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Much like the 1970s before it, the decade between 2000-2009 was a particularly fruitful era in the horror genre spawned by a climate of international turmoil and rapid technological advancements in the filmmaking industry. In the post-9/11 era, America was thrust into a paranoid, war-fuelled anxiety and grief, and with the internet fully emerging as a dominant force behind modern culture, those anxieties were shared globally as each and every new horrific worldwide event was broadcast in crystal clear detail onto the computer screens of international households. The flipside of that technological advancement was the emergence of digital filmmaking, laptop editing software, and rapid-fire communication that allowed for an unprecedented number of unique voices, who might never have had a chance before, to get their films made and distributed. All this considered, it's no wonder directors like James Wan, John Boorman, Zack Snyder and many others spawned terrifying features during this period, many of which we've cataloged here in our list of the best horror movies of the 2000s.

As I said before, it was a pretty spectacularly abundant decade for horror and there's a ridiculous wealth of movies I love that didn't find a spot on this list, so here's a rather lengthy list of honorable mentions: Paranormal Activity, Calvaire, The Signal, Stuck, Frontier(s), All the Boys Love Mandy Lane, Marebito, Suicide Club, Them, Versus, The Children, Silent Hill, The Cottage, Exte, The Ruins, Ju-On: The Grudge, Bug, Wolf Creek, Teeth, Hostel, 30 Days of Night, Sauna, Slither, Frailty, Severence, and to be honest, probably a few more that I'm forgetting.

Juame Collet-Serra is one of the cheekiest filmmakers in the genre, so it's fitting that he'd be the one to be the one to take the tired "Evil Child" trope and turn it into something completely bombastic. The movie follows a married couple, Kate (Vera Farmiga) and John (Peter Sarsgaard) recovering from the loss of a child in labor. To help the healing process, the two set out to adopt a new member of their family and they're instantly taken with the well mannered and all-too-precious Esther (Isabelle Fuhrman); a Russian orphan with remarkable artistic talents and a sugary sweetness. Naturally, that saccharine charm belies deep and despicable capability for evil that Kate almost immediately discerns once Esther is welcomed into their home. If there's an aggressive failing in Orphan, it's the way that John absolutely refuses to believe his wife at every turn, but the film is devoted to such a schlocky, sensationalist reinvention of the demon seed child that it's impossible to take such squabbles too seriously. Collet-Serra takes the film in all manner of twisted and unpredictable directions, and once you figure out where it's all headed, it's impossible not to marvel at the work the young Fuhrman delivers in the dastardly role. Orphan is pulpy melodrama that's dripping with psychosis, neurosis, and all kinds of damage, and it's an absolute blast from start to finish.

Antichrist is such a viscerally disquieting and disturbing movie, it's hard to translate the film's image-heavy effect into a quick blurb, but I'll do my best. In the hands of Lars Von Trier, who never seems to run out of new forms of torment for his characters, Antichrist is something between shock schlock and arthouse cinema. It's vile and unapologetic, getting up close and personal with rotting corpses, genital mutilation, and sex scenes so lurid and lengthy they border on pornographic. And did I mention the genital mutilation, because hoo boy, it's a doozy. Von Trier sparked some bonafide controversy with his explicit, hellish trip down the rabbit hole of guilt and grief, and with two fearless performers like Charlotte Gainsbourg and Willem Dafoe carryingthe film, he had a pair of powerhouse talents willing to see the gruesome tale to its brutal, bitter end. Antichrist is mean-spirited and cynical; an unflinching look at the worst of the human experience and the greatest indecencies in man, but it is also the singular vision of a forceful auteur that's to be admired for its audacity and the efficiency with which it displays the disgusting depths of human evilness.

For a generation of moviegoers, Gore Verbinski's 2002 remake of the J-Horror classic Ringu was one of those formative terrifying movie-going experiences that leaves you too afraid to turn off the lights. An old VHS video tape changes hands. An unsuspecting innocent hits play. What follows is a stream of haunting, skin-crawling imagery. The video ends. The phone rings. "Seven Days." And before you know it, the specter of an ashen, stringy-haired dead girl is hot on your heels, claiming you for the dead. In Verbinski's hands, The Ring is classy and slick, carried by the impeccable Naomi Watts, and infused with his signature dash of weirdness that leaves a squeamish dread that leaves you looking over your shoulder (over covering your TV set with a sheet) for days. No doubt, part of The Ring's effect when it first arrived was thanks to the fact that Western audiences were widely unfamiliar with the eerie stylings and ghoulish nightmares of the budding Asian horror scene, but unlike the slew of J-Horror remakes that would follow, The Ring stands on its own as a chilling, impressively executed accomplishment of stifling unease that actually honors the source material instead of just cribbing from it.

There were no shortage of found-footage movies in the 2000s, but few of them managed to utilize the format to such pulse-pounding effect. By using the POV camera, Cloverfield puts you directly in the thick of a giant monster attack, sending shrapnel past your periphery and dust into your face as it ducks and weaves through the action with an unwavering urgency. The feature film directorial debut from Matt Reeves, who helmed from a script by Drew Goddard, follows a group of twenty-something Manhattanites through the streets of the city as a gigantic alien beast lays waste to the world around them. It's an impressively commanding debut from Reeves, who makes the found footage format feel bigger than ever, using the unconventional viewpoint as a source of scale for the monster massacre, and Goddard's script cleverly introduces new challenges and threats at every turn.

Rec is a Spanish horror film that was released in 2007. It was made when found footage sprouted in popularity and was a major international release in the subgenre. It also revitalized the unique takes to make zombie films since during that time they were getting stale.

Before the release of movies like Cloverfield and Paranormal Activity, Rec set a major precedent in creating the basic trappings in found footage. Rec can be viewed on Roku streaming apps like Tubi and is a guaranteed recommendation.

Rec takes a unique perspective in horror film scenarios by focusing on the patient zero event prevalent in zombie movies. To capture this feeling, the film is done in the style of a television interview program. Much of the film is treated with grounded realism that gradually builds the tension and horror in the film.

Rec was one of the best horror films released in 2007. The movie also gained a following and has several sequels released throughout the years. Roughly one year after the release of Rec, an American remake named Quarantine was released in theaters. The remake follows the overall same story only with different setting, dialogue, and origin of the outbreak.

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It explores deep themes, like what the true cost of fame is, and do we know ourselves? It has it all. Twists and turns, beautiful, striking animation with paranoia and dreamy visuals will keep you pulled in for the entire 81-minute running time. This movie had me on the edge of my seat the entire time.

Shōya had been bullying a deaf student named Shōko Nishimiya and has alienated himself from his classmates for doing so, becoming the victim of bullying himself. He sets out for possible redemption with her throughout the film. This is a great anime movie with a strong anti-bullying message, as well as emotional depth that will resonate with anyone who watches it. 2ff7e9595c