The 40 Best Asian Horror Movies of the Decade (2011-2020)

30. Dearest Sister (Mattie Do, 2018, Laos)

There are some recurrences between the director's first and second features. With the actors first: Amphaiphun Phommapanya is still playing the main character, or Douangmany Soliphanh can again be seen as a father-figure. Secondly, in terms of image: despite having supernatural elements to the plot, the frames and lighting add a touch of fiction as a representation of reality. Finally, in terms of themes (although the movies are two totally different ones): nuanced and interesting female characters, family binds, religion and beliefs, connection to the spiritual world, solitude. (Oriana Virone)

29. Monstrum (Huh Jong-ho, 2018, South Korea)

These, however, are the only negative aspects, since the execution of the film is truly magnificent. The action scenes (both hand-to-hand and those against the monster) are impressive, with the combination of choreography, SFX, cinematography and sound resulting in an astonishing audiovisual experience. The fact that these scenes appear in abundance in the film is the greatest asset of the production, and in conjunction with the relatively small duration (105 minutes), retain the interest from beginning to end. (Panos Kotzathanasis)

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28. The Wailing (Na Hong-jin, 2016,South Korea)

An enjoyable and chilling if somewhat overlong effort, “The Wailing” serves as a prime example of the rising technical accomplishments and professionalism emerging out of the country in recent years. Fans of this style of period drama in their horror or just enjoy Asian genre fare will have plenty to like with this one while dissenters who don't appreciate either factor or just turned off by the running time might heed caution.

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27. Premika (Siwakorn Charupongsa, 2018, Thailand)

Filled with gaudy, bright colors, blaring techno music and tons of cheesy decorations, the idea of a ghost utilizing a possessed karaoke machine fills the goofiness quotient of the storyline which really helps set that atmosphere rather quickly. While “Premika” does have a few minor issues apparent throughout here, none of them are truly detrimental enough to fully lower this from the more engaging and endearing positives which elevate this one nicely. (Don Anelli)

26. Vampire Cleanup Department (Yan Pak Wing and Chiu Sin Hang, 2017, Hong Kong)

Yan Pak Wing and Chiu Sin Hang direct a very entertaining film, whose main purpose seems to be to mock and parody everything we know about HK horror movies, to say the least. The concept of the jumping vampires with their hands stretched out is mocked in every way possible, but particularly from Summer's character and her “relationship” with Tim. The scenes where he walks around in the streets, having a woman who looks normal otherwise, but jumps instead of walking, is a distinct and hilarious sample of this trait. (Panos Kotzathanasis)

25. Killer Toon (Kim Yong-gyun, 2013, South Korea)

Vacillating between what's real and unreal, thriller conventions and supernatural elements, “Killer Toon” pries into the brutality that rests under the skin of humans. The film is a competent treatise on humans' selfishness, cruelty, and unfettered lust, all of which prompt us to do horrible things to our loved ones and innocents. In a world as that of “Killer Toon ‘, it's hard to say whether humans or ghosts are scarier, and sometimes, it is human's very nature rather than the uncanny presence of supernatural creatures that truly make our skin crawl. (AnselLuu)

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24. Tag (Sion Sono, 2015, Japan)

Sono drifted far away from the book, instead shooting a surrealistic “Alice in Wonderland” film of shorts, which is filled though, with many of his usual perverse themes and notions. In that fashion, the movie entails much violence and gore, gorgeous female protagonists, martial arts fighting among girls, some subtle lesbian notions and much fanservice, including schoolgirls with much too short skirts (to the point where their pants are often shown when they are running), and in general anime aesthetics, not to mention the teachers in a killing spree and the groom with the pig's head that squeals. (Panos Kotzathanasis)

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23. Rampant (Kim Sung-hoon, 2018, South Korea)

There was quite a lot to like with ‘Rampant.' Among its finest qualities is the manner in which the zombie outbreak is being loosened upon the populace, infecting the outer regions of their control and slowly working towards the capital. With a special rename into Demons which is appropriate enough for the time period of the film, the action on display takes on nearly a wuxia form of interplay, courtesy of Action Choreographer Kim Tae-kang. As this includes some fascinating jumping and wirework stunts with the infected shown to be quite athletic in addition to more traditional shambling hordes style zombies, there's plenty to like with the rampaging hordes loosened upon the city, creating all sorts of havoc. (Don Anelli)

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22. Mimicry Freaks (Shugo Fujii, 2019, Japan)

Some social comments about child abuse, eugenics and nuclear power do exist, but are actually drowned in the horror/splatter aesthetics. “Mimicry Freaks” is a very interesting amalgam of many different elements, and a unique entry in the genre that definitely deserves a look from all fans of the extreme. (Panos Kotzathanasis)

21. The Divine Fury (Kim Joo-hwan, 2019, South Korea)

While it stumbles somewhat slightly at times, the film's strong storyline and enjoyable action provide the basis for a lot of enjoyable aspects to be found. This one is highly worthwhile to any fan of heavy religious supernatural genre films or Asian horror as well as those curious about how they would tackle that kind of subject matter, the change-of-pace is quite appealing. (Rhythm Zaveri)

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