Editorials
00’s Retrospect: Bloody Disgusting’s Top 20 Films of the Decade…Part 3
I tried to find a common theme among entries 10-6 in Bloody-Disgusting’s list of the Top 20 Horror Films of the 2000s, but after a head-scratching 30 minutes or so I realized there just isn’t one, at least not one that’s justifiable (people die in all five of them? They all have scary stuff?). But in a way, that’s one of the great things about horror cinema in the last decade – not only have there been a ton of amazing films, the diversity among them is astounding. In fact, there’s not one trend that can really sum up the decade, unlike the `80s (slashers) or the `90s (self-aware horror). Just goes to show how truly dynamic the genre has the capacity to be.
Also read: 00’s Retrospect: Dead on Arrival — Ten Horror Duds of the Last Decade
The last ten years have been a wild ride for horror fans. Thanks to countless innovators and a host of amazing films, it can safely be said that the 2000’s trump the 1990’s by a wide margin. Sure, that decade had groundbreakers like Scream and The Blair Witch Project, but that’s nothing compared to the number of great horror films (and, for that matter, the number of total horror films) that this decade has had to offer. To celebrate, the staff of Bloody-Disgusting decided to take a vote on the Top 20 horror films* of the 2000’s (along with one honorable mention), and the below list is the result. Looking over it, it’s actually pretty telling that nearly half the movies (9 out of 21) were produced on foreign soil, which just goes to show that this decade in horror was as much about the range of impressive imports as it was about the American product. Your favorites aren’t on there? Cry us a river. Or better yet, let us know what we missed. And make sure, at some point before the New Year, to get on your knees, clasp your hands together and pray to the horror gods to make the next decade as good as the last. – Chris Eggertsen
10. Saw (Lionsgate; October 29, 2004)
Perhaps the most influential horror film of the decade, Saw kick-started a franchise that became the highest-grossing in horror history (not adjusting for inflation, of course). The film has its detractors (although perhaps their disdain is directed more at the endless succession of sequels that followed), but in light of its measly $1.2 million price tag the film’s quality relative to bigger-budget horror films is striking. It also takes itself seriously, which came as a breath of fresh air following the trend of wimpy tongue-in-cheek horror that had dominated the multiplexes post-Scream. More than anything, this twisted morality tale is a film made by horror fans, for horror fans; it’s gory, it’s depraved, and best of all it introduced a new horror icon in Jigsaw. For that, and for the films it paved the way for, we should be thankful.
9. Trick `r Treat (Warner Premiere; October 6, 2009)
Michael Dougherty’s horror anthology is so good that its lack of a theatrical release (thanks a lot, Warner Brothers) borders on the criminal. Maybe the studio was scared off by the film’s candid black-heartedness; Hollywood often shies away from portraying the deaths of children onscreen, but when it’s done without apology, and even with a dose of humor (as it is here), the filmmakers may as well start digging their movie an early grave. Luckily, the horror community has rallied behind the film, a new Halloween classic that showcases four stories of madness and mayhem set during All Hallow’s Eve. When all is said and done, perhaps Trick `r Treat‘s greatest contribution to the world of horror cinema is proving that straight-to-DVD films can be just as good, if not better, then their theatrical counterparts.
8. Dawn of the Dead (Universal Pictures; March 10, 2004)
In a time when most remakes pale in comparison to the originals, Dawn of the Dead is something of a minor miracle. Sure, it’s not as good as Romero’s version. It’s not even as smart. But Zack Snyder brought an energy and a style to it that succeeded in making us forget about all that. Truly, you can analogize the two films based on their zombies alone – where Romero’s lumbered and took their time (in a good way), Snyder’s came at us, fast, with teeth bared like rabid dogs. He truly made his own version of Dawn of the Dead, his own way, with a distinctly 21st century sensibility. And why shouldn’t he have? There’s no way to really top the 1978 incarnation, so it makes perfect sense to just go for broke. And therein lies the beauty of Snyder’s film – he wasn’t out to best Romero; he just wanted to outrun him. And it worked.
7. 28 Days Later (Fox Searchlight; November 1, 2002)
Zombie movie? Political allegory? Humanist drama? 28 Days Later is all of those things and more – a genuine work of art by a director at the top of his game. What’s so amazing about the film is the way it so expertly balances scenes of white-knuckled, hell-for-leather horror with moments of intimate beauty. The “zombies” themselves – human beings infected with a blood-borne virus that causes them to fly into a murderous rage – are terrifying in part because of how quickly they transform. It’s not a slow, gradual conversion as in Romero’s Living Dead films but a near-instantaneous one that forces those around the victim to make a split second decision – kill or be killed? Of course, none of this would have mattered had Danny Boyle not been the one at the helm; it’s undeniably his movie, and it’s a transcendent movie-going experience.
6. The Ring (DreamWorks; October 18, 2002)
The Ring was not only the first American “J-Horror” remake out of the gate; it also still stands as the best. Some prefer Ringu, Hideo Nakata’s Japanese original, but Verbinski’s version is simply a better film. Witness the expertly paced opening scene, which stands as one of the scariest prologues in horror movie history and trumps the original by a mile. Witness the haunting and abstract imagery on the videotape itself, much more disturbing than in the Japanese film. Witness lead actress Naomi Watts, turning in a full-blooded performance as the reporter investigating the mysterious killer video tape. Koji SuzAdd Newuki, the writer of the book the Japanese film was based on, gets credit for that ingeniously simple premise. Verbinski gets credit for (re)interpreting it with such craftsmanship, and doing Nakata one better.
Editorial written by Chris Eggertsen
*Editor’s Note: For those of you interested in knowing how the list came to be, here’s an explanation. Bloody Disgusting writers collaborated on a list of some of the best films this decade. The entire list was given to the Bloody Disgusting staff who then built their own Top 20 lists. Each film was given a point value. 20 received 1 point, 19 received 2 points, and so on all the way to number 1, which received 20 points. The numbers were tallied and the result are the top films listed. The bonus film had tied with #20 and the tie was broken by the number of actual votes.
The following participated in the project: Mr. Disgusting, Tex Massacre, BC, David Harley, Ryan Daley, Chris Eggertsen, Jeff Otto, John Marrone, Horror_Guy, Mr_Bungle, Klown, Caustic Coffee and Tool Shed
Editorials
‘Immaculate’ – A Companion Watch Guide to the Religious Horror Movie and Its Cinematic Influences
The religious horror movie Immaculate, starring Sydney Sweeney and directed by Michael Mohan, wears its horror influences on its sleeves. NEON’s new horror movie is now available on Digital and PVOD, making it easier to catch up with the buzzy title. If you’ve already seen Immaculate, this companion watch guide highlights horror movies to pair with it.
Sweeney stars in Immaculate as Cecilia, a woman of devout faith who is offered a fulfilling new role at an illustrious Italian convent. Cecilia’s warm welcome to the picture-perfect Italian countryside gets derailed soon enough when she discovers she’s become pregnant and realizes the convent harbors disturbing secrets.
From Will Bates’ gothic score to the filming locations and even shot compositions, Immaculate owes a lot to its cinematic influences. Mohan pulls from more than just religious horror, though. While Immaculate pays tribute to the classics, the horror movie surprises for the way it leans so heavily into Italian horror and New French Extremity. Let’s dig into many of the film’s most prominent horror influences with a companion watch guide.
Warning: Immaculate spoilers ahead.
Rosemary’s Baby
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The mother of all pregnancy horror movies introduces Rosemary Woodhouse (Mia Farrow), an eager-to-please housewife who’s supportive of her husband, Guy, and thrilled he landed them a spot in the coveted Bramford apartment building. Guy proposes a romantic evening, which gives way to a hallucinogenic nightmare scenario that leaves Rosemary confused and pregnant. Rosemary’s suspicions and paranoia mount as she’s gaslit by everyone around her, all attempting to distract her from her deeply abnormal pregnancy. While Cecilia follows a similar emotional journey to Rosemary, from the confusion over her baby’s conception to being gaslit by those who claim to have her best interests in mind, Immaculate inverts the iconic final frame of Rosemary’s Baby to great effect.
The Exorcist
William Friedkin’s horror classic shook audiences to their core upon release in the ’70s, largely for its shocking imagery. A grim battle over faith is waged between demon Pazuzu and priests Damien Karras (Jason Miller) and Lankester Merrin (Max von Sydow). The battleground happens to be a 12-year-old, Regan MacNeil (Linda Blair), whose possessed form commits blasphemy often, including violently masturbating with a crucifix. Yet Friedkin captures the horrifying events with stunning cinematography; the emotional complexity and shot composition lend elegance to a film that counterbalances the horror. That balance between transgressive imagery and artful form permeates Immaculate as well.
Suspiria
Jessica Harper stars as Suzy Bannion, an American newcomer at a prestigious dance academy in Germany who uncovers a supernatural conspiracy amid a series of grisly murders. It’s a dance academy so disciplined in its art form that its students and faculty live their full time, spending nearly every waking hour there, including built-in meals and scheduled bedtimes. Like Suzy Bannion, Cecilia is a novitiate committed to learning her chosen trade, so much so that she travels to a foreign country to continue her training. Also, like Suzy, Cecilia quickly realizes the pristine façade of her new setting belies sinister secrets that mean her harm.
What Have You Done to Solange?
This 1972 Italian horror film follows a college professor who gets embroiled in a bizarre series of murders when his mistress, a student, witnesses one taking place. The professor starts his own investigation to discover what happened to the young woman, Solange. Sex, murder, and religion course through this Giallo’s veins, which features I Spit on Your Grave’s Camille Keaton as Solange. Immaculate director Michael Mohan revealed to The Wrap that he emulated director Massimo Dallamano’s techniques, particularly in a key scene that sees Cecilia alone in a crowded room of male superiors, all interrogating her on her immaculate status.
The Red Queen Kills Seven Times
In this Giallo, two sisters inherit their family’s castle that’s also cursed. When a dark-haired, red-robed woman begins killing people around them, the sisters begin to wonder if the castle’s mysterious curse has resurfaced. Director Emilio Miraglia infuses his Giallo with vibrant style, with the titular Red Queen instantly eye-catching in design. While the killer’s design and use of red no doubt played an influential role in some of Immaculate’s nightmare imagery, its biggest inspiration in Mohan’s film is its score. Immaculate pays tribute to The Red Queen Kills Seven Times through specific music cues.
The Vanishing
Rex’s life is irrevocably changed when the love of his life is abducted from a rest stop. Three years later, he begins receiving letters from his girlfriend’s abductor. Director George Sluizer infuses his simple premise with bone-chilling dread and psychological terror as the kidnapper toys with Red. It builds to a harrowing finale you won’t forget; and neither did Mohan, who cited The Vanishing as an influence on Immaculate. Likely for its surprise closing moments, but mostly for the way Sluizer filmed from inside a coffin.
The Other Hell
This nunsploitation film begins where Immaculate ends: in the catacombs of a convent that leads to an underground laboratory. The Other Hell sees a priest investigating the seemingly paranormal activity surrounding the convent as possessed nuns get violent toward others. But is this a case of the Devil or simply nuns run amok? Immaculate opts to ground its horrors in reality, where The Other Hell leans into the supernatural, but the surprise lab setting beneath the holy grounds evokes the same sense of blasphemous shock.
Inside
During Immaculate‘s freakout climax, Cecilia sets the underground lab on fire with Father Sal Tedeschi (Álvaro Morte) locked inside. He manages to escape, though badly burned, and chases Cecilia through the catacombs. When Father Tedeschi catches Cecilia, he attempts to cut her baby out of her womb, and the stark imagery instantly calls Alexandre Bustillo and Julien Maury’s seminal French horror movie to mind. Like Tedeschi, Inside’s La Femme (Béatrice Dalle) will stop at nothing to get the baby, badly burned and all.
Burial Ground
At first glance, this Italian zombie movie bears little resemblance to Immaculate. The plot sees an eclectic group forced to band together against a wave of undead, offering no shortage of zombie gore and wild character quirks. What connects them is the setting; both employed the Villa Parisi as a filming location. The Villa Parisi happens to be a prominent filming spot for Italian horror; also pair the new horror movie with Mario Bava’s A Bay of Blood or Blood for Dracula for additional boundary-pushing horror titles shot at the Villa Parisi.
The Devils
The Devils was always intended to be incendiary. Horror, at its most depraved and sadistic, tends to make casual viewers uncomfortable. Ken Russell’s 1971 epic takes it to a whole new squeamish level with its nightmarish visuals steeped in some historical accuracy. There are the horror classics, like The Exorcist, and there are definitive transgressive horror cult classics. The Devils falls squarely in the latter, and Russell’s fearlessness in exploring taboos and wielding unholy imagery inspired Mohan’s approach to the escalating horror in Immaculate.
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