Andrew O’Hehir thinks we might be in one:
Just in the last couple of months, I’ve reviewed the imaginative indie-horror anthology “V/H/S,” [trailer above] the claustrophobic and scary Jewish-exorcist film “The Possession,” the delicious L.A. zombie-vampire farce “The Revenant” and the oddly intoxicating Filipino-made horror fantasy “The Road.” Quite a few other horror movies have been released this year that I haven’t seen or didn’t cover — “Smiley,” “The Tall Man,” “Lovely Molly,” “The Corridor,” “Intruders” and so on – which may or may not be any good but have little or nothing to do with the torture-porn or teen-splatter stereotypes. To find anything like that, we have to go back to Joss Whedon and Drew Goddard’s “Cabin in the Woods,” a brilliant mashup that’s part H.P. Lovecraft and part Philip K. Dick. Is it too early to proclaim that we’re living through a new golden age of horror, and almost nobody’s paying attention?
On the other hand, the new Evil Dead remake (trailer here) doesn’t look promising:
The original Evil Dead was a standout bit of filmmaking for two main reasons: The elaborate choreography of its spurts of blood, and the way it sold these spurts with tongue slightly in cheek, finding a match between comic timing and the timing of a good scare. In 1981, when horror-comedy was just taking shape as a subgenre, Evil Dead led the way. (Raimi further developed the form with the sequels, Evil Dead II and Army of Darkness.) Which is why it’s remarkable that the new Evil Dead is so straight-faced.
The Dish 