“Your mother's in here, Karras. Would you like to leave a message? I'll see that she gets it.”
― Pazuzu, 'The Exorcist' (1973)
After combing through movie lists from IMDB to Reddit, I think I've created the most complete collection of horror movies that climb inside your skull and mess with your brains.
Some people claim that the benchmark of a true psychological horror is that the truly petrifying element is what isn't shown, not necessarily what is. But I've also included horror films that rely on the disintegration of the human psyche, and films where characters begin to lose faith in what is strictly real.
Beginner's Guide: Psychological Horror, via Film Inquiry:
What Exactly Is a "Psychological" Horror Film?, via PopMatters:
Why 'The Shining' is the Best Psychological Horror Film Ever, via The Tangential:
Why We Crave Horror Movies (PDF), via Stephen King:
Common Themes in Psychological Thrillers, via The Artifice:
Death, Grief & Why Horror Films Matter, via Talkhouse:
Psychological Thriller ‘Oculus’ Challenges Perceptions Of Horror Genre, via The Heights:
Psychological Horror in the Films of David Lynch, via film-o-holic:
Every year there are a huge number of movies that fly right under the radar of the average movie fan. movies that are great but just not that well known.
There are plenty of movie gems out there and hopefully this list will help you find some.
Feel free to submit new movies in the comments below.
This list contains movies/documentaries and short films. The list was originally created on IMDb. http://goo.gl/gHles
Last year, we claimed that our favorite films were characterized by a “triumph of the real.” Man, we’re fickle. This year, as far as reality went, we just couldn’t even. Instead of 2013’s actual people, our favorite characters were children’s toys (The LEGO Movie), superheros (Birdman), aliens (Guardians of the Galaxy), and vampires (Only Lovers Left Alive). Instead of 2013’s refigured documentary techniques, it was the pulpy remnants of genre filmmaking — both in style and subject matter — that dripped down our list, starting with our honorable mentions (The Guest, The Rover, The One I Love) and ending in a pitch-black puddle at our #1.
Our interests in genre filmmaking and the imaginary were hardly escapist. Eye-searing violence — whether instrumental (Blue Ruin, Borgman) or for its own sake (The Raid 2, Why Don’t You Play in Hell?) — was inescapable. Sex was nearly always linked with death (Stranger by the Lake, Under the Skin, Gone Girl), torture (Thou Wast Mild and Lovely), or at least suspicion (Nymphomaniac) and blackmail (Nightcrawler). As Wes Anderson toyed with dismemberment and murder (Grand Budapest Hotel), and romcoms revolved around shmashmortion (Obvious Child), even the usual go-to filmic safehouses were markedly macabre. (Let’s not even mention honorable mention Moebius.)
Even when we were waist-deep in filmic blood and sad cum, though, it was impossible to read all this bodily fluid as any kind of grand narrative. Taken as a whole, our favorite films of 2014 offered more counter- and micro-narratives than anything else. Two genuine Hollywood blockbusters adapted childhood (Lego) and adolescent (Guardians of the Galaxy) brand names so delightfully that even our cynical, cold, Bela Tarr- and Harmony Korine-filled hearts opened up to them. But even though Hollywood seemed to have finally gotten its shit together, two newer indie distributors — A24 and Drafthouse Films — were already leaving it in the dust, together releasing a whopping one-fifth of our favorite films, including our #1.
Turning from industry to auteurs, middle-aged and just plain-aged masters made career-defining works that compounded their stylistic idiosyncrasies in ambitious, sometimes divisive ways: Sion Sono and Jean-Luc Godard interrogated their filmic careers through experimentation in new (for them) ways of filming — 35mm and 3D, respectively — while Richard Linklater and Alejandro Jodorowsky each attempted to account for the passage of time in some of the most compelling quasi-autobiographical works yet made. Along the same lines, Alex Ross Perry, an up-and-coming NYC director, dared us to read autobiography into his film about an up-and-coming NYC novelist/endearingly pretentious jerkwad. (So much for everything I just said about “the real” not making much of an impact in 2014.) Meanwhile, Josephine Decker, a young woman we had only admired as an actress, gifted us a two-film directorial debut that challenged aesthetic and narrative limits more successfully than most directors do in a lifetime.
The takeaway, if anything, is that it was a great year to watch movies, whether at the multiplex, the arthouse, or some newfangled VOD platform. We couldn’t even fit all of our favorites on this list, so read the names of these honorable mentions before moving onto our blurbage: A Field in England, The Rover, A Most Violent Year, Tatuagem, Manakamana, The Guest, Ida, White Bird in a Blizzard, Two Days One Night, Vic + Flo Saw a Bear, Art and Craft, The Last of the Unjust, Citizenfour, A Girl Walks Home Alone at Night, The One I Love. –BENJAMIN PEARSON"
“Now you're looking for the secret. But you won't find it because of course, you're not really looking. You don't really want to work it out. You want to be fooled.”
― John Cutter, 'The Prestige' (2006)
Great films with poignant, memorable, Shyamalanesque, or downright traumatic endings.
When Movie Twists Fail, via Georg Rockall-Schmidt:
What a Twist: Double Consciousness and M. Night Shyamalan, via Back Row:
6 Huge Movie Plot Twists That Caused Even Bigger Plot Holes, via Cracked:
'mother!’s Ending: What Does It All Mean?, via Vanity Fair:
Why 'The Sixth Sense' Ending Has Never Been Matched, via Esquire:
And the Award for the Grossest Twist Ending of the Year Goes To…, via The Mary Sue: