Beyond Box Office Numbers
Even though horror movies didn’t always pull in huge crowds at theaters this past year (with a few big exceptions), 2024 was actually a fantastic year for the genre, especially for dedicated fans who explored beyond the most obvious releases. In fact, horror lovers searching for a truly frightening experience consistently discovered excellent choices across various platforms. Specifically, there were genuinely surprising and thrilling major studio releases, alongside unexpected breakout hits from smaller distribution companies. Furthermore, hidden away within numerous streaming services, there were enough standout scary movies to populate many different horror-focused recommendation lists easily. Ultimately, as a space where creative filmmakers can deliver exciting and original projects, the horror genre is currently thriving more than ever.
Selecting the Scariest
Moreover, the sheer intensity of fear delivered by these films was remarkable. Consequently, the /Film team gathered together to carefully discuss and then definitively rank the 10 absolute scariest horror movies released throughout 2024. Naturally, this involved the difficult task of eliminating many outstanding films and then finding a fair method to order the movies that remained. (For those curious about the detailed selection debates, the entire ranking process was recorded and will be featured soon on an upcoming /Film Daily podcast episode.) For instance, popular films such as “Immaculate” and “Terrifier 3” came very close but ultimately didn’t make the final list. Meanwhile, a movie like “Civil War,” while undeniably terrifying, was excluded because it falls outside the strict horror category. Therefore, the final ten selections represent an impressive and diverse collection of chilling experiences, designed to satisfy every type of horror enthusiast.
Accordingly, presented below is the official ranked list showcasing the 10 scariest horror movies of 2024:
10. Alien: Romulus
Nostalgic Scares Collection
“Alien: Romulus” functions very much like a carefully assembled collection of the most famous and frightening moments from the entire “Alien” movie series history, which is definitely a positive feature for longtime fans who deeply appreciate the various terrifying sequences the franchise has delivered across many years. While director Fede Álvarez certainly introduces his own minor updates and adjustments to the established Xenomorph mythology within this film, it truly shines brightest when it actively packs as many instantly recognizable scenes and elements from the earlier movies as it possibly can into its specific 119-minute duration.
Packed Iconic Moments
Are you looking for such an intense, high-stakes chase in the narrow halls of a spacecraft where people are running away from a monster in extreme panic? Are you more interested in a classic but extreme, mysterious space horror scene where the disgusting, wet Xenomorph approaches a terrified woman protagonist, played by Cailee Spaeny, who visibly freezes while waiting for the scary attack? Additionally, how about an impactful, violent chestburster scene erupting at a particularly bad moment, or maybe even a fresh version of a grotesque hybrid creature similar to those seen in “Alien: Resurrection”?
Consequently, if these elements appeal to you, you are absolutely in luck, because the movie deliberately includes every single one of them. Importantly, it doesn’t just copy these moments directly; instead, the film cleverly remixes these familiar beats just sufficiently to consistently build tension, repeatedly bringing viewers right to the very edge of their seats and making them fight the powerful urge to nervously glance over their shoulder, genuinely scared they might see a drooling, rapidly extending pharyngeal jaw lunging straight towards their face.
Safe But Effective
Overall, this extremely heavy reliance on paying homage to past films ultimately results in “Alien: Romulus” feeling like a sequel that plays everything much too cautiously and avoids significant risks. Nevertheless, the movie managed to be scary enough that not only the audience but also the characters themselves were scared throughout the film. Also, there is an energetic and perceptible practice that accurately recalls the same powerful, suffocating, claustrophobic environment that the first film, “Alien,” in 1979, Ridley Scott’s classic, the beginning of the Alien franchise, had, and thereby, it was so impactful and largely unforgettable. The ability to make the audience scared and nervous, all the while being consistent, was paramount to the inclusion of this movie in the list of highest-performing horror films; thus its place was well deserved when the night event was concerned.(Pauli Poisuo)
9. Late Night With the Devil
Slow-Burn Terror Setup
“Late Night with the Devil” carefully builds its frightening atmosphere across its full 95-minute length, yet importantly, it successfully communicates a strong feeling that something is deeply wrong right from the very start. The movie cleverly presents itself as if it were a recovered videotape recording of an actual late-night talk show broadcast called “Night Owls with Jack Delroy.” Furthermore, this main presentation is occasionally interrupted by short pieces of documentary-style footage showing what happened behind the scenes.
Crucially, this specific episode of the fictional show supposedly aired live on Halloween night in 1977, and during it, the host, Jack Delroy, played very effectively by David Dastmalchian, encounters progressively stranger and more paranormal events happening live on air. These events eventually build to a shocking climax involving the apparent demonic possession of a young guest named Lilly D’Abo, portrayed by Ingrid Torelli, who is also a survivor of a notorious mass suicide.
Authentic TV Format
Initially, “Late Night with the Devil” earned an absolutely perfect review score from a major outlet and received high praise from a well-known master of horror, even though it doesn’t try to be constantly terrifying every single minute like some other films, for example, “Skinamarink.” Rather, it is powerful because of the extremely thorough and believable way of presenting the other side of American television. As a result, the perfectionism that goes into portraying the period not only makes the film unreal to a certain extent but also after the certainly supernatural actions are exposed, it remains the same.
Furthermore, the film directors artistically bring alive exactly the particular mood and vibe, that existed in a real late-night talk show from that time. Additionally, visual choices, such as presenting the movie in the old-fashioned, boxy 4:3 aspect ratio that TVs used back then, actively work to increase the feeling that what you’re watching is real and authentic, making this a remarkably fresh and original approach within the found footage horror category.
Realism Over Shock
It is true that a couple of visual effects shots, happening later in the movie, despite being slightly less convincing, have an impact which is not so great that it could in any way destroy the carefully created illusion. Consequently, as the film comes to an end, you are given quite a strong and persistent feeling of disquiet. In other words, you seem to have momentarily been in a different version of the past, weird and disturbing. Importantly, this feeling isn’t just because of the obvious supernatural occurrences shown; it stems from a deeper, more awful sensation that the world presented, even before the ghosts and demons appeared, was fundamentally off in some disturbing and inexplicable way. (Joe Roberts)
8. In a Violent Nature
Unique Killer Perspective
If you’ve ever genuinely wished that filmmaker Gus Van Sant, specifically during his period making slow, atmospheric films like “Gerry,” “Elephant,” and “Last Days” which heavily inspired the style of director Béla Tarr, would suddenly decide to create a traditional slasher movie, then Chris Nash’s very first feature film, “In a Violent Nature,” absolutely arrives to thoroughly and intensely satisfy that extremely specific desire.
Certainly, we have witnessed horror movies told primarily from the killer’s viewpoint before; however, Nash truly challenges the audience’s focus and engagement by relentlessly following a massive, slow-moving, and seemingly mindless force of pure viciousness.
Essentially, this undead monster character does only two things throughout the entire film: it trudges steadily forward through the wilderness, and it violently exterminates anyone it encounters. Naturally, this minimalistic approach might sound like a demanding concept to sustain for a full 90-minute movie; nevertheless, Nash possesses a truly impressive ability to capture the beauty and isolation of the Canadian forest setting. Furthermore, he incorporates a subtle, dry sense of humor that effectively surprises viewers as they patiently follow his deliberate creature moving steadily from one unfortunate victim to the next.
Slow Horror Meditation
Yes, it’s true that “In a Violent Nature” does contain some moments of dark, unexpected laughter; however, the overall experience is predominantly a very, very slow burn. Consequently, the movie ultimately feels like a thoughtful, almost philosophical reflection on the core purpose and appeal of the entire slasher movie genre itself. Predictably, all the standard, expected scenes and character transgressions common to slashers are present here, such as young people drinking alcohol, smoking, and engaging in sexual activity. Yet, there is a powerful, heavy feeling of unavoidable doom hanging over every action.
Therefore, the film deliberately immerses viewers in a thick atmosphere of dread, leaving you feeling completely helpless as you watch the main protagonist (who simply wants his stolen locket returned) slaughter his victims in spectacularly original and shockingly inventive ways. So, why exactly do horror fans repeatedly return to the familiar stalk-and-slash patterns found in these films?
Ultimately, the uncomfortable answer, whether you like it or not, seems to be that there exists a grim, disturbing sense of emotional release or catharsis in witnessing extreme, brutal violence unfold on screen, such as watching a conscious park ranger, paralyzed from the neck down, get slowly and methodically dismembered by a powerful log splitting machine. Amazingly, however, that horrifying scene is actually nothing compared to the even more gruesome and shocking fate suffered by a different character, specifically a young woman who had found what seemed like the most beautiful, picturesque spot imaginable to practice her yoga. (Jeremy Smith)
7. Smile 2
Mastering Horror Techniques
“Smile 2” actively demonstrates expertise across every single category of horror scare imaginable, and crucially, it executes each distinct type exceptionally effectively. Writer and director Parker Finn confidently utilizes every available technique found within the horror filmmaker’s standard toolbox, showcasing a sharp, impressive command over all of them. For instance, are you seeking perfectly timed, shocking jump scares that make you leap out of your seat? Well, the movie provides these in plentiful supply. Alternatively, perhaps you prefer extended sequences filled with gradually increasing feelings of dread and deep unease? If so, that particular style actually defines the majority of the film’s runtime.
Furthermore, how about complex, elaborately staged buildups culminating in intensely violent and extremely gory moments? Absolutely, those are present too. Essentially, the terrifying beauty of “Smile 2” lies in its relentless commitment: it absolutely never stops trying to frighten you. Moreover, it continuously delivers these scares from constantly shifting directions, ensuring they arrive in wildly diverse styles and intensities. Consequently, Naomi Scott’s character, pop star Sky Riley, literally never gets a moment to relax or catch her breath throughout the entire ordeal, and significantly, neither does the watching audience.
Relentless Audience Assault
Despite ultimately being such a profoundly negative, feel-bad cinematic experience, “Smile 2” somehow, almost paradoxically, also functions as deliriously enjoyable, thrilling fun. It behaves utterly mercilessly in how it constantly pokes, prods, and deliberately deceives viewers, gleefully attacking their psychological defenses without any hesitation. The film maintains a constant, manipulative conversation with the people watching it, metaphorically twisting one knife deep while simultaneously reaching for the next sharp blade. It cleverly directs your attention to the left side of the screen, only to then unleash a devastating emotional and visual freight train crashing in violently from the right. Throughout this, Finn displays such an immediate and remarkably self-assured directorial voice. This is precisely the kind of distinct, powerful voice that strongly suggests a long, influential future career within the horror genre, provided he chooses to fully commit and continue focusing his efforts here.
Therefore, he absolutely should pursue that path, because remarkably few horror movies released in 2024 managed to be simultaneously as purely entertaining and as genuinely, consistently frightening as this particular sequel proved to be. (Jacob Hall)
6. The First Omen
Director’s Crucial Role
“The First Omen” powerfully demonstrates how essential the right director truly is for crafting a horror movie that reaches its absolute maximum terrifying potential. Admittedly, the basic script concept could have easily resulted in just another unnecessary background story filling in franchise gaps (and yes, it definitely includes some subtle references for fans). However, instead of taking that simpler route, director Arkasha Stevenson and her courageous lead actress Nell Tiger Free, who plays young nun-in-training Margaret, fully commit to their vision.
Consequently, they collaboratively create a film deliberately designed to overwhelm you with pure terror, not merely trigger nostalgic feelings about the original. Crucially, the typical, overly respectful treatment often seen in legacy sequels or prequels is noticeably minimized here. Instead, Stevenson draws far less inspiration directly from the first “Omen” movie itself. Instead, she channels the unsettling atmospheres and themes found in disturbing classics like “Possession,” “Twin Peaks: Fire Walk With Me,” and the groundbreaking religious/pregnancy horror film, “Rosemary’s Baby.”
Psychological Terror Tactics
Similarly, just like the troubled female protagonists in those influential films before her, Margaret slowly becomes aware that something profoundly sinister and evil surrounds her daily life. Yet, frustratingly, everywhere she actively turns for help or confirmation, she only encounters skepticism and dismissal. This constant invalidation systematically makes her genuinely question her own sanity and perceptions, intensifying her isolation and fear. Therefore, Stevenson masterfully builds tension through Margaret’s psychological torment, making the audience share her creeping dread and helpless frustration.
Masterful Horror Reveals
Furthermore, Stevenson subjects her audience to several extended, deliberately paced sequences of escalating horror, essentially forcing viewers to confront their mounting fear directly without escape. Importantly, within these prolonged moments, she possesses an expert understanding of precisely what disturbing details to show clearly and what unsettling elements to strategically conceal for greater impact. For instance, in the graphic scene when a nun gives birth to a demonic entity, Stevenson does not only rely on close-up shots of the woman’s agonized facial expressions. Through vivid and explicit representation, she gives detailed descriptions of human reproductive anatomy, even to the extent of depicting a grotesque claw violently breaking through her vagina that is an unforgettable picture of horror.
Conversely, later, when the evil force growing inside Margaret causes her to suffer violent, uncontrollable convulsions right on a public street, the camera remains tightly focused on her thrashing body. Moreover, because it’s filmed with a shaky handheld technique, the frame physically quivers along with Margaret’s spasms, effectively making you recoil and squirm uncomfortably in your own seat. However, the scene depicting Margaret’s forced impregnation? There, Stevenson instinctively understands that showing everything explicitly would lessen the horror. Instead, she wisely employs only disturbing hints and suggestive glimpses of the violation, proving that sometimes, what the audience imagines based on partial information is infinitely more terrifying than seeing the full atrocity. (Devin Meenan)
5. Chime
Unconventional Horror Format
Interestingly, one of the absolute scariest movies released this year happens to utilize an extremely modern and unusual distribution method: it was made available as an NFT. To be completely straightforward, I must admit that I personally still don’t fully grasp or understand precisely what an NFT actually entails. Furthermore, honestly, I don’t particularly care about the technical details surrounding NFTs either (though you can locate additional practical information regarding how to actually watch this specific film by following the link provided earlier). But for me, and I believe the same should go for horror buffs, the most fundamental thing is that “Chime” is born from the genius mind of the widely acclaimed Japanese director Kiyoshi Kurosawa.
Simply put, Kurosawa is the innovator of the genre and thus the only one who can be officially recognized so far. He is the creator of a few horror pieces, especially the eerie and the most impactful ones like the disconcerting “Pulse” and the dazingly shadowy “Cure”. Therefore this horror-drama film, just as those two outstanding films before it did, brilliantly conveys the messages of the increasing awfulness of psychological fears. Moreover, it envelops viewers within an incredibly thick, suffocating, and oppressive atmosphere that genuinely feels capable of smothering you slowly, creating an almost physical sensation of terror throughout its runtime.
Pervasive Sense of Wrongness
Additionally, every single room and location featured within this relatively short film – it runs for approximately 45 minutes total – feels intensely and undeniably haunted. Importantly, it’s not haunted specifically by traditional ghosts or spectral figures, at least not in the conventional sense. Rather, each space feels deeply haunted by a powerful, overwhelming, and ever-present sensation that something fundamental within the world presented is profoundly, irrevocably, and horrifyingly wrong. This pervasive feeling permeates every scene, creating a constant state of low-level anxiety that builds relentlessly. Mutsuo Yoshioka delivers a compelling performance as a seemingly ordinary culinary instructor whose stable life is violently disrupted. Specifically, one day during class, a troubled student approaches him privately to share a bizarre and disturbing experience.
Unraveling Reality
This student confides that he keeps hearing a strange, unexplained “chime” sound everywhere he goes, which he describes unnervingly as sounding “like a scream … but not human.” Then, shockingly and without any further warning, the student proceeds to grab a nearby butcher knife and stab himself brutally in the neck right in front of the horrified teacher and the entire stunned class. That shocking moment was the trigger that leads to the teacher’s troubled perception of reality and his previous orderly world getting more and more chaotic, inexplicable, and deeply disturbing. As a result, the movie portrays in a detailed and frightening way an experience that is not only deeply depressing but also one that the viewer cannot easily get out of their mind even after it has ended, like the remains of a very bad and unforgettable nightmare.(Chris Evangelista)
4. Longlegs
Marketing Hype Reality
“Longlegs” definitely faced a significant challenge right from the start because the movie’s extensive marketing campaign constantly promoted it as potentially one of the absolute scariest films ever created. However, importantly, the movie does ultimately deliver powerfully on that ambitious promise, just not necessarily in the straightforward manner that traditional horror fans might naturally anticipate or expect. Specifically, “Longlegs” isn’t densely packed with sudden, loud jump scares designed to make you leap from your seat. Furthermore, there isn’t a classic movie monster physically hiding and waiting ominously around every dark corner throughout the story. Instead, the profound and lasting scariness of “Longlegs” primarily stems from its masterful cultivation of an ever-increasing, suffocating sense of deep, psychological dread. This pervasive feeling relentlessly builds until the narrative ultimately pulls the metaphorical rug completely out from underneath the audience right when everything seems resolved, leaving viewers profoundly unsettled long after the credits roll.
Creeping Dread Setting
The film establishes a seemingly mundane yet peaceful winter landscape in Oregon, characterized by quiet snowfall and ordinary small-town life. Nevertheless, this tranquil atmosphere is repeatedly and violently shattered by the disturbing actions of an unsettling serial killer known only by the eerie nickname Longlegs. This character is portrayed with unnerving intensity by an effectively unhinged Nicolas Cage. Consequently, Longlegs initiates a deeply twisted and dangerous game of cat and mouse specifically targeting the inexperienced rookie FBI agent, Lee Harker, played compellingly by Maika Monroe. As Agent Harker diligently works to slowly piece together the fragmented clues surrounding Longlegs’ identity and motives, her investigation doesn’t bring clarity or relief. On the contrary, each new discovery only intensifies her profound feelings of unease and encroaching terror, making her feel increasingly isolated and vulnerable within the vast, cold landscape.
Unpredictable Mundane Terror
While certain deliberate elements within “Longlegs” intentionally amplify the sheer creepiness of Nicolas Cage’s performance as the pale-faced, unnerving killer, sometimes even generating dark, uncomfortable laughs from the audience, this stylistic choice also feels like a necessary psychological coping mechanism. Essentially, the humor arises defensively in response to confronting a character so fundamentally chaotic and unpredictable. To truly grasp the visceral fear Longlegs embodies, simply imagine yourself as an ordinary, unsuspecting pharmacist forced to interact politely with him across the prescription counter during a routine workday. Alternatively, picture yourself standing alone and quiet in your own snowy front yard, only to have this bizarre, menacing figure suddenly approach you without warning. These hypothetical everyday encounters with such profound, inexplicable strangeness are undeniably and deeply terrifying precisely because they violate the perceived safety of normal life.
Shocking Supernatural Twist
Then, significantly, the film introduces a major, game-changing narrative twist that dramatically escalates the fear to an entirely new and unforeseen level. This revelation directly connects Agent Lee Harker’s own deeply buried personal trauma to the extensive, decades-long case file concerning Longlegs’ horrific crimes, creating a disturbing personal link she never anticipated. Furthermore, the introduction of a genuine supernatural element during the intense third act completely knocks both Lee and the audience off-balance, shattering previous assumptions about the nature of the evil at work.
The brutal consequences of this supernatural force manifesting are shown without restraint. Consequently, it becomes horrifyingly clear that the evil orchestrating Longlegs’ actions is far more ancient, powerful, and insidious than anyone, including the viewer, could have ever imagined. Ultimately, and most devastatingly, this pervasive evil doesn’t just persist; it actively and decisively triumphs by the film’s grim conclusion, leaving no sense of victory or safety. (Ethan Anderton)
3. Red Rooms
Disturbing Societal Portrait
It remains relatively rare to encounter a movie that genuinely feels steeped in real, palpable evil, but Pascal Plante’s “Red Rooms” undeniably achieves this unsettling effect. This film functions as a razor-sharp, deeply critical examination of humanity’s escalating, often unhealthy obsession with true crime stories. Furthermore, it meticulously explores the complex issue of culpability within the criminal justice system itself. Simultaneously, it delves into our troubling collective tendency to completely lose our sense of self within anonymous online communities. Consequently, the cumulative effect of these intertwined themes overwhelms the viewer with such profound, immeasurable dread that finishing the film feels like walking away carrying a newly acquired, heavy curse.
Juliette Gariépy delivers a powerful performance as Kelly-Anne, a professional model whose life becomes dangerously consumed by a disturbing fixation. Specifically, she obsesses over the ongoing trial of a notorious serial killer infamous for uploading horrific footage of his actual crimes onto the dark web. When she isn’t actively posing for fashion cameras during her modeling work, she dedicates nearly all her remaining free time to two specific activities: trading cryptocurrency and intensely playing online poker. Crucially, she pursues these not for pleasure or profit, but strategically to earn the substantial funds required to gain illicit access to the killer’s private, monstrous home movies circulating online.
Immersive Sound Terror
Critically, director Pascal Plante consciously avoids the common trap of exploiting the true crime subject matter for cheap, graphic thrills. Instead, he masterfully generates terror through alternative, psychological means, primarily utilizing a profoundly disturbing and inventive sound design. This deliberate auditory approach forces the audience’s own imaginations into overdrive, conjuring horrors far worse than anything explicitly shown on screen. Consequently, the true, lasting horror of “Red Rooms” doesn’t actually reside within the visual depiction of the serial killer’s vile acts themselves. Rather, the film’s deepest terror emerges from witnessing firsthand how the vast, isolating nature of the internet can utterly consume a person’s entire being. We see Kelly-Anne reach a point where her only meaningful interactions with the world and people around her become fundamentally rooted in a detached, dehumanizing voyeurism.
Voyeurism’s Existential Horror
“Red Rooms” pointedly lacks traditional jump scares, deliberately choosing a more insidious method of instilling fear. Essentially, Plante treats the entire audience like the proverbial frog slowly boiling to death in a pot of gradually heating water – the danger creeps up imperceptibly until escape is impossible. Therefore, this film transcends being merely a character study about one individual’s dangerous obsession. Fundamentally, it serves as a bleak, existential examination of modern society’s underlying mechanics.
The movie suggests, disturbingly, that our societal structures may only continue functioning smoothly if we, as individuals, genuinely stop caring about each other on a deep, human level. It proposes that we must accept emotions not as authentic experiences, but merely as performative displays for social consumption. Ultimately, while “Red Rooms” itself isn’t inherently evil, its chilling power lies in its ability to make you believe, by the final frame, that at our very core, every single one of us probably possesses that terrifying potential for darkness. (BJ Colangelo)
2. Oddity
Unforgettable Opening Impact
Damian McCarthy’s horror film “Oddity” launches with what is arguably one of the absolute strongest and most gripping opening sequences witnessed in any film released throughout 2024, regardless of its specific genre category. Right from these incredibly hooky, attention-grabbing initial moments, the movie seizes the viewer firmly and then steadfastly refuses to release its intense grip for the entire duration. Its primary location – a large, isolated house situated deep within the lonely Irish countryside, currently undergoing extensive, disruptive renovations – instantly establishes a sufficiently eerie and unsettling atmosphere. This pervasive creepiness is further amplified by the sudden, unexplained appearance of a deeply strange man who arrives one night.
Specifically, this unsettling visitor informs the woman living alone in the house that he personally observed a complete stranger stealthily slip inside the building while she wasn’t attentively looking. Consequently, when that same woman subsequently winds up dead under highly mysterious and suspicious circumstances shortly afterward, her identical twin sister, who significantly happens to possess genuine mediumistic abilities, becomes deeply involved. She strongly suspects that the complete, horrifying truth surrounding her sister’s death has not been fully revealed or understood by the authorities. Therefore, driven by grief and suspicion, she slowly, determinedly begins her own perilous personal investigation into the terrifying events.
Masterful Horror Elements
Moreover, McCarthy skillfully employs a truly fantastic and memorably disturbing central horror visual: a life-sized, meticulously carved wooden statue depicting a man. This imposing figure remains unnervingly, perfectly still and motionless throughout much of the film… until the crucial moment arrives when it shockingly, terrifyingly does not. Moreover, the movie is characterized by having one of the best-executed, extremely effective jump scares of the year as the notable scary instance takes place right inside a tent that is not only cramped, but also very flimsy.
Using these details built with care and a constant feeling of fear running through it, McCarthy weaves a deeply haunting and highly disturbing folk horror tale. The total and manner of presentation plus the gripping nature are the triggers of the story’s electric power, so that it seems almost as if the narration can be just as effective when it is told orally to a group of people around a campfire with a dark sky above. The film builds towards a conclusion that feels incredibly satisfying and strangely inevitable in the very best possible way, providing a sense of dark closure.
Near Perfect Execution
However, if the movie’s final few seconds had avoided including one slight, arguably unnecessary visual misstep – specifically, the decision to explicitly show something on screen that would have been significantly spookier, more chilling, and far more effective if it had remained hauntingly unseen and left purely to the audience’s terrified imagination – then there exists a very strong possibility that “Oddity” could have secured the coveted number one position on this particular ranking list of the year’s scariest horror films. (Ben Pearson)
1. Nosferatu
Universal Fear Foundations
Scares within horror movies can sometimes function very much like intensely personal fetishes, meaning they often rely on highly specific, individualized triggers designed to provoke a strong reaction from a particular person. Yet, importantly, there also exist truly universal types of scares, similar to how certain basic acts of physical intimacy generally excite most human beings. For instance, just as the vast majority of people naturally feel excitement through kissing or simple touch, a powerful combination involving the completely unknown and the deeply uncanny strikes directly at fears embedded within every single person’s core psychology.
Essentially, if we genuinely do not know or cannot possibly understand what is actively threatening us, and simultaneously, if this menacing thing seems utterly impossible that it should even exist in reality, yet our own senses are screaming that it absolutely, unequivocally does exist right before us… well, frankly, there is hardly any more fundamentally frightening combination imaginable for a human mind to confront.
Masterful Sensory Clashing
Robert Eggers brilliantly and terrifyingly displays that exact, potent combination of the unknown and the uncanny throughout his ambitious new film, “Nosferatu.” Not only does this movie re-imagine the classic vampire mythology that Bram Stoker originally created and F.W.visually adapted.Murnau decades ago, but it also, quite significantly, does so by giving the myth a fresh and powerful infusion of warm, red blood of an animal that makes it seem newly alive and very dangerous. Moreover, the movie does everything on purpose that would make the viewer feel most shocked and the least comfortable. The activities of such confrontations include a film that has been shot in full color but is very plain and dark and has very dim and monochromatic images.
Additionally, sudden, jarring jump scares frequently erupt immediately following moments of quiet sensuality or intimacy. The film also showcases characters behaving in wildly histrionic, emotionally explosive ways, yet sets this against the backdrop of a historically repressed, rigidly controlled time period. Moreover, it disturbingly eroticizes themes of emotional manipulation, abuse, and parasitic murder. Crucially, above all else, nearly everything involving Bill Skarsgård’s transformative, chilling performance as Count Orlok contributes massively to this discomfort. The well-known actor’s familiar appearance and even his recognizable voice are completely altered into something profoundly disturbing and unsettlingly unrecognizable, creating a deeply alien presence.
Inescapable Dread Atmosphere
A thick, palpable sense of utterly inevitable doom and dread permeates the entire film, meticulously established right from the haunting, ominous first minutes and relentlessly maintained until the devastating conclusion. Consequently, this pervasive atmosphere acts like the final, horrifying layer of icing on an already terrifying cinematic cake. Therefore, as the movie’s own marketing taglines accurately suggest, there exists absolutely no respite, no safe moment, and no escape from the overwhelming terror conjured by “Nosferatu.” Ultimately, your only available choice as a viewer is to fully surrender and succumb completely to its nightmarish power. (Bill Bria)
