It took a while, but the Evil Dead movies have finally reached franchise point. After Sam Raimi (Drag Me To Hell) wrote and directed the trilogy capper, Army of Darkness, he took an extended break from horror. Fans of the Evil Dead franchise waited almost 20 years before we finally got a new movie – the 2013 remake. Unfortunately, another decade passed before another franchise entry made its way to theatres. If there’s good news, Evil Dead Rise has been a box office and critical success. So maybe we’ll being getting more sequels a little sooner moving forward. In the meantime, we rank the five movies in the remarkably consistent Evil Dead franchise from good to classic.
5 – Evil Dead (2013)
Placing the Evil Dead reboot at the bottom of any list feels strange. Specifically, Fede Alvarez’s (Don’t Breathe) re-imagining of Sam Raimi’s classic is a damn good horror movie. It also happens to rank among the best of horror remakes in recent memory. This is a lean, brutally violent horror movie that sticks to practical effects in place of shoddy CGI bloodshed. Throw in an unexpected swerve in the hero protagonist category and this is about as clever of a remake as you’re likely to find. In addition, Jane Levy makes for a fantastic central hero – if we’re lucky, her ‘Mia’ will turn up in future installments. Unlike the other Evil Dead movies the reboot is deadly serious – there’s nothing remotely funny here. And that may warrant a lower ranking for many series fans.
4 – Army of Darkness (1992)
Okay, as mentioned above, the Evil Dead movies are defined by a high level of consistency – there’s no bad movie among the series. Rather it’s a preference in regards to tone that will likely influence personal rankings. From Evil Dead II: Dead by Dawn to Army of Darkness, Raimi increasingly injected slapstick humor into the movies. Whether Army of Darkness ranks higher or lower on your personal list will depend on whether you prefer straight horror to a mix of horror and comedy. Aside from its themes and imagery, there’s actually not much in the way of horror in Army of Darkness. Instead, Raimi’s in full on absurdist humor – but this is where Bruce Campbell fully shines and Ash becomes a genuine horror icon. This third entry to the series is pure B-movie fun and it’s utterly quotable. If Army of Darkness ranks higher on your list, it absolutely belong at that spot.
3 – Evil Dead Rise (2023)
How many horror franchises can claim they’re still churning out good movies over 40 years after the original released? Ten years after the reboot hit theaters, Evil Dead Rises not only impressed at the box office, it earned stellar reviews. Director Lee Cronin moves the Necronomicon from dilapidated cabins in the woods to an urban high rise and still doesn’t miss a beat. Similar to the 2013 reboot, Cronin tones down the slapstick humor. But plenty of blood spills out all over the screen in this lean, nasty horror movie. Once the action starts, Evil Dead Rise rarely slows things down for long. No one is safe in this one – not even the kids. If you’re going to wait a decade to make a sequel, this is how you do it.
2 – Evil Dead (1981)
It was a difficult choice to put the original The Evil Dead at the Number 2 spot on this list. Just based on its impact on the horror genre alone, you could put it at the top of a series ranking. Writer and director Sam Raimi practically invented the ‘cabin in woods’ trope and showed off the DIY practical effects approach that characterized the genre for the decade. Yes, it’s a shoestring movie that looks sloppy and occasionally, silly. In what was only his second directorial effort, Raimi hadn’t quite perfected the mix of horror and slapstick humor. And Bruce Campbell’s ‘Ash’ hadn’t morphed into the character we know and love yet. But The Evil Dead remains a class in its own right – it’s a horror movie that defined 80s horror for many genre fans.
1 – Evil Dead 2 – Dead By Dawn (1987)
Call it a sequel. Or maybe it’s a soft reboot. Regardless Evil Dead II: Dead By Dawn is one of the greatest horror movies ever made. It takes everything that worked in the 1981 original and improves upon it. Though it’s still an ultra cheap-looking movie with plenty of obscene, gross-out moments, Evil Dead II perfectly blends its horror and zany comedy. The Deadites‘ tormenting of Ash is a classic scene that shows off Raimi’s idiosyncratic style. And the sequel gave us the chainsaw-handed Ash Williams that would become a horror icon.
While COVID-19 slowed it down momentarily, the Marvel Cinematic Universe is once again firing on all cylinders. Following on the heels of Spider-Man: No Way Home’s massive success, Doctor Strange in The Multiverse of Madness set some of its own box office marks. That’s pretty impressive for a sequel to a movie for what’s essentially a B-level comic book character. But The Multiverse of Madness is a Doctor Strange sequel in title only. Let’s face it – this is a sequel to several intellectual properties. It also marks the return of Sam Raimi to superhero moviemaking. Though it’s made a lot of money, Marvel’s first true foray into horror territory didn’t exactly marvel critics.
Synopsis.
Since helping Spider-Man saved the world from a multi-versal catastrophe, the same nightmare has haunted Doctor Stephen Strange- a demon chasing a different version of himself and a young girl. But the arrival of a one-eyed demon – and the same young girl – at Christine Palmer’s wedding convinces Doctor Strange his nightmares are real. The girl, America Chavez, has the power to travel across the multiverse. And someone wants that power even if it costs the girl her life.
Doctor Strange in The Multiverse of Madness At Its Best When the MCU Gives Sam Raimi Creative License
For a movie that tops out at just over two hours, Doctor Strange in The Multiverse of Madness rarely lags. Director Sam Raimi (The Evil Dead, Drag Me To Hell) makes a welcome return to Marvel moviemaking. Not surprisingly, Raimi introduces the MCU’s first real taste of horror elements. And when Marvel gives Raimi some creative license, The Multiverse of Madness feels pretty fresh for the 28th chapter in a sprawling movie franchise. Plenty of Raimi quirks find their way into the movie – and they’re often the best part. Yes, Bruce Campbell makes a quick appearance. Though it’s not The Evil Dead, Raimi seamlessly slips in some dark horror and body imagery into the MCU. If there’s a standout scene, it’s the wonderfully creative musical note battle between Doctor Strange and Sinister Strange.
While Raimi does a better job balancing these demands than some past Marvel efforts, they’re still the weakest parts of the movie.
Yet a common problem prevents Doctor Strange in The Multiverse of Madness from hitting its full potential. How many times have we seen acclaimed filmmakers step behind the camera for Marvel only to see the mega-studio put them on a leash? Chloé Zhao’s Eternals looked different from anything we had previously seen in the MCU – until the big CGI set-pieces kicked in. Similar criticisms were levelled at the very good Shang-Chi and the Legend of the Ten Rings. And Raimi needs to check off the same prerequisites. While Raimi does a better job balancing these demands than some past Marvel efforts, they’re still the weakest parts of the movie. With so much CGI chaos, it’s not surprising that some effects underwhelm, lacking the rich detail of, say, The Lord of the Rings trilogy.
Doctor Strange in The Multiverse of Madness Buckles Under Its Multiverse of Story Obligations
At this point, we’ve heard that Marvel has (and is) doing something never done before in movies, ad nauseum. And it’s quite true. Doctor Strange in the Madness of the Multiverse is the 28th movie in a shared universe that continues to grow with television miniseries joining each new cinematic entry. But cracks are forming under the sheer weight of the Marvel-verse’s connected storytelling. To fully appreciate Raimi’s sequel, it’s not enough to have watched Doctor Strange’s introduction way back in 2016. There’s no less than at least five other Marvel properties one needs to brush up on, which includes Spider-Man: No Way Home and the WandaVision series. If you want to catch some of the sequel’s Easter Eggs, it probably wouldn’t hurt to watch the What If series, too. That’s a lot of homework for a trip to the cineplex.
But cracks are forming under the sheer weight of the Marvel-verse’s connected storytelling.
Ironically, Doctor Strange In The Multiverse of Madness is a busy movie defined by a threadbare story. Writer Michael Waldron lays out the movie’s driving dilemma almost immediately. What follows are a series of bullet points substituting for satisfying arcs. Benedict Cumberbatch owns the Doctor Strange role just as much as RDJ embodied Tony Stark. But Waldron’s story puts Cumberbatch in the background of a movie that also needs to give time to Elizabeth Olsen’s Scarlett Witch, newcomer Xochiti Gomez’s America Chavez, and a returning Rachel McAdams (Red Eye). Is it nice to see John Krasinski and Patrick Stewart appear in the MCU? Absolutely. But one gets the impression that the story was unnecessarily burdened to get what are essentially extended cameos shoehorned into an already busy movie.
Sam Raimi Adds Enough Creative Spark to Marvel’s Massive Marketing Machine
One has to wonder when the Marvel machine will start to buckle under its own weight. This isn’t to say that Doctor Strange and the Multiverse of Madness misses the mark. As expected, Raimi delivers a visually thrilling and generally satisfying entry to Marvel’s Phase 4. When The Multiverse of Madness allows Raimi some creative freedom it’s creative, lively, and a nice introduction of light horror to the Marvel-verse. Given it’s also another chapter in a sprawling shared university, Raimi’s obligated to include big CGI-action scenes, Easter Eggs, and connections to past and future intellectual properties. Overall, Doctor Strange in the Multiverse of Madness is a fun and consequential follow-up to Spider-Man: No Way Home.
They’re a Hollywood staple. Call them franchises or, the more en vogue term, ‘shared universes’. If you don’t have one, you want one. Already have one – develop more of them. Aside from the Marvel Cinematic Universe, Warner Bros has their DC Extended Universe and the MonsterVerse. But the horror genre has always had franchises – yes, the Universal Monsters was a horror franchise. Technically, Universal Studios had the first ‘shared universe’ when The Wolf Man met Frankenstein. Years later, Hammer Films had their Frankenstein and Dracula series. In addition to the venerable classics like Halloween and Friday the 13th, smaller horror franchises have found audiences in the direct-to-video markets. Children of the Corn, Leprechaun, Hellraiser, and Puppet Master have quietly churned out sequels for decades.
For this edition of The Chopping Block, I’m list my personal picks for the 10 best horror franchises. I’m not counting television series spin-offs. Moreover, there needs to be at least three entries in the series, with most of those movies getting some theatrical release. Be warned – this is a subjective list. There are horror series anchored by classic movies – The Omen, The Texas Chainsaw Massacre – not on the list. Why? I’m looking at consistency and overall quality of all movies in a franchise.
Honorable Mention: The Scream Franchise (1996-2011)
Not including Wes Craven’s Scream franchise in the Top 10 is probably controversial. And yes, Scream deserves to be cited as a horror classic right along with some of the movies below. As far as sequels go, Scream 2 is among the best. It’s as subversive and razor smart as the first movie. But Scream 3 is a bit of a mess. Regardless of some of the recent critical re-appraisals of Scream 4, it’s still a sequel that missed the mark in my mind.
10 – The Purge Horror Franchise (2013-2018)
Number of Movies: 4
Best Entry: The Purge: Anarchy (2014)
Worst Entry: The Purge (2013)
If you pointed out that The Purge fails its killer premise with an often generic ‘home invasion‘ execution, you wouldn’t be wrong. Oh, but that premise. And its ending and series creator James DeMonaco’s social commentary save The Purge. Then DeMonaco blew his world open with his bigger, more action-oriented sequel, The Purge: Anarchy. Follow-up The Purge: Election Year isn’t quite as good, but last year’s The First Purge was the rare prequel that exceeded expectations. Aside from its timely premise and remarkable consistency in quality, The Purge series has given us some of horror’s most colourful villains in recent memory.
How do you remake one of the greatest horror movies ever made? In most cases, the correct answer is you don’t try. Arguably, you’re best to ditch the idea altogether if that movie was directed by the ‘Master of Suspense’ Alfred Hitchcock. Yet Hollywood produced three sequels and a belated remake anyways. And you know what? Some of those sequels weren’t half-bad. Perhaps spurred on by the slasher franchises popping up in the early 1980’s, Universal Pictures released Psycho II in 1983. Not suprisingly, none of the sequels approach Hitchcock’s masterpiece. Nevertheless, Psycho II no only exceeds expectations, it’s actually a worthy follow-up. Tom Holland (Fright Night, Child’s Play) penned the screenplay and it shows.
“A boy’s best friend is his mother”.
Perkins himself directed Psycho III and, though it occasionally devolves into standard slasher formula, it’s still very watchable and honours the original. For the obligatory prequel, Stephen King regular Mick Garris directed Psycho IV: The Beginning. On the one hand, franchise fatigue settles in and the movie feels much less cinematic. Still Psycho IV doesn’t represent a huge dip in quality from the other sequels. In contrast, Gus Van Sant’s 1998 shot-for-shot remake is an utter waste. Overall, the Psycho franchise shows some remarkable consistency.
8 – The Child’s Play Franchise (1988-2019)
Number of Movies: 7 Movies, 1 Remake
Best Entry: (1988)
Worst Entry: Seed of Chucky (2004)
Yes, a horror franchise about a killer doll sits at Number 8 on this list. Don Mancini and Tom Holland’s Child’s Play was a subversive slasher entry when the subgenre was waning. It also gave us Brad Dourif as Chucky, another horror icon. While Seed of Chucky is a bad movie, and Child’s Play III feels generic, the Child’s Play series is remarkably consistent.
In addition, series creator, Mancini, has taken several risk in shifting the franchise in new directions. Bride of Chucky, for example, added a dose of self-aware humour to the franchise. And Curse of Chucky came out of nowhere, breathing new life into the series. It’s a sequel that was better than it had any right to be. Regardless of some of the backlash to the remake, this year’s Child’s Play did a lot of things right. So count Child’s Play as one of the more interesting horror franchises on the list.
7 – The Alien Horror Franchise (1978-2017)
Number of Movies: 4 Movies, 2 Prequels
Best Entry: Aliens (1986)
Worst Entry: Prometheus (2012)
To include the crossover movies with The Predator series or not? Despite including some character connections to the original Alien movies, we’ll ignore the Alien vs Predator movies. Besides Ridley Scott’s prequels technically wiped these movies from canon anyways. Minus the prequels, the Alien franchise still spans five decades and includes the most impressive roster of directors you’ll find on this list. After 40 years, Ridley Scott’s Alien – a ‘haunted house in space’ movie – remains as ground-breaking as the day it was released. Then, in a rare move for horror franchises, James Cameron took the idea in a completely different direction while respecting Scott’s original movie. The result was a rare sequel that felt like a genuine extension of the story.
Though it disappointed, Prometheus is visually stunning and loading with interesting themes.
Even flawed Alien movies are watchable. David Fincher disavowed Alien 3, but the sequel deserves credits for moving the series in a new direction. If it had been the end of the Xenomorph story, it gave Ellen Ripley a satisfying character arc. WhileAlien Resurrection is tonally inconsistent with some odd story choices, the sequel still introduced some of the series’ best characters. To some extent, Scott’s prequels have underwhelmed. But it’s a bit unfair to label Prometheus as the ‘worst’ of the franchise. Though it disappointed, Prometheus is visually stunning and loading with interesting themes. Bottom-line – the Alien franchise is one of the few series where each movie is its own unique-feeling entry.
6 – Friday the 13th (1980-2009)
Number of Movies: 10 Movies, 1 Cross-Over, 1 Remake
Best Entry: Friday the 13th (1980)
Worst Entry: Jason Goes to Hell (1993)
You’d be hard-pressed not to include the Friday the 13th franchise on this list. Arguably, Friday the 13th is one of the most recognizable horror franchises. It’s the series that have us horror icon, Jason Voorhees. It spawned countless imitators. Following the surprising success of Friday the 13th, the first few sequels showed a workmanlike commitment to the formula. Then Paramount miscalculated and gambled on a ‘Jason-free’ sequel, A New Beginning. Fortunately, the studio course-corrected and delivered one of the best in the franchise – Jason Lives. From that point onward, Jason was an unstoppable killing machine.
Following the surprising success of Friday the 13th, the first few sequels showed a workmanlike commitment to the formula.
Subsequent sequels rapidly declined in quality as the well ran dry of ideas. Though an anticipated cross-over with Elm Street’s Freddy Krueger was somewhat satisfying, the 2009 remake stalled the long-running franchise. Now Jason Voorhees has finally met a fate he can’t seem to escape – legal woes. As much as I love this series, the Friday the 13th movies are a little more generic than some of the franchises higher on the list.
5 – Halloween (1978-present)
Number of Movies: 9 Movies, 1 Remake/Sequel, 2 Upcoming Sequels
Best Entry: Halloween (1978)
Worst Entry: Halloween: The Curse of Michael Myers
John Carpenter’s Halloween is a horror masterpiece. Its ‘babysitter-in-peril’ narrative spawned a sub-genre and countless imitators. Moreover, it’s the movie that gave us an iconic horror villain – ‘The Shape’. As for its sequels, the legacy is more complicated. On the one hand, there’s some genuinely good sequels – Halloween II (1981), Halloween: 20 Years Later, and the ret-conning Halloween 2018. In addition, Halloween III: Season of the Witch is an eclectic, risk-taking entry that has finally received some of the due it deserves.
As for its sequels, the legacy is more complicated.
Mixed in with the good, there’s some derivative slasher sequels like Halloween IV and V, The Return of Michael Myers and The Revenge of Michael Myers, respectively. And then there’s Rob Zombie’s brutal take on the legend with his remake and its sequel. Both Zombies movies are flawed, but interesting additions. Don’t forget the bottom-barrel feedings sequels, Halloween: The Curse of Michael Myers and Halloween: Resurrection. If Blumhouse can stick the land with upcoming sequels, Halloween Kills and Halloween Ends, the horror franchise could ascend to where it truly belongs.
4 – The Conjuring Universe (2013-Present)
Number of Movies: 7 and counting
Best Entry: The Conjuring (2013)
Worst Entry: Annabelle (2014)
As the decade comes to an end, The Conjuring should be on a lot of ‘Best of Lists’. Undoubtedly, James Wan’s demonic chiller is among the best of the 2010’s. In fact, The Conjuring is one of the best horror movies in recent memory. Though it doesn’t quite reach the same heights, The Conjuring 2 was an excellent follow-up that further encouraged audiences to invest in the Warrens. Unfortunately, The Conjuring Universe loses points for the uneven quality of its other movies. The Curse of La Lorona is dull and uninspiring; first spin-off movie, Annabelle, is just bad. And while not as bad as its ‘Tomatometer‘ suggests, The Nun didn’t meet expectations. Defying expectations, prequel Annabelle: Creation flashed what made The Conjuring movies so good in the first place. Lastly, falling somewhere in the middle of the pack, Annabelle Comes Home was a satisfying ‘greatest hits’ compilation of a sequel.
3 – A Nightmare on Elm Street (1984-2010)
Number of Movies: 7 Movies, 1 Remake, 1 Crossover
Best Entry: A Nightmare on Elm Street (1984)
Worst Entry: Freddy’s Dead (1991)
Wes Craven’s horror franchises plays out very similarly to the Friday the 13th and Halloween series. First, A Nightmare on Elm Street is a bona fide classic – it ranks among the best horror movies of all time. Mixed in with the sequels are two excellent movies – A Nightmare on Elm Street 3: The Dream Warriors and Wes Craven’s New Nightmare. Arguably, the latter sequel was ahead of its time. Throw in the first sequel, Freddy’s Revenge, that’s an underrated divergence from the franchise. Of course, franchise strain pops up with some generic sequels (The Dream Master, The Dream Child). Contrary to any attempts at revisionist history, Freddy’s Dead is the dregs of the series. A goofy cross-over with Friday the 13th and an uninspired remake round things out. But there’s no disputing the impact Craven’s wicked sandman, Freddy Krueger, and his horror franchise has had on the genre.
2 – The Evil Dead Horror Franchise (1981-2013)
Number of Movies: 3 Movies and 1 Remake/Reboot
Best Entry: The Evil Dead II: Dead by Dawn
Worst Entry: N/A
Anyone who grew up in the 1980’s probably watched The Evil Dead or The Evil Dead II at a sleepover. Sam Raimi’s low-budget gorefests were rites of passage. Though The Evil Dead played it more straight, Raimi would introduce the horror franchise’s trademark over-the-top humour in his ‘sort of’ sequel, ‘sort of’ remake, The Evil Dead II: Dead By Dawn. Follow-up Army of Darkness fully embraced the series’ absurdist approach. All three movies have held up remarkably well. They’re classics of the genre with no dips in quality. Even 2013 remake, Evil Dead, is a nasty, lean piece of horror movie-making. In terms of quality and consistency, it doesn’t get much better than The Evil Dead franchise. And it’s the horror franchise that gave us Bruce Campbell.
1 – Romero’s Living Dead Horror Franchise (1968-2009)
Number of Movies: 6
Best Entry: Dawn of the Dead (1978)
Worst Entry: Survival of the Dead (2009)
Like the Psycho franchise, George A Romero’s ‘Living Dead‘ series is anchored by a genre-changing classic. When Night of the Living Dead was released, it created the zombie movie as we know it today. Arguably, Dawn of the Dead may actually be the better movie. That makes two genre-defining classics in one horror franchise. Remarkably, Romero continued to breathe new life into his series decade after decade. Both Day of the Dead and Land of the Dead are entertaining entries filled with interesting ideas. Even Romero’s found-footage sequel, Diary of the Dead, offers some prescient social commentary. Yes, Survival of the Dead is a dud. And there are too many remakes to consider. Besides only Zack Snyder’s remake is worth watching.
How do you follow up a successful remake of a horror classic? That was the task director Fede Álvarez faced after his re-imagining of Evil Dead. For his sophomore effort, Alvarez teamed up again with producer Sam Raimi (Drag Me To Hell) and Ghost House Pictures. The result, Don’t Breathe, was a subversion of the home invasion sub-genre. In spite of late August typically being a dumping ground for studio holdovers, Don’t Breathe was a surprising box office hit. Even more surprising – critics loved it.
Synopsis
Rocky dreams of a life far away from her abusive home for herself and her younger sister. With few options, Rocky, her boyfriend Money, and best friend, Alex, scrape by breaking into houses. But Rocky’s big break may be around the corner. Money sees a news story about a veteran who won a big money settlement after his daughter was killed in a car accident. Everything about the job sounds easy. Not only is the veteran’s house in an abandoned neighbourhood, but he’s also blind. But Rocky and her friends quickly learn that getting into the house is a lot easier than getting out.
Don’t Breathe A Tightly Paced Roller Coaster Ride
At a trim 88 minutes, Don’t Breathe is a tightly paced roller coaster ride of a thriller. Little time is wasted setting the premise in motion. And once director Fede Álvarez gets his protagonists into the house he rarely lets the suspense slow down. While Álvarez’s Evil Dead was a gonzo gore-fest, Don’t Breathe is more interested in white-knuckled tension. Álvarez initially draws things out as his would-be burglars crouch and hide in the dark to avoid a grasping ‘Blind Man’. But once the first act of violence pierces the screen, Don’t Breathe relishes in putting its character in increasingly uncompromising positions. ‘The Blind Man’ stalking the young thieves in a dark cellar is a stand-out scene.
Álvarez Breathes New Life Into a Tired Subgenre
Perhaps it’s not surprising that the home invasion thriller has been done so many times. Simply put, the premise exploits our fears of being ‘unsafe’ in the one place we should feel safest. Recent movies like Hush and Don’t Breathe, however, have put some fresh spins on the subgenre. Though the premise is simple, Don’t Breathe effectively mines the ‘reversal of fortune’ idea for all it’s worth. Just when it feels like the concept is about to run dry, Álvarez throws in some genuinely unexpected twists.
…Don’t Breathe effectively mines the ‘reversal of fortune’ idea for all it’s worth.
Of course, not everything works in the movie. There is one creepily uncomfortable sequence late in the movie. It feels a little unnecessarily exploitative. If Álvarez cuts the scene, the movie certainly wouldn’t miss it. Don’t Breathe also falls into the slasher movie trap of one too many false endings. This isn’t to say that these scenes aren’t fun – no one is going to accuse Don’t Breathe of overstaying its welcome. A final tease for a potential sequel feels more like a playful nod to 80s horror than tiresome trope.
Jane Levy A Rising Star in the Genre
Along with Samara Weaving (The Babysitter, Mayhem, Ready Or Not, Bad Girl), Jane Levy has emerged as one of the genre’s brightest stars. In spite of Don’t Breathe’s trim running time, Levy injects ‘Rocky’ with a full range of genuine emotions. In addition, Alvarez and Rodo Sayagues’s screenplay gives Levy plenty to do, inverting expectations about ‘damsels-in-distress’. Levy gives the audience a character with whom they can empathize, thus experiencing genuine suspense when she’s in danger. Another up-and-coming young star, Dylan Minnette (Goosebumps, The Open House), continues to impress with a strong performance.
Veteran character actor, Stephen Lang, gifts horror its newest villain, ‘The Blind Man’.
Veteran character actor, Stephen Lang, gifts horror its newest villain, ‘The Blind Man’. Like the best of the Universal Monsters, Lang’s ‘Blind Man’ balances out monstrosity with tragedy. Though not entirely sympathetic, Alvarez and Sayague build enough backstory into their antagonist to elevate him from two-dimensionality. As a result, ‘The Blind Man’ is a much more interesting villain, offering some surprises in movie. Yes, Don’t Breathe is guilty of turning their villain into an ‘invincible’ slasher killer by the movie’s climax. But Lang is so much fun as the resourceful and relentless ‘Blind Man’ that it’s a forgivable movie sin.
Don’t Breathe Another Standout Horror Movie In a Strong Decade For the Genre
In a decade that has given horror fans an impressive slate of titles, Don’t Breathe is yet another win for the genre. A compelling villain, tight pacing, likeable protagonists, and a steady stream of jumps and suspense make Don’t Breathe a future classic. For director Fede Álvarez, it’s another stylish effort that further sets him apart as a filmmaker to watch.
Sam Raimi (Evil Dead, Drag Me To Hell), Alexandre Aja (High Tension, The Hills Have Eyes, Piranha 3D), Category 5 hurricanes, and killer alligators. What more could you ask of a summer horror movie? Killer animal movies generally play well over the summer months, and Crawl looks to be no exception. Critics have already embraced Aja’s killer alligator movie. Based on its promotional material, Crawl already looks like an improvement over past summer animal horror like 47 Meters Down and The Meg. So does Crawl have enough bite to warrant the critical praise?
Synopsis
College swimmer Hailey drives towards a Category 5 hurricane in south Florida to find her father. Though they’re estranged, Hailey worries that her stubborn dad wont evacuate his home. When she arrives at the family house, she finds her dad, Dave, unconscious and bleeding in the cellar crawl space. Soon Hailey realizes they’re not alone. Rising flood waters have deposited alligators in the house basement. As the water levels quickly rise, Hailey and Dave must find a way past the ravenous reptiles to escape.
Crawl Delivers Non-Stop Scares and Suspense
Director Alexandre Aja is no stranger to tense horror movies. Though Aja tones down his trademark graphic violence, Crawl delivers almost continuous suspense and tension. After some very brief character introduction and table-setting, Crawl dives headlong into its simple, but brilliant, premise. Once Aja gets Hailey into that crawl space, the movie rarely slows down. For the bulk of its runtime, Crawl is a roller-coaster thrill ride, allowing only brief moments to catch your breath.
The combination of tight spaces and occasional alligator point-of-view shots heighten the tension.
In spite of its limited setting, Aja and screenwriters Michael and Shawn Rasmussen find plenty of creative ways to put father and daughter in danger. Risky efforts to retrieve cellphones or find an exit have you looking all over the screen for an alligator lurking in the shadows. The combination of tight spaces and occasional alligator point-of-view shots heighten the tension. As the water levels rise, both a kitchen and shower stall scene make for inventive, thrills. And the intermittently staged jump scares all hit their mark. Not surprisingly, given his past movies Aja includes a few cringeworthy moments. But the gore is sparse and shouldn’t deter average filmgoers from enjoying Crawl.
CGI Alligators Make for Convincing Monsters
Let’s face it. A ‘creature feature’ is only as good as its monsters. Fortunately, even with its CGI, Crawl’s alligators make for convincing monsters. Aja wisely keeps his alligators hidden for much of the movie. Shadows under water and scaled tails flicking through ripples remind you that the reptiles are an omnipresent threat. But when Aja puts his alligators centre-stage, the reptiles look impressively menacing. There are only a few occasions when the CGI either looks obvious or distracts.
Crawl’s Family Drama Never Distracts From The Main Attraction
Screenwriters Michael and Shawn Rasmussen understand that sympathetic characters are more likely to elicit suspense. It’s hard to feel tense or scared if you don’t care about what’s happening to the characters onscreen. In this regard, Crawl takes notes from other horror popcorn thrillers like Happy Death Day. That is, Crawl’s father and daughter are some slightly contrived family drama. There’s stuff about parents divorcing, selling a family home, and a fractured father-daughter relationship. Yes, it’s a little superficial. But it does enough to get you to invest in the characters without distracting from why you’re really watching the movie.
…Kayla Scodelario and Barry Pepper make the material work.
In addition, Kayla Scodelario and Barry Pepper make the material work. As Hailey, Scodelario gives a performance reminiscent of Jessica Rothe in Happy Death Day. She demonstrates a range of emotions, making for a convincing and compelling heroine. Veteran actor Barry Pepper gives an intense, grizzled performance. Regardless of how improbable the movie gets, Pepper keeps things grounded and makes you believe it’s happening. It’s all more than enough to keep you invested in between the gator action.
Crawl Is Pure Popcorn Horror Fun
Despite underperforming somewhat at the box office, Crawl should be on every horror fan’s ‘must see’ list. Aja has crafted a thrilling roller-coaster ride of jumps and suspense. Crawl wastes little time picking up its pace. Once the gators crawl onto the screen, you’re likely to be gripping your theatre seat for the remainder of the movie. Crawl is destined to be a classic.
Netflix released Indonesian horror homage, May The Devil Take You (Sebelum Iblis Menjemput) this past Friday. Timo Tjahjanto served as writer and director on this Sam Raimi-esque story about Faustian deals and family curses. Previously, Tjahjanto contributed to the recent anthology movies, V/H/S 2 and ABC’s of Death. With May the Devil Take You, Tjahjanto continues to impress with some wildly inventive talent behind the camera.
Synopsis
Years earlier Lesmana made a deal with a dark witch for fortune. Shortly thereafter, Lesmana’s wife dies tragically and he strikes it rich and re-marries to a beautiful actress. But his success is fleeting, and Lesmana soon loses his wealth and slips into a mysterious coma. Now his estranged daughter, Alfie, reunites with her step-siblings at the family’s abandoned cabin to uncover the secret of her father’s mysterious illness.
May The Devil Take You Crafts a Loving Homage To Sam Raimi and The Evil Dead
Writer and director Timo Tjahjanto clearly holds Sam Raimi and his Evil Dead franchise in high regard. Raimi’s DNA is all over this slick Indonesian horror effort. Much of May The Devil Take You’s premise and early set-up lovingly references The Evil Dead. From the abandoned cabin to the demonic make-up effects, May The Devil Take You elicits all the right notes for die-hard horror fans. Particularly astute audiences may catch some other horror reference here and there. Tjahjanto, for instance, re-creates a classic ’80’s horror moment from the original Poltergeist.
May the Devil Take You is informed by movies like The Evil Dead, but stands on its own two feet by the ending credits.
Where May The Devil Take You succeeds is in its ability to build upon its homages and carve out its own story. Tjahjanto never allows his nods to Raimi or other horror greats to dominate his own movie. There’s a genuine love for horror in May The Devil Take You that propels it towards its own creative niche. As the story progresses, Tjahjanto creates a unique horror experience. It never feels like recycled bits stitched together. Instead May The Devil Takes You is influenced by movies like The Evil Dead, but stands on its own two feet by the ending credits.
May The Devil Take You Is Damn Scary
Earlier this year, Netflix released Spanish horror flick, Veronica, with the claim that it was the scariest movie of the year. Veronica was good, but not that good. May The Devil Take You isn’t the scariest movie of 2018, but it’s still pretty damn scary. Tjahjanto keeps the scares coming fast and furious from start to finish. Though there’s some occasional leaning on jump scares, May The Devil Take You immerses itself in a creepy atmosphere. Few horror movies in recent memory can boast the same ability to elicit as many scares.
There’s plenty of gore and icky effects to go around. All of it is rendered with confident and convincing direction.
As a filmmaker, Tjahjanto also shows quite a lot of flair in crafting these scares. May The Devil Take You was probably restricted by a lower budget, but it rarely shows in what’s committed to the screen. Demonic figures slink backwards up along walls or slowly envelope the screen from behind characters. There’s plenty of gore and icky effects to go around. All of it is rendered with confident and convincing direction.
Worst Family Reunion Ever
One of the more pleasantly surprising elements of May The Devil Take you is its attention to its characters. The dysfunctional dynamics at the core enhance the movie and elevate it above standard horror fare. The estranged Alfie’s relationship with both her father and step-siblings, Reuben and Maya, lends realism to the characters even as the supernatural increasingly invades. Moreover, Tjahjanto gives each of his characters the screen-time necessary to ensure they exist as believable people.
Tjahjanto’s family dynamic also adds a bit of a welcome wrinkle to what could have been conventional horror storytelling. That is, the tensions between Alfie and her step-siblings introduces a few doubts about where the story may turn. It’s also a part of the story that may disappoint when things inevitably take the expected direction. Arguably it’s the one direction that feels unexplored. But this is a minor complaint.
May The Devil Take You Is Rare Example of How to Do A Homage Right
Though Netflix kicked off 2018 with a patch of duds that included The Open House and The Cloverfield Paradox, it’s ending the year on a high note. Apostle was a winner and now Netflix can add May The Devil Take You to the list. This is the rare example of a homage to classic films that simultaneously stakes out its own ground. It’s also another calling card for writer and director Timo Tjahjanto.
After Army of Darkness, Sam Raimi took a break from horror to do other things. Of course, those ‘other things’ included directing the original Spider-Man trilogy, so Raimi kept himself busy. Two short years after the letdown of Spider-Man 3, Raimi returned to horror with Drag Me To Hell. Co-written with his brother, Ivan, Drag Me To Hell was a box office and critical success. Raimi showed he hadn’t missed a step as a horror film director. Now new audiences can discover this recent classic on Netflix.
Synopsis
Bank loan officer Christine Brown (Alison Lohman) is pushing hard for a promotion to assistant manager. Despite her strong work ethic, Christine’s manager worries she can’t make the ‘tough’ decisions. To prove him wrong, Christine refuses a mortgage payment extension for an elderly woman, Mrs. Ganush. Disgraced and facing foreclosure, Mrs. Ganush curses Christine. With a demon now threatening to ‘drag her to hell’, Christine desperately searches for a way to free herself from the curse.
Drag Me To Hell Delivers Wildly Fun Scares
Simply put, Sam Raimi delivers an insanely fun horror film with Drag Me To Hell. Watch it and tell me that Raimi hasn’t missed a beat since Army of Darkness. There’s just such a mischievous sense of glee behind the horror in this movie. Christine’s parking garage encounter with Mrs. Ganush is an easy highlight. Everything in this scene works – the sound effects, the visuals, and the jumps. It’s the kind of scene that inspires equal amounts of screams and laughs.
Raimi clearly didn’t empty out his bag of tricks with Army of Darkness.
One of the things that repeatedly stands out with each viewing of Drag Me To Hell is the perfect balance achieved between scares and gross-out laughs. Raimi clearly didn’t empty out his bag of tricks with Army of Darkness. In contrast to the ‘torture porn’ subgenre from the early 2000’s, there’s no mean streak clouding Raimi’s horror. If you want to find a movie that can silence the debate about the R-rating in horror, it’s right here. Drag Me To Hell is pulpy, silly, and it knows it. From projectile nosebleeds to insects in cakes, Raimi’s ‘old tricks’ are just as much fun as they were in the 1980’s.
Foreclosure of a Dream
Certainly other critics probably noted that the timing of Raimi’s mortgage parable was pretty good. Less than a year removed from the 2008 financial crisis, Raimi’s story of a a cursed loans officer must have hit a nerve for a lot of viewers. To put it into perspective, I recall taking walks in my neighbourhood and seeing several homes with pink foreclosure notices taped to doors.
The cruel twist of fate that struck hundreds of homeowners while big banks got bailouts almost begs for good subversive horror. Indeed, horror always works best when it’s about something else under the surface. Of course, Drag Me To Hell shouldn’t be confused as a straight examination of the perils of greed. Most audiences can enjoy this movie without troubling themselves with deeper questions. But an interesting aspect of Raimi’s story is Christine Brown. While she is an empathetic character, Raimi’s script and, particularly the ending, still implicitly implicates her in the financial crisis. There is an interesting commentary running beneath Raimi’s Grand Guignol set-pieces.
Alison Lohman Gives Drag Me To Hell Heart
Much of the credit for Drag Me To Hell is given to Raimi’s direction and the wonderfully over-the-top gross-out effects. But its performances are also a delight to watch. In particular, Alison Lohman is perfectly cast as the self-conscious Christine. She balances out that ambition and self-preservation that in part drove the 2008 financial crisis with genuine likability. It makes the film’s ending a little more of a downer and gives the movie some heart.
As Christine’s boyfriend, Clay, Justin Long is the reliable ‘every guy’, a characterization at which Long consistently excels. Dileep Rao is one of those supporting actors who quietly makes any scene in which he appears better. Not surprisingly then, Rao delivers a quietly fun performance in Drag Me To Hell. But it’s Lorna Raver, as Mrs. Ganush, who steals the movie whenever she is on screen. As much as viewers will like and identify with Christine, Raver ensures her Mrs. Ganush is a human and sympathetic character.
One of the Best Horror Films of the 2000’s
Sam Raimi is one of the horror genre’s most beloved creators. Drag Me To Hell is a clear is a clear illustration of why Raimi is afforded so much respect for fans. With its 14A rating, Drag Me To Hell is a good gateway horror film for new, younger viewers. It’s scary and wonderfully gross without forgetting to let its audience have some fun. Hopefully, this modern classic will find a new audience on Netflix.
It was the 1980s – hair metal and syth-pop ruled music charts, Cabbage Patch Kid dolls were all the rage, and for a brief, fleeting moment, the slasher film dominated the horror genre. Even casual horror fans are familiar with the standout slasher franchises – Friday the 13th, Halloween, and A Nightmare on Elm Street. Other slasher titles, including My Bloody Valentine and Prom Night, found new audiences when Hollywood went on its slasher remake craze in the 2000s.
While many slasher titles are probably best left buried in the 1980s, there are a few titles that have been unfairly forgotten at the bottom of discount bins in Walmart. In this list I pick out five of the better slasher films you have may have missed.
Number 5 – Slaughter High (1986)
No one will ever mistake Slaughter High for a good movie. Nonetheless, I can guarantee that you will never forget watching Slaughter High. The plot is an absolute generic re-hash of much better slasher films released at the peak of the era. Science nerd, Marty, is the victim of a cruel April Fool’s prank gone horribly awry. Seduced and tricked into undressing in the girl’s bathroom by a popular cheerleader, Marty is humiliated by the ‘cool kids’ in one of the most bizarre pranks in horror film history. Words cannot do it justice but it involves electrocution, using a javelin to poke at his genitals, a laced joint, and an exploding science experiment that leaves Marty horribly burned. Years later, the “cool kids” behind the prank are invited to a high school reunion where a killer in a jester mask stalks them.
Nothing in Slaughter High makes the slightest bit of sense.
Nothing in Slaughter High makes the slightest bit of sense. Its plot is a convoluted excuse for an outrageous mix of carnage and sex. Despite arriving at a reunion to which no one else was invited, finding the school closed, and in disrepair, the characters still decide to break in and party. After one character’s stomach bursts open from ingesting acid, another character decides to take a bath to clean up. Why is there a bathtub in a high school building? Who takes a bath in a building where you’re trapped and a killer is on the loose? Other characters disappear to have sex. Why? It doesn’t matter, so don’t ask. The killer wears a jester mask that has actual bells on it and, yes, they jingle during the climatic chase of the film’s “final girl”. Some of the actors, who are supposed to be playing Americans, clearly have British accents.
Yet in spite of its ineptitude, Slaughter High manages to offer an unhinged good time for a slasher film fans. Featuring a creepy score from Friday the 13th’s Harry Manfredini, the film’s death scenes are outrageously over-the-top – from lawnmower blades to acid baths – and are guaranteed to prompt screams and guffaws. No one is watching a slasher film from satisfying character arcs and deeper thematic meaning and Slaughter High delivers the goods on its kills. The film goes completely off the rails at the end and, whether intended or not, the result is an uneasy feeling of dread and discomfort, an effect usually only achieved by much better horror films.
Number 4 –The Prowler (1981)
Back in the era of VHS and videostores, The Prowler (1981) was one of those cassette boxes I always vividly remember staring at when my dad would take us to rent a movie. The imagery on the cover jacket just always stood out for me. Directed by Joseph Zito (Friday the 13th: The Final Chapter), The Prowler dutifully checks off almost all of the slasher film boxes. The prologue opens with the tragic backstory – Rosemary sends her boyfriend, overseas during World War II, a ‘Dear John’ letter. Shortly thereafter, Rosemary and her new boyfriend are brutally murdered during a graduation dance by a man in a combat uniform and mask. Thirty-five years later a group of teenagers ignore the advice of older townsfolk and foolishly decide to hold the first graduation dance since the tragic death of Rosemary. Can you guess what happens next?
The Prowler makes it on this list for one reason and one reason only – the incredible gore effects created by the legendary Tom Savini. Featuring some of the most brutally staged death scenes in slasher film history, I’ve always felt that Savini’s work in The Prowler actually upstages the effects he created for Friday the 13th. Aside from the film’s special effects, there isn’t much else to recommend as The Prowler actually drags quite a bit in its second half.
Number 3 – Just Before Dawn (1981)
Following the box office breakout of Friday the 13th (1980), slasher films saw a boom in production and, in particular, several camping-themed horror films were quickly released to cash in on the horror heavyweight’s success. Not surprisingly, with so many similar films saturating the market, some titles flew under the radar and never found an audience. While it never caught on with filmgoers in the 1980’s and still remains hard to find on Blu-ray and streaming services Just Before Dawn is worth seeking out.
Just Before Dawn also gets points for featuring one of the more creative ways of the “final girl” dispatching the antagonist.
On the surface, the storyline is familiar with several college students venturing too deep into the woods for a camping trip only to be stalked and killed by an unseen menace. Just Before Dawn is surprisingly understated and restrained for a slasher film placing a much greater emphasis on atmosphere and mood. It’s greatly aided in this regard by an unsettling score by Brad Fiedel (Terminator, Terminator II) and impressive cinematography for a low-budget horror offering. The film has not one, but two killers – deformed hillbilly brothers – and while deformed rural killers are an overused horror trope the antagonists of Just Before Dawn do manage to stand out – you will certainly remember that creepy laugh and whistling sound. Just Before Dawn also gets points for featuring one of the more creative ways of the “final girl” dispatching the antagonist.
Number 2 – The Burning (1981)
Of all the films on this list, The Burning (1981) probably has the largest following and familiarity among horror audiences. Sadly, casual horror fans may be apt to skip this one over. Like Just Before Dawn (1981), The Burning is one of a slew of “don’t go camping” slasher films that were rushed into production following the unexpected success of Friday the 13th. A prank at Camp Blackfoot leaves cruel caretaker Cropsy horribly burned and disfigured. Five years later, after several failed skin graft surgeries, Cropsy returns for revenge against the campers. Despite its utterly generic plot, The Burning has lot going for it and it definitely still manages to feel like a unique horror viewing experience.
Film buffs will be shocked at the number of respected actors who got their start in this low-budget slasher film. Jason Alexander from Seinfeld, Fisher Stevens, and Oscar-winning Holly Hunter, all turn up in small supporting roles. The real star of The Burning is once again Tom Savini’s amazing gore effects in the death scenes. While some younger audiences may find the effects a little dated, Savini’s work in The Burning still helps set this slasher apart from the assembly-line of “also-ran’s”. The “Raft Scene”, which in part earned the film a spot on Britain’s infamous “video nasties list”, still remains one of the standout horror film death scenes of all time.
Number 1 – Intruder (1989)
Produced by Sam Raimi of The Evil Dead and Spider-Man fame, Intruder (1989) had the misfortune of being released well past the expiry date of the 1980s slasher film phenomenon. Set in a supermarket that is closing down after the final night shift, a small group of employees find themselves stalked by an unseen killer. Is it a disgruntled employee or the violent ex-boyfriend of the film’s “final girl”? There is nothing inherently unique about Intruder; it doesn’t add anything or twist the subgenre’s expectations in any way. Yet while it hits all the familiar plot points of its predecessors, Intruder distinguishes itself with just the right balance of outrageous humor and over-the-top horror, tone, and a surprising level of suspense. The practical gore effects are still outstanding even after nearly thirty years. It also happens to feature one of the bleaker slasher film endings in the subgenre. Most importantly, Intruder is a fun slasher film, the perfect choice for a viewing marathon if you’re looking for something you may have missed.
