#10 cloverfield lane icons

[slashericons]

Michelle — 10 Cloverfield Lane (2016)

[monstersedit]

mary elizabeth winstead as michelle 

10 Cloverfield Lane (2016)

[steveharrington]

i love your taste in movies, do you have any recommendations for scary movies that are on streaming right now? i just moved and i'm planning to get a library card this weekend but until then i need something to tide me over :)

oh thank you!!! yes! this is just from taking a look around at some of the horror streaming guides i’ve seen online so hopefully these are accurate to which service they’re said to be on!

on netflix:

•train to busan (2016) is an all timer for me that i really think is just a masterpiece. even if you’re a little burned out on zombie media, i still say give train to busan a chance because it does zombies in a way that felt really refreshing and different. the characters in this movie are so well done and it makes me genuinely emotional every time i watch <3

•as above, so below (2014) is such a fun movie like omg….i simply was having the time of my life watching it. really leans into as many scares as it can possibly think of, doesn’t take itself or its subject matter too seriously, genuinely gives me sweaty palms sometimes with the claustrophobia of the paris catacombs. also has the rlly cute guy from cloverfield/super store who i have a big crush on

•some honorable mentions: zombieland (2009) is forever a comfort movie for me, scary stories to tell in the dark (2019) did a genuinely great job imo of adapting the book series, and pearl (2022) is just a great time

on HBO max:

•poltergeist (1982) is an underrated fav of mine <3 weirdly i think of it as like a family friendly horror movie? like i think you could sit down kids in front of poltergeist and they’d generally be okay, which i love and find so compelling in movies that genuinely are scary but also kinda work with younger viewers. feat. the iconic zelda rubinstein

•trick r treat (2007): THEEE halloween movie. its literally a movie ABOUT halloween and about the love of the holiday and the season. genuinely makes me feel so emotional about halloween and the beautiful lovely meaningful holiday it is for so many of us. just a fun campy time, everything ties together in such a clever way, and sam is a little baby. what more could you want?

•honorable mentions: of course the scream franchise (1-4) are classics and so worthy of rewatching, and i’ll recommend open water (2003) because to me it is absolutely terrifying and i find myself thinking about it very often

on hulu:

•the omen (1976) always hits for me. i love this movie and find it so effective in its horror. i LOVE a creepy kid. a bit of the omen trivia: in the final shot, damien wasn’t originally intended to be smiling. he was supposed to look dead ahead at the camera. but the actor was told to be serious and look stern, which made him giggle, so the smile at the end is genuine in that he was trying to suppress a laugh. they kept it because it came across so sinister and tonally perfect in the context of the movie :)

•sea fever (2020) listen no one EVER talks about this movie but i was blown away by it. ocean horror is one of my moms fav subgenres so if we can find a horror movie about the ocean you better believe we will be watching. i thought the concept of this movie and its monster (? if you can call it that) were so fresh and original. compared to its predecessors like leviathan or deep star six, i honestly think sea fever is more effective in its scares

•honorable mentions: hulu has so many good choices! alien (1979) and the fly (1986) are obviously beloved classics for a reason. also if you’re looking for a series, castle rock is near and dear to my heart and is very well done

on prime:

•hell house llc (2015) is another one of those classic Halloween movies to me like it truly is a love letter to the holiday…mwah. found footage is my fav subgenre and this movie does it very well. it has one of the most effective scares that truly took my breath away upon first watch and stuck with me ever since

•10 cloverfield lane (2016): ohhh the cloververse my beloved….i often speak highly of cloverfield (2008) because it’s one of my absolute favorite movies of all time, but i don’t as often talk about 10 cloverfield. not sure why tbh because i love it as well! holy FUCK john goodman is scary in this. it truly sets up a horrifying situation, does so much with a small limited environment, and again john goodman has me shakin in my boots. you don’t have to have seen cloverfield to watch this one! you can watch em out of order no problem

•honorable mentions: of course the thing (1982) is immaculate and gets me every single time. just getting reports right now that lisa frankenstein (2024) is already on prime, HIGHLY recommend, wish i could go back in time to the day i watched this in theaters alone in a new windbreaker i had just thrifted and felt so at peace

honorable streaming service mention: shudder is worth a subscription if you’re wanting to go all in on horror this halloween season. it’s got such a fun eclectic collection and amazing movies like late night with the devil (2024) and series like history of horror

[wanderingnork]

Horror Movies: Family Dinner Scenes More Uncomfortable Than the One in Hereditary

Phew, that is a mouthful of a title! But also it's exactly what this rec post is about. The iconic family dinner scene in Hereditary ("I am your MOTHER!") is often cited as one of the most uncomfortable dinner scenes in film. But I'd contest that it's not THE most uncomfortable...as evidenced by the following five scenes.

The Boogeyman (1980): A pair of siblings, victims of childhood abuse, struggle to heal as adults...but that's a bit hard when there's a very real ghost on their trail. There's a family dinner scene in this which will ring true to anyone who's ever suffered through a dinner where everyone talks cheerfully about how delicious the food is while saying absolutely nothing about the mental breakdown someone is suffering right there over the checkered tablecloth. It felt a lot more real to me than the glowering, ominous rage of Hereditary's scene.

Texas Chainsaw Massacre (1974): A group of foolish college students run afoul of a local cannibal family. In this case, the family having dinner are the villains of the piece, and the guest of honor is also the main course! It's uncomfortable for EVERYONE involved. This recommendation comes with a caveat: an actress was REALLY HARMED during that scene. It's a deeply unpleasant moment when the screams go from "acting" to "real." In addition, the conditions during filming were terrible all around. So...this is on the list for being what it is, not necessarily because I enjoyed the movie.

Coraline: A child accidentally enters another dimension with an Other Mother and an Other Father, who want to give her everything her heart desires...if only she'll let them sew buttons on her eyes and stay there forever. Manages to pull off several successful and increasingly uncomfortable dinner scenes, from the green and slimy dinner in the real world to the ominously enchanting first dinner all the way to the Other Mother's final omelet. Bonus points for all the food AND DRINK being done in fluid, vibrant stop-motion animation.

A Quiet Place: A family survives an apocalypse on a farm, hiding from alien monsters that hunt by hearing. The dinner scene at the beginning of the movie is utterly haunting. Although the family isn't at each other's throats, the dead silence and slow motion as they serve food, say grace in sign language, and eat off of plates made of leaves in an underground bunker is chilling. Their fear is obvious. Despite the gentle soundtrack and soft colors, there is nothing calm or serene about it.

10 Cloverfield Lane: A dinner scene performed by a found family, they have a delicious spaghetti dinner in a bunker as an apocalypse rages overhead. The parody of normalcy and calmness throughout, the volatility of every word, and the uncertain terror of what comes next kept me on the edge of my seat. The kicker here: the real fear isn't of what's going on at the surface, but of other people sitting cheerfully at the table.

Food for thought (ha): Do you think these scenes are actually more uncomfortable than the one in Hereditary, or only a different kind of discomfort? What is it about horror around the dinner table that hits so deeply? There are many other movies that use this setting for drama, even beyond horror--why is this such a common way to build narrative tension? Which of these family dinners would you least want to attend?

(Previous Recommendations)

[worthless-weight-in-gold]

TEN DIFFERENT FAVORITE CHARACTERS FROM TEN DIFFERENT FANDOMS

Nanno - Girl From Nowhere

Waymond Wang - Everything Everywhere All At Once

Nausicaä - Nausicaä

Hobie Brown - Across the Spiderverse

Michelle - 10 Cloverfield Lane

Sailor Pluto - Sailor Moon

Theo Cain - Haunting of Hill House

Pryde Royale Ivy - The Most Heretical Last Boss Queen Who Will Become the Source of Tragedy Will Devote Herself for the Sake of the People

Clawdeen Wolf - Monster High

Coyote - Gunnerkrigg Court

+ icons i made for nanno, pryde, and coyote for no reason

tagged by: @mutatedangels tagging: steal it from me ヽ(* ˃ ωゞ

[laresearchette]

Saturday, February 18, 2023 Canadian TV Listings (Times Eastern)

WHERE CAN I FIND THOSE PREMIERES?: WELCOME TO VALENTINE (W Network) 8:00pm BLACK + ICONIC (BET Canada) 8:00pm

WHAT IS NOT PREMIERING IN CANADA TONIGHT: BACK TO SCHOOL WITH GUS JOHNSON (Fox Feed) A ROSE FOR HER GRAVE: THE RANDY ROTH STORY (TBD - Lifetime Canada)

NEW TO AMAZON PRIME CANADA/CBC GEM/CRAVE TV/DISNEY + STAR/NETFLIX CANADA:

AMAZON PRIME CANADA CLOVERFIELD 10 CLOVERFIELD LANE

CRAVE TV POKÉMON ANIMATION ON CRAVE — includes Pokémon: The First Movie, Pokémon The Movie: I Choose You! and more

NHL HOCKEY (SN) 2:00pm: Avalanche vs. Blues (CBC/SN) 7:00pm: Habs vs. Leafs (SN360) 8:00pm: NHL Stadium Series: Capital vs. Hurricanes (CBC/SNPacific) 10:00pm: Flyeres vs. Canucks (SN) 10:00pm: Rangers vs. Flames

CURLING (TSN/TSN4) 4:00pm: Scotties Tournament of Hearts: Pool Play (TSN/TSN4/TSN5) 9:00pm: Scotties Tournament of Hearts: Pool Play

W5 (CTV) 7:00pm: Leg Up; Amazing:  Why men are taking dramatic and painful steps to surgically become taller; "The Amazing Race" champion defied the odds by not only winning, but by staying alive.

UNDERGROUND RAILROAD: THE SECRET HISTORY (CTV2) 7:00pm: Archaeologists uncover evidence of a Freedom Seeker community in the swampy marshlands between Virginia and North Carolina; in Maryland, experts investigate artifacts that may confirm the location of Harriet Tubman's childhood home.

PIL'S ADVENTURES (Crave) 7:30pm:  Pil is a spunky vagabond girl who witnesses the sinister Regent Tristain casting a spell on Roland, the heir to the throne. She realizes it's now up to her to find a way to reverse the spell and save the prince's life.

NBA BASKETBALL (SN1) 8:00pm: NBA All-Star Saturday Night

AUNTIE JILLIAN (CTV) 8:00pm: Warren becomes uneasy exploring past lives and his future with a tarot and astrology psychic consultant; Jillian and Warren start to experience empty nest syndrome as Milan gets set to leave on an extended trip.

ICE ROAD KILLER (Lifetime Canada) 8:00pm:  During a road trip to a remote northern cabin, a mother and her teenage daughter pick up a young hitchhiker who turns out to be a thief fleeing a coldblooded killer, only to become his next target.

FALL INTO WINTER (Super Channel House & Home) 8:00pm:  Life quickly changes for Kerry as she has to work alongside her high school nemesis, Brooks, an old friend of her brother's who unexpectedly buys into Kerry's family-owned candy shop.

THE WOMAN KING (Crave) 9:00pm: In the 1800s, Gen. Nanisca trains a group of all-female warriors to protect the African kingdom of Dahomey from a foreign enemy that's determined to destroy their way of life.

GIGI & NATE (Starz Canada) 9:00pm:   A young man's life gets turned upside down when he suffers a near-fatal illness and is left a quadriplegic. Moving forward seems nearly impossible -- until he gets an unlikely service animal named Gigi, a curious and intelligent capuchin monkey.

THE LAST MARK (Super Channel Fuse) 9:00pm:  After a young woman witnesses a mob hit, a seasoned assassin and his psychotic partner must track her down before she turns them in. However, she soon proves to be the hardest mark to kill.

[tuppencetrinkets]

By clicking HERE you will be taken to a mediafire download for #7,447 icons from the movie “10 Cloverfield Lane.” These icons were made by me and have been cropped to 200x100 and have been slightly sharpened but are otherwise unedited.  They have not been sorted for usability, clarity or face claims.

You can find the sorted icons for this movie (if they exist) by clicking HERE and you can find the caps for this movie (if they exist) by by clicking HERE.

This content is free for anyone to use or edit however you like; if you care to throw a dollar or two my way for time, effort, storage fees etc you are more than welcome to do so via my PAYPAL.  Please like or reblog this post if you have found it useful or are downloading the content within.  If you have any questions or you have any problems with the links or find any inconsistencies in the content, etc. please feel free to drop me a politely worded message via my ASKBOX (second icon from the top on my theme!).

[editsjedi]

like or reblog if you save

[moontryall]

[dead-weird]

❤️‍🔥50 Essential Horror Movies ❤️‍🔥

1.       10 Cloverfield Lane – 2016 It’s not often a sequel is better than its predecessor. But this film is one of the most anxiety-inducing pieces of cinema, that somehow manages to make John Goodman scary.

2.       A Girl Walks Home Alone at Night – 2014

Everyone’s favourite Persian vampire film.

3.       Alien – 1979 There’s too many reasons why this is a horror classic. It’s completely perfect.

4.       American Mary – 2012 I’ve got massive respect for the Soska Sisters. This film is them to a T.

5.       Annihilation – 2018 I love everything Alex Garland does. So when I say that this is my favourite creation of his, it means something. Part 1 of the Natalie Portman Body Horror Double Feature.

6.       Apocalypto – 2006 Although not technically a horror film, there is a lot to learn here about true fear.

7.       A Quiet Place – 2018 A movie without any (or barely any) dialogue that made people appreciate how much of horror comes from sound.

8.       Audition – 1999 J-Horror classic that suits a lover of slow-paced arthouse body horror.

9.       Black Swan – 2010 Part 2 of the Natalie Portman Body Horror Double Feature.

10.   The Blood on Satan’s Claw – 1971 Folk horror has been having a revival for the past few years, and this film showcases its British roots.

11.   The Cabinet of Dr Caligari – 1920 One of the first horror movies. The scenery, the expressions, the cinematography – it will teach you so much.

12.   Candyman – 1992 The sauvest ghoul who ever graced screens.

13.   Carrie – 1976 Stephen King’s first book about the telekinetic teen, who was immortalised on the silver screen by Sissy Spacek.

14.   Christine – 1983 Yeah, so I like Stephen King. Who doesn’t? Christine might be cheesy and bonkers to some, but I used to watch it as a little kid and it’s stuck with me.

15.   The Color Out of Space A modern adaptation of an H.P Lovecraft short story that can help horror fans understand the “rules” (or lack thereof) that surrounds cosmic horror.

16.   Crawl – 2019 The reason for this being on here: it’s hard to find a serious creature feature nowadays. I call this the “Sharknado Effect.” Has anyone else coined that? *quick google search* Yes, they have. Still stands, though.

17.   Cube – 1997 Some horrors are so simplistic, they’re boring. Others are simplistic and still have you on the edge of your seat. This is the later. I rate it above Saw any day.  

18.   A Cure for Wellness – 2016 This film has it all: claustrophobia, dentophobia, and even cheliphobia. 

19.   Duel – 1971 If you think a truck chasing a guy in a car for a whole movie isn’t scary, you’re right it probably isn’t. Unless that movie is Duel.

20.   The Endless The cosmic horror that ticks every box for me – funny, realistic characters; a solid plot; cults; interdimensional beings; spooky shit that makes me wanna cry; time fuckery. I can’t sing its praises enough.

21.   Evil Dead II – 1987 Evil Dead I and Army of Darkness are great, but this one’s my favourite.

22.   The “Fear Street” Trilogy - 2021 Teen horror is good, actually. 

23.   The Fly – 1986 Not only is it horrific, its tragic. The magic combination of a love story, body horror, and Jeff Goldblum. 

24.   Flatliners – 1990

From Joel Schumacher – this film could almost be thriller if it weren’t for the supernatural elements, but deserves a place on this list for a great concept that made a fantastic film.

25.   Frightmare – 1974 Pete Walker is a lesser known British director who made gory exploitation films. Frightmare is like a weird slice of history for me, and that’s why I’m into it.

26.   From Dusk Til Dawn – 1996 Changing the genre of your movie halfway through is a bold move. It totally pays off here.

27.   Ginger Snaps – 2000 Gothic werewolf movie about periods. That’s all you need to know. 

28.   Halloween – 1978 One of the most iconic slasher films.

29.   His House – 2020 Horror is often used as escapism, but some films look into the real world horrors that people face. His House does this with the trauma experienced by refugees.

30.   In the Mouth of Madness – 1994 Part of John Carpenter’s Apocalypse Trilogy. Lovecraftian to the core – small New England towns, eldritch beings, doom etc.

31.   Invasion of the Body Snatchers – 1978 The Fly and this film go hand in hand for me – and not just cause they both have Jeff Goldblum.

32.   It – 2017 Everyone was pretty blown away by how good (and well-cast this film was.) The second installment wasn’t as great, but they kept up with the fantastic casting so it’s easily enjoyable still. 

33.   Jennifer’s Body – 2009 This film got a lot of hate that arose from a bad marketing campaign. Luckily, it’s starting to push back against its bad reputation, showing people it’s actually a really good film.

34.   Lamb – 2021 Doing a completely original folk horror (and even horror in general) is hard nowadays, but this Icelandic production managed to do it.

35.   Last Night in Soho – 2021 Edgar Wright’s first non-comedic horror film. Beautiful, gripping and an incredible cast. 

36.   The Love Witch – 2016 Probably unlike any other film you’ll see. 

37.   The Lure – 2015 A horror filled musical with mermaids.

38.   Prevenge – 2016 A pretty unique concept on a whole that director/writer/star, Alice Lowe, conceived and shot while she was pregnant.

39.   Raw – 2016 Everyone’s favourite cannibal film – you had your time, Silence of the Lambs.

40.   Relic – 2020 A terrifying look into our futures through the lens of aging family members.

41.   Ringu – 1998 You can tell something resonates with people when it’s parodied countless times. 

42.   The Ritual – 2017 Realistic characters, sick monster design, great story. Adds a lot to the mid-2010s folk horror boom.

43.   Saint Maud – 2019 Debut feature of Rose Glass. Original, incredible acting, and a VERY impactful final shot. 

44.   Scream – 1996 Just watch it.

45.   Sputnik – 2020 Reviewers try and liken this movie to any other alien sci-fi horror, but it’s concept is way more original than most people give it credit for.

46.   Suspiria – 1977 Italian horror at it’s finest.

47.   The Thing – 1982 Essential sci-fi horror.

48.   Titane – 2021 Julia Ducournau won the Palme D’Or at Cannes Film Festival for this freaky body horror.

49.   Underwater – 2020 Two words: Aquatic Horror.

50.   V/H/S – 2021 This anthology series is worth a watch, especially for “The Sick Thing That Happened to Emily When She Was Younger.”

[ddarker-dreams]

The Lunch Club. Team Bucciarati x F Reader 🎀

Word count: 2.6k. Note: um. i think i may have had a little too much fun with this one... dialogue in italics is spoken in english!

[Scarlet Ribbons description]

Peaceful days like this are what you live for.

Sharing a hearty, delicious meal with those you care for the most in this world. Business is set aside for a brief respite, which offers an opportunity to simply chat and catch up on one another’s lives. This week in particular felt more overwhelming than the rest, but the brunt of it was over. A well-deserved break from stress was in order.

“—And that’s why I’m personally not a fan of the ending to 10 Cloverfield Lane,” Fugo concludes with a somewhat pleased expression, his arms crossed over his chest.

The heated topic of today was no longer how to handle politicians betraying their promises to Passione or the punishment for soldato’s unnecessary force on civilians. Those problems have been placed on the backburner for this particular outing — a new discourse taking its place. Giorno finishes ordering the aperitivo from a waiter who seems a little too grateful to scamper out of the room filled with volatile personalities.

“What is this, the Ninety-Five theses but for movies? I can make and conclude my argument in one-quarter of the time. Listen, what does every good movie need?” You extend your question to the others present at the table. Engaging the audience is an important debate tactic, in your opinion.

“Tons of action!” Narancia responds, his ardent enthusiasm unmatched. Sitting still and listening to Fugo’s expansive points must have been difficult for him.

“Need you even ask? Clint Eastwood,” says Mista. He didn’t even require a few seconds to think about it.

Abbacchio, who had turned his headphone’s volume down when noticing it was you speaking now and not Fugo, offers his two cents. “An iconic soundtrack.”

You take a mental note of their valuable input and steeple your fingers.

“Giorno? Bucciarati? This counts towards your class participation grade, let’s hear your thoughts next.” You turn to your companions who have been noticeably quiet throughout the heated debate. The unspoken role between your two (technically) higher-ups is to remain neutral throughout these debacles, though neither of them can deny entertaining your whims for long.

Bruno is the first to crack, an amused smile playing on his lips. There’s never a dull moment with you around.

“Hm… sympathetic characters, perhaps,” Bruno suggests, a low hum vibrating in his chest. You decide that the answer is very like him. A few years back, you managed to convince him to watch the movie Up with you. He didn’t break down and cry like you did, yet the occasional sniffles were telling enough. Bruno’s got a heart of gold.

Passione’s young Don remains in deep thought, a hand to his chin as he contemplates the best answer. He had been closely studying your body language when the others were giving their answers. It’s a habit that’s stuck throughout his life, and never fails to assist in giving him the best words to say. Ah, that hopeful way you’re staring at him is too endearing. He resolves himself to not betray your expectations.

“An ending that sits with the audience long after the movie’s conclusion.”

Giorno notes the quirk of your eyebrows and assumes he picked the right answer, pointedly ignoring the heavy stare Abbacchio is throwing at him.

“Hm, everyone’s made excellent points. Aside from Mista, that is.” You nod your head, content with how you’ll conclude your argument.

The aforementioned male gapes, incredulous. “Hey, now what does that mean—”

“I’d say Giorno understands best. What you need is impact. Memorability. Something that will keep the film fresh in the minds of those who watched it, weeks, even years later,” you take a sip of your espresso and continue. “Therefore, the fact the ending bothers you this many years later means it’s lived rent-free in your head. How many ‘good’ movies do you watch that you forget about a day later? Court adjourned.”

“Teacher’s pet,” Abbacchio mutters underneath his breath, irate at how pleased Giorno looks with himself over gaining your express approval.

Narancia shrugs. “I don’t get it, but if you’re going up against Fugo, I’m all for it.”

“I still don’t understand why my thoughts got dismissed so easily,” Mista sinks further down into his seat. He then recalls how the Pistols ate your leftovers the night prior, realization falling on his head like a brick. Damn his Stand for doing this to him…

“You’re missing the point,” Fugo sighs, running a hand through his hair. It’s a lost cause but he’s not willing to back down just yet. Not when you look so cute getting riled up like this. “Shock value does not equate to quality cinema.”

Your smile widens dangerously, victory within your grasp. “Ah, I knew you’d say that. I raise you this. Is it actually shock value if hints were leading up to the reveal—”

“Hey, it really is you, [First]. You like... fell off the face of the earth.”

A new voice from the doorframe has everyone turning their heads in the sound’s direction, finding a young man waving shyly at having interrupted the conversation. Giorno and Bucciarati share an equally perplexed look. This space in Libeccio has been specially reserved so that only your group could dine, preventing civilians from getting involved in your often turbulent affairs. How did this person sneak in?

What could have taken a turn for the worst is resolved by you gasping in recognition. “Oh, Austin! What’s up? It’s been a while.”

Narancia scoots his chair over to Fugo and whispers, “That’s English, right? What are they saying?”

“Shut up and let me listen,” Fugo snaps in an equally hushed volume.

“I hate stealing you from your… whatever is going on over here, but mind catching up with me for a sec? If you’ve got the time, that is.”

You consider the proposition for a moment and then nod your head. “Alright, sure. You’ve got until my appetizer shows up.”

“Sweet. It shouldn’t take long.”

“Ah, I’m sorry everyone, please excuse me for a few minutes. This here’s an old friend of mine. Bucciarati, make sure Nara doesn’t steal my food while I’m gone,” you stand from your spot and give an apologetic smile. It would be rude to continue speaking in a language no one else present (aside from Fugo) could understand, you felt.

“Of course. Take your time.” Bucciarati affirms, and with that, you walk towards the exit.

“Need someone to come with you?” Mista offers in so casual a manner, that the hidden implications are temporarily lost on you. His hand hovers over the boot he keeps his revolver stored in.

“Don’t worry yourself over it, he’s not involved in anything gang-related to my knowledge. Just an average American.” Your urging has Mista putting his arms behind his head, seemingly approving of your explanation. Fortunately, your old friend doesn’t speak Italian or he’d be mortified.

“So? Are you going to tell us what he was saying?” Narancia impatiently shakes Fugo, who appears to be seconds away from blowing up on him. Fugo exhales through his nose to which Narancia finally catches the hint and backs off.

“It just sounded like they knew one another and he wanted to catch up,” Fugo explains. He leaves out the part that you speak way faster in English, the cogs in his head had to turn a while to decipher your words.

“What, so like an old boyfriend?” Mista proposes, the word bitter on his tongue. The grimace on his face weighs heavy.

Fugo shrugs in an attempt to appear unbothered by the prospect. “How the hell should I know?”

“You’ve known her the longest!” Narancia points out.

“No, Bucciarati has,” Fugo corrects.

Everyone’s attention turns to Bruno in hopes of finding more answers. You were never one to talk about the past, not like any of them were; always preferring to focus on the present. As such, they were only vaguely knowledgeable over your history. Bruno kept the private details to himself out of courtesy, as did Giorno. Everyone’s heard bits and pieces and managed to come to their own conclusions. Narancia had thought you were a hip-hop dancer for a solid year, Abbacchio first thought you were a tourist who got mixed into the wrong crowd, and Fugo’s impression was that Bruno was getting desperate for new recruits. They’ve since remedied their initial thoughts, but the insatiable curiosity remains.

What exactly was your life like before?

Bruno clears his throat and prepares himself for de-escalation. “I don’t recall [First] being in a relationship at the time I met her.”

“Speaking of which—” Abbacchio points outside the window by the table, to where you and your unknown companion stand, speaking animatedly to one another. “She must have circled back to stay in clear view. You don’t think an enemy faction sent him in, do you?”

The question is directed at Giorno, who has kept a watchful eye over the entire situation. “While it’s certainly possible, I can’t imagine anyone being so bold as to walk into Passione territory at peak tourist hours. There are too many witnesses around.”

“What if he’s a Stand user?” Narancia’s heart plummets into his stomach at the thought. He pushes his chair back with a loud scrape, only to be stopped by Bruno urging him to sit back down.

Mista, who has his hand secured around his gun, looks to Giorno. “Whatdya say we do, boss?”

“Nothing. There’s no need to make a scene that would disturb the other diners unless necessary.”

Narancia shakes Fugo again, whose eyes twitch and hands ball into fists by his side.

“What is your damn problem—”  

“Look! He’s handing her something! Why is he handing her something?!”

Just as Narancia said, the mysterious individual shows you what looks to be a small piece of paper, which you then stare at with a sheepish smile.

“Holy shit, he’s totally trying to give her his number,” Mista laughs at the mere thought. In the past when uncomfortable situations like this occurred, you would let down the offender with grace so as not to get their hopes up. It’s only a matter of time until the same happens here. Then you would come back in, joke around with them about it, and everything would go back to normal. End of story.

Abbacchio snorts, raising his wine glass to his smirking lips. “Poor bastard doesn’t know what’s coming.”

“Well, that’s what he should get for trying to hit on our [First] so shamelessly,” Narancia huffs with his arms crossed over his chest. The irony of his statement escapes him entirely.  

The lighthearted air in the restaurant evaporates at once when you take the slip being offered to you, replaced with a menacing ambiance emanating from those present at the table. Abbacchio chokes on his drink at the unexpected sight.

“Mista, the gun is not necessary in the slightest.” Bruno shakes his head in disapproval.

“But Bucciarati, this has to be the work of a mind control Stand, I’m calling it.”

Abbacchio clicks his tongue. “Damn Americans are at it again.”

“Giorno, do something. Can’t Gold Experience Requiem, like, I dunno, turn back time or some shit?” Narancia implores to his ever so unperturbed boss.

“Narancia, I’m not going to use my Stand on [First],” Giorno responds in a slow and steady tone.

“Then use it on the other guy!”

Bruno puts his hands up and lowers them. “Quiet down, you’re being loud. You’ll disturb the other guests.”

Narancia snaps his head in Fugo’s direction and whisper yells, “You do something then! Aerosmith is too loud, it’ll draw too much attention.”

“And human flesh randomly evaporating into a puddle of goo on the street won’t?” Fugo challenges in an equally frustrated sneer.

“Hey guys, sorry that took longer than I expected.” Your voice cuts through the verbal chaos like a knife, and the others are quick to notice the spring in your step.

What exactly is going on here? Narancia has Fugo by the collar, Mista is holding his gun, Abbacchio is going for his third glass of wine, Giorno’s eyes are shut, and Bruno looks like he was just scolding someone. You can’t imagine the source of this mayhem.

Narancia, still hellbent on the theory that you’re under a Stand users thrall, throws out a question to test your validity. “[First], quick, what’s the worst Marvel movie?”

“Huh? Alright, um… Thor Two.”

Fugo chimes in next, skeptical himself. “Was the ending of La La Land good or bad?”

“The ending was meant to be a realistic depiction of choosing your career over—”

“Yep, that’s our girl for ya,” Mista grins, cutting what would have been a passionate spiel short. You return to your seat in a daze. The random bombardment of questions was enough to throw you off balance, in addition to switching your brain back over to a different language. It has got to be a full moon tonight. That’s the best explanation you could come up with for the strange circumstances unraveling around you.

“So, are you trying to recover a lost password of mine? What’s up with the questions?” You tilt your head, raising an eyebrow. If that’s the case, then you’ll have to rush and change your security questions when you get home later.

“They’re just being idiots,” Abbacchio explains, his voice still hoarse from the earlier coughing fit.

“Fair enough.”

You still feel like you’re missing something important, but you tend not to dwell on these things. The group you’re associated with an eccentric bunch.

“I hope you don’t mind my asking, [First], but was he bothering you? It looked like he was trying to hand you something.” Giorno speaks up, having the guts necessary to tread on dangerous territory. Mista starts whistling, Narancia fiddles with his hands, Fugo loosens his tie, and Abbacchio is trying his damndest not to come off as invested. Bruno’s hands are folded together neatly on his lap, awaiting the worst.

Is Mista saying The Lord’s Prayer underneath his breath…?

“Oh, not at all,” you wave off his concern with a laugh. Reaching into your pocket, you pull out the business card Austin handed you. “He was just telling me about a dance company he opened up in the states. He offered me a spot as a choreographer, and I told him I wasn’t interested. Still, I thought it’d be rude to at least not check it out.”

When you were still studying at Teatro di San Carlo years ago, Austin often came to visit his native Neapolitan cousin who happened to be one of your classmates. He was a nice young man who preferred talking to you, as you were one of the few around who spoke his native tongue. You had no complaints about him.

Fugo takes the card from your hand and scrutinizes it closely. “Los Angeles, huh? Can’t blame you for turning him down.”

“Hey, I’ve personally always wanted to visit LA,” Mista chastises, his gun back to resting snug inside his boot. “They’ve got that, uh, what’s it called… Inside Out? Yeah?”

“In and Out,” you correct. “I could see you fitting in the LA crowd perfectly Mista, now that you mention it. If you could stomach the long flights to get there.”

Narancia examines the card next, momentarily considering tearing it in half for threatening to steal you away. “Hmph, this place seems like a scam to me, [First]. You’re not leaving, right?”

Your sweet smile helps put his anxious heart at ease.

“Nope, there’s no getting rid of me that easily, sorry guys. Better luck next time,” you wink. 

Bruno returns your smile with a weary one of his own, feeling grateful that this matter has been dealt with. He loathes to imagine what the other outcomes could have been. 

“We would never dream of it.”

[theo-decker]

HWFG: 31 WEIRD FILMS TO WATCH IN OCTOBER

It’s here! Thank you to anyone who has ever recced me a horror film on Tumblr — I probably got some of these from you. There aren’t too many deep cuts here, but all of them are films I genuinely adore, and maybe there are a few you forgot about. They are all horror or include some horror elements so if there are any you haven’t seen, maybe check what they’re about first before watching them, as a couple of them are... a little 🤏 disturbing.

I have some NOTES. This list can be used as a grab bag, but it also does have this run list for a reason; it is organised by TONE. (I’M SORRY.) 

Inb4 “Where’s Suspiria? Where’s Possession? Where’s Jennifer’s Body/Hereditary/Midsommar/The VVitch/etc?” They are on literally every list! Search “unhinged women” on Letterboxd and sort by lists (not joking). Also, this list doesn’t fit into Hooptober or similar horror challenges, because aside from Mario Bava I mostly avoided “horror classics”, so there is no Texas Chain Saw or Poltergeist or anything even though I obviously love them too.

1-5: SLOW CHILLS  — quiet, atmospheric horror for an autumnal mood, ft. melancholy ghosts, affable psychopaths, shadowy staircases, secrets

The Changeling (1980), The Haunting (1967), The House of the Devil (2009), Spoorloos/The Vanishing (1988)

6-9: CRANK UP THE NASTY — would you like a side of misanthropy with that? Ruptured psyches, nasty human impulses, fragmented narratives, dissociation, time oozing

His House (2020), Pulse (2001), Perfect Blue (1997), Sinister (2012)

10-12: BUDDY COMEDIES — we love male friendship!

Occult (2009), Resolution (2012), Cure (1997)

13-19: SPEEDIN UP MY HEARTBEAT — dumb scary fucking movies, emphasis on dumb; a heart-thumping good time, ft. hallucinations and illusions, buildings without exits, being trapped in small spaces underground

Grave Encounters (2011), Noroi: The Curse (2005), The Descent (2005), Train To Busan (2016), 10 Cloverfield Lane (2016), Don’t Breathe (2016), Oculus (2013) 

20-26: GIRLS AND GUTS — really just so much gore — both classic and modern giallo, contemporary slashers from Australia, the US and France, chosen for their iconic women characters (these films include rape-and-revenge, and, to reiterate, literal rivers of blood, so tread carefully)

Blood and Black Lace (1964), Knife+Heart (2018), Last House On The Left (1972), The Loved Ones (2009), Revenge (2017), Martyrs (2008), Inside (2007) 

27-29: EROTIC FAIRYTALES — after all that, now time for a bedtime story: masks and disguises, sexy monsters, sweltering nights, the thing inside you that dies when you grow up

Bluebeard (2009), Onibaba (1964), Valerie And Her Week of Wonders (1970)

30-31: OUT ON THAT OPEN ROAD — back to the USA for a last ride with the Devil 

Southbound (2015), Death Proof (2007)

[nothingconsoled]

do I accept gif/icon requests?   not at the moment.

do I accept gif/icon suggestions?   yes,   always!

this post serves as a collection of direct links to all the fc resources I’ve uploaded to this blog.   you’re welcome to like this post to check back in later for more!   you can also view my gif packs here if you prefer to see example gifs,   and  here  is the side - blog where I reblog other people’s resources.  (If you’re struggling to find posts on tumblr I suggest searching using  this helpful site).   

my gif packs

William Fichtner,   Finding Steve McQueen (2018)

Alun Armstrong,   Possum (2018)

Richard Brake,   Perfect Skin (2018), The Dare (2019)

Robert De Niro,   Cape Fear (1991),  Heat (1995),  Being Flynn (2012)

Jessica Lange,   The Gambler (2014), AHS S1E1 (2011), Cape Fear (1991)

Jane Seymour,   Lake Effects (2012)

Laurence Fishburne,   Standoff (2016)

Lily Rabe,   Finding Steve McQueen (2018)

David Bradley,   The Lodgers (2017), Harry Brown (2009), Roy (2021), Edmund the Magnificent (2019), and Broadchurch S1E1

Michael Caine,   Youth (2015), Harry Brown (2009)

Scott Turner Schofield,   The Conductor (2018)

Bradley Cooper,   The Hangover III (2013)

Alex Blue Davis,   NCIS (2017)

Drew Barrymore,   Boys on the Side (1995)

Cameron Diaz,   In Her Shoes (2005)

John Goodman,   10 Cloverfield Lane (2016)

John Gallagher,   10 Cloverfield Lane (2016)

Dame Judi Dench,   Notes On A Scandal (2006)

Joaquin Phoenix,   [ gif icons ]   Joker (2019)

Paul Dano,   Being Flynn (2012)

Josh Brolin,   Labor Day (2013) *(accidentally deleted this. kill me. I’ll try to find a backup of this somewhere and repost it. rip.)

Jaz Sinclair,   When The Bough Breaks (2016)

Jonathan Rhys Meyers,   6 Souls/Shelter (2010)

Dermot Mulroney (gif icons),   The Wedding Date (2005), and the Griffin & Phoenix (2006).

both

Tilda Swinton (gif icons & static icons),   We Need To Talk About Kevin (2011), Burn After Reading (2008), Constantine (2005), Thumbsucker (2005)

my icon packs

Keeley Forsyth,   The Devil Outside (2018)

Juno Temple,   Small Apartments (2012)

Peter Stormare,   Small Apartments (2012)

Johnny Knoxville,   Small Apartments (2012)

Rebel Wilson,   Small Apartments (2012)

James Caan,   Small Apartments (2012)

Billy Blair,   Whitetail (2021)

James Jordan,   Home (2020)

Kathy Bates,   Bad Santa II (2016), Home (2020)

Jena Malone,   The Public (2021)

Richard Brake,   Bingo Hell (2021)

Daniel Grogan,   Recipe For Abduction (2021)

Barabra Hershey,   The Manor (2021)

Sean Whalen,   Employee of the Month (2006)

Matthew Rhys,   The Americans S1E1

Noah Emmerich,   The Americans S1E1

Dax Shepard,   Employee of the Month (2006)

Danny Woodburn,   Employee of the Month (2006)

Doug Jones,   Pans Labyrinth (2006)

William Fichtner,   Finding Steve Mcqueen (2018)

Alun Armstrong,   Possum (2018)

Rosamund Pike,   Return To Sender (2015)

Richard Moll,   Lake Effects (2012)

Lara Flynn Boyle,   Twin Peaks: S1 (1990) & S2E1-4

Jacob Wysocki,   Loosely Exactly Nicole: S1E1-4 (2016), Fat Kid Rules The World (2012)

Nicole Byer, (pt one two three four)   Loosely Exactly Nicole: S1E1-4 (2016)

Brandon Scott (pt one two),   Loosely Exactly Nicole: S1E4-5 (2016)

Stanley Weber (pt one two),   Not Another Happy Ending (2013)

Sam Coleman,   Leatherface (2017)

James Bloor,   Leatherface (2017)

Lili Taylor,   Leatherface (2017)

Naveen Andrews,   Sense8: S1 (2015)

Helen Mirren,   Collateral Beauty (2016)

Octavia Spencer,   Gifted (2017)

Cate Blanchett,   Notes On A Scandal (2006)

Keiynan Lonsdale,   Love, Simon (2018)

Jonah Hill,   Acceptance (2006), Grandma’s Boy (2006)

Amy Aquino,   Bosch: S3 (2017)

Claudia Doumit,   Timeless: S2E1 and E3 (2018)

Nathan Page,   Miss Fisher's Murder Mysteries (2012-2015)

my screencaps

Sid Haig,   Spider Baby (1967)

Danny Woodburn,   Employee of the month (2006)

[joeygoeshollywood]

The Ten Best Films About Being Quarantined

Unless you’ve been living under a rock, then you have probably been told to stay home amid the coronavirus outbreak. However, instead of freaking yourselves out by watching Contagion, here are the ten best films about being quarantined. 

1. 10 Cloverfield Lane (2016)

What was initially framed as a “spirit sequel” of the 2008′s Cloverfield, this film stands tall on its own.  Mary Elizabeth Winstead stars as Michelle, a young woman who finds herself in an underground shelter after a car accident and is told by her apparent rescuer (played by John Goodman) that the outside world was hit by some sort of attack. It’s a well-crafted, unpredictable psychological thriller that keeps you at the edge of your seat and with your heart pounding from start to finish.

2. Take Shelter (2011)

The breakout film from writer/director Jeff Nichols (Mud, Loving, Midnight Special), Take Shelter follows a man plagued by apocalyptic visions and becomes so frightened that he builds his own underground shelter despite the doubts from the rest of the people in town. This is Michael Shannon’s greatest performance of his career (accompanied by a strong Jessica Chastain, who plays his wife). The film keeps you guessing as to whether his visions are right or if he is simply driven into madness. 

3. The Shining (1980)

There’s nothing like being snowed in at a haunted hotel for an entire season. The Shining is a classic horror film that’s perfect during a quarantine. Hopefully ours won’t nearly last as long, but between the nearly dozen iconic scenes, the stellar filmmaking from Stanley Kubrick, and Jack Nicholson’s frightening performance, it’s hard to go wrong with The Shining. 

4. It’s a Disaster (2013)

It’s a Disaster is probably the one film on this list that you’ve probably never heard of, but it was a hidden gem among 2013 indies about a couples’ brunch that goes awry when they learn that the country had been attacked by chemical weapons. This dark comedy has an ensemble cast of familiar faces including Julia Stiles, America Ferrera, and Arrested Development’s David Cross. You’ll find yourself laughing at expense of their misery, and that’s the genius of this film.

5. Beetlejuice (1988)

You may be wondering why Beetlejuice is on this list, but you should recall that the protagonists of this film are Adam and Barbara (Alec Baldwin, Geena Davis), who quickly realize they’ve been quarantined to their house after their untimely demise. A quintessential film of the 1980s, Beetlejuice is not your ordinary comedy. It’s classic Tim Burton, classic Michael Keaton, and a classic good time. 

6. The Mist (2007)

Another classic from Stephen King, The Mist is not just about the horrors that are waiting in the unknown outside but the societal breakdown of those trapped inside the grocery store. It’s sort of one of those “What would you do?” type of suspense. But hey, if you’re going to be quarantined anywhere, a fully-stocked grocery store ain’t too shabby. 

7. Dawn of the Dead (1978, 2004)

From the mastermind of George A. Romero, Dawn of the Dead is arguably superior to his own zombie trailblaze\ Night of the Living Dead. Not only is it scary as hell, Romero knows how to have fun with the horror sub-genre, particularly at a time when the shopping mall was becoming the go-to place to be across America (even for zombies). It’s 2004 remake, which was the feature debut of Zack Snyder (300, Watchmen, Batman v Superman), managed to stand on its own two legs as an action-packed bad-ass zombie flick while paying homage to its cherished predecessor. 

8. The Birds (1963)

The Birds may not be as much of a Hitchcock classic as Psycho, but it’s just as frightening, perhaps more. The feathered creatures quickly went from a societal presence to a societal danger as an unexplained plague of birds begins to attack people, forcing them to stay inside. Beware, if you go out for essentials, just leaves the crackers behind. 

9. The Cabin in the Woods (2011)

A horror film that comically spoofs other horror films, The Cabin in the Woods keeps five unsuspecting teenagers fighting for they lives as outside forces torment their physical and psychological safety. It was a genius film for its time. Plus, it features then up-and-comer Chris Hemsworth. 

10. It Comes at Night (2017)

Another one of those “What would you do?” suspenseful dramas, It Comes at Night follows a man, his wife, and son who are secluded in a house in the wildness with limited supply after some sort of biological threat had plagued the world. But when a young family seeks refuge, the patriarch must decide what is best for his family and whether that means he has to go against other morals. Waves writer/director Trey Edward Shults’s debut film is heart-wrenching, chilling, and a thought-provoking quarantine favorite. 

[amphtaminedreams]

50 Films You’ve Got to Watch

Hi to anyone who’s reading,

I thought I’d take a break from the fashion posts to ramble on about something else that I’m really interested in for a hot minute. And I say ramble with intent, because I do go ON. 

The topic is film and I thought that I’d make a list of my 50 must watches. These are movies that I feel had the biggest impact on me which means, yes, I do have tattoos referring to a couple of them, lol. My genre of choice is usually horror and although there has been a bit of a “horror renaissance” and a shift towards prioritising good quality storylines over jump scares in recent years, on the whole, they typically aren’t the most highbrow films out there, so there aren’t THAT many on this list. Most of the horror films I listed are just genuinely good quality rather than a straight-up gorefest or anything too terrifying, however, I’m not that easily scared so if you did fancy watching any of the films I mentioned, take that with a slight pinch of salt!

Also, this isn’t anything to take too seriously. I really like movies and cinema but I’m also not a movie critic and this is more of a hobby than something I want to pursue. Like, I’m completely aware of how unrealistic working in TV or film is as a career if your family isn’t loaded. Very aware. Painfully aware you could say (imagine me sighing as I’m writing this). That being said, part of me does want to do a ranking of every film I’ve seen in 2019 at some point this year, so if anybody else is interested in this kinda thing let me know! 

Lauren x

50 Films You’ve Got to Watch:

1. Black Swan (2010)

“I felt it. Perfect. It was perfect.”

I watched Black Swan years ago now and I still remember how disturbing I found it and how exciting that was to me. I was probably a bit too young (young enough that my mum felt it necessary to cover my eyes during the Natalie Portman/Mila Kunis sex scene, lol) but even then I could recognise that it was a beautifully haunting film and Darren Aronofsky has gone on to be one of my favourite directors.

2. Jennifer’s Body (2009)

“And now, I'm eating your boyfriend. See? At least I'm consistent.”

Engrave it on my tombstone: JENNIFER’S BODY DESERVED BETTER. I fully believe that if this movie was released in 2019, it wouldn’t have faced half the criticisms it did back in 2009. It genuinely was ahead of its time. Megan Fox? As a boy-eating, demonic cheerleader? And Amanda Seyfried? Some of the most ICONIC DIALOGUE EVER? It should’ve invented a GENRE. Instead it got paid DUST. Yes, when I write in caps lock, my internal voice is YELLING. I feel passionately about this, okay?!

3. La La Land (2016)

“I guess I'll see you in the movies.”

Again, maybe it’s a basic film bitch opinion to have but I adored La La Land. I saw it at the cinema and spent the last 20 minutes of the film sobbing, only to find my mum and sister distinctly underwhelmed. I indignantly ranted back then to them how perfect a film it was and I’m going to do the same thing now so if you are reading and you didn’t like it, then you should probably just move on because I wouldn’t want to read myself banging on about Emma Stone again for several paragraphs either (don’t worry, I’ll try and keep it to one). I can’t help it. This film was just TOO REAL! Like, in every way but the actual plot and characters, La La Land has the dreamlike quality of a fairytale. The colours are rich and thick and always complimentary, the musical sequences are either like Disney songs or lullabies, and Emma and Ryan Gosling are made for each other. But then life and ambitions and resentments get in the way. And that’s the real part! That’s why it’s so bloody good! 

4. Easy A (2010)

“People thought I was a dirty skank? Fine. I’d be the dirtiest skank they’d ever seen.”

And so we arrive at the movie that actually began my love affair with Emma Stone. Iconic. Iconic in every way. The bad reputation montage is cinematic excellence. For real, though, this is so underrated as a coming of age movie. Like don’t get me wrong, Mean Girls is everything (I easily could’ve included it on this list but I feel like it’s just a given that anyone who grew up in the noughties loves that film) but Easy A deserves just as much credit. It has Penn Badgley, one of the few celebrity males I care about! Amanda Bynes! Aly Michalka! Lisa Kudrow! Did I mention Emma Stone?

5. Kill Bill (2003)

“Now, if any of you sons of bitches got anything else to say, now's the fucking time!”

If I had to put any of these films as my singular favourite, it would probably be the first Kill Bill. Controversial, I know; even my dad introduced it to me as the weaker of the two. To list any Quentin Tarantino movie as the one that inspired you to want to be a director is probably a very cliche film student thing to say BUT I’m not a film student and I’ve put my directing pipe dream permanently to one side, thus, coming from me it’s not as hackneyed a statement. Or so I tell myself, lol. Basically, I was in awe of Kill Bill from start to finish. The colourisation is a dream, from the crazy 88 scene to the final fight between The Bridge and O Ren Ishii, and I particularly remember loving the animation sequence despite that not really being my kinda thing. I was just so impressed with how seamlessly something so out of place, considering the live action format of the rest of the film, fit in with everything else; even the scenes that should be absurd instead work with the comic book style narrative. Uma Thurman is of course amazing and iconic af but Lucy Liu as O Ren Ishii is my favourite thing about this film and the line I chose gave me all the bad bitch energy I need to, I think, get me through the rest of my time on this planet. If not, the tattooed version of this still I have on my arm should hopefully do the job. Yep, I truly ascended to a divine level of basic film hoe with that life choice.

6. Marie Antoinette (2006)

“This, Madame, is Versailles.”

The first Sofia Coppola film on this list, I love this woman’s work to death. Regardless of the content she’s working with, the end result always gives me the feeling I’m watching an extended music video. They always have this almost dreamlike quality to them and everything from the colour palette to the camera movements to the soundtrack in Marie Antoinette is tied together perfectly.

7. Mother! (2017)

“You never loved me. You just loved how much I loved you.”

I was tense throughout the entirety of Mother. As a socially anxious, obsessively tidy control freak, this whole film was like something from one of my nightmares; think unwanted house party on crack. I was mentally screaming along with Jennifer Lawrence for all of those people to get out, whilst simultaneously just staring at her face because she is so fucking gorgeous! Even when she’s completely lost it! Totally unrealistic but it makes for some really pretty shots! And then there’s the ending which left me kind of like “what the fuck did I just watch?” Which is what Darren Aronofsky films do best. They’re terrifying but also quite beautiful and Mother is no exception.

8. Gerald’s Game (2017)

“Everybody's got a little corner in there somewhere. A button they won't admit they want pressed.”

I finally got round to watching this for the first time the other day and I absolutely loved it. It probably helps that the last Stephen King adaptation I saw was Pet Sematary, so despite the praise this got at the time, my expectations weren’t super high, but I think this really is a perfect horror film. It’s clever, doesn’t rely on jump scares, and the creepy scenes that are in there really get under your skin. It drags a little in the middle though it’s beautifully shot, acted and has one of the few “body horror” scenes in a horror that’s actually made me cringe.

9. A Beautiful Mind (2001)

“I think that's what it's like with all our dreams and our nightmares, Martin, we've got to keep feeding them for them to stay alive.”

I don’t want to say too much about this film and spoil the plot, so I’ll just say that it’s incredible. Devastatingly sad but also wonderfully hopeful at the same time, and solidified my interest in psychology! I could watch Jennifer Connelly all day.

10. Alien (1979)

“This is Ripley, last survivor of the Nostromo, signing off.”

As a horror fan, I don’t think I need to explain why this film’s on the list. It’s been raved about and video essayed and called a pioneer of the genre ad nauseam. Again, not that this is really anything new but part of what I love about this movie is the context of its release and success; before Sigourney Weaver’s portrayal of Ellen Ripley, it was a rare occurrence to have a female protagonist in an action-based movie. Alien really paved the way for women to take up space in a previously male-dominated genre.

11. 10 Cloverfield Lane (2016)

“Crazy is building your ark after the flood has already come.”

I saw this for the first time at the cinema and pretty much went in blind. I hadn’t seen Cloverfield but I love Mary Elizabeth Winstead (Final Destination 3 was always my favourite of the franchise, lol) and there wasn’t really anything else on worth seeing, so my sister and I chose this and it was an experience. Like, of all the films on this list, this is probably the one that had me most on edge and I’m not sure watching it on your laptop on Putlocker will do it justice. You need the curtains pulled to, the volume way up and complete silence.

12. American Psycho (2000)

“Try getting a reservation at Dorsia now, you fucking stupid bastard!”

There isn’t a dull moment in American Psycho. Every line is quotable and every scene is straight to the point. I feel like this film is a masterclass in that Stanley Kubrick quote about editing where he says he liked to get rid of everything that was not absolutely vital to advancing the plot or the audience’s understanding of the character in any way. Plus, the ending is trippy af! Or maybe I’m just a bit oblivious to something that was quite obvious throughout, who knows. Either way, what the final scenes really mean are fun to think about.

13. The Descent (2005)

“I'm an English teacher, not fucking Tomb Raider.”

Okay, so I literally just watched this the other day and had to begrudgingly remove Silent Hill to make space for it (I KNOW it was critically panned and I KNOW the video game is better but I liked the visuals, OKAY!?) because The Descent is truly one of the best horror films I’ve ever seen. Before we even get to the supernatural element of the creatures, which are genuinely creepy for once, there’s a party bag of other phobia-inducing sequences that had me emotionally exhausted within the first half hour alone. Claustrophobia, darkness, heights, actual cringeworthy body horror, The Descent has something for everyone. The way it utilises space (or lack of for that matter) and darkness and panicked camera pans makes you feel as if you are really down in the cave with the characters. To add to that, I was actually rooting for all of them too; it probably helped that they were English rather than the typical American slasher cast but I found them to be a believable and likeable group of women. I truly did want them all to get out alive *spoilers*, which only made the ending all the more devastating and although the general narrative is quite predictable, the way in which things get wrapped up left just the right amount of shocks and questions to leave you reeling.

14. Eighth Grade (2018)

“Gucci.”

No film has ever captured what it’s like having social anxiety during “high school” (it’s called secondary school here in England, I know, but you get me) better than Eighth Grade. A tribute to the feeling of never quite fitting in and wishing you knew how to do what everyone else seems to be able to do naturally, it encapsulates that awkwardness with an accuracy that is really impressive considering that 1. it’s Bo Burnham’s first film, and 2. he’s not...like...a 13 year old girl. It is just as funny as it is sad and Elsie Fisher is great and so, so believable. Girl should’ve won some kind of Oscar.

15. American Beauty (1999)

“I don't think that there's anything worse than being ordinary.”

I wavered on whether or not to include this film on the list due to the Kevin Spacey controversy and decided that I had to with the disclaimer that I watched it quite some time before the stories about him came out and won’t ever watch any of the new things he inevitably ends up doing (because Hollywood has a notoriously short memory when it comes to the actions of disgraced male actors, lol). You can’t deny the amount of talent and skill that went into making a film so graceful and elegant and yet in equal parts unnerving, and I don’t think we should refuse to acknowledge the achievements of everyone else on that set because of Spacey’s behaviour. 

16. Bandersnatch (2018)

“The past is immutable, Stefan. No matter how painful it is, we can't change things. We can't choose differently with hindsight. We all have to learn to accept that.”

As I was watching/playing through Bandersnatch, I didn’t necessarily love it. I think I’m echoing a common sentiment when I say that I was kinda confused. I was desperately trying to *spoiler* avoid the option of the protagonist murdering their dad (he seemed like a nice guy!?) but somehow always ended up there by their logic. So I watched most of the endings and then I went on and busied myself for the rest of the evening. AND I COULDN’T STOP THINKING ABOUT IT. One minute I was completely deluding myself into believing the whole parallel universes thing was true and that I should test it out (don’t ask), and then the next I was thinking how disturbing it was that we’d been basically been inside the head of a person experiencing a mental breakdown severe enough for them murdering their dad, who had only ever wanted to help when you think about it objectively, to seem rational. The confusion started making sense within the context of the experience of the protagonist and our role as the audience and though I hadn’t realised it at the time, I’d been completely absorbed in the episode. Maybe the confusion wasn’t intentional, maybe I’m giving Charlie Brooker too much credit based on the recent couple of series of Black Mirror BUT I can’t deny that Bandersnatch left a huge mark on me, and after all, this is the man who wrote White Christmas. 

17. Get Out (2017)

“White girls. They get you every time.”

Going into this film, I was cocky. I’ve gotten pretty good at predicting what’s going to happen in things, probably just because I watch too much TV, but from the trailer I was sure I knew exactly what was going to happen. And then, I was completely blown away. The ending was SO SMART, in terms of both the within universe storytelling and also the metaphorical narrative/commentary on the way our society treats black men and women. Like those early episodes of Black Mirror, it had me like “how the fuck did Jordan Peele think of that!?”. I can only dream of being as creative in my writing one day. Even little plot points like where the “police” car turns up at the end and your stomach sinks and you realise the intention of that is most likely to help you empathise with what the average African-American person feels in their day to day life when police make themselves present, what with institutional police brutality and racial profiling; it’s clear so much thought went into this script.

18. Ghost Stories (2017)

“It's funny, isn't it? How it's always the last key that unlocks everything.”

I don’t have all too much to say about this one apart from that I love a well-constructed English horror. I feel like it’s something we don’t do all too often and to be honest, I’m struggling to think of many English horror films in the first place. Ghost Stories is a great example of why we need more; it’s smart and spooky and folky without hitting you over the head with all those elements and Andy Nyman is a perfect lead. Love a bit of Martin Freeman too.

19. Girl, Interrupted (1999)

“Crazy isn't being broken, or swallowing a dark secret. It's you, or me, amplified.”

Maybe this is the 13 year old black and white Tumblr girl in me jumping out but I still adore this film. I know it’s not necessarily the most critically well received but Winona Ryder, Angelina Jolie and Brittany Murphy are 3 of my favourite actresses and I do love the script. I also like the way that Borderline Personality Disorder was characterised in Winona’s character Susanna (I’m wavering on whether to call her a character as if I recall correctly the book was based on the author’s real experience) in that it was quite subtle and that she wasn’t portrayed as manipulative, or aggressive or basically, as the villain, which I feel is usually the go-to. It focussed more on the mood aspects and the way that people with BPD tend to latch onto and idealise others, as Susanna does with Lisa, and these are both things that I have personally struggled with in the past.

20. Hereditary (2018)

“All I do is worry and slave and defend you, and all I get back is that fucking face on your face!”

It was hard to find a quote that encapsulated what makes Hereditary so great because so much of it is about what isn’t said, if that makes sense. It’s a lot of pained silences and resentful looks and horrified screams, and doesn’t that sound like a fun time? Honestly, it’s not necessarily, lmao. Shocker. It has you feeling like something awful is about to happen the whole time, deep in the pit of your stomach, but I like that in a film, when it does make you properly feel. Ari Aster gets slow-burning dread just right in his exploration of dysfunctional families and grudges, with a few heart-sinking shocks thrown in for good measure all without overdoing the jump scares. There are a lot of deeply unnerving “supernatural” moments but there are just as many horrifically realistic familial conflict scenes that give you that whole “something is wrong” gut instinct in equal measures. It’s been a year and I’m still so angry that Toni Collette didn’t get an Oscar nomination for her performance, because it was really the perfect opportunity to break down the invisible wall between horror and critical recognition. On a more positive note, I loved Midsommar too (not as much as Hereditary but it was still a trip) and I cannot wait to see what Ari Aster does next. Once again, I’ll be in the cinema on opening night.

21. Heathers (1988)

“Dear Diary, my teen-angst bullshit now has a body count.”

Heathers is iconic in every way: the outfits, the cast, the lines. I mean, the acting can be a bit iffy at times but I honestly think that without Heathers, Jennifer’s Body might never have existed and that’s a world I wouldn’t want to live in. There was so much choice when I was picking a line to summarise why I like it so much and of course, “fuck me gently with a chain saw, do I look like Mother Theresa?” deserves an honourable mention. You almost made it bby. The TV remake? We don’t speak of it.

22. Hot Fuzz (2007)

“The way we see it, it’s all for the greater good.”

It might not be the “artiest” movie ever but I’ve seen Hot Fuzz so many times and it never gets old. Though I used to love it when I was younger purely for the PG-13 gore, now I appreciate it for the absurdity and the ridiculousness and to be honest, the total believability of the plot when it comes to towns ruled by low-key hostile, doddery old white people. I should know, I live in one.

23. Inglourious Basterds (2009)

“You probably heard we ain't in the prisoner-takin' business. We in the killin' Nazi business. And cousin, business is a-boomin’.”

I wish I wasn’t a hoe for Quentin Tarantino films (I’ve felt personally attacked by many a poundlandbandit starter pack) but I am. The breakneck pacing, the tongue in cheek dialogue and the gore all make this one of my ultimate favourites. Also, I have a huge crush on Melanie Laurent. Yes, it’s the French accent. No, I don’t know the mechanics of how that works. I hear someone speak French and I want to marry them! I can’t help it!

24. Ingrid Goes West (2017)

“Are you actually insane?”

This seems like a random choice to have on the list seeing as it was never really that hyped up, nor did it receive masses of critical acclaim. It did get positive reviews but that was about it. However, as soon as I saw the trailer, I knew I had to see it. Months, and an £8 purchase from HMV later, I finally got to watch Ingrid Goes West and I loved every moment of it. Whilst Aubrey Plaza’s character, I feel, is an exploration of a lot of young women’s insecurities and self-doubts and fears, blown up to monstrous proportions (or maybe just mine, lol), and a 90 minute film about that doesn’t sound all that revolutionary, this one is as intense as it is stylish and darkly comedic and that’s what puts it on the map for me. 

25. Insidious (2011)

“I like to call them travellers.”

So this film scared the ever-living SHIT out of me when I was younger and though I now consider horror my favourite genre and watch it on the regular with absolutely no qualms, 13 year old me was (not to use the world lightly) mildly traumatised. I genuinely couldn’t be home alone by myself or sleep at night without thinking the old woman ghost from the beginning was outside my room for a good 6 months or so. Like it literally exacerbated an already present sleep disorder to the point where my understandably frustrated-at-being-woken-up-nightly-by-her-panicking-daughter mother got me referred for CBT (to reflect on a time when I didn’t know what CBT or CAMHS was is…blissful, lol). And maybe because of that, in my mind, I still conceptualise it as one of the very few horror movies that has actually scared me, hence its place on the list. That scene where we first see that Star Wars looking red faced devil? I’d probably still nope out even now.

26. It Follows (2014)

“It could look like someone you know or it could be a stranger in a crowd. Whatever helps it get close to you.”

There’s not too much to say about It Follows, other than that it’s a good horror film and more importantly just a really good film. I feel it’s a crucial, early part of this warmly welcomed horror renaissance we are now fully in the thick of where writers are focussing less on making people gasp and more on actual good quality cinema. It’s a simple concept that leaves enough room for you to ask your own questions whilst still feeling somewhat complete, and not annoyingly open-ended. The shots are good, the characters are normal enough to be believable, and the colour palette is Fincher-esque; the muted tones perfectly complement the feelings of dread that run throughout. Whilst you don’t need to be concerned with what the whole thing is a metaphor of in order to enjoy the film, the possibility of there being that second reading of the narrative, for me, elevate it to a higher level. In other words, it’s got *Shrek voice* layers.

27. Juno (2007)

“I'm just gonna go ahead and nip this thing in the bud. Cuz you know, they say pregnancy often leads to…you know...an infant.”

I love Ellen Page. I love Michael Cera. Together they are the best thing ever. See, I’m not really much of a rom-com girl but I see this as less of a rom-com and more of a coming of age film with romantic snippets and great one liners. It’s sweet and whimsical and funny but also really fucking real in parts, and it’s definitely what I would consider a modern classic. If you haven’t watched it already, do!

28. Suspiria (2018)

“Love and manipulation, they share houses very often. They are frequent bedfellows.”

Witches! Ballet dancing! Decapitation! Tilda Swinton! What’s not to love? As soon as I saw the trailer for Suspiria, I knew I had to see it. Creepy but also beautifully shot and scored, it was worth the 8 month wait from the Venice Film Festival and eventual caving and watching on 123Movies after I couldn’t find the DVD on Amazon; I finally got to tick it off my watch list only to like it so much I had to add the original Suspiria back on.

29. Mulholland Drive (2001)

“I hope that I never see that face, ever, outside of a dream.”

Another film which had me like WTF by the end, I really recommend Mulholland Drive for anyone who wants to be vaguely creeped out and extremely confused at the same time. See, I really love a film where you spend the next few hours after watching researching all the different interpretations and reading interviews with the director. That sounds sarcastic, but honestly, I love it. It’s a moody, film-noir style mindfuck of a movie and even after doing my research I’m still quite baffled. That’s the best part. 

30. Requiem for a Dream (2000)

“Purple in the morning, blue in the afternoon, orange in the evening.”

It took me a while to get on board with seeing Marlon Wayans in a serious role (I’ve seen White Chicks far too many times, clearly), but once I did, I was into it. To be totally honest, I don’t think there’s a single happy moment in this film; it comes up quite frequently as one of the most disturbing of all time, which I’m sure Aronofsky probably thinks of as another notch on his belt. Whilst imo, that’s quite a grandiose claim, Requiem for a Dream definitely stuck in my mind after I watched it. Even if you’ve never watched the film, the ending sequence is notorious for how fucked up it is and I do think it’s earned the infamy. What stuck out more to me, though, was how purposeful every shot and sequence felt in terms of trying to let you into the character’s states of mind, the short lived bursts of euphoria and the panicked downwards spirals.  I think it will always be one of the most compelling films about addiction for highlighting how terrifyingly out of one’s control it can be.  

31. Room (2015)

“No one is strong alone.”

This film made me cry buckets. Brie Larson and Jacob Tremblay are wonderful, and everyone involved deserved all the Oscar hype. Every line was so heartfelt and emotive, and I loved Tremblay’s voiceovers. To translate the stream of consciousness of a kid from page to screen in a way that it remains believable in spite of its wisdom (not like those tweets where people try to make out their kid just casually made some off the cuff scathing political jibe at the dinner table) is quite the feat and similarly, I’m in awe of how the director managed to communicate the pain and confusion of the characters on a level that transcended the physical confines of said room. The escape scene had my heart in my mouth. All this being said, I should really read the book because it’s supposed to be even better. 

32. Scott Pilgrim Vs. The World (2010)

‘When I'm around you, I kind of feel like I'm on drugs. Not that I do drugs. Unless you do drugs, in which case I do them all the time. All of them.”

Michael Cera and Mary Elizabeth Winstead are two of my favourite actors and so it’s a given that Scott Pilgrim is one of my favourite films. It’s such a fun, easy watch and the video-game inspired directorial style makes it, in terms of cinematography, probably the most memorable Edgar Wright film on this list imo. The concept, based on the graphic novel, is quite a simple one but that doesn’t stop it being entertaining from start to finish. The rest of the cast is great too: Brie Larson, Anna Kendrick, Mae Whitman, Aubrey Plaza and Alison Pill (Ivy from American Horror Story, anyone?) All make appearances, plus Chris Evans. He’s Captain America or something, right?

33. Scream (1996)

“No, please don't kill me, Mr. Ghostface, I wanna be in the sequel!”

The Scream movies were my absolute favourite when I was just getting into “horror” as a 13/14 year old because they were always pretty tame in terms of scares but nonetheless, always a trip. Though, controversially, I’d probably say I enjoyed Scream 4 just as much as the first one (I am a bit of an Emma Roberts stan), I chose the first one purely for how iconic it was and how ahead of its time. It mixed satire and horror in a way that hadn’t really been done in such a mainstream way before and made it possible for films like Cabin in the Woods and The Final Girls to do so well.

34. Shaun of the Dead (2004)

“Take car. Go to Mum's. Kill Phil, sorry, grab Liz, go to the Winchester, have a nice cold pint, and wait for all of this to blow over.”

I’ve seen Shaun of the Dead way, way, way too many times and I’ll still probably watch it again the next time ITV decide to show it too. It makes me laugh, it’s got lots of good gore and it’s easy to follow. The perfect film to put on whilst eating a take away, as long as you’re not too squeamish, lol.

35. Silence of the Lambs (1991)

“Well, Clarice. Have the lambs stopped screaming?”

Jodie Foster’s portrayal of Clarice Starling makes her one of my favourite movie heroines of all time; quietly courageous, she was the type of female lead that really hadn’t cropped up all that much in the films that came before Silence of the Lambs. And despite its problematic handling of certain issues, it’s a fucking incredible film. The thing about Hannibal Lecter is that they don’t have to tell you that he’s always one step ahead, you see it for yourself (the elevator scene!) and so it kinda feels like he’s looking into YOUR soul too. The confrontation at the end between Clarice and Buffalo Bill is one of the most nerve-racking 15 minutes or so of film I’ve ever watched, and if I ever get asked to justify why I’m scared of the dark again, I’m going to point straight to this scene. Yes, I’m a baby but my fears are VALID!

36. Silver Linings Playbook (2012)

“I do this! Time after time after time! I do all this shit for other people! And then I wake up and I'm empty! I have nothing!”

As you can probably tell from my inclusion of Mother! on this list, I love Jennifer Lawrence, and this is probably my favourite drama film of hers. The way that she and Bradley Cooper portray two people struggling with mental illness is refreshingly honest in that it shows it can make you quite an unlikeable person at times, albeit someone who is just trying their best to survive. That being said, in spite of the subject matter it’s still a relatively light and easy-to-watch film. The diner scene in particular is a masterclass in realistic conflict and reaction, and I hate to be “ooo, edgy” but several of the lines did strike a really deep chord.

37. The Babadook (2014)

“Sometimes I just want to smash your head against the brick wall until your fucking brains pop out.”

The best thing that the Babadook does, much like It Follows, is instils a sense of deep seated dread in you before you even see the supernatural forces at work. The washed out colour palette, apparent emotional disconnect of Jennifer Kent’s (who also directs!) character, and the disorienting movements of the camera all help to create a lingering unease that is just as effective as the grossly uncanny appearance of the monster/ghost/creature/whatever-you-want-to-call-it himself. It’s obvious that Kent had a very clear vision of the story she wanted to tell and even more so that she is a very talented woman; I hope to see even more female directed horror films in the future if the Babadook is anything to go by. The way this film blurred the lines between the inner struggles of a grieving family and the outside supposedly paranormal influence was unsettling as fuck and to get into the psychology of a mother left on her own to raise a small child and how terrifying that might feel is something only a immensely intuitive and empathetic woman could do. Props to her.

38. The Craft (1996)

“We are the weirdos, mister.”

Not to sound all halloween-is-the-only-day-of-the-year-I-care-about VSCO girl (although that might actually be quite an accurate description of me to be honest), but if there’s one thing that sticks in my mind about the craft, it’s the aesthetic. It’s kind of what I aim to emulate in every aspect of my life, NBD. Seriously, when I was trying to pick a still, I was spoilt for choice. The rituals, the outfits, the witchy interiors; there’s this one GIF of Nancy, Rochelle, Bonnie (and maybe Sarah?) lighting all these gorgeous candles and if I could walk around with it permanently looping on my forehead, I would. And ignoring my shallow reasons for liking The Craft, it’s just a really good film. Nancy Downs is probably one of the most interesting female villains of all time and I’m obsessed with anything that explores magic and the occult. It’s equal parts dark and girly, not to use that in a derivative way at all, in that not only does it teeter on the line of being scary, it’s also a gritty exploration of female friendship, power and jealousy. If you are a halloween-is-the-only-day-of-the-year-I-care-about VSCO girl, definitely watch it; more power to you.

39. The Favourite (2018)

“All I know is, your carriage awaits and my maid is on her way up with something called a pineapple.”

I’d seen The Favourite twice within, like, a month of it being released in British cinemas and I do not have a single regret about that; well, maybe a minor regret in paying over £12 to see it in the Leicester Square Odeon with the assumption that the extra price meant fancy seats (it didn’t), but on the whole, I’m pretty happy with my life choices. Emma Stone, Olivia Colman, and the period Mean Girls comparison drew me in but I came back the second time for the costumes, the dialogue, the editing and Sarah Churchill, Duchess of Marlborough. Or Rachel Weiss, in other words. See, The Favourite is superbly casted in that Yorgos Lanthimos must have known we can’t help but see Emma Stone as the “good girl”/protagonist and so it took me a whole second viewing to see her character for what she really was, and realise The Favourite is in some ways less a story of Abigail Masham’s rise to power and more the tragic disintegration of Sarah and Anne’s relationship. I’m sure you can view the film both ways but to view it as the latter brings a whole new dimension to it and the ending, imo. I’m not gonna lie, I didn’t go into the film expecting some vaguely historical lesbianism and that definitely made for a slightly awkward birthday viewing with my family BUT I wasn’t at all disappointed.

40. The Killing of a Sacred Deer (2017)

“If you dig a hole in the yard, better make it a big one.”

This film is slow-moving, weird and the acting can be stiff at the best of times, and yet somehow all these things add to the (take a shot every time I say-) dread that builds throughout. You don’t know exactly how things are going to end, but you do know it’s not well. Like in his latest directorial entry of The Favourite, Yorgos Lanthimos excels in the realm of the strange and vaguely fantastical through his script, score and cinematography, and so even though the settings are quite mundane, The Killing of a Sacred Deer kind of feels like some macabre modern fairytale, the moral of which I can’t quite work out. I can’t imagine anyone playing Martin more unnervingly than Barry Keoghan and I’m never going to complain about Nicole Kidman, but it’s the imagery of the tears of blood, Steven’s children dragging themselves along the floor and the ending scene that stuck with me long after the film had finished. If you’ve got the patience and you enjoyed the style of The Favourite, there’ll definitely be something positive for you to take away from The Killing of a Sacred Deer.

41. The Orphanage (2007)

“Seeing is not believing. It's the other way around. Believe, and you will see.”

When I was first told by my year 11 Spanish teacher that we were going to be watching The Orphanage in class, I definitely didn’t foresee myself including it in a top 50 films list 5 years later and yet here we are. I mean, I shouldn’t have been surprised really as she did tell us it was good and I had frequently seen it included in lists of the best horror films but as with pretty much anything our teachers would put on as an excuse not to teach for a few lessons (I’m really NOT complaining here, they deserve the break and I would definitely do the same, lol), my expectations were definitely low. Side note, I also since found out that Bilbao seems like a pretty cool place and there was a reason she kept banging on about that too, and so moral of the story, teachers do sometimes have some decent recommendations BUT my assumption was that The Orphanage must be pretty tame for her to show it to us. Parents-even of 16 of year olds-love to complain, lol. And to be fair,  it isn’t so much in your face scary so much as it is kind of tragic with an undertone of spooky but I really enjoyed it. I want to say that part of what I enjoyed about it so much was the mystery element but honestly I think a lot of that comes from the fact that it’s in Spanish so I had to work to follow what was actually going on. 

42. The Ring (2002)

“I can't imagine being stuck down a well all alone like that. How long could you survive?”

The Ring does visuals better than any other horror. The contorted faces of Samara’s victims, the infamous tape and the shots of the well all have a staple in pop culture for a reason. Whilst I don’t find Samara herself particularly frightening, the lore and mythology surrounding her feels so authentically creepy; the tape in particular reminds me of the kind of weird YouTube video you might stumble across when you’re supposed to be trying to get to bed late at night and instantly hate yourself for watching. Naomi Watts is a compelling lead and though I was probably rooting for Sarah Michelle Gellar in the American remake of the Grudge more (I still low-key associate her with the live-action Scooby-Doo and I have no shame), to compare other noughties horror classics, on the whole The Ring is definitely the better quality movie.

43. The Shawshank Redemption (1994)

“I guess it comes down to a simple choice, really. Get busy living, or get busy dying.”

The Shawshank Redemption is just an unequivocally good film. On paper, it doesn’t necessarily have any of the things that draw me to a movie in it, but it’s brilliantly acted, written and shot. It’s frequently cited as one of the greatest movies of all time and I think that’s a very fair statement.

44. The Shining (1980)

“Wendy? Darling? Light of my life. I'm not gonna hurt ya. You didn't let me finish my sentence. I said, I'm not gonna hurt ya. I'm just going to bash your brains in!”

I love The Shining. In terms of scares, not all that much happens in it, but what we do see (the corpse in the bath tub is fucking horrifying) undoubtedly leaves an impact. The score is so unnervingly perfect that I can still hear the sound that’s made when we see those 2…puppets? Costumed people? Basically some kind of weird furry activity-which believe me, makes sense if you’ve seen it-going on. And I only need to see a still of the Overlook Hotel and I can immediately feel the sense of claustrophobia and growing tension that Stanley Kubrick so effectively communicated. A lot of people shat on Shelley Duvall’s acting at the time and whilst she obviously didn’t match Jack Nicholson’s energy, she did come across as a woman genuinely traumatised which is sad when you do consider the effect that shooting the film had on her. With that aside, The Shining is a massively pivotal part of horror history and I’m very excited to see Doctor Sleep this year!

45. The Virgin Suicides (1999)

“Obviously, Doctor, you've never been a 13-year-old girl.”

It really is a toss up between Marie Antoinette and The Virgin Suicides when it comes to Sofia Coppola’s best film, and so of course I had to include them both. See, whereas Marie Antoinette could be the visual incarnation of an album like Marina and the Diamonds’ Electra Heart or Charli XCX’s Sucker (if you ignore the less than fortunate ending, lmao), The Virgin Suicides plays out more to the tunes of something less bubblegum pop and more breezy and mellow, maybe LDR’s Ultraviolence or Honeymoon. You could say in a way that this film romanticises suicide and you’d definitely have a point, but I think considering the fact that it’s based on a book and was made in a time when we were less aware of the damage popular media can do (I think there’s a similar point to be made about the way the villain of Silence of the Lambs’s gender is portrayed and linked to his motivation), I give it a pass. It does also kind of make sense for the film to take this approach; the Lisbon girls are viewed through the eyes of a group of boys who are infatuated with them but also ultimately know nothing about them. In a way, it’s almost a critique of the way these boys think and a commentary on just how stifling and confusing young womanhood can be. I think it’s a beautiful film and a perfect adaptation of Jeffrey Eugenides’ novel.

46. The VVitch (2015)

“Wouldst thou like to live deliciously?”

Is it sad that I have this quote tattooed on my back? Is it biased for me to say no? Because for me, just as much as the Virgin Suicides is about how stifling society’s expectations of young women and how they are supposed to think and act, The VVitch is about the demonisation of girls who go against this and how liberation and sexual freedom for so long were perceived as the result of some kind of satanic and deeply disturbing force at work rather than individual expressions of freedom and femininity. The ending is HAPPY, okay, and if you take away the misty, barren landscapes and the isolation and the paranoia and the baby eating witches and the accusations and the demonic goats, it’s kinda a dark feminist fairy tale to go against puritan panic. I mean, let’s be honest, *spoilers* Thomasin’s siblings were annoying AF. Not that I’m condoning child murder on any level, but you know. In a narrative context was it really so much of a loss when those little shits got the chop?

47. Thoroughbreds (2017)

“At the end of the day, I have a perfectly healthy brain. It just doesn't contain feelings. And that doesn't necessarily make me a bad person. It just means I have to work a little harder than everybody else to be good.”

I love Olivia Cooke. I love Anya Taylor-Joy. I love concise, cutting dialogue, the idea of middle class American social politics, and a little bit of (fictional, of course) murder thrown in there for good measure. Thus, I really love Thoroughbreds. If you watched it with the sound off, it’d be a Polo Ralph Lauren promotional film that gets really dark at the end, and what’s not to like about that?

48. We Need to Talk About Kevin (2011)

“What are these people watching, people like me?”

I still haven’t got round to reading the book this film was based on and I feel like that’s something I need to get on top of ASAP, because it’s been sitting on my shelf for a long ass time. However, based on the little I know about how faithful a film adaptation it is, I think Ezra Miller and Tilda Swinton were a wonderful pairing, and this is a film that’s all about the characters, so it’s a good job they were so well cast. Miller does a great job at getting right under your skin and answering a lot of my questions about what leads someone to commit the kind of horrific crime that his character, Kevin, does. Arrogance, done subtly, is hard to pull off but he nails it, and Swinton is very, very believable as a haunted, grief-stricken mother wrestling with the natural question of the part she played in her son’s actions and the scrutiny that comes with it. Not only that but from the offset, every part of the cinematography helps to convey the feeling of impending doom that builds right up until the climax. The colour palette in particular, which for the most part doesn’t stray too far from the mundane greys and bleak washed-out tones perhaps reflective of Eva’s state of mind, does a great job of foreshadowing what to come when it quite purposefully does take a diversion. It’s all about the red, apparently. Take note.

49. Whiplash (2014)

“Any fucking moron can wave his arms and keep people in tempo. I was there to push people beyond what's expected of them. I believe that is an absolute necessity.”

You honestly wouldn’t believe that a film about drumming could feel like a horror and yet here Whiplash is, leaving me on the edge of my seat and wincing for, like, 2 hours straight. Tonally it couldn’t be more different from the other Damien Chazelle film on this list (La La Land), and yet it flows just as seamlessly and has his same impeccable rhythm; every word, yell and snarl slots perfectly into place and every swivel of the camera is flawlessly executed. If you’re looking for an intense and fast-paced drama, I can’t recommend Whiplash enough.

50. Zombieland (2009)

“Twelve's the new twenty. Gun please.”

Zombieland has only one fault: that Jesse Eisenberg’s character wasn’t played by Michael Cera. But it has Emma Stone and Woody Harrelson so I’ll let it slide. Not much to say about this one other than it’s a wild ride from start to finish, but simultaneously easy to watch and probably the most lighthearted zombie film out there. Almost like The Hangover or something along those lines, but with the addition of the undead. It’s a hard film not to enjoy and I’m just really hoping they don’t fuck up the sequel.

DISCLAIMER: 90% of these stills are from Filmgrab, it’s an amazing website!

[ogradyfilm]

Recently Viewed: Wait Until Dark

Nowadays, Wait Until Dark is seldom ranked among the best thrillers ever made, even though it absolutely earns a spot on such a list. Directed by Terence Young (who also helmed From Russia with Love, one of my favorite Bond flicks), this lean, mean, well-oiled suspense machine belongs to a rare breed of film, indeed: the “chamber horror.” This sub-genre thrives on minimalism, generating tension by trapping a small group of hostile characters together in a single isolated, claustrophobic location (see: 10 Cloverfield Lane, The Hateful Eight, Don’t Breathe).

In this case, the plot revolves around a trio of conmen attempting to intimidate a newly blind housewife into surrendering a heroin-stuffed doll that has accidentally ended up in her possession. It’s a positively delectable premise, dripping with dramatic irony; because the protagonist lacks sight, the audience (like the villains) often has her at a disadvantage in terms of narrative information—which makes it all the more satisfying when her remaining senses allow her to perceive seemingly minor details (such as a noticeably squeaky shoe) that gradually cause the ruse to unravel, transforming this would-be victim into a dogged survivor.

The true genius of Wait Until Dark, however, lies in how it challenges the viewer’s loyalties. Because the criminals are introduced first—and because two of them are at least somewhat sympathetic—we occasionally find ourselves actually rooting for their scheme to succeed, despite our investment in the heroine’s survival (evoking the iconic corpse disposal scene in Psycho). This moral tug-of-war enriches the conflict; we’re haunted by the nagging awareness that the outcome will inevitably be bittersweet, no matter which side ultimately triumphs.

I could write an entire novel dissecting the delicious subtleties of Wait Until Dark’s cinematic techniques—particularly regarding the fascinating contrast between Audrey Hepburn’s unapologetically “Old Hollywood” style of performance and Alan Arkin’s more naturalistic “New Wave” approach—but I think it’s better to just end he review here. Frankly, the film doesn’t require in-depth analysis; its brilliance speaks for itself.