Vietnam and civil unrest helped kickstart a new golden age of American horror films in the late 1960s and early 1970s; shortly after the turn of the century, we had one massive public atrocity and several new wars to fuel a whole new wave of movies dealing with communal anxieties through scary monsters and super-freaky maniacs.
Yes, it has always been a popular genre regardless of what’s going on in the culture, but considering what’s happened globally over the last 20 or so years,It’s understandable that horror films have struck such a chord with audiences. That, and the fact that such free-floating dread would help give birth to a number of films from both the United States and other countries that deserve to be included in the pantheon.
The most effective way to enjoy a spook fest is by staying focused. A clear state of mind can be seen by choosing one of the best Delta-8 brands. So we’ve compiled our list of the seven best horror films of the twenty-first century – the films that have spooked, shook, and terrified us since 2000.
Whether you think it’s “the scariest film since The Exorcist” or simply one of the best horror films in a decade, Ari Aster’s debut feature is a remarkably self-assured, genuinely disturbing look at family dynamics. It understands when and how to plunge headfirst into insanity. Its blend of grief, grotesquerie, and ghost-story dread is nearly unrivalled.
Following the death of her domineering mother, Annie Graham and her family are plagued by supernatural occurrences that become increasingly disturbing as the film progresses. It all adds up to an extremely creepy debut from writer-director Ari Aster, who gets just as much mileage out of a tongue cluck as a candle-lit séance. It helps that Collette is in peak form as she tries in vain to keep her family together. Not nearly for the faint of heart.
Forget about the void; welcome to the abyss. Gaspar Noe’s hellish dance party begins innocently enough, with Sofia Boutella and a slew of real-life underground sceneters voguing and krumping away. However, it soon becomes clear that someone has spiked their punch with some potent hallucinogens, and this is when the screaming begins.
The entire second half devolves into a portrait of mass derangement, based on a true-life incident in which a dance troupe went insane after being doped.
Noe had intended to make a documentary about that story before pivoting to an attempt to recreate one particularly bad trip without the drugs.
It became an instant classic and the unavoidable horror film of 2017.
A lesser filmmaker might have whittled down the storey of an African-American photographer visiting his white girlfriend’s liberal parents.
Peele transformed Get Out into something original:
A straight-up nightmare that laced its satirical jabs with genuine menace and weaponized a gleeful sense of teasing the so called woke people and gave form to all the free-floating communal dread of the “Hands Up, Don’t Shoot!” era.
This hit horror remains emblematic of our warped moment. We all live in the Sunken Place somehow.
After seeing “mother!” just once, there are no words to adequately describe it.
“mother!” is the most Aronofsky film you could possibly imagine.
Only this director would dare to tell a storey like this, and that alone is worth the admission price.
The film combines the thematic ambitions of “The Fountain” and “Pi” with the claustrophobic intensity of “Black Swan” to create a truly singular experience.
If “Noah” served as a canvas for Aronofsky to explore his own interpretation of the Bible, “Mother” serves as a canvas for the director to draught his own contemporary scripture. Saying anything else would be a disservice, just avoid spoilers and fasten your seatbelts.
How do you follow up on Hereditary, a dark, shadow-filled fever dream?
If you’re Ari Aster, you bring your horror to the surface.
A Scandinavian summer festival where the sun never sets.
A group of Americans, including a lone female, have travelled to this remote, once-in-a-lifetime event to study folklore and mythology.
You’d be hard pressed to find a better response film to contemporary toxic masculinity, a bleaker breaking-up-is-hard-to-do parable, or a more unsettling look at spring rituals. Most of all, Midsommar is such a movie that delights in turning its wheels so slowly that you’re not even sure it’s a horror story; until it confirms that it indeed is one, and by that time you’ve been dropped down by the heavy tension of the movie.