Top 50 Scary Horror Movies You Probably Haven't Seen
advertisement
VOICE OVER: Rebecca Brayton
WRITTEN BY: George Pacheco
Need more scares? Welcome to WatchMojo, and today we're counting down our picks for the horror gems that we think deserve more attention. Our countdown includes movies “Inside”, “Carnival of Souls”, “Eden Lake” and more!
Welcome to WatchMojo, and today we’re counting down our picks for the horror gems that we think deserve more attention. Which of these movies are going on your watch list? Let us know in the comments!
#50: “Cam” (2018)
The horror genre is constantly evolving, and this evolution allows for new kinds of life experiences to be adapted to the silver screen. Sex worker representation in cinema has been around for ages, but 2018’s “Cam” presents a new look at the industry and the modern forms it can take. The film focuses on a particular type of in-home adult entertainment, while also exploring thematic elements of obsession, voyeurism, perfectionism, and the male gaze. The end results are totally unique. We highly recommend “Cam” for the horror fan who’s weary of the same old formulas and eager for something new.
#49: “God Told Me To” (1976)
Larry Cohen’s movies – both horror and otherwise – are unlike anything else in genre cinema. This urban auteur has always possessed a knack for unique perspectives, ideas, and dialogue, often melding multiple genres within his work. “God Told Me To” from 1976 combines elements of both police procedurals and horror in its narrative about a rash of violent crimes. The New Age movement that took hold during the 1970s is placed front-and-center, as all of the suspects are held in the thrall of a sinister religious cult. “God Told Me To” even features comic legend Andy Kaufman as one of the killers, but make no mistake: Cohen’s film is frighteningly effective.
#48: “The Brood” (1979)
David Cronenberg’s work in body horror is rightfully lauded today as a filmography chock full of disturbing classics. That said, “The Brood” from 1979 remains one of the director’s less-discussed films, which makes it ripe for a revisit in the modern day. Cronenberg defies social taboos by making his villains childlike representations of a mother’s past trauma. These creatures are physically willed into existence as psychoplasmic offspring, tethered to their “mother,” Nola Carveth. The practical effects lend these creations an insidious screen presence, and the resulting violent acts that are committed on Nola’s behalf bury themselves within our memories.
#47: “Verónica” (2017)
In less capable hands, the horror tropes in this 2017 Spanish film might have come across as cliche. Attempts at Ouija board communication? Check. Demonic symbols and possession? Double check. Yet, “Verónica” succeeds despite using these well-worn plot devices because of its sincerity and dedication to fostering fear, uncertainty, and trepidation. The acting is uniformly good throughout the film, and the scary sequences are effective enough for audiences to buy-in and buckle-up for the ride. “Verónica” fits in nicely with the Spanish horror industry’s enviable pedigree, while also standing on its own for modern representation within the genre.
#46: “Nightbreed” (1990)
Clive Barker’s work doesn’t begin and end with the “Hellraiser” franchise. In fact, 1990’s “Nightbreed” stands right up there with Pinhead and the other Cenobites, particularly the extended “Cabal Cut” that’s resurfaced in recent years. The imagination and practical effects are out of this world, as Barker’s universe of outcast monsters is brought to life. The underworld of Midian, which is fleshed-out in the longer cut of “Nightbreed,” feels lived-in and contains a wealth of unique, memorable characters. David Cronenberg cuts a truly reprehensible villain, with his Dr. Decker serving as one of Barker’s most sinister antagonists.
#45: “Martin” (1977)
Director George Romero is rightfully lauded as a master of undead cinema, but fans of the man’s work shouldn’t sleep on his non-zombie films. 1977’s “Martin” is perhaps the director’s most underrated piece. The film appears, on the surface at least, to be about vampires. However, “Martin” is more of a character study than anything, a slow-burn gem about a curious young man with the troublesome habit of stealing people’s blood without consent. Yes, the titular Martin believes he is a vampire, but this definitely isn’t your average Universal or Hammer Horror jam. It’s something completely different.
#44: “Wait Until Dark” (1967)
Horror movies aren’t historically based on stage plays, but, then again, “Wait Until Dark” isn’t your average scary movie. The film hinges upon a pair of excellent performances from Audrey Hepburn and Alan Arkin. The former plays a blind woman, while Arkin is all slime and menace. Filmed primarily on a single set, “Wait Until Dark” feels all the more claustrophobic and tense as a result. Hepburn’s character ends in a much different place than she begins, as she’s forced to fend off both mental and physical attacks from three home invaders. Elements of modern gaslighting also come into play, while the film’s final act is a white-knuckle exercise in anxiety.
#43: “The Orphanage” (2007)
This is another Spanish horror film that proves the industry is still alive and well in the modern day. There’s a wealth of atmosphere here that feels indebted to the European gothic horrors of the 1960s and ‘70s. Yet “The Orphanage” also feels fresh, thanks to the honesty of the performances. There’s almost a fairy-tale feeling to the film’s plot, which revolves around a woman’s desire to turn her childhood orphanage into a haven for disabled youth. We’re not talking Disney fairy-tales, however, but more of a Brothers Grimm vibe, complete with all of the thematic darkness that comparison entails.
#42: “Nekromantik” (1987)
West German director Jörg Buttgereit captured one of humanity’s greatest taboos with his transgressive 1987 film, “Nekromantik.” We’re speaking specifically about necrophilia, but that’s not all this intensely disturbing and controversial film has to offer its viewers. Sex, death, and real-life animal violence combine with a memorably creepy musical score to create an unsettling viewing experience. In fact, the legacy of “Nekromantik” was so complicated that the film was banned for many years in many countries. Today, however, the themes of social apathy, anxiety, and death fetishism have been largely reassessed as artful and, depending on the viewer, even perversely beautiful.
#41: “Deep Red” (1975)
This list is full of brilliant horror filmmakers, but Dario Argento stands among the very best of Italy’s macabre maestros. Efforts such as “Tenebrae” and his 1975 masterpiece “Deep Red” serve as textbook examples of that country’s giallo cycle. These were pulpy, homegrown thrillers that often combined elements of police procedurals and mysteries alongside gruesome murder set-pieces. The visuals in “Deep Red” are particularly stylish, and are amplified by Goblin’s booming progressive rock score. The mystery is compelling, too, as are the performances of David Hemmings and Argento’s former wife and collaborator, Daria Nicolodi.
#40: “The Wailing” (2016)
This movie delves into a number of different genres, from occult horror to police procedurals to classic zombie cinema. Yet, this modern horror classic also manages to feel even more expansive than those solid influences. “The Wailing” takes audiences into a universe of mysticism, leading into an almost impenetrable darkness. Director Na Hong-jin constructs a bleak narrative here, together with more cerebral dialogues on grief, superstition, and real-world evil. “The Wailing” asks a lot of questions, and the answers it gives may not exactly leave you feeling good about how the world works, but you will never forget the experience.
#39: “Lake Mungo” (2008)
There have been a number of horror films that utilize the grieving process as a backdrop for their stories. “Don’t Look Now” is a classic example of this, while 2008’s “Lake Mungo” feels somewhat like kin to that seventies shocker, with a solid update to that central dramatic theme. The found footage style utilized within “Lake Mungo” doesn’t feel cheap or out-of-place, but instead serves to ramp up the drama and service the story. The unbelievable tragedy that befalls the family in this film makes it easy to connect with all of the docudrama elements at play, and the overall creepiness of “Lake Mungo” still gives us chills.
#38: “The Black Cat” (1934)
This collaboration between horror icons Boris Karloff and Bela Lugosi may not be as well known as “Dracula” or “Frankenstein,” but it could be argued that “The Black Cat” is actually as significant. There’s a wealth of stylistic influence here from German expressionism, while Lugosi and Karloff’s respective performances certify their greatness as masters of their craft. “The Black Cat” possesses a malevolent atmosphere and enduring, haunting sense of grandeur. This is Golden Age horror polished to gleaming perfection, with a surprising bite that made it subversive and boundary-pushing for its day.
#37: “The Hitcher” (1986)
Certain classic films will never be eclipsed by remakes. This stunning 1986 original stars Rutger Hauer in one of his grisliest and most memorable roles as a demented hitchhiker who relentlessly stalks a young man, played by C. Thomas Howell. Howell and his co-star Jennifer Jason Leigh are more than a match on-screen for Hauer, and it’s the nerve-wracking push-and-pull that serves as the crux of “The Hitcher.” This horror film is pure tension personified, and it’s Hauer’s obsessive performance that’s burned into our collective subconscious forever as a good reason to NEVER pick up a hitchhiker.
#36: “Dead & Buried” (1981)
A film is only as good as its script, and 1981’s “Dead & Buried” had a boffo screenwriting team in the form of Dan O’Bannon and Ronald Shusett. Their creativity within the confines of genre cinema shines once again with this film, as it did with “Alien.” “Dead & Buried” at once feels both nostalgic and current. On one hand, the body snatcher tropes going on within the small town of Potters Bluff feel indebted to horror’s old school. The gruesome special effects, however, are most definitely straight out of the “monster kid” playbook. As a result, “Dead & Buried” feels timeless, the sort of film that continues to offer rewards for those who discover its quirky charms.
#35: “Saint Maud” (2019)
You gotta hand it to director Rose Glass. “Saint Maud” was a successful and impressive feature-length debut for a filmmaker who seems destined for more greatness. Horror fans flocked to “Saint Maud'' and its tale of a caregiver who may be losing her grip on reality. Some of the best horror films adapt real-world situations or struggles and lay them out against a tableau of the fantastic. “Saint Maud” delves deep into religious fanaticism and accompanies the theme with striking visuals. Glass’ direction here feels purposeful and assured, and we can only hope she continues on this successfully creative path on future films.
#34: “Stage Fright” (1987)
A number of the films on this list are Italian, and that’s for good reason. “Stage Fright” is only one of the films that sprang out of Italy’s horror industry supernova during the 1970s and ‘80s. Director Michele Soavi was a uniquely creative voice within Italian horror, and his amazing imagination permeated films like “Stage Fright.” Here, the well-worn slasher tropes are given new life by the completely BONKERS idea of giving the killer a giant owl mask to wear. Additionally, the murder set pieces are unrepentantly graphic and sleazy, reveling in the red stuff in a manner Italian filmmakers became known for. Add to this a throbbing score by Simon Boswell and you have a recipe for a Mediterranean horror feast.
#33: “The Golem” (2018)
Golems, creatures from Jewish folklore, have appeared now and again in film throughout the years. Michael Mann’s “The Keep” comes to mind, as does the series of silent horror films that bore the creature’s name back in the 1920s. This titular “Golem” from 2018, however, successfully adapts the golem’s origin story from a man-made monster into something with far more emotional resonance. Here, themes of parenthood and marital strife are counterbalanced against scenes of horror and violence, yet “The Golem” never feels heavy-handed. If anything, it’s quite the opposite, and this is a horror film with a lot of worthwhile emotional layers.
#32: “A Bay of Blood” (1971)
We return to Italy for our next pick, a fine example of how that country’s giallo genre of graphic murder mysteries went on to influence the American slasher scene. Scenes from 1971’s “A Bay of Blood” would be essentially lifted by movies like “Friday the 13th: Part 2,” like the sequence involving an amorous couple who are attacked while in bed. Director Mario Bava was already a film legend prior to helming “A Bay of Blood,” yet it would be this film’s intense levels of violence that would earn him true international infamy. There are no heroes here, only victims for the body count. “A Bay of Blood” is a frenzied whodunnit that pushed some serious boundaries in ’71, and remains relevant viewing today.
#31: “A Tale of Two Sisters” (2003)
Horror fans in North America have long sought out imported shockers from Europe, Asia and beyond, all to receive a properly balanced cinematic diet. “A Tale of Two Sisters” was one of the earlier examples of South Korean horror that made crossover headway overseas, however, and was a critical and commercial cult classic. The film is a ghost story, sure, but “A Tale of Two Sisters” also knows how to dance around genre conventions to hit its own creative beats. There’s a lot of darkness here, a tragic tale that isn’t for those seeking out easy answers or happy endings tied up in a bow. Instead, “A Tale of Two Sisters” presents a psychologically messy family drama, with an extra side helping of supernatural scares.
#30: “Tales From the Crypt” (1972)
The horror anthology has always been a great medium with which to tell a variety of stories. The original “Tales From the Crypt” from ’72 is arguably one of the best of these, and packs some serious star power. Joan Collins, Peter Cushing, Patrick Magee and more all lend their talents to this wonderfully creepy anthology full of thematic schadenfreude for those who face The Crypt Keeper, played by Ralph Richardson. These are mini-morality plays with the sort of classy execution that was a hallmark of British horror in the 1970s. There’s no doubt that “Tales From the Crypt” is some of the best horror ever produced by the U.K.
#29: “Kwaidan” (1964)
“Tales From the Crypt” isn’t the only awesome horror anthology film on this list. “Kwaidan” hails from Japan, and was released back in 1964, yet it still possesses some seriously scary staying power, decades later. “Scary,” that is, if you can get past just how gorgeous this film looks. The cinematography, set design, and visual style of “Kwaidan” are sumptuous and impossible to forget. At the same time, its tales of terror bring to the screen stories that are ghostly morality tales with plenty of spooky visuals. “Kwaidan” is a film that’s astonishingly atmospheric, and guaranteed to put you in the Halloween spirit. Just be sure to start this one late at night, when the moon is full…
#28: “The Burning” (1981)
The 1980s were a halcyon decade for the slasher movie, particularly during its earliest years. “The Burning” may not be spoken of as often as its peers, but there are more than enough elements here to make it worth your time. For starters, there’s the presence of future stars Jason Alexander and Holly Hunter, appearing here in the infancy of their careers. Additionally, the special effects from Tom Savini are off the charts in terms of execution, particularly on the infamous “raft scene.” Meanwhile, Yes keyboardist Rick Wakeman delivers a wonderful score that’s quirky and creepy in equal measure, and the ending bucks “final girl” slasher convention.
#27: “In the Mouth of Madness” (1994)
Director John Carpenter is lauded for films like “Halloween” and “The Thing,” and rightfully so. However, fans would be wise not to sleep on some of his later work, including this banger from 1994. “In the Mouth of Madness” is Carpenter indulging in some seriously occult, Lovecraftian vibes, but doing so with his own, inimitable flair. The question of fantasy versus reality is very present as “In the Mouth of Madness” revolves around the works of fictional horror novelist Sutter Cane. Answers here aren’t exactly clear-cut, and Carpenter’s film has a great time going off the deep end in terms of atmosphere, excitement and impressive visuals. “In the Mouth of Madness” is a must-watch.
#26: “Demons” (1985)
There are few Italian horror films from the 1980s that possess as much sinful glee as 1985’s “Demons.” Director Lamberto Bava had this stuff in his blood, since his dad was the aforementioned maestro, Mario Bava. “Demons” is substantially more popcorn fare than much of the elder Bava’s work, but this is in no way a slight. In fact, this is one of the reasons why “Demons” is so successful. It keeps plot points (and extraneous locations) to a minimum, setting up the story where people are locked inside of a movie theater full of bloodthirsty creatures. “Demons” is heavy metal horror turned up to the max, with insane special effects and a pace that never lets up. It’s pure escapist pleasure.
#25: “Don’t Torture a Duckling” (1972)
“Don’t Torture a Duckling” is very different than “Demons” stylistically, despite being produced in the same country. Director Lucio Fulci was often referred to as Italy’s “Godfather of Gore,” but this film proves that the man certainly wasn’t defined by this moniker. Instead, “Don’t Torture a Duckling” tackles small-town persecution, religious fanaticism, murder, and abuse in perhaps the bleakest manner possible. Fulci’s direction is strong and stylish, but never at the expense of the story. Meanwhile, Florinda Bolkan’s performance is at once both tragic and mesmerizing, helping elevate “Don’t Torture a Duckling” towards the apex of Italy’s horror pantheon.
#24: “The Changeling” (1980)
Are you looking for a slow-burn, creepily atmospheric horror film to keep you warm on those cold winter nights? Then might we suggest “The Changeling,” from 1980? This Canadian horror film is often cited as one of the country’s best international horror offerings, and with good reason. Newer generations have been discovering this spook show and becoming captivated by its story and performances. George C. Scott in particular shines in the lead role, as a grieving man who moves into a house that may (or may not) be haunted. John Russell lost everything after the untimely deaths of his wife and child, and “The Changeling” channels this loss to charge nearly every frame with melancholy, beauty and, yes, fear.
#23: “Cemetery Man” (1994)
“Cemetery Man” is yet another film from Michele Soavi to make our list, a testament to the director’s timeless power. This flick may be Soavi’s crowning achievement as a filmmaker and proof that Italian horror still had something to say during the nineties. The film stars a young Rupert Everett as a cemetery caretaker who keeps having to take care of the annoying living dead who rise from their tombs every night. Soavi injects “Cemetery Man” with sexuality, violence, and an anarchic sense of humor that goes a long way in keeping this film unlike anything you’ve likely ever seen. Additionally, can we just say that it also includes what just has to be the greatest Grim Reaper ever committed to film?
#22: “Opera” (1987)
Dario Argento was already well-established as a horror icon prior to directing “Opera” in 1987. The director’s groundbreaking work with films like “Deep Red” and “Suspiria” helped cement Italy as an international voice for genre cinema, yet “Opera” proves that Argento still had plenty of gas left in the creative tank. Graphic murders are taking place within an opera house that’s gearing up for a high-profile production of “Macbeth.” What does this have to do with Mara Cecova, and why is she being forced to watch? The answers aren’t so simple, and honesty takes a backseat to all of the wild ‘n crazy set pieces that make “Opera” such idiosyncratic viewing. This one may be one of Argento’s most unhinged works.
#21: “The Innocents” (1961)
This incredible film from 1961 is an all-time classic ghost story, a masterpiece adapted from Henry James’ novella “The Turn of the Screw.” The film is all about atmosphere, with a growing sense of unease, paranoia and self-doubt building to a feverish pitch. This is filmmaking that takes its time ramping up tension, and the end results make this ride utterly worth the wait. The idea of childhood innocence is juxtaposed against ghostly possessions and hallucinations that may (or, again, may not) be stress-induced. The special effects, and particularly the haunting music, remain powerful today, making “The Innocents” a film experience well ahead of its time.
#20: “Piercing” (2018)
If you’ve seen Nicolas Pesce’s “The Eyes of My Mother,” you know his movies don’t exactly make for easy viewing. “Piercing” is no different. Based on a book by Japanese novelist Ryū Murakami, it stars Christopher Abbott as Reed, a businessman who intends to take the life of a working girl while staying in rented lodging. With a shocking opening that involves his own baby, the horror thriller only gets worse from there.. It will certainly divide opinion, as it’s definitely not for everyone. But it’s impressively stylish, reminiscent of the slick Italian giallo horror movies of the ‘70s. So if you want a retro-style horror-thriller, you could do a lot worse than “Piercing.”
#19: “Resolution” (2012)
Justin Benson and Aaron Scott Moorhead are two of the most talented indie horror filmmakers working today, and their work remains criminally underappreciated. Their 2012 film “Resolution” is particularly great. It follows a graphic designer named Michael who receives a disturbing video from his best friend, Chris. Worried about Chris’s mental state, Michael travels to a remote cabin to rescue his delusional friend. It serves as a brilliant meta-commentary on the horror genre, and many critics have compared it favorably to “The Cabin in the Woods” (with some arguing that it’s even better). Both this film and its sorta-sequel “The Endless” (which stars Benson and Moorhead) are required viewing for horror fans.
#18: “The Ritual” (2017)
Those looking for “Blair Witch Project”-type scares could do a lot worse than “The Ritual.” This movie was released on Netflix back in 2018, although it failed to generate interest outside the die-hard horror community. It follows a group of friends, led by the always incredible and underrated Rafe Spall, who are hunted through the woods by an unseen entity. Like “The Blair Witch Project,” “The Ritual” strikes a delicate balance between psychological horror and physical scares, and the terror comes just as much from the men’s diminishing trust and conflicts as it does from the visceral spooks. Add in the unrelentingly bleak atmosphere, and you have yourself another reason to never enter the woods.
#17: “Eden Lake” (2007)
Tell us if you’ve heard this premise before – a young couple in a dangerously secluded area are stalked by a group of menacing psychos. Of course you have, it’s the basis to many a slasher movie. But “Eden Lake” takes the tired concept and manages to make it fresh again thanks to its sheer and unrelenting brutality. This is not an easy film to watch – it is violent, it is bloody, and worst of all, it is realistic. Unlike most slashers that vie for shocks and gore, this one remains rooted in realism, and the results are just as emotional as they are disorienting. It requires a strong stomach, but those who can get through it will find a lot to like here.
#16: “Creep” (2015)
Don’t be put off by the found footage style – “Creep” is legitimately, well, creepy. “Creep” follows Aaron, a videographer who’s hired by the dying Josef to film a day-in-the-life for his unborn son. While Josef is eccentric and a little “off,” he is relatively harmless. Until he isn’t. “Creep” is definitely a slow burn, but the ebb and flow of tension keeps viewers on their toes and questioning Josef’s motives and personality. Mark Duplass somehow manages to imbue Josef with humanity while also creeping us the heck out, and it’s amazing to see him effortlessly switch between moments of poignant tenderness and sinister depravity.
#15: “Eyes Without a Face” (1962)
“Eyes Without a Face” is rarely discussed, which is a shame, seeing as how it’s one of the most beautiful horror movies of all time. Yes, we said beautiful. The film was initially met with hostile reviews, as critics thought that a genre film was beneath esteemed documentary filmmaker Georges Franju. However, it underwent a critical reevaluation upon re-release and is now considered a poetic, surreal, and fairy tale-esque masterpiece. It influenced a generation of filmmakers, from John Woo to John Carpenter, who used this movie as inspiration to create the iconic Michael Myers mask. It’s not your standard horror film by any means, but it IS haunting and emotionally stirring.
#14: “Deathdream” (1974)
Also known as “Dead of Night,” “Deathdream” was directed by Bob Clark, the same man behind the wildly influential slasher movie “Black Christmas.” Also, the comedy “A Christmas Story.” (He seems to have very mixed feelings about Christmas). “Deathdream” was inspired by the famous short story “The Monkey’s Paw,” which also involves a mother’s wish that her dead son return to her. Although the wish is granted, it’s not exactly what the family had in mind. The movie is a slow-burning chiller that wonderfully utilizes the zombie genre as an allegory for war and the problems that shell-shocked veterans have with reintegration. It’s an unusually smart horror movie that deserves more recognition within the canon.
#13: “Bone Tomahawk” (2015)
For a movie so jam-packed with incredible actors, “Bone Tomahawk” is painfully ignored. Starring Kurt Russell, Patrick Wilson, Richard Jenkins, and Matthew Fox, the movie is a deft blend of Western and horror. The cast deliver fantastic performances, and the film balances slow-paced, character-driven work with raw, visceral thrills. And how visceral they are! The gore and makeup work in this movie are unbelievable, and there’s one scene in particular that will remain burned into your memory for years to come. Whether you want to watch a unique Western with great dialogue, or witness an unsettling, gore-filled horror, “Bone Tomahawk” is your movie.
#12: “Carnival of Souls” (1962)
“Carnival of Souls” is certainly an acquired taste, but those feeling daring and experimental will be rewarded with one of the most gloriously atmospheric horror movies of all time. It was shot on a meager budget of $33,000, but what director Herk Harvey does with that money is frankly amazing. The movie is perhaps most well-known for its striking cinematography and ghastly visuals, as it makes even the most ordinary of areas and situations seem ripped from a nightmare. There are no cheap jump scares, no horrifying acts of violence, and no scary monsters. It’s just a creepy art house movie interested in bewildering its viewers, and it succeeds in spectacular fashion.
#11: “Pontypool” (2008)
“Pontypool” is a very different sort of zombie film. It follows the crew of a radio station in real-life Pontypool, Ontario, Canada, who learn of an apocalyptic virus from their helicopter reporter and eerie audio transmissions. The entire movie takes place within the radio station, so we never actually see the chaos outside. But in some ways, that’s even scarier. Many great horror movies get by on terrifying viewers with their own imaginations, and “Pontypool” is no different. It’s also highly unique within the genre, as the virus is transmitted through specific words rather than bites. It’s a little out there, but it all plays into the movie’s theme about the meaning and power of words.
#10: “The Autopsy of Jane Doe” (2016)
The premise is relatively simple: a father-son coroner team are tasked with performing an autopsy on a mysterious Jane Doe, found at the scene of a multiple homicide. But as they begin to unravel the mysteries surrounding the body, the duo are plagued with horrific instances of supernatural phenomena. The movie is wonderfully written and directed, offering tantalizing mysteries, surprising answers, and some wickedly unpredictable scares. It is also proficiently acted by Emile Hirsch and esteemed character actor Brian Cox. Don’t let the somewhat banal title fool you – “The Autopsy of Jane Doe” is anything but boring.
#9: “Kill List” (2011)
“Kill List” is an extravagant blending of genres, pulled off expertly by director Ben Wheatley. It begins as a crime thriller, as an ex-British soldier turned professional hitman is given a kill list by a mysterious shadow client. But as the story progresses, it veers deeper and deeper into disturbing and visceral horror akin to a fever dream. Critics have compared the movie to “The Blair Witch Project” and “The Wicker Man.” Despite its obvious influences, “Kill List” is unlike any horror movie you’ve ever seen, and it will leave you genuinely disturbed and emotional. That much we can guarantee.
#8: “Alice, Sweet Alice” (1976)
“Alice, Sweet Alice” is not an easy movie to watch. It tells the story of young Alice, a troubled child who’s suspected of murdering her younger sister on the day of her first communion. So, right off the bat you have murder during an important religious ceremony. Needless to say, the movie was met with some controversy. With its gut-wrenching premise, “Alice, Sweet Alice” is a solid horror-mystery-thriller concoction that helped usher in the slasher genre. Unlike many slashers, this movie showed surprising filmmaking craft, with an eerie score, flashy cinematography, and a solid lead performance from Paula Sheppard.
#7: “Inside” (2007)
This French horror thriller is NOT for the faint of heart. It’s violent, disturbing, and gory, but also darkly gripping. Alysson Paradis stars as Sarah, an expectant mother who’s grieving the recent death of her husband. She becomes the victim of a brutal home invasion, by an attacker who wants to abduct her unborn fetus. Yeah, you can imagine now why this movie is so upsetting. “Inside” is filled with horrific violence, all shown in unimaginably graphic detail. While traumatic and unrelenting, it’s also far above the usual grindhouse fare – stylish, impeccably acted, and superbly paced and edited. “Inside” is a grindhouse movie made with artistry.
#6: “The Haunting” (1963)
Please do not judge “The Haunting” on that horrendous 1999 remake with Liam Neeson and Catherine Zeta-Jones. Forget that exists and watch the 1963 original instead. This movie was adapted from Shirley Jackson’s novel “The Haunting of Hill House,” which is often regarded as the greatest haunted house novel ever written. And while the Netflix series was certainly great, it wasn’t a faithful adaptation of the story. This movie is, and it is brilliant. Like the novel, it serves as both a chilling haunted house yarn and a frightening character study, which is aided by Julie Harris’s tremendous performance as the unhinged Eleanor. “The Haunting” may be the scariest, most psychological, and most stylish ghost movie ever made.
#5: “The Invitation” (2015)
“The Invitation” is a dinner party thriller first and foremost. You know how it goes – someone is invited to dinner, the hosts are a little wacky, and tension slowly builds before boiling over into violence and mayhem. And while “The Invitation” follows this formula to a T, it is a very well-crafted piece of work, with a stellar performance by Logan Marshall-Green. However, it’s also a movie about the contrast between inner turmoil and outer appearances, and deals with some heavy themes such as loss, depression, and acceptance. By mixing in complex character work with the more conventional thrills of the dinner party thriller, “The Invitation” becomes greater than the sum of its parts.
#4: “Audition” (1999)
The second Ryu Murakami adaptation on our list, “Audition” is just as depraved, if not more so. This Japanese horror film is now considered a cult classic, but its success came slowly. It first premiered at the Vancouver International Film Festival and gradually earned attention as it toured the festival circuit and was released on DVD. The film generated a strong response, with many critics lauding the movie’s acting, wild shifts in tone, and climactic torture sequence. The latter is what most people seem to remember about the film, and for good reason. It’s singularly shocking and gruesome, and the inspiration behind Eli Roth’s splatter film “Hostel”.
#3: “Session 9” (2001)
If you love the inherent creepiness of abandoned mental asylums, then “Session 9” is your movie. It follows an asbestos cleaning crew who are tasked with cleansing an abandoned mental hospital. The movie was shot at the real Danvers State Hospital, lending it a creepy sense of authenticity. You can practically feel the hospital’s history through the screen. The movie has been praised for its foreboding atmosphere, and its style and tone have been favorably compared to Stanley Kubrick’s masterpiece “The Shining.” By relying on psychological tension over jump scares or gore, “Session 9” truly gets under your skin and into your head.
#2: “Possession” (1981)
On the surface, “Possession” is about a young couple going through a divorce. The Berlin Wall is used as a metaphor for a crumbling marriage. And that’s where the movie leaves conventional plots, characters, and symbolism behind. Directed by Polish filmmaker Andrzej Żuławski, “Possession” is like Dario Argento’s “Suspiria” on acid. The acting is gleefully over-the-top, and the camera swoops and zags and zooms, refusing to remain static. And yes, there are monsters. It’s an unapologetic filmmaking extravaganza, and it is glorious to behold. It’s more of an emotional and sensory experience than a straightforward thriller, so your mileage may vary, but what an experience it is.
#1: “Terrifier” (2018)
You may see the poster of “Terrifier” and laugh. But you know what they say about judging a book, or in this case a movie, by its cover. “Terrifier” follows a clown named Art who stalks and butchers people, and yes, that plot is ridiculously simple. But like all great slasher movies, the craft elevates the elementary story. “Terrifier” is surprisingly well shot, considering its miniscule budget; Art the Clown is a fantastic villain; and the kills are as bloody as a horror fan could want. It’s a delirious throwback to campy 80s slashers, and it doesn’t pretend to be anything more. At a time when slashers have given way to ghosts and ghouls and demons, “Terrifier” is a breath of old school fresh air.
#50: “Cam” (2018)
The horror genre is constantly evolving, and this evolution allows for new kinds of life experiences to be adapted to the silver screen. Sex worker representation in cinema has been around for ages, but 2018’s “Cam” presents a new look at the industry and the modern forms it can take. The film focuses on a particular type of in-home adult entertainment, while also exploring thematic elements of obsession, voyeurism, perfectionism, and the male gaze. The end results are totally unique. We highly recommend “Cam” for the horror fan who’s weary of the same old formulas and eager for something new.
#49: “God Told Me To” (1976)
Larry Cohen’s movies – both horror and otherwise – are unlike anything else in genre cinema. This urban auteur has always possessed a knack for unique perspectives, ideas, and dialogue, often melding multiple genres within his work. “God Told Me To” from 1976 combines elements of both police procedurals and horror in its narrative about a rash of violent crimes. The New Age movement that took hold during the 1970s is placed front-and-center, as all of the suspects are held in the thrall of a sinister religious cult. “God Told Me To” even features comic legend Andy Kaufman as one of the killers, but make no mistake: Cohen’s film is frighteningly effective.
#48: “The Brood” (1979)
David Cronenberg’s work in body horror is rightfully lauded today as a filmography chock full of disturbing classics. That said, “The Brood” from 1979 remains one of the director’s less-discussed films, which makes it ripe for a revisit in the modern day. Cronenberg defies social taboos by making his villains childlike representations of a mother’s past trauma. These creatures are physically willed into existence as psychoplasmic offspring, tethered to their “mother,” Nola Carveth. The practical effects lend these creations an insidious screen presence, and the resulting violent acts that are committed on Nola’s behalf bury themselves within our memories.
#47: “Verónica” (2017)
In less capable hands, the horror tropes in this 2017 Spanish film might have come across as cliche. Attempts at Ouija board communication? Check. Demonic symbols and possession? Double check. Yet, “Verónica” succeeds despite using these well-worn plot devices because of its sincerity and dedication to fostering fear, uncertainty, and trepidation. The acting is uniformly good throughout the film, and the scary sequences are effective enough for audiences to buy-in and buckle-up for the ride. “Verónica” fits in nicely with the Spanish horror industry’s enviable pedigree, while also standing on its own for modern representation within the genre.
#46: “Nightbreed” (1990)
Clive Barker’s work doesn’t begin and end with the “Hellraiser” franchise. In fact, 1990’s “Nightbreed” stands right up there with Pinhead and the other Cenobites, particularly the extended “Cabal Cut” that’s resurfaced in recent years. The imagination and practical effects are out of this world, as Barker’s universe of outcast monsters is brought to life. The underworld of Midian, which is fleshed-out in the longer cut of “Nightbreed,” feels lived-in and contains a wealth of unique, memorable characters. David Cronenberg cuts a truly reprehensible villain, with his Dr. Decker serving as one of Barker’s most sinister antagonists.
#45: “Martin” (1977)
Director George Romero is rightfully lauded as a master of undead cinema, but fans of the man’s work shouldn’t sleep on his non-zombie films. 1977’s “Martin” is perhaps the director’s most underrated piece. The film appears, on the surface at least, to be about vampires. However, “Martin” is more of a character study than anything, a slow-burn gem about a curious young man with the troublesome habit of stealing people’s blood without consent. Yes, the titular Martin believes he is a vampire, but this definitely isn’t your average Universal or Hammer Horror jam. It’s something completely different.
#44: “Wait Until Dark” (1967)
Horror movies aren’t historically based on stage plays, but, then again, “Wait Until Dark” isn’t your average scary movie. The film hinges upon a pair of excellent performances from Audrey Hepburn and Alan Arkin. The former plays a blind woman, while Arkin is all slime and menace. Filmed primarily on a single set, “Wait Until Dark” feels all the more claustrophobic and tense as a result. Hepburn’s character ends in a much different place than she begins, as she’s forced to fend off both mental and physical attacks from three home invaders. Elements of modern gaslighting also come into play, while the film’s final act is a white-knuckle exercise in anxiety.
#43: “The Orphanage” (2007)
This is another Spanish horror film that proves the industry is still alive and well in the modern day. There’s a wealth of atmosphere here that feels indebted to the European gothic horrors of the 1960s and ‘70s. Yet “The Orphanage” also feels fresh, thanks to the honesty of the performances. There’s almost a fairy-tale feeling to the film’s plot, which revolves around a woman’s desire to turn her childhood orphanage into a haven for disabled youth. We’re not talking Disney fairy-tales, however, but more of a Brothers Grimm vibe, complete with all of the thematic darkness that comparison entails.
#42: “Nekromantik” (1987)
West German director Jörg Buttgereit captured one of humanity’s greatest taboos with his transgressive 1987 film, “Nekromantik.” We’re speaking specifically about necrophilia, but that’s not all this intensely disturbing and controversial film has to offer its viewers. Sex, death, and real-life animal violence combine with a memorably creepy musical score to create an unsettling viewing experience. In fact, the legacy of “Nekromantik” was so complicated that the film was banned for many years in many countries. Today, however, the themes of social apathy, anxiety, and death fetishism have been largely reassessed as artful and, depending on the viewer, even perversely beautiful.
#41: “Deep Red” (1975)
This list is full of brilliant horror filmmakers, but Dario Argento stands among the very best of Italy’s macabre maestros. Efforts such as “Tenebrae” and his 1975 masterpiece “Deep Red” serve as textbook examples of that country’s giallo cycle. These were pulpy, homegrown thrillers that often combined elements of police procedurals and mysteries alongside gruesome murder set-pieces. The visuals in “Deep Red” are particularly stylish, and are amplified by Goblin’s booming progressive rock score. The mystery is compelling, too, as are the performances of David Hemmings and Argento’s former wife and collaborator, Daria Nicolodi.
#40: “The Wailing” (2016)
This movie delves into a number of different genres, from occult horror to police procedurals to classic zombie cinema. Yet, this modern horror classic also manages to feel even more expansive than those solid influences. “The Wailing” takes audiences into a universe of mysticism, leading into an almost impenetrable darkness. Director Na Hong-jin constructs a bleak narrative here, together with more cerebral dialogues on grief, superstition, and real-world evil. “The Wailing” asks a lot of questions, and the answers it gives may not exactly leave you feeling good about how the world works, but you will never forget the experience.
#39: “Lake Mungo” (2008)
There have been a number of horror films that utilize the grieving process as a backdrop for their stories. “Don’t Look Now” is a classic example of this, while 2008’s “Lake Mungo” feels somewhat like kin to that seventies shocker, with a solid update to that central dramatic theme. The found footage style utilized within “Lake Mungo” doesn’t feel cheap or out-of-place, but instead serves to ramp up the drama and service the story. The unbelievable tragedy that befalls the family in this film makes it easy to connect with all of the docudrama elements at play, and the overall creepiness of “Lake Mungo” still gives us chills.
#38: “The Black Cat” (1934)
This collaboration between horror icons Boris Karloff and Bela Lugosi may not be as well known as “Dracula” or “Frankenstein,” but it could be argued that “The Black Cat” is actually as significant. There’s a wealth of stylistic influence here from German expressionism, while Lugosi and Karloff’s respective performances certify their greatness as masters of their craft. “The Black Cat” possesses a malevolent atmosphere and enduring, haunting sense of grandeur. This is Golden Age horror polished to gleaming perfection, with a surprising bite that made it subversive and boundary-pushing for its day.
#37: “The Hitcher” (1986)
Certain classic films will never be eclipsed by remakes. This stunning 1986 original stars Rutger Hauer in one of his grisliest and most memorable roles as a demented hitchhiker who relentlessly stalks a young man, played by C. Thomas Howell. Howell and his co-star Jennifer Jason Leigh are more than a match on-screen for Hauer, and it’s the nerve-wracking push-and-pull that serves as the crux of “The Hitcher.” This horror film is pure tension personified, and it’s Hauer’s obsessive performance that’s burned into our collective subconscious forever as a good reason to NEVER pick up a hitchhiker.
#36: “Dead & Buried” (1981)
A film is only as good as its script, and 1981’s “Dead & Buried” had a boffo screenwriting team in the form of Dan O’Bannon and Ronald Shusett. Their creativity within the confines of genre cinema shines once again with this film, as it did with “Alien.” “Dead & Buried” at once feels both nostalgic and current. On one hand, the body snatcher tropes going on within the small town of Potters Bluff feel indebted to horror’s old school. The gruesome special effects, however, are most definitely straight out of the “monster kid” playbook. As a result, “Dead & Buried” feels timeless, the sort of film that continues to offer rewards for those who discover its quirky charms.
#35: “Saint Maud” (2019)
You gotta hand it to director Rose Glass. “Saint Maud” was a successful and impressive feature-length debut for a filmmaker who seems destined for more greatness. Horror fans flocked to “Saint Maud'' and its tale of a caregiver who may be losing her grip on reality. Some of the best horror films adapt real-world situations or struggles and lay them out against a tableau of the fantastic. “Saint Maud” delves deep into religious fanaticism and accompanies the theme with striking visuals. Glass’ direction here feels purposeful and assured, and we can only hope she continues on this successfully creative path on future films.
#34: “Stage Fright” (1987)
A number of the films on this list are Italian, and that’s for good reason. “Stage Fright” is only one of the films that sprang out of Italy’s horror industry supernova during the 1970s and ‘80s. Director Michele Soavi was a uniquely creative voice within Italian horror, and his amazing imagination permeated films like “Stage Fright.” Here, the well-worn slasher tropes are given new life by the completely BONKERS idea of giving the killer a giant owl mask to wear. Additionally, the murder set pieces are unrepentantly graphic and sleazy, reveling in the red stuff in a manner Italian filmmakers became known for. Add to this a throbbing score by Simon Boswell and you have a recipe for a Mediterranean horror feast.
#33: “The Golem” (2018)
Golems, creatures from Jewish folklore, have appeared now and again in film throughout the years. Michael Mann’s “The Keep” comes to mind, as does the series of silent horror films that bore the creature’s name back in the 1920s. This titular “Golem” from 2018, however, successfully adapts the golem’s origin story from a man-made monster into something with far more emotional resonance. Here, themes of parenthood and marital strife are counterbalanced against scenes of horror and violence, yet “The Golem” never feels heavy-handed. If anything, it’s quite the opposite, and this is a horror film with a lot of worthwhile emotional layers.
#32: “A Bay of Blood” (1971)
We return to Italy for our next pick, a fine example of how that country’s giallo genre of graphic murder mysteries went on to influence the American slasher scene. Scenes from 1971’s “A Bay of Blood” would be essentially lifted by movies like “Friday the 13th: Part 2,” like the sequence involving an amorous couple who are attacked while in bed. Director Mario Bava was already a film legend prior to helming “A Bay of Blood,” yet it would be this film’s intense levels of violence that would earn him true international infamy. There are no heroes here, only victims for the body count. “A Bay of Blood” is a frenzied whodunnit that pushed some serious boundaries in ’71, and remains relevant viewing today.
#31: “A Tale of Two Sisters” (2003)
Horror fans in North America have long sought out imported shockers from Europe, Asia and beyond, all to receive a properly balanced cinematic diet. “A Tale of Two Sisters” was one of the earlier examples of South Korean horror that made crossover headway overseas, however, and was a critical and commercial cult classic. The film is a ghost story, sure, but “A Tale of Two Sisters” also knows how to dance around genre conventions to hit its own creative beats. There’s a lot of darkness here, a tragic tale that isn’t for those seeking out easy answers or happy endings tied up in a bow. Instead, “A Tale of Two Sisters” presents a psychologically messy family drama, with an extra side helping of supernatural scares.
#30: “Tales From the Crypt” (1972)
The horror anthology has always been a great medium with which to tell a variety of stories. The original “Tales From the Crypt” from ’72 is arguably one of the best of these, and packs some serious star power. Joan Collins, Peter Cushing, Patrick Magee and more all lend their talents to this wonderfully creepy anthology full of thematic schadenfreude for those who face The Crypt Keeper, played by Ralph Richardson. These are mini-morality plays with the sort of classy execution that was a hallmark of British horror in the 1970s. There’s no doubt that “Tales From the Crypt” is some of the best horror ever produced by the U.K.
#29: “Kwaidan” (1964)
“Tales From the Crypt” isn’t the only awesome horror anthology film on this list. “Kwaidan” hails from Japan, and was released back in 1964, yet it still possesses some seriously scary staying power, decades later. “Scary,” that is, if you can get past just how gorgeous this film looks. The cinematography, set design, and visual style of “Kwaidan” are sumptuous and impossible to forget. At the same time, its tales of terror bring to the screen stories that are ghostly morality tales with plenty of spooky visuals. “Kwaidan” is a film that’s astonishingly atmospheric, and guaranteed to put you in the Halloween spirit. Just be sure to start this one late at night, when the moon is full…
#28: “The Burning” (1981)
The 1980s were a halcyon decade for the slasher movie, particularly during its earliest years. “The Burning” may not be spoken of as often as its peers, but there are more than enough elements here to make it worth your time. For starters, there’s the presence of future stars Jason Alexander and Holly Hunter, appearing here in the infancy of their careers. Additionally, the special effects from Tom Savini are off the charts in terms of execution, particularly on the infamous “raft scene.” Meanwhile, Yes keyboardist Rick Wakeman delivers a wonderful score that’s quirky and creepy in equal measure, and the ending bucks “final girl” slasher convention.
#27: “In the Mouth of Madness” (1994)
Director John Carpenter is lauded for films like “Halloween” and “The Thing,” and rightfully so. However, fans would be wise not to sleep on some of his later work, including this banger from 1994. “In the Mouth of Madness” is Carpenter indulging in some seriously occult, Lovecraftian vibes, but doing so with his own, inimitable flair. The question of fantasy versus reality is very present as “In the Mouth of Madness” revolves around the works of fictional horror novelist Sutter Cane. Answers here aren’t exactly clear-cut, and Carpenter’s film has a great time going off the deep end in terms of atmosphere, excitement and impressive visuals. “In the Mouth of Madness” is a must-watch.
#26: “Demons” (1985)
There are few Italian horror films from the 1980s that possess as much sinful glee as 1985’s “Demons.” Director Lamberto Bava had this stuff in his blood, since his dad was the aforementioned maestro, Mario Bava. “Demons” is substantially more popcorn fare than much of the elder Bava’s work, but this is in no way a slight. In fact, this is one of the reasons why “Demons” is so successful. It keeps plot points (and extraneous locations) to a minimum, setting up the story where people are locked inside of a movie theater full of bloodthirsty creatures. “Demons” is heavy metal horror turned up to the max, with insane special effects and a pace that never lets up. It’s pure escapist pleasure.
#25: “Don’t Torture a Duckling” (1972)
“Don’t Torture a Duckling” is very different than “Demons” stylistically, despite being produced in the same country. Director Lucio Fulci was often referred to as Italy’s “Godfather of Gore,” but this film proves that the man certainly wasn’t defined by this moniker. Instead, “Don’t Torture a Duckling” tackles small-town persecution, religious fanaticism, murder, and abuse in perhaps the bleakest manner possible. Fulci’s direction is strong and stylish, but never at the expense of the story. Meanwhile, Florinda Bolkan’s performance is at once both tragic and mesmerizing, helping elevate “Don’t Torture a Duckling” towards the apex of Italy’s horror pantheon.
#24: “The Changeling” (1980)
Are you looking for a slow-burn, creepily atmospheric horror film to keep you warm on those cold winter nights? Then might we suggest “The Changeling,” from 1980? This Canadian horror film is often cited as one of the country’s best international horror offerings, and with good reason. Newer generations have been discovering this spook show and becoming captivated by its story and performances. George C. Scott in particular shines in the lead role, as a grieving man who moves into a house that may (or may not) be haunted. John Russell lost everything after the untimely deaths of his wife and child, and “The Changeling” channels this loss to charge nearly every frame with melancholy, beauty and, yes, fear.
#23: “Cemetery Man” (1994)
“Cemetery Man” is yet another film from Michele Soavi to make our list, a testament to the director’s timeless power. This flick may be Soavi’s crowning achievement as a filmmaker and proof that Italian horror still had something to say during the nineties. The film stars a young Rupert Everett as a cemetery caretaker who keeps having to take care of the annoying living dead who rise from their tombs every night. Soavi injects “Cemetery Man” with sexuality, violence, and an anarchic sense of humor that goes a long way in keeping this film unlike anything you’ve likely ever seen. Additionally, can we just say that it also includes what just has to be the greatest Grim Reaper ever committed to film?
#22: “Opera” (1987)
Dario Argento was already well-established as a horror icon prior to directing “Opera” in 1987. The director’s groundbreaking work with films like “Deep Red” and “Suspiria” helped cement Italy as an international voice for genre cinema, yet “Opera” proves that Argento still had plenty of gas left in the creative tank. Graphic murders are taking place within an opera house that’s gearing up for a high-profile production of “Macbeth.” What does this have to do with Mara Cecova, and why is she being forced to watch? The answers aren’t so simple, and honesty takes a backseat to all of the wild ‘n crazy set pieces that make “Opera” such idiosyncratic viewing. This one may be one of Argento’s most unhinged works.
#21: “The Innocents” (1961)
This incredible film from 1961 is an all-time classic ghost story, a masterpiece adapted from Henry James’ novella “The Turn of the Screw.” The film is all about atmosphere, with a growing sense of unease, paranoia and self-doubt building to a feverish pitch. This is filmmaking that takes its time ramping up tension, and the end results make this ride utterly worth the wait. The idea of childhood innocence is juxtaposed against ghostly possessions and hallucinations that may (or, again, may not) be stress-induced. The special effects, and particularly the haunting music, remain powerful today, making “The Innocents” a film experience well ahead of its time.
#20: “Piercing” (2018)
If you’ve seen Nicolas Pesce’s “The Eyes of My Mother,” you know his movies don’t exactly make for easy viewing. “Piercing” is no different. Based on a book by Japanese novelist Ryū Murakami, it stars Christopher Abbott as Reed, a businessman who intends to take the life of a working girl while staying in rented lodging. With a shocking opening that involves his own baby, the horror thriller only gets worse from there.. It will certainly divide opinion, as it’s definitely not for everyone. But it’s impressively stylish, reminiscent of the slick Italian giallo horror movies of the ‘70s. So if you want a retro-style horror-thriller, you could do a lot worse than “Piercing.”
#19: “Resolution” (2012)
Justin Benson and Aaron Scott Moorhead are two of the most talented indie horror filmmakers working today, and their work remains criminally underappreciated. Their 2012 film “Resolution” is particularly great. It follows a graphic designer named Michael who receives a disturbing video from his best friend, Chris. Worried about Chris’s mental state, Michael travels to a remote cabin to rescue his delusional friend. It serves as a brilliant meta-commentary on the horror genre, and many critics have compared it favorably to “The Cabin in the Woods” (with some arguing that it’s even better). Both this film and its sorta-sequel “The Endless” (which stars Benson and Moorhead) are required viewing for horror fans.
#18: “The Ritual” (2017)
Those looking for “Blair Witch Project”-type scares could do a lot worse than “The Ritual.” This movie was released on Netflix back in 2018, although it failed to generate interest outside the die-hard horror community. It follows a group of friends, led by the always incredible and underrated Rafe Spall, who are hunted through the woods by an unseen entity. Like “The Blair Witch Project,” “The Ritual” strikes a delicate balance between psychological horror and physical scares, and the terror comes just as much from the men’s diminishing trust and conflicts as it does from the visceral spooks. Add in the unrelentingly bleak atmosphere, and you have yourself another reason to never enter the woods.
#17: “Eden Lake” (2007)
Tell us if you’ve heard this premise before – a young couple in a dangerously secluded area are stalked by a group of menacing psychos. Of course you have, it’s the basis to many a slasher movie. But “Eden Lake” takes the tired concept and manages to make it fresh again thanks to its sheer and unrelenting brutality. This is not an easy film to watch – it is violent, it is bloody, and worst of all, it is realistic. Unlike most slashers that vie for shocks and gore, this one remains rooted in realism, and the results are just as emotional as they are disorienting. It requires a strong stomach, but those who can get through it will find a lot to like here.
#16: “Creep” (2015)
Don’t be put off by the found footage style – “Creep” is legitimately, well, creepy. “Creep” follows Aaron, a videographer who’s hired by the dying Josef to film a day-in-the-life for his unborn son. While Josef is eccentric and a little “off,” he is relatively harmless. Until he isn’t. “Creep” is definitely a slow burn, but the ebb and flow of tension keeps viewers on their toes and questioning Josef’s motives and personality. Mark Duplass somehow manages to imbue Josef with humanity while also creeping us the heck out, and it’s amazing to see him effortlessly switch between moments of poignant tenderness and sinister depravity.
#15: “Eyes Without a Face” (1962)
“Eyes Without a Face” is rarely discussed, which is a shame, seeing as how it’s one of the most beautiful horror movies of all time. Yes, we said beautiful. The film was initially met with hostile reviews, as critics thought that a genre film was beneath esteemed documentary filmmaker Georges Franju. However, it underwent a critical reevaluation upon re-release and is now considered a poetic, surreal, and fairy tale-esque masterpiece. It influenced a generation of filmmakers, from John Woo to John Carpenter, who used this movie as inspiration to create the iconic Michael Myers mask. It’s not your standard horror film by any means, but it IS haunting and emotionally stirring.
#14: “Deathdream” (1974)
Also known as “Dead of Night,” “Deathdream” was directed by Bob Clark, the same man behind the wildly influential slasher movie “Black Christmas.” Also, the comedy “A Christmas Story.” (He seems to have very mixed feelings about Christmas). “Deathdream” was inspired by the famous short story “The Monkey’s Paw,” which also involves a mother’s wish that her dead son return to her. Although the wish is granted, it’s not exactly what the family had in mind. The movie is a slow-burning chiller that wonderfully utilizes the zombie genre as an allegory for war and the problems that shell-shocked veterans have with reintegration. It’s an unusually smart horror movie that deserves more recognition within the canon.
#13: “Bone Tomahawk” (2015)
For a movie so jam-packed with incredible actors, “Bone Tomahawk” is painfully ignored. Starring Kurt Russell, Patrick Wilson, Richard Jenkins, and Matthew Fox, the movie is a deft blend of Western and horror. The cast deliver fantastic performances, and the film balances slow-paced, character-driven work with raw, visceral thrills. And how visceral they are! The gore and makeup work in this movie are unbelievable, and there’s one scene in particular that will remain burned into your memory for years to come. Whether you want to watch a unique Western with great dialogue, or witness an unsettling, gore-filled horror, “Bone Tomahawk” is your movie.
#12: “Carnival of Souls” (1962)
“Carnival of Souls” is certainly an acquired taste, but those feeling daring and experimental will be rewarded with one of the most gloriously atmospheric horror movies of all time. It was shot on a meager budget of $33,000, but what director Herk Harvey does with that money is frankly amazing. The movie is perhaps most well-known for its striking cinematography and ghastly visuals, as it makes even the most ordinary of areas and situations seem ripped from a nightmare. There are no cheap jump scares, no horrifying acts of violence, and no scary monsters. It’s just a creepy art house movie interested in bewildering its viewers, and it succeeds in spectacular fashion.
#11: “Pontypool” (2008)
“Pontypool” is a very different sort of zombie film. It follows the crew of a radio station in real-life Pontypool, Ontario, Canada, who learn of an apocalyptic virus from their helicopter reporter and eerie audio transmissions. The entire movie takes place within the radio station, so we never actually see the chaos outside. But in some ways, that’s even scarier. Many great horror movies get by on terrifying viewers with their own imaginations, and “Pontypool” is no different. It’s also highly unique within the genre, as the virus is transmitted through specific words rather than bites. It’s a little out there, but it all plays into the movie’s theme about the meaning and power of words.
#10: “The Autopsy of Jane Doe” (2016)
The premise is relatively simple: a father-son coroner team are tasked with performing an autopsy on a mysterious Jane Doe, found at the scene of a multiple homicide. But as they begin to unravel the mysteries surrounding the body, the duo are plagued with horrific instances of supernatural phenomena. The movie is wonderfully written and directed, offering tantalizing mysteries, surprising answers, and some wickedly unpredictable scares. It is also proficiently acted by Emile Hirsch and esteemed character actor Brian Cox. Don’t let the somewhat banal title fool you – “The Autopsy of Jane Doe” is anything but boring.
#9: “Kill List” (2011)
“Kill List” is an extravagant blending of genres, pulled off expertly by director Ben Wheatley. It begins as a crime thriller, as an ex-British soldier turned professional hitman is given a kill list by a mysterious shadow client. But as the story progresses, it veers deeper and deeper into disturbing and visceral horror akin to a fever dream. Critics have compared the movie to “The Blair Witch Project” and “The Wicker Man.” Despite its obvious influences, “Kill List” is unlike any horror movie you’ve ever seen, and it will leave you genuinely disturbed and emotional. That much we can guarantee.
#8: “Alice, Sweet Alice” (1976)
“Alice, Sweet Alice” is not an easy movie to watch. It tells the story of young Alice, a troubled child who’s suspected of murdering her younger sister on the day of her first communion. So, right off the bat you have murder during an important religious ceremony. Needless to say, the movie was met with some controversy. With its gut-wrenching premise, “Alice, Sweet Alice” is a solid horror-mystery-thriller concoction that helped usher in the slasher genre. Unlike many slashers, this movie showed surprising filmmaking craft, with an eerie score, flashy cinematography, and a solid lead performance from Paula Sheppard.
#7: “Inside” (2007)
This French horror thriller is NOT for the faint of heart. It’s violent, disturbing, and gory, but also darkly gripping. Alysson Paradis stars as Sarah, an expectant mother who’s grieving the recent death of her husband. She becomes the victim of a brutal home invasion, by an attacker who wants to abduct her unborn fetus. Yeah, you can imagine now why this movie is so upsetting. “Inside” is filled with horrific violence, all shown in unimaginably graphic detail. While traumatic and unrelenting, it’s also far above the usual grindhouse fare – stylish, impeccably acted, and superbly paced and edited. “Inside” is a grindhouse movie made with artistry.
#6: “The Haunting” (1963)
Please do not judge “The Haunting” on that horrendous 1999 remake with Liam Neeson and Catherine Zeta-Jones. Forget that exists and watch the 1963 original instead. This movie was adapted from Shirley Jackson’s novel “The Haunting of Hill House,” which is often regarded as the greatest haunted house novel ever written. And while the Netflix series was certainly great, it wasn’t a faithful adaptation of the story. This movie is, and it is brilliant. Like the novel, it serves as both a chilling haunted house yarn and a frightening character study, which is aided by Julie Harris’s tremendous performance as the unhinged Eleanor. “The Haunting” may be the scariest, most psychological, and most stylish ghost movie ever made.
#5: “The Invitation” (2015)
“The Invitation” is a dinner party thriller first and foremost. You know how it goes – someone is invited to dinner, the hosts are a little wacky, and tension slowly builds before boiling over into violence and mayhem. And while “The Invitation” follows this formula to a T, it is a very well-crafted piece of work, with a stellar performance by Logan Marshall-Green. However, it’s also a movie about the contrast between inner turmoil and outer appearances, and deals with some heavy themes such as loss, depression, and acceptance. By mixing in complex character work with the more conventional thrills of the dinner party thriller, “The Invitation” becomes greater than the sum of its parts.
#4: “Audition” (1999)
The second Ryu Murakami adaptation on our list, “Audition” is just as depraved, if not more so. This Japanese horror film is now considered a cult classic, but its success came slowly. It first premiered at the Vancouver International Film Festival and gradually earned attention as it toured the festival circuit and was released on DVD. The film generated a strong response, with many critics lauding the movie’s acting, wild shifts in tone, and climactic torture sequence. The latter is what most people seem to remember about the film, and for good reason. It’s singularly shocking and gruesome, and the inspiration behind Eli Roth’s splatter film “Hostel”.
#3: “Session 9” (2001)
If you love the inherent creepiness of abandoned mental asylums, then “Session 9” is your movie. It follows an asbestos cleaning crew who are tasked with cleansing an abandoned mental hospital. The movie was shot at the real Danvers State Hospital, lending it a creepy sense of authenticity. You can practically feel the hospital’s history through the screen. The movie has been praised for its foreboding atmosphere, and its style and tone have been favorably compared to Stanley Kubrick’s masterpiece “The Shining.” By relying on psychological tension over jump scares or gore, “Session 9” truly gets under your skin and into your head.
#2: “Possession” (1981)
On the surface, “Possession” is about a young couple going through a divorce. The Berlin Wall is used as a metaphor for a crumbling marriage. And that’s where the movie leaves conventional plots, characters, and symbolism behind. Directed by Polish filmmaker Andrzej Żuławski, “Possession” is like Dario Argento’s “Suspiria” on acid. The acting is gleefully over-the-top, and the camera swoops and zags and zooms, refusing to remain static. And yes, there are monsters. It’s an unapologetic filmmaking extravaganza, and it is glorious to behold. It’s more of an emotional and sensory experience than a straightforward thriller, so your mileage may vary, but what an experience it is.
#1: “Terrifier” (2018)
You may see the poster of “Terrifier” and laugh. But you know what they say about judging a book, or in this case a movie, by its cover. “Terrifier” follows a clown named Art who stalks and butchers people, and yes, that plot is ridiculously simple. But like all great slasher movies, the craft elevates the elementary story. “Terrifier” is surprisingly well shot, considering its miniscule budget; Art the Clown is a fantastic villain; and the kills are as bloody as a horror fan could want. It’s a delirious throwback to campy 80s slashers, and it doesn’t pretend to be anything more. At a time when slashers have given way to ghosts and ghouls and demons, “Terrifier” is a breath of old school fresh air.
