Scary movies are either completely avoided or loved, there is quite frankly no in between. So, if you have a Hulu subscription and is one of those who like scary movies, following is an expert opinion on the best scary movies available on Hulu.
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Starting with Agnes, The setup of writer-director Mickey Reece’s Agnes seems like the standard starting line for a gauntlet of spiritual horror. At the beginning of the film, the eponymous nun (Hayley McFarland) is seen having a profane and apparently telekinetic outburst over dinner together with her fellow sisters, after which two priests are dispatched to perform an exorcism on her.
Midway through, though, the film abandons its exorcism conceit and switches to a different nun’s perspective a while after she leaves the convent. Throughout this extensive stretch of the film, Reece’s script homes in on Mary’s (Molly Quinn) look for something new to be dedicated to and live by, which she finds briefly within the company of a comic (Sean Gunn) who was once a devotee and teacher to Agnes.
As such, Agnes files religion alongside other power structures which will provide comfort and stability but also create space for abuse of the facility dynamic. The film is neither a particular condemnation nor celebration of earnest belief, but rather a thoughtful examination of the human desire for it and therefore the accompanying hope that it’s going to exorcise the emptiness we feel. Steven Scaife
Star cast: Molly Quinn, Hayley McFarland, Rachel True, Chris Browning
IMDB ratings: 4/10
Rotten Tomatoes: 68%
Read more at: How To Watch Agnes On Hulu from Anywhere
Jim Cummings and PJ McCabe’s The trial may be a livewire thriller-slash-parable, dashed with audacious elements of farce, about how a person rechannels his longings. It’s also one that’s governed by knowing complicity with a devil. It’s easy to feel virtuous when decrying the crimes perpetrated by Harvey Weinstein, but what of the casual ways we manipulate and exploit each other daily?
The film’s lynchpin may be a series of scenes between Jordan (Cummings) and Jaclyn (Jaquelin Doke), a young assistant whom Jordan utilizes as a punching bag, a foil for his roiling frustrations. The film doesn’t play these moments for straightforward pathos, instead homing in on how each character is conditioning themselves, and each other, to play preordained roles.
It’s as if Jordan is trying to show himself the way to behave as Scott Rudin, while Jaclyn is learning the principles of the survivor who flourishes (we feel her looking for power as viscerally as his). The filmmakers understand that Jordan may be a tormented schmuck who, with the proper luck, might be allowed to show into the monster of his dreams. Chuck Bowen
Star cast: Victoria Puccini, Francesco Scianna, Camila Filppi, Simone Colombari
IMDB ratings: 7.2/10
Rotten Tomatoes: 92%
Grim aesthetics and a good grimmer worldview define Black Death, during which ardent piousness and defiant paganism both prove paths toward violence, hypocrisy, and hell. Christopher Smith’s 14th-century work of art exudes an oppressive sense of physical, spiritual, and atmospheric weight, with grimy doom hanging within the air just like the fog enshrouding its dense forests. His story concerns a gang of thugs, torturers, and killers led by Ulric (Sean Bean), a devout soldier commissioned by the church to go to the lone, remote town within the land not afflicted by a fatal pestilence, where it’s suspected a necromancer is raising the dead.
Dario Poloni’s austere script charts the crew’s journey into a misty netherworld where the viciousness of man seems constantly matched by divine cruelty, whilst the role of God’s hand—in the pestilence, and within the personal affairs of individuals—remains tantalizingly oblique. Nick Schager
Star cast: Sean Bean, Eddie Redmayne, John Lynch, Carice van Houten, Petra Wellenstein, Stuart Gazzard
IMDB ratings: 6.4/10
Rotten Tomatoes: 71%
In contrast to Kon Satoshi’s Paprika, which reveals the anarchic freedom of lucid dreaming, writer-director Anthony Scott Burns’s Come True focuses on the sense of powerlessness that creates nightmares so terrifying, stressing the horror side of horror sci-fi. Burns trades jump scares for slow POV tracking shots, their inexorable drifting movement plunging us into shadows where Jungian archetypes hang the wrong way up, and therefore the silhouette awaits with glowing eyes.
This device reproduces the feebleness experienced by the film’s angst-ridden protagonist, Sarah (Julia Sarah Stone), during sleep paralysis, that state during which dreamers are, say, confronted by an incubus, and plan to scream or jerk awake but find their muscles unresponsive.
Star cast: Julia Sarah Stone, Landon Liborion, Tedra Rogers, Skylar Radzion, Carlee Ryski, Kaya Coleman
IMDB ratings: 6/10
Rotten Tomatoes: 85%
What does a Frankenstein figure appear as today? consistent with Larry Fessenden’s Depraved, he’s a once-noble guy set adrift by male ego and shady benefactors. The film paints multiple psychological portraits that are sad, angry, and strangely beautiful. It shows us the mind of not just PTSD-afflicted field surgeon Henry (David Call), but also that of his sewn-together “monster,” Adam (Alex Breaux), and his assistant and large Pharma bankroller (Joshua Leonard).
Throughout, the film remains firmly focused on its thesis of Frankenstein as a lens for examining modern society. Fessenden diagnoses the rot of our era through these solipsistic men that pour their prejudices and their insecurities into Adam, an open book eventually read back to its authors with violence they cultivated themselves.
Star cast: Noah Le Gros, Owen Campbell, Addison Timlin, Stormi Maya, Alex Breaux, Joshua Leonard
IMDB ratings: 5.4/10
Rotten Tomatoes: 84%
Drag Me to Hell
Many horror films from the 2000s are so wanting to splatter and slice their way into our hearts that they find themselves covering their canvases in bloody clichés. Not so with Sam Raimi’s masterfully paced throwback, which is sensible enough to withhold its more disturbing visceral elements until the previous moment.
This directorial restraint allows the superbly calibrated sound design and dread-inducing mise-en-scène to drive the viewer mad with anticipation. Anchored by Allison Lohman’s brilliant performance as a loan officer fated for Hades’s gallows, Drag Me to Hell is the maximum amount about greed because it is culpability, or more specifically our arrogant attempts to hide up sin even when the devil herself is staring us down. Glenn Heath Jr.
Star cast: Alison Lohman, Justin Long, Loma Raver, Dileep Rao, Christopher Young, David Paymer
IMDB ratings: 6.6/10
Rotten Tomatoes: 92%
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The House That Jack Built
Matt Dillon’s serial murderer in Lars von Trier’s The House That Jack Built is, like Dylan in Don’t reminisce, neurotic, self-obsessed, and as dedicated to mythologizing his own “body of work” as he’s psychologically impenetrable and unknowable.
A house built of corpses is both a provocation and an invocation of documentary footage taken from Auschwitz and Katyn. It’s also yet one more allusion, this point to Alain Resnais and Dušan Makavejev, who are perhaps the 2 European filmmakers most dedicated to reckoning with a manmade catastrophe through montage and therefore the carnivalesque, which are von Trier’s chosen aesthetic modes here.
Despite having nothing fashionable in either its politics or its preoccupation with the egotistical artist, The House That Jack Built is forward-thinking in a way it proposes an unruly resurrection of the past, and one’s past self, so as to grapple with its significance. Clayton Dillard
Star cast: Matt Dillon, Uma Thuman, Siobhan Fallon Hogan, Bruno Ganz, Riley Keough, Sofie Grabol
IMDB ratings: 6.8/10
Rotten Tomatoes: 60%
Hunter Hunter (2020)
Across Hunter Hunter, writer-director Shawn Linden links us empathetically to each member of a family living off the grid, instead of merely favoring Mersault (Devon Sawa) and his determination to stay within the wild.
His wife, Anne (Camille Sullivan), isn’t written as a one-note nag of a wife, but as a poignant fount of sense, and his 13-year-old daughter, Renee (Summer H. Howell), is shown to be torn between being a hunter and a traditional female child. Linden skillfully draws us into this narrative, emphasizing the nuts and bolts of hunting and therefore the terrifying anonymousness of the drab and shadowy woods, before springing a series of startling traps—of both the narrative and literal variety.
In the end, the wolf that torments them throughout the film is revealed to be the lesser of two evils, and it’s here that Hunter Hunter deviates from traditional survivalist tropes, drifting into the realm of neurotic and nihilistic horror. Bowen
Star cast: Devon Sawa, Camille, Nick Stahl, Summer H. Howell, Jade Micheal, Lauren Cochrane
IMDB ratings: 6.4/10
Rotten Tomatoes: 94%
In the Earth
Ben Wheatley’s within the Earth seems like a palate cleanser for the English filmmakers, a return to his gnarly, DIY roots after his unimaginative adaptation of Rebecca. just like the films on which Wheatley built his reputation, namely Kill List and Sightseers, within the Earth may be a collision of genres: a dark joke of English manners, a cabin-in-the-woods thriller, pagan horror, and environmental parable.
This film is additionally, like Doug Liman’s recent Locked Down, a response to the Covid-19 pandemic, though Wheatley has seized on a component of pandemic life that other filmmakers have yet to acknowledge: the escalating fetishizing of the remote country in the wake of a sickness that’s confined people indoors.
Wheatley perversely, cheekily follows characters who flee into the woods implicitly on the run from an epidemic only to seek out that nature has quite a method of exacting its wrath. Bowen
Star cast: Joel Fry, Ellora Torchia, Hayley Squires, Reece Shearsmith, Mark Monero
IMDB ratings: 5.2/10
Rotten Tomatoes: 79