295 Best Dark Movies to Watch (Page 5)

After the successful run of the first instalment, The Conjuring 2 brings back lead couple Ed and Lorraine Warren for yet another real life-based case of demonic possession. This time, it's the Enfield poltergeist, a case which gained popularity in the London Borough of Enfield between 1977 and 1979, and while the Warrens in the film show reluctance to take on a new job amongst growing skepticism, we're so glad they did so in the end. The franchise's second chapter is perfectly built: a good amount of character establishment, a fair bit of rekindling allegiance with the Warrens, and a lot of ingenious scaries. What makes The Conjuring 2 a pitch-perfect horror of its kind is precisely this multivalence, combining empathetic characters and well-crafted, yet extremely disturbing visuals. When the supposedly simple case becomes a fight between good and proper evil, the film shifts gear to an obscenely dark, vengeful mode. You can't tell from its beginning, but the second Conjuring is even more proficient, deeply troubling, and most of all, bold in the way it renders the possession horror genre a canonical must.

Genre: Horror, Thriller

Actor: Abhi Sinha, Annie Young, Benjamin Haigh, Bob Adrian, Bonnie Aarons, Emily Brobst, Emily Tasker, Frances O'Connor, Franka Potente, Jason Liles, Javier Botet, Jennifer Collins, Joseph Bishara, Kate Cook, Lauren Esposito, Madison Wolfe, Maria Doyle Kennedy, Nancy DeMars, Patrick McAuley, Patrick Wilson, Robin Atkin Downes, Shannon Kook, Simon Delaney, Simon McBurney, Sterling Jerins, Steve Coulter, Vera Farmiga

Director: James Wan

Rating: R

Danish writer-director Lars von Trier concludes his so-called Depression trilogy with the two parts of Nymphomaniac, an elaborate retelling of the life of a young woman (played by Stacy Martin and then, by Charlotte Gainsbourg) lived from one libidinous pleasure to another. The film's elaborate subplots have a life of their own and flashbacks often take center stage in Joe's auto-narration. Nymphomaniac I introduces the audience to adolescence and early adulthood, through disappointments, adultery, death drive, and extreme ambivalence. Joe's process of self-actualization seems contested and inspiring at the same time, and Gainsbourg is really given the screen time to shine; even more so than in Trier's previous psycho-social drama, Antichrist. Typically for the rich treasury of cultural references, Bach, Edgar Allan Poe, and Fibonacci play crucial parts in reconstructing the symbolic planes in Joe's story. Oh, and Part One opens with Rammstein's "Führe mich", which in itself is an perfectly valid reason to give it a go.

Genre: Drama

Actor: Ananya Berg, Anders Hove, Andreas Grötzinger, Charlie Hawkins, Charlotte Gainsbourg, Christian Slater, Christoph Jöde, Christoph Schechinger, Clayton Nemrow, Connie Nielsen, Cyron Melville, David Halina, George Dawson, Hugo Speer, James Northcote, Jamie Bell, Jeff Burrell, Jens Albinus, Jesper Christensen, Jesse Inman, Johannes Kienast, Jonas Baeck, Markus Tomczyk, Mia Goth, Michael Pas, Nicolas Bro, Peter Gilbert Cotton, Saskia Reeves, Shia LaBeouf, Simon Böer, Sofie Kasten, Sophie Kennedy Clark, Stacy Martin, Stellan Skarsgård, Tomas Spencer, Uma Thurman, Willem Dafoe

Director: Lars von Trier

Rating: Not Rated, NR

A plot straight out of a horror film: two young, but penniless foreigners find themselves stuck in a town ruled by miners and their drinking habits. This is the real story of Lina and Steph (surnames withheld), twenty-something women who have just been robbed out of their credit cards and cash in Bali. Their around-the-world trip takes them to Australia, by way of an agency that offers seasonal work, room, and board. The cost is small: you have to be "okay with a little male attention" in this particular place. A mining town called Coolgardie becomes synonymous with hell for the two women as seen through Pete Gleeson's camera that's inobtrustive, distant, "a-fly-on-the-wall". Precisely that distance makes exacerbates the ick factor when watching the documentary today, even if its content is not judgemental. Because of how easily the camera blends in to the surroundings, we're left to wonder exactly how deep racism and sexism run in that particular microcosmos. After all, according to the manager, customers “grow a new leg” when “fresh meat” comes to town.

Genre: Documentary

Director: Pete Gleeson

Real life tragedies, especially one that's as sensationalized as the Miracle in the Andes, can be tough to depict on screen. On one hand, the film has to keep true to the story but also maintain some form of spectacle to keep people watching. Past depictions of the 1972 crash are preoccupied with the cannibalism portrayed by big name actors, but Society of the Snow takes a different route. The actors are newcomers, the threats to their lives don't require daring action stunts, and the cannibalism is limited to small chunks indistinguishable from animal meat. Instead, the spectacle of Society of the Snow is the human spirit– the vulnerability, the respect, and the generosity they've given each other in order to survive. It’s still an uncomfortable watch, especially since we get to know some of the survivors before the crash, but it’s definitely a transcendent addition to the genre dedicated to the miracle of existence.

Genre: Drama, History

Actor: Agustín Berruti, Agustín Della Corte, Agustín Lain, Agustín Pardella, Alfonsina Carrocio, Andy Pruss, Benjamín Segura, Blas Polidori, Carlos Miguel Páez Rodríguez, Daniel Patricio Antivilio Acuña, Diego Vegezzi, Emanuel Parga, Emanuel Sobré, Enzo Vogrincic, Esteban Bigliardi, Esteban Kukuriczka, Esteban Pico, Facundo Roure, Fede Aznárez, Federico Formento, Felipe González Otaño, Felipe Otaño, Felipe Ramusio, Felipe Ramusio Mora, Fernando Contigiani García, Francisco Bereny, Francisco Burghi, Francisco Romero, Gustavo Zerbino Stajano, Jerónimo Bosia, Juan Caruso, Juandi Eirea Young, Julian Bedino, Lautaro Bakir, Louta, Lucas Mascarena, Luciano Chattón, Mariano Rochman, Matías Recalt, Pablo Tate, Paula Baldini, Rafael Federman, Roberto Suárez, Rocco Posca, Santiago Vaca Narvaja, Simon Hempe, Sofía Lara, Tea Alberti, Tomas Wolf, Toto Rovito, Valentino Alonso, Virgínia Kauffmann

Director: J.A. Bayona

Rating: R

Ordinary People tells the harrowing story of Jane and Aries, two teenage parents struggling to survive the streets of Manila. At the mercy of limited welfare, the two resort to criminal activity to get by. When a woman offers to help them financially (on loan), Jane eventually relents—but is shocked to discover that her baby's been kidnapped. Trying everything from going to the police to contacting the perpetrator's mother, the reality becomes unavoidable: no one truly cares for the poor even if they're children. Interspersed with CCTV footage of the crimes the characters commit or witness, this powerful, heartbreaking portrait of poverty still offers glimmers of hope as they fight the odds to continue their search together. 

Genre: Drama

Actor: Alora Mae Sasam, Bon Andrew Lentejas, Erlinda Villalobos, Gold Aceron, Hasmine Killip, Karl Medina, Maria Isabel Lopez, Moira Lang, Raymond Lee, Ronwaldo Martin, Ruby Ruiz, Sue Prado

Director: Eduardo Roy Jr.

Rating: R

Oscar, his wife Teresa, and their young children move from the rural Philippines to the city, hoping for a better life. Immediately, they struggle to survive in the harsh and unforgiving Metro Manila. Through shaky close-ups, shifting moods, and shots of bustling streets, the film captures the poverty, violence, and desperation in the daily of the city. Actors Jake Macapagal and Althea Vega excellently portray the subtleties of constant suffering, leading the tumultuous journey through a cutthroat metropolis. As the drama shifts to a crime thriller, it never loses its footing highlighting the severe link between poverty and crime. 

Genre: Action, Crime, Drama, Thriller

Actor: Althea Vega, Ana Abad-Santos, Jake Macapagal, John Arcilla, Mailes Kanapi, Reuben Uy

Director: Sean Ellis

The key to what makes this apocalyptic thriller from Mr Robot and Homecoming showrunner Sam Esmail so unnerving is how resolute it is about not taking place in an alternate timeline. Making references to memorable events in recent history and namechecking real brands and cultural touchstones (like Tesla and Friends), Leave the World Behind is uncannily familiar — which, when combined with the film’s meticulous crafting of tension, makes it all the more unsettling.

Though taking place amidst an ambiguous national emergency, the film is largely set in one house — a claustrophobic setting that puts the characters’ self-conceits and prejudices under a microscope and forces them to confront their own impotence in an analog world. If it all sounds a bit “we live in a society,” be assured that Leave the World Behind cleverly manages to avoid the pitfalls of seeming like a bad Black Mirror ripoff by sidestepping expectations and deploying all the atmospheric tools in its arsenal. Withholding key plot and character information to increase our own paranoia means the movie always runs the risk of disappointment when explanations are finally given, but its focus on the human drama and its well-set-up ending ultimately eclipse any niggling frustrations.

Genre: Drama, Mystery, Science Fiction, Thriller

Actor: Alexis Rae Forlenza, Charlie Evans, Erica Cho, Ethan Hawke, Farrah Mackenzie, Josh Drennen, Julia Roberts, Kevin Bacon, Mahershala Ali, Myha'la, Myha'la Herrold, Orli Gottesman, Sam Esmail, Vanessa Aspillaga

Director: Sam Esmail

Rating: R