We are being subjected to a strange paradox with horror movies, where a film premiered directly in streaming in Spain with the label of having become the sensation of the genre, and precisely what has made it a sensation has been its passage through cinemas and word of mouth from the public. In those is ‘Barbarian’, Zach Cregger’s phenomenal surprise.
But the important thing is that it has arrived, and it can impact us with its proposal, elaborated according to Cregger in manuals on detecting dangerous signals in interactions with strangers. Do not trust strangers is a common teaching in horror movies, and these three phenomenal streaming proposals show us this in the most tense and violent way possible.
‘The last house on the left’ (‘The Last House on the Left’, 1972)
Address: Wes Craven. Distribution: Sandra Peabody, Lucy Grantham, David Alexander Hess, Fred Lincoln.
Wes Craven’s debut feature has been both a cult jewel and an object of controversy for his brutal and realistic portrayal of extreme violence. Before the modern era has made it a competition to generate disgust and dizziness in the espactor, ‘The last house on the left’ gave complete turns to the stomach of many viewers who fled in terror.
Regardless of whether his exploitative character borders on the line of “Can a movie go too far?” (a phrase he embraced as marketing), is a fabulous counterpoint to the elegant finesse that Craven would develop after. Based on Ingmar Bergman’s ‘The Maiden’s Spring’, it shows us the terrible fate of a couple of young people when a trio of maniacs set their eyes on them.
See on Filmin and on Plex (free) | Wes Craven in five movies
‘Audition’ (‘Odishon’, 1999)
Address: Takashi Miike. Distribution: Ryo Ishibashi, Eihi Shiina, Tetsu Sawaki, Jun Kunimura, Renji Ishibashi.
An influence recognized by Zach Cregger to make ‘Barbarian’ is this chilling and brutal work by Takashi Miike that continues to be among his best films (and that’s saying a lot because his filmography has hundreds). A surprising and original proposal which caused a sensation and a cult following at the time and still maintains a terrifying aura that gives goosebumps.
Lurid, shocking and full of bad satirical drool, Miike employs diabolical and extremely skillful trickery to create a powerful and shocking yet extremely plausible threat. Even in her explicit violence and over the top moments of hers, she never fails to have a certain realistic grounding that makes her really gutsy.
See in Filmin | Takashi Miike in 12 unclassifiable movies
‘The Guest’ (2014)
Address: Adam Wingard. Distribution: Dan Stevens, Maika Monroe, Leland Orser, Lance Reddick, Sheila Kelley.
Less overtly terrifying, but undeniably unsettling and wary of the unexpected visitor who comes grinning from ear to ear. Adam Wingard’s monumental pitch continues working like a shotmaintaining a scary atmosphere of suspense while having a great time in the process.
The magnetic interpretation of Dan Stevens It is just what the film needs to go to the next level and completely sell us the proposal. Irresistible at various points, with a good dose of powerful violence to always maintain a surprising and playful tone with which to keep us trapped.
See in Filmin and Acontra+ | Criticism in Espinof