Editorials
10 High-Rise Horror Movies to Watch After ‘They Will Kill You’
While it might not always look like it, houses are pretty easy to escape in the horror genre. It often takes a lot of creative (and sometimes not-so-creative) writing to keep characters trapped there. Towering apartments and other similar buildings, on the other hand, pose a whole different set of problems whenever the need to flee is urgent and fraught with danger.
Simply coexisting with others in apartments, co-ops, condos, hotels, and other similar high-rises can lead to tension or conflicts, but external harms are also to blame for the terror found throughout these locations. Once the threat is made, getting out can prove difficult.
Still hankering for more high-rise horror after watching They Will Kill You? Then be sure to add these ten movies to your watchlist.
Somebody’s Watching Me! (1978)

Somebody’s Watching Me!
A month after John Carpenter scared moviegoers with Halloween, his made-for-TV thriller, Somebody’s Watching Me!, first aired. This cat-and-mouse story shares some surface-level similarities with Michael Myers’ first outing, although there’s something more realistically terrifying about the scenario and the antagonist in Carpenter’s telefilm. Here, Lauren Hutton and Adrienne Barbeau suspect a man in the apartment building across the way is a stalker and a murderer. Unfortunately for them, they’re right. For a similar setup, but also a movie not restricted by the rules of television, also check out Eyes of a Stranger (1981).
Demons 2 (1986)

Trading the big movie theater for an unassuming apartment building, Lamberto Bava‘s Demons 2 allows for a different sort of confined atmosphere. The characters here all come upon the otherworldly forces in their own time and space before then taking to the hallways and other shared areas for their survival. Overall, it doesn’t quite outperform Bava’s original, but the one official sequel has its own charms.
Gremlins 2: The New Batch (1990)

It took some years to see it happen, but more folks have come around to Joe Dante‘s Gremlins 2: The New Batch. Some might even prefer it. This zanier sequel, of course, moves that story of Mogwai and mayhem to the Big Apple after beginning in a small Pennsylvania town. A skyscraper becomes the main venue for the ensuing chaos born from Gizmo’s offspring coming in contact with a gene-altering serum.
Candyman (1992)

Candyman (1992)
Urban horror does not get much better than Candyman, Bernard Rose‘s adaptation of Clive Barker‘s story “The Forbidden”. A colossal housing development in Chicago is haunted by a boogeyman of sorts, one who is played to perfection by the great Tony Todd. On the other end of that bloody hook is Virginia Madsen, that scholar whose prying lands her, and others, in the maw of a ruthless entity.
The Shaft (2001)

The Shaft
Dick Maas‘ vision for a killer elevator first came to fruition in The Lift (1983), but it was only when he remade his own movie that the story could reach its full visual potential. Now armed with a higher budget, the Dutch filmmaker’s English redo, one which stars Naomi Watts, is a spectacle that has to be seen to be believed.
REC (2007)

POV horror reached great heights in Jaume Balagueró and Paco Plaza‘s [REC]. This Spanish stab at the found-footage format is a masterclass in sustaining tension and building atmosphere, balancing light and darkness on screen, and executing scares in an effective way. The singular movie, one about a reporter trapped inside a quarantined apartment building, comes at you pretty fast before slinking back into its shadowy corner.
Devil (2010)

Devil
What could have been the start of a trio of stand-alone horror movies, ones produced by M. Night Shyamalan, wound up being a one-and-done kind of venture. Nevertheless, John Erick Dowdle‘s Devil is a way more fun time than one would expect, based on the fact that the story is largely contained to an elevator.
Dream Home (2010)

Dream Home
Pang Ho-cheung‘s Dream Home brings new meaning to the phrase “killer listing”. Josie Ho goes on the offensive after losing out on not only her dream apartment, but also her dreams in general. As gory and wince-inducing as this satirical slasher is, it also has an affecting quality to its story.
Attack the Block (2011)

Attack the Block
A superb script elevates a relatively simple, not to mention familiar, concept in Joe Cornish‘s Attack the Block. Fully fleshed-out characters and expert pacing to go with the pulpy plot, this movie is a tough one to beat. The setting is put to such good use in this tale of young, underclass saviors going up against alien invaders. Since then, there have been some similar stories put on screen, including Scouts Guide to the Zombie Apocalypse (2015) and Infested (2023).
Tower Block (2012)

Tower Block
While James Nunn and Ronnie Thompson‘s Tower Block might have the smell of a mere thriller, its execution is rife with enough jolts and suspense to include it with these horror offerings. Here, the remaining residents in a soon-to-be closed block are stuck on the top floor, and they’re gradually being picked off by a mysterious sniper. The reason for their targeting is never hard to figure out, but the fun here is the mayhem and carnage, not the mystery.
Editorials
‘The Vampire Lestat’ Concert Event Launches New Season With The Ultimate Expression Of Fandom
There are thousands of passionate fans decked out in gothic chic and champing at the bit like feral creatures. They’re screaming for Lestat, a legendary vampire-turned-rock star, as if the entire crowd has been glamored into submission.
The entire experience is magic, but not because some supernatural thrall has been activated. What’s going on is even more special. It’s the power of the effusive fandom that’s been authentically assembled by AMC’s sublime Immortal Universe, namely Anne Rice’s Interview with the Vampire, now, The Vampire Lestat.
The Vampire Lestat is far from the first Anne Rice adaptation, and it’s not as if there’s been a lack of erotic vampire material for audiences to sink their teeth into. On June 2nd, during a one-night-only spectacle, New York City’s prestigious Beacon Theatre shook from Sam Reid’s bravado performance and an audience full of adoring fans who had already memorized Lestat’s songs.
It’s clear that The Vampire Lestat just hits differently than its predecessors. It’s become more than just a TV series at this point, and this opulent display of ego, swagger, and pure sex is the perfect way to premiere the new season and give back to the fans who helped make Interview with the Vampire/The Vampire Lestat such a breakout success. It’s exactly the sort of hyperbolized hedonism that would make Lestat cackle.

For all intents and purposes, AMC has successfully created the illusion that this concert/premiere is just one of the many destinations on Lestat and his band’s 54-stop tour that is simultaneously playing out on this season of television. It’s such a sophisticated and thorough level of interactive fan engagement that the audience doesn’t just understand, but also manages to accentuate through its involvement.
It’s a level of seamless synergy that’s not unlike the give-and-take relationship of vampire and victim.
Before the concert started, “LeStans” were sitting in the Beacon and flipping through a fake Rolling Stone issue with Lestat emblazoned on the cover, complete with interviews with the undead frontman inside. Other fans were admiring the vinyl pressing of Lestat’s EP as they walked past a section of undead band merch. Fandom and fantasy blur together, and it all becomes this elaborate, immersive experience. Fan celebration, erotic gothic fantasy, and a lavish rock concert transform into one beautiful thing.
To this point, AMC Global Media’s Chief Content Officer and President of AMC Studios, Dan McDermott, introduced the event by reiterating to fans, “You are the heartbeat of the series.” That’s abundantly clear on nights like this as that heartbeat collectively pulses to this performance. In terms of how AMC engages with The Vampire Lestat’s fans, it’s as bold a reinvention as the season itself.
This intuitive gamble speaks to AMC’s creativity in this department and a fandom that is eager to seize such opportunities. It’s the same innovation that led to zombie walks for The Walking Dead and real-life Los Pollos Hermanos restaurant pop-ups from Breaking Bad. It’s a great way to pump up the audience for The Vampire Lestat and then maintain that enthusiasm for the whole season.
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For most series, a rock ‘n’ roll concert just doesn’t make any sense as a promotional tool. The Vampire Lestat finds itself in a very unique position where it can deliver an excellent concert at an iconic theater, but also use it to showcase The Vampire Lestat’s music by Daniel Hart (who was shredding on stage alongside Reid and the rest of their band) and, more than anything, Sam Reid’s endless charisma.
The way in which Reid feeds off of the crowd’s energy, modulating his performance and giving different sections of the Beacon life, is a perfect distillation of the series’ thoughtful relationship with its audience and how it’s become such a breakout success for AMC. AMC Studios President Dan McDermott emphasized that the fans are the reason that the show is still here and why an event like this is even possible. It’s rare to see a series in which every single cog in the machine is so perfectly attuned to its fans. Reid’s fans already cheer whenever they see him, so why not translate that to a concert setting?
It’s clear in this season of television that Reid was born to be a rock star, but it’s surreal to see him effortlessly command the stage — and the audience — at every step of the concert. He recites Shakespeare monologues and bitches out Armand between songs, all while the audience screams in support. For the duration of this concert, Reid is Lestat, and he’s given thousands of fans a memory that’s as immortal as any vampire.
Now bring on the encore and get this show on the road!
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