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The film follows brothers Justin and Aaron (played by Benson and Moorhead) who left a UFO doomsday cult as children. Aaron, who was younger when the two made their escape, idealises their time with the cult and wants to make a return visit. Justin begrudgingly agrees, and the two find that some of the cult’s beliefs may not have been so farfetched. The Endless forms a perfect companion piece to Resolution (also on our list), with overlapping characters and plot points. And in the midst of the heady mix of time travel and aliens, there’s a poignant commentary on how our past can paralyze us. Led by the always-excellent Rafe Spall, The Ritual follows a group of guys memorializing their fallen friend with a hike through a remote region in Sweden. Spall’s Luke, who was indirectly responsible for the death of their friend, is the odd man out of the group. But as a mysterious monster begins picking them off one by one, he has to confront his own figurative demons in order to survive the very literal one stalking him through the forest. The Ritual is a must-see not only for the great performances and ratcheting tension, but because it features perhaps the best creature design since Ridley Scott’s Alien. While showing the mysterious monster proves an anticlimax in most films, The Ritual’s beast, when it finally appears, manages to be more unsettling than you imagined. Relic is not only an effective horror film, but it’s also a beautiful exploration of dementia. As Kay’s mother loses her mooring in the present, the house physically responds, becoming more chaotic and alien. Both Kay and her daughter are forced to confront Edna’s deteriorating mental state in a very literal sense. This is more character study than creature feature, and it does a great job of digging into Gardner’s spiralling mental state, which has more to do with the end of a relationship than it does the very real threat of nightly monster visits. The film is funny, poignant and genuinely unsettling at times. Plus, it features a supporting turn from Last Podcast on the Left co-host Henry Zebrowski, who’s perfect as Gardner’s high-strung best friend. The Witch director Robert Eggers continues his run as a highbrow horror master to watch with this entry, which pairs Robert Pattinson and Willem Dafoe as lighthouse keepers on an isolated rock, trying to hold onto their sanity as they drift from enemies to confidants and back again. Dafoe gives one of the best performances of his already storied career, while Pattinson continues to prove he’s got incredible depths as an actor as the two verbally and physically spar as isolation begins to break them. This is the sort of film that will stay with you long after the credits roll, and will have you questioning just what was real, what was imagined and who — if anyone — the real villain was. Set on the last day of operations for a historic inn, the film centres on two hipster desk clerks counting down the hours until the end of their employment. The inn has a storied reputation for the supernatural, and the titular innkeepers are determined to see it for themselves while they have a chance. West makes you wait a long time to find out how bad an idea that is, but the film’s sharp, witty dialogue makes it an easy wait. Apostle deserves to be mentioned as one of the bright spots in this sub-genre. The film finds a down-on-his-luck drifter recruited to rescue his sister from a mysterious cult on an island off the coast of England. The cult leader, played to terrifying perfection by Michael Sheen, quickly goes from beatific to berserk when it becomes clear there’s an interloper in their midst. And, like the best creepy cult movies, those crazy religious beliefs Sheen is spouting might just be rooted in truth. If you’ve seen Wheatley’s films before, you’ll know not to expect easy answers from Kill List. It’s a film where loose ends don’t wrap up neatly, characters’ motivations often seem muddy and resolution feels elusive. But Wheatley does here what he does best in his films by creating an atmosphere of encroaching dread, even if what we’re dreading doesn’t always feel clear. The Devil’s Candy’s strength is that it focuses on Jesse’s inner struggle rather than gore or violence. He’s tortured in his attempts to protect his family, while simultaneously being pulled towards something darker but strangely creatively fulfilling. Plus, it features a chilling performance from perennial creepy guy Pruitt Taylor Vince as Ray, the house’s erstwhile resident and troubled killer. Wounds has a visceral, David Cronenberg feel to it, and it does a great job of taking the audience on the journey of Hammer’s growing revulsion and fear. It never quite connects the dots in its compelling story, but the ride is fun enough to forgive some of its shortcomings. We’d give you a plot synopsis, but trying to explain a David Lynch film is like trying to lasso the wind. Basically, some weird things happen, then some more weird things happen, then even weirder things happen and then there’s a bit at the end where words on the screen tell you the names of the people who made the movie. Oh, and Bill Pullman turns into Balthazar Getty and then back for no goddamn reason. The weirdness notwithstanding, this is a genuinely scary film. There’s murder, supernatural strangeness and two larger-than-life baddies in Robert Loggia and Robert Blake. Oh, and this was the last film Blake appeared in, because after production he went on trial FOR MURDER. We’re honestly shocked at the middling reviews and tepid reception for The Dead Don’t Die. Yes, it’s slow. Yes, it’s meandering. But it’s also laugh-out-loud funny in just about every scene. Anchored by an impeccable cast that includes Bill Murray, Adam Driver, Tilda Swinton and loveable weirdo Tom Waits, this is Fargo meets Night of the Living Dead, and it’s perfect. The film focuses on hapless Hector, an ordinary man attacked in the woods by a bizarre assailant. When Hector stumbles upon a time machine that sends him back in time one hour, he sets off a chain of events that dig him deeper and deeper in trouble. No wonder Doc Brown wanted to smash that Delorean. Honeymoon is unsettling because it’s so effective at exploring its themes of shattered intimacy. While danger at the hands of a stranger is scary, danger at the hands of someone you love is far more terrifying. Resolution, like The Endless, manages to have a very centred and human relationship at its core, while still introducing some mind rattling elements that will leave you dissecting the film long after you finish. In fact, the two are best viewed as companion pieces, with each one providing a slightly different perspective of the same picture. The 2014 film follows young actress Sarah, who’s desperate to make it big. When she’s finally offered her shot, it costs more than she bargained for. Sarah learns she’ll have to grotesquely shed her old body and violently shed old attachments if she wants to achieve her dream. The film follows a dysfunctional family trying to grit their teeth through a Christmas get together, as disapproving father and demure mother attempt to put on a nice face for their estranged son and his fiancee. With the shallow, sycophantic sister, her meathead husband and a vitriolic, racist grandpa thrown in the mix, the tiny house is already a tinder box of barely contained loathing. But when the family awakes one morning to find a mysterious black substance blocking every exit and the television flashing bizarre instructions, old grudges spill out and power struggles ensue. With Texas Chainsaw Massacre 2, Hooper decided to abandon subtlety and just go for balls-to-the-wall wackiness, and every bit of it works. From the opening scene of Leatherface triumphantly car surfing, to Bill Moseley’s psychotic Chop Top ruminating on pop music to Dennis Hopper’s unhinged performance as a vengeful Texas Ranger, everything about Texas Chainsaw Massacre 2 is bigger, gorier and sillier than the original. The actors chew scenery with the same alacrity the characters chew human bodies. Texas Chainsaw Massacre 2 is a rare horror sequel that stands shoulder-to-shoulder with the original, though its tone feels like a marked departure. If you remember cowering under a blanket when this originally aired, a repeat viewing will defang this cheesy bit of pop culture obscurity. If you missed Mr. Boogedy the first time, buckle up for one of the stranger viewing experiences Disney Plus has to offer.
