Best in Show: Horrors of 2017

In the year that was, the news was filled with plenty of real, terrifying horrors. But, running alongside it and keeping pace were the horror films churned out by 2017. From small-budget indies to big-budget blockbusters, the future of horror was confirmed in this year's fantastic releases. Even among duds like Rings and The Bye Bye Man, fans had plenty of material to devour and to be devoured by. And, while some circuit films have yet to receive a wide release, the movies available to the masses certainly left a mark. This week's list loos at the best horror films of 2017.

(imdb.com)

10. A Dark Song

By-and-large one of the most aptly titled horror films of the year, IFC Midnight's A Dark Song plays out like a seething ballad. With darkly comedic moments sprinkled amongst the ashes of this slow burn, A Dark Song features a pair of loners who come together to in the hopes of performing a ritual. The woman, who lost her son, hopes to reconnect with him and the man, whose motives are less sound, pair off perfectly. Their building tension and chemistry between the actors - Catherine Walker (The Clinic) and Steve Oram (Sightseers) - make for a truly compelling experience and the horrors, interwoven with messages of faith

(imdb.com)

9. Prevenge
Perhaps one of the weirder horror films to be released in recent years, the British import, Prevenge, is a bit of an enigma. Quirky to its core and blissfully unapologetic, this prenatal flick follows a young, down-on-her-luck pregnant woman, Ruth, who begins hearing the voice of her unborn child from within telling her to murder the annoyances around her. The movie benefits from its incredible pacing. It's a quickly-unraveling, but constantly entertaining story that hosts a ton of odd turns, including a stellar supporting role played by Kate Dickie (The Witch). Prevenge most certainly won't appeal to everyone, but this dark and pointed comedy-horror on motherhood packs quite an uncomfortable punch.


(imdb.com)

8. The Void

With a low budget and impressive visual effects, The Void is the rare indie sci-fi film that actually benefits from a lack of expensive CGI. Perfectly balancing the cult and alien subgenres, this movie brings plenty of twists and turns as characters trapped in a hospital quickly realize they're involved in something far greater with far more sinister intentions. The Void makes the most of its simplicity through fantastic characters, ambitious effects and particular style. It's one of the year's must see for fans of the 80s and beyond.

(imdb.com)

7. Raw/Super Dark Times
While the supernatural seemed to dominate the horror industry this year, two thrilling, grounded films brought a certain unrestrained intensity to the genre. Both Raw and Super Dark Times tell an unhinged coming-of-age story much drearier than typical fare. Raw, which follows a young vegetarian vet student who develops a taste for human flesh, features a sisterly bond that feels deeply real and deeply personal. Then, in Super Dark Times, a group of social outcasts find themselves at the center of an incident that quickly spirals out of control. Each use realism to instill a sense of long-lasting dread in its viewers. Raw and Super Dark Times expanded the boundaries of where horror could go, focusing less on inherent evil and more on the terrors that come with small decisions and mistakes that can change lives forever.


(imdb.com)

6. The Devil's Candy

The second IFC Midnight film to make this list is also one of their best ever. The Devil's Candy is a rock-n-roll, metal possession film oozing with stylistic flair. Featuring a stellar cast, including Shiri Appleby (UnREAL), The Devil's Candy is the rare horror film that features a family that's entirely likeable. Each of the three is youthful, interesting and completely watchable. This, alongside a fantastic score and camerawork make for a movie that is an absolute must see - especially now that it's on Netflix.

(imdb.com)

5. The Blackcoat's Daughter

It's been a long year. So long in fact that it's hard to believe that The Blackcoat's Daughter didn't receive a wide release until 2017. One of the most ultimate slow-burns ever in horror, this film could be easily overlooked by fans of the mainstream gut-punching jump scare, but it shouldn't. Both sides of the horror coin matter and can be appreciated, and if any film could appeal to everyone, it's this one. Emma Roberts, who's scream queen resume only continues growing, is absolutely amazing in this film which is full of disturbing twist and turns.

(imdb.com)

4. Happy Death Day

While the slasher subgenre seems to have taken a backseat in recent years, Blumhouse Pictures' Happy Death Day proves it still had legs. Bitingly funny, at varying points tense, and wholly entertaining, this Groundhog Day-esque movie is surprisingly stellar. Jessica Rothe shines as a college student who relives the same day of her murder over and over again until she can find out the killer. Audiences can expect to be completely captivated by the film's bonkers premise and execution as Happy Death Day gives new life to a disappearing subgenre.

(imdb.com)

3. It Comes at Night

It Comes at Night is The Witch of 2017. Perfectly styled and disturbingly dark, this pandemic-based film came hot off of the festival circuit with rave reviews. Naturally, the wide release was met with similar applause as viewers fell in love with the atmospheric tension that runs deep throughout. The dream sequences are horrifyingly anticipatory and with some gut punches to be expected later in the film, audiences can expect to be thoroughly gloomy after it ends. It Comes at Night doesn't necessarily reinvent the wheel but it does a good job at keeping it greased.

(imdb.com)

2. IT

Brimming with nostalgia and hosting a collection of perfect young stars, IT captured almost everything that made the Stephen King book so popular. It may not be the scariest film ever, but it’s certainly one of the highest quality horror films in recent years. There are plenty of genre-bending, moments of terror and even great laughs to make every moment feel justified. Overall, It is everything audiences will expect to see. By offering some great retro style, perfect cinematography and great scares, this film feels like a complete product. IT masterfully executed and a polished reminder that that a big-budget, R-rated horror film can have mass appeal and not lose the insidious scares. Here's hoping for more.

(imdb.com)

1 Get Out

One of the most rightfully lauded films of the year also happens to be a horror film. Perfectly pairing political commentary and race with horror and inflections of comedy, Get Out is close to perfection. It's easily one of the best horror films in years and probably one of the best films in general. Props to Jordan Peele and the cast who committed themselves to every aspect of this game-changing creation. Some would probably call the success of Get Out a surprise, but horror fans know all too well how many films are deserving of accolades and so often ignored because of their genre. Hopefully though, Get Out signifies a change in critic culture that neglects to include horror just because it's horror.   

 
Honorable Mentions:

Annabelle: Creation

Recapturing what was lost in the first spin-off of The Conjuring, Annabelle Creation was conventional, but definitely terrifying.

Alien: Covenant
Despite "fan" backlash, this nasty flick features great acting, especially by Michael Fassbender, and plenty of scary action.

Split
M. Night Shyamalan's Split was a nice kick-off to what could have been a down-trodden year for horror thanks to early entries The Bye Bye Man and Rings.

Nails
While nowhere near perfect, Nails is a little indie film with a lot of potential.

 

Worst in Show: 2017 Horror (Pt. II of II)



(imdb.com)

5. Wolves at the Door
Horror fans eat up pretty much all types of brutality in film as long as the result is warranted, fictional and generally in tasteful,  good fun. So when the marketed-as-a-horror-film true account of the grisly Manson Family Murders was unleashed in the form of Wolves at the Door, it should have come as no surprise that this unnecessary, distasteful and one-dimensional depiction left little to satisfy viewers. Told through a true perspective with little added depth, this movie would have done far better to stay clear of any real life cults, members or slain victims with living relatives. At least then the very blatant The Strangers rip-off would feel a little more spirited and tactful.

(imdb.com)

4. Be Afraid

Indie horror can lead to some pretty great little gems. Unfortunately, Be Afraid is far from sparkling. Confusing, immature and generally dumb, Be Afraid should have stayed out of the public purview. It's a laughable and disjointed little film with little to enjoy and little to write on.

(imdb.com)

3. The Bye Bye Man

The Bye Bye Man is a rough film to get through. Melding teen horror, far too many conventional scares and poor CGI, this almost jokey movie didn't raise any hopes for the 2017 year in horror. The Bye Bye Man is filled with unlikeable and generally unreasonable characters with little meat. Like so many made-for-the-masses horror films, like Ouija, this movie felt deeply insincere and unstylish; two things that could have been changed and brought the movie a long way past the mediocrity viewers were left with.

(imdb.com)

2. Rings

Objectively, Rings is the worst horror film of the year. In a rare first-person perspective, I've not forgotten how terrible this film was and how more than half of the audience in my theater stood up and walked out midway through. The experience was painful, but unlike anything I'd ever witnessed. No movie I've seen in a theater - big or small - has caused such a unanimous uprising. Tepid, poorly acted and incredibly tension-free, the CGI-fueled Rings felt insulting to both the original Ringu and the American remake. It wholly deserves every criticism it gets, and probably more. In fact, had it not been for one film's release, it would most certainly take the top spot. 

(imdb.com)

1. Jeepers Creepers 3

In a second rare first-person perspective, I'm going to declare here and now, that I never saw Jeepers Creepers 3. But almost as objectively as one could look at Rings and personally as a human being, I can say that this movie is surely garbage. Directed by convicted child molester Victor Salva, Jeepers Creepers 3 picks up after the first film and... Well honestly, it doesn't matter because this movie was an offensive cash grab. It's an insult to horror fans everywhere that spend much of their time arguing that the genre isn't filled with creeps and criminals. That's it.

Worst in Show: 2017 Horror (Pt. I of II)

For what has been a mostly stellar year in horror, from big budget masterpieces to smaller indies, there have been a number of misses in the industry this year. So, as the prospects of ripping open some presents begin to take over minds all across the country and much of the world, we're taking a moment to rip open some of 2017's worst horror movies. Like those fantastic releases this year, these terrible horror films come in all shapes and sizes. Sequels, reboots and indies, alike found plenty to groan over. Here are the ones that warrant the loudest noises of displeasure.

(imdb.com)

10. Amityville: The Awakening

In Amityville: The Awakening, Bella Thorne continues to jumps deeper down the scream queen rabbit hole and horror fans ask why she's being allowed to. What makes her marketable in these roles? In this film, viewers will continue to wonder. Bland, typical and far less impressive than most haunted house films, Amityville: The Awakening does answer the question as to why it had such a tumultuous release- it just wasn't worth releasing.

(imdb.com)

9. 12 Feet Deep  

Winning points for concept, but losing the majority in execution, it'd be easily to believe that 12 Feet Deep would be the claustrophobic thriller of the year. Supposedly about a pair of sisters' fight for survival trapped in an Olympic pool, this movie brings in too many other plot lines in an almost anxious fear of the silent, overarching dread it should have driven (swam?) home. 12 Feet Deep isn't the most offensive release of the year, but it’s certainly one of the biggest let downs.

(imdb.com)

8. Darkness Rising

IFC Midnight has been quite a savior for horror in recent years. Distributing some of the biggest names in modern horror, the typically sleek distributors have dealt out some duds, but mostly their releases have been great. Unfortunately, one of their duds - this year's Darkness Rising - is a mark too big to ignore. Annoying, unintelligible and poorly told, Darkness Rising definitely brings the darkness. If only there was something scary within it.  

(imdb.com)

7. The Mist (TV Series)

What began as an intriguing recreation of the Stephen King novel of the same name, quickly divulged into a schlocky and redundant piece of bad special effects, mediocre acting and unlovable characters. The Mist isn't a movie and thus it’s difficult to compare to others on this list, but in a way, that makes it almost worse. Given an entire season to bring in the fears and unleash terror on audiences, The Mist serves as a blatant reminder that horror is only good, when all of its pieces work together. Not helping its situation is the previously released feature film of the same name that is far superior.

(imdb.com)

9.  Cold Moon

Just yesterday, Cold Moon received a scathing review from HOR(iley)ROR noting it as competition for worst of the year. However, upon reflection, it gets somewhat of a pass in light of movies that are somehow even worse. A mystery thriller with supernatural elements, this film follows the aftermath of the murder of a young woman in a small southern town. Digestible but not much else, Cold Moon feels entirely senseless. The violence? Senseless. The characters? Senseless. And the plot? Completely senseless. In multiple scenes it becomes clear how difficult it must have been to sell this movie to any distributer. There is little rhyme or reason for any of the film's direction and in the end... Well, chances are you won't make it that far.

Review: Ghost House

(imdb.com)

Shipping a horror movie to a foreign land can open up the door to a lot of criticism. After all, taking opportunity in the use of others culture, if done so improperly and without accurate depiction and research, is disrespectful and rarely accomplishes its goals. These movies, blinded by their own ambition to create something mystical and dark, fail to have the foresight to make something worthy of using another country as a setting. Following this trend is the inappropriate and worst of all disinteresting Ghost House.


Following a couple on vacation in Thailand, Ghost House has everything you'd expect from a travel abroad horror movie that attempts to capture some supernatural element of a foreign land. From strange rituals to unhelpful and odd locals, the couple gets more than they bargain for when the woman stumbles upon and is possessed by a ghoul. The film stars Scout Taylor-Compton (The Runaways) and James Landry Hebert (Westworld) as Julie and Jim, the couple central to the movie's plot. Mark Boone Junior (Batman Begins) plays Reno, some sort of helpful mystic, and Michael S. New (Crazy Medicine) plays the couples driver, Gogo.


Whether it’s the screechy broken English and lack of self-awareness exuded by every character outside of the main couple or the unfortunately sole instance suggesting that the couple may be neglectful of their views and disrespectful of the foreign land they've entered, Ghost House does little to improve on critically planned films like The Other Side of the Door or Out of the Dark. While it’s a similar film, the redeemable qualities of the aforementioned movies are all but missing from the terribly done, offensively exploitative plot of Ghost House. Its portrayal of Thai people is absolutely unforgiving and the film’s most egregious aspect, but not its only.


Ghost House isn't simply offensive in its setting - mystifying and otherizing Thai culture - it’s also gravely offensive in its cheap ploys and poorly timed scares. Ghost House lacks any of the charm that similarly bad movies have; the characters are unlikeable, the tension is nonexistent and worst of all, the film never gets scary. Each scene plays through with some brief instances where a scare would begin, only to become jolty and poorly done.


While you could pick out pieces from this jumbled mess, like some mediocre camera work, there truly isn't anything to look twice at. From the casual, overly awkward mention of a ghost house to some strangely inserted supporting characters, the film feels poorly put together; its stitching ripping apart from the get-go. Ghost House, like its flat, unenthused title, is exactly as plain as it sounds. Its harsh depiction of a foreign land, schlocky plot and lackluster scares all culminate into something best avoided.  3 out of 10.

Review: Rings

(imdb.com)

Horror sequels are a thing. There is no way around it. They're going to make them and they're going to make them a lot. What does need to be a thing however, is awful, no holds barred trash fires like Rings. I get it; the dislike for movies like Sinister 2 or Woman in Black: Angel of Death hold some warrant, but never again do I want to hear that horror movie sequels like these are as condemnable as the third installment in the long since dried The Rings series. This movie sucks, sorry there isn't some critical way of putting it. When something is this bad, it doesn't deserve to be examined seriously or academically. It just sucks. 

Note: Rings is a third, not a remake. Rings opens up as sort of a reboot to the old mythology put forth by the original two, but quickly devolves away through unexplainably complicated additions to the story, with what I'm guessing were hopes that no one remembered the actual plots of the previous two. This one follows Matilda Lutz (L'Estate Addosso) as Julia, a girlfriend and hopeful final girl who wants to find out why her boyfriend isn't texting her back. She goes to his college, barges in on one of his seminars and gets caught up in a science experiment involving Samara. Rings also features Alex Roe (The Fugitives) as boyfriend Holt, Johnny Galecki (The Big Bang Theory) as seedy science professor, Gabriel, and Vincent D'Onofrio (Full Metal Jacket)  as former priest and watcher of Samara's grave, Burke.

The list of atrocities committed by Rings is pretty extensive. So let’s look first at the scares since that's what really matters, right? Surprise, there are none! That is except for one- a bird hitting a windshield is this movie's sole jump scare and claim to fame. If I really cared to ever watch this movie again, I could just as easily Windex my window and wait for the same effect. From shaky CGI to the lukewarm suspense that would make even the most committed fidget, Rings seems so careless, it's as if it was just made to make money (this is the movie's only purpose, in case you couldn't pick that up).

Then, there's the acting. All around weak at best, sometimes worse than even expected, Lutz seems uninspired and unable to actually carry the role of a scream queen. Even after the dialogue attempts to set her up as strong-willed and independent woman, she quickly folds into half-hearted screams and acting that would make a freshman acting class cringe. Galecki also offers up a raw chicken quality as the professor who on one account is supposed to be "edgy" and "cool" but then also creepy for taking advantage of graduate students. You could also call out the D'Onofrio as well, but it's starting to feel a little repetitive. He's weak, but his storyline is equally awful, so maybe he's not entirely to blame (I'm being generous).

There is nothing salvageable about this tedious mess of a film. I could continue knocking on each and every aspect of how bad this movie was, but instead I'll say this: half of my theater got up and left midway through the movie. The other half, talking and on their phones, never sat still, captivated by the horrors of Rings. This movie is the type of car crash (oh there's one of those in this movie too, if that entices you), that you actually want to look away from because as noted, Rings sucks. I give it one square out of 10 rings because, like this movie it doesn't fit in.

Side note: I said The Bye Bye Man had an early ticket for worst of 2017, I rescind that. By comparison, The Bye Bye Man deserves Academy Awards.