Whoever has the tiniest interest in cinema would have noticed that the 2010s have seen the release of many interesting horror films.
After the prolonged drought of good Hollywood horror flicks in the early 2000s, many have finally grasped the endless opportunities offered by this chameleonic and polyhedral genre.
The search of innovation within horror cinema is, finally, experiencing a peak that, in my opinion, hasn’t been on the horizon (to the current extent) since the 80s. Eventually, production companies on one side, and audiences on the other are giving dignity to a genre which has been reduced to mindless entertainment for teenagers for a far too long time.
Sure, part of this ‘horror renaissance’ derives from the overall good quality of formulaic and conventional films and, as a result, we are witnessing a true outbreak of cinematic universes expansion. From a non-posh perspective, though, this is a quite positive feature: on one hand, films such as Insidious (2010) and The Conjuring (2013) shaped mainstream tastes for the better; on the other, they tangentially made room for unconventional and brave indie horror that might become the classics of tomorrow.
Therefore, for this blog post I decided to focus on those promising filmmaker who, working mostly on horror flicks, are redefining the genre and providing us with worthy cinematic experiences. Since I dedicated to him an entire series of posts, you won’t find James Wan in the list, although his name was worth mentioning.
If you have any disagreement or think any other director should be on this list, please let me know in the comments section below. And do not get mad at me if your favourite newcomer filmmaker doesn’t appear on this post! Cheers!
David F. Sandberg (Sweden, 21 January 1981) – the Swedish James Wan’s doppelganger has debuted with two box-office blasts: Lights Out (2016) and Annabelle: Creation (2017). These movies feature conventional plot and jump-scares, which, however, are executed in a mature and wise way. Characterised by beautiful cinematography and compelling protagonists, Sandberg’s flicks please mainstream audiences to a level only Wan has been able to reach. Although I’m not a big fun of his work, its impact on the genre is undeniable and Sandberg is giving viewers something they weren’t used to anymore: pure good quality entertainment.
Sean Byrne (Australia, [sorry, his bio is untraceable]) – after his acclaimed debut (The Loved Ones, 2009), Sean Byrne’s Devil’s Candy (2017) sets itself as one of the surprises of 2017. This heavy-metal horror flick has confirmed the director’s talent and given us hope for his next steps in the horror industry. Featuring unusual storytelling and surreal imagery, Byrne’s films simultaneously shy away from being overly artsy or pretentious. Let’s see what other treat he’ll provide us with!
Fede Alvarez (Uruguay, 9 February 1978) – with the blessing of no one less than Sam Raimi, the Uruguayan director made his feature-length debut with the surprisingly good Evil Dead (2013), a reboot/reimagination of the classic The Evil Dead (1981). Three years later, Alvarez strengthened the respect he earned thanks to the horror/thriller Don’t Breathe (2016). The guy has proved to be highly chameleonic, being able to create two extremely intriguing films which rely on very different themes (gore for the first, suspense for the latter), while conveying emotions through well-written characters and utilising unconventional camera-work. Muy bueno!
Jordan Peele (USA, 21 February 1979) – I know, I know. The comedian/telly producer/actor has just made his directorial debut and, so far, he’s made only one movie. Still, this little movie is the most appreciated horror flick on RottenTomatoes since… well, ever! Get Out (2017) represents a nice, innovative take on the genre. Peele’s film is something rarely seen before: a combination between comedy (a lot), horror and social commentary. All of that is accompanied by great cinematography, astounding camera-work and excellent acting. If Peele decides to keep on making horrors, mainstream audiences are in good hands.
Adam Wingard (USA, 3 December 1982) – with You’re Next (2011) and V/H/S 1 and 2 (2012-2013) he earned praises, whereas Blair Witch (2016) and Death Note brought him down to earth. Regardless, Adam Wingard is a make-or-break deal that’s giving small twists to the genre. Very eclectic and innovative, his direction ranges from one sub-genre to the other: from the slasher to the anthology to the horror/thriller to the paranormal. Especially the first two I just mentioned benefitted a lot from Wingard’s talent, who’s adding unpredictability to these sub-genres. Unfortunately, he seems to having abandoned the horror route in favour of summer blockbusters (he’s set to direct the upcoming Godzilla vs Kong film). Come on Adam, go back to your horror passion: money doesn’t buy happiness! Well, it does… I think.
Darren Aronofsky (USA, 12 February 1969) – here I’m cheating a bit, since Aronofsky didn’t direct only horror flicks. However, his inclusion on this list is due to my unconditional love for the guy as a filmmaker and, more importantly, all the horror/disturbing elements included in his films. If we all close our eyes and pretend Noah (2014) never happened, we’ll realise that Aronofsky can’t make anything bad. Whatever he puts his hands on, turns into cinematic gold.
Requiem for a Dream (2000), a surreal and disturbing journey within drugs and compelling addicts, and Black Swan (2010), an outstanding psychological horror about the ballet world, give me hope for Aronofsky’s upcoming Mother! This is, most likely, a horror drama on the trail of Rosemary’s Baby (1968) – it could even be a reimagination of Polanski’s masterpiece – which has the potential to be excellent. In general, Aronofsky always delivers uneasiness through its movies, being able to add a surreal touch to them while, simultaneously, avoiding the artsy-fartsy, pretentious route. I might be wrong (or you might disagree with me), but I consider Aronofsky’s work a constant journey in the real-life horror, that one connected to our fear of drugs or unhealthy obsessions. Which means that if you’re a mama boy (like myself… ops!), Mother! would likely change your perspective!
Mike Flanagan (USA, 20 May 1978) – from a guy born in the wicked town of Salem, Massachusetts, becoming a horror director seem a natural route. All jokes apart, Flanagan is a sort of miracle man: after his 2011 debut (Absentia) received a quite cold welcome, Oculus (2013) knocked it out of the park, but was clouded by some foreign horror masterpieces that came out the same year nonetheless.
Both his first feature-length films revolve around the supernatural element. However, Flanagan utilises demons and ghosts to tell human stories and dig into his characters’ feelings and emotions. Yet, he plays with the audience’s expectations by creating the set-up for jump-scares and then avoiding them, whilst making us frightened in much subtler ways.
Nevertheless, I named him ‘miracle man’ since he’s been able to direct a script based on a board game and turning it into something highly watchable: Ouija: Origin of Evil (2016) is a fairly enjoyable horror movie, much deeper than the story itself deserves. Also, in comparison to its predecessor Ouija (2014) – a shameless cash-grabbing train-wreck – Flanagan’s sequel looks like a masterpiece. Clever and competent, Flanagan will likely deliver other great films to both mainstream and underground audiences in the future. I challenge you Mike, your next film should be a found-footage about alien abduction: let’s see if you can turn that into a quality product!
Nicolas Pesce (USA, 18 January 1990) – the golden kid has nailed it with his first and – so far – only feature-length film: The Eyes of my Mother (2017) is perhaps no masterpiece, but will certainly develop a cult following. This black-and-white artsy horror/drama is almost flawless and the young director behind it handled story, cinematography and characters in such a unique, mesmerising way. Hired to direct the next Grudge film, I can only hope the production company behind the project will give Pesce as much freedom as possible, so that the guy could make his unconventional touch emerge in a Hollywood film. Make it black-and-white, Nick!
The Spierig Brothers (Australia, 29 April 1976) – did I save the best for last? I don’t know, it’s up to you to decide. In my opinion, the Aussie twins are among the best horror filmmakers working today. Their debut was the extremely underrated Undead (2003), a low-budget alien-zombie horror comedy – yes, I’m serious – which provided quite some gore, laughter and great entertainment.
However, it’s with Daybreakers (2009) that I fell in love with Peter and Michael Spierig: I talked about that film in my underrated movies series, so I won’t come back to it again, for the moment. Let me just say that their attempt to a non-horror flick (Predestination, 2014) is probably the best sci-fi film of the 2000s, at least in my opinion.
The Aussie directors will make their Hollywood debut with Jigsaw (27 October 2017), the eight chapter of the Saw franchise which will have the hard task of reinvigorating a storyline that has been messed up throughout the years to the point of becoming tiresome and barely watchable. Also, in 2018 they will release Winchester, a supernatural horror drama that sounds really promising.
All in all, the Spierig Brothers are excellent at crossing genres and unconventional plots, which is what I really like about them. If with Jigsaw I’m a bit sceptical (for the first time in their career they didn’t write the script), Winchester is already one of my most anticipated movies of 2018. I honestly don’t think they will ever make any bull dust!
I know this post is already long enough, I apologise for that, I just want to add that the topic of this list is, obviously, the directors. In the 2000s there have been single movies worth watching and praising; nevertheless, these films came, mostly, from out of Hollywood: UK, France, Japan, Australia and Korea gave us many amazing flicks. However, here I decided to focus on those directors who might change the Hollywoodian attitude towards horror cinema, making mainstream films you can actually care for, instead of just wasting your money with. I hope you’ll like it, cheers!