Five horror movies to stream now

It’s Halloween night and Jake (an intense Eric Tabach) is a video editor working out of his New York City apartment on a local TV report...


It’s Halloween night and Jake (an intense Eric Tabach) is a video editor working out of his New York City apartment on a local TV report on a fatal traffic stop involving a police officer and a former US attorney general. State. When Jake receives an email from the state press office marked “Confidential,” he opens it to find dashcam evidence suggesting that what happened on the road that night may have been. an assassination.

The frightened Jake, who dreams of being a journalist, leaves his apartment to search for a clue he thinks is hidden in Washington Square Park. But what is the idling car in front of his apartment?

Nilsson cited Francis Ford Coppola “The conversation” as a source of inspiration, and it shows. “Dashcam” comes to a head when audio and video clips, and Jake’s surgical adjustments, orient the paranoia-driven story. Over 82 confusing minutes, Nilsson draws great suspense from seemingly unnecessary moments, like when Jake sits down and listens to audio tracks. The muted underline that seems to come from the next apartment adds a sinister sonic side.

Stream it on Shudder.

The 2019 documentary “Black Horror” was a late revealing look at black Americans and their place and relationship with horror films. Using the same title, this anthology highlights black actors, filmmakers, and six ghoulish tales that include bloodsuckers, a possessed house, and, as one character puts it, “Satan his damn self.”

There are two salient points. “Get Out” meets “Midsommar” in Kimani Ray Smith’s very funny horror comedy “Sundown”. Erica Ash and Tone Bell play a couple whose political canvassing in rural West Virginia is interrupted one night by local racist vampires.

The other is “Brand of Evil” by Julien Christian Lutz. It’s a Faustian story about Nekani, a young gay artist (Brandon Mychal Smith) who begins to receive high paying commissions from a mysterious patron. When Nekani learns that his client’s creations are symbols of hate, he struggles to balance grim missions with big bucks. Regardless: his fate has been sealed, with devastating consequences.

Stream it on Hulu.

Jaco Bouwer’s film is several genres in one: popular horror, ecological horror, survival movie, creature feature. They are also killer fungi.

The film opens as two South African rangers, Gabi (Monique Rockman) and Winston (Anthony Oseyemi), paddle a river. Their aerial surveillance drone crashes, but not before Gabi sees a figure on camera. Entering the forest to investigate, she injures her foot in a trap, but manages to reach the dilapidated home of survivors Barend (Carel Nel) and her son Stefan (Alex van Dyk). Later, after the three fend off a creature that invades the cabin, Gabi realizes that dark supernatural forces are at play in the father and son’s devotion to Mother Nature.

The message of the film is a folk horror brown: nature is good and the technology and the city are bad. What’s refreshing is Jorrie van der Walt’s mind-blowing cinematography, making flora – the film was shot in South Africa Garden Route region – seem breathtakingly luxuriant.

The film often looks like a fashion commercial – wild mushroom spores float like twinkling stars and cute little plants grow from Gabi’s body. Don’t let the beauty fool you – what you are looking at is a natural world searching for blood.

Rent it or buy it on most major platforms.

Fraternal twins Spencer (Taylor Turner) and Sarah Moss (Amelia Dudley) check in at a Vermont hotel to investigate the last known location of their father, who mysteriously disappeared the night they were born. There, they meet the eccentric party manager (Greg Schweers), who remembers each guest, and Dean (Beau Minniear), the beefy but enigmatic handyman.

The manager claims the inn is full, but as Spencer and Sarah walk through the empty hallways, no one else appears to be there. Of course, they are not alone – through a static television their father appears with a cryptic message.

Erik Bloomquist’s low budget movie doesn’t always land. The grandiloquent score does not correspond to the intimate setting. Spencer was so squeaky that I took root for Satan.

That said, this emotionally charged little film does take real courage, and in just 70 minutes, it delivers a gruesome take on the devil on the haunted hotel genre. The seemingly alive televisions that fuel the story reminded me of Atom Egoyan’s early films and how monitors became portals of family mourning.

Stream it on Netflix.

The police station in a small Polish town is in trouble. A few corpses, to begin with, but also a prison filled with two grotesque ogres and a young woman, Zosia (Julia Wieniawa-Narkiewicz), who is said to be the only survivor of a massacre at a nearby camp for tech-addicted teens. .

An inspector brings Zosia back to the field to look around, but they don’t get far until mud from a meteorite unleashes brute force. Zosia transforms into a rampaging monster, and the young officers, neo-Nazi brothers, and the prostitute who land in her path don’t stand a chance.

This bloody, slapsticky sequel doesn’t match the clever, funny take on the slasher movies that made the fantastic original a delight. (The films, both in Polish, were directed by Bartosz M. Kowalski.) But when this film takes an unexpected turn down the home stretch with a bizarre sexual encounter between humans and mutants, it offers a weird but sweet lesson on otherness and understanding.

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