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A tragic, intense, and eventually thrilling horror that’s uneven found footage style swerves between Paranormal Activity and some of the better V/H/S entries, The Medium has plenty of highs and a few lows, but is completely worth taking a leap of faith on.- Jacob Ollerĭid you know that pant zippers are the most common cause of adult penis injury? Thankfully, the fatality rate is pretty much nothing to worry about. Bayan, perhaps? Or is this affinity to the spirit world more complex than it at first seems? Gulmongkolpech embraces the film’s lofty ambitions with aplomb, dialing things up just enough to keep you hooked-tempting you through the film’s dense jungle with guttural screams. She plays Mink, the niece of the medium and the youngest woman of the family, who unwittingly draws the attention of…something. The Medium’s lush look at the pressures of inheritance, and more specifically the pressures on women coming from all sides (para- or simply normal), might’ve been a bit too hands-off and moody without the impressive and intense performance of Narilya Gulmongkolpech. Jim Vorelīanjong Pisanthanakun’s faux documentary burns low and slow, taking you deep into the lives of its central figures-a medium (Sawanee Utoomma) and the family her deity Bayan matrilineally possesses-and the region of Thailand in which it’s set. Sequels 19, meanwhile, keep up just enough momentum to complete the ambitious trilogy. Suffice to say, the kills of Fear Street aren’t messing around, and once that bread slicer makes an appearance, your jaw is likely to drop.
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What we’re left with is a film that lays its mythology out nicely, buoyed both by engaging supporting characters and cinematic violence that is significantly more grisly than audiences are likely to expect. 1994 garbs itself in slasher history, being particularly referential of Scream while also including numerous allusions to much more obscure ‘80s slashers such as Intruder, but it simultaneously (and cleverly) distracts the audience from some of its deeper mysteries, to be explored more fully in Fear Street: 1978 and Fear Street: 1666. Stine Fear Street adaptations quickly announces itself as a far more vicious and bloody beast than any of the family friendly Goosebumps installments of recent years, successfully carving out its own place in the modern meta-slasher canon while hinting at an exciting conclusion to come. The first film in Netflix’s trilogy of R.L. Here are our picks for the 15 best horror movies of the year: And, also, that sometimes all you need is a pair of killer jeans. The best horror films of 2021 didn’t just reflect our year, they were ironically comforting reminders that even the deepest and darkest corners of the human psyche are not unique to a single sufferer.
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The Empty Man, a movie completely buried by its studio in 2020 (so much so that it missed us completely), found its audience…and a way onto this list as our big exception. Night Shyamalan) released downright nutty studio horrors. Though they didn’t quite make our list, two of the genre’s biggest names (James Wan and M. Not “weird places” like Shudder, though the horror streamer had its best year of original programming yet, but “weird places” like poking and prodding at our fears so that even the normal tropes of horror-your slashers, your werewolf flicks, your creature features-were blessed by a tinge of madness.
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And, maybe it’s just us, but stewing in that unprecedented stress led us to some weird places.
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Sure, we were still freaked out and pissed off and scared for our lives in a more tangible sense than many have ever felt, but we were also exhausted and disillusioned by this sustained heightened state. If 2020 helped capture the isolating terror and binding racial tension that permeated that year’s terrible events, the frustratingly repetitive quagmire of 2021 only made its horror films reflective of its audience’s broadening anxieties.