10) Under The Shadow (dir. Babak Anvari)
Fighting Djinn monsters sucks. Fighting Djinn monsters while also navigating the religious restrictions of a war-torn 1980s Iran is the worst. Wait, no – doing so AS A WOMAN is the icing on Babak Anvari’s Oscar-nominated horror cake, savvy in its inherent tension. Monsters are one thing, but continued bombing raids and battlefield destruction ensure that dread remains unpredictable, ready to strike at any moment.
Anvari’s story comes with historical reverence, as mother Shideh (played passionately by Narges Rashidi) must obey cultural obligations while fighting off Djinn beasts who target her daughter. Fleeing her apartment only leads to being caught in public without proper attire, damning her just as Djinn possession might. There’s no get-out-of-jail-free card for paranormal excuses, and Anvari does a brilliant job melding horror with social oppression – not to ignore a motherly protector and her young daughter’s brilliant chemistry.
9) Carnage Park (dir. Mickey Keating)
Mickey Keating’s Darling is a no-brainer honorable mention, but that doesn’t mean the young filmmaker doesn’t make my Top 13! Carnarge Park hits upon a paranoid blend of Carpenter and Tarantino, all led by Pat Healy as an unhinged California sniper. Settings reconstruct something out of The Hills Have Eyes, but then Healy starts spouting anti-government rants and the film asserts a testy tone. This is Keating’s take on grindhouse, midnight elements, and he explores the playground with excitable enthusiasm.
Another big note here is the inclusion of Ashley Bell, who’s been missing from the genre landscape since her days as Nell (The Last Exorcism franchise). Characters named “Scorpion” Joe Clay and Travis ‘Whiskey’ Ginger chew through a western landscape splattered with blood, as Healy nails yet another demented role (see Cheap Thrills). A hazy orange hue scorches sandy canyons, but it’s the film’s sadistic personality that echoes loudest through empty mountain regions. This is a walk through the desert guided by madness, and more importantly, it stands as Keating’s best film yet.