There are two major players in the horror movie game: A24 and Blumhouse. John Hodges, David Fenkel and Daniel Katz founded A24 in 2012 and Jason Blum started his company in 2000. Both are famous and beloved for putting out well-done and discussion-worthy scary movies, and when fans see new releases that they look forward to checking out, the movie is likely an A24 or Blumhouse production.

When horror fans think about the quality of movies put out by each company, it’s definitely tough to say who puts out the best films as they are fairly comparable and equal. When fans compare A24 and Blumhouse, who would win?

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RELATED: 5 Great Blumhouse Movies That Aren’t Horror

When horror fans think about whether A24 or Blumhouse makes better movies, one big question comes up: do people prefer elevated horror or more mainstream, fun, and entertaining flicks? For the most part, it could be argued that A24 puts out films that are in the elevated horror category and Blumhouse makes popular horror movies. Both films are necessary and important, and neither type is better than the other. It’s all about what people are looking for and what they’re in the mood for.

Some of A24’s most famous and beloved horror releases include The Lighthouse (2019), X (2022), Hereditary (2018), and Midsummer (2019). Blumhouse’s most well-known movies include Paranormal Activity (2007), The Purge franchise which began in 2013, Unfriended (2014), and the Halloween trilogy which began in 2018. Blumhouse also has some gems like Ma (2019) which haven’t gotten enough attention but definitely deserve to be seen by everyone. A film like Truth Or Dare (2018) might be a disappointing Blumhouse movie but fans can count on the company for fun, creative, compelling stories that are sure to get attention. At the same time, fans of A24’s films love that the company isn’t afraid to tell artistic and interesting stories with dark themes.

It’s tough to answer if A24 or Blumhouse has better content because at the end of the day, it really depends on what horror fans are looking for. It could be argued that Blumhouse has one major release that is elevated horror: the super successful and impressive 2017 film Get Out. Fans can’t wait to see Jordan Peele’s Nope which is sure to raise big and important questions as well. It could also be argued that A24 has a movie coming out in August 2022 that could be put in the fun category and could also be a movie that Blumhouse would make: Bodies Bodies Bodies† Directed by Halina Reijn, A24’s Bodies Bodies Bodies stars Amandla Stenberg and Pete Davidson and tells the scary story of friends playing a game during a party. Both Nope and Bodies Bodies Bodies are sure to get lots of people talking this summer and the films have an equal amount of buzz and excitement surrounding them.

The ultimate showdown might be between two films that are widely considered to be the best horror movies of the past few years: Get Out and Hereditary. It could be argued that these movies are completely equal in terms of performances, storytelling, shocks, scares, and social/political/religious commentary. Both films make people think, talk to each other, and consider big questions that don’t have simple answers. Get Out is a Blumhouse production and A24 put out Hereditaryand horror fans appreciate the artistry behind both films. It’s fair to say that each movie has inspired other filmmakers and changed the horror movie game and everyone is watching to see what the talented and impressive Ari Aster and Jordan Peele work on next.

When it comes to 2022 horror releases, fans are looking forward to Blumhouse’s 2022 horror movies, but A24 knocked it out of the park with Ti West’s Xwhich premiered at South by Southwest in March 2022. This movie is absolutely incredible, with solid performances, a stunning setting, twisty moments, and killers who are very different from slasher villains. Horror filmmakers can learn from X and it definitely seems like it will be hard to top this movie. It does what a contemporary horror movie should do as it’s a shocking and awe-inspiring story with big moments, twists that are logical, and some nods to classic flicks.

While Blumhouse does put out great movies that are in genres other than horror, A24 might win there, as their non-horror films include Spring Breakers (2012), Moonlight (2016), Eighth Grade (2018), and Lady Bird (2017). It’s definitely true that both A24 and Blumhouse are putting out incredibly well-made horror films and both companies deserve praise. When fans really think about it, though, people associate Blumhouse more with the horror genre, so in terms of word and mouth and buzz, they might win.

NEXT: 8 Best A24 Horror Movies You Should Watch

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RELATED: 5 Great Blumhouse Movies That Aren’t Horror

NEXT: 8 Best A24 Horror Movies You Should Watch

In the summer of 1982, Steven Spielberg released two movies in consecutive weeks, Poltergeist and ET the Extra Terrestrial, that now seem like mirror images of each other. Both are about suburban enclaves visited by supernatural phenomena – one a haunting, the other a close encounter of the third kind – and both are ultimately storybook affirmations of the American family, which is made stronger through crisis. The California suburbs were a playground for Spielberg, who grew up in them, and these films were like new subdivisions in his personal colonization of Hollywood.

The nature of Spielberg’s involvement in Poltergeist has been in hot dispute from the beginning. He’s credited as the co-producer and co-writer on the film, which is based on his original story, but the director is the late Tobe Hooper, who was either a primary creative force or a bystander on his own set, depending on who’s being asked. At a minimum, the two had a unique collaboration that resulted in a distinctly Spielbergian horror film, albeit one with a dash of the malevolence of Hooper’s The Texas Chainsaw Massacre and the spring-loaded shocks of his previous film, the underrated 1981 slasher The Funhouse. It’s as if Spielberg wanted to scare audiences while maintaining his cuddly veneer, and Hooper served in part as his alibi.

It also affirmed, post-Jaws, that PG-rated horror films had summer blockbuster potential, though 40 years later, it’s remarkable how few have tried to mimic its success. (The abysmal 1999 remake of The Haunting, from Spielberg’s DreamWorks Pictures, seems to have killed off the idea forever.) Though The Amityville Horror had been a hit in 1979, the slasher trend was in full bloom by 1982, which allowed Poltergeist to stake a lone claim to the haunted house movie, a subgenre that has always required more bumps and creaks than active bloodletting. Even when the ghosts go haywire in the final act, it feels as wholesome as a Halloween hayride.

In the brilliant opening sequence, Poltergeist strikes from the heart of every suburban home: the television set. As the man of the house, Steven Freeling (Craig T Nelson) snoozes in his recliner, a TV broadcast channel signs off for the night with The Star-Spangled Banner and the ghostly static that will carry it through to the next morning. The family dog goes rooting for scraps upstairs, which is an elegant way of introducing the other characters: Steven’s wife Diane (JoBeth Williams) and their three children – 16-year-old Dana (Dominique Dunne), eight-year-old Robbie (Oliver Robins), and, finally, Carol Anne (Heather O’Rourke), a cute six-year-old who wakes up and wanders to the living room. The static speaks to her as the family watches. She calls her new friends “the TV people”.

The image of Carol Anne sitting crisscrossed with her hands against the snowy TV set, announcing “They’re here” in her ominous sing-song-y voice, was a hook so powerful that it served as the poster and the tagline. But in Poltergeist, it’s part of an effective strategy to back into a horror film through Spielberg wonderment, because it’s not immediately clear that “they” are not the friendly beings from Close Encounters or ET. A dead canary and bent silverware are signs of trouble, but when Diane discovers that the kitchen chairs can move on their own, she’s delighted by it. It could be a terrific party trick.

When Carol Anne gets sucked into the bedroom closet, however, the film shifts gears, and the Freelings are willing to try anything to rescue her from the house’s walls, where her voice can still be heard at a distance. Does she walk to the light or away from the light? Three parapsychologists from the local college are at a loss, but they get some help from Tangina (Zelda Rubinstein), a spiritual medium who assures Diane that her daughter is alive and in the house. At this point, Carol Anne’s bedroom is a zero-gravity spook zone and an odd spectral birth canal has opened up between her closet and the living-room ceiling. The mother will have to give birth to her child again, only coated in ectoplasm rather than amniotic fluid.

Photograph: MGM/Sla/Kobal/Rex/Shutterstock

Williams is the glue that holds Poltergeist together – funny, sexy, and assertive, with Diane much more active than her husband to throwing herself into danger. (A bedroom scene where she’s rolling a joint while he’s reading a Ronald Reagan biography is a short story in itself.) When Tangina tells her, “I could do absolutely nothing without your faith in this world and your love for the children,” Williams shows the maternal conviction to back it up. She and Dee Wallace’s single mother in ET are cut from the same cloth. Their kids can always count on them.

At the time, Poltergeist was a premium showcase for Industrial Light & Magic, the George Lucas-founded effects house that here unleashes everything from subtle wisps of white to full-on screen-filling specters that suggest 3D without the red-and-blue cellophane glasses. Spielberg and Hooper supplement the visual effects with the old-fashioned analog of a creepy clown doll, a malevolent leafless tree, and skeleton-filled coffins bursting from the soil. Poltergeist was intended as a scare machine, first and foremost, and it updates the classic haunted house movie without losing its appeal to a general audience.

The revelation that the Freelings’ house and neighborhood was built atop the dead – only headstones were moved, not the bodies – suggests a darker message about American expansion, with families gobbling up land that was never theirs to claim. That syncs up with The Texas Chainsaw Massacre, too, which is also about outsiders punished for encroaching on hostile terrain. Spielberg has often been optimistic about the magic and possibility of suburban life, but Poltergeist considers it from the other side of the lens.

Photograph: MGM/Sla/Kobal/Rex/Shutterstock

When it comes to the trippiest and most mind-scrambling movies of all time, it’s no surprise that some of the same filmmakers come up time and again. Whether it’s David Lynch, Terry Gilliam, David Cronenberg, Ari Aster, Charlie Kaufman, or others, the most surreal filmmakers can tap into the human subconscious in ways the audience is often unaware or ill-prepared for, inevitably leading to a profoundly unforgettable cinematic experience.

While horror movies often provide rife settings for surreal stories, the best examples aren’t always limited to the genre, especially in the eyes of online fansites such as Ranker.

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The Man Who Killed Don Quixote (2018)

Toby clutches The Old Man's arm in The Man Who Killed Don Quixote

From the director of such surrealist tales as Brazil and Tidelandthe great Terry Gilliam one-upped himself with The Man Who Killed Don Quixotean adventurous dramedy that plays to the director’s strongest sensibilities. Adam Driver stars as Toby, a film director who goes on a series of trippy misadventures with a disillusioned cobbler named Javier (Jonathan Pryce) who believes he is Don Quixote.

RELATED: Top Rated Movies Directed By Terry Gilliam, According To IMDb

Despite the messy, chaotic story, the film was hailed for being daringly original, bearing Gilliam’s surrealist signature, and capturing the quixotic spirit of the original Cervantes novel that remains so celebrated. Gorgeous, uncompromising, and wonderfully strange, it’s good to see Gilliam return to his bizarre corner of the sandbox.

Anomalisa (2015)

Michael and Lisa sit at a dinner table in Anomalisa

Charlie Kaufman has made a career out of being one of the most original and offbeat cinematic voices who has created some of the weirdest art movies Hollywood has ever seen. While Being John Malkovich and Adaptation certainly count, Ranker favors his 2015 stop-motion dramedy He finishes instead.

Co-directed by Duke Johnson, He finishes follows Michael Stone (David Thewlis), a customer service agent who cannot make human connections. But when Michael meets Lisa (Jennifer Jason Leigh) during a business trip, the joyless nihilist finds a ray of hope and begins to experience happiness. Bizarre, disorienting, and oddly uplifting, Kaufman’s popular and well-received movie manages to mix the jarring visuals with grounded human emotion, resulting in a surprisingly warm and welcoming way.

Meshes Of The Afternoon (1943)

The Woman wears metal balls over her eyes in Meshes of the Afternoon

Dreams are always rife for the most surreal stories committed to celluloid, with one of the earliest examples coming from experimental filmmaker Maya Deren. Co-directed with Alexander Hammid, Meshes of the Afternoon tracks The Woman (also played by Deren) who returns home, falls asleep, and experiences intense nightmares that blur the line between conscious and subconscious, waking life and sleep, in the most effective ways imaginable.

The head-spinning avant-garde film is unlike anything people have seen before or since, with the German expressionist use of light and shadow, canted angles, jarring music, and unnerving editing style all coalescing to create a truly terrifying dreamlike experience.

Twin Peaks: Fire Walk With Me (1992)

Dale stands with Laura in the red room in Twin Peaks: Fire Walk With Me

Since his feature debut in 1977, no filmmaker has earned a reputation for being as surreal as David Lynch. Able to tap into the human subconscious in the most disturbing and thought-provoking ways, Twin Peaks: Fire Walk With Me is the movie adaptation of his cult TV show Twin Peaks, essentially serving as a prequel to the mysterious Laura Palmer (Sheryl Lee) saga.

In depicting the final week of Laura Palmer’s life, Lynch manages to create one of the strangest, knottiest, most unpredictable, and nightmarish cinematic experiences on record. The twists and turns and easy-to-miss hidden details that the story entails have a cryptic dream logic that is hard to decipher, but it’s the oddball characters that make the movie so unforgettably hypnotic.

Mulholland Drive (2001)

Betty and Rita sit in blue light in Mulholland Drive

Often hailed as David Lynch’s finest film, moviegoing experiences do not get more surreal than Mulholland Drive. Dreams, nightmares, memories, and psychic amnesia are all blended into one noirish, mind-blowing tale of a woman named Betty (Naomi Watts) trying to make sense of her life following a devastating car crash in Los Angeles.

RELATED: David Lynch’s 10 Favorite Movies, Ranked (According To IMDb)

The cinematic puzzle piece is challenging narratively yet deeply rewarding for those who can crack the film’s encoded meaning. Few filmmakers know how to tap into the unventured corners of the human mind like Lynch while delivering consistent entertainment. Seductive, sexy, strange, and highly replayable, Mulholland Drive is as twisted as the road it’s named for.

Midsummer (2019)

Dani is subsumed by flowers in Midsommar

In his second feature film, Ari Aster explored the lasting lore of Scandinavian folk horror in Midsummer. While not quite as scary as Hereditary, Midsummer is much more maddening in the way the viewers vicariously unravel spiritually and psychologically through the main characters as it progresses.

Plot-wise, the film finds a troubled American couple attempting to work out their problems at a sunny Swedish summer festival during vacation. The local customs and rituals turn increasingly bizarre and violently unsettling, making audiences squirm and writhe in their seats while also scratching their heads for answers to the overall meaning. Ambitious, creepy, and full of freaky Freudian imagery, Midsummer is a top-tier mind-scrambler.

Daisies (1966)

Marie and Marie rest on the bed together in Daisies

The only outright comedy to make the grade, Daisies is an obscure Czech movie from writer/director Vera Chytilova. The story tracks two women named Marie (Jitka Cerhova, Ivana Karanova) who begin robbing older men and using their money to have as much fun as humanly possible. The indulgence, debauchery, and mischief that ensue lead to a crazy and delirious curio of a conclusion.

The visual whirlwind of imagery was cutting edge for its time, its rare female perspective as refreshing as can be, and the unadulterated hedonism depicted is done in a way that plot and character seem irrelevant. All add up to a dazzling montage of remarkable surrealism every film fan should experience at least once.

Eraserhead (1977)

David Lynch shocked the world with his nightmarishly surreal feature debut Eraserheadan industrial black-and-white, avant-garde assault of the senses. It’s hard to overstate the importance and influence of the movie, not just among Lynch’s filmography but for an entire generation of filmmakers as well.

RELATED: 10 Behind-The-Scenes Facts About David Lynch’s Surreal Masterpiece Eraserhead

The film centers on Henry Spencer (Jack Nance), a strange man living in an impoverished industrial wasteland. When his mutated child arrives, he tries to keep it alive while dealing with his angry girlfriend and her ultra-bizarre parents. As only Lynch can do, the film plumbs the darkest caverns and most remote recess of the human psyche to create a waking nightmare onscreen.

Naked Lunch (1991)

Bill shares a drink and a smoke with a monstrous bug in Naked Lunch

Like David Lynch, David Cronenberg has authored several wildly surreal cinematic experiences. Also known as the master of body horror, Cronenberg fused the two tenets in the perfect source material, adapting William S. Burroughs’ insanely surreal novel Naked Lunch to the big screen.

The hallucinatory story follows Bill Lee (Peter Weller), a bug exterminator who becomes addicted to the lethal substance he uses to extinguish creepy crawlers, leading to a kaleidoscopic array of visual projections he can’t quite get a grip on. A cult classic in every sense, Cronenberg’s highly-acclaimed Naked Lunch blends styles, tropes, periods, and more in ways bound to leave an irreparable dent in one’s brain.

House (1977)

A girl holds a severed head in her hands in House

Hopefully, everyone comes away willing to seek out Housethe best surreal movie of all time, according to Ranker. The highly amusing and mind-boggling Japanese horror-comedy goes places that need to be seen to be believed, taunting and tickling every psychological node in the human brain.

Directed with great vim and vigor by Nobuhiko Obayashi, the story finds seven schoolgirls convening in one of their aunt’s haunted ancestral abodes, where the most unbelievably bizarre, mind-bending, and illogically nightmarish supernatural phenomena take place. The explosion of color is one thing, being eaten alive by an animated piano is quite another, and that may be the tamest scene in the movie.

NEXT: 10 Great Japanese Horror Films On The Criterion Channel

Age of Ultron Did 1 Thing Better Than Other Avengers

While horror movies often provide rife settings for surreal stories, the best examples aren’t always limited to the genre, especially in the eyes of online fansites such as Ranker.

SCREENRANT VIDEO OF THE DAY

The Man Who Killed Don Quixote (2018)

RELATED: Top Rated Movies Directed By Terry Gilliam, According To IMDb

Anomalisa (2015)

Meshes Of The Afternoon (1943)

Twin Peaks: Fire Walk With Me (1992)

Mulholland Drive (2001)

RELATED: David Lynch’s 10 Favorite Movies, Ranked (According To IMDb)

Midsummer (2019)

Daisies (1966)

Eraserhead (1977)

RELATED: 10 Behind-The-Scenes Facts About David Lynch’s Surreal Masterpiece Eraserhead

Naked Lunch (1991)

House (1977)

NEXT: 10 Great Japanese Horror Films On The Criterion Channel

Age of Ultron Did 1 Thing Better Than Other Avengers

It’s the start of the month, and that means streaming platforms like Paramount+ and Disney+ have released a ton of new content just in time for the summer. Whether it’s too hot to be outside or a break from outdoor activities is necessary, these five movies and shows will leave any summertime viewer satisfied.

Friday the 13th Brings Halloween Haunts to Summer

The ’80s was notorious for an influx of horror movies that would go on to become cult classics, and Friday the 13th is perhaps the most well-known slasher flick of all time. And for those in the mood for a taste of Halloween, Paramount+ is now streaming this iconic scary movie.

RELATED: Best Horror Films to Watch on Shudder in June 2022

For teens trying to enjoy the summer at Camp Crystal Lake, hockey-masked serial killers are the furthest thing from their minds, though locals warn of a malicious presence in the surrounding woods. It’s all fun and games until an encounter with Jason Voorhees brings the realization that this summer camp is far from a relaxing getaway. Starring Adrienne King and Kevin Bacon, Friday the 13th is hailed as a near-perfect scary movie.

Harold and Maude Is a Lost Gem From the ’70s

From criminally underrated director Hal Ashby, Harold and Maude was considered incredibly controversial at the time of its release in 1971. However, in the years since, it has gained notoriety from both audiences and critics alike. Now, it’s available on Paramount+ for those seeking an artistic window into what it means to love life.

RELATED: How Bedknobs and Broomsticks Ties to Mary Poppins’ Magical Influence

Starring acting legends Bud Court and Ruth Gordon as Harold and Maude, this film follows a young man obsessed with staging fake suicides in order to get the attention of his emotionally distant mother and grow his fascination with an eccentric old woman who keeps popping up in his life. Exploring themes of depression, learning to love again and overcoming mental obstacles, Harold and Maude is a prime example of what made cinema in the ’70s so renowned.

Wildboyz Expands on the Jackass Franchise

Casual fans of the Jackass series may not be familiar with the spinoff series Wildboyzbut diehard fanatics know what a hilarious and surprisingly educational show Wildboyz proved to be. Following Jackass alumni Steve-O and Chris Pontius as they travel around the world, Wildboyz had a successful four-season run on MTV, with all seasons now available to stream on Paramount+. For those interested in watching two daredevils interact with a variety of wild animals and learn about other cultures, this series is the perfect weekend watch.

Hollywood Stargirl Is a Highly Anticipated Sequel

Fans of competitive talent shows such as America’s Got Talent may remember Grace Vanderwaal, the child singer that took the world by storm after performing her original song on one of the biggest stages in the world. Since then, Vanderwaal has broken into the acting arena, starring in the original Stargirl movie and returning for the sequel Hollywood Stargirl.

RELATED: Disney+ Quietly Upgrades Netflix’s Marvel Shows

Stargirl received praise for its poignant themes of first love and self-expression, and the sequel looks to expand on those themes even further. When Stargirl and her mother relocate to Los Angeles to break into the film industry, Stargirl unintentionally begins changing the town for the better. A lighthearted celebration of individuality, Hollywood Stargirl ponders what Hollywood could be like if it truly respected talent, good intentions and kindhearted people.

Glee Provides the Perfect Binge Watch

When Glee first sprang onscreen in 2009, it got hailed for its diversity, inclusive message and high-level performances. In the years since, however, controversy both on and off-screen has tarnished the original reception of the show. Despite that, the series remains as entertaining as when it originally aired.

Centered appropriately on the misfits of William McKinley High School’s Glee club, Glee brings drama, discussions on important topics and plenty of musical numbers to audiences. Starring Matthew Morrison as Will Schuester, the Glee club’s faculty advisor, and Lea Michele as protagonist Rachel Berry, the series remains a solid binge-watch.

Friday the 13th Brings Halloween Haunts to Summer

RELATED: Best Horror Films to Watch on Shudder in June 2022

Harold and Maude Is a Lost Gem From the ’70s

RELATED: How Bedknobs and Broomsticks Ties to Mary Poppins’ Magical Influence

Wildboyz Expands on the Jackass Franchise

Hollywood Stargirl Is a Highly Anticipated Sequel

RELATED: Disney+ Quietly Upgrades Netflix’s Marvel Shows

Glee Provides the Perfect Binge Watch

The 80s gave birth to a lot of iconic horror films: Friday the 13th, A Nightmare on Elm Street, and Evil Dead, to name a few. Also among them, of course, is Poltergeist, a 1982 film about a family whose home is invaded by mysterious supernatural entities who kidnap their youngest daughter. Considering how it’s now been officially 40 years since its release on June 4, 1982, it’s mightily impressive how well the film still stands the test of time, remaining one of the most consistently frightening and finely made horror films of all time.

Poltergeist is a must-watch if you’re a horror film fan and a film fan in general. Every aspect of it, from the writing to the directing to the cinematography, is top-notch, clearly made by masters of their craft. On top of it all, it’s rated PG, meaning director Tobe Hooper and screenplay writers Steven Spielberg, Michael Grais, and Mark Victor had to be extra creative with how they delivered the scares — and boy, did they deliver, despite the restraints. It’s a great achievement in of itself how Poltergeist still remains a delightfully scary film despite being sanitized enough into family-friendliness.

There are some really creative scares here, both through writing and visuals. This is an utterly gorgeous film with cinematography that still, to this day, holds up — some shots are straight up mesmerizing, like you’re watching the horror equivalent of a fireworks show. Cinematographer Matthew F. Leonetti takes this horror film and turns it into a dazzling spectacle: visually, Poltergeist is one of the most distinct and unique horror films of all time and it’s hard to think of another horror that resembles its aesthetic. The closest film I can think of is Spielberg’s own Close Encounters of the Third Kind and that’s not even a horror film.

Another way Poltergeist is distinct is in its abundance of humanity — there’s a love and warmth here not often found in horror movies, especially of its time. The Friday the 13th series may boast some creative and gory kills, but nobody really cares about its characters — most of them are just future dead bodies. We know they’re only there to add to Jason’s kill count and we might even be cheering Jason on when the time comes for them to die.

Poltergeist, however, wants you to care about its characters. The loving relationship between every member of the family is on full display here — these are characters you actively care for and hope make it out alive. Poltergeist isn’t just scary and thrilling, it’s endearing and emotionally affecting. Thankfully, the film boasts a stellar cast. Every major character here is perfectly cast and the stellar acting really brings these characters to life, with performances from JoBeth Williams as Diane and Beatrice Straight as Dr. Lesh being particular standouts.

Another thing that makes Poltergeist even more memorable is its terrific sense of humor. While the film doesn’t have enough funny scenes in it to consider it a comedy, there’s still a surprising amount of chuckles and laughs in this horror film. It’s a welcome addition — Poltergeist may shine because of its scares and its visual prowess, but the occasional funny scenes make for great toppings to an already delicious desert.

But while the film may boast tight writing and stunning cinematography, it’s hard to deny how dated some of the special effects now look. Not all of them, of course, as many of Poltergeist’s ghouls and monsters still look terrific, if unconvincing, but occasionally the film will have a scene where the effects have become too cheesy, not enough to distract but enough to notice.

This is to be expected, of course. Poltergeist is four decades old and many 80s horror films suffer from the same problem, so this is easy to forgive. Still, while some of the effects may be showing their age, the writing and directing most certainly do not, proving that great storytelling really is king.

The haunted house subgenre of horror films is a crowded one and it’s only become more crowded since Poltergeist’s release. Sinister, The Conjuring, and Oculus are just a few haunted house films of the last ten years to owe a debt of gratitude to Poltergeist. Truly, it’s a testament to great writing and directing that even 40 years later, Poltergeist still stands as one of the greatest haunted house films of all time.

READ NEXT: 15 Best Two-Player Horror Games Of All Time

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The 2010 supernatural horror film Insidious was directed by James Wan and had a wonderful cast, including Patrick Wilson and Rose Byrne. Over a decade after its initial release, Insidious is now streaming on HBO Max and serves as a staple for the resurgence of horror movies in the 2010s. Wan only directed the first two films of the franchise, which went together quite well before the series was taken over by Whannell for the third and fourth movies.

What differentiated Insidious from its competitors, including Wan’s other works, such as Saw and The Conjuringwas the fact that the true fear came from the concept of dream walking rather than relying on physical violence, CGI or jump scares. Horror movies often use these tactics to trigger fear responses in their viewers, but Wan wrote on Facebook that he wanted to “shake the torture-porn label” he had acquired from creating Saw in 2004. Many people can probably agree that he accomplished this and used the premise of dream walking as his ultimate scare factor in Insidious.

RELATED: Morbius Demanded a Horror Director – and James Wan Would Have Been Perfect

Eventually, more CGI was added to the later films in the Insidious franchise as scary imagery became more of a selling point for the movies, but the original two movies in the series relied heavily on their ominous tone. Nightmare on Elm Street created an entire successful franchise based on the concept of a spirit that followed people into their dreams, and Insidious hit this mark without relying on a scissor-handed creature (sorry Freddy Krueger) or physical violence. The scares for Insidious were focused more on the idea of children traveling to another world in their dreams and being confronted with spirits that wanted to invade their bodies and walk among the living.

The dream walking aspect in Insidious could also easily represent a generational wound that gets passed down from father to son. Josh (Wilson) doesn’t remember having the ability to travel to “The Further” when he was a child, so he had no way of preparing his son to experience the same terror. This concept adds to the fear as many people could probably relate to the idea of suffering from certain conditions their family had forgotten runs in their lineage. The son Dalton could possibly never wake up from his comatose state, and the fault would be on the father’s side for not taking the initial threat from his childhood seriously.

RELATED: Sam Raimi Horror Movies to Watch After Doctor Strange in the Multiverse of Madness

For those who have seen the original Insidiousthe ending does reveal that Josh ultimately becomes possessed by the evil woman who had been harassing him and their son throughout the film. The ending was a perfect way to close out the first movie, as it gave viewers something to look forward to in the next installment, which involved saving Josh from “The Further.” In Insidious: Chapter 2the movie starts with Josh and Renai (Byrne) contacting the demonologist that helped them previously to confront the continued haunting their family had experienced in the film.

Elise’s (the demonologist) suggestion for how to confront this spirit once again was to force Josh to forget his astral projection ability, repeating the cycle that had put them in danger in the first place. This aspect infers to the audience that forgetting traumatic events doesn’t protect the survivors. When considering the concept of having an uncontrollable condition that causes instability and constant threat to an individual can produce true fear. Focusing on that element for the film truly differentiated Insidious from other horror films at the time since its premise targeted that specific fear of possession and haunting within the dream world.

RELATED: Morbius Demanded a Horror Director – and James Wan Would Have Been Perfect

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This month, we’ll experience the epic conclusion to the Jurassic era as two generations unite for the first time in Jurassic World Dominion, stomping into theaters on June 10, 2022.

A massive image gallery is now open for business, packed with shots both brand new and previously seen. Of particular note, we’ve got some new behind the scenes photos in this latest batch, a few of which show off the practical dinosaurs featured in the movie.

Elsewhere, dinosaur mayhem is unleashed including an Allosaurus taking over the streets and a Quetzalcoatlus attacking a plane. There’s also an intriguing shot of a Baryonyx fight club…

Chris Pratt and Bryce Dallas Howard are joined by Oscar®-winner Laura Dern, Jeff Goldblum and Sam Neill in Jurassic World Dominion, being billed as “a bold, timely and breathtaking new adventure that spans the globe.”

From Jurassic World architect and director Colin Trevorrow, Dominion takes place four years after Isla Nublar has been destroyed. Dinosaurs now live—and hunt—alongside humans all over the world. This fragile balance will reshape the future and determine, once and for all, whether human beings are to remain the apex predators on a planet they now share with history’s most fearsome creatures.

Jurassic World Dominion, from Universal Pictures and Amblin Entertainment, propels the more than $5 billion franchise into daring, uncharted territory, featuring never-seen dinosaurs, breakneck action and astonishing new visual effects. The film features new cast members DeWanda Wise (She’s Gotta Have It), Emmy nominee Mamoudou Athie (Archive 81), Dichen Lachman (Agents of S.H.I.E.L.D.), Scott Haze (Minari) and Campbell Scott (The Amazing Spider-Man 2).

The film’s returning cast includes BD Wong as Dr. Henry Wu, Justice Smith as Franklin Webb, Daniella Pineda as Dr. Zia Rodriguez and Omar Sy as Barry Sembenè.

Owen Grady (Chris Pratt) and a Parasaurolophus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

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Owen Grady (Chris Pratt) and an Atrociraptor in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

Chris Pratt on the set of Jurassic World Dominion.

(from left) Chris Pratt and director Colin Trevorrow on the set of Jurassic World Dominion.

DeWanda Wise as Kayla Watts in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

Director Colin Trevorrow on the set of Jurassic World Dominion.

DeWanda Wise as Kayla Watts in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) Dr. Ian Malcolm (Jeff Goldblum), Ramsay Cole (Mamoudou Athie) and Lewis Dodgson (Campbell Scott) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) Chris Pratt, Omar Sy and director Colin Trevorrow on the set of Jurassic World Dominion.

Mamoudou Athie as Ramsay Cole in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) Dr. Alan Grant (Sam Neill), Maisie Lockwood (Isabella Sermon) and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

Dr. Ian Malcolm (Jeff Goldblum) and screenwriter Emily Carmichael in a cameo (left of Goldblum) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

BD Wong as Dr. Henry Wu in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) Claire Dearing (Bryce Dallas Howard), Dr. Ian Malcolm (Jeff Goldblum), Dr. Ellie Sattler (Laura Dern), Dr. Alan Grant (Sam Neill) and Kayla Watts (DeWanda Wise) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

Bryce Dallas Howard as Claire Dearing in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) Dr. Ian Malcolm (Jeff Goldblum), Dr. Alan Grant (Sam Neill), Dr. Ellie Sattler (Laura Dern), Claire Dearing (Bryce Dallas Howard), Owen Grady (Chris Pratt), Maisie Lockwood (Isabella Sermon) and Kayla Watts (DeWanda Wise) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) Kayla Watts (DeWanda Wise), Dr. Ellie Sattler (Laura Dern) and a Giganotosaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

Director Colin Trevorrow on the set of Jurassic World Dominion.

(from left) Zia Rodriguez (Daniella Pineda) and Franklin Webb (Justice Smith) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

A baby Gigantosaurus a top of a Moros Intrepedius in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

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Bryce Dallas Howard as Claire Dearing in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

A T.rex in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

A Mosasaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

A pair of Parasaurolophus and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) Velociraptors Beta and Blue in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) Dr. Ellie Sattler (Laura Dern) and Dr. Alan Grant (Sam Neill) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) A baby Nasutoceratops, Dr. Ellie Sattler (Laura Dern) and Dr. Alan Grant (Sam Neill) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

A Dreadnoughtus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

A pair of Baryonyx in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

Dichen Lachman as Soyona Santos in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) Owen Grady (Chris Pratt) and Barry Sembène (Omar Sy) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

An Atrociraptor and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) An Allosaurus, Owen Grady (Chris Pratt) and a Carnotaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

Chris Pratt as Owen Grady in JURASSIC WORLD DOMINION

(from left) Owen Grady (Chris Pratt), Claire Dearing (Bryce Dallas Howard) and Kayla Watts (DeWanda Wise) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

A Quetzalcoatlus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

Bryce Dallas Howard as Claire Dearing in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) Kayla Watts (DeWanda Wise) and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) A Pyroraptor, Kayla Watts (DeWanda Wise) and Owen Grady (Chris Pratt) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) Dr. Alan Grant (Sam Neill) and Dr. Ellie Sattler (Laura Dern) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) A Giganotosaurus and a T.rex in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

Sam Neill as Dr. Alan Grant in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

(from left) A Giganotosaurus, Claire Dearing (Bryce Dallas Howard), Maisie Lockwood (Isabella Sermon), Dr. Ellie Sattler (Laura Dern), Kayla Watts (DeWanda Wise), Dr. Alan Grant (Sam Neill), Owen Grady (Chris Pratt) and Dr. Ian Malcolm (Jeff Goldblum) in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

Isabella Sermon as Maisie Lockwood in Jurassic World Dominion, co-written and directed by Colin Trevorrow.

from left) Kayla Watts (DeWanda Wise), Maisie Lockwood (Isabella Sermon), Claire Dearing (Bryce Dallas Howard), Dr. Alan Grant (Sam Neill), Dr. Ellie Sattler (Laura Dern), Owen Grady (Chris Pratt) and a Giganotosaurus in Jurassic World Dominion, co-written and directed by Colin Trevorrow.