Lowe plays protagonist Ruth, who is driven to carry out a brutal killing spree by the malevolent foetus growing inside her, voiced with joyous darkness by Lowe herself. She wrote, directed and starred in the film while heavily pregnant, shooting guerrilla-style in Cardiff. The fact Prevenge even exists is testament to the ambition and talent of Alice Lowe. By exercising admirable restraint, the horror becomes only too potent. The Eyes of My Mother largely keeps its most horrific acts of violence outside of the frame, but there are images here that recall the torture of Audition or Hostel.
Kika Magalhães is tremendous as an isolated woman who has grown up around violence and is deeply interested in the concepts of death and murder. The pacing is slow and deliberate throughout, despite the relatively brief 80-minute running time. This monochrome horror might not appeal to the most ardent gorehounds, but it’s a terrifying study of a sociopathic character. The popularity of the shared universe model has now made its way to the world of the macabre and Wan is managing to make it work. James Wan and his pool of horror protégés have done a stellar job of expanding the universe of The Conjuring. The origin tale for the creepy doll is an interesting one and, though the film showcases a straightforward adherence to modern horror clichés, it’s delivered with such finesse that it completely holds together. Given how unspeakably terrible the first Annabelle film was back in 2014, its impressive that the franchise has taken such a large uptick with sequel Annabelle: Creation. The timeline shifts of the script don’t always come off perfectly, but there’s enough darkness here to keep the horror fans baying for blood happy. It’s a compelling and gripping tale, told with a rich vein of button-pushing violence. This year, Damien Power made his entrance into that world with debut feature Killing Ground, in which a young couple’s camping trip turns sour when two backwoods locals pursue them. The mainstream corner of horror has produced its most successful movie of all time, while the arthouse world has also delivered the goods and there’s even an Oscar contender in the genre.īut first, let’s head Down Under for one of the nastiest films of the year…Īustralia is home to some of the most grim, macabre movies in modern cinema, from Justin Kurzel’s troubling true crime tale Snowtown to the tourism slasher Wolf Creek. What is true, however, is that 2017 has been an uncommonly good year for the darker side of cinema. It’s as if a year of impressive scary movies is somehow a rarity, when in fact the genre has consistently delivered strong movies in recent years. The reaction to 2017’s horror movie slate has, bizarrely, been one of surprise. Tom Beasley examines the best horror movies of 2017, from sharp social satire to an evil clown…
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