Dread Central’s Best and Worst of 2014
Steve Barton
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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.
Nurse 3D – Nurse 3D is without a doubt the most fun I had with a movie all year. It’s a delightfully sleazy exploitation flick that channels a bygone era of sex and violence without forcing the experience. Paz De La Huerta gives a wonderfully bizarre performance, and the movie builds its bottled insanity perfectly around it. By the time the blood starts flying, all you can do is laugh along with the madness and then marvel over how well director Douglas Aarniokoski pulled it off.
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.
