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Scary, funny, and sharp as a scalpel, Jordan Peele's feature directorial debut is a "social thriller" that shines light on a form of racism Hollywood doesn't like to talk about: the subtle, fetishistic kindness of upper-crust White liberals. If you enjoyed Creep, you might also enjoy: Creep 2 (2017), also streaming on Netflix. "For fear of being rude, or offending people, we don't protect ourselves." Take it from us - you don't need to be everybody's friend. "Why do we inherently trust people that we shouldn't trust?" Duplass posed to EW. It's about being yanked - unwittingly - into a stranger's emotional orbit, only to realize that you are far too close for comfort. This approach benefits the film's themes of forced intimacy with expert ease despite being a (wildly successful) passion project. To those who have ever been stuck with an intense stranger who won't stop spilling their deepest, darkest secrets… well, good luck sleeping.Ĭreep was born primarily from a five-page outline and about a week's worth of improvisation between Brice and Duplass. Creep won't scare everybody with its long, disorienting dialogues, but "Peachfuzz" might do the trick (if you know, you know). In an interview with EW, indie auteur Mark Duplass described his found footage flick Creep (not to be confused with the 2004 Franka Potente-starring film) as an "arthouse film about feelings that happens to just take a darker turn." That's one way to interpret this two-handed, low-budget tour de force about a meek videographer Aaron (played by director Patrick Brice) who's hired by Craigslist oddball Josef (Duplass) to make a video for his unborn son before he dies from a brain tumor. If you enjoyed The Conjuring, you might also enjoy: Insidious (2010), streaming on Netflix. Its most famous scare, which involves a pair of pale clapping hands, left EW critic Chris Nashawaty a "sweating, squirming wreck." Is there any better endorsement?
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Though the series features the occasional dud ( Annabelle, ugh), Wan's first entry is deeply creepy, layering itself in shadows before ushering its spirits to the forefront without the deafening musical stings of its sequels. This story became the basis for James Wan's franchise-starting The Conjuring, which stars Patrick Wilson and Vera Farmiga as the married ghost hunters, and this initial film is arguably the best one.
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They knew how to tell a scary story - such as their 1971 investigation of the Perron farmhouse, where a family was purportedly terrorized by the spirit of a vengeful witch. Still, that doesn't negate the impact their ploys and showmanship had on the aesthetics of modern horror.
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The late, prolific paranormal investigators Ed and Lorraine Warren were most assuredly frauds, turning whispers of "hauntings" into grand spectacles via manipulation and exploitation. If you enjoyed The Cabin in the Woods, you might also like: The Evil Dead or Evil Dead 2, streaming on Tubi. It's also got one hell of a twist, though Goddard made a point to EW that the twist itself isn't as important as the "escalation." Let's put it this way: It's not too often your run-of-the-mill slasher evolves into something Lovecraft could perhaps not have dreamt up. There's an argument to be made that Cabin in the Woods' winks at the genre it's simultaneously exploiting and satirizing serve to defang the horror - you can read that argument in EW's review - which is probably why its latter half leans so hard on the ingenuity of its creature design. That gave Goddard's oddball horror-comedy, co-written with Joss Whedon, a boost when it finally entered into a genre landscape overrun with insipid sequels and grisly purveyors of sepia-toned torture. The waiting game is no fun, but there was one silver lining: During the gap between production and release, Cabin star Chris Hemsworth picked up Marvel's Mjölnir and became one of Hollywood's biggest stars. As director Drew Goddard told EW upon its 2012 release, the film's release was delayed by more than two years due to the bankruptcy of its original studio, MGM. The Cabin in the Woods, one of the most subversive horror movies of the 2010s, was actually made in 2009.