The 10 greatest A24 horror movies to date

There are few production companies doing more for independent filmmaking in the contemporary industry than A24, bringing some of the best budget projects to the forefront of audiences, with the company now ubiquitous with art releases and most exciting tests in cinema. Building an impressive library of truly thought-provoking titles, A24 becomes Disney’s adversaries, plowing for change in the industry, rather than feeding off its embarrassment of commercial riches.

A24 has made such evolutions across a wide range of genres and styles, addressing the coming of age comedy in ladybug, west east First cow and even the Arthurian legend in The Green Knight. It is in the horror genre, however, that the company has arguably made the greatest contribution, helping to elevate modern genre films to epitomize far more than their big-budget comrades.

By bringing weird, low-budget psychological horror to the mainstream, A24 helped usher in a new era for the genre in which horror is a tool for Jordan Peele to make a statement about modern America in Get out or by Jennifer Kent to talk about the burden of depression in 2014 The Babadook.

Inspiring groundbreaking horror tales knocking on comedy doors, as well as noir thrillers that challenge their own genre, A24 is constantly evolving the horror genre. Let’s take a look at their ten greatest horror movies to date.

Top 10 A24 Horror Movies:

ten. The monster (Bryan Bertino, 2016)

As slim and as simple as its own name suggests, director Bryan Bertino illustrates why simplicity can be so effective, just like anything. The monster may not reinvent the genre, it brings interesting new ideas to the table.

Contextualized in a road trip film, The monster follows a mother Kathy (Zoe Kazan) and her daughter Lizzy (Ella Ballentine) whose journey is interrupted when they collide with an animal while driving. Lying vulnerable in the middle of nowhere, the mother and daughter duo wait for help as a beast hides in the nearby forest. Well done with the help of a particularly strong history of alcoholism and parental responsibility, The monster is a solid model of bestial horror.

9. The hole in the ground (Lee Cronin, 2019)

After the classics like The omen and Village of the damned, you would have thought the creepy kid stereotype had run its course, although Lee Cronin The hole in the ground proved the contrary.

Telling the story of a single mother Sarah (Seána Kerslake) who lives with her son Chris (James Quinn Markey) in rural Ireland, The hole in the ground takes a turn when the son disappears and comes back acting noticeably differently. Spiraling into a psychological nightmare, Cronin torments audiences with a surprisingly twisted story that turns away from expectations, delivering a grim storyline embellished with gruesome visuals.

8. Fabric (Peter Strickland, 2018)

A deeply disturbing horror comedy with a truly innovative side, Fabric, of Studio of Son Berbère and The Duke of Burgundy director Peter Strickland, is a strange and wonderful genre-bender.

Rooted in the realms of British surreal comedy akin to The Mighty Boosh, Fabric is the haunting story of a bewitched red dress from a mysterious department store owned by a clan of strange witches. As the dress is passed from person to person, the horror and comedy simultaneously intensify, leading to an important moment involving Steve Oram, Julian Barratt, and a discussion about the washing machines. You have never seen anything like it.

7. It comes at night (Trey Edward Shults, 2017)

Disappointing fans on its release thanks to a questionable marketing campaign, once the flurry of fury set in after the release of It comes at night, its true quality as a unique mystery thriller shone.

While many audiences expected a physical beast, or at the very least paranormal activity, It comes at night was rather an intelligent and subtle analysis of the fragility of human reason. Bursting with tension, the characters of It comes at night hide in a rural house from a sinister and unknown force and drive themselves mad with fear of the unknown and the trauma of their new life. It is a dark and fascinating watch.

6. Green room (Jérémy Saulnier, 2015)

As much a heartbreaking thriller as a grimy, claustrophobic horror, Green room is a masterfully tension-driven adrenaline rush, starring Patrick Stewart as a terrifying neo-Nazi with a ruthless mind.

Holding a punk band hostage after witnessing a murder in his own punk music hall, Stewart appears opposite the late Anton Yelchin, as well as Imogen Poots, Alia Shawkat and Joe Cole. Forcing a fight for survival by holding the group hostage within the grimy confines of the venue’s green room, Stewart’s antagonist fuels a terrifying film that will leave your hands sweaty and hungry for a breath.

5. Holy maud (Pink glass, 2020)

A quiet character study with a boisterous and brutal search for faith, the story of Holy maud, is the debut film by British filmmaker Rose Glass, an incredible entry into the cinema landscape that will leave you stunned in pensive reflection.

The central figure in Rose Glass’s biting film, Maud (Morfydd Clark) is a fragile skeleton and a pious nurse, the lonely woman of God, fulfilling her medical duties while “saving souls.” Once she is assigned to her new patient Amanda (Jennifer Ehle), things start to change for the worse, however. With the loneliness that permeates the very root of the film, ask how an individual is supposed to relate to a world that doesn’t live up to any of your values. It’s a brutal but also heartbreaking contemporary horror classic.

4. Climax (Gaspar Noé, 2018)

Horror covers many subjective definitions and while Climax may not adhere to the traditional blood splatter themes, the environment of despair and terror it creates is truly awe-inspiring.

Coming from the new French extremity, Gaspar Noé brings similar themes of futility to this strange image of a psychedelic hell. Climax is the definition of a bad trip, following a group of energetic and drugged dance students in a world of psychological turmoil. Punctuated by a dark and intense soundtrack, Gaspar Noé continues in his ability to capture the attention of his audience with a provocative and stunning idiosyncratic cinema.

3. Environment (Ari Aster, 2019)

The idea of ​​a rupture as a backdrop to horror is not a new concept, having been explored in the work of Andrzej Żuławski Possession among many other classics. What’s new, however, is hiding such terror behind the veil of popular horror, creating a surprisingly unique horror hybrid.

Following a group of friends leaving for a Swedish retreat in the countryside, Environment turns into a terrifying claustrophobic horror that disturbs the mind and distorts the perception of reality. Speaking about the movie, Ari Aster said in a chat with Birth.Movies.Death YouTube channel, “I just wanted to write a breakup movie, and I saw a way to marry the breakup movie I had. at the time with the structure of a folk horror film ”.

2. The witch (Robert Eggers, 2015)

Having a considerable impact on contemporary cinema, Robert Eggers’ film The witch helped bring popular horror back into the mainstream with a subtle, atmospheric story of growing terror and dread set in the middle ages.

The dreaded country fairy tale, perpetuating lonely paranoia in 1630s New England, stars Anya Taylor-Joy, Ralph Ineson, and Kate Dickie. Where popular witch-tales were once shot in cheap, muddy grain, Eggers takes crisp resolution with fantastic cinematography using the limits of natural light to tell a spooky, realistic take on an ancient evil. While The witch owes a lot to The wicker man and other folk horror classics, it also does well to forge its own path of terror.

1. Hereditary (Ari Aster, 2018)

A game changer when it comes to the contemporary horror genre, 2018s Hereditary brought brains to the classic horror tale, with the story itself not too extraordinary, but the execution, groundbreaking.

Horribly hopeless, Terror rests on an intense hotbed of guilt, envy and regret with the help of fantastic performances across the board, especially from Toni Collette. This car scene is, as a single entity, an example of horror at its best. Aster’s follow-up, Midsommar, would cement his prominence in the contemporary horror genre, launching his dark narratives with a strong subtextual emotion.


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