Film
Pizza
Other titles called Pizza: the 2014 film.
Pizza is a Tamil horror-thriller that uses a pizza delivery as the gateway to genuine dread. It's inventive genre-mixing—comedy bleeding into real scares—with a visual imagination that outpaces its modest budget. Smart enough to amuse you, unsettling enough to work. For viewers who like their horror playful but not safe.
If you liked this
Insidious2011
Elegant haunted-house setup that earns its scares through sound design and restraint. James Wan at his best, before the franchise got bloated. Proof that you don't need gore or jump-cuts to terrify people.
But Relies on a few familiar beats by now, and some of the later revelations feel less inventive than the setup promises.

Andhadhun2018
Another Indian thriller that blends tone—comedy, romance, crime, the grotesque—with the confidence of a director who trusts his audience to follow. Twists that feel earned. Genuinely funny and genuinely disturbing in the same breath.
But The central premise requires swallowing something a bit contrived, and it hinges on an actor committing fully to a physical performance you either buy or don't.

The Wailing2016
Korean horror that moves like a thriller and thinks like a tragedy. Layers of doubt, unreliable narration, a mood that clings to you. It builds toward something that feels less like a twist and more like a collapse.
But Two-and-a-half hours, no clear answers, and a ending that some will find deliberately unfair rather than mysteriously open.

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The wildcard
Something you would not have found on your own.
Ghostwatch1992
Both use formal constraint—Pizza has the pizza-delivery frame, Ghostwatch has the live-broadcast frame—to tunnel the audience toward dread. The setup *is* the horror engine.
A BBC live TV broadcast, formatted as real-time ghost-hunting investigation. Made in 1992 but still unsettling because the format itself—the false liveness, the breaking-the-fourth-wall implication—is genuinely disorienting. Invented a genre.
But Shot on broadcast video with dated production values, and the scares depend entirely on the format trick working on you. If you're outside the spell, you're just watching something poorly made.

More like this (8)
Drag Me to Hell2009
Sam Raimi's unserious supernatural thriller: slapstick and gore tangled together, played absolutely straight. Proves that horror-comedy doesn't have to wink at the audience. Pure technique in service of genuine unease.
But The tone is *weird*—whiplash from one scene to the next—and some viewers find the intentional grossness gratuitous rather than darkly funny.

Mulholland Drive2001
David Lynch's Los Angeles nightmare: two women, one story folding back on itself, and a reality you're not sure was real to begin with. Hypnotic filmmaking. Sits with you for weeks.
But Deliberately cryptic. Three hours long. If you need plot clarity above all else, this will infuriate you.

The Machinist2004
Christian Bale at his most unsettling, playing a man unraveling. Noir-inflected, increasingly dreamlike, it earns its atmosphere through craft and performance rather than jump-scares.
But Grim, slow-burn, and the resolution will feel either perfectly earned or like a cheat, depending on your patience.

A Tale of Two Sisters2003
Korean gothic horror that prioritizes visual storytelling over exposition. Gorgeous and disturbing in equal measure, with a third-act reveal that recasts everything you've seen.
But Deliberately paced, relies on mood over incident, and subtitles won't help if ambiguity bothers you.

Shutter2004
Thai supernatural thriller with a high-concept premise that plays out as genuinely creepy. Uses its central gimmick in ways that feel fresh. Builds dread methodically.
But Some of the later plot turns feel less carefully thought through than the setup, and the pacing sags in the middle.

Lake Mungo2009
Australian pseudo-documentary about a family after a daughter drowns. Grainy, unhurried, builds toward something quietly devastating. Proof that found-footage-adjacent horror can be genuinely mournful.
But Very slow, very sad, and the scares are minimal—it's a film about grief with horror as a vehicle, not the other way around.

Holy Motors2012
Both films are formally inventive genre-blenders that refuse to stay in one mode. Both treat genre rules as suggestions. Both have a playful audacity that's genuinely uncommon.
Leos Carax's surrealist masterpiece about a man in a limousine moving between identities and performances. Bizarre, shapeshifting, funny, tragic, creepy. Pure cinema from a director with no regard for what you expect.
But Willfully abstract and maximalist. If you want plot or coherence, you're watching the wrong film. It's challenging in ways that feel almost rude.

Come True2020
Both films use genre as mood-board rather than checklist, mixing tones that shouldn't work together. Both have a visual ambition that pushes past what the budget or logic would suggest should be possible.
A young man joins a sleep study and begins experiencing shared, escalating nightmares. Science-fiction horror that's more *texture* than plot—synth-heavy, visually hypnotic, feels like a lucid dream in the best way. Quietly apocalyptic.
But Minimal dialogue, maximalist atmosphere. Plot takes a backseat to mood and image. If you need narrative clarity, this will frustrate you.

People
Cast
Vijay SethupathiMicheal Karthikeyan
Aadukalam NarenSanmugam
KarunakaranRaghavan
Bobby SimhaBobby
Pooja RamachandranSmitha
Veera SanthanamExorcist
JayakumarSrinath
Kavin RajCameo appearance
Nalan KumarasamyMichael's friend (uncredited role)
GajarajPolice
Directing
- Karthik SubbarajDirector
Writing
- Karthik SubbarajDialogue
- Arunraja KamarajLyricist
- KabilanLyricist
- MuthamilLyricist
- Karthik SubbarajScreenplay
- Karthik SubbarajStory
- Prasath RamarStory
Production
- C. V. KumarProducer