Yes, we're back again with ten further hidden highlights of horror cinema for you to sink your sharpened teeth into. And it should come as no surprise that there are a whole host more bone-shakers and nail-biters that haven't yet had their due.
The perfect horror movie comes in many forms, and in the 21st century in particular the genre has adopted a flexibility allowing it to seep away from the traditional models presented by the slasher, shocker and exploitation flicks of the past and take on unexpected nuances from some of film's other areas. This is precisely where we find many of the movies in this article, treading the boundaries between horror and comedy, social drama, cinematic deconstruction and all the other places we may not expect them to go.
But why have these blood-soaked and mind-altering gems hitherto failed to find the fanbase they so obviously deserve? Sure, the mixing of genres and unorthodox approaches may be part of it, but more often it is the doing of confused marketing teams, limited or non-existent theatre releases, hipster audiences who don't want to share the spoils, and the bottomless pit of VOD that titles find themselves released into, freefalling through the algorithms.
Alas, for these films at least, those days are over! Time to enjoy ten more perfect horror movies you've never heard of.
10. All My Friends Hate Me (2021)
Sometimes the best horror movie is the one that keeps you guessing until the end. Far from masked slashers stalking the streets and body horror gore in every frame, British indie flick All My Friends Hate Me takes the road less travelled and sets up a psychological rollercoaster that winds the tension tight and doesn't show its hand until the final scene.
Returning from volunteering abroad in a refugee camp, Pete (Tom Stourton) reunites his misfit band of university friends to celebrate his 31st birthday on a secluded country estate. But the unwelcome presence of mysterious local Harry (Dustin Demri-Burns) shatters the group dynamic and upends the celebrations. When everything starts going wrong and his friends turn on him one by one, Pete becomes convinced there is a darker plot afoot.
Helmed by TV director Andrew Gaynord (Stath Lets Flats), the film premiered at Tribeca in 2021, and, despite being picked up by BFI for distribution, has largely flown under the radar. It saw a limited run in mid-and-late-2022, briefly championed by indie and arthouse cinemas, but largely lost in the rosters of the big out-of-town multiplexes, and has since been confined to the well-intentioned yet oft ignored archives of the BFI's own streaming service.