We’re used to seeing unspeakable things in horror and sci-fi films. Whether it’s unstoppable and reincarnated serial killers, otherworldly entities or extraterrestrial and or Lovecraftian terrors, genre and exploitation cinema has no shortage of dread and terror.

Running from a known predator or having to break a ghostly curse is one thing, but what about having to fight against an unknown and unexplained enemy?

Psychedelic tinged genre films are rooted more in the abstract, which help distort the viewers perception of reality. This usually results in a mind-bending and sometimes transcendental cinematic experience.

Stacked full of warped realities, neon-drenched color palettes and synth heavy scores, psychedelic films are just as weird as you’d expect. Which may be why although this subgenre is quite small due to many constraints in modern filmmaking the ones that do make it past the cutting room floor are super effective and find a special place in the hearts of many cult film fans.

Our list might not be for everyone, these mind melting delights are perfect for cinephiles looking for something truly different and bizarre.

House (Hausu)

Director: Nobuhiko Obayashi

Whenever most people think of J-horror, they usually think of Ringu, Ju-On and Dark Water. Dead girls with long hair have essentially become a mascot for the genre. One Japanese Horror film that hopefully hasn’t gone under your radar is House (Hausu).

This absolutely surreal film follows a high school student visiting her aunt’s house with a group of friends. Unfortunately, for the group of gorgeous school girls there’s an evil presence in the house that eats them one by one in increasingly strange ways that range from death by piano to being entombed by a grandfather clock.

House was originally designed to be Obayashi’s answer to Jaws, and was given the chance to develop the script. Basing it on the childhood fears of his young daughter. It would take two years before Obayashi was allowed to direct, creating an under-seen cult masterpiece.

Color out of Space

Director: Richard Stanley 

Richard Stanley’s directorial comeback brings this strange tale from H.P Lovecraft to life. Centring around the Gardner family who move to a farmhouse outside of the fictional town of Arkham. After a meteor crashes on their farm the families lives are thrown into a cosmic nightmare, bringing with it an otherworldly color.

Full of stunning hoes of pink and purple, there’s no denying how gorgeous this movie is to look at. Alongside the stunning cinematography and VFX, this cosmic color comes with some truly grotesque body horror moments as well, as it amalgamates with all biological material it touches.

Richard Stanley’s adaptation is one of the strongest Lovecraftian visions yet: Deranged, tantalizing and just bat-shit spooky. Although not for everyone, this is a modern take on a classic short cosmic horror story guaranteed to trip you the fuck out. (Read our full review!)

MANDY

Director: Panos Cosmatos

Red and Mandy lead a peaceful existence in ‘The Shadow Mountains’ of the Pacific Northwest in 1983.

That is until a cosmic cult catapults them into a phantasmagoric journey filled with vengeance, LSD laboratories and otherworldly visuals and music that will make you bored of pretty much any movie you watch after you finish this new cult classic.

The experience of seeing this film is more important than the movie itself, and for that reason I consider MANDY one of my favorite films of all time. If you aren’t into ultra-violence, 80’s revenge or Nic Cage, then I’m confused as to why you are reading this list in the first place.

Don’t miss out on this future classic

A Field in England

Director: Ben Wheatley 

Set during the Civil War in 17th-Century England, a small group of deserters flee from a battle through an overgrown field.

After being captured by an alchemist a shroom fueled search for treasure begins. The group quickly descends into arguments, fighting and paranoia, and it becomes clear that the original search might have been a trap…or something even worse.

A Field in England is Wheatley’s most experimental film yet, which makes it unique in the sense that it doesn’t make things easy for the audience. This is true art house in every sense of the word – Full of intense, surreal visuals and metaphysical twists and turns throughout.

Don’t let us spoil too much, and I’d probably advise to not eat psilocybin along with this bad trip. 

Altered States

Director: Ken Russel 

What could possibly go wrong when experimenting with Indigenous hallucinogens and sensory deprivation in a research lab? 

Straight outta Austin, TX comes the latest Shudder exclusive Horror movie to drop this year, the meta-horror comedy ‘Scare Package’. With a concept from writer Cameron Burns and director Aaron B. Koontz, and a host of other indie film Directors, this 7-ish part anthology touches on classic tropes of our favourite film genre from the VHS era with a lighthearted touch that will no-doubt entertain die-hard fans, but may leave casual viewers underwhelmed with too many unfunny and confusing moments in it’s frenetic free for all of ghosts, ghouls and gore.

Like all anthologies, you need a framing story, and in ‘Scare Package’ it comes in the form of a day at Rad Chad’s Horror Emporium, a sprawling Texas video store lorded over by the titular Chad (Jeremy King), a hyperactive hybrid of Guy Fieri and Joe Bob Briggs who’s new hire Hawn needs a crash course in Horror cliches to handle their obsessive clientele. As Chad rattles off the tropes of horror on a tour of the store, we hop into each Director’s segments, with unfortunately mixed results.

Early segments like “One Time In The Woods” from director Chris McInroy, an uproariously goofy spin on the “melt movie” had us in stitches, and Emily Hagins “Cold Open”, who’s Jon Michael Simpson bookends the movie with a wide-eyed turn as hapless horror villain “Mike Meyers”, landed a lot of laughs with a light touch.

Other segments like the Werewolf support group story “M.I.S.T.,E.R.” and the underwhelming “Girls’ Night Out Of Body” land with a thud at best, with themes that have been done better than in ‘Scare Package’. The remaining segments, including a far-too-long conclusion to the framing story, and the completely baffling Kung-Fu VR battle / ‘Get Out’ possession story “So Much To Do” are only saved by a hail-Mary horror-host cameo so glorious we can’t in good conscience spoil it for you.

With a slow trickle of Horror films in the summer months on Shudder, ‘Scare Package’ offers enough laughs and gore to keep Horror movie fans from switching channels, but sadly it’s inconsistent tone and uneven direction keep this from being a classic in the vein of Tales From The Darkside, Creepshow or VHS. If you’re a dedicated drive-in mutant, we’d say “Check it out”, but for us this is a one time rental.

‘Scare Package’ is streaming now on Shudder.

With another certified Screamish list of course! 

Whether you are new to Shudder or lost in a sea of selections, we’ve chosen a weekend’s worth of classics and modern gems to get the most out of your subscription.

Don’t have Shudder yet? Fear not: we have you covered!

Sign up using code ‘SCREAMISH’ for 30 FREE days.

BLOOD MACHINES 

From the minds of Synthwave icon Carpenter Brut (Franck Huesco) and Director duo Seth Ickerman, the hyperkinetic, hallucinatory ‘Blood Machines’ stormed 2019’s festival circuit before landing exclusively on Shudder. In it, a rogue A.I. escapes a coven of cosmic witches with a pair of grizzled space pirates in hot pursuit. A non-stop, 55 minute Sci-Fi / Horror space opera, you won’t see something this jaw-dropping anywhere else.  

Revenge 

A stylish and bloody rape-revenge thriller from first-time director Coralie Fargeat, ‘Revenge’ turns a contentious subgenre upside down and delivers one of the best Horror movies on Shudder. Free-spirit Jen is enjoying a romantic getaway with her wealthy boyfriend until his two sleazy friends arrive for an unannounced hunting trip. When they cross the line and end up leaving her for dead, a brutal, unrelenting battle begins to escape her attackers and the scorching desert alike. 

Demons

Nothing hits quite like a classic of Italian 80s Horror, and our love for ‘Demons’ is well known. Easily one of the best horror movies on Shudder, there’s a lot to love about Lamberto Bava’s 1985 classic, from it’s tongue-in-cheek ‘movie within a movie’ plot to it’s mountains of goofy gore, to an EPIC cocaine fueled hair metal soundtrack. But what we love most about Demons is that it never stops being a total fucking blast from start to end. 

Behind The Mask: The Rise Of Leslie Vernon

Turning the slasher genre inside out, Behind The Mask: The Rise Of Leslie Vernon is a mockumentary love letter to every 80s masked murderer and sleepaway camp schlockfest, creating a wonderful ‘what if’ world of real-life movie monsters that’s well made, wildly entertaining and actually sort of sweet…in it’s own co-ed murdering, head splattering kind of way. Seen through the lens of a community college film crew, Leslie’s awkward attempts to rise the ranks of slasher-dom will have horror fanatics and casual fans equally entertained with a mix of genre in-jokes and star Nathan Baesel’s wide-eyed, goofy excitement at finding his ‘Final Girl’. 

The Last Drive In: Season 2 

We are Drive-In mutants! We are not like other people! The legend himself Joe Bob Briggs (and Darcy The Mail Girl, of course) returns to Shudder with the best in Blood, Breasts and Beasts for another season of The Last Drive-In. With a hand-picked line-up of the best horror movies on Shudder, PLUS interviews with genre legends and Darcy’s fant-ass-tic Cosplay, we could never choose just one episode, so just watch em all! Joe Bob Says “Check It Out!” 

Luz

Luz hides in a police station from Nora, who is possessed by a demonic entity, longing for the woman it loves. Nora tells a story about Luz’s rebellious past at a Chilean school for girls to a doctor, now easy prey for the entity, who stalks her across town. Spare and sharp, LUZ is a stunning debut feature from Director Tilman Singer, creating a new style of possession story built on intricate sound design and explosive performances in place of jump scares.  A must see for fans of slow burning Horror like Hereditary or Suspiria. (Read our full review for more!)

Elvira Mistress of the Dark

With such big…history, Elvira remains one of the most beloved icons in Horror, and her 1980’s madcap comedy ‘Elvira: Mistress Of The Dark’ still holds up as a tongue-in-cheek groan fest sure to make you smile. Our horror-movie hostess turns a puritanical community on its ear when she arrives in town to claim her inheritance and once the stuffy locals get an eyeful of the scream queen’s ample assets, all hell busts out & breaks loose.

Editor’s Note: this list has been updated as of June 11th 2020!

Dead Heat

Two cops stop at nothing to catch paranormal bad guys in this messy but oh-so fun 80’s horror comedy. After two detectives discover a secretive corporation are using zombies to carry out crimes (and one of said detectives is turned into a zombie himself) the clock races to solve this murder case before his own body decays! DEAD HEAT’s bizarre combo of gore, humour and 80s slapstick action make for one of the best selections on Shudder. Did we mention the “star” studded cast? Treat Williams, Joe Piscopo and Vincent Price all take turns chewing the scenery in this schlocky romp that anyone can enjoy.  

BLACULA 

One of the best movies on Shudder AND one of the best Blaxploitation flicks of all time? Sign us up! Blacula is a 70’s horror classic often overlooked. In it, 18th century African Prince Mamuwalde (the iconic William Marshall) visits Count Dracula in Transylvania to seek his support in ending the slave trade. Instead that damn honky count curses his guest and transforms him into a vampire! Two centuries later, he rises from his coffin to wreak havoc, stay funky and seek out human blood in 1970s Los Angeles.

Sugar Hill

When a New Orleans nightclub owner gets murdered by the mob, his girlfriend Diana “Sugar” Hill calls upon a voodoo high priest Baron Samedi to summon the undead to carry out her plan for revenge! This stylish, smart yet hilarious horror flick has something for genre lovers of all types.

TROMA’S WAR 

When a group of Americans crash onto a Carribean island, they didn’t expect it to be infested with scummy terrorists and pig faced mutants preparing for a full out war on America with biological weapons! One of Troma’s most unfairly ignored romps, this balls-out, tongue in cheek parody of Stallone, Chuck Norris and Charles Bronson’s nonsensical VHS blast-a-thons doesn’t make a lot of sense, but it does provide a lot of laughs, some of the funniest kills on Shudder and some unforgettable 80s haircuts!

Knife + Heart

Paris, Summer 1979. Anne produces an underground gay porn film. When one of the actors is brutally murdered, Anne is caught up in a surreal investigation that turns her entire life upside down. This stylish ode to 70s era De Palma, Argento and Friedkin, shot on 35mm features a score from M83 and is not to be missed! We could talk all night about it…but Read Our Full Review For More!

A TALE OF TWO SISTERS

Things take a turn for the absolute worst after two sisters are reunited in this classic Korean horror now available on Shudder! When Suomi and Su-yeon return to live at their country home, the girls’ father has remarried and strange events soon lead to dark revelations. This dark and dreary horror classic is a perfect fit for anyone who enjoys “feel bad” movies (we sure as hell do) as well the stylish settings and absurd humour make for an engrossing and unique take on the genre. 

Editor’s Note: this list has been updated as of June 2020!

From director Albert Shin, ‘Disappearance at Clifton Hill‘ is equally calculated and confident, with a certain cold charm in its execution, burning ever so slowly, drawing you in, until a hallucinatory conclusion changes everything. With fantastic performances from the leads, an impenetrable Tuppence Middleton as Abby and an implacably odd David Cronenberg as a local conspiracy nut that’s half Evil Kinevil and half Art Bell, the strangely specific personalities of small town Ontario add a layer of almost “David Lynch lite” to everything, an off-putting anxiousness to every interaction Abby has in her investigation. Canadians, being ever so polite, don’t seem to appreciate appreciate an outsider asking questions. At first relishing the familiar mystery tropes of retro-diner document drops, staticky VHS tapes and her very own ‘yarn wall’, Abby’s initial glee in stirring up trouble quickly turns to fear when things turn very real, very quickly as she steps on the toes of the local land development baron, a pair of tiger owning French magicians, and her own estranged family.

‘Disappearance at Clifton Hill‘ is propelled not only by it’s perfectly cast characters (especially the mysterious Podcaster played by Cronenberg and unforgettable supporting roles Marie-Josée Croze as a chain smoking Quebecois magician and Elizabeth Saunders as a tiger taming, white trash gambler) and well paced screenplay co-written by Shin and James Schultz but also by a discordant, hypnotic score by Alex Sowinski and Leland Whitty of Canadian band BADBADNOTGOOD and naturalistic but suitably ‘Modern Noir’ cinematography from Catherine Lutes that pairs the lurid red lights from facade of Niagara Falls presented to tourists with the drab, damp reality of a seasonal small town that time is passing by.

Like any good crime story, ‘Disappearance At Clifton Hill‘ lets out a little of its mystery at a time, almost totally bereft of any ‘action’ in the traditional sense, and with an unreliable narrator to boot, until the tension is nearly unbearable. And it’s in this quiet, more believably sinister telling of its tale that the film displays it’s unique, and uniquely Canadian take on the classic potboiler, leaving its audience to ask as many questions as the story answers.

‘Disappearance At Clifton Hill‘ is out now on Amazon Prime VOD. Watch the trailer below for a taste.

VFW (Fangoria Studios)

In ‘VFW’, the gloriously sour Fred (Stephen Lang) and his cadre of iconic character actor cronies (including William Sadler, Fred Williamson, Martin Kove and David Patrick Kelly) spend their days, and nights, drinking in a run down VFW hall and telling tall tales of their times in Vietnam to whoever’s unlucky enough to listen. When runaway teenager Lizard (Sierra McCormick) seeks refuge from the enraged owners of a half-million dollars worth of Hyper, a deadly new drug she has stolen, the vets must prepare for one last stand against an army of angry mutants out to get it back. One part zombie standoff, one part old-army-buddies fight back with some ‘Escape From New York’ punk-apocalypse thrown in for good measure, ‘VFW’ absolutely revels in it’s riotous levels of gore; gallons of blood burst forth as the vets improvised weapons turn the gutter punks into dog food and the violence so quickly escalates into absurdity that it’s hard not to grin as angle-grinders and flagpoles dispatch the horde of Hyper addicts who swarm the heroes.

VFW (Fangoria Studios)

Begos evokes a grind-house feel to cinematographer Mike Testin’s muted, murky images which keep the claustrophobia front and centre, while the performances from the heroes and villains alike are outlandish, scenery-chewing fun that effortlessly bounce off each other with the feel of a lifelong friendship or appropriately moustache-twirling menace. Long time collaborator Steve Moore delivers a suitably scuzzy, minimal score which only adds to the efficiency of the film and further anchors it in loving 80’s era aesthetics. In fact there’s very little VFW falls short on, and whatever minor technical hiccups or clunky line-readings made it to the final cut are whisked away in a whirlwind of head-splitting violence in a matter of seconds. This film moves fast and fearlessly towards it’s inevitable conclusion and while we can see it coming a mile away, anticipation never makes a roller coaster less surprising.

Refreshingly simple and effective with no sequel-bait in sight, ‘VFW’ lands with a serious impact and marks both ‘Begos and the reinvigorated Fangoria brand as the new standard in indie horror. Check the trailer below and catch it on VOD now!

1.) MISERY – (1990)

In ‘Misery‘, The iconic Kathy Bates steals Stephen King’s story of a famous author rescued from a car crash by a fan of his novels. He comes to realize that the care he is receiving is only the beginning of a nightmare of captivity and abuse.

2.) THE LAST HORROR FILM – (1981)

A New York taxi driver stalks a beautiful actress attending the Cannes Film Festival as a series of violent killings claim the lady’s friends, in “The Last Horror Film” this rare 1980’s b-movie from director david winters

3.) DER FAN (THE FAN) – (1982)

In 1982’s ‘Der Fan’ (The Fan) a young girl worships a german pop singer named ‘R’…who, after spurning her advances, becomes the target of her obsession in this rare, and totally mental, explotation gem.

4.) PLAY MISTY FOR ME – (1971)

In this classic 1971 proto-stalker thriller, The life of a disc jockey (Clint Eastwood) is turned upside down after a romantic encounter with an over-the-top fan, played by, you guessed it, Arrested Development’s Jessica Walter putting on an unhinged masterclass of obsession.

5.) SWIMFAN – (2002)

Another Y2K teen stalker classic, ‘Swimfan’ (2002) follows A high school senior with a promising swimming career when his one-night stand causes deadly consequences. We’ll file this one under “guilty pleasures” next to FEAR and Final Destination.

1.) The Hunger (1983)

Tony Scott’s story of a love triangle between a doctor who specializes in aging research and a vampire couple played by David Bowie and Catherine Deneuve, 1983’s ‘The Hunger‘ is simultaneously terrible and wildly entertaining, with an ice-cold 80s aesthetic and scenery chewing galore. Perfect for a Valentine’s Horror pick.

2.) Dead Ringers (1988)

David Cronenberg’s ‘Dead Ringers‘ (1988) is an eerie and disturbing psychological thriller about twin gynaecologists who gradually descend into madness, played by Jeremey Irons. A different type of Valentine’s Horror (this one is particularly icky), ‘Dead Ringers’ avoids slasher chases and jump scares for a sterile, insidious dread that builds to a fever pitch by the film’s insane conclusion.

3.) Let The Right One In (2008)

Tomas Alfredson’s ‘Let The Right One In’ is an iconic tale of A 12-year-old boy who befriends a mysterious young girl during a horrifying series of murders deep in the darkness of Sweden’s winter is best watched in its original version. Dark, but ultimately a very human story, this one’s a great winter time watch and a solid Valentine’s Horror selection.

4.) Candyman (1992)

The pairing of an equally sympathetic & terrifying villain, captivating cinematography, electric performances and Philip Glass’ unforgettable score combine make ‘Candyman‘ one of horror’s best love stories. Clive Barker’s now legendary creation leaps of the screen through Tony Todd while Bernard Rose assembles a nearly perfect picture, never missing a beat in the story and making every frame a painting in what might be the perfect Valentine’s Horror film.

5.) Fear (1996)

One of the 1990’s teen horror “so bad it’s good” classics, 1996’s ‘Fear‘ has Marky Mark Wahlberg terrorizing the family of a young Reece Witherspoon in this guilty pleasure / garbage fire of a teen romance gone off the rails. Between the Alt-Grunge soundtrack, Wahlberg’s hilarious performance, casual fingerbanging and the bizarre appearance of CSI’s William Petersen as the Dad there’s way to much glorious B-movie goodness to ignore for your Valentine’s Horror watchlist.

6.) Possession (1983)

Andrzej Żuławski’s unflinching, surreal story of a woman who’s love affair with something sinister destroys everyone around her in the oppressive regime of 1980’s East Germany. Read our full review of Possession here!

7.) Midsommar (2019)

Ari Aster’s “break up movie” ‘Midsommar‘ was one of 2019’s best. A young couple tries to escape tragedy by visiting a remote Swedish commune where things aren’t what they seem. Easily one of 2019’s best, if you’ve not yet seen Midsommar, now’s the time.

8.) The Fly (1986)

Jeff Goldblum drips his way into our hearts as Seth Brundel, a scientist who’s experiments with teleportation transform him into a horrific fly monster in David Cronenberg’s legendary 1950’s b-movie reboot of ‘The Human Fly’. Glorious practical effects, tons of goopy gore, nude Goldblum…what else do you need for a perfect Valentines horror movie?

That’s the threadbare plot for “Undercover Bike Cop”, a short film we discovered at this year’s Horror-O-Rama. Channelling equal parts Quentin Depeaux and Walter Hill, this charmingly surreal 30 minute short comes from Toronto based director Brandon Espana who we discovered after getting his energetic elevator pitch in a convention hall basement.

After following to his table of ‘Retro Video’ projects and getting sucked into the orbit of his manic energy, we had to know more about how “Undercover Bike Cop” came into existence.  Awash in synthwave style neon and aglow with 80s film grain goodness, the short shows some serious technical chops from Espana, a one man production shop; shooting, writing, editing and directing his projects with a close crew from film school on non existent budgets. We were lucky enough to grab some time out of his hectic schedule to pick his brain on how the project came to be, why he went behind the camera and how filmmakers need to step up their game in the new decade. 

“Like, everybody just fucking does John Carpenter” says a chuckling Espana over the phone “That was one filmmaker I just didn’t want this short to be influenced by”, when asked about what drove the making of “Undercover Bike Cop“.

“I wanted to do something like Walter Hill” he says “the Warriors was a big influence on it, Streets of Fire as well”. We share a Michael Paré appreciation moment and he continues: “Another influence was “China Girl” by Abel Ferrara…later on during the filming…the colour palette, Susperia was a big one, was a big influence for the indoor scene. And then Blade Runner was a big influence for the outdoor scenes…how to use lighting…that was all natural light”.

“I wanted to experiment with stuff and what better way to start with than something that you actually enjoy?”.

Blade Runner and Walter Hill are apt comparisons for the visuals Espana delivers. While an undoubtedly fresh filmmaker, the technical skill of “Undercover Bike Cop” , and it’s ultra-hip, 80s aesthetic immediately stand out.  When asked what came first, the story or the style, he’s candid, explaining that he and his friends had the idea for “Bike Cop” back in high school for a class project, and revised it for the short. “I thought of bringing in the specific style might…make it a bit more appealing. Because I just like that style (Synthwave)  in general…I wanted to experiment with stuff and what better way to start with than something that you actually enjoy?”. He continues “I think music music was a big part of it. Just listening to it and then getting a certain style from it” he laughs again, “…it kind of sounds weird…but a tempo from it that I could imagine a scene playing out at… just listening to it on repeat”. 

Director Brandon Espana

When asked how he got going in filmmaking however, it wasn’t immediately behind the camera: “Originally, I wanted to be in front of a camera. I wanted to be an actor and I did acting auditions and stuff for a couple of years and then. I don’t know, I just wasn’t feeling it anymore…and then I thought: Hey, maybe if I can’t be in front of the camera, I’d want to be behind the camera”.

From fooling around with a DV camera (which he still has) to working on videos in high school to eventually attending Humber Film School in Toronto, he’s now firmly planted on the other side of the lens, doing it all himself. “I didn’t really have anybody. I didn’t have any like art people or whatever, we didn’t have any like production assistants,” he laughs again “maybe one on one day… because for the most part it was just me and the actors.”. I ask if he’s more of a lone wolf or a collaborator. “I like to have control over most of what I do…. as you can see by how my name is plastered all over ‘Undercover Bike Cop” he laughs again. 

“There was a lot of moments where, like, I would want to get things done…done, done, done, done…And then I would like it try to rush things. And it would never work out”.

We speak a bit more on being a creator and if it’s better to go in alone or take the plunge into film school, a decision that many first time filmmakers struggle with. “Try not to care what anybody else thinks about the dream. Like your dreams are what you want to do. Like, ‘oh, I want to be a filmmaker’ And they’re just like….. what? No.’ People would say that! And I’d say: Just you watch”. And film school? “College actually was useful for one thing….it got me a lot of connections for people I work with. So I got actors and and sound people and I got people that were willing to help me with my project. So that’s kind of one thing that some school did help me with.” He then goes on about another lesson learned from school, one that strikes at the heart of the indie creators dilemma… “There was a lot of moments where, like, I would want to get things done…done, done, done, done…And then I would like it try to rush things. And it would never work out”. Espana sighs and continues …”It’s not gonna get done the way you wanted it to. So be you have to be patient. Got to have the passion for it and stay committed”. 

On his future projects, Espana says to expect something totally different from the slow burning, film noir style of ‘Undercover Bike Cop‘. “I’m still fully feeling things out for sure….Im experimenting…I want do do something completely different.” We talk about his new project, a Sci-Fi ‘Trash’ film shot on VHS entitled “Forgotten Trash”.  

“Coming back from Horror-o-Rama, a lot of people would just message me after this …’Like, I can’t wait to watch what you do next’. He laughs again, and goes on “ I’m ..uh..kind of happy because ..well, the next one I uh…. I purposely made it. Not good. Like it’s not good on purpose.” I ask what he means by “not good on purpose’ and his deep knowledge of VHS cinema comes out. We talk about monuments of awfulness like ‘Things’ and ‘Feeders’, straight to video movies form the 80s that are addictive, stroke inducing artifacts of another era without any care for quality. 

“There’s pressure that’s been lifted off of me being like, okay, …if people don’t like it, I get it. I actually worked hard on this one (‘Undercover Bike Cop‘). But that’s not the case for Forgotten Trash.. That is not the case in the least!”

“The style is very it’s completely different from ‘Undercover Bike Cop’ It’s very amateurish. It’s it’s in the name. It’s supposed to be a trash film. I’m making a movie that is a the spin on poor quality… in terms of technical aspects of film making, the camera sound and all the stuff …So I feel like it does for at least me. It’s completely opposite. There’s pressure that’s been lifted off of me being like, okay, …if people don’t like it, I get it. I actually worked hard on this one (‘Undercover Bike Cop‘). But that’s not the case for Forgotten Trash.. That is not the case in the least!”

And as for where he sees genre films going in the new decade? Espana’s obviously a film buff and this gets him going: “I’m sick and tired of it.  It’s now just franchising everything. We don’t need a sequel to a bunch of movies. Just keep it at one. And then move on and do another idea.” I ask if this means there won’t be an “Undercover Bike Cop 3”, an idea he jokingly, but immediately shoots down.

“I’m not the biggest fan of these sort of like slow paced like I guess could call it …art house films either. Because it’s becoming mainstream…. it’s not an indie thing anymore. It is becoming mainstream to do this style like anything else, and they don’t get it”.

“I’m not the biggest fan of these sort of like slow paced like I guess could call it …art house films either. Because it’s becoming mainstream…. it’s not an indie thing anymore. It is becoming mainstream to do this style like anything else, and they don’t get it”. He goes on to lament how this style, like 80’s Slashers or 90’s Teen Horror will burn out after a few years. “People are liking it a lot…I think when I when I first watched Hereditary I fuckin hated it” he chuckles heartily before quickly correcting himself “No no…It’s really OK, I liked it…but now there’s so much. I like something a little more lively in what I watch, you don’t have to make everything two-and-a-half hours long! That’s kind of tiring. I just want to see, and I feel like a lot of other directors do too, we just want to see more original stuff.”

You can watch Undercover Bike Cop below (or order on VHS!), and follow Retro Video online for more info on Brandon Espana’s upcoming films. 

2019 came and went without a stand out monolith like Hereditary, Get Out, The VVitch or even a Conjuring to dominate Horror fans discourse and definitively declare it to be the year of any particular film. However, with lackluster offerings from major studios and so-so sequels battling comic book blockbusters for mainstream attention, it was truly a year where smaller, indie films and foreign features stood out, while niche streaming truly took over as a major vehicle for horror fans to get their fix outside Netflix. Take a look at some of our favourites over the past year, ranked in no particular order. From exploding pot headed vampires to creeping cosmic horror, from the 1980’s of Paris to the center of the galaxy, it’s been a wild ride with some freaky, fun and fantastic films you just can’t miss.

KNIFE + HEART (UN COUTEAU DANS LE COEUR)

? Director: Yann Gonzalez | French (France)

Directed by M83’s Yann Gonzalez, the world of “Knife + Heart” created a Neo-noir Giallo in the saturated , hyper-sexual 80s vision of a masked murderer’s rampage through Paris’ gay underground. Absolutely stunning visually with a surreal, self-aware script, Knife + Heart managed to make its way to North America in late 2019 via Shudder, just in time to land on our best of list. For fans of Dario Argento and David Lynch alike, this film oozes sex, style and sadness…a perfect mix.

MIDSOMMAR

? Director: Ari Aster | English (USA) | Streaming on PRIME

After 2018’s unstoppable Hereditary , all eyes were on Ari Aster to deliver his follow up, and deliver he did with one of the Best Horror Films Of 2019. A “break up movie” that lays waste to everything it touches, Midsommar boldly stepped out of the shadows with a sun soaked, hallucinatory tale of a cult hidden in the hills of Sweden and what happens to a group of friends who attend their annual solstice festival. Needless to say, things don’t go as planned, and Aster ratchets up the dread and delivers some supremely satisfying gore without relying on either genre tropes OR his previous work. An absolute must-see for 2019, Aster continues to be one to watch in the world of Horror.

TERRIFIED (ATERRADOS)

? Director: Demián Rugna | Spanish (Argentina) | Streaming on SHUDDER

Another delayed arrival to North America, 2017’s Argentinian paranormal shocker Terrified turned the haunted house genre on its head with a tale of an entire neighborhood besieged by strange happenings and the mysterious team of investigators sent to stop them. Brilliant both visually and sonically, Terrified takes every disadvantage of its meagre budget and instead uses it to obscure, deflect and distort the monsters, both human and otherwise, making them infinitely much more effective when they finally come forth. This one had us genuinely gasping throughout!

GIRL ON THE THIRD FLOOR

? Director: Travis Stevens | English (USA) | Streaming on PRIME

“Girl On The Third Floor” is a tightly scripted, deceptively simple story of a not-so-good guy in way over his head during a hellish home renovation, and one easily of the best horror films of the 2019. Heralding the directorial debut of “Starry Eyes” and “We Are Still Here” producer Travis Stevens, this one is a slow-burning, unapologetic B-movie with one of the year’s breakout performances in WWE star Phil ‘CM PUNK’ Brooks and some jaw-droppingly disgusting practical effects for another one of the Best Horror Films Of 2019.

COLOR OUT OF SPACE

? Director: Richard Stanely | English (USA)

Heralding the return of Richard Stanley after a 20+ year hiatus from film-making, the brilliant director of Hardware and Dust Devil takes H.P. Lovecraft’s classic tale of a family farm under siege by cosmic horrors into the 21st century, anchored by Nicolas Cage in one of his best recent performances and filled to the brim with body horror using incredible practical effects that would make even Screaming Mad George blush. With Stanley at the helm, a veteran of the genre has presented a classic horror story without an ounce of post-modern irony, while still paying proper justice to Lovecraft’s often indescribable cosmic landscapes.

COME TO DADDY

? Director: Ant Thompson | English (USA)

When the vapid and aimless Norval (Elijah Wood) receives a letter from his long-lost father, who left him and his mom behind decades ago, he treks out to his dad’s remote cabin in search of the family reunion he has always dreamed of. Noval’s dreams fall apart pretty fast when he meets his brittle and horribly mean, alcoholic father Brian (Canadian acting legend Stephen McHattie). “Come to Daddy” is one hell of a midnight movie (read our full review here!) that’s all but guaranteed to entertain and thrill the genre crowd. Those who have the stomach for bloody antics will soon find director Ant Timpson also laces in solid character development in-between the ultra violence, letting his actors make a meal of every scene.

BLOOD MACHINES

? Director: Seth Ickerman | French (France)

Essentially an epic music video for synth wave provocateur Carpenter Brut, the hyperactive, hypnotic “Blood Machines” marks the feature debut of directing duo Seth Ickerman. Yes, it is mostly style over substance, with a threadbare story of space scavengers and cosmic sorcerers fighting to steal a rogue AI, but when your style is just so fucking cool does it even matter? Stunning from the first second to the last, “Blood Machines” delivers more in it’s lean 50 minute run time than most blockbuster action films could hope across three sequels, and you won’t even notice the plot holes with your jaw firmly dropped to the floor. This one hits Shudder in 2020, so keep your eyes to the sky.

BLISS

? Director: Joe Begos | English (USA) | Streaming on PRIME

Messy and energetic like a really good mixtape, Bliss is packed with gory, goofy fun and some of the most gloriously over the top ideas we saw in 2019. The tale of an LA artist who’s creative block is finally lifted through some decidedly bloody inspiration, Bliss careens across it’s city setting gleefully lifting the best bits of body horror, vampire movies and crime stories to create a thoroughly entertaining and original B-movie bop.

ANNABELLE COMES HOME

? Director: Gary Dauberman | English (USA)

Full disclosure: we love the Annabelle series, from it’s terrible 1st entry to it’s glorious prequel to this, the 3rd entry in the series spun off from James Wan’s billion dollar horror juggernaut, The Conjuring, so any attempt to argue it’s place as one of the Best Horror Films Of 2019 will be soundly ignored. Not as awful as the first, not as surprisingly well done as David F. Sandberg’s entry, this Annabelle returns the doll to her origins and manages to give us an effective, Halloween friendly horror film that stood out as one of the better mainstream offerings of the year. With plenty of mayhem and some crossovers from The Conjuring cast, there’s no better rain day watch than this.

IN FABRIC

? Director: Peter Strickland | English (UK) | Streaming on PRIME

Blending fear and the fantastic, In Fabric is definitely original; a woman’s life is torn apart by an ambulatory dress that she buys for a night out, and that’s not even the weirdest part. Completely enrapturing and soaked in a somber, romantic aura that adds to the fairy tale like qualities in the film, In Fabric is one that will stay with you long after you finish watching, eschewing gore and guts for something far more frightening.

THE LIGHTHOUSE

? Director: Robert Eggers | English (USA/Canada)

Is “The Lighthouse” a Horror movie? Is it a fantasy? Our answer: who cares. The Lighthouse, from director Robert Eggers, is easily one of the finest films of the decade, let alone the year, anchored by scenery annihilating performances from Willem Dafoe and Robert Pattinson and stunning cinematography. Tense and unyielding, this tale of two lighthouse keepers slowly going mad as a storm batters their island post not only blurs the line of fantasy and reality, it drunkenly pisses all over it. For any lover of film, this simply cannot be missed.

THE HOLE IN THE GROUND

? Director: Lee Cronin | English (Ireland) | Streaming on PRIME

A young mother living in the Irish countryside with her son suspects his increasingly disturbing behaviour is linked to a mysterious sinkhole in the forest, and fears he may not be her son at all. Another small, atmosphere rich genre film from A24, “The Hole In The Ground” quietly builds a believable sense of mystery anchored by solid performances from leads Seána Kerslake and the young  James Quinn Markey (really, is anything creepier than a ginger child?). Another one of the best Horror Films Of 2019.

LUZ

? Director: Tilman Singer | German (Germany) | Streaming on SHUDDER

Luz is a simple story executed so well you just can’t look away: a young cabdriver drags herself into the brightly lit entrance of a run-down police station. A demonic entity follows her, determined to finally be close to the woman it loves. An interrogation unlike any you’ve ever seen follows. That’s it. Not really available until 2019, we loved Tilman Singer‘s whip-smart story of possession hot-potato so much we had to include it on this best of list. Wildly inventive in its vision and sound design, Luz is a must see for any horror fan, just read our review for more.

THE PERFECTION

? Director: Richard Shepard | English (USA) | Streaming on NETFLIX

Not arriving on International Netflix until 2019, we loved the twisting, twisted tale of “The Perfection” too much not to include it on our list. A slow burn that suddenly drops the entire floor of the film out from underneath you, it’s the story of troubled musical prodigy Charlotte (Allison Williams) who seeks out Elizabeth (Logan Browning), the new star pupil of her former school, sending both musicians down a gruesome path.

Welp, thats it! Did you agree with our picks? Noticed something was missing? Absolutely HATE everything we love? Shoot us your comments or thoughts:

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Directed by M83’s Yann Gonzalez, the world of “Knife + Heart” bridges the saturated , hyper-sexual 1970’s exploitation era with the detached tones of 80’s new wave. An absolutely gorgeous film, cinematographer Simon Beaufils captures the world of the burgeoning 80’s queer Paris underground as well as the quiet nature of pastoral France, each shot part of an ever growing mystery that draws us into “Knife + Heart’s” tale of tragic love undone by a knife’s edge. A memorable, and necessarily tragic villain, our killer (played with an unhinged lunacy by Jonathan Genet) stalks the city leaving new clues for Anne to decipher with each of his inventive, and phallic, kills, which thankfully shield the film from an unbearable pretentiousness that seems poised to overtake the proceedings at any moment, but never does. But in its bones, this IS a slasher movie, and for fans of the genre it offers a “fine dining” experience unlike any other, with plenty of stylized violence and smirking humour to enjoy.  Itself on a razors edge between parody, homage, exploitation and vanity, “Knife + Heart” manages that delicate dance between lurid and ludicrous, being “believably unbelievable” at all times and above all else, entertaining for its entire run time. There’s gore, but it’s hardly grotesque, and there’s sex but little nudity, keeping things focused more on the mystery then the mayhem.  Complementing the visuals and performances, M83’s score one ups the baroque-synth legacy of Goblin, providing a fresh, but familiar soundtrack that only further enriches the carefully built world of Gonzalez’ mystery.

To dive into “Knife + Heart” you’ll need to suspend some disbelief: this is hardly a literal film. And while It’s not perfect (a little too much time is spent on the goofy “film within a film” moments and their adolescent humour, occasionally introducing tonal speed bumps that jar us from our trance) it succeeds more often than not, with rich visual impact and memorable characters, and most importantly leaves us wanting to see more of Yann Gonzalez directorial visions to come. Currently available on Shudder, check the trailer below for a taste of “Knife + Heart”

On a rainy night, Luz (Velis) has abandoned her cab somewhere in a nameless German city, and her fare has gone missing. Rattled and bloody, she lands and a moribund police station, being questioned by hardened detective and a translator as they wait for their chief interrogator, Dr. Rosinni (Bluthardt) a master of unconventional hypnosis, to help unravel her story of being attacked by a possessed woman. Across town in a sterile bar, Rosinni is accosted by a femme fatale (Julia Riedler) with her own strange story to tell, a tale of her time back in Chile and her catholic-school crush, who we come to learn is Luz herself and how It went terribly wrong. To tell more would’t only rob the film of the impact it’s head-spinning story shifts hit the audience with, but any plot synopsis has a way of misrepresenting a genuinely original movie such as this. With “Luz” the “what” of the story takes a well deserved back seat to the “how”, with the endlessly inventive interrogation centrepiece cementing the film as a truly refreshing take on a classic horror cliche.

Realism is secondary to the story Singer tells in “Luz“; with scenes awash in a near permanent haze and lovingly shot on old-school 16mm film (but with new-school anamorphic lenses that were created for the new digital RED cameras) by young cinematographer Paul Faltz, everything becomes a dreamlike vision, both hyper realistic and ephemeral as the fuzziness of the story and the film stock itself intertwine. Evocative and striking even in a palette of grainy grey and bureaucratic beige, “Luz” also deploys a wildly inventive soundscape that’s as much a part of the film as any performance, and the score from Simon Waskow shines through with all the right notes of synth-heavy, retro tinged 80’s Giallo grandeur and percussive free-jazz without becoming shameless reproductions. Rigorously framed images shock with intensity, paired with equally evocative physical performances from the leads, who inhabit their characters bodies entirely as the film dances between hypnosis, memories, reality and hallucination with a deft hand.

Largely confined to the eerie police station , “Luz” creates a surreal, theatrical battleground (“a chamber play”, Singer said in a recent interview) for past transgressions to play out against the ever growing evil that pursues our lead, and keeps the audience enraptured in a way heavy handed, “indie horror” can never replicate. When a character simply pulling a pen a purse can cause your skin to crawl, you know you’re in the hands of an assured director, and Singer’s confidence shines through every moment of the film. Unlike recent reboots and indie features that try too hard to talk about “the movie” beyond the screen, with “Luz” the film itself the focus, and by combining the profoundly simple ingredients of sound, light and editing together with an original story and commanding performances, Singer’s proven himself to be a young director to watch with excitement of what’s to come next.

“Luz” is currently available for rent on VOD via all major outlets, check the trailer below for a small sample of what to expect.

With an expertly executed blend of slow burning tension and downright disgusting practical effects delivering a hard hitting, one-two punch, Stevens also manages to get genuinely compelling performances from his leads, most notably Phil Brooks, A.K.A. former pro-wrestler C.M. Punk in his film debut, his concerned wife Liz, played by Trieste Kelly Dunn, and the overly flirty new neighbour, Sarah Brooks. In a year awash with disappointing reboots and clunky blockbusters, it’s refreshing that an original, low budget genre picture like “Girl On The Third Floor” can still deliver on skill and substance over CGI effects and spotty sequel tie-ins, using it’s spare budget to maximum effect, and it’s effects for maximum impact.

Set in an abandoned home in the Chicago suburbs, most of the film follows Don (Brooks), a disgraced lawyer who’s taken on a hail-mary home renovation project to help save his precarious marriage and his fragile manhood. As we get to know Don, and Don gets to know the house … and his far-too-friendly new neighbours, he’s quickly underwater. There’s the black, pulsing hole in the wall that won’t stop growing. And there’s that other wall that starts to bleed. And the strange sounds coming from the chimney are most certainly not a squirrel.

The house’s leaks and creaks ooze in ways that would make David Cronenberg blush, and with Steven’s keen eye for framing each shot for maximum creepiness, the sickly pastel and floral colours of the house begin to sour as Don’s stress, sleep deprivation and increasingly bad decisions mount. As his wife’s arrival approaches and the house continues to decay in a “Money Pit” meets “Videodrome” spiral of surreal viscera, Don takes matters into his own hands … and with blunt force. We don’t want to give any more away than we need to, but believe us when we say that “Girl On The Third Floor’s” simple narrative doesn’t mean it’s a simple film, everything that happens in this film happens for a reason, and that reason is always in service of Don’s downward spiral.

The “never ask for directions” type, Don is simultaneously a realistic, relatable guy, and a hugely unlikable asshole who’s brought most of his problems on himself. Played with just the right amount of Bruce Campbell-esque hamminess and a seething, early middle age anger that makes him seem like a hair-trigger threat, Brooks’ keeps us fixated on Don without delivering much in the way of dialog, instead Stevens lets his interactions with the excellent supporting cast fill in the blanks, and Brooks’ background in “playing to the back of the house” during his pro-wrestling heyday gives his mostly silent performance a wide range of expression, letting us see the gears turn behind his often cold eyes.

When the film’s action does kick in, Brooks’ physical stature and skills in stunt work are used to excellent effect. He clearly knows how to use his body to deliver, and receive, some serious punishment. Similarly, we get to know Liz, the beleaguered wife, through her interactions with Don, at first via video, then in her interactions with the neighbours, as she arrives in the films third act to inspect Don’s handiwork. Played with the right amount of exasperation and commitment, Dunn offers the sobering “Yin” to Brooks’ raging “Yang”, and allows us a unique perspective on the story as she assumes the lead for the film’s third act and we see Don’s breakdown through her eyes. Where as Don solves his problems “hands on”, Liz takes a different approach, looking deeper to solve the puzzle and survive their move from hell.

As the action moves to the titular third floor, the tension boils over and the film shifts gears into a far more physical realm, as the practical effects deliver some over the top gore with an unflinching execution. And while sex permeates the film, there’s very little in the way of nudity, giving the film a slightly less schlock feel than it could have suffered in the wrong hands, while simultaneously serving to amp up the ick-factor as a fetishistic pantomime overtakes the house.

Filmed with a steady hand and a clever eye, the film feels spare in the way a sports car does: nothing unneeded clutters “Girl On The Third Floor“, and its clever narrative twists never seem unnatural or contrived. With an obvious love of the genre, Stevens makes the transition from producer to director with a strong and self assured debut, and paired with a breakout performance from Brooks’, the pair seem poised to take up the torch for a new generation of genre auteurs and actors. Easily one of the year’s best, the slow building, supremely satisfying “Girl On The The Third Floor” can’t be missed.

Check out the trailer below, it’s streaming on demand now!

BLU-RAY/DVD SPECIAL FEATURES

• “The Lighthouse: A Dark & Stormy Tale” Featurette
• Audio Commentary with Co-Writer & Director Robert Eggers
• Deleted Scenes

THE LIGHTHOUSE stars Academy Award and Golden Globe nominee Willem Dafoe (1986, Best Actor in a Supporting Role, Platoon; 2000, Best Actor in a Supporting Role, Shadow of the Vampire; 2017, Best Performance by an Actor in a Supporting Role, The Florida Project; 2018, Best Performance by an Actor in a Leading Role, At Eternity’s Gate) and Robert Pattinson in a pair of Oscar-worthy performances.

Executive produced by Academy Award nominee Arnon Milchan (1997, Best Picture, L.A. Confidential; 2015, Best Picture, The Revenant) and Academy Award nominee Michael Schaefer (2015, Best Picture, The Martian), THE LIGHTHOUSE is poised to one of the year’s best films. Special Features include an audio commentary with the co-writer & director Robert Eggers, deleted scenes, and more. THE LIGHTHOUSE will be available on Blu-ray plus Digital and DVD for the suggested retail price of $24.99 and $19.98, respectively.

THE LIGHTHOUSE arrives on Digital December 20, On Demand January 7, and on Blu-ray (plus Digital) and DVD January 7 from Lionsgate.