Five horror movies to stream right now

Five horror movies to stream right now

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Blasco (Ramiro Blas), a former bullfighter, drives a van that transports people around Spain. He’s a Boer who doesn’t like feminists, and that doesn’t sit well with his three passengers one fateful day: Mariela (“.Cecilia Suárez, a religious woman with cancer, and Lidia (Cristina Alcázar), who takes her sullen teenage daughter Marta (Paula Gallego), to live with Lydia’s ex-husband.

But Blasco’s intensity in the match is the least of the group’s worries. As night falls, they encounter a squirming organism that spits a small worm into Marta’s finger, and soon Blasco crashes his van into a disfigured woman standing in the road. As he takes her to the hospital, she spits out a transparent goo that turns Mariel into a snarling assassin. From there – a slug between people and evil.

This dark horror comedy from Spanish directing duo Raúl Cerezo and Fernando González Gómez is more than a stomach-churning film. It’s also a surprisingly moving look at how people, especially parents and their children, forgive each other when trauma is a parasite with sticky fingers. I don’t know how much the sloppy makeup cost, but the directors got their money’s worth.

I admired more than I liked this folk horror tale set in the lush countryside of 19th-century Macedonia, where the supernatural and the ordinary coexist.

When she turns 16, a mute girl named Nevena (Sara Klimoska) is taken from her mother by a Freddy Krueger-looking demon (Anamaria Marinca), known locally as Old Maid Maria. Maria brutally teaches her new child the ways of shapeshifting, which means Nevena has to cut the people she wants to become, including a young village woman (Noomi Rapace).

Macabre and visually impressive, the film conveys a style of folk horror that is just this side of pretentiousness. Still, writer-director Goran Stolevski and cinematographer Matthew Chuang have collaborated to create a film about a young woman’s quest for self-discovery that includes beautiful passages of sensuality and joy, but also shocking brutality. There is also a subversive queerness: as Nevena becomes a handsome young man, she explores the male body and the expectations that come with it.

Clayton Witmer’s film is a powerfully moody and affecting character drama masquerading as an old-fashioned creature.

Ethan (Drew Matthews) is an introverted locksmith who lives alone in suburban America with his brother (Ryan Davenport) and his family. While driving one night, Ethan comes across a deer carcass and inside he discovers a squirming creature, a cross between a spider and a lobster. He takes him home, where the little guy breaks free from his cage and eventually grows to enormous size. When a neighbor turns up dead one morning, Ethan has an inkling of who the killer is.

At just under two hours, the film is too long to sustain its gruesome ambitions. But it’s a spell weaver. I was particularly drawn to how Witmer takes the monster metaphor in unexpected directions, exploring what it means to grow up and never leave a small town. Ayinde Anderson’s excellent cinematography makes the North Carolina suburbs where the film was shot seem humble and menacing.

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This feature film by Nik van den Brink is a typical supernatural folk horror drama that nevertheless offers a good night’s fright and an ambiguous ending.

Set in the Netherlands, the film begins with Jon (Alexandre Willaume) and his team of investigators working near a peat bog where Betriek (Sallie Harmsen) lives with her young daughter. They make a strange discovery: the long-dead body of a woman with her throat slit vertically. Meanwhile, Betriek’s father sets up a sensor in the yard after the distraught man shouts, “They’re making me do this!” how he attacks the family.

When Betriek and Jonas begin an affair, she tells him that the gruesome events may be connected to a family curse stemming from the unsolved murder of her grandmother. She is right and the curse has its claws on her and her daughter.

I don’t quite understand the demonic myth that fuels “Moloch”; it has biblical roots and has something to do with the hungry female spirit. But that’s okay, because van den Brink’s film pulsates with tension and delivers the odd scare, like the odd scene where Betriek confronts a possessed child in an elevator. The incredible final scene is chilling.

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Although it borrows from Ju-On: The Grudge, The Vigil, and other horror films, DM Cunningham’s gripping low-budget ghost story still scares on its own terms.

The film opens on a stormy night in a cell as James (Peter Tell) tells his prison counselor (Sherryl Despres) about the harrowing events of the terrible day. Flashing back, James explains that he was a police deputy who once had to guard a corpse found in the woods near the cabin. He started seeing red poppies and a woman in a red coat, clues to why he was there, who the victim was, and what a fellow officer (Haley Heslip) had to do with it all. As he remembers the horrific horror that ensued, we learn that James is harboring terrible secrets that the slip of paper could never hide.

From pacing to chronology, this movie is out of whack; dream states and reality share space in scenes that do not flow into each other. But Tello’s darkly comic performance and Cunningham’s adventurous direction make it work. That means racing to a confusing end to the movie’s many detours, from zombie comedy to sci-fi thriller to Hallmark romance.

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