We wrap our week-long look back at the best of 2020 by celebrating our favorite indie horror releases of the year; 11 writers, 40 films.
As part of our special Flashback February series, where we celebrate the best genre content of 2020 across a variety of media, I asked our incredible writing team to share their five favorite indie films of the year. Ten of my talented writers joined me in compiling this list of what we consider the best independent releases — many of which may have flown under your radar. Some films made the list of more than one of our reviewers, including the two most recommended films of the year: Relic and His House.
Altogether, 40 amazing films made our collective Best of 202o list — proving the year may have been a real horror show, but there was no shortage of inspired creativity.
1. Relic — dir. Natalie Erika James
Relic is a film that festers in the best way. It makes a home in your mind and your heart both as a disturbance and a comfort. Natalie Erika James isn’t afraid to get unnervingly raw in her feature debut that serves as an allegory for Alzheimer’s and dementia. At its core, Relic is a film about mothers and daughters and the frailty of the mind as well as life itself. It wasn’t made to be a comfortable film, but I find it to be soothing because of how truthfully it portrays the subject matter. I watched Relic when my grandmother’s health started to decline rapidly with my mother, and to say it struck a personal chord within us both is an understatement. It’s the film I think about a lot in these days when a good portion of my phone call with my mother include grandma’s health updates. James is one to watch, and I cannot wait to see what other horrors she has in store for us.
(Recommended by Jamie Alvey)
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Relic is a stunning and stylish look into the psychology of our own mortality. I personally watched family members suffer from Alzheimer’s Disease. Dementia is a horrible monster, rotting everything it touches, taking any good part away from the person it affects, leaving them a confused empty shell of who they once were. I also dealt with my own childhood abuse by hiding it away in a faraway part of my brain and pretending it didn’t exist.
In Relic, debut writer/director Natalie Erika James creates a haunted house that is an allegory for the human mind. Some rooms in this house are places from the past, some are the present and some are things that we want, but don’t have. Traumatic events can be locked away in a room because they are too terrible to remember. When a person has a mental illness or dementia, the house starts to crumble and collapse. Terrible memories from the past get released into the confusion of the damaged brain. You can get lost in the maze because connections are no longer being made. Sometimes a person can fight their way back to reality, but it becomes harder each time a wall falls. There are fewer doorways and more dead ends.
I realize that sounds depressing, but this film helped me, by giving me some closure that I didn’t even know I needed. By enabling me to look at the process of their mortality in a metaphoric way, I got a form of therapy that helped me a lot. I realized how scared I am of my own death. The idea of disease leaving me helpless and needy for my own family to care for terrifies me. I also don’t want to hurt anyone because of what I haven’t gotten over from the past. Relic offered me a chance to cry over my family and my lost childhood in a very cathartic way. I don’t want to get lost in the hallways of my mind and this beautiful film helped me realize that I need to deal with my horrors so that will never happen.
(Recommended by Vicki Woods)
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The Australian movie Relic from director Natalie Erika James is heartbreaking. The first two thirds of the movie are essentially a deep dive into the devastating world of dementia and the effect it has on family relationships. There are clues present that hint at the events to come later, but it’s a tough watch. I mean that in a good way, not that it’s in any way boring or tedious, just that it makes us look inside and examine how we might deal with the situation the film posits. Things turn more to the horror aspect as the movie progresses, and there are some great atmospheric scares present as we go on through the movie. But the ending returns to the true nature of this movie.
I saw Relic as a deeply disturbing, very emotional journey into a nightmare world that could overtake any of us at any time. This movie is very metaphoric, forcing us to acknowledge the fact that dementia is a disease that can make monsters of our loved ones in our own lives. And the ending will give you chills. Relic is an incredible film. The writing, direction, acting and cinematography all combine to create a disturbing film that we should all see and remember.
(Recommended by Mike Wrigley)
2. The Lodge — dir. Severin Fiala, Veronika Franz
Grab a blanket because you're going to need one while watching the chilly horror that is The Lodge. This film settles itself under your skin slowly, growing like frostbite and freezing your nerves before you even know how affected you are. The script explores the lurking trauma of child abuse and growing up in a cult, and how that never truly leaves the mind. Riley Keough is phenomenal here, and the last shot of the film when she enters the frame is truly one of the most frightening images of the year. The film also proves that kids are monsters just by being themselves. So scary and so good, watch The Lodge on a cold, dark, and snowy night.
(Recommended by Jason McFiggins)
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Anyone familiar with Goodnight Mommy knew to expect something incredibly dark and bleak from Veronika Franz and Severin Fiala’s The Lodge, and they didn’t disappoint. The Lodge is one of those rare movies where, in order for everything to work just so, a perfect storm must be present at the time of execution. From the cinematography and atmosphere to the bone-chilling performances from Jaeden Martell and Lia McHugh, The Lodge quite literally is what nightmares are made of. Riley Keough, who is no stranger to the horror genre, is deeply committed to her role as well, and isn’t afraid to suffer for her art. This key performance is another essential ingredient in making the film work. However, it’s an intelligent script, nuanced direction, and a deeply satisfying—and horrifying—twist ending that really sells The Lodge as one of the best movies of 2020.
(Recommended by Jack Wilhelmi)
3. The Dark and the Wicked — dir. Bryan Bertino
Bryan Bertino’s The Dark and the Wicked is a masterful look at pacing, nuance, and how a claustrophobic environment can be one of horror’s greatest assets. Exploring familial grief and the deep, unsettling aspects of shaky family dynamics, The Dark and the Wicked is uncomfortable from start to finish. Bertino shows his evolution as a filmmaker in The Dark and the Wicked through building on what he created with his smash indie hit, The Strangers, in 2008 — the lingering trepidation and dread of evil lurking around every corner is similarly present in his most recent effort. Similarly, this movie keeps the audience on pins and needles; it’s compelling in a way that most uneasy, slow-burn horror movies are. Yet, The Dark and the Wicked manages to combine aspects familiar to supernatural horror for that extra edge. There’s something delightfully mean-spirited about The Dark and the Wicked that makes it not only a very special piece of cinema, but one not to miss.
(Recommended by Jack Wilhelmi)
4. Scare Me — dir. Josh Ruben
Josh Ruben’s directorial debut about people telling each other scary stories in a cabin was my favorite thing I’d seen in a while. The concept is unique yet simple. You’d think it’d get boring fast, but you stay engaged and entertained throughout since the talented actors do an amazing job keeping things funny and spooky. Acting out different characters and scenarios is the main joy of this surprisingly well-done little comedy that slowly reveals itself as a thriller in disguise. I was so into it and loved the characters. It’s like a film version of hanging out with your friends who all love scary movies. You’re laughing and having fun and you don’t feel alone because you’re in a room full of people who all love the same thing you do. Then, brilliantly the story hits you with, "Yo. You forgot this was an actual horror movie." That’s the power of creativity, people. You can’t help but admire someone’s ability to scare you.
(Recommended by Chris Maino)
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Oh my. Scare me. You beautiful, playful, funny little minx! Scare Me is, at its heart, two, sometimes three, people in a cabin telling each other camp fire stories. But its soooo much more! It’s a super fun ride, and honestly, I so want to see movies made of the stories that the two main characters are making up as they go along. The movie makes the leads so likable and endearing, so when things turn dark, it comes from left field. It’s hard to discuss this movie without giving away the plot, but honestly, trust me, Scare Me is a movie you’ll fall for. It’s so clever, so well acted, well shot and well written that it’s impossible not to fall totally in love with this movie.
Scare Me is my favorite movie of 2020 for a number of reasons, but the main one is that it’s so engaging. It sucked me in and had me invested in it right from the opening scene — and it never let me go. It also has a great payoff. If you only watch one of the movies I recommended this year, Scare Me is the one to choose.
(Recommended by Mike Wrigley)
5. The Cleansing Hour — dir. Damien LeVeck
This one has a pretty straightforward premise and would be easy to dismiss as just another demonic possession film, but Damien LeVeck’s The Cleansing Hour is elevated by some terrific acting and great writing, not to mention a beautiful twist ending. The set up is really clever, speaking to the modern age, with a pair of childhood friends using a live internet steam to perform their phony exorcism show, The Cleansing Hour. The persona of “Father Max” is a televangelist for the internet generation and is beautifully portrayed by the perfectly cast Ryan Guzman. When events go south of heaven, this movie really kicks into high gear, and the blood, shocks and sheer entertainment come thick and fast. When it arrives, the ending is a wonderful conclusion to a really fun movie. If you’re looking for something fun that has a new take on an old idea, The Cleansing Hour is a must see.
(Recommended by Mike Wrigley)
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The Cleansing Hour is a feature-length film directed and co-written by Damien LeVeck, based on a 2016 short film by the same name. The film takes the classic demon possession story and overlays it on a backdrop of the digital age, where streaming, followers, and social media have become the new religion of the masses. The result is a fast-paced, engaging rollercoaster ride through the past and present of its two protagonists, Max (Ryan Guzman) and Drew (Kyle Gallner). One of the winning elements of this movie is that it is aware of its absurdity – bringing exorcisms to the world wide web – and leans into it, hard, while still holding onto its heart.
The breakout star of this movie, aside from the Devil himself, is Alix Angelis, who takes on a roll that could have fallen incredibly flat or soared too high. Angelis finds the perfect balance of each character that she embodies, creating a distinction between good and evil in a layered, ambitious performance. The chemistry of the cast is palpable, and their dialogue believable; a testament both to the tight script and excellent casting. All of this combined with the dark cinematography and an even blend of practical and CGI effects makes for an incredibly well-craft movie bound to entertain and frighten the masses enough to put their phones down. If that’s not enough to convince you, there’s a monster transformation scene that will put most werewolf transformation scenes to shame. It’s gooey, it’s loud, it’s gory, and oh so great.
(Recommended by Maggie Stankiewicz)
6. The Wretched — dir. Brett Pierce, Drew T. Pierce
The Wretched is a surprisingly creepy and heartfelt story about a troubled young man who comes to believe that a witch has possessed his next-door neighbor. This is a coming of age film as much as it is a horror film, with a heavy focus on family and community through the eyes of someone on the brink of losing theirs. The Wretched includes all of the elements of the witchy creature features before it but employs them in innovative ways that keep the storyline fresh and new so that the film never feels like the audience is revisiting a film they’ve seen before. One of the many ways in which this movie subverts expectations in by turning its male, teenage protagonist into the hysterical character that nobody believes once strange things begin happening. This film even has something for those less interested in character-driven dramas, as the creature design and monster effects are strong enough to carry the thrills from outside the prism of emotional distress.
(Recommended by Maggie Stankiewicz)
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This wonderful low budget gem has everything you’d want from a ‘wicked witch’ flick: a keen protagonist, a plucky sidekick, a great mythology and most importantly a kick ass villain. In this case, it’s a body swapping Wretch that takes that prize. Deftly directed with gloriously gory practical effects, The Wretched is a fun throwback to the great creature features from the 80s.
(Recommended by Matthew Currie Holmes)
7. Host — dir. Rob Savage
This little watch-under-the-covers horror has the honor (or dishonor) of being the first film shot under quarantine during the first wave of the pandemic. It has a very simple structure, and is very similar to Unfriended. A group of young people conduct an online seance with the aid of a medium. After the medium excuses herself for a moment, we learn the ritual isn’t being taken at all seriously by the others. And we all know what happens next, don’t we? This is a tight and screamy little experiment using the only thing pretty much all of us still have: smartphones. Entertaining and unsettling.
(Recommended by Jamie Marino)
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Host is the quintessential 2020 movie. It’s set in the world of Zoom, a place many are now familiar with and a good number of us detest! Host is an incredibly simple idea. A group of friends hold a seance over a Zoom call, with predictable results. But what makes this movie stand out isn’t the story, it’s the atmosphere. I simply adore a movie that relies more on atmosphere than simple jump scares. And this one has it in spades. It’s also got the excellent format of being played out in real time and thus feels very real and voyeuristic. I guess that’s a feeling that lots of found footage movies aim to give you, but this one does it better than almost any I’ve seen before. Its short runtime and HD camera work really play well here, and it all adds up to a movie that’s genuinely scary. Watch Host late at night, on your own, with the lights off — and enjoy what is possibly the scariest movie of 2020.
(Recommended by Mike Wrigley)
8. Come to Daddy — dir. Ant Thompson
A complicated and deranged film, Come to Daddy gave me a chance to understand a little bit about a person with daddy issues. I don’t have them myself, but I have known many folks that do, and that made them very strange to deal with at times. I think we all put our parents on a pedestal to a certain extent, and if they don’t live up to what we expected, they fall and fall hard! It’s sad, but when that happens, it can affect every relationship we have going forward.
Come to Daddy made me laugh and cry in equal amounts, and that is rarely the case in a horror film. I think it also made me feel a little better about things going on in my own life when I saw someone have one of “those” days. The kind of days where everything that can go wrong does, and in the most extraordinary ways. The film also touches on addiction. Whether alcohol, drugs, or something else, if things start going crazy, it is so hard not to slip into those old bad habits, like a comfy pair of shoes. It was a reminder for me to seek help when I need it, and not to let things get to me.
(Recommended by Vicki Woods)
9. His House — dir. Remi Weekes
Equal parts terrifying and heartbreaking, this tense, thought-provoking Netflix horror film about a couple that flees Sudan to become refugees in London England is easily one of the best films of the year. The couple are situated in a house that is haunted — but by what...and for whom? The less you know, the better.
(Recommended by Matthew Currie Holmes)
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His House, from director Remi Weekes, had a quiet, unheralded release on Netflix’s streaming platform in January 2020, but finally started to get some well-deserved recognition toward the end of the year. Following in the footsteps of Get Out, Us, and other socially driven horror, His House combines the fears of cultural assimilation with the unease and skepticism of a guilty conscience. Gripping and dark, His House boasts stunning performances from its lead actors, Wunmi Mosaku and Sope Dirisu; Mosaku is particularly compelling, and builds on talent that was only shown in mere glimpses during her time on HBO’s Lovecraft Country. His House could have fallen apart by dipping into too many sub-genres, as it contains aspects of social horror, folk horror, and supernatural horror. However, it’s the careful blending of these source inspirations that somehow allows each to get their time in the limelight without muddling the narrative.
(Recommended by Jack Wilhelmi)
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Exotic, grim desperation and blood-freezing ghosts are on the menu in this quiet yet emotionally sinister release from Netflix. Bol, Rial, and their daughter Nyagak flee North Sudan for a new, safer life in England. They encounter something far worse hiding in the walls of their rotted and filthy living quarters, however. It is referred to as a “night witch” (or apeth). They fear it has attached itself to them and need to pay it some kind of debt to convince it to leave.
The thing about this movie that makes it among the best of the year is the apeth effects, as well as an army of decaying ghosts that appear during the climax. The film has its eyes focused clearly on world politics, racism, and family drama, but the ghost and creature effects make it a very unsettling watch if you’re a fan of unconventional ghost stories.
(Recommended by Jamie Marino)
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His House is a superbly acted, heartbreaking tale that details the refugee experience by following a couple from South Sudan as they fight for a new life. Written and directed by Remi Weekes in an arresting directorial debut, this movie is nothing short of outstanding. This movie is so much more than a story about a haunted house. It is a meditation on the survivor's guilt and forced assimilation experienced by refugees seeking safety on new shores. Everything about His House feels like a masterclass on horror filmmaking, as it establishes tone in the first scene and remains consistent throughout the film, conjuring empathy within the audience by creating a frightening, uncomfortable viewing experience that is impossible to turn away from.
(Recommended by Maggie Stankiewicz)
1o. Possessor Uncut — dir. Brandon Cronenberg
I have been patiently awaiting Brandon Cronenberg to return to the Director’s Chair for another feature, and after eight years he presents the phenomenal, moody mindfuck of Possessor; a film that perfectly encapsulates science fiction and horror. Unique, engaging and an absolute visual treat (most special fx were done practically), Possessor taps into fears of the not-so-distant future where organizations seek control of unwilling participants mind’s and bodies to carry out high level assassinations.
(Recommended by Danni Winn)
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This gruesome, nihilistic sci-fi body horror — that elevates violence and gore to near fetishized levels — is one of the most fascinating, "I-can’t-take-my-eyes-off-this" films of the year. An unstable (yet brutally efficient) corporate assassin (Andrea Riseborough) who infiltrates a person's consciousness, taking over their bodies, has a psychotic break while still inside the mind of her unsuspecting yet strong-willed avatar. I HATED this relentlessly unpleasant movie as it was unfolding and couldn’t wait to watch it again once it ended. That… is powerful cinema.
(Recommended by Matthew Currie Holmes)
11. VFW — dir. Joe Begos
Director Joe Begos delivers blood soaked action at break-neck ferocity with VFW, a gritty as sandpaper, filthy as a gas station restroom, neon-draped burst of violence that is as fun and energetic a movie as you’ll see all year. The music shocks the film like a defibrillator, shooting a heart-pounding energy through each scene. Along with the alarm-colored cinematography and whip fast editing, these elements combine to create an exciting, action-packed fight for life.
The whole cast is incredible, the action is fast, brutal and gory, and the music thumps and roars. It’s an all out and unabashed love letter to action movies of the 1970s, 80s, and 90s sealed with a blood soaked kiss, an absolute must see. Special mention goes out to Dora Madison who plays the wonderfully named Gutter. She steals every scene she’s in wearing a kick ass Mad Max-dominatrix costume and slicked back, pulled up cockatoo hairstyle. Watch her in Begos's Bliss as well, she's a lightning rod of an actress.
(Recommended by Jason McFiggins)
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Director Joe Begos brings a battle to a small group of veterans just simply trying to wet their whistle at the local VFW post. Throughout the evening, the former soldiers will have to protect their bar and each other from an army of drug fueled sickos. Splashed in neon with copious amounts of bloodshed, VFW is sure to please those fans with a healthy appetite for violence.
(Recommended by Danni Winn)
12. Shirley — dir. Josephine Decker
While Shirley might not be a horror in the conventional sense, it deals with the horrific parts of the writing process and societal constraints. It’s a brilliant fantasy version of prolific horror writer Shirley Jackson and her husband Stanley Edgar Hyman that blurs the lines between the writer as a real person and the writer as fiction themselves. However, the film does portray Jackson’s real life anxieties and mental illnesses in a way that makes the viewer empathize with her as she’s caught between her own demons and her writing. Elisabeth Moss solidifies herself as an exciting figure in genre cinema with her portrayal of a fictitious Jackson. It’s a mélange of fact and fiction that’s packaged in some of the year’s most beautiful cinematography. In many ways it is horror’s answer to alternate history films like Once Upon a Time in Hollywood, taking recognizable figures and playing with their personas in one big game of what if. (Though, I will admit I prefer Shirley over the example.) Seeing Shirley Jackson getting this sort of big screen fantastical treatment only serves to prove just how powerful of a writer and figure Jackson is and will hopefully spur more interest in her works and actual life.
(Recommended by Jamie Alvey)
13. 1BR — dir. David Marmor
1BR is a chilling exploration of the cult mentality and the concept of a psychological practice known as operant conditioning. In some ways, 1BR feels very much like a Hitchcock thriller with a strange, Utopian community who seems to be hiding a sinister edge among their collective penchant for community barbecues and warm, overly friendly smiles. However, 1BR also has elements of technologically driven dystopia and presents in the lead character, Sarah (Nicole Brydon Bloom), all the makings of a proper “final girl”. In fact, despite the simple and even somewhat predictable premise, there’s a lot to like about director David Marmor’s first feature film. It’s surprisingly mature, unflinchingly brutal at times, and deeply interesting. Fans of true crime will likely find a lot that resonates with them in 1BR as well, as the essence of shows like Unsolved Mysteries bleed into the horror of this must-see psychological thriller.
(Recommended by Jack Wilhelmi)
14. The Mortuary Collection — dir. Ryan Spindell
I’m a sucker for a good anthology. Creepshow and Tales from the Crypt did that to me. So anytime I see the promise of a few good horror stories in one sitting, you know I’m in. I’m happy to say this one lived up to the standards. Lots of times the stories are only as good as their framing story, and this manages to deliver. Everything ties together well, like all good anthologies. Everything is connected in some way, despite being different tonally or thematically. The stories are great — classic morality tales — and it’s very well shot; the whole thing having a vintage Hammer Horror vibe to it. This is another really good entry into the vastly underrated sub genre that is anthology horror. A celebration of spooky stories being told well.
(Recommended by Chris Maino)
15. Color Out of Space — dir. Richard Stanley
After being away from feature filmmaking for far too long, Richard Stanley (Hardware, Dust Devil) makes a triumphant return with Spectrevision backing him and his cinematic, lavender soaked rendering of the H.P. Lovecraft tale. Visual, heartfelt, horrific; Color Out of Space manages to weave alpacas, alien lifeforms and a tight knit family together in such a fascinating way. Come for the colorful spectacle Stanley has helmed, stay for the impressive body horror.
(Recommended by Danni Winn)
16. Z — dir. Brandon Christensen
What is an imaginary friend? Is it a figment of a child’s overactive imagination or is it something real? From my experience, my imagination was a necessary evil in helping me deal with the horrible things I dealt with as a child. My “friend” was a real stuffed rabbit, but that rabbit could talk me down from any problem and take me away to nicer, safer places when reality got too much to bear.
I loved the film Z and the way it took us into a world of unreality that included a creature that only a child could love. I think the word friend is somewhat incorrect when talking about an imaginary buddy like Z as an entity. Warm and fuzzy he is not. Loneliness and fear are strong emotions, and when a child is hurting, they will reach out to whatever works for them. That a parent and child could have the same “friend” also makes this film a fascinating look at mental illness. What really happened to the characters is left to the audience to figure out and that lets everyone come to their own conclusions based on their own personal feelings.
(Recommended by Vicki Woods)
17. Sea Fever — dir. Neasa Hardiman
The year 2020 was a decent one when it comes to aquatic horror, and Sea Fever is no exception. Surprisingly topical in its portrayal of a mysterious outbreak, Sea Fever blends science fiction, suspense, and horror to create a tense trip to the depths of the Atlantic. The looming threat of infection isn’t the only horrific element of the film. The presence of an otherworldly, creature adds to the mounting anxiety of viewers and the characters, especially Siobhan (Hermione Corfield) as she tries to take control of the situation and save her dwindling crew. Sea Fever makes use of its low budget through a smart script, talented actors, and the claustrophobic, paranoia that comes with being a human facing an unfathomable, unthinkable terror.
(Recommended by Maggie Stankiewicz)
18. Antrum — dir. David Amito, Michael Laicini
Welcome into your life a new horror anomaly. One of those artistically illogical and crooked visions you need to remind yourself it’s fiction. Like Carnival of Souls, Begotten, and Dining Room or There is Nothing, Antrum emits out of your television screen like smoke and takes control of your mind. Reality is frivolous and forfeit in Antrum.
It begins as a suspiciously too convincing mockumentary about a cursed film. Interviews and archived news footage explain the horrid history of the film, and describe catastrophic fires and the rabid human violence that ensues whenever the film is screened. It twisted me around and pulled me into its spiral, and I think my heart stopped when they announced they were going to show the actual film. And it’s unlike anything I’ve ever seen. I was frozen while I watched it.
Be that nasty principal in your mind and suspend disbelief. Let Antrum cast its spell on you. I’m actually afraid to watch it again.
(Recommended by Jamie Marino)
19. Yummy — dir. Lars Damoiseaux
I absolutely adored Yummy. I grew up with the zombie movies of the eighties, and the Belgium masterpiece Yummy from director Lars Damoiseaux has that feel throughout. It’s a horror comedy, a genre I don’t always love, but in this movie it works perfectly. Very reminiscent of classics such as Re-Animator and Return Of The Living Dead, Yummy adds a healthy dose of modern Zombie aesthetic to the time honored tradition of a Zombie outbreak in an enclosed building, in this case an incredibly dodgy plastic surgery clinic. Gore hounds will simply adore this movie, it’s a smorgasbord of blood, guts and violence with just the right amount of wonderfully dark humor thrown in to keep it light and superbly entertaining. The set pieces are so over the top as to be sheer genius and the actors were obviously having a blast throughout this film. Any fan hungry for some eighties nostalgia and a killer script need look no further than Yummy!
(Recommended by Mike Wrigley)
2o. Hunter Hunter — dir. Shawn Linden
What would I do, if someone took everything I loved, away from me? Would I sit back and cry, being a victim or would I find a way to avenge what was done? I fell deeply in love with Hunter Hunter. The story made me really analyze what it means to be a mother and wife. I feel like in life we get complacent. It is easy to sit back and let things happen. When I see a woman as strong as Anne is in this film, It made me really consider, “What would I do in the same situation?”
I’m not sure I completely know what my final outcome would be, but I do know that I was proud of the woman Anne was, and I was invested in her family. They deserved better than they got. In their desire to catch one killer, another was inadvertently created. The fight between good and evil is the bottom line in this film, and I’m glad that the punishment fits the crime. Because of Hunter Hunter, I am inspired to never be a victim and to always try to survive, even though I know there will always be predators out there. It is a dark film, but I think I am a better person for having experienced it.
(Recommended by Vicki Woods)
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More people should be talking about Hunter Hunter. It’s a film that is riddled with anxiety and twists right up until its satisfying gut punch of an ending. Camille Sullivan is a force of nature and is able to convey such a wide range of emotions in just an hour and a half. It’s also always nice to see genre favorite Devon Sawa pop up in a film, and yes, we will keep him forever. (Be still my Casper loving heart.) Hunter Hunter is a film that I’m sure will appeal to the true crime set because it uses elements that seem like they’re ripped from an Investigation Discovery special. It also has the second most absolutely cathartic ending of the year after The Invisible Man. It’s not anything for those that are faint of heart, but those of us that have a certain affection for blood and practical effects will be thrilled.
(Recommended by Jamie Alvey)
21. Swallow — dir. Carlo Mirabella-Davis
Swallow is a deeply sad and emotional film; the more the story unfolds, the more the viewer worries about the well being of the main character. Haley Bennett plays Hunter, a housewife who begins to swallow random objects. And what an extraordinary performance she gives, portraying a haunting, internal struggle. It's a tough film to watch, seeing her swallow all of these potentially harmful objects (some of which are just cringe inducing). But there's an odd hope that runs below the surface of it all as Hunter realizes her unhappiness and begins to act on it, slowly discovering the cause.
The most brilliant aspect of Swallow is how the film portrays Hunter and her condition. It never comes across as "crazy," but rather as the actions of a woman who is hurting, a woman who is trapped by the weight of expectation and compliance. It's a captivating, devastating and gorgeous film that is not to be missed.
(Recommended by Jason McFiggins)
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Swallow is domestic terror that would make the late great Shirley Jackson proud. Watching Swallow often feels like voyeurism in that the viewer is watching acts that feel like a slice of real life we shouldn’t be privy to. It could be a beautiful pristinely shot documentary of a woman fighting for any ounce of control over her life instead of a scripted film. The desire to have any sort of control over one’s life at any cost permeates this film and in doing displays the sublime talents of Haley Bennett. The viewer feels every bit as smothered and lonely as Hunter does and comes to understand her mental state. This tale is one that demands empathy from the audience and asks them not to be horrified by Hunter’s pica itself but the situation that has caused her pica.
(Recommended by Jamie Alvey)
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This stunning debut from writer/director Carlo Mirabella-Davis about a woman who resorts to swallowing foreign objects in order to regain autonomy from her overbearing, gaslighting family is one of the most beautifully realized, thought provoking films of the year. Haley Bennet gives an Oscar worthy performance as the controlled, lonely housewife who consumes increasingly dangerous items in order to feel alive. A haunting and timely movie.
(Recommended by Matthew Currie Holmes)
22. The Vast of Night — dir. Andrew Patterson
The Vast of Night feels like an extended episode of The Twilight Zone in the best way. This movie crackles with inventive low budget sci-fi horror energy. It makes the most of its period setting in a way that feels authentic, and uses it as a way to further build tension. The technology of the time plays a unique and interesting way, aiding in the overall novel thrills of the film. Patterson creates an absolutely darling and driven duo in Fay and Everett, making the viewer not just invested in the situation but the characters as well. Despite their youth, Sierra McCormick and Jake Horowitz carry this film with absolute practiced ease. Come for the sci-fi chills, stay for the charming leads on their eerie journey.
(Recommended by Jamie Alvey)
23. We Summon the Darkness — dir. Marc Meyers
I had to watch this as soon as I possibly could. It has a very entertaining cocktail of horror intoxicants: metal music, metal chicks, joyful torture and death, emasculation, devil worship, reverse devil worship, and religious brainwashing. And Alexandra Daddario chews up scenery midriff-loose and mercy-free. It also has a fun twist that actually happens during the first half of the film, and not the last ten minutes. This movie offers lots of bloody, lighthearted fun, and it will surely please enemies of religion the world over.
(Recommended by Jamie Marino)
24. Rent-A-Pal — dir. Jon Stevenson
I have a weakness for films that do the retro aesthetic well, and Rent-A-Pal does that better than any I’ve ever seen. I felt like I was taken back to a simpler time, and I loved the nostalgic way it made me feel. Another guilty pleasure of mine is trying to figure out what can make a person who seems in all ways normal and study what can them turn into a monster.
Rent-A-Pal delivered both things, along with some of the most phenomenal acting I’ve seen this year. Set in the 1990s, this film carried me back to the pre-digital days of VHS tapes, big hair, computer dating, and roller-skating rinks. David is such an amicable person, but it’s obvious that there is something simmering deep inside of the perpetually nice guy, who is the full-time caretaker for an unpleasant and ailing mother. I fell in love with this lonely bachelor and wanted so badly for him to find love. But like the background of many serial killers, there is a seething resentment present, and the difference between reality and friendship blurs as the pressure builds within him. Most human monsters seem to have a horrible relationship with their mothers, and this film demonstrates how a person who is forced into a life they did not want, can snap.
Take all that and add in stellar acting with perfect casting and you have Rent-A-Pal. This film blew my mind! I felt empathy for the main character even as he lost his mind. And Wil Wheaton — well, he was just freaky, weird, and super creepy!
(Recommended by Vicki Woods)
25. Alone — dir. John Hyams
This taut two-hander is a masterclass in anxiety inducing tension. The plot is excruciatingly simple: A woman driving across the Pacific Northwest is stalked by a man who eventually captures her and, before he can do the unspeakable, she escapes — forcing him to give chase throughout the dense Oregonian forrest. Anchored by two incredible performances by Jules Wilcox and Marc Manchaca, Alone is a fast-paced, relentless thriller that does everything right.
(Recommended by Matthew Currie Holmes)
26. 12 Hour Shift — dir. Brea Grant
12 Hour Shift is the bloody good time you could use in life right now. Starring the talented genre fan favorite, Angela Bettis, as a morose, drug abusing, foul-mouthed nurse; the film follows her during an overnight shift at her hospital where she has to encounter organ thieves, dim-witted relatives and a potentially violent prisoner (David Arquette) being admitted. With the hours adding up, so does the body count in Brea Grant’s damn near pitch perfect horror/comedy.
(Recommended by Danni Winn)
27. Porno — dir. Keola Racela
How ‘bout a surprise? Porno has nothing to do with porn. It’s actually the blanket term one of the characters uses to describe any type of movie he doesn’t morally approve of. So, of course, horror cinema is right there on top of his list. This is a deliciously sleazy, gory, yet very lighthearted comedy about the crew of an old movie house who get to take over their theatre after hours and watch anything they want. Through bizarre circumstances they discover vintage cursed film reels in a closet, which is behind another closet, which is boarded up inside a hole.
The film reels are fucking spectacular. So bloody, so psychedelic, so many liberated breasts and sacrificial demon women. If only the films really existed. Vinegar Syndrome would make millions off of them.
Playing the films brings out the succubus Lillith, who then seduces and kills them in order to take their souls. I’m not giving you any more details than that. This film would fit perfectly in a movie marathon of old Joe Dante, John Landis, and Amblin Entertainment movies. It has the same youthful glee, mischievous spirit, and atmosphere. I loved it!
(Recommended by Jamie Marino)
...
Watching all this stuff with such frequency makes people question our sanity. So then the ruminations start: what attracted you to such a visceral genre and why do you get something out of it? And most times the answer is trauma and perversity developed at a young age. The darkness touched you and you can’t help but embrace it. So the main idea at the center of this sex filled gore fest is why are we attracted to the deviant side of things? The teenage movie theater workers who find themselves facing off against a demon which is unleashed by their viewing of an old film reel.
For a small indie film, they did an amazing job. Everything gradually crescendos into a symphony of sex, nudity and violence. The teens are being faced with the exact opposite of the values that keep them sexually repressed. That first scary movie you saw, the first time you saw somebody naked, the time you accidentally witnessed people having sex; these are the things which create the demon in the back of your head. Now imagine it’s out of your head, and you're trapped with it in a movie theater. Yeah. Good luck.
(Recommended by Chris Maino)
28. The Wolf of Snow Hollow — dir. Jim Cummings
It’s hard to describe The Wolf of Snow Hollow. The film feels like an extended crossover between Fargo, The X Files, and somehow, Reno 911!. This film is in a class of its own when it comes to tone, but it’s so much more than that. Part werewolf whodunnit, part social commentary, and part unbridled chaos, The Wolf of Snow Hollow is great, despite its often insufferable but always tragic lead character, Officer John Marshall (Jim Cummings). Written, directed, and acted in by Jim Cummings, this movie is a sharp, smart story about parenthood, addiction, and responsibility that perfectly embodies the idea that a film’s protagonist does not need to be likable to appeal to viewers. He can be downright selfish, and viewers will still find a way to root for him. The shot composition of this movie is also commendable, taking advantage of snow-capped trees, rural starry nights, and full-bellied moons. Moons that illuminate towering werewolves in what is sure to become one of the most iconic werewolf shots in the past decade.
(Recommended by Maggie Stankiewicz)
29. Smiley Face Killers — dir. Tim Hunter
Smiley Face Killers is a true crime story with a twist. It’s not based off any concrete evidence but a theory: a series of drownings of young boys that have been taking place since the late 90s were in fact serial murders. The only thing connecting them is a smiley face left graffitied somewhere near where the police believe the body was discarded. Sounds conventional for the true crime genre, right? But it’s different for one obvious reason: it’s written by Bret Easton Ellis. Ellis takes the central idea and makes it his own. Instead, we follow the day-to-day life of a potential victim as he gets caught up in a love triangle which may only be in his head.
It’s like a bottle episode of 90210 that ends in blood shed. Sound lame? Then it’s just not for you. It really does feel like one of Ellis’ novels in film form — and for that reason I vibed with it. Vapid pretty young people in well lit scenes, and as you watch the lead go about his routine, you’re just waiting for the inevitable carnage that will derail everything and everyone that was trying too hard to be perfect. The water is waiting for you.
(Recommended by Chris Maino)
30. The Pool — dir. Ping Lumpraploeng
The Pool, from director Ping Lumpraploeng, was technically released in 2018, but ot was made available to audiences in the U.S. for the first time via Shudder’s streaming platform in 2020. The Pool has a premise that is almost laughably basic. A man falls asleep on a pool raft while, unbeknownst to him, the water out of said pool is draining. After it’s completely empty, Day (Theeradej Wongpuapan) is not only stranded, but ends up being trapped with a crocodile, who is protecting her young.
The Pool is a classic tale of man vs. beast but does something special with the formulaic aspects of creature features. While the CGI is shaky, the acting in The Pool is phenomenal, the one-location setting helps amplify the claustrophobic, hopeless feel of the movie, and the narrative creates three-dimensional, sympathetic characters the audience can’t help but root for. While The Pool is basic in structure, the underlying message is relatable to all audiences, and even those who usually avoid foreign horror movies can take solace in the fact that said messaging is a very universal concept that depicts the human will to survive against all odds.
Given what many have endured in 2020, The Pool is equal parts difficult to watch and cathartic, but important for showing an example of how utterly simple, yet deeply effective horror can be.
(Recommended by Jack Wilhelmi)
31. After Midnight — dir. Jeremy Gardner, Christian Stella
My favorite thing about After Midnight is once you're on the path of the story, the road ahead is dark and full of turns, and you never really know where this film is going. A fascinating monster movie/love story hybrid, After Midnight is as charming as it is curious, always surprising with a pleasant flashback or relentless monster attack. The script doesn't easily answer all the questions it raises. It leaves a lot for the viewer to think about, but the answers are there if you wish to find them. It really is a beautifully crafted film.
Also, there's about an 8 minute scene with Brea Grant and Jeremy Gardner where the 2 discuss their relationship and lives. It's a long scene for any movie, a daring editing choice. But damn does it work, and is an example of strong acting in both the spoken word and listening. Go into this one blind and enjoy the ride.
(Recommended by Jason McFiggins)
32. Unhinged — dir. Derrick Borte
Ok, so it's not exactly a horror movie. But I would be remiss not to mention this nasty little action flick. Ever wonder what would happen if the bad guy in Duel caught up to Dennis Weaver? Well, I’m not sure that even Steven Spielberg could have even come up with this. Russell Crowe is glorious as The Man who is having a very, very bad day. His whiskey-soaked drawl combined with that thousand yard stare is nothing short of terrifying. And when he goes full-on Ramrod from Vice Squad, this gloriously violent sleazy thriller never lets its foot off the gas.
The best part is, Unhinged, with it’s scant 80 min runtime (75 if you discount the 5 min opening credit sequence) never outstays its welcome. I think this may very well be my favorite film or 2020.
(Recommended by Matthew Currie Holmes)
33. Spirit Animal — dir. Madeline Deering
Twenty years after a campground massacre, a group of friends travel to the same area to celebrate the New Year. Unbeknownst to them, a killer who takes on the ‘spirit’ of different animals to commit brutal murders is hot on their trail. Campy, unconventional and SOV; Spirit Animal was one of the most enjoyable watches I had all year.
(Recommended by Danni Winn)
34. Spiral — dir. Kurtis David Harder
This thriller about a man named Malik and his husband moving into a new town is a great little paranoid thriller, especially when you realize that it ain’t paranoia. Malik is perfectly smart to be worried that the neighbors are up to something. But not in the way any horror fan is going to assume. It’s not about prejudice. It’s about exploiting prejudice. If bigotry is fear, fear can used to manipulate people. Considering the president that just left office, you can see how relevant this story set in the mid-90s is. People just can’t help but be a slave to their fears. History just keeps repeating itself. A never-ending spiral. Break the cycle and check out this gem, one which adds so perfectly to the social thrillers that are starting to become more and more prevalent.
(Recommended by Chris Maino)
35. Spontenous — dir. Brian Duffield
Ok, so this one isn't exactly a horror film, but it is pretty horrifying knowing you can randomly explode at any moment like a blood bursting firecracker. Spontaneous is an often sweet, always dangerous, coming of age tale of first love that explores the anxieties of an unexpected existence, and the horror of an inevitable end. Think David Cronenburg directing a Nicolas Sparks novel. And if you like your films to have some timely relevance to sink your teeth into, Spontaneous easily mirrors the horrors of school shootings, and even the COVID-19 pandemic.
Katherine Langford and Charlie Plummer are both exceptional. Plummer has always reminded me of River Phoenix, a young man eager for experience, but already armed with a world weary depth. And was that a nod to My Own Private Idaho when Langford says to Plummer, "I really want to kiss you man," a direct line spoken by Phoenix to Keanu Reeves in that film? I'd like to think so.
As for Langford, her character is troubled but funny, the kind of person who suffers alone but needs the most attention. It's a small miracle of a performance for Langford to capture such a layered character. Along with a unique love story, Langford and Plummer make Spontaneous a must see.
(Recommended by Jason McFiggins)
36. Amulet — dir. Romola Garai
Showcasing stellar on and off screen talent, Amulet weaves together a tapestry of genre influences and complex themes for a chilling, evocative gem. It combines elements of a visually sumptuous giallo, atmospheric chamber piece, phantasmagoric body horror, and psychosexual feminist fable. Through abrupt edits and disorienting, non-linear storytelling, the film adeptly delivers an overwhelming sense of nerve-fraying tension and unease. And the slow, deliberate pacing of the first two acts gives way to a hallucinogenic fever dream of a finale.
Actress-turned-filmmaker Romala Garai’s feature directing debut is rapturous. With tremendous technical skill, a great eye for detail, and a bold and confident voice, she proves she’s got a promising future ahead of her.
(Recommended by Stephanie Malone, The Angry Princess)
37. Black Bear — dir. Lawrence Michael Levine
Aubrey Plaza gives the best performance of her career in Black Bear, a smartly scripted, well-acted, and unexpected exploration of the creative process. Writer/director Lawrence Michael Levine subverts expectations and flips the script on his own narrative, resulting in a wholly unique and compelling work of art. It’s a clever commentary on the painful collision of art and life; a wickedly funny but deeply affecting deconstruction of the artistic process and all its disappointments.
Black Bear also examines the power dynamics in relationships and the way these personal relationships mirror the act of creating; the constant struggle to control the narrative and remake another person in your image.
From beginning to end, it’s utterly insane in the most intoxicating way possible. The ending will either frustrate or thrill you, depending on your perspective — and that is entirely the point.
(Recommended by Stephanie Malone, The Angry Princess)
38. Scare Package — dir. Various
As much as I love a good horror anthology, it's a damn hard sub genre to pull off. Most entries end up being, at best, inconsistent; at worst, completely forgettable. Often, a decent anthology will boast one or two standout segments, but the overall enjoyability of the film is brought down by the dead weight and the lackluster connective tissue holding the whole thing together. There are exceptions, of course. But you can probably count the number of truly great modern anthologies on one hand, with fingers to spare. That's why Scare Package was such a welcome and wonderful surprise.
An impressive ensemble effort, Scare Package is a meta horror anthology featuring seven segments — each working to both subvert and pay loving homage to genre tropes. It also boasts one of the best framing devices I’ve ever seen. Whereas many anthologies feel more like a collection of shorts rather than a cohesive film, Scare Package delivers the total package.
Each segment feels purposeful, with the film seamlessly transitioning from one to the next without ever feeling disjointed. Even if you don’t love every segment, there’s a consistency in tone that makes sure the film never drags or loses its overarching appeal. From the outstanding opening sequence to the enormously satisfying conclusion, this film is consistently hilarious, with plenty of gore and great looking practical effects to satiate hardcore horror fans.
Scare Package is the collaborative effort of writers and directors Aaron B. Koontz, Courtney and Hillary Andujar, Chris McInroy, Anthony Cousins, and Emily Hagins. It also features the directorial debuts of Noah Segan and Baron Vaughn. It’s a movie made by people who truly love horror movies, and that passion for the genre bleeds onto every frame of this enormously fun, thrilling, and truly innovative anthology films — one of the best of the modern era.
(Recommended by Stephanie Malone, The Angry Princess)
39. Anything for Jackson — dir. Justin G. Dyck
The Canadian horror film Anything for Jackson is a clever, genre-blending gem that takes the viewer on a surprising and extremely satisfying ride. Early in the film, the tone remains light, leaning heavily into the humor and whimsicality of the absurd plot. Soon, the film starts to introduce some more disturbing elements, like a Satanic ritual that takes a twisted turn. Still, it maintains its humor and heart as things get increasingly more horrific. It pays homage to a host of other iconic horror films — featuring everything from creepy ghost kids, to Satanic cults, to terrifying contortionist specters and gruesome body horror. It also boasts a bundle of surprising twists and turns, including a gut punch of an ending I wasn’t prepared for.
Canadian genre royalty Richings and McCarthy are extraordinary, and they play off each other perfectly. With a wonderfully creepy atmosphere and stellar practical effects, Anything for Jackson is truly terrifying at times. The film repeatedly shifts swiftly and wildly in tone, but it’s a credit to director Justin G. Dyck that it remains a smooth ride rather than a bumpy and disjoined one. Thanks to Dyck’s assured direction, committed performances, and a remarkable script from Keith Cooper, Anything for Jackson manages to be funny but frightening, sorrowful but sweet, outlandish but grounded. And that essential equilibrium holds steady even as events spin ferociously out of control.
(Recommended by Stephanie Malone, The Angry Princess)
40. She Dies Tomorrow — dir. Amy Seimetz
She Dies Tomorrow is a terrifyingly relevant film about a critical contagion. Only, the toxic parasite in this film isn’t a bacteria or a virus; it’s a dangerous idea. And the infection is a sense of hopelessness and anxiety — a depressed state of mind and a fatalistic outlook.
Amy knows she’s going to die tomorrow. She doesn’t know how she knows… she just knows. And that knowledge has given rise to an all-consuming fear that infects everyone around her. Whether or not the threat of actual death is real or not is left intentionally ambiguous. But one thing is certain: the effects of the contagion are catastrophic. The destruction of life is real, even if those infected find their hearts still beating tomorrow.
A surreal, fractured fever-dream of a film, She Dies Tomorrow eschews exposition in favor of a more experiential journey. It’s a both a sharp satire about the confusing and chaotic times we find ourselves in, as well as a powerful examination of existential dread and collective hysteria. Though darkly funny at times, it’s also deeply unsettling and far from reassuring. Like a virus itself, it seeps under the skin and infects you with an overwhelming sense of despondence. But it’s also brilliant in its dissection of universal truths and the common threads that unite us. Achingly relevant and exquisite in its execution, writer/director Amy Seimetz has crafted a difficult but important work of psychological horror.
(Recommended by Stephanie Malone, The Angry Princess)
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Kris Roselli wrote:
Hi guys, my name’s Kris I just had a thriller/horror released called Hideout. Was wondering if you would possibly do a review for it, I’d love to feature it on our social media! It’s super low-budget and we shot it in 11 days but I really think it’s something that you and your fan base would appreciate. Thanks so much!!
https://www.facebook.com/hideoutmovie
https://www.imdb.com/title/tt10899402/
Kris
The Angry Princess wrote:
Sure thing. You can use the chat feature on the site to send us a link and any press materials you have.