Special Halloween : 10 horror movies essentials

If tonight no kid in your neighborhood will not come knocking at your door and you have peace and quiet for two hours, this is an opportunity where ever to do a tour in the category “horror-horror” of VOD platforms.

To help you find yourself in the middle of the countless farms in the genre, nanardesques or simply unnecessary, I have sought the advice of my colleagues Georgeslechameau, KamaradeFifien, Maxime and Etioun. To celebrate Halloween, we offer you a list of horror films of surprising that were able to transcend the genre by exploring its codes, with the eyes of an author and touching deep in our little hearts of movie-goers sensitive.




Released in 2015, directed by David Robert Mitchell, with Maïka Monroe, Keir Gilchrist and Jack Weary

After a sexual experience seemingly innocuous, Jay finds himself confronted by strange visions and the inescapable feeling that someone, or something, follows. Stunned, Jay and his friends must find a loophole with the threat that seems to catch up with them.

The film from David Robert Mitchell is not there to scare at any price. Point screamer or jumpscare here. Simply, a work on the general atmosphere, which installs a good old tension, one that doesn’t let go, once the film is finished. By establishing an explicit parallel between the curse which strikes the heroine and an STD that you could catch them in our real world, the film plays on our paranoia to a threat difficult to identify. Wherever she goes, wherever she is, the heroine can be followed and attacked by an evil entity protean, which can take on the appearance of an old lady than a man worrying. The viewer then begins to look through all the backgrounds in the quest of movement, apprehending at once the horror and the pleasure of surprise, such that he is entitled to expect from a horror movie knowing how to propose a visual impact all its own.

And this is where the piece hits hard, in his formal mastery of the image as support of the narrative. In It Follows, it shows more than it tells, adolescence disillusioned. It suggests more than it does the highlights, parent-figure exploded. And we create, without forcing a sense of urgency and leak before through a camera always in motion. Gently, quietly, in a rhythm throbbing. It’s beautiful, it’s deep, it’s tense, it speaks with emotions of the teens while ensuring a few moments of jitters. Then one follows.

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Released in 2008, directed by Pascal Laugierwith Morjana Alaoui, Mylène Jampanoï and Catherine Bégin

Fifteen years after having been abducted and kidnapped, Lucy rang the doorbell of an ordinary family. When the father opens the door, the young woman armed with a rifle, is convinced to have found his executioners. She opens fire…

Difficult to separate the Martyrs of the controversy that has preceded it. Yet, while one expected a movie of torture well nag and dirty, Pascal Laugier makes a miraculous tour de force : we move. Just starting out as a nervous revenge movie, Martyrs is moving half-way to an austere account of sequestration. The point of bifurcation, which is central not only mess with the storyline, it reconfigures the relationship between Anna and Lucy in bringing in another dimension. While the second is maintained without flaw the first, the roles are reversed.

Now orphaned by her best friend and kidnapped in turn by the mysterious organization, Anna undergoes the same treatment, as, once, Lucy endura. The wonderful idea of Laugier lies in the fact that Anna becomes symbolically a martyr in the name of the love she bears to her friend, as if to bear witness to the faith that she had towards it has always supported. Down physically and psychologically by the abuse many, Anna remembers, in a moment of respite, discussions with Lucy. Pascal Laugier, with his actress-facing camera, a book, a movie moment to be intense and emotional. Battery what I did not expect to find in such a film.

In the middle of the strokes, we breathe at the same time as the heroin. As if the staging front, the pace monotonous, and the dehumanization integral thought of that to make those seconds terrassantes. Has the favor of a “I miss you” whispered, we find ourselves upset, the heart in the form of crumbs.

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Released in 1999, directed by Antonia Birdwith Guy Pearce, Robert Carlyle and David Arquette

During the war, mexican-american, captain John Boyd is transferred in a safe isolated to California. Arrived at his new post, Boyd and the garrison of the fort to collect Colqhoun, a strange person traumatized, which relates the acts of cannibalism which he and his companions have to resort to survive.

Voracious is essentially a vulgar series B as it can be hundreds, with its problems of production and its directors replaced the walk-up, his cast of supporting roles and its limited budget. Yet there is something more in Voracious. A black comedy with devastating to begin with, but also a cynicism well murky, a subversion refined, a history and a mythology that is quite unique, a soundtrack genial of Damon Albarn and Michael Nyman, and an atmosphere of the most violent.

Yes, Voracious has big flaws, and yes, the film director Antonia Bird has not a talent out of the ordinary (but magnifies certain scenes, however, a voltage is flawless), but that is what this movie can be enjoyable. Disturbing, funny, disturbing, portraying them with a certain detachment is a taboo subject, deconstructing without discomfort the glorious myth american inspired with lots of naughtiness to legendary figures already lonely, here is of genre cinema in what may be the most ambitiously uninhibited and more wildly inventive.


Released in 1996, directed by Wes Craven, with Neve Campbell, Skeet Ulrich and Courteney Cox.

Sidney Prescott knows that she is one of the potential victims of the killer of Woodsboro. It no longer knows who to trust. Between Billy, her boyfriend, her best friend, Tatum, and his brother Dewey, her school friends Stuart and Randy, and the journalist pushy Gale Weathers, who hangs around all the time in the area, which hides behind the mask of the killer ?

Scream is supposedly happened after the storm. In Anatomy of horror, Stephen King wove a connection exciting between the social crisis of our time, and the revival of the cinema of horror : in the context of late 90’s where, in parallel to the renaissance of the good old slasher, the american system of all-powerful victor of the Cold War begin to wither away in the face of unending conflicts and the savings news, the film Wes Craven is a double-irony orgasmic : the codes are only more bars, but stepping stones.

We laughed, we worried, we did springs narrative. The code itself becomes the engine of narrative, and more than playing at satire, he becomes the antagonist ultimate, fatalistic, inevitable. And when this decline on his person is eventually also became a code (in the months and years that followed the release of Scream), we say that Wes Craven had understood everything of his time and of the cycles of the self-criticism late : it will be nice to have everything entered from the mistakes of the political paradigms of the past, this will not make us infallible, far from it.

The war and misery, as the codes are constantly renewed cinema of terror, are nothing more than a wheel and hellish that only fatigue can stop. In the middle of this grand scheme, Scream is really just a relay, without any doubt, the most evil one of all.

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Released in 2015, directed by Levan Gabriadze, with Shelley Hennig, Moses Jacob Storm and Renne Olstead

The young Laura Barns committed suicide after having been the victim of cyber-bullying : a video of her showing it drunk, has been circulating on the Internet. A year later, to the day, six of his friends get together on Skype to discuss. A seventh person also connects…

Unfriended is from those horror movies that will play on an element of daily life common to all in order to give birth to the discomfort. Rather than an emotional connection, it is a material bond that is put to the test and serve as a vector of the horror. With the Ring, it was through the telephone and the television that materialize the threat; here, it is the staging of social networks (Facebook and Skype). And precisely, these platforms allow you to address topics typically teenage girls like the solitude, the relationship with the other, the importance of image and reputation. The one in the other, it is what makes the film an object purely generational, not as the bearer of discourse, but because it is based entirely on the supposed use to which its spectators a communication tool specific to a specific moment in their life. This movie has a life of about five years; past that, it will be far more than obsolete, but it will be clearly manifest a strange time.

The immersion, with a public customary, is undeniable. But according to me you can’t be sensitive to it if it is not itself a user hardcore social networks, like the characters in the film, a characteristic that certainly explains the rejection of the film by a majority of the public.

On one side purely horror, this only works if the viewer is from the point of view of a user of Facebook or Skype, since the effects of terror are based precisely on the characteristics of its networks. For example, the three dots […] that mean that someone is in the process of preparing a response, become creepy ones when it comes to a ghost from the other side of the screen.


Released in 2012, directed by Scott Derrickson, with Ethan Hawke, Juliet Rylance and Clare Foley.

Ellison a writer badly in need of inspiration, moves in with his family in a house where took place the gruesome murder of a whole family. He discovers in the attic of the coils 8mm containing the images of the murders of other families.

In a first time, one has the impression that Sinister seeks to tick all the boxes of the nomenclature horror film : a family in which the father is confronted with events more and more fantastic, a little town quiet, an investigation of ghosts in the house, an attic, floors creaking, etc…The story settles into a context of the most conventional for the genre. And then you realize that Scott Derrickson has been chosen to work the form, to ensure the modernity of the film, featuring a soundtrack by typing in the industrial sounds, the reverse of the print is organic usually chosen in this type of production, mine of nothing the difference in intake on the atmosphere is huge, a participant in a texture rougher than usual.

We can consider the work of Derrickson as an evolution of the one of Hideo Nakata on The Ring, where this time it is not a VHS cursed but the snuff movies that serve as an engine to the plot, and that the hero must analyze to understand what is happening to him. Sinister is part of a lineage of horror films, using shock images to the inside of his narrative, questioning its own nature of media playing on the fear and the trauma.

The film leaves an impression of overall success, the general interpretation of the use of the terror, combining a party-taken air to the jumpscares purely physical. So, in order to remain consistent with this atmosphere of anxiety, no question of a happy ending, the final is a dark !


Out in 2016, directed by Na Hong-Jin, with Kwak Do-Won, Hwang Jeong-Min and Chun Woo-Hee.

The life of a village Korean is upset by a series of murders that strikes at random in the small, rural community. The presence, recently, an old stranger who lives as a hermit in the woods stirs up rumors and superstitions. For Jong-gu as, a police officer whose family is directly threatened, it is increasingly clear that these crimes have a basis in the supernatural.

In pure horror movie Korean,, The Strangers already attracted our attention thanks to the incredible efficiency that it shows in its mix of genres : investigative, comedy, horror and mysticism. But where I was blown away by the film, it is in its political dimension. In fact, The Strangers is a metaphor spun out of the colonization of Korea by Japan. The theme of revenge is expressed as well in the ability to replay the story, reversing the roles of the victim and the guilty.

Know, then, that between 1900 and 1945, the japanese colonized the country, bringing technology and infrastructure to a population that is poor and a peasant, gives a particular interpretation to this vision of the foreigner as archaic. Know that during the second world war, the japanese have reduced the Korean people in bondage, men into cannon fodder and women sex-slaves, gives a very specific meaning to the themes of revenge and manipulation of the film. Know that after the war, the Korean immigration to Japan begat racism is extremely strong and a ghettoization hardcore for those that have been described as “sub-men”, taking its source in the social malaise inherent in the two situations, also gives a particular meaning to the perception of the villagers koreans from this stranger.

The evil does not appear, however, not as unilateral (approach dramaturgic also very Korean), and as a whole The Strangers mapping this evil and its origins, if we look at this component of near. In short, the use of this sub-text is sociological and historical in a film genre is exciting.

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Released in 2012, directed by Francis Ford Coppolawith Val Kilmer, Bruce Dern and Elle Fanning.

A writer in decline arrives in a small town in the United States to promote her latest novel of witchcraft. It is lead by the sheriff in a mysterious story of murder in which the victim is a young girl in the corner.

Imagine Francis Ford Coppola, figure holder of the american cinema, in the halo of the reputation of Apocalypse Now and the trilogy of the Godfather, lost in the depths of California to shoot a horror film jester to seventy years past. But Coppola proves with Twixt that he’s come to venture into the terror in order to serve us yet another declination lazy like that, but rather a questioning of its codes, leaning sometimes on the side of derision, sometimes on the side of the immersion as it follows more closely the emotions of the protagonist.

We perceive in a first time a game repository, where a Stephen King of the poor is immersed in a world worthy ofEdgar Allan Poe, to return the inspiration. One could consider this decorum gothic with the same eye disillusioned that our hero, aptly embodied by Val Kilmer in aging, or with the same look of sarcastic as the director, and not to see in his staging, the camera angles biscornus and the colors are questionable, a critique of the artificiality of total stories horrific. But gradually the magic operates, and flush behind this distancing provided by the humor and earthiness of Bruce Dern, a sincere consideration for the kind represented by the fragile, Elle Fanning.

In the end, Coppola appears to be taking a look at the horror like Roman Polanski, where until the last minute, is undergoing a flux and reflux, and constant of our emotional involvement in the story that is told; sometimes it is used to identify codes to be fun, sometimes it is carried away by the romantic poetry and macabre of Poe.


Released in 1973, directed by Robin Hardy, with Edward Woodward, Christopher Lee and Britt Ekland.

Sergeant Howie is investigating the disappearance of a little girl on an isolated island. In the course of his investigations, he discovers that the local population is engaged in strange ceremonies of another age.

In his long and rich career, Christopher Lee had a favorite movie, Robin Hardy. It includes the thought that the giant of the horror films was The Wicker Man (more rarely called The God of wicker) in discovering how the artistic project is mind-blowing. Starting from the proven scheme of the investigator forced to go astray in an inhospitable environment, the scenario gradually gives way to ideas that are used to the progression of the voltage, unconventional manner.

To the usual representation of a scottish island with fog, light gloomy, and homes, haunted, the director prefers an atmosphere totally opposite, bathed in light, surrounded by pop songs that make believe sometimes a musical ironic, and embodied by the smiles and the décollectes of natives a bit too welcoming. Taking the distance with the film, we could analyze this impression of the offset as simply the encounter of the cinema of terror british with an era psychedelic that comes the heckle in its established codes.

Yet this delusion seventies full of sexual connotations creates a real uneasiness up to the horror of its final scene. Note that in the progression of this tension, The Wicker Man manages to shelter the moments of poetry spellbinding, as when Britt Ekland sings and dances naked in a sort of pagan ritual of seduction.


Released in 2001, directed by Guillermo Del Toro, with Marisa Paredes, Eduardo Noriega and Fernando Tielve

During the war of Spain, Carlos a twelve year old boy arrives at the orphanage of Santa Lucia. But he has to face the hostility of his comrades and Jacinto, the man to do everything. By the way, this place hostile hides behind its walls two secrets : the gold of the republican cause and the ghost of a child that haunts the basement.

In the early 2000s, the imagination and the aesthetic universe of the mexican Guillermo Del Toro were already coveted by Hollywood; however, it is in Spain that the filmmaker made a stop to shoot a project that is particularly dear to him, who has never hidden to have kept his child’s soul. At the time, Spain is a preserved area of fantasy where the authors can develop works smart and sensitive, without being distorted by the ugly quirks of exploitation cinema.

Del Toro has understood, and he uses this challenge, both in the subtlety of the direction of actors than in the beauty of the photography, to write a tale as strange as it is fascinating, which is immediately rekindled our emotions of childhood, to the time when we had a thirst for mysteries and answers about the world, introduced by the adults. Here these mysteries and these questions are all the more exciting that they serve as allegories to the political disorder, and history of the era in which the narrative takes place.

The bomb planted in the courtyard of the orphanage, fetuses stored in jars, the ghost treaty as a positive, all these ideas are involved in a mix of genres that could serve the Neck of the Devil. Mixing genres can soon turn into a simple work of accumulation and give an emphasis to be inadequate to the narrative, Del Toro has found the magic formula for that his film is both impressive and intimate.

Arkham, editor of the Blog of the Film

Defending a fantastic cinema sensory, I enjoy movies beyond the genre, as long as the realization of promises of theatrics or madness


Please do not hesitate to send us some of your favorite horror films in the comments. We do not impose any restriction on the kind, you can just as well quote a Japanese movie with a ghost of a girl with oily hair, as the fifth installment of the franchise, Evil Bong. We hope this selection pleases you, the entire editorial wish you a happy Halloween !


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