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Top 13 Killer Horror Films of 2024

26 Thursday Dec 2024

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This year brought an eclectic mix of horror films, from genre-defining arthouse gems to unapologetically entertaining popcorn flicks. The best of 2024 showcased how diverse the horror landscape has become, delivering films that lingered in our minds, rattled our nerves, and sometimes even tugged at our heartstrings. Here’s our definitive list of the top 13 killer horror films of the year.

13. Abigail

Abigail is the kind of horror film that knows its audience and delivers on every front. Packed with jump scares, cheeky humor, and copious amounts of gore, this polished production embraces its B-movie soul with infectious energy. While it doesn’t aim to reinvent the genre, it revels in its clichés, using them to create a fast-paced and undeniably fun experience. By the time the credits roll, the leads are drenched in blood-red corn syrup, and the audience is left grinning.

However, the film’s reliance on formula prevents it from being anything more than a fun ride. It’s pure popcorn horror—perfect for a group watch but unlikely to leave a lasting impression. Abigail may lack substance, but sometimes all you want is a thrill ride that doesn’t take itself too seriously.

Movie Review: Abigail (2024)

12. The First Omen

As a prequel to a beloved horror classic, The First Omen had a lot to live up to. The film starts strong, with an ominous atmosphere and compelling visuals that echo the sinister world of the original. Its exploration of the early origins of evil offers a fascinating premise, teasing the potential for a rich narrative. However, as the story unfolds, it becomes clear that the film lacks the single-minded vision of a true auteur.

Despite its flaws, The First Omen still has its moments of intrigue and terror, hinting at interesting possibilities for future installments. Could an anti-anti-Christ concept breathe new life into the franchise? Time will tell, but for now, this entry serves as a solid, if underwhelming, addition to the Omen universe.

Movie Review: The First Omen (2024)

11. MadS

A technical marvel and a psychological gut-punch, MadS is a Shudder-exclusive horror film that plays out as a one-shot nightmare. The film’s unrelenting tension and chilling performances keep viewers on edge from start to finish. The unique, continuous shot format enhances its claustrophobic atmosphere, drawing the audience into its disorienting narrative.

What sets MadS apart is its ability to blur the lines between reality and madness. As the story unfolds, viewers are forced to question what’s real and what’s imagined, making for an unsettling experience that lingers long after the film ends. MadS is a haunting reminder of how fragile our perception of reality can be, cementing its place as one of the year’s standout psychological horrors.

MadS – A Mesmerizing, One-Shot Descent into Chaos

10. Sayara

Sayara is a brutal, unflinching revenge thriller that doesn’t pull any punches. From its opening moments, the film plunges viewers into a world of fire and blood, leaving no room for mercy or reprieve. The story’s protagonist is relentless in their quest for vengeance, and the film’s visceral approach to storytelling ensures that every moment hits with full force.

What makes Sayara truly memorable is its unyielding commitment to its themes of justice and retribution. This is not a film for the faint of heart, but for those willing to endure its intensity, it offers a deeply cathartic experience. Sayara doesn’t just demand your attention—it seizes it and doesn’t let go.

Sayara (2024) – A Savage, Viscera-Drenched Odyssey of Vengeance and Retribution

9. Oddity

Blending psychological horror with supernatural intrigue, Oddity is a slow-burn masterpiece that rewards patient viewers. The film follows a grieving protagonist as they unravel a dark, otherworldly mystery, leading to a chilling conclusion that defies easy explanation. Director John McCarthy’s skillful storytelling ensures that every moment feels deliberate, creating an atmosphere of unease that permeates the entire film.

What truly elevates Oddity is its ability to balance ambiguity with narrative depth. The film leaves just enough unanswered questions to keep viewers guessing, while still delivering a satisfying emotional payoff. For fans of psychological thrillers with a supernatural twist, Oddity is a must-watch.

Oddity (2024) – A Haunting Puzzle of Revenge and the Supernatural

8. Stopmotion

Stop-motion animation has always carried a certain eerie charm, and Stopmotion uses this medium to stunning effect. The film’s haunting visuals and mesmerizing performances create a world that feels both fantastical and terrifying. Its psychological narrative delves into themes of identity, control, and the fine line between creation and destruction, resulting in a story that’s as thought-provoking as it is unsettling.

While its unconventional approach may not appeal to everyone, Stopmotion is a testament to the power of cinema to push boundaries. It’s a film that lingers in the mind, challenging viewers to confront their own fears and insecurities.

Stopmotion”: A Haunting Journey into Grief and Imagination

7. Cuckoo

Tilman Singer’s Cuckoo is a visually arresting and narratively bold horror film that defies genre conventions. With its surreal imagery and haunting score, the film creates a dreamlike atmosphere that’s impossible to shake. Singer’s ability to craft a story that feels both grounded and otherworldly makes Cuckoo a standout in a crowded field.

What sets Cuckoo apart is its emotional depth. Beneath its unsettling surface lies a poignant exploration of grief, identity, and the human condition. It’s a film that demands to be seen, offering a cinematic experience that’s as beautiful as it is terrifying.

Cuckoo Soars: A Haunting Symphony of Mystery and Masterful Storytelling

6. Immaculate

Director Michael Mohan steps confidently into the horror genre with Immaculate, a film that boldly mixes thought-provoking storytelling with shocking, visceral moments. Based on Andrew Lobel’s screenplay, the film tells a tale in three distinct acts, each building tension and deepening the narrative. The first act’s slow pacing might frustrate some viewers, but it ultimately serves to enhance the payoff, setting the stage for an explosive second act.

What truly sets Immaculate apart is its gripping third act, where the restrained storytelling gives way to a climactic crescendo of chaos. Sweeney’s portrayal of Cecilia shines, particularly as she navigates the oppressive, patriarchal control of a convent, bringing complexity and strength to her character. Mohan’s directorial debut in the genre establishes him as a filmmaker to watch, offering a visually stunning and narratively compelling experience

Movie Review: Immaculate (2024)

5. You’ll Never Find Me

Quietly slipping into cinemas with minimal fanfare, You’ll Never Find Me proves that great horror doesn’t require a massive budget or extensive promotion. Set in a single location, the film creates a claustrophobic atmosphere that keeps viewers on edge. Directors Indiana Bell and Josiah Allen craft a tightly woven narrative, slowly unraveling its mysteries with expert precision.

The film’s brilliance lies in its simplicity. With just two main characters, portrayed with depth and nuance by Rock and Cowan, the story becomes a study in tension and trust. Cinematographer Maxx Corkindale adds another layer of artistry, using light and shadow to enhance the film’s eerie atmosphere. You’ll Never Find Me is a testament to what can be achieved with limited resources and unlimited creativity.

Movie Review: You’ll Never Find Me (2024)

4. Infested

In his directorial debut, Sébastien Vanicek has delivered a creature feature that reinvigorates the genre. Infested taps into primal fears with its jaw-dropping depiction of a spider contagion, weaving a web of terror that’s both thrilling and deeply unsettling. The film’s tension builds masterfully, with every scene ratcheting up the stakes for its beleaguered characters.

What makes Infested stand out is its ability to balance horror with sheer entertainment. This is a film that embraces its absurd premise while delivering genuinely terrifying moments. Vanicek proves he has a knack for crafting memorable scares, making Infested one of the most talked-about horror films of the year and a contender for genre favorite.

Movie Review: Infested (2024)

3. Late Night With The Devil

David Dastmalchian takes center stage in Late Night With The Devil, a film that cleverly blends retro nostalgia with modern horror sensibilities. Set during a live broadcast of a talk show, the film builds its tension in real time, pulling viewers into its chilling narrative. The Cairnes Brothers expertly use the confined setting to their advantage, creating an atmosphere of mounting dread that culminates in a shocking finale.

Though not without its flaws, Late Night With The Devil is a refreshing take on the horror genre, proving that innovation and nostalgia can coexist. The film’s originality and execution make it a standout, cementing the Cairnes Brothers as rising stars in modern horror.

Movie Review: Late Night With The Devil (2024)

2. Longlegs

Oz Perkins’ Longlegs is a masterclass in slow-burn horror, drawing viewers in with its meticulous craftsmanship and haunting visual style. While the middle act falters slightly, the film’s gripping narrative and stunning performances more than compensate. Perkins’ direction is deliberate, allowing the tension to simmer before delivering a gut-wrenching climax that leaves audiences reeling.

The film’s titular creature is as unsettling as it is memorable, and Perkins uses it to explore themes of isolation and obsession. Longlegs may not be for everyone, but for those who appreciate atmospheric horror, it’s a near-perfect example of the genre’s potential to unsettle and provoke.

Movie review: Longlegs (2024)

1. The Substance

No horror film in 2024 matched the audacity and impact of Coralie Fargeat’s The Substance. From its opening frame, the film immerses viewers in a nightmarish world that’s as beautiful as it is grotesque. Demi Moore delivers a career-defining performance, embodying a character that’s both vulnerable and terrifying. The film’s striking visuals and daring narrative choices make it a bold statement in modern horror.

What sets The Substance apart is its refusal to compromise. Fargeat’s vision is unflinching, challenging audiences to confront their deepest fears and darkest desires. This is not a film for the faint of heart, but for those willing to take the plunge, it offers an experience that’s as unforgettable as it is unsettling. The Substance is a masterpiece of horror cinema and a fitting choice for the top spot on this year’s list.

The Substance (2024) – Coralie Fargeat’s Visceral Exploration of Beauty, Decay, and Rebirth

2024 may not have redefined the genre, but it proved that horror continues to innovate and captivate. Whether you’re into popcorn thrills, arthouse elegance, or gut-wrenching tension, these films prove that fear is as versatile as it is universal. What were your favorite horror flicks of the year?

  • Saul Muerte

Blumhouse’s Afraid: A Cautionary Tale of Career and Genre Stagnation

14 Saturday Dec 2024

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Blumhouse Productions made its name with innovative horror films that struck a chord with audiences, often redefining the genre through clever storytelling and sharp commentary. Unfortunately, Afraid is a painful reminder of how far they’ve drifted from their golden years. Adding to the disappointment is the involvement of Chris Weitz, whose early career suggested he was destined for much greater things than this hollow misfire.

Weitz, once celebrated for his deft handling of comedies like American Pie and heartfelt adaptations like About a Boy, and even the ambitious yet divisive The Golden Compass, seems to have lost his way entirely. His association with Afraid begs the question: what happened? The film bears none of the charm, depth, or even technical polish of his earlier work. Instead, it’s a lifeless slog that fails to inspire fear, intrigue, or any emotional response beyond exasperation.

The premise—centered on the growing unease around artificial intelligence—has potential but is squandered on cheap thrills and half-baked ideas. Rather than offering a meaningful exploration of our AI-driven anxieties, Afraid merely skims the surface. Its portrayal of a bleak, AI-dominated future feels both uninspired and needlessly nihilistic. The film provides no real solutions, no glimmers of hope, and, frankly, no compelling reason for its existence.

Blumhouse’s hallmark has always been its ability to make the most of modest budgets, yet Afraid looks and feels like a bargain-bin effort. The production design lacks creativity, the dialogue is wooden, and the pacing is agonisingly slow. In a world where AI-themed horror can spark fascinating debates, this film opts for cheap scares and empty platitudes, leaving viewers frustrated and disengaged.

If the goal was to provoke thought or generate terror, Afraid misses on both counts. It’s a film that feels as lifeless as the machines it warns against, offering nothing to its audience and even less to the horror genre.

The Prognosis:

Blumhouse once showed promise as a bastion of modern horror, but with Afraid, they seem to be running on fumes. Combined with Weitz’s fall from grace, this film is a tragic testament to squandered potential. Hope may not exist in the world of Afraid, and after watching it, you’ll be hard-pressed to find any for its creators, either.

  • Saul Muerte

Movie Review: Late Night With The Devil (2024)

18 Thursday Apr 2024

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Australian sibling directors Cameron and Colin Cairnes have been meticulously crafting a distinctive voice from behind the lens and with their third outing, Late Night With The Devil they have tapped into the horror zeitgeist on a global scale. Their first feature, 100 Bloody Acres was a more straight up narrative, leaning heavily into macabre humour starring Angus Sampson and Damon Herriman as struggling brothers in the meat industry who add a secret ingredient into the mix with over-the-top comical results.

Upon closer scrutiny though, it would be their second feature, Scare Campaign that is more closely aligned with the direction that LNWTD would take, with a TV show venturing into the occult investigation that goes horribly wrong. Although it missed the mark to a degree in its execution, the Cairnes brothers have learnt from this previous outing and produced a creative and decisive tale with Late Night With The Devil. 

The premise pits David Dastmalchian in his first leading role, as late night talk show Night Owls host Jack Delroy. Delroy embarks on a last ditch attempt to pull back the ratings through a marketing stunt set on Halloween 1977, and books a psychic Christou (Fayssal Bazzi), a sceptic, and a parapsychologist (Laura Gordon) who claims that her surrogate daughter Lily is possessed by the devil. 

The look and feel of this feature is so sweetly on par, it is easy to drift into the era that it is set and be lured in by the spectacle; one of the many tricks that the Cairnes team perform well. The decade of choice is no mere accident either with America rife with violence and horror that has put society on the brink of sanity, exposed to the likes Son of Sam, David Berkowitz and Charles Manson, and with the breakdown of freedom, comes the exposure to occults and satanism, leaving everyone questioning to what end can humanity be exposed to? It is this playground that the directors’ choose to play in and through the medium of television, force this evil into the homes of every suburban household.

The Cairnes also have perfected their craft in storytelling, by slowly eeking out the threat of danger in their chosen format of late night television; each guest that is introduced is a snag on the tooth of the viewer, to pull them deeper into the world they have created, until the final act is revealed with the not so sweet Lily (Ingrid Torelli). The role of the critic, Carmichael Haig (Ian Bliss) is a smart storytelling device too by constantly asking the questions that audiences will naturally come up with. How much of this is real? How much is performance? And how deeply can we keep probing for the truth before we get our cat-like curiosity scorched?

The breadcrumbs that are left along the way, adds to the weight of the journey, and the torment that is exposed by the film’s conclusion. The performances are solid and none more so than Dastmalchian, who’s character Jack is the character truly under scrutiny. How much has he had to sacrifice in order to keep up with the likes of fellow late night presenter Johnny Carson? Is there more to the history behind his wife’s mysterious and fatal illness? These questions can only be dealt with through the meticulous direction and the strength in Dastmalchian’s performance; oozing charm one minute before serving a backhand of depravity the next. We’re guided on a trail of human decline where the end is nowhere to be seen with ruin at every turn.

The Prognosis:

The American Dream is served up on a plate here and scorched beyond recognition. The Cairnes Brothers capitalise on their previous efforts to expose the frailty and deprivation through a stylised lens that is fresh, inviting and delightfully disturbing. 

This is an example of an idea executed so adeptly that every creative player involved brings their A-game to the fold and delivers.

While there are some subtle flaws, the fact that they hold fast to the look, feel and strong performances, allows them to flourish and produce a solid, entertaining feature.

  • Saul Muerte

Movie review: Dracula: Voyage of the Demeter

10 Thursday Aug 2023

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Sandwiched between the opening act of Bram Stoker’s Dracula where Jonathan Harker is imprisoned by the titular dark lord, and the events that unfold in London, there is a chapter centred on the transportation of the Count across the seas to Whitby. For four pages we read the account of this perilous trip courtesy of the captains’ log on the ship The Demeter.

For such a small amount in the novel, the diarised account would have a profound impact on the reader as the crew are picked off one by one before the ship finally reaches its destination, so it’s little wonder that it would draw inspiration in the celluloid artform. The concept holds a lot of promise, with the original narrative detailing a treacherous voyage with a crew of nine sailors, all prey for the beast that has boarded the ship. One can imagine a similar telling to Alien, where a confined space where there is nowhere to run other than to confront the demon can elevate the fears, driving a wedge between sanity and madness, thrusting the crew to fall deeply into the latter.

And so we embark on Director André Øvredal’s vision of this tale, who is no stranger to paranormal and twisted stories in a remote setting as The Autopsy of Jane Doe can attest to. Boasting a strong cast at its helm, leading with Corey Hawkins (Straight Outta Compton) as the trained doctor Clemens, marred in society because of the colour of his skin, bargaining his way on board the ship for the chance to return to his homeland; There’s Liam Cunningham (Game of Thrones) as the stoic captain; David Dastmalchian (The Boston Strangler) as the loyal-yet-disbelieving first mate, Wojchek; Jon Jon Briones (Ratched) as the cook and religious zealot; and Aisling Franciosi (The Nightingale) as the stowaway Anna, who has an intricate connection to the predator. But it is Woody Norman as the young cabin boy Toby who pivots the heart of the story and portrays a captivating character that belies his years.

As for the titular villain of the piece… his presence is always felt throughout the film but his impact is not as telling, nor confronting as one would have hoped for, despite some decent effects.

The Prognosis:

There is plenty of intrigue from a fairly untapped segment in one of Gothic literature’s finest tales, one that would pull me into the arena with willing anticipation. Yet, for all the talent on screen, there is surprisingly little in the way of building up the ambience and dread from someone as fearful as Dracula. So focused are the writers in embellishing the plot with background and character development, (some with the licence that creatives can afford to keep the audience captivated) that they neglect to draw out the fear and trepidation that the Prince of Darkness deserves. While the journey is still an enjoyable one, the course is easily traversed and never delves into the realms of immorality in order to stir the senses, or shake you to the core.

  • Saul Muerte

Dracula: Voyage of the Demeter is currently screening in cinemas nationwide.

Movie review – Boston Strangler (2023)

16 Thursday Mar 2023

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It’s hard to envisage a psychological thriller that captures the pursuit and tension surrounding a serial killer at large without Zodiac coming to mind, such is the masterpiece directed by David Fincher. To do so though is to cast Boston Strangler in the wrong light for it’s main drive is not just about unearthing the identity of one of America’s most notorious serial killers, but also the outdated attitudes of the role of women during the 1960s, which this true crime story is set.

Keira Knightley (The Imitation Game) is charged with taking on the more-than impressive, real life investigative journalist, Loretta McLaughlin who is the first reporter to connect the Boston Strangler murders. Accompanying her at the Record American newspaper is colleague and confidante, Jean Cole (Carrie Coon – Ghostbusters: Afterlife). Together they make a formidable pair where one comes with inexperience but a strong will and instinct to uncover the truth, the other is a wise figure who knows the “rules” of the industry and how to ensure that they can work within the frame of sexism and still assert authority and eventual respect.

Both McLaughlin and Cole face the fear of an unsettled world, where a mysterious killer has been murdering women of all ages in the American town, but are soon persecuted by unknown assailants through phone calls and letters. Is this to deter them from uncovering the truth or a means of repression because of their sex? It’s evident that there are some men in position of authority who find the concept of a woman in the workplace abhorrent, and the fact that they happen to be proficient in their job only frustrates them further. 

So, in this minefield of arrogance McLaughlin and Cole  must trust in their own abilities and unite to find that truth. For Cole this is a tried and tested road that she is used to traversing, but for McLaughlin who has a family at home, the adjustment is one she finds difficult to adapt to and must answer the question of why she must bow to the pressures of society an have to prove herself in the face of adversity.

To amplify their oppressed position, Writer/Director Matt Ruskin has steadfast actors in Alessandro Nivola (“Amsterdam”), David Dastmalchian (“Dune”), Morgan Spector (“Homeland”), Bill Camp (“Joker”), and Academy Award® winner Chris Cooper (“Adaptation”) but this is not to detract from Knightley and Coon who rise to meet the more than worthy women they portray on screen. Their performances are both gripping and riddled with emotion throughout the film’s narrative, providing the hook to lure the audience through to the end.

The Prognosis:

This is not just a psychological thriller based on the true crimes of the Boston Strangler, but more importantly, the tale of two women who must stand strong in their beliefs and abilities to uncover the truth in a world dominated by the male perspective. 

Knightley and Coon deliver equally compelling performances, which is vital in casting Ruskin’s message and vision across. At times the story can trudge along a little, but thanks to the strength of the female leads, there’s enough to keep the audience locked in to also find the truth behind the murders.

  • Saul Muerte

Boston Strangler is streaming March 17 exclusively on Disney+ under the Star banner