Shocking movies

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Shocking movies

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That means filmmakers have been a bit less concerned with blindly servicing bloodlust, and more eager to take a slow-burning, psychological approach to the genre.

To all the slow-burning beauties that've graced big screens of late i. That's not a joke, by the way. Hagazussa 's meticulous pacing, largely non-verbal narrative, and minimalist sound design make it the sort of slow-burning beast that'll test the mettle of even the fiercest of horror devotees.

For those who stick with it, Hagazussa is also one of the most atmospherically heavy offerings the horror genre has ever seen, and happens to boast a finale so unexpectedly grisly that it's guaranteed to turn your stomach.

Just for the record, the film's slow-core approach to story is not featured merely for kicks. Hagazussa is set almost entirely in the mountainous terrains of 15th-century Europe, and follows an outcast woman branded a witch by many townsfolk struggling to maintain her sanity while living in almost total isolation with her newborn daughter.

Within that striking narrative, Feigelfeld utilizes that methodical approach to lull viewers into a hypnotically paranoid state, which deftly bolsters tension and makes the film's bone-chilling final moments all the more devastating.

Well, the seasons have run full cycle, delivering another hot, sticky summer upon the world, and with it Aster has delivered another grueling cinematic exploit that'll ensure no one finds solace in the cool dark confines of their local cineplex.

Understand, however, that Midsommar is a "breakup movie" in the same way that Hereditary was a little "family drama.

If you've yet to experience the sun-soaked terror of Midsommar , you should know that, like Hereditary , it's at times almost unbearably gory.

Know that, like Hereditary , those shocking moments cannot be unseen. But like Hereditary , the brutality throughout Midsommar works because of the near suffocating sense of psychological dread Aster painstakingly builds around them in one of the scariest movies of the year.

And know that, like Hereditary , we both pity and respect your right to experience this hallucinogenic, soul-shaking succubus with as clean a slate as possible.

You've been warned. It's a little hard to believe, but two years have passed since Andy Muschietti unleashed chapter one of the It saga on an unsuspecting public.

That sort of critical and financial success obviously led to some loftier expectations for Chapter Two of Muschietti's monstrous, murderous clown epic.

We're here to tell you that yes, It: Chapter Two is every bit as unsettling as its predecessor. It: Chapter Two more than delivers on the bloodlust and unbridled terror you'd expect see that Stanley-spider scene , but Chapter Two puts the Losers Club front and center.

Though the "one of us" refrain that punctuates Tod Browning's cult shocker Freaks might easily have worked in the abominable world of Zach Lipovsky and Adam B.

Stein's similarly-titled sci-fi freak fest, a name is all they have in common. The world of Lipovsky and Stein's Freaks is unlike anything you've likely experienced before.

That being said, you're just going to have to trust us when we tell you that the best way to enter the horrific world of Freaks is to go in knowing as little as possible.

Trust as well when we say that whatever you think you might know about Freaks , finding out how wrong you are about the action is part of the film's indescribably off-kilter fun.

What we will tell you is that Freaks follows a bold little girl newcomer Lexy Kolker who, after being raised in a state of forced captivity by her clearly unstable father Emile Hirsch , makes a break for it and finds that the world is not at all what she thought Lipovsky and Stein spend the first half-hour of Freaks building a taut, claustrophobic thriller.

One look at the news these days will tell you that the world as we know it is not really in great shape. Mexico City in particular has been absolutely ravaged in recent years by bloodshed resulting from viciously raging cartel wars.

Wars that have left hundreds of thousands dead — not to mention a generation of young Mexicans orphaned, fighting for survival on the mean streets of a city that's all but forgotten them.

The young heroine is armed with three wishes and accompanied by a band of fellow orphans. As Estrella adjusts to the perpetual dangers of her new life, she discovers her wishes might actually be real — and that wishes don't always come true the way you hope.

Equal parts Guillermo del Toro -style dark fantasy, J-horror tinged haunter, and gritty cartel drama, Tigers Are Not Afraid is a pitch-perfect, relentlessly bleak neo-gothic chiller as insightful as it is creepy.

Now here's a movie that it's almost impossible to talk about Rather, her maniacally muted tale of teen girls going batty after being cut off from the world in the wake of an unknown natural disaster is admittedly less a movie than a menacing, experimental mood piece about the fragility of human nature and social structures.

As such, Ladyworld borrows heavily from William Golding's beloved novel Lord of the Flies , essentially transplanting its plot from an isolated island paradise to the suffocating confines of an apartment, and skillfully playing with gender roles by following suburban teen girls instead of posh teen boys.

While the tactics may vary within Kramer's crew, you can rest assured that the results are familiar, with all the backstabbing and torture both emotional and physical you'd expect.

Kramer's take on the subject matter is far more disturbing than Golding's, with bold stylistic choices i. The result is a film that sees Lord of the Flies through the stark, dissonant prism of The Virgin Suicides.

And this beast packs one hell of a vicious bite. Since debuting in , the enigmatic maniac we've come to know simply as Joker has gone on to become the gold standard of supervillains, and continues to prove a suitably wretched foe in the world of Batman — one capable of enacting all manner of heinous acts against the Dark Knight, his allies, and the citizens of Gotham.

That sort of wildcard status helped make Joker a visceral source of manically evil energy over the course of his many big screen appearances.

That's never been quite as true as with Todd Phillips' grounded yet stylish take on the possible origins of a truly original but no less demented character.

Titled simply Joker , Phillips' gritty, standalone confection wisely takes a character-first approach, with Joaquin Phoenix portraying the would-be Clown Prince of Crime as a soft-hearted societal outcast suffering from narcissistic delusions that make him prone to outbursts of extreme violence.

Yes, much has been made of Joker 's twisted morality, its class warfare mentality, and its traumatic use of violence. Even more has been said of the character's potential to inspire real world acts of treachery.

Truth is, all of those outside elements build a heightened, haunting sense of hyper-reality into Phillips' Joker , but the simple fact is that the film remains so damned unsettling because the rise of the Joker has never seemed so plausible.

For the past few decades, Larry Fessenden has forged one of the more interesting careers on the fringes of Hollywood. In fact, that career has frequently found Fessenden knee deep in fake blood and ominous overtones in service of reimagining what horror could be.

Most recently, the indie horror auteur has built his own little incubator for low-budget genre fair in the guise of his production company Glass Eye Pix — and that's exactly where Fessenden birthed his modern day retelling of the Frankenstein mythos.

Part incisive Frankenstein -centric monster movie and part harrowing character drama, Fessenden's Depraved is essentially what Frankenstein might've become had Shelley taken to writing it today — which means it's still a cold-hearted monster gothic about moral and scientific hubris laying waste to humanity.

Only Fessenden borrows that setup to explore equally heavy themes like post-war trauma, pharmaceutical insanity, and the enduring power of human consciousness in truly unconscionable circumstances.

Of course, Depraved is first and foremost a classic horror tale about a demented doctor cobbling together body parts to give life to an undead thing.

As such, it's fueled by enough blood and gore and mood to satisfy the tastes of most horror buffs. But with its deeply human i.

Thanks to the oh-so twinkly Twilight franchise, the vampire genre was quite recently more of a winking joke than a fertile landscape for grueling, gore-tastic tales of undead delight.

Luckily, genre purists have spent the last few years reclaiming the frightful sub-genre in the name of the brooding, blood-thirsty thrills that birthed it.

They've done so by taking the vampire set back to the streets in the form of bloody, low-budget thrillers like The Transfiguration and A Girl Walks Home Alone At Night , with even the the giddy gore of What We Do in the Shadows serving to restore the blood-sucking set to their rightful place at the top of cinema's monstrous majesty.

Add Joe Begos' beastly new flick Bliss to the list of vampire tales reclaiming the genre's menacing grandeur— even if the word "vampire" is never actually uttered in the film.

Set among the venomous vistas of modern day Los Angeles, Bliss finds a tragically self-centered painter embroiled in a maddening creative block, and in debt to some serious shakers in the vapid L.

In desperate need of a jolt, she turns to a powerful hallucinatory drug, and with a little help from a soulless gal-pal, she quickly spirals into a blood-soaked nightmare of sex, murder, and, yes, creation, the results of which simply have to be seen to be believed.

Just know that you will not be able to unsee the mind-bogglingly gore-forward frivolities contained in the final act of Bliss.

With 's haunting psycho-chiller Goodnight Mommy , Austrian duo Severin Fiala and Veronica Franz announced themselves to the world as the rare sort of genre filmmakers capable delivering bone-chilling delights fueled as much by meditative moodiness as by soul-crushingly incisive humanity.

The duo return with their followup film The Lodge , and you'll know about five minutes into this menacing beauty that the duo were just getting warmed up with their discomfiting debut.

The thriller chilled audiences at Sundance in early , and will finally see wide release in February There's little room for warmth in the icy confines of Fiala's and Franz's The Lodge.

Set in motion by a brutal tragedy, the film unfolds almost entirely within the frosted walls of a remote cabin entrenched in a relentless snowstorm.

Inside are two kids It 's Jaeden Martell and newcomer Lia McHugh , and their soon-to-be stepmom Riley Keough , whom they blame for their parents' divorce and the ensuing tragedy.

Of course, cat-and-mouse games are only fair if all parties are aware of the game they're playing. And it should be noted that if the unaware party happens to be a former cult member, and the lone survivor of a mass suicide, well, the game may well be more treacherous for the knowing players.

As The Lodge unfolds, the rules of said game shift in increasingly alarming ways, with all involved plunging headlong toward a finale that, as mentioned, will leave hearts in throats, and psyches fractured in ways you cannot yet understand.

Don't try to figure out how to unlock it. Don't start texting with a complete stranger who's sending you seriously sinister messages.

And in the name of all that is good and holy, don't start scrolling through the pictures on that phone. If you're questioning why you shouldn't do those things, Babak Anvari's wicked and wondrous Wounds will more than prove our lost and found logic sound.

Wounds indeed finds Armie Hammer's cocksure French Quarter barman Will in possession of such a phone.

When he inadvertently takes it home with him after a particularly trying night shift, he has little idea his night ergo his life is about to get a whole lot weirder.

But once he starts texting the stranger on the other end, and exploring the intensely unsettling contents of the phone itself, well, things get really dark really quickly for the barman and his pals.

How dark, you ask? Let's just say that the things seen in that phone are legit the stuff of nightmares. And once Will and his girlfriend Dakota Johnson start unraveling the mystery behind the unsettling images, Wounds begins an unholy descent into a devilishly disquieting narrative that owes as much to Kafka as it does to Lovecraft.

And no, we do not make those comparisons lightly, so count yourself warned that Wounds is a special sort of spooky, and should not be entered into lightly.

It's all too easy to forget now, but just a few years ago nobody genre fan or true blue cinema snob alike really knew who the hell Robert Eggers was.

He's been with them the whole time. Psycho has a pretty shocking twist in the first act, but the stabbing death of Janet Leigh's Marion Crane isn't the only surprise the Alfred Hitchcock classic has in store.

It's discovered that motel proprietor Norman Bates Anthony Perkins had past tense a strict and overbearing mother.

He took on her personality after he killed her and her lover 10 years prior to Marion renting a room. When Norman "becomes" Mother, he murders the women he's sexually attracted to, convinced he's acting out her wishes.

What a cliffhanger. In , the second ever Star Wars film ended with a revelation that audiences would then have to wait three years to see resolved.

Luke Skywalker Mark Hamill has been training to become a Jedi, like the father he never knew. But his old pal Ben Kenobi Alec Guinness left out a pretty important detail about Ben's former pupil.

Anakin Skywalker became Darth Vader James Earl Jones when he embraced the dark side, something he's only too happy to share with his son when the latter is down one hand and trying to keep from falling to his death.

When three astronauts crash land onto a planet that's run by a race of intelligent, human-like apes, they're the strange visitors.

Humans are still around in this world, only they're primitive, enslaved, and considered by the apes to be stupid animals.

Artifacts from the past human-dominant society remain, but the other shoe doesn't drop until Taylor Charlton Heston and Nova Linda Harrison find a piece of the Statue of Liberty—now a ruin—on a beach.

The titular planet was Earth all along. In the far future, humanity has essentially destroyed itself, making way for the apes to rule. The perfectionism characteristic of the world of elite ballet turns claustrophobic and psychedelic in 's Black Swan.

Natalie Portman stars as Nina Sayers, a dancer who's so intent on winning the lead role of the Swan Queen that she starts to lose her grip on reality.

Hallucinations twist her rivalry with another dancer, Lily Mila Kunis , and in a mid-opening night struggle, Nina stabs her for preparing to go on in her place.

It's only after Nina executes a flawless final act that the rest of the company realizes that she has actually stabbed herself and is about to die on stage.

This courtroom drama put Edward Norton on the map. He plays Aaron Stampler, a gentle altar boy with a stutter who stands accused of murdering an archbishop.

In the process of preparing his defense, his lawyer, Martin Vail Richard Gere , learns that the archbishop sexually abused Aaron and other boys, and that Aaron developed an alternate personality—the swaggering, remorseless "Roy"—in order to cope.

Aaron is acquitted when "Roy" makes a violent appearance in court, but he lets Martin in on his secret afterwards: He faked the disorder to get away with the murder, and sweet "Aaron" is actually the constructed personality.

In this horror flick based on the Stephen King book, a mysterious you-know-what rolls through a town, hiding hideous monsters inside and bringing death with it.

David Drayton Thomas Jane and his son, Billy Nathan Gamble , end up on the frontlines, barricaded in a grocery store with other survivors.

As the monsters who most likely entered our dimension through a portal created by the U. They're eventually able to escape the grocery store, but there's nothing they can do to outrun the mist.

He convinces the group to let him kill them all—including Billy—sparing them the potentially worse fate coming for them. Mere seconds later, the military arrives, and the mist begins to fade.

If only they'd waited. Night Shyamalan, once considered a master of twist endings, pulls off something unique with Split.

The twist is that the film is a sequel, only audiences aren't let in on that fact until the final scene. James McAvoy stars as Kevin Wendell Crumb, a man with dissociative identity disorder who kidnaps three teen girls.

He has 23 distinct personalities within him, but the others warn that a 24th is about to manifest. The final identity is the Beast, a superhuman being who wants to purify the world.

In a diner, David Dunn Bruce Willis watches news coverage of the rescue of one of the girls. He's the hero of Shyamalan's superhero deconstruction Unbreakable , and Split is revealed to be the second movie in a trilogy.

The haunted house movie is flipped on its head in 's The Others. Paranoid mother Grace Nicole Kidman lives on a large estate with her two photosensitive children, waiting for the return of her husband, who they haven't heard from since World War II ended.

Three newly arrived servants are warned that the young boy and girl can't be exposed to light and that each door must be locked before another is opened.

But then doors begin to open of their own accord, and another presence is felt in the house—the new family who have come to take possession of the home.

As a matter of fact, it is often considered funny and dull, with its content not living up to the expectations it creates at first, and its overall execution not being exactly artistically superb.

However, the concept of creating a human centipede, out of people that share one connected gastric system, does deliver an authentic sense of disgust and disturbance, which is a rare case for films made so recently as Caligula dir.

The final outcome is an indistinguishable combination of a historical epic with indeed some historical accuracy and an explicit pornographic extravaganza, sitting through the whole of which was a nerves test for audiences and critics, and continues to be so nowadays.

It is shocking and shockingly bad. Pink Flamingos dir. John Waters, Raymond and Connie Marble David Lochary and Mink Stole, respectively are a couple who run a black market business of kidnapping and impregnating young women, in order to sell the babies to lesbian couples.

It is considered to be a bit of a mess as a result of its tormented production, but it is not as horrifyingly bad and unwatchable as the article suggests.

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