Dread Central’s Best and Worst Horror Films of 2015
Steve Barton
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- Anthony Arrigo’s Best and Worst of 2015
- Ari Drew’s Best and Worst of 2015
- Debi “The Woman in Black” Moore’s Best and Worst of 2015
- The Foywonder’s Best and Worst of 2015
- Gareth Jones’ Best and Worst of 2015
- John Squires’ Best and Worst of 2015
- Matt Molgaard’s Best and Worst of 2015
- Paul “Nomad” Nicholasi’s Best and Worst of 2015
- Stephen Romano’s Best and Worst of 2015
- Steve “Uncle Creepy” Barton’s Best and Worst of 2015
- Todd Rigney’s Best and Worst of 2015
- Trisha Chambers’ Best and Worst of 2015
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.
It Follows
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.
Paranormal Activity: The Ghost Dimension
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.
