Horror movies make you and your friends more intimate

1. Horror movies make you and your friends more intimate High quality movies can be found here, usually modern movies, ranging from comedies like nannies to more obscure (and disturbing) titles, such as Creep, Raw or newer movies, such as his house and the fear street trilogy. Don't expect to find many franchised staple foods in the Halloween mode, but don't sleep in the mountain house or midnight mass. They are not technically movies, but they cannot be removed from this list. It: Chapter One Even if the director Andy Muschetti's solid interpretation of one of Kim's favorite and most resonant novels does not involve the terrible avatar of the dancing clown Penny Wise/the ancient child eating fear devil (Bill Scarsgarde) and many terrible scenes that make the heart beat faster. I will be very satisfied with watching the Losers' Club - seven strange children, They found strength in each other and fought against literal and metaphorical monsters to consume their souls - shooting around Derry, Maine, which seemed peaceful, while riding a bicycle. King's honest description of the R-level dialogue between early teenagers, the natural performance of young actors and the combination of their obvious chemical reactions have created one of the most instinctively pleasing King brand children's gangs since Stand By Me. The children's part, which focuses on the novel, not only gives more depth to the characters than the 1990 mini series, but also sharpens the inner theme of the story, that is, fear is a power of self destruction. Skarsgard's performance is completely different from Curry's landmark performance on Pennywise, so the comparison becomes meaningless. Kuri created a mischievous evil clown who obviously enjoyed torturing his victims, while Scasgarde created a wild animal that would starve to death if it did not feed on the children's fears, which turned into an explanation of despair and tension.It is a great horror movie. The Mist In Jin's works, many monsters and ghosts terrorizing a large number of different protagonists are an excuse to provide clever sociological research to study how members of the "civilized" society can easily abandon their polite

2. and calm camouflage, so that their reptile brains, full of fear and paranoia, can take over and do terrible things in the name of personal survival. From The Stand to Trusts and other substandard materials, there are many examples of this method, but none of them is as efficient and satisfactory as Frank Darabont's interpretation of The Mist. King tells that a group of ordinary citizens gradually become trapped in a grocery store after the mysterious fog covering their small town with a group of unfriendly monsters. The leader of the cult is a crazy, fanatical biblical fanatic played by Marcia Gay Haden. She was laughed at by others because she vomited a lot of doomsday biblical scriptures, but became an increasingly credible voice, which upset more logical people - minority groups based on intellectuals, because these creatures are getting closer and closer to killing everyone. His House Nothing can draw energy from the horror more than keeping the horror movie. Of course, movies can scare the audience in many ways, but at least one horror movie can be scary, rather than hilarious. Remi Weekes' His House didn't mess up. The horror movie opens with a tragedy. Within 10 minutes of the opening, ghosts are scattered on the floor and across the stairs. His hero may trip over them, thus easily eliminating resentment. In the final analysis, this is an inherently sad horror movie that tells the story of immigrants. It is the sister of contemporary independent films such as Jonas Carpignano's Mediterranea. It captures the dangers faced by immigrants on the road and at their destinations with brutal neo realism clarity. Weekes is deeply interested in Bol and Rial as people, where they came from, what led them to leave, and most importantly, what they did to leave. Midnight Mass On Crockett Island, where midnight mass was held, every islander felt unfortunate. The recent oil spill almost destroyed the fish supply, making the local fishery economy of the island in trouble. Their homes split and peeled away while ignoring the elements of the sea. Due to the lack of opportunities, most residents fled the island, leaving behind a negligible minority. Only two ferries can take them to the mainland. There is little hope - a big storm is coming.A impressive horror movie. Except for this seven episode series, all the content is a real spoiler, but it can be said that even if it is involved in supernatural phenomena, Midnight Mass (created by Mike Flanagan of The Hunting in his recent collaboration with

3. Netflix) is also a show of digging inward rather than outward. The physical claustrophobia set by Crockett and the inner pain of the characters are placed at the center of the stage. The midnight mass focuses on the inner fear: addiction tendency, secret history, forgiveness and faith. At first glance, this is a series of digging up Catholic guilt. On the other hand, it is a cautious but creepy view of group psychology, the necessity of belief in sadness, and the leadership morality of such vulnerable followers, weighing whether these impulses represent human goodness, evil, or none at all. Creep Creep is a small independent horror movie with a little predictable but pleasant insanity. It is Brice's directorial debut. He also released The Overtnight this year. Starring prolific Mark Dupras, this is a study of the character of two men - an innocent cameraman and a less secret mental hermit. The latter employs the former to record his life in his cabin in the woods. It depends entirely on its excellent performance. Duplass, who can be both charming and eccentric in "Unsecured Security", shines here as a lunatic with insanity. He forces himself into the life of the hero and can't linger in every moment when he is awake. The early moments between them crackled with an awkward intensity. Crimson Peak Crimson Peak follows the tradition of Gothic romance in design: "I made this horror movie to present and reverse some normal metaphors of Gothic romance, and at the same time follow them," del Toro said in the audio commentary of Arrow Blu ray, when introducing his hero Edith Cushing (Mia Wasikowska) and the first of her two lovers, Sir Thomas Sharp (Tom Sidleston) was a baronet. He came to the United States to win her father's tycoon, Jim Beaver, and to obtain financial support for his own clay mining plant. The communication between Thomas and Edith in this scene is crucial to the purpose of the horror movie: "I'm sorry," he told her that the manuscript on her desk attracted his attention. "I didn't mean to pry, but it's a fiction, isn't it?" This is. In fact, this is her novel, an article she wrote for publication in the Atlantic Monthly. At a glance, he was fascinated by the story. "Ghosts," he commented, with an elusive smile on his lips. Edith continued to defend and

4. stammered: "Well, ghosts are just a metaphor, really," but Thomas did not finish: "They always fascinate me. You see, where I come from, can't be taken lightly." Thomas meant flattery rather than warning. Edith's reaction was to be flattered. When she met a soul with the same ideals accompanying the real soul she had not yet met, her face was filled with excitement. Thomas understood. When she talks to him, Edith doesn't need to compromise her love of ghost stories, just as she must be with her peers. She can appreciate them openly in their own way. Crimson Peak can also. Del Toro likes Gothic romantic production elements. He was fascinated by ostentation, environment and clothes. They put a veil of etiquette on him, because Crimson Peak will not show mercy. The audience can see what kind of movie "Bone Ghost" is from the opening scene in which Edith's face is covered with wounds, and the follow-up scene in which young Edith (Sophia Wells) is visited by her dead mother's blackened body late at night. Crimson Peak is not concerned with catering to taste or achieving universality. Its concern is to frighten the audience. It Follows The spectre of Old Detroit haunted. At 12 Mile's shabby ice cream stand, in Ferndale or Berkley's 60s style ranch house, in the game of Parkeesi, teenagers with pale faces and no accent play. If you have never been there, you will never recognize the old and gray nostalgia that permeates every corner of David Robert Mitchell's horror movie. But it's right there. It feels like southeast Michigan. Music, soft but extremely luxurious palette, constant untimely: in style alone, Mitchell is a director who seems to stand out completely from the unhealthy womb of the Detroit subway. From the rules of special isolation in the horror plot of the horror movie, to the young, fleshy and round faces and bodies of this small group of main characters, which are filled with circles and circles concentrically, the audience will never forget that in many ways, these people are still children. In other words, Mitchell knew his story well: this had happened, and it would happen again. If Mitchell did not care much about creating a really disturbing horror movie, all of these would not work. But every aesthetic prosperity, every perfectly round pot is injecting morbid life into a single image: someone, anyone slowly separated from the background, walked towards you from a person's nightmare, as if death itself would suddenly appear beside you in public, ready to steal your breath at any time. At first, Mitchell's entire conceit - to convey an unforgettable feeling through sexual intercourse - seemed to hide conservative sexual politics under the typical metaphor of horror films, claiming that it was a progressive type of film, but it did nothing to promote our view of horror films in terms of function. If you commit adultery, you will be punished for your flagrant and loveless crime, right? (This film has more

5. associations with Judd Apato than you think.) On the contrary, Mitchell never judged that his character did what almost every teenager wanted to do; He simply revealed the reality of adolescent sexual behavior through a complex fable. There is no principled implication behind Mitchell's intention; The cold conclusion of sexual intercourse is that, to some extent, you are sharing your body with everyone who shares the same body with your partner.It is really a astonish horror movie.