What makes a great horror film? Is it the number of scares? Or is it how effective the scares are? Is it the performances? Or maybe it’s the direction and cinematography. All of those qualities, combined with a plethora of others (the score, the lighting, etc.), contribute to the success of a great horror film. We figured there was no better month than October to celebrate the best of the best of the best in horror, especially since, in the 16 years since Bloody Disgusting’s inception, we have never made a list like this before. It’s about time we remedied that!
I’ve never been particularly fond of “Top [Insert Number Here] Movie” lists, or at least I’ve never taken them seriously. They’re fun to read, but how can one person actually determine what the best 100 of anything are? Art is subjective and no one person’s opinion can ever be qualified as fact. So when I was asked to write an article on the best 100 horror films ever made, I hesitated. I mean, who am I to make that call? Nevertheless, I was tasked with it so here we are.
Determining what qualified as one of the best horror films of all time was actually a very complicated and scientific process. Three things were taken into consideration: critical reception, importance to and influence on the genre, and (of course) my own personal opinion. The first and second items helped determine which films were included on the list (which means personal favorites of mine like Sorority Row and I Know What You Did Last Summer could not be included), while the last item determined those films’ placement on the list.
Let’s dive right in, shall we?
100. Phantasm (1979)
Let’s just cut to the chase, shall we? I am not wild about the Phantasm franchise. I think it has something to do with the fact that I saw Phantasm for the first time when I was 26. Had I seen it when I was a child, there probably would have been more of a nostalgia factor in play to allow me to view the film with rose-colored glasses. My opinion aside, you can’t deny that Don Coscarelli’s film is remarkably original and creative. While the film is notable for its iconic villain the Tall Man (Angus Scrimm) and his flying silver spheres of death, it is the relationship between brothers Mike (A. Michael Baldwin) and Jody (Bill Thornbury) that so many viewers connect with. If there was ever an argument for a strong relationship between two characters improving a film, Phantasm is it.
99. Suspiria (1977)
Some (myself included) might say that Dario Argento’s Suspiria, a film about an evil coven of witches at a ballet academy, is all style over substance. Those people wouldn’t exactly be wrong. Argento chooses to focus on the aesthetics rather than the script, but the film is all the better for it. Suspiria has an undeniable beauty to it that even the most cynical viewer will find themselves submitting to. Couple Argento’s style and signature bloodletting with Goblin’s chilling score and you have Suspiria, one of the most surreal horror films ever made.
98. Friday the 13th (1980)
It’s no secret that the only reason Friday the 13th was made was to cash in on a trademark “holiday” (Cunningham took out an ad in Variety before he had even finished the script) and the slasher craze that began with 1978’s Halloween, but the Sean S. Cunningham’s franchise-starter has a sort of charm to it that is difficult to resist. Reviled by critics at the time, the Jason-less original is goofy fun that has, while not being a particularly good film, helped define the slasher genre. Also, Betsy Palmer. Betsy Palmer for life.
97. The Hills Have Eyes (1977)
Wes Craven’s second feature film is a nasty piece of filmmaking (though not quite as nasty as his debut feature, which we will get to in a bit). The film follows the Carter family as they travel through the Nevada dessert on their way to Los Angeles. Along the way they are attacked by a family of deranged cannibals. Come for Craven, stay for the batshit insane trailer attack that takes place about halfway through the film. The Hills Have Eyes has an unpolished low-budget feel (because the budget was very small) that will undoubtedly cause you to feel a little gross once the credits start rolling. This was Craven at the start of his career, but it’s also at his most confident.
96. Bram Stoker’s Dracula (1992)
Keanu Reeves’ atrocious accent aside, Bram Stoker’s Dracula is a glorious and somewhat gaudy piece of filmmaking from Francis Ford Coppola. Gary Oldman commands the screen as the titular vampire, but it is Anthony Hopkins’ Abraham Van Helsing who steals the show (one need only look at this scene to get a taste of his excellence). Thomas Sanders’ luscious set design, filmed expertly by cinematographer Michael Ballhaus, is also a standout. The film may be a bit overstuffed, but it is never boring. You won’t be able to take your eyes off the screen.
95. Kairo (2001)
Arguably Kiyoshi Kurosawa’s most chilling film, Kairo (aka Pulse) has more on its mind than just a bunch of creepy ghosts. Not that it doesn’t have a bunch of creepy ghosts, mind you. Kurosawa’s film is bleak as hell (in the film, death is eternal loneliness) and manages to get under your skin more than a few times. Its commentary on technology and, more specifically, the Internet, is more relevant today than it was back in 2001. Wes Craven unsuccessfully attempted to adapt the film for American audiences with his script for the 2006 , but it didn’t translate very well, with director Jim Sonzero removing much of the mounting dread in favor of a bunch of jump scares. Stick to the original.
94. Wolf Creek (2005)
A common complaint from the horror community with certain well-respected horror films is that they’re either too slow or just plain boring. Wolf Creek certainly falls into this category, being one of the few films to ever receive the infamous “F” CinemaScore from audiences (the Christmas Day release date probably didn’t help). It is a punishing viewing experience from director Greg McLean, who captures the realistic torture of his three leads at the hands of John Jarratt’s horrifying villain to gruesome effect. He does take his sweet time getting there though, as the film spends the majority of its first hour as a slow burn road trip movie before turning into a legitimate nightmare.
93. Slither (2006)
James Gunn’s (Super, Guardians of the Galaxy) feature directorial debut was a box office flop when it was released in 2006 (it grossed a paltry $12.8 million worldwide against a $15 budget) and it’s a real shame, considering it’s one of the best horror-comedies out there. Taking cues from films like Night of the Creeps and David Cronenberg’s Shivers, Slither is a gross and hilarious alien invasion/body horror film that respects its elders and is just plain fun.
92. Jacob’s Ladder (1990)
The director of Fatal Attraction and the writer of Ghost team up for Jacob’s Ladder, one hell of a freaky psychological horror film. The film, about a Vietnam war veteran (Tim Robbins) who experiences strange visions after returning from the war, is filled with strange and surreal imagery that will unsettle even the most stoic viewer. The film (like so many of its kind) is remembered for its twist ending, which is emotionally poignant and surprisingly powerful.
91. House on Haunted Hill (1959)
It’s hard to pick the best William Castle film (he had so many!), but if I had to pick one it would be the campy yet sinister House on Haunted Hill. The setup is simple: an eccentric millionaire (Vincent Price) invites five strangers to a haunted house and will give them each $10,000 if they are able to stay the night. As one would expect from a William Castle film, there are frights aplenty, but it’s mostly just an unpretentious film that asks its audience to have fun with it. Just watch out for that vat of acid!
90. Paranormal Activity (2007)
It’s amazing how many people will hate a film simply for starting a trend (see also: Scream). Paranormal Activity was hugely successful when it received a nationwide release in 2009 (a full two years after its initial festival premiere), grossing $193.4 million worldwide against a $15,000 budget. The bulk of Paranormal Activity consists of static shots of the lead characters’ home, but it sure is scary. As we wrote back in 2009, “[Director Oren] Peli deserves props for milking the maximum amount of tension out of the spare, modern setting – an ordinary, cookie-cutter tract home in San Diego. It doesn’t sound very scary, but Peli manages to make it terrifying. If you aren’t white-knuckling your armrest at least once or twice while watching it, you probably don’t have a pulse.”
89. High Tension (2003)
Your affinity for Alexandre Aja’s High Tension will depend on your thoughts on the film’s third act twist, which has been criticized ad nauseum. It will make or break the film for you, but the film’s importance (it helped popularize the New French Extremity movement in the early 2000s) cannot be ignored. High Tension is a savagely violent film that has so much blood flowing all over the place that it practically leaks out of the screen. It is not a film for the squeamish.
88. Oculus (2014)
Mike Flanagan made a mirror scary, you guys. A mirror. In his second feature (the first being the immensely effective Absentia), Flanagan seamlessly moves back and forth between two timelines (seriously, the transitions are amazing) as our two protagonists (Guardians of the Galaxy’s Karen Gillan and The Giver’s Brenton Thwaites) attempt to solve the mystery of the Lasser Glass, the mirror that tore their family apart. The bulk of the film takes place inside one house, giving the film a claustrophobic feel that only adds to the tension building over the course of its 103 minutes. Flanagan’s script is clever, addressing many “Why don’t they just….?” questions early on in the film. The final 30 minutes are filled with unbearable dread, culminating in an event that you’ll probably see coming, but will still be able to knock the wind out of you.
87. Candyman (1992)
Other than Stephen King, Clive Barker is probably the most well-known horror writer alive today. Much like King, it can prove difficult to adapt his work, with many filmmakers failing to capture Barker’s macabre prose. With Candyman, writer/director Bernard Rose manages to overcome the odds and expand upon Barker’s short story The Forbidden while also paying it the necessary amount of respect. Tony Todd’s Candyman is an imposing villain and Virginia Madsen makes for a sympathetic (if slightly too curious) protagonist. And not that there’s much competition, but it also has the distinction of making the best use of bees in a horror film.
86. Invasion of the Body Snatchers (1978)
Jack Finney’s novel The Body Snatchers has been adapted countless times, but it is arguable Philip Kaufman’s remake of the 1956 film adaptation that stands above the rest (the 1993 remake isn’t half bad either). Donald Sutherland leads an all star cast (which includes Leonard Nimoy and Jeff Goldblum) in a film that seems to be a direct reply to the Watergate scandal. Whether you’s here for the social commentary or just some old fashioned chills, you have to agree thatr Invasion of the Body Snatchers is so good that, as Variety’s review put it, validates the entire concept of remakes.
85. Alice, Sweet Alice (1976)
Alice, Sweet Alice is mostly known for being the debut feature of Brooke Shields, but that is almost a disservice to the film because it really is great. Director Alfred Sole’s slasher film/murder mystery follows a killer wearing an absolutely terrifying mask and a yellow raincoat, and is a love letter to the horror films Sole admired at the time (the whole film has an Italian giallo feel, the raincoat is a direct reference to the red raincoat in Don’t Look Now, etc.). It is a fascinating exercise in filmmaking, and makes one wonder why Sole gave up directing after his third feature, Pandemonium, in 1982.
84. You’re Next (2011)
If you’ve ever wanted to see a bunch of mumblecore actors get sliced and diced, then You’re Next is the movie for you. Adam Wingard’s slyly self-aware film, which sees a family reunion interrupted by a trio of masked killers, is both terrifying and hilarious. Australian actress Sharni Vinson turns in a tough-as-nails performance and Simon Barrett’s script has plenty of surprises to keep you on the edge of your seat all the way to the gore-soaked finale.
83. Dracula (1931)
Dracula is arguably the “worst” of the classic Universal Monster movies, but that’s not saying much as it has withstood the test of time and become a classic of horror cinema. It’s a bit melodramatic, but Bela Lugosi’s commanding performance makes him the definitive version of Dracula (of course he had a bit more time to practice, as he also portrayed the character in the stage play). It is a mesmerizing portrayal that will never be forgotten.
82. May (2002)
I almost hate calling Lucky McKee’s (All CheerleadersDie, The Woman) May a horror film, but it is about a girl building a human doll out of people’s body parts so….there you go. Angela Bettis shines as May, a girl who just doesn’t quite fit in. The film chronicles her attempts at making friends (including Jeremy Sisto and a post-Scary Movie Anna Faris), which ultimately fail, leading to a blood-drenched third act that is more tragic than it is horrific. It also boasts one of the loveliest final shots in horror history.
81. Deep Red (1975)
Otherwise known as the film that launched Dario Argento’s career, Deep Red is a murder mystery coated with blood but offers a compelling story that allows it to stand out from the crowd of copycats that later followed. The film is more about Argento’s playful camerawork than anything though. You can tell he is in his element here (even more so than he was with Suspiria, which would be his next film), as the technical aspects of the film are sometimes more enthralling than the story that is unfolding on the screen.
80. The Others (2001)
The Others is one of those films that is often overlooked when discussing post-2000 horror films, and it is most likely due to the fact that its twist is nearly identical to that of The Sixth Sense, which was released just two years prior. This is a shame as The Others is a classy, spooky ghost story anchored by a committed Nicole Kidman (who was nominated for a Golden Globe award for her performance. Director Alejandro Amenábar manages to sneak in quite a few effective scares as well. The most famous of which is the “I am your daughter” sequence but, as cheap as it is, I always favored the jump scare where the door slams in Kidman’s face.
79. Henry: Portrait of a Serial Killer (1986)
John McNaughton’s film (loosely based on the killing sprees of Henry Lee Lucas and Ottis Toole) gained notoriety for its long road to theatrical distribution in the late 80s. Filmed in 1985, the film was screened at several film festivals in 1986 but couldn’t find a distributor to release the film, which had been given an X rating by the MPAA. Greycat Pictures eventually picked the film up and released it unrated in 1989. To be fair, the film is highly disturbing, with one particular multiple murder scene being shot in one long take. Even when compared to more recent and more violent films, Henry remains a powerful and troubling glimpse into the life of a serial killer.
78. The Strangers (2008)
To think we almost never saw a theatrical release for Brian Bertino’s The Strangers. Originally slated to be released in July 2007, it was postponed to November 2007 before being postponed again until May 2008. In a brilliant example of counter-programming, it opened against the first Sex and the City movie to $21 million, more than double its $9 million budget. The Strangers isn’t just financially successful though. It is one of the scariest films (featuring two of the dumbest protagonists) you will ever see on screen. From the moment the strangers enter the house to their chilling reason for targeting the couple, The Strangers is a roller coaster ride of terror that will legitimately leave you out of breath.
77. The Loved Ones (2009)
Sean Byrne’s demented masterpiece (those Australians really know how to do horror, don’t they?) rises above standard horror conventions by injecting plenty of dark humor into the mix (something Hostel Part II also did to improve upon the original). Xavier Samuel is compelling as the kidnapped prom king, but it is Robin McLeavy, as the deadliest prom queen since Carrie, who steals the show. It’s an unpleasant little film with a few tricks up its sleeves to ensure that you never quite know where it’s going to go next.
76. The Skin I Live In (2011)
Pedro Almodóvar has an amazing track record when it comes to filmmaking, so it was only a matter of time before he tried his hand at a horror film. It should come as no surprise that his attempt at the genre was a smashing success. The Skin I Live In is a beautifully shot tale of obsession and sexual identity with a plot that contains so many moving pieces it’s a wonder that Almodóvar is able to keep track of them all, much less tell a cohesive story. Yet somehow he prevails, and his foray into the horror genre leaves a lasting impression.
75. Let the Right One In (2008)
The Swedish film adaptation of John Ajvide Lindqvist’s novel of the same name works because the story, about a pre-teen boy finding love for the first time in the form of a centuries-old child vampire, is so compelling. Kåre Hedebrant and Lina Leandersson are simply wonderful as the child leads, and they are supported by some gorgeous shots of a snow-covered Stockholm by cinematographer Hoyte van Hoytema. Be sure to check out Matt Reeves’ 2011 remake if you haven’t already. It’s a surprisingly great adaptation of the story.
74. The Brood (1979)
Is it blasphemous to include The Brood over Videodrome? Maybe, but what David Cronenberg’s sixth feature film lacks in confusing weirdness it more than makes up for with some of the most grotesque body horror moments of the ’70s (Roger Ebert went so far as to call it “reprehensible trash”). On the surface The Brood is a film about a woman’s rage taking the form of evil dwarves that attack those who piss her off, but underneath it is a frightening metaphor for divorce and repression while also double as a critique of certain psychological methods.
73. Don’t Breathe (2016)
Some might say it’s too soon to call Fede Alvarez’s (2013’s Evil Dead reboot) Don’t Breathe one of the greatest horror films of all time, but as I stated in my 5-skull review, “Don’t Breathe is a masterclass in audience manipulation that proves Fede Alvarez isn’t a one-trick pony.” While criticisms about the paper-thin characters are valid, Don’t Breathe is more a film that spotlights the filmmaking (much like the aforementioned style-over-substance method Argento used in Suspiria) more than anything, with Alvarez and cinematographer Pedro Luque pulling off some impressive tracking shots through the Blind Man’s (an incredible Stephen Lang) house. The film may go too far for some people, especially when it comes to a certain turkey baster, but it is a relentless exercise in tension that never lets up.
72. Gojira (1954)
The original is still one of the best. Released nearly a decade after the atomic bombings of Hiroshima and Nagasaki, Gojira is a fascinating post-ware commentary, with the King of the Monsters himself representing a nuclear holocaust. Born as a result of the atomic bombs and radiation testing, Gojira rises from the waves to wreak havoc upon mankind. It was especially timely in 1954, and while current iterations of Gojira have reduced him to a simple movie monster, the film that spawned him will always serve as a potent metaphor that is still relevant today.
71. The Wicker Man (1973)
No need to worry about the bees here, as Robin Hardy’s original The Wicker Man is a solid horror film that worms its way under your skin in such a subtle way that you’ll hardly notice it until its too late. Interestingly enough, The Wicker Man doesn’t even resemble a horror film until its final moments. Outdoor scenes are filmed in broad daylight and interiors in well-lit areas, The Wicker Man just seems like a drama with elements of mystery until it’s twist ending, which pulls the rug out from under you, leaving your jaw on the floor.
70. Re-Animator (1985)
Adapted from an H.P. Lovecraft story, Stuart Gordon’s riotously entertaining Re-Animator helped pioneer (with Sam Raimi’s Evil DeadII) the age of the popcorn horror film: tongue-in-cheek horror comedies that were driven mainly by their exceptional effects work. Re-Animator is a brilliant satire with razor-sharp wit that managed to earn a sizable cult following thanks to the advent of VHS tapes and video rental stores (it was a box office bomb when it was released theatrically). Beware: it’s not for the squeamish!
69. The Howling (1981)
While not the definitive werewolf film (more on that in a bit), Joe Dante’s The Howling is a howling (sorry) good time! One of 3(!) werewolf films released in 1981, it stands out among the pack by having a knowing sense of humor, since werewolves are an inherently silly creature. Dee Wallace shines as the lead character Karen, sent to a resort called “The Colony” after witnessing a traumatic event. It’s a clever subversion of the werewolf sub-genre, filled with plenty of gore for gorehounds, and plenty of sex for uh…sexhounds?
68. The Orphanage (2007)
Including The Orphanage on this list is a bit tricky, because it’s not really a horror movie. Don’t get me wrong: J.A. Bayona’s film is about a bunch of ghost kids (one of whom wears a super creepy potato sack over his head) and it is scary, but the heartwarming climax pulls a genre switcheroo and forces you to see the entire film in a whole new light. Up until those final moments though, The Orphanage is a tense and unnerving story about a woman whose son goes missing after she returns to the orphanage she grew up in. Sergio G. Sánchez’s script has plenty of twists and turns, but it is the relationship between Laura and Simón that anchor the film. The Orphanage will give you a newfound appreciation for your loved ones and will stick with you long after it ends.
67. What Lies Beneath (2000)
It’s all about that bathtub jump scare, amiright? Robert Zemeckis’ What Lies Beneath received mixed reviews upon its initial release but, like Michelle Pfeiffer herself, it has aged gracefully. When Claire (Pfeiffer), begins experiences strange occurrences at her posh lakeside home, she beings to investigate what the ghost wants and why it is haunting her, much to the chagrin of her husband Norman (Harrison Ford), a college professor. What Lies Beneath is an eerie tale of betrayal and loss with a gangbusters performance from Pfieffer (Ford is no slouch either, but to say more about his performance would spoil the fun).
66. The House of the Devil (2009)
Ti West still hasn’t managed to overcome the greatness that is his debut feature film, a dread-inducing homage to the great Satan movies of the ’70s and ’80s. A slow burn in the best way, The House of the Devil is a showcase for West, who pours his love and admiration for the horror genre into every frame. The whole thing oozes nostalgia (the freeze frame opening credits should be your first clue as to what type of film you’re in for) and builds the film to a bonkers finale that works as the perfect payoff to everything that came before. If there’s one takeaway from The House of the Devil, it’s to always say “yes” if someone asks you if you’re the babysitter.
65. The Mist (2007)
The fact that Frank Darabont’s adaptation of Stephen King’s short story The Mist wasn’t more successful is very depressing (though audiences probably didn’t want to see such a bleak picture when it opened over Thanksgiving weekend). Centered around a group of people trapped in a grocery store when a strange mist blankets the town, The Mist acts as a study of paranoia’s effect on society, especially when religion is brought into the mix. The monsters in the mist may be scary, but they don’t hold a candle to man. Marcia Gay Harden gives a tour de force performance as the religious zealot Mrs. Carmody and Thomas Jane is equally impressive. The Mist also boasts one of the most gut-wrenching and depressing endings that it merits a watch based on that alone.
64. Bug (2006)
Speaking of bleak films, William Friedkin’s adaptation of Tracy Letts’ play Bug is one of the darkest films you’ll ever see, and Friedkin describes it as a black comedy! Like Wolf Creek, Bug is one of the rare films to earn an F CinemaScore. This was mainly due to mis-marketing. You see, Bug was marketed as a movie about killer bugs that burrow under people’s skin, but it’s actually about a weird romance that begins between a paranoid schizophrenic (Michael Shannon, who also starred in Letts’ play) and a lonely woman (Ashley Judd, playing against-type in a bravura performance….just wait till you get to her “Queen Mother Bug” monologue). It’s not an easy watch, but it’s a film unlike any other. Avoid it if you have issues with impromptu dental work though.
63. 28 Days Later (2002)
I was 14 when I saw Danny Boyle’s 28 Days Later for the first time and as much as it pains me to say it, I found it extremely boring. Silly me! My teenage self was expecting a straightforward zombie movie. It took me years to see (and appreciate) the movie for what it was: a political allegory that just happens to be set during a “zombie” apocalypse. This isn’t a film about zombies. It’s about the characters, something that many films, horror or otherwise, seem to forget. Shots of a desolate London coupled are appropriately haunting, with Boyle’s directing more confident than it’s ever been. 28 Days Later is all too scary because it seems so real.
62. Under the Skin (2013)
What makes Under the Skin so impressive is that most of the scenes between the alien (Scarlet Johannson, in a haunting and understated performance) and her male prey were unscripted and filmed with hidden cameras (most of the male prey were played by non-actors as well). This isn’t to say the men were unaware of what was going on. They were briefed on everything, but director Jonathan Glazer wanted his film to have an authentic feel when the alien removed their insides, leaving nothing but their skin floating in a mysterious black abyss. It’s a uniquely chilling arthouse film.
61. Don’t Look Now (1973)
More so a study of grief than a straightforward horror film (at least until its final moments), Nicholas Roeg’s Don’t Look Now has been incredibly influential on the genre since its release. In the film, John and Laura Baxter (Donald Sutherland and Julie Christy, respectively) are in Venice attempting to get over the accidental death of their daughter while trying to fix their marriage as a serial killer stalks the Italian streets. Roeg edits the film with a unique style, sometimes intercutting scenes taking place in the past, present and future together. The muted color palette, with the frequent inclusion of red, is also a defining characteristic of the film. The film’s climax, in which John comes face to face with his mortality, stands out as one of the most shocking scenes in film history.
60. Trick ‘r Treat (2007)
Remember when we were all afraid that Trick r’ Treat would never see a release? Michael Dougherty’s (Krampus) Halloween anthology film began screening at film festivals in 2007, and continued screening for two more years before being unceremoniously dumped on DVD in October of 2009. It’s a bummer that Trick ‘r Treat never saw a theatrical release because it would have played great with crowd. Nevertheless, we at least got a release and for that we can be thankful, because Trick ‘r Treat is a loving tribute to Halloween that seamlessly interweaves four separate stories into one glorious 82-minute film. If this one hasn’t made it on to your annual October viewing list then you need to add it on there immediately.
59. The Babadook (2014)
I know, I know. The kid is really annoying, but Jennifer Kent’s The Babadook (both the film and the monster) is a deeply unsettling metaphor look at the aftermath of death and the depression it causes in a now-single mother (Essie Davis, undeniably the film’s strongest quality). Kent opts for mood and atmosphere over jump scares which may put off less patient moviegoers, especially those who were expecting a monster movie. Like it or not, you can’t deny that there is a sort of classiness to the whole affair. Besides, The Babadook is an LGBTQ icon now so we’re stuck with him forever now.
58. [REC] (2007)
Full disclosure: I prefer [REC] 2 to [REC] if only because of the way it expands upon the story introduced in [REC]. Nevertheless, the original is one of the best found footage films ever made, and it’s terrifying to boot. The film follows a reporter (Manuela Velasco) who enters an apartment complex that is put under quarantine just moments after she enters, leaving her and the rest of the tenants to their own devices while….something….hunts them. The film builds to a truly frightening finale with a shocking reveal (one thing that the American remake changed, which was its sole major misstep) that offers up a refreshing twist on the demonic possession sub-genre.
57. Saw (2004)
Saw is not everyone’s cup of tea, but many people don’t realize (or don’t remember) that James Wan’s original film actually emphasized plot over gore. The plot is simple: two men (Cary Elwes and Leigh Whannell, who also wrote the film) wake up in a dirty bathroom chained to a pipe. One of them is ordered to kill the other, and if he doesn’t then his family will die. It’s a great hook that Wan manages to get a lot of mileage out of. Yes, the film is gory, but not to the extremes that the sequels took it. You also have to admire the film for kickstarting what has become one of horror’s biggest franchises (the eighth installment will be released in just a few days). The Saw franchise has evolved a lot since 2004, but the first one has a beautiful simplicity that the sequels haven’t been able to replicate (yet).
56. Insidious (2010)
After moving on to killer ventriloquist doll’s with 2007’s goofy-but-fun Dead Silence, James Wan and Leigh Whannell moved back to extreme terror with Insidious. With that film, they flipped the haunted house sub-genre on its head by having the Lambert family do what people in haunted house movies almost never do: move. Of course, this doesn’t help matters, as it is the eldest Lambert son who is haunted, not the house, but it’s a nice little subversion of the sub-genre. Insidious is jam-packed with scares, some of them of the jump variety and others of the “Holy shit there’s a small ghost child standing in the corner of the laundry room” variety. The characters, which include the aforementioned Lambert family and the psychic Elise (Lin Shaye, arguably the best part of all the Insidious films), are also likable and (most importantly) relatable. Insidious gets a lot of flack for its unconventional and somewhat silly third act, but it is still a fun scarehouse of a movie.
55. Drag Me to Hell (2009)
Sam Raimi’s Drag Me to Hell holds a special place in my heart because it was the subject of my first piece for Bloody Disgusting. My reasoning for writing a defense of the film (not that it needs one) is because when I used to work at Blockbuster during my college years I always used to recommend the film to people looking for a fun scary movie. It always got returned with complaints that it was either stupid or not scary. Methinks people don’t really understand Sam Raimi’s directing style (or that much of the film is supposed to be funny). Drag Me to Hell is the movie equivalent of going to the county fair (and I mean that in the best way possible): it’s fun, thrilling, scary-but-not-really, and cheesy ride. Raimi gets away with a lot despite the PG-13 rating (cat-lovers beware of the unrated cut), and the final two minutes will leave you absolutely distraught. I don’t think I’ve been hit that hard by a horror ending since. Drag Me to Hell may not be quite up to the level of the Evil Dead films, but it is pure popcorn fun and certainly deserves a spot on this list.
54. The Devil’s Rejects (2005)
Who would have ever though that Rob Zombie would take his lackluster Texas Chainsaw Massacre ripoff House of 1000 Corpses and give it a sequel that not only improves upon it, but manages to give audiences the most well-rounded, three-dimensional villains put on screen in quite some time. Part Western, part torture porn, part gritty 70s road trip movie and littered with reprehensible violence, The Devil’s Rejects is most certainly not for everyone, but it is hands down Zombie’s most accomplished work as a filmmaker and one of the best films of the century so far.
53. I Walked With a Zombie (1943)
A nurse (Frances Dee) is brought to the Caribbean island of Saint Sebastian to care for the catatonic wife of a wealthy plantation owner (Tom Conway) in Jacques Tourneur’s I Walked With a Zombie, a poetic horror film that is notable for its exotic setting and score. When people say that a film is atmospheric, refer to I Walked With a Zombie to see what that means. The real horror in the film comes not from the zombie of the title, but from the humans around her who all want to control her.
52. Ringu (1998)
Hideo Nakata’s Ringu could be seen as the film that single-handedly started the J-horror craze of the early 2000s. Nakato fills the film with plenty of nightmarish imagery, creating a spooky atmosphere that permeates every frame. The film blends old-school paranoia with modern fears of technology to marvelous effect, leading to one of the most surprising finales in horror history. ***SPOILER ALERT*** I mean, did anyone expect that Sadako would just crawl out of the TV like that? Ringu earns a spot on this list for that scene alone. It’s ridiculously scary.
51. Diabolique (1955)
In Diabolique, a woman and a mistress team up and murder the man who has abused them, but unfortunately for them the body goes missing and they are subjected to a multitude of strange occurrences. Director Henri-Georges Clouzot supposedly snagged the rights to the novel upon which the film is based before Alfred Hitchcock, who badly wanted to make the film (Hitchcock would get his turn at similarly dark material five years later with Psycho), could. Both directors were attracted to the moral ambiguity present in the source material, as well as some of the darkly humorous macabre touches inherent to the plot. Clouzot did a bang-up job though, as the freaky bathtub climax had everyone talking at the time.
50. The Sixth Sense (1999)
I feel bad for anyone that didn’t get to see The Sixth Sense when it first came out because by now everyone knows the twist and it has been ripped off by several other films. It will most likely not have the same effect on people viewing it for the first time today, but M. Night Shyamalan’s debut feature is a chilling ghost story that is so much more than its famous ending. Both Bruce Willis and Haley Joel Osment are fantastic, giving affecting and understated performances. Shymalan is at the top of his game, delivering a poignant tale of loss containing plenty of scares (don’t tell me Mischa Barton vomiting in the tent didn’t make you jump out of your seat the first time you watched it).
49. Pan’s Labyrinth (2006)
Guillermo del Toro’s sixth film is a lovely adult fairy tale that chronicles little Ofelia (Ivana Baquero), five years after the Spanish Civil War, as she traverses a mythical world she has created to mask the real life horrors of brought upon her and her mother by her evil stepfather. Pan’s Labyrinth is, to use a worn-out cliche, a feast for the eyes. The amount of detail poured into every frame is insane. From the set design to the costumes and even to the CGI (which still looks convincing today), Pan’s Labyrinth is a visual spectacle of the highest order. Viewers expecting a straightforward horror film may find themselves disappointed, but those with their expectations in check will find a film as close to a masterpiece as they come.
48. What Ever Happened to Baby Jane? (1962)
Bette Davis and Joan Crawford: two screen legends whose dislike of each other was known to pretty much everyone in Hollywood. Why waste such chemistry like that off screen? That was director Robert Aldrich’s thought as he cast them playing twin sisters, one a former Vaudeville star who has gone off her rocker and the other a former actress left paralyzed by a car accident, in this grand horror melodrama. Davis to truly shine in a powerhouse performance as Baby Jane Hudson. Crawford gets the less showy role of the two actresses, but she still manages to elicit sympathy from viewers. The film also serves as a commentary on the state of Hollywood and their willingness to dispose of aging actresses. If that weren’t enough, it was so successful that it even inspired a sub-genre of horror films known as the “psycho-biddy” sub-genre.
47. The Omen (1976)
1973 gave us a possessed female child in The Exorcist. 1976 tried to up the ante by giving us the male Antichrist in Richard Donner’s The Omen. Gregory Peck and Lee Remick star as two parents who give birth (or so they think) to little Damien (Harvey Spencer Stephens), who just so happens to be the son of Satan. Most remember the film for its set pieces (such as the nanny hanging herself scene or the decapitation scene), but the film is so much more than that as its influence on the genre can still be felt to this day (Hell, Final Destination 3 even stole the whole picture foreshadowing death concept). The film is also notable for its bleakness, especially for a mainstream film at the time. I still remember being shocked at ****SPOILER ALERT*** Remick being tossed out the window by Mrs. Baylock (Billie Whitelaw) and Peck being gunned down in the church. The last shot of Damien smiling at the audience in a rare breaking of the fourth wall is especially creepy.
46. Poltergeist (1982)
Who cares whether Tobe Hooper or Steven Spielberg directed Poltergeist? The important thing is that together, they gifted the world with what is quite possibly the scariest PG-rated movie ever made (in fact, its existence helped spur the MPAA to create the PG-13 rating). Home to some of the best horror set pieces of the ’80s (the swimming pool full of corpses, the clown doll, the possessed tree, the face peeling, etc.) and some wondrous practical effects, Poltergeist is easily one of the best horror films ever made.
45. The Conjuring (2013)
Yes, another James Wan movie. The Conjuring is Wan at his most mature. With it, he has crafted a sophisticated, old-school ghost story that emphasizes atmosphere and characterization over cheap jump scares (though there are a couple of those thrown in for good measure). With minimal use of digital effects and first-rate performances all around (Vera Farmiga and Patrick Wilson are the highlights, but Lili Taylor also impresses as the victimized family’s matriarch), it was immediately clear that The Conjuring was an instant classic when it was released in 2013. It also features what is perhaps the scariest game of hide-and-seek ever. *clap clap*
44. Audition (1999)
Out of all the films on this list, Takashi Miike’s Audition is arguably the most difficult to watch. And it’s not even because it features a woman sawing a man’s foot off with a piano wire and feeding a different man a bowl of her own vomit. It’s because the first 90 minutes leading up are so slow. In fact, the film begins as a sort of romantic comedy before moving into a full-fledged romance and then abruptly switching into full-blown horror during its final 20-ish minutes. This isn’t a bad thing, it just creates an unbearable tension leading up to the moment when the shit hits the fan. I’ve long considered adding Audition to my Blu-Ray collection because it is such a great film, but I can’t fully justify it because I honestly don’t ever want to watch it again.
43. The Witch (2015)
The word “dread” gets tossed around a lot when describing horror films (this article included), but Robert Eggers’ slow burn of a horror film induces so much dread in the viewer that it’s difficult to handle. The plot, about a Puritan family facing evil forces in the woods surrounding their home after being ostracized from their village, is rather straightforward, but it is Eggers’ unique style of filmmaking that makes The Witch so hypnotic. He used natural light for every shot (and only candlelight when indoors) and wrote the dialogue after combing through several Jacobean-era pamphlets and documents (some viewers complained about not being able to understand what the actors were saying, and this is why). If you can’t appreciate the beauty of Eggers’ filmmaking, you will hopefully be able to appreciate the horrors present in throughout the film, especially the final moments, which will get under your skin and leave you thinking about them for days.
42. The Fly (1986)
There aren’t many remakes on a list like this, which just goes to show how great of a film David Cronenberg’s remake of The Fly actually is. The film is grotesque, oozing (sometimes literally) horror while also providing a tragic love story. The film ended up on many Top 10 lists in 1986, a rarity for the horror genre, and this is mostly due to the remarkable performances of Jeff Goldblum and Geena Davis, not to mention Cronenberg’s directing. The true star of the film is the makeup effects provided by Chris Walas and Stephan Dupuis because, well, just look at this:
41. The Wolf Man (1941)
It’s amazing how the Universal monster movies of old can be simultaneously horrifying and tragic. The Wolf Man perhaps best embodies these qualities, as it tells the tale of a man (Lon Chaney Jr., born for the role) who transforms into a werewolf after saving his love interest’s friend from another werewolf. Chaney, in his first of many appearances as the titular beast, is born for the role and director George Waggner relies almost solely on the talent of his actors and a ghastly atmosphere to scare the audience. It also has the honor of establishing most of the cinematic lore for the werewolf sub-genre, so its influence is still felt today.
40. Hellraiser (1987)
Hellraiser didn’t receive widespread acclaim when it was originally released, but it has since spawned eight(!) sequels and its main villain Pinhead (Doug Bradley) has become one of the most recognizable figures of the horror genre. Directed by Clive Barker (who also wrote the screenplay, which is based on his short story The Hellound Heart), Hellraiser spotlights several gruesome set pieces, the most horrific of which is the skinned body of sleazeball Frank (Sean Chapman). The film was so gory that multiple shots had to be cut or re-edited in order for the film to get an R rating. The plot may be a little soap opera-ish, but the bizarre ideas on display and the aforementioned outstanding makeup effects more than make up for any shortcomings present in Barker’s script.
39. It Follows (2014)
Some might accuse David Robert Mitchell’s timeless horror film of being boring and anticlimactic. If you haven’t seen it yet let me just tell you that that is simply not true. It Follows could have easily been a gimmick film (the gimmick being that a supernatural entity follows a person until either it catches them and kills them or until they have sex with someone, at which point it begins to follow that person instead), but Mitchell is able to maintain a considerable amount of tension and dread for the film’s duration. The lack of explanation or answers about “It” makes the film even more terrifying, and Mitchell’s direction paired with Mike Gioulakis’ stunning cinematography make It Follows a classy and stylish must-see film for any horror fan.
38. The Blair Witch Project (1999)
There seems to be a trend with highly acclaimed horror films being deemed “too boring” by audiences and the king of all of those is The Blair Witch Project. I can’t really argue with anyone who doesn’t like i, as not much actually happens in the film. That being said, watching a trio of stupid youths slowly giving way to panic in the face of a very real situation (being lost in the woods with a mysterious entity) is what makes the film so scary. The fact that we never getting a glimpse the titular villain might prove frustrating to some, but it forces the viewer to use their imagination which is much scarier than anything that could ever be shown on screen (just look at Adam Wingard’s 2016 sequel Blair Witch, which I enjoyed quite a bit, for an example of that). Directed by Daniel Myrick and Eduardo Sánchez, The Blair Witch Project is most notable (like so many other films on this list) for its influence on the horror genre. It kickstarted a wave of low-budget found footage horror films that would prove to be wildly successful (though none, save for perhaps Paranormal Activity, could match the critical or commercial success of The Blair Witch Project).
37. The Cabin in the Woods (2012)
Filmed in 2009 but not released until 2012, The Cabin in the Woods is a film that many thought would fail because it had been shelved for so long. Lucky for us, Drew Goddard’s film proved to be one of the best films of 2012, horror or otherwise. Goddard’s script, which he co-wrote over the course of three days with Buffy the Vampire Slayer creator Joss Whedon, takes a simple premise (five college students vacationing at an isolated cabin the woods) and flips the sub-genre on its head by incorporating a secret underground facility that has technological control over all of the horrific occurrences in the cabin. This is a film made by people who have a clear respect for the genre and it shows. Filled with references, critiques and homages to some of the genre’s most popular films (The Evil Dead, Friday the 13th, Saw, etc.), The Cabin in the Woods is a meta-heavy horror comedy that is every horror lover’s dream.
36. Eyes Without a Face (1959)
If obsession and guilt are your thing, then seek out Georges Franju’s Eyes Without a Face immediately. The adaptation of Jean Redon’s novel, which sees a mad scientist (Pierre Brasseur) murdering young women in the hopes of replacing his daughter’s (Edith Scob, in a heartbreaking performance) deformed face with theirs, has been described as the equivalent of cinematic poetry. The film caused quite a stir upon its initial release, with many critics denouncing it as sick and/or disgusting which is surprising considering how little gore there is. Modern criticism has been more kind to Eyes Without a Face, however, and it has joined the ranks of other classic horror films.
35. The Descent (2005)
Many of you reading this probably get asked for scary movie recommendations all the time. Neil Marshall’s The Descent is always my go-to recommendation for a truly scary movie. Not only is it expertly directed by Marshall and filled with wonderful performances by its all-female cast, but it is really fucking scary. This is especially true if you’re claustrophobic (or cleithrophobic). On the surface The Descent is a movie about a bunch of cave divers who are trapped underground with a bunch of monsters, but the focus is actually on Sarah (Shauna MacDonald) and her gradual descent into madness after being faced with the aforementioned monsters and the discovery of her best friend’s affair with her deceased husband. It is the rare horror film with compelling emotional stakes that also manages to be an edge-of-your-seat thrill ride.
34. Martyrs (2008)
Pascal Laugier’s Martyrs is brutal, frustrating, graphic and uncompromising. So it’s not exactly an easy film to watch. If you bring this film to movie night, your friends might think that you are more than a little off. Martyrs poses many questions that are either difficult to answer or not able to be answered at all, but the fact that it even dares to ask those questions make it one of the boldest films to come out of the New French Extremity movement. The film contains graphic violence that would lead some to call it torture porn, but by using the violence to highlight Laugier’s message, Martyrs somehow rises above ilk like Captivity and many of the Saw sequels. Of course, what that message is is up to the viewer to decide, but it doesn’t make it any less fascinating. Love it or hate it, Martyrs is one of the best horror films ever made.
33. King Kong (1933)
A modern retelling of Beauty and the Beast, King Kong was a spectacle like none the world had ever seen. Willis O’Brien’s stop motion effects in King Kong were the highlight of the film, bringing the giant ape to life like no one could have imagined. Some would even say that Kong delivers a better performance than any of the human members of the cast. While that may be the case, it doesn’t stop King Kong from being one of the scariest and most thrilling monster movies of all time, as well as a pioneer of special effects.
32. The Last House on the Left (1972)
Wes Craven’s directorial debut has an icky feel that sticks with you long after the credits roll. Inspired by Ingmar Bergman’s The Virgin Spring, The Last House on the Left shows how far two parents will go to get revenge on the people who raped and murdered their daughter. Its purpose is not only to shock audiences with its graphic violence (as evidenced by the film’s marketing, which demanded audiences repeat the phrase “It’s only a movie” over and over again), but also force them to question their own morality. Are the parents justified in their actions? Though the film doesn’t glorify the parents’ murderous acts of revenge, it also doesn’t answer that question for you. You must decide. That is of course if you can make it through the whole thing, as it is a decidedly repulsive form of art.
31. Repulsion (1965)
Speaking of repulsive, Repulsion is the frightening tale of one schizophrenic woman’s (Catherine Deneuve) descent into madness. Roman Polanski’s first English-language film earns points for it’s soundtrack, composed of repetitive everyday noises, as well as Polanski’s excellent camerawork. It is Deneuve, however, who carries the film on her back, delivering a marvelous and mostly dialogue-free performance.
30. The Cabinet of Dr. Caligari (1920)
This German Expressionist silent film, which follows a hypnotist (Werner Kraus) who uses a somnambulist (Conrad Veidt) to commit murders for him, was filmed with a unique visual style. Using vertigo-inducing sets, deliberately distorted forms and sharp, pointed angles, The Cabinet of Dr. Caligari feels like a living nightmare. Or it at least feels like you’re living in the head of the deranged mental patient who narrates the film. According to Roger Ebert, it is arguably the first true horror movie and employs one of the (if not the) first twist endings ever put on film. Its influence is so strong that it is shown in film courses across the globe (it was actually the first film I had to watch for a class in college). The Cabinet of Dr. Caligari is a masterpiece of horror cinema that, at the time, was unlike any other film released before.
29. Get Out (2017)
Who would have thought one of the best horror movies ever made would be A) Released in February 2017 and B) Written and directed by comedian Jordan Peele? Get Out is one of the biggest surprises the horror genre has seen in years, and not only because of its glowing reviews (a 99% on Rotten Tomatoes and an 84 MetaCritic score) and massive box office take (a $175.4 million domestic gross on a $4.5 million budget), but because its social commentary is, to put it casually, on point. Peele touches on multiple themes with Get Out including but not limited to: slavery, race envy among upper middle class white Americans and the lack of attention a missing persons report gets when it is a black American that goes missing. Get Out is a horror film with multiple things to say. It sparks a conversation that some people may not feel is necessary, when in fact those are the people that need to have that discussion most. It’s a shame that the critiques present in the film are so relevant today, but hopefully one day that may not be the case anymore.
28. Frankenstein (1931)
James Whale’s adaptation of Mary Shelley’s novel (well, adapted from Peggy Webling’s play which was adapted from Shelley’s novel) was fairly controversial among its original release due to a scene in which the monster unintentionally drowns a little girl, but it has since become a classic of the horror genre. In addition to Whale’s stylish direction, Frankenstein also boasts a superbly nuanced performance from Boris Karloff, despite being hidden under Jack P. Pierce’s outstanding makeup effects. Frankenstein is a film that sympathizes with its monster and even had audiences identifying with it (him?) too. For a film that can be so frightening, it has a surprising amount of heart.
27. Carrie (1976)
Carrie features a climactic scene that will generate an incredible amount of catharsis for anyone who has ever been bullied before. The first of many Stephen King adaptations, Carrie is the rare instance of a film adaptation improving upon its source material. It also has the distinction of being one of the few horror films to be nominated for an Academy Award (two to be exact, both of which were acting nominations for Sissy Spacek and Piper Laurie). Not only are Spacek and Laurie splendid as Carrie and Margaret White, respectively, but director Brian De Palma visualizes the horror of King’s novel with a kind of dream-like elegance not often seen in the genre. The added bonus of Pino Donaggio’s hypnotic score doesn’t hurt the film either.
26. Black Christmas (1974)
John Carpenter’s Halloween gets all of the glory, but Bob Clark’s slasher masterpiece Black Christmas should not be forgotten when it comes to its influence on horror. Made just 4 years prior to Halloween, Black Christmas is another example of a film that received a mixed reception upon its initial release but has since become a cult classic. Clark’s film, about a mysterious assailant who stalks a bunch of sorority girls in their house, sports two wonderful lead performances from Olivia Hussey and Margot Kidder (not to mention Difficult People actress Andrea Martin, in her third film role) and, like many other well-respected horror films at the time, is mostly gore-free.
25. Freaks (1932)
While Tod Browning’s shocker is now considered a horror classic, it was not so well-received at the time of its release. Reviews criticized the film for being repulsive and offensive. Simultaneously hilarious and horrifying, Freaks is the ultimate revenge tale coupled with a kind of sweet story about the importance of friendship and solidarity that has thankfully found an audience in the 85 years since its release (though the original 90-minute cut has been lost, leaving only the existing 64-minute version).
24. An American Werewolf in London (1981)
John Landis’ werewolf film is another film where the makeup effects (this time provided by Rick Baker, who won an Academy Award for his work on the film) are the real star of the show. This isn’t to say that Landis’ script, which superbly blends horror and comedy, isn’t noteworthy, because it is. An American Werewolf in London is the definitive werewolf movie if only because it is the most entertaining one in existence.
23. The Innocents (1961)
You’ll find that many of the most highly regarded horror films include a certain level of ambiguity, forcing the audience to decide what really happened in the film they just watched. Jack Clayton’s The Innocents, an adaptation of Henry James’ supernatural novel The Turn of the Screw, is no different. To help with this effect, cinematographer Freddie Francis darkened the edges of the shots so that the audience would question what (if anything) lurked off to the side. Film tricks like that help make The Innocents one of the more atmospheric horror films to come out of the United Kingdom.
22. The Haunting (1963)
The Haunting has been deemed one of the scariest haunted house films ever made. While it may not seem so scary today, it was in 1963. Robert Wise’s crowning achievement in horror centers around Eleanor (Julie Harris), a shy woman with a history of supernatural experiences who joins a group of strangers in studying the haunting of Hill House. Since Wise wanted to make The Haunting as implicit as possible, the scares in the film are mostly that of the unknown and you never see any ghosts. The Haunting has plenty subtext that film scholars have been studying for years (for example, the film could be read as a metaphor for Eleanor’s repressed lesbianism), but it is mostly just really, really creepy in a high-class sort of way.
21. Rosemary’s Baby (1968)
Before The Exorcist, there was Rosemary’s Baby. In Roman Polanski’s adaptation of Ira Levin’s novel, Rosemary (Mia Farrow, in a dedicated and harrowing performance) is raped by Satan and becomes pregnant after moving into a new apartment with her husband (John Cassavetes), a struggling actor. That is a rather stripped down explanation of the plot of Rosemary’s Baby, but it is what it is. Rather than load the film with jump scares and shocking imagery, Polanski opts for a more subdued sense of paranoia that pervades the film, causing viewers to feel uneasy until its horrific conclusion. This, coupled with Krzysztof Komeda’s incredible score and some fantastic performances (Ruth Gordon won an Academy Award for her portrayal of Satan-worshiping neighbor Minnie Castevet) make Rosemary’s Baby one of the greatest horror tales ever made about pregnancy.
20. Peeping Tom (1960)
Peeping Tom and its director Michael Powell got a bad rap when it was released in 1960. The film was criticized for being too disturbing and it destroyed Powell’s career as a director. This is all the more shocking considering it was released just months before Alfred Hitchcock’s Psycho, which was met with a much more positive critical reception. Time has been kind to Peeping Tom though, as it is considered a masterpiece of horror cinema, as well as the first slasher movie ever made (take that, Psycho). The film tackles the subjects of voyeurism and psychosis and puts the viewer in the killer’s POV on multiple occasions (a first for the genre). The effect of this technique essentially made viewers accessories to murder, which is no doubt why so many critics were put off by the film.
19. Dawn of the Dead (1978)
Dawn of the Dead begins a trio of sequels on this list that somehow manage to surpass either match or surpass their predecessors in terms of quality. George A. Romero’s Dawn of the Dead isn’t quite as good as his debut feature Night of the Living Dead, but its near-perfect blend of social commentary on American consumerism, plenty of gore and pure entertainment allow Dawn of the Dead it to overcome the odds and be a sequel that manages to step out of the shadow of the original and stand on its own. And you just can’t beat that helicopter blade giving a zombie a haircut.
18. Bride of Frankenstein (1935)
James Whale returned to the director’s chair for his sequel to his smash hit Frankenstein, and somehow manages to make it a better film too. The film, while still very much a horror picture, is injected with a healthy dose of camp to lighten up the proceedings. Much of the film’s success is due to Karloff’s magnificent return performance as the monster, but the film belongs to Whale, who clearly poured his heart and soul into the film. He manages to make the film scary, funny, suspenseful and heartwarming all at the same time, up until the finale, which is a heart-rending tragedy.
17. Evil Dead II (1987)
Most sequels would pick up right where the original left off, but not Evil Dead II. No, Evil Dead II is essentially a remake of The Evil Dead but given a comedic makeover and it is glorious. It’s difficult to say that it’s a better film than The Evil Dead, if only because it’s an entirely different beast. Running a brisk 84 minutes, Evil Dead II manages to cram in more gore, jokes and quotable lines than you can imagine. It is a hilarious good time anchored by a triumphant performance from Bruce Campbell, who takes physical comedy to a whole new level. Sam Raimi’s playful directing style shouldn’t go unnoticed either, as he perfects his technique that he masterfully showed off the first time around.
16. The Shining (1980)
Stephen King famously loathes Stanley Kubrick’s adaptation of his novel, but taken on its own The Shining has a hypnotic quality that is basically a two-hour study of claustrophobia and cabin fever. Jack Nicholson takes center stage in an enthralling performance that almost takes the attention away from Kubrick and his camera…almost. With his shots of the desolate hotel hallways, gallons of blood pouring out of an elevator and a moldy bathtub ghoul (among other horrendous sights), Kubrick has crafted a horror film that would rather send chills up the spine rather than simply scare the audience. That the film’s three main characters are completely unreliable only adds to the terror. Is what they are seeing real? Or are they all just going mad? In Kubrick’s film it is never 100% clear. One this is clear though: The Shining has withstood the test of time and remains to this day Kubrick’s magnum opus, even if he took more than a couple of liberties with the source material.
15. The Phantom of the Opera (1925)
The sheer terror inflicted upon audiences when the Phantom is unmasked in Rupert Julian’s The Phantom of the Opera will never be understood by modern audiences. At the time of its release, no one had ever seen such grotesque makeup effects like those that adorned Lon Chaney’s face in the film (fun fact: he did his own makeup). Despite being nearly a century(!) old, there is something about the film that remains spectacularly creepy. The Gothic sets and lack of sound (save the for score) only add to the film’s effectiveness, but Chaney is the draw here. He gives an awesome, exaggerated performance (a necessity for silent films) that is a must-watch for any genre aficionado.
14. Scream (1996)
The ’90s are a sore spot for many horror fans. After the slasher craze of the 80s, the market had become oversaturated with subpar sequels and terrible original films. Box office receipts were down and the critics were very much “over it.” You’d be hard-pressed to find more than a handful of truly great horror films made between 1990 and 1995. Then Scream came along. With Scream, director Wes Craven took Kevin Williamson’s script and perfected the meta-commentary that he tried and mostly succeeded with in 1994 with Wes Craven’s New Nightmare. This time, all of the teenage victims had seen all of the horror movies before, making the film a clever deconstruction of the genre. The winks at the audience may not be for all tastes, but Scream helped revive a dying genre and inspired a plethora of copycats. Imitation is the sincerest form of flattery, after all.
13. The Evil Dead (1981)
Some may disagree that Sam Raimi’s The Evil Dead is better than its sequel, but what makes it better is the fact that it does so much with so little. Made on a shoestring budget (anywhere from $350,000 to $400,000), The Evil Dead launched the career of Sam Raimi and began Bruce Campbell’s career as a cult icon. At the time it was considered the goriest film ever made, and though the makeup effects haven’t necessarily aged well, they are still a marvel to behold. Lest you think the film isn’t scary though, don’t worry. The Evil Dead is very, very scary. After all, when Stephen King calls a movie “the most ferociously original horror movie of the year,” (as quote The Evil Dead‘s poster proudly wore as a badge of honor) it means something.
12. The Birds (1963)
On paper, the idea of killer birds is fairly silly. Lucky for us, Daphne du Maurier disagreed when she wrote a short story titled The Birds in 1952. Alfred Hitchcock felt similarly, taking his penchant for bird symbolism and plastering it all over this 1963 film. Gone is symbolism. In its place is a lot of real and terrifying birds. You have to admire the film for its simplicity. The human drama that fills the film’s two hours almost feels superfluous, but it serves to build the dread that Hitchcock so expertly blows up in the final 30 minutes. That no explanation is offered for the avian invasion is even more unsettling than the attacks themselves, though they are quite unsettling (see below). With The Birds, Hitchcock created the best natural disaster film ever made.
11. Alien (1979)
Ridley Scott’s 1979 masterpiece (frequently referred to as “Jaws in space”) is a movie-lover’s dream come true. Every part of the film works. From the exceptional sound design to the top-notch performances to H.R. Giger’s creature design to Roger Christian’s outstanding sets (the list goes on), Alien is movie magic. Scott goes for a more traditional haunted house movie approach instead of splattering gore all over the screen, with the famous chestburster scene being the only scene with any bloodletting. The halls of the Nostromo convey a palpable sense of claustrophobia that only enhances the film’s terror. Released just two years after Steven Spielberg showed us the friendly side of aliens in Close Encounters of the Third Kind, Alien showed us that sometimes our fear of the unkown is justified.
10. A Nightmare on Elm Street (1984)
It’s no accident that four of Wes Craven’s films appear on this list. The man really was a master of horror. His pièce de résistance is undoubtedly A Nightmare on Elm Street, a film with an innovative premise that created a slasher icon who helped define the horror genre in the ’80s. While the sequels would turn Freddy Krueger (Robert Englund, in a career-defining performance under some outstanding makeup) into more of a jokester, Craven’s original highlighted the dream killer’s more sinister qualities. The then-groundbreaking special effects were the star of the film (save for those goofy looking quicksand stairs), but it is Heather Langenkamp’s performance as smarter-than-your-average final girl Nancy that gives A Nightmare on Elm Street its heart.
9 Jaws (1975)
Steven Spielberg’s adaptation of Peter Benchley’s novel Jaws has the distinction of not only defining the term “blockbuster,” but also for improving upon its source material. By excising some unnecessary subplots (Mrs. Brody’s affair with Hooper being the most unnecessary), the is able to focus on the shark itself and the relationship between the three men who set out to kill it. Notorious for its troubled production (the mechanical shark never worked, which is why it is hardly ever seen), Jaws forced Spielberg to get creative with his fimmaking technique. How do you scare the audience when you can’t show them what they’re supposed to be afraid of? Jaws is proof that it’s what you don’t see that is scarier than what you do see. To this day, people are still scared to go in the water because if Jaws. If there is one negative thing to say about the film, it’s that it has made it impossible for any other killer shark film to be taken seriously. No film will ever be able to match it in terms of quality or sheer entertainment.
8. The Silence of the Lambs (1991)
The Silence of the Lambs is the only horror film (and yes, it is a horror film) to win the five major awards at the Academy Awards: Best Picture, Best Director, Best Actor, Best Actress and Best Adapted Screenplay. Anthony Hopkins gets the most praise (and rightfully so) for his 16 minutes of screen time as Hannibal Lecter, but it is Foster who shines the brightest here, giving an insightful and compelling performance as the rookie FBI agent on the hunt for a serial killer. This isn’t to say that Demme’s direction pales in comparison. On the contrary, he directs with a firm, controlled hand and lets his actors sell the story. The Silence of the Lambs remains his greatest contribution to society.
7. Nosferatu (1922)
What do you do when you want to adapt Bram Stocker’s Dracula but you don’t have the rights? You change the name, of course! F.W. Murnau’s silent-era vampire film is by no means scary by modern standards, but it is an awe-inspiring piece of filmmaking. Filmed during the German Expressionist era (just two years after the release of The Cabinet of Dr. Caligari), Nosferatu‘s importance to modern horror goes beyond the fact that it was the first on-screen adaptation of Dracula. More influential were Murnau’s filming style and of course Max Schreck’s haunting performance as Count Orlock. Nosferatu remains the first and best vampire film.
6. The Texas Chain Saw Massacre (1974)
There are few horror films that can make you feel simultaneously exhausted and dirty when the credits roll, but Tobe Hooper’s The Texas Chain Saw Massacre is one of them. One of the most controversial horror films of all time, which is interesting considering there is very little blood actually seen in the film, The Texas Chain Saw Massacre is unrelenting in its brutality and shocking in its authenticity. Hooper’s grimy documentary filming style transports you into the hot Texas summer, delivering an assault on the senses that will send you reeling. It would be a sin to discuss the film without mentioning Leatherface, one of the most iconic faces of the horror genre. Though played by different actors in the sequels (and prequels), Gunnar Hanson is the Leatherface. His hulking figure is an intimidating presence, one made even more terrifying by Dorothy J. Pearl’s outstanding make-up effects.
5. Night of the Living Dead (1968)
Made on a budget of $114,000, George A. Romero’s Night of the Living Dead radically changed and redefined the horror genre. Its influence can still be seen today. As most of the best horror films usually are, Night of the Living Dead was made during a time of political unrest (in this case the increasingly unpopular Vietnam War). Romero load his debut feature with an unprecedented amount of gore, something that was a point of contention with critics at the time, but most agreed that it was a groundbreaking film that would ensure that the horror genre would never be the same again. And it most certainly wasn’t.
4. Halloween (1978)
We have John Carpenter’s masterpiece to thank for the slasher genre. The film is an exercise in terror that spawned countless imitators and originated all of the rules and clichés that Scream effectively called out. Because of this the film may not seem quite as impressive (or scary) to modern audiences, but its importance to the genre cannot be denied. Viewing it through that lens (and understanding that it really was the film to originate the now-laughable trends we see today), Halloween can be seen for the brilliant horror show it actually is. Carpenter’s screenplay, which he co-wrote with producer Debra Hill, also sneaks in some clever satirization of suburbia (as seen when the neighbors turn their porch lights off upon seeing a frantic Laurie Strode on their front porch). I haven’t even mentioned Carpenter’s score, which he apparently wrote in one hour. The simplistic piano tune still sends chills up the spine (though I happen to prefer Halloween II‘s synth version of the theme). Halloween is a perfect horror film. There is no argument to be made that it isn’t.
3. Psycho (1960)
Initial reviews for Psycho were decidedly mixed, with some critics praising Hitchcock’s masterful filmmaking while others criticized it for being an overly melodramatic film that hinged on a single gimmick (no one was allowed into the theater after the film started). Of course the film is now considered to be Hitchcock’s best film, and for good reason. Hitchcock expertly manipulates the audience, giving them a female protagonist in Marion Crane (Janet Leigh, who won a Golden Globe for her performance) before ***SPOILER ALERT*** violently killing her off 40 minutes into the film. We are then introduced to another protagonist in Marion’s sister Lila (Vera Miles) and follow her and Marion’s lover Sam (John Gavin) for the remainder of the film. It is something that had never been done before, and audiences loved it. The shower scene has been analyzed countless times (just see the recent documentary 78/52 for an example), but really the whole film is worthy of just as much praise as that one scene gets. Without Psycho, the horror genre as we know it would not exist.
2. The Thing (1982)
John Carpenter’s The Thing had some unfortunate timing. Released just two weeks after Steven Spielberg’s family-friendly and optimistic E.T. the Extra-Terrestrial, it was met with scathing reviews and grossed a mere $19.6 million against its $15 million budget. People just didn’t want to see a bleak killer alien movie in the summer of 1982. Contemporary reviews have of course been more kind, as the films has since been reappraised and is not considered Carpenter’s best (or second-best, depending on who you ask) film. As I mentioned in my ranking of Carpenter’s films last Halloween, “The whole film is an exercise in mounting dread, and Carpenter pulls it off with aplomb (the blood test scene is discussed frequently, and for good reason). All of the pieces of the film come together seamlessly. The Thing has it all: Ennio Morricone’s haunting score, Dean Cundey’s gorgeous cinematography, Rob Bottin’s outstanding creature effects (the aforementioned blood test scene, the defibrillator scene, the dog scene, and so much more), and committed performances from every actor. Carpenter has never been better than he was here.”
1. The Exorcist (1973)
It may be cliché to declare The Exorcist the best horror film of all time, but that’s only because it is is the best horror film of all time. William Friedkin flawlessly directs this adaptation of William Peter Blatty’s 1971 novel, which grounds the more horrific and fantastical elements of the horror genre into a compelling and (most importantly) relatable family drama. Dealing with issues of faith, doubt and the relationship between a mother and her daughter, The Exorcist showed that the horror genre could be taken seriously by general audiences and critics alike. Up until a few weeks ago it was the highest grossing R-rated horror film of all time (and it most likely always will be when inflation is taken into account). It received critical acclaim, becoming the first horror film to be nominated for an Academy Award for Best Picture (it didn’t win, but it did win for Best Adapted Screenplay), and also has the distinction of winning over devout Christians and loyal Satanists alike. That alone is a remarkable achievement in and of itself.
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