Top 10 of ’21

@craiggors @MelMoy

It’s been a fascinating year for the horror genre. In many ways, it felt like a continuation of 2020, not least of which in how many great offerings there were on streaming services and through VOD. The year also saw a return to traditional theater screenings, with many of last year’s major studio films like A Quiet Place Part II and The Forever Purge finally getting a release. By and large, horror held firm in the mainstream spotlight. There was a healthy mix of indie efforts and big-budget fare, crowd pleasers and niche oddities. As such, there was a lot to choose from when looking at our top films of the year. As Miss Mel notes, this is probably one of the more diverse lists, especially since there are a few films here that some will bemoan as being “not horror.” The genre is blurring and stretching and redefining itself before our eyes, with lots of experimentation and work being done outside the bounds of “traditional” horror.

Before we get into our respective Top 10 lists, a few honorable mentions for films that nearly made the cut. First, The Green Knight, a dark fantasy that was visually amazing, creepy, and tense throughout. The same can be said of The Empty Man, with its broody update on urban legend chills, and of Come True, a rich, dread-filled spectacle that delves into the world of nightmares. Some good laughs were also had with The Beta Test, a black comedy with some gnarly kills and great American Psycho callbacks, and Vicious Fun, a witty, retro subversion of the slasher genre. Finally, suspense thriller Katla had a number of freaky moments throughout, while The Advent Calendar took a kitschy premise and mined it for some genuine creeps.

Additionally, we wanted to note that there were a few films neither of us got to see before the year expired so folks aren’t scratching their heads by their absence here, either on the list or mentioned in passing. We both haven’t gotten around to Titane or Last Night in Soho, and Miss Mel has yet to see the film Mr. Craiggors ranked No. 1. Meanwhile, Mr. Craiggors is convinced that if he had seen The Night House before today, it would have a place somewhere on his own list. C’est la vie. There is always time next year! As for now, let’s dive into the Top 10 of 2021:

Boys From County Hell

10. Candyman (Mel) / Boys From County Hell (Craig)

MEL: This was a great follow-up to the original but lacked a lot of the textures in the screenplay in its predecessor. After the initial setup, the plot moves whip quick which serves to really drain the tension that could have been there and loses the thread of racial identity and the context of Cabrini-Greene that was so potent in the first film and that could have made it so powerful here. Still, it has some brutal kills, excellent direction and use of light, and great acting. 

CRAIG: This vampire horror comedy certainly has its flaws, but it was so charming and entertaining that it slid into my favorite films of the year regardless. It’s silly, bloody, and surprisingly heartfelt thanks to some likable characters and solid performances. Plus the effects are great, and the tweak on vampire mythology adds a fun wrinkle to the toothy sub-genre.


9. The Humans (Mel) / Candyman (Craig)

MEL: While not a traditional horror film (and many people probably wouldn’t consider this horror, especially with the prestige label of this one so you might call it a psychological drama) it’s a very Shirley Jackson-esque piece filmed with tension from both space and atmosphere and what the characters aren’t saying to each other. The final sequence is what really cements this as a horror film for me and one down incredibly well and in an engaging way. It’s low on my list simply because I felt there was more “true” and traditional horror on the list. 

CRAIG: From a production standpoint, this film is a standout. Stunning visuals, bold colors, trick shots and deep framing with lots of mirrors and reflective surfaces that unnerve and mystify the viewer. It’s a very artful, thoughtful film, but like Miss Mel said it lacks a little in its narrative structure and rushed plotting. Still a treat for the eyes and a respectable addition to the canon of a horror legend.


8. Superhost (Mel) / There’s Someone Inside Your House (Craig)

MEL: I definitely liked the first half of this film better than the second half. I felt it was trying to pull too many twists off of a tense first act. But Gracie Gillam as the titular superhost carries this film, if nothing else, with her unnerving presence and ease with which she slips between her different personas and phases of her character. I’m also pretty turned off on things that try to tack on umbrella criticisms of social media, which felt unnecessary in this one. But a very creepy scenario that pays off pretty well. 

CRAIG: A lean 90-minute slasher that evokes all the best of the post-Scream boom, this is simplicity at its best. This film reminded me that it’s not always about shocking and wowing the audience with the latest and wildest narrative devices. Sometimes it’s just about telling a good story, having some sick kills, and bare bones yet high quality production. As the slasher continues its renaissance, future efforts should look here for how to do the stalk-and-slash right.

The Power

7. V/H/S/94 (Mel) / The Power (Craig)

MEL: I loved the concept and execution of the first V/H/S and the franchise’s schtick feels a little tired at this point, especially with the weak frame story on this one. But it’s always fun to see some directors get a chance to showcase some creepy stories and my favorite from this bunch was “The Wake.”

CRAIG: What starts as a somewhat familiar period ghost story quickly evolves into a psychological horrorfest all about claustrophobia, dread, and darkness. Rose Williams’s astonishing performance as the vulnerable, earnest young nurse in 1973 London brings an emotional weight to the story that left me feeling gutted after the credits rolled.


6. Censor (Mel & Craig)

MEL: This was a very interesting concept set in a fun world for horror buffs, the age of the “video nasty,” where it takes an ironic look at the long-held moral panic over the effect of horror films on crime rates. It’s a little hard to follow at times and the pace can really slow but it has some effective scares and a good overall message for those who blame horror films for crime.

CRAIG: I quite enjoyed this nightmarish plunge into the realm of censorship and moral scrutiny during the 1980’s Video Nasty era in the U.K. It was very atmospheric, lots of neon color clashing with the drab, muted palette of reality as Enid (Niamh Algar) loses her sanity. It was an excellent performance in a gorgeous film that was both love letter to the genre and a warning to those who attempt to edit their pasts to better suit their presents.

The Djinn

5. The Djinn (Mel) / Caveat (Craig)

MEL: This is a good old-fashioned survive the night style haunted house story. It takes some cues from films like Insidious and It Follows, all to great effect, as it paints a sinister sort of Home Alone situation. Ezra Dewey is engaging which is the bare minimum to carry us through such a contained film. But, sometimes not even his charisma can work through the slower bits that were bound to come from a suspense horror film in such a closed space and timeline.

CRAIG: Nothing is what it seems in this atmospheric haunted house movie with vibes for days. One of the eerie and unique films I’ve seen in recent years, I did not know what to expect and was thoroughly surprised. The film is a masterclass is slow burn dread, and I had chills running down my spine from the opening scene on. Very ominous, very dark, and one of the few films to actually make me yelp out loud during one particular scene.

Werewolevs Within

4. In the Earth (Mel) / Werewolves Within (Craig)

MEL: Not what I expected when I went in (I went in expecting supernatural woodsy horror). This is a nice bit of isolationist horror meets a dash of splatter porn meets folk horror. It had a pretty interesting concept once the story opened up a bit and had some fun use of light and sound (important to the mythology of the story) that felt inspired by Annihilation. While the story was a clear metaphor for pandemic paranoia and that was effective, I could have done without the half-assed pandemic reference in the early parts of the film but it wasn’t enough to detract from the story.

CRAIG: A wacky, charming whodunnit with equal parts laughs and scares, this slight horror comedy has all the camp, gore, and suspense I wanted going into director Josh Ruben’s follow-up to last year’s Scare Me. It’s always entertaining and never takes itself too seriously while still managing to surprise and draw you in further. The ensemble cast is committed and excellent, hilarious over the top bunch that really sells the story in the third act. It’s Clue meets Fargo meets Knives Out with werewolves…how could I not love it?

The Boy Behind the Door

3. Seance (Mel) / The Boy Behind the Door (Craig)

MEL: This was an interesting one in that it mixes Mean Girls with a slasher with a ghost story which, for the most part, comes across as fun and effective, though it probably could have just picked one and ran with it. It also has a couple of late twists that come a little too late to really matter, but this was a fun ride.

CRAIG: A dark, unrelentingly exercise in suspense that flips the home invasion film on its head and left me clenching my bun-buns for the entirety of film’s runtime. Sound and scene work flawlessly together to create white knuckle tension that keeps the viewer glued to the screen despite a nagging desire to hide behind a pillow. Young lead Lonnie Chavis is marvelous, particularly given the bleak subject matter–the heart and the hope that shines through the darkness.

Halloween Kills

2. Halloween Kills (Mel) / The Vigil (Craig)

MEL: I think the Twitter user who said this film was a lower tier on the better sequels hit the nail on the head with this one. The direction, production design, and music were all incredible but the screenplay was a bit of a mess–strung together sequences and kills without a through-line. What it sets up for will be exciting though. 

CRAIG: A familiar tale of demonic possession that is brought fresh perspective by writer/director Keith Thomas. The atmosphere is ominous and seeps through the screen in this one, and there’s some truly chilling moments throughout. The film uses religion and folklore to explore concepts of grief, guilt, and generational trauma. I was equal parts mesmerized and frightened.


1. Fear Street Part Two: 1978 (Mel) / Malignant (Craig)

MEL: I broke the Fear Street trilogy up because the only one I truly enjoyed on its own was 1978. I think it functions pretty well as a stand-alone film and is one of the few middle films in a trilogy that acts as the important cornerstone it needs to be. It’s slasher summer camp horror on steroids with fun characters, gruesome kills, and a fun mythology. The Fear Street trilogy as a whole is fine, good horror fun but this was the strong one for me and something I see myself returning to often as a summer horror staple. 

CRAIG: This polarizing effort from James Wan was bonkers in the best sense of the word. From that mad opening sequence through the wild ride that follows, I was captivated if confused at times. Relentless and outlandish, I found myself thinking about this film the most out of everything I watched in 2021, and that alone said something to me. The 90’s Dark House and giallo references alone made me giddy, but I think it’s the fact that this film did something I had never seen before that led to me giving it my number 1 spot. We’re gonna be talking about this one for a long time to come.

Well, that’s a wrap on 2021, Chatterers–and good riddance, we say! Drop your favorite genre offerings from this year in the comments below, or let us know what you’re looking forward to next year. Here’s to keeping up the creep in 2022!

[Review] THE FOREVER PURGE (2021)


All empires end, even The Purge. As one of the most financially reliable horror franchises of the last decade, writer James DeMonaco’s The Purge series has spawned five films and a two-season television show that have dominated political horror discussions among genre enthusiasts. The topical themes of the films–race, class, a divided America plagued by prejudice and violence–make this the most overtly political franchise in horror, but the series has often been accused of being too heavy-handed in its critique of American patriotism. The Forever Purge, the supposed final entry in the saga, is not a subtle film by any means, but its pointed observations on the state of our nation still ring frighteningly true.

Eight years after the Purge was stopped at the end of The Purge: Election Year (2016), the New Founding Fathers have resumed office and immediately reinstated Purge Night, their annual “holiday” wherein all crime, including murder, is legal for twelve hours. The reinstitution of the Purge comes in the wake of a national crisis surrounding immigration, as depicted in the opening sequence where married couple Adela (Ana de la Reguera) and Juan (Tenoch Huerta) pay a coyote to smuggle them across the border from Mexico to Texas. Ten months later, on the eve of the first new Purge, Juan and his friend T.T. (Alejandro Edda) are working as ranch hands for the wealthy Caleb Tucker (Will Patton) and his son Dylan (Josh Lucas). There is tension between Dylan and Juan, as the former is wary of Mexican laborers, a prejudice not shared by his pregnant wife Cassie (Cassidy Freeman) or his cowgirl sister Harper (Leven Rambin). Nevertheless, everyone involved despises the Purge and is able to survive the night unharmed. But the Purge is not over. After the siren signaling the end of the Purge, an armed group of “Ever After Purgers” attack the ranch, sending our core characters fleeing, only for them to realize that nowhere is safe. The Forever Purge has begun and anyone deemed to be “un-American” isn’t safe.

What’s more American than bondage, amirite?

What follows in writer DeMonaco and director Everardo Valerio Gout’s film is an interesting twist on the basic plotline of all the prior films. Whereas our heroes in the prior Purge movies had to survive the night, now they must survive after the night. 7 a.m. cannot save them. It’s an intriguing flip and one that the series has been building to for some time: what happens when enough people take the Purge too far? A background subplot makes it clear that The New Founding Fathers have lit a fire that not even they can control, calling to mind the January 6 insurrectionists indirectly empowered to attempt their coup thanks to hateful rhetoric spewed from official political channels. It’s all the more prescient when one considers this movie was filmed before the events at the Capitol.

Like its predecessors, The Forever Purge is not a nuanced film by any means, and it paints in broad strokes for both narrative and character. Juan and Dylan are archetypes that must not only overcome the external threat of the Forever Purge to survive, but their own internal biases towards one another in order to work together. While there are touches of who these characters are as people, there’s never enough to justify our investment in them as the viewer. Instead, we are left uninterested in their relationship and its symbolic undertones and instead focused on Adela, easily the most interesting character with the most intriguing background. de la Reguera steals every scene she’s in, a charismatic and talented performer acting as the emotional anchor of the film, but not given nearly enough to do on screen.

Do you think we can Ubereats tonight?

That said, there’s still a lot to like about The Forever Purge. Cinematographer Luis David Sansans shoots and frames the Texas countryside beautifully, almost making the film feel like a traditional Western. There’s also a great long-take that follows the characters as they move through the war torn streets of El Paso seeking shelter before their final push to flee to Mexico, a clever if on-the-nose inversion of current global affairs. As always, there are some hella creepy masks, though for the most part the true terror of this film is the bland, mask-less Ever After Purgers and the very idea that this horrific night has now escaped beyond its bounds.

Honestly, I’m impressed that a franchise can produce a film this serviceable for its fifth entry, and if this truly is the end of the Purge story as we know it, I think it’s a fine conclusion. The film closes on a note that doesn’t shy away from how dire things have gotten for the United States, but that also doesn’t completely doom the country entirely. Hope remains. The battle to keep hate at bay and challenge systemic wrongs is neither easy nor clear at times. As Chiago (Gregory Zaragoza), the indigenous coyote guiding our heroes to safety in Mexico, says, this fight is forever.

The Forever Purge

5 – Totally Terrifying
4 – Crazy Creepy

3 – Fairly Frightening
2 – Slightly Scary
1 – Hardly Horror



There’s no doubt that James Wan’s 2013 haunted house/possession chiller The Conjuring is one of the most important horror films in the last decade, and certainly a key moment in the history of the genre as a whole. Its 2016 sequel, The Conjuring 2, also directed by Wan, is a masterclass in how to follow-up a lauded frightfest with an equally terrifying outing. While the other films in the so-called Conjuring Universe have their own charms and quirks, none have quite matched the brilliance of their namesake films. As such, there was a lot for The Conjuring: The Devil Made Me Do It, the first film in the main franchise without Wan at the reins, to live up to; and while it’s a serviceable enough film, Wan’s absence is noticeable and rather than a horror hat trick, we’re left with a bit of a turkey.

Based on the real life murder trial of Arne Cheyenne Johnson, Devil once again reunites us with demonologists Ed (Patrick Wilson) and Lorraine (Vera Farmiga) Warren as they exorcise a vicious demon from eight-year-old David Glatzel (Julian Hilliard) in the summer of 1981. During the chaos of the rite, Ed notices the demon switch hosts to David’s sister’s (Sarah Catherine Hook) boyfriend, Arne (Ruairi O’Connor), but before he can warn anyone he has a heart attack. By the time he wakes in the hospital, Arne has murdered his landlord (Ronnie Gene Blevins). The Warrens, feeling responsible, take on the monumental task of attempting to prove to the court that demonic possession is real and that Arne was not responsible for the killing. Their quest for evidence will lead them back into a dangerous world of witches, curses, and twisted supernatural entities.

There was a lot of speculation during production that the film would feature heavy courtroom scenes interlaced with horror, much like The Exorcism of Emily Rose (2005), but screenwriter David Leslie Johnson-McGoldrick and director Michael Chaves largely eschew the legal angle in favor of the “psychic medium aiding cops” trope as Ed and Lorraine use their gifts and expertise to uncover that there is a curse at work here, a curse placed by a witch that must be found and stopped before it can be completed. It’s all very Satanic Panic, which would have exploded onto the public consciousness a year prior, so in that sense it feels historically appropriate, and witchcraft/deals with the devil were a plot point in the original film so its not entirely uncharted territory for the Conjuring Universe, but does lend to this film feeling very different from its predecessors in more ways than one.

As in the first two films, Devil opens with the Warrens in the midst of a case, the exorcism of David Glatzel. Unlike those cases from the earlier movies, however (Annabelle and the Amityville Horror), the Glatzel case is the throughline of the film, as its characters (human and demonic) stick with us throughout the story, the curse transferring from David to Arne and setting in motion the main plot of the film. There’s some really effective, frightening moments during the opening, but it almost feels like the film throwing its best stuff out first to hook the audience, as the rest of the scares are somewhat tame compared to what we see in the first ten minutes. Beginning the story at the climax of Glatzel possession also renders the audience unable to know the characters outside of their demon-harangued lives. What were they like before this dark thing descended onto their lives? Were they quick to accept that something otherworld was tormenting them? We don’t know, because the characters are already so attuned to the mechanics of possession, so when it emerges that Arne is now host to the malevolent spirit, the fear of his loved ones is too familiar. They’ve been there, they know what to expect. We don’t see dawning terror overtake them, and as such, its hard to relate and or fear with them.

This lack of emotional investment is meant to be picked up by the Warrens, who become the central focus for the first time in the franchise. While Ed and Lorraine were always the charm and heart of the first two Conjuring films, their story was second to the respective haunting/possession. In this third film, they are the driving force, with Arne’s story meant to provide jump scares here and there to break up the Warrens’ investigation. Luckily, Wilson and Farmiga once more bring their A game and it’s thanks to their stellar chemistry that the film stays afloat amidst its weaker story moments. O’Connor (The Spanish Princess, Handsome Devil) is also great, conveying the immense psychological burden Arne carries as he wrestles with the dark force inside of him, and Hilliard (The Haunting of Hill House, Penny Dreadful: City of Angels) once more shines as an adorable little boy beset by paranormal predators.

As for those evil forces, they’re largely forgettable, and don’t deliver that thick sense of dread so memorable from the first two Conjuring films. The Devil Made Me Do It has no clapping game or Valak painting to hang its hat on as its “Iconic Scare.” The waterbed scene so heavily featured in promotional materials is decent, but the overexposure eliminates any sense of suspense or surprise. The continuous story also means there’s no secondary demonic figure lurking about, a la Annabelle or the Crooked Man. The human nature of the villain isn’t a bad route to take, as a Satanic witch is always inherently scary, but she’s not all that difficult to take down in the end, nor does she leave much of an impression. You’re more likely to remember the plethora of homages to past horror films that Chaves inserts far too often, The Exorcist and The Shining being the most noticeable. It’s fine to borrow imagery and pay tribute, but if what sticks in your audiences mind the most from your film are nods to other, better movies…that’s a problem.

Chaves was faced with a difficult task, and should be applauded for stepping into Wan’s shoes to follow-up two of the most well-received horror films in recent years. He’s a fine director, and The Conjuring: The Devil Made Me Do It isn’t bad by any means. There are solid performances, some great shots, and a decent score from series veteran Joseph Bishara. Put in context with the other spin-offs in the Conjuring Universe, it’s a respectable middle of the pack entry, but it’s nowhere near the edge-of-your-seat nightmare machines that Wan directed. Terrible? No. Average? Frustratingly so. It’s certainly not a death-knell for the franchise, but you do have to wonder if it’s worth further films if this is what they’ll look like. I guess when the devil makes you do something, it should be no surprise if it ends up damned.

The Conjuring: The Devil Made Me Do It

5 – Totally Terrifying
4 – Crazy Creepy
3 – Fairly Frightening

2 – Slightly Scary
1 – Hardly Horror

Top 20 of ’20 – Miss Mel


Read on for Miss Mel’s favorite 20 films of 2020, and here to take a look at Mr. Craiggors’.

Don’t forget to share your top films of the year with us in the comments, or on Twitter! Lots of overlap? Things we missed? Let’s chat!

20. Underwater

A group of researchers in the Mariana Trench are hunted by an unknown creature. I love me some alien creature feature even if this was an average entry into the canon.

19. The Rental

A pair of couples rent a home for a few days and feel something is watching them. This was a pretty confused tone and genre and ultimately fell a little flat but was interesting along the way.

18. Amulet

A homeless veteran is welcomed into a decrepit mansion by a woman and her aging mother. This one gets wild and a little weird but was fun with a fair bit of lingering dread.

17. The Lodge

A woman becomes snowbound in a mountain lodge with her husband’s children. This is some good atmospheric horror with some great actors and I love some isolation horror.

16. Blood Quantum

A group of First Nations people are immune to a zombie apocalypse. I enjoyed the concept but ultimately I don’t think zombie films, even socially conscious zombie films, are really my thing.

15. The Babysitter: Killer Queen

Two years after the first movie, Cole goes on a weekend vacation where the bloodbath starts again. This was fan service and much less charming and surprising than the original but it was fun to be back.

14. The Dark and the Wicked

A pair of siblings visit their childhood home to visit their ailing father. This feels like a couple other films I’ve seen before but it was a genuinely creepy ride through domestic hauntings.

13. Black Box

A single dad undergoes an experimental cognitive treatment for memory loss and finds himself questioning his identity and reality. Flatliners meets Jacob’s Ladder meets Get Out that’s a bit overstuffed and emotionally confusing at times but its characters really bring home the humanity of a fantastical story.

12. Relic

A woman suffering from dementia is taken care of by her daughter and granddaughter. This functioned both as a spooky psych thriller and creepy house story as well as a tale of the existential dread we have of losing our parents and our own eventual deaths.

11. I’m Thinking of Ending Things

A woman on the brink of breaking up with her boyfriend goes on a road trip to meet his parents. This is trippy and confusing as shit but is engaging and entertaining and makes me wish I had read the book first to experience it fully.

10. Vampires vs. the Bronx

A group of teenagers must protect their Bronx neighborhood from a gang of vampires. I love teen stories and I love vampires. This was a fun comedy horror film with a bit of commentary on gentrification.

9. The Invisible Man

A woman believes she is being stalked by her abusive ex-boyfriend who faked his suicide. An uncomfortable ride through the horrors of an abusive and toxic relationship that does a great job updating its premise.

8. Impetigore

A pair of woman travel to a rural village where one of them may have a dark past. International films have been killing it this year. This is creepy, shocking and unique and who doesn’t love skin puppets?

7. His House

Sudanese refugees believe something may be lurking in their new home. I was excited for this since I first saw trailers for it. This was a great combination of haunted house horror and real life tragedy.

6. Color Out of Space

An asteroid disturbs an otherwise peaceful New England farm and brings with it an alien terror. This is a wild ride of a classic Lovecraft that manages to hit on all cylinders when it comes to psychological horror, body horror, and Annihilation levels of alien-based science fiction.

5. The Platform

 A man wakes up in a social experiment known as “the hole,” where food distribution is heavily stratified. This dystopian, social horror film feels like something out of a Saramago novel and is at times hard to watch for its gore and brutality but it makes interesting political statements–if confusing ones–and manages an incredibly depressing tone.

4. Possessor

A corporate assassin infiltrates bodies to carry out hits and finds herself in a combative host. This concept might have made for a C grade thriller film in other hands, but Cronenberg delivers a psychedelic trip through the psychology of the body, identity, and how they interact to rival the works of his father.

3. Sputnik

A cosmonaut, who returned from a mission with a alien parasite, is held prisoner by the Soviet military. This film doesn’t do anything new in the genre or make any larger social or historical statements about its Cold War setting, but it’s an incredibly entertaining sci-fi horror film with charismatic humans at its core.

2. La Llorona

A genocidal former dictator is haunted by the ghosts of the Ixil people he murdered while confined to his house. Foreign language films are the future of horror. While domestic art house horror tells gripping social stories, this film–reminiscent of Beloved in the best ways–uses the tension of human tragedy to propel its horror forward.

  1. Host

A group of friends host a seance over Zoom during the pandemic and things take a turn. This was a delightful little project that utilized its context without relying or milking it. It’s not unique in either plot or medium conceit, but it was incredibly fresh and effectively entertaining.

Top 20 of ’20 – Mr. Craiggors


No question that 2020 will be remembered as being absolutely horrifying. It deserves nothing less than an excruciating, fiery death while the rest of us dance on its corpse in post-traumatic delirium/glee/drunken abandon. But the year will also, hopefully, be remembered as being horror-ful.

Sure, the COVID-19 pandemic derailed a number of major studio sequels like Candyman, Halloween Kills, and The Conjuring: The Devil Made Me Do It, as well as bumping back a number of highly anticipated original fare such as Saint Maud, Antlers, Last Night in Soho, and Malignant; but horror as a genre was far from deterred. Debut directors dropped movies that blew our minds and broke our hearts, streaming services filled the theatrical release gap in spades, and film festivals opened their doors to at-home audiences in hitherto unknown fashion. The result was that, against all odds, 2020 was one of the strongest years for horror in recent memory.

As such, narrowing this year’s offerings down to a best-of list proved extra difficult for both myself and Miss Mel. As such, we’ve forgone the traditional top 10 in favor of a Top 20…each! I suppose we could have been more savage and cut the lower ten, but come on, hasn’t this year been brutal enough?

Read on for my Top 20 Horror Films of 2020, and find Miss Mel’s list here.

20. Spiral

A somewhat familiar narrative that’s well acted, nicely shot, and offers a satisfying conclusion for those who are patient with it, Spiral was a commendable treat. I also loved seeing a same-sex male couple as the central characters, and even though I wish Malik’s backstory had been more fleshed out, it still resonated with me.

19. Freaky

Fun and flighty with plenty of giggly moments and a few that actually made me guffaw, but not quite as much substance as in Christopher Landon’s other playful slasher send-up Happy Death Day. The “clam jam” line makes up for absolutely everything, though.

18. The Hunt

An ultra-violent satire with an over-the-top premise that puts an interesting twist on The Most Dangerous Game. By casting “redneck deplorables” fighting for their lives against vegan NPR neoliberals, the film challenges and holds a mirror to us-vs.-them mentality. Thought-provoking if not always profound, and Betty Gilpin is absolutely delicious in the lead.

17. VFW

A futuristic dystopian low-budget siege film that features Stephen Lang kicking ass in a neon-soaked, grindhouse hellscape all set to a score that would make Carpenter jealous. Come ON, in what world would I not love this?

16. The Cleansing Hour

A chilling update to the possession sub-genre that plays out on the set of a vlogger-exorcist’s fake YouTube show. Cynical, creative, and quite shocking at parts, plus the much underused Kyle Gallner make this a win for me.

15. The Mortuary Collection

2020 was the Year of the Horror Anthology. Two of the three major ones are on this list (Scare Package just missed the cut). The Mortuary Collection is a creepy, atmospheric, gory blast. I was completely in love with the production design, and I firmly believe Clancy Brown needs to play The Tall Man in a Phantasm reboot.

14. Sea Fever

Great films are often those that understand exactly what they are and don’t try to be anything more, they just focus at excelling as themselves. Sea Fever is one such film. It’s icky and disturbing and doesn’t hold back. Alien meets The Thing meets Cabin Fever set on an Irish trawler. I mean, YO!

13. The Wolf of Snow Hollow

A darkly amusing genre mashup exploring toxic masculinity, fatherhood, and internal demons. I’m an admitted sucker for werewolf stories and this movie reminds me why. There’s some great comedic and horror beats, and the camera work is bursting with style and personality. It’s no Thunder Road, but Jim Cummings proves he’s still one fearless fucking filmmaker.

12. The Lodge

Paralyzing, agonizing, and very mean-spirited yet full of gorgeous cinematography and outstanding performances. Probably the most nightmarish film of the year as you really, really, really don’t want to see what happens next, but you can’t find a way out. Also? Fuck dem kids.

11. La Llorona

A quiet and tantalizing film that has less to do with the Latin American legend of the Weeping Woman and more to do with the inherited cultural trauma of the Guatemalan Civil War, La Llorona has stuck in my mind for months, and will continue to do so for many more.

10. Gretel & Hansel

An impressive update of the age-old Grimm fairy tale. It’s moody and heavy and packed to the gills with dread. It’s also aesthetically stunning and gorgeous and one of my new favorite Films-That-Use-Color-Expertly. Patient, meditative, and rich from start to finish.

9. Hunter Hunter

On the surface, the film appears to be any other run-of-the-mill survival story of a scrappy family living in the remote wilderness facing a roaming wolf on their land. But slowly it becomes clear that this film is…so much more. Horrifying, gripping, and unforgettable. And that ending is BRUTAL.

8. Relic

Haunting and heart-wrenching, this very slow burn mounts to a truly terrifying third act. Dynamite performances from Emily Mortimer and Robyn Nevin elevate a metaphorical story that mediates on grief and parental loss. Debut director Natalie Erika James doesn’t hold back or hold hands, and I’m very curious to see what she does next.

7. Anything for Jackson

Has there ever been a more sympathetic or likable pair of villains than the elderly couple at the center of Anything for Jackson? The answer is no, so props must be given not only to Julian Richings and Sheila McCarthy but also director Justin G. Dyck for bringing to life one of the unnerving, dark, and strangely humorous films of the year.

6. His House

Another outstanding 2020 debut feature. Director Remi Weekes effortlessly blends existential terror with the supernatural to craft a new sort of haunted house film that sticks in the mind and soul thanks to twisty, striking visuals and bravura performances.

5. Scare Me

Delightful. So freaking delightful. Easily the film that most surprised me this year, and one that genuinely stands out in a crowd. It’s minimalism done to a T, relying on sound, dialogue, and performance to frighten and entertain–and it works! Cozy, witty, and razor-sharp on its dissection of writing culture, an A+ for debut director/writer/star Josh Ruben and co-star Aya Cash.

4. The Invisible Man

A relentlessly uncomfortable viewing experience in the best possible way, Leigh Whannell updates the time-tested tale into a suspenseful exploration of domestic abuse, toxic masculinity, and resilience. A gut-punch of a film that weaponizes space and pushes psychological terror to the max to profound effect.

3. Host

Unquestionably the hottest horror film of 2020, Host will also be a perfect time capsule of its time. Made entirely in quarantine, it’s a brief, nail-biting little film-that-could that had everyone, myself included, jumping at shadows and small noises in the night. Not only will this be the film we all remember as the pinnacle of what it meant to live the horror of 2020, but its techniques will be imitated by filmmakers for years to come.

2. The Dark and the Wicked

Easily the most terrifying film of the year. A perfectly executed masterpiece of insidious sound design, shadow play, and suffocating dread all wrapped around some supremely disturbing visuals. It’s incredibly bleak, a different yet equally unsettling sort of nihilism perfected in director Bryan Bertino’s earlier creep-fest The Strangers.

  1. Possessor

Mind-bending, unflinching, and bizarre. Brandon Cronenberg follows up Antiviral with a film that is both homage to his father’s work and a showcase of his own sensibilities as a filmmaker. Everything about the film is slick and sleek, from the gory violence to the glorious aesthetic to the spellbinding performances. Cerebral and evocative and stunning, it takes the top spot for me this year for how unique and (you guessed it) possessive the viewing experience was.

Well, that does it for 2020–a truly solid slate of horror. Here’s to keeping up the creep in 2021! See you there, Chatterers!

[Review] GRETEL & HANSEL (2020)


Don’t go into the woods. It’s a moniker so deeply imbedded in the human psyche it’s almost primordial. As Miss @melmoy has explained on the podcast, these words of caution harken back to a time when danger, specifically supernatural danger, was thought to be more prevalent the further one journeyed from the home, and this often manifested in journeys into the woods. It makes sense, doesn’t it? Dark canopies, flitting shapes, mysterious sights and sounds–who knows what hides behind the trees, under the rocks, in the underbrush? The forest as threat is an old storytelling element, often used as the setting for folk and fairy tales where strange, magical events took place. Almost every Brothers Grimm story involves the mysterious wood, and Hansel and Gretel is no exception. In Osgood Perkins‘s take on the German classic, the fairytale gets a vibrant update and the woods become more deliciously sinister than they’ve ever been before…

Sixteen year old Gretel (Sophia Lillis) is turned out of her mother’s home when she is unable to secure a job as housekeeper to a local creep. She takes her eight year old brother Hansel (Samuel Leakey) with her, planning to fend for herself by finding other work or throwing themselves at the mercy of a nearby convent. After heading off into the woods and receiving some helpful advice from a kindly Hunter (Charles Babalola), the siblings find themselves drawn off the path to the home of an elderly woman named Holda (Alice Krige), whose table is full and whose beds are warm. But something is wrong in Holda’s house, and Gretel begins to suspect that these sweet gifts are not given freely.

It’s always tricky taking established stories, particularly fairy tales, and giving them a fresh spin, and there’s numerous methods employed to make them longer, more surprising, or more enticing for a modern audience. Rather than padding the Grimm story with additional fluff, Perkins (I Am the Pretty Thing That Lives in the House, The Blackcoat’s Daughter) and co-screenwriter Rob Hayes keep the bones and add depth to the themes and character motives suggested by the original story. The result is a sleek 87-minute feature that tackles a well-trod tale through a contemporary lens that engages notions of female empowerment and the agency of children in a world where social constructs allow adults the unchecked ability to severely diminish that agency. Despite the brief, and appreciated, runtime, the film can feel a bit slow at times. It’s far from plodding, but Gretel & Hansel is nonetheless a restrained film that invites you to soak in the atmosphere being unspooled on screen.

And, to be fair, it is a sumptuous atmosphere. Gorgeous, lingering shots and gauzy reds and yellows make the film feel like some sort of cross between ghostly tableau and Argento dreampiece. Much credit is due to cinematographer Galo Olivares (Roma) and production designer Jeremy Reed (Hard Candy) for their seamless blending of beautifully unsettling camerawork and anachronistic sets to conjure sensations of unease and enchantment in the viewer, often within the same frame.

Lillis carries the film well, bringing equal parts warmth and weary determination to Gretel in a vein subtle though perhaps more subtle than her turn as Beverly Marsh in It (2017). Newcomer Leakey is a bit awkward with his delivery most times, but he and Perkins are careful never to let Hansel slip into the realm of supremely annoying child characters in horror, and for that I’m grateful. Krige delivers the most tasty performance as Holda, being fantastically creepy and hissing out the film’s best lines like some sort of bewitched serpent. Given that the film is rated PG-13 and is clearly meant to function as gateway/intermediate horror for a younger audience, it’s impossible to think that Krige’s Holda won’t leave a memorable impression on the minds of any youth in attendance.

While the ending might feel a bit rushed or anticlimactic for some, it’s leaps and bounds ahead of last weekend’s The Turning (2020), and it provides room for a satisfying denouement that should sweeten any bitterness left by the relatively mundane final confrontation. While it won’t be to everyone’s taste, Gretel & Hansel is doubtless a beautiful film with a striking mood that doles out its pleasurable imagery and wicked sense of framework slowly and effectively. Though it does not shatter expectations when it comes to fairytale horror, it more than meets them, offering up a buffet of mesmerizing cinematography and spellbinding colors. Come and feast.

Gretel & Hansel

  • 5 – Totally Terrifying
  • 4 – Crazy Creepy
  • 3 – Fairly Frightening
  • 2 – Slightly Scary
  • 1 – Hardly Horror

[Review] THE TURNING (2020)


While I think the horror industry is slowly but surely re-marketing January releases from “dumping ground” to “decent films,” there’s still a long road ahead before that shift in public perception can take a justifiable hold, and The Turning (2020) is a certainly a stumbling block on the path of this noble quest. It’s a shame because the film keeps ahold of itself for the majority of its runtime and only truly drops the ball in the final act; but it’s a fumble so disastrous there’s absolutely no way to save the game afterwards.

Directed by Floria Sigismondi (The Runaways) from a screenplay by Chad and Carey W. Hayes (The Conjuring, House of Wax) and based off the Henry James novella The Turn of the Screw (1898), the film follows Kate Mandell (Mackenzie Davis) as she accepts the post of live-in nanny to Miles (Finn Wolfhard) and Flora (Brooklyn Prince) Fairchild in their sprawling, palatial estate in upstate Maine. Kate is excited at the chance to help two orphaned youngsters flourish and grow despite their hardships, but she soon discovers that neither of the children is as innocent as they appear and that they, and their dark, foreboding home, are sheltering dark secrets.

Negative reception of the film aside, no one can fault the acting. Wolfhard is solid if a bit strange channeling his creepy, pervy side as Miles, and Prince is an energetic scene-stealer who can hold her own against Davis, who delivers a convincing, relatable performance of a woman with all the best intentions going up against a dangerous situation she can’t fully comprehend. Davis is one of those actresses who knows her craft and what she needs to do in order to amp up subpar material, yet still can’t seem to get a foothold in Hollywood proper. I fear this movie may not do her any favors, though from a technical standpoint it’s far from abysmal.

There’s some good work going on in The Turning outside of the performances, as well. Cinematographer David Ungaro frames some interesting, well-constructed shots throughout, and the production design of the house and the spirits make for some cool, spooky imagery. Sure the movie is chock full of tropes, and the majority of the scares are easy-to-predict jump ones, but at least it’s fun to look at. As others have pointed out, the true fault of the film is the screenplay, though I think it may be more accurate to pinpoint the ridiculous ending. It’s honestly not an awful film for the first two acts to the point where I caught myself in the theater wondering why the early reviews were so dismal and then the “ending” hit and I chided myself for being too trusting.

I use quotation marks not out of a sense of snobbish disdain, but because the closing moments of The Turning are some of the worst excuses for an ending I’ve ever seen. I can see what Sigismondi and the writers were going for–attempting to put a twist on the ambiguity so essential and infamous from James’s original novella–but they fail spectacularly. Instead, we’re left with an illogical and inane closing that feels like a poorly timed joke your least favorite uncle tells over Thanksgiving dinner. It’s so nonsensical and just plain dumb that it brings what would have otherwise been an average if watchable movie down into the depths of horror’s “worst of” category. The only thing I’ll give it is that it elicited physical reactions from almost everyone in my theater, though it was mainly groaning and exclamations of phrases one shouldn’t use in polite blogging.

The Turning is a movie with a good cast and a strong foundation ruined by an ending so baffling it leaves one irritated and wondering what could have been if original producer Steven Spielberg had stayed attached and brought forth a proper adaptation of one of the greatest psychological horror stories of all time. Instead, we’re left with a tropey showpiece that wasted time and talent, not to mention money. Mike Flanagan’s upcoming The Haunting of Bly Manor on Netflix lessens the sting somewhat, but it’s still best to turn away from this one and pretend you didn’t see a thing.

The Turning

  • 5 – Totally Terrifying
  • 4 – Crazy Creepy
  • 3 – Fairly Frightening
  • 2 – Slightly Scary
  • 1 – Hardly Horror

[Review] UNDERWATER (2020)


You’d be forgiven for taking a glance at the trailer for William Eubank’s Underwater (2020) and assuming it was an Alien rip-off in the ocean. It’s a well trod plot structure familiar to even casual genre fans: humans push too far against the borders of the natural world and are met with monstrous, cosmic consequences for their hubris. Underwater doesn’t stray too far from that formula, though it does incorporate a bit more Lovecraftian elements than one might expect from this particular corner of the genre, and that adds some spice to an otherwise standard January horror release.

Tian Industries has pioneered the technology that will allow them to drill seven miles deep into the Mariana Trench. At the Kepler 822 station, where the drill is set up, mechanical engineer Norah Price (Kristen Stewart) is reflecting on life under the waves when an earthquake hits, nearly destroying the facility and sending Norah scrambling for her life, picking up a few other straggling survivors along the way. After they assess the damager, our heroes realize that the only way back to the surface is to don diving suits and walk two miles across the trench floor to reach the escape pods at a nearby outpost. But there are other things than algae lying in wait in the deep, deep dark…

Underwater wastes no time inciting the action, with the earthquake hitting barely five minutes into the film and the danger and chaos never letting up for the entire runtime. As such, it’s a fast paced film, and any moments of character development or reflection are left to snippy quips of dialogue that the viewer must strain to catch amidst the never-ending adventure sequences. To be fair, this is not a film that requires its characters to be noteworthy or two-dimensional; it’s all about the riveting survival story, though the cast is game enough to do their best to give each of their characters some depth. Stewart in particular draws on her years in the indie film circuit to tap into some beats of raw vulnerability to balance out Norah’s frightened yet determined survivalist instincts.

Eubank (The Signal) and cinematographer Bojan Bazelli (A Cure for Wellness) do the best they can to create a stylized, eerie sea world and bring Brian Duffield (The Babysitter) and Adam Cozad’s (The Legend of Tarzan) screenplay to life. There’s some cool set pieces and a solid sense of color in the production design, and Eubank knows exactly when to start showing the monsters, and how much, to maximize tension. That being said, the film still relies too heavily on its predecessors even as it strives to become its own beast.

What’s nice about Underwater is that it’s a horror film made specifically for horror fans, a trend in recent years that only seems to be getting stronger. It’s more than serviceable as an average popcorn movie that’s light on character and heavy on action. The script could have used another round of polishes, but an able cast, clever camerawork, and some properly ferocious monsters allow the film to tread water. You won’t exactly be riding the waves with this one, but you won’t be coughing for air either.


  • 5 – Totally Terrifying
  • 4 – Crazy Creepy
  • 3 – Fairly Frightening
  • 2 – Slightly Scary
  • 1 – Hardly Horror