh Trank worked wonders with found footage superheroes and it made some sense that he was tapped to resurrect The Fantastic Four.
The biggest problem with The Fantastic Four is that is features none of the life that Chronicle had. The remake couldn’t even capture the bubble gum saccharine of the most recent Fantastic Four films. It is a movie that wants to play like The Fly met Chronicle and added some Fantastic Four elements. It gives Miles Teller, Kate Mara, Michael B. Jordan, Jamie Bell, Toby Kebbell and Reg E. Cathey nothing to do and I am 100% certain that this film bombing will do nothing to slow their career progressions. This is the rare film where the actors will walk away unscathed while the director takes the fall. If anything the actors have now mastered the art of staring at computers while typing in algorithms for inter-dimensional travel.
Kate Mara (House of Cards) is a good actress and all she does is type, type and type while listening to Portishead.
Fantastic Four never takes flight and places the likable actors in front of computer screens or green screens and never allows wonder, humor or immaturity. The moment I liked most is when the guys get drunk after hearing they won’t be able to travel to Planet Zero. What do they do when they get drunk? They decide to get in their machine and go to the other dimension. It all goes terribly wrong and shows them making mistakes due to immaturity, booze and hubris. I believe that a bunch of overly intelligent twentysomethings would risk their necks in order to be remembered.
Instead of learning how they get used to their powers (like Chronicle) they cut to a year later where The Thing is working on government military ops. The military is sending The Thing out to crush terrorists and I 100% thought we would have a PTSD subplot centering around a kid turned into a rock turned into a killing machine. Imagine a scene where The Thing has to kill for the first time. How would he handle that? However, there is zero time spent on this idea and we quickly move on to some world destroying shenanigans.
The end is a bunch of green screen hooey involving Toby Kebbell’s Dr. Doom trying to suck the earth into Planet Zero by a black hole (of course). The team unites and the battle is over in five minutes. The battle reminded me of the first Fantastic Four ending and The Heroes season one battle finale. They both underwhelmed and had the luxury to build up to those underwhelming moments. The 2015 Fantastic Four rushes us to the ending and it is over before you can even pretend to care about it.
Fantastic Four isn’t enough of a train wreck to be fun and isn’t fun enough to make you feel anything. Go watch Ant-Man again. It is fun and the final battle actually wrecks a toy train which is amazing.
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Hello all. Mark here.
The MFF podcast is back and we are diving into the world of Nicholas Sparks films. You can download the pod on Itunes or head over to Blog Talk Radio to stream it. If you get a chance please make sure to review, rate and share. You are awesome!
If you’ve been reading the site for some time you know that I’ve written way too much about these critic defying money machines. I’ve analyzed the movie posters, ranked the films and even covered the best fights. They are shmaltzy wonders written by a man who thinks they are “greek tragedies.”
On the pod we discuss the similarities to Hellraiser films (Yep. Instead of researching Sparks films John researched Helllraiser films) and even come up with our own Sparks films using some of the classic tropes. It is a freewheeling pod in which I drop Spark’s knowledge while my co-hosts soak in the information and almost start to appreciate the romances. In case you are wondering here is how I rank the ten Sparks films.
- A Walk to Remember
- The Notebook
- The longest Ride
- The Last Song
- Safe Haven
- Dear John
- The Lucky One
- Message in a Bottle
- Nights in Rodanthe
- The Best of Me
Sit back, relax and listen to three guys discuss the romantic and manipulative world of Nicholas Sparks!
You can listen to the pod on Blog Talk Radio or head over Itunes so you can download, rate, review and share. Thanks!
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The MFF Podcast Special: Cabin in the Woods: The Best Horror Film of the 21st Century
Hello all. Mark here.
The MFF podcast is back and we are talking 21st century horror films! The last pod focused on the best critic/audience rated 21 st century horror films and now we have the reader favorites. You can check out the pod on Blog Talk Radio or Itunes. Please make sure to share, rate, review, and share again!
Cabin in the Woods is the #1 horror film of the 21st century!
I recently unleashed the 21 best horror films of the 21st century as voted on by MFF readers. It was a fun success and I loved reading the message board discussions and listening to the radio segments spawned by Cabin in the Woods being crowned #1. Here are the top 10 and you can check out the top 21 here.
10. Drag Me To Hell
9. Mulholland Drive
8. Shaun Of The Dead
7. The Babadook
6. It Follows
5. Let The Right One In
4. The Descent
3. 28 Days Later
2. Pan’s Labyrinth
1. The Cabin In the Woods
The MFF and Sharkdropper crew got together and broke down the data analysis and why each film was picked to be in the poll. Then, we talked about the top 21 and the response to the films on the list. Of course we discuss The Shining, Kurt Russell dolls and the best horror of the 21st century.
Check out the pod and let us know what 21st century horror movies you love! Enjoy, rate, share, review, share and watch more Kurt Russell movies!
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Hello all. Mark here.
The results are in and they cover pretty much every aspect of the “horror” genre. We received over 3,500 votes (you listen to the podcast where we break down the films/voting on Itunes or Blog Talk Radio) and appreciate everyone who stopped by to vote (Big thanks to the AV Club for sharing!). The 21st century post was a lot of fun to write and I’ve enjoyed the discussions, podcasting and complaints that The Shining wasn’t on the list. If you didn’t catch the original post, I sorted through hundreds of 21st century horror films, gathered a list of 160 and broke down the data into four categories. Here are the four lists I came up with.
Top 20 Critically Rated Horror films according to Rotten Tomatoes and Metacritic Critics
Top 20 Audience Rated Horror films according to IMDb, Rotten Tomatoes Audience Scores and Metacritc Users
Top 25 Rated horror films from Rotten Tomatoes Critics, RT Audience Score , Metacrtic, Metacritic User Score and IMDb Users
The Top 10 rated according to Shocktillyoudrop,Dread Central, Fangoria (with info from the chainsaw awards), Bloody Disgusting and Bloody Good Horror
When I finished the lists I took the top ten critic/audience rated horror films and combined them with favorites that were left out or featured on the horror movie critics overall best list. It was a comprehensive list that offered an “other” box for write-ins so all 21st century horror films could be covered and voted on (the poll is here if you want to see it).
I originally was only going to write about the top 10 but when I looked through the list I had to cover the top 21. What I like about the 21 films is they cover every aspect of horror. It is an eclectic mix that features French transcendent torture, demon goats, ivory business cards, death via Merman and quite possibly the scariest child killer ever (the only competition is the Troll from Ernest Scared Stupid. He wrecked my youth).
Peekaboo, I see you! Now, I’m gonna walk all creepy like and attempt to eat you.
There was no runaway winner and I love that the voting was so close. The films were directed/written by first time directors or crafted by savvy genre veterans . It is young meets old and all of it is fresh (except the zombies). Horror is such a tough genre to predict because it is full of cult classics, loud supporters and incredibly dedicated fans. It offers a little bit of everything and I don’t think anybody will ever agree on what is and what is not horror. Before I wrote the post I was doing some horror homework and I came across an indiewire article about the top 25 horror films (very good list) of the 21st century. I found this quote and it intrigued me:
A vocal contingent flew the flag for movies like “Haute Tension,” “Martyrs,” “A Field In England” and “The Devil’s Rejects,” but were shouted down by the equally vocal anti-contingent.
Through the course of writing, publishing and sharing the horror data it has been fun listening to the different vocal contingents of horror go at it. I believe the final product of the original 21st century horror data was pure because it covered every base and gave the user/audience a chance to have their voices heard. The glory of this poll is that votes speak the loudest. That is why I am happy to share the top 21 with the readers because you voted for it.
Thank you voting! Enjoy! Comment and share the post. Never go spelunking in unknown cave systems.
I compiled a list of the films available for streaming on Netflix or Amazon and we recorded a podcast about the creation of the list and response to the data. Also, if you are into horror films I’m pretty certain we came up with the most random horror film ever on the podcast.
If you get a chance check out these five horror hybrids that I really like. They deserve a bigger audience.
When you are done with this post check out the results of the “What are Your Favorite 21st Century Horror Films That Don’t Appear on “best of” Lists.” poll. We had 5,300 votes and I really like the films that made the cut.
21. (tie) Session 9 (2001)
I remember hearing about Session 9 back in the day and I couldn’t find it anywhere. So, I went on Ebay and bought it for way too much money. The gamble was worth it as the mostly day time horror film mesmerized me. It didn’t rely on jump scares and instead created creepy new scares to wreck my sleep. I don’t think I can ever forget the sound of the tape recordings playing inside the abandoned mental hospital (they found a perfect location). Director Brad Anderson blended new school digital photography and an old school adherence to creating dread and the result was a little film that defied expectations
Nothing good could ever happen here.
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21 (tie). The Devil’s Rejects (2005)
The Devil’s Rejects is the kind of film that wears you down, tests your resolve and stresses out your television. That is not an insult. It is a well made grime fest that proved Rob Zombie was a man with a dark humorous vision. The Devil’s Rejects is skillfully made, acted to perfection and almost makes you feel sad when a Free Bird soundtracked gunfight opens up. Rob Zombie succeeded in finding art in depravity and even if you find the film deplorable you can’t say it wasn’t well made. Also, it features this line spoken by a guy named Otis B. Driftwood.
Boy, the next word that comes out of your mouth better be some brilliant Mark Twain sh**. ‘Cause it’s definitely getting chiseled on your tombstone.
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20. What We Do in the Shadows (2014)
What We Do in the Shadows is a glorious comedy/horror mockumentary that centers around four vampires who live in New Zealand. The horror hybrid blends comedy with lots of gore and features some of funniest characters of the last several years. It is a creative blast of niceness and violence that will most certainly become a cult classic. The 85 minute film is so full of one-liners, sight gags and hilarious characters you need to watch it more than once.
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19. Paranormal Activity (2007)
Paranormal Activity is a tiny $11,000 film that exploded in the theaters. It placed a camera in a static position and managed to create more scares via dread and anticipation than I could’ve ever imagined. The best thing about PA is that it introduced us to an incredibly jerky demon that loved to pull bed sheets and occasionally drag people out of rooms. There is a moment that I love when a paranormal investigator walks into the house and immediately realizes he needs to go because it isn’t safe. PA did something many movies fail to do. It created a villain that scared the crap out of the audience (until they named it Toby)
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18. The Mist (2007)
The Mist is a proof that quality finds a way. I am 100% certain audiences weren’t ready for this bleak and tragic Stephen King adaptation. They went in expecting a creature feature and instead were treated to religious zealots, terrifying monsters and an ending that reached through the screen and punched them in the face. Scott Mendelson of Forbes wrote a post entitled the Five “Best” Horror Films That flopped. In that list he included The Mist. Here is what he had to say about its failure at the box-office and eventual resurrection on DVD
Thanksgiving isn’t exactly the time to release an insanely grim spine-tingler that explicitly condemns human paranoia and religious-fueled mania, so it didn’t exactly light the box office world on fire. The Mist opened with $8 million over Thanksgiving weekend 2007, ending up with just $25m. Thanks to a surprisingly robust $31m overseas take, the $18m horror tale eventually turned a profit, and the multiple DVD/Blu-Ray releases helped too, including one that included the film as Darabont intended, in black-and-white. No matter in color or black-and-white, the film is genuinely terrifying, and it’s a shame it hasn’t developed more than a passing cult following.
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17. The House of the Devil (2009)
House of the Devil does something gloriously audacious. It builds to a single scare that is so effective you are left absolutely deflated and exhausted. Ti West (Innkeepers, Sacrament) directed House of the Devil with a rare patience and clear vision. He takes the story of a babysitter in an old house and puts a new spin on it by focusing on dread and patience instead of blood and guts. West clearly knows that the fun is in the journey and the payoff is in the unexpected beauty of a really ugly face.
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16. American Psycho (2000) (Despite it being released in 2000 American Psycho was added to the list)
Do you like face cream, chainsaws, business cards and blood? Well, American Psycho is for you. This book adaptation features an all in Christian Bale performance and savvy direction by Mary Harron. It is like a fever dream of pent-up frustration that goes to spectacularly bloody lengths. You’ll laugh, cringe and appreciate a movie that captures a tone so perfectly. I love that Bateman is an obvious monster but everyone around him is too self-centered to notice. He thrives in a corporate wasteland where his eccentricities and evident insanity are easy to hide even as his mask of sanity peels off. American Psycho wears many hats and manages to stay true to its source material and remain in the cinematic lexicon by sheer audacity and memorable carnage.
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15. Trick r’ Treat (2007)
Trick r’ Treat has had a unique journey to cult classic success. It was filmed, shelved for years, released on DVD and has since built an incredibly loyal fanbase. Here is what TrT’s director Michael Dougherty had to say about the journey to IGN.
It feels great. There’s nothing like it. It’s a very unique path for a movie to take. Usually, your movie comes out, and it’s a big deal for a month — if you’re lucky — then it sort of just fades and goes off onto DVD, and that’s it. That includes most big awards films and whatnot, tentpoles — same thing. But for this tiny little movie, which didn’t have a lot of support, to continue to grow year after year solely from fans showing it to people, obviously using the love of the holiday itself, it’s kind of amazing. I don’t know of too many other films that have had this kind of a journey. For me, personally, it’s very rewarding because it’s a really personal film. This has very much been a passion project of mine for a long time. It was a very emotional journey. So to continue to watch it grow and never plateau — it just continues to grow — I’m kind of speechless.
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14. [Rec] (2007)
[Rec] might be the most pure horror film on the list. It is a non-stop death machine and it builds to an iconic moment involving one of the best horror drags ever. [Rec] never lets you catch your breath and feels like a 90 minute roller coaster. I guarantee that [Rec] is the only horror film that requires you to drink Gatorade halfway through because you are sweating so much. It is an economic wonder that proves when done right the found footage style can aid in the killing.
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13. Martyrs (2008)
Pain and transcendence paint the theme of this intense, cruel, relentlessly brutal film that will lead you to dark places free from the moral burdens of compassion.
MFF co-writer John wrote the above quote and he is right. Watching Martyrs is like a ten-mile hike in the rain that only goes uphill. You will not enjoy the experience but when you are on top of the mountain looking down the journey doesn’t seem all that bad.
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12. The Conjuring (2013)
The Conjuring is a wonderful beast. The acting, storytelling and massive amounts of dread are proof of a director on the top of his game. James Wan directed the wonderful Insidious and proved horror can be told on a budget and not be a remake, sequel or prequel. Certain critics complained of Wan’s usage of Poltergeist themes but as Alonso Durade of The Wrap so elegantly put it:
The Conjuring doesn’t try to reinvent the tropes of horror movies, whether it’s ghosts or demons or exorcisms, but Fred Astaire didn’t invent tap-dancing, either.
James Wan has become a maestro of mini-budget mayhem. He tells tightly knit stories in which family is important, demons are totally evil and the acting is always wonderful. Wan made the incredibly smart decision to bring back Patrick Wilson from Insidious and add the wonderful Vera Farmiga. Together they play the real life couple Ed and Lorraine Warren who believe they were put together to do the world good. Aside from being the world’s best looking paranormal duo they have grace, charm and the authority to go head to head with persistent spirits
What I like most about this couple is they have a locked room inside their house where they keep all the evil (?) artifacts. They don’t want them destroyed because the spirits will be released and they don’t want them in the populace because they will continue to terrorize. You have to appreciate people who risk their safety to protect the world.
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11. The Ring (2002)
The Ring might be one of the best looking horror films ever made. Gore Verbinksi directed the hell out of it and Naomi Watts does a brilliant job of being scared by a little girl who crawls out of televisions. I am still amazed that this bleak and melancholic little thing blew up so big. The beauty of the cinematography and overall grayness created a mesmerizing and occasionally terrifying dread machine.
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10. Drag Me To Hell (2009)
Written by Megan (my beautiful wife).
I first watched Drag Me To Hell on one of my first dates with my now husband (your esteemed author). As you might imagine, a creepy old woman, a goat, curses and a kitten’s death scene made for a memorable date. While I mostly dislike movies with gratuitous pet deaths, I’ll always have fondness for this one because it is part of ‘our’ story and the beginning of my insight into Mark’s love for movies. We have rehashed our favorite scenes many times, both the funniest and grossest, and those conversations never fail to bring back the memories of our few dates and the movies that we watched. I hope you watch this movie, enjoy the absurdity of it and are lucky enough to find a partner to share all of your favorite movie moments with. Moral of this story: make sure your buttons are sewn on tightly!
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9. Mulholland Drive (2001)
Written by Zach Beckler (Check out the trailer for his feature film Interior!)
It seems fitting that a film about the Hollywood dream becomes the definitive cinematic depiction of a nightmare. Is Mulholland Drive a horror film? I think that question infects most of David Lynch’s films, as the narrow-minded idea of tropes and sub-genres does not really apply to them. Lynch is an original; he does not follow any rules or aesthetic cues of horror, he creates them. After the droning sonic ambiences of Eraserhead, horror films never sounded the same. You can divide the history of sound in horror into Pre-Lynch and Post-Lynch (The Shining being the definitive Post-Lynch horror film.) This is the same reason people have difficulty labeling Hitchcock films as horror, even though he pioneered most of the theories of suspense filmmakers still use today.
There are many moments of dread and suspense in Mulholland Drive that cannot be traced to this genre, like the Club Silencio, “This is the girl,” and the unexplained changes in identity. But if there was still any doubt, the “Man Behind Winkies” scene puts it to rest and delivers one of the most effective scares in the history of cinema. It is a perfect self-contained unit, using the sort of dream logic you find in 70’s Italian horror that Lynch perfected throughout his career. Two men in a restaurant who we have not met in the film, nor do we really see again except in a cutaway later, are having a conversation about a dream. In the dream, there was a man behind the restaurant, and everyone was terrified of him. “I can see his face,” the man says. “I hope I never see that face ever outside of a dream.” As the other man reassures him and goes to pay, the man sees his dream coming to life. Then he walks, painstakingly slowly, to the back of the restaurant. When I saw this in theaters, I remember thinking, “There is nothing they can show me that is worse than what I am imagining.” Then we see the man… And for the first time ever, I felt the true fear of a nightmare in a film; that helplessness that this was happening to me and there was nothing I could do. That face was worse than anything I could have imagined because it was so simple and so haunting. This sort of uncanny horror is something I have been chasing in my own work ever since I saw that man behind Winkies. To lead the audience to a mind state in which anything can happen, and the uncertainty of whether it will. The process of watching any film is a dream, and this film perfectly captures how easily it can turn into a nightmare. This is horror at its finest.
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8. Shaun of the Dead (2004)
What I love most about Shaun of the Dead is how they featured an incredibly rehearsed and ambitious two-minute steadicam shot. The moment isn’t about terror, violence or showing off. The shot centers around a slacker making his way to a shop while not noticing the carnage around him. He is so checked out that he doesn’t notice the blood he slips on or slow-moving zombies all around him. It is a moment of pure cinematic nerd glory and proves that this film about two dudes, a lady and a pub is a lovingly made zombie film. Viva la Cornetto and Edgar Wright!
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7. The Babadook (2014)
The Babadook is a visually arresting horror hybrid that proved to be an amazing calling card for director Jennifer Kent. The Babadook is the type of movie that transcends genre and much like Rosemary’s Baby adds class to the horror world. The fact that The Babadook was universally praised by critics while featuring a truly bonkers plot proves that we are in a solid time for horror. I love what Kent said about horror filmmaking to New York Magazine.
I continue to watch modern horror films, despite the constant disappointment. I don’t think a lot of the filmmakers making horror now know its worth, or realize the potential of the genre. Just because it’s a horror film doesn’t mean it can’t be deep. I think a lot of filmmakers who make horror now go in with dubious motives — money, predominantly. They want to make a film that will feel like a theme-park ride, and ultimately make a lot of money.But horror is a pure form of cinema. I think there are some modern-day filmmakers our there who understand that. The films that will stand the test of time are the ones that have depth
Film title – The Babadook……Noah Wiseman in Film title – The Babadook…, released in cinemas 24th Octoberfilm title: Film title – The Babadook… (2014)
Noah Wiseman as Samuel
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6. It Follows (2014)
Director David Robert Mitchell (The Myth of the American Sleepover) takes my favorite aspects of horror (urgency, dread, patience) and combines them with a beautifully simple story about the dangers of sex. Mitchell lets the film breath and this allows the rabbit and hare story to unfold organically. The teens sleepless state creates a dreamy atmosphere that is captured nicely by the lingering camera and patient editing. The film moves at a methodically slow pace yet you have a hard time catching your breath. It Follows is a perfect example of 2014-2015 horror. It takes familiar elements and makes them fresh again.
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5. Let the Right One In (2008)
Let the Right One In takes zero shortcuts, makes nothing easy and might be one of the best looking horror films ever made. It is painfully serious and respects the audience in its desire to hold nothing back. It is the rare film that appeals to the arthouse and grindhouse. It is an unforgettable masterpiece that will linger in your memory and make you think twice about bullying somebody while in an indoor swimming pool.
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4. The Descent (2005)
Director Neil Marshall (Dog Soldiers, Game of Thrones, Doomsday) is a maestro of mayhem who keeps his films moving briskly and expertly. He understands urgency and the need to keep moving forward. If you stop you die, and the ladies in The Descent have no choice but to keep moving. He directed a beautifully layered horror film that juggles, claustrophobia, monster mayhem and urgency. If you listen to the commentary you realize that it wasn’t a fluke. It is a carefully crafted movie that was thought out on every level and achieves the “pure cinema” label.
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3. 28 Days Later (2002)
Written by VJ Long (occasional contributor of amazingly VJ posts)
As an extreme alpha male (joke) I’ve often had the daydream of saving my girlfriend from an attack of infected rage zombies. The film 28 Days Later coupled with the fact I’ve no formal fighting experience continues to squash that daydream. This movie is a constant reminder just how scary the rampage apocalypse could be and I’m not just talking about the infected. It gives a frightening portrayal of how harsh the human race can be in times of crisis. I think that’s the true element of fear! 28 Days Later leaves the viewer terrified not only due to the infected rage zombies but also due to the fact that we can’t always trust the very people we are supposed to turn to in times of dire need.
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2. Pan’s Labyrinth (2006)
I will let Roger Ebert and his immaculate prose speak for Pan’s Labyrinth.
“Pan’s Labyrinth” (2006) took shape in the imagination of Guillermo del Toro as long ago as 1993, when he began to sketch ideas and images in the notebooks he always carries. The Mexican director responded strongly to the horror lurking under the surface of classic fairy tales and had no interest in making a children’s film, but instead a film that looked horror straight in the eye. He also rejected all the hackneyed ideas for the creatures of movie fantasy and created (with his Oscar-winning cinematographer, art director and makeup people) a faun, a frog and a horrible Pale Man whose skin hangs in folds from his unwholesome body.
What makes Del Toro’s “Pan’s Labyrinth” so powerful, I think, is that it brings together two kinds of material, obviously not compatible, and insists on playing true to both, right to the end. Because there is no compromise there is no escape route, and the dangers in each world are always present in the other. Del Toro talks of the “rule of three” in fables (three doors, three rules, three fairies, three thrones). I am not sure three viewings of this film would be enough, however
The Winner: Cabin in the Woods (2012)
Cabin in the Woods put a spin on the horror genre, turned it 180 degrees and let a Merman eat it. It is a much delayed horror classic that incorporates humor, blood and a trowel as a death weapon. It isn’t afraid to kill its characters and has some huge genre killing balls. Drew Goodard and Joss Whedon have given the world a beautiful horror hybrid that started as an underdog and has become a classic of the genre. In an interview with the AV Club, Joss perfectly encapsulated Cabin with this quote:
If you love horror, then you’ll love Cabin In The Woods!” And: “If you don’t love horror, you still might love Cabin In The Woods!” It’s designed for hardcore horror fans, but it’s also designed for everybody else. There’s enough thought and care and love and great craft that went into doing it, that the fact that it has some thrills and some hideous gore is—well, it’s either the cake or the icing. I’m not sure which. There’s cake. All I know is, you see it and you get cake.
We need a prequel so we can check out more of these monsters! Enjoy the cake!
What are your favorite 21st century horror films? Comment on Facebook, Twitter or below to let us know what films you love! Thank you for voting and reading!
Polls are closed (thank you for voting!). Make sure to check Twitter (@moviesfilmsflix) for the best 21st century horror films that you won’t find on “best of” lists.
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MFF Netflix/Amazon Streaming Recomendations: Where to Find the Best Horror of the 21st Century
Hello all. Mark here.
I recently wrote about the best horror films of the 21st century and wanted to let you know where you can find some of the movies on the lists. I searched through Amazon Prime and Netflix (sorry Hulu) and found the films that were ranked in or around the top 50. Hopefully this makes your life easier as you navigate the black hole that is searching through streaming services looking for something to watch.
We searched Netflix for two hours and this is what we picked! We should have looked at MFF’s list about 21st century horror!
The following top 20 ranked horror flicks on the audience/critic lists offer something for everyone. If you are in the mood for Korean serial killers, pesky ghosts, yuppie murderers or creatures in the mist you are in luck!
Sidenote: The movies with the bold font have been reviewed by MFF. Probably the greatest reviews ever.
Let the Right One In (Netflix) – A beautiful tale about a vampire in Sweden.
The Host (Amazon, Netflix) – A perfect introduction to Korean horror. If you are into creature features you will love this movie.
Housebound (Netflix) – A New Zealand export that puts a fun spin on the haunted house genre.
A Girl Walks Home Alone at Night (Netflix) – The first Iranian vampire western ever made.
Maniac (Netflix) – Elijah Wood wipes out unsuspecting women in this bonkers remake
Battle Royale (Netflix) – Japanese ninth graders kill the living crap out of each other.
Sympathy for Lady Vengeance (Netflix) – A fantastic revenge tale that could’ve only come from South Korea.
I Saw the Devil (Amazon, Netflix) – The most insane game of cat and mouse you will ever witness.
Tucker and Dale vs. Evil (Netflix) – Two Rednecks deal with jerky college kids who are intent on killing themselves.
The Others (Netflix) – A Sixth Sense knockoff that is actually really good.
American Psycho (Netflix) – A yuppie kills a lot of people in the 80s.
The Babadook (Netflix) – A woman and her child endure some really weird and strikingly original Australian shenanigans.
The Mist (Amazon) – Mist comes in. People hold up in grocery store. It is is very bleak.
You’re Next (Amazon, Netflix) – A badass heroine wipes out dumb killers .
Devil’s Rejects (Netflix) – Rob Zombie will hurt your soul with this awesomely soul crushing road film.
The following horror treasures ranked in or around the top 50 are totally worth your while.
Dead Snow (Netflix) – A guy named Red and his friends battle Nazi zombies.
Dead Snow: Red vs. Dead (Netflix) – A guy named Red battles Nazi zombies….again.
Honeymoon (Netflix) – A honeymooning couple go to a cabin in the woods. Nothing good happens.
House of the Devil (Netflix) – Never babysit in a creepy old home full of weird people.
Grabbers (Netflix) – Irish villagers need to stay drunk to avoid death via aliens.
Troll Hunter (Netflix, Amazon) – A Swedish man battle trolls in this found footage gem.
Creep (Netflix) – Man answers Craigslist ad. It all gets weird in a gloriously original way.
Snowtown Murders (Netflix) – This movie will crush you soul. Good job Australia.
The Guest (Netflix) – Imagine if Universal Soldier met Terminator.
Berberian Sound Studio (Netflix) – An audio technician loses his mind in Italy.
John Dies at the End (Amazon, Netflix) – This film defies explanation. That is a good thing
Under the Skin (Amazon) – Imagine if Species was directed by Gus Van Sant
Tusk (Amazon) – It didn’t do well in ranking but it features a man being turned into Walrus. That is worth something.
Ju-On (Amazon) – Japanese killer kid ghost story perfected
Spring (Amazon) Imagine if Before Sunset met Species.
Cheap Thrills (Amazon) – Two men have a very bad night. I love Cheap Thrills.
21st century horror films that you won’t find on “best of” lists. These are films that didn’t make the cut but are much beloved.
Devil (Netflix)
Jug Face (Netflix)
Oculus (Netflix)
The Taking of Deborah Logan (Netflix)
The Pact (Netflix)
Teeth (Netflix)
The Canal (Netflix)
The Houses October Built (Netflix)
American Mary (Netflix)
Pontypool (Netflix)
Black Death (Netflix)
Grave Encounters (Amazon)
The Woman in Black (Amazon)
The Battery (Amazon)
V/H/S (Amazon)
The Signal (Amazon)
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Hello all. Mark here.
The R-rated late night comedy is a staple of cinema. They won’t win any awards but they serve a very specific purpose. We need late night movies that involve zero thinking, profane shenanigans and a bunch of underdogs overcoming obstacles. These movies provide perfect background fodder and won’t trouble you with anything resembling deep thoughts. They know what they are and excel at giving you a good time.
I’ve scoured the Netflix archives and found six films that you will love while watching late at night. These movies involves zero thinking, zero twists and enough comedy to keep you awake. You can watch them over and over and the idiocy will become endearing.
Without further ado here are the films!
Inbetweeners/Inbetweeners 2
The Inbetweeners started as a cheeky little television show and grew into a record-breaking comedy smash hit in the UK. They broke records over the pond and remain an unknown commodity here in the states. You will love it as these idiots engage in all forms of stupidity. The unexpected thing is that they are really likable and they have more personality and lived in chemistry then need be. You will laugh as poop runs down water slides, dances are done with no coordination and bodily fluids touch everything. These guys fail up and no matter what they do things go wrong. You need to appreciate four cheeky fellas who continue on through every embarrassment.
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Not Another Teen Movie
I watched Not Another Teen Movie and I was happily surprised that it didn’t crush my soul. Shakespeare it ain’t but it stands tall over the majority of the spoof riff-raff inhabiting the world. It is profane, more profane and features a guy saying “Let’s make like a tree….and branch.” It is loaded with decent music and you can’t believe Captain America engaged in this insanity. Over the years I’ve found myself quoting Not Another and spelling secret like s-e-c-r-a-p-t. If you are into paint stained overalls, slow motion Lacey Chabert walking and smart stupidity you will enjoy Not Another Teen Movie.
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Jay and Silent Bob Strike Back
Kevin Smith and Jason Mewes have been making the world more profane since 1994. The fact that Jay and Silent Bob got their own movie loaded with cameos by Matt Damon, Will Ferrell, Chris Rock, Jason Lee, Wes Craven, Judd Nelson, Carrie Fisher, George Nelson, Sean William Scott, Jon Stewart, Tracy Morgan, Gus Van Sant, Jamie Kennedy, Shannon Doherty and a nut punching Mark Hamill is pretty amazing. It is late night movie personified as we get a couple misfits who save the day, punch internet haters and land Shannon Elizabeth.
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Outside Providence
My brother’s in a wheelchair because of a freak accident as a kid. One day we were playing touch football and he fell off the roof.
Outside Providence tells the age-old story of a dumbass kid being sent to a prep school as punishment for rear ending a cop car while stoned. His father played by Alec Baldwin always busts his chops and his best friend is named “Drugs Delaney.”
The name “Drugs” leads to a funny exchange at the swanky prep school:
Dean Mort: Mr. Dunphy, do you have a friend called “Drugs”?
Timothy Dunphy: Drugs Delaney?
Mr. Funderberk: How many individuals named drugs could you possibly associate with?
Timothy Dunphy: Just one.
It is one of those movies that I look back at with fondness because I watched it late at night during college. It was written by Peter Farrelly (Kingpin, There’s Something About Mary) and has a laid back stoner vibe that plays perfectly as a late night experience.
Grandma’s Boy
Grandma’s Boy is the quintessential late night comedy. It bombed in theaters but has since amassed a loyal following who adore it. It is juvenile, crude and loaded with likable characters who are juvenile and crude. I thought this would be another Adam Sandler Happy Madison bore fest. However, it rose above expectations, became a cult classic and made more than $30 million in DVD sales. Grandma’s Boy tapped into the gaming culture and they responded in kind. If you have a three TV set up go ahead and play games on two and put this on in the background.
I love this quote:
All I’ve ever cared about was video games and they made me a millionaire. So maybe I don’t know what the Civil War was, or who invented the helicopter even though I own one, but I did beat The Legend of Zelda before I could walk. I’m thinking about getting metal legs. It’s a risky operation, but it’ll be worth it.
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Hello all. Mark here.
The MFF podcast is back and we are talking 21st century horror films! You can stream the pod on Blog Talk Radio or head over to Itunes so you can download it and tell the world how great it is via ratings and reviews (Thanks!).
Sidenote: There were a few technical issues due to wonky hotel wifi. As the pod progresses the sound quality improves.
It all started with a post I wrote about 21st century horror films. I sorted through hundreds of movies, collected data on 160 and broke down the numbers in order to determine averages. Here are the four categories I researched.
- The Top 20 Critically rated 21st Century horror films averaged from Rotten Tomatoes and Metacritic critic scores.
- The Top 20 Audience rated 21st century horror films from IMDb, RT Audience and Metacritic Users.
- The Top 25 Critical and Audience rated 21st Century Horror Films from Rotten Tomatoes, IMDb, and Metacritic.
- Data from renowned horror websites Shock Till You Drop, Bloody Disgusting,Bloody Good Horror, Dread Central and Fangoria.
I expected that people would appreciate the post but I didn’t expect that it would be shared on The AV Club and go on to collect 10,000 views, 3,000 votes and thousands of FB likes in two days. The post hit lightning in a bottle and I loved reading the comments and discussions that were sparked by ranking 21st century horror films.
One day we will get a Merman movie.
In order to give you more insight into the collection of films and data the MFF crew read half of the article and grilled me about the data analysis and what exactly is a “horror” film (we also talk about Kurt Russell). It is a spirited discussion that covers all the bases while still managing to discuss why you should never order Bloody Mary’s in dark and loud bars.
If you get a chance check out the article and vote for your favorite 21st century horror films! I’d love to know what you think. Please subscribe, rate and share the pod. It is much appreciated!
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Ex Machina is the rare “intelligent” film that is actually intelligent. It is a fantastic science fiction film that works wonders with a $15 million budget (AKA Avengers craft service budget) and is performed to perfection. Director and writer Alex Garland (The Beach, Sunshine, 28 Days Later, Never Let Me Go, Dredd) continues his hot streak and proves he is one of the best in the business.
Ex Machina revolves around two humans, one very special A.I. creation and a whole lot of booze. It is a character heavy film that feels like a chess match played by three people. It is rare that we get these kind of movies and I love that it is getting Academy Award rumbles. The reason I am writing about it now is I want to get Ex-Machina in front of more eyes and spotlight Alex Garland.
Director/Writer Alex Garland is very good at making material fresh. He and Danny Boyle rocked the zombie world with 28 Days Later and his screenplay for Dredd was pure white-collar violence. He understands that characters need to be likable/relatable/believable and more often than not his films revolve around a journey into violence. There are Colonel Kurtz types characters, bonkers imagery and out of left field final acts throughout Garland’s scripts. Most importantly, Garland films always feature iconic imagery that become burnt in your memory.
I love what Garland had to say about writing in an AV Club article.
I really, really love cinema. And I personally think that one of the downsides of auteur theory has been too much emphasis put on the deification of directing, and some of the other roles have been dismissed—and sometimes, within the production, almost treated with contempt. Now, in particular, because I perceive myself as a writer, I notice that about writing. It’s like a math teacher who thinks math is the most important subject in school or something.
I think film has lost track of how important screenplays are. And the consequence of that is really amazing writers in the visual art form have moved to television. And since The Sopranos—this is a general truth, it’s not a perfect truth—broadly speaking, the best adult drama has been on television. And we used to get Taxi Driver and Raging Bull and Apocalypse Now and The Godfather and you just keep going. The parallax would be all these interesting adult dramas that could be also quite mainstream. And they exist now, but they’re Breaking Bad and The Wire and Mad Men and even Game Of Thrones or whatever. I just regret that.
When looking at Garland’s original scripts and book adaptations it is easy to see the Hollywood opposite.
- Sunshine – Armageddon
- 28 Days later – Dawn of the Dead remake
- Ex-Machina – I, Robot
- Never Let Me Go – The Island
- Dredd- Judge Dredd
I appreciate that there is somebody out there with the intention of bringing mature themes back to cinema. His films/scripts have gone off the rails but he has made comic book characters and attempts to reignite the sun somewhat sophisticated. His films must be an actor’s dream because they get a script that was written with care. Ex-Machina is a perfect example of great script meets A-list talent.
Ex-Machina is aided by the inclusion of Domhnall Gleeson, Oscar Issac and Alicia Vikander. You will soon see Gleeson (About Time, Calvary) and Issac (Inside Llewyn Davis, A Most Violent Year) in the new Star War movies and Vikander will be in everything. It is the rare combination of three peaking actors taking solid material and making it better. I loved Issac’s bro-genius and his time alone has made him insulated and cocky. He boxes to detox himself but he drinks a lot which means he hits the heavy bag often. He can’t see anyway he could be foiled and it makes him vulnerable. When you’ve been God for so long you kinda believe it and I love how Issac underestimates his companions.
There is a hynoptic vibe to Ex-Machina and I love how a film predominately about people talking has you 100% engaged. A big part of the cinematic engagement belongs to Vikander. I had never seen her in a film before so there was no familiarity. Vikander is wide-eyed yet aware and she uses every opportunity to work her end game.
Ex-Machina isn’t all pretentious talk and chess matches. It has a wicked sense of humor and humanity that has sparked copious online debates about its content. Ex-Machina should be applauded for trying something new and I totally recommend that you check it out and learn some dance moves.
Movies, Films & Flix 