The finest post-millennium horror movies (with mini-reviews)

In a horror-movie list conspicuous for its absence of notable zombie films, a zombie film** is one that tops my list. REC is shot much like the Blair Witch Project and the Last Exorcism, but is superior to both of them, and can be considered as the true King of the 'found-footage' style horrors. What REC does best with its first-person camerawork is making the viewer genuinely feel as if they are there with the TV crew in that zombie-infested apartment. Not only does this add an emotional investment in the film, but these shaky first-person camera angles are also exploited to highly unsettling effect. And once the action gets going, REC is a gripping rollercoaster ride of adrenaline-pumping thrills and nerve-jangling frights that won't give you a chance to catch your breath until well after the end credits. Never before has heart-pounding suspense been combined so effectively with a relentless stream of bloody violence. Avoid the U.S remake Quarantine at all costs, and go see REC. It is a blast.

(**REC by itself may be considered a zombie film, but if you have seen REC 2, you will dispute this categorisation)

Ju-On (The Grudge) is Japanese horror at its very best, and vastly superior to the 2004 U.S remake in every aspect. Director Takashi Shimizu works wonders with a simple storyline and never gives the viewer a moment of rest, cooking up scenes of unbearable anxiety and apprehension using subtle camerawork and disconcerting sound effects (the sound that emits from the ghost needs no explanation). The end result? An essential addition to the horror genre, and one of the most terrifyingly scary ghost films to ever grace our screens.

I think it is a travesty this film went direct-to-DVD, because Trick 'r' Treat is an absolute treat to watch (especially on Halloween). An anthology of four intertwining stories that occur on Halloween, director Michael Dougherty seamlessly integrates the stories with confident visual flair. The ensemble cast (including talents such as Brian Cox and Anna Paquin) clearly look like they are having fun in the short screen-time they are given, and there are countless memorable scenes of dark comedy and old-fashioned, suspenseful horror. Trick 'r' Treat is not the scariest film on this list, but it is certainly one of the best, and a masterpiece of a tribute to Halloween night. Go watch it, and be entertained.

Bill Paxton directed and starred in one of the most underrated, thought-provoking and intelligent horror films of recent times, and I still do not know why so few people have seen this. Frailty is expertly directed with fantastic performances from Bill Paxton and a young Matt O'Leary, but it is in the script where the film truly shines. The storyline develops intriguingly as Paxton's religious fanatic character becomes immersed in what he believes are orders from God to kill 'demons'; this follows him coming into conflict with young son (O'Leary), who is grounded in rationality. Then, late on into the film, the story develops, accelerates, then turns on its head. I cannot give too much away, but the film's plot twist is a knockout blow that will leave you thinking about the film's implications long after you have finished watching this. I believe Frailty is the biggest hidden gem on this list, and the best-written post-millennium horror film out there.

French horror at its most disturbing, Inside (À l'intérieur) is one of the most violent, visceral and engrossing horror films you will ever see. Centering around a heavily pregnant woman who is terrorized by another woman determined to extract the baby from her womb, the film is relentless in its pace and gripping in its simple narrative. Throughout the entire film you will hope for Alysson Paradis' character's safety, whilst the psychotic maniac portrayed by Béatrice Dalle will truly get under your skin. I cannot divulge too much about some of the scenes in this film, but I can guarantee that the bloody carnage portrayed in this film is at a level that a few others can come close to. Do not watch if you are faint-hearted, scared of blood, pregnant, or with a pregnant person.

Imagine Paranormal Activity meets Ju-On: The Grudge, combined with elements of the Blair Witch Project. For just the scariest parts of all three films.

The result is Noroi: The Curse - the most unsettling, creepy and downright frightening films I have seen for many years, and regarded by many as the scariest Asian horror film ever made. Noroi is presented as a documentary of a paranormal expert who investigates a series of supernatural occurrences, with maximum utilization of the found-footage shakey-cam. The film never relents on its bleak sense of impending doom, throwing at you scene after scene of disturbing images that will stay with you for a long time. If you're into supernatural and/or found-footage horror, you will love this. But just a word of advise: you might want to watch this during the daytime.

This Swedish horror movie has something that few other horrors have - a tender heart. The film is visually melancholic, portraying the gloomy suburb of Blackeberg in manners that reflect the overall mood of the storyline, as well as the emotions the main characters are experiencing. The acting from the two young leads, Kåre Hedebrant and Lina Leandersson is a joy to watch, as there is so much chemistry between them. You will become emotionally engaged with both characters, and come to care for what happens to them. Let The Right One In is a beautiful film, and is everything Twilight is not - a vampire movie that is creepy, violent and atmospheric; yet achingly heartfelt in its expert storytelling.

Switchblade Romance (alternatively known as High Tension), is one of my favorite French horror movies, ever. The film plays true to its name, and has plenty of tension throughout, mixed with scenes of intense violence and numerous twists that will catch you off-guard. Many people will point to the huge plot hole in the film, but it did not affect my enjoyment of it, maybe I am easily pleased. Regardless, Switchblade Romance is a bold, riveting slasher that will keep you enthralled in horror from start to finish.

Love it or hate it, Saw's success brought horror back on the Hollywood map, spawning a franchise that included numerous average sequels and poor copycats such as Hostel. Unlike so many that came after it, the original Saw is a very scary and well made horror film. Making light of the meager budget of $1.2 million, director James Wan creates a dark, hostile tone, and the often-sadistic scenes of violence feel all-too-real. Saw's plot was highly original at the time of its release, and the unraveling of its dark, twisted storyline is the most enthralling aspect of the film. Saw is brutal and highly absorbing, and will leave a lasting impression on you.

I sense Paranormal Activity will be one of my more contentious inclusions, but I loved it and found it very scary, and that is why it is there. The film takes a then-unique approach to a haunted-house story, applying a low budget, mocumentary-style filming technique, which results in an intimate feel. The unknown cast (Katie Featherson, Micah Sloat, both who use their real names for their characters on-screen) do a good job of portraying fear, and the film makes fantastic use of sound effects to get the viewers' adrenaline pumping. Paranormal Activity was the film that affirmed what the Blair Witch Project proved - that you can make a frightening horror film with a tiny budget and minimum special effects, provided you have the directorial techniques to generate enough suspense. Many hate it for what it is, but I admire what director Oren Peli has achieved with such little.

As far as werewolf movies go, Ginger Snaps is easily one of the most enjoyable films to see. This Canadian gem incorporates a coming-of-age story about two teenage girls with werewolf body-horror, using lycanthropy as a direct metaphor for female adolescence. The results are impressive; Ginger Snaps has an original and immersive storyline, bought to life by solid performances of their relatively unknown leads, Emily Perkins and Katharine Isabelle. The film may lack genuine scares, but it is a unique, interesting and hugely entertaining viewing experience, and well worthy of its cult status.

Just by reading the plot summary above, you may be forgiven for thinking this French-Canadian film is your standard torture-porn flick, as I mistakenly did. But it is so much more than that. Wonderfully directed by Daniel Grou and featuring a powerhouse performance from the lead, Claude Legault, 7 Days explores the overlapping themes of grief, retribution and justice using character development, as opposed to focusing too much on its nauseating scenes of graphic torture. The result is possibly the most emotionally harrowing, gut-wrenchingly sad horror movie of the past decade; and one where you care deeply about the main character and feel his sorrow, anguish and anger as it is being portrayed on screen. If you can stomach the violence, there are massive rewards to be reaped from this moving piece of cinema.

Before he started being hailed as the best actor in the world, Michael Fassbender starred alongside Kelly Reilly in this acclaimed British horror-thriller about a couple who gets terrorized by a group of violent teenagers. Eden Lake is one of those films that you simply cannot look away from until its very dark ending – it has many moments of riveting suspense and outbreaks of savage violence, all held together expertly by writer-director James Watkins (who also co-wrote My Little Eye and recently directed the Woman in Black). What makes this film so effective is its bleak, underlying social allegory on elements of British working-class yob culture. If you have witnessed young British thugs in action, you will know that there are teenagers out there capable of doing the same things the teenagers do in Eden Lake, if placed under the same circumstances. And this harrow realization is what really brings the chills down your spine as you watch the vicious events unfold in front of your eyes.

J.A.Bayona's directorial debut is a refreshing Spanish ghost story that does not rely on cheap scares that have become the hallmark of so many modern horror films. Whilst the plot centers on a mother's search for her missing son in a haunted orphanage, the cinematography, score and camerawork all combine smoothly to create an eery setting that is seen rarely in American horror movies. There are many moments of old-fashioned suspense expected from a ghost story and a clever-yet-believable twist ending to provide the icing on the cake. In a nutshell, the Orphanage is one of the finest ghost horrors of the past decade.

It is not often an American remake of a foreign horror movie holds its own against the original. The Ring is one of those rarities. The film is loaded with creepy atmosphere, frightening images and many shuddery moments, as well as distinguished performances from Naomi Watts and her on-screen son, David Dorfman. What impressed me the most about this film was director Gore Verbinski's ability to incorporate a constant sense of Se7en-esque dread into the film - as you watch, you always feel something horrible is going to happen at any minute, and the feeling never lets go. It feels like a weight in your chest. And there aren't too many horror films that can make you feel like that as well as the Ring can.

This film-adaption of a Stephen King novel can boast having one of the most shocking and pessimistic endings in horror-film history. Whilst it is not scary enough to be a great horror movie, all the elements are there for the makings of a great movie; the ever-impressive Marcia Gay-Harden puts in a brilliant performance as a Christian fanatic you will hate, whilst Frank Darabont executes his job with some deft pacing and clever camerawork. But what really impressed me about the film was the storyline - it is not really a simple monster movie, but a fascinating examination of what people are driven to do in extreme situations. And did I mention that ending?

I was hesitant to watch a film about a group of young women who become trapped in a cave and get attacked by a bunch of monsters who resemble something out of the Lord of the Rings. But the more I watched this film, the more I enjoyed it. Neil Marshall's direction is excellent, constantly using the cave setting as a platform for creating a sense of claustrophobia and a fear-of-the-unknown. The lighting effects in this film helps generate a great deal of tension, whilst many of the film's action scenes are violent, explosive and a great deal of fun to watch. The mistrust and misunderstanding that develops between the main characters in the film adds another welcome dimension to the film. In short, the Descent is a fast-paced, suspenseful and gripping romp of a horror movie that anyone can enjoy.

The horror genre has evolved over the past few decades, to the delight or disdain of fans depending on their taste. The fans who prefer the older horror movies may moan that they just don't make horrors like the good old days. If you fit in that category, check out the House of the Devil. This low-budget movie is a thoroughly enojyable old-school horror, and a homage to timeless classics such as Halloween, the Changeling and Rosemary's Baby to name a few. Purposefully deploying similar filming techniques as the horror films of the 70s and 80s, the House of the Devil combines the thematic elements of slasher flicks with the 'satanic cult' horrors, emphasizing tension over gore and brains over brawn. The film's slow pace and lack of action will be disappointing to fans of modern-day horror movies, so be warned. But if you like a retro horror with bags of Hitchcockian suspense and an engaging storyline, look no further.

The Others is a creepy psychological horror film that proves clever direction and tension build-up can be scarier than a load of blood and guts. Alejandro Amenábar's skillful direction and Kidman's assuring performance, combined with an intelligent script, makes the Others a worthy recommendation.

This bloodbath of a movie ranks up there as one of the best slashers I have ever seen. Dream Home (as the film is widely known in the West) tells the story of a woman's struggles to get a mortgage for the one apartment she wants above all, and the lengths at which she will go to get what she wants. Boasting neat cinematography, a committed performance from its lead Josie Ho, and deliciously inventive kills, Dream Home also works as a smart, biting social satire on the awful state of the Hong Kong housing market. More captivating, gruesome and intelligent than your run-of-the-mill slasher flick, this is a must-see for horror fans.

Unless you are an ardent horror fan, you are unlikely to have heard of this low-budget slasher from Down Under. Which is a shame, because this is a stylish and well-made horror film that is both horrifying and funny, and hugely entertaining throughout. The film focuses on a demented girl's revenge on a boy who turned her down for the school prom; there is an amusing side-plot involving another boy from the same school who is taking out a girl to the prom who is clearly way out of his league. It is not revealed until well into the film what the link between these two contrasting stories are, and by then you will be gripped by director Sean Byrne's ability to effortlessly integrate scenes of brutal violence with comic diversion. A fine addition to this list.

After Scream and before the Cabin in the Woods, there was The Rise of Leslie Vernon. It is a horror film for horror buffs - a deconstruction of the slasher genre presented in a form of a mockumentary, with a delicious amount of wit and originality loaded in its narrative. A smart, engaging under-the-radar indie that really needs to be watched by more people.

A 'modern-day Carrie' is the best way to sum up this disturbing yet profound horror. Angela Bettis' performance is impressive, and even throughout her most disturbing scenes you will feel a sense of sympathy for her increasingly desperate situation. The intense psychological elements combined with some gruesome scenes mean this film is not for the faint-of-heart.

This is a surprisingly well-made film that is kind of like the Blair Witch Project meets the Exorcist. The 'handheld-camera' horror films are not for everyone, but this film utilizes the first-person views with chilling effect. Ashley Bell puts in a truly unsettling performance as the girl who needs to be exorcised, and a single question on your mind will keep you glued to the screen: is she possessed by a devil, or is she just completely insane?? The ending of this film is much-disputed, and you will either love it or truly hate it...thankfully for me, it was the former.

Never have I seen a movie that manages to be so funny and scary in such equal measure. This low budget creeper - about a family who gets lost on an unfamiliar road - delivers many moments of spine-tingling apprehension, with numerous scenes of hilarious dark humour intertwined between the scares. I can name tons of recent horror movies out there that delivers both laughs and frights (e.g. the Loved Ones, Shaun of the Dead, Slither, Scary Movie, Zombieland…), but they all tend to be over-inclined towards one or the other. Dead End manages to retain a perfect balance between horror and comedy, which is enough to overcome the occasionally corny dialogue and predictable plot turns, to make this movie a highly enjoyable ride.

A recent addition to this list, Triangle is a refreshing British-Aussie horror that tries valiantly to do something different with its plot. I will not delve into the storyline as I do not wish to give anything away, but you can rest assured, it will leave you scratching your head. Whilst its disorientating script may not make full sense, I admire how different and original Triangle is compared to your run-of-the-mill horror film; add breakneck pacing and a brilliant performance from its lead (Melissa George), and we have more than enough enjoyment on offer here for the film to come highly recommended.

Acclaimed South Korean filmmaker Park Chan-Wook's foray into vampire territory is an enjoyable entry to the genre. Thirst features the director's trademark crisp cinematography combined with elements of black comedy, revealing a story of a vampire priest's internal struggles between his lust (for blood, as well as for the woman of his desires) and his deeply-rooted sense of decency. The film becomes more and more extravagant and blood-soaked as it goes on, and is lacking in subtlety and restraint. But it more than makes up for it with its gore, eroticism and dark humor - and features a magnetic performance by the lead actress Kim Ok-bin, who gets better and better with every scene.

An extraordinary hyper-blend of satire and horror, the Cabin in the Woods is a breath of fresh air for the horror genre amidst the numerous remakes and franchise sequels that has tainted its reputation. Writer Joss Wheadon and director Drew Goddard throws in numerous horror conventions into the plot, subverts it into a spoof using an intelligent and wacky storyline, and keeps us guessing throughout with a multitude of twists and turns. The movie is rarely scary, and the outrageous final act won't be for everyone - but most of you will be having too much fun to care.

It is highly debatable this film is more horror than a courtroom-drama, as the majority of the scenes takes place during a trial. However, the film nevertheless has some truly horrifying flashbacks that is up there with the scariest, and one particular shot in a dorm room took me a good few days to erase from my mind. For the sheer fear factor of the these flashback scenes alone, I believe this film deserves a place on my list. Oh, and it is a very good film too.

I am usually not a fan of torture-porn, and in essence, Funny Games fits into that category. A shot-for-shot U.S. remake about a couple of sadistic and frighteningly calm young men (Michael Pitt, Brady Cobet) who terrorize an innocent family (Naomi Watts, Tim Roth, Devon Gearhart), the film feels like a constant exercise of viewer-manipulation, toying with your expectations of how the film is going to proceed. However, Michael Haneke's direction is accomplished as ever, whilst Pitt, Watts and Roth put in gripping performances. Like Antichrist below, this film's disturbing content won't be to everybody's taste, but it is finely made and well acted indeed.

Even by Lars von Trier's standards, this film was deemed highly controversial. Premiering at the Cannes Film Festival in 2009, Antichrist divided audiences wherever it was screened, some of whom hailed the film's provocative, artistic symbolism, whilst others criticized the film's often grotesque scenes of sexual violence. I will not go into further detail - just go see for yourself. It may be too graphic and disturbing for many movie fans, but the fact is, it is a beautifully shot surrealist film like no other.