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10 Horror Movies That Wouldn’t Let Us Leave!

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With supernatural forces at their fingertips, horror writers have been known to trap characters in some truly sinister situations using whatever means necessary. From time-loops to highways that lead nowhere, some of the genre’s best films have played with characters (and our expectations) by forcing them to deal with a weird scenario they can’t escape.

So while Jigsaw resorted to lock and key, these ten films saw more mysterious forces at work, giving us some of the best horror this side of The Twilight Zone.


Haunter

Haunter

Described by producers as a “reverse ghost story”, Haunter sees teenager Abigail Breslin trapped in a house and forced to relive the same surreal series of events day-in and day-out. She can’t leave and she can’t seem to contact anyone on the outside. The worst part is she seems to be the only member of her family who realizes it’s even happening.

Haunter comes from Vincenzo Natali (Cube, Splice) and slipped under the radar when it was released by IFC Midnight. But it’s a well written film that stands as a great example of how to craft a great ghost story in a unique way.


Dark Floors

Dark Floors

This Finnish horror film was the brainchild of Mr. Lordi , leader of the popular heavy metal band Lordi. In the film, members of the band play monsters who terrorize characters trapped in an inescapable hospital that seems to be trapped between dimensions. Only a strange girl seems to hold the key to their escape and survival.

Notorious for having one of the most confusing endings in horror history, Dark Floors was not well received when it was first released. Lost to obscurity, I hope the internet will help it find a following as it’s got great atmosphere and undeniably cool concept at its heart.


Triangle

Triangle

Another film that flew under the radar when it was first released but now has a rabid fan base is Christopher Smith’s time-trapper, Triangle. Triangle sees its lead character shipwrecked in a storm and boarding a mysteriously derelict cruise ship. But before you can say, “Ghost ship!”- the film takes a hard left turn and sends viewers on a wild trip through an endless and inescapable time loop.

Punctuated by a truly fantastic head-scratcher of an ending, Triangle remains a top notch UK horror entry.


No Man’s Land: Rise of Reeker

RiseofReeker

Dave Payne’s prequel to his original breakout, Reeker, sees a group of band robbers trapped in an off-road gas station/diner by a mysterious force field. One by one they are stalked and killed by a hooded figure that reeks of death.

While the film is not as well regarded as its predecessor, it’s retains the same mysterious premise that made the first such a hit. It also amps up the surreal and often darkly funny tone which, for my money, makes it pretty enjoyable.


Room 1408

Room1408

Ghost stories don’t usually get under my skin, but 1408 remains an exception. Still one of the best Stephen King adaptations made, the story story sees a paranormal debunker played by John Cusack checking into room 1408 at the fictitious Dolphin Hotel.

The strangeness that follows builds to a thundering crescendo as we realize Cusack is trapped in the room that seems to exist out of time and space with the rest of the world. Even when he’s out, he’s in. It’s borderline brilliant.


Identity

Identity

Another Cusack joint, Identity kind of shits the bed by telegraphing its twist right up front. But even with that issue, once the film starts moving, it’s easy to get caught up in the mystery of murders happening to a cast of characters who find themselves trapped in a motel the universe won’t let them leave.


Southbound

Southbound

One of the best of the recent anthology boom, Southbound uses a nifty Twilight Zone wrap around to trap each of its characters amid endless desert highways all leading to the same demonic nexus point. Punctuated by top-notch writing by all of its collaborators, Southbound uses the scenario to force each of its characters to endlessly face their deepest fears and regrets – a wonderful metaphor for guilt.


Resolution

Resolution

Praised as an indie analog to the more bombastic Cabin in the Woods, which was released in the same year, Resolution sees two friends trapped in a cabin, plagued by mysterious clues that seem to lead them towards an inevitably violent resolution to the film’s story.


Dead End

Dead End

The inimitable Ray Wise stars in this horror gem about a family trapped on an endless stretch of road that becomes less and less tied to reality as the story unfolds. Terrorized by unexplained and downright unnerving occurrences as they travel, the end result is an intelligent indie that will have you wanting to talk about it with everyone you meet.


Mine Games

10MineGames

We’re saving the worst for last folks, but while Mine Games is admittedly bit thick, it’s time-twisting plot is guaranteed to keep your interest. This one involves a group of party seeking teens who make a shocking discovery in an old mine that sends them tail-spinning into an inescapable time trap that demands to be resolved.


Now, I know there are many others I’ve missed that fall somewhere just outside the realm of horror (Time Crimes comes immediately to mind), but you get the idea. I love these types of supernatural set-ups.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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