Tag: Top ten

Hello fellow ghouls, goblins, beasties, and overall badass film lovers. It’s that lovely reflective time as we begin anew. Why not take a look at my favorite ten horror films of 2021? And maybe touch on some others. Who said there were no good horrors this year? (Yes, I have actually seen this floating around the interwebs). Strictly speaking, for the big names in horror that in the last decade have been vital to its resurgence, this wasn’t their year, but, indie horror, you made your mark.

I’ve always said that one of the things I love about genre films is the ability to transcend the usual “off” or “odd factor” and curate something specifically unique. Horror touches on fears and human emotions, and it can be rewarding and still, cut deep. I’ve always admired the part of horror that strives to say something true and personal. For that point, I want to highlight that two of my favorites of the year are not, by any means, what you’d consider obvious horrors. There’s a lot embedded within them, from loss to yearning, and how we find love and ourselves, in the strangest of ways, and of course, some dark imagery and violence.

1.) Titane (Julia Ducournau)

My first two choices required their own more in-depth write up here because I loved them. Titane was one that has stuck with me every moment since I saw it, often recalling the emotions and the odd and unexpected heartstrings that it pulled on. Yes, she kills people with a hairpin and has an “appreciation” for fine vehicles, but there’s also something lurking beneath that encompasses most of the movie, whose search makes this genre-blasted, unique and provocative follow up by Julia Ducournau a masterclass in the unexpected. It’s as brutal at times as Raw, and it will undoubtedly lose some of its viewers, but I was enchanted throughout. Both top performances by Agathe Rousselle and Vincent Lindon. A haywire but intimate tale, that is one of the year’s best if not the best horror. Kudos to the scene, for horror-loving-sake, where she keeps having to hairpin new inhabitants she was unaware of. Whoops! Know your surroundings!

Available on VOD

2.) Lamb (Valdimar Jóhannsson)

Lamb was another that truly struck me as soon as I saw it. As a feature directorial debut, it’s such a curious thing when one decides to make a film such as this. I don’t want to give away all of the details that make this strange movie tick, but I’ll say that it’s ultimately visually beautiful (and disturbing) at times, with part-folk-lore, part dramatic resonance as a couple deals with the effects of grief and a second chance, albeit in the oddest of circumstances. Noomi Rapace is terrific, and Lamb is a must-see.

Available on VOD

3.) Saint Maud (Rose Glass)

Another truly impressive feature debut by Rose Glass, Saint Maud is a chilling psychological horror, one that (literally) twists and turns as our lead, Maud (Morfydd Clark) ventures deeper into herself and into madness. Mental health, obsession: Saint Maud is a bleak, slow burn, yet confident debut that will stun. The whole film has a buildup of tense, discomforting proportions with an uncertainty as to how it’ll eventually explode. Well, the ending certainly does, and it was one of the most shocking and searing images left with me this last year. Don’t sleep on this one! Let’s be honest – you wouldn’t be able to anyway after this.

Available on Hulu

4.) The Stylist (Jill Gevargizian)

The Stylist is yet, another, feature directorial debut, by Jill Gevargizian. During the day she’s a hairstylist, and a damn good one, but at night she gives into her other predilections, which include, well, – killing. Where she also excels. This female-driven serial killer story is heavy on the style but also with an emphasis on heart, even when our lead is committing the most heinous of acts we can’t help but feel for her. Or maybe that’s me, but either way, excellently conveyed, unhinged performance by Najarra Townsend. Check it out!

Available on Shudder

5.) My Heart Can’t Beat Unless You Tell It To (Jonathan Cuartas)

As with many of my other choices, My Heart Can’t Beat Unless You Tell It To, is a film that resides in horror but feeds on drama, in this case specifically, it is familial relationships and the pressures that come from being responsible for a member of the family, and your willingness to do anything for their survival. In his first directorial feature debut, Jonathan Cuartas creates a compelling portrayal of the lengths siblings will go for their own, even when it means… killing and retaining blood to keep their youngest brother alive. A stimulating design that leans on the performances of its leads, and a genuine nurturing of its central thesis. You’ll undoubtedly ruminate on it for a while.

Available on VOD

6.) Censor (Prano Bailey-Bond)

After missing this during its Sundance stretch I was quite excited to discover the throwback dizzying debut of Prano Bailey-Bond. Am I catching a theme here that I didn’t intend with first time efforts? Why yes I am! And I love it.

Censor is a film that took a few days of sitting on to know how I felt about it (not unlike some of the others; Lamb for one) where it kind of hit me like bricks all at once, but yet it was something I was also appreciative and engaged with as it went on. Visually, I really adored the aesthetic quality, it was unlike many horrors that I had seen. While some of the narrative elements became mixed in the middle, I was still fond of Censor. Quite the clever debut.

Available on Hulu

7.) Werewolves Within (Josh Ruben)

My first (and only) horror-comedy of the batch (well – an entirely intended one) Werewolves Within might be the best video-game adaptation we have seen yet. While I am still hoping others will prove more impressive in that realm, this is a light-hearted, fun-loving jaunt that doesn’t bite off more than it can chew. It does what is intended while still keeping the lycanthropy love alive. A bit silly, but a delightful Sam Richardson keeps it afloat.

Also, see Eight for Silver if you’re in for some more wolfy delights of 2021.

Available on VOD

8.) Oxygen (Alexandre Aja)

Criminally underseen on Netflix during a time where the streaming service should have leaned on gems like this, Oxygen is basically an hour and forty-one minute depiction of Mélanie Laurent in psychological agony as she wrestles with a variety of fear-inducing moments of confusion, terror, perseverance, and eventually, acceptance. As the main focal point of the film, she’s truly amazing, and this movie made me squirm and breathe heavily in tandem, which proves that a one-scene, pandemic-timely thriller, can do its work. Some issues may arrive storytelling-wise, but overall it’s an exercise in containment and distress.

9.) We Need to Do Something (Sean King O’Grady)

I’m not sure if it is because this is an indie or just slid under the radar, but We Need to Do Something definitely stuck with me after viewing. As primarily a documentary director it was intriguing to see Sean King O’Grady venture not only into fictional storytelling, but head-on genre-infused craziness, that includes a one-room set of four family members stuck in a bathroom during a storm. Their frustrations, exhaustion and eventual terror win out in the end, but the ticking of the clock as you wonder what exactly is happening is quite interesting. Filing in at an hour and 37 minutes, it’s a lean game too. You might not have your answers in the end (which may be to the dislike of some) you’ll ve curious with your questions, I assure.

10.) Malignant (James Wan)

This is another that you’ll find a full review on here, and while Malignant caught me off guard (seriously, even if you are unsure, finish this puppy) its audaciousness had me unexpectedly, wonderfully confused, nearly jaw-droppingly so, as I laughed, and jumped up wondering what had just happened. In a lot of ways, James Wan really settles for shock more than endurance, but it’s still one worthy of a nod from this last year. I know you’re curious now ;).

Available on HBO Max

Also worthy…

Honorable Mentions: The Night House, Saloum, Fear Street: 1978, Antlers, Last Night in Soho, Hellbender, What Josiah Saw, In the Earth, You’re Not My Mother, Lucky

I’d be remiss if I didn’t mention some of the most memorable TV Shows/Miniseries in the last year for me. There’s the shock and awe, thrilling dramatic: Squid Game (Netflix), the sermon/invocation of Salem’s Lot small town misdirection Midnight Mass (Netflix), the was a lot more fun than it ought to be Chucky (syfy network), The revamped, newly inviting Dexter: New Blood (Showtime), the lord of the flies meets delightful female teenage angst (meets supernatural etc.) in Yellowjackets (Showtime) and finally, King’s it isn’t really horror but you are expecting it yet this is a romance – Lisey’s Story (Apple tv).

Happy Watching! May 2022 delight and frighten you! (In a healthy, responsible way).