After impressing us last year with the chilling short film De-Mente, Lorenzo Ayuso passes the directorial torch to Azahara Gomez (De-Mente‘s visual effects maestro) and takes a co-writing credit on Extatico, a slickly produced and profoundly unsettling short that continues to strengthen both of their reputations.
Office Space collides with The Purge and Battle Royale in The Belko Experiment, a fitfully engaging workplace horror from Guardians of the Galaxy‘s James Gunn.
Supernatural horror tropes come thick and fast in Don’t Knock Twice, a disappointingly shopworn demonic yarn from director Caradog W. James.
A truck drives down a desolate country road, when the figure of a dishevelled woman lumbers into view. The torment she’s been through is unclear. The driver stops as the woman collapses, defeated. It’s one of only a handful of scenes in Nicolas Pesce’s The Eyes of My Mother that doesn’t take place on the property of main character Francisca, and it’s a fittingly bleak opening to what is a beautifully austere, deeply unsettling piece of work.
Best known for his work as one half of cult comedy duo Key and Peele, Jordan Peele makes an unexpected gear-shift into horror for his directorial debut. As it turns out, the outcome is better than anyone could have expected: Get Out is a slickly executed, expertly paced and remarkably well written thriller that succeeds all at once at being chillingly relevant, deeply scary and hugely entertaining.
A Cure For Wellness is an achievement in one way, at least: made on a budget of $40 million, it’s genuinely remarkable to see a film with such a notable lack of mainstream commercial appeal being made on such a grand scale in 2017.
Whatever else there is to say about it, Julia Ducournau’s Raw is a beast unto itself. Fusing elements of the New French Extremity movement with a more pronounced indie-drama sensibility, the result is a visceral, gritty and surprisingly tender offering that stakes a convincing early claim for the best genre film of 2017.
Without getting too bogged down in the machinations of the plot of It Stains The Sands Red, the film’s idea for a fresh take on the zombie subgenre is to localise the epidemic to just one of the undead, and his one victim.
James McAvoy gives a career-best performance in Split, but the film can’t get out of his shadow.
In The Good Neighbor, aspiring documentarians Ethan and Sean (The Walking Dead’s Logan Miller and It Follows’ Keir Gilchrist) carry out an experiment on their reclusive elderly neighbour Harold Grainey (The Godfather and Misery‘s James Caan).