Social Apps

This category has had a rough ride lately with Twitter (Now X) having an identity crisis and AI bots not having a clue what the difference is between people talking about horror and people being horrible. Two apps standout in their ability to let the horror community be who they are talking about movies, books and all things creative horror without confusing the issues of real life horrors.

Slasher App

Slasher was built for horror fans! Now you can enjoy a friendly community with no censorship of bloody or gory special effects and makeup! Want to connect with other horror fans? Slasher makes it possible to make connections faster than any other social platform! The people behind Slasher are horror fans too! Available on Iphone, Android, and Desktop

You can find us there @puzzlebox

r/Horror

The horror subreddit on Reddit is a virtual haven for fans of all things macabre and spine-tingling. This thriving community is where horror enthusiasts, both casual and die-hard, come together to share and discuss their love for the genre. From chilling stories and terrifying urban legends to eerie photos and spine-tingling artwork, the horror subreddit is a treasure trove of everything that goes bump in the night. Users can post their own original horror content, engage in discussions about favorite horror films, books, and games, and seek recommendations for the best scares in the genre. With a diverse and passionate user base, the subreddit serves as a communal campfire for those who relish the thrill of fear and enjoy delving into the darkest corners of the human imagination. Whether you’re a horror writer looking for inspiration or a horror film fanatic seeking hidden gems, Reddit’s horror subreddit is the perfect place to embrace the darkness.

Horror Movie Apps

Shudder

Shudder is the ultimate streaming platform for horror aficionados, catering to those who crave a constant dose of spine-tingling and chilling content. This specialized app offers a vast and ever-expanding library of horror films, series, documentaries, and original content, making it a go-to destination for all things terrifying. From classic horror masterpieces to cutting-edge, exclusive releases, Shudder curates a diverse selection to satisfy every horror enthusiast’s appetite. With its dedication to the genre, Shudder ensures that subscribers can experience horror in its many forms, from supernatural to psychological, providing a nightmarish journey that’s both thrilling and horrifying.

Screambox

Screambox is a dedicated streaming service designed to terrify and delight horror fans. This platform curates a vast collection of horror films, TV shows, and original content, offering a one-stop destination for all things eerie and spine-tingling. With a wide range of horror sub-genres, from classic slashers to supernatural thrillers, Screambox caters to every taste in the horror world. It’s the perfect haunt for those who seek a constant supply of scares and a diverse array of fear-inducing content, ensuring that subscribers can experience the best and darkest offerings in the horror genre. Screambox is known to have original content you cannot find elsewhere. It’s a Scream!

Shout TV

Shout TV’s horror offerings are a spine-tingling treasure trove for fans of the genre. With a vast collection of classic and cult horror films, as well as hidden gems and iconic series, Shout TV is your go-to source for all things chilling, macabre, and favors the campy side of horror.

Horror App Games for Phones

Simulacra

Ever wondered what would happen if you stumbled upon someone’s lost phone and discovered a series of unsettling messages and videos? Simulacra puts you in the shoes of the person who found that phone. This interactive, found-phone-style horror game delivers a deeply immersive experience, blurring the line between reality and fiction.

Into the Dead 2

For those who love the adrenaline rush of a good zombie apocalypse, Into the Dead 2 is your ultimate companion. This first-person runner game throws you into a world overrun by the undead, and your only goal is to survive. The haunting sound design and relentless zombie hordes make for an intense mobile gaming experience.

Night Book

Is a spine-tingling interactive horror experience that transcends the boundaries of traditional storytelling. It immerses players in a harrowing tale that takes place during a fateful night of translation work. As the protagonist, you must make choices that impact the unfolding narrative, but be warned: the consequences of your decisions are often far from predictable. The game’s live-action sequences and stellar performances by the cast add a level of realism that intensifies the sense of dread. With its gripping story, eerie atmosphere, and multiple branching paths, “Night Book” keeps you on the edge of your seat, making it a must-play for horror enthusiasts seeking an immersive and chilling interactive experience.

Dead By Daylight Mobile

brings the relentless terror of the popular multiplayer horror game to your fingertips. In this mobile adaptation, players can immerse themselves in the heart-pounding asymmetrical gameplay that pits survivors against a relentless killer. The mobile version faithfully captures the essence of the original, offering the same spine-tingling suspense, dark atmospheres, and heart-pounding chase sequences.

The game allows you to step into the shoes of both survivors and killers, each with their own unique abilities and objectives. The thrilling cat-and-mouse game play, coupled with a wide array of locked characters, perks, and customization options, ensures that “Dead by Daylight Mobile” offers a captivating and chilling experience for fans of the horror genre on the go. Whether you’re escaping the clutches of a merciless killer or hunting down your prey, the mobile version of Dead by Daylight delivers the horror experience you’ve been craving.

Five Nights at Freddy’s

No list of horror apps would be complete without mentioning the infamous Five Nights at Freddy’s. This classic indie game has spawned multiple sequels and spin-offs, and it remains a must-play for fans of animatronic-based terror. As a night security guard at a creepy pizza place, you’ll need to survive against the animatronics’ murderous tendencies.

Granny

Granny is a heart-pounding mobile horror game that throws players into the nightmarish depths of an old, decrepit house, where the eponymous character, Granny, lurks. The game’s premise is simple but intensely chilling: you must escape Granny’s clutches and navigate a maze of dark, creaky rooms filled with secrets and puzzles. With a limited number of days to escape, players must maintain stealth, solve puzzles, and avoid being caught by the relentless Granny, who is always one step behind. The eerie ambiance, jump scares, and suspenseful gameplay make “Granny” a cult classic among mobile horror game enthusiasts. With its intense atmosphere and constant sense of dread, it’s not for the faint of heart, providing a thrilling and terrifying experience for horror aficionados looking for a good scare on their smartphones.

Conclusion

For horror enthusiasts, the realm of mobile apps offers a diverse array of experiences, from heart-pounding games to immersive narratives and augmented reality nightmares. Whether you’re into jump scares or prefer a slower, cerebral approach to horror, there’s an app out there to satisfy your craving for the macabre.

So, as you embark on your digital journey into the unknown, remember to keep your phone charged, the lights off, and your courage intact. The best horror apps are here to test your limits and plunge you into a world where the darkness holds secrets waiting to be discovered. Enjoy your descent into the depths of terror!

Tritone

Tritone’s love of horror and mystery began at a young age. Growing up in the 80’s he got to see some of the greatest horror movies play out in the best of venues, the drive-in theater. That’s when his obsession with the genre really began—but it wasn’t just the movies, it was the games, the books, the comics, and the lore behind it all that really ignited his obsession. Tritone is a published author and continues to write and write about horror whenever possible.

puzzleboxhorror.com

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The post The Creepiest Apps for True Horror Enthusiasts appeared first on Puzzle Box Horror.

Smile (2022)

Smile is a nightmarish slow-burn horror film comparable to the likes of It Follows (2014) and They Look Like People (2015), with plenty of creepy images and a pervasive sense of building dread throughout its entire runtime. Therapist Dr. Rose Cotter begins experiencing a terrifying phenomenon following a patient’s apparent suicide, and must figure out what smiling, shapeshifting thing is stalking her before it is too late. Unfortunately, just about every frame that could be considered chilling in Smile was shown proudly in its trailer, making the film itself feel like an extended rehash and forcing it to rely on a few jumpscares to keep the wider audience interested. One of these jolts is a scene in which Rose’s sister approaches Rose’s car, knocking on the window. As she does, her head swings violently into view to reveal a hideous smile on her face. The whole thing happens so quickly and the grotesque appearance of the long, swinging neck and demented grin make this a hugely effective scare, even if it was also sadly shown in the trailer.

Insidious (2010)

This one got me good back in 2010, and I still remember jumping clean out of my seat at a couple of points. Of course I was more impressional back then and I’m not sure it would have the same effect nowadays, though I would consider Insidious to be a chillingly atmospheric and intensely creepy horror film nonetheless. Many would probably consider the best jumpscare here to be the appearance of the red-faced demon behind Patrick Wilson’s character, though there was another scene that sticks with me far more. Somewhere in the madness of the first real night of haunting, Renai (played by Rose Byrne) runs into her baby’s room to see a figure standing over the cot. Because this happens in the midst of so much panic, and because Rose Byrne’s reaction through one unbroken camera shot is so convincing, I would place this as one of the more spine-chilling jumpscares James Wan has to offer.

The Visit (2015)

Despite being one of M. Night Shyamalan’s later works, The Visit actually utilises its found-footage presentation well for the most part, offering a group of charismatic and interesting characters and plenty of passable chills, not to mention an ending that calls back to the director’s earlier, more widely regarded films. While I enjoyed a lot of The Visit, we are here to talk about the jumpscares of the matter, which sadly I liked a lot less. One stand-out scene is when the kids are crawling under their grandparent’s house and end up hiding from their snarling ‘grandmother’ as it crawls around looking for them. This may have been a creepy scene if not for the incessant and inhuman screeching and snarling coming from her. These sounds have no bearing on the story and are seemingly there to give the audience a little jolt, like an editing afterthought when it was realised the scene simply wasn’t that scary.

Hereditary (2018)

Ari Aster’s breakout directorial debut Hereditary is a uniquely nasty look at classic haunting tropes, one that shocked audiences with its blend of supernatural chills and pitch-black family drama. The scare I’m choosing to focus on from this particular nightmare is a good case for the argument that quiet jumpscares can work better. Things are already tense as Charlie (Millie Shapiro) struggles through her closing airways and when she tries for air, a small thud is all that’s needed to let us know that the worst has happened. You might not have initially jumped at this one, hell, you might not have even caught it the first time around, but once the realization sets in of what happens when Charlie sticks her head out of the car window, we are left in the same state of silent shock her unfortunate brother Peter (Alex Wolff) is in. Phenomenal acting and truly disturbing subject matter mean that this flick is not for the weak of heart.

The Conjuring (2013)

Like any decent ghostly chiller from James Wan, The Conjuring is chock full of dread, atmosphere and a bucketload of jumpscares. As with his other works such as Insidious, Wan likes to turn up the shocks and then keep them coming until the audience is completely worn out from gritting their teeth. Once the tension ramps up we can expect horrors jumping from every shadow, meaning it can be quite hard to pin down a particular jumpscare amongst the madness. That being said, the reveal of the evil entity, Bathsheba, hiding atop the wardrobe has to be one of the better timed and executed scares of James Wan’s career. Her hideous, yet not over-the-top, appearance flashing so suddenly gives such a threatening air that our fight-or-flight sense begins to tingle at the very sight of her. Couple that with the knowledge that she sacrificed her own child just to get one over on God and you have one truly unsettling antagonist.

Signs (2002)

I’ve already picked on one of Shyamalan’s later works so why not go back and have a look at one of his more worthy creations? Signs stars Mel Gibson and Joaquin Phoenix and could to this day be the scariest sci-fi horror extraterrestrial invasion film in history. This is chiefly due to the thick sense of foreboding that builds over the film’s first couple of acts, before panic ensues and the family hope their preparations weren’t in vain. The scares work here because Shyamalan keeps things quiet for the most part. One standout moment is when Merrill Hess (Phoenix) is watching shaky news footage of an alleged ‘sighting’ at a child’s birthday party. The shot of a backyard alley is held just long enough to put viewers on edge before an alien walks brazenly out and swaggers across to the other side. At this point in the film we don’t know what to expect from these creatures, so when a vaguely sinister humanoid walks out the effect is a confusing and hair-raising jolt. Every little glimpse of a leg or hand of the creatures thus far has been leading to an almost casual reveal, and Phoenix’s reaction illustrates the significance of the event perfectly.

Sinister (2012)

Sinister is a moody and atmospheric horror directed by Scott Derrickson and starring Ethan Hawke, which utilises a home-movie effect through some of its sequences that can be considered some of the creepiest scenes in modern horror. When author Ellsion Oswalt (Hawke) finds a stack of super 8 footage depicting the gruesome murders of several families, he must decipher the connections between them before the malicious entity residing in the footage finds him. I won’t spoil too much, though I’ll say that one of these tapes has one of the more unexpected and gut-dropping jumpscares I’ve personally come across. While Sinister’s third act doesn’t quite live up to the dread built in the first two, it’s still a worthy modern horror flick in many regards and should be watched at least once.

Lights Out (short) (2013)

For this pick I’m giving a shout out to one of the most harrowing short films that ever graced the internet. It was later adapted into a great feature film of the same name, though I still consider the rawness and simplicity of the original Lights Out short to be far superior for a quick scare. Clocking at around three minutes, Lights Out features no dialogue and very minimal sound effects with no excessive increases in volume. When our lead turns out the light and sees the sinister figure at the end of the hall, we see it as she does, with no obnoxious instrumentation or erratic camera editing. As she starts to curiously turn the light on and off , the figure only appearing in the dark, we scream internally to just leave the thing on and get out of the place. The 2016 feature film definitely took things further in every possible way, and happens to be a very competently horrifying film in the process, though something about the short will always reign supreme. Watch the Light Our Horror short below.

Barbarian (2022)

Barbarian is an absolute enigma of a film and is best enjoyed with absolutely no prior knowledge going into it. Let’s just say that the first act in no way hints at the insane length the story goes to, and the first actual reveal of where things are going is downright horrifying. Featuring little to no sound, this particular scene uses a quick and horrifying visual followed by some brutal violence that are both heart-stopping in their abruptness and such a curveball in terms of story that viewers feel completely and suitably helpless.

The Ring (2002)

Gore Verbinski’s 2002 remake of the Japanese chiller Ringu, The Ring, was one of the first horror films I remember seeing, and I still remember the nightmares, the fear of TV static, and the absolute hatred of little girls with long black hair. There’s plenty to be scared of in what I would consider one of the best horror remakes around, though one scene disturbed my young mind beyond belief. Following an account of a young girl’s horrifying death, we are greeted to a quick shot of the victim crouched in a cupboard, her face twisted and warped beyond recognition. The image is so jarring and unexpected that the audience is put in a state of alert apprehension, and although I am biased I would consider it one of the best scares on this list.

Joe Clements

Joe first knew he wanted to write in year six after plaguing his teacher’s dreams with a harrowing story of World War prisoners and an insidious ‘book of the dead’. Clearly infatuated with horror, and wearing his influences on his sleeve, he dabbled in some smaller pieces before starting work on his condensed sci-fi epic, System Reset in 2013.Once this was published he began work on many smaller horror stories and poems in bid to harness and connect with his own fears and passions and build on his craft.
Joe is obsessed with atmosphere and aesthetic, big concepts and even bigger senses of scale, feeding on cosmic horror of the deep sea and vastness of space and the emotions these can invoke. His main fixes within the dark arts include horror films, extreme metal music and the bleakest of poetry and science fiction literature.
He holds a deep respect for plot, creative flow and the context of art, and hopes to forge deeper connections between them around filmmakers dabbling in the dark and macabre.

linktr.ee/Joeclements

The post The Frightful History of the Best Jumpscares appeared first on Puzzle Box Horror.

Goosebumps

More than just a film, Goosebumps has been one of the forerunners of children’s horror since 1992 with the groundbreaking Goosebumps children’s book series, and the hair raising tv series of the same name beginning in 1995. In addition were two more recent Goosebumps films and some noteworthy comic and video game adaptations. I indulged in plenty of the Goosebumps literature at a young age, particularly the ‘choose your adventure’ titles as something about making the wrong choice resulting in someone dying horribly was all the scarier. That being said, I remember being frightened witless at just as many moments in the television series. Slappy’s original design from Night of The Living Dummy still lives bored into my mind as one of my earliest jumpscares, and his sinister smile still chills me to this day. That episode also featured another sentient doll which held her owner hostage and threatened to kill her entire family (yes, this show was aimed at 7 year olds). I blame Goosebumps as a franchise almost entirely for my love for, and discerning taste in, all things horror.

Are You Afraid of The Dark?

A show known only to me as ‘Canadian Goosebumps’ at one point in time, the equally creepy Are You Afraid of The Dark aired from 1991 to 1996, with one revival show airing from 1999-2000 and another beginning in 2021. The most recent revival has been met with a great reception, though the early-90s original was not without its charms. All adaptations centre around a group of kids who called themselves ‘The Midnight Society’, who meet up ritualistically in spooky places in the dead of night to tell scary stories. Each episode, these stories are shown to the viewer as blood-curdling short films, which often bleed over into that character’s reality in some way.

Frankenweenie

Tim Burton is a name that will likely pop up a number of times in this article, as he is one of the few who truly understands the balance between dark scares and childlike wonder. To be told that Frankenweenie is Burton’s best film in a long time should be encouragement enough to watch it, and that is exactly what the general consensus is. In this alternate timeline, a young Victor Frankenstein is a scientist and outsider at school with one true friend; his dog Sparky. When Sparky is tragically killed, Victor takes the advice of his science teacher and reanimates his companion. When Victor’s classmates steal his work and attempt to use it on their own pets however, things go horribly awry. Burton pays homage to plenty of classic horror movies and returns to his roots with blazing success with Frankenweenie, a flick not to be missed by horror fans young and old.

Monster House

It took me a criminal amount of time to finally watch the brilliant animated family horror Monster House, though better late than never. This clever little tale centers around two friends who discover that their creepy neighbor’s even creepier house is far more monstrous than it looks. When the house itself begins eating people on the run-up to Halloween, the boys must try to convince an adult of what is going on before the ultimate smorgasbord of trick-or-treaters file up to its ravenous door! Featuring an all-star cast of voices, and some bone-chilling animation including the evil house’s twisted transformations, Monster House is a modern classic which blends family-friendly humour with a tangible and at-times terrifying threat.

Coraline

Coraline was adapted from the 2002 Neil Gaiman book of the same name, and is an utterly skin-crawling experience, albeit one packed with heart and nostalgia. 11 year old Coraline finds an alternate, and rather ideal, version of her own home within its walls, though before long she realizes that the place holds a dark and insidious secret. While remaining appropriate for children, Coraline features some truly chilling concepts and hair-raising stop-motion animation that is kept raw to utilize the unsettling effect stop-motion can have. Neil Gaiman always manages to capture the hearts and minds of his audience, especially given his penchant for horror, so one can only be thankful that Henry Selick had the directorial prowess to take it to the big screen.

The Nightmare Before Christmas

You’ve seen the merchandise, you’ve heard at least one of the songs, though if you haven’t actually sat down to watch The Nightmare Before Christmas yet you’re missing out in a big way. This 1993 Burton classic paved the way for many animated films that followed its staggering popularity. The story focuses on Jack Skelington, King of Halloween Town as he one day stumbles upon the neighboring Christmas Town. When he becomes obsessed with Christmas culture he attempts to bring it back to his own people, to great confusion and uproar. Jack’s is a unique tale with a solid moral compass, one layered with catchy songs and lovable voice acting throughout.

Beetlejuice

This one might be a little bit of a cheat, as there are plenty of parents who wouldn’t want their young children watching Michael Keaton sauntering around making crude gestures and more innuendos than Austin Powers. But that is part of what makes this dark, wacky live-action headtrip such a quintessential Tim Burton classic. Sure, it’s not fully aimed at kids but there’s enough slapstick comedy and colorful integration of unnerving stop-motion (I’m looking at those sandworms) to entertain people of all ages. While it’s not exactly a musical, the placement of a couple of Harry Belafonte songs are particularly hilarious, and the overtly stylized look of the film combined with some brilliantly off-kilter performances are enough to warrant this film a cult classic. Keaton is a force to be reckoned with as the reverse-exorcist Beetlejuice, who promises to rid your home of the living should you simply say his name three times. No one would be that stupid though, right?

James and The Giant Peach

Things are getting personal now as we visit another early Tim Burton nightmare. One of my earliest memories of being terrified is of the hellish mechanical shark with its rotating layers of steel teeth, or the horror of the black rhino in the storm clouds. James and The Giant Peach is adapted from a Roald Dahl book and given a suitably dark and unsettling stop-motion style, blended cleverly with live-action as James crosses into a dreamlike reality of giant fruit and huge talking insects. On a voyage across the ocean and skies to New York, James and his band of oversized creatures must battle peril upon horrendous peril, while ultimately finding himself in the comfort of his friends. This adaptation catures the comic brilliance and surreal grimness of Dahl’s work perfectly, and makes for solid family viewing any time of the year.

Gremlins

Fun fact: Gremlins was almost an R-rated gorefest of a movie before some studio head decided it was worth converting into the fun and exciting festive horror-comedy we know and love. The story centers around struggling inventor Randall Peltzer who is looking for a Christmas present for his son, Billy. When he wanders into an old bazaar in Chinatown, he encounters an old man who presents him with a cute, furry creature called a Mogwai. The man imparts upon Randall the few vital rules one must follow when owning a Mogwai, though Billy himself has a little trouble keeping to them. While it remains a cult-classic among many adults, Gremlins has enough laughs and cuteness from Gizmo the Mogwai to entertain children of all ages, even though those under 10 might find certain scenes of fantasy violence disturbing.

Joe Clements

Joe first knew he wanted to write in year six after plaguing his teacher’s dreams with a harrowing story of World War prisoners and an insidious ‘book of the dead’. Clearly infatuated with horror, and wearing his influences on his sleeve, he dabbled in some smaller pieces before starting work on his condensed sci-fi epic, System Reset in 2013.Once this was published he began work on many smaller horror stories and poems in bid to harness and connect with his own fears and passions and build on his craft.
Joe is obsessed with atmosphere and aesthetic, big concepts and even bigger senses of scale, feeding on cosmic horror of the deep sea and vastness of space and the emotions these can invoke. His main fixes within the dark arts include horror films, extreme metal music and the bleakest of poetry and science fiction literature.
He holds a deep respect for plot, creative flow and the context of art, and hopes to forge deeper connections between them around filmmakers dabbling in the dark and macabre.

linktr.ee/Joeclements

The post Best Family Horror Movies appeared first on Puzzle Box Horror.

When it comes to horror movie killers, some are simply smarter than others! As a horror fan, one realizes quickly that the variations between franchises and their villains can be widely diverse. Some horror movies feature hyper-intelligent killers who are able to outwit nearly any protagonist…keeping the audience’s jaw fixed to the floor. Other horror movies invite super dumb killers to the screen who chase their victims best, but with little to no cunning or wit at all! Ultimately, all horror movie killers can be ranked by IQ and their intelligence in kills. So who is the smartest horror movie killer?

Horror Movie Killers, Ranked by Intelligence (IQ)

Puzzle Box Horror has included the most notable killers along with their IQs per our expert opinion. Here is a complete list of our favorite horror movie slashers and killers ranked by intelligence!

Jigsaw [IQ: 158]

Saw’s Jigsaw Killer, John Kramer is so smart that he continues to kill movie after movie, long after his autopsy where we see messages being extracted from his very corpse! One of the most influential factors which make Jigsaw the #1 Smartest Horror Movie Killer, is that he planned all of these additional killings (in one fashion or another) in advance of his own predicted death. If planning weren’t enough, Jigsaw’s traps absolutely reek of genius. He always manages to add a personal flair and the chance of painful retribution for his victims, ultimately making them the bringers of their own demise through choice.

Pinhead [IQ: 154]

Clive Barker’s ingeniously sadistic Hellraiser series brought us one of the more recognizably stylish and unmistakably brutal of horror movie killers, Pinhead. Pinhead is an interesting entity; ominous and authoritative in speech and with a wide variety of demonic torture methods at his fingertips. Summoned with the Lemarchand Configuration, Pinhead draws from another realm entirely, making him far less restricted as a killer than someone of earthbound flesh. In all, Pinhead is one of the most powerful and intelligent killers on this list, with prospects of taking over the entire world!

The Zodiac Killer [IQ: 145]

Based on a real-life killer and told in meticulous detail (The producers even hired a private investigator to track down the real-life Zodiac survivor, Mike Mageau!) David Fincher’s Zodiac gives us a glimpse into a devious and cunning killer with an obsession with ciphers and cryptograms that he would send to the police, claiming that if they were not printed publicly then further killings would occur. The self-named Zodiac was never caught to this day, and some of his codes have yet to even be cracked!

Hannibal Lecter [IQ: 140]

Silence of the Lambs spawned Hannibal Lecter, a devious killer who is able to literally cut open someone’s skull, remove, cook and eat the victim’s brains, all right in front of their eyes! Hannibal is educated, assumes the identity of a doctor, and convinces others to kill and mutilate, making him a super manipulative killer, and the third most intelligent horror movie killer.

John Doe [IQ: 132]

David Fincher’s Se7en gave us one of the sharpest, and easily one of the downright creepiest killers to ever grace the screen with John Doe. As he plays out his master plan of sin-related carnage he stays two steps ahead of the pursuing detectives at all times, only appearing to them, and the audience, when he so chooses. Patient and methodical to a terrifying extent, John Doe is responsible for one of the most chilling endings to a horror film ever, and Kevin Spacey’s skin-crawling performance ensures he stays in your mind long after the credits roll.

Patrick Bateman [IQ: 125]

Mary Harron’s American Psycho is more a pitch-black deconstructive jab at yuppie culture than a straight-up slasher, though the gleefully psychotic centerpiece of this story, the sadistic Patrick Bateman, helps it tread confidently between the two. Patrick is cool, suave and sophisticated, wealthy enough to maintain an illusion of pure class while he satiates his bloodlust in the shadows. He seems to use serial killing as a form of self-improvement and while he is one of the more unstable entries on this list (see his reaction to a colleague’s superior business card for example) he is also one of the more successful and intelligent.

Freddy Krueger [IQ: 121]

Nightmare on Elm Street’s Freddy Krueger is a little predictable, but still puts on a really good show. Freddy pulls off a number of creative deaths and outsmarts a lot of really resourceful protagonists. One of the most important factors to consider, is that Freddy often comes back for victims that have survived the past movies, finding new ways to overcome and slay them. Freddy Krueger maintains a respectable 5th place when it comes to horror movie killer IQs!

Chucky [IQ: 111]

Child’s Play’s Chucky is a doll inhabited by a desperate fugitive serial killer, Charles Lee Ray. Charles is not too bright himself, often being outwitted or otherwise outdone by a child or other dimwit character. However, given the nature of most other horror movie killers, Chucky still rakes in a strong 6th place!

Ghostface [IQ: 102]

Scream’s Ghostface killer ends up being two of the high school students involved in the plot from the start. Protagonist Sidney Prescott’s boyfriend (Billy) and her friend (Stu) are the killers, sharing the same outfit in order to manipulate the characters throughout the scenes faster and with less suspicion. Still, a team of high school killers hatch a plan smart enough to outscore a lot of the more traditional hack and slash jobs!

Michael Myers [IQ: 78]

Halloween’s Michael Myers has a variety of movies to showcase his intelligence, but he just doesn’t meet the bar! He is constantly outsmarted by characters that get away time and time again…most notably being Dr Loomis, who can be found in a number of Halloween movies constantly trying to reacquire and actually track Michael Myers.

Jason Voorhees [IQ: 69]

Friday the 13th’s Jason Voorhees is portrayed as a disabled child in Freddy Vs Jason (2008) and has had several other references made throughout his films insinuating he is mentally challenged. He still manages to kill an astronomical amount of people rather quickly…probably because he is too stupid to play with his food!

Leatherface [IQ: 67]

Texas Chainsaw Massacre’s Leatherface wins the award for the most deranged killer, being that the character is literally mentally challenged. Leatherface is supposed to be the result of a redneck, Texas inbred family (referenced in some of the flicks themselves), who lives life by following family orders. Still, as low of an IQ as Leatherface might have, he is no less entertaining, finding ways to make the same types of kills interesting every time!

Final Word on Who is the Smartest Killer

Not all of the killers we see in horror flicks are slashers, making the running a lot harder for first place! There are many creative ways a smarter killer is able to showcase a death and a lot of these movies feature proof of exactly that!

Have a killer you’d like to see ranked? Leave your comment below and we’ll assess the monster/slasher and add them to the list!

Tritone

Tritone’s love of horror and mystery began at a young age. Growing up in the 80’s he got to see some of the greatest horror movies play out in the best of venues, the drive-in theater. That’s when his obsession with the genre really began—but it wasn’t just the movies, it was the games, the books, the comics, and the lore behind it all that really ignited his obsession. Tritone is a published author and continues to write and write about horror whenever possible.

puzzleboxhorror.com

The post Who is the Smartest Horror Movie Killer? appeared first on Puzzle Box Horror.

For those who don’t know, Train to Busan (2016) was a hugely successful south-Korean zombie flick from 2016, which made use of its tight £8.5 million budget to create, believe it or not, a unique and exciting entry into the world of modern zombie films. The film utilised strong direction, a cast including zombies played by dancers and contortionists, exhilarating action in a snowpiercer-esque limited setting and some genuinely emotional moments to engage critics the world over. Then, the one thing happened that nobody really wanted: Next Entertainment went and got sequel fever. 

Train to Busan worked because of its limited setting and, dare I say, its limited budget. A common gripe with sequels of films like this is that they go “all Hollywood” and layer in as many computer-generated effects as they can over a rushed plot and basically try to crank every aspect up to eleven, many times missing the point of what made the original great and alienating those who appreciated it the most. That, sadly, is exactly what has happened here. 

Train to Busan presents: Peninsula Has No Heart

Firstly, the heart of Train to Busan has been ripped out in Peninsula and replaced with one mechanical and unfeeling, one that tries desperately to imitate the organic beating of its predecessor while any right-minded viewer frowns at the blatant algorithms forming their emotional experience. Basically, the sentiment is so forced into Peninsula that it borders on emotional manipulation at several points, wherein the film may as well have held up title cards saying FEEL NOW rather than spend so much time lingering on mediocrely-portrayed anguish and cheap, oh so cheap misdirection. Without spoiling anything, I honestly wished they’d committed to the more tragic ending that was implied in the final scenes rather than backpedal in their inferral that we as viewers couldn’t handle it.

That being said, for the most part Peninsula knows what it is, and as a result is a fast-paced and often fun action movie. Much of the claustrophobic tension falls by the wayside for car chases and gunfights so heavy on CGI that one would be forgiven for thinking they’d wandered into Zack Snyder’s latest picture. Every time we are shown a crowd of zombies, which here serve more as fodder than a threat, at least half of them look superimposed or computer generated which, along with the borderline cartoonish style, can break immersion regularly. Some of the long-take action scenes are competently pulled off and enjoyable, even despite feeling a little derivative. Any scene in which a somehow-indestructible car mows down hundreds of computer-generated undead (which happens more than enough) is enough to draw an exasperated groan from anyone familiar with modern, high-budget zombie flicks. 

Aside from a few unique ideas, such as twisted survivors throwing strays into their zombie arena to battle captured undead and a clever idea involving a little girl and her remote-control cars, a lot of Peninsula feels a little too familiar to justify its runtime. If they are indeed setting up a series of zombie films here then I hope they continue the variation in concept and boil things back down in an attempt at a more focused zombie flick. We all know the genre has more to give, if only those creating it could show enough restraint to remember what made zombies great in the first place. 

Joe Clements

Joe first knew he wanted to write in year six after plaguing his teacher’s dreams with a harrowing story of World War prisoners and an insidious ‘book of the dead’. Clearly infatuated with horror, and wearing his influences on his sleeve, he dabbled in some smaller pieces before starting work on his condensed sci-fi epic, System Reset in 2013.Once this was published he began work on many smaller horror stories and poems in bid to harness and connect with his own fears and passions and build on his craft.
Joe is obsessed with atmosphere and aesthetic, big concepts and even bigger senses of scale, feeding on cosmic horror of the deep sea and vastness of space and the emotions these can invoke. His main fixes within the dark arts include horror films, extreme metal music and the bleakest of poetry and science fiction literature.
He holds a deep respect for plot, creative flow and the context of art, and hopes to forge deeper connections between them around filmmakers dabbling in the dark and macabre.

linktr.ee/Joeclements

The post Train to Busan presents: Peninsula (2020) appeared first on Puzzle Box Horror.

10. Night of the Living Dead — Mommy Dea(d)est. 

George Romero’s 1968 masterpiece is one of the most influential horror movies ever made. Borrowing from both Caribbean folklore and the works of Richard Matheson, Night of the Living Dead single-handedly invented the zombie movie as we know it. Its black and white photography and over-the-top acting may betray its 60s origins, but the brutality and nihilism of the film have not aged a day. 

Although its sequels would up the gore factor, neither of them contain a kill as effective as the one at the climax of Night. In the most blood-curdling scene of the movie, a zombified girl mercilessly hacks her mother to death with a trowel 

before chowing down on her corpse. The sound mixing and editing in this scene elevate it into a nightmarish fever dream. Most chilling of all, though, is the scene’s symbolic significance. In a world in which sweet young girls kill and eat their own mothers, truly nothing is sacred. 

9. Scream — What’s Your Favorite Scary Movie? 

By the mid-90s, horror had become exhausted. A deluge of unimaginative slashers and never ending sequels had turned the genre into a punchline. Wes Craven’s Scream couldn’t have come at a better time. Hilariously skewering slasher tropes, Scream also stands alone as one of the best horror movies of the decade. 

And what is a great slasher without a great first kill? Scream’s is certainly one for the books, taking the controversial choice to kill star Drew Barrymore before the opening credits even roll. The scene is a masterclass in tension and terror. What begins as a playful phone conversation about scary movies escalates into the quiz show from hell, culminating in a chase that introduces the now-iconic Ghostface. When the victim’s parents discover her mutilated corpse, guts hanging out, you know you’re in for a grisly ride. 

8. The Texas Chainsaw Massacre – Hammer Time. 

Tobe Hooper scares me. Yes, I know we’re supposed to separate the artist from the art. But anyone who could make a movie as grimy, disturbing, and punishing as loosely based on a true story The Texas Chainsaw Massacre has to have a few screws loose, right? Sadly, Mr. Hooper passed away in 2017. The uncompromising horror of Texas Chainsaw, however, will live forever. 

Ironically, the most iconic kill in the original Texas Chainsaw Massacre doesn’t involve a chainsaw at all. Instead, Leatherface dispatches his first victim with a short, sharp blow with a hammer. The sound design and editing of the scene are brilliant for their simplicity – it is easy to forget that no real gore is shown. But it is the nonchalance of the action that really raises the terror factor; you get the impression that Leatherface does this sort of thing every day, seeing human beings as nothing more than a potential next meal. 

7. Hereditary – Don’t Lose Your Head! 

The most recent entry on this list is also the one that quite possibly traumatized me the most. In the few short years since its release, Ari Aster’s Hereditary has earned a fearsome reputation for grueling and unflinching horror. Ask any horror fan what the scariest movie they’ve seen recently is, and there’s a good chance Hereditary will be the answer. 

Does it count as a kill if the “killer” is a telephone pole? No matter: the sudden and shocking decapitation of Charlie in Hereditary is the most harrowing death scene I have seen in years. The moment of death is effective enough, but it is the scenes that come after which really push the horror to unflinching extremes. The image of Peter lying awake all night, after he knows what he has done… the parents’ screams in the morning… the slam cut to the severed head covered in ants… I’m shivering just writing about it now. 

6. Nightmare on Elm Street – Depp Red

Halloween and Friday the 13th may have laid the foundation for the slasher subgenre, but Nightmare on Elm Street is arguably more iconic than both franchises. This is due, of course, to the incomparable Freddie Kreuger, the most charismatic and creative figure in the whole slasher villain pantheon. 

This kill from the first Nightmare is a classic example of Freddie’s style: gory, over-the-top, and darkly hilarious. As our heroine Nancy hopelessly attempts to warn him, Glen (Johnny Depp!) is dragged into his mattress and transformed into a literal blood tornado. It’s one of the most memorable moments from the original film, and serves as a perfect calling card for the one and only Freddie Kreuger. 

5. Alien – Getting Something Off My Chest. 

Is Ridley Scott’s Alien a horror movie, or just science fiction? Who cares? It remains one of the scariest and influential movies of the 1980s, regardless of the genre labels you throw on it. But even if it contained nothing more exciting than the kill I’ve highlighted here, it would be an unforgettable film. 

Obviously I’m talking about the chestburster scene, one of the most gruesome kills ever put on film. As the crew of the starship Nostromo is enjoying a meal following a close encounter with some overly affectionate aliens, John Hurt doubles over and clutches his chest in pain. The next few moments are a blur of blood and guts that should be enough to put anyone off their meal. Some of the film’s following scenes may be more claustrophobic and violent, but none are as viscerally horrifying. 

4. The Omen – Look At Me, Damien! 

The Omen was sort of the Hereditary of its day: a classy film, featuring respectable actors and directors, that nevertheless plumbed the depths of modern American horror. Dealing with blasphemy, bestiality, and infanticide (among other nasty topics,) it is honestly a little shocking that The Omen was so popular with contemporary audiences. 

It was hard to pick just one kill from this movie, as there are several memorable ones. Honorable mention is reserved for the encounter between photographer Keith and a pane of glass, but the real prize goes to the sucide of five-year-old Antichrist Damien’s nanny. Announcing in a ghoulishly cheerful voice that she

is doing it “all for you!,” the nanny hangs herself from a high window in front of a crowd of children. Forget the end times – the therapy bills for those kids will be the real horror story. 

3. Halloween – Sibling Rivalry. 

When John Carpenter was tasked with making a film about some babysitters getting murdered, there was no way he could have known what he was starting. Cut to just a few years later, and the slasher would become the defining subgenre of horror, earning equal parts applause and criticism. It’s hard to believe it all started with a movie as simple – and as well executed – as John Carpenter’s Halloween. 

The slasher is one of the most formulaic of horror subgenres, and nearly all of them start with a flashback to the killer’s childhood. In this case, the audience peers through the eyes of young Michael Myersas he murders his sister with a 

butcher knife. Although not as bloody as later slashers would become, the use of POV, the sound design, and the iconic score make this kill effective to this day. Michael Myers would go on to slaughter dozens of teens, but his first kill will always remain the most memorable. 

2. Jaws – Don’t Get In The Water! 

Jaws changed everything. Considered the first true blockbuster, this summer chiller by a little director named Steven Spielberg didn’t just make audiences scared to go into the water; it drew them to the theaters in droves, forever transforming the way Hollywood made and sold movies. 

When it comes to the kills in Jaws, nothing can beat the horror of the first five minutes, in which a tipsy, reckless co-ed decides to go out for a nighttime skinny dip. While such shenanigans are inadvisable in a horror movie setting, can you really blame young Chrissie for thinking the water was safe? As John Williams’ ominous score picks up in volume, the audience can only watch in terror as she is dragged to her watery fate. It’s not the bloodiest kill of 70s horror, but it may well be the most important in the long run. 

1. Psycho – Showertime.

While it did not exactly follow the formula that would be cemented by Halloween, Psycho remains the great-granddaddy of all slasher movies to come. Michael Myers, Ghostface, Leatherface, and more would never have slit a single throat if Norman Bates hadn’t first slipped into his mother’s dress and paid an unsuspecting visit to poor Marion Crane. 

Of course I’m talking about the shower scene. What list of horror movie kills would be complete without it? Whole books have been written on this iconic scene, and the ways that it uses editing, music, and performance to capture sheer horror. While it is hard for modern audiences to appreciate just how shocking this scene was, its importance cannot be understated. Every other kill on this list owes its existence to the shower scene – one could even argue that the entire genre of modern horror was born in these three minutes.

Meadow Green

Joseph Green is a writer, filmmaker, and lifelong horror nut. When he isn’t watching horror movies or listening to heavy metal music, he is writing articles about them.

The post Puzzle Box Top Ten Classic Horror Movie Kills appeared first on Puzzle Box Horror.

1978’s Dawn of the Dead is a movie about decadence in every sense of the word. Faced with the threat of human extinction, the film’s heroes barricade themselves inside a shopping mall, living out a consumerist utopia while zombies run rampant outside. The more they lose themselves in material pleasures and hedonism, the more obvious it becomes that the world as they know it has ended. This horror classic from George Romero is a scathing indictment of a civilization in decline, a chronicle of American decadence in all of its glitz, glamor, and gore.

Initially, the social commentary in Dawn of the Dead may seem a touch on-the-nose. Watching zombies stagger around the mall, the characters comment how their behavior is not so different from before. They return to the mall due to “some kind of instinct,” says Stephen (David Emge), “a memory of what they used to do.” Horrified by the almost-human behavior of the shopping dead, Francine (Gaylen Ross) asks: “What are they?” Peter (Ken Foree) responds: “They’re us, that’s all.” There is little difference, Romero implies, between the mindless consumerism of 1970s America and the shambling of an undead horde.

Direct equivalence between mall-goers and zombies, though, is a more simplistic reading than Dawn of the Dead deserves. A richer meaning can be found by moving beyond simple metaphors and thoughtfully examining the dynamics between human beings and their environment. What this cinematic “dissection” reveals is a recurrent motif of decadence. Throughout the film, there is a consistent mismatch between living, flourishing tissue on the outside, and stagnation and decay beneath the surface. The characters who are unwilling to recognize the ugliness beneath a thin veneer of decadence are doomed; the only hope for survival is to stop living in denial and face the grim, unavoidable truth.

Dawn of the Dead 1978 Original Trailer

This mismatch is present from the very beginning of the film, and harkens back to Romero’s original Night of the Living Dead. In Night, the news was a source of security — TV anchors gave advice to survivors throughout the film, even directing them to evacuation sites. In the first moments of Dawn, however, we are taken behind the scenes at a news station where it is clear that nobody knows what they are doing. The studio is in chaos, with half of the staff yelling over one another, and the other half abandoning their posts. Even the list of evacuation sites from Night is revealed to be out-of-date — although this last detail does not stop an executive from insisting that the studio continue to broadcast the list. What’s sending a few survivors to their deaths, after all, as long as viewership remains high?

Right after this introduction comes another crucial sequence, in which a unit of the National Guard invades a public housing complex whose tenants have refused to give up their dead. By clinging to old rituals and refusing to accept their new reality, these tenement-dwellers have locked themselves in with a horde of zombies. More depraved, though, is the behavior of the National Guard toward these (mostly black and latinx) civilians; they fire machine guns indiscriminately, causing more deaths than the zombies themselves. Hidden beneath a thin layer of government-sanctioned authority, the moral decay of these unhinged, bigoted soldiers is apparent. Once again a curtain is whipped aside, revealing the ugly truth of a society hopelessly in decline.

These two introductory sequences expose how central institutions of modern America — media and law enforcement — are thin bandages over seeping wounds. The rest of the film, set almost entirely in the shopping mall, doubles down on this theme. Even after our heroes establish a secure base camp with enough supplies to last a lifetime, there is little comfort to be found. The novelty of an unlimited shopping spree wears off quickly, and it is soon clear that they are merely going through the motions of decadence. The more they distract themselves with lavish outfits and expensive toys, the more their consumerist paradise resembles a slaughterhouse.

Eventually the contradictions between outer decadence and internal decay become impossible to reconcile. After one of the four is killed securing the perimeter of the mall, the others decide they would rather face an uncertain future than die inside a prison of their own making. This about-face comes too late, though, as their attempts to flee attract the attention of a roving gang of bikers. The sinister delight with which the bikers descend on the mall may seem a bit over the top, but that is the point. Other than their lack of restraint, there is no substantial difference between these cackling Mad Max rejects and our own heroes. If the world as they know it has died, then what is really more depraved: basking in decadence, or stripping it for parts?
As the ending credits play over a cheerful montage of zombies romping through the mall, the film’s message stays with the viewer like a bad taste.

If Night of the Living Dead showed America as a powder keg ready to burst, then 1978’s Dawn of the Dead makes the claim that it has been dead for years already; we are simply living our last, decadent years inside its rotting corpse. What better way to illustrate this than to juxtapose the literal walking dead next to the rituals of modern consumerism? George Romero proved with his followup to Night that he could go bigger, bloodier, and more ambitious. But more than forty years later, it is the powerful social message of this horror classic that stands out the most.

Meadow Green

Joseph Green is a writer, filmmaker, and lifelong horror nut. When he isn’t watching horror movies or listening to heavy metal music, he is writing articles about them.

The post The Decadence of Dawn of the Dead 1978 appeared first on Puzzle Box Horror.

The Horrific Story of Dennis DePue

Here we introduce Dennis DePue, a disturbed murderer and a direct influence on the character of the Creeper himself. Dennis’ story, and that of his wife Marilynn and their three children, follows unsettlingly similar beats to that of Salva’s 2001 pseudo-slasher, though the reality is far more horrifying than any fictional, bat-winged killer scarecrow could hope to be.

Marilynn had many, many opportunities to treat me fairly during this divorce, but she chose to string it out, trick me, lie to me. And when you lose your wife, children, and home, there’s not much left. I was too old to start over.

Dennis DuPue

Following building tensions on an already tense marriage, forty-six-year-old Dennis DePue had murdered his forty-eight-year-old wife Marilynn earlier that day, beating and pushing her down a flight of stairs, as reports go. He carried her body to the car, telling their children that he was taking her to the hospital. They never saw her again. her body found by an eerie old school bus also ties back to Jeepers Creepers as it is similar how the creeper stores his bodies.

DePue was found only when his story aired on Unsolved Mysteries. Having changed his name and attracting a new girlfriend, Mary, DePue was living happily as Hank when his story was made public. After he disappeared and Mary discovered who he really was, she contacted the police immediately and DePue was located within just four hours. After firing a couple of warning shots at approaching officers, DePue then turned the gun on himself, thus ending the grim saga.

Comparing the intro to DePue’s Story

AndersYdna on youtube got creative and spliced together the intro from Jeepers Creepers and the Unsolved Mysteries story about Dennis DePue to show the similarities. It’s a quick 10 min watch.

The Thornton’s True Story Inspiration

April 15th, 1990. A couple, Ray and Marie Thornton, set off on their weekly routine of a peaceful country drive outside of Coldwater, Michigan. Little did they know that their usual Sunday tradition would this week land them in the centre of a horrific and bloody mystery. As they drove south on Snow Prairie Road a strange van revved loudly from behind as it sped past them. Marie noticed that the van’s license plate began with “GZ”, exclaiming, “jeez, he’s really in a hurry”.

Some miles down the road, the Thorntons passed an old schoolhouse where they saw the mystery van a second time. The van was parked between the school and a huge tank, and its driver was carrying a blood-soaked blanket across the grounds. Not long after this, the now-clearly-dangerous stranger was behind them once more, this time tailgating them within inches for at least two miles. As Ray pulled off the highway, the van parked itself at the side of the road and the bold Thorntons decided to swing back in an attempt to see the rest of its license plate. When the mystery driver was seen changing his license plate, the Thorntons decided to head back to the schoolhouse where they found the bloodied blanket partly stuffed into a rabbit hole. They immediately went to the police.

Is Jeepers Creepers Based on a True Story?

While many Jeepers Creeper fans will see a lot of similarities between what the brave Thorntons did (and saw) that day and the establishing minutes of Jeepers Creepers, the reality is no less harrowing than Salva’s reimagining. Although DuPue seems to have a direct influence on the Creeper it does not appear to be based purely on him.

https://unsolvedmysteries.fandom.com/wiki/Dennis_DePue
https://www.truecrimeedition.com/post/dennis-depue
https://reallifevillains.miraheze.org/wiki/Dennis_DePue

Joe Clements

Joe first knew he wanted to write in year six after plaguing his teacher’s dreams with a harrowing story of World War prisoners and an insidious ‘book of the dead’. Clearly infatuated with horror, and wearing his influences on his sleeve, he dabbled in some smaller pieces before starting work on his condensed sci-fi epic, System Reset in 2013.Once this was published he began work on many smaller horror stories and poems in bid to harness and connect with his own fears and passions and build on his craft.
Joe is obsessed with atmosphere and aesthetic, big concepts and even bigger senses of scale, feeding on cosmic horror of the deep sea and vastness of space and the emotions these can invoke. His main fixes within the dark arts include horror films, extreme metal music and the bleakest of poetry and science fiction literature.
He holds a deep respect for plot, creative flow and the context of art, and hopes to forge deeper connections between them around filmmakers dabbling in the dark and macabre.

linktr.ee/Joeclements

The post Is Jeepers Creepers Based on a True Story? appeared first on Puzzle Box Horror.

An Iranian couple living in the US are lost on their way home from a night of drinks at a friend’s house. After arguing by the roadside over how to proceed, they eventually come across the majestic yet eerie Hotel Normandie, and decide to stay the night. What follows are enough spectral shenanigans and psychological trickery to satisfy Stephen King; And although it does tread similar ground to the fantastic 1408 (2007), The Night manages to hit hard in its own stylish and weighty manner. 

Invoking a similar claustrophobic dread to films such as The Borderlands (2013) and perhaps to a lesser extent Grave Encounters (2011); The Night presents us with the feeling that the characters we follow are being tortured to the full extent of their psychological threshold. To the disappointment of some, the film feels perhaps a little too scare-restrained to cross the border from unnerving to fully frightening. What area of the horror spectrum it does fall under, however, it owns to the fullest degree. 

The domestic troubles of lead couple Babak (Shahab Hosseini) and Neda (Niousha Noor) are apparent from the opening scenes, and it’s these demons and their collective secrets they must face if they are to survive their night at Hotel Normandie. Though slow in pace, the film is pulled along with ease by Hosseini and Noor’s compelling and involving performances. Additional characters show their faces now and then to instill some terror, shoving along a plot which keeps the brain whirring up until its revelatory, mind-bending third act.

And the ending…oh, that ending. 

For a story of personal demons and their manifestations, the inference of real threat is a potent one. Dread builds through long -often hypnotic- camera takes, the slightest facial twitch indicating more than a monologue could ever achieve. The mesmerising effect of this style admittedly left me forgetting my place on more than one occasion, which is brilliantly appropriate. This, along with the heaps of mystery still seemingly looming beneath the surface even as the credits roll, absolutely warrants repeated viewings. The few jumpscares that were included are delivered with impeccable timing and accented with such dreadful musical spikes that I rejoiced at their inclusion, and I haven’t enjoyed a jumpscare since The Ring (2002). 

The Night takes its time and strikes when it needs to with uncanny precision. Starting slow (almost deceptively dull), this build-up should be taken as such, and immersion in the world of these brilliantly acted characters is a top priority. This exquisitely-balanced drama/horror blend is a pleasant surprise from Ahari and hopefully a promising look at a bright future in cinema. I felt lost within the Hotel Normandie, which I would say is the highest possible praise for a film with The Night’s intent. 

The Night 2020 Movie Trailer

Joe Clements

Joe first knew he wanted to write in year six after plaguing his teacher’s dreams with a harrowing story of World War prisoners and an insidious ‘book of the dead’. Clearly infatuated with horror, and wearing his influences on his sleeve, he dabbled in some smaller pieces before starting work on his condensed sci-fi epic, System Reset in 2013.Once this was published he began work on many smaller horror stories and poems in bid to harness and connect with his own fears and passions and build on his craft.
Joe is obsessed with atmosphere and aesthetic, big concepts and even bigger senses of scale, feeding on cosmic horror of the deep sea and vastness of space and the emotions these can invoke. His main fixes within the dark arts include horror films, extreme metal music and the bleakest of poetry and science fiction literature.
He holds a deep respect for plot, creative flow and the context of art, and hopes to forge deeper connections between them around filmmakers dabbling in the dark and macabre.

linktr.ee/Joeclements

The post The Night 2020 – Creepy Hotels and Psychological Terror appeared first on Puzzle Box Horror.

Horror movies have given us some of the most menacing and violent on-screen villains since the dawn of cinema, though these masked maniacs are nothing without a trusty weapon with which to do their dirty work. The chainsaw is one of the most iconic weapons in horror next to Michael Myers’ kitchen knife, Jason Voorhees’ machete and Freddy Krueger’s knifed glove, and one particular Ed Gein inspired psychopath is the first to come to mind when this grisly, tree-felling tool is mentioned: Leatherface. Aside from Leatherface, there are probably more chainsaw horror movies than you might think out there.

The chainsaw has no particular style or grace, it is the choice of weapon for when your target must absolutely come to the utmost harm you can possibly befall them. It won’t just cut, it’ll carve, grind and mangle. Think you can hide indoors? Those doors better not be made of wood, or whoever’s wielding that snarling, toothed engine won’t be held back for long. Even the most hyperviolent video games aren’t complete without allowing their players to wield the chainsaw, with titles such as DOOM, Gears of War, Manhunt, Left 4 Dead and a good amount of other zombie games on the market including the weapon. That being said, the first exposure most audiences had to the flesh-ripping nature of the chainsaw was through film, so please enjoy the most heinous, violent and barbaric depictions of on-screen chainsaw violence in history.

The Wizard of Gore (1970) 

Herschell Gordon Lewis’ The Wizard of Gore is arguably one of the first horror movies to bring a chainsaw to proceedings, and this early 70s forerunner to post-9/11 torture porn does so with gusto. Deranged magician Montag the Magnificent (Ray Sager) invites women onto his stage show where he performs grisly illusions upon them, usually by dismembering them in some way, before having them return to their seats magically unharmed. Later, when the women begin dying for real in ways identical to their ‘deaths’ on stage, people begin to suspect there is more to Montag than simple magician’s tricks. Featuring plenty of over the top gore and an ending likely to confuse as much as it does enthral, fans of classic cult horrors should take note.

The Last House on The Left (1972)

Wes Craven, who would later carve his own legacy in the annals of American Horror, first directed a harrowing and highly sexualised revenge horror in 1972. Other than a previous adult film, this was Craven’s directorial debut and it is clear he was out to shock from the start. Later re-releases dub The Last House on The Left as “The Original Chainsaw Massacre”, though the weapon is not actually featured until the film’s final act. Rather than wince when the snarling saw is finally brandished, however, audiences will shout encouragement at its wielder as he sets it upon the man who raped and killed his daughter. This shock revenge flick has as satisfying an ending as any that came after it, and the loud, intense edge of the chainsaw is partly to thank for that.

The Texas Chainsaw Massacre (1974)

This is the big one, folks. Directed by Tobe Hooper and unleashed to shock unsuspecting audiences around the globe in 1974, Texas Chainsaw is not only the ultimate exercise in chainsaw-based carnage, but still remains one of the most unsettling and intense horror movies to this day. Advertised and being based on a true story it was all too real for some audience members. With a whole family of antagonists including the instantly recognizable, Ed Gein-inspired Leatherface, Hooper’s classic brings a specific flavor of nastiness that is often imitated, though never quite perfected.

Motel Hell (1980)

Kevin Connor’s 80s black comedy/horror centers around siblings Vincent and Ida Smith (Rory Calhoun & Nancy Parsons) who run a motel along with a food stand selling their world famous sausages. After some investigation it is revealed that the origin of their meat surplus has a gruesome connection to the disappearance of a few guests, and farmer Vincent must do everything he can to protect their secret. Featuring darkly comical gore, lively performances all round and the pig-masked Vincent brandishing a huge chainsaw, this early 80’s cult classic is perfect for those who want a good laugh with their gore. 

The Evil Dead (1981)

The Evil Dead might not have been the first use of the chainsaw in horror history, though it is easily one of the most recognizable. It is used by protagonist Ash Williams to cut off his own possessed hand in Evil Dead 2 (1987), before he fits the tool to his dismembered stump as a gruesome prosthetic, making it all the easier to hack through the forces of darkness. It was also used to great effect in reboot Evil Dead (2013) where it is shoved down the antichrist’s throat mid-blood rain in one of the most insane climax shots ever. While the chainsaw would later become Ash’s signature in the later films, it was first introduced in the original The Evil Dead (1981) when Ash tries to slice his beloved Linda in half and can’t bring himself to, opting to bury her instead, which goes as well as one would expect. 

Pieces (1982)

Pieces is about as campy and scattershot an affair as one would expect from an early 80’s slasher. A group of college co-eds in Boston are stalked by a mysterious killer wielding a chainsaw, who steals body parts from each victim for a bloody jigsaw puzzle. Like many of its era, Pieces displays gratuitous gore, even more gratuitous nudity and a knowing edge that stops it from taking itself too seriously. What it also includes, however, are many absurd and almost random scenes that seemingly have no purpose other than to divert from an otherwise very standard and conventional plot. It is an absolute mess of a movie, but maybe that’s just your kind of thing. 

American Psycho (2000)

Directed by Mary Harron and adapted from Bret Easton Ellis’s 1991 novel of the same name, American Psycho is a humorous, horrifying and intriguing look at the life of Patrick Bateman (Christian Bale). Bateman, a wealthy investment banker from New York, is also a serial killer who moves from departing the homeless, to colleagues who annoy him, and then to random members of the public, seemingly unable to contain his psychotic urges. The film employs plenty of good humor alongside its visceral brutality, playing with the fragile ego of the unreliable narrator Bateman on such subjects as music, sex and even the business cards of his fellow bankers. One particularly harrowing scene shows Bateman chasing a prostitute around his apartment complex, completely naked and brandishing a chainsaw. As his victim descends the spiral staircase to escape, Bateman smugly allows the chainsaw to fall towards her rather than chasing her himself. The energy and menace Bale brings to his role is enough to make any lumberjack look twice at his trusted power saw.

Tokyo Gore Police (2008)

Next up is a fantastic Japanese splatter action directed by Yoshihiro Nishimura which features, true to its name, buckets of blood and guts along with some truly bizarre weapons and mutations. Think Power Rangers but with more cybernetic body modification and gore-soaked mayhem than you can shake a severed tendon at. Rather than anyone running the the woodshed for their trusty tree-feller, the creatures that vengeful police officer Ruka (Eihi Shiina) must fight have the things coming from every orifice of their mutated bodies! Like some overblown cyberpunk nightmare, TGP comes through with some of the weirdest gore-based spectacle on offer. With raving critical and audience reviews, this serves as a perfect introduction to Japan’s infinitely obscure splatter scene, and gore movies in general, keeping things funny, interesting and completely unexpected until the final frame.

Dead Snow (2009) 

If there’s one thing more morally fogiveable than killing Nazis, it’s killing zombies. This 2009 Norwegian horror/comedy combines the two, along with a healthy splattering of references to the greats (Evil Dead mainly), for an end result which is as hilarious as it is gruesome. Naturally, a homage to Raimi’s classic would have been nothing without that famous buzzing blade being used to dismember a few fascist undead, and director Tommy Wirkola took great pleasure in crafting an epic battle scene between our chainsaw-wielding heroes and a horde of the rotting horrors on a snowy mountain plane. The scene in question could be placed with the likes of the famous lawnmower scene in Peter Jackson’s Braindead (1992) as one of the most fun pieces of brutal mass-killing to watch on screen. Be sure to also check out the sequel.

Mandy (2018)

In terms of 80’s soaked grindhouse violence, Mandy has everything. A revenge plot from the deepest fever dream of the cinema obsessed Panos Cosmatos, Mandy serves to scratch an itch for all lovers of overblown gore and gut-wrenching storytelling. And if these fanatics are anything like me, then near the top of their list of hopeful scenes is the conceptually legendary, yet criminally underused, chainsaw fight. Cosmatos didn’t only decide to craft one of the greatest face-offs in recent memory, but was so proud of it that he included it on the film’s cover art. This kind of boldness and confidence is what draws me to projects such as these, and I for one am waiting with bated breath for whatever darkness Cosmatos casts over us next.

Chainsaws in Horror Movies

Well that’s a wrap on some must see chainsaw wielding maniacs. If you need more you can always dig into the iconic Texas Chainsaw Massacre franchise, makes for a nice binge weekend if you can stomach it. With that said we are promised a new film from the franchise in 2022. Will you be there with proper ear and eye protection as we witness the revival of Leatherface?

Joe Clements

Joe first knew he wanted to write in year six after plaguing his teacher’s dreams with a harrowing story of World War prisoners and an insidious ‘book of the dead’. Clearly infatuated with horror, and wearing his influences on his sleeve, he dabbled in some smaller pieces before starting work on his condensed sci-fi epic, System Reset in 2013.Once this was published he began work on many smaller horror stories and poems in bid to harness and connect with his own fears and passions and build on his craft.
Joe is obsessed with atmosphere and aesthetic, big concepts and even bigger senses of scale, feeding on cosmic horror of the deep sea and vastness of space and the emotions these can invoke. His main fixes within the dark arts include horror films, extreme metal music and the bleakest of poetry and science fiction literature.
He holds a deep respect for plot, creative flow and the context of art, and hopes to forge deeper connections between them around filmmakers dabbling in the dark and macabre.

linktr.ee/Joeclements

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