The 2000s were an interesting decade for horror. While the ’90s had their fair share of underrated horror classics, it remains one of the weakest decades for the genre, as endless classic movie sequels have proliferated and cluttered the box office. A Nightmare on Elm Street, Friday the 13th, Child’s play and Halloween the series each produced terrible additions with diminishing returns, while films like Leprechaun, Candyman, and Carrie all of them received their own terrible after-effects, more laughable than frightening.
Something seismic changed by the end of the decade, however. The massive success of the years 1999 The Blair Witch Project and Japanese horror movies like the years 1998 Ringu (later remade as The ring) would influence the next ten years of filmmaking, as found images and international horror remakes came to dominate the industry. The box office return of these films prompted production companies to invest in new horror films, while the development of video rentals meant that movie nerds like Quentin Tarantino could study movie history. at a lower cost and turn their gender exercises into great art. The advent of digital cinema meant that it was much cheaper to produce and distribute a movie, and the growing popularity of the internet ensured that even the smallest movies could receive some kind of publicity, completely change the industry. Although this sparked a lively debate on how ‘going digital’ could have ruined the cinema, time has shown that to be overkill.
All of this intersected at the dawn of the new millennium as burgeoning fears and paranoia about 9/11, terrorism and American aggression mingled. The resulting cavalcade of innovative and intense horror films has produced many masterpieces and launched the careers of several now renowned authors, forever changing the face of terror. These are the scariest movies of the 2000s.
Lucky McKee’s directorial debut Can is a modern goth-rock remake of Frankenstein’s story, featuring the underrated Angela Bettis as a troubled young woman to whom her mother says, “If you can’t find a friend, make one.” Initially, this odd adage applies to dolls, but the antisocial titular May soon uses it to take her favorite parts of people’s bodies and create her own best friend. With a heartbreaking and formidable performance by Bettis, this macabre little indie updates a classic myth of male pride from a woman’s perspective.
9 Suicide club
One of the strangest movies to come out of the J-horror craze (which means something), the infamous Sion Sono’s Suicide club is an unforgettable and delirious masterpiece. Opening with a group of sweet, smiling schoolgirls holding hands in a train station before jumping in front of a high-speed train and soaking viewers in blood, the film only sinks deeper into depravity. and insanity as he goes along. With a bizarre pastiche of different styles, Sono’s wacky critique of celebrity culture and social hypocrisy features one of the most disturbing musical numbers ever shot.
Larry Fessenden is one of the current horror masters, and yet he is probably best known for his one-time appearance as an actor in many films. It’s a shame, considering how thoughtful and intellectually stimulating Fessenden’s films are, nothing more than Wendigo. Seen largely from a young boy’s perspective (and more haunting because of it), the film follows an upper-class family on vacation after a tense encounter with “local yokels” who may wish them harm. . A brilliant meditation on imperialism, colonization and the genocides of First Nations peoples, Wendigo is an icy stunner.
The 2000s gave birth to what has been called ‘New French end, ‘a brutally violent and controversial horror sub-genre, which is not for the faint of heart. One of the largest of these is Inside, a demonstration of masterful intensity about a mad invader who, instead of stealing goods or money, wants to steal the baby of a pregnant woman. For those who can handle it, the film is an explicit but largely unmatched meditation on femininity and motherhood that haunts viewers long after its end.
Perhaps the most intellectually stimulating horror film here is Bruce McDonald’s, quite unique. Pontypool, which deconstructs ideas of infection, contagion, and conformity before reconstructing it as a sort of philosophical zombie movie. Stephen McHattie is absolutely delightful as a radio shock who unintentionally launches an outbreak after taking a call on air, the idea being that the tongue itself can be a virus. Miserably underrated and beautifully constructed, the film shows the best of low-budget innovation in the genre.
5 28 days later
Danny Boyle’s 28 days later is said to have invigorated the zombie genre by just running zombies, but the truth is more generous than that. Boyle and cinematographer Anthony Dod Mantle shot the movie with a $ 500 camera, using the type of digital photography that Mantle worked with on previous small Danish films as part of the Dogma ’95 movement. The grainy immediacy and drastic kinetics of the footage was unheard of for such a successful film and redefined what mainstream movies could look like (and cost). The result is a high-energy horror masterpiece, perfectly marked and performed, with a surprisingly good sequel and possibly another to come.
Neil Marshall followed his excellent Soldier dogs with this creepy feminist about a grieving woman and her group of friends discovering underground monsters on a cave diving expedition. Despite the relatively low budget, the film’s terrifying descent into the murky depths of the earth looks incredible, and the creatures found in that abyss are truly terrifying. With some of the best scary jumps ever, Lowering is a bloody, tortuous crawl through the struggles of grief and guilt.
3 Leave the one on the right in
Tomas Alfredson’s cold and detached thriller chronicles the relationship between a bullied young boy and the mysterious vampiric little girl who protects him. Romantic and sad but also surprisingly fun, Leave the one on the right in is yet another example of an international horror film beloved and remade in the United States. Its focus on children and wonder is reminiscent of a bloodier version of the Spielberg films, and the icy Swedish scenery perfectly complements this unique and major vampire tale.
2 Paranormal activity
Picking up the cloak of horror from found images of The Blair Witch Project and run with it screaming, Paranormal activity launched endless impersonators with its stripped-down story of a haunted house captured by security cameras. Shot for just $ 15,000 before $ 200,000 in post-production came in by emerging and now-legendary horror studio Blumhouse Productions, Oren Peli’s film proves that money doesn’t necessarily guarantee success. To become one of the most profitable franchises in the story based on the box office budget ration, and rightfully scary in its sheer immediacy, Paranormal activity continues to generate sequelae today.
Kiyoshi Kurosawa has had a decade of outstanding horror films, starting in the 1997s The treatment to the years 2006 Punishment, corn Impulse may be his best. One of many J horror films to receive an American remake (and several sequels), Impulse Perfectly captures the dawn of the digital age and its corresponding loneliness with almost apocalyptic foreknowledge. With his own eerie, languid pace and unmatched sense of dread, Kurosawa updates the premise of Ringu for the age of computers with an even better movie that literally takes “going viral”. Initially underestimated, it is now considered a forgotten masterpiece which, according to Jon O’Brien, “predicted everything that was wrong with the world today.” Horror is at its best when it acts as a mirror to society and the human psyche, and the bloodied and cracked mirror of Impulse reflects everything that is wrong all over the place.
Nothing reflects the ridiculously over-the-top ’80s aesthetic like the ridiculous horror movies of the decade, which are even funnier after 40 years.
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