Movies
Best & Worst of 2009: Ryan Daley Picks His Bottom 5!
As I’m primarily a DVD critic for Bloody-Disgusting, my year-end Top 10 list traditionally cites only DVD horror releases for a given year, which automatically excludes some of the movies I’ve seen at festivals or through pre-release screeners. Whereas I’m generally jealous of my fellow B-D critics for their all-encompassing year-end lists, I have to admit that 2009 was a fantastic year for horror DVDs, and this list was a pure pleasure to put together. Once again, just so I don’t catch any flak down in the comments, this is a list of the WORST HORROR DVDS OF 2009.
David Harley (Best/Worst) | Ryan Daley (Best/Worst)
RYAN DALEY’S BOTTOM 5 OF 2009
This is the first year I’ve had the same director appear on both my “best” and “worst” lists, but I guess there’s a first time for everything. I loved director Toby Wilkins’ Splinter as much as I hated The Grudge 3, a sequel that stomped the previously respectable franchise into the Japanese dirt. Sloppy and awkward, it’s a pasty-faced effort that should be forgotten as quickly as it was conceived.
Train tried its best to swing a big gory dick in the face of horror fans, but the flat characters couldn’t carry the show. Brutal and highly effective makeup effects can’t save a movie with a plot that’s this damn derivative. Hostel on a Train (as it’s been occasionally dubbed) is too kind. Retard Hostel on Car Number Six would be more accurate. Bad plotting, bad characters, bad movie.
Remember in The Fly, after Jeff Goldblum put that steak through his transport pods and then fried it up, how it didn’t quite taste right? If you put a quality torture-porn movie through Brundle’s pods, it would emerge tasting a lot like Gnaw.
Horror fans have been jizzing all over this movie since September, but here’s my take. Out of all of the people who wanted to see Paranormal Activity, I’d guess about 25% got a chance to catch it in a movie theater. The remaining 75% will have to wait for the DVD release. And I’m predicting the worst DVD backlash this side of The Blair Witch Project. Paranormal Activity has been insanely over-hyped, and soon everyone will see that there’s nothing behind the curtain but a little, musty old man. This movie has been loitering around the festival circuit for the past few years, and it suddenly finds success after Spielberg helps tack on a new ending? Whatever. After mentally preparing themselves for the most frightening movie of the past 10 years, DVD audiences will be faced with a poorly-acted, piece-of-shit home movie with exactly three scares. It’s not going to be pretty. Hope you saw it in the theater when you had the chance.
Survivalist drama disguised as suspense film, The Canyon is easily the worst film I’ve seen this year. With picturesque Grand Canyon cinematography and an interesting character performance by Will Patton, it’s a movie that starts with a fair amount of potential before regressing into a slow-witted impression of a Reader’s Digest reenactment. Avoid with extreme prejudice.
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
You must be logged in to post a comment.