Stephen King often blends fantasy or magical realism into his horror, and the two genres are a surprisingly snug fit. The Shining felt like strictly paranormal horror, rather than outright fantasy. But its sequel welcomes an outlandish, yet effective conceit of vampiric drifters. Alongside a visually modernized sensibility, Rose and her troupe distance Doctor Sleep from its predecessor.
However, there’s still plenty of fan service, and the emotional content still feels grounded. Particularly with Ewan McGregor’s convincing, assured performance. Most importantly, it is a story that earns its existence. This left most audiences satisfied, and wanting more. So, here’s some fantasy-horror that will quench that thirst with similar imagery, drama and style.
The Mothman Prophecies
This is a surprisingly atmospheric, dramatic take on a truly fantastical legend. The sense of mystery pervades the entire film, which grounded throughout by grief. The myth of the Mothman itself is innately intriguing, tied into disaster and tragedy. The alleged sightings and bizarre nature of the creature make for some interesting, surreal imagery.
Its unsettling presence is joined by a sense of impending doom, regarding an actual disaster, which adds suspense but may upset some. The film actually discusses the paranormal in general, including skepticism and its emotional effects. Richard Gere isn’t quite up to carrying the film, but the brooding, eerie story is certainly captivating enough.
Bram Stoker’s Dracula
Francis Ford Coppola changes dramatic gears for this smoky, Hammer horror take on the age-old vampire tale. More so than most Dracula films, this interpretation welcomes elements of fantasy. Incongruent shadows, a werewolf form and unsettling sexuality make for a disturbing, arthouse horror film, which will undoubtedly please fans of Danny Torrance.
Coppola’s cast is generally strong, bar Keanu Reeves’ infamous accent. Gary Oldman thrives in chewing his scenery, but never loses the sense of poignancy. Surprisingly, it is a deeply romantic film in every sense, and that includes its stunning visuals, which radiate with personality.
Phantasm
This is far more of a horror film, with strikingly offbeat images and concepts. It is more akin to magical realism, wherein another universe is impeding on our own. The Tall Man is a charismatic villain thanks to Angus Scrimm’s menacing frame and performance.
His mysterious agenda and grotesque methods make for a truly frightening mystery, much like Rose and her vampires. Further, the Tall Man’s minions are equally disconcerting, despite their likeness to Star Wars’ Jawas. Much of the horror is effective by sheer strangeness, allowing unpredictability. That metallic orb-weapon alone is worth the price of admission.
A Nightmare On Elm Street (1984)
Turning the slasher genre on its head, the mere concept of Freddy Krueger opens up fantasy. And while his one-liners ultimately yielded to utter silliness, Robert Englund’s electric performance is always likable. Where the dreams have tangible weight in reality, this series conjures up some devastating, creative horror sequences.
Falling asleep is inevitable, its deprivation blurs reality, and nightmares are limitless. The resulting unbridled imagination is the series’ most appealing characteristic. True, A Nightmare on Elm Street is much gorier, and perhaps less thematically rich than Doctor Sleep. But it’s certainly an entertaining blend of horror and fantasy, serving up innovative shares of each.
Hellraiser
Pinhead is an icon himself, but this is hardly a conventional slasher film. It is quite unlike most horror movies, with a strangeness that only Clive Barker and the 80’s can provide. The plot itself revolves around a bizarre afterlife that involves awful, sadistic punishment. With themes of sadomasochism and infidelity, this original film spawned countless inferior sequels.
The mythology of this film is very rich, but the story also explores every square inch, leaving little room for more. The special effects are gripping and delightfully repulsive. The performances can be somewhat lacking, but they are merely an agent for Barker’s mad genius, anyhow.
Pan’s Labyrinth
Guillermo Del Toro has crafted some of the most powerful fantasy films ever made. This is due to the verity in his characters, which always grounds his detailed realization of magical phenomena. Further, he is willing to dive into the horrors of humanity itself. Most often, the worst threat is hardly supernatural, but human in nature.
And that undeniable truth, here taking the form of a civil war and the protagonist’s ruthless stepfather, reinforces the traditional intent of parables. This is a deeply poignant, terrifying film with stunning effects and performances. Del Toro’s deft hand composes a truly immersive world, which bolsters every moment of suspense and pathos.
In The Mouth Of Madness
This movie plays the greatest hits of H.P. Lovecraft without actually adapting his works. Instead, it pays constant homage to his sensibilities, and Lovecraftian stories are enduring examples of horror and fantasy. But this film also feels like a nod to Stephen King, who indulged a self-aware study of horror fiction and its fans with Misery.
Directed by John Carpenter himself, this selection also stars Sam Neill, a winning combination for escalating doses of surreal thrills. Reality gradually folds in on itself with meta references and striking twists. Fortunately, Neill is up to the task of playing both the straight man and convincing insanity.
Eraserhead
David Lynch wields the surreal as a psychological weapon unlike anyone else. His imagery is so taking, so creative and provocative, it is both addicting and frustrating. His sheer level of artistry was made instantly clear in this debut feature, which establishes nearly all of his compelling techniques at once.
His black-and-white, nightmarish world is repulsive and upsetting at will, with truly novel and mesmerizing iconography. While Lynch’s style may be tedious for some casual viewers, those seeking out fantasy and horror need look no further. This is a patient, challenging film that transcends genre and even film itself.
Poltergeist (1982)
Doctor Sleep is ultimately a very entertaining film, so there is every reason for fans to revisit this Spielbergian classic. Poltergeist incorporated far more fantasy than horror, with alternate dimensions, living trees and melting faces. It’s less concerned with actual paranormal activity, as modern audiences have come to expect. Aside from the controversial skeletons in the finale, the effects are nifty and memorable.
The disruption of suburbia may be dated now, as are certain other traits. But the film surprisingly holds up thanks to artistic verve, a talented cast, and imaginative surrealism. Grounded by centering on a family, the movie even references a burial mound as the paranormal culprit, just like The Shining.
It (2017)
This may be unsurprising, but obligatory. And not just because it is another work of Stephen King. There is simply no denying the sophistication and effectiveness of 2017’s hit adaptation of King’s gargantuan novel. The lesser follow-up suffers from a largely differing tone, heavy CGI and retreaded scares. But this first entry is a bold piece of horror, which is more interested in oppressive humans, rather than Pennywise.
Instead, the clown serves as a substitute for the kids’ real problems, the missing component from chapter two. The adults here are all revolting, and the bully is horrifyingly authentic. This film subverts the expectations of horror, making it more accessible than most movies in the genre. But it is also a purist’s dream, with just the right balance of fidelity, personality and surprise.
