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 2014’s horror offerings. We’re giving you a lucky 13 lists this time, and per usual they come in a variety of formats, each reflecting the unique styles of our writers.
We’ve also compiled them to come up with the year’s overall winners and losers. We averaged out the top and bottom vote-getters on everyone’s lists, and here are the results:
BEST: The Babadook
Runners-up: The Sacrament, The Guest
WORST: The Quiet Ones and I, Frankenstein (tie)
Runners-up: Leprechaun: Origins, Annabelle
Anthony kicks things off for us below. The other contributing staff writers are:
Brad McHargue
The Foywonder
Gareth Jones
Jason “Jinx” Jenkins
John Squires
Matt Boiselle
Matt Serafini
Paul “Nomad” Nicholasi
Scott “Doctor Gash” Hallam
Staci Layne Wilson
Steve “Uncle Creepy” Barton
Debi “The Woman in Black” Moore
Related Story: Ranking the 2014 Horror Movies – Dread Central Reader’s Choice: RESULTS
Anthony Arrigo’s Picks
2014 was an atypical year in that horror hit a complete and total nadir theatrically, but on the limited release/DTV scene things were hot. You know how many horror films I saw in theaters this year? Exactly one, and it was a revival DCP screening of Frankenstein (1931) – and it was spectacularly ruined by attendees who either couldn’t stop talking or couldn’t put down their phones. None of 2014’s tepid offerings looked intriguing enough to get me to part with some cash and two hours of my life. In fact, aside from a single exception all of my favorite films this year either received a limited release or premiered on VOD, a service that is proving exceedingly useful considering the wealth of movie material hitting there first. Of the theatrical films I finally caught at home, only The Purge: Anarchy (which needed more Grillo action and less annoying co-stars) and Oculus (which was pretty damn solid for a slick new picture) surprised me, and neither made my top five.
The best films being done right now are no-to-low budget, leaving the majority of studio swill to remain in the gutter it has called home for years. At the very least, Guillermo del Toro should bolster the scene next year with his latest Gothic love letter to horror, Crimson Peak, but otherwise I have a feeling the top terrors are going to continue to invade via the small screen.
The Guest – Despite getting a lot of love on the festival circuit, when director Adam Wingard and writer Simon Barrett’s You’re Next (2013) finally got a wide release, the movie I saw wasn’t nearly as humorous and smart as reviews had claimed. So, it was with a little trepidation that I went into The Guest since it’s from the same duo. Any reservations I had were wiped away as this enigmatic adventure took off, taking an unconventional approach to storytelling and delivering something that felt so fresh and new. Dan Stevens is perfectly cast as the “sane one minute, nuts the next” title character, one who remains a mystery throughout. And, man, if there’s one soundtrack this year that I’ve rotated the hell out of, it’s this one; fans of ‘80s darkwave and synth take notice.
Godzilla – The first thing you need to understand is I’ve been obsessed with Godzilla since the age of five; my bias is strong. Are there problems with Gareth Edwards’ big budget reboot? Absolutely. I could write an academic paper on every minute detail that could use tweaking, scrapping, deletion and improvement… but as foundation for a new series to launch, he nailed it. This Godzilla is a monstrous badass; a gorgeous design that feels more real than ever. The trailers may have misled viewers into thinking this would be something akin to G’s eponymous films of 1954 or 1984, when it reality this wound up playing like his ‘70s world savior days. Complaints of a weak storyline, poor acting and too little face time for the Big Guy may seem valid to casual series fans, but those who have stuck around through all the years know those attributes are (for better or worse) staples. Godzilla is back, and this time they did him right. Quit bitching and enjoy it.
Blue Ruin – Calling this horror is probably a stretch, but I already included The Guest so outliers are fair game. Writer/director Jeremy Saulnier’s tale of inept revenge strikes a chord because instead of watching some white knight decimate faceless thugs for ninety minutes, we’re experiencing street justice through the eyes of a weary wanderer who is about as threatening as a cashier at Chik-Fil-A. His moves are clumsy and some of his decisions are rash and poorly thought out, visualizing the very real distinction between how you imagine revenge in your head versus how it’s actually carried out.
Under the Skin – Scarlett Johansson has never been more seductive or deadly than she is here, as an alien who lures men into her lair in a Scottish flat before leaving them in a lake of otherworldly goo. Jonathan Glazer’s film is wholly unconventional, coming across like literal art come to life; it’s abstract and open to much interpretation. Adding to the cosmic mystery is composer Mika Levi’s sultry score, which at times sounds as alien as our leading female.
Honorable mentions: Snowpiercer, Starry Eyes, Oculus, The Town that Dreaded Sundown (2014), In Fear.
I have no doubt there were a great many films released in 2014 that sucked infinitely more than what I’ve listed below, but since I’m generally adept at avoiding crap, it’s all I’ve got. I will say that a couple listed here fall into the “so bad they’re good” category, so there’s some merit.
The Babadook – That kid. THAT GODDAMN KID. Look, I get that her son was written to have a grating personality, and I understand that if anything the young boy who portrays him deserves a cookie for doing such a great job, but I have never in my life wanted to reach inside a screen and choke someone to death more than this kid. Even if he were tolerable, ultimately the film isn’t much more than a competently made children’s horror yarn with a psychological hinge and a moderately creepy monster. Claims of being “one of the scariest films ever” are pure hyperbole, or those people are just wusses. Big wusses.
Knights of Badassdom – The mistake producers made on this one wasn’t editing it into an altered form for theatrical & home video release, it was giving it the green light in the first place.
Scorned – One for the “so bad it’s good” list, featuring the insanely attractive AnnaLynne McCord as a fitting successor to Glenn Close’s rabbit-stewing throne of jilted insanity. Unintentionally hilarious at times, there’s a sadistic streak that’ll have every guy who’s dated a nutbag cringing inside.
The Quiet Ones – Forget just being quiet, someone, please, hit mute on this D.O.A. exorcism snoozer.
Nurse 3D – Another for the “so bad it’s good” pile, this is pure trash cinema on a level that hasn’t been seen since Showgirls (1995). Paz de la Huerta, who can’t say a line without sounding like she’s doing a Marilyn Monroe impression behind duck lips, is hypnotically sexual and effortlessly seductive. The picture can’t seem to decide whether it wants to fully embrace its schlock or not, resulting in some identity confusion that prevents it from being truly epic. Make no mistake, this is a bad movie; it just happens to be so awesomely bad that you’ll want a gang of friends and a plethora of drinks before hitting play.
In terms of cinema overall, my favorite film of the year was Nightcrawler, while my least favorite movie by a wide margin was the cinematic excrement known as Teenage Mutant Ninja Turdles. Typo intentional.
Brad McHargue’s Picks
For the first time ever, I’m going to focus on films that were given a legitimate release. Be it theatrical, VOD, or DVD/Blu-ray, all of these films are available to see outside of film festivals. Since I included a number of films released earlier this year on my 2013 list as “special mentions” – Big Bad Wolves, The Dirties, and The Sacrament – they won’t be included on this year’s list. The same goes for Spring, which will receive an official release next year despite being one of the greatest genre films I have ever seen. And Creep. And Closer to God. Stupid rules.
Anyways, enjoy!
The Babadook: I reviewed this film out of the Stanley Film Fest and have been championing it ever since. There is very little to say about it that hasn’t already been said, but in the end, it’s the type of horror film I gravitate toward: very real and human issues given a sinister and seemingly supernatural and metaphorical twist. I compared it to Session 9 in my review, and while I still find Brad Anderson’s thriller to be one of the greatest horror films ever made, Jennifer Kent’s stellar debut doesn’t lag too far behind. A bold claim? I don’t think so. It’s at 98% on Rotten Tomatoes for a reason.
Dead Snow 2: Red vs. Dead: I hated Tommy Wirkola’s first attempt at injecting some much needed life into the zombie film. Despite an admittedly fun premise, it wore its influences on its sleeve to the point where its humor was mostly mired in throwbacks to classic zombie films. We get it; you’ve seen Evil Dead. Wirkola’s second attempt breaks free from the constraints of its influences and embraces self-awareness . The result? A frenetic and self-deprecating romp through scenic Scandinavia that finally realizes that you can have fun with a zombie movie.
The Taking of Deborah Logan: This flew under the radar until it hit Netflix; then everyone and their mother couldn’t stop talking about this faux doc thriller that ties together the horrors of Alzheimer’s with demonic possession. Though not without its flaws, it managed to do well with the found footage conceit while offering some of the most exciting and exceptionally creepy moments in any horror film released this year.
Septic Man: Fuck you, this movie is awesome. Tony Burgess is a mad wizard who writes some of the most compelling and subtly brilliant films out there, even if they’re literally mired in excrement. His teaming up with Foresight Features has been a wondrous thing for horror, and I can’t wait to see what else they have in store.
I don’t like doing Worst Of lists. I see no real benefit in trashing a film outside the confines of a legitimate critique of the film. As such, I’m not calling them the “Worst” and will only devote a sentence or two to each. Also, bear in mind that there are only three here. It was a good year for indie horror, or at least what I saw was mostly good.
Devil’s Due: Its spot in the dumping ground that is the month of January was well-earned.
Oculus: I wanted to walk out a half hour in. Despite how well it weaved together the past and present, it was boring and filled with cliches. It’s a generic haunted house movie that uses a mirror as a villain… and that’s it.
Varsity Blood: I guess it took Jake Helgren actually directing the film he wrote to make something worse than Bloody Homecoming.
There are likely more, I just have yet to see them. It was a bad year for me. Been busy, man.
The Foywonder’s Picks
I find myself struggling a bit with both of my lists this year because I look back at 2014 as a year filled with a lot of okay horror movies that were also completely unmemorable. Even most of the bad horror movies were more forgettable than godawful. Except for Leprechaun: Origins; that truly was the worst piece of crap I’ve seen in a long time. 2014 may go down as a transformative year for the genre as this was the year that VOD was the place to watch for the genre, so much so I skipped almost all of the theatrically-released horror flicks. Given how much most of those big screen releases struggled, so did most horror fans.
The Babadook – Not going to dwell to much on this one since I suspect it’s probably appearing on nearly every horror site’s best list. I will say that while I wasn’t quite as enamored with The Babadook as others, there’s no denying that the stuff that worked struck a creepy chord with me that has stayed with me since viewing it. That alone puts it far and above most of this year’s quickly forgettable horror offerings. Though for me personally, I think it’s far more effective as a psychological thriller about a mother’s descent into madness than as a supernatural horror.
Tusk – I can totally understand why some people hated this movie, especially when Kevin Smith follows up his film’s most horrific sequence with an intolerable 10-minute comedy routine of Johnny Depp doing his French-Canadian Inspector Clouseau routine as Michael Parks goes full retard. Aside from that, I loved the weirdness that was horror cinema’s first ever Frankenwalrus flick. The walrus creature Justin Long is transformed into is both simultaneously one of the ghastliest and most absurd looking movie monsters in ages. Produce a walrus-man action figure for it already and take my money, Kevin Smith!
Exists – If The Blair Witch Project was Eduardo Sanchez’s Alien, then Exists is his Aliens. A no b.s. found footage hybrid of I Know What You Did Last Summer meets Harry and the Hendersons (now there’s a combination!), Sanchez has figured out that so much of the wait-and-see, leave-it-to-your-imagination formula of the subgenre he helped invent has grown stale and wisely doesn’t hide his outstanding looking Bigfoot creature until the very end or waste time having it just make noises off-camera, merely messing with the character rather than rampaging like a pissed off Sasquatch would. This is the best Sasquatchploitation flick since Abominable, which I admit is not exactly the highest of praise.
Afflicted – Like Exists, another found footage creature feature that emphasizes action over the typical less is bore. Shades of Chronicle, only with vampires and the best use of go-pro camera I’ve ever seen in a found footage-style flick. What could have been just another vampire transformation flick is turned into a thrilling and chilling romp, visually inventive, boasting the most thrilling first-person POV chase I’ve ever seen. Just how good Afflicted is was further pounded home after watching the similar yet vastly inferior Wer.
Honorable Mentions: Late Phases, Cheap Thrills, Starve, Godzilla
Leprechaun: Origins – I know there are those out there that argue “worst of” lists often focus too much on easy targets. Perhaps the reason some of those targets are so easy is due to their disdain being totally deserved. Why does Leprechaun: Origins exist and who thought it was a good idea to try and reboot the Leprechaun franchise as a serious horror film? Its mere existence is baffling. If you’re a fan of the previous Leprechaun movies, this provides nothing you want from such a sequel, prequel, or otherwise. If you’re not a fan, why would you want to watch this in the first place? Disassociate it from the franchise altogether and what you’re left with is still the most boring and generic monster movie imaginable. Even in a genre polluted with no shortage of terrible reboots, Leprechaun: Origins achieves a special level of craptitude that made realize I had been way too hard on Warwick Davis’ rapping skills.
V/H/S Viral – Hands down the single most disappointing horror movie(s) of 2014. After knocking it out of the park with V/H/S 2, the third installment fouls out with one okay segment, one really lame segment, another that is nearly headache-inducing in its wretchedness, and connecting it all together is an infuriatingly incomprehensible wraparound. What a letdown. Sigh.
Patrick Awakens – Sitting through this lifeless remake left me feeling much like Patrick: in a coma with my eyes wide open.
Horns – Ever watch a movie you hated and you weren’t sure exactly why? If someone asked you to explain exactly why you disliked it, you’d have a hard time explaining; you just know that something about it just rubbed you the wrong way from the outset. That’s how I felt watching Horns. Something about the tone, the story, how it was presented, something I couldn’t put my finger on precisely was so off-putting to me that my disdain for the film grew with every passing minute. Making matters worse, there were nearly 120 minutes for me to hate. I know this film divided audiences. Gonna have to put me squarely on the side of the haters.
I, Frankenstein – Dear Underworld franchise, I would like to take a moment to apologize for all the bad things I’ve said about you over the years. I didn’t realize how good I had it with you until I saw handsome Frankenstein joining forces with Leonore, Queen of the Gargoyle Clan, to prevent demonic forces from obtaining his wattage. As I summed it up in my review: “This is not schlock. This is dreck. There is a difference.”
Dishonorable Mentions: 7500, See No Evil 2, Bigfoot Wars, Septic Man, Godzilla
DISQUALIFIED ON THE GROUNDS THAT I REFUSE TO RECOGNIZE IT AS AN ACTUAL MOVIE: Blood Valley: Seed’s Revenge
Gareth Jones’ Picks
As a foreword to this list, I’d just like to stress that of the various year-end lists that I’ve composed over the years for Dread Central, this one has proven the most difficult. Because on reflection, 2014 has been a more than formidable year for the genre – and that extends even to the bad. Usually, the worst are an easy bunch to point out… but this year I rarely found myself outright hating something.
Sure, there were disappointments – films that failed to meet expectations or simply dropped the ball unnecessarily – but even the most drab multiplex-courting fare failed to stoke my fires of hatred. They were treading water, without doubt, so will get a mention… but in all sincerity, even most of the found footage entries that unfolded before my eyeballs in 2014 weren’t terrible!
Perhaps that’s just me becoming even more jaded when it comes to the genre (as if that’s possible!) – harder to please, but even harder to truly annoy – but in any case, casting a view back over the year reveals a pleasing landscape.
Here’s to more quality in 2015!
Dead Snow 2: Red vs. Dead
Simply put, Dead Snow 2 is the most fun that I’ve had at the movies in a long, long time. It’s slicker, sicker, gorier and funnier than its predecessor, and comes blasting forth with a confidence that uppercuts Wirkola’s previous effort straight into the stratosphere with a zombie-powered arm. Nazi zombies don’t get any better than this.
The kind of perfect mix of comedy and horror that only the Kiwis can pull off, Housebound is genuinely scary, thoroughly funny and populated by wonderful characters with bags of heart to boot.
The Guest
Dan Stevens shines as the dark star at the centre of writer/director team Simon Barrett and Adam Wingard’s stylish mix of horror, thriller and all-out action. Slick visuals, an absorbing plot and bags of ’80s style peppered with liberal doses of humour and moral ambiguity make for a triumphant time at the movies.
Late Phases
Director Adrián García Bogliano teams up with writer Eric Stolze to create that all-too-rare beast: a darned good werewolf film. Nick Damici continues to impress with his portrayal of a curmudgeonly blind war veteran left to fend for himself in a retirement community beset by werewolf attacks. Some wonky werewolf designs fail to undermine what is a gripping, emotional and tense story that has a genuine message to deliver.
Creep
Cash-strapped videographer Aaron responds to a Craigslist ad offering good pay for a one-day engagement recording the life of Josef… who turns out to be quite the weirdo. To say the least. Two excellent lead performances and a thoroughly intimate style ratchet the unease of Creep to unbearable levels, while character connection on both sides leaves the audience yearning for an amicable outcome – and leaves the finale ever more subtly horrific for it.
There were plenty of other high-quality offerings this year which could quite easily share a place with those I’ve listed, including Spring, Chocolate Strawberry Vanilla, The Canal, The Editor, What We Do in the Shadows, Suburban Gothic, Coherence, The Harvest, Der Samurai, The Babadook, Faults, Open Windows, House at the End of Time, Cold in July and the excellent Lord of Tears.
Oh, 2014… you really have spoiled us!
As I mentioned earlier, this was a year sprinkled more with disappointment and general malaise than it was the recognition of sheer crap. But for me, the worst goes to:
Leprechaun: Origins
Setting aside the fact that this was touted as a prequel to the exploits of the gleeful little murderous green chap brought to life by Warwick Davis over the years, it wasn’t even any good as a generic monster movie. The creature design doesn’t fit with much of anything in myth (perhaps it should have been called Troglodyte: Origins?), the characters are a vacuous bunch and the whole thing is just a chore to sit through. But when you try to treat it as in any way related to the aforementioned cult series against which it positions itself, the wheels fall off, the engine ignites and the whole thing goes up in flames. Pathetic.
Nymph
A Serbian entry packed with dodgy accents, dodgy CGI, dodgy direction, dodgy editing and a thoroughly embarrassed Franco Nero. A slovenly slasher effort for the majority of the runtime, its cack-handed approach fails to satisfy on both the human and monster sides of its weathered coin.
The Scribbler
I’ll happily admit to not having read the graphic novel on which this is based, but if it’s anywhere near as incoherent and grating as John Suits’ filmic effort, then I’m not guessing I’m missing much. A strong cast are uniformly wasted in this tedious, rambling mess that is simply much too busy congratulating itself on its ‘cool’, angsty style to even think about forming an engaging story. The Scribbler is utterly painful to watch.
That’s it for the real hatred on this year’s list. Since it’s shorter than expected, I’ll just have a quick moan about a few other flicks that, whilst I didn’t loathe them, didn’t impress much either:
See No Evil 2 – While the Soska sisters managed to imbue their sequel with an impressive amount of atmosphere and threat, See No Evil 2 seriously let us down on the kills (of which none are memorable) and failed to bring anything of value to Jacob Goodnight’s character… even going as far as to just forget about his eyeball-removing MO. Ultimately, it does work, but never justifies the need for its own existence.
The Quiet Ones – If ever there was a more disingenuously-titled film, I’d like to see it. Endless jump scares, loud noises and obnoxious volume increases pave the way to a disappointingly morose and predictable ending. A good cast, but glossy production values undermine the attempt at old-school atmosphere.
Ouija – This year’s The Possession. You know how it will begin. You know how it will end. You know to keep the volume at a reasonable level for the next stinger. I’m done hating on movies like these when it comes to my lists… because they fail to even make me angry these days. They’re just… nothing.
Starry Eyes – A duo-directed rage project that fails to handle its point with any subtlety whatsoever, and populates it with a grab-bag of thoroughly unlikeable characters who exist solely to talk shit, get mad, be mad, kill or die (in brutally gory fashion). And yet that sounds more interesting than Starry Eyes ultimately is, somehow. Still, it’s getting tons of great reception out there amongst genre fans, so don’t just take my word for it – check it out and decide for yourself!
Jason “Jinx” Jenkins’ Picks
Though the markings on the wall may have been pointing to this sad trend for some time, 2014 will always be the year when I realized that the VOD market has eclipsed cinemas so far as the overall quality and abundance of good films being offered. This is true not only of films in our favorite genre, but other genres as well (I’m thinking of films such as the great sci-fi movie Snowpiercer, the pitch black dark comedy Cheap Thrills, and the undeniably intense revenge dramas Blue Ruin and Big Bad Wolves – all fantastic, all given pitifully small – if any – theatrical runs).
There was a great deal of fantastic cinema relegated to limited theatrical engagements and VOD premieres, all while big-budget studio dreck clogged silver screens in wide release. Ah, well. At least there were still great films waiting to be discovered. It’s simply a shame that they have to be “discovered” at all, while audiences can hardly escape the likes of Annabelle and Ouija at their local multiplexes.
In any case and on a more positive note, here are my own personal choices (in alphabetical order) for the best of what 2014 had to offer horror fans:
The Babadook – All the hype surrounding this movie would have you believe that it’s the most terrifying film of all time (it’s really not), and is easily one of 2014’s best offerings from any genre (it absolutely is). Featuring knockout performances from Essie Davis and six-year-old Noah Wiseman, The Babadook is a beautifully made study of a single mother’s breakdown in the face of her son’s antisocial behavior and the appearance of the titular threat – a sinister storybook character who leaps from the printed page and into our poor lead’s life. The Babadook may not be truly horrifying, but it is an undeniably creepy, dread-inducing, and very smart film with more heart than one might expect from a movie of this type. A great film, heralding a talent (writer/director Jennifer Kent) worth keeping an eye on.
Cold in July – Not horror, you say? From Joe R. Lansdale’s novel comes Jim (Stake Land) Mickle’s newest, which appears at first glance to be a gritty Southern noir before a few nasty twists send it hurtling into some pretty icky, damned disturbing territory – leading to an intense climax full of gunfire and bloodshed. While I won’t spoil the film’s zigs and zags here, trust me when I say that horror fans and those who appreciate dark cinema will be glad they checked this out, if only for the performances by “Dexter” star Michael C. Hall, Sam Shepard, and a wily, entertaining as hell Don Johnson.
Enemy – A new film from the increasingly impressive director/actor duo of Denis Villeneuve and Jake Gyllenhaal (following their excellent 2013 film Prisoners), Enemy tells the tale of Adam, a bored young history professor who discovers the existence of one Daniel St. Claire, a mildly successful actor who appears to be Adam’s exact physical double. When Adam instigates a meeting between the two, each man becomes obsessed with certain aspects of the other’s life, all while nightmarish arachnid-laden imagery is woven throughout the tale. This is a bizarre, fascinating, and quite unnerving film with great performances from Gyllenhaal, Mélanie Laurent, Isabella Rossellini, and Sarah Gadon.
The Guest – The last movie I managed to catch before making this list is also one of the year’s best – a creepy, intense, super-fun rollercoaster of a flick concerning a discharged vet insinuating himself into the lives of a fallen comrade’s family. Dan Stevens turns in a star-maker of a performance here, keeping his “aw, shucks” demeanor constantly charming while never quite letting the audience feel entirely at ease with his titular character (for good reason). The writing/directing duo of Simon Barrett and Adam Wingard may have given us – if not their best film – then certainly their most enjoyable.
Honeymoon – Quiet, deliberately paced, and filled with a dread-soaked atmosphere throughout, Honeymoon introduces us to Paul and Bea, a likeable young pair of newlyweds who retire to a remote cabin to wile away their honeymoon in peace. A bizarre sleepwalking episode with Bea heralds increasingly bizarre behavior from the young woman – leading Paul to believe that the woman he shares a bed with may no longer be the person he married. Harry Treadaway and Rose Leslie carry the movie effortlessly, all as first-time director Leigh Janiak steadily ratchets up the tension until the film’s final shocking moments. This film is a stunner.
Housebound – From the land of Peter Jackson comes one of the very best horror comedies this reviewer has seen since – well, Jackson’s own Dead Alive. Boasting big scares, big laughs, great performances, a genuine mystery and some jaw-dropping bloodshed, Housebound is a completely riveting and thoroughly entertaining ride. This movie is a blast and would make for a helluva double feature with Álex de la Iglesias’ hilarious shocker Witching and Bitching.
Proxy – Zack Parker’s follow-up to 2011’s flawed but fascinating indie shocker Scalene is a major leap forward for the filmmaker. Driven by wonderful acting, precise direction, and a script as twisty/turny as any this viewer has witnessed, Proxy thrusts us into the lives of some truly reprehensible people and forces us to sympathize with them, even as their deeds turn truly heinous. Proxy is hard to categorize but is easily one of the meanest, smartest, and straight-up nastiest films I saw this past year – and it’s also one of the very best.
The Sacrament – The House of the Devil director Ti West’s newest film is also his best yet, featuring AJ Bowen and Joe Swanberg as two VICE reporters who travel to a remote village to document a religious community led by “Father” (a great Gene Jones), a charming old Southerner who holds a definite sway over his followers. While the group members initially present themselves as friendly enough Christians, the veneer of this community is eventually chipped away by both the reporters and a group of secretly unhappy members until its dark heart is revealed, putting both visitors and hosts in mortal danger. The Sacrament is strong, disturbing material, bolstered by West’s command of storytelling and strong performances from Bowen, Swanberg, Jones, Kentucker Audley, and a marvelous Amy Seimetz.
Under the Skin – Gorgeous, creepy, and defiantly strange, Sexy Beast/Birth director Johnathan Glazer’s newest film stars Scarlett Johansson as an attractive young lady of extraterrestrial origin who travels Scottish towns and countrysides in a nondescript van in search of easily duped men willing to take a ride with her – each unaware of the dire peril they have placed themselves in. While her mission appears to be that of harvesting humans as, perhaps, a food source – Johansson’s character eventually allows her contact with mankind and the trappings and frailty of her own anthropomorphic, fleshy disguise to humanize her – sending this alien on a journey to discover just what it is to be a human being. Beautifully made and utterly outré, this reviewer can honestly say he’s seen nothing quite like this film before.
Honorable Mentions – Starry Eyes, Wolf Creek 2, Oculus, Witching and Bitching, The Houses October Built
2014 movies I wish I’d enjoyed more include Almost Human, Ouija, Annabelle, Tusk, and I, Frankenstein.
Yet to See – The Canal, A Girl Walks Home Alone at Night, At the Devil’s Door, Late Phases, Jessabelle
John Squires’ Picks
2014 was an interesting year for horror, as the theatrical releases mostly sucked a big one and the VOD releases were pretty damn exceptional. Now more than ever it’s clear that the best horror is experienced inside the comfort of the home, which is totally cool with me – since I hate leaving the house anyway.
As always, I haven’t quite gotten around to seeing every single film I had on my list to see before I wrote this list, and it’s likely that at least one of the ones I missed would’ve been on here if I had. But hey, what can ya do. I’ve only got so much time in the day, and Creepy works me right down to the goddamn bone(r).
The only order these are in is alphabetical, as I loved all five too much to choose favorites. Sincerely.
The Babadook: It’s somewhat impossible to write a ‘Best Of’ list for 2014 and not include The Babadook, one of the most impressive debut features in horror history. It’s what’s going on underneath the surface of the Jennifer Kent-directed film that really made me fall for it, as it’s one of those movies that uses a monster to tell a story that really, at the end of the day, has nothing to do with a monster. The Babadook has more depth than every 2014 theatrical horror release combined and will likely stand the test of time – in a big way.
Late Phases: In many ways, Adrian Garcia Bogliano’s first English-language feature represents everything I love about indie horror, in that it’s a film driven by story and characters, above all else. The werewolves, which are practically-created and totally badass, are almost an afterthought to the story of Nick Damici’s Ambrose, a blind Vietnam veteran who struggles to bond with his son. Damici is as terrific as the film itself, which reminds that werewolf cinema still has some bite left in it.
The Sacrament: It’s somewhat shocking that a horror film hadn’t been made about the real-life Jonestown Massacre until Ti West came along, as it’s one of the most genuinely disturbing stories of all time. But I’m glad that it didn’t because I can’t imagine anyone doing it better than Ti West. Highlighted by a powerhouse performance from Gene Jones, The Sacrament is an utterly disturbing piece of POV cinema, chilling me to the very core of my being.
The Taking of Deborah Logan: No movie released this year scared me more than The Taking of Deborah Logan, which somehow took two haggard sub-genres – possession and found footage – and turned them into horror gold. It doesn’t reinvent the wheel but it spins it incredibly well, and it’s Jill Larson’s performance as an Alzheimer’s patient that really sealed the deal on this one making my list. As long as I live, I don’t think I’ll ever get THAT image out of my head. You know the one.
Other films I greatly enjoyed this year, which I hated to exclude from the list, include Wolf Creek 2, Tusk, The Houses October Built, Grand Piano and The Town That Dreaded Sundown. As Above, So Below also deserves a mention, mostly for being the one wide-release film I saw in theaters that I actually kind of dug. Had a lot of fun with that one. Rock monsters 4 life.
My least favorites of 2014 were almost entirely the ones I saw on the big screen. Stinkers like Ouija, Oculus, Devil’s Due and Annabelle made me question why I continue paying to see horror movies in theaters, and Dracula Untold made me question why the shit it wasn’t a… horror movie. But I don’t see the need to spend time talking about movies I hated, so let’s leave this portion of the list at that.
Matt Boiselle’s Picks
Well, here we are – the close of 2014, and a full slate of horror movies that managed to both appease and annoy even the most spirited of fans. I’ve only been writing for Dread Central for 5 short months, but in that period I’ve managed to witness some films that have both stuck in my mind and made me want to pluck my eyeballs out at the same time. In any event, here is a short list of the top 5 films that caught my attention in both the positive AND the negative fashions, so sit back, read on, and whether or not you agree with one, all, or none of my choices, here’s to a happy, healthy, and horrific 2015!
#5: The Purge: Anarchy: A more than adequate sequel to a film with an already interesting premise. This time, we got a look at just how this gigantic beast known simply as “The Purge” operates without remorse. In the end, when the blood needs to run, it’s fueled by money.
#3: The Taking of Deborah Logan: Say what you will, but this gem of a possession film is a cool drink of water for an otherwise parched sub-genre. While many of you will poo-poo on this movie, you can’t tell me that if you woke up at 2a.m. and found that old lady standing on your countertop, you wouldn’t leave bacon strips in the back of your skivvies? I thought so.
#2: Pieces of Talent: A low-budget thriller that doesn’t look like one, and one of the happiest (and creepiest) killers that I’ve seen perform on film just wants to “show you something beautiful” – seek this one out for a real treat, and a welcome departure from the big-budgeted heavyweights.
#1: The Sacrament: There’s just something inherently frightening about religious-cult movies, and with this film that ran a parallel line to the Jonestown Massacre of 1978, it’s all the more terrifying that it actually could, and has, happened. Well acted, well structured, and a movie that still chills me to the bone every single time I press “play.”
#5: Jersey Shore Massacre: This reprehensible display mirrored the clowns from the hit MTV “reality” show as they were systematically slaughtered by a lunatic who certainly didn’t discriminate the everyday douche from the pseudo-celebrity douche. A complete disaster.
#4: I, Frankenstein: The fact that I waited in line at the movies for this toilet-clogging wad saddens me – not even District Attorney Harvey Dent could breathe life into this utter wreck of a presentation… and I watched it in 3D. In a D-Box seat. On an IMAX screen. Wow, was I glutton for punishment.
#3: The Babadook: This movie could simply be equated to waiting at the Christmas tree on December 25th and getting swiftly kicked in the nuts by jolly ol’ St. Nick himself. WAY too much over-hyped promotion, not nearly enough scares, and that kid… GOOD GOD, that kid was enough to piss off the Pope.
#2: Seed 2: Blood Valley: Seed’s Revenge: Once again, Uwe Boll gives horror fans the middle finger as this completely unnecessary sequel crashes and burns with reckless abandon, and if not for the fact that I loved Nick Principe in the main role, this one would be sitting firmly atop my list of the biggest nut-clustered fecal bombs of the year.
#1: Annabelle: For a movie that literally crammed the airwaves with more commercial trailers than any film I can remember in recent memory, you’d think that you wouldn’t want to shoehorn EVERY SINGLE scare into those advertisements, virtually leaving the theater crowd like a violated prisoner, weeping softly in a fetal position, knowing that they’d been softly screwed out of their admission fee by a stupid-looking doll.
So there you have it – my top and bottom 5 films of 2014 – and as your either agreeing or skewering my choices, just remember that we as horror fans can agree to disagree until the cows come home, for the real beauty is in the scare. Happy 2015, everyone!
Matt Serafini’s Picks
It’s no secret to anyone who follows me on Twitter (or listens to Dinner for Fiends) that I avoided a lot of theatrical horror in 2014. There wasn’t much of it that interested me, and what films I managed to see on the big screen failed to leave much of an impression. I was all over VOD, though, and if there’s anything to take away from 2014, it’s that the paradigm shift in genre distribution is upon us.
Quality horror has been going directly to “on demand” outlets for the last couple of years, but never in this capacity. If you wanted to catch the genre’s most talked about titles this year, you either needed to live near an independent theater, or you likely dropped a few bucks on your digital delivery system of choice. What you definitely didn’t do in most cases was pay to see these things at your local multiplex.
A few quick notes about my list: I was selective in my viewing habits this year. That means I watched very few “bad” films. Certainly not enough to make a list of them. And while I really enjoyed all of the movies I’m about to list, I’m not putting them in any particular order.
Wolf Creek 2 – If you avoided this sequel because of the original, you need to rectify that immediately. Not only is this a better film (by a mile), it’s faster, funnier, and unbelievably nasty. John Jarratt’s Mick Taylor is my favorite performance of the year, creating a horror heavyweight who truly relishes his insanity. It’s kind of terrifying how likable he can be, alternating between charm and insanity without effort, and you’ll never look at road kill the same way again.
The Sacrament – Ti West’s fictionalized take on the Jonestown massacre is an experience that has stayed with me for the better part of the year. It does creepy so well, and the hypnotic narrative is difficult to look away from. The performances here are top-notch, and though we know how it’s going to end, it’s no less affecting because of it.
The Guest – If I were a filmmaker, I’d like to think I would make movies like The Guest (you know, if I had the talent and ability to do so). It’s an 80s-style horror movie from the ground up: the location (small town USA), themes (middle class suburban family besieged by a malevolent visitor), and execution (dat synth score doe) present a familiar tone and style, but the nostalgic motif never gets in the way of the story. It’s simple, but undeniably well done and massively enjoyable.
Under the Skin – ScarJo is a curious alien predator in this surreal parable of human connectivity. Offering grimy atmosphere to the nines, and with an unfolding story that gives only enough for a vague understanding of the larger picture, this isn’t just my favorite genre film of the year, but my personal favorite movie of 2014. Uncomfortable, alluring, and fascinating, it may not be for everyone, but it’s been rattling around beneath my skin ever since watching it.
I didn’t really subject myself to anything this year that I knew was gonna be bad. I blame my 2013 New Year’s resolution for this. And also the fact that I can live vicariously enough through Creepy and Foy’s pain.
Paul “Nomad” Nicholasi’s Picks
This year in horror had primarily 2 themes for me:
1. There was a lot of obvious crap on the big screens across the planet.
2. I had little free time in between trying to make rent money, so I suffered through very few of those obvious crap movies.
That said, it was a challenge to round out both my top 5 and bottom 5 this year as even a free advance screening costs money when you need to GET THERE first. As such, you’ll notice my top 5 is packed with film festival awesomeness, thanks in no short order to the wonderful folks who give me access every year, and my bottom 5 excludes much of the high profile junk you brave souls sat through this year as, obviously, I had better things to do with my time…like feed myself. LET’S DIVE IN!
In no particular order.
Big Bad Wolves: The story of men looking for vengeance against a man they believe to be a killer does an amazing job of blurring the lines between our conceived notions of good and evil and succeeds in grabbing the viewer with both hands, forcing you to ask yourself if you could be capable of horrific acts in the name of justice. These days it is a topic that comes up almost weekly, and so the subject matter is all too real, adding to our immersion as we watch. Excellently acted, completely engrossing and beautifully shot on every level.
Cheap Thrills: We’ve all heard insane stories of the eccentricities of rich people and how they spend their money on ridiculous things. Cheap Thrills introduces us to one such couple who decide to shower money on two old friends, challenging them to complete tasks for cash that range from the mundane to the criminal. Again, our notions of good and evil are tested as fantastic writing presents two men who can swing from sympathetic to damn near demonic in seconds. Cheap Thrills is violent to an almost hysterical degree, perfectly cast and keeps a flawless pace from beginning to end.
Summer of Blood: You can’t call it a slow burn film, as it doesn’t really build up to anything. You can’t call it a creeper, as there is not one creepy moment to be found. I’ve taken to calling Summer of Blood “Sienfeld with Vampires,” which I believe succinctly sums up this dryly funny vampire film that is, ultimately, about nothing. This is the tale of a man getting on in age with little direction, licking his wounds over a failed relationship, when a vampire bite opens up a whole new world of possibilities…which he squanders and ultimately becomes bored with. The comedy in Summer of Blood comes from this apathetic world view, which is only amplified when human blood is your only sustenance… and the casual conversations people might have even when drenched in the red stuff.
Creep: Most movies these days contain a WOA moment in the first 5 to 10 minutes. It’s mandatory. Indie films generally buck the Hollywood system, and so a film like Creep can introduce you to an odd man who has hired a cameraman to record his last moments on Earth, moving at whatever pace they wish. Oddly, the material in this film is so compelling and the acting performance of Mark Duplass so perfectly unnerving, you’ll be glued to your seat the entire time. The mundane becomes a source for potential fright around every corner in this very human drama. Creep reminds us that any situation can go from weird to horrific in seconds, and that human beings remain more terrifying than any CGI monster made to date.
Leprechaun: Origins: It must be my love for WWF days gone by that makes me root for every WWE film that gets released, because it sure as hell isn’t the agony of watching them teaching me a lesson. It seems the task at hand in creating Leprechaun: Origins was to strip away the playfully violent tone of the original film series and re-present the tale as one of balls-out horror. Welp… they certainly did strip away all the fun… and replaced the charismatic lead monster with an abomination of creature design. This film contains zero scares, zero originality and what seems to be a 5-page script stretched to its limits.
Open Windows: Ever scratch your head so hard you draw blood? Ever try so hard to finish watching a film you have to hit pause several times, making the ordeal stretch out along a 12-hour period? I’m no stranger to the films of Nacho Vigalondo, and so I entered this film with high hopes and nothing but love… only to be sprayed in the eyes with a plodding story, oddly miscast, unsympathetic characters, formulaic claptrap and a “viewing it all from your desktop” delivery premise that was very poorly executed. It still stings the nostrils.
Oculus: This story of brother and sister returning to the home in which their parents died under supernatural circumstances to prove there was spookiness afoot and end the terror once and for all was a tough one. The film starts out great with a gripping and original premise backed by a very likable cast. It’s not long before the whole thing becomes a mess of stereotypical plotting, countless gags that MIGHT be real or might NOT be real, boring monsters and very little meat for superior actors to chew on. Need I add THE VILLAIN IS A FRIKKEN MIRROR??!! Naah… didn’t think so. Unscary and unfun.
The Quiet Ones: Honestly I have very little to rant about on this one. It’s one of these new school supernatural films where nearly nothing happens… even when they are telling you something is happening. It’s like watching the chair stacking scene in Poltergeist over and over, gleaning from this moment that THIS is what scares people. YOU SEE THAT??!! THE GHOSTS STACKED THE CHAIRS!!! AUDIENCES WILL FREAK!!! There is little suspense, little horror, little action and very, very little story. Based on an idea some guy had… indeed. That should have been the red flag.
Odd Thomas: Cursed are the films that can’t decide what they want to be. CURSED, I TELL YOU!! Odd Thomas introduces us to a hero who can see dead people who demand justice, and so he launches into the fray whenever called to do so. This is not what the whole movie is about. “Odd” can also work a grill like a ninja master. This never comes up as some superior kung fu prowess used to thwart evil later in the film. “Odd” can also see monsters attracted to chaos. This is a device used for oo’s and ahh’s and very little else. Odd Thomas has car chases, explosions, supernatural creatures, mystery, suspense, love, nubile teens, men with guns, pissed off dead guys and a spectacular tweeest you won’t care about when it is revealed. They say too many cooks spoil the stew… well, too many plot elements just make a massive mess.
Remember to keep watching for news on all those excellent indie movie releases. Lord knows the big screen isn’t giving us much to look forward to. Happy Holidays!
Scott Hallam’s Picks
With the end of the year upon us, I take great pride in being able to share my opinions on the best and worst movies of the year with you. Once again, we had some fantastic horror on television this year, and we were treated to one of the best horror movies to be unleashed upon us in years. Here’s my take on things.
A couple of honorable mentions first. There was an endearing little micro-budget indie that seemed to charm the pants off anyone who was lucky enough to see it this year, and that film was Kurt Larson’s Son of Ghostman. Another honorable mention goes to a short film that recently finished its festival tours and was debuted online right here at Dread Central. Entitled Service, the short was written and directed by Jerry Pyle and is everything you need from a feature length horror movie boiled down into a few frantic minutes. The Houses October Built deserves an honorable mention for going right off the creep meter and “American Horror Story: Freak Show” started hot, then trailed off a bit before recently coming on like a train. It’s back to delivering the quality of show we’re used to getting from the series. And, call me a knucklehead, but I’ve gotta give some love to Sharknado 2: The Second One. I was thoroughly entertained by this campy gorefest loaded with cameos and oftentimes horrendous CGI flying sharks. It was hilarious, and casting Judd Hirsch as the taxi driver was a stroke of brilliance.
Now, The Best and The Worst of 2014, as told by Doctor Gash.
The Babadook is not only the best horror movie of this year, it’s the best horror movie of last year as well. In fact, it’s been quite a long time since a film has come out with the creepiness, brilliant acting and powerful story as we see in The Babadook. And the movie is downright scary. The best thing about The Babadook is that it reminded horror fans that we can actually be scared. So often we pop in a new horror movie, never expecting it to get under our thick, veteran horror-watching skin. Then something like The Babadook comes along and gets its hooks into us, and all of a sudden we find ourselves checking the closets before going to bed. Brilliant.
Snowpiercer
A sci-fi adventure in a horrific setting, Snowpiercer shows us a caste system developed on a self-sustaining train that travels around a barren, dead Earth wiped out by an accidentally man-made ice age. The tension on this train containing the final members of humanity is fantastic and stirred to a boil by Mason (played brilliantly by Tilda Swinton). As one would expect, those in the back of the train, those which have become the lower class, will only take so much from their upper class tormentors at the front. Plenty of great action, violent battles and amazing atmosphere in this dreamlike environment.
Flu
This South Korean movie directed by Sung-su Kim could not have come at a more appropriate time. It’s the story of a lethal epidemic sweeping through Bundang, a suburb of Seoul, which houses a half-million people. We get a close look at the suffering in the streets, as well as a divided government trying to decide how to deal with the disease in Bundang while also keeping it from hitting the large city of Seoul. With what seems like annual epidemics in our news reports (Ebola, H1N1…Hell, it’ll probably be Captain Tripps next year), Flu hits close to home and shows us how devastating a true epidemic can be.
“The Strain”
We waited for it, they teased it. We were drooling over the idea of Guillermo del Toro bringing his feral vampire story to television. But the worry was, with all this hype, could it really live up to the billing? And the answer was a resounding yes! The action was intense. The gore factor was high for a feature film, forget about television! Amazing! And the characters were really appealing. Sure, The Master looked a little hokey when we finally got a good look at him, but any shortcoming were offset by David Bradley’s outstanding portrayal of Abraham Setrakian. More, please!
Cheap Thrills
This is another unique horror offering from the golden mind of Trent Haaga. After having written things like Deadgirl and American Maniacs and directing the devilishly good horror/comedy Chop, Haaga dreamed up Cheap Thrills, a bloody story of greed and double-cross that builds tension masterfully and culminates in an explosive finale. Similar to 13 Sins but with a more personal feel, Cheap Thrills asks the age old question….Honey, what’ll you do for money?
Leprechaun: Origins
We don’t see a leprechaun, not really, at least. And we definitely don’t learn anything of the origin of the leprechaun that we don’t see. Not really. This thing is a nightmare, and not in the fun, jump out of your seats way. More in the “I can’t believe I dedicated an hour and a half of the short time I’ll have here on Planet Earth during my lifetime to watching this fucking drivel” way. Sigh.
The Ganzfeld Haunting
A big WTF to the makers of this one. The Ganzfeld Haunting turned out to be nothing more than a vehicle for Rumer Willis to prance around in a bra and panties and play the bad girl for a good portion of the movie. We would have been fine with Rumer’s peep show, but absolutely nothing else went on in the movie. Ugh.
Evil in the Time of Heroes
The Greeks are fantastic at many things. They have amazing food, wonderful people, incredible history and culture. Unfortunately, they’ve been really bad at making horror movies. The only other notable Greek horror title you might recognize is Island of Death, which was a similar mess as Evil in the Time of Heroes. This thing is all over the place, and everywhere it goes is bad. A disaster from start to finish.
The Upper Footage
They tried. I’ll give them that. But they tried too hard. The makers of The Upper Footage tried so hard to make another underground media buzz akin to the excitement surrounding The Blair Witch Project upon release, but it just didn’t happen. They created a fake website, sent press releases about this mysterious footage that had the overdose death of a girl on it that Quentin Tarantino may or may not be buying and using for a film. They tried, but in the end, the mystery kind of fizzled out and the movie just wasn’t that good. A for effort, F for execution.
Average to poor horror movies crushing it at the box office
A lot of movies that were just okay to downright stinkers took in big hauls in 2014, as they do every year. Annabelle earned $84 million domestically ($252 when combined with worldwide box office) on a $6.5 million budget. The Purge: Anarchy brought in $71 million ($110 worldwide) on a $9 million budget. They were okay movies, but hardly worth over $350 million in revenue. Then some of the stinkers (or movies you couldn’t care less about) made big loot… Ouija was the fourth highest grossing horror movie ($50 million domestic/$74m worldwide, $5m budget), Paranormal Activity: The Marked Ones did pretty well ($32m dom./$90m w./$5m budget), Deliver Us From Evil even made $87 million worldwide for crying out loud. For god’s sake, on that scale, if you marketed The Babadook properly, you could haul in half a billion, easy. Going to the theater and paying good money for middling horror doesn’t motivate filmmakers to deliver a quality product. Don’t let our genre be an easy cash grab. Let them know we want quality for our moviegoing dollar. *steps down from soapbox*
Staci Layne Wilson’s Picks
4. Horns – A young man’s life is turned topsy-turvy when he suddenly sprouts a pair of hellish horns. Darkly comedic, though borderline corny at times, this stylish, snarky genre-bender still delivers and sticks in one’s memory.
3. What We Do in the Shadows – Vampire flatmates quarrel over dirty dishes, discuss fashion throughout the ages, go clubbing, and of course bite necks in this wicked mockumentary from the guys who brought us “Flight of the Conchords.”
2. Housebound – This fright flick cleverly twists and shifts genres into a mysterious, hilarious Rubik’s Cube of haunted house suspenser, whodunit and family comedy. But first and foremost, Housebound succeeds as a horror film – it’s got some great jump-scares, a compelling plot-twisty mystery, and oh yes: plenty of gore.
1. The Babadook – Though it’s a restrained, sophisticated and sinister seduction into the realms of true terror, The Babadook does dole out some hair-raising dread and suspense while also touching on themes of loss, grief and very real inner demons.
Honorable Mentions: Wolf Creek 2, Starry Eyes, Only Lovers Left Alive, Oculus, Wolves. I also loved Cold in July and Blue Ruin, but I guess they’re not really “horror” movies.
Green Inferno
Smothered
Parlor
Stage Fright
Yet to see: Under the Skin, V/H/S Viral, and a few other flicks that could otherwise have been factored into the equation.
Steve “Uncle Creepy” Barton’s Picks
So yeah. 2014. It was without question the single most mediocre year for theatrical horror that I can remember. Everything was just meh. Not too bad. Not too good. Just there. To say I wasn’t a fan is a bit of an understatement. That being said… it was also an incredible year for limited release, straight to VOD horror. You want the good shit? It was right in your home the entire time and completely free of teenagers or the elderly texting as if they’re the only people there.
So here you go… in no particular order.
The Babadook – Yes, I like many wanted to strangle the child star, but he didn’t do enough to damper what was an otherwise great and horrific experience. This flick had everything I love in spades… atmosphere, a truly spooky big bad, and a lead actress in Essie Davis who takes home performance of the year as far as my money goes.
Afflicted – If there are two things I’m completely tired of, its found footage and vampire films. Imagine my surprise when I loved this baby who came along that was relying on both of those elements! This? This is how you knock it out of the proverbial park, kids. Bravo.
The Houses October Built – I love the Halloween season with every fiber of my being. All the spooky decor, everyone finally letting it all hang out… Halloween is one of the most liberating holidays of the year, and more and more people are getting in on it. This little found footage flick captured the feeling and essence of the season with the kind of creepy perfection that is rarely seen. Just when you think you’re done with first-person filmmaking, someone comes along and makes you remember why it’s been so successful in the first place.
Tusk – I’ve said it before and I’ll say it again… Anytime that you can go into a theatre to see a movie about a mad scientist who turns a guy into a walrus and still leave shocked? Well, that’s just amazing, and so is Kevin Smith’s Tusk. Yeah, it has some rough patches, but the sheer insanity of the whole affair is a spectacle in and of itself.
Honorable Mentions: Delivery, Nurse 3D, Paranormal Activity: The Marked Ones, Godzilla, The Purge: Anarchy
Ah, yes! This year’s shit sandwiches. In no particular order…
Annabelle – Here’s the thing… when you can watch a spoof movie (in this case A Haunted House 2) and it uses your title character better than the real thing, you know there’s a problem. Annabelle could very well be the biggest missed opportunity of 2014. Though I must say…. getting something this wrong is almost impressive on some level.
I, Frankenstein – Writing something bad about this is akin to picking on a defenseless kid who can’t even muster up the gumption to look you in the eye. Yes, it’s as bad as you’ve heard. No, there’s absolutely no reason to ever watch this. I mean like ever.
The Quiet Ones – Note to filmmakers everywhere: Having your main bad guy show up to the finale of your movie wearing pajamas is just not a good idea. Thanks. Bye.
Grace: The Possession – Here it is, kids! The perfect representation of everything that is wrong with the horror genre. Take notes.
The Pyramid – When you can make a shit-fest like As Above, So Below seem more appealing, then holy Christ have you accomplished something special. Yep, there’s a reason why this flick got dumped by 20th Century Fox and we applaud them for caring enough to spare innocent eyes everywhere by not releasing this mess wide.
Dishonorable Mentions: The Devil’s Hand, As Above, So Below, Vampire Academy, Godzilla, Devil’s Due.
Debi “The Woman in Black” Moore’s Picks
When discussing 2014 horror films, one word comes to my mind: uninspired. And uninspiring. Which is why compiling my Top 5 of the year list is so problematic. I can barely remember 5 decent horror films, much less 5 that deserve the title of “best.” So I’m doing it a bit differently… instead of a Top 5/Bottom 5, I’m submitting a Top 3/Bottom 3 with several Honorable Mentions.
When it comes to films that left an impression during 2014, few were more visually mind-blowing than Snowpiercer, but since there’s been a bit of debate over whether it’s “horror” enough, I’ve opted to include it with my Honorable Mentions along with The Purge: Anarchy, a sequel that, while more action-oriented, improved so much on its original (which was a runner-up on our collective Worst of 2013 list) that I’m actually looking forward to another installment. Two other HMs that do fall squarely in the genre are Come Back to Me, which was my favorite indie of the year, and The Canal, which kept me engrossed throughout and then paid off my attention with a really great ending. The Guest, although more thriller than horror, is certainly worth a mention as well since it boasts the year’s best performance by Dan Stevens (runner-up has to be Manuela Velasco from [REC] 4: Apocalypse; talk about being put through the wringer!).
Now, on to the winners…
Tusk: Hands down the most memorable film I saw in 2014 was Tusk. I knew going in that of course someone was going to be turned into a walrus, but knowing it and actually seeing it are two entirely different things, and kudos to Kevin Smith for managing to shock and surprise this very jaded horror fan. I’m talking jaw-dropping. For that alone his film deserves a spot on this list.
The Houses October Built: Lastly, The Houses October Built managed to do something I honestly thought was an impossible task: injecting some freshness into the found footage sub-genre. Looking back over the year, the only movie that even sort of scared me and (aside from Tusk) made me squirm was this one. I guess we’ll find out next Halloween when it’s inserted into our seasonal viewing schedule just how well it holds up, but for now it’s enough of a stand-out to merit recognition.
Sadly, picking the worst of the year is a much easier task than picking the best. Any of the following Dishonorable Mentions could have just as easily wound up in the Bottom 3… the best of the worst (is that even a thing?) are Annabelle, Grace (aka Grace: The Possession), The Pyramid, and As Above, So Below. If you saw any of them, you’re well aware why I’ve included them; if you didn’t, then lucky you! Keep counting your blessings.
The Devil’s Hand: Of those that did make my Bottom 3, the worst has to be The Devil’s Hand (aka Where the Devil Hides), mainly because it has such a great cast that is left to flounder in a sea of painfully bad dialogue and ridiculous situations. Not to mention that at least a few of the “teenagers” look like they left college behind at least four or five years ago.
The Quiet Ones: Another big disappointment due to its stellar cast was The Quiet Ones. Plus it was so LOUD. And illogical. And just plain bad.
I, Frankenstein: Which brings us to one of the first films released in 2014, I, Frankenstein, which pretty much set the tone for everything that followed. Quite simply, nothing worked. Aaron Eckhart was horribly miscast, Yvonne Strahovski was wasted in a thankless role, and whoever greenlit this debacle in the first place should be ashamed of themselves. If any creature deserves better treatment, it’s Frankenstein’s monster; and if this is what we can expect from Universal’s upcoming re-imaginings of its most cherished franchises, we have a long, bumpy road ahead. Buckle in, Dreadies, and know we’ll be right there with you!
First, though, we have 2015 to look forward to… Lord knows it can’t get any worse than the year that just was!