October seems like the perfect month to enjoy terrifying and creepy movies. Although, of course, this is a genre that not everyone likes. Horror movie plots that explore the more terrifying aspects of the human mind and the supernatural often have a specific audience. Particularly when your favorite topics plunge into the darkness of the mind, body, or uncomfortable realms of the unknown. Topics that most of the audience usually disagree with.
But even so, from time to time, some works go beyond fan groups to reach a wider audience. Especially, when their topics and ways of understanding what causes fear are complex and complex. In addition to screamers and sound effects, some horror films are not just philosophical and sophisticated analysis of fear. At the same time, they show that cinematic horror is much more than just a collection of goosebump-inducing commonplaces.
We leave you with five horror movies that you can enjoy even if you are not a fan of horror stories. A collection of strange jewels that plunge into dark stories with skill, intelligence and good taste. Just the kind of thing a curious movie buff will want to see, despite not enjoying the movie genre in its entirety.
Trilogy street of terror
Trilogy street of terror, written by Lee Janiak, took on the difficult task of adapting the writings of writer R. L. Stine. At the same time, embrace the author’s universe without singling out any particular book. After all, this is a journey through a unique look at the chilling scenarios that the author came up with.
Horror films not only achieve this, but also create a vision of fear that intelligently refers to the great films of this genre. everything from entertaining vision of suspense and tinged with black humor. The combination allows you to create a version of a light horror film that is interesting in its way of adapting large themes to certain codes. From a direct tribute to the great slasher from the eighties to popular horror. The trilogy crosses the perception of fear as a set of ideas that interact with each other to analyze human nature..
With an intelligent vision of good and evil, Janiak uses classic horror movie codes to delve into more sensitive topics. Gradually, films divided into different historical periods complement each other. Finally, the central story is presented as a unique setting built with brilliant execution. The result is a trilogy that effectively analyzes good, evil and horror without great ambition.
Elderscertain horror movie
Andy Fetcher takes on the genre hagsploitation (terror based on old age and, in particular, on old women) and takes it to another dimension. Disturbing, pessimistic and tinged with dystopia, the film is a heartbreaking and gritty tour from an unusual perspective on the macabre. In the not-too-distant future, the European population has become old enough to be a problem. But more than that, also in a sinister look at the worst and darkest human appetites.
Elders brings big and heavy existential questions about loss, loneliness and rootlessness to the horror genre scene.. In addition, he turns his story into a dizzying journey through collective fears that are rarely portrayed in cinematic stories. Fetcher turns his film into a stunning artefact in which close-ups show the ravages of age. But, at the same time, what lies behind them. A happy blend of fear, anguish, and desperation that makes the film awkward and, at times, disgustingly weird.
With a disturbing end Elders This is a unique work in which fear is associated with the primitive. Everything is under the cruel view of old age as the boundary space between sanity and survival instinct.
Should
Director David Robert Mitchell has already demonstrated his ability to analyze the hidden horror in The myth of the American sleepover, 2010. Perhaps that is why the recreation of the unusual horror scenario is so spectacular in his immediate subsequent work. AT Should explores the notion of existential emptiness and the horrors lurking in the shadows. At the same time, it adds a supernatural element that surprises with its completely unusual quality.
The film reflects not only fear. It also analyzes something more ambiguous than connects the horrors lurking in everyday life with the essence of the inexplicable. For Mitchell, evil has no face, motive, or even a name. Thus, it passes through history as a highly efficient mechanism of destruction. In fact, the script plays with the perception of the epidemic. An evil that is transposed from an almost primal background and focuses on the possibility of death as punishment.
A being that never actually manifests in its original form has the properties of a poison. A vision of pure degradation that runs counter to thinking about terror as a consequence of a more serious act. AT Should fear is a look at the abstract, bewildering and terrifying that lies behind the human face.
peoplehorror movie hard to understand
horror in People, Stephen Karam is not so easy to understand. The film plays with the gray space of belonging to two different genres at the same time, choosing neither. From drama to a terrifying shade of human emotion. The production analyzes the chilling character from a very hard and cruel look at inner evil.. In addition, pain and suffering have become a tangible and poisonous quality.
In fact, in the film, everything begins with a family reunion, as in any other. The one that all members attend because they have no other choice, and which they would no doubt prefer to avoid. But in the end, they sit down to a table – or, in the worst case, confront each other – in the middle of a rarefied atmosphere. Gradually, the argument connects ordinary elements with formal horror codes until an oppressive sense of lurking danger is created. Is this really a prologue to a supernatural event, or is the unsettling, twisted sense of suffering a more violent idea?
But the director, who directed the 2016 Tony Award-winning film adaptation of his play, has a more difficult question. Asking questions about whether all the anger, frustration, fear, and perceived violence it contains can become a threat. He succeeds, and in his last scenes People demonstrates to what extent everyday life can turn into a scenario of a terrifying nightmare.
the addams familyhorror movie classic
The dark family that jumped from the New Yorker to television in the 1960s made its way to cinema with a lavish adaptation three decades later. Barry Sonnenfeld has managed not only to give his very strange universe a look, but also to give it a dark charm that has become iconic. Starring Anjelica Huston and Raul Julia. blinded by his vision of the sinister, and especially by his twisted sense of humor.
But it will be its sequel, featuring a brilliant performance by Joan Cusack, that will take the Addams saga to a new dimension. The film delved into its main themes, but also deftly played with horror elements. The result is a brilliant satire of the American way of life, collective anxieties, and even thriller expectations
For history? Christina Ricci’s brilliant performance as Wednesday marked an entire era and whose Millennium version will be released as a Netflix series.
