the-23-best-horror-movies-of-2021-!

The 23 best horror movies of 2021 -!

The 23 best horror movies of 2021 -!

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The 22 best horror movies of 2021 -!

The 23 best horror movies of 2021 -! We have explained the details of the news, step by step, below. The 23 best horror movies of 2021 -! Keep reading our news. Here are all the details on the subject.

The 23 best horror movies of 2021 -!

If in 2021 we live a ration card with horror films released at festivals, in 2021 The avalanche has been such that it has been difficult to be aware of all the small additions to the catalog week by week on the different platforms. Many movies made for the big screen have ended up on Amazon, Netflix or HBO Max and there is no way to distinguish the grain and the chaff until you see them.

Therefore, this selection aims to be more than a ranking of who is better or worse, a yearbook to review which titles have appeared in theaters or platforms in Spain that do not deserve to be forgotten with an order of interest. Many are productions from last year, but to maintain hygiene year after year, we try to take into account only those that have appeared commercially in Spain.

24 – The Father, 2021)

Not in the last place for its quality but for the debatable ascription to the horror genre. The Oscar winner for best adapted screenplay is a drama about Alzheimer’s, but uses the grammar of psychological horror cinema without impostures to lose us in the suffocating labyrinth of memory of its protagonist , which brings her closer to works such as’ Mother !, Polanski’s apartment trilogy or ‘Images’ by Robert Altman. If John Carpenter’s definition of horror (“a sensation, not a genre”) holds true then ‘The Father’ manages to be more so than most on this list.

22 – Come Play (Come Play, 2020)

Another one of those so common cases of horror premiere with a great studio production that goes unnoticed or treated like any video product. Jacob Chase’s new supernatural horror film is based on his short ‘Larry’, about a terrifying monster that manifests itself through high-tech devices such as smartphones and tablets, here starring an autistic boy who uses an app to communicate with people liberating being by reading a cursed tale. Produced by nothing more and nothing less than Amblin, its target is obviously more open to young people, but it is a good combination of horror and drama not excessively novel, but yes quite effective and better finished than average.

21 – Peninsula (2021)

In a year of poor zombie movies like ‘Army of the Dead’ or mediocre like ‘Resident Evil’, the sequel to ‘Train to Busan’ (2013) has turned out to be the top of the lot by many integers, despite not living up to the original , of the one that stands out with a depiction of the spirit of an anime in the cinema. A giddy and fast-paced Macedonian from ‘The Land of the Undead’ (2004) and the Mad Max saga, with the blockbuster spirit of the blockbuster movies’ Too Fast Too Furious’, with a great command of sequential storytelling in montage motion and mind-blowing action planning for his more than modest budget.

Criticism in Espinof

21 – Books of Blood, 2021)

An anthology film that adapts two stories from Clive Barker’s books produced by Hulu and broadcast in Spain on Disney + without making noise among fans. The project went from a complete series to a condensed version of three stories, one that already had a film version in the correct ‘Book of Blood’ (2009). This great new review is shown as a hybrid of series and film as a connected anthology, with lots of blood and new stories approved by the writer , very consistent with the spirit of his work.

19 – Woman in the Window, 2020)

One of the most misunderstood films of the year, ‘The Woman in the Window’ is more than a tribute to Hitchcock or a thriller from the Netflix heap, but a colorful neogiallo with sublime staging that borders on the psychological terror of women on the brink of mental collapse , typical of Roman Polanski’s labyrinthine odyssey and his apartment trilogy, and that in scenes like the murder at the window, he even quotes the Argento from ‘Dark Red’. The exquisite photography of Bruno Delbonnel blurs the halos to compose an elegant chromatic dimension that brings us to a climax of terror of Grand Guignol, from hagxploitation to slasher, without fear of comic derailment and occasional moments of gore that show no fear of ridicule or the anachronistic, like a good De Palma.

Criticism in Espinof

18 – Sputnik (2020)

A new variation of space terror from Russia that offers a different angle to the cinema of parasitic creatures , approaching the story in an intelligent way, with the tone of political conspiracy thriller of the 70 in the Soviet Union of the 80 and a surprising realistic anti-superhero arc, almost an origins tale of a Soviet ‘Venom’ with all the body horror, gore, and parasitic creatures familiar to Cronenberg absent in the official adaptations. However, its lack of action makes it difficult to explain this rarity and why it is so addictive.

17 – No one Gets Out Alive, 2021)

After the fantastic ‘The Ritual’ (2017), Netflix returns to premiere another adaptation of a horror novel by Adam Nevill, with the same constants of seamless terror and this time dealing with the subject of immigration through the lens of horror cinema. Surprise the great photography direction of Stephen Murphy in a camera work explores the geography of its spaces in a lurid way , with wide angles of unusual elegance for a debut that always knows how to display a taciturn terror, very much based on its careful editing of sounds and whispers in gaps and drains, which matches between the appearances and the psychological break of the protagonist.

Criticism in Espinof

16 – Antlers, dark creature (2021)

That such dark and strange proposals as ‘Antlers’ pass with a cold reception between specialists and festivals is unheard of. This wildly sordid childhood nightmare takes the idea of ​​real monsters and turns it into a meditation on generational traumas in deep America through a sad, defeatist atmosphere that doesn’t It is nothing common in current genre cinema . Tackling the financial collapse, environmental problems, the normalized spread of hard drug use, and the extreme poverty of the American Midwest, he recovers the figure of the Wendigo with a well-crafted monster and quite sordid gore. The Antosca-Del Toro team knows what it is doing.

Criticism in Espinof

15 – The woman from hell (Impetigore, 2020)

One of the hidden phenomena of recent times is the appearance of Indonesian horror, a catalog mass enough to certify a style, with themes of black magic, possessions and revenge from beyond the grave. ‘The woman from hell’ is perhaps not the most solid of the lot, but it is the most different, atypical and perhaps characteristic of Indonesia, of a set of films that still seeks some coordinates to define itself before its western references, who walk diffuse between the wildest Clive Barker and the roughness of the first Tobe Hooper. Few moments of tension in the cinema of 2021 at the level of its extraordinary sequel Initial ncia .

Criticism in Espinof

14 – De Amor y Monsters (Love & Monsters, 2021)

Other blockbuster competent of the pandemic era relegated to Netflix’s covered premiere, a version of the adolescent or juvenile cinema heir to John Hughes, with comedy, adventures and many, many monsters. A world full of surprises, with all kinds of beings, with the spirit of Verniano pipe cinema, as if updating the sensitivity of Kevin Connor and his trips to lost worlds, with beings with very good CGI. A fun, light and well made, pure look at the classic adventure cinema, with terror and giant, monstrous arthropods, that you do not see naivety as a negative. They already want some monster movies released in 2021 have the spark and balance between the human plot and its fantastic elements that this .

Criticism in Espinof

12 – Warren File 3: Forced by the demon (The Conjuring 3: The Evil Made Me Do It)

The third part of the saga started by ‘The Warren File’ (2013) may not be at the level of the previous ones, but it is has proven to be above the James Wan of the fake supervillain movie sold as horror that is ‘Evil’. A more modest film that is posited as a religious version of Kolchack, in the key of an investigation against the clock, with echoes of the Satanic Panic and a staging by Michael Chaves rich in chiaroscuro, expansive shots and the will to create spectacle on a plot archetypal of spells and traps.

Criticism in Espinof

12 – Come True (2020)

Social networks are full of sentences about current genre cinema but when small horror films full of ideas and possibilities like ‘Come True’ are released, it is as if they were ghosts in the background of the catalog. Anthony Scott Burns shoots a retro science fiction and dream horror film that despite an imperfect ending exudes pure emotion and discovery . His mysterious sequences in the realm of nightmares gain in revision and the set works perfectly in the universe of the author of the tremendous short ‘Father’s Day’ from the movie ‘Holidays’ (2016)) .

11 – All for Jackson (Anything for Jackson, 2021)

A curious case of horror film debut of a director who until now had only made Christmas telefilms who shakes his tassels with an insane story of two old men who kidnap a pregnant woman to put the spirit of their grandson in her fetus, an incredible esoteric carousel doomed to calamity that functions as a witch’s train of terrifying apparitions, Macabre comedy of a couple trying to learn how to do a ritual, but with a melancholic undertone that also leaves a bad body. A shame its premiere on Movistar without announcing it.

10 – Hidden Passenger (Shadow in the Cloud, 2021)

Another film destined for the big screen released on platforms, ‘Hidden Passenger’ is a frenzied nightmare of warfare to 20. 000 feet with cartoon logic that takes a simple idea, with three clear elements such as an airplane, a hidden monster and a prized cargo to a war site in World War II. Another pulp war horror comic to watch alongside ‘Overlord’, full of logic-defying situations and a creature with one of the best CGI of the year , his visual narration always flows in a frantic way giving everything that is missing in the revival of ‘The Twilight Zone’.

9- The Night House (2021)

Relegated from theaters to Disney +, this haunting esoteric reversal of ‘Ghost’ enshrines David Bruckner, director of the remarkable ‘The Ritual,’ as a big name in today’s horror. With a huge Rebeca Hall as the protagonist and a disturbing use of architecture to create terror with pareidolias, shapes and reflections , his plot is a rollercoaster of sinister twists and turns, which are not what they seem. ‘The Night House’ explores grief, depression and suicide with striking images directed with elegance, but nothing is placed at random and its puzzle leaves room to rebuild it again days later.

Criticism in Espinof

8- History of the occult (2020)

Arriving on Netflix this year, Christian Ponce’s debut was the Argentine revelation of 2020, a fascinating nostalgic and political memory through of conspiracy and satanic fantasy , mixing the thriller of the 70 by Alan J. Pakula and the horror broadcast live from the movie ‘Ghostwatch’ (1992) with the flavor of the story of ‘Stories to not sleep’ and an esoteric section that reaches the cosmic horror. A marvel in black and white that shows that good ideas can offer a little gem if they are clear.

Criticism in Espinof

7- Halloween Kills (2020)

A uniform and self-contained interlude to the essence of the murderer’s tale that follows and chases and kills and finishes on the way, removing the heavy slab of the important film’s rictus from the previous one, it is delivered to an absolutely reckless plot line with a delusional script. Its prologue is delicious and perfectly imitates the texture, photography and style of Carpenter, whose score here has much more travel than the first. ‘Halloween Kills’ meets all the rules of the horror film sequel written by ‘Scream 2’: It’s more expensive, with more corpses, more blood and a murderer invincible.

A rude, hyperbolic and greasy slasher that turns up the volume of savagery and borders on amorality for a uncouth enjoyment without ironic justification, that Umberto Lenzi or Bruno Mattei would have shot perfectly in the 80. A well-researched Trojan that rebels against the new rule that it is only allowed to consume this type of cholesterol if it comes wrapped up in a fake meta trailer made of laughs. With its extended version, with even more meat, it is called to be one of the sequels that fans of the saga will choose among their favorites within 20 years.

Criticism in Espinof

6- The war of tomorrow (The Tomorror War, 2021)

A megablockbuster that’s more of an expensive B-series than a complex sci-fi artifact, smelling of gunpowder, Heinlein discipline, and twisted spectacularly designed nightmare creatures that se they eat people, throw thorns out of their tentacles, like the Critters and are featured in a scene from tradition horror movies – watch those bodies hanging like in the ‘Predator’ saga. Although it deals with time travel themes, it has real wood monster movie , getting to uncover its true nature in a delicious final stretch, a tribute to ‘La Cosa’ (The Thing, 1974) by John Carpenter, with arcane Lovecraftian connections under the ice, which becomes a mini-adventure of “hunting the alien” in tune with the saga ‘ Tremors’ (Tremors, 1990).

Criticism in Espinof

5- PG Psycho Goreman (2020)

The vindication of the VHS spirit and direct to video have filled the conversation in 2021 with the premiere of some major studio films this year that failed to make up for their lack of spark with a third of the ideas subversives per minute offered by this parody d e the children’s series of the 90 , full of handcrafted special effects, gore, monsters and comic book plots that chain together to create a delusional universe between the Empire’s cinema and Power Rangers . A shame that when jewels like these arrive in Spain on minority platforms, they go unnoticed, especially for the prophets of the video store spirit who only claim it if it reaches the multiplex cinema.

Criticism in Espinof

4- Candyman (2021)

The new ‘Candyman’ is a surprising maverick sequel to the first film that reinterprets the myth through collective racial trauma in the vein of Jordan Peele’s new horror noire, who is co-writing the script with the director, Nia DaCosta. A relevant film made in 2019, before all the social hurricane that appeared after the death of George Floyd, which updates the concept of Candyman, giving new meaning to details of his mythology with a direction elegant and kaleidoscopic over a sinister atmosphere full of visual ideas, hints of body horror and exquisite sequences of Chinese shadows. The new candy man is a fatal monster, timeless, and valid in 2021.

Criticism in Espinof

3- ‘The House of Terror’ Trilogy (Fear Street Trilogy, 2021)

Director Leigh Janiak has burst into the genre with a stupendous fresco with different incarnations of literary youth horror as a celebration of the “scare kids” spirit of the RL Stine style , but with an eye on the generation streaming . Three films destined for the cinema that the pandemic redirected to Netflix to form a great pastiche of murderers, witchcraft, paranormal forces, and forbidden high school loves that plays with the nostalgic idea as an opportunity for irrational exaltation of aesthetics, music and tics cultures of different eras. Plus, it’s rated R, giving you the freedom to deliver gore kills, sex without the puritanism associated with these youth productions.

The complete trilogy understands the mechanisms of the genre as carefree fun of irreverent violence in the form of a great summer event that, within its review of the slasher of the 90, the golden age and witch-hunting cinema, make up a solid complete story full of communicating vessels, bordering on subversion by posing as a youth product when in reality it is exactly what parents do not want them to see . One of the most stimulating experiments in recent genre cinema, unprejudiced and without a minute wasted.

Criticism in Espinof

2- Last Night in Soho 2021)

A dazzling aesthetic artifact in the form of a retro horror musical in which Edgar Wright unleashes all his genre archeology and directorial experience to give us his best work since ‘Shaun of the Dead’ (2004). Wright addresses the subgenre ” psychotic women “with the tradition of gothic horror in a mixture of giallo, ‘Repulsion’ and ‘The carnival of souls’ full of color, twists, and an almost unique musical conception in genre cinema, which knocks on Michael Powell’s door not only through ‘The Panic Photographer’.

The screenplay by Krysty Wilson-Cairns, a woman nominated for an Oscar for ‘1917 ‘, articulates on the history of Wrigh, connects with the world of terror and feminism of Gillian Flynn, which not only doesn’t make a mess at the end but offers a look full of gray places needed on the shifting ground where walk. The obtuse look by two sides of the criticism of its subtext is surprising, which precisely speaks of living with the conflict, accepting the problems of our affiliations and living with it without ceasing to appreciate the glitter or never forget its dark side. The final shot is very eloquent.

Criticism in Espinof

1- The Empty Man (2020)

Released late in Spain on Disney +, David Prior’s debut has become the great cult horror work of the pandemic era . First released without promotion in the worst stage of the de-escalation of 2020, its total failure led it to be broadcast on platforms without much promotion and a lukewarm reception from specialized critics, who could not decode a film that appeared to be a new ‘Slender man’ with traces of research a la ‘The Ring’ (2002) until it became a looming phenomenon, vindicated on podcasts, well-respected websites and popular movie youtubers.

However, the result is a dense adult horror odyssey, an extraordinary metaphysical nightmare that connects with the philosophical terrain of cosmic science fiction , with the anatomy of authors such as HP Lovecraft, Robert Chambers or Thomas Ligotti , structured as a paranoia film of the 70 to ‘The Last Witness’ (The Paralax View, 1974) with the tone of the Kurosawa of ‘Cure’ (1997), reflects on myths and creepypastas, including on gender and identity relevant today of a present in which society questions what is real and not, when the repetition of an idea (or a lie) becomes a reality that is difficult to refute.

Criticism in Espinof