#Mikey madison drag me to hell series#
As lanky somnambulist Cesare (Conrad Veidt) commits a series of murders at the behest of the titular hypnotist (Werner Krauss), director Robert Wiene sets the drama in the confines of a labyrinthine environment that makes the upside-down look downright homey. Putting the expression in German Expressionism, this seminal horror silent has remained a definitive achievement in spooky storytelling by creating a nightmarish world where nothing is certain.
To the 1950s: “A Bucket of Blood,” “Plan 9 from Outer Space,” and more….To the 1940s: “Cat People,” “The Lodger,” and more….To the 1930s: “Dracula,” “Freaks,” “Frankenstein,” and more….To the 1920s: “Nosferatu,” “Phantom of the Opera,” and more….Use the links below to navigate between decades. Organized chronologically (and then alphabetized per year), this guide doubles as a history to a genre that’s been elevated all along. It’s a list that captures the wide range and diversity of the genre, from underseen Laird Cregar vehicles to a Russian chiller based on a Nikolai Gogol story, from J-Horror to the Mexican gem “Alucarda.” But it also boasts campy favorites and must-see cult classics, from the spoofy “Scary Movie” and “One Cut of the Dead” to “Beetlejuice,” “The Lost Boys,” and “Trick r’ Treat.” To celebrate these intensely primal, personal films, the IndieWire staff has put together a list of the 225 Best Horror Movies of All Time. From before 1951’s “The Thing from Another World” to everything that’s come since the Kurt Russell starring “The Thing” remake in 1982, horror directors have been pulling the strings and pushing our buttons for more than a century.
What makes talk of so-called “elevated horror” misguided and even amusing is the assumption that such puppetry has not been at play since the horror genre’s inception in the silent film era. Extreme control so that the audience can lose control: That seems to be the key. What’s funny is that horror, like comedy, is a genre in which each filmmaker has to assert their utmost control over the material so their audience can lose it. Maybe the aversion some viewers have to both is a fear of losing control: of laughing so hard you snort or having to turn away in fright, of embarrassing yourself. These two genres, horror and comedy, are those most often expected to provoke an immediate, visceral reaction from audiences. What scares people, and makes them laugh, says even more see “Ready or Not,” “Bodies Bodies Bodies,” “What We Do in the Shadows,” and “Teeth” for starters. What scares people says a lot about them, as the debates about “Get Out,” “The Purge,” “They Live,” “Society,” and similar politically charged titles have revealed. Viewers forget all the time that, as Anna Karina’s “Pierrot Le Fou” character Marianne Renoir says: “There can be ideas in feelings.”
How can films that fire your adrenal glands, send shivers down your spine, raise goosebumps, and quicken your breath - that inspire such an intense physical reaction - also be cerebral experiences? The answer is obvious enough. The general gist is that these exceptions to the “horror is bad” rule engage your brain more than just showing brains: eaten by zombies or splattered against the wall. But even now the specter of “elevated horror” (see that concept’s lambasting in Matt Bettinelli-Olpin and Tyler Gillett’s “Scream 5”) looms over discussions of artier explorations of dread and terror - Ari Aster’s “Midsommar,” Luca Guadagnino’s “Suspiria,” Rose Glass’ “Saint Maud” - that are clearly distinguished from, well, non-elevated horror. In this time of geekery and craft reigning supreme, film critics and academics no longer reject horror movies with the knee-jerk certainty some once did.
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