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"Sinister" is a story made of darkness: mysterious loud bangs in the attic, distant moans from the dead, vulnerable children, an egomaniac crime writer and his long-suffering wife, who is plenty fed up even before she discovers he has moved his family into the same house where horrifying murders took place.

The movie opens with four people standing with nooses around their necks and hoods over their heads. From above the frame, a power saw cuts off a tree limb. As it falls, its weight hangs the victims. Soon after Ellison Oswalt and wife Tracy ( Ethan Hawke and Juliet Rylance ) move into a spacious suburban house, we can see through the kitchen window that the hanging tree, with a distinctive split branch, is in the backyard.

What kind of a psycho would move his family into this house? Even the unfriendly sheriff tells him it's in "very poor taste." But the house was priced to sell. Almost immediately Ellison discovers it was no bargain. In the attic, he finds a box labeled "Home Movies," containing reels of Super-8 film and a projector to exhibit them.

"Sinister" is an undeniably scary movie, with performances adding enough human interest to give depth to the basic building blocks of horror. Ethan Hawke plays an introverted, driven man who wrote a best-selling, true-crime book some years ago and is convinced a book about those ghastly hangings will be another success — especially since one member of the doomed family is still missing.

His wife shares the misgivings of her children about being uprooted from their former home and being moved to an isolated house in the woods. Her distress grows as Ellison locks himself in his office, and grows distant and distracted. Their children, Trevor and Ashley (Michael Hall D'Addario and Clare Foley), begin to have night terrors and episodes of sleepwalking. Although Tracy remains ignorant of the house's true history, the kids discover it soon enough through playground tauntings. Ashley, who has been given one wall of her room to paint on, begins to summon disturbing images.

The film, directed by Scott Derrickson (" The Exorcism of Emily Rose "), focuses on Ellison, who spends much time scrutinizing the 8mm movies, which disturbingly show the murders of other families. He transfers them to his laptop, and his stop-action analysis uncovers almost hidden details. Some shots cause him to recoil in terror. He begins to hit the bottle. His wife grows hostile.

Almost all of the action occurs at night. Wouldn't you know for part of the time the power is off in their neighborhood? (The outage doesn't seem to affect the porch lights.) Even when the power seems to be working, Ellison for no reason prefers to creep around the house and climb into the attic carrying a small flashlight, which serves only to make him a target to anything that might be waiting in the dark. I was strongly reminded of Ellen Burstyn creeping into her attic in " The Exorcist ," holding only a candle. All through "Sinister," you keep thinking, "Switch on the lights, fool!"

Three supporting characters are effective. Fred Dalton Thompson is the sheriff, whose initial hostility later seems only reasonable. James Ransone is his deputy, a crime buff who is star-struck by the famous writer and signs on as a volunteer researcher. (He dreams of being cited in the eventual book: "You know, like thanks to Deputy So-and-So, without whose invaluable help…").

And then there is Vincent D'Onofrio , as a university professor of the occult and mythological, who opens up a line of possibility that eventually saves the ending from being a red herring. Yes, the ending is horrifying, but I don't believe in that stuff. I'm pretty sure I don't.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Sinister (2012)

Rated R for disturbing violent images and some terror

110 minutes

Ethan Hawke as Ellison

Juliet Rylance as Tracy

Vincent D'Onoforio as Jonas

James Ransone as Deputy

Directed by

• Scott Derrickson
• C. Robert Cargill

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At the Scene of the Crime

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By Manohla Dargis

• Oct. 11, 2012

Something wicked comes creaking along the floorboards in “Sinister” before racing prematurely out the door. Ethan Hawke plays a true-crime author who, when this creepy horror flick opens, is moving his family into a house where another family was slaughtered. He’s investigating the murders for his next book and tells his wife it’s the only house they can afford. The tree from which members of the other family were hanged — a scene that the director Scott Derrickson, who shows it several times, is clearly proud of — looms in a picture window like an omen.

A twitchy Mr. Hawke builds a persuasive portrait of desperation with little help from the script and despite playing a character who makes so many mistakes he might as well be on a suicide mission. Mr. Derrickson, keeping the lights dimmed, effectively puts his pieces into play, even if their familiarity — a man struggling with his art, his foolishly supportive wife, children in peril, possible evil — brings to mind superior entertainments like “Rosemary’s Baby” and “The Shining.” Mr. Derrickson’s cleverest detail is the box of Super-8 home movies that turn out to be diabolical mementos and which suggest that film, even when it’s small gauge, is one awesomely powerful medium.

“Sinister” is rated R (Under 17 requires accompanying parent or adult guardian). Creaky floors, dark shadows and mass murder.

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Sinister: film review.

Ethan Hawke stars as a crime novelist obsessed with a missing-girl case in Scott Derrickson's latest scary movie.

By THR Staff

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Sinister Ethan Hawk Watching Film - H 2012

A true-crime author stumbles onto something beyond his beat in Scott Derrickson ‘s Sinister , which follows Ethan Hawke ‘s Ellison Oswalt as he grows increasingly obsessed with a missing-girl case he hopes will lead to a bestselling book. Occasionally stupid (stretching even fright-flick conventions) but scary nonetheless, the pic should please horror fans.

When Oswalt’s wife ( Juliet Rylance ), just uprooted to a new town (so he can investigate the new story) and already getting bad vibes from neighbors, asks “We didn’t move a few doors down from a crime scene again, did we?,” he assures her they didn’t. She asked the wrong question: Oswalt has bought the very house in which four members of a family were slain, with the fifth abducted. An ornery sheriff ( Fred Thompson ) stops by before the boxes are even unloaded to warn the author he’s not a fan of his books, and doesn’t cotton to a fame-hungry scribbler second-guessing his department’s work.

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Local lawmen are soon the least of Oswalt’s worries. He finds a box of Super-8 films in the attic, each showing a family being murdered in a uniquely grisly way. Believing he’s stumbled across his own In Cold Blood , he stays up nights scrutinizing the films and looking for connections between killings whose locations and victims are still unknown.

Derrickson borrows the vibe of Joel Schumacher ‘s 8MM as Hawke, swigging whiskey and giving the crease between his eyebrows a workout, struggles with the horrible things he’s seeing. But the film soon shifts into bump-in-the-night mode, with an unseen visitor leaving clues for Oswalt in his own house and taunting him with increasingly unsettling (and harder to explain) stunts.

Setting aside Oswalt’s infuriating unwillingness to turn on the lights when homicidal intruders infiltrate his home at midnight, the movie has him doing some pretty unjustifiably dumb things — like walking with a butcher knife thrust in front of him when he has every reason to think his sleepwalking young son might suddenly leap out at him.

We allow him some of this, thanks to the picture’s coy suggestions that Oswalt might be going a little nuts due to the nature of his investigation. But Derrickson and co-screenwriter C. Robert Cargill are eager to draw in more familiar supernatural elements — an occultologist ( Vincent D’Onofrio ) identifies a crime-scene marking as a pagan symbol “dating back to Babylonian times” — and the movie’s proceduralist pleasure takes a backseat to ghosts and a mysterious figure known as “Mr. Boogie.”

The scares are effective throughout, helped a good deal by Christopher Young ‘s glitchy electronic score. While the end clearly points toward a possible franchise, though, many of the ingredients that make Sinister compelling wouldn’t make sense a second time around. Some of them barely hold up for the first.

Production Companies: Blumhouse, Automatik Entertainment, Possessed Pictures Cast: Ethan Hawke, Juliet Rylance, Fred Dalton Thompson, James Ransone, Michael Hall D’Addario, Clare Foley, Vincent D’Onofrio Director: Scott Derrickson Screenwriter: Scott Derrickson, C. Robert Cargill Producers: Jason Blum, Brian Kavanaugh-Jones Executive producer: Charles Layton Director of photography: Chris Norr Production designer: David Brisbin Music: Christopher Young Costume designer: Abby O’Sullivan Editor: Frédéric Thoraval R, 109 minutes

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Casting sylvester stallone's biopic: 8 actors who can play a young stallone, jason statham's next movie could become the franchise tom cruise's jack reacher failed to be, derrickson's film succeeds in delivering an exceptionally engaging, and frightening, movie experience with quality characters, a smart story, and plenty of scares..

In his feature debut,  Exorcism of Emily Rose  writer/director, Scott Derrickson managed to blend compelling character drama with the overly familiar "exorcism story" - delivering a smart and disturbing film experience. Now the director is back with an entirely original horror project, Sinister , as well as a chilling new horror "monster" - Mr. Boogie.

However, in a genre that is dominated by sequels, remakes, prequels, spinoffs and other franchise cash-ins, non-franchise films often resort to established sub-genres, such as found-footage or "torture porn," to stand out from the crowd. As a result, it's up to moviegoers, via word-of-mouth, to support filmmakers who are trying, and succeeding, in delivering fresh scares and engaging/frightening stories. Does Sinister offer a smart and scary experience that's worthy of your box office dollars and personal endorsement?

Yes. While certain elements of the Sinister plot are predictable, Derrickson has once again delivered a horror film that is not only creepier than most of its contemporaries, it excels with relatable characters, and a smart premise - a premise that pays off in both the larger story mythology as well as moment to moment scares. Moviegoers hoping for a bloody splatter flick might be underwhelmed by Derrickson's preference for tension over outright violence - considering he relies heavily on creepy night sequences, grainy video footage, and the unfolding mystery around Mr. Boogie. That said, for viewers who have grown tired of the countless stock horror offerings in the genre, Sinister should provide an especially engaging and refreshingly spooky movie experience.

As mentioned, part of the appeal of Sinister is watching the mystery unfold - so, for anyone who is already committed to checking the film out, do yourself a favor and avoid the trailers and other potential story spoilers. However, for those who aren't yet sold on the film, Sinister follows true life crime author Ellison Oswalt (played by Ethan Hawke) who moves his family, wife Tracy (Juliet Rylance), daughter Ashley (Clare Foley), and son Trevor (Michael Hall D'Addario), to a new town - so that he can write a book about a grisly family murder. The Oswalts take up residence in the deceased family's house and Ellison begins his investigation, attempting to piece together the details of the crime, until one night he discovers a box of super 8 home videos in the attic. Though, as Ellison views the tapes over the course of several nights (each one more disturbing than the last), he begins to suspect that the murders he's investigating are just one part in a much bigger, and more terrifying, story.

Derrickson helps ground the story's narrative within Ellison, who routinely disregards the severity of his situation, and the safety of his family, in favor of chasing best-seller book fame. At times, the character falls into the usual horror genre tropes, investigating attic noises and dark corners of the backyard, all for the sake of spooking the audience instead of acting like a rational person. Ultimately, there's a lot more to Ellison than his actions sometimes indicate and the personal story of a man who intentionally places his own self-interest over the people he loves adds engaging layers onto an already interesting horror set-up. Hawke offers a solid performance as Ellison - convincingly depicting the man's unraveling charm, obsessiveness, and fear over the course of the film.

Sinister  also incorporates a number of lengthy uninterrupted scenes between Hawke and Rylance that help ground the proceedings in character as well as scares - showcasing the effect that Ellison's actions have on his personal relationships. In other horror films these moments would be melodramatic but in Sinister  they're handled with care, helping to escalate the effectiveness of the unraveling psychological horror, not just fill in space between scares. Similarly, Deputy So and So (played by James Ransone) is an equally compelling human addition and helps bring some levity to the proceedings while at the same assisting in the forward movement of the supernatural story.

The scares themselves, as well as the larger mystery, are primarily revealed through a combination of the escalating disturbances in the Oswalt house and the super 8 tapes (which each depict a different grisly murder). Many filmgoers have begun to tire of the found-footage gimmick, as Hollywood continues to pump out one ridiculous application of the format after another, but the Sinister  "found footage" rarely disappoints. Each film is compelling and unsettling - with plenty of variation and uniquely horrific imagery to keep viewers squirming in their seats. Similarly, unlike many horror contemporaries, each violent moment in Sinister serves a larger story purpose (not just violence for the sake of violence) - resulting some satisfying call backs at the conclusion of the film.

Not every element of Sinister is up to par and while the larger story and experience deliver, a number of individual moments borrow heavily from prior horror films and could be predictable to anyone who is paying close enough attention (or anyone has seen the film's notable inspirations). In addition, Sinister joins the growing list of films that rely on creepy kids to do their frightening dirty work. The children admittedly deliver plenty of spooky on-screen drama but "spooky kid" moments don't quite live up to the promise established in the larger premise.

Despite a refreshing set-up, Sinister  does rely on a number of familiar horror beats and definitely takes advantage of the overused, albeit effective, "creepy children" trend in Hollywood. Nevertheless, like the 2007 indie horror film Paranormal Activity (which originally gained traction through festival screenings and word of mouth) ,   Sinister 's rich premise and creepy monster, Mr. Boogie, could easily spawn a string of high-profit franchise sequels. Only time will tell but, until then, Derrickson's film succeeds in delivering an exceptionally engaging, and frightening, movie experience with quality characters, a smart story, and plenty of scares.

If you’re still on the fence about  Sinister , check out the trailer below:

[poll id="405"]

Let us know what you thought of the film in the comment section below. If you’ve seen the movie and want to discuss details about the film without worrying about spoiling it for those who haven’t seen it, please head over to our  Sinister  Spoilers Discussion .

For an in-depth discussion of the film by the Screen Rant team check out the  Sinister  episode of the SR Underground podcast .

Follow me on Twitter @ benkendrick  for future reviews, as well as movie, TV, and gaming news.

Sinister  is Rated R for disturbing violent images and some terror. Now playing in theaters.

Our Rating:

• Movie Reviews
• 3.5 star movies

Where to Watch

Ethan Hawke (Ellison Oswalt) Juliet Rylance (Tracy) James Ransone (Deputy) Fred Thompson (Sheriff) Michael Hall D'Addario (Trevor) Clare Foley (Ashley) Rob Riley (E.M.T.) Tavis Smiley (Anchor) Janet Zappala (Reporter) Victoria Leigh (Stephanie)

Scott Derrickson

A controversial true-crime writer finds a box of Super 8 home movies in his new home, revealing that the murder case he is currently researching could be the work of an unknown serial killer whose legacy dates back to the 1960s.

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Sinister – review

F or its sheer claustrophobic nastiness, this run-of-the-mill horror film deserves some points. It could, possibly, become a multi-sequel franchise like Saw and Paranormal Activity. Should that happen, it would intensify the depression and oppression that hung powerfully over me as I left the cinema.

The title suggests something oblique, even subtle, a creepy atmosphere. But nothing could be further from the case. Explicit shocks, with crashing musical stabs, are the order of the day. Ethan Hawke , wearing the cable-knit cardie and glasses on a neckchain that were presumably given to him on graduating from the writer's academy, plays Ellison, a once bestselling author of true-crime books. He's moved to a small town to investigate an unsolved missing-person case. But in the attic of a rented house, he finds reels of home-movies that show horrifying scenes, and Ellison and his family are now in a very disturbing situation.

The snuff-porn aesthetic might suggest a realist drama, but a supernatural dimension is brought into play, making the plot directionless. There isn't an ounce of ingenuity in the way the movie is concluded, but some generic expertise in the way it is put together.

• Horror films
• Ethan Hawke

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Most viewed.

Just How Scary Is Sinister ?

Scary, but you'll still sleep... Ethan Hawke plays a true crime writer who gets a little too close to his latest project—the investigation of a gruesome multiple murder

Scott Derrickson’s   much-heralded horror film Sinister is unlikely to leave you sleepless. At least it didn’t me, and I’m a total wimp. The movie is full of feints, shocks and scenes of particularly perverse violence, but nothing about it is fresh enough to haunt you in the night. It’s predictable. Its underlying theme—about the corrupting power of images passed like deadly chain letters—is effective, but not as much as it was back when the Japanese film Ringu ( The Ring ) introduced it. That’s partly because the theme has been amplified so extremely; instead of a spooky girl climbing out of the television, Derrickson shows us home movies that are essentially snuff films. Lots of them.

Filmed images begetting more violence would seem a way to subvert the horror genre, except they’re presented almost as pornography. There is no lesson learned here. Not unless you count the one the jerk played by Ethan Hawke gets. He’s the ideal emotionally expendable protagonist, true crime writer Ellison Oswalt (Ethan Hawke), a guy with a whiff of Joe McGinniss about him. Ellison moves his whole family, wife Tracy (Juliet Rylance) and young son and daughter into a house where Very Bad things happened—a family of four was killed in a ritual act—so that he’ll have an easier time researching his next book. He’s so arrogant and self-centered he doesn’t consider how it might affect them, and that’s before more Very Bad things start happening. He’s not even partly apologetic when Tracy, a week into living there, finds out they’re living in a house that was the site of a notorious multiple homicide.

( READ: TIME’s review of the film that gave  Sinister’s director the idea Hawke could do horror )

Well, it didn’t exactly happen in the house. “It was in the backyard,” Ellison defensively declares to Tracy. Right there in that tree yonder with the broken limb, where Mom, Dad and two kids were hung in a neat little row. (Tracy allowed Ellison to pick a house in this new town, sight unseen. Such passivity—hello Zillow.com—and her ability to sleep through epic occult-related happenings are among the movie’s weaker points. But Rylance looks cute in a tank top, which is what she’s there for.) Trouble begins up in the attic on the first evening, but Ellison stays confident he can get to the heart of the mystery, which he believes is manmade rather than supernatural. It’s been 10 years since his last #1 bestseller, Kentucky Blood, and he needs this book. “This could be my In Cold Blood ,” he says.

His stubborn refusal to drop the case plays into one of our baser instincts, the desire to feel superior to a person who dares to feel superior to us. Which in turn makes it easier to see the person twist in the proverbial wind of horror. Hawke’s on-target performance only enhances the fun; he stops short of the full weasel but no one is going to weep over the fate of Ellison Oswalt if things don’t end well. As Naomi Watts did with the American remake of  The Ring , Hawkes classes up the genre (and looks a lot  more comfortable in these horror surroundings than say Daniel Craig did in the awful  Dream House or Ryan Reynolds trying to pull off a credible killer in the remake of  The Amityville Horror ).

( READ: About why TIME’s Steven Snyder thinks Ethan Hawke is underrated )

The hangings of the previous owners come to, um, life on the screen through the magic of home movies. Hearing bumps in the night, Ellison finds a box of old Super 8 films and a projector in his new attic. The cans have cute titles like “Pool Party ’98”and “Hangin’ Out with the Family,” yet gruesome content involving families going back to the 1960s. In the ensuing days Ellison watches each and every one of them. Alone. He could go to the police with the movies, but he doesn’t because he’s too greedy for material.

Ellison yammers on about his need for a writerly legacy but also more tellingly, a hit, language that speaks as much to the addiction of success as the bestseller list. When in a low moment Ellison watches an old videotape of his smug younger self, at the pinnacle of his career, being interviewed by Tavis Smiley, I almost felt sorry for him. Much as I think Sinister has been over-hyped, director Derrickson ( The Exorcism of Emily Rose ) and his co-writer C. Robert Cargill, a movie critic for Ain’t It Cool News who has said he dreamed up the plot after seeing The Ring (at least he’s honest) definitely know something about the angst and squashed egos of word peddlers in today’s economic climate.

Some people will find it invigorating to watch various sets of hogtied parents and kiddies be drowned or burned alive or attacked with a lawnmower on “found footage” (how I long for found footage to get lost). I found it tedious, gratuitous and a number of other supercilious-sounding adjectives that will cause hardcore horror fans to dismiss me as a priss. Whatever. I stand by the objection to imitation snuff films. To their defenders I’d say, so fine, maybe faux snuff is your thing. But aren’t you sick of getting your horror yucks from spooky little girls with vacant expressions and tangled hair standing alone in rooms or hallways or landscapes? Do you never tire of a killer wearing a face mask? I’d have been a lot more terrified by Sinister if its Boogieman didn’t look so much like a sulky Gene Simmons in full stage makeup. Sinister simply shows too much, overlooking the main instructive of the Paranormal Activity franchise : a well played lump moving under the sheets can dissolve your spine.

The best part of the movie is the comic relief, all of which is movie-meta. Whoever is helpfully dropping off the home movies also provides an envelope at one point marked “EXTENDED CUT ENDING.” Then there’s the aw-shucks local sheriff’s deputy (the excellent James Ransone of Treme, who looks and sounds uncannily like vice presidential candidate Paul Ryan) with a fan boy crush on Ellison. He jokes that he’s Deputy So and So and Derrickson and Cargill never assign him any other name. Deputy So and So does lazy Ellison’s research for him, and even finds him a handy professor (Vincent D’Onofrio) who knows all about obscure symbols and creepy occult stuff and is willing to share. To enhance the claustrophobia (and likely to keep the budget down) Derrickson never takes us anywhere; not even to see the nutty professor, who provides his helpful background via iChat.

( READ: TIME’s review of Hawke’s last movie, The Woman in the Fifth )

To be fair, my expectations were unduly raised in advance that Sinister was not just better than the average horror movie but good because early reviews from horror fans were so glowing. Hawke’s participation didn’t hurt either; he’s an Academy Award nominee. Perhaps this is like rushing out to get a Big Mac after hearing of reports about a new, delicious gourmet Big Mac being served somewhere. Instead I found the special sauce the same as it ever was, greasy and displeasing, like Hawke’s facial hair and the whole experience marked mostly by a queasiness you know you deserve.

Sinister Review

05 Oct 2012

110 minutes

Crime writer Ellison (Ethan Hawke) moves into a house to research a book about a mass hanging, without telling his wife (Juliet Rylance) or children that they’re living in a crime scene. Home movies found in the attic suggest a serial killer — or supernatural force — is responsible for the atrocities. Sinister see-saws between crime mystery and spooky stuff, as the slightly unhinged hero gets deeper into a puzzle that poses a threat to him and his family. Well-acted, reasonably paced and intriguing, this mid-list shocker from writer-director Scott Derrickson is nothing new, but delivers enough subtle creeps to get by.

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Common sense media reviewers.

Scary, intense horror film involves kids and murder.

A Lot or a Little?

What you will—and won't—find in this movie.

Perhaps the biggest message here is "curiosity kil

The main character is a troubled writer who claims

Genuinely scary/shocking moments. The main charact

A married couple shares a couple of kisses and are

Language is infrequent but includes a few uses of

The main character regularly uses an Apple compute

The main character is shown gulping down whisky du

Parents need to know that Sinister -- a horror movie from the director of The Exorcism of Emily Rose -- is about a potentially supernatural killer and the disappearance of several children. It has some genuinely scary, tense, and shocking moments, including images of gruesome murders shown on Super 8…

Positive Messages

Perhaps the biggest message here is "curiosity killed the cat," though the main character does eventually learn to put his family before his work.

Positive Role Models

The main character is a troubled writer who claims to be helping others but really seems more concerned with his own fame, fortune, and legacy. He does eventually learn to place his family's safety before these things, but it may be too late.

Violence & Scariness

Genuinely scary/shocking moments. The main character watches Super 8 films with grisly scenes of murder, such as a group hanging, a family burned alive inside a car, a family drowned in a swimming pool, and people cut up by a power lawnmower. There are suggestions of slaughter and images of walls decorated with blood.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A married couple shares a couple of kisses and are shown sleeping in the same bed.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Language is infrequent but includes a few uses of "s--t." In one scene, a character says the word "f--king" but drops a couple of letters so that it's not quite clear. Characters also say "damn it," "goddamn," "Christ" (as an exclamation), and "oh my God."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

The main character regularly uses an Apple computer and iPhone. The computer's screen and its various functions, commands, and applications -- such as Google, iChat, Safari, and QuickTime -- are shown often.

Drinking, Drugs & Smoking

The main character is shown gulping down whisky during tense moments, though he's never shown drunk, and it's not established that he has a drinking problem. He's also seen drinking a beer at dinner, and he lights up a cigarette during one especially tense scene.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Sinister -- a horror movie from the director of The Exorcism of Emily Rose -- is about a potentially supernatural killer and the disappearance of several children. It has some genuinely scary, tense, and shocking moments, including images of gruesome murders shown on Super 8 film footage. There's also a scene of blood spattered all over several walls. Language is a minor issue ("s--t" is used a couple of times), but the main character gulps whisky during tense moments and also smokes a cigarette. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say (19)
• Kids say (89)

Based on 19 parent reviews

Good movie, violence isn't that bad.

Ok for mature 13 year olds, what's the story.

True crime writer Ellison Oswalt ( Ethan Hawke ) arrives in a small town with his wife (Juliet Rylance) and two kids -- Trevor (Michael Hall D'Addario) and Ashley (Clare Foley) -- in tow, preparing to work on his latest book. He's writing about a family of four that was murdered, hung simultaneously from a tree, after which the youngest daughter disappeared. Unfortunately, Ellison has chosen to move into the murder house itself, where he finds a box of Super 8 films that depict the actual murder, as well as several others. As he pieces the puzzle together, strange and terrifying things begin to happen. Ellison's life becomes a race to finish the book before he and his family become too deeply involved in a deadly situation.

Is It Any Good?

Writer/director Scott Derrickson has a touch for using old horror movie tools to create new scares, and he also incorporates several interesting themes into SINISTER. Even if some of his attempts don't quite work some of the time, he still gets credit for trying. To start, he's created an interesting character in Ellison, who's struggling between recapturing his former glory and keeping his family safe, pulled helplessly in two directions at once. And Hawke -- wearing a funny, puffy "grandpa" sweater and shoes -- emphasizes a fascinating clash between courage and weakness in his performance.

Derrickson does pack too many concepts into his story, mixing the supernatural with the mysterious, and it doesn't quite come together; the themes become jumbled up by the final payoff. But the movie has some terrifying, startling moments, mainly thanks to a crafty, strangely prickly music score by Christopher Young. Sinister won't hold up to scrutiny, but it's worth a look for horror fans.

Talk to Your Kids About ...

Families can talk about Sinister 's violence , which occurs mostly in the Super 8 films the main character watches. How did it affect you? How did it compare to other horror movies you've seen?

Is Sinister scary ? What were the scariest parts? Were they sudden jumps, or did it feel slower and creepier?

What's the appeal of horror movies like Sinister ?

How does the movie depict drinking ? Are there realistic consequences?

Movie Details

• In theaters : October 12, 2012
• On DVD or streaming : February 19, 2013
• Cast : Ethan Hawke , Fred Dalton Thompson , Juliet Rylance
• Director : Scott Derrickson
• Inclusion Information : Female actors
• Studio : Summit Entertainment
• Genre : Horror
• Run time : 110 minutes
• MPAA rating : R
• MPAA explanation : disturbing violent images and some terror
• Last updated : April 27, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Where to watch

Directed by Scott Derrickson

Once you see him, nothing can save you.

Found footage helps a true-crime novelist realize how and why a family was murdered in his new home, though his discoveries put his entire family in the path of a supernatural entity.

Ethan Hawke Juliet Rylance Vincent D'Onofrio James Ransone Fred Thompson Clare Foley Michael Hall D'Addario Victoria Leigh Blake Mizrahi Cameron Ocasio Danielle Kotch Ethan Haberfield Nicholas King Tavis Smiley Rachel Konstantin Emily Brobst

Director Director

Scott Derrickson

Producers Producers

Jason Blum Brian Kavanaugh-Jones

Writer Writer

C. Robert Cargill

Casting Casting

Sheila Jaffe Ruth Salen Susan Paley Abramson

Editor Editor

Frédéric Thoraval

Cinematography Cinematography

Christopher Norr

Assistant Directors Asst. Directors

Nicholas R. Bell Gerard DiNardi

Executive Producers Exec. Producers

Scott Derrickson Charles Layton

Lighting Lighting

Nina Kuhn Jeremy Launais

Camera Operators Camera Operators

Scott Maguire Jack Donnelly George Bianchini

Production Design Production Design

David Brisbin

Art Direction Art Direction

John El Manahi Carmen Cárdenas

Set Decoration Set Decoration

Chris Leuzzi Mike Spence Roddy Cruz Doug Devine Justin Price

Special Effects Special Effects

Phillip Beck Ryan Senecal

Visual Effects Visual Effects

Tim Jacobsen Jason Piccioni David Altenau

Title Design Title Design

Aaron Becker

Stunts Stunts

Jasi Cotton Lanier Stanton Barrett Emily Brobst Heidi Burger Scott Burik Chris Colombo Tanner Gill Szilvia Gogh Chris J. King Michael R. King Rob King Devin Sanchez Manny Siverio Mark Stefanich Shawnna Thibodeau Trampas Thompson Aaron Vexler Katie Letien

Composer Composer

Christopher Young

Songs Songs

Daniel Wehr

Sound Sound

Alex Ullrich John Sanacore Marc Aramian Dane A. Davis David A. Whittaker Jack Hutson Matthew Iadarola Paul Hackner Daniel Wehr

Costume Design Costume Design

Abby O'Sullivan

Makeup Makeup

Arielle Toelke Lauzanne Nel Karma Karel Jason Milani Stacy St. Onge Björn Rehbein Rich Krusell

Hairstyling Hairstyling

Satoko Ichinose Terry Robbins Sonia Castleberry Sarah Hindsgaul Liliana Meyrick

Automatik Entertainment Blumhouse Productions Alliance Films IM Global Summit Entertainment

Canada UK USA

Primary Language

Spoken languages.

English Portuguese French Breton

Releases by Date

11 mar 2012, 29 mar 2012, 04 oct 2012, 05 oct 2012, 10 oct 2012, 11 oct 2012, 12 oct 2012, 18 oct 2012, 25 oct 2012, 26 oct 2012, 31 oct 2012, 01 nov 2012, 02 nov 2012, 07 nov 2012, 08 nov 2012, 09 nov 2012, 15 nov 2012, 22 nov 2012, 23 nov 2012, 30 nov 2012, 06 dec 2012, 07 dec 2012, 19 dec 2012, 20 dec 2012, 04 jan 2013, 10 jan 2013, 14 mar 2013, 09 may 2013, 11 may 2013, releases by country.

• Theatrical 13
• Theatrical MA15+

Bolivarian Republic of Venezuela

• Theatrical 14
• Theatrical 14A
• Theatrical 18
• Theatrical 12
• Theatrical 15
• Theatrical K-16
• Theatrical 16
• Theatrical IIB
• Theatrical הותר לבני 18 ומעלה נימוק: אלימות רבה
• Theatrical VM14
• Theatrical PG12
• Theatrical N-16
• Theatrical B15

Netherlands

New zealand, philippines.

• Theatrical R-13
• Theatrical M/18

Russian Federation

• Theatrical 18+
• Theatrical NC-16

South Korea

• Theatrical R-18
• Theatrical 13+
• Premiere R South by Southwest Film Festival
• Theatrical R

United Arab Emirates

• Theatrical 15+

110 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Erik 🎼 ★★★ 11

This review may contain spoilers. I can handle the truth.

“there’s only one thing worse than a rapist..” “a child ” “no-“

Review by liam f ★★★½ 16

nothing warms my heart more than seeing families hang out together

Review by gal pacino ★★★ 11

“my husband keeps making our family move into crime scene houses haunted by violent murders and now he’s unleashed a paegan deity all because he wants to write the next great american true-crime book” is a marital problem i would actually love to have. i think my friends would be sympathetic and it would be fun to complain about on our girls nights out! 😝

Review by a ☭ ★★★½ 8

ethan hawke's mind in this movie: true c RIMEEEEE AHHHH TRUE CRIME I DONT NEED MY WIFE OR MY TWO PIECE OF SHIT CHILDREN I HAVE THIS COOL TRUE CRIME HOUSE WOOOOOHOOOOO SUPER 8 FILM TRUE CRIME TRUE CRIME TRUE CRIME HAHAHAHAHAH I AM THE BEST WRITER EVER STEPHEN KING BETTER FUCK OFF Haha! Wooooooooooo!! Wait never mind we have to move bye-bye deputy so-and-so

Review by CinemaVoid 🏴‍☠️ ★★½ 3

A scientific study suggests that Sinister is the scariest movie ever but the scariest thing about it was Ethan Hawke’s dirty cardigan. Wash that shit man.

Review by Mark Marshall ★★★★ 2

If you are a crime writer who moves into a murder house in order to investigate how it became a murder house, you cannot get mad when you yourself are murder house’d.

Review by matt lynch ★★★ 1

Features an almost 1:1 genuinely creepy/deeply silly ratio.

Review by aliyah ★★½ 2

‘snakes don’t have feet.’

there’s no way that THIS has been scientifically proven to be the scariest film ever

Review by fatima ★★½ 4

I wasn't paying attention so this was just a bunch of loud noises and I occasionally looked up to see ethan hawke in a cardigan

Review by amaya ★★★ 4

the thing that i found the most unrealistic in a movie that features literal ghosts was the main character zooming on super8 footage and getting crystal clear pictures like it's IMAX or something trust me i tried and that shit should be BLURRY

Review by SilentDawn ★★★½ 9

Ethan Hawke reacts to creepy super 8 footage and strange noises. All it takes for an effective horror film. Killer soundtrack, and genuinely disturbing.

Review by DirkH ★★½ 18

Part of Dastardly Difficult December: film nr.81

If only......

If only they had managed to continue the messed up creepiness of the opening shot.

If only they hadn't decided to trade in the first act's subtle scares for the LET'S ACCOMPANY EVERYTHING WITH LOUD SOUNDS scares.

If only Ethan Hawke had gotten better material to work with (as is, he makes this thing slightly watchable).

If only it had actually been sinister.

If only the creepy kids had actually been creepy instead of looking like they had a mild rash.

If only they had left the 'How to stuff your film with Tropes' at home.

If only....

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Movie Review: Sinister (2012)

• Movie Reviews
• 5 responses
• --> December 1, 2012

Let’s not mince words here: Sinister scared the fucking shit out of me, and that is not an accolade I hand out lightly. It’s rare to stumble upon a truly scary movie in this day and age; the horror genre has grown stale of late, with filmmakers constantly wasting our time with predictable jump scares and poor attempts at tension. 2012’s Sinister is a diamond in the rough, an authentically terrifying low-budget horror gem that puts to shame 99% of horror movies released in the last decade. Directed in the classical style by Scott Derrickson — who made a huge impression in 2005 with his breakthrough chiller “ The Exorcism of Emily Rose ” — the film is of a rare breed that burrows under the skin and haunts you for days.

A true crime author, Ellison (Hawke) made a huge splash a decade ago with his hit book “Kentucky Blood,” but followed his debut with a string of humiliating misses. Looking to write another hit, Ellison moves his family to rural Pennsylvania. Unbeknownst to Ellison’s family, including wife Tracy (Rylance) and daughter Ashley (Foley), he has actually moved them into the very house where four people were killed in the horrific unsolved murder case that Ellison plans to write about. Hoping to connect to the crime and conduct extensive research about the brutal murder, Ellison sets up a private office in which to do his work. However, Ellison stumbles upon far more than he bargained for when he discovers a box of 8mm home movies in the attic. The box, as it turns out, contains disturbing snuff films showing families being murdered by a demonic ghoul. Delving further and further into the case, Ellison reaches the point where the line between reality and nightmare is blurred.

Unlike most horror flicks, Derrickson and co-writer C. Robert Cargill show interest in developing the characters as genuine human beings. The scenes of Tracy and Ellison arguing over what’s best for the family feel organic rather than tacked on, and help to generate a sense of danger. Likewise, the film works as a careful character study of Ellison, who’s struggling to reclaim his former glory at any cost. Striving to make a lasting legacy, Ellison grows distant from his family as he becomes overwhelmed by his obsessive work practices. Some may question why Ellison does not automatically pick up and leave as soon as he thinks something is up, but this is all part of Ellison’s flawed character; he doesn’t want to believe anything is wrong. He’s so consumed with the thought of finishing his book, and so convinced that supernatural stuff is non-existent, that he refuses to think straight. Added to this, Sinister may look like a standard horror fare on the surface, but it’s surprisingly inventive, with a late plot twist and a climax which had this reviewer’s jaw gaping open.

Scott Derrickson is a real talent in the field of horror. “The Exorcism of Emily Rose” is one of the creepiest horror movies of its decade, yet Derrickson has upped the ante with Sinister , showing that his tragic remake of “ The Day the Earth Stood Still ” was just an unfortunate fluke. Admittedly, Sinister is occasionally predictable and Derrickson serves up a smattering of jump scares, but the film is extremely effective nevertheless because the images which trigger the jump scares are goddamn petrifying. The way that Derrickson builds and maintains tension is legendary, and a late scene grows so intense that you could be forgiven for screaming in terror alongside Ellison. Every set-piece is well-staged and effective; the snuff films are too immediate for comfort, and tension is intoxicating whenever Ellison wanders his house’s dark hallways. Furthermore, Derrickson’s crew clearly understood the importance of an effective soundscape in horror. Christopher Young’s score is harrowing and skin-crawling, and the soundtrack is otherwise filled with creepy sounds, whisperings and chants. It’s rare to see a horror film in this style that’s so technically proficient.

Imprisoned prizes.

Ethan Hawke was faced with a tough task in portraying Ellison; he was required to communicate the writer’s bruised ego and sell his self-destructive ambition, all the while remaining watchable and maintaining audience sympathy. Remarkably, he pulled it off. Hawke seems genuine terrified whenever the occasion calls for it, and he makes Ellison seem like a real person. Moreover, a lot of the more gruesome imagery from the 8mm home movies is never actually glimpsed; Derrickson instead replaced a few unsettling moments with Hawke’s horrified reactions. It amplifies the power of said scenes, and it also prevents Sinister from devolving into dumb torture porn. Meanwhile, in her first major motion picture, Juliet Rylance holds her own playing Ellison’s wife, Tracy. In a welcome twist on the usual cliché, Tracy does not see anything that makes her suspect the house is haunted. Also in the cast is Vincent D’Onofrio, glimpsed via iChat as a University professor who assists Ellison in his research. An amiable James Ransone plays a helpful deputy, while Fred Dalton Thompson is excellent as a sheriff who detests the thought of Ellison moving into his town.

Sinister is a true breath of fresh air. This is an exceptional horror film, reinforcing that Derrickson is one of this generation’s finest horror filmmakers. Perhaps what sets it apart from its contemporaries is how focused it is. James Wan’s remarkable “ Insidious ” was spine-chilling, yet the terror was broken up by a sense of funhouse camp. And while Ti West’s “ The Innkeepers ” is scary, it gives us two fun central characters and a healthy sense of humor. Sinister has none of that. It’s a downright petrifying film which scares the fucking hell out of you and never lets you feel safe. If you watch it in a dark room by yourself late at night, you won’t sleep for days.

Tagged: author , family , murder , supernatural

I'm a true blue fair dinkum Aussie larrakin from Down Under (or Australia, if you're not a fan of slang). Yep, I wrestle crocs and I throw shrimps on the barbie. Movies are my passion. I also post my reviews on Flixster, Listal and MovieFilmReview. I've been writing reviews as a hobby since 2003, and since then my technique has increased big time. I'm also studying Media at University, which helps me develop my writing skills. I am continually commended for my writing from both tutors and peers. On top of reviewing movies, I voluntarily contribute to the local newspaper in the area of music journalism. And I'm a through-and-through gym junkie. Yep, my life thus revolves around peers, studies, movies and exercise. I'm more than happy.

Movie Review: Bait 3D (2012) Movie Review: Dredd 3D (2012) Movie Review: Killing Them Softly (2012) Movie Review: Get the Gringo (2012) Movie Review: Outpost: Black Sun (2012) Movie Review: The Eye of the Storm (2011) Movie Review: Titanic 3D (2012)

'Movie Review: Sinister (2012)' have 5 comments

December 1, 2012 @ 12:13 pm RainCloud

Definitely one of the creepier films of the year.

Log in to Reply

December 1, 2012 @ 3:10 pm Jarrod Whaley

It’s a scary movie but it’s not that scary!

December 2, 2012 @ 4:51 pm StrawberryBunny

Jump scares abound and the protagonist is an idiot.

January 28, 2013 @ 2:03 pm Alessio Valsecchi

At least Scott Derrickson should be proud of this movie: he tried hard to create something different, as he always has done in the past, and succeeded. Sinister is not flawless but builds something creepy inside the mindful spectator that is hard to shake off and forget. Cult movie.

March 6, 2013 @ 9:19 pm Maro.

I’d be into watching a sequel if they were to make one. It’s an interesting concept and there aren’t many of those around these days.

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Invasive – Tubi Review (3/5)

Posted by Karina "ScreamQueen" Adelgaard | May 10, 2024 | 3 minutes

INVASIVE on Tubi is a new horror-thriller by the director of SLAY . While that one was a horror-comedy, this one is much darker and more sinister. Still very character-driven which is something I applaud. Read our full Invasive movie review here!

INVASIVE is a new Tubi Original, and this one is a horror-thriller by the writer-director of SLAY . You should not expect the same kind of movie as the previous one was a horror-comedy. However, the production quality and character-driven plot are still very impressive with this one.

I wasn’t sure what to expect and almost feared that I would get stuck on the thought of  Slay (2024). However, this is entirely its own beast and the villain of this movie is fascinating in his own right. Extremely entertaining and with a few very creepy surprises up its sleeve.

Continue reading our Invasive movie review below. Find it on Tubi from May 10, 2024.

A new kind of squatter story

Actually, I call it a squatter story, but the term phrogging is more appropriate. Phrogging (pronounced “frogging”) is when someone is living secretly in another person’s home. In  Invasive , two friends end up spending the weekend in a huge mansion after having worked there at a party for a catering company.

This clearly isn’t their first rodeo as phroggers, but they are having a lot of fun in the house. Located on a mountain, which the owner of the house has also bought. In other words, the owner is filthy rich and no one is around for miles.

The owner is a pharma bro who clearly has most people fearing him. This much is obvious from the first scene with him. A journalist is writing a portrait of him but has opted for a cover photo that he did not approve of. The reaction from everyone – including the journalist – is palpable. Only his girlfriend tries to get him calm.

Perfect modern-day villain

As a “tech bro” or “pharma wiz”, he is a hero to many fanboys and the comparisons to Elon Musk are as elegant as they are obvious. Talk of going to Mars and sending cars into orbit, while also talking about how the amazing discoveries and advances in medicine and technology.

However, this particular billionaire is hiding a secret in his lavish mansion. A very dark and sinister secret that our main character, Kay ( Khosi Ngema ), stumbles upon and definitely wants to expose. To do that, she will need to fight for survival first. And our billionaire does love to play with his subjects!

The billionaire pharma bro is the perfect modern-day villain. Everyone is constantly telling him that he is a genius who can do whatever he wants. While he didn’t need anyone telling him this, it didn’t hurt either. Especially not his ego, which can always get a bit bigger.

Francis Chouler plays this role to perfection – even his dialect and speech rhythm are spot-on!

Fun fact: The movie was shot in South Africa and the above-mentioned actors are South African.

Watch  Invasive  on Tubi now!

Invasive  is the latest movie from writer-director Jem Garrard, who created one of the best (and most popular) Tubi Originals with Slay . If you haven’t watched that one yet, then you really should. It’s a horror-comedy with drag queens versus vampires, and it’s even better than that sounds.

And it sounds damn good to me!

ALSO READ Our list of the best Tubi horror movies >

In any case,  Invasive  is a much darker and sinister horror movie, and I loved to see that Jem Garrard can go that route within horror as well. And, trust me, there is a lot of dark horror in this one. Sure, there’s also some social commentary, which works better than I expected, but the straight-up horror element is also there.

I would’ve liked to see it be just ten minutes shorter with a bit tighter pace in the final half. Then it would’ve been a 4 out of 5, which obviously also means that you should watch  Invasive !

Invasive  is on Tubi from May 10, 2024.

Director: Jem Garrard Writer: Jem Garrard Stars: Khosi Ngema, Matthew Vey, Francis Chouler, Alex McGregor, Grant Ross

A young woman secretly residing in a billionaire’s lavish mansion stumbles upon dark secrets, sparking a desperate fight for survival.

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About The Author

Karina "ScreamQueen" Adelgaard

I write reviews and recaps on Heaven of Horror. And yes, it does happen that I find myself screaming, when watching a good horror movie. I love psychological horror, survival horror and kick-ass women. Also, I have a huge soft spot for a good horror-comedy. Oh yeah, and I absolutely HATE when animals are harmed in movies, so I will immediately think less of any movie, where animals are harmed for entertainment (even if the animals are just really good actors). Fortunately, horror doesn't use this nearly as much as comedy. And people assume horror lovers are the messed up ones. Go figure!

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25 best dark fantasy movies and TV series

Posted: March 20, 2024 | Last updated: March 20, 2024

As a genre, fantasy is often associated with a sense of optimism, taking place in a realm of the unreal where normal governing laws don’t apply. However, many fantasy films and TV series have opted to lean into the darker underside of the genre. Whether in animation or live-action, these stories excavate some of the more sinister aspects of the human psyche and desire for stories. Furthermore, as the best that dark fantasy has to offer, these films demonstrate the extraordinary flexibility of the fantasy sensibility.

'Blood of Zeus'

The myths of ancient Greece have repeatedly proved to be rich territory for film and TV, and one of the more extraordinary recent offerings is Blood of Zeus .  The series largely focuses on the character of Heron, a demigod (the product of Zeus’ affair with a mortal woman) who finds himself thrust into the position of a reluctant epic hero. It’s a gorgeously animated film, and, like the best that the form has to offer, it also asks the viewer to interrogate weighty philosophical issues revolving around anger and how it influences those who wield power.   

You may also like: The 20 most heartbreaking TV deaths

'The Witcher: Nightmare of the Wolf'

The Witcher has proved to be one of the more lucrative franchises for Netflix, so it makes sense that they would seek to make the most of it. In  The Witcher: Nightmare of the Wolf , viewers get to learn more about the nature of the Witchers and their elusive cadre of warriors. The film focuses, in particular, on Vesemir, who would go on to train Geralt himself. Beautifully animated and with the familiar narrative bite that fans of the original series enjoy,  Nightmare of the Wolf is a dark fantasy film that manages to tell its own story while adding more depth and complexity to an already-established fictional world. 

Follow us on MSN to see more of our exclusive entertainment content.

'The Witch'

Robert Eggers began his feature film career with a bang with The Witch ,  a film that manages to be dark fantasy and horror. Set during the earliest days of American colonialism, its story about a family of English settlers who are banished to the woods, where they confront the presence of a malevolent witch, feels like a sinister bedtime story. Anya Taylor-Joy gives a particularly remarkable performance as Thomasin, the girl whose life and identity become increasingly intertwined with that of the mysterious witch. Its combination of historical detail and mystical elements elevates this film into the realm of truly great dark fantasy horror.

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'Penny Dreadful'

Penny Dreadful is one of the most intriguing and creative series on Showtime. Set in the 19th century, it features, among other things, magic, monsters, and mysticism, as well as some of the most famous figures from Western horror literature, including none other than Victor Frankenstein. There is beauty and bloodshed in the series, which features some fantastic performances from a remarkable cast, including Eva Green, Timothy Dalton, and Rory Kinnear. It’s the type of dark fantasy series that combines the best that horror and dark fantasy has to offer. 

'The Sandman'

Neil Gaiman’s The Sandman   focuses primarily on Morpheus, who is the embodiment of dreaming, and he is a fascinating and compelling character (like so many of Gaiman's other creations). In 2022 the character finally got the screen treatment, in the form of Netflix’s series that bears the same name as the comic. Tom Sturridge turns in a wonderful performance as Morpheus, creating a character who is as enigmatic as he is charismatic. The series doesn't shy away from the darker and more sinister themes of the graphic novel, and though the story can be at times difficult to follow, it nevertheless makes for mesmerizing viewing. 

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'What We Do in the Shadows'

Vampires have long been a fixture in popular culture. While they are often depicted in such genres as horror and gothic drama, in What We Do in the Shadows ,  they get the comedy treatment. Focusing on a group of vampires living on Staten Island, it’s shot in a mockumentary style. From the beginning, the series has leaned into the absurdity of its premise, and there is outstanding chemistry among the various members of the cast. However, while it remains as funny as always, each season also deepens and enriches the relationships among the various characters. 

'Primal'

Primal is one of the most unique series to have emerged from Adult Swim. Created by animation maestro Genndy Tartakovsky, it follows a caveman (named Spear) and a  Tyrannosaurus rex (named Fang) as they set out on various adventures in a dark, beautiful, and brutal primordial world. A throwback to pulp storytelling, it features some of the most stunning 2-D animation on offer today, and it grabs hold of the viewer and refuses to let go. The fact that so much of the series is conveyed without the use of dialogue makes its achievement all the more remarkable. 

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'Interview with the Vampire'

For a long time, the 1994 film Interview with the Vampire   was considered the most successful and definitive adaptation of Anne Rice’s gothic novels. Still, in 2022, the novel received a new lease on life thanks to the AMC television adaptation. Rich, textured, and darkly romantic, the series follows the tortured romance between Louis (Jacob Anderson) and Lestat (Sam Reid), two vampires living in the 20th century. Though it takes some notable liberties with the original book, it largely stays true to Rice's vision, giving viewers another chance to inhabit her beautiful, sensual world and the tormented, blood-drinking immortals who call it home.  

'Willy Wonka and the Chocolate Factory'

Willy Wonka and the Chocolate Factory is one of the most beloved children’s films ever, thanks in no small part to Gene Wilder’s performance as the titular candy-maker. Though the film seems to sand away some of the rougher edges of Roald Dahl's original novel, there’s still plenty of darkness lurking here, whether it’s the sinister chorus of the Oompa-Loompas or the ambiguous fate of the children whose misdeeds earn them their well-deserved punishments. And, of course, there is the demented boat ride, which remains one of the trippiest and most disturbing scenes in a children’s film.

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'Corpse Bride'

Tim Burton is another of those directors whose name has been indelibly associated with dark fantasy. In Corpse Bride ,  which he co-directed with Mike Johnson, he brings his usual style and flair to the story of Victor Van Dort, who inadvertently marries the titular corpse bride and finds himself in the Land of the Dead. This film has all of the traits one associates with the Burton style and aesthetic, and it manages to be both darkly whimsical and bittersweet. And, of course, there is also stop-motion animation, which has its own uncanny and slightly disturbing appeal.

'The Lord of the Rings'

Peter Jackson’s The Lord of the Rings   trilogy is probably the first thing that springs to mind when one thinks of film adaptations of Tolkien's work, but it’s important to recognize the key role played by Ralph Bakshi’s earlier animated version. His movie covers all of The Fellowship of the Ring   and part of The Two Towers .  There’s a remarkable depth and richness to the animation here — in large part thanks to Bakshi’s use of the technology known as rotoscoping — and this allows him to dive into the darker, more intense aspects of Tolkien’s novel. 

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'The Black Cauldron'

Though it was quite a failure on its initial release, The Black Cauldron   has gone on to be regarded as one of Disney’s truly underrated gems. Not only does it focus on a young man’s (Taran) epic quest, but it also features one of the most deliciously evil villains to have emerged from a Disney film in the person of the Horned King. The film’s lack of success at the box office ensured that the studio went in some very different directions in future years, and this is just one of the reasons that this extraordinary film is worth revisiting and enjoying in the present.

'Stranger Things'

There’s no question that Stranger Things   is one of the most popular series on Netflix. It’s easy to see why this would be the case since it features a very charming cast, a compelling story, and an appealing 1980s-inflected nostalgia. With each season, the series has only gotten better, as the group of young people at its core attempt to prevent the creatures from the dark realm known as the Upside Down, including the nefarious Vecna, from bringing about the total destruction and ruin of their world. Like the best dark fantasy, it manages to strike a balance between childlike wonder and bone-chilling terror.

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'Sleepy Hollow'

Tim Burton has always had a reputation for embracing the darker and more sinister side of the fantasy tradition, and this is very much in evidence in Sleepy Hollow .  Though it retains the bones of Washington Irving’s original story about Ichabod Crane, it takes the story in some new and unexpected directions. It is, indeed, a far darker version of the story than audiences had seen before, and it makes for perfect Halloween viewing. It also features some strong performances from its cast, including Johnny Depp (always a favorite muse of Burton’s), Christina Ricci, and Miranda Richardson.

'The Dark Crystal'

Though he might be most famous for creating the Muppets, Jim Henson also deserves a great deal of credit for The Dark Crystal ,  one of the strangest films from the 1980s. With its story about two Gelflings who try to defeat a race of malevolent beings known as Skeksis, it has all of the trappings of an epic fantasy story. The film is a work of extraordinary artistry, but it also contains an emotional intensity that befuddled contemporary critics, who judged it against Henson’s other, more light-hearted fare. Fortunately, the film has come to be regarded as the true work of art that it is.

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'Return to Oz'

Almost everyone is familiar with The Wizard of Oz ,  one of the most beloved fantasy films ever made. Fewer might be familiar with Return to Oz ,  which, unsurprisingly, focuses on Dorothy as she once again finds herself in the land of Oz. This version of the story is far darker and more sinister than its 1939 predecessor, but, oddly enough, in this respect, it is far truer to the spirit of the original novels by L. Frank Baum than was the case with the Judy Garland film. If nothing else, it deserves credit for being willing to go in an entirely different direction than almost any Oz story that came before it.

'The Witches'

If there was one author who seemed to have an uncanny knack for capturing the sinister nature of childhood and all of the fears it entails, it was Roald Dahl. His works have been adapted into film several times, but few have been quite as viscerally terrifying as The Witches .  Like many of Dahl’s other stories, it focuses on a young boy who tries to stop a group of witches scheming to turn all children into mice. Of particular note is Anjelica Huston as the Grand High Witch, and she manages to be terrifying in her normal and witchy guises. 

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'Coraline'

Neil Gaiman is one of the most talented writers working in fantasy today, and his works are so brilliantly textured that it’s easy to see why they would lend themselves to screen adaptations. Based on the novella of the same name, Coraline is a perfect meeting of form and story. Brilliantly conveyed through stop-motion, it follows a girl named Coraline as she discovers a strange and dangerous new world with potentially disastrous consequences. The film is remarkable, not least because it is willing to slow down and allow the viewer to spend more time in this exquisitely realized world.

'Wednesday'

The Addams Family remains one of the most beloved American comic creations, and the delightfully macabre family has been turned into movies and TV series. Of particular note is the recent series Wednesday ,  which, as its title implies, focuses on the title character as she is sent away to an elusive boarding school and has to solve a series of murders. Jenna Ortega is perfectly cast as Wednesday, managing to capture the grimness and spirited members of the Addams Family. The series is also notable for featuring Christina Ricci — beloved for her turn as the character in the movies from the 1990s — as one of the teachers at the school. 

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'The Dark Tower'

Stephen King is best known for producing some of the most popular horror novels of the 20th and 21st centuries, but many also know that he is the author of a very successful and beloved dark fantasy series, The Dark Tower .  The series focuses on the gunslinger Roland as he attempts to stop the sinister Walter Padick. In the film version, which is a loose adaptation, the two characters are played by Idris Elba and Matthew McConaughey. Though it takes some notable liberties with King’s work, both actors are perfectly cast, and their dynamic more than makes up for whatever shortcomings the screenplay might possess.

'Pan’s Labyrinth'

With Pan’s Labyrinth ,  Guillermo del Toro showed once again that he has an imagination that is more creative and often more disturbing than almost any other working director. Focusing on a young girl named Ofelia as she encounters the titular being and several other magical creatures, it’s a hauntingly beautiful film at a narrative and visual level. As with so many of the director’s other works, it manages to be both realistic and fantastical. Moreover, it's a moving exploration of the powers of war and fascism to destroy the innocence of the young. 

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'Guillermo del Toro’s Pinocchio'

Guillermo del Toro has repeatedly shown that he is one of the most visionary and unique directors working in Hollywood today. In Pinocchio ,  he turned his attention to one of the most beloved children’s stories of all time, transferring the story into Fascist Italy, which works to give the story a bit of bite that some other interpretations lack. While it features much of the darkness that is so often a part of del Toro’s cinematic imagination, it also has a genuine heart and a lot of charm, thanks in part to the exquisite stop-motion animation and the performances from the various members of the voice cast. It captures the bittersweet nature of the best stories.

'The Witcher'

Based on the bestselling novels by Polish author Andrzej Sapkowski, Netflix’s  The Witcher follows the title character, Geralt, as his fate becomes increasingly intertwined with the young Princess Cirilla of Cintra and the beautiful sorceress Yennefer. There’s no shortage of monsters and magical beasts in this series, many of which Geralt manages to dispatch without too much effort. Henry Cavill is particularly compelling as Geralt, imbuing the character with a world-weary cynicism that is very much in keeping with his novel counterpart. What’s more,  The Witcher manages to subvert many of the expectations and conventions of epic fantasy even as it also upholds them.

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'Watership Down'

Watership Down is one of those dark animated films that left an indelible impression on those who watched it as children. Focusing on a group of rabbits who try to find a new home for their people, it does a very good job translating many of the key elements and themes of the original novel into animated form. It also features some very compelling voice acting from the likes of John Hurt, Rory Kinnear, and Zero Mostel (this was the latter’s last role). It also doesn’t shy away from the story's more brutal and graphic elements, which helps set it apart from other animated fare.

'The Secret of NIMH'

The Secret of NIMH remains one of the best films ever made by Don Bluth. Focusing on a mother mouse, Mrs. Brisby, and her efforts to rescue her family from the local farmer, it’s filled with startlingly vivid and sometimes disturbing imagery, particularly once Mrs. Brisby decides to visit the quasi-mystical rats that live in the rosebush. However, this film also has lighter moments of humor, embodied in Jeremy the Crow (voiced by the late great Dom DeLuise). It’s the type of animated film that features the perfect pairing of the fascinating premise with gorgeous execution, and it’s one of the director’s works that most fully captures something like the magic of Disney.

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‘Nightwatch: Demons Are Forever’ Clip Introduces Sinister New Villain

Shudder  is bringing the 1994 Danish thriller  Nightwatch  and its surprise sequel,  Nightwatch: Demons Are Forever , to streaming this week, and we can exclusively reveal a clip from the upcoming sequel that introduces the film’s unsettling new villain.

Look for  Nightwatch: Demons Are Forever  to arrive on  May 17, 2024 .

Watch the new clip below, which features a deranged interrogation scene with a copycat killer, Bent ( Casper Kjær Jensen ). Is Bent just emulating killer Wörmer, or is there something even more sinister happening?

Original cast members  Kim Bodnia  and  Ulf Pilgaard , along with Nikolaj Coster-Waldau , reunite and reprise their roles from the 1994 film, which inspired the 1997  U.S. remake  starring Ewan McGregor.

About the sequel: “22-year-old medical student Emma ( Fanny Leander Bornedal ) has just taken a job as the night watch in the same forensic department where her parents were once almost killed by the famed psychopathic police inspector Wörmer. The events led to her mother’s suicide, and her father Martin (Nikolaj Coster-Waldau) has turned to tranquilizers to suppress the memories. Determined to investigate what exactly happened to them, Emma tracks down and confronts Wörmer, only to unintentionally reawaken his bloodthirst and ignite a violent revenge on everyone who sealed his destiny years ago.”

The sequel was written/directed by  Nightwatch ‘s creator,  Ole Bornedal .

Producers include Thomas Heinesen, Christel C.D. Karlsen, and Signe Baasch.  Nightwatch: Demons Are Forever  was executive produced by Katrine Vogelsang, Henrik Zein, Peter Nadermann, and Doris Schrenner.

Catch up with the ’90s cult movie Nightwatch and its sequel, Nightwatch: Demons Are Forever , this week on Shudder.

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

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‘In Flames’ – Exclusive Clip from Pakistani Psychological Thriller Finds Terror in the Classroom

Described as a ghostly parable about Pakistan’s insidious patriarchal order, Game Theory Films brings In Flames to stream at home on VOD, and we’ve got an exclusive clip for you today.

Written and Directed by Pakistani-Canadian filmmaker Zarrar Kahn ,  In Flames was the first Pakistani film to play in Cannes Director’s Fortnight in nearly half a century.

The cast for Zarrar Kahn’s In Flames includes Ramesha Nawal, Omar Javaid, Bakhtawar Mazhar, Adnan Shah Tipu, Mohammad Ali Hashmi and Jibran Khan .

In the thriller, “Mariam lives with her younger brother and their mother, Fariha, in a tiny apartment in Karachi. When Mariam’s maternal grandfather passes, his brother tries to manipulate them into signing over their apartment to him, a common occurrence in Pakistan, where women’s property rights are fragile.

“Mariam’s mother, grieving and isolated, is easy to influence. Mariam, distraught by her mother’s foolishness, finds solace in a secret romance with a fellow student, Asad. When their relationship takes an unexpected turn, Mariam becomes consumed by nightmares.

“Meanwhile, her mother, caught between her coercive Uncle and a murky legal system, is oblivious to her daughter’s deteriorating mental state. Mariam’s nightmares begin to bleed into reality. Mother and daughter must come together if they hope to overcome the real and phantasmal forces that threaten to engulf them.”

Watch an exclusive clip for a sneak peek and find the film’s official trailer below. The film is now available on VOD. Watch tonight!

Zarrar Kahn is an award-winning Pakistani-Canadian filmmaker whose film In Flames premiered at the 76th Cannes Film Festival as part of the Director’s Fortnight.

His works have been screened and awarded in over 100+ film festivals, including TIFF, Locarno, and BFI London. In Flames , his feature directorial debut, has garnered critical acclaim and prizes worldwide – including the Golden Yusr for Best Picture at Red Sea FF and the Grand Prize – International Newcomer Award at Mannheim-Heidelberg FF.

Born in Karachi, and currently based out of Toronto, Kahn is committed to telling stories that amplify historically marginalized communities.

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In 1980s Hollywood, adult film star and aspiring actress Maxine Minx finally gets her big break. But as a mysterious killer stalks the starlets of Hollywood, a trail of blood threatens to re... Read all In 1980s Hollywood, adult film star and aspiring actress Maxine Minx finally gets her big break. But as a mysterious killer stalks the starlets of Hollywood, a trail of blood threatens to reveal her sinister past. In 1980s Hollywood, adult film star and aspiring actress Maxine Minx finally gets her big break. But as a mysterious killer stalks the starlets of Hollywood, a trail of blood threatens to reveal her sinister past.

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‘The Contestant’ Review: The Perils of Reality TV Laid Bare in Hulu’s Documentary

Director Clair Titley takes us back to 1998 for a real-life 'Truman Show' in Japan.

By Siddhant Adlakha

Siddhant Adlakha

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His name is Nasubi. He sits alone and naked in a small apartment for months on end, trying to win food and clothing as mail-in sweepstakes prizes. He doesn’t quite know it, but his strange predicament is being broadcast to 17 million people. It sounds like a work of fiction about a torturous psychopath — something out of a “Saw” film — but in 1998, it was the premise of a Japanese reality TV show, and is now now the subject of documentary Clair Titley’s wildly intriguing (if often imbalanced) “ The Contestant .”

Popular on Variety

The colorful on-screen subtitles of “Denpa Shōnen” (a flourish typical of Japanese variety television) have been neatly re-formatted in English for a Western audience, though there’s a flaw in the way its voiceover has been transposed. Its boisterous narrator (another common element of such shows) has been replaced with English-language voiceover too, from comedian Fred Armisen, whose wry, soft-spoken tone doesn’t quite capture the manic energy of the original. However, this is but a minor issue in the film’s cultural translation. Otherwise, Titley proves adept at finding the right balance between Japanese and British commentary (from Nasubi’s own family, and from a BBC correspondent in Japan) in order to illuminate the story’s hidden contours, and its decision-making behind the scenes.  

There’s a miniseries’ worth of plot to be found in “The Contestant,” so information flies at the viewer on a constant basis. But on the flipside, its attempt to bring Nasubi’s story to a point of catharsis clashes with a series of concluding scenes that feel played on fast-forward. Ironically, despite occasionally embodying the sensation of time stretching outward infinitely, the movie doesn’t quite capture the years-long fallout of the game on Nasubi’s psyche the way it intends. Instead, it rushes past its most difficult emotional beats, in pursuit of an upbeat conclusion that can’t help but feel unearned.

However, Nasubi’s charm and candor (and on the flipside, Tsuchiya’s quiet menace) prove alluring enough to ensure that “The Contestant” is never boring. Titley consistently anchors her unfolding chronicle to the kind of backstage emotional truths often hidden from the audience, and in the process, she crafts something halfway between sensationalist exposé and intimate confessional — a remedy to reality TV based on its own format — co-authored by her subjects.

Reviewed online, May 1, 2024. In Toronto Film Festival. Running time: 90 MIN.

• Production: (Documentary – U.K.) A Hulu release of a Misfits Entertainment production. Producers: Megumi Inman, Andee Ryder, Ian Bonhôte. 
• Crew: Director, writer: Clair Titley. Camera: Mikul Villaluna Eriksson. Editors: Rachel Meyrick and Katie Bryer. Music: Nainita Desai. 
• With: Tomoaki Hamatsu, Toshio Tsuchiya, Fred Armisen. (English and Japanese dialogue)

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During the War, a British agent travels to the remote Glennye Castle in the wilds of Scotland to investigate a mysterious murder by a masked phantom. Who or what is the phantom? And how are the Germans involved?

Den of Geek

Shardlake Review: Sinister and Satisfying Tudor-Set Murder Mystery

Settle in for an atmospheric historical crime drama starring Sean Bean as Thomas Cromwell and Arthur Hughes as Shardlake, ‘The Tudor Morse’.

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Out of battery. Out of signal. Stamped underfoot. Dropped into drains. Crime writers have found inventive ways to remove suspense-killing mobile phones from their stories, but no solution is as thorough as CJ Sansom’s. By setting his murder mysteries in Tudor times, Sansom’s 16th century lawyer Matthew Shardlake has to investigate without mobiles, forensics or DNA databases, armed with only his mind and principles. Or rather: his mind, principles, and the fearful reputation of his boss Thomas Cromwell whose name Shardlake draws “like a sword”.

This four-part historical crime drama is adapted from the first of Sansom’s seven Shardlake novels by Stephen Butchard, the writer who so successfully translated Bernard Cornwell’s Saxon Stories to the screen in The Last Kingdom . If it lands well with an audience, there’s hope of many more series, each one a self-contained mystery for ‘the Tudor Morse’ to solve against the backdrop of a rapidly changing England.

The Royal Shakespeare Company’s Arthur Hughes plays Shardlake, with Masters of the Air ‘s Anthony Boyle as Cromwell’s henchman Jack Barak, and the mighty Sean Bean as Cromwell himself. Hughes and Boyle make a good double act that feels vibrant and alive, not dusty and far away. Bean brings a grinning leonine menace to Cromwell, who’s clearly as dangerous as the beasts prowling around King Henry VIII’s menagerie at the Tower of London.

It’s well cast, and more authentically so than the proposed but unmade 2007 BBC version with Sir Kenneth Branagh attached to the main role. Like Shardlake, Hughes is disabled and in 2022 was celebrated as the first disabled actor to have played Richard III on stage for the RSC. He was born with radial dysplasia and wears a prosthesis to play Shardlake, a character with scoliosis affecting the shape of his spine.

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Shardlake’s disability marks his path through the unenlightened and superstitious Tudor world, which crosses itself as he passes by and gives him cruel nicknames against which he armours himself with intelligence and status. His era’s prejudice isolates him, and in one poignant childhood flashback, is revealed to have changed the whole direction of his life, but – as Hughes has said in interviews – disability is far from the most important part of Shardlake’s character. That’s his conscience as a good, truth-seeking man in a cut-throat world.

The truth Shardlake’s seeking this time is the killer of King Henry VIII ‘s commissioner at the (fictional) Sussex monastery of Scarnsea. It’s 1536, mid-Reformation and two years after the Act of Supremacy broke England from Rome. Henry and Cromwell are dissolving the monasteries and divvying up their wealth and lands in the name of “a better England”. Scarnsea’s abbot and its monks are unwilling to sign their home over to the crown, and Shardlake’s job is to find the legal justification to force them. For him, that justification must also be the truth. For Cromwell, the truth is immaterial as long as the monastery falls.

It’s a rich premise from Sansom, a celebrated novelist who sadly passed away after a long illness this month, days before the series was released. The historical setting clearly isn’t just a backdrop, but the real meat of a story about religious corruption and the consequences of shaping ‘the truth’ to a political agenda. The scope here to explore the world as it is, as well as the world as it once was, hasn’t been wasted.

Neither has this sinister, satisfying adaptation wasted any of the novel’s screen potential. Director Justin Chadwick and co. create a claustrophobic, atmospheric setting that transports you to Scarnsea’s wintry cobbles and dark, misty marshlands (actually Hungary and Romania). You’re made to feel the location’s ice and haunting chill, and will come away from a binge-watch with your eyes blinking into the light.

Overall, it’s a satisfying variant of the closed-circle murder mystery with an investigation that unfurls well and at four episodes, doesn’t feel padded – even if it breaks no new genre ground. There’s comfort in its familiarity and in Shardlake’s principled character , and a regular trip back in time to tell the rest of these stories on screen would be a welcome addition to the TV calendar. More, please.

Shardlake is streaming now exclusively on Disney+ in the UK, and on Hulu in the US.

Louisa Mellor | @Louisa_Mellor

Louisa Mellor is the Den of Geek UK TV Editor. She has written about TV, film and books for Den of Geek since 2010, and for…