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.

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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

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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.


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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.

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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.


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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.

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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.

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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.

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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.

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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.

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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.

 

In Defense: Annabelle



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In reviews for the latest installment in the growing universe of The Conjuring, critics (including myself) have been quick to mark Annabelle: Creation as a much needed divergence away from 2014's Annabelle. Despite being a direct prequel that notably doesn't ignore the original, Annabelle: Creation reviews have consistently and with some good reasons, mentioned Annabelle and all its flaws. But, for all of its clunky misdirection and overly stale conventions, the first of what could be many spin-offs, Annabelle is deserving of a second watch.

Far better than it’s been lamented to be, Annabelle follows the Gordon's shortly after husband John picks up a very recognizable doll from a thrift store for his pregnant wife, Mia. After bringing the doll into the home strange things begin to happen and, after the murder of their neighbors by as satanic cult, they decide to move to the city. Things obviously don't slow down there and like many horror movies, the results are typical, but in many scenes, terrifying. Annabelle stars Ward Horton (Pure Genius) as John and Annabelle Wallis (Come and Find Me) as Mia. Tony Amendola (The Mask of Zoro) and Alfre Woodard is also featured as Evelyn, a neighbor and book shop owner with knowledge of the occult, and Father Perez, respectively.

Annabelle isn't perfect by any means. There are quite a few flaws that are worth noting. From the stale portrayal of a mystic minority character at the hands of Woodard to some really old horror scares that are less terrifying and more tepid, Annabelle deserves criticism. While Woodard herself is great in the film, her character is a disservice. Jump scares are also really overly placed throughout making it difficult to focus on the movie's plot itself. Plus, and perhaps most notably, through all of its sleek graphics and camerawork, the gleaming feeling of Annabelle leaves the movie feeling rather insincere. Sure you could figure out the play-by-play of the movie, but the greatest offense of Annabelle is its complete lack of personality. Rigid set design, although set in a time period, feel completely fabricated and the movie seems most worried about the industry's bottom line - making money.

But, writing off Annabelle completely is neglectful. While typical, Annabelle has multiple scenes that carry enough scares and tension to lift this movie up. That - paired with Annabelle Wallis' fantastic turn as a mother trying to adjust her life in the face of supernatural woes, more than compensate for the dead weight in this film. In fact, the storage room scene where Mia gets trapped in a basement and frights come out in waves is perhaps one of the scariest parts in modern horror to date. There are also the opening scenes in the young couple’s home that set the stage for what could have been an even better movie. Even if it later dismantles, these scenes are incredibly tense and well executed.

Overall, it’s not so much that Annabelle isn't deserving of criticism, it’s that the harsh words flung at this movie put it on an unfounded level. This is no Rings or Bye Bye Man. Annabelle has some horrifying parts. It has an amazing cast who all make the best of their roles, as well as some well-shot scenes that capture the dread felt by the characters. Annabelle isn't as good as it could have been and isn't as good as Creation, but it definitely shouldn't be ignored.

Review: Annabelle: Creation

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For what feels like years, talk of cinematic universes seemed to only revolve around superhero movies and explosive sci-fi franchises. But, proving caped crusaders wrong is the work of James Wan and the flourishing world of The Conjuring. From the original film to the successful sequel and the critically berated Annabelle, the future of The Conjuring is proving to have longer legs than anyone thought. Spin-offs, including The Nun and The Crooked Man, and a third installment of the original storyline all are planned. And, with the release of Annabelle: Creation just last week, The Conjuring universe has been placed back into critics good graces.

Annabelle: Creation follows a couple who, after the death of their daughter, provide refuge to a girl's orphanage. One of the young girls finds a doll- yes, the doll - and everything quickly unravels. As with any horror film, moving into the house proves to be a terrifying time for all; featuring plenty of bumps in the night, dark hallways and plenty of horrifying moments. Featuring many budding stars and a few veterans, Annabelle: Creation offers a pretty stunning cast of varying ages and generations. Annabelle Creation stars Anthony LaPaglia (Without a Trace) and Miranda Otto (What Lies Beneath) as the parents of the recently deceased Bee, played by Samara Lee (Concussion). Lulu Wilson (Ouija: Origin of Evil) plays Linda, the headstrong, caring friend of the polio-inflicted Janice, played by Talitha Eliana Bateman (Geostorm). The film also stars Stephanie Sigman (Spectre) as the girls' caretaker, Sister Charlotte, Grace Fulton (Badland) and Philippa Couthard (The Catch) as older girls, Carol and Nancy, and Tayler Buck (American Crime Story) and Lou Lou Safran (The Choice) as other orphans.

It's important to note each of the cast due to the fact that they're all fantastic. Even for smaller parts, actresses like Fulton and Couthhard provide a certain depth to the film and make characters that may do bad things, but aren't deserving of the horrors they encounter. What'll come as a shock to no one, however, is young scream queen Wilson, who plays the somewhat awkward, but kind and engaging Linda.

Is Annabelle: Creation as incredible as James Wan's first two creations? Maybe not. But clearly the franchise is in good hands. Director David Sandberg (Lights Out) tosses the franchise's latest back into the hyper-stylized world created by James Wan and even though the scares may not be as heart-stopping, they're still plenty gripping. Parting ways with the somewhat gleaming and more mainstream Annabelle for the better, Creation recovers all that was lost from the critically panned spin-off. Sure, there are some scares that align too closely to the gimmicks already used by the universe's older installments, but the fear factor never feels stale. Sandberg perfect captures moments of silence and pairs them with tense atmospheric music and scoring.

Annabelle: Creation accomplishes exactly what it meant to do: scare and stun. Whether it be in the shape of a scarecrow, eyes in the darkness or, of course, the doll central to it all, this film realigns The Conjuring universe with the path that won so many over in the beginning. Annabelle: Creation is a blast of nostalgia. For fans of horror, there are more than enough terrifying moments to satisfy as well as some great characters to care about. 7 out of 10.

Best in Show: Scary Children's Toys (Pt. II of II)

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5. Ha-Ha-Hoo Owl (Deliver Us From Evil)

While many larger, more iconic children's toys exist in the horror universe, the owl stuffed animal at the center of Deliver Us From Evil shouldn't be overlooked. Easily one of the scariest parts of the movie and undoubtedly a terrifyingly suspenseful moment, the filmmakers ability to capture the suspenseful atmosphere of the Ha-Ha-Hoo Owl scene is incredible. Like The Fourth Kind-meets-Care-Bears there is something so sinister about the plush, hollow-eyed owl rolling across the floor, cawing at the young daughter of police officer Sarchie.

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4. Clown (Poltergeist)

While Poltergeist is a bona fide classic in its own right, it should be noted that the terrorizing clown toy a large reason why. By far one of the film's most iconic and haunting scenes, the clown is much like the Ha-Ha-Who Owl and likely was the inspiration behind it. It sits there subtly, but the audience and the characters know that something far darker is going to happen in the coming scenes and when it does, it does not disappoint. The clown in poltergeist only fuels horror's relationship with clowns and the peoples' fear of them and for that; I guess we should be thankful?

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3. Billy (Dead Silence)

Long before James Wan created the traps and dolls that would be central to Saw and The Conjuring franchise, he was busy playing with puppets. Dead Silence is easily one of the most underrated gems in modern horror and deserves better. Sure it's got a slightly ridiculous plot and some cheesy moments but the puppets and story at the core of this film are scary. The tuxedo-wearing Billy in particular is especially noteworthy. Classier that the other haunted objects on this list, the gleaming Billy is a nightmare-inducing entity who's eyes hold a stunning, but terrifying expression. Billy, like Dead Silence, is greatly underestimated in the horror industry. 

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2. Chucky (Child's Play)

Easily the most well-known toy on this list, Chucky is perhaps the most recognizable and horrific of horror's scary toys. While later sequels and oversaturated merchandising diminished the character, but the original Child's Play is certainly a noteworthy excursion. Deeply disturbing and at times, comical, the redheaded Chucky made a generation afraid of their toys. Even if somewhat laughable in a modern horror context - especially thanks to some truly odd and trashy sequels - the legendary Chucky is an undeniable force in the industry. This sinister doll is terrifying.

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1. Annabelle (The Conjuring)

Say what you will about the modern horror era, but it has given us the scariest children's toy ever. Completely objective and unquantifiable, Annabelle is not only iconic, but also scary. Even after it was obstructed by a spin-off and viral fame, the original showing of the Annabelle doll was absolutely terrifying. Think of the moment audiences were first introduced to her and the suspense she built throughout the film. The expectations of movement, the blank stares and all of the troubling mythology surrounding her create one of the unsettling creations in horror. Annabelle may have hit an oversaturation much like Chucky, but there is still something innately terrifying about this old-timey, cursed doll.

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Best in Show: Scary Children's Toys (Pt. I of II)

Scary children's toys are nothing new for the horror industry. From classics to the modern day, dolls and assorted play things have instilled fear in adults everywhere. And, while some of the earliest films have struggled to stand the test of time without becoming comical, the trend continues to this day with films like Annabelle: Creation set to be released this summer. The fact is, horror movies and children's toys are intrinsically connected; showcasing just how disturbing some of society's recreational objects are. This week's list covers horror's scariest toys.

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10. Cymbal-Banging Monkey (Toy Story 3)

This blog is most definitely about horror movies, but the cymbal-clapping monkey featured in Toy Story 3 is the stuff of nightmares. The scene - featuring the bug-eyed monkey watching security cams - is nothing short of horrifying as his red-ringed eyes and insane clattering would traumatize even the most fearless child. I am so happy I waited to see this movie without children in the theater because I can only imagine the tears it caused. Disney should consider delving deeper into the horror genre, especially if this is the work it can create. 

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9. Billy (Saw)

With a new Saw film right around the corner, acknowledging the iconic face of the franchise is only right. Billy is the type of scary doll that should definitely give pause to anyone believing in Jigsaw's sanity. What would ever possess this father to give his son something that is so visibly scary? Unlike other picks on this list, there is nothing salvageable or innocent in the face of this swirly-cheeked, tuxedo-wearing toy. Add on the later use of Billy as the face to Jigsaw's videos and traps, and this puppet easily becomes one of the scariest things to come out of the series.

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8. Der Klown (Krampus)

While campy and fun, the Christmas horror hit, Krampus, offers plenty of jarring moments. From a crazed tree topper to the hoofed demon himself, there are moments of real horror in this otherwise over-the-top movie. Perhaps none are as scary as Der Klown, the jack-in-the-box creature central to kidnapping the film's family. The first time the big, nasty beast-toy opens his mouth is horrifying. It's like something out of a 80s horror movie but with effects meant for modern audiences, all culminating into something far more effective.

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7.  Brahms (The Boy) 

The Boy got a pretty bad wrap when it came out. Early reviews showed promise, but upon its full theatrical release, the Lauren Cohen-starring horror film took a sour turn. And, while I'd argue some criticisms are warranted, audiences seemed to overlook the very terrifying doll central to the movie. Brahms is a terrifyingly empty looking doll and the filmmakers do a terrific job elaborating on his mythology. From scattered shadows to movement across rooms, Cohen's character couldn't look away from him without feeling the absolute spin-tingling atmosphere and I felt no different. Brahms is scary. While the movie may have some faulty aspects, this toy certainly wasn't one of them.

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6. Talky Tina (The Twilight Zone)

The Twilight Zone can sometimes feel ancient next to some modern horror creations. While definitely scary for its time and still a cultural piece worth appreciating, the vast majority of the episodes haven't stood the test of time well. But, one episode in particular is an exception. For those looking to be scared, look no further than the 'Talking Doll' episode from the anthology series. Talky Tina has aged splendidly and even in it's black-and-white, 1960s glory it's still scary to this day. Easily one of the series most disturbing episodes, Talking Tina was ahead of its time - overtly opting to terrify the father, rather than the typical direction of the mother - and it works. This episode was simple, but effective in scaring its viewers and is definitely worth witnessing.

The Overlook: The Windmill

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For those left with emptiness from the severe lack of slasher films circulating the horror industry right now, look no further than The Windmill. Recently added to Netflix, this under-presented film about a group of tourists stalked by a supernatural killer while visiting Holland's acclaimed windmills, is the closest thing to a straight up slasher audiences will have seen in a while. Even as mystical, occult moments occur, The Windmill is - at a very base level - just a bunch of people being plucked off one-by-one; a tired but consistently entertaining horror convention that has all but disappeared recently.

The cast, while extensive, all do variably well in their roles and when they're killed off (spoiler, it's a slasher), you sometimes care, but most of the time - as is typical for slasher films, you don't. The Windmill stars Charlotte Beaumont (Jupiter Ascending) as Jennifer, a known stowaway with questionable mental stability, Bart Klever (The Pool) as Abe, the bus driver, and Adam Thomas (Altar) as Curt, one of the passenger's sons. The rest of supporting characters are practically cannon fodder, as predictable, but each give worthwhile moments of intrigue.

As noted, The Windmill follows a group of diverse tourists all with storied pasts and secrets as they embark, and later break down, on a road connecting Holland's windmill attractions. The Windmill hosts a variety of twists and turns, a lot more ineffective than not, but is ultimately an easy-to-watch, entertaining movie without stakes. The film's biggest strength is in serving up mid-2000s horror on a silver platter. For such a low budget, they offer worthwhile graphics and some pretty sudden deaths. The Windmill is reminiscent of See No Evil and offers the same level of strange fun.

The Windmill gets weird. There is no denying how odd this movie gets when the slasher aspect gets left behind by a convoluted supernatural plotline that is both confusing and awkward. If the movie had remained somewhat grounded, it most definitely would have been even better. But, as per usual, some horror movies like to add unnecessary distractions that only weaken them. Think how Annabelle went from cult-ghost movie to crazed-Insidious demon; it is that level of transition.

Overall, for a stumble-upon on Netflix, The Windmill is great. It's not terribly acted and is most definitely one of the more bearable additions on a streaming site known for some weak entries. The Windmill is like Chiller network: good for a sleepy night in, but nothing to write home about.

 

Best In Show: Horror's Creepy Kids (Part I of II)

Creepy kids are a staple of the horror genre. No matter what form they take, horror movies seem to always include at least one terrifyingly creepy child. Whether they're on the side of our protagonists like in Signs or are deeply villainous like most of the ones who made this list, children in horror feel necessary. Prior to completing this list I was trying to figure out how to limit myself from going off the rails. The final product includes a lot of ties and pairs to complement my indecision. I also removed children who were creepy but definitely not in opposition to the heroes of our stories. So, children - like the pair in Signs or Aidan from The Ring, are notably absent.



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10. Jason (Friday the 13th)

To be honest, I'm not a huge fan of the original Friday the 13th. It encompasses everything I love in a slasher film - its simplicity, setting and twist ending all should have left me satisfied, but the scares really could have been stronger. In fact, the only scare that really shook me was the one that made this list. Child-Jason, while only occupying a short scene, is perhaps one of the scariest moments in classic horror. It makes me fear for murky water, in the same way Jaws did and definitely deserves a spot on the scariest horror children.

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9. Damien (The Omen)

The original Omen is a classic and for good reason. Despite rarely saying anything, the central character to the film is creepy beyond belief. Damien does little but accomplishes a lot and the deeply rooted anger in his eye's makes for the most unsettling movie. Damien's ability to strike fear in those around him is pretty terrific for the viewer, who inadvertently is also scared in the process. The Omen isn't the greatest movie out there (sorry, not sorry) but Damien is definitely one of the greatest kids in horror.

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8. The Non-Children, Brahms (The Boy), Annabelle (The Conjuring) & Esther (Orphan)

Gosh, what have I done here? The answer is I combined all three of these because technically, they're not children - supernatural or otherwise, but their depiction is that of a child and the scares they provide are definitely noteworthy. Say what you want about The Boy but Brahms is absolutely terrifying. That dark, empty stare paired with surprisingly creepy rules to follow, all make for a character that sent chills down my spine. Then, there's Annabelle. Yeah, she's just a doll but she is a doll of a little girl and a truly iconic face of modern horror. The doll of Annabelle definitely helped push The Conjuring into the limelight and like Brahms, the shallow stares and the not-so-vacant atmosphere set by this character is bone tingling awesomeness. Lastly, Esther. Is there really anything more to say? Just watch any scene of Orphan and you'll instantly be afraid of her icy glare and ability to fake a smile. She could do equally well on some trashy reality show as she does killing those around her.

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7. The Children (Sinister)

While not a tie, this ranking gives way to a group of children that all really deserve a spot. Captured by Baghuul, the group of kids in Sinister is so disturbingly dark that it's hard not to love them. These kids get taken and then proceed to trick and murder their families, all while videotaping it. The true star of Sinister may be the ancient demon at the center, but it's his minions who truly shine as the horrifyingly youthful tyrants. The children of Sinister are all unique in their own way, but equally scary all the same.

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6. The Masked Ones, Tomas (The Orphanage), Sam (Trick r' Treat) & Unnamed Girl (The Houses October Built)

How dare I combine three movies into one ranking, right? Well I did because the unsettling feeling created by each is very similar. There's something about a moving, expressionless face that is deeply troubling and for these movies, this aspect is all the more advantageous. In The Orphanage, the creepy dead child Tomas wears the most pieced together mask as he causes mischief. Then in the cult classic Trick r' Treat, another patchy mask is exhibited to truly unsettle audiences. Then there's my biased favorite: the unnamed girl in The Houses October Built. Not only does she get added bonus for having loose strands of hair attached to her mask, she also gets points for being truly terrifying. When she gets on the RV my heart was thumping out of my chest.

 

The Overlook: Shelley

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Titled "The Overlook," these articles are meant to give more exposure to movies the nine readers I have may have overlooked (get it?).

From Rosemary's Baby onward, prenatal horror has developed much like the fetuses of their subgenre content. Seemingly ready to explode, pregnant mothers in horror have reached somewhat of a tipping point. Whereas years ago an occasional movie would have a woman facing her possibly doom at the hands of a questionable birth, now the prenatal ward seems overrun. Even movies who's focus is away from the pregnancy, like Annabelle, feature pregnant women fighting off an inside threat.
 

However, just like in any over-saturated subgenre, small gems might just peak through (see the addition of Train to Busan to the zombie one). This is the world where we find Shelley. Telling the story of a live-in maid named Elena who agrees to have her employers baby, Shelley is a slow, dreary burn. From its beginning moments, director Ali Abbassi showcases an innate ability for character development. That, paired with outstanding turns by the three leads- Ellen Dorri Peterson (Blind) as Louise, a heartbroken mother with issues,  Cosmina Stratan, (Dupa dealuri) as the maid Elena and Bjorn Andresen (Gentlemen) as the concerned husband with twisted intentions, all work well to captive viewers.

The resulting product is compelling. Sure Elena's employers are odd, but their intentions seem good and their hardships are difficult not to feel empathy for. Every character seems intimately woven to matter and they each begin loving enough, in fact, it's only when the oddities begin that the viewer is given any pause as to the couple. This is where the film turns it's attention and becomes less subtle. From a witch doctor with questionable credentials to the plethora of awkward stand offs between the two women, Shelley becomes quickly unsettling.

Shelly is sometimes lethargic - it's placid, woodsy backdrop and candlelit rooms could make a grown elephant sleepy, but that's part of what makes the movie so special. It's alluring and atmospheric setting makes settles you in, only to pull the rug from you at the film's climax.

Shelley is quiet, its subtle surroundings and rather peaceful landscapes provide a contradictory façade. It's setting working alongside the dark and bubbling plot, propelling Shelley past boredom.

It's currently on Netflix, so literally 98 percent of the world has no reason not to see it.