![]() This brief descriptor is deliberately vague so not to give away anymore of this surprising genre mashup in what’s one of the most surprising, powerful, and ominously imaginative chillers in recent memory. Investigating Officer Jong-goo (Kwak Do-won) soon finds himself in the center of a savage and genuinely formidable fright film with shamans, femme fatales, demonic possession and other assorted nightmares. Uncertainty and unhealthy suspicion decays into hysteria when rural Goksung villagers connect a string of ferocious murders to the arrival of a mysterious Japanese visitor (Kunimura Jun). Highly recommended.Ĭleverly constructed and incredibly atmospheric, this South Korean horror film from director Na Hong-jin (The Yellow Sea ) is a disturbing journey deep into the heart of darkness. It is here that Joan (Emma Roberts), a secretive young woman embarks on a cryptic and furtive journey, somehow connected to Katherine (Kiernan Shipka) and Rose (Lucy Boynton), two luckless students stranded at the school.Ībly assisted by an eerie score from Elvis Perkins (the director’s prodigiously talented brother), we gradually come to understand that devil worship, decapitations, and possession court the Judas kiss while smartly out maneuvering all the girls-in-peril tropes in this thoroughly engrossing, ill-tempered, and utterly chilling tale of the supernatural and superbly unfortunate. Written and directed by Oz Perkins (son of Norman Bates himself, legendary actor Anthony Perkins), this nerve-jangling atmospheric freakout slowly ratchets the ample tensions amidst the dead of winter at the Catholic Bramford Academy, an isolated prep school in upstate New York. Please join the conversation by adding your favorites in the comment section at the end of the article (be nice), but above all, treat yourself to some genuine scares and try to have a good time while you’re at it. Jonathan Glazer’s Under the Skin, Ti West’s The House of the Devil, and David Robert Mitchell’s It Follows were omitted). The following list looks at the 10 best slow-burn horror offerings of the 21st century, though it should be noted that this list could easily be double that length (sadly such excellent films as Richly rewarding, and hard to shake off, the slow-burn approach is amongst the most rewarding genre fare that horror has to offer. Slow-burn horror classics like Psycho (1960), Rosemary’s Baby (1968) and Don’t Look Now (1974) are so revered by genre fans and cineastes alike for the mounting mental panic and airy shocks they provide the viewer. Some horror movie trends come and go (horny teenagers and torture porn regularly crop up and wear out their welcome rather quickly), but few genre-specific tendencies are as appreciated and abiding as the unease of existential dread, and the intensity of a slow burning, utterly atmospheric journey into the abyss and (hopefully) back.
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