![]() Good horror movies are such a rarity these days, they’re almost like a mythical creature—a cinematic unicorn, if you will. Aged fans speak of them as if through a. Directed by Mac Carter. With Jacki Weaver, Liana Liberato, Harrison Gilbertson, Ione Skye. An introvert teen befriends his new neighbor, and together the couple begin. Through OnNetflix.nz, you can search the entire selection of Netflix New Zealand, including detailed information from Moviemeter and IMDB. Furthermore, OnNetflix.nz. Horror films are supposed to scare us, creep us out, and make us feel uncomfortable. But sometimes, there is a film that go so far outside of the norm (and our. While it's an exceptionally useful tool, it's also a damn intimidating one too. How many hours have you spent idly perusing Netflix for something to watch without any. Disturbing Horror Movies You Will Never Watch Again « Taste of Cinema. Horror films are supposed to scare us, creep us out, and make us feel uncomfortable. But sometimes, there is a film that go so far outside of the norm (and our comfort zone), that after we see it, we never want to see it again. In no particular order (because they’re all pretty hard to stomach), here are 1. Disturbing Horror films. The Exorcist. The Exorcist is known as one of the scariest films of all time. While most people don’t debate that, what they do debate is its watchability. Many people have said that they chose to sit through it once for curiosity, but what they saw was so terrifying that they never wanted to see it again. Maybe it was the sight of a little girl masturbating with a crucifix or of her head spinning a full 3. It also might have been the spider crawl Regan did down the stairs. There are plenty of reasons why you’d never watch this classic horror film more than once. The Woman. The Woman is about a seemingly “normal” family who takes in the last remaining member of a cannibalistic tribe. It doesn’t take long for you to see that the family might be more barbaric than the prisoner. The excessive gore (usually revolving around cannibalism) and a sexual assault performed by a child will ensure that you will never want to see this film more than once. Don’t get me wrong, this film makes a serious statement about misogynistic behavior and the people we deem “normal” in everyday society. The film follows the exploits of a sadistic scientist who sews 3 victims together, mouth- to- anus, in order to create one long digestive tract. Suspiria (Two-Disc Special Edition) Since a very young age I’ve been obsessed with horror films, and I made it a goal to find the scariest ones out there. Sex and violence are inextricably intertwined in horror movies; it’s only a slight exaggeration to say that in most slasher films, being disemboweled by a hockey. Biggest & Best Zombie Netflix Instant Streaming Movie Listing on the Web. Over 200 Movies to Choose from. All have been Verified! Chomping at the bone for a zombie. The first time one of the victims has a bowel movement, you’ll have trouble convincing yourself to finish the film once, let alone finding a reason to watch it ever again. Hostel. Director Eli Roth, torture porn king, made a huge splash in the indie circuit with this outrageously gory and torture- ridden horror film about three Americans traveling through Europe. These empty- headed too- old- to- be- frat- boys get caught up in a terrible game of human hunting and the events that follow will never leave you once you’ve seen them. The torture scenes are drawn out to prolong the gruesomeness, but there is absolutely no pay off to any of them, so there is really no reason to ever see this unnecessarily violent movie ever again. The Last House on The Left. Reddit gold gives you extra features and helps keep our servers running. We believe the more reddit can be user-supported, the freer we will be to make reddit the. Get a random movie from the Netflix catalog and watch it instantly! ![]() The original film, made in the 1. However, its source of fame is pretty disturbing: the remake and the original both feature a long and graphic rape scene of two girls out in the woods. By the time you see the rapists get much deserved justice in the most brutal of ways (the remake having way more brutality than the original film), you will feel both content and disgusted with yourself about why you were so happy to witness the brutal torture of another human being. Even when the rapists become victims, it’s enough to make you say “Once is enough.”6. The Girl Next Door. The Girl Next Door is a horrific story about a woman who sexually, physically and mentally tortures a young girl who is staying at her residence. Another film entitled An American Crime stayed close to the actual, terrible event. Yes, some of the things in the film did happen to a poor young girl when she was staying with a psychopath while her parents ran off and joined the circus (literally). Maniac. This one is a relatively new horror film about a young man (played by Elijah Wood, in a career pinnacle performance) who is way more obsessed with store mannequins than he should be. Oh yeah, and he’s a serial killer with some serious social issues. What makes this serial killer film so unique is that the audience witnesses the entire film through the eyes of the killer. You only see his face in mirrors or shiny surfaces. Witnessing the gruesome murders (most of which contain scalping afterwards) in 1st person point- of- view makes this film impossible not to stop watching. But, that dirty feeling have when the move ends makes you want to never watch it again. Insidious. This movie follows the strange (and damn creepy) events of a family haunted by a supernatural being that seems to follow the father wherever he goes. Sounds pretty typical, right? The jump scares are plenty, there’s one of the most frightening demons you will ever see on film, and let’s not even talk about that creepy dancing shadow. This film will scare you so bad, you’ll think twice about watching it again. ![]() The 2. 5 best horror movies since 2. Club. Ask horror- movie buffs to name their favorite decade for the genre, and you’ll likely receive a variety of answers. The ’3. 0s had several of Universal’s classic roster of monsters. The ’4. 0s had Val Lewton. The ’7. 0s had zombies, and giant sharks, and Texas chain saw massacres. Classics take time to solidify, reputations take a minute to build, and hindsight is 2. Plus, you know, Uwe Boll. But looking over the 2. United States sometime before today and after January 1, 2. Perhaps more than any other genre, horror operates as a mirror of our anxieties—a warped reflection of everything that’s eating away at us as a culture or keeping us all up at night. And there’s been plenty to lose sleep over these past 1. SARS. The list below could easily double as a guide to the fears and phobias of modern life. Its eclecticism is a testament to just how many different ways we’ve been freaked out since Y2. K. Sixteen contributors submitted ranked ballots of their favorite horror movies released in the United States since the year 2. These are not the scariest films of our new millennium, but simply the greatest that happen to occupy the horror genre. As such, we tried to be fairly strict with the definition; films that feel like horror but wouldn’t necessarily be classified as such by IMDB or Netflix—like David Lynch’s two post- 2. Pan’s Labyrinth, or Requiem For A Dream—were excluded. What would your ballot look like? Did we miss anything crucial? Sound off in the comments below. There are those who find Pascal Laugier’s Martyrs to be one of the most unsettling and provocative horror films ever made, and then there are those who haven’t seen it yet. But unlike other extreme horror that relies on shock value and repugnance for its notoriety (A Serbian Film, Human Centipede II), Martyrs isn’t particularly grisly, nor does it wallow in depravity for exploitative button- pushing. The film is almost two movies in one. Depicting a fragile young woman’s efforts to support her friend, who seeks revenge for her abuse as a child, the first half is horror at its simplest and most frightening. But a late and unexpected turn in the story pushes things into utterly new territory, at which point the film becomes horrifying for wholly different reasons. It’s difficult, transcendent, riveting, and never anything but nerve- shredding. And the ending is one for the ages. The genre can be very regressive in its gender politics, if not grotesque and loathsome in its sexism, but the sly Canadian horror- comedy Ginger Snaps cleverly subverts that tradition by positing lycanthropy as an allegory for a girl’s sexual and physical maturation. The film is empowering in its depiction of a world where female sexuality is a potent, violent, and righteous force. And the film inspired a slew of feminist- leaning horror films that addressed gender forthrightly and smartly, including a memorable segment in the horror anthology Trick ’R Treat. The masked assailants trying to gain entry into the vacation home of an unhappy couple (Scott Speedman and Liv Tyler) aren’t particularly memorable; the film’s bare- bones narrative insists upon that anonymity. No, what makes Bryan Bertino’s film seethe with nail- biting tension is the masterful use of space and silence. The home becomes a sieve, a place where a threatening presence can intrude upon the frame from any angle. There are no fancy camera tricks or complicated plot twists, just a slowly building sense of dreadful inevitability. Always hanging back, Bertino lets his two leads stand exposed, the large open spaces behind them always promising to release more terrors. It’s a perfect rejoinder to those who value originality over everything. Going back to basics can reap petrifying rewards, too. Nicole Kidman gives one of her best performances as a widowed mother named Grace, who lives with her two sickly children in an elegant European country house in the mid- 1. WWII. The arrival of eccentric new servants coincides with the family’s increased awareness of some kind of inexplicable presence in the manor, which Grace tries her best to ignore until she’s eventually forced by circumstance to investigate. Writer- director Alejandro Amenabar teases out the mystery and uses old- fashioned effects to give viewers the creeps; but his best asset is Kidman, whose dawning awareness of what’s happening around her helps turn The Others into a poetic portrait of soul- sick grief. Although most of the U. K.’s monsters have now starved to (re)death, and despite the fact that part of London has been successfully turned into a militarized safe zone overseen by the U. S., no one is secure in this horror show. That’s apparent from the film’s masterful intro, wherein a terrified husband (Robert Carlyle) is forced to flee his rural enclave—and abandon his loved ones in order to save himself—and continues once the action shifts to those living under American armed- forces protection, which falters after another undead outbreak. Frantic blasts of cannibalistic action set to squealing guitars generate adrenalized terror, though more chilling still is the overarching allegorical portrait of a United States failing to maintain control over a rabid, rampaging horde of infected- by- madness enemies. May (Angela Bettis) navigates her lonely world with her mother’s voice in her head—“If you can’t find a friend, make one”—assuring her that ending her isolation is simply a matter of will. But finding a friend is easier said than done for a mousy, awkward woman with a misaligned eye, an obsession with antique dolls, and too much enthusiasm for the bloodier aspects of her veterinary gig. By the time May takes her quest for human connection to gory extremes, writer- director Lucky Mc. Kee has already laid a sound foundation of empathy. May is a slasher flick with an inverted perspective, as if Friday The 1. Wolf Creek comes alarmingly close. Greg Mc. Lean’s pitiless Aussie shocker sends a trio of attractive, uncommonly likable twentysomethings into the outer reaches of the Outback, where they’re set upon by a smiling psychopath in a Crocodile Dundee hat. One of a small handful of films to ever earn a straight “F” from Cinema. Score voters, Wolf Creek has proven just a little too sadistic for plenty of viewers. But there’s an unlikely elegance to its construction, Mc. Lean engendering affection for his sacrificial lambs in the long, tension- building hour before they’re led to the slaughter. Unfairly lumped in with the likes of Saw and Hostel, this backwoods gauntlet owes its nightmarish power not just to the “charms” of its cackling human monster (John Jarratt), but also to the unforgiving sprawl of the Australian wilderness. This is the second of three contract killings that form the black heart of British director Ben Wheatley’s one- of- a- kind feature, so of course there’s no shortage of blood here. But this chimera of a film—part naturalistic marital scream- fest, part on- assignment buddy movie, and, most important for our purposes here, part sticks- and- stones conclave in the Wicker Man mode—is most remarkable for its atmosphere of slow- building menace. Paring down the exposition, Wheatley keeps the audience aligned with his in- the- dark hired guns, though every dread- filled frame cries that something’s amiss. Lo and behold, it emerges that what they’ve taken on is, almost literally, the job from hell. In some respects, The Host is Bong’s version of a Godzilla movie; in particular, it boasts a similar origin story, with the monster accidentally created by an American military advisor who cuts corners by pouring 2. In lieu of the lumbering beasts familiar from Japanese monster movies, however, Bong and his effects team fashioned a slimy, fast- moving fish with legs, able to wreak havoc on a smaller, more thrilling scale. And yet it’s arguably the least of the hero’s problems, given the outrageous institutional negligence and incompetence on display throughout the movie. Come for the virtuosic mayhem, stay for the bitter political commentary. Here was an emerging auteur seemingly turning from a serene arthouse aesthetic to make a blood- soaked tale of quasi- cannibals in Paris. Trouble, however, fits neatly into Denis’ preoccupations with examining the limits of human relations. She takes a honeymoon story and plunges it into depravity, uncannily capturing the beauty of dark corners. The film is at times appalling (an act of cuniligus turns carnivorous) but it’s no shock- and- awe ploy. The discomfort that lingers at the end doesn’t just stem from what’s seen on screen but from the all- too human question the film poses: What does it mean to be consumed by desire? Set in an orphanage during the Spanish Civil War, the story ostensibly revolves around a young boy’s attempts to uncover the mystery of the ghost of another child. But even without the specter of a drowned boy skulking the hallways, the whole movie is permeated with dread and the potential for violence. The orphanage is remote and isolated, appearing more as a mausoleum than a refuge. An arid wind blows through every scene, hinting at the inevitable arrival of the war. And despite the Catholic idols that dot the compound, none can overshadow the place’s true patron saint: a massive, diffused bomb that sits in the middle of the courtyard. Del Toro continued his wartime exploration of the tension between fantasy and reality in Pan’s Labyrinth. But the intimacy and fatalistic sadness of The Devil’s Backbone remains unique. The Cabin In The Woods lands closer to the Scream end of the spectrum in that it’s both of and about its genre. Director/co- writer Drew Goddard and co- writer Joss Whedon call out plenty of horror- movie tropes (threatened characters inexplicably splitting up; stereotypical teenagers; a creepy gas station attendant) without subjecting them to snide derision. The movie accumulates clich. Netflix Roulette. Select your preference and spin the wheel.
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