Editorials
31 Horror Movies We Can’t Wait to See in 2020
The 2010s have been touted as a new golden age for horror, and the momentum doesn’t appear to be slowing down in the new decade. The slate of 2020 horror releases presents a wide variety to tailor all tastes, from highly anticipated sequels to new adaptations of previous literary and film classics to a slew of original offerings.
And to think, it’s only the beginning; there’s still plenty of streaming and VOD titles pending announcements, yet to be announced projects, and film festival darlings to anticipate. There are also films like The New Mutants to consider, which has been bumped from its initial dates to the point of unreliability; but for what it’s worth, the current date is April 3, 2020. And who knows, maybe 2020 will even be the year for The Hunt, a controversial title that was pulled from the release schedule indefinitely in 2019.
In other words, these 31 horror films are only just the beginning of what aims to be another great year in horror. Here’s what we’re most looking forward to.
The Grudge – January 3
In this reboot, the plot revolves around a cursed house that dooms those who enter it with a violent death. Nicolas Pesce, the director behind The Eyes of My Mother and Piercing, looks to use the J-horror classic as only a mere starting point to craft a very different reimagining from its predecessors. We don’t have long to wait to see if he’s successful. In the meantime, you can read our set visit report for additional details.
Underwater – January 10
From the director of 2014’s The Signal, William Eubank, comes a deep-sea horror film centered on a crew of researchers struggling to get to safety when an Earthquake devastates their underwater station. Their journey is complicated by something monstrous lurking along the ocean floor.
The Turning – January 24
A modern take on Henry James’ classic novella The Turn of the Screw. Mackenzie Davis stars as Kate, a young, inexperienced governess hired by an uncle to care for his orphaned niece and nephew. There’s something supernatural and sinister about her new wards, though.
Color Out of Space – January 24
Richard Stanley makes his long-awaited return to the director’s seat with an adaptation of one of H.P. Lovecraft’s most popular stories. A meteorite lands in the yard of the Gardner family home, unleashing unimaginable horrors. Expect things to get very trippy. Nicolas Cage stars as the Gardner family patriarch.
Gretel & Hansel – January 31
Oz Perkins (The Blackcoat’s Daughter) gives a familiar fairy tale the horror treatment. Sophia Lillis stars as Gretel, the young girl who leads her brother into the woods in search of food and work. Alice Krige plays the evil witch they encounter.
Come to Daddy – February 7
Though it’s not outright horror, this is a crowd-pleasing thriller you won’t want to miss. Elijah Wood stars as a 30-something who travels a great distance to reconnect with his estranged father. Their bonding experience becomes far more awkward and dangerous than expected (our review).
The Lodge – February 7
A soon-to-be stepmom volunteers to take care of her fiance’s children over the holidays when he’s called away to work. The icy relations between the three are just starting to thaw when strange and frightening events derail everything. Our own Meredith Borders called the film a “relentless onslaught of unease.”
After Midnight – February 14
If you’re looking for romance this Valentine’s Day, this horror/sci-fi film by Jeremy Gardner and Christian Stella offers up the perfect selection. Gardner also stars as Hank, a man whose life and sanity begins to crumble after his girlfriend (Brea Grant) disappears suddenly. Her departure coincides with the arrival of a monster that’s determined to break into his home.
Fantasy Island – February 14
The popular ’70s TV show about a magical island resort gets a horror-thriller makeover for the modern age, Blumhouse style. It stars Maggie Q, Michael Rooker, Michael Pena, Lucy Hale, Kim Coates, and more.
VFW – February 14
Joe Begos follows up the blood-soaked Bliss with this equally splatterific film by Fangoria. A group of war veterans must defend their local VFW post against a deranged drug dealer and his relentless army of punk mutants. Stephen Lang, William Sadler, Martin Kove, David Patrick Kelly, Fred Williamson, and George Wendt make up the ragtag crew (our review).
Brahms: The Boy II – February 21
After a family moves into the Heelshire Mansion, their young son soon makes friends with a life-like doll called Brahms. Considering what happened to Brahms at the end of the first film, this sequel kicks off with a whole new mystery. William Brent Bell returns to direct, and Katie Holmes stars.
The Invisible Man – February 28
When Cecilia’s abusive ex takes his own life and leaves her fortune, she suspects his death was a hoax. After a series of bizarre incidents that call her sanity into question, Cecilia seeks to prove an invisible presence is hunting her. Written/Directed by Leigh Whannell with Elizabeth Moss starring as Cecilia.
A Quiet Place: Part II – March 20
Following the events of the first film, the Abbott family is forced to venture beyond the home they’d made for themselves. They realize that the creatures that hunt by sound are not the only threats that lurk beyond the sand path.
Saint Maud – March 27
The latest from A24 follows a pious nurse who becomes dangerously obsessed with saving the soul of her dying patient. Out of TIFF, Joe Lipsett called this film “an exquisite religious, psychological thriller.”
Antlers – April 17
Based on the short story “The Quiet Boy” by Nick Antosca (Channel Zero), this Guillermo del Toro produced feature sees a small-town Oregon teacher and her brother, the local sheriff, become entwined with a young student harboring a dangerous secret with frightening consequences.
Antebellum – April 24
Successful author Veronica (Janelle Monáe) finds herself trapped in a horrifying reality and must uncover the mind-bending mystery before it’s too late. Emphasis on mind-bending, judging from the trailer. From the producers of Get Out and Us.
Untitled Saw Sequel – May 15
Currently under the working title, “The Organ Donor,” details are still scarce on this upcoming entry in the Saw series, including the title. What we do know is that the story is by Chris Rock, who stars alongside Samuel L. Jackson, and Darren Lynn Bousman has returned to direct.
Candyman – June 12
Jordan Peele produced and co-wrote this spiritual sequel to the 1992 original. Look for a return to the now gentrified neighborhood where it all began. Also returning? Tony Todd.
Ghostbusters: Afterlife – July 10
When a single mom and her two kids arrive in a small town, they begin to discover their connection to the original Ghostbusters and the secret legacy their grandfather left behind. Mckenna Grace and Finn Wolfhard star as the two grandkids but look for appearances by most of the original cast.
Morbius – July 31
The next entry in Marvel’s exploration of the darker corners in its universe. Jared Leto stars as Michael Morbius, a scientist who, in trying to find a cure for a rare blood disease, accidentally transforms himself into a living vampire. Though disgusted by his own bloodlust, he chooses to prey upon criminals he deems unworthy of life.
Malignant – August 14
Plot details may be very scarce, but the only two things you need to know are: James Wan is helming, and it’s a Giallo. Win/win.
The Conjuring: The Devil Made Me Do It – September 11
The third entry in the Conjuring series, and seventh in the expanded universe, this film takes on one of the most sensational cases from the Warrens’ files. One that marks the first time in U.S. history that a murder suspect would claim demonic possession as a defense. While Patrick Wilson and Vera Farmiga return as the Warrens, Michael Chaves (The Curse of La Llorona) picks up the directorial reigns.
Last Night in Soho – September 25
A psychological horror film directed by Edgar Wright (Shaun of the Dead). Anya Taylor-Joy stars as a fashion-obsessed girl who finds a way to travel back to the 1960s, where she encounters her idol, a charismatic aspiring singer. But 1960s London is not what it seems, and time seems to fall apart with shady consequences.
The Witches – October 16
This new adaptation of Roald Dahl’s novel by Robert Zemeckis tells the scary, funny, and wild adventures of a seven-year-old boy who has a run-in with witches. Anne Hathaway stars as the Grand High Witch.
Halloween Kills – October 16
The war between Michael Myers and Laurie Strode rages on in this new installment. This time Tommy Doyle and Lindsey Wallace return as adults to rejoin the fray.
Godzilla vs. Kong – November 20
King Kong and Godzilla duke it out for dominance in this King of the Monsters heavyweight champion event. Look for Millie Bobby Brown and Kyle Chandler to reprise their roles from the previous film, while Adam Wingard is directing.
Boyz in the Wood – TBD
After a handful of extremely well-received festival screenings, Amazon Studios snatched up this endearing and surprising horror-comedy for the win. While no date has been set, be sure to jump on this when it releases. Set in the Scottish Highlands, four misfit city boys embark on a rite of passage but find themselves prey to a mysterious huntsman instead (Eddie Izzard). Hip hop loving farmers, hallucinogenic rabbit shites, laughs, and chaos ensues.
The Coll3ted – TBD
Josh Stewart’s Arkin finally returns to battle the Collector once more. Also returning is Emma Fitzpatrick’s Elena. Is it the final battle? No date has been set for this third entry, but 2020 seems very likely. Or maybe it’s just wishful thinking. Either way, we want it.
I’m Thinking of Ending Things – TBD
Charlie Kaufman adapts Iain Reid’s chilling novel, in which an unexpected detour causes a woman who is trying to figure out how to break up with her boyfriend to rethink her life. The film stars Toni Collette, Jesse Plemons, and Jesse Buckley. No date has been set yet, but it is expected to release in the first quarter on Netflix.
Fear Street – TBD
R.L. Stine’s popular Fear Street novel series is getting an adaptation in trilogy form, all directed by Leigh Janiak. The first entry, expected in the summer of 2020, is set in 1994. In the aftermath of a brutal tragedy in Shadyside, Ohio, a group of teens discovers that a series of horrifying events that have plagued their town over many years might not be random and that they may be the next victims.
Synchronic – TBD
The latest by Justin Benson and Aaron Moorhead follows two New Orleans paramedics whose lives are ripped apart after encountering a series of horrific deaths linked to a designer drug with bizarre, otherworldly effects. Our own Joe Lipsett called it a “daring, go for broke sci-fi original” out of TIFF. Well Go USA will release this one theatrically sometime in 2020.
Genre classifications tend to fall apart the further we look back in time. That’s why nearly all the original versions of classic fairy tales contain at least one bizarrely horrific element or another. From the Evil Queen’s cannibalistic intentions in Snow White to the Big Bad Wolf successfully devouring both granny and Little Red Riding Hood, even the most innocent stories featured a twinge of terror back when they were first created. However, there is one fairy tale that remains surprisingly dark even in its current iteration, and that would be the chronicle of The Pied Piper of Hamelin.
A simple yet memorable yarn about a pipe-playing stranger who takes revenge on the populace of medieval Hamelin once they fail to pay him for eliminating their rat problem, the story of the Pied Piper has influenced countless other works of art (even popping up as a recurring influence on the Slenderman mythos). That’s why I find it so surprising that there’s no definitive big-screen adaptation of the iconic story – unless you count stop-motion animation.
Enter Czech filmmaker Jiří Barta, a pioneer stop-motion animator working for Kratky Film in the early ’80s. Having already made a name for himself by contributing to a myriad of televised short films aimed at children, Barta and the humble studio wanted to branch out and create a large-scale project meant for older audiences. After some discussion, the director settled on a bold retelling of the Piped Piper, wanting to present the story in a way that would stay true to its Germanic roots while also taking inspiration from Viktor Dyk’s 1911 reinterpretation of the tale, Krysař (Rat-Catcher in Czech).
And so production began on a one-of-a-kind animated spectacle that would incorporate German expressionism and medieval artwork into its visual design. Over the course of a year, Kratky’s artists produced meticulously crafted puppets and locations meant to evoke wood carvings – as well as a rat infestation brought to life through taxidermized skins and the occasional use of live-action photography.
Not very appetizing.
In the finished film (which doesn’t require subtitles since the characters all speak in a fictional German dialect that we aren’t meant to understand), we follow the downfall of Hamelin as the wealthy townsfolk become corrupt in their miserly ways, with the bustling city eventually attracting a vicious swarm of rats. It’s only then that a pipe-playing stranger comes to town and is promptly hired to take care of the problem. Naturally, the Piper is soon betrayed, leading to a horrific comeuppance as the town faces the consequences of extreme avarice.
In 1986, Krysař (retitled to The Pied Piper in North America) would premiere to rave reviews, though this success remained mostly limited to the festival circuit and Eastern European theaters. It would actually take decades for the film to reach home video in America, with most Western cinephiles only coming across this landmark stop-motion fable through bootleg copies and international DVDs aided by the film’s lack of intelligible dialogue.
This aura of mystery may be partly responsible for the film’s enduring legacy as an obscure cult movie, with fans considering it one of the greatest hidden gems of all time, but it’s The Pied Piper’s exceedingly dark tone and imagery that really cemented its place as a classic.
While the general plot was faithfully recreated from familiar versions of the story, which is already one of the darkest fairy tales in existence (possibly due to its origins as an allegedly true horror story), it’s the flick’s deviations from its folkloric source material and the clear preference for Dyk’s bleak retelling that make it such a memorable experience.
For starters, the animated visuals actively enhance the story’s surreal undertones, making a serious experience that much more unsettling due to its whimsical presentation. Horrific moments like the murder and implied sexual assault of a sympathetic main character become downright disturbing when told through the eyes of wooden puppets, and the clockwork-inspired movements of the city folk reveal sinister implications about the inner workings of an oppressive metropolis.
“Them filthy rodents are still coming for your souls!”
The rat plague itself is also incredibly unnerving, with the rodents’ organic design intentionally clashing with the mechanical feel of the rest of the film. The director originally intended for the vermin to feel more alive and sympathetic than the jaded inhabitants of Hamelin, but the use of real rat taxidermy also adds an additional layer of uncanny terror to the mix as the furry plague invades a mostly sterile production.
Of course, the scariest addition to Barta’s The Pied Piper comes from its grisly ending, which ditches the traditional climax of having the Piper kidnapping the local children and instead goes down an unexpected route of city-wide body-horror. I won’t spoil the details for those who still haven’t seen this wood-carved masterpiece, but suffice to say that the finale will stay with you long after the credits roll.
Like the legend that inspired it, The Pied Piper is much more than just a horror story. It’s an anthropological cautionary tale. It’s also a tragic love story, as well as a cathartic revenge yarn. But regardless of how you interpret it, it’s the overall brutality of Krysař that makes it so unique. That’s why I’m glad that the folks over at Deaf Crocodile have finally given the film the remastered Blu-ray release that it desperately needed.
And in a world where adult-oriented animation is finally getting the attention it deserves, with filmmakers like Guillermo del Toro championing the cinematic format as a medium rather than a genre, I think it’s worth looking back on Barta’s magnum opus as a poignant reminder that nightmares are not limited to live-action.
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