Top 10 Most Popular Hollywood Horror Movies 2017 Movies Impelreport
Top 10 Most Popular Hollywood Horror Movies 2017 Movies Impelreport. So far, the best horror movies of 2017 have cut a wide chasm between extremes between films that explore the limits of obscenity and the quietest of character musings, between well-tuned homages to old-fashioned thrillers and those that feel completely, breathlessly new. And yes, some of us have weathered Flying Lotus’s Kuso if “weather” is even the right word to use in this case.
1.The Void: While the low-budget Canadian production earns an “A” for ambition, its mélange of The Thing-inspired body horror, ‘80s nostalgia and Lovecraftian cosmic terror doesn’t quite cohere into a satisfying whole by the time its chief antagonist peels away his skin to reveal a bodysuit that looks like Mighty Morphin Power Rangers’ Lord Zedd. The first half of the film demonstrates much more restraint, building tension as triangle-branded cultists isolate a mismatched group of (mostly) innocent people led by Aaron Poole as an out-of-his-depth small-town cop in a (mostly) vacant hospital.
2. Alien Covenant: Alien: Covenant starts out mostly swimmingly as Scott guides his characters and the crowd into his film’s visual abattoir: The sheer volume of blood spilled here, CGI or not, can’t be overstated, so let’s be clear that Alien: Covenant isn’t for the faint of heart (though the faint of heart probably aren’t lining up to see this sucker anyways). Put as vaguely as possible to avoid spoiling its gruesome pleasures, let’s just say that things go into things, and that things come out of things, and also that these things are things that should neither go into nor come out of other things.
3. The Girl with All the Gifts: M.R. Carey’s novel The Girl With All the Gifts plays coy with its zombie (or “hungries,” as they’re called here) trappings, drawing readers in for dozens of pages before revealing its flesh-eating premise. The film adaptation, released last year in the U.K. before making its U.S. debut in February, bares its teeth right away. If viewers aren’t burnt out on zombie offerings (and they shouldn’t be, with such recent standouts as 2016’s Korean hit Train to Busan proving that the genre has plenty of life left in it), they’ll find that The Girl With All the Gifts is less concerned with the initial overwhelming outbreak than with the moral lines survivors in the military and scientific community are willing to cross.
4. Life: Suppose you’re in Space. Go ahead, suppose it. Now suppose you’re on a Spacewalk, nothing between you and the infinite but a braided steel tether and the best Spacesuit human minds could fathom. Then something goes wrong. Your helmet starts filling up with liquid and you don’t know why. In Space, the liquid is everywhere, floating in your eyes, blinding you. This actually happened to astronauts Chris Hadfield and Luca Parmitano, when emergency suit leaks almost caused disaster.
5. The Blackcoat’s Daughter: Looking at his first two horror features, it becomes clear that director Osgood Perkins seems to have a distinct distaste for both plot and film convention. His films defy easy description, as anyone who watched I Am the Pretty Thing That Lives in the House on Netflix could attest. The Blackcoat’s Daughter, meanwhile, was completed and exhibited as early as 2015 under the title February, but has been floating around in limbo ever since until A24 decided to finally give it a limited release this spring. Compared with Pretty Thing, Blackcoat’s Daughter is at least easier to grasp and marginally brisker, which makes it more effective overall. Perkins’ style is languid, atmospheric and deliberate, favoring repetition and a slowly multiplying sense of unease and impending doom.
6. Split: Split is the film adaptation of M. Night Shyamalan’s misunderstanding of 30-year-old, since-discredited psychology textbooks on Dissociative Identity Disorder, but if we deign to treat it with scientific scrutiny, we’ll be here all night. Suffice it to say, don’t go looking at anything in this film as psychologically valid in any way. But do go see Split, because it’s probably M. Night Shyamalan’s best film since Signs. Or maybe since Unbreakable, for that matter. And if there’s one way that Split reinvigorates Shyamalan’s stock most, it’s as a visual artist and writer-director of tension and thrilling action.
7. A Dark Song: In Liam Gavin’s black magic genre oddity, Sophia (Catherine Walker), a grief-stricken mother, and the schlubby, no-nonsense occultist (Steve Oram) she hires devote themselves to a long, meticulous, painstaking ritual in order to (they hope) communicate with her dead son. Gavin lays out the ritual specifically and physically—over the course of months of isolation, Sophia undergoes tests of endurance and humiliation, never quite sure if she’s participating in an elaborate hoax or if she can take her spiritual guide seriously when he promises her he’s succeeded in the past. Paced to near perfection, A Dark Song is ostensibly a horror film but operates as a dread-laden procedural, mounting tension while translating the process of bereavement as patient, excruciating manual labor.
8. Raw: If you’re the proud owner of a twisted sense of humor, you might tell your friends that Julia Ducournau’s Raw as a coming of age movie in a bid to trick them into seeing it. Yes, the film’s protagonist, naive incoming college student Justine (Garance Marillier), comes of age over the course of its running time; she parties, she breaks out of her shell, and she learns about who she really is as a person on the verge of adulthood. But most kids who come of age in the movies don’t realize that they’ve spent their lives unwittingly suppressing an innate, nigh-insatiable need to consume raw meat.
9. It Comes at Night: It Comes at Night is ostensibly a horror movie, moreso than Shults’s debut, Krisha, but even Krisha was more of a horror movie than most measured family dramas typically are. Perhaps knowing this, Shults calls It Comes at Night an atypical horror movie, but—it’s already obvious after only two of these. Shults makes horror movies to the extent that everything in them is laced with dread, and every situation suffocated with inevitability. For his sophomore film, adorned with a much larger budget than Krisha and cast with some real indie star power compared to his previous cast (of family members doing him a solid), Shults imagines a near future as could be expected from a somber flick like this.
10. Personal Shopper: he pieces don’t all fit in Personal Shopper, but that’s much of the fun of writer-director Olivier Assayas’s enigmatic tale of Maureen, who may be in contact with her dead twin brother. Or maybe she’s being stalked by an unseen assailant. Or maybe it’s both. To attempt to explain the direction Personal Shopper takes is merely to regurgitate plot points that don’t sound like they belong in the same film. But Assayas is working on a deeper, more metaphorical level, abandoning strict narrative cause-and-effect logic to give us fragments of Maureen’s life refracted through conflicting experiences. Nothing happens in this film as a direct result of what came before, which explains why a sudden appearance of suggestive, potentially dangerous text messages could be interpreted as a literal threat, or as some strange cosmic manifestation of other, subtler anxieties.