15. “Prey”
One of the most enduring arguments among horror fans is the classification of horror itself. For some, a movie like “Prey” is an action movie or a summer blockbuster. For us, “Prey” slots perfectly into the conversation for the best horror of 2022. When the history of 2022 is written, one might argue that “Prey” benefited from following in the record-breaking footsteps of “Top Gun: Maverick.” That film reminded audiences of what we were missing and created an appetite for action movies and summer blockbusters that had waned over the previous two COVID-afflicted years. But Tom Cruise could only open the door: Dan Trachtenberg and Amber Midthunder had to walk through it, and walk through it they did. “Prey” is a marvel of franchise-building as much as it is a marvel of horror. What Trachtenberg and company elected to do with an iconic character at the nadir of its value was bold, and the fact that the final product works as both a standalone horror movie and a soft reboot is nothing short of a miracle. It’s also a welcome reminder that horror can come in many forms: some slow and small, some big and littered with set pieces. – MM
(Read Rodrigo Perez’s review of “Prey” here)
14. “The Black Phone”
When you ask horror fans to share their formative genre experiences, one of the things you quickly learn is that most people have a love-love relationship with their first horror films. And while there are plenty of noteworthy gateway horror films out there, the best genre movies offer children an opportunity to see themselves in the very thing that scares them. That is what makes Scott Derrickson’s “The Black Phone” the kind of film with legs. It’s not just that Derrickson and co-writer C. Robert Cargill have crafted an unflinching look at childhood — the violence, profanity, and ignorance so often smoothed over in other titles — it’s also that they find a real sense of danger in their movie. Ethan Hawke’s character is a complex nightmare, but even as a period piece, “The Black Phone” feels a little too unsafe to be easily dismissed. And in a year with so many standout horror performances, it’s still Madeleine McGraw’s feisty younger sister character that stands out the most. “The Black Phone” may be one of 2022’s best, but it is also guaranteed to scare a new generation of horror fans into existence in the years to come. That is the real legacy here.– MM
(Read Jason Bailey’s review of “The Black Phone” here)
13. “Deadstream”
There is no trickier mode of horror film than the horror-comedy. Many have tried to walk the fine line between laughs and scares, but the number that can pull it off — truly pull it off — are few and far between. Wait too long to commit to one bit or the other, and you end up with a movie that oversells the jokes and undersells the horror. Most horror comedies get lost in this in-between phase somewhere after the first act. Not “Deadstream.” The debut film from filmmaker couple Vanessa and Joseph Winter is remarkably confident in tone, and the general premise — a canceled YouTube star who is desperate for the gimmick that will re-monetize his platforms – offers a fresh take on found footage tropes. “Deadstream” has often been compared to the “Evil Dead” franchise for its emphasis on practical effects and broad humor, but the real genius of the film is in its main character. Like Bruce Campbell’s Ash before him, Winter’s Shawn is kind of an asshole, and the movie makes it clear that he is the butt of the joke — not the victim. That small pivot allows the humor and the scares to work in tandem, creating the unquestionable champion of 2022 horror comedies. – MM
12. “Watcher”
The moment the closing credits hit the screen, Chloe Okuno’s “Watcher” was destined to end the year as one of the best horror films. “Watcher” is a film about a woman asked to move to a new country and struggling against an impenetrable culture. It also happens to be the creepiest serial killer movie you will watch all year long. Much of the film’s success belongs to Maika Monroe. Those who were introduced to her in “It Follows” may wonder where she has been for the past few years, but her ensuing body of work— including films like “Bokeh” and “Villains” — reveals an actress still growing into her already-impressive craft. In fact, “Watcher” is one of two horror films with Monroe this year (the other, “Significant Other,” was a Paramount Plus exclusive). All of this makes “Watcher” a film about vibes. If you like your horror with a healthy side of urban decay and a dash of gaslighting, then “Watcher” will tantalize those who sit on its same wavelength. Regardless, this is a film that reminded us — and casting directors everywhere — of the immense talent of Maika Monroe, and for that alone, it deserves its laurels. – MM
(Read Elena Lazic’s review of “Watcher” here)
11. “The Sadness”
Zombie content has been growing stale for the past decade. What was once an avenue for societal commentary, thanks to the legendary George A. Romero, zombie films and TV series have devolved into shallow, gore-filled bores. Thankfully, Rob Jabbaz’s Taiwanese movie, “The Sadness,” is here to show folks that zombie films can be daring, fresh, and… sad. The killer hook of “The Sadness” is quite simple but terrifyingly effective. The zombies in Jabbaz’s film are murderous, flesh-hungry killing machines, but the virus that infects them and has not taken away their awareness. So, while these zombies are out there fulfilling their gross, upsetting, and gory desires to rape and murder everyone in their path, these infected folks are aware of every second but can’t stop themselves from acting out. It adds a new layer to the zombie genre that changes how you view everything you’re watching. Can you sympathize with a person who will eat your face and rip you limb from limb if you knew they wanted to stop but couldn’t? On top of the moral questions, Jabbaz has also created one of the most visually disturbing horror films of the last decade, hands down. – Charles Barfield
