Film
The Loved Ones
- Horror
- Very dark
An Australian torture-horror film about a rejected girl's sadistic revenge on prom night. Genuinely unpleasant in the best possible way—it commits fully to its premise without winking. For viewers who want their horror to hurt, with craft and dark humor underneath the brutality.
If you liked this
Hostel2006
A stylish European nightmare where tourists become hunted prey. Eli Roth builds dread methodically before unleashing visceral chaos. The setup alone is brilliant.
But Heavily focused on graphic torture for its own sake. If you need plot or character development beyond suffering, you'll feel the runtime drag.

Martyrs2008
A French-Canadian masterpiece that uses extreme violence as a philosophical weapon, not decoration. Haunting, rigorous, and genuinely difficult in ways that matter.
But Relentlessly bleak and punishing. The violence is not cathartic. Long stretches of graphic suffering with minimal relief.

Audition2000
Takashi Miike's slow-burn horror about a man auditioning women for dating. Shifts from romantic comedy to nightmare with surgical precision. Mesmerizing and deeply sick.
But The tonal whiplash disorients deliberately. Some will find it pretentious; others will hate the graphic finale.

Not sure tonight? Get a pick in a minute, starting from The Loved Ones
The wildcard
Something you would not have found on your own.
Come True2020
Both films understand that anticipation and psychological damage can be far worse than the act itself. The quiet moments are where the real horror lives.
A sleep-study horror film that works through hypnotic sci-fi imagery rather than violence. Uses synth dread and visual distortion to create mounting dread. Completely its own thing.
But Abstract and deliberately slow. The plot is thin; it trades story for atmosphere. Requires patience and tolerance for ambiguity.

More like this (7)
A Tale of Two Sisters2003
Korean horror operating on dread and family trauma rather than jump scares. Gorgeously composed, visually inventive, psychologically twisted. A complete original.
But Deliberately ambiguous and slow-paced. If you need clear narrative answers, the finale frustrates rather than satisfies.

Goodnight Mommy2015
Austrian art-horror about twin boys and their post-surgery mother. Unsettling atmosphere and a twist that recontextualizes everything. Elegant and deeply nasty.
But Minimal plot. Long stretches of observational unease before any payoff. The final act divides audiences sharply.

The Descent2005
Cave-diving claustrophobia becomes monster mayhem. Neil Marshall balances character work with relentless action. Visceral and smart, with a female cast actually written as people.
But Creature designs are functional rather than inspired. The script occasionally shortcuts logic for scares.

You're Next2013
Home invasion horror that pivots into revenge-thriller satisfaction. Adam Wingard finds real humor without undercutting tension. Satisfying, clever, and genuinely fun.
But The tonal mix won't work for purists. Some find the humor undercuts the stakes rather than sharpening them.

Teeth2008
Body-horror allegory about female sexuality and violation. Darkly comic and genuinely transgressive, with a protagonist who goes from victim to threat.
But The premise and execution make some audiences deeply uncomfortable by design. Not for viewers squeamish about genital mutilation themes.

Inside2007
French New Wave gore: a pregnant woman under siege by a mysterious attacker. Uncompromising, visually striking, operating on pure nightmare logic.
But Bleak to the point of nihilism. The violence is dehumanizing rather than cathartic. Some scenes linger in ways designed to sicken.

Prevenge2017
Both films center female rage weaponized against ordinary life. Both find dark humor in the obscenity of turning intimacy—a prom date, motherhood—into a battleground.
A pregnant woman murders people because her unborn child wills it. British body-horror comedy by Alice Band, made while pregnant. Nasty, smart, blackly funny, and utterly singular.
But The premise is deliberately ridiculous and the tone refuses to clarify. Low budget shows. Some will find it self-consciously quirky rather than genuinely disturbing.

People
Cast
Xavier SamuelBrent Mitchell
Robin McLeavyLola "Princess" Stone
John BrumptonDaddy Stone
Richard WilsonJamie
Victoria ThaineHolly

Suzi DoughertyCarla- Victoria EaggerJudith
Anne Scott-PendleburyBright Eyes- Leo TaylorTeacher
Directing
- Sean ByrneDirector
- Brendan CampbellFirst Assistant Director
- Lauren WilbowSecond Assistant Director
- Andy CannySecond Unit Director
- Marie MercuriThird Assistant Director
Writing
- Sean ByrneWriter
Production
- Anousha ZarkeshCasting
- Bryce MenziesExecutive Producer
- Christopher MappExecutive Producer
- David WhealyExecutive Producer
- Matthew StreetExecutive Producer
- Ann FollandLine Producer
- Mark LazarusProducer
- Michael BoughenProducer
- Alison ParkerProduction Coordinator
- Ann FollandProduction Manager