Where the Wild Things Are (2009)—for showing us that the monsters we love and fear are our unruly emotions
Irreversible (2002)—for Vincent Cassel and the unbearably realistic “scene”
Sleepy Hollow (1999)—for the exuberance in which it depicts decapitation and the beauty of its evocation of late eighteenth-century America
Shaun of the Dead (2004)—for the laughs, the camerawork, and, ultimately, its heart
Let the Right One In (2008)—for its banal but haunting imagery of violence
Jeepers Creepers (2001)—for Justin Long, its long yet effective setup, and its implicit dispelling of the sexist assumptions of earlier horror films
Sheitan (2006)—for Vincent Cassel (again, but in a totally different vein) and its disturbing recalibration of the iconography of Christmas (so, yes, it’s also a Christmas movie)
Final Destination (2000)—for tackling Fate (and, by insinuation, God) as the ultimate monster
Ringu (1998)—mostly for its ghostly video montage but also for introducing Japanese horror to mainstream Hollywood
Hostel (2005)—for its subversive and indirect critique of predatory sexuality and the slippery slope of the global free market
Planet Terror (2007)—for Rose McGowan and Marley Shelton
Underworld (2003)—for its slick but hardly ever plausible battles between werewolves and vampires
I Know What You Did Last Summer (1997)—for Ryan Phillippe in the shower
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