Bearing in mind my previous post about the pointlessness of horror 'lists',I

missed out one key fact - everyone bloody loves them. Therefore, please

find below the seminal flicks of the 2000's...

15.  Wolf Creek (2005)

This slow-burning Australian horror is loosely based on true events surrounding the disappearance of backpackers in the Outback, and features one of cinema’s most fearsome villains in Mick Taylor.  A trio of travellers embark on a road trip only for their car to break down, leaving them stranded. Luckily for them, a genial trucker offers solace at his nearby camp, but their relief turns to despair as he commences on a brutal, rampage of torture and murder, culminating in a desperate cat-and-mouse pursuit across the desolate surroundings.

The relentlessness of Taylor is what accentuates the terror, and there is an inspired turn by John Jarratt as the beguilingly barbaric perpetrator. It is his apparent lack of motive and inherent Neanderthal instincts that make his mannerisms and actions so abhorrent, but he is not supernatural, simply a monster who takes pleasure in punishing his victims.

Key Scene: When one of the backpackers, Liz, attempts to steal a car from Taylor’s garage, only for him to be lurking in the back seat, with a particularly large knife…

 14. 28 Weeks Later (2007)

Robert Carlyle escapes the infected

Spanish director Juan Carlos Fresnadillo took on the unenviable task of following Danny Boyle’s visionary original, 28 Days Later, and rather than follow Boyle’s blueprint, he set about making an action-packed alternative that in many ways surpasses the hugely successful first offering.

Six months after the rage virus has contaminated the British Isles, the US government are in the process of rebuilding society, but discover a woman who appears to have been immune to the disease. She unleashes a fresh outbreak of the virus into the remaining population, and it becomes a race against time to contain the spread while the main protagonists attempt to escape obliteration.

28 Weeks Later perfectly conveys the bleakness of the situation while upping the ante on its predecessor with complex action sequences, and it leaves the viewer with a feeling of hopelessness – probably due to the fact that the concept seems so perfectly feasible. This is what the apocalypse looks like.

Key Scene: Robert Carlyle’s character, Don, flees a flurry of infected under the fantastically foreboding soundtrack (John Murphy’s In A Heartbeat). This will, in time, be regarded as one of the greatest opening sequences in horror history.

13.              The Ring (2002)

Gore Verbinski’s remake of the acclaimed Japanese classic divides horror aficionados and critics alike, but for once a Hollywood remake of a foreign film more than matches the original.

The story of a videotape that if watched will summon a force that will kill the viewer within seven days sees Rachel Keller (played straight by Naomi Watts) in a race against time to discover the meaning of the mysterious footage before her son meets his fate. Everything from the off-colour lighting to the dismal tone adds to the sense of fear, allowing the film to build slowly to its culmination.

Hollywood’s cultural bankruptcy means Eastern stories are given a thoroughly unnecessary Western re-jigging, but in the case of The Ring, bringing the idea to suburban America resonates more than the original could achieve.

Key Scene: Samara crawls towards the television, slowly but surely reaching the glass – before extending a hand through into the real world….

12. Audition (2000)

‘Fatal Attraction with torture’ is how Takashi Miike’s can be viewed, as Shigeharu Aoyama (Ryo Ishibashi) looks for a companion following the death of his wife seven years earlier.

He falls for pretty, innocent 24-year old Asami Yamazaki, but it isn’t until the closing scene of the film when her psychopathic tendencies are revealed in a disturbing sequence involving a sedative, acupuncture needles and piano wire. It remains one of the most deplorable acts ever witnessed in the genre, and the helplessness of Shigeharu’s plight sits unpleasantly with the viewer, who is given front row seats to an inexplicable act of depravity.

She doesn't play piano, unfortunately

The film may have been criticised by some for promoting an unhealthy stereotype of women, but, ultimately, Asami is the archetypal example that initial judgements can often be deceiving, and proves to be equally as terrifying as any axe-wielding maniac could ever be.

Key Scene: Paralysed but very much awake, Shigeharu is straddled by Asami, where she proceeds to make a pin cushion out of his body, before getting creative with the piano wire.

11.   Haute Tension (a.k.a. Switchblade Romance, 2005)

Laundry day?

Alexandre Aja’s slasher has been criticised for being nonsensical due to its fuzzy ending, but that shouldn’t detract from what is a superbly constructed addition to the serial killer sub-genre.

Marie (Cecile de France) and Alex (Maiwann le Besco) are staying with the latter’s parents for the weekend, and during the night a visitor to the house commences a series of gruesome murders armed with just a razor. The visitor kidnaps Alex, leaving Marie to track him down before her friend meets her demise at the hands of a vicious killer.

Not only does Aja (who also has writing credits) pull no punches with the levels of violence and of the detail shown in the grisly deaths, but the breakneck pace allows no time for reflection and it perfectly conveys the desperate nature of the situation.

Key Scene: Ambiguous finale aside, the fierce and vivid death of Alex’s father at the hands of a chest of drawers is infinitely more graphic and distressing than it sounds.

10. Dawn of the Dead (2004)

Never has a remake been met with more disdain than Zack Snyder’s zombie reboot, and there will be some who will never see the positives, preferring to remain firmly in the George A. Romero camp.

Of course, it is possible to enjoy both versions, and there can be no denying that Snyder’s decision to make the un-dead ultra-mobile gave the film a necessary dimension to set it apart from its predecessor.

The plot is simple; a virus leads to a zombie-versus-survivors stand-off at a shopping mall with many a head explosion in between, and Snyder’s creation of an apocalyptic environment was a visceral joy as well as a thoroughly enjoyable shoot-em-up. It may lack the social commentary of the original, but as a stand-alone piece it is the best re-imagining of the decade by some distance.

Key Scene: The attempted rescue mission of neighbour Andy goes horribly wrong...

9.   Final Destination (2000)

Teens in terror, but with a neat twist, the Final Destination saga continues to churn out sequels as the decade ends but back in 2000 the idea of ‘death by design’ was refreshing.

On a school trip a student has a premonition of the flight home exploding in a huge fireball, and subsequently is ejected from the flight along with his friends. Lo and behold, the plane does indeed crash, but the survivors are unable to avoid their destiny – Death will seek them out regardless, resulting in a series of bizarre set-pieces in which the characters are systematically eliminated by Death itself.

The concept is clever, and while the acting is distinctly sophomore the fast pace makes Final Destination an unnerving but pleasurable experience.

Key Scene: The most peculiar death of all – when a piece of metal lying on the railway track decapitates Billy (Sean William Scott) as a train speeds past.

8.    Saw (2004)

It is important not to let the regurgitation of torture techniques in the copious sequels undermine the impact that Saw had on cinema audiences upon its release in 2004. Despite a modest budget and James Wan making his directorial debut, its claustrophobic nature led to a genuinely chilling, at times grotesque horror film.

Two strangers wake in an underground bathroom to find themselves with a chain around their ankle and only a rusty saw to orchestrate their escape. A dead man lies on the floor before them – how did they get there, and how will they escape?

I told her I didn't like this shirt

The film sees a number of sequences where individuals are given a way out of various predicaments, but only if they are willing to experience pain in the process. The name ‘Jigsaw’ has joined the annals of infamy alongside the likes of Kreuger, Myers and Voorhees as one of the most iconic mass murderers ever to be conceived on screen.

Key Scene: Lawrence Gordon (played by Cary Elwes), distraught at the thought of his family held hostage, decides to make his escape by lifting the rusty saw…

7.       Let the Right One In (2009)

It is very rare that a foreign language film can reach such critical acclaim amongst mainstream audiences, but this Swedish paedo-vampire tale is unsettling but endearing in equal measure, and is a glorious piece of filmmaking.

The story follows Oskar, a 12-year old boy who is bullied at school but manages to befriend Eli, a girl who appears to be the same age as him. As their bond strengthens, Oskar realises that Eli is not quite as she seems, but it is the pair’s relationship that is such a triumph.

Let the Right One In is as unconventional a vampire film as any ever made, because Eli’s daylight aversion and thirst for blood is secondary to her platonic attraction to Oskar and their desire to help each other with their struggles through life. It is the least horrific film on this list, but it remains a horror film for its concept and unique take on a well-worn monster story.

Key Scene: Eli enters Oskar's house without his permission – have a look at your vampire rule book.

6.    The Mist (2008 )

Beginning life as a Stephen King novella in the 80’s, Shawshank Redemption director Frank Darabont took the reins and churned out a masterpiece of highlighting that the monstrously unpredictability of human nature can be as startling as any unknown entity.

A thick mist covers a sleepy, tight-knit American community causing its residents to seek solace in the local supermarket. Confusion surrounds what has descended on the land, with some believing that God has set Armageddon in motion, while others attempt to persuade the group that other-worldly forces are at work.

Marcia Gay Harden offers the performance of her career as the zealous Mrs. Carmody who uses the incident to impose her extreme religious attitudes and sway the group, while Thomas Jane provides a solid turn as the reluctant hero attempting to maintain calm. It is the stomach-churning, bleak ending that takes an above-average film into the realms of infamy.

Key Scene: That ending, of course.

5.    Cloverfield (2008 )

J.J. Abrams’ epic monster flick made exemplary use of viral campaigns in order to provide maximum impact while offering minimum information about the plot or indeed the creature itself, and the result was a frantic, post 9/11 reflection on fear culture en masse.

The Cloverfield creation

The design of the monster is almost inconsequential in the hunt for answers, but when it is revealed it truly is a unique creation and appears one completely capable of causing such unparalleled levels of destruction.

The shaky-cam caused motion sickness on occasion, but was essential to plunge the viewer into the heart of Manhattan and amidst the frenzied populace.

Key Scene: The Brooklyn Bridge is packed with people attempting to escape the island, but their crossing is interrupted abruptly by something unknown.

4.    Drag Me To Hell (2009)

Horror followers urged Sam Raimi, whose Evil Dead series is among the most revered in the genre, to return to his roots following his drift into the mainstream with the Spiderman franchise, but the director was clearly awaiting the right moment to unleash the script he wrote in 2000 with brother Ivan.

2009 was the year that the project finally came to fruition, and Raimi proved he could leave the blood aside and still create a genuinely frightening film tinged with dark humour throughout.

Christine Brown (Alison Lohman) is desperate for a promotion, and attempts to impress her boss by refusing to grant a mortgage extension to bedraggled pensioner Mrs. Ganush (played with gusto by Lorna Raver). Christine however has chosen the wrong customer with which to display her steel; Mrs Ganush likes to dabble with the black arts, and bestows her with a three-day curse which will ultimately see her dining with Beelzebub for all eternity.

Key Scene: Any time Christine is at home alone, the tension is almost unbearable as the spirit closes in on her.

3.    Martyrs (2008 )

Alexander Aja’s Haute Tension opened the floodgates for French films to infiltrate the horror community, but Martyrs exists on an entirely different level of brutality from almost anything else ever committed to celluloid.

The plot loosely surrounds Lucie, a girl who had been imprisoned and tortured for a number of years, who befriends Anna, who is periodically tormented by the apparition of a creature that stalks her every movement. The true meaning of her ordeal is revealed towards the films end, with levels of barbarity never before seen, and director Pascal Laugier has pushed the boundaries with a vision that is intended to leave the viewer with a severe sense of discomfort and disgust.

Martyrs is an ordeal, one that is difficult to enjoy, but with that comes a sense of achievement and reflection on an astounding piece of cinema.

Key Scene: The arduous punishment suffered by Anna at the hands of the organisation in order to achieve Martyrdom.

2.    The Descent (2005)

Neil Marshall’s triumphant nightmare follows a group of girls who embark on a caving expedition, but encounter a collection of creatures who evolved to live perfectly in darkness. The plot follows their attempts to escape the uncharted territory with their lives, whilst being pursued by the other-worldly beings intent on adding them to their mass of victims.

The claustrophobia, creation of atmosphere and the fact that the protagonists are females all combine wonderfully to build tension but also chip in with its fair share of gratuitous gore for good measure. The creatures are abhorrent but as much as they are fantastical, it is the feasibility of their existence that makes them so frightening.

The feeling that the group are doomed to a gruesome death looms large, too, despite their best efforts to negotiate the series of labyrinthine tunnels and openings in order to reach daylight, and Marshall allows no time for reflection. Instead, he pummels the helpless girls with a barrage of terror and their fear resonates long after the end credits have rolled.

Key Scene: Sarah (Shauna Macdonald) finds her stricken friend Beth, surrounded by a vat of blood and human bones, as the predators encircle her.

1.       REC (2007)

Paco Plaza’s visceral house of horrors is not just one of the most impactful movies of the past decade, but it is a defining moment in horror and in terms of unadulterated terror will be considered among the giants of the genre in years to come.

Whilst not groundbreaking (its first person camera technique has been utilised before, but never bettered) the story of a camera crew following a group of Spanish firefighters as they investigate a disturbance at a nearby tower block as it descends into chaos is encapsulating.

Like the Descent, the claustrophobia is created with care and precision, and when the action does arrive it is truly intense. The final scene in the building's attic is utterly unique, and utterly petrifying, and provides an appropriate pay off at the end of a slow-burning masterpiece.

Your winner...........

6 Reasons Why ‘Top 10 Horror’ Lists Are Pointless

As 2009 edges closer to its horrible demise, the inevitable ‘Top 10 Horror Movies’ lists will emerge from every dark alley, dingy basement and haunted house that the web has to offer. As soon as the blogger lays his neck on the line by selecting his or her finest flicks of the year, or even worse, the decade, the comments will rack up quicker than the body count in Rambo.

It is a thankless task. There are countless pitfalls, endless points of discussion and numerous wise-asses who will denounce the selections, no matter what movies are deemed list-worthy. So, in order to understand the dynamic utilised by publishers of such articles, the ground rules must first of all be laid down.

 1. The writer will deliberately throw a curveball.

Comments garner opinion, which in turn garners hits, which in turn enhances the reputation of the website. By throwing in a film that the general will consensus will either be unfamiliar with or will take umbrage with, the commentators will take great pride in throwing sludge, about the inclusion of such a terrible, lame selection that should be nowhere near the list. The comments pile up and the blogger is pleased that his list in being read - although he/she probably doesn't agree with it.

 2. The definition of a ‘horror movie’ can be lost in translation.

The Sixth Sense, Jacobs Ladder, Shaun of the dead, even new addition Let the Right One In… films such as these find their way onto ‘horror’ lists, but it is often difficult to distinguish the characteristics of a horrific movic, but the true definition of the word. If horror is a sub-category of the wider movie genre, perhaps horror is the only type of film that can be further dissected. Psychological horror, body horror, torture horror... all represent differing reactions and viewers have different preferences for each, so by amalgamating them into a singular list will alienate a segment of readers with some of the choices.

 3. Classics rarely stand the test of time

Nosferatu in 1926 can be regarded as the first truly iconic horror movie, and for the generation that viewed it, the scrawny, imposing, unstoppable vampire would have been a utterly terrifying concept. However, while the film should still be regarded as a bona-fide classic, its potency has waned, understandably, in the 80+ years since its production. Modern horror aficionados are a desensitised bunch; as the years pass it becomes increasingly difficult to provide shock value to the most hardened of audiences. So while films of a substantial age can be attributed as inventing the majority of the clichés upon which modern horror is grounded, they struggle to pack the punch of more contemporary work. A token nod to a halcyon era is generally given – but at the expense of a worthier piece of filmmaking.

4. Two Little Letters – Re

Horror films have been imagined, and made, for close to a century. But when original concepts began to dissipate, the contemporary film industry sought to alleviate the malaise by taking tried and tested formulas and simply rehashing them with a rejuvenated approach. Remakes spill more worms than a decaying corpse, opening debate about the superior creation between old and new. Therefore, you can be sure that if you select a remake for your list, there will be some horror nut laying in wait to savagely critique it like David Gessler morphing into the American Werewolf. People have pre-cognitive opinions on remakes, particularly if the original was a film that they held dear, and so they cannot be impartial when evaluating a ‘reimagining’ of one of their pet flicks.

5. Ten is not so magical a number

Attempting to condense any period of horror into a bite-sized, liver and Chianti chunk of the superior ten will ultimately end in failure. There will inevitably be overspill, and you often find the blogger will include an additional section entitled ‘honourable mentions’, compiled of those films that just didn’t quite make the cut. Ten is a small number, too small for the timeframes that the majority of horror countdowns tend to encapsulate. There is of the course the ridiculous ‘Of All Time’, but even those arranged by decade eliminate so many essential viewings that the list is rendered of no use to the user. Horror lists are much-loved, precisely for the purpose of voicing your utter dissatisfaction at the entries, but doesn’t that defeat the purpose in any case?

6. Horror Snobbery

The past ten years has seen a surge in international horror productions gaining mainstream acclaim, and it has allowed the blood-lusty to expand their dimensions more than ever before. Japanese (J) horror started the trend, and more recently the likes of France and Spain have produced works of cinematic genius. However, horror bloggers, primarily due to the oversaturation of sub-standard entries in the genre in the Western world, will have you believing that if it’s subtitled, it’s superior, and this isn’t always the case. Hollywood is just as prolific as any other country in the world in producing spine-tingling unique ideas, and perhaps because these bloggers feel that the we are more exposed to them, it makes them uncool, or on unfit for their hallowed lists. A case in point is the majestic Cloverfield.