Film

The Seance

Name: The Seance
Genre: Horror
Released: 2021
Cast: Michael Minto, Miranda Skerman, Devin Brooke, Julia McIlvaine, Zachary Garred

The Seance is a low-budget haunted-house horror film about a paranormal skeptic who crashes a medium's seance to debunk him, only to discover the house's inhabitants have deadly secrets worth protecting. It's a scrappy, twisty thriller that leans into body horror and betrayal rather than jump scares. Best for viewers who appreciate B-movie ambition over polish.

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The Invisible Man2020

A paranormal skeptic investigates unexplainable events, peeling back layers of gaslighting and institutional dismissal. Elisabeth Moss is mesmerizing as a woman no one believes, even when the evidence screams.

But The social commentary about abuse can overwhelm the thriller mechanics. It's more angry than fun.

Insidious2011

A family's haunting investigation unravels into cosmic horror and bizarre twists. James Wan builds dread methodically, with practical effects that still hold up and character betrayals that sting.

But It's genuinely unsettling in ways that wear you out rather than exhilarate. The third act leans into weirdness that divides audiences.

Ouija: Origin of Evil2016

A medium's con spirals into actual supernatural terror when she uses a Ouija board on a grieving family. Mike Flanagan wrings genuine scares from the setup, with real emotional stakes underneath.

But It's a prequel to a bad movie, so some residual skepticism is fair. The family dynamics occasionally tip toward melodrama.

Not sure tonight? Get a pick in a minute, starting from The Seance

The wildcard

Something you would not have found on your own.

The Vanished2020

Both are low-budget films where isolation and deception become the real horror. The twist reveals that the biggest threat was never supernatural.

A couple's marriage fractures in real-time as their daughter goes missing and accusations fly. It's structured like a stage play—two people in one room arguing, with reality destabilizing. The twist recontextualizes everything.

But One location, two actors, no exposition dump—it's austere and claustrophobic. If you want scope or visual spectacle, this is the opposite. Some will call it brilliant; others will call it tedious.

The Wailing2016

A Korean mystery-horror about a village plagued by murders tied to a mysterious stranger and a shaman's investigation. Intricate, morally murky, and genuinely haunting—the kind of film that rewires your expectations.

But Two and a half hours of ambiguity and unanswered questions. If you need closure, this will frustrate you.

The Night House2021

A widow investigates her late husband's secret life in their lakeside home, discovering something vast and wrong. Atmospheric and psychologically devastating, with Rebecca Hall delivering one of her finest performances.

But The pacing is contemplative and grief-focused rather than plot-driven. Horror fans expecting visceral scares will find it restrained.

Shutter2004

A photographer discovers supernatural images in his film after a hit-and-run, and his past comes back literally haunting him. Clever premise, genuinely creepy atmosphere, and a twist that earns its darkness.

But It's a Thai film with the slow-burn style of Asian horror—very patient. The resolution is bleak and offers no catharsis.

The Grudge2004

A haunted house's curse spreads through a network of victims in interconnected stories. Dark, disorienting, and visually distinctive, it creates dread through atmosphere rather than traditional scares.

But The narrative is deliberately fragmented and hard to follow. The scares are more unsettling than thrilling.

Sinister2012

A true-crime writer discovers snuff films in his new home that connect to an ancient evil. Scott Derrickson builds genuine terror through sound design and the reveal of footage that genuinely haunts you.

But It's relentlessly bleak and some imagery is disturbing in ways that linger. Not a cathartic watch.

Drag Me to Hell2009

Sam Raimi's haunted-woman story blends horror, slapstick, and genuine scares into something wildly entertaining. It commits fully to its own madness and Alison Lohman is fearless in a role that destroys her.

But The tonal shifts between comedy and gore are jarring. Some find it tries too hard; others find it not trying hard enough.

The Lighthouse2019

Like The Seance, it traps characters in a space where reality becomes negotiable and the real threat emerges from within the group dynamic rather than from outside.

Two men trapped in a lighthouse descend into paranoia, madness, and possibly genuine horror. Shot in black-and-white in a strange aspect ratio, it's visually hypnotic and Willem Dafoe is unforgettable.

But It's experimental and deliberately alienating—the sound design is harsh, the pacing is odd, the accent is impenetrable. It demands patience and rewards it unevenly.

Come True2020

Both are indie horror films that prioritize atmosphere and moral corruption over jump scares. Both use the claustrophobia of investigation to crack open something unsettling about their characters.

A homeless teenager enrolls in a sleep study that becomes a descent into cosmic nightmare. Visually inventive with synth horror that's hypnotic, it builds dread through abstraction rather than plot.

But The narrative is deliberately fragmented and dreamlike. Plot clarity takes a back seat to mood and image. Some find it transcendent; others find it frustratingly vague.