Another year has come to an end, which means it’s time for the Dread Central staff to weigh in with their picks of the best and worst of 2015’s horror offerings. What tickled our fancy? What made us pine for those precious minutes we’d never get back? Read on for the results from what was overall a pretty okay year for horror movies.
We’ve also compiled everyone’s picks to come up with the year’s overall winners and losers. We averaged out the top and bottom vote-getters on our collective 12 lists, and here are the results:
BEST: THE FINAL GIRLS
Runners-up: Bone Tomahawk, Deathgasm, We Are Still Here (tied for 2nd); Goosebumps, Spring, Turbo Kid (tied for 3rd)
WORST: THE GALLOWS
Runners-up: It Follows, Muck
Anthony kicks things off for us. The other contributors’ lists can be found by scrolling through the pages or clicking the links below.
And on the home video side of the fence, be sure not to miss MattFini’s list of the Top 10 Cult Horror Blu-ray Releases of 2015 to Add to Your Collection!
Anthony Arrigo
As much as I enjoy making these year-end lists, they always wind up feeling slightly half-baked because, despite my commitment to watching as many films as possible, there is always a handful of titles I don’t get around to until the following year. So my list usually feels incomplete. Just as with last year, I managed to see a single horror film in theaters (Goosebumps, which I guess counts?) with everything else being viewed on VOD or Blu-ray.
This is because nearly every horror film released to theaters looked like utter crap. I made it through about fifteen minutes of Poltergeist (2015) before calling it quits. There are a number of films still in my queue – Tales of Halloween, Krampus, Cooties, and A Girl Walks Home Alone at Night, to name a few – but here’s my take on the best & worst of 2015’s offerings I have managed to catch, in no particular order.
Deathgasm
If I were fourteen again, this would be my favorite movie ever. Heavy metal. Demons. Babes. A cursed song. A murderous cult. Death by chainsaw up the ass. Two deaths by rubber dildo. This film is a rollicking vehicle of over-the-top violence and satanic mayhem that also manages to work in a little heart… even if it is gushing blood all over the room. From the head-banging soundtrack to the animated sequences and everything in between, I was thoroughly entertained from start to finish. All killer, no filler. Bring on the sequel!
This is one of those retro-vibe films that manages to play things right without veering off into parody. It’s self-aware, but not so much that it forgets the first rule is to be awesome and not play up nostalgia to a nauseating degree, nor to get so outrageous that it feels like a cheap pastiche. I’m looking at you, Kung Fury (2015), Hobo with a Shotgun (2011), and recent films by Robert Rodriguez. Munro Chambers is perfectly cast in the lead, Michael Ironside always rules (as well as adding heaps of gravitas), and the soundtrack by Le Matos is one of the best albums of the year. Almost forgot to mention: This movie is insanely violent. It’s Mad Max (1979) meets Rad (1986), and it rules.
The Voices
Imagine if Patrick Bateman worked in a mundane factory, living in a small town with two pets that talk to him. That’s the gist here, with Ryan Reynolds killing it (literally and figuratively) in this pitch black comedy. Reynolds seamlessly vacillates between chipper and cold-blooded, making the brutality of his kills even more disturbing. Some of the juxtaposed moments between idyllic suburban life and Reynolds’ character’s warped reality are almost Lynchian. I haven’t seen this one getting much love on year-end lists; it should not be overlooked.
Bone Tomahawk
Imagine if The Searchers (1956) was a horror film, the enemy Indians are twisted abominations of nature, and it featured one of the most unsettling, grotesque deaths ever. Seriously, there’s a kill in here that’s NSFL. Kurt Russell should be in every movie ever, and he’s this film’s backbone; surrounding him are capable actors delivering some career-best performances. I never knew Matthew Fox could be so good. Patrick Wilson is always a great casting choice. Richard Jenkins, however, steals this movie; he’s Oscar-worthy in every sense. The film slowly builds up tension before arriving at a third act that will have palms sweating.
The Final Girls
This is the best Friday the 13th sequel that isn’t part of the canon. The film so perfectly nails the period, tone, acting, and aesthetics of Jason’s old adventures that I was amazed it could subvert some of those old tropes and elevate old-hat material. There are characters you genuinely care about and a surprising amount of heart that doesn’t feel contrived. My only complaint is the same most fans seem to share: It’s PG-13, and so it lacks much of the blood and boobs that are endemic to slasher films of the ‘80s; however, the fact this film can eschew those elements and still be this great is a testament to good writing and solid direction. Loved the ending, too.
I flirted with the idea of including Ex Machina here – it’s one of my top three of the year – but it’s more sci-fi than anything else. What We Do in the Shadows (the best vampire mockumentary Christopher Guest never made), We Are Still Here (a great love letter to Fulci), and Goodnight Mommy (palpable sense of dread but may not hold up as well on repeat viewings) were other contenders for a spot.
It Follows
It Sucks, too. I don’t put it here solely to be a contrarian, but what’s with all the hype behind this one? Sure, it looks great, relies on minimalism to tell the story, and has one of the year’s best soundtracks… but I agree with Uncle Creepy that this film breaks established rules up, down, and all around. Early on, the film presents guidelines that sound strict – then it breaks them time and again when it’s convenient for the story. I wanted to yell at my screen whenever these moments occurred because it frustrated the hell out of me. I wanted to love this movie – I really did – but the constant lack of adherence to the boundaries, coupled with a heavy-handed allegory for STDs, tuned me right out.
The horror here is of the circa 2004 gross-out variety, while the attempts at humor never once elicited so much as a half-cracked smile from me. I’d rather spent 90 minutes sitting on the porcelain altar playing games on my phone than watch this one again.
Bloodsucking Bastards
See above. I’ve said this before, but it bears repeating: If you are going to make a horror/comedy, then make sure one of those elements is rock solid.
Toolbox Murders 2
Films like this inspire me to write a script because if this abhorrent piece of shit can get funding and be turned into a feature, then I’m certain anyone can make a film of their own. This also features the absolute worst performance I have ever seen from a lead waitress, er, actress. Stick with the former.
Harbinger Down
This film was made as a love letter to John Carpenter’s The Thing (1982) – a claustrophobic, expertly-acted, superbly-cast exercise in tension and paranoia, featuring some of the finest practical effects ever committed to celluloid. Harbinger Down is the exact opposite of that statement. Gillis & Woodruff, bolstered by the bungling of their effects work for The Thing (2011), made this film as an excuse to show off practical effects… and, yet, for some reason many of the sights here look like they were sourced out to Amalgamated Dynamic’s b-team. And let’s not even discuss the writing and acting here…
Outside of horror, unquestionably the worst film I watched this year was Terminator: Genisys, further proving if anything needs terminating, it’s this beleaguered franchise.
Ari Drew
As I sat to reflect on 2015 in horror, I found that it ultimately felt like a transitional year for the genre — a welcome change of pace after a lackluster 2014. We saw many filmmakers rethinking their approaches to what constitutes a “horror” story, with the more ambitious films succeeding to varying degrees, of course. While I noticed a number of promising films that were just shy of that special something extra needed to elevate them to greatness, I have overall grown hopeful for where the genre and the latest crop of up-and-coming filmmakers seem to be heading creatively — a promising territory of the fantastical, the subversive, and the emotionally complex that seeks to tap back into scares that not only chill us in the moment, but also linger long after.
As a disclaimer, I based my list on films that saw their first official U.S. release this year outside of the festival circuit, so while I did catch some pretty awesome movies that are not on this list, you can trust that they will be included in my 2016 picks once they are officially released. So, without further ado…
Spring
Justin Benson and Aaron Moorhead’s follow-up to their vastly underrated 2012 release Resolution is hands down one of the most awe-inspiring moviegoing experiences I have had this year. While it is definitely filled with enough striking creature effects and Lovecraftian-style lore to justify its horror categorization, what makes Spring such a memorable work is its ability to convey a substantial and undeniably charming romance underneath its slithery surface. Backed by stellar performances from Lou Taylor Pucci and Nadia Hilker, Spring boasts a fantastically unique take on the genre that is equal parts thrilling and touching — not to mention an intelligent script that would make Linklater proud.
Though it has definitely seen its share of detractors emerge from the shadows as the year has progressed, David Robert Mitchell’s much hyped sleeper hit still remains one of the year’s most brilliant genre highlights for this reviewer. It Follows has undoubtedly laid the groundwork for many minimalist independent horror efforts to come — and for good reason. Mitchell’s film is subtly stylized with a novel premise that is fully realized through its strong cast of young talent and an unshakable atmosphere of dread. When all is said and done, It Follows hits all of the right beats to make for one of the freshest and most intelligent horror films this year — if not this decade.
Goodnight Mommy
Like It Follows and last year’s favorite The Babadook, the Austrian horror entry Goodnight Mommy makes heavy use of an emotionally fueled storyline and a permeating sense of unease to deliver scares… at least early on. What elevates Goodnight Mommy to horror greatness, however, is its explosive final act. Even as the film shifts to outright violence and insanity, it still somehow manages to maintain a chilling emotional grace. Penned and directed with tremendous skill by Veronika Franz and Severin Fiala, Goodnight Mommy succeeds above all as a striking hybrid of a film; it is all at once a gripping tale of mourning that also manages to be absolutely unnerving until the very last frame.
Felt
Felt is the most gut-wrenching kind of psychological horror. Featuring a stellar performance from star Amy Everson, who also co-wrote the script based on experiences from her own life, Felt taps into the deeply scarring psychological effects of sexual trauma, while also making bold statements on rape culture through some very unforgettable imagery. It is not one that many will warm to easily, and it is definitely not the most traditional of horror films, but for those willing to take the ride, Felt is one of the most singular and unsettling experiences within the genre this year.
Pod
Mickey Keating’s Pod is a chilling small-scale effort that plays out like a family intervention fit for “The Twilight Zone,” following a pair of siblings as they seek to help their estranged brother who has sequestered himself in the woods. Backed by impressive performances (Brian Morvant is a hysteria-inducing joy here), Pod proves that you don’t need a major budget to produce major scares. What sells the film is simply the way that Keating establishes an atmosphere of pure, otherworldly mystery, a quality that feels admirably traditional. Some might prematurely write off the film for a number of reasons, which is a shame because it is absolutely deserving of a watch, especially for fans of the sci-fi/horror subgenre.
Honorable Mentions:
The Hallow was a deliciously enjoyable creature feature, while We Are Still Here offered up a clever spin on the supernatural. I also loved the suspense served up by The Gift and Creep. Though polarizing, I found #Horror and Some Kind of Hate to be fun and creative takes on horror aimed at a new generation. Films like Krampus and Crimson Peak proved that, though not often, some major studios can still get it right. Lastly, though not horror, Ex-Machina was a stunning sci-fi/thriller that must be mentioned.
The Gallows
I included films on this part of the list primarily because they phoned it in so insultingly that they only served to uphold the erroneous stereotype that horror fans just need a few jump scares and some movement in the shadows to be entertained. The Gallows was the greatest of these offenders in 2015 for me. It is an unbelievably lethargic film that seems to have no real desire to entertain its audience, playing out as nothing more than a hodgepodge of uninspired scripting, insufferable characters, predictable twists, and lack of scares — basically everything that is wrong with the worst of modern mainstream horror. Laziness like this in the horror genre is simply unforgivable.
There is nothing that kills a franchise quite like an entry that blatantly ignores key plot points and major characters from previous films, but, boy, did Paranormal Activity: The Ghost Dimension manage to do this with spirit (no pun intended). Touted as the big finish fans have been clamoring for, it takes all of a half hour for 5 (!) screenwriters and director Gregory Plotkin to undo any possibility of a satisfyingly constructed and cohesive finale. Instead, we receive quite the dumbed down, rush-job of a final act that renders useless many major aspects of the once intriguing lore. But hey — it’s all in super cool 3D, so that’s ok, right? Truly the genre’s biggest outright slap in the face to loyal fans this year.
Poltergeist
I am not one to hate on a remake for the sake of hating. There is actually a handful of remakes from the last 15 years that I quite enjoy more than the originals. Poltergeist, however, was not one of these inspired efforts. Extremely flat and startlingly un-scary, it does the remake cause no favors as it almost immediately fades into obscurity after a viewing. Improvement of and/or subversion from the source material are always welcome aspirations as far as horror remakes go in my book; even when these efforts try and fail, at least they fail with spirit. Sadly, Poltergeist was nothing more than an uninspired cash grab that seemed all too content with its lifelessness.
Dishonorable Mentions:
The Human Centipede III (Final Sequence) is pure trash, but it definitely falls into “so bad it’s hilarious” territory, namely due to Dieter Laser’s scenery-devouring performance. As far as other notably lackluster genre fare goes, most would be wise to steer clear of Monsters: Dark Continent, Contracted: Phase II, and — the second most disappointing entry in a franchise this year — REC 4: Apocalypse. Some may find bright spots in those, but I was majorly disappointed on the sequel front this year altogether. Lastly, The Culling and Area 51 definitely proved why they remained unreleased for the better part of 2 years and should be avoided at all costs.
Debi “The Woman in Black” Moore
Looking over my list of the horror films I saw in 2015 to prepare for this assignment, one thing was obvious: The good far outweighed the bad for a change. And that was because I just didn’t have time for the pain. If I didn’t “have” to watch something for my duties here at DC and I’d heard that it sucked, it didn’t make the cut. Which meant that out of the well over 50 horror films I watched, only a handful scored a 2 or below. Even better? The quality stayed consistent throughout the year with 2015 ending just as strongly as it started.
What were the best? As far as I’m concerned, one film stands heads and shoulders over everything else, and that’s Mad Max: Fury Road. But is it really horror? I’ve been accused a few times of crossing the line between horror and sci-fi on these year-end lists, and I’ve been trying to stay on the straight and narrow. That was my quandry so I decided to just keep it in a category all to itself and pick the following as my Top 5 “pure” horror films, in no particular order:
This is one I caught early in the year, and I predicted right then and there it would wind up among the best. Other favorites would come and go, but yep, it’s… still here!
The Voices
This movie really flew under the radar, but Ryan Reynolds kills it as a mild-mannered guy who starts taking advice from his talking pets. It was definitely one of the more disturbing – and memorable – films I saw last year.
The Final Girls
What can I say that hasn’t already been said about this one? It’s full of heart and all the tropes horror fans go to the movies to see. Despite its tame rating, it’s no doubt destined to gain quite a following as the years go by… check it out if you haven’t yet.
A Christmas Horror Story
At first I hesitated to include this film since I thought maybe it was too “seasonal” and fresh in my memory, but then I thought, “No way! It’s totally worth it.” I loved the way the storylines intertwined without being broken into separate segments, and William Shatner’s presence elevates anything in my eyes. It’s a solid home run that will be required viewing in our home every holiday from now on!
Goosebumps
Add me to the list of folks who had nothing but FUN watching Goosebumps. I may be the oldest member of the DC writing team, but I felt like a young schoolgirl again from the moment it began, filled with wonder and glee. Along with Mad Max, it’s the only 2015 movie to earn a solid 5/5 from me.
Honorable Mentions: Spring, Maggie, Deathgasm, Turbo Kid, Cub, Crimson Peak, Last Shift, Demonic, The Gift
As for my picks of the worst, there are three that stand out as the most tedious and/or disappointing:
I honestly have very little recollection of what this film is about, but it earned the lowest rating of the year, so here it is… apparently the title is 100% self-descriptive!
The Gallows
Yet another nail in the coffin of the found footage sub-genre. It is possible to still do them right, but films like The Gallows don’t even care to try.
Paranormal Activity: The Ghost Dimension
My issues with this film are too numerous to mention, but they start with the title – considering there was nary a “ghost “to be seen – and end with the absence of the key character whose journey we were there to see culminate in the first place. Bah humbug!
Dishonorable Mentions: Seventh Son, It Follows, Late Phases, Maze Runner: The Scorch Trials
The Foywonder
2015 was actually a pretty good year for horror. Too bad few of them got wide theatrical releases. I went to the movies a lot this past year but rarely to see a horror movie. I skipped all the Blumhouse sequels and most every other formula flick.
Sure, The Visit and The Gift were all right, but I haven’t given them a second thought since. I couldn’t even bring myself to give a second thought to actually watching Unfriended or The Gallows. Meanwhile, on VOD and DVD, original horror movies were getting churned out at such a rate that I fell way behind in viewing. Even the stuff that was merely okay tended to be superior to the formulaic fright films filling the multiplex. Tales of Halloween, Spring, and Deathgasm are just a few I’ve yet to get around to. From what I did see in 2015, here’s my Best/Worst in no particular order. Except for What We Do in the Shadows; that movie is tops for me this year.
What We Do in the Shadows
If there’s one thing that became apparent this year, it’s that the horror comedy is back, and my favorite fright flick of 2015 boasted far more ha-ha than horror. Thank goodness Ryan Murphy invented this newfangled genre for all of us to enjoy. Simply put, What We Do in the Shadows is the greatest vampire comedy Monty Python never made. And I agree… I also eat a sandwich preferring to know that no one has ever fucked it.
The Final Girls
Continuing with the theme of horror comedies, though The Final Girls really sets itself apart with the amount of genuine heart on display. You don’t go into a meta slasher comedy expecting to get really sucked in by a mother-daughter relationship. Taissa Farmiga makes for one of the pluckiest final girls in recent horror memory, and Malin Akerman has never been better as her scream queen mom. Only thing holding this one back was the PG-13 rating that forced it to pull some of its punches when it comes to the kills, which lessens both the punchline of some of the deaths and the emotional gravitas of others.
As the Gods Will
Another year, another Takeshi Miike movie that may never make its way to the US. As with Lesson of the Evil, which found its way on my Best list two years ago, As the Gods Will must be seen to be believed, and hopefully everyone will get that chance eventually. If you put a gun to my head and asked me to explain what this movie is about, you might as well pull the trigger. Somewhere between Battle Royale, Krampus, and Demonic Toys lurks this incredibly imaginative, if impenetrably obtuse Takeshi Miike opus based on a manga about some mysterious higher power forcing the world to watch while Japanese teenagers fight for their lives against traditional Japanese toys in a series of lethal games. Inventive, funny, with characters you actually care about even though you’re as clueless as they are as to what the hell is going on. The final seconds take WTF-ness to dizzying new heights; yet, I was so thoroughly entertained by everything I had just witnessed. The Daruma doll that opens the film is a more compelling horror villain than 99% of the ghosts, slashers, and Jigsaw wannabes American filmmakers dream up these days. Japanese kids in a mouse costumes getting clawed to death by a giant wind-up cat toy come to life? Never change, Japan! Never ever change.
Cub
This mean-spirited entry from Belgium didn’t get nearly the love it deserved this year. Combining slasher in the woods tropes with feral children while also earning a merit badge in Saw made for a unique combination. Killing kids tends to be a taboo, even in horror films; Cub let them do the killing and get… well, I don’t want to spoil it for you. Much ado has been made about It Follows‘ John Carpenter-esque theme, but for my money Steve Moore’s synth soundtrack for Cub was the best retro Eighties horror theme of the year.
Landmine Goes Click
The feel bad movie of 2015. Not even sure I can say I enjoyed Landmine Goes Click. This anti-revenge movie is a tough film to sit through and, if you’re like me, one that will stick with you later on. The less said about it to the uninitiated the better. Just know it is not an upbeat, life-affirming production.
Honorable Mentions: Krampus, Re-Kill, It Follows, The Green Inferno (finally an Eli Roth movie I really enjoy, and everyone else hates it)
Sharknado 3: Oh Hell No!
Have you ever seen the “Bart Gets Famous” episode of “The Simpsons”? That’s the one where Bart knocks over the set and causes chaos on the set of Krusty the Klown’s show during a live program; in response he utters the words “I didn’t do it,” causing the audience to erupt with laughter. Bart becomes an instant celebrity, and his line becomes a pop culture catchphrase. He rides those four words for all their worth until he finally finds himself back on TV doing his schtick, only this time “I didn’t do it” is greeted with deafening silence. The joke’s no longer funny. In desperation, he tosses out the words “woozle wuzzle” in hopes of getting a laugh. The audience barely musters a chuckle and walks out, this ending Bart’s 15 minutes of fame. That’s how I felt about Sharknado after watching this third installment. I know they’re already preparing a fourth film for next year. Might I suggest they title it Sharknado 4: Woozle Wuzzle?
Toho probably should have just remade War of the Gargantuas instead of trying to condense the best anime series in years down to two 90-minute movies. The visuals required to bring Attack on Titan to live action would be daunting for even a mega-budget Hollywood production to properly capture, and while some of the Titan f/x most definitely have an eerie uncanny valley sense of horror to them, it makes no difference when the surprising dense plot has been rushed and rewritten storylines into worthless oblivion. Everything that wasn’t a giant naked Japanese zombie eating people felt like is a colossal slog to sit through. Only 90 minutes but felt three hours. I’ve yet to see Part 2. I can’t imagine it gets any better.
Gnome Alone
The first horror movie I saw this year and quite possibly the worst. Verne Troyer as a murderous monstrous garden gnome sounds like the makings of a b-movie horror comedy classic. The results are anything but. Only thing Gnome Alone succeeds in doing is make you greatly appreciate how witty, well made, and inspired the Leprechaun movies are. Yeah, it was that damn awful.
Muck
The worst thing about Muck is seeing how great looking the aesthetics are and knowing there’s real talent behind the camera. Imagine if those involved tried making a real movie instead of – I don’t even know what this was supposed to be. Like the id of a slasher movie brought to life after being filtered through the mind of frat boy date rapist? I’m not sure how to describe Muck other than to call it one of the year’s sorriest excuses for a horror film.
“Fear the Walking Dead”
In lieu of another movie I dedicate my final slot to the biggest waste of time on TV this year. Did “The Walking Dead” really have one of its best seasons yet, or did it just appear to be really good because I had just endured enduring six punishingly dull and pointless episodes of an unnecessary spin-off devoid of a single character I liked or even so much as gave a damn about? “Fear” took six hours to tell a story most zombie movies do in less than two. I stuck with it hoping there would be some big payoff that made my sticking with it all worthwhile. Nope.
Dishonorable Mentions: Knock Knock, Shark Lake, Krampus the Christmas Devil, Bugs 3D
Gareth Jones
When it comes to quality, 2015 had a noticeable number of top-drawer genre entries – especially on the festival circuit. Thankfully, some of them even made it onto VOD in almost record time comparable to past years, which is a trend that I’d very much like to see continue.
In fact, when it came to creating this list, rhyming off a bunch of “best” entries wasn’t the hard part… narrowing it down to five was. So, even though you’ll see a group of titles listed as honourable mentions, know that they all share the same podium with the big guns up top… and each and every one deserves thorough praise for standing out so highly.
The worst? Well, they’re simply the crappiest film experiences I’ve had this year, for various reasons. Whether sequel, pastiche, or just baked in the oven of plain old incompetence, the offerings in 2015 also certainly gave us plenty across the board to hate.
So… let’s get on with it!
Night Fare
Ultra-stylish, tense, and impeccably crafted, Julien Seri’s Night Fare brings a single night of mayhem to thumping life. As The Driver, ex-UFC fighter Jess Liaudin is an amazingly formidable presence, bringing us an all-new genre icon reminiscent of Jason Voorhees and Matt Cordell.
What to say about this flick? Hilarious, gory, balls-out rockin’ fun from New Zealand. It’s everything the 16-year-old metalhead me would have gone bananas for… and the mid-thirties metalhead me still loves.
Turbo Kid
A cinematic experience so hilariously delightful and utterly genuine in its ‘80s throwback style, that it’s impossible not to love it. I’ll just quote the closer of my review for this one: “It’s a tale of unlikely friendship, love, camaraderie, bravery and the rise of the underdog. It’s everything we used to love about Saturday night VHS rentals.”
The Witch
A deft blend of the supernatural and the all too real – especially when it comes to religious fanaticism – Robert Eggers’ The Witch is as unsettling as it is mesmerising. One of the best true horror films of the decade, it’s a folklore-laden tale of total darkness that shouldn’t be missed.
We Are Still Here
Ted Geoghegan’s directorial debut is a dream come true for fans of both the “extreme” Italian horror movement and “old dark house” flicks. Creepy, gory as hell in spots, and showcasing a strong cast – not to mention some of the most striking ghouls to hit the screen in ages – We Are Still Here is a rounding success. Can’t wait to see more from the man behind this one.
Honorable Mentions: The Hallow, Krampus, Bone Tomahawk, The Final Girls, Frankenstein, A Christmas Horror Story, Last Shift
Cherry Tree
Preposterous direction and a complete lack of any logic whatsoever (even on the nightmare level) undermine everything that Cherry Tree tries to do in order to generate a sense of unease or horror throughout. Punctuated by a terrible, bargain-bin stinger, it feels like you’ve just been subjected to one big, mistimed joke.
If you thought Sinister was bad… you haven’t seen Sinister 2. Taking the promising mythology and modus operandi from the first film and pissing it up every nearby wall with total abandon, Sinister 2 is a yawn-fest of massive proportions… and one of the biggest letdowns of 2015.
Fury: The Tales of Ronan Pierce
CarrotVision™ makes its screen debut, and the results are as terrible as expected. Okay, so I made CarrotVision™ up… but still, this utterly worthless pile of comic book-inspired dreck is as hard-boiled as a gummy bear and about as pleasant as a razor blade enema.
Darling
Mickey Keating is undoubtedly a director with promise… but I ain’t drinking the Kool-Aid on this one. An attempt at Polanski-esque mental decay and Lynchian logic, Darling is shrill, art-house nonsense that lacks the finesse of either of the filmmakers it seeks to imitate. Yes, it looks beautiful. Yes, Lauren Ashley Carter is great. But no… it isn’t a good film at all.
Invoked
Found footage without style, character, or any meaningful reason to exist. Invoked is a thoroughly lazy attempt at horror that does next to nothing to tell a story of meaningful consequence – and acts as just more of the kind of barrel-scraping product that continues to wantonly devalue the genre in its search for easy distribution and profit. We’ve had enough of this shit already.
Dishonorable Mentions: Paranormal Activity: The Ghost Dimension, #HORROR, Hellions
John Squires
Like last year, this past one proved that straight-to-VOD horror is where it’s at, as 2015 was loaded with indie gems that put the majority of Hollywood’s output to shame. Unlike last year, however, we actually saw a handful of theatrical releases that were pretty damn good – as evidenced by the fact that two of them made the cut on my Top 5. So good job, Hollywood.
It was a good year for horror no matter how you slice it, and if you don’t agree with that statement, then it’s probably because you just didn’t spend enough time watching horror movies this year. As always, the good movies are always out there, you just need to know where to find them. So going forward, I encourage you to watch as much as you possibly can each year, and keep your mind open.
Here are my top recommendations this year…
If I had to a pick a favorite horror movie released in 2015, there’s simply no other choice than Todd Strauss-Schulson’s The Final Girls. Like Scream and Behind the Mask before it, this one puts a meta twist on the slasher sub-genre, centered on a young girl who reunites with her late mother inside (literally) of the ’80s horror film she once starred in. The ensemble cast, highlighted by Taissa Farmiga as young Max, is an embarrassment of riches, and as funny as the movie tends to get, it’s the heart that really makes it this year’s best. I guarantee you’ve never seen a slasher movie as emotional and meaningful as this one turns out to be.
Spring
Co-directors Justin Benson and Aaron Moorhead hit a big time home run this year with Spring, a horror/romance hybrid that tells of a young man who meets the woman of his dreams while on vacation in Italy. Without spoiling anything, his new love interest is perfect in every way except for the fact that, well, she’s not quite human. A wonderfully original monster movie that works just as well – if not better – as a genuinely romantic love story, Spring is hands down one of the very best movies of 2015, quite frankly deserving of Oscar consideration. The central story is admirably bonkers, but it all works incredibly well, making for a beautiful and absolutely brilliant piece of art. Benson and Moorhead are two filmmakers at the top of their game right now.
Krampus
Proving that he’s the reigning king of holiday horror, Trick ‘r Treat director Michael Dougherty turned his attention to Christmas with Krampus, the very first wide-release horror movie centered on the mythical beast from Alpine folklore. Loaded with awesome practical effects, Krampus is the sort of imaginative and thoroughly entertaining horror film that Hollywood just doesn’t really make anymore, armed with the spirit of the 1980s and feeling like a classic Amblin effort. Nearly all of this year’s most memorable creatures are found in Dougherty’s latest, proving that nobody creates horror icons like he does. Krampus is every bit the horror movie that the Krampus legend has deserved all these years, and I’m so glad Dougherty was the guy to bring it to us.
Bone Tomahawk
It’s up for debate whether or not Bone Tomahawk is a horror movie, but since it’s primarily about a band of cave-dwelling cannibals, I don’t think it’s out of line to include it on a list such as this. And really, since it’s one of the coolest movies this year, I simply wouldn’t feel right not mentioning it. Kurt Russell, Richard Jenkins, Matthew Fox, and Patrick Wilson star in S. Craig Zahler’s horror-western, playing characters who embark on a mission to rescue a local woman from the aforementioned cannibal clan. Full of great performances and wonderful dialogue, the film is a slow-burn western for much of its run-time, but once it becomes a full-on horror film, it’s one of the most barbaric and terrifying this year. This movie is just plain awesome.
Goosebumps
I credit R.L. Stine’s Goosebumps for helping to ignite my passion for all things horrific at a young age, and after waiting most of my life for a feature film adaptation, I finally got it this year. Directed by Rob Letterman, the Goosebumps movie was absolutely everything I hoped it would be, making me feel like a kid again and so perfectly capturing the fun spirit of the books that I couldn’t help but head out to my local theater to see it on three different occasions. Jack Black is delightful as Stine, and the meta concept of literally unleashing all of the Goosebumps monsters from the books was the perfect way to adapt them for the big screen. As far as entertainment value is concerned, I had the most fun this year with Goosebumps. The world needs more family-friendly horror like this one.
Honorable Mentions: Backcountry, He Never Died, Last Shift, The Gift, Some Kind of Hate, A Christmas Horror Story, Creep, Maggie, and We Are Still Here. If you’re looking to catch up on this year’s best output, give any of those a watch and you likely won’t be disappointed.
Some filmmakers think we fans are neanderthals who care about little more than watching women run around with their tops off, and I have no tolerance for that. One could argue that all slasher films are inherently a bit misogynistic, but Muck takes the cake for being the trashiest and ugliest of them all.
Matt Molgaard
I’ve got a feeling I’ll be hearing the sound of more gunshots than Art Bell with this pick, but I’ve got my flak jacket handy, so I’m about as prepared as I can be. Hardcore fanatics will likely overlook this one, as it isn’t “extreme,” “edgy,” or “frightening”; but that doesn’t bother me in the slightest. The truth is I haven’t been frightened by a film since the 1980s, when A Nightmare on Elm Street disrupted the dreams of the masses. Needless to say, I don’t factor in the fear element in my personal judging criteria; I’m desensitized. That said, entertainment is the number one thing I look for in horror, and Goosebumps was the most entertaining film I saw in 2015. It’s just a boatload of fun that had me completely glued to the screen from beginning to end. That’s a fine film, in my opinion.
Cooties
The coolest zombie flick to be released in 2015 treated the concept of the undead as pure comedy. It also featured a handful of amazing performances from some of the finest in the biz today. That movie was Cooties, a balls-to-the-wall flick with polarizing characters, strong special effects, and a fine finale. There are a few crucial rules broken in the film, and that added to the mystique for me. Don’t sleep on this one. It’s excellent.
The Hallow
Still something of an under-appreciated picture, The Hallow is a shocking sleeper hit. We get some brilliant practical effects, excellent performances, and some very, very disconcerting creatures. This one could have easily gone awry, as a hint of neglect in the script or any less than stellar special effects would have immediately sunk the ship. Fortunately for us fanatics, those misfires never rear their ugly heads. The Hallows doesn’t miss a beat. It’s eerie, it’s refined, and it’s one of the best creature features to hit the market in years.
Maggie
Like a great deal of you, I grew up worshiping the bulky, punchline-tossing Arnold Schwarzenegger. I wanted to be the guy, even if it meant being dropped in a jungle and tangling with a well-equipped monster not from this world. But even as a fan, I never gave Arnie the credit he deserved, as even in his comedic roles, he seemed like a one-note performer. That opinion went out the window when Maggie was released earlier this year. This may be a zombie story, but it casts aside all emphasis on the brutality of the shambling, reanimated corpse, instead opting to focus on believable characters and their emotional struggles. And Arnie absolutely kills in the film! If you haven’t checked this one out, you’re missing a beautiful picture with jarring work from one of the world’s greatest action stars.
Deathgasm
The surprise of 2015? Quite possibly so! Deathgasm is insane! One massive nod to the great Evil Dead, Jason Lei Howden’s feature length debut is to die for. This one boasts infectious visual effects, some stellar practical special effects, a handful of really, really spirited performances, and a script that is to die for. Of all the amazing films that were released in 2015, Deathgasm surprised me most. It’s just a blast of a film that’s going to have fans of the insane throwing their arms up in joy. Watch it, immediately!
Hands down the most grating flick of the year, #Horror didn’t have to be a bomb of near-unparalleled proportions. It has the potential to be a brilliant film, in fact. But that was not meant to be. Tara Subkoff’s script is absolutely revolting. She takes a bunch of soon-to-be-teenage girls and turns them into the least likable characters to be captured on film in 2015. These brats are so astoundingly obnoxious they’ll have you contemplating suicide before the 101-minute runtime reaches its drawn-out end. Skip it, for the love of God… skip it!
Dollface
Why was this film made? That’s the one question that pounded through my feeble brain as the final credits rolled on Dollface. It doesn’t get a whole lot worse than this one, and slasher fans are going to be repulsed by the lack of effort from filmmaker Tommy Faircloth. It’s not creative, the story is trash, the characters are loathsome, and believe it or not, we don’t even get any good gore. It’s just a failure in every way imaginable, which sucks because Dollface could have been a cool villain that warranted more than a single picture showing.
Muck
Another stinker of epic proportions, Steve Wolsh’s Muck deserves an almost identical breakdown to that afforded to Dollface. Somehow, though, the script of Muck is even worse than that of Dollface. You want to talk about characters who make every last wrong decision imaginable? You want to talk about this shitstorm. You want to talk about deeply embarrassing (I was literally embarrassed for Wolsh) dialogue? You want to talk about this shitstorm. You want to talk about… ah, what the hell, I’m just going to move on. You get the gist, and if you don’t, just forget that Muck was ever made. The film sports zero redeemable qualities.
Silverhide
Want to know how to make a miserable werewolf film? Study Silverhide. This movie is riddled with so many problems it would likely require a full 10-page essay. I don’t have that kind of free time, and the film just doesn’t warrant the work. Rather you’ll want to know that this film has one of the most convoluted scripts, sub-par performances, and a monster that might have been cool… if we ever got a clear look at the beast. A disappointing and dreadfully boring viewing experience, Silverhide is best left passed over.
Scream Machine
I won’t take up your time reading an unnecessary spiel about everything that is wrong with this movie. It’s the worst anthology film I’ve seen all year, and sadly, there isn’t the hint of an impressive segment in the entire stinker. My advice: Watch this one if you need sleep in a desperate way. It’s ensured to send you into a coma.
Paul “Nomad” Nicholasi
Probably close to my sentiments of last year, I find as I have less free time, I am pickier with what I fill it with… and that means all that crappy horror had to go, replaced with an abundance of geeky TV fulfilling my comic book-reading childhood wishes. This year I found waaay more bad than good and instituted a 15-minute “NOPE System” in which, if after 15 minutes I feel myself dying, I turn off the movie. It’s working well for me.
Creep
A man answers an advert to record a dying man’s last words to his son… and everything gets really, really weird. Fantastically, amazingly, awesomely awkward to the point you want to lean straight into the screen and yell ”STOP DOING THAT!” In a world where most horror seems content to jump scare you once, Creep skillfully creates such an intolerable level of intriguing unease that, all at once, you want to look away and never stop watching.
A mock documentary from the crew behind “Flight of the Conchords” puts every vampire movie stereotype in a house together to see what happens when the undead stop being polite… and start getting REAL. No, not really. It’s hysterical and charmingly unassuming, with very little forced hilarity.
Backtrack
Adrien Brody drifts through his nearly destroyed life and is quickly caught up in intricate layers of mystery and well-planned and executed plot twists! For most people, that’s enough reason to watch. It doesn’t hurt that the filmmakers really did their homework and know… exactly… what scares you.
Turbo Kid
A boy with dreams of superheroic justice in a land straight out of an 80’s post-apocalyptic movie future befriends a wacky, overly enthusiastic girl. Adventure and vengeance await… and some awesome splatter gore! Turbo Kid answers the question… what if a Troma movie was actually more laughs than groans?
We Are Still Here
After a year of ghost films that went “thud” in the night, it was refreshing to see a tale of friends and family descending on a house in a remote location, only to find A DEATH CURSE!! With baddies that would make John Carpenter grin from ear to ear, this creeper explodes with gore and carnage that will make you check the calendar to see if it’s the 80’s again. Ridiculously bloody, fun horror movies are the best kind.
It Follows
#UnpopularOpinion. An STDemon very slowly hunts down a young girl, often disguising itself as familiar people in various states of disturbing undress that would have the girl running even if the creature were not out to kill. Middle-age men in their tidy whiteys standing on rooftops looking like they are having a chemically imbalanced induced episode does not scare me in the way I think the film intended.
Now here’s a film that over-estimated our fear of short people wearing “creepy” Halloween costumes! A young pregnant girl is hunted by otherworldly little folks accompanied by a brain-liquifying score that features relentless choruses of little kids mockingly aping childlike songs without use of words. There lies the only horror to be found in this film.
The Lazarus Effect
Under threat of losing their funding, a group of scientists play Frankenstein in a lab after hours and unlock a horror we are mostly not allowed to see. QUAKE IN FEAR at the thing that kills off camera!! This film plays like a low budget Syfy channel movie with no scares to be found and a concept that must have been a single sentence.
The Gallows
Three “teens” head to a school after hours to trash a school play’s set, thus sparing one of their party from embarrassment while acting in said play, only to find the ghost of a boy killed the last time this play was performed is ANGRY… albeit clueless as to how to strike terror into an audience. ROPE!! FEAR THE ROPE!! Yeah, no. Can you believe I skipped Sinister 2 but saw this in theaters? Yeah, me neither.
The Human Centipede III (Final Sequence)
Hey, guy who was the mad scientist in the first Human Centipede movie… this is probably going to be your last time to act in any film ever, so we are going to let you chew up nearly every scene and scream your head off, looking like a 90-year-old giant turtle climaxing, while we make all those scenes and everything in between as disgusting and as unwatchable as is humanly possible. Fantastic. If I didn’t know any better, I’d say the filmmakers were exacting some sort of fiendish revenge on the film’s financiers… but … you know… they put their money in Human Centipede THREE… so they sort of had it coming.
Stephen Romano
No surprise here. Quite simply, one of the Greatest Motion Pictures Ever Made and a historic event in genre film, this should go at the top of everybody’s 2015 list without question.
The Revenant
Easily the best horror film of the year, an ultra-violent cinematic shock treatment that is horrifying beyond belief, morally gray and brilliant to its molecules. Oh yeah, and it has Mad Max in it, too.
Bone Tomahawk
Probably the most vile offering in old school splatterpunk horror cinema since the glory days of Lucio Fulci and also the one of the ONLY “torture porn” films I’ve ever seen where the torture actually feels less like someone telling an old bad joke I’ve heard before, but more like an inevitable and inescapable force of nature. (See also: The Revenant.)
Ex Machina
I like this one a LOT because it’s basically a high-tech remake of one of those old “castle horror” films where the wide-eyed young hero shows up at the mad scientist’s house in the dead of night, and the baddie gives him crazy eyes and invites him up to look at what’s “on the slab.” The tension is raw and organic, like a tsunami of fucked-up humanity. (See also: Bone Tomahawk.)
The Big Short
You don’t think this is a horror film? Think again. We’re all doomed. These are the harbingers of the apocalypse. Fury Road, here we come…
Honorable Mention: Star Wars: The Force Awakens
There were a LOT of really bad movies out this year. I try not to point too many of them out these days, as there are other people who quite enjoy doing that and I’m kind of done with being a smarmy, windy know-it-all “internet film critic.” In other words, I try to accentuate the positive and ignore the negative. But since I’ve been ASKED TO, here is a small cross-section of the twenty or thirty films I thought were pretty awful in 2015, each summed up in as few words as possible.
Obtuse.
It Follows
Overrated.
Spectre
Obligatory.
Chappie
Obstreperous.
Jurassic World
Give me a fuckin’ break, guys…
Steve “Uncle Creepy” Barton
Gotta say it… 2015 was a surprisingly good year for horror… on home video, that is. The studio releases did a decent job, too, but man, DTV is where it was at this year!
Here are my picks for best and worst of 2015, in no particular order.
We Are Still Here
It’s funny that a flick I saw way back in early 2015 would have the staying power to make it to my best of the year. This chiller from Ted Geoghegan has the stuff to keep haunting you long after it’s over. A must-see!
Probably the most beautiful film of the year is every bit as ghastly as it is gorgeous. Don’t let the romance angle fool you; this flick is 100% horror with some incredible creature effects to boot.
Mad Max: Fury Road
You want a film that has it all? Look no further than the next entry into the storied Mad Max franchise. Fury Road presented the most fleshed-out film universe of the year, and it also took great care to rip said flesh from your bones. I shall happily witness this film at the gates of Valhalla.
Jurassic World
Giant monsters fighting! Incredible set pieces! Dinosaurs kicking and clawing the living shit out of each other! Giant monsters fighting! Thanks for reminding me what it felt like to be a kid again!
Last Shift
Moment for moment, this gets my vote for one of the single most unsettling films of the year with chills and creeps to spare. Want a perfect double feature? Watch this with We Are Still Here.
Honorable Mentions: Cub, Predestination, Turbo Kid, Goosebumps, Deathgasm, Tales of Halloween, A Christmas Horror Story
It Follows
There’s not a single thing about this movie that worked for me on any level except for its soundtrack, and I’m the guy who liked The Devil Inside. Though pretty much universally praised, It Follows was anything but for me. Sorry, but someone walking after me doesn’t frighten me, and that ending was probably one of the most ridiculous things ever committed to film. Ugh!
Holy shit. The only thing good about this film – other than the gore – was the fact that we weren’t forced to spend too much time with actress Sky Ferreira, who gives what could be the worst performance of the decade. Don’t believe me? Watch it!
The Human Centipede III (Final Sequence)
This movie made me feel as if director Tom Six sewed his asshole to my mouth and shit into it while Dieter Laser danced an Irish jig in front of me while shouting, “I AM THE CHRIST!”
Seventh Son
Speaking of bad scripts… I could go on about how bad the one for this film was, but I honestly couldn’t understand a single word star Jeff Bridges said.
The Gallows
What we have here is an A to Z guide on how NOT to make a found footage movie. Yep. It’s like Cliff’s Notes for the unimaginative.
Dishonorable Mentions: Hellions, Maze Runner: The Scorch Trials, Late Phases, Poltergeist, Paranormal Activity: The Ghost Dimension
Todd Rigney
Tag
I’m a huge fan of Sion Sono’s work, and while I’ll be the first to admit that the ending didn’t bring everything together in an orderly fashion, I’m still of the belief that Tag is a fantastic cinematic experience. Featuring special effects work from Tokyo Gore Police director Yoshihiro Nishimura, Sono’s endeavor hits a lot of high notes, but it’s nearly impossible to top the film’s opening sequence. That said, model-turned-actress Reina Triendi steals the show as Mitsuko, a Japanese schoolgirl who finds herself thrust into a situation that turns her existence upside down. It’s a thinking man’s gore flick, for lack of a much better term; and in my opinion, it works. Tag will likely hit the States sometime next year, so if you have a chance to catch it at a festival, definitely give it a shot.
Yakuza Apocalypse
I’ll probably catch hell from a lot of people for including this one on my “best of” list, but I honestly don’t care. Takashi Miike’s yakuza-flavored vampire Yakuza Apocalypse (or is that vampire-flavored yakuza flick?) is easily one of the most entertaining movies I’ve seen all year. And while it doesn’t necessarily hit everything out of the park, it’s the most fun I’ve had watching a movie all by my lonesome in quite some time. It’s not exactly scary, but there is enough action and blood-letting to keep horror fans satisfied for the duration. It’s not as accomplished as Audition, Gozu, As the Gods Will, or Lesson of the Evil, but it’s still a strong effort from a veteran director who continues to impress. Even if you’ve grown tired of Japanese cinema and hate vampires, Yakuza Apocalypse is worth a look.
When someone takes the horror and western genres and slams them together, I get excited. Unfortunately, there really aren’t too many noteworthy examples to share with friends and family. However, that all changed with Bone Tomahawk, a film that finds a group of certified badasses battling a group of cave-dwelling cannibals. And, yes, it’s as awesome as it sounds. Not only is the direction top-notch, viewers are also treated to an all-star cast, including Matthew Fox, Patrick Wilson, and of course, Kurt Russell. The film should have made a bigger splash than it did among horror fans, but hopefully this is a movie people will slowly discover as the months and years wear on. Bone Tomahawk is probably one of the best flicks I encountered this year.
It Follows
Although some folks claim that It Follows was nothing more than a lukewarm horror flick bolstered by an incredible amount of hype, I had an absolute blast with the film. The idea of a sexually transmitted haunting is pretty cool, although writer/director David Robert Mitchell’s execution sometimes leaves a little to be desired. That said, Maika Monroe’s performance is engaging, and she’s essentially what helps keep this premise from falling apart at the seams. Had Mitchell given us a cranky, unlikable character who whined incessantly about her plight, It Follows would have crumbled to dust as soon as the relentless supernatural stalking began. I can understand why some people weren’t thrilled with the finished product, but I was thoroughly impressed throughout. What’s more, the movie seems to get stronger with repeat viewings.
Deathgasm
Hands down, writer/director Jason Lei Howden’s Deathgasm is the most fun I’ve had with a horror film this year. Bone Tomahawk may have delivered more thrills and chills, but Deathgasm was an absolute blast from start to finish. The flick is equal parts a love song to the horror genre and metalheads, and it treats each with tender, loving care. And while the film may frequently wear its influences painfully on its cinematic sleeve, Howden and his dedicated cast and crew do their best to deliver the sort of gory horror/comedy that made invokes the best of both Sam Raimi and Peter Jackson — before they decided to start making bloated Hollywood blockbusters. I find myself wanting to watch Deathgasm again and again, which means I need someone to invent more hours in the day as soon as possible.
Not only was M. Night Shyamalan’s The Visit one of the absolute worst horror movies to hit the big screen in 2015, it’s an easy contender for the most pathetic attempt at terror in many years. I should have jumped shipped when the dopey white kid started rapping on the train, but somehow I managed to stick with it. The only notable scene involved a messy adult diaper, and instead of generating fear, it evoked a wave of unintentional comedy. If this isn’t the final nail in Shyamalan’s career, then everyone deserves to get screwed when they pay to see his films. Whatever talent this guy had disappeared years ago. It’s time to forget he exists. Unless you’re looking for a comedy, The Visit is certainly one to cross off your must-see list.
The Green Inferno
I haven’t liked an Eli Roth flick since Cabin Fever, but I thought The Green Inferno would finally lend some validity to the hype that surrounds the filmmaker on a regular basis. And while the film has a very promising setup, Roth doesn’t really know how to the handle the cannibalistic aspects of the story. What we get are rehashed ideas from superior movies, a few uncomfortable sequences (masturbation, anyone?), and an ending that suggests Roth and his co-writer had no idea what they wanted to do with their endeavor. The flick isn’t nearly as shocking or revolting as it thinks it is and seems quite tame in this day and age. Besides, director Jonathan Hensleigh’s 2007’s like-minded flick Welcome to the Jungle did it better anyway.
We Are Still Here
There’s a strong possibility that hype may have derailed this one, but the film was so utterly boring that I’m not willing to give it the benefit of the doubt. We Are Still Here certainly sports an intriguing premise, but it takes way too long to get to the point. And by the time its secrets are revealed, they’re so ham-fisted and borderline ridiculous that you feel as though you could have spent your time more wisely elsewhere. I understand I’m probably in the minority here, and the film certainly has its share of fans, but it still sticks in my mind as one of this year’s most surprising disappointments. I love the cast, so it’s a shame the story didn’t give them enough interesting things to do.
Knock, Knock
I imagine that Eli Roth writes most of his movies with a raging and potentially painful erection, and none of his films illustrate that scenario better than Knock, Knock, the second misfire this year from one of the horror genre’s most overrated filmmakers. All of the director’s staples are here, though this time around he forces Keanu Reeves — who looks bored beyond belief — to endure a scenario that seems to have been penned by a 13-year-old boy who just discovered horror and boobs. You can’t fault for Roth pandering directly to his audience (whoever they are), but he could at least give them something worth watching in the process. Knock, Knock is up there with The Visit as one of the worst theatrically released horror movies in recent memory. And, yes, I’m aware the Paranormal Activity series exists.
Stung
Talk about a missed opportunity. Director Benni Diez’s wannabe creature feature Stung is crippled by an assortment of unlikable characters. And while that’s not always a bad thing, the film’s twenty-something hero is so pathetic that it’s hard for the audience to feel anything other than contempt for the guy. And when you sit down with a movie about giant mosquitoes, the last thing on earth you want to feel is bored. Unfortunately, Stung is a 90-minute exercise in what you shouldn’t do with your monster movie. Am I being too hard to Diez and his goofy little flick? Perhaps. But when you bore me to tears and force me to sit through a movie packed with paper-thin, cookie-cutter characters, that’s kind of what happens. I’m sure there are worse movies out there, but I doubt any of them are as dull.
Trisha Chambers
Ah, another year gone, and now I must bring together what I feel were the best and the worst of 2015.
There was a lot of bad this year so let’s start with my 5 worst since I like to save the best for last.
Sinister 2
The Gallows
The Lazarus Effect
Sharknado 3
Knock, Knock
The Visit
Crimson Peak
Scouts Guide to the Zombie Apocalypse
The Final Girls
Tales of Halloween
Here’s to a Dreadfully fantastic 2016 for us all! Cheers!! Let us know your picks below.