Netflix enjoyed a pretty impressive run of original releases throughout 2016 with titles like Hush, Mercy, I Am the Pretty Thing That Lives in the House and Spectral. They've wasted no time in jumping back into the pool with their latest release, Clinical, which sees the world's largest streaming platform stumbling out of the gate at the start of 2017.

VooDoo people decide Dani's fate in the film VooDoo (2016)

Try as you might to forget it, the past can be relentless. That’s particularly true if your past involves accidentally having an affair with the husband of a powerful voodoo priestess, as it does for Dani (Samantha Stewart), the unfortunate soul at the center of VooDoo. Sadly for her – and, as it turns out, viewers – that type of misdeed takes more than a train ticket west and a near-unimaginable month block of vacation time to escape.

When you review horror movies for a reputable site such as Bloody Good Horror, sometimes you get the opportunity to watch and review screeners. Usually smaller budget indie movies, these titles exist on a spectrum; some are hidden gems, while others are...not. A vast majority fall somewhere in between the two extremes. But every once in awhile, you get very unlucky. You get a movie that is so far from a shiny gem that it more closely resembles the kind of filth you find when you snake your shower drain. We Are the Flesh is one such film.

Let me set the scene for you. A hirsute man-child strolls into his local multiplex to check out the latest installment in a franchise about werewolves and vampires. Sounds pretty great, huh? What’s that you ask? Yes, that’s right. He’s never seen any other Underworld movie other than what’s been on FX in the background. Won’t this diminish his enjoyment of the impending whirlwind of leather, fur, blood spurts, and runny egg style Shakespeare? Absolutely not.

So, 2016 has finally slid by us like the abhorrent slug monster it was. Sure it has left behind a disgusting trail of mucus and disappointment for us to absorb into our lives but at least the worst is behind us. Right? Right!?

A potential victim of The Devil's Dolls

There is one question that will haunt you long after the credits have rolled on the otherwise forgettable possession/slasher flick, The Devil’s Dolls. At one point, bad dad and iffy cop Matt (Christopher Wiehl) tells his young daughter Chloe (Kennedy Brice) he has a surprise for her in his car. Unbeknownst to him, she grabs a box of tiny cursed dolls that belonged to a recently-deceased serial killer, unleashing a blood-spattered nightmare on their small Mississippi town. Something like two acts later, when Matt finds out what she took, he acts all shocked about it.

Anyone approaching Andre Ovredal's followup to Trollhunter would be well within their rights to be a little bummed that the film does not contain a single troll or bearded mountain man screaming "TROOLLL!" at the top of their lungs. That disappointment will be short lived however once you realize that the Norwegian director's first English feature brings some of that adventurous spirit to the atmospheric and spooky frames of The Autopsy of Jane Doe

Director Vincenzo Natali has a knack for sci-fi weirdness, but it's always intriguing when a quirky director tackles something a little more straightforward--like a ghost story. It then comes as no surprise that Natali isn't interested in your typical things-go-bump-in-the-night shenanigans. Haunter is what you get when an ambitious filmmaker takes a simple concept and reconstructs it with fresh eyes. 

It is a damn shame that Sophia Takal's witty, female lead psychological thriller, Always Shine, seemed to fly stealthily under many genre lover's radars--myself included. Lawrence Michael Levine's script and Takal's trippy style harmoniously peels back the rotten layers of a deteriorating female friendship housed amongst the perilous and volatile Hollywood acting landscape. The picture the pair paints is not a pretty one, but it's impossible to look away from. 

Turning the page on what can only be described as a freakshow of year, we here at BGH have taken some time to reflect on the horrors that shaped 2016. Cinematic horrors, of course. We can't even bear to look at a newspaper these days!