Top 20 Horror Movies of the Decade Part 2

22 Dec


December 22nd, 2009–

Here we go. These are my choices for the top ten best horror films of the decade. As I said before, once I really examined the decade I realized that it did give me some of my all time favorite thrillers. It just took some sifting. The ten movies below are, in my opinion, all excellent films that are working at the top of their game and genre. In this instance all have been out long enough that I’ve seen them a few times each (including Pontypool). They represent a quality of work and artistic exploration that isn’t typically associated with the genre. In the coming decade we can only hope to have horror pictures as absorbing and effective.

If you want to read the first part of this article, where I counted down the 20-11 choices and gave same honorable mentions, go HERE.

Otherwise, let’s begin…



10. Session 9 (2001) Directed by: Brad Anderson

2001 was a really stellar year for ghost stories and none were as matter-of-factly frightening or working-class gritty as this little indie film. Anderson followed this up with some very diverse choices, but this one remains his most powerful and intense work precisely because it has those rough edges, that over-heated sense of a production ready to come apart at the seams. It’s messy, it’s choppy and it’s also psychologically jarring. Every time I watch this thing, I find myself unnerved by the very atmosphere around it.

That old, abandoned sanitarium where the asbestos crew shows up to work is possibly the creepiest building I have ever seen in my life. Anderson’s digital video renderings of it make it the kind of place that whispers to you. The cast is strong, especially Peter Mullan as Gordon, the crew chief. Very few films that bill themselves as psychological horrors actually end up being what they advertise. Session 9 sells itself as a ghost story but is quite formidable in the psychological department.

Anderson gives some nice scares during the night, but he saves the really head-tripping, malevolent stuff for the broad daylight, where the characters can see what’s coming and are still powerless to stop it. The film’s scariest and most chilling sequence occurs at film’s end, with a medium wide-shot of Mullan’s home and we only have the soundtrack to dictate what’s happening inside. It’s a moment of true terror and it has ensured that every time I hear someone pantomime the line “Do it, Gordon,” chills run down my spine. This is one messed up movie.


9. The Chaser (2008) Directed by: Hong Jin-Na

The Chaser is a hard-boiled detective fiction mixed with a dark, upsetting serial killer yarn and the result is a movie that does not relent in its emotional impact or its onscreen terror. Ex-cop turned pimp, Joong-ho tracks remorseless killer Young-Min through the streets of Seoul looking for one of his prostitutes whom the man abducted. 

Jin-Na has based Young-Min and his crimes off of the real-life case of  Yoo Young Cheol who murdered 21 people in Seoul during 2003-04. Killing mostly women and the elderly, Cheol was documented as callous, diabolical and an amoral mastermind. Actor Yeong-hie Seo takes those characteristics and delves into each one so fully that I do not envy his journey or the places he had to go to achieve such results.

The rest of the film uses Seoul as a backdrop for exhilarating chase scenes and moments of tension wound incredibly tight, including the scene where a call girl finds a piece of bloody scalp in Young-Min’s shower drain. The film is a document of one man’s journey back from darkness and it earns all of its extreme drama (there are moments here that will destroy you) because it dares peek into the abyss that is Young-Min. There’s hope for Joong-ho for sure, but the only thing staring back from Min’s eyes is the cold, calculating gaze of the Beast. A great film anyway you slice it, but as horror it achieves an honest sense of fear and revulsion.


8. Pontypool (2009) Directed by: Bruce McDonald

The best zombie film of the decade, Pontypool is one of few original ideas to be found in the genre. More reminiscent of Orson Welle’s Mercury Theater recording of War of the Worlds than George Romero’s Night of the Living Dead, Pontypool relies on a brilliant and provoking script that captures the rhythms of small-town thought processes and conversation. Beginning with the stellar Stephen McHattie as Grant Massey, an Imus-esque shock jock whose just found out zombies have invaded his town, and working all the way down through the supporting cast, Pontypool creates a microcosm of crumbling human society within the confines of a radio station. There’s more than a little science fiction here as the spread of the plague turns out to be something altogether new in the zombie mythos.

What makes Pontypool a horror tour de-force is that it relies largely upon the audience’s imagination for its power. Like WOTW all those years ago, McDonald finds disconcerting ideas and shadowy terrors in the muffled, frightened voices coming across the airwaves, the dingy oppressive church basement, and in the close-ups of Massey’s weather-beaten face staring out, eyes wide, towards some unseen fear.

We have had several films come down the pipeline since that fateful September 11th in 2001, and many have either purposefully or inadvertently attempted to cash-in on the cultural anxiety of that day. Pontypool, without ever once mentioning or referring to it, does the best job of capturing what several of us felt back then. The world is falling apart, quickly and badly, and there’s no information moving any faster than radio/television reports. Human language provides the basis for our fears, the voice to our concerns, and it lights up the anxiety in our mind. So does this movie.


7. A Tale of Two Sisters (2002) Directed by: Ji-Woon Kim

Ji-Woon Kim is one of the most versatile directors working today. He may also be one of the best. His past three films, Bittersweet Life (a crime/family drama), The Good, the Bad and the Weird (a revisionist Western) and this one (supernatural horror) are all excellent. Korea, in general, seems to have grasped the elegance and inherent drama of the asian ghost-story better than their Japanese counterparts. Whereas those films are mostly surreal shows of surface scares and physical distortion, a movie like Two Sisters plays far deeper into the human psyche where ghosts have more than one single presence or function; they can be both real, avenging forces of supernatural unrest and mental conjurations that beset the minds of the guilty.

A Tale of Two Sisters is a remarkably complex film that plays with straight forward and easy to process emotional responses while hiding an arcane architecture of secrets. The story, involving a widower remarrying and bringing his new wife to his two young daughters feels like a Grimm’s fairy tale. As the tale continues, and the supernatural happenings ramp-up, the viewer is disoriented, led astray and often confounded with the events that follow.

And yet, employing a gorgeous visual style and one of the most intricate and obsessive directorial visions I’ve seen, Kim leads his audience through the story and to the logical conclusions without an overwrought exposition or repeated close-ups of potential clues. The result is that even though the film is fairly clever and intelligent, it doesn’t draw the spotlight down on its twists and turns. Instead, Tale shines a light on the damaged interiors of this splintered family. I’ve seen this one numerous times, and each time I’m always impressed by how organic it feels despite its cinematic jig-saw elements.


6. Frailty (2002) Directed by: Bill Paxton

Wow. Talk about American gothic! If this list points out any clear problem with the horror genre today, it’s the fact that the U.S. is actually producing very few good horror films. This is only one of two that even has a place in the top ten, and both films were released prior to 2003. No matter, Frailty almost single-handedly picks up the slack with a darkly beautiful, poetic and grim parable about a mid-western family who must find ways to come together when God sends them on a mission.

Is there really anything creepier than the scene where young Fenton Meeks wakes up and sees Dad talking to his younger brother? Odder still, that Dad reveals excitedly that they have all been called on to fight demons by an angel of the Lord. Dad even gets a list, and an heavenly ordained ax. What elevates the movie is that Dad remains, for the most part, the man he has been; a caring and loving father, sensible in all other respects. However, in everything, he is completely subordinate to the voice that now speaks to him. What plays out is like an Old Testament struggle written into the modern world as Dad starts bringing home people to kill—people he claims are demons—and Fenton must sort out his own conscience and belief.

The scenes that make up the middle with Paxton following through the Lord’s will have a remarkable restraint and a great eye for tension. Paxton has definitely been taking notes on the sets of his former bosses—guys like Cameron and Raimi—because he absolutely nails the country-fried terror of his story. It’s big and mythic and small and personal and unendingly twisted all in equal measure. However, the onscreen violence is not gratuitous and the film bypasses sermonizing about religious fanaticism. In fact, the place the film gets really bold is its ending. You can clearly see Paxton drawing the line and deciding to tell a good story instead of a politically correct, easily digested film. There’s much of a 70’s aesthetic to Frailty and its score, including a few Johnny Cash songs, only adds to the haunted atmosphere. 


5. The Descent (2005) Directed by: Neil Marshall

Neil Marshall’s follow-up to Dog Soldiers seems like just one more jump-out-and-get-ya flick on the surface. But since this film goes well below the surface, and scrounges up some truly grotesque subterranean terror, what it is initially changes very quickly. The Descent works as a kinetic and immediate survival horror film. Once it gets up and running it’s as effective in its own way as Cameron’s Aliens or Boorman’s Deliverance. Taking an atypical group of all female sports jocks (the film doesn’t overly sexualize them surprisingly) and sending them down into an Appalachian cave system is the basic set-up. The caverns are one of the most impressive and claustrophobic movie spaces I’ve ever seen.

In fact, Marshall really lands pure terror in the first half when the would-be spelunkers nearly cave themselves in. I was so anxious during these potentially mundane sequences that I wondered how long he would keep us scrounging in the dark, enclosed spaces of the cavern before he unleashed the monsters I knew were coming. Well, the truth is, those baddies (white, malformed humanoids of some dank, nocturnal birth) show up about half-way through, so we have had plenty of time to adjust to the dangers and shadow-cloaked mysteries of the underground. And, then, when the girls are faced with death and dismemberment they let most of the dearly held conventions of modern life go. With one primal shove, they become pick-axe wielding warriors who are out for survival. And yet, the hurts and wounds and betrayal of their former lives keep bubbling to the surface even when they should be aligning together.

What is most amazing about what Marshall has done is the way both halves of the film complement and encourage one another. This man knows his horror movies. The whole 90 minutes of Descent delivers the same basic emotional catharsis that the combined elements of Alien and Aliens deliver. The first segment dealing with the terror and darkness of the cave system feels like Scott’s Alien, and the rousing action beats with the females attacking their pursuers dead-on conjures the satisfying and relieving essence of Aliens. The Descent is a movie of almost complete sensory composition, and it achieves such breathless heights of adrenaline that it difficult to argue with or against.


4. The Host (2006) Directed by Bong Joon-Ho

Another Korean film, this time a monster movie from the director of Memories of Murder. The Host is a magnificent film that would be so even without its giant creepy crawler. In fact, the big mutant is possibly the weakest link in this engaging and moving piece of work. He’s well designed, has some terrific abilities and he isn’t afraid of tear-assing across Seoul in the broad daylight. But ultimately, he is just a goofy looking massive tadpole.Were the film singularly about him, we’d have a good time but little more.

The thrills and the pathos and the comedy are all generated by the Park family, whose youngest member was taken from them by the beast and now the remainder are set out to find her. The broken Park siblings and their grocer father are a far more shambling and compelling beast to hinge the film upon, and Joon-Ho delivers a rounded vision of a family reacting in crisis. I love that he never loses track of any of the characters and keeps bringing them back into the orbit of the monster/government cover-up storyline.

Accenting social tradition and custom, and shining a light on the relationship between the Korean governmental infrastructure and its people, The Host is as much an environmental thriller as it is a straight-forward horror. Emotional investment is the key to any good story, and this one has more than most. I was with this family and their quest, and the monster himself becomes menacing, horrifying and dangerous because of what he represents to them. A fantastic movie.


3. The Orphanage (2007) Directed by: Juan Antonio Bayona

The Orphanage is one of the finest ghost stories ever filmed. It has been made in this decade, but it combines the haunting, patient imagery and dream-like fluidity of Spanish filmmaking in the 70’s and draws from the great supernatural chillers of an era even earlier than that. It is decidedly old-fashioned and yet, in some specific respects, it feels totally shocking and new. Bayona engages the child-like part of our adulthood that remembers secret games, imaginary friends and summer trips to lonely sea shores. He also hits the notes of maternal protection and guidance.

Each scene feels hand-crafted to reflect the presence of unseen visitors leaving their physical marks on the world. There may be an entire orphanage full of phantasmal children waiting for Laura (Belen Rueda) but the ghosts that most haunt this film are the impressions and deeds of the past. I’ve rarely seen a mother’ love depicted so adeptly, gently and empowered. What happens to separate Laura from her son, what she must go through to relocate him again, and the final sacrifices made are left for the viewer to discover. They strike a note of profound passion, and it’s one of the few times where I’ve been moved to tears by the end of a horror film.

The Orphanage is also expertly spooky and unnerving at times, even if it misses the boat of truly scary. The shuffling figure with the bag over its head is decidedly creepy, but operates more as a portent of doom than an actual adversary. The moment where a psychic is called in and roams the house, looking for tell-tale signs, is perhaps the new benchmark for scenes of this nature. The Orphanage represents the artistic richness that can be achieved when grafting honest human stories onto tales of the dark or supernatural. Here, what rises to the top is a beautiful testament to the power of unconditional love. Looking in the eyes of Rueda, who gives a heart-achingly rich performance, we see all we need to know and already understand how far she will go.


2. Let the Right One In (2008) Directed by: Tomas Alfredson

 Let the Right One In is perhaps the most thoughtful evocation of the vampire legend since Murnau’s Nosferatu in 1922. It strips the mythology of its sleek and sexy veneer and returns to a story about loneliness, isolation and the curse of terrible, gnawing need. Instead of blasted heaths or Romanian castles or 1980’s nightclubs, the film takes place over the course of a week or so in a small, night-shrouded town in Sweden. Alfredson crafts a dark, grim color-drained look for the film and arranges scenes of people staring from darkened windows like a gothic triptych of some kind.

There is a swarm of cats, a mysterious stranger garroting people in the night woods, and of course, there is the vampire, Eli. Eli looks like a 12 year old girl to Oskar, a boy the same age who is suffering at school and ignored at home. In truth, she’s a lot older than that and the film deals with the disparity in her physical age and emotional age unflinchingly. But, at the heart, this is a story of two kids attempting to find an island of solace in a dark and hard world. Oskar is just about to be consumed and pulled under the current in his own personal storm, until Eli shows up.

Alfredson sculpts their relationship with a gentle hand and avoids any sexual overtones, which is contrasted against an obscured relationship Eli may or may not have with her familiar. The other town inhabitants also find themselves in Eli’s cross-hairs and Oskar’s woes with school bullies have a terrific and abrupt resolution. Let the Right One understands the mythological nature of the vampire, but it ultimately treats vampirism as one more brutal reality that has threatened to claim the innocence of a young life. Stephanie Meyers, take note: This is how you handle a story about vampires.


Devil's Backbone

1. The Devil’s Backbone (2001) Directed by: Guillermo Del Toro 

I suppose it’s an interesting fact to be pointed out that all three of these movies at the top of the list have a relationship between children at their core. Oddly, placing kids in horror films as the eyes and ears of the story often seems to enrich the tale instead of dilute it. Children have a unique way of seeing the world—sometimes it is more interesting than an adult’s view, sometimes it is not—and in a horror film there is an immediate concern we feel for kids because they are thought to be more vulnerable.The strength of Del Toro’s two films taking place during the Spanish Civil War, both this one and Pan’s Labyrinth, is that it they give us adolescent leads on the verge of adulthood who are placed in situations where they must navigate the first painful choices of adulthood. They are in transition, but they are not weak, are not merely ciphers, or there to be rescued by adult characters.

The Devil’s Backbone has a pair of ghosts in its story, but the supernatural elements end there. This is a horror movie that uses those imagined fears to contrast real world terrors too. There is an abundance of scary things in the film, but Santi, the dead boy in the basement isn’t really one of them. Del Toro imagines a Spain of exquisite beauty, torn apart by war, and barely held together by thoughtful, well meaning adults who see the benefit and purpose of sticking with a band of young orphans. He also gives us a bitter man-child, who has never found his way from under his family’s shadow and the way the kids of the orphanage evolve through the later trials of the plot is reminiscent of Lord of the Flies.

This is a treacherous world, and it redefines what we might think of when we consider horror. The plot and the characters are Dickensian in nature, the ghost resolutely tragic, and the terror and fear seeping into the walls of this place far more insidious and threatening than any mere slasher or monster. What Del Toro has done here, as he has in Pan’s ( I consider that film fantasy, which is why it isn’t on the list), is created a dark world teeming with trouble and then given us young characters with whom we will gladly navigate the peril. There’s a dormant bomb sitting out there in the courtyard of the orphanage. In The Devil’s Backbone, we might assume its safe but find we are always nervous it just might go off.

55 Responses to “Top 20 Horror Movies of the Decade Part 2”

  1. Droid December 22, 2009 at 10:18 am #

    The Devils Backbone is indeed awesome. I didn’t like The Orphanage much. The Descent rules. Frailty is great. LTROI is fantastic. Okay. That’s the ones I’ve seen covered. I’ve been meaning to see The Host.

    • Bartleby December 22, 2009 at 10:23 am #

      Droid, you should definitely see The Host. Great movie–especially if you dig giant creatures. Which I suppose you do.

      Why didnt you like the Orphanage?

      • Droid December 22, 2009 at 10:30 am #

        It wasn’t remotley scary. It played out for me as an overwrought melodrama. I was bored.

    • Jarv January 4, 2010 at 4:35 am #

      I actually agree with the convict on this one. The Orphanage is not frightening. Mrs. Jarv loved it, but as a tragedy not a ghost story.

  2. koutchboom December 22, 2009 at 10:18 am #

    Pontypool!!! AWESOME! From the Twilight movie! I already love it!

    • lord bronco December 23, 2009 at 12:40 pm #

      Actually K-We owe you some thanks! You mentioned the flick, AIBN Mike Watched it and reviewed it, and really turned out to be quite good. So give yoself a pat on the back. Bartleby is correct!

  3. koutchboom December 22, 2009 at 10:20 am #

    Ahhhhh just like I figured you snubbed Saw 1. Though I love me some sessions 9, great middle of the day horror flick.

    I would’ve had Paranormal Activity on here, but like I’ve said it either worked for you or didn’t, there is no try.

    I would almost want to put Spiral on the list, though I guess its more of a thriller. Starring the great WHAT HAPPENED TO THAT GUY? Joel Moore.

    • Bartleby December 22, 2009 at 10:22 am #

      Koutch, Spiral almost made the list…I considered it, as I did several other movies, like Dawn of the Dead remake,Below, a few others. Ultimately, it was just short.

      Basically, it just didn’t make it out of the trailer.

  4. Bartleby December 22, 2009 at 10:22 am #

    And there was no way EVER Saw was going to make this list.

    • koutchboom December 22, 2009 at 10:24 am #

      Whatever the first Saw is worth something. Its like not including Freddy or Jason from the best horror films of the 80s.

      • Bartleby December 22, 2009 at 10:31 am #

        Technically, the original Nightmare on Elm Street is five times the movie Saw is. I’d also argue that the original Friday the 13th is a more entertaining movie.

        Saw felt pretentious to me, which is why I didn’t quite go for it. There were moments, but alot of it just felt too shiny, too slick, to contrived.

      • Droid December 22, 2009 at 10:36 am #

        The first Nightmare is awesome. Really scary. And I don’t really get scared at movies.

      • koutchboom December 22, 2009 at 10:38 am #

        I think the first Saw has been tainted by its many sequels. But when it first came out it was great. Sure not the best film making, but it achieved what it was aiming for which is more then you can say for a lot of horror films.

      • Bartleby December 22, 2009 at 10:50 am #

        When I first laid eyes on Saw, it was November 2004 and it didn’t have any hype at all behind it. I was thinking it was just an indie thriller, which more or less, it kind of was. I just didn’t like it. If the sequels got dumber, they must be unwatchable.

        However, I do see your point Koutch, and I have a good friend of mine who is always up for debating the great merits of the original Saw with me. In point of fact, I think he was the guy who helped drag me to it back then.

        It’s not that I think it’s an awful movie or even ‘torture porn’ as it has come to be labeled. I just thought it was a mostly lame mystery thriller with a few decent creep-out moments.

        I’m thinking the scene with the camera and the parking garage wolf.

      • koutchboom December 22, 2009 at 11:04 am #

        Yeah that was good, and it had a good score and just that final reveal at the end was so great. That music is classic now.

        The sequels: 2 was good fun, 3 WAS torture porn, 4 sucked because the kills were lame. 5 was back to being a lot of fun again (it was kind of a rehash of 2). Have yet to see 6. But 5 was when the Collector/Feast guys started writing it and those movies are awesome.

  5. Droid December 22, 2009 at 10:24 am #

    Below? Geez, that was garbage.

    • koutchboom December 22, 2009 at 10:26 am #

      I liked Below, fun film. Bart how do you feel about Joshua?

      • Bartleby December 22, 2009 at 10:29 am #

        Joshua? I didn’t dig it so much, personally. I think his reasoning, why he was doing what he was doing, was epicly lame.

        Also, it never felt much like a horror to me. More like a Lifetime movie on steroids.

      • koutchboom December 22, 2009 at 10:31 am #

        Hahaha. I really dug that movie. That last shot just creeped the shit out of me. And I made my wife watch it and she didn’t think much of it, then had a terrible nightmare about it. And I was like eh eh….told you it was effective. Also I thought the kid gave a great performence.

      • Bartleby December 22, 2009 at 10:35 am #

        it certainly beats Orphan. Dear lord, that was bad.

    • Bartleby December 22, 2009 at 10:27 am #

      the one on the submarine? I only saw it once–which is I didn’t put it on there–years ago at the theater. I thought it was pretty good. I also considered Pitch Black but decided it was more sci-fi, as was Donnie Darko.

  6. koutchboom December 22, 2009 at 10:25 am #

    Also I don’t think I would call The Host horror.

  7. Droid December 22, 2009 at 10:28 am #

    See, it’s all perspective. My first reaction was that El Orfanato and El Espinazo del Diablo aren’t really horror. Let’s not sweat the details.

    • Bartleby December 22, 2009 at 10:29 am #

      Hey, White Chicks almost ended up the list. You have to draw the line somewhere.

  8. Bartleby December 22, 2009 at 10:32 am #

    seriously, you didn’t find the seance scene the least bit creepy?

    • Bartleby December 29, 2009 at 10:37 am #

      Another movie you didn’t get. Not surprised. 🙂

      A Lifetime horror movie? Ok, you get points for that…

      Neither Ils nor Inside were ‘hardcore’–ok maybe the last scene–, they were just unsavory. Actually, Ils wasn’t even that…just infuriating. They are just hoodlums for cripes sake!

  9. Droid December 22, 2009 at 10:33 am #

    Well I haven’t seen White Chicks. However, I have seen Little Man and that was absolutely terrifying!

  10. koutchboom December 22, 2009 at 10:33 am #

    I don’t know I had some really bad nightmares after White Chicks.

  11. koutchboom December 22, 2009 at 10:34 am #

    Though I am glad you didn’t put the Ring on here. Lame movie that was.

    • Bartleby December 22, 2009 at 10:37 am #

      the remake you mean? I liked it well enough when I saw it, but I recognize my judgement was clouded. It was one of the first movies I saw with my wife (before she was my wife) and it was a late show on Halloween night. So, there were tons of factors contributing, but all in all, as a remake it wasn’t too bad. The original blows it out of the water, as do any of the movies on either of these lists.

      • koutchboom December 22, 2009 at 10:41 am #

        Yeah its a decent enough film, its just funny because it always seems to make peoples best horror movie lists. Then again so does shit like Hostal, so they probably don’t know what they are talking about.

  12. Droid December 22, 2009 at 10:35 am #

    There was a seance scene? Honestly, I can’t remember anything about it except her screaming hysterically on the beach and the ending. That one with Nicole Kidman was better. And I LOATHE Kidman.

    • Bartleby December 22, 2009 at 10:52 am #

      Droid, that’s the movie’s creepiest scene! I suggest a re-watch!

  13. koutchboom December 22, 2009 at 10:36 am #

    Is this comment thread all out of order?

    • Bartleby December 22, 2009 at 10:39 am #

      No,I just think we are all answering individual questions, so they are popping up in seemingly odd places.

  14. koutchboom December 22, 2009 at 11:01 am #

    No i think something is messed up on the ordering.

    • koutchboom December 22, 2009 at 11:02 am #

      Those 3 comments under this keep coming up as the last three comments even if you don’t reply to anything.

  15. koutchboom December 22, 2009 at 11:05 am #

    Bart you know whats really creepy? That scene from your picture. The little baby mask. Amazing scene.

  16. lord bronco December 22, 2009 at 5:06 pm #

    The Host is popular and I thought this list a very good one. But to anyone watching it blind, lower the expectations a little. I recall finally getting annoyed with the family for whatever reasons, and was frustrated that it wasn’t a straight-up monster movie. Definitely worth a viewing for several monster scenes–but I remember hitting a threshold where i got a headache from reading the subtitles.

    • Castor December 25, 2009 at 6:20 pm #

      still better than dubbed, what a stupid idea I had

  17. Just Killing Time December 22, 2009 at 10:33 pm #

    I vote for THE DESCENT. Great little film. Good list!

  18. Continentalop December 23, 2009 at 4:54 am #

    Nice list, but what? No Chaw? I hate the bigotry towards GIANT PIGS!

  19. MORBIUS December 24, 2009 at 2:31 pm #


    I’be only seen THE DESCENT, the American version. Have you seen the British (Overseas?) version? Which do you prefer? The ending is the only difference, right? LTROI will be my next Horror Film to watch.

  20. MORBIUS December 24, 2009 at 2:35 pm #

    Koutch is right, I posted after comments 39,40 and 41, but I leapfrogged to #38. And it wasn’t a Reply/Quote. Where will this one end up?

  21. koutchboom December 28, 2009 at 10:53 am #

    The Chaser sounds like the asian version of Henry: Portrait of a Serial Killer.

  22. koutchboom December 28, 2009 at 11:17 am #

    Hahahaha just watched the trailer for The Chaser and the voice over guy says. “The box office smash that is getting remade by the team that brought you The Departed, but there is only one original.”

    God I hope it doesn’t become a common thing to just make movies over there in hopes for it to be remade over here.

  23. koutchboom December 29, 2009 at 10:24 am #

    So I watched In My Skin last night based on your saying that it is more hardcore then Inside. Well I’ve come back to tell you that you are wrong, I can’t believe that movie was even made in the same country as Inside. In My Skin was like a Lifetime horror movie, it was hardly gross or disturbing. The self mutilation outside of the noise was overall very lame. Plus if I had chompers like her I’d be eating myself too. Shoot I’d say Ils is more gruesome and unrelenting then In My Skin. I know you love the psychological stuff but this was overall pretty lame. I turned on the directors comments about half way through because I was bored with it. She didn’t sound like she had any idea what she was trying to say either, she was just as annoying as the character she was playing.

    Chaser better be better then that, because Chaser looks awesome.

  24. Cello January 1, 2010 at 11:39 am #

    Wow this is a weird one because I don’t consider The Chaser or the Host to be Horror but kudos on Frailty, everytime I bring that movie up in conversation people never know what I am talking about lol

  25. hagiblog January 4, 2010 at 10:23 am #

    Pontypool, Number 1 man! Best movie I have seen in ages. Not a big fan of Tale of Two Sisters though and while I liked Let The Right One In, I don’t get everyones undying love for it. Great movie, yes, blockbuster that changes the face of movies, no.

  26. goregirl January 7, 2010 at 4:17 pm #

    Your choices are a lot less gory than mine! Some pretty great films none the less! There is no two ways about it, this decade was an outstanding one for foreign horror choices! It was a battle royale between France and the UK in my world, but the Japanese and South Korea had some pretty mighty entries also!

  27. kloipy January 21, 2010 at 7:48 pm #

    great list man! Love that you put Session 9 in the top 10. Scary as shit


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