Tamil Horror Movie Hindi Dubbed List

[Denisha Simcoe]

Idon't know that I would say horror movies are my favorite genre (I am more readily moved by feminist experimental documentaries about how traumatizing life is), but it is certainly the one I gravitate towards for sheer pleasure.

Though I do like being scared by a film, it's a rare occurrence. Not for lack of quality in these films, but just as a matter of course as someone who watches to analyze (which I love doing) more than to escape. Instead, I come to this genre because its conventions, its quirks, its sounds, its imagery are familiar like old friends. When they come with something new, it's a special delight, but when they adhere to the old formulas, I usually still enjoy them.

Finally, at the end of the Movies List you will find a TV Series List Master List of all thinks spooky. And as a brand new addition to the Horror Master List, I am expanding into horror novels! Jump ahead to see horror books.

I love horror, especially during the fall and spooky season. But what kind of horror? That question is different for everyone. So here is a look at some YA horror divided in a variety of categories to help you find the right book for you this haunted reading season. A couple of notes here:

When I was in the 3rd grade, my best friend who lived across the street swore her house was haunted. And one night I spent the night and her parents were out late and things happened. Do I think her house was haunted? I do not know. But haunted houses and ghost stories are a ton of fun. AND THE TREES CREPT IN has some amazingly haunting scenes, and it is probably the book that I think about the most. Also, it has a great title.

Sometimes the monster is a man, but sometimes the monster is also a monster. The Midnighters series by Scott Westerfeld is an older series with a unique concept and some pretty cool monsters, I recommend it. Although I would hesitate to call the Miss Peregrine series horror, it has one of the most terrifying opening scenes. And THIS SAVAGE SONG by Victoria Schwab has my favorite take on monsters ever.

If you can get your hands on it, be sure and check out the OG YA serial killer novel TENDERNESS by Robert Cormier. Cormier, Lois Duncan, R. L. Stine, Christopher Pike and Joan Lowery Nixon wrote some of the original YA horror and thriller novels back in the 1990s, when horror paperbacks were all the rage, and a lot of them still hold up. Tenderness by Cormier was the first YA I read that asked readers to step into the mind of a serial killer, but it was not the last. Though all serial killer books are about horrifying topics, not all serial killer books are necessarily what you might classify as horror. There is a good list of YA serial killer books at Goodreads.

Werewolf books are also sometimes called shapeshifter books, particularly if the main protoganists shifts into something besides a wolf. If you want to start at the beginning, definitely check out BLOOD AND CHOCOLATE by Annette Curtis Klause. And if you wanting brooding romance with some poetry, check out the Wolves of Mercy Falls series by Maggie Steifvater.

Regular readers know that I love a good zombie book. EAT YOUR HEART OUT by Kelly Devos was a recent read and it has a pretty unique take on the concept of zombies, as does BURN DOWN, RISE UP and THE UNEAD TRUTH OF US. EAT BRAINS LOVE and HOLD ME CLOSER NECROMANCER are more humor than horror, and I maybe should have made humorous horror an entire subheading. Again, there are a ton more YA zombie novels out there for you to read, and there is a more comprehensive list over at Goodreads.

A demon-ghost-possession-cop-folklore-zombie comedy-thriller for the ages

Bumbling cops and restrictive bureaucracy are constants in South Korean cinema, but few films contrast the pull between modern law enforcement and ancient evil with as deft a hand as The Wailing. Director Na Hong-jin proved to be a master at upending expectations with his serial-killer potboiler The Chaser, but nothing he pulled off in that underseen gem holds a candle to the tightrope walked here. Part folk-horror, part demonic-possession hair-curler and part pitch-black procedural comedy, The Wailing takes its time, unspooling across 156 richly detailed, skin-crawlingly meticulous minutes. The less you know the better: This is a film that lulls you with its beauty, then sears your eyeballs with reckless abandon.

A rare found-footage film that actually makes sense, Spanish export [Rec] possesses an eerie prescience in its story of a group of firefighters and a news crew locked in a quarantined apartment building. The dread is palatable from the onset, but once the mysteriously infected tenants start gnashing their teeth, the film grabs viewers by the throat in a way few modern zombie yarns do. Taking a cue from George A Romero, [Rec] wrings endless tension from its single location, amping up the dread (and gruesome kills) with a sprinkling of religious horror in its fevered sprint to a breathless finale.

Without further ado, here are all the new horror books coming in 2024, featuring an array of slashers, ghosts, vampires, cults, monsters both human and otherwise, and all manner of nebulous eldritch terrors.

Maybe no other writer is as closely intertwined with mid-century anxieties and concerns as Jackson, and all of her novels and stories could be included on this list. But We Have Always Lived in the Castle seems particularly in tune with an age that was frequently obsessed with conformity, with Merricat and her sister and uncle living radically outside of the social mores of the 50s and early 60s. As with a lot of horror writing during this time, the violence is more suggested than shown (with the terrifying exception being when the locals attack the Blackwood homestead), but the sense of unease is palpable from the first pages when we follow Merricat through an arduous journey around town.

The film is also noteworthy for the various ways in which it influenced Hereditary. Without going into great detail and spoiling any surprises, both feature a shocking finale with thematic elements guaranteed to knock the wind out of the audience. Each has sinister ties to the occult. Both pictures are slow burns and start out as anything but horror. And each features subtext speaking to the harmful effects of unprocessed trauma.

At its core, Kill List is a harrowing affair that will stay with you long after the credits roll. The character work is exceptional. The performances are inspired. And the finale leaves me speechless every time I watch it.

Occasionally forgotten in the wake of its many sequels, the original Saw is a cracking, gonzo low-budget shocker: stylish, well written and boasting a killer surprise at the end. While the seeds of the tortuous future instalments are sown by the police investigation happening in the background, the central premise is thrillingly lean: two strangers, locked together in a room, and they don't know why. Tell us you're not hooked.

"You shaaaamed me!" rasps Lorna Raver's Hungarian gypsy at Alison Lohman's bank employee, who's made the unfortunate mistake of not granting her another extension on her mortgage. Cue a curse to end all curses: visitations from a demon called the Lamia. While the punishment doesn't seem entirely proportionate, the results offer a wild, raw and wickedly entertaining ride with Sam Raimi at his funhouse best throughout. Justin Long, the loyal hubbie on the other side of Lohman's hellish bubble, takes on the horror staple role of disbelieving agnostic. You'll want to shake him by the end.

With Universal knocking out horror films like there was no tomorrow, RKO tasked producer Val Lewton with creating some similar action. The results were not what the studio expected. Far from the monster mash they'd asked for, Cat People opted for more psychological chills, and a still surprising concept centred on a woman who's afraid to consummate her marriage because of her belief that sexual climax will turn her into a panther. Paul Schrader's '80s remake took full advantage of the modern potential for FX and erotica, but Tourneur's more subtle scares are all about stalking and shadows.

Moving into a family home on an ancient burial ground presents the kind of real estate conundrum even Kirstie and Phil would be hard-pressed to help with. The problems faced by the Freeling clan in this much-mimicked Tobe Hooper/Steven Spielberg horror involve supernatural beasties, vortexes on the landing, floating objects and some major interdimensional child-napping. That's just about every supernatural domestic catastrophe in the handbook, short of finding the Dyson is haunted and the guinea pig is Satan. Despite the restriction of its PG rating (it was initially R-rated but changed on appeal), the result remains a refreshingly scary brew.

Directed by the incomparable Terence Fisher, written by Jimmy Sangster, pairing Peter Cushing and Christopher Lee (with Lee getting actual lines for the first time), and going all out for colour, glamour, sex and blood, Hammer's Dracula aligns the elements and distils the formula that powered the studio for the next two decades. Sangster's bold screenplay at once eviscerates Bram Stoker's novel and sets the narrative free. With the locations transposed and limited to Romania and half the 'dramatis personae' excised, we're left with a lean adventure. The Lugosi film is an eerie slow-burn, but Hammer's is a swashbuckler. Lee, of course, gets to be urbane and darkly seductive, but there's also genuine savagery to the moments when he gets to bare his teeth.

A chilly yarn about ghost pirates exacting their revenge on a small coastal town, The Fog is so explicitly a campfire tale that it even begins with a scout troop sitting around a seaside blaze, with time for just one more story. Carpenter's follow-up to the classic Halloween saw some post-production tinkering to make the scares more explicit, and when you know that you can definitely spot the reshoot joins. But it doesn't affect what remains perhaps Carpenter's most purely atmospheric film.

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