Horror movies have long been a genre of moving that has garnered attention. From Freddie Kruger, to Predator to more a more recent film in Get Out, being shook up by a fictional horror film is an experience like few other. 2020 has of course brought about a horror of its own for different reasons, but it has also seen another stellar set of horror film be released. Instead of detailing the best of 2020, we have decided to give you a top five for horror films made to date. Now, for the full horror experience, it is important to have the right technology set up. Ensuring you have access to the following films is crucial to be able to tick them off your list. Some films are exclusively available on an Apple TV device. Buy one of them here at Harvey Norman. Or if you do not want an Apple TV set, ensure you have a subscription to Netflix, Stan, or Binge.
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We have certainly seen the normal kid-turned-evil story countless times in horror (The Bad Seed immediately springs to mind). But director and co-writer Brandon Christensen’s Z barrels toward a refreshing pivot in its third act that is entirely unexpected. Still, its most gratifying scares come from the first two-thirds of the film, when a mother (a wonderful Keegan Connor Tracy) struggles to navigate her son’s (Jett Klyne) increasingly maniacal behaviour. If you are in the marker for a few legitimate jump scares, look no further.
The Evil Dead
You must be a little twisted yourself (in a good way, of course!) to become a fan of the odd, but storied horror-comedy genre. Regardless, if you are looking to be alternatingly terrified and amused for two hours, there is one definitive film you must start with. It is Sam Raimi’s The Evil Dead, which introduced us to Bruce Campbell’s Ash, who must figure out how to un-possess his closest friends during a cabin getaway.
The Woman in Black
A lush Gothic haunted mansion story in the best classic tradition. Hammer Films had their finest revival entry by far with this gorgeously designed, atmospheric tale. Few horror films have this level of commitment to setup and presence, allowing the tension and dread to grow as we linger in each scene and location. This is one of two films on the list that harken back to good old fashioned haunted house filmmaking of the 1960s and 1970s. Budgeted at a modest $15 million, the $127 million worldwide box office was an impressive return and led to a far less impressive sequel.
Very few horror movies have managed to burrow their way into my brain enough to keep me up at night. Scott Derrickson’s Sinister is one of those select few. The movie puts the spotlight on Ethan Hawke as true crime novelist Ellison Oswalt. Ellison moves his family into a new home so that he can do some research for a new book. Little do they know, that meant Ellison moved them into a home where the previous owners were gruesomely murdered. As if the lengthy opening shot of that family’s demise is not unsettling enough, ultimately Ellison finds a box of Super 8 reels showing a whole bunch more, all connected by one evil deity, Bughuul. The belief is that images of Bughuul function as a gateway for him to step into our world. When Sinister first hit theatres in 2012, I participated in a Twitter giveaway where I won a Sinister poster signed by Derrickson and producer Jason Blum and, admittedly, I did hesitate before hanging it up on my wall because, of course, it had Bughuul on it. That did not stop me though and now, as odd as it is to admit this, I do enjoy the weird, twisted thrill I get out of having it in my apartment.
Grief catalyses writers-directors Severin Fiala and Veronika Franz’s nightmarish film that centres on two siblings (Lia McHugh and Jaeden Martell) who lose their mother and are instantaneously pulled into a new relationship with their dad’s mysterious fiancée (Riley Keough). As the trio coops up together at the eponymous residence, more and more frightening and inexplicable things happen that cause both the siblings and their stepmom-to-be to begin suspecting each other. The Lodge is an utterly terrifying film that also leaves you looking at each of the characters a little sideways by its macabre conclusion.
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