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Tag Archives: nic cage

Top 13 Killer Horror Films of 2024

26 Thursday Dec 2024

Posted by surgeons of horror in Uncategorized

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abigail, andrew lobel, cameron cairnes, colin cairnes, coralie fargeat, cuckoo, david dastmalchian, demi moore, immaculate, indiana bell, infested, john mccarthy, josiah allen, late night with the devil, longlegs, mads, maika monroe, margaret qualley, maxx corkindale, michael mohan, nic cage, oddity, oz perkins, sayara, sebastien vanicek, stopmotion, sydney sweeney, the first omen, the substance, tilman singer, youll never find me

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

Movie review: Color Out of Space

05 Tuesday May 2020

Posted by surgeons of horror in Movie review, umbrella entertainment

≈ 1 Comment

Tags

color out of space, hp lovecraft, joely richardson, nic cage, nicolas cage, richard stanley

H.P Lovecraft’s influence is fundamental to modern horror, it can be seen most strongly in the DNA of countless Stephen King stories, John Carpenter’s Apocalypse Trilogy (The Thing, Prince of Darkness & In the Mouth of Madness), Event Horizon, the video game Bloodbourne and the Alien series, its influence is often met with varying success but direct adaptations have been few and far between.
For years there has been talk of a Guillermo Del Toro helmed At the Mouth of Madness that seemed to ultimately stall thanks to Ridley Scott’s Prometheus stealing it’s philosophical fire.
Stuart Gordon was probably the most successful, or at least prolific adaptor of H.P’s work with Re-Animator, From Beyond and Dagon, all adaptations of Lovecraft short stories (Dagon being an amalgam), but these all held a considerable helping of cheese, camp and tongue in cheek that, for the most part, enshrined their cult status (how appropriate).
Recently though there must be something contaminating the well water because within the last 6 months we had 3 films massively inspired by the H.P Lovecraft; Underwater, The Lighthouse, and the most faithful of the 3, Color Out of Space.

We start at the edge of a river, west of the fictional rural town of Arkham, Massachusetts, as the young Lavinia Gardner (Madeleine Arthur) performs a ritual of healing.
Here she meets Ward (Elliot Knight), a surveyor taking water readings.
In the original story Ward was our nameless narrator but in this tale he has far more involvement with the story developing a bit of an attraction to the aspiring young witch.
Six months ago Lavinia’s father Nathan (Nicholas Cage) moved his family to this country house so that his wife Theresa (Joely Richardson) could recover from her mastectomy.
Rounding out the family is Brother’s Benny and the young Jack (Brendan Meyer & Julian Hilliard respectively).
The whole Gardner family have been struggling with the adjustment, Nathan has been trying his hand as a tomato farmer and raiser of alpacas, Theresa is struggling with her financial consolation business thanks to the shitty internet connection, Benny has been smoking weed with the local hermit Ezra (Tommy Chong) and Jack is self-isolating taking solace in the family dog.
The change in their lives is dwarfed entirely when a meteorite crashes in their front yard one night with a flash of light and colour never seen before on this earth.
What follows is a slow descent into insanity as the cosmic colour spreads transforming the landscape and life around it and warping the minds of the Gardner family.

This is Director Richard Stanley’s feature length return to our screens since the disastrous ‘Island of Dr. Moreau’ which was filled with all of the meddling and power struggles that this film feels utterly devoid of.
Stanley’s vision is what we are seeing.
Now this is a relatively low budget indie flick ($12 Million budget) sometimes you can feel it but for the most part I think they make this film feel so much bigger.
It is a really gorgeous looking film with a mostly excellent use of CGI, particularly when it’s used to create the near alien landscape that this quaint little farmhouse transforms into, sharpening colours and extending the mutations surrounding them.
Fans of gooey body horror will be pleased with a lot of the practical effects used here as well, one particular change in the family is deeply disturbing and honestly heartbreaking.
You can certainly feel the influence of other films of its ilk (The Mist, From Beyond, The Thing) but it has a strong enough identity and a visual flair that the homages never feel like all this film has to offer.
It is a deeply creepy film as the characters are separated yet so close to each other, lost in the fog their minds have become, where time has lost meaning and they just don’t notice how wrong things have become.
The Composer, Colin Stetson, has created a truly beautiful score that compliments the growing mutation and helps make the titular colour, a pinkish purple, feel more than a colour, more than a sound.

Pacing wise Color Out of Space may lag a little in the second act but that eerie feeling never goes away.
Don’t get me wrong, this isn’t a wholly serious film and a big part of that is thanks to Nicholas Cage.
Now the Nic Cage we get in the first half of the film is a dorky and daggy Dad, feeling relatively restrained compared to his recent output but once the alien insanity starts to spread Cage turns up the dial with gusto.
I would say there’s almost a little bit of Jack Nicholson in the Shining, where the character already feels a little unhinged when we first meet him so when the jump happens it doesn’t feel like that big a change, having said that though he is still a lot of fun and there are many ridiculous lines he spouts off that you couldn’t even comprehend another more self-serious actor taking a stab at.
The rest of the cast are really complimentary, bringing to life this struggling family beset by a greater force.
This is Joely Richardson’s second eldritch horror outing after the late 90’s Event Horizon, and as Theresa she brings the balance that makes her and Nathan’s relationship feel a lot more believable, struggling to spark their intimacy after her operation.
And the trio of kids, who really take the main stage after Mom and Dad drive off for medical help, give really good performances developing a believable sibling dynamic that carries most of this film.

The Prognosis

For the most part I really enjoyed this film, it’s a kaleidoscopic quagmire of madness with a brilliant score, fun performances and excellent goo.
It might not fully land it’s ending which for me is a hard blow to recover from, reducing it from my favourite Cosmic Horror film to just one of the better ones and like most of the Lovecraft adaptations of the past this will not be for everyone but it’s a hell of a ride if you’ll brave the eldritch horrors of the Color Out of Space.

  • Oscar Jack
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Color Out of Space is available to view via Video On Demand
from Wed, 6th May

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