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Session 9 (2. 00. IMDb. Edit. An asbestos abatement crew wins the bid for an abandoned insane asylum. What should be a straightforward, if rather rushed, job, is complicated by the personal histories of the crew. In particular, Hank is dating Phil's old girlfriend, and Gordon's new baby seems to be unnerving him more than should be expected.

Things get more complicated as would- be lawyer Mike plays the tapes from a former patient with multiple personalities, including the mysterious Simon who does not appear until Session 9, and as Hank disappears after finding some old coins. Written by. Jon Reeves < jreeves@imdb. Plot Summary Plot Synopsis.

William Ben Hogan (August 13, 1912 – July 25, 1997) was an American professional golfer, generally considered one of the greatest players in the history of the game.

Taglines. Fear Is A Place.

The Best Horror Movies of 2. So Far)This list has been updated to include October releases. The conversation around horror movies this year has been dominated by two words: Get Out. Jordan Peele’s boundary- breaking thriller has deservedly become the reflexive response to the question, “Seen any good horror movies lately?” But while Peele’s directorial debut has been generating early Oscar buzz, a lot of other great horror movies have hit theaters so far this year.

Young actresses like Anya Taylor- Joy, Sennia Nanua, and Garance Marillier have impressed in showcase roles, while occult stories like A Dark Song and The Blackcoat’s Daughter have moved past the well- worn exorcism narrative in favor of more distinct takes on satanic horror. And there have also been some very good bad guys! Here then, are the best horror films of the year so far that aren’t Get Out. But there’s also Get Out.)Annabelle: Creation. Annabelle: Creation is the fourth movie in the ever- expanding Conjuring universe, and it served as one of this year’s biggest summer horror surprises. Director David Sandberg came on for the second Annabelle movie, putting some snap back into the sub- franchise by taking viewers even farther back in time to learn the origins of the wicked doll. Dark, brooding indies are always appreciated, but sometimes, you just want jump scares served up on a platter.

That’s exactly what Creation delivers — it’s absolutely overflowing with good, cheap thrills. Berlin Syndrome. There are more and more strong roles for women in horror films, but still too few female directors. With Berlin Syndrome, Cate Shortland has made a terrifying film about the psychological toll of abusive relationships.

Veteran horror heroine Teresa Palmer stars as an Australian tourist who gets taken prisoner after a one- night stand in Berlin, and the actress is even better in Berlin than she was in last year’s Lights Out. Shortland’s claustrophobic look at toxic masculinity and the line between love and obsession is a powerful first foray into the suspense genre. The Blackcoat’s Daughter. Blackcoat’s Daughter is the first feature from Osgood Perkins (star of Legally Blonde, son of Anthony), who also recently directed Netflix’s I Am the Pretty Thing That Lives in the House. If these films are a guide, Perkins has an affinity for stories about quiet, emotionally isolated women susceptible to being overcome by spirits, and Blackcoat’s is one of the more eerie possession movies in recent memory.

It stars Kiernan Shipka and Emma Roberts as two characters on distinct but intersecting paths, both of whom suffer from troubling visions and flashbacks, and who are linked together by a boarding school in the Northeast. The movie is structured like a puzzle, and Perkins is entirely content to let viewers dwell on long, contemplative takes, with occult imagery sprinkled about. It’s hard to make a unique movie about demonic possession, but Perkins avoids hoary tropes like exorcisms and body contortions. For that, his haunting debut earns your attention. A Dark Song. A Dark Song is the feature debut of Ireland’s Liam Gavin, who comes on the scene strong with this meditation on grief and loss. A woman becomes obsessed with communicating again with her dead son, and so hires an occultist to guide her through a months- long ritual that will allow her to interact with the spirit realm. One big catch: Once the house has been bound, no one can leave it until the process is done.

In an isolated country manor, she goes through one ordeal after another: Is her guru just a charlatan? When strange things start to happen, it is truly the divine, or just her paranoid mind? Watch Cosmopolis Online Mic here. One thing is certain, though: When you open the door to the dead, you have to be prepared for whatever comes through.

The Devil’s Candy. Australian director Sean Byrne’s long- awaited follow- up to his 2. The Loved Ones is at once an ode to heavy metal, an endearing family drama, and a wonderful serial- killer movie rooted in a demonic- possession story. Ethan Embry plays a metalhead and aspiring artist, the head of a working- class family that’s struggling to make ends meet. They can’t resist buying a house on sale for a criminally low price, but the landlord neglected to tell them that’s because the previous owners were killed by their son after the devil told him to do it.

To be fair, there’s hardly a box for that on Zillow.) The Devil’s Candy has plenty of thrashing guitar, an unexpectedly touching father- daughter dynamic, and eventually, lots and lots of fire. Get Out. Here it is! You know it. You’ve heard about it, but if you haven’t seen it: Believe the hype. Jordan Peele’s directorial debut is funny, frightening, and one of the most incisive pieces of social commentary ever made in suspense cinema.

The story of a black man going home to meet his white girlfriend’s family, only to discover an unsettling plot, is one of the best movies of the year in any genre, and it’s a safe bet you’ll find it atop many critics’ lists when the year is over. The Girl With All the Gifts. Zombies are a pretty tired construction at this point; you’ve got to have a really killer element to stand out.

Fortunately, this British adaptation of M. R. Carey’s sci- fi novel has a great weapon in young actress Sennia Nanua, who delivers an impressive performance as a hybrid zombie who may contain the cure to a civilization- destroying infection in her unique blood. When a horde of undead overruns the research facility she’s being kept in, a small unit of scientists and soldiers must try and find safety while ensuring her survival — and also avoid being eaten by her. It’s an affecting family drama, and very good zombie romp.

Hounds of Love. Fun fact: Australians make really good rural- crime horror. See Lake Mungo and The Snowtown Murders for proof.) Hounds of Love is the debut feature from Ben Young, and it tells the story of a mildly rebellious high- schooler taken prisoner by a couple that kidnaps local girls, makes them sex slaves, then kills them. Young does a phenomenal job of leaving the worst of the violence offscreen; he knows there’s little value showing a brutal rape when a cutaway will deliver the message just as well. But it’s the movie’s female victimizer (Emma Booth), who herself is trapped in a cycle of abuse and infatuation with her murderous boyfriend, who takes Hounds to the next level, and who drives one of the most nerve- racking final scenes in recent memory. It. As September ends, It looks poised to pass the half- billion dollar mark at the global box office before it leaves theaters, becoming the highest grossing horror movie of all time while blowing past the previous record- holder, The Exorcist. It’s also gotten very good reviews.

Andy Muschietti’s revival of the classic Stephen King tale adheres more closely to the book than the iconic mini- series that aired on ABC in 1. It’s also shinier and meaner than its screen predecessor, putting the Loser’s Club through plenty of R- rated trials as they come together to try and vanquish the demonic Pennywise from their sleepy little town of Derry, Maine. Bill Skarsgård is great as the dancing clown, but keep your guard up against the heinous Henry Bowers — the bully’s teeth are almost sharper than the sewer- dwelling hell creature’s. It Comes at Night. A less- than- honest marketing campaign has led to a lot of dissatisfaction from people who saw It Comes at Night in theaters, but A2.

It’s a movie about two families who are brought together under extremely tense circumstances after an unexplained societal collapse. There is no physical “It” in It Comes At Night — just a nerve- jangling tone study about the limits of humanity when normal social rules have been abandoned. So let’s be clear: Almost nothing in this movie will jump out and scare you, but if you want gorgeous cinematography, long takes, and an enduring sense of impending doom, this is the film for you.