That said, foreign filmmakers seem to be on an entirely different page.
Perhaps foreign directors simply ignore American productions. That could potentially be a logical line of thought. Think for yourself, don’t follow in already established practice. Perhaps these guys just work with their own vision, refusing to allow any studio to impose. Or, perhaps, these guys around the world, who don’t necessarily leap into horror binges, are capable of manufacturing entirely new ideas.
I’m not certain of the recipe, but I know it works. It works especially well with Nordic filmmakers, who constantly release pics so far superior to half the rubbish fashioned by American filmmakers that I at times find myself embarrassed. You’d swear I soiled my tighty whities just gazing at my perplexed visage. But, at the end of the day, those are the Nordics for you; brilliant and innovative even if a bit secluded. We Americans could take a note, for sure. And as evidence, here’re 10 amazing Nordicfilms that should inspire just about every director, regardless of geographical location.
Cold Prey II: I’ve already made the comparison to Halloween, but I’ll reiterate for you here, especially since Cold Prey II mirrors Halloween II on damn near every level imaginable. If you recall, Halloween II picks up right where Halloween left off. Laurie Strode has been put through Hell, and she’s beat to shit. So, naturally, it’s off to the hospital. But Michael Myers has always been prolific… and hard to kill. Naturally, he makes his way to the same hospital where he begins to once more unleash his violent fury, disposing of orderlies all the while hunting the headstrong heroine of the franchise. Drop specific names and that’s a brief synopsis that applies to Cold Prey II as well as Halloween II. But Cold Prey II never feels like an imitation of Halloween II. This one stands firm on its own and impresses on an amazing level. It’s one of the finest sequels you’ll find in the genre, loaded with gruesome death scenes, palpable tension, a near air-tight script and impressive performances.
Dead Snow: Outpost likely deserves credit for kick-starting the Nazi zombie craze (I could have missed something that arrived, but if I did, apparently it didn’t make tremendous waves), but it’s easy to argue that Dead Snow is the most popular of the bunch. It’s genuinely humorous, technically polished and entertaining through and through. The buildup to one insane finale is genius, and if you’ve been waiting for intriguing zombies, these are the breed that fit the bill. To give it to you straight, Dead Snow is a big winner because it’s effective in appealing to a very diverse group of fans. Those who dig horror comedies, zombies, gore and, or, seasonal flicks are likely to gravitate this standout Nordic effort.
Hidden: The ghostly abode subgenre has begun to truly grow on me. We’ve long seen quality features of this nature, but the truth is they’re actually few and far between. They also lean on pre-established clichés which blankets the potential for any serious novelty to be unearthed. But not this one. Hidden plays by a different set of rules, and when factoring that in some hypnotic visuals you’ve got yourself an honest to goodness great picture. Released under the After Dark banner, Hidden went largely unnoticed, but there’s no reason for that. This one looks great, provides some shocks and leaves viewers totally invested in the film. Underrated? Yes (likely due to the After Dark label, as many feel the company has released far more trash than treasure), but undeservedly so!
Trollhunter: Not only is Trollhunter one of the finest Nordic flicks to ever see release, it’s also one of the most engaging found footage films on the market. The realism of the film borders on absurd, it’s so convincing, and the tone is pitch-perfect. This movie isn’t about exploring lame tropes, or leading the viewer on only to deprive them of quality revelations and stunning scenes; writer/director André Øvredal never once refrains from delivering the goods. The CGI is the only questionable element of the film, and to be fair, these are still extremely solid visual effects on display. A personal favorite, there aren’t many features like Trollhunter. And there sure as hell aren’t many found footage pics that can hold a candle to this unexpected masterpiece.
Thale: Okay, above all other things, Thale feels stupid original, I’ve got to say that. In comparison to the majority of films on this list, the concept is so insanely outlandish that it’s near impossible to avoid having your undivided attention sucked into this mesmerizing whirlwind of legends and myths, creatures and seductresses. This is contemporary folklore done to perfection. But viewers shouldn’t need too much persuading from me. Take one long look at the film’s trailer (which boasts a sexy young lady with a penchant for nudity and… a tail. Yep, that’s right. Genuinely memorable characters and awesome visual effects only work as strong support for one very engaging story. Thale may be one of the more slept on Nordic commodities, but it’s a moving piece just the same!
Rare Exports: A Christmas Tale: I’ve seen countless critics bash Rare Exports to the North Pole and back. To be honest, I have absolutely no idea why this pic has been so heavily panned. It’s a Christmas themed production that paints the holiday a crimson red. But it does so by completely manipulating all pre-established beliefs and cinematic tropes. Holiday horror films tend to stick to basic ideology; Santa Claus is routinely a menacing antagonist. But this story deviates on a grand scale. An evil Santa isn’t the primary rogue, instead viewers come face to face with a throng of naked elves. And these elves are completely dedicated to creating carnage and ensuring the safety of the long dormant Claus. Can’t have Santa wake to turmoil, after all; let his minions handle the dirty work. The film looks beautiful, the set locations are gorgeous and we get an atypical examination of a legendary character that’s long been perceived as the consummate good guy. How wrong we’ve been! Want a truly eerie Christmas movie to toss in the Blu-ray player? This is it.
Let the Right One In: I do believe this one may have originated in Sweden, but you know what? Fuck it. Close enough. And for the record, it’s a mind boggling piece of work that stands as one of the absolute finest vampire films ever shot. The picture homes in on two outcast youngsters, one of which is a wildly aggressive vampire (well, she’s only wildly aggressive when the hunger comes on), the other a perennial victim of neighborhood bullies. When the two kids become friendly, the film’s bloodsucker notices, and doesn’t take kindly to the torment her little buddy has been subjected to. What’s she do? Slaughter, of course. The atmosphere of this film is as close to unrivaled as possible, and the sheer aesthetics of the film will leave you completely stunned. This is an upper echelon piece of artwork that capitalizes on infectious visuals and an atmospheric impact that you just don’t see too often.
The Whore: Let’s keep this real straight forward. The Whore is essentially Norway’s answer to I Spit on Your Grave. However, in my personal opinion, it’s vastly superior to the I Spit on Your Grave films. Perhaps a bit less exploitative (I’m really not sure that’s entirely accurate), The Whore gets it right by placing believable and gut wrenching actions in motion. I’m not out to tell you the film is any tamer (for lack of a better word) than its American counter parts, but I will tell you this: somehow, someway – it feels like an immeasurably more refined film. It looks amazing, and perhaps more importantly, it manages to be far more impacting than any of the I Spit on Your Grave pic. Writer/director, Reinert Kiil assembled a picture that refuses to escape the mind. Once you see this one, you just cannot un-see it! Top notch work right here!
The Monitor: First off, I’ve got to confess my steadfast celeb crush on Noomi Rapace. I think she’s gorgeous, powerful and above all, a terrific performer. When this woman fronts a film, I pay full attention. As for The Monitor itself, it’s extremely intriguing. This is a high quality, well-written mystery with some haunting sequences and a few jarring moments. The locale restraints could have worked against the film, but this isn’t one that requires any mammoth setup or grand shooting locations. The Monitor is all about character examination, and the execution pays off big. I don’t feel comfortable labeling this one an outright character study, but it’s damn close, and it’s damn spellbinding despite a basic concept and a razor thin production budget. If you’re into movies that prod the brain and leave you contemplating cinema, The Monitor is a homerun.