alongside the french connection, sorcerer director william friedkin is best known for the exorcist, theest box office haul, albeit unadjusted for inflation. no! hiya, georgie! what a nice boat. it was a lot of fun, but the really ground—breaking work was being done on the edges of horror in films which slipped subtly across genres. one of the best films of 2017 wasjordan peele's get out, a sharp socio—political chiller which scratched away at the suface of so—called post—racial america, to find poisonous secrets lurking behind the liberal smiles. so are you guys coming up from the city? yeah, we're just heading up for the weekend. can i see your license please? he wasn't driving. i didn't ask who was driving, i asked to see his id. bizarrely, when it came to the golden globes, get out was placed into the best musical or comedy category. although when asked to define the film himself, peele said pointedly, "it's a documentary". black swan director darren aronfsky toyed with horror films in his cinematic and powerful mother!, which found jennifer lawrence cast out of a latter—day eden int