Top 20 Films of 2018

Another year has came and went, and needless to say it was packed full of some fantastic cinema. From superhero blockbusters, to beautiful animated features, and some truly chilling horror, 2018 has delivered the goods across every cinematic genre. We've seen remakes, sequels, big-budget hits, and indie successes, which is why it's so difficult to wittle this list down to just 20 films (although to cram in any more would just seem a bit excessive). As always with these lists they are based on Irish release dates, so films that may be released in the states by the end of the year but haven't reached us yet won't be included. Conversely, films that would have been released in the states last year, but only found an Irish release date this year could be included. Now, let's get on with the list then shall we?

20. A Star is Born (Bradley Cooper)

The fact that this is the fourth remake of the original 1937 film means that on paper, it should have no right to be as good as it is. However, the career-defining performances from Bradley Cooper and Lady Gaga, as well as Coopers own strong direction, breathe new life into this age-old story. Cooper is seasoned country musician Jackson Maine, while Gaga is Ally, a rising singer discovered by Maine with whom he falls in love. The rest as they say, is history, and while the story of rising fame vs declining fame isn't something new, we can't help but become engaged in the relationship between Ally and Jackson. Cooper and Gaga are both absolutely phenomenal, both in their individual performances and shared onscreen chemistry, not to mention their musical prowess as well. I know 'natural chemistry' is a term that's thrown around these days, but when you watch these two onscreen together you could swear that they really are that in love. Engaging, poignant, and downright heartbreaking at times, A Star is Born seems like the perfect contender for awards season, and Cooper and Gaga well and truly deserve it.

19. Black '47 (Lance Daly)

For such a tragic period in Irish history, the great famine is something that has little to no coverage on the big screen. This year however, Black '47 explored the grim reality of this horrific event, using it as a backdrop for a gripping Western-revenge film (technically it is a Western as it's set in Connemara, do not fight me on this). Here we follow James Feeney (Andrew Frechville), a vengeful ex-ranger who goes on a bloody crusade against Ireland's oppressors, while being pursued by disgraced British veteran Hannah (Hugo Weaving). Revenge films can be hit or miss these days, but Black '47 never misses the mark and delivers a really solid tale of retribution. Packed full of some truly grim moments and a couple of tense action setpieces, it's a film that constantly keeps us on our toes awaiting the next move. Not only does it succeed in that respect, but it also handles the historical material fairly well, and never shies away from the harsh truths of British oppression during this dark period. Weaving is phenomenal as always, but Australian actor Andrew Frechville really steals the show with some strong physical acting and excellent handling of the Irish language. It's not often that Ireland gets a film like Black '47, and I hope that it will inspire future historical Hiberno-sploitation films to come. 

18. An Evening With Beverly Luff Linn (Jim Hosking)

Jim Hosking really had a strong debut with his bizarro gross-out film The Greasy Strangler, and while his sophmore effort might ditch most of the gross-out, it's an equally strange take on life. The basic premise is that Lulu Danger (Aubrey Plaza) teams up with hired-hand Colin (Jemaine Clement) after stealing money from her husband and setting off to a hotel, where a mysterious event is set to take place starring the enigmatic Beverly Luff Linn (Craig Robinson). With its unusual dialogue and strange situations, Beverly Luff Linn unites the perfect cast to handle such unique material, with the aforementioned Plaza, Clement, and Robinson joined by the likes of Matt Berry and Sky Elobar (star of Hosking's last film). It's a dream cast for Hosking and every actor seems to understand the oddball material, making for a match made in heaven. Hosking once again proves that he is a master of uncomfortable comedy, crafting these strange, often intentionally-cringy situations, and allowing the hilarity to unfold. With any ordinary actors this film may not have worked, but with such a powerful union of these masters of deadpan handling Hosking's script, An Evening With Beverly Luff Linn is elevated to new levels of niche comedy.

17. A Quiet Place (John Krasinski)

John Krasinski took on the roles of both leading man and director, in this post-apocalyptic horror about a family fending off creatures with an enhanced sense of hearing. A Quiet Place absolutely oozes tension in a similar manner to Don't Breathe two years ago. The minimal use of sound or dialogue makes every single noise feel purposeful and effective, any sound could set these creatures off and therefore noise equals danger. The film expands upon that concept as well by showing various coping mechanisms that this family use to survive, such as not wearing shoes or using soft objects as monopoly counters, it's small-scale world-building at its finest. What really ties this film together however is its family dynamic, led by Krasinski and the equally talented Emily Blunt, who is also his real-life spouse. Their onscreen relationship with both each other and the younger actors is what builds the emotional heart of the film, making the stakes feel all too real. A Quiet Place is a masterful exercise in suspense with a strong emotional core that keeps us involved, and keeps the film itself a little more grounded.

16. Bad Times at the El Royale (Drew Goddard)

From Drew Goddard, who penned the excellent Cabin in the Woods, this film follows a group of strangers whose paths cross at an enigmatic hotel on the California-Nevada border. The less said about the plot, the better however, as the El Royale offers a wonderfully twisted tale full of unpredictable moments and equally unpredictable characters. Just when you think things are about to go left in the El Royale, they take a sharp right before doing a complete U-turn, and it's a fun experience learning who these characters are and why they're all here. It's a very character-driven story, and the likes of Cynthia Erivo and Jeff Bridges round off the strong ensemble cast, carrying the material extremely well. Drew Goddard once again proves himself to be a very talented screenwriter and crafts a complex tale that deals with themes such as counter-culture, conspiracy theories, and political tensions. Taking elements from the likes of the Coen's and Tarantino, Goddard crafts a film that's both fun and familiar, while simultaneously subverting expectations right the way through. The title might suggest bad times ahead, but the El Royale is one hell of a good one.

15. Avengers: Infinity War (Joe & Anthony Russo)

The culmination of 10 whole years of storytelling from Marvel Studios, it's safe to say that Infinity War was the most anticipated film of the year, and it did not disappoint. Bringing together a sprawling ensemble cast of MCU legends, the film sets our heroes up against Josh Brolin's villainous Thanos, who finally steps out of the shadows to put his master plan in action. Once again the Russo brothers displayed their unmatched talents for balancing spectacle with substance, delivering a momentous blockbuster laden with both wonderful effects and emotional resonance. Every major player is given something to do, with some character arcs coming to an emotional end, and others taking intriguing new turns. Even Thanos himself goes through his own powerful story arc, developing him into the MCU's most imposing and complex villains yet. It was a wild ride from start to finish, and that gut-punch of an ending has without a doubt left fans everywhere eagerly awaiting next years sequel. Until then, there's plenty of time to revisit Infinity War again and again, if your heart can take it that is.

14. First Reformed (Paul Schrader)

The multi-talented Paul Schrader returns to the directors chair with First Reformed, a film which focuses on troubled Reverend Ernst Toller (Ethan Hawke) and how a tragic incident within his parish changes his outlook on the world, bringing his faith into question. First Reformed is a truly fascinating character study that centers on Ethan Hawke's conflicted clergyman. Delving into themes such as climate change and naturally, religion, the film uses Hawke's character as a perspective on the current state of the environment and the greedy forces behind it. Hawke is a sheer powerhouse as Reverend Toller, beginning as a more reserved man before slowly developing into a much more powerful force. While the pacing might have put some people off, Hawke's strong performance and Schrader's wonderful script keep the film steady as it approaches its incredibly tense climax. Once you realise where this film's headed, you won't be able to look away for a second. An engaging and eloquent character study that becomes continuously relevant as it progresses, First Reformed marks a new highlight in the careers of both Schrader and Hawke.

13. Mandy (Panos Cosmatos)

Nicolas Cage, demonic bikers, and chainsaw duels, this is the essence of Panos Cosmatos' Mandy. A psychedelic revenge tale with a supernatural twist, Mandy pits Cage's Red Miller against mad cult leader Jeremiah Sand (Linus Roache), after the latter kidnaps the former's girlfriend Mandy (Andrea Riseborough). Mandy is one gnarly trip to say the least, combining mind-bending visuals with hardcore violence and grotesque effects, Cosmatos never holds back while touring us through his warped world. It's a thoroughly unique exercise in exploitation, that feels like it burst straight out of some supernatural VHS tape from the 1980's. But aside from that, Mandy is also firmly anchored by strong performances from all its main players, with Cage and Riseborough particularly grounding their characters. Cage is surprisingly subtle for the most part, but when he finally lets loose, he really goes hard. It's also worth noting that the films synthy score was put together by late composer Jóhann Jóhannsson who unfortunately passed away earlier this year. This is easily one of his best works. Mandy is a film that has been instantly elevated to cult status, and it's more than a well deserved achievement for Cosmatos and all others involved.

12. Suspiria (Luca Guadagnino)

Initial word of a Suspiria remake didn't exactly rub everyone the right way, but thankfully Luca Guadagnino delivered a spellbinding re-imagining of Dario Argento's seminal classic. Taking the basic premise of an American dancer attending a mysterious dance school in Germany, this iteration of Suspiria goes down a whole other route to its predecessor. Stripping away the colourful imagery and pulsating score, this version delves into the cold world of divided Germany circa '77, amidst the conflict involving the Red Army Faction. It's worlds away from what we imagine Suspiria to be, but the desire to try something new is one of the films strongest assets. Guadagnino pays immense respect to the works of Argento throughout, while simultaneously weaving his own web of terror to ensnare us in. It's a film that deals out its shocks in sporadic doses, but when they finally do come around they leave a major impact, one particular scene still gives me goosebumps when I think about it. Perhaps one of the most unforgettable aspects of this film however, is the momentous performance from Tilda Swinton, who takes on three vastly different roles throughout in one of her most memorable appearances yet. It's been a divisive film to say the least, but in my humble opinion this Suspiria remake stands among the likes of Carpenter's The Thing and Cronenberg's The Fly.

11. Coco (Lee Unkrich)

Pixar got off to a very strong start this year with Coco, a supernatural, musical adventure set amidst the day of the dead festival in Mexico. Centering around aspiring young musician Miguel, the film follows his journey through the afterlife during Día de Muertos in order to find his deceased ancestor and return to the land of the living. Coco combines all of Pixar's strongest assets and more, from the gorgeous animation, to the masterful world-building, to the hilarious humour, and wonderful soundtrack, this is Pixar at its finest. The animation and story are also complimented by a fantastic voice-cast including its young star Anthony Gonzalez, and Mexican actor Gael García Bernal as the charming undead musician Hector. They all breathe such energy and personality into their respective roles, for a film primarily about the dead, Coco is full of life. In typical Pixar fashion however it's a very emotional affair by the end of it all, and Coco proves that it can pull on the heart strings of people of all ages. Coco is without a doubt a massive achievement for Pixar, but furthermore it's a huge achievement for the world of animation in general.

10. Spider-Man: Into the Spiderverse (Bob Perschietti, Peter Ramsey, Rodney Rothman)

With three different big-screen Spider-men, a number of animated series, and countless video-games in less than two decades, it's understandable if you've already reached Spidey-fatigue. However, Sony's animated Spidey-story Into the Spiderverse not only breathes new life into the web-head, but also into the superhero genre itself. Peter Parker is not the main focus here however, instead we follow the first black Spider-Man, Miles Morales (Shameik Moore), in his own heroes journey. However, in order to save the city this time he must ally himself with a number of Spider-folk from different dimensions including an alternate Gwen Stacy (Hailee Steinfeld) and an older, more jaded Peter Parker (Jake Johnson). Spiderverse packs so much material into its 117 minute runtime without ever feeling uneven or overstuffed. With seven different spider-people, a number of villains, and countless gags and cultural references, the film has some masterful screenwriting behind it courtesy of Phil Lord and Rodney Rothman. It's a masterclass in universe building that flows almost effortlessly throughout. Along with that, the film has some stellar visuals to match and every frame feels as though it has been lifted from the panels of a comic book. In a genre that a lot of people are becoming increasingly tired with, Into the Spiderverse is a breath of fresh air that opens a whole universe (or several) of possibilities for our friendly neighbourhood webslinger. 

9. Annihilation (Alex Garland)

Last year Blade Runner 2049 proved that there was still an audience for smart sci-fi, and Alex Garland's Annihilation continued to prove this point earlier this year. Based on the novel by Jeff VanderMeer, the film follows an all-female expedition into 'The Shimmer', a quarantined zone plagued with alien radiation. On the surface it's a visually captivating journey into a surreal world of mutating flora and fauna, allowing for some breathtaking imagery that ranges from beautiful to horrifying. Grotesque creations like that howling skeleton bear have since been etched into the nightmares of anybody who has watched the film. However, the film digs deeper into themes such as grief and self-destruction, focusing on an ensemble of character who have all entered the shimmer for deeply personal reasons. Natalie Portman leads the ensemble as Lena, a biologist whose motivation for joining the expedition stems from the guilt surrounding certain infidelities in her marriage. It's a beautifully bleak odyssey through a world that feels so grounded yet so alien, and it's a shame that it never made it to the big screen on this side of the Atlantic. However, due to its massive success on Netflix, maybe distributors will learn from such mistakes in the future.

8. Phantom Thread (Paul Thomas Anderson)

In his final role before retirement, Daniel Day-Lewis reunited with his There Will Be Blood director Paul Thomas Anderson, in a gothic drama that delves into the world of the London fashion industry mid-20th century. Day-Lewis plays Reynolds Woodcock, a renowned and meticulous fashion designer who falls in love with young waitress Alma (Vicky Krieps), and whose life begins to change drastically due to their unusual relationship. It's expected that Day-Lewis would be nothing less than spectacular in his final role, but what really holds the film together is his chemistry with his female co-stars. Both Krieps and Leslie Manville (who plays Woodcock's sister Cyril) have an incredible onscreen presence that manage to match that of Day-Lewis, this is as much their film as it is his. While it's easy to praise Phantom Thread for its costume design, cinematography, or elegant score from Johnny Greenwood, what I loved most about it was how surprisingly funny it was. Anderson's script is packed full of so much subtle wit that the cast members all handle down to a tee, if you can't find any humor in Reynold's 'chic' rant then I question whether you have any sense of humour at all. A truly exquisite cinematic experience, if Phantom Thread really is the final role of Daniel Day-Lewis, then it's a damn fine way to wrap up his extensive career.

7. Lady Bird (Greta Gerwig)

With Lady Bird, writer-director Greta Gerwig takes us on a deeply personal journey through sleepy sacremento, through the eyes of eccentric teenage rebel Christine 'Lady Bird' McPhearson (Saoirse Ronan). Throughout the film we follow our protagonist through the various trials and tribulations of her life, from her relationship with her mother, her best friend, and aspirations for college, it's a very grounded story told through such a unique perspective. Saoirse Ronan brings to life this wonderful character, supposedly a version of Gerwig's own teenage self, whose life feels akin to that of any working-class teenage girl growing up in a small town. The setting and character is made so specific, but overall the beauty of Lady Bird is that you can probably relate to it regardless of where you're from. On the surface this is a coming-of-age comedy, but it's the poignant little details in Gerwig's script and direction that elevate it above other films in such a sprawling genre. Be it minor, yet crucial scenes involving supporting characters, or powerful moments such as Lady Bird's mother (Laurie Metcalf) driving back to the airport, Gerwig captures a diveristy of emotions in the films 94 minute runtime. With such a tight script and plenty of now-iconic moments, Lady Bird will no doubt be the coming of age film for this generation of young women.

6. Climax (Gaspar Noé)

Filmmaker Gaspar Noé has built his career around being a provocateur, and Climax is certainly no exception. What begins as a simple celebration for a French dance troupe soon descends into a terrifying odyssey into insanity, when they learn that their sangria has been laced with LSD. Kicking off with a wonderfully choreographed dance number, Climax is a dazzling piece of work to begin with, but its dreamlike nature abruptly becomes a nightmare at the halfway point. With tilting and distorting camera angles, extremely long tracking shots, and some truly skin-crawling sequences, Climax invokes similar sentiments to Darren Aronofksy's mother! However, while mother! was a surreal parable, Climax feels all too real, and in a way that makes this little dance-sploitation flick all the more unnerving. By the time it reaches its final half hour, the film plunges its audience into a head-spinning nightmare trip that left me personally teetering from the edge of my seats. This is certainly not for the fainthearted, something that is almost foreshadowed in the opening scene by a pile of VHS tapes including Argento's Suspiria and Zulawksi's Possession. However, with its incredible direction, pounding soundtrack, and variety of stomach-turning sequences, Climax is a terrifying trip worth taking.

5. You Were Never Really Here (Lynne Ramsay)

Despite what the title might lead you to believe, this is not a follow up to the mockumentary where Joaquin Phoenix takes up a rap career. Rather, it's a thriller in which Phoenix plays a hired hand tasked with rescuing a senators daughter from her mysterious captors. While the premise sounds like something we've seen before, director Lynne Ramsay ensures that nothing about You Were Never Really Here feels familiar. Sure there are echoes of David Lynch and Scorsese's Taxi Driver, but this is firmly a Lynne Ramsay movie. The way she plays around with certain sequences, such as framing one action sequence entirely through CCTV cameras, really gives a unique edge to the film, and an overall sense of unpredictability. Joaquin Phoenix stands front and center in a truly dynamic performance as hired hand Joe, a man of little words, but of endless depth. Ramsay delves into this characters fractured psyche in a way that feels compelling and never exploitative, he's easily one of the most intriguing protagonists of 2018. An endlessly nailbiting experience from start to finish, You Were Never Really Here solidifies Lynne Ramsay as one of modern cinemas most powerful voices, not that there was ever any doubt about that.

4. Sorry to Bother You (Boots Rielly)

The hotly anticipated directorial debut from Boots Riley had a bit of a delay with its international release, but when it finally came along, it came in with a bang. Set in an alternate version of Oakland, the film sees telemarketer Cassius 'Cash' Green climbing the ladder of success after discovering a hidden talent for using his 'white voice'. The less said about what happens next, the better, as Sorry to Bother You is a delightfully surreal journey to say the least. The world of this film feels like a more exaggerated version of our own, but at its heart we are a lot more closer to alternate Oakland than we might think. Dealing with themes such as the issues with capitalism and white supremacy, Boots Riley never holds back when packing his punches. Instead he delivers blow after blow of impactful and insightful commentary with his own surreal twists and turns. It never feels too preachy though, and instead the film revels in its own ludicrous nature to provide for plenty of laughs and 'what the fuck' moments, while still getting its points across. Packed with great talents such as Lakeith Stanfield, Tessa Thompson, and Armie Hammer, and full of such biting, over the top satire, Sorry to Bother You is a true work of genius that has to be seen to be believed.

3. BlacKkKlansman (Spike Lee)

The latest 'joint' from director Spike Lee takes a look at the true story of ex-police officer Ron Stallworth, the first black officer in Colorado Springs, who leads an operation to infiltrate the Ku Klux Klan. Dealing with topics such as racism and white-power is always a tricky one, but who better than Spike Lee to deal with these issues, in a film that feels all too relevant in our modern Trumpian era. Lee never shies away from drawing comparisons between the films 70's setting and our current political climate, even going as far as to include footage of the 2017 Charlotteseville rally at the end. It's a powerful piece of cinema that displays the sheer hatred and bigotry that continues to fester as the years go by. In a bold move by Lee however he packs the film full of humour and satire, with an incredible script by himself and his three co-writers. It is hilarious at times, but much like last years Get Out, the comedy never underplays the severity of it all, and Spike Lee manages to find the perfect balance between the humour and the real issues at hand. John David Washington and Adam Driver are both astounding as Stallworth and Detective Zimmerman, the man who physically infiltrates the Klan, while Topher Grace stands out in his role as Klan leader and all 'round dirtbag David Duke. A politically-charged piece of history that finds the perfect balance between humour and suspense, BlacKkKlansman is without a doubt one of the most important films of the year.

2. Hereditary (Ari Aster)

By far the stand-out horror film of 2018, and rightfully so, Hereditary follows troubled mother Annie Graham (Toni Collette) and her family, who become plagued by supernatural forces following the death of her own mother. While the premise of Hereditary sounds all too familiar, writer-director Ari Aster throws curveballs a-plenty to make this a film that is as unpredictable as it is unsettling. The final half-hour in particular descends into pure nightmare fuel, and is full of horrific imagery that is still sure to keep audiences up at night. The scares are only half of what makes Hereditary so special however, as it's the domestic drama at the center of it all that really elevates the film. The dynamic between Collette, Gabriel Byrne, Alex Wolff, and Millie Shapiro, is different from your normal horror film family, but it's essentially what makes the film feel so grounded in reality. Bringing out the sheer sense of grief and depression felt by her character, Toni Collette channels one of her greatest performances to date and by far one of the most harrowing of 2018, the Academy should take note. The horrors that plague Hereditary may be otherworldly, but it's the more human horrors that really make the film such an unnerving experience. A distressting domestic drama packed with some of the most terrifying sequences in modern horror cinema, Hereditary is bound to scare audiences for generations to come.

1. The Shape of Water (Guillermo Del Toro)

No modern filmmaker understands monster movies like Guillermo Del Toro does, and in The Shape of Water he flips all those classic tropes on their heads to grant us one of the most beautiful films of the year. Following the romance between mute cleaner Eliza (Sally Hawkins) and a mysterious fish-man (Doug Jones), the film may sound almost perverse on the surface, but Del Toro handles the subject with so much elegance and humanity that it never feels in poor taste. It is by far one of his most mature and complete films to date, focusing on themes such as prejudice, the Cold-War, and most importantly love. Hawkins and Jones both give incredible physical performances, with the former particularly standing out with all the natural pathos she brings to her character. On paper there shouldn't be much chemistry between a woman and a fish-man, but Guillermo Del Toro cast the perfect actors to make it work. On top of that, The Shape of Water is oozing with gorgeous visuals, from its nautical colour scehem to its detailed sets, the film borders on the worlds of fantasy and reality in typical Del Toro fashion. It's a marvel to behold, and it rightfully gained four wins at the Academy Awards including best picture and best director for Del Toro, an accolade that was long overdue for the Mexican filmmaker. An unconventional romance to say the least, The Shape of Water is without a doubt one of the most unique monster movies ever put to screen, and a new high point for Del Toro's career.

Top 10 TV Shows of 2018

Before I get to my top 20 films of 2018, I'd like to take a look at some of the best TV shows of the year. As always, it's been an eventful year for television to say the least, from new shows, to returning shows, and plenty of Netflix originals on top of all that. The following are my personal top 10 shows of the year, so if you think something's missing then let me know (because I probably haven't watched it)! So here we go, my top 10 TV shows of 2018.

10. Legion- Season 2

Season one of Noah Hawley's X-Men spinoff show was unique to say the least, borrowing elements from the likes of David Lynch and Stanley Kubrick to put his own spin on the comic book formula. If season one was akin to Twin Peaks however, than its sophomore season was much more in line with Twin Peaks: The Return. This time the pace was slowed down considerably, and there was a lot more ambiguity and reality-bending madness going on than in the first season, which is saying something. Still, Noah Hawley's distinct brand of storytelling and the strong ensemble cast including Dan Stevens and Aubrey Plaza elevate Legion above your usual Lynch-inspired fanfare. One episode that particularly stood out gave a glimpse into alternate realities where different versions of David Haller (Stevens) went about their lives. It was a powerful episode, yet had very little to do with the overall narrative, showing that Hawley has more concern for compelling stories than a linear narrative. Pitting our unhinged mutant protagonist against the sinister Shadow King (a brilliant Navid Negahban), Legion season 2 was a comic book tale of epic proportions, told in a way that kept out minds boggled in the most wonderful way.

9. Derry Girls- Season 1

The troubles was most definitely the most harrowing period in the history of Northern Ireland, yet where there is horror, writer Lisa McGee finds hope, in this hilarious coming of age comedy. Focusing on a group of misfit girls, the series follows their struggle through the trials and tribulations of adolescence, set against the backdrop of a much more serious conflict. McGee has plenty of humour and sharp dialogue to spare, making room for some golden political and religious satire, but it's the talented cast of newcomers that really hold the show together. They handle McGee's material superbly and bring to life this group of hilarious young women, each with their own hopes and struggles. Amid all the humour however, McGee never shies away from the real troubles at hand, and in a compelling final scene, we see just how much people were emotionally effected by these dark times. A wonderful blend of humorous satire and historical drama, Derry Girls marks a new high point for Irish comedy, and I look forward to seeing what McGee and the titular girls get up to in the future.

8.  Barry- Season 1

Balancing tones is a tricky business on television, and there's always a risk that your show can come off as messy if not handled correctly. However, Barry makes such drastic tonal shifts seem like a walk in the park, dealing with the horrors of trauma one minute, and the hilarity of the LA theatre scene the next. Bill Hader stars in the titular role as a mild-mannered hitman suffering from PTSD following his time in the military, who discovers a passion for acting while undertaking a job in LA. Hader is the perfect actor to bring such a complex character to the screen, balancing a plethora of emotions in a way that's subtle and nuanced, it's no wonder he earned himself an Emmy for this. Along for the ride are the likes of Stephen Root as Barry's boss Fuchs, and a seal-stealing Henry Winkler as Barry's intense acting coach. It's a masterful cocktail of modern sitcom and gripping drama in the vein of Breaking Bad, that packs as much emotional punches as it does laughs. After such a promising first season, things are looking more than hopeful for Barry in the future.

7. Inside No. 9- Season 4

Fresh off the success of their League of Gentlemen reunion, Steve Pemberton and Reece Shearsmith returned with a fourth season of their acclaimed anthology series Inside No. 9, and it may just have been their most ambitious yet. Each episode gave us another self-contained story set at a location addressed number 9, from an eccentric hotel, to an unsuspecting suburban home, but as always there are dark twists lurking around every corner. Shearsmith and Pemberton went all out this season, from a reverse-chronological episode, to an episode written entirely in iambic pentameter, and of course, the live Halloween special that truly left viewers gobsmacked. The duo prove that they still have ideas a plenty, and that theirs is by far one of the cleverest television anthologies in recent years. On top of all that, season 4 also gave us their first properly heart-warming episode yet, entitled 'Bernie Clifton's Dressing Room', it was a sheer rollercoaster of emotion full of tears and laughter. It's reassuring to see that Inside No. 9 can still feel so fresh four seasons in, and if the recent live episode is anything to go by, Shearsmith and Pemberton are far from finished.

6. Kidding- Season 1

Jim Carrey reunites with Eternal Sunshine director Michael Gondry (serving as executive producer and part-time director) for this gripping offbeat dramedy in which he plays fictional children's television host Jeff 'Mr. Pickles' Piccarillo. This is no kids show however, as Kidding delves into complex themes such as loss and grief, mapping out Jeff's unfortunate downward spiral following the death of his son. Carrey gives one of his most powerful performances to date as Jeff, a man riddled with emotions that are constantly repressed by both himself and those around him, including his controlling father Seb (Frank Langella) and his ex-wife Jill (Judy Greer). It's a darkly comical romp with elements of the surreal (such as plenty of bizarre puppet gags), and as each episode progresses, things become increasingly dark in the life of Jeff Pickles. It's a tricky concept that could easily have been done without taste, but showrunner Dave Holstein and his team of writers manage to push plenty of boundaries without ever overstepping them. An all-round emotional affair that's topped off with just the right amount of black humour, Kidding marks a new high for Jim Carrey's career, and another welcome collaboration between himself and Gondry.

5. Channel Zero- Season's 3 & 4

This year we were lucky enough to be treated to two seasons of Nick Antosca's chilling horror anthology from SYFY. Loosely inspired by internet 'creepypastas', each season of Channel Zero continues to get progressively better thanks to Antosca's wonderful imagination, and this year was no exception. Season three, subtitled 'Butcher's Block', follows two troubled sisters who get involved in a strange urban myth involving mysterious stairs and a cannibal family, while season four 'The Dream Door' follows a couple whose lives take a dark turn upon discovering a door in their basement. Channel Zero is home to some of the scariest monsters to grace horror television in recent years, such as a grotesque looking meat-man, and the now iconic Pretzel Jack (played by the contortionist known as Twisty Troy). However, what both of these seasons prove is that sometimes our own inner monsters can be just as terrifying as the literal ones, season three in particular, as it deals with topics such as schizophrenia. It's not often that we see horror take such a sensitive approach to topics such as mental illness, but Channel Zero seeks to give a more accurate representation instead of adding to the stigma. With six episodes per season, Channel Zero makes for some tight and concise storytelling, packed full of terrifying monsters and captivating characters, which results in one of the greatest horror shows of the decade.

4. Atlanta- Robbin' Season

With the second season of Atlanta, Donald Glover continues to prove that he is one of the most talented creative minds of our generation. This season picks up with the characters of Earn (Glover), Al (Brian Tyree Henry), Darius (Lakeith Stanfield), and Van (Zazie Beetz), as they go about their lives in a world that feels both firmly grounded yet incredibly surreal. This season broadened its focus, looking more closely at each individual character as opposed to mainly just Earn, and it was a great way to deepen our main ensemble. The characters might have felt more scattered, but at the end of it all each one felt like they were much more developed. Over the course of its eleven episodes, Glover and co. continue to subvert expectations and transcend genres, with certain episodes ('Haircut' and 'Champagne Papi') feeling absolutely hilarious, and others (the unnerving 'Teddy Perkins') feeling as though they could be standalone horror films. Teddy Perkins was a particularly unsettling entry into the show, with an unforgettable performance from Glover in white-face. Every episode feels like it could go anywhere, making for one of the most interesting and exciting television series in a long time. 'Robbin' Season' proved that there really are no limits to where Atlanta can go, and that Glover's world is one of endless possibilities.

3. Westworld- Season 2

There was a large, Westworld-shaped hole left in our hearts last year as we waited for HBO's sci-fi epic to return, but showrunners Jonathan Nolan and Lisa Joy proved that season two was more than worth the wait. Following the host uprising at the end of last season, season two continues to expand the world and characters of Westworld, jumping back and forth through the narrative to make for some extremely gripping storytelling. It's a story of epic proportions, but season two proved that even more personal episodes such as the astounding 'Kiksuya' could be just as engaging. Every week felt like a brand new adventure, and with each question that was answered, another was raised, constantly keeping us on the edge of our seats from episode to episode. Season two had some truly remarkable storytelling from Nolan, Joy, and their team, while continuing to develop their sprawling character ensemble in interesting ways. Maeve (Thandie Newton) set out to find her daughter, Dolores (Evan Rachel Wood) threw away her morals, and Bernard (Jeffery Wright) continued to keep us guessing each week. And that's just the tip of the iceberg. With its complex storytelling, engaging characters, and masterful score by Ramin Djawadi (that cover of C.R.E.A.M. though), Westworld season two opened a new world of possibilities for future seasons. We could be another while waiting though.

2. Sharp Objects

Based on the novel by Gillian Flynn and directed by Jean-Marc Vallée, this miniseries followed troubled reporter Camille Preaker (Amy Adams) return to her hometown of Windgap, where a series of murders awaken some past traumas of her own. Sharp Objects and its central mystery was an engrossing experience from start to finish, seamlessly slipping back and forth through time to provide a detailed character study of our central protagonist. While certain moments were extremely tough to watch, it was hard to not tune in every week to continue following Camille's story. Amy Adams gives a career-defining performance as a woman who has fought her whole life against past traumas, only to confront them again in the present. Going toe to toe with our heroine was her overbearing mother Adora, in an equally fantastic performance from Patricia Clarkson. It's safe to say she brought to life one of the most despicable characters on television this year. While some viewers might have had trouble with its pacing, there was plenty of atmosphere and layers of mystery to keep one engaged right up until the end. For those who did stick around for the shocking final scene, well, it's safe to say we're all still thinking about it. A slow-burning Southern gothic, packed with so much emotion, subtle details, and stellar performances, Sharp Objects is a true triumph for all involved.

1. The Haunting of Hill House

Long-form horror storytelling doesn't always work (just as Ryan Murphy), but as Mike Flanagan proved with this loose adaptation of Shirley Jackson's novel, when it does work, nothing else compares. The seasoned horror filmmaker assembles a hefty ensemble cast of talents to bring to life this chilling tale of the unfortunate Crane family and their relationship with the titular haunted house. Flanagan crafts some goosebump-enducing sequences in each episode, from the ghoulish appearance of the bowler-hat man, to the terrifying depiction of sleep paralysis, each episode offered up plenty of scares. However, what really held Hill House together so well was its emotion, derived from the ensemble of well-developed characters and their family dynamic. Each character feels so well-realised and their relationships feel so real, as each episode progresses we can't help but become increasingly involved with them and their story. This is mainly down to the performance of the actors and their younger counterparts, with the likes of Hush's Kate Siegel and E.T.'s Henry Thomas rounding off the ensemble. Flanagan himself also continues to flex his talents with some of his best direction to date, episode six particularly comes to mind, with its numerous long takes. Taking elements of old-school horror and packing it with such powerful emotion, Flanagan managed to craft one of the most compelling and skin-crawling horror series in recent years, and a stand-out series of 2018.

Top 5 Most Disappointing Films of 2018

Well lads it's December again, which means it's time once again to reflect on all the high points in cinema throughout the year. Well, almost time. Before we get to the good stuff in a couple of weeks time, I think it's important to look at the duds, the films that didn't quite hit all the right bars. That's right my friends, it's time for me to reflect on my top 5 most disappointing films of 2018.

2018 has thus far been a brilliant year for cinema, but unfortunately there have been a couple of films that fell flat amid all the good stuff. Not all of these are necessarily awful films per se, but what they have in common are a number of expectations that unfortunately were never met. As always, this is just my personal opinion, so if there's something here you disagree with or if you think I've missed out on something then please, let me know in the comments. Let's get started then, shall we?

5. Solo: A Star Wars Story (Ron Howard)

On paper, a Han Solo prequel/spin-off should definitely work. While Han's past has been discussed time and time again in the Star Wars films, we've seen very little of it onscreen considering how popular a character he is. A Solo prequel seemed like an excellent opportunity to delve into the seedy criminal underbelly of the Star Wars universe, while also providing plenty of exciting moments and sharp quips along the way. Unfortunately, Solo never really delivers on much of this, and instead amounts to just another forgettable entry into the ever-expanding Star Wars canon. The entire film feels as though it's playing things far too safe, afraid to push any boundaries or delve into the darker side of the Star Wars universe. Even Han feels severely watered-down, despite Alden Ehrenreich doing his very best to take on Harrison Ford's iconic mantle. While the film constantly tries to convince us that he is a roguish antihero, he's actually one of the films most morally-just characters, and feels like more of a boy-wonder than a criminal. As for the action sequences, well, let's just say the much discussed Kessel Run story feels a lot less epic after seeing it happen on film, which is a damn shame. Perhaps we should have known how flat this film would fall following its troubled production history, and even with its brilliant special effects and production design, it can never amount to anything beyond mediocre. At least it gave us Donald Glover as young Lando though, an inspired casting choice to say the least.

4. The Cloverfield Paradox (Julius Onah)

Announced during this years Superbowl and released via Netflix straight after the game, it's safe to say nobody saw The Cloverfield Paradox coming. However, expectations were immediately high considering the success of the previous two entries in this J.J. Abrams-produced, sci-fi anthology series. With a strong cast including Gugu Mbatha-Raw, Daniel Bruhl, and Chris O'Dowd, as well as the overarching connection to the Cloverfield universe, what could go wrong here? Turns out, a lot. What seemed like a pleasant surprise turned out to be a dull stranded-in-space type film, that lacks any sort of suspense or solid ideas to keep it afloat. There are times when you think "Oh, it's like Event Horizon" or "Oh, it's like Prometheus", but unfortunately it never gets as interesting as either of those films. It was a real let down considering how tense both Cloverfield and 10 Cloverfield Lane were, and with such a solid cast and promising set-up, this really had the potential to be a lot better. The film never really manages to engage with you or get you heavily involved, and bar Mbatha-Raw, most of the talent here feels wasted. While the hype was fairly limited surrounding The Cloverfield Paradox considering its immediate release, its place in the Cloverfield franchise meant that there would naturally be pre-conceived expectations with it. Unlike its predecessor however, The Cloverfield Paradox simply does not live up to them.

3. The Nun (Corin Hardy)

We really should stop putting our faith in these Conjuring universe spin-offs, but with a director like Corin Hardy (The Hallow) attached, it was hard not to be at least intrigued by The Nun. Sadly, not even Hardy's talented direction could save this uneven horror flick, whose titular baddie (played once again by Bonnie Aarons) has an extremely limited onscreen presence. I was particularly frustrated by The Nun because there were certain aspects that I felt really worked, the beautifully gothic production design, the sinister score, and several B-movie-esque moments. The film never takes advantage of these however, and instead of expanding on the aspects that worked really well, it opted to take the simple route of being just another dull Conjuring spin-off. It hits harder when a bad film has certain aspects that work, because they're just a constant reminder of what could have, and what should have been. The plot is thin, the characters are even thinner, and any "scary" moments just become far too predictable far too quick. Sure, it wasn't Annabelle-level awful, but much like that film it never does enough to justify its own existence. Maybe if the film fully embraced its own Hammer Horror-style gothic nature then it would have been a lot better, but unfortunately it just wound up being yet another forgettable mainstream horror film.

2. The Predator (Shane Black)

Predators are by far some of the coolest movie monster in the modern era, so anytime they get themselves a new feature there's naturally going to be some hype attached. With a director like Shane Black (who also had a role in the original Predator) on board as well, fans were expecting something truly special, with Black being known for blending sharp comedy with dark subject matter. It came as a surprise however, when Shane Blacks The Predator was a bit of a dud. With its fluctuating tone, underwhelming CGI, and plethora of tourettes jokes (sigh), this ended up being a very uneven monster mash from start to finish. At times you think its going for a more family-centric approach, with Jacob Tremblay's character having a central role and the heavy reliance on humor, then the violence kicks in however, and you ask yourself "who is this film aimed at?" Considering Black's track record (just look at The Nice Guys) it comes as a surprise that the jokes never really land either, especially those involving Thomas Jane's character having tourettes. Between that and the ugly CGI predator-dog-things, you'll find yourself losing your patience with The Predator fairly quickly. An outright mess of a monster-mash, The Predator had the potential to breathe new life into this ageing franchise, but it can barely even save itself, let alone an entire series.

1. Venom (Ruben Fleischer)

When a Venom solo film was announced with Tom Hardy set to star and Zombieland's Ruben Fleischer attached to direct, fans were eager to say the least. However, after an underwhelming series of trailers, that terrible Eminem tie-in song, and a PG-13 rating was slapped on, things weren't looking too well for Sony's spidey spin-off. Ultimately Venom wound up being painfully dull, packed full of questionable CGI, derivative plot developments, and instantly-forgettable action setpieces. Tom Hardy does his damn best to hold the film together however, and you can tell how much dedication he put into this performance, but despite all his efforts the film just crumbles around him. Considering the amount of time this film was in development for its surprising that this is the best they could come up with, possibly the most watered-down way of telling a Venom story if there was one. It feels painfully constrained by its PG-13 rating, and even star Tom Hardy stated that his favourite parts of the film were left on the cutting-room floor. This is a film that was initially sold as a horror-type film, akin to the likes of Carpenter and Cronenberg, but instead it feels more like Nic Cage's Ghost Rider than The Thing. Ranging from flat-out boring (the entire first half), to just plain what (the scene with curvy-lady-Venom), Venom is by far the strangest superhero film of the year, but for all the wrong reasons. 

Suspiria (2018) Review

The idea of a Suspiria remake initially didn't appeal to me at all. Dario Argento's original 1977 film is such a unique piece of horror cinema, with its vibrant colours, pounding score, and psychedelic atmosphere. It's the type of film that, in theory, could never be re-told again to such a fantastical extent. Regardless of my doubts however I put my faith in director Luca Guadagnino, and thankfully he did not disappoint. Guadagnino's Suspiria may not deliver the same kind of magic that Argento's did over forty years ago, but instead it casts a new spell all of its own, paying respectful homage while paving its own twisted path.

Set in divided Berlin in 1977, the film follows aspiring American dancer Susie Bannion (Dakota Johnson) as she begins her education at the prestigious Markos Dance Academy under the guidance of veteran dancer Madame Blanc (Tilda Swinton). All is not as it seems at the Academy however, and when a student mysteriously vanishes, elderly psychoanalyst Dr. Klemperer (also Swinton) also finds himself getting tangled in its dark web of secrets.

The original Suspiria is a hard act to follow, but instead of attempting to imitate Argento's distinct style, Guadagnino opts to do the exact opposite. The candy-coloured visuals are stripped away, the pounding score is replaced with ethereal melodies (courtesy of Thom Yorke), and the terror is much more scattered and sporadic. It's a remake in name only, sharing a premise and certain plot beats, but the tone and the style are worlds apart from those of the original. Guadagnino and screenwriter David Kajganich are more concerned with telling their own story of socio-political tensions in cold-war Berlin than imitating the source material by Argento and Daria Nicolodi, a wise move that makes this a fresh experience for both newcomers and hardcore Argento fans. Still, it does pay its respect to the original by delving into the 'Three Mothers' mythology, and by naming some of the characters after minor roles from the original.

The film also diverges from the original in terms of scares as well, making them much more sporadic and infrequent than the original. They become so scattered at times that you almost forget you're watching a horror film, until we reach the next ghoulish set piece and Guadagnino reminds us what this really is. It may not be as visceral as the original film, but there are some truly jaw-dropping moments throughout that really leave an impact once they're over with. The most memorable of these is the much-talked-about scene in which a dancer is flung around like a rag-doll in time to another dancers routine, my jaw was well and truly on the floor. It may take its to get around to each horrific set piece, but by the time it reaches its explosive climax it definitely doesn't disappoint.

Guadagnino's Suspiria is also very concerned with contextualising events, constantly cutting to news footage of the Lufthansa hijacking and talk of the Red Army Faction. It's a very politically overt film that sometimes overshadows the primary plot, but regardless of this, Guadagnino and his crew do a wonderful job of transporting us back to divided Berlin. From the grim bauhaus buidlings, to Guadagnino's own directoral style, it feels much more akin to Andrej Zulawski's Possession than Argento's Suspiria, but in the best way possible. It really captures that sense of cold-war paranoia that festers in the world around our characters.

Speaking of the characters, Dakota Johnson steps into the dancing shoes of our main protagonist Susie, who has a much more reserved role this time around. Johnson manages to capture the many different sides to this character as the plot unfolds, despite seeming somewhat held back near the beginning. Mia Goth takes a much more central role as Susies new companion Sara, who soon begins to investigate the strange goings on at the Markos Academy. For a character with little backstory, Goth brings a lot of natural pathos to the role. But it's Tilda Swinton who really stands out, taking on three seperate roles, that of Madam Blanc, as well as male psychoanalyst Klemperer and the mysterious witch Helena Markos. I was worried that Swinton's casting as the only integral male role would have been a bit distracting at times, but honestly there were times when I forgot that it was even her. She even shares a scene with the star of the original film, Jessica Harper, who has a brief but integral cameo.

For the most part I think Guadagnino's Suspiria really succeeds in reimagining the original film while simultaneously telling a new story, but it does have its flaws. My main issue was at times the film loses its sense of focus a bit, often allowing for Dr. Klemperer's subplot to overshadow the main story. It makes it a little confusing at times as to who our protagonist is, naturally we are led to believe that it's Susie, but there are times when her arc almost becomes underplayed in favour of this secondary plot. As well as that, the film has an epilogue that feels fairly glued-on and a little unnecessary. To some extents it works on an emotional level, but from a narrative standpoint it just makes things feel sort of uneven. Thankfully these flaws don't hold the film back too much however, and ultimately Suspiria manages to overcome them.

Considering how wary I was about a Suspiria remake, I was more than happy with what Luca Guadagnino has given us. You can tell he has such respect and admiration for the original, it's evident throughout, but instead of crafting a pale imitation of that film, he uses it as a basis to tell his own version of it. A chilling period piece that captures both the cold-war tensions of 70's Berlin and the spellbinding atmosphere of its source material, Suspiria is a film that may not strike a chord with some initially, but give it time and Guadagnino's reimagining will definitely cast its spell on you.

The 10 Most Underrated Cinematic Slashers

Jason Voorhees, Michael Myers, Freddy Krueger, all some of horror cinemas most iconic slashers. These fictional killers have hacked their way through groups of teens time and time again, some of them even still doing so now, thus cementing themselves in the horror movie hall of fame for eternity. However not every slasher reaches such legendary status, the slasher genre is so vast after all, so it's no wonder that a lot of these villains have faded off into obscurity over the years. Some of them however, deserve a lot better than that, so here are my picks for the 10 must underrated slasher villains.

10. Marty Rantzen- Slaughter High

Marty Rantzen was an innocent young geek who fell victim to the cruel jests of his fellow classmates, however, one day they pushed him a little too far. After a prank gone wrong leaves Marty horribly disfigured, he winds up in an institution where he spends several years plotting his brutal revenge. Eventually, he sets out to murder his former bullies one by one, by staging a faux school reunion that acts as his killing floor. Dressed in a high school football jacket and a creepy looking jester mask, Marty certainly has an eerie appearance, but its his grizzly and over the top methods that make him such a cool slasher villain. From lacing beer cans with poison that makes your intestines fall out (?), or replacing bathwater with acid, Marty goes above and beyond to punish his ex-tormentors in cruel and ironic ways, making him seem like a very dedicated cinematic slasher.

9. Kenny Hampson- Terror Train

Much like Marty Rantzen, Kenny was also the victim of a grim prank that left him traumatised and hungry for revenge. Hopping aboard a party-train on New Years Eve, Kenny began picking off his victims one by one, wearing a variety of costumes to blend into the fancy-dress party. He might not be the most memorable or unique slasher, but Kenny sure is cunning as he spends most of the film hiding in plain sight among the rest of the passengers. Not only that, but the fact that he managed to avoid being caught for so long aboard a train was an admirable feat. A tactical killer and full-blown master of disguise, Kenny is not to be underestimated.

8. Leslie Vernon- Behind The Mask: The Rise of Leslie Vernon

In a world where the likes of Freddy and Jason are real-life killers, Leslie Vernon looks up to them in the same way that young lads look up to actors or footballers. Seeking to make a name for himself among the greats, Leslie fashions his own unique backstory, dons an eerie mask, and wields a sharp scythe before hiring a documentary crew to follow his journey to slasher stardom. What makes Leslie Vernon so memorable is that he comes across as a fanboy almost, someone who admires the likes of Michael Myers and seeks to stand among the slasher greats. He's got his whole murder itinerary planned out step by step, like some sort of weird to-do list, and knows the ins and outs of the slasher genres like the back of his hand. Very much in the same vein as Ghostface, Leslie Vernon took inspiration from the great slashers of horror cinema in order to become one himself, and he seemed to enjoy it a lot.

7. The Prowler- The Prowler

After being dumped via Dear John letter during World War 2, this deranged military man returned home to murder both his girlfriend and her new lover once the war ended. For years after this, the annual graduation dance was cancelled out of respect for both victims, but when the tradition is brought back 35 years later, the prowler returns. Dressed from head to toe in G.I. gear, the prowler is a seriously menacing killer who uses his military training to hunt and kill his innocent victims. A skilled tactician if there ever was one, the prowlers approach is quiet and subtle while his kills are as bloody as can be, using pitchforks and bayonets on his unsuspecting victims. This is one veteran who you wouldn't want to mess with.

6. Cropsy- The Burning

Inspired by a summer camp urban legend, Cropsy was a camp groundskeeper who was horribly burned in a prank gone wrong, you know where this is going at this stage. Armed with a pair of shears, he heads to Camp Stonewater five years later where he begins to dispose of the campers and counselors in the most grizzly fashion possible. Jason Voorhees may be the most well-known summer camp slasher, but Cropsy proves himself to be just as vicious. In the films most brutal scene, he springs out of a seemingly empty canoe to massacre a group of unsuspecting campers with his shears, none of them survive. He's by far one of the most brutal killers on this list, and could definitely go toe to toe with the likes of Jason Voorhees. Well, maybe not post-Jason Lives Jason.

5. The Raincoat Killer- Alice, Sweet Alice

Kids can be incredibly creepy in the world of horror, which is why this raincoat-clad killer is such a memorable villain. After her little sister is murdered on the day of her holy communion, the mischievous Alice becomes the prime suspect. As the killer continues to target those who have angered Alice in some way, it becomes clear that she may not be as innocent as she seems. The concept of a child killing people can be unsettling enough, but it's this particular killers costume that makes them so memorable. Dressed in a yellow raincoat and an eerie translucent mask, this killer is scary enough even before she does any killing, and has easily one of the best costumes in the history of slasher films. Is it really Alice behind the mask though? Well, you'll just have to watch.

4. Matt Cordell- Maniac Cop

Something of a tragic killer, Matt Cordell was a New York police officer known for his noble, but often violent ways. His brutal treatment of criminals (and a little corruption) eventually put him behind bars, where he was massacred in the prison showers and thought to be dead. Cordell survived however, but only barely, and his sanity was extremely fractured which caused him to go on a brutal killing spree throughout New York City. What makes Cordell so menacing is that his victims are often people who have done nothing wrong, from an innocent waitress to an unsuspecting couple, anybody could become his victim no matter how morally just they are. There's also a subversive element to Cordell's character as well, acting as a sort of metaphor for police brutality and such, something that's still relevant today. He certainly lives up to his title of maniac cop.

3. The Miner- My Bloody Valentine

Harry Warden, the original miner, was the sole survivor of a mining accident through which he lived by cannibalising his colleagues. Alive, but insane, Harry donned a mining outfit and armed himself with a pickaxe in order to get revenge on the negligent supervisors who left the mines early that day to go to the Valentines dance. Harry was eventually apprehended, but he left a lasting legacy on the town of Valentine's Bluff, and the annual Valentine's dance was subsequently cancelled. Years later however, the Valentine's dance is brought back, and the murderous miner returns to Valentine's Bluff, pickaxe in hand. From his eerie gas mask, to his signiature pickaxe, the miner is a truly terrifying villain with even more terrifying methods. When he's not murdering townsfolk, he's taunting the police with grizzly Valentine's poems and human hearts, he's a real romantic type. The miner is by far one of the most formidable killers on this list, who deserves to stand among the likes of Michael Myers and the gang.

2. The Hag- Curtains

This masked murderer terrorised a group of young actresses at a remote Canadian mansion, during a weekend-long audition for a new film. Dressed in black clothes and a creepy hag mask, the killer began eliminating each actress over the course of the weekend in brutal fashion. In one scene they even display that they have a talent for ice-skating as they chase a victim across an icy lake, sickle in hand. The hag has easily one of the scariest masks in slasher history, a vile crone mask that reveals only their piercing glare, it's pure nightmare fuel. They're also a seriously persistent killer, as evident from the aforementioned ice-skating scene, it's almost admirable how dedicated they are to their craft. The real cherry on top though is the final reveal of the killers identity, something that ends the film on an almost darkly comical note. I'd like to see Ghostface try to ice skate the way the hag does.

1. Billy/The Moaner- Black Christmas

Before Freddy, Jason, or Michael Myers were even ideas, there was Billy. This disturbing character hid out in the attic of a sorority house over the holidays, making strange phone calls to the residents before starting his killing spree. Billy, or 'the moaner' as the girls dub him, has an extremely unsettling voice that we hear during his phone calls, but what makes this killer so interesting is that we know very little about him. From his maniacal ramblings we know that his name is Billy and that he done something unspeakable with a girl named Agnes, but apart from that we know virtually nothing. This makes him seem much less human and more of a force almost, a sinister presence lurking within the house and terrorising all those present. He's a quiet killer when he wants to be, but when he kills it's cathartic and animalistic as he unleashes his rage on these unsuspecting women. The scariest part however, is that by the time the film ends he is never apprehended, he's still waiting in the house for his next victim.