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 film 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.

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.

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.

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 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.

Crimson Peak

Crimson Peak follows the tradition of Gothic romance in design: "I made this film 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 film: "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 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."

Creep 2

Creep is not a movie begging for a sequel. As for one of the more unique serial killers in the horror movie - a person who seems to need to establish close personal contact with his prey, and then use them as proof of his "art" - the original version of 2014 has been self-sufficient. But Creep 2 is a rare follow-up work, in which the goal seems not to be "let us do it again", but "let us go deeper" - more in-depth, we mean more in-depth, because this film explores the psychology of the central psychiatric patients (people passing by now), Aaron (Mark Dupras), in a completely unexpected and shocking sincere way, Just as we have witnessed (and sympathized in some way) a killer who has lost his passion for murder and thus his passion for life. In fact, this film almost gave up the idea of becoming a horror film, just because we know the atrocities committed by Aaron in the past, and became a interpersonal drama about two people exploring trust and trust boundaries. loophole.