Ever since the dawn of film, Horror has played a part in its development. Acting as a mirror to our inner most fears, while challenging us to face the ghosts of our deepest anxieties and terrors. Whether fictional, religious or real, horror has played with the psychology of human fear, shining a light into the darkest corners of human existence. Making us jump, scream, reevaluate humanity and relive the childhood monsters under the bed. While giving us some of the finest artistic films of the past 100 years, the genre allowing directors to open up their imaginations on screen.
Horror has enabled the public sharing of emotional and psychological fear, the cinema acting as a safe place to face your demons with others. Embracing the collective and personal experience of theatre, while bringing classic literature to life with sound and pictures.
This is a genre that has taken us to places that exist only in our deepest imaginations. From the haunted house to mythological creatures and the deepest reaches of space. Allowing us to explore the unknown corners of our lives, while reflecting the social landscape of the day. Often acting as a mirror to the very social themes and anxieties that create public opinion, action and social policy.
So dim the lights, lock the doors, and join us as we explore our list of the essential horror films everyone should see.
Just don’t have too many nightmares.
Founded in 1934, Hammer Horror has become synonymous with classic gothic horror tales. Taking the classic literature and ideas inherent in Victorian horror, while adding its own unique visual style. Bathing stories in dramatic sets, vivid technicolour and the period charm of British film. Creating a catalogue of movies that have become classics of horror and British cinema.
Hammers first colour horror movie came with 1957s The Curse of Frankenstein. Building on the Universal horror pictures of the 1930s while introducing the world to the horror double act of Christopher Lee and Peter Cushing. Director Terrence Fisher, creating the very template for a decade of hammer horror films. His visual style embracing theatrical Victorian gothic horror while reflecting the cinematic landscape of 1950’s and 60s British film.
Fisher took classic literature and set it free on screen, allowing the characters to travel beyond the literary roots of their creation. With 1958s Dracula and 1961s Curse of the Werewolf clear examples of Hammer allowing its horror icons to break free of their chains. Cementing their place in the world of modern horror for decades to come. While 1959s Hound of the Baskervilles built upon the stark imagery of the 1939 film, delightfully emphasising the gothic horror of the Devon moors.
Marking a change in direction for Hammer Horror in 1968. The Devil Rides Out replaced the gothic horror audiences had become accustomed too. Journeying instead into hidden occultism in sleepy rural England. Allowing the amazing Charles Gray and Christopher Lee to have fun with their characters, while exploring new ground with an amazingly sharp screenplay.
With a back catalogue full of riches, the power and creativity of Hammer stands the test of time. And while it movies are tame by modern horror standards, they remain some of the best Halloween night pictures out there.
Two years before he brought us Superman the Movie. Richard Donner’s The Omen placed the biblically inspired story of the anti-christ’s return into the hands of a child. The child’s unsuspecting adoptive parents slowly realising the demon held within.
The Omen created its own mythology, largely due to a clever screenplay that dovetailed fiction with religious text. Creating its own unique version of the anti christ’s return to earth. A version that has cemented itself into public belief ever since its release in 1976.
But beyond its religious themes, Donner takes the 1970s cinematic fascination with the occult and removes the horns and demonic iconography. Subverting the innocence of a child on screen, while never allowing the demon to fully show. Playing with the fears of a parent discovering their child is not what they thought them to be. The final scenes bathed in the terror of an impossible choice. The life of your own child versus the welfare and lives of others. A choice that no parent would ever want to make.
The Omen cleverly implants its ideas into the imaginations of us all, its themes and concepts only strengthened by the terrible accidents that swept through the production. Cementing the films place in modern cinematic folklore.
Learning from the visual style and delivery of Guillermo Del Toro’s ‘Devils Backbone’. Bayona’s 2007 film places story before scares in a visually stunning ghostly tale, that sublimely builds tension through place and performance.
The Orphanage delicately plays with the emotional horror of bereavement and loss, weaving a story that may or may not be supernatural in construct. The enigma of death and the guilt of life wrapped into a beautifully shot film, that remains in your heart and sole long after viewing.
Born in the imagination of the formidable Clive Barker in a collection of short stories The Books Of Blood (1984-1985). Barkers original story took place on a Liverpool housing estate. The residents investigating the urban legend of a serial killer. However in translation to film, British director Bernard Rose (Paper House) took Barkers short story to the urban decay of Chicago. Creating a nuanced horror that speaks to social themes of poverty, crime and race in 1990s America.
University researchers Helen Lyle (Madsen) and Bernadette Walsh (Lemmons) are investigating local urban legends, with a particular interest in the Candyman legend of the Cabrini Green housing project. A rough, crime ridden estate of abject poverty, populated by black families. The legend of revolving around the son of a slave who was viciously murdered due to a relationship with a white woman, his hand off, and his body smeared in honey, before being thrown naked into an apiary. The community of Cabrini Green still living in fear of legend, alongside the abject poverty of the racial segregation still alive and well.
Candyman’s horror comes from mixing urban legend with the uncomfortable realities of a racially divided America still living in the shadow of slavery. Its white middle class university researcher getting far more than she bargains for as she crosses the divide of wealth and race in 1990s America. Once seen never forgotten, Candyman is a truly unique horror film that stays with you forever.
Santa Claus stalking houses for a night has become strangely normal in our view of Christmas traditions. However, a serial killer stalking a group of students with not a present in sight is simply not acceptable. Black Christmas has become a legendary horror, subverting the joys of Christmas with a slasher film that’s truly scary. This is a film that came before the Slasher masterpiece of Halloween, and is in many ways the template for Carpenters film. Cleverly ensuring the killer is kept in the shadows, their motives unclear. While telephone conversations with the mysterious killer acted as the inspiration for ‘Scream’ in 1996. Black Christmas may have been low budget, but it shines with horror, subverting the happiest time of the year into an urban blood bath.
While directed by horror maestro Tobe Hooper (The Texas Chainsaw Massacre) Poltergeist feels firmly rooted in classic Steven Spielberg’s territory. Less horror and more ghost train ride, Poltergeist is filled with childhood fear set against a backdrop of paranormal activity. From toys that come alive to the monster in closet and scary tree outside your window. Poltergeist is determined to take you back to your childhood terrors and succeeds in bending those childhood fears that kept you awake into a gloriously outlandish paranormal ride.
There are echoes of Close Encounters of the Third Kind, sitting alongside The Twilight Zone, each making Poltergeist extremely fun and yet also visually chilling. While Jerry Goldsmiths terrifying yet tender score further emphasises the childhood horror of the films key themes.
Poltergeist II does not make our list, but does deserve an honourable mention for giving us one of the most chilling preachers ever seen on film; Kane (Julian Beck). Although the rest of Poltergeist II never managed to live up to his performance here’s a chilling clip of him in action.
IT Chapter One (2017) shines with love and care for love kings source material; Andy Muschietti understanding the core themes of the book in his translation to the screen. The casting of IT Chapter One equally demonstrates an understanding and love of earlier King adaptations like Stand By Me. Muschietti bringing together some of the finest young talent in Hollywood, in creating a Losers Club you can believe in.
Muschietti allows his young cast to own their characters. Both cast and crew understanding the need to surround the young people with the isolation and adult indifference of the fictional town of Derry. With childhood fears, experiences and understanding, brushed aside by adults who know best. While those very adults ignoring the real horror of their own lives and the town they call home
The darkness of the town, and its indifference to the horror surrounding it centring on one of the finest on screen monsters ever created. With Bill Skarsgård’s Pennywise the Clown, taking the sinister presence of Tim Curry’s earlier 1990 portrayal and adding layers of Victorian gothic horror. His clown never appearing too human, the ‘IT’ behind the mask always evident.
When combined with IT Chapter Two (2019) we are given a visceral journey into the childhood traumas that make the adult. Exploring and uncovering the childhood fears and choices that we try to forget. The choices and experiences that subconsciously gnaw away at our character, opportunity and relationships in later life. A homage to Stephen King’s writing and character building, that never attempts to play to mindless screen horror over its core literary messages. The delightfully sinister Pennywise/IT playing with each adult and child’s true fears. While reminding us all that the child makes the adult, and suppression of childhood experience only haunts us in later life.
IT Chapter One and Two are designed to be seen in tandem, both chapters transferring and connecting into one journey. Stephen King’s novel finally receiving a confident and beautifully filmed translation on the big screen. The coming of age journey and exploration of the inner child in every adult. Matched with the horror of imagination, experience and abandonment. Muschietti honouring a literary genius, while creating one of the finest horror journeys of the past decade. Understanding that true horror lies as much within ourselves as it does within the monster in the deepest darkest sewers.
Without question one of the finest horror films ever made, Hitchcock’s Psycho remains a cinematic ride of pure psychological horror. Exploring the thrill and torment of murder through the eyes of its insecure lead Norman (Anthony Perkins). Delving into the sexually restrictive and confined morality of a young man held prisoner by the ghostly security of his mother, long after her death.
Hitchcock weaves his tale around Marion Crane, who commits a crime of passion while in the throws of an unhealthy love affair. A victim who becomes a criminal, much like the young motel owner she meets while fleeing her crime. Both characters wrapped in events outside of their control, with sexuality and desire leading to ultimate destruction.
Norman screams to be released from the grip of his mother, yet is afraid to enter the real world without her security. The psychological fight of his deceased mothers control clashing with his need to spread his wings as an independent young man.
Psycho inspired a stream of later horror movies, including Halloween. But, unlike many of the films that came after, Hitchcock’s ability to directly tap into human fears make it one of the finest horrors ever made. Psycho understands the fears of finally listening to the distant nagging voice in your head; fears that love may lead us to commit a crime of passion; fears that someone might be spying on us in our most private moments; fears that true horror comes with a gentle smile and not a evil glare. All wrapped up with a fear of disappointing our mothers.
From its stripped back poster design to the invention of the modern horror/sci-fi genre. Alien has imbedded itself in modern cinematic history, as a film that truly took cinema into the coldest reaches of space. Combining the emergence of the 1970s slasher film with the classic 1950s B-Movie in a stark modern vision of space exploration. Aliens impact as both a horror and science fiction film is undeniable and far reaching.
40 years on Alien is still fresh and remarkably undated. Much of this achieved through a filmmaking process that understood the importance of balancing effects with story. Focusing on building suspense, while never revealing too much. Alien uses its stark colour pallet and sound to create a vacuum of isolation and mystery for the viewer. Mixing the sounds of technology with sounds of nature and organic life to create a truly immersive landscape of the built versus the natural.
Visually Alien uses is stark colours to further imbed a feeling of fear. With the rich deep earthly colours of the human crew set against the stark clinical white of technology and the silver of the advanced Alien.
Alien is a film that still makes you jump, bite your finger nails to a stump and believe in the horrors of space.
Alfred Hitchcock’s 1948 film is not your standard horror fair. Playing out in a single apartment, over the course of party, Rope is pure theatre on screen. A glorious and dark exploration of murder, and revenge that still captivates new audiences.
Based on Patrick Hamilton’s 1929 play, Rope took inspiration from Leopold and Loeb, two upper class graduates who murdered purely to test their intellect and ability.
Opening with the murder of a college friend, Brandon (John Dall), and Philip (Farley Granger) store the victims body in a chest. A piece of furniture that takes pride of place in the middle of their apartment. Both young men planning to continue with a dinner party for friends, testing their abilities to get away with murder in front on an unsuspecting crowd. The victims body hidden in plane sight of their guests, its coffin a table for canapés and drinks.
James Whale’s 1931 adaptation of Mary Shelley’s book has seared itself into pop culture. Even if you have never seen the original film you will know the character created by Boris Karloff, and the imagery of Whale’s production. In a similar vein to Nosferatu, Frankenstein creates the film version of the monster. Copied numerous times since its release but never truly equalled.
Karloffs monster is a man with a child’s brain, a misfit who doesn’t match the society of his birth, or the expectations of his maker. Allowing for scenes that are scary and tender in equal measure as the monster tries to find his place in a world he never asked to join.
Frankenstein is pure cinematic beauty from start to end, an ode to Shelly’s work on screen that still packs a punch in visual and emotional horror. While reflecting the dangers of the human need to circumnavigate natures laws.
Ghosts are often used in film purely for shock tactics, a way to make viewers jump and squirm with no real explanation of their presence. With The Devils Backbone, Guillermo del Toro takes the classic ghost story into new realms. The ghosts having meaning and purpose, while desperate to share their hidden knowledge. However for Del Toro the locations and symbolism inherent in his story set during the Spanish Civil War are often far more scary than the ghost at its heart.
The Devils Backbone uses its location and time to build tension and mystery as the turmoil of the adult world meets the hidden supernatural world. Children caught in the middle, both living and dead. As opposing forces build to a dramatic and emotional conclusion. A nuanced and sublime ghost story that offers far more than simple shocks.
F.W. Murnau’s Nosferatu marks the beginning of the Vampire on screen, a prelude to everything that came after. Its style and cinematography giving birth to the vampire on screen.
Murnau’s silent film was based on Bram Stokers classic novel Dracula, however the Stoker estate refused the film the rights to the Dracula name. Not realising the power the film would have in translating the written word to moving image.
With much of the film based in shadow, Nosferatu carries a dream like quality, the deepest fears of our subconscious reflected on screen. The power of early German filmmaking and expressionism didn’t start here, but it did find its immortal and long since copied style in Nosferatu.
Due to the plethora of sequels following it, many people have forgotten the sheer genius of Wes Craven’s original Nightmare on Elm Street. A film that not only created the cult horror figure of Freddie Krueger, but also explored themes of young people paying for the mistakes made by their parents and communities. In the case of Elm Street this was group of parents taking justice into their own hands by murdering a pedophile. Unaware that man would return in the dreams of their own children to exact his revenge.
Craven delivers a cinematic journey to hell, while never using his heroine as simple bait or fodder for the villain. In the process giving us some of the most iconic scenes in horror history, alongside one of its creepiest musical scores.
Stanley Kubrick’s film version of Stephen Kings The Shining has long been debated due to its divergence from the source material. Playing with the key horror themes of Kings novel, while stripping back many of the novels supernatural elements. Creating an uncomfortable enigma for the audience in the interface between the psychological and supernatural events of The Overlook Hotel. Kubrick wrapping the Kings supernatural terror with human horror, resulting in a masterpiece that sears itself into your consciousness.
Themes of family breakdown, domestic violence and alcoholism sit at the heart of Kubrick’s human horror. Wendy desperately trying to hold her family together, while fearing the volatile nature of her husband her Jack. Stuck in a relationship that offers little emotional support. Always placing her son Danny first, but equally unwilling to accept the true nature of her failing marriage. Kubrick’s Overlook Hotel representing her eyes being opened to the need to escape the domestic abuse, fear and control she has endured.
While Jack sees his family unit as an inconvenience to the life he thought he would have. His career as a teacher in taters due to his alcoholism and anger, behaviours that have led to him to ‘accidentally’ injure his son Danny in the past.
For Jack the Overlook Hotel is an escape from his home life, but the isolation only magnifies his failings, while his addictions haunt and taunt him. The hotel that should have provided healing, acting as a conduit for all his negative thoughts.
While there are also supernatural references within Kubrick’s vision of Kings work, his film plays more to the true horror of families where abuse and control are a part of daily reality. Kubrick reflecting the ultimate family breakdown, a horror of unchallenged addictions, domestic violence and enlightenment, striking at the heart and inner fears of the viewer. Far worse than ghosts and poltergeists, The Shining holds a mirror to the real horrors that exist in families behind closed doors.
Michael Haneke is well known for his ability to play with psychological terror, while exploring wider society and the its fears and apprehensions. With his 1992 film ‘Benny’s video’ Haneke took aim at a youth culture obsessed with violence on film. Exploring the gaps between reality and fiction in the actions of young man who lives through a lens. His own horrendous journey a mere reflection of the video culture he has absorbed.
With the original 1997 Funny Games and its subsequent remake in 2007, Haneke took aim at the safety and security of the middle class family. Once again taking audiences to the very extremes of human psychology and fear. Providing a home-invasion thriller where the horror comes from the threat of bloodshed and cruelty of the two young men at its centre. Both young men using the camera to address the audience directly, ensuring the audience are spectators to the horror that ensues. The sadistic games the boys play with their captive family becoming more and more threatening. Haneke ensuring his audience is as much to blame for feeding the outcomes of the film as the perpetrators at its centre.
In 1968 George A. Romero introduced the world to a horror film that changed the landscape of zombie pictures. Romeo’s black and white film, notable for its political references to The Vietnam War challenged pre-conceptions of horror. From introducing a black male hero to focussing on human psychology rather than the undead at the films heart.
Splatter horror that would later become a staple of Zombie films is in short supply in Romero’s vision. Replaced by a tense exploration humans facing crisis. The classic tension of the family home invasion replaced by a group of strangers who quarrel and clash in political and social views on the terror surrounding them. In many ways, this tension and exploration of human behaviour plays to the disaster movie genre. As those trapped desperately seek escape from the world collapsing outside their front door.
A classic that would give birth to the modern zombie movie, Night of Living Dead still haunts us all in its ability to capture the darkness and panic of humans facing crisis.
Ari Asters feature film debut plays homage to the classic horror of Rosemary’s Baby and Don’t Look Now. Creating a claustrophobic, tension ridden story of a family unravelling, their lives manipulated and controlled by unseen forces. Clues to the events surrounding them are littered throughout the film like breadcrumbs on a trail of terror. Encouraging the audience to find the darkness present before the family on screen.
Aster cleverly using image, sound and hooks that delicately combine to delve into our sub-conscious fears. Wrapping the audience in darkness, while playing homage to the occult films of the 1970s.
Building on his debut Hereditary, Ari Aster takes us on a journey that plays homage to The Wicker Man in construct and delivery. Aster using the beautiful Swedish countryside to create a horror bathed in sunshine. A hallucinogenic trip into daylight horror that wraps itself around you. A remote community embracing naive young travellers, while weaving them into the folklore of their hidden lives.
Midsommar gets under your skin, its stark whites blazing through your mind. As you unpick the bright, colourful and warm tones of an ultimately dark folk horror.
Vampire films have become a staple of modern horror, from Salams Lot through to Near Dark and The Lost Boys. But what happens when you combine vampire mythology with the classic coming of age themes of loneliness, difference and anxiety?
The answer is a film that combines the horrors of growing up with the horrors of blood sucking eternal creatures. Two children isolated and lost in the darkness; one a bullied and friendless human; the other a vampire child walking the earth in eternal seclusion. Both children becoming protective and dangerous friends, their love young love of each other leading to the destruction of those who threaten them.
Let the Right One In talks to the deepest fears of early adolescence, while letting in the darkness and friendship of a creature who may just enact the very things we dream of but never do.
To echo Kim Newmans wise words above would be an understatement of the power of Tobe Hoopers seminal slasher film. The Texas Chainsaw Massacre changed horror forever, inspiring countless directors to push the boundaries of the horror genre. Dovetailing the themes of real crime with visceral terror. Without it the slasher horror/serial killer genre may have never given birth to Halloween, A Nightmare on Elm Street or Alien. Still incredibly difficult to watch to this day, Hooper created a hand held work of art, that screams for your attention and never lets you go.
Adapted from Stephen Kings book of the same name, Brian De Palma’s 1976 Carrie plays with the coming of age genre and its links to horror. Encapsulating a teenage culture based on popularity, and the horror of difference.
Carrie is extremely clever film making, following its literary roots with reverence, while providing a far more complex portrayal of teenage life than its given credit for. With horror interlaced with bodily change, sex, bullying and parental control. Carrie explores the youthful desire for power to control the situations around you, and the people hurting. Feelings engrained in the experience of teenagers who are victims of cruelty and isolation. Taking the dark experiences of school, and mixing them with the need to be accepted, popular and valued. Carrie twists school life into a web of pure horror.
Far more than just a horror film, Carrie is a coming of age story with horrific conclusion
Following his 1960 masterpiece Psycho, Hitchcock’s ‘The Birds’ is a terrifying and beautiful enigma of horror. Never attempting to explain the reason why birds attack the people of Bodega Bay. Hitchcock is content to wrap us in the frenetic winged chaos of a story that starts with pet shop and ends with nature fighting back. Our sweet feathered friends turning on us, their small bodies a gathering storm of destruction that places humans in the bird cage.
Hitchcock’s stripped back sound production replaces a standard musical score with moments of silence followed by screeching bird sound. A technique that still manages sends a shive down the spine. Giving birth to wave of sound experimentation in horror, where less was more in creating tension and alarm in audiences.
Salò was Pier Paolo Pasolini’s final film before being brutally murdered on 1st November 1975. And remains one of the most controversial films ever made. Premiering just weeks after the filmmakers murder. its depiction of torture, brutality, control and sex is certainly not for those of a sensitive disposition.
Pasolini takes the Marquis de Sade’s 18th-century novel to Italy in 1944. Where a corrupt interim government was established at Salo following Mussolini’s rescue by the Nazi’s from Italian partisans. His film exploring the darkest reaches of human sexuality, control and fascism, in a manner that remains as stark and powerful today as it was in 1975.
The horror of Pasolini’s work comes from the power and control of those who feed their own perversions and sadism without regard for humanity. The innocent used as an experiment in just how far humans can be pushed. Their individual young lives meaningless in game of power, sex and control.
Many will find Salò too much to take, its horror enveloping you. But, if you believe in the power of film as art in reflecting the darkest corners of humanity. Then Pasolini’s masterpiece is a powerful and uncomfortable portrait of the humanity’s darkest reaches.
Michael Powell’s 1960 film ‘Peeping Tom’ centres on a killer who films his victims as they die. A commentary on voyeurism that many filmmakers of the time avoided due to audience sensitivities. Peeping Tom however, broke these unspoken rules and crossed a hidden line in early 60’s film. Upsetting countless more people that Hitchcock’s Psycho of the same year. Loathed by critics of the day, Peeping Tom vanished from cinema’s screens and public scrutiny. In turn ending the career of one of the UK’s greatest directors.
However, in a modern world of webcams, CCTV and reality filming, Peeping Tom found its voice with modern filmmakers bringing it back from the grave. Its stunning dissection of the human obsession with recording and documenting crime feeling even more revenant in our millennial world. Peeping Tom provides a chilling viewing experience to this day, and one that delves into the deepest and darkest corners of the human mind.
Once seen never forgotten, Austrian horror masterpiece Goodnight Mommy follows in the footsteps of director Michael Haneke (Funny Games). Providing a film that plays with our very notions of innocence, family and paternal love. A film where you sympahies are torn in every direction as you descend down a rabbit hole of psychological and physical terror.
Directors and writers Severin Fiala and Veronika Franz create a stunning atmosphere of sterility and silence. With cinematography that pulls the viewer in to its claustrophobic and visceral horror. Horror that plays with the bonds between child and mother, and the very notion of family belonging and safety. Leading you to one of scariest finales in modern horror.
Based on the Henry James 1898 novella The Turn of the Screw. British director Jack Clayton’s 1961 film still reigns supreme as the best screen adaptation of the Henry James book.
Clayton builds tension from the first scene to last, while never seeking to fully answer the ghostly themes at the heart of the story. Deborah Kerr’s emotionally repressed Miss Giddens slowly descending into a cave of mystery and lies. The children she cares for embodying her greatest religious and spiritual fears.
Cinematographer Freddie Francis cleverly uses a black-and-white CinemaScope frame to its full, bathing each scene with gothic darkness and vibrant white light. Drawing the viewer into a world of childhood innocence versus adult fear; still sending a shudder down the spine of viewers 58 years after its release.
Much more than purely a horror, Clayton’s The Innocents is a hauntingly beautiful film, that wraps you in its mystery and never lets go.
Based on the novel by Daphne Du Maurier. Don’t Look Now remains one of the finest explorations of parental grief ever delivered on film. The safety and security of family, home and place subverted into dystopian nightmare of parenthood. The use of red, cutting through the film like a hot knife through butter. The cinematography creating a relentless feeling of apprehension and unease. A true masterclass of horror filmmaking that has never been surpassed in its ability to crawl under your skin.
There has long been considerable debate about whether Spielberg’s Jaws is part of the horror genre. In our opinion it most definitely is, and is also one of its finest examples. Its style and subject matter playing with the human fear of natures superiority to human power. Spielberg building tension while never showing his full hand. The most horrifying scenes coming from what you don’t see. Whether that be a women violently pulled around by an unseen force or a boy innocently swimming, as the beast below stalks him. Spielberg’s Jaws is one of the finest examples of creature horror ever made, and one that has never been equalled.
Based on the Tom Harris novel, Jonathan Demme’s 1991 film has stood the test of time as one of the greatest psychological horrors. Bathing its audience in a world of criminal psychology versus societies fascination with inherent evil. Silence of the Lambs wraps us in the pure terror of the sociopath. Hopkins ‘Hannibal Lecter’ calmly listening to Mozart while matching the intelligence and vigour of his psychologist interrogator at every step. Fosters FBI agent screaming with vulnerability and inner strength in their exchanges. The race to stop a killer in the hands of two ostracised figures, one with a badge and one with a mask.
Taking the classic template of Mary Shelley’s Frankenstein. The Fly replaces the monster with the the doctor himself. Asking how far an intelligent scientist will go with their own body in achieving a scientific goal. The doctor himself slowly becoming the monster as the themes of Frankenstein mix with Dr Jekyll and Mr Hide.
The Lodge wraps you its feeling of quiet discomfort from the outset. Slowly building a sense of tension and foreboding, with a pace that may leave some horror fans cold. However, this is a film less interested in quick shocks and gore than it is the cold reaches of psychological horror. With Severin Fiala and Veronika Franz once more visiting themes of children, parents, trust and subverted innocence. Focusing on family separation, loss and a future stepmother. In a feature that never fully embraces mainstream horror. Maintaining the themes that made Goodnight Mommy a trip into the deepest reaches of psychological terror. The audience never quite sure of where victim meets predator as the story unwinds to its truly horrific conclusions.
John Carpenters relentless science fiction horror plays homage to the atmosphere of Ridley Scott’s 1979 Alien. While transferring the action to Earth. Its antarctic base delivering the same claustrophobia and suspense as a ship sailing through the darkest reaches of space. The mysterious alien at its heart seeping through the base, always present but never fully seen. However, there are also a fascinating links to classic TV science fiction. The story echoing themes raised in the Tom Baker Doctor Who story ‘The Seeds of Doom’. Alongside classic B-Movie science fiction ranging from Invasion of the Body Snatchers to The Thing from Outer Space.
The Thing is ice cold and ruthless in atmosphere weaving classic science fiction with nerve shredding horror. Playing homage to the power of science fiction and the vulnerability of humans in the face of the unknown.
Where did cinematic horror begin? Many will reference early Universal monster epics, or F.W. Murnau’s 1922 Nosferatu. However horror truly began with Robert Wiene’s 1920 film The Cabinet of Dr. Caligari. A silent film that expanded the notion of horror beyond the ghost stories of early cinema into psychological and visual terror.
First screened in Berlin almost 100 years ago, the films design plays with sharp angles, Picasso like buildings and winding streets. A pure dream on screen that slowly becomes a visually haunting nightmare. Creating the template for many modern filmmakers including Tim Burton and David Lynch. Its carnival based story becoming the first film to truly subvert the playground of touring entertainment into a world of horror.
To this day The Cabinet of Dr. Caligari feels like a nightmare of no escape. Trapping you in its surreal and haunting world while embedding itself into your mind and soul.
Long before plastic surgery became a medical gift and nightmare in equal measure. Eyes Without a Face tackled the psychological damage of disfigurement alongside a fathers guilt and maniacal need to fix his daughter. Georges Franju’s film plays with themes ranging from Shelley’s Frankenstein to Pedro Almodóvar’s ‘The Skin I Live In’. Creating a surreal yet terrifying journey into the human mind, perfection and misogyny. The films narrative taking you to the darkest corners of medical advancement, while playing with the masks we all wear.
Opening in cinemas the same year as ‘Peeping Tom’ and ‘Psycho’, this is a film that courted enormous controversy. However its legacy in filmmaking has been a powerful sign of its artistic impact. While it’s critique of medical advancement and visual perfection feels even more important today than it did on its release 1960.
Very few modern horror films have had the cultural impact of John Landis’ An American Werewolf in London. Its mix of comedy and horror creating a truly unique journey into friendship, mortality and physical change. Landis cleverly taking the classic werewolf stories of Hammer and Universal while injecting them with gloriously dark humour.
Landis opens the film with our young American backpackers (David and Jack) in the back of sheep van, their travelling companions possibly heading to slaughter. A scene that firmly sets the trajectory for both boys, one becoming a rotting corpse who walks the earth in limbo, the other becoming a werewolf who kills without control. London a mere backdrop to David’s realisation that he no longer has control over his own life. His card marked back on the misty moors of the films opening act.
Comedy/horror films either excel or fall flat, the need to mix scares with laughs often leading a film to fall into more genre more than another. However, with American Werewolf this fine line is walked with perfection. Landis throwing the audience from the darkest of humour to the scariest of scenes in a heartbeat. The film joyously revelling in its ability to confuse its audience and play with their emotional connection to the characters on screen. While Rick Bakers werewolf design and transformation shocks the audience to its core. Its visual and physical wizardry still head and shoulders above anything seen in modern day CGI.
Jordan Peele’s debut feature cleverly dovetails the horror of racial segregation with the terror of white supremacy. In a film that takes the horror genre into the real and imagined world. Creating a truly unique portrait of continued slavery in a country of supposed diversity and equality. This is horror in reflective mode it’s scares no match for its intelligent narrative.
Dario Argento’s 1977 shocker remains the pinnacle of 20th Century Italian horror. Argento’s film inspired by classics of the genre ranging from ‘The Cabinet of Dr Calligari’ to ‘Cat People’. Wrapping you into an atmosphere of high art, experimentation and pure horror. Its colour palette glowing like a neon sign on a misty night. While its score ripples with the unconventional. Unusually for genre it inhabited during the 70’s, Suspiria also shines with female empowerment in a world of witches, blood, dance and dreamlike visuals.
One seen never forgotten, Suspiria is not only visually unique, but went on to inspire countless horror films. However its rich mix of gothic fairytale and primal fear has never truly been matched.
John Carpenters Halloween gave birth to the modern slasher film. Creating the iconic man in the mask murderer. Damaged by childhood experience and intent on wreaking revenge. Made on a shoe string Halloween took inspiration from a number of early films including ‘Eyes With Out a Face’ and ‘The Texas Chainsaw Massacre’. While introducing the classic vulnerable babysitter concept. A concept that would be returned to multiple times over the proceeding decades with mixed results.
Halloween is bathed in the rich Autumnal colours of October cut starkly with the darkness of pure terror. This is a film that enhanced the celebration and scares of Halloween for a whole generation. Embedding the role of film in a festival of pumpkins, costumes and sweets like nothing else before or after. Despite being widely copied through sequels and remakes the grit and grain of Carpenters film has never been matched.
Roger Eggers debut feature film set in 17th Century New England is a delight. Mixing superstition and community fear with the dread of family secrets and exclusion. The horror coming from ignorance, fear of the unknown and the menacing atmosphere of religion created by Eggers. The Witch grabs you by the throat and doesn’t let go, submerging you into a world of accusations and suggestion. Revelations taking time to form as the intensity and claustrophobia ramps up. This is folk horror at its spin tingling best.
Director Roger Eggers follows his 2015 horror masterpiece The Witch with a Maritime nightmare of epic proportions. Claustrophobically shot in 1.19 : 1 aspect ratio using black and white, creating a film that feels as old as the lighthouse at its centre. A forbodding nightmare of shadows that seeps into your subconscious and eats away at your sense of reality.
The Lighthouse is a masterclass in atmospheric horror, that plays homage to the early German horror of Nosferatu and The Cabinet of Dr. Calligari. Mixed with the skill of Hitchcock in understanding psychological terror. Using its landscape and sublime central performances to build a sense of tension. In a beautifully structured play that delves into the very corners of reality and folklore. Patterson and Defoe butting heads with deliciously dark dialogue. The divine script by Robert and Max Eggers, feeling like a long lost Herman Mellville novel. Both men finding support, hatred and love in the presence of each other. Their inner most secrets unable to find peace as the sea rolls in and wind howls around the cottage that has become a prison. Old sea stories and folklore mixing with the grinding reality of daily life, as the men unravel in a sea of booze and haze of tobacco.
Beautiful, dark and gloriously realised. Guillermo del Toro’s masterpiece weaves fantasy and horror of war together in way few films before or after have managed. A companion piece The Devil’s Backbone, del Toro’s film is set in early Francoist Spain 1944. The ghosts of the Spanish Civil War and horror of World War II combining. Our young as heroine discovering that darkness and monsters of the underworld are no match for the real horror of the humans above ground.
The Wicker Man was originally shunned by the studio who gave birth it, taking second billing in the UK to the equally beautiful ‘Don’t Look Now’. However, in the USA The Wicker Man found a dedicated and loving audience, becoming a template for the cult horror. Mystery surrounding its production with so many different cuts of the film that audiences were never quite sure of its intended running time.
To this day The Wicker Man is a glorious folk horror enigma, shrouded in the bright sunlight of horror. A Film that has given birth to whole host of folk horror tales, including Ari Asters 2019 Midsommar. Playing homage to the style of Hammer horror while subverting the beauty and seclusion of an island community. The Wicker Man’s handprints are all over modern filmmaking, remaining the best slice of folk horror ever created, but also spawning the cult genre.
Religious fervour mixes with mental illness in a film that takes you to the very edges of psychological horror. Rose Glass’ debut feature is visceral horror of the highest order. Wrapping its audience in a nerve shredding world of mental decline. The escape door firmly closed as we follow a deeply troubled young care worker into a dark tunnel of spiritual torment and madness. Creating not only one of the finest British debut films of a generation. But also one of the finest horror films of the past decade. A breathtaking visual and auditory experience that slowly eats away at the nerves of viewer
Roman Polanski’s ‘Rosemary’s Baby’ kickstarted a whole stream of early 70s horror aimed squarely at the occult, religion and supernatural. With The Exorcist the pinnacle of this rebirth of religiously motivated horror. Based on William Peter Blatty’s novel of the same name, which in turn was very loosely based on apparent real events. The Exorcist is still one of the finest horror films ever made, its intricate use of sound and visual terror crawling under your skin. No matter whether you hold any religious belief, William Friedkin’s film plays with deeply rooted subconscious concepts of human faith. Asking its audience to suspend all reality as pure evil meets innocence. A demon subverting the innocence of a child, while those around her struggle with their own faith in good overcoming evil.
The Exorcist earned its legendary status through visceral horror and effects that went far beyond its time and place in film history. The set itself a pit of pain, creativity and experimentation that left an indelible mark on all involved. While also creating folklore that has embedded itself in modern thinking.
Once seen never forgotten, The Exorcist is still one of the most wild and scary rides in cinematic horror, its bleakness and exploration of inner faith sending a chill down the strongest spine.
Roman Polanski’s Rosemary Baby in in essence a film of masks and subverted trust. Wrapping you in pure psychological horror from the first scene to last. It’s themes of the occult leading to ‘The Omen’ and ‘The Exorcist’ to name but a few. Dutifully translating Ira Levin’s novel to the screen, Polanski creates an atmosphere of pure terror. Terror that has been copied but never matched in its audacious impact. Its subversion of everyday life, romance and family wrapped with a chilling score, sublime performances and brave direction.
Films that didn’t quite make the top of our list but are still outstanding horror films worthy of your time