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Fortunately, Strickland plays a lot of this for laughs, smartly realizing that a sentient dress might test the patience of even the most diehard horror fan. The clothing item in question is a red number that passes from one owner to another, leaving a trail of death and destruction in its wake. At only 83 minutes, Slice feels like an eternity of waiting for a pizza that never arrives. And more damning than its Gateway to Hell is that none of this is very funny. Loosely following a series of murders inflicted on a crappy pizza joint’s deliverymen, the film never unties its tangled and knotted threads about ghosts and humans living side by side, or witches manipulating local city politics in a bid for demonic gentrification. Unfortunately, the actual film is paper thin. As a horror-comedy about a small town where ghosts walk among the living as second class citizens, witches are pushy real estate developers, and the local werewolf is a misjudged Chinese food-delivering vegan played by Chance the Rapper, on paper this reads as hilarious. It’s a shame because conceptually there is a lot of appeal in Slice’s setup. This isn’t because when it’s over you wish there was more, but that the film is so muddled in its narrative threads that you’re sure it was cancelled before more talent could be wasted. Slice (2018)Īustin Vesely’s Slice plays like the pilot of a potential television series. It’s a bizarre and repellent narrative, and can’t even be saved by Johnny Depp’s admittedly amusing French-Canadian accent and Peter Sellers-eque transformation as a late arriving police detective.
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The subsequent makeup effects are grotesque, but the movie stumbles over their reveals like a standup comedian who’s forgotten the punchlines. Ever the scenery-chewer, Parks gives more gravitas to the material than it deserves as a shut-in obsessed with recreating from a human subject the walrus which saved his life one snowy night following a shipwreck. Justin Long makes an appropriately smarmy podcaster named Wallace Bryton who’s travelled to Canada to find oddballs to interview and mock, but gets more than he bargained for when he winds up in the home of Howard Howe (Michael Parks). Originally constructed as a joke on Smith’s Smodcast podcast, the finished film is every bit as listless and rambling as a weed-fueled diatribe. I wish I could say the results were better than Tusk, yet this dispiriting attempt at body horror might be the high-point of his latter day monster movies. A defining voice in comedy and indie filmmaking during the ‘90s, Kevin Smith drifted away from studios by the beginning of the 2010s in favor of trying his hand at horror. We begin our countdown with the rare A24 horror movie that comes not from a new perspective, but an old, one-time favorite. Yet if we had to pick, our staff would say… 25. And along the way, they’ve introduced new generations to a recent slate classics of the form.īut which of A24’s horror output is the best? There’s a lot to choose from in films whose helmers include Robert Eggers, Ari Aster, Denis Villeneuve, Ti West, and Yorgos Lanthimos, among others. Whether you love or hate the term “elevated horror”-we tend to think it’s a condescending term for a genre that’s always able to produce challenging and absorbing work-there is no denying A24 has helped bring that level of spooky artistry to the forefront of pop culture.
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That, indeed, could be used to describe most of their horror output, which has had a bigger hand in shaping the genre in the 2010s than any other studio or production company not named Blumhouse. Not bad for a company that’s barely a decade old, and which is still generally regarded in the zeitgeist for putting out strange, and yet often entrancing work. So bring on that movie where Paul Rudd and Jenna Ortega are responsible for killing a unicorn! More impressive though, A24 just picked up its second Best Picture Oscar in six years, and for a movie that walked away with a staggering seven Oscar wins overall in March. For starters, the indie studio and 21st century tastemaker is actually able to produce movies during the SAG-AFTRA and WGA strikes due to its separation from the major Hollywood studios.