Tony Todd’s extensive career traverses across film, television and theatre, with the actor surpassing over 100 credits. His remarkable decades-long career is a testament to his captivating, and at times chilling talents. His dedication for all things performance has crafted a devoted fan base who have followed his many powerhouse accounts in some of cinema’s most iconic roles.
It was during his university days studying theatre that Todd honed in on his overt stage presence, learning to immerse oneself in the role and become synonymous with the script – a facet that would long follow Todd throughout dozens of performances. It was in 1986 that Todd would get his ‘big break’ in Oliver Stone’s Platoon, the Academy Award winning film that saw Todd play the emotionally grounded Sergeant Warren. Shortly after, Todd’s on-screen presence began to thrive, picking up countless, yet still meaningful and powerful roles that would cement him as the icon that he remains today despite his passing on November 6th 2024.
In commemoration of who is unarguably one of horror’s greatest icons, Dead Northern presents a retrospective of Tony Todd’s career.
Night of the Living Dead (1990)
George A. Romero’s Night of the Living Dead (1968) is one of the most pinnacle horror films to grace the screen, which consequently means that initially the 1990 remake was received with quite the touch of contention. Despite the mixed reaction, the film has blossomed into a fan favourite, with the similarities of the original and remake being continually referred to. The textual difference between the two is minimal with the script and plot points essentially being a mirror image. Another similarity is the emotional depth and commentary within the film, with both features being reminiscent of societal inequities and systemic qualities. Such an emboldened film with all of these crucial elements needs a strong lead, which in 1968 was headed by the character of Ben (Duane Jones), who proved exceptional as the pragmatic source of compassionate authority of the story.
In other words, Todd had ‘big boots to fill’. Todd’s revisioning of the prominent ‘Ben’, infused that quintessential warmness and groundedness that Jones so brilliantly portrayed, but Todd added that theatrical flare of emotional intensity that spoke to his gravitas as a performer. He was a lead character in every sense. Todd’s ‘Ben’ dominated the screen, steering the narrative with his outwardly expressive acting that cinematically took over Todd; as if the two people, one fictitious and one real, fused to be one. Contemporaneous opinions towards Night of the Living Dead often cite Todd’s enigmatic spark that makes for an objectively entertaining watch.
Candyman (1992)
“Candyman, Candyman, Candyman, Candyman…” Todd’s biggest role is unarguably the titular, bee-swarming, dominating Candyman, the vengeful entity who viciously murders anyone who dares summon him by saying his name five times in front of a mirror.
The premise of Candyman first appeared in notorious horror writer Clive Barker’s anthology series ‘Books of Blood’, in the entry ‘The Forbidden’ (1985). The story was originally set in Barker’s native Liverpool, UK. and emulating the British class system as a horror vessel, however, after the rights were obtained director and writer Bernard Rose began to recognise similarities between the urban areas of Liverpool and housing projects in Chicago, Illinois. With the new setting came new opportunities to expand the story and reflect the area more appropriately, just as Barker’s original narrative mediated on the specificities within Liverpool at the time. The Americanisation of the story saw the real housing project ‘Cabrini-Green’ become the primary setting for the film to play out. The estate was a largely impoverished area that was essentially abandoned of care by the state, leading to high crime rates.
Through this modification, the lore behind Candyman changed. Candyman became the ghost of the 19th century born Daniel Robitaille, an African-American painter who was cruelly tortured to death by an angry lynch mob who cut off his hand with a rusted blade before covering him in honey and setting a swarm of bees on him. This death trap was the consequence of an interracial affair. Tragedy, injustice and ill-will anchors this story, consequently, whoever played Candyman needed an intrinsic aura of intensity, the ability to play a tarnished soul, one that is integral in its mission to inflict the most formidable of frights, whilst still maintaining a sincerity that is both hard and rare to achieve.
The studio originally sought after Eddie Murphy (which is retrospectively baffling after Todd’s signature spin on the role), yet they were unable to afford the actor’s salary. Whilst the studio hunted for blockbuster stars, Rose had another actor in mind who he saw in the TV movie ‘The Ivory Hunters’(1990); in fact the filmmaker was so set on this performer that he did not want to see anyone else audition. To no surprises, the person in question was none other than the soon-to-be Candyman himself – Tony Todd.
From day one Todd was dedicated to the role, he refused to make this ominous antagonist just another ‘boogeyman’, not another monstrous brick in the movie wall. Alternatively, Todd digested the heartfeltness behind the villainy and the stark, almightyness that came from Candyman’s reign of terror. Often, Todd would refer to his character as being tonally similar to ‘The Phantom’ from the famed and similarly artful, ‘The Phantom of the Opera’ musical – Todd really was ever the theatre fanatic!
Todd continued to play Candyman for 29 years, from the very first screen adaption all the way through to its sequel, ‘Candyman 2: Farewell to the Flesh’ (1995), the third and trilogy-making entry ‘Candyman 3: Day of the Dead’ (1999), followed by the franchises latest feature ‘Candyman’ (2021). It is quite the rarity for the same actor to play the same major movie villain for every franchise feature, but it is definitely not surprising, particularly considering that Todd possesses the unique capabilities of capturing a melancholic ferocity with a sense of genuinity. Not to mention Todd’s notorious physical stature, with his 6’5” height and broadness immediately dominating the frame with an uneasy sense of authority, alongside his deep voice that makes that classic Candyman catchline “Be My Victim” sound so haunting and bone chilling.
Final Destination (2000)
After the release of Candyman, Todd was adorned as a horror icon, amassing cameos in the likes of genre essentials ‘The Crow’ (1994) and ‘Wishmaster’ (1997), followed by a role in the first entry of the now major movie franchise ‘Final Destination’. Todd portrays William Bludworth, a mortician who can be described as one of the film’s critical players in the grand and complex lore behind the omniscient character of ‘Death’ within the films. Todd’s dramatic cadance and resonance transforms his role from being one of a simple ‘exposition teller’ to an amalgamated blend of a ‘voice of god’ being, a narrator and a cautionary figure, an oracle even.
Although his physical screen time is not excessive, Todd’s performance was commended by the films fandom, leading to him returning to the role for ‘Final Destination 2’ (2003) and ‘Final Destination 5’ (2011). Although he does not appear as Bludworth in the fourth entry, he does make a sneaky cameo in ‘Final Destination 3’ (2006) as the voice of an animatronic devil for the film’s rollercoaster opening scene. As of recent years, Todd reprised his role of the ‘death teller’ in the upcoming and long awaited ‘Final Destination: Bloodlines’ (2025). Bloodlines is said to have a different approach to the typical setup of the previous instalments, with the film being not necessarily a sequel, nor a prequel, but a slight reboot.
Todd’s character has been part of many Final Destination conspiracies, which include Bludworth being the evil mastermind behind the in-film ‘Death’s Design’ (which determines the entire plot device of one being unable to escape their fate). Lately fans have been speculating this theory even more in anticipation of ‘Bloodlines’ release, both due to it being revealed that the film will delve into Bludworth’s backstory, and due to the connection between Bludworth’s surname and the film’s title. Bloodlines? Bludworth? It’s a far fetched claim, but in the world of Final Destination, anything is possible.
Hatchet (2006)
Besides Final Destination, Todd made many appearances in a string of horror movies, including but not limited to: Murder Set Pieces (2004), Minotour (2006), Shadow Dead Riot (2006), Shadow Puppets (2007), The Eden Formula (2006), Dark Reel (2008), Bryan Loves You (2008), Nite Tales: The Movie (2008), Penance (2009) and The Graves (2009), and lastly, Adam Green’s, Hatchet (2006).
Hatchet saw Todd play the swamp tour guide on the Bayou, Reverend Zombie, which Todd played with a brilliantly sardonic tone. His take on the tour guide was brief, but effective enough to return as one of the lead character’s in its sequel Hatchet II (2010). The sequel sees Todd in a larger role as Rev. Zombie. This time his actions are akin to that of a domino effect that sets the entire plot in motion.
Todd’s capabilities as an actor has seen him lead diverse career that stands tall to this day, with his talents resembling that of a caldron mixing together the emotional sensibility of a stage actor who can dish out every line with such gravity, whilst also possessing that timeless physical dominance needed to play his in-depth characters. Despite Todd’s recent passing, it can be assured that his time on-screen will long live on.
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The ultimate classic game Space Invaders is often coined the definitive forerunner for horror gaming. Its fixed shooter design and sci-fi scenario generate a legacy that has stood the test of time. The chase and survival aspects involving an alien invasion that gradually obliterates the terrain are, at their root, the core premise for many horror arcade games that came to fruition only a couple of years after Space Invaders arrived.
Haunted House (1982)
The action-adventure game Haunted House made history as one of the first games to use a scrolling mechanism that allowed the screen to be moved as the player moved across spaces. Whilst this tech may be the standard now, 42 years ago, this was a revolutionary factor to gaming that permitted the user to traverse with speed across the game, where they must collect pieces of a mystical urn with powers that are situated across a total of 24 rooms of a haunted house. Along the way, players will be confronted with a mirage of horror mythology from bats to tarantulas, all the way to spooky ghosts.
Castlevania (1986)
Many horror video game fans will remember playing the Japanese classic Castlevania growing up. The game’s absorbing and user-friendly gameplay, coupled with the countless appearances from the genre’s favourite beasts, from the dreaded Grim Reaper to the intimidating Frankenstein’s Monster, are all that make Castlevania a must-play 38 years later. However, while praise is certainly owed to the game’s ‘monsterific’ charm and nostalgia-ridden interface, the most worthy factor of applause is how Castlevania became a benchmark from which future horror games derived. The game did not invent the Metroidvania platform where users can roam an expansive, connected map, but it did aid in the popularisation of these iconic mechanics. Castlevania’s seemingly endless land to traverse in the game creates many instances for battles to ensue and a barrel of horror fun to emerge.
Alone in the Dark (1992)
The 1920s Louisiana setting sees the player trapped in a haunted mansion where supernatural forces run amock. To proceed to the next level, the user must complete an array of puzzles and tasks while evading the wrath of the sinister ghouls. Alone in the Dark took inspiration from the likes of horror auteurs such as the zombie king Goerge Romero and giallo champion Dario Argento. What was quite unique at the time for the game was how the creators used a fixed-camera setup where the 3D character’s actions and events would shine against the 2D backdrop. This mechanical creativity, alongside the dramatic music and ambience, earned the film immediate applause from critics and players alike, with the game even going on to be lauded as the very first 3D survival game in the horror subset.
Zombies Ate My Neighbours (1993)
Zombies Ate My Neighbours delivers on its promises of being precisely what the title indicates, with the plot following two friends, Zeke and Julie, who must rescue their neighbours from hungry monsters created by the evil scientist, Dr. Tongue. The humourous game was not necessarily winning any prizes upon its lukewarm release, but over the years, Zombies Ate My Neighbours has rightly become a bonafide cult classic. The two-player mode, coupled with the archetypal 1990s graphics, continuous references to beloved horror movies and comedic outlook, has made the game a staple.
Phantasmagoria (1995)
Phantasmagoria is a classic adventure horror that features a point-and-click mode of playing that follows the story of a writer who, after moving into an isolated mansion, encounters supernatural forces hellbent on terrorising her. At the time of the game’s release, interactive movie games were all the rage, where live-action characters, footage, and cinema-like sequences were featured throughout the gameplay. Phantasmagoria took inspiration from these features and made a game that can only be described as an interactive horror movie. Particularly for the time, the content was theatrical and screen-worthy, with the game’s script even consisting of over 500 pages. Most of these spectacles were heavy on both violence and sexual content, which garnered praise from audiences who admired the boldness of the game and equal dismay from censors, with some retailers refusing to sell the game due to the graphic content. Despite the hurrah, the game proved successful, grossing over $12 million within its first weekend.
House of the Dead (1996)
The iconic House of the Dead game series first appeared as a light gun-shooter arcade game, which has since gone on to become an entire franchise, equipped with a cinema-adapted trilogy (which is rather notoriously bashed upon). The late 1990s arcade game chronicles the player defeating a horde of zombies made undead by a mad scientist. Much of the initial acclaim derived from the game’s hyper-stylised graphics enriched with over-the-top verve – indicative of arcade-like flamboyance. Ironically, the devil-may-care merryness of the now harmless appearing graphics saw the game being taken to court by the city of Indianapolis in a bid to ban all and any violent video games, citing that House of the Dead was one of the worst of its kind. Retrospectively, the game is now championed for its cultural impact in booming the zombie subgenre at the turn of the millennium, particularly within the popularisation of fast-moving zombies that the game so frequently used.
Out of this World: Sci-fi Explorations
Doom 3 (2004)
Doom 3 acts not as a sequel in the Doom video game series but instead as its own reboot that strays away from its two predecessors, with the third entry forgoing the prior lack of storylines and opting for a more ample synopsis that would eventually go on to determine the game’s impressive acclaim. As such, the premise is more detailed, following a space marine who acts as the force preventing extraterrestrial creatures from entering Earth. The extensive backdrop also furthers the game’s overall presentation, particularly considering that the designers have more richness to play with.
Dead Space (2008)
The premise of a spaceship becoming overrun by undead creatures chillingly known as Necromorphs gathers sufficient spine shivers on its own, let alone the game’s riveting ability to harness the player and figuratively pull them right into the deadly action. In developing Dead Space, the creators took slight inspiration from the likes of System Shock (1994) and its sequel (1999), along with the ever-influential Resident Evil 4 (2005). Despite these games being entirely meritable, Dead Space wanted to abandon the typical run-and-shoot tactics that habitually take the player ‘out of the game.’ The result of this is a third-person perspective game that is genuinely effective and easily provocative of a taut tension that is hard to beat.
Alien: Isolation (2014)
Unlike many entries on this list of games that have since been adapted after their success, as the title suggests, Alien: Isolation did things differently. It is based and set 15 years after the 1979 Ridley Scott film Alien, following Ellen Ripley’s engineer daughter who boards the space station to investigate her mother’s disappearance. The gameplay allows for many abilities and tasks, with the first-person character being able to hide in abandoned lockers, duck under spaces, vent crawl, run ladders and break the line of sight. The freedom of movement remains a big attraction to the game, with the flexibility forcing a heavy immersive intensity where the mystery of the mission and the enemies’ threatening portrayal make for a game that will have the player fixated on the screen for hours upon end.
Fighting the Hordes: Zombies and Viruses
Resident Evil 4 (2005)
In Resident Evil, its fourth output is universally praised as one of the franchise’s best. Maybe it’s the sinister cast of morbid creatures that spring to life throughout the game or the intense gameplay coupled with the fleshed-out characters that make this survival horror game a standout feat. Either way, acclaim is abundant throughout this rip-roaring, frenzied play that showcases a detailed-oriented approach to its camera system, which namely popularised the over-the-shoulder angle that so many players are accustomed to now. It was an interesting take on the land within the game, the player essentially has the ability to immersive themselves into the action akin to the first person shooter view, but additionally have an almost gods view perspective on the action.
Left 4 Dead (2008)
On the surface level, this fierce zombie thriller may appear as yet another zombie riot to join the extremely packed subgenre, but as any player will inform, Left 4 Dead is a powerful, consuming voyage into the horrors of the undead, with the game’s zombies having devastatingly horrific traits that will get hearts racing in no time as you fight for survival. Left 4 Dead truly comes to life when the multiplayer system is utilised. The four-game mode offers a single-player mode, with the other characters being controlled via AI bots, and whilst this play does still elicit a spirited exercise, the game thrives when the four-player mode is enacted, and cooperative gameplay ensues. As a result of the multiplayer mechanics, Left 4 Dead is a classic social game that demands the thrills that come with interactive group sessions.
The Last of Us (2013)
In the scheme of video game adaptions, it is rare to find one that is as universally beloved by seemingly everyone, horror fans or not, video game enthusiasts and ones who have never touched a console. However, whilst prestige is owed to the 2023 TV series, the original source material is even more impressive and epic. Emotionally driven and melancholic in tone is this action-adventure game that follows the remaining survivors after a fungus-fuelled virus has spread amongst the U.S., leaving the landscape barren except for the god-awful mutated creatures and the last of humanity. With its stunning visuals and intense gaming choreography, what truly propels The Last of Us is the strikingly fruitful character development where relationships and bonds are paid detailed attention, creating a meaningful and engaging experience for the player.
SURVIVAL of the Fittest
Condemned Criminal Origins (2005)
This survival, first-person horror game takes a more grounded approach to its plot, focusing on the terror within reality as we follow a detective on the hunt for a serial killer. Whilst the game does slightly tiptoe into the supernatural realm, its nucleus remains fixated on graphic, visceral violence that is true to its real-world aesthetic. The design and theming are noted to be replicative of psychological thrillers including Se7en (1995) and The Silence of the Lambs (1991). As such, the atmosphere is a key component in the game’s success, with the dramatic, stylised aura pairing nicely with the brutally violent hand-to-hand combat that features throughout.
Amnesia: The Dark Descent (2010)
Amnesia: The Dark Descent has only grown in popularity since its release nearly fifteen years ago, with the game’s focus on horrors that lie in the pitch dark, stirring waves of psychological threats. The looming presence of gruesome monsters that lie in the wake is emphasized by the game’s keenness not continuously to show the enemies’ appearance; alternatively, the frights are brought forward by the knowing that these creatures are waiting – it is certainly a situation that will leave you in trepidation. The gameplay itself furthers the vigour of the horror as the lead character, Daniel, is unable to fight off the monsters upon contact, instead he can only escape if they are unable to see him. The sense of hopelessness and unease combined with the dark graphics and aura makes The Dark Descent an unmissable experience.
Darkwood (2014)
Darkwood may initially present itself as a run-of-the-mill survival game, taking place in an eerie Polish forest where the player must make their way out of the turmoil. However, the pulsing terror does not derive from continuous jumpscares which has become somewhat typical of the subgenre, but instead, the looming sense of nihilistic dread is stirred purely by the uneasy atmosphere and threat of the utterly barbaric creatures that appear throughout. Joining the macabre vibes is the detailed gameplay that revolves around a plethora of side quests and missions that add bountiful depth to the mystifying game.
The Evil Within (2014)
Shinji Mikami, the creator of the infamous Resident Evil game began to notice that contemporary survival games no longer scratched the itch of intense battles to escape and survive, instead, Mikami noticed a strong uptake in these games becoming solely action-horrors despite the survival genre label. In a bid to re-transform the scene again, just as he did years prior, he created The Evil Within, a nail-bitingly creepy game centring on secret organisations and the desperate bid to survive such calamity. The fruitful combat scernaios, heaped with the eerie environment propel The Evil Within to be a standout game of the early 2010’s, with the frenzied, gory displays of terror making for an adrenline-filled ride from start to finish. The sheer chaoticness of the enemies and the thoroughly rich plot pump freshness into the survival element of the game, ensuring that each spine-chilling second spent playing is brimming with excitement, nerves and a great deal of fear.
The Quarry (2022)
The fairly recently released The Quarry was almost inescapable for many upon its arrival. Positive reviews were peppered across forums, advertisements were unavoidable, and sales exceeded expectations, which is unsurprising considering the game’s meta-like qualities, brilliantly executed character development and overall aesthetic and atmosphere that hails to many horror fans’ nostalgic acclaim to summer camp nightmares. The plot follows a group of counsellors at Hackett’s Quarry Camp spending their final night at the site. However, any chance of merriment is cut short after supernatural creatures, alongside vicious locals, make their presence known. The game’s interactivity means that all the playable characters can either die or survive, with their life depending on the players’ decisions, creating a multifaceted sense of immersion that raises the stakes. The game’s intense thematics speak to its spiritual predecessor, Until Dawn (2015), with the gameplay and plot exploring that same sense of malicious cruelty and infamous cabin, woodsy setting.
Unleash Your Dark Side: Reverse Horror Games
Carrion (2020)
Carrion belongs to the intricate reign of reverse horror games, which in this case leads the player to take on the role of a tentacled creature travelling through a research facility killing everyone in sight. Carrion is comparable to that of a maze where the game’s map shows a series of twisted and intertwined areas that the player can only access once they have completed a series of tasks. The aesthetics made up of pixel art and the creature’s gnarly design is reminiscent of nostalgia-driven video games of the late 1990s and early 2000s, it is simple and effective, and from a contemporary perspective, it is a refreshing change that allows the player to set aside how hyper-realistic and sensical the game could be and just simply play and enjoy.
Dead by Daylight (2016)
Dead by Daylight is a feast for any horror fan, with the game allowing the chance for players to be either the killer or the victim. This measure of hunter and prey creates a dynamic that allows for the slasher-like plot to entwine itself within the diegesis of the game, with the outcome being equivalent to that of the ‘ultimate slasher’. The story follows a team of survivors who must persist in fighting against a mysterious killer whose goal is to sacrificially impale its victims on hooks to please a macabre presence otherwise known as The Entity. The gameplay teases all by creating ruses where the killer’s and victims’ information both allow for advantages. Whilst the killer has natural power within its antagonism and ability to know where the group’s missions are located and so forth, what the victims have is the ability to switch from third-person to first-person views, creating an all-encompassing perspective where every angle is at the player’s command.
Sea Salt (2019)
Sea Salt is an independent reverse horror game that lives and breathes Lovecraftian aesthetics, with the story set in the late 19th Century in a small seaside village. The players take on the role of Dagon’s army, a sinister god of the ocean who is worshipped by the town as they provide regular sacrifices. However, when the sacrifice runs short, Dagon decides to invade and massacre the village. It is a misconception that all reverse horror games innately create an environment where the victims easily bow to the player’s antagonistic force; Sea Salt demonstrates that this is quite the opposite, with the villagers teaming up to create swarms, wielding weapons and creating massive retaliations that the player can find themselves struggling to defeat. The intense and challenging gameplay is joined by the game’s gloomy appearance that matches the overcast Victorian-esque seaside town.
Screen to Scream: Horror Games from the Movies
Halloween (1983)
Halloween, seemingly many fans favourite autumnal slasher, perked the interest of Games of Apollo employees in the midst of the great video game crash of 1983. The hide and seek device within the 1978 John Carpenter film was a large inspiration for the creators, with the game following a babysitter escaping the presence of an unnamed killer. Whilst the game was titled Halloween, with the poster featuring a large pumpkin (the exact same design used in the film’s poster), along with Carpenter’s titular theme song appearing throughout, the game never indicates that the characters are that of Laurie Strode and Michael Myers. Although the game has fared well over the years, primarily due to the nostalgia, fan-driven culture surrounding Halloween, at the time of its release, the game aided in Wizard Video Games filing for bankruptcy due to the sales. In fact, in the midst of liquidation, the company sold copies of the game with minimal effort, not even labelling the case, instead the edge was simply lined with a white sticker with the word ‘Halloween’ sloppily hand-written on it.
The Texas Chainsaw Massacre (2023)
The Tobe Hooper 1974 classic The Texas Chainsaw Massacre is no stranger to the world of video games, with the first being developed into gaming format in 1983 for the Atari 2600. Forty years after the fact came the revived 2023 asymmetrical-based game which sees a group of 7 victims who must escape the deadly cannibalistic family. The atmosphere, music and pacing, challenges, maps and much more are all a testament to the barrage of amusement this game delivers. It may not be a chilling expedition akin to the paranormal antics seen in other games, yet what Texas Chainsaw does yield is a vibrant, bloodied immersive experience that will keep you hooked for hours as you battle with the unique characters and fight for survival. That specific combination of fear and excitement colluding throughout the various cat-and-mouse situations is amplified by the horror star power behind the characters. Kane Hodder, who played Jason in four of the Friday the 13th films (as well as acting as a stunt coordinator for Texas Chainsaw Massacre III [1993]), stars as Leatherface. Hodder’s expertise in playing formidable forces elevates this intimidating motion capture experience.
Friday the 13th (2017)
Yet another asymmetrical horror game is the ‘slasherific’ Friday the 13th which aids in lingering, expanding and exploring the maddening lore of Jason Vorhees and his brutal killing sprees. The game is built on a semi-open world chassis, where players can investigate the intricate design found within the crevices of Camp Crystal Lake. The game was seemingly made with the interest of fans of the franchise in mind, with the in-game virtual cabin offering a plethora of trivia that peaks into the land of an array of Friday the 13th films. Some of this fandom-orientated trivia includes Pamela Vorhees tapes and Tommy Jarvis tapes – both of whom are some of the franchise’s most acclaimed characters. However, all of the success was short-lived as the game’s servers were closed down in late 2020 due to licensing issues, leaving the game only available online through a peer-to-peer network. Once again, the game was officially delisted late last year, but the game’s creators have endlessly teased future creations.
Evil Dead: The Game (2022)
As with key players in the horror movie landscape, The Evil Dead is familiar with the virtual world, with the 2022 game being the latest in a lineup of 10 games adapted from the lore of Necronomicon. The game primarily succeeds through its callbacks to the iconic world of Ash and the gory demons that he can never seem to escape. The game walks the tightrope of being uncomplicated, providing easy, messy fun where ample weaponry and bloody battles are plentiful; whilst also enacting a full-bodied storyline to prevent the game from becoming too elemental. In other words, the game makes use of simplistic, groovy fun that fits in nicely amongst the expansive Evil Dead universe.
Twisted Mind Games: Psychological Mayhem
Silent Hill 2 (2001)
The lore of the Silent Hill spectrum is part of the entire gaming series’ major intrigue. Metamorphic creatures, gangly beasts and gnarly monsters parade their nasty frightfulness throughout the game, making for a play that is not for the faint of heart. Joining the fantastical yet chilling land of Silent Hill is the game’s bizarre and puzzling premise where the horror is akin to a carnival of circus-like madness, all of which is complimented by its disorienting scoring and sound that is reminiscent of disturbed, discordant drones that cling and clang to produce the ultimate unnerving experience. Further propelling Silent Hill’s second entry into gaming stardom is the development of the cinematic aesthetics that made its predecessor successful. The game is brimming with psychologically rich storylines, immense visuals and that whopping grandiose soundtrack that is synonymous with the game.
P.T (2014)
P.T. was developed by none other than gaming auteur Hideo Kojima (Metal Gear [1987]) as part of a collaboration with Guillermo del Toro. P.T. has ties to the Silent Hill series, mainly as the game was developed as a teaser for the now cancelled Silent Hills. However, as Kojima has expressed, P.T. is essentially its own standalone game that does not piggyback off of the Silent Hill franchise. Upon its release P.T. soared the market with unbelievable popularity, it became known as the must-have game, the unmissable experience. The visuals were terrifying, the tension was immaculately built and the plot of a labyrinth-like haunted corridor that the player must escape, all made the game a roaring success. That was until it was deleted from the PlayStation Network less than a year after its release due to the cancellation of Silent Hills. Uproar ensued as P.T. was its own game, leading to various fans remaking the game multiple times, only for it to be taken down shortly after.
Omori (2020)
Omori is an independent, Kickstarter-funded game based upon director Omocat’s webcomic ‘Omoriboy’. The concept is similar to that of role-playing games of Japanese origin, which often focus on strong character development and fleshed-out background stories. The overall plot follows Sunny, a teenage boy, and Omori, his alter ego. Throughout the game, the user delves into Omori’s fantasy world, as well as Sunny’s real world. The theming and tone throughout the gameplay between the two lands deal with darkly dramatic issues including mental trauma and suicidal ideations.
Paranormal Activity
Fatal Frame II: Crimson Butterfly (2003)
The Fatal Frame series, also known as ‘Project Zero’, is a staple Japanese horror game which has grown quite the fan base, particularly the game’s second feature, Crimson Butterfly. The game mostly toys with the paranormal and all haunting paraphernalia associated with ghostly ghouls, leaving players often aghast due to the game’s genuinely creepy material. The fear factor is amplified by the unique play of the game, with the objective being that the player must use a special camera, think Camera Obscura, leaving the horrifying ghosts to leap out on the screen the minute the shutter button is pressed. Shockings’ and intensity are two rules of the adventure that make for an entertaining and above all, addictive game.
Visage (2020)
Partially inspired by the intricacies of P.T. is Visage, an independent game centred on a strangely laid out house where players must determine the root cause of the paranormal activity. The semi-open world structure of the house allows for a range of puzzles to be solved, which vary from gaining information from the cryptic surroundings to obscure challenges where the player has to immerse themselves right into the daunting action. The non-linear flow of the game makes for plenty of unexpected twists and turns as the player unearths the lore of this strange and confusing house.
MADiSON (2022)
The Argentinian game MADiSON is perfectly simple, it delivers scares by the bucket load, the gameplay is smoothly developed and just the right amount of challenging; the visual and aural aesthetics have that hard to achieve balance is intense, but not too much like a caricature. This melodic approach is what makes MADiSON the ‘Scariest Video Game of All Time’ as declared by Broadband Choices The Science of Scare Project where 200 players were made to play 45 horror video games, whilst connected to a heart rate monitor. On average players of MADiSON had a BPM of 97, peaking at an extortionate 131 BPM!
Shock Frights: Jumpscares
Outlast (2013)
Outlast has gained a reputation over the years as being a terrifyingly graphic and cruel game that will have you playing with the lights on. The game centres on a freelance writer who gets wind that a psychiatric hospital is performing inhumane human experiments – think MK Ultra, leading the journalist into the hellish bowels of the nightmare-inducing wards where all kinds of harrowing beings lie in wait. Outlast exercises a rare feat in horror video games, the lead character – the player, has no special abilities, nor any powers or weaponry that can defeat the utterly soul-shiveringly creepy enemy. Alternatively, the player must solely rely on stealth tactics to avoid a genuinely brutal demise.
Five Nights at Freddy’s (2014)
Five Nights at Freddy’s has become one of the most popular staples in horror video game spectre in recent years, with the animatronic-themed chaos interweaving itself into the tapestry of books, comics, films and the culture of cosplay fandoms. Whilst some may argue against this, the game itself is not necessarily nerve-shatteringly scary, it is however an abundance of total fun where the jumpscares and creepy scoring make for quick bursts of entertaining frights. The majority of the games take on the story of a fictional Chuck E. Cheese-style place where night shift employees have to watch over anthropomorphic animatronics that are inhabited by the souls of murdered children. The rather dark background story and impressively creative design of the game make it a must-play.
TheMortuary Assistant (2022)
TheMortuary Assistant comes from MMORPG (Massively Multiplayer Online Role-Playing Games) creator Brian Clarke, whose admiration of found footage horror films led to the creation of a prototype of what would go on to become the future hit game. The concept is set in a small town in Connecticut circa 1998 where players take on the role of a beginner mortuary assistant. Initial feedback for the prototype consisted of audiences wanting a more detailed simulation of the embalming side of the plot. Disturbingly but brilliantly, the game evolved to feature hyperrealist embalming procedures which focused on many old-time archaic methods that make for an even gorier game. As if the deathly processes were not enough for the player, the game also implements a staggering amount of effectively executed jump scares that come from the demons that haunt the surgery. Players will encounter countless jumps, boos, and screams as they make their way through the morbid game.
To Be Released
Until Dawn (Late 2024)
It is not uncommon to develop a hand of god feeling whilst playing a game. At the root, it is you who is calling the shots. However, Until Dawn takes this idea and maximises it to its fullest capacity. The game uses a brilliant butterfly effect where each step and decision you make within the game, affects the outcome and consequences, where you can find yourself in a plethora of differentiating webs and conflicts every time you play. Maximising the interactivity of the gameplay is the overall emotional depth that the narrative-driven plot thrives on, with the story breeding a sense of drastic permanency; whilst playing if you were to make a wrong move and one of the characters meet their gory demise, the act is final and the character will remain dead until the game is started over. With all of the game’s excellence, fans were ecstatic to find out that a remaster of the hit game will be released later this year, showcasing even crisper graphics that will enhance the true terror that bleeds throughout.
Ghosts (Release Date: TBC)
Jed Shepherd, writer, director, producer and now video game creator is known for his phenomenal contributions to horror, with productions such as Host (2020) and Dashcam (2021) lining his credits. Shepherd heralds the upcoming interactive horror video game that is set to be released across Xbox One, PlayStation 4, Microsft Windows and Nintendo Switch; with the big gaming names featuring Ghosts, it can be assured that no one will miss out on this frightful play. The game focuses on a television producer of Ghosts, a live-action ghost-hunting show. The game takes place in real-time, with the job consisting of accommodating the hosts, choosing which footage to include, select the advertisements for the show, all the whilst keeping a lookout for ‘The Long Lady’ – the in-game urban legend whose Medusa-like gaze kills anyone the moment they meet eyes. Along with the unique and exciting plot is the FMV (Full-Motion-Video) stylisation that also comes with an interesting time restriction. The game can only begin at 10 pm local time and if the user were to end the game before the show ends then all the characters will die. Whilst the Kickstart-funded game has not received an official release date as of yet, it’s a sure fact that this live-action, totally distinctive game is not to be missed.
OD (Release Date: TBC)
Hunter Schafer (Euphoria), Sophia Lillie (IT: Chapter Two) and Udo Kier (Bladerunner) star in this Hideo Kojima and Jordan Peele written game. The details behind the story have been kept deliberately tightly under wraps, with Kojima only teasing the overarching scenario that revolves around testing fear thresholds and what happens when one overdoses on fear. Unfortunately just under three minutes of the gameplay was leaked which showed a nurse lingering around a darkened hospital with a flashlight followed by a treacherous scream. Whilst still little is known, what has been promised is that this will be no ordinary game, but instead an innovative form of gaming media unlike no other.
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Exhibit A is a bleak, depressing exercise into nihilistic terrain as the film follows the King family, whose patriarch spirals after failed promotions and financial burdens. The film’s timely release circa the mid-late 2000s speaks to the detrimental economic climate the world was experiencing at the time. In this sense, Exhibit A delivers a cold, callous look into the societal landscape of the era, but with the guise of horror, adding a gritty, affective touch of dramatisation to the mix. Found footage has been around for decades (and then some more), and it seems that Exhibit A goes continuously unrecognised on a larger scheme, donning this chilling feature as an underrated gem.
2- Alexandra’s Project (Rolf de Heer, 2003)
Although Alexandra’s Project’s labelling as a ‘horror’ might be pushing the lines for those with strict definitions of the genre, it is undeniable that this Australian thriller makes for a horrifying watch. The film chronicles the breakdown of a man who seemingly has it all: a stellar career, adorable children and a supposed loving wife. However, the bliss is soon interrupted when he comes home one day and finds a barren house with a mysterious tape waiting to be played. The particularities of the film are a deliberate conundrum as the convoluted, non-linear, layered story unravels with such complexity, eventually breaking down everything you thought you knew about the world of this disturbing film.
3- Taxidermia (György Pálfi, 2006)
Describing this Hungarian horror comedy as anything less than bizarre, obscure, and a grotesque circus ride would be a disservice. This surrealist film embodies a chaotic fever dream that follows a parodic yet utterly unnerving retelling of Hungary’s political, cultural and social journey from WW2 to the contemporary period. The overtone of reciting the landscape of history may sound fairly intriguing, making for a potentially complex and possibly informative watch; however, Taxidermia offers a whole lot more than what its synopsis purports. The film is rife with some of the grossest body horror cinema has to offer; think if Cronenberg, Lynch and the whole of Troma Entertainment colluded to create one of the gnarliest visions they could ever conjure.
4- Subconscious Cruelty (Karim Hussain, 2000)
With a title as brazen as Subconscious Cruelty, it is rather obvious what to expect throughout this extreme art house horror. This film is on the borderline of being quite difficult to sit through, what with the frame constantly being filled with graphic violence and torture that rivals the likes of the August Underground trilogy and the controversial and lovingly named Slaughtered Vomit Dolls (2008). The categorisation of Subconscious Cruelty, an anthology horror, bodes well to complement the twisted and maniacal nature of the content, offering the film somewhat of a layered aesthetic that allows some viewers to view the visuals in a more philosophical light. For instance, in each segment, aspects of nature, mother earth and religion are explored under the costumery of horror. Whichever opinion is formed after watching, one thing is certain – Subconscious Cruelty is completely thought-provoking.
5- Creep (Christopher Smith, 2004)
While the title Creep may immediately ring bells for fans of the 2014 Patrick Brice film, in this case, the ‘creep’ proprietary belongs to the 2004 British horror directed by Christopher Smith. The film follows a woman trapped with a monstrous humanoid on the London Underground after falling asleep, leading to a barrage of bloodied antics in the fight for survival. Although it may seem like a detriment, Creep is not necessarily a trailblazer in the genre, but it most definitely is a blast of frightening fun to watch, akin to that of nostalgic cinema where one can expect plenty of gory buffooneries and a tense battle to the death.
6- Visitor Q (Takashi Miike, 2001)
Takashi Miike is no stranger to horror, with films such as Audition (1999), Ichi the Killer (2001), and One Missed Call (2003) lining his filmography. Nevertheless, as with any creator whose titles surpass 115 directorial credits, there is bound to be an entry that is a hidden treasure – for Miike, this feature is Visitor Q. The film details the lives of the Yamazaki family and their truly disorderly attitudes to life, graphically exhibiting depravity in the most vile ways possible. This standout Japanese horror is not for the faint and not to be missed.
7- The Hamiltons (Michael Altieri and Phil Flores, 2006)
Michael Altieri and Phil Flores, also known as ‘The Butcher Brothers’ mid-2000s horror film The Hamiltons thrives on the dark secrets beyond the walls of Hamilton’s family home, with the film taking a gradual approach in revealing the big mystery as to why the brood feels a little strange. Whilst the intrigue around what skeletons lie in the closet best remains a secret for potential viewers, what can be commented on is the film’s rather emotive approach to what is quite a grizzly flick. The Hamiltons rides the waves of uniqueness, often going against the grain within its subgenre and offering a refreshing yet visceral journey into the plentiful frenzied events.
8- Bug (William Friedkin, 2006)
Despite having the legendary William Friedkin, director of The Exorcist (1973), at the helm of Bug, the film has gone under the radar over the years. This psychological horror presents the story of a couple who become convinced that their entire beings and surroundings are infected by bugs that have been deployed by the government to infest and infect as spies. The maddening concept is only the tip of the iceberg. Friedkin exacerbated the terror by incorporating a claustrophobic atmosphere into the film and enlisting brilliant and powerful performances from the leads, Michael Shannon and Ashley Judd.
9- In My Skin (Marina de Van, 2002)
French horror, particularly that from the New French Extremity reign, has come to be known as an entirely engrossing yet nauseatingly brutal and bloodied division of genre cinema. Marina de Van’s independent film In My Skin is no exception to this rule. As a baseline, the film follows de Van as the lead character who develops an obsession with self-mutilation, which eventually escalates into autocannibalism. In My Skin has received a cordial reputation amongst many, but it has yet to receive the wide acclaim and recognition that it so desperately deserves.
10- Session 9 (Brad Anderson, 2001)
Session 9 defines itself as one of those horrors which can only be described as bone-chillingly unsettling, with the aura and atmospheric tone completely taking over the film and commanding a formidable power over the viewer. Not too heavy on jumpscares and boding its tension through engaging frights is a film which follows an asbestos cleaning crew who are faced with a job in an abandoned mental hospital, only to discover that the building’s poison runs far deeper than anyone could ever imagine. Session 9 thrives on the premise of isolation and eerie loneliness within the self, both through the film’s impressively intimidating setting and through the compelling performances from David Caruso, Stephen Gordon, Josh Lucas and Peter Mullan.
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Sinister has a brilliant and justifiable setup for many jumpscares to ensue, with Ethan Hawke’s character discovering a box of Super 8 films revealing a plethora of families’ grisly deaths. Many of these evil tapes are shown, showcasing drownings, hangings, and a string of other cruel fates. However, one tape, in particular, is still wedged in the back of many viewers’ minds twelve years on. The lawnmower tape displays an unknown person (later revealed to be a child!) grabbing a red lawnmower from a dark shed before mowing over grass in the pitch-black night, with the only morsel of light coming from the glow of the recording flash. Sounds of white-noise-like fuzziness play ominously over the confusing scene before the camera’s warm glow shows a person bound to the ground as the mower lashes over them with a fierce suddenness accompanied by an ear-drum bursting screech. The scene is an exercise of the classic jumpscare, brimming with brutally loud sounds and a terrifying image, yet it does not feel archetypal and expected; instead, the setup combined with the payoff is exactly how a quick jumpscare should be done.
2- Clown mask – Hell House LLC (Stephen Cognetti, 2015)
Is Hell House LLC one of the best horror films of the last decade? It might be a bold statement considering all of the fantastic films to come from this period. Yet, many a contemporary horror fan would state that Stephen Cognetti’s contributions are undeniably superb, mainly thanks to his filmography’s ability to turn every morsel of screentime into a bone-chilling expedition of great extremes. A scene in testament to this is the ‘What’re you looking at?’ scare, where a member of the haunted house comes across a demonic figure, believing it to be his friend dressed up in an eerily creepy clown suit. The true horror of the scene comes from the audience’s knowledge that this figure is not a friendly familiar but a hellish being donned in a black and white fairground suit and mask. We feel the tension bloom as the cast member comfortably stands beside his supposed friend and casually talks to it. It is not a scene where loud screams blare, or a monster leaps out. It is a simple setup with an excellent culmination to the terrifying film.
3- Camera closeup – Gonjiam: Haunted Asylum (Jung Bum-shik, 2018)
The South Korean footage horror entered screens with immediate success, coming in first at the box office on the same day of its release. Its ‘must-see’ reputation grows yearly, with the film now being one of the highest-grossing films in the country, just behind the classic A Tale of Two Sisters (2003). Gonjiam: Haunted Asylum is somewhat of a slow burn, taking its time to build trepidation before unleashing its ferocious force onto the unsuspecting viewer. There are countless incidences where you will find yourself watching the screen between peaked fingers over the eyes, but the one scene that continuously creeps up on jumpscare compilations is the ‘ultra-close up shot’. In traditional found footage fashion, the firsthand camera, in this instance, comes from the fisheye lens on a GoPro, which is mounted to the head of its user. The user in question experiences possession by a malicious spirit, turning her mouth into a menacing grim, complete with black irises and an air of pure wickedness. The intensity of the fright primarily originates from the twisted complexion that the fisheye lens provides; it’s an image straight from the uncanny valley, especially when paired with the unhuman odd squealing noise that the character makes.
4- The first appearance – I Am a Ghost (H.P. Mendoza, 2012)
I Am a Ghost remains criminally underrated despite its truly nightmarish conclusion. Describing the film can come across as a disservice. Nothing happens for the majority of the film. There are no grand acts of terror, and a monotonous routine takes precedence for the most part. However, this stagnantness is where the horror excellence shines. I Am a Ghost follows a woman from an indeterminable era in a large Victorian house, all by herself, as she goes about her daily routine of waking up, making breakfast, walking around the house, and so forth. However, something is off, a stringent atmosphere become apparent, but the force of strain is revealed ever so delicately and subtley. Yet, when the clock strikes and the realisation hits, we are met with an ungodly reign of terror in the form of a chilling creature-like demon whose appearance is a psychical shock in terms of its sheer spectacle but also an emotional jolt due to the sudden interruption into the banal, mundane tone that was at play for the majority of the film.
5- Night vision – The Descent (Neil Marshall, 2005)
The Descent’s unbreakable reputation still stands today due to Neil Marshall’s impeccable timing of frights, scares and gore galore. The night vision scene occurs deep under an unknown cave system amidst columns of sharp, pointed stalactites and hundreds of animal bones. Darkness prevails, and panic sets in for the spelunking group, who are becoming increasingly aware of their entrapment. Their access to night vision only provides a feeble attempt of sight, but what it does pick up is a daunting image of the humanoid creature known as a ‘Crawler’ standing over them, waiting to catch their prey. Upon discovery, all hell breaks loose, and the group’s tortuous journey to their gruesome deaths begins. It’s everything one could wish for in a jumpscare – disquieting tension, limited vision, an almighty scream and a powerful scare.
6- Car window – Smile (Parker Finn, 2022)
A common conception about contemporary horror cinema is that they are predictable with one too many jumpscares. And whilst that sentiment may ring slightly true, there are plenty of films which exercise an abundance of jumpscares with brilliance—an example of this being Smile. Parker Finn’s feature debut’s standout scene, which took many by surprise, is the ‘car window’ snippet. The jolting clip shows a woman running to a car window, only for her torso to fill the car window, and her neck to seemingly contort and hang low, pushing her twisted expression into the glass and showcasing an awfully horrid smile.
7- ‘The Mother’ – Barbarian (Zach Cregger, 2022)
The payoff from Barbarian’s ‘big’ jumpscare is all in the buildup, which takes up the majority of the first half of the film. Whilst details will be kept sparse, throughout Barbarian we are unsure as to who or what will go wrong, who to trust and when the horror will unfold. Meaning that the grand reveal of the mysterious titular creature behind all the terror is all the more effective. What also propels this particular Barbarian scare to gold status is how it changes the film’s method of horror. The likes of Smile and Sinister use quick scares to retrieve a response. Meanwhile, Barbarian and I Am a Ghost utilise a general sense of devilment to entice a reaction. Barbarian often employs atmospheric dread to create fear, making this unforeseen monstrous appearance all the more frantic.
8- I Saw Her Face – The Ring (Gore Verbinski, 2002)
Gore Verbinski’s adaption of the Japanese classic Ringu (1998) is an example of a remake done right. There are countless instances where the film takes us on a frightening ride, but there is one scene that stands out amongst them all – the infamous ‘I Saw Her Face’ extract. During a somber funeral service for a young girl hit by the tragedy of The Ring’s lore, the victim’s mother tells of her heartbreak and sudden death of her daughter. The scene is one of solemn and tenderness, mourning the sadness of a life lost, however, in an attack of complete sporadicalness the camera cuts to the girl hunched dead inside a closet, mouth gaping open, eyes drooped and bruised skin. Brutal, bold and beyond bone-chilling.
9- The Haunting of Hill House (Mike Flanagan, 2018)
Mike Flanagan is the ultimate horror connisseur, what with being a known avid horror fan, which continuously shows through his extensive filmography. Although The Haunting of Hill House is not a film but mini-series, it truly is a cinematic masterpiece. The show as a collective nails the art of a jumpscare. It features scenes of brief, sudden thwacks with booming sounds providing plenty of nerve jolting attacks to the senses. On the flip side, there is an equal amount of long, dreary, shocks that unnerve as much as they panic. Whilst there are too many scenes to pin the precise focal point, a few masterly frights include every appearance of the Bent Neck Lady and the ‘car scare’.
10- Hide and Clap – The Conjuring (James Wan, 2013)
To set the scene, a mother and child are playing the hide and clap game, which is akin to a Marco-Polo, hide and seek activity. In an attempt to locate the hider, the seeker (the mother) follows the claps, leading her to the entryway of the basement. Now in complete darkness with only a small glow lighting up her face, she waits for the next clap, only for the silence to be broken by a clap from right behind her. Loud screams and panic ensues, but the real reaction comes from the slow buildup, shivering in anticipation waiting for a clap to appear out from knowhere and cut the unbeliviably thick tension.
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1- The Wolf House (Cristobal León and Joaquin Cociña, 2018)
Kicking off this mind-twisting list is the Chilean stop-motion film The Wolf House. Directed by Cristobal León and Joaquin Cociña and co-written by Alejandra Moffat, is the animated, surreal fairytale that takes the viewer through a mirage of labyrinth-like settings and worlds in a desolate house. The film’s visual incoherence is a guise that shelters and replicates the intense and complex meaning behind the story—inspired by the troubling Colonia Dignidad, a colony established in Chile post WW2 where various acts of torture were committed. The Wolf House’s myriad of madness is captivatingly gruesome, with each scene being near impossible to decode at first glance; for instance, as the meaning behind the house unravels within the story, the bones of its foundations experience a metamorphosis where objects become people and people become animals.
2- Possum (Matthew Holness, 2018)
Akin to the backwards world of British TV series The League of Gentlemen (1999-2002) and infused with a touch of Ben Wheatley’s Neo-folk filmmaking style is the utterly fantastic and incredibly dark Possum. From the mind of director Matthew Holness is the story of a child puppeteer, Philip (Sean Harris), who returns home where he is confronted with his past trauma. The film was adapted from Holness’s short story of the same name that was influenced by the works of Sigmund Freud. Considering this, Possum is brimming with the uncanny, whether that be through the offensively disturbed arachnid puppet that features throughout, or the cold, dismal world that the film takes place in. Possum is one of those films that may be watched a dozen times before one can truly get to grips with every single detail of great emotional significance that seeps throughout every frame.
3- House (Nobuhiko Obayashi, 1977)
House is a kaleidoscopic fever dream that emulates psychedelia with a pungent extremity, with its ethereal quality coming off as both haunting and unreasonably excessive. The hallucinatory facets within House derive from director Nobuhiko Obayashi’s wanting to create a film that goes beyond human understanding, or more accurately, adults’ understanding of the logical world. In creating the script, Obayashi enlisted his daughter’s help where he observed that a child’s imagination conjures the most fascinating of concepts that traverses far beyond the mundanity of what the mature mind summons. With this, House takes aspects of childhood nightmares of colourful monsters and nonsensical scenarios to create a film that is wildly ambitious and genuinely startling.
4- Begotten (E. Elias Merhige, 1989)
Back in the mid 1980s E. Elias Merhige developed an idea for a piece of experimental theatre where live music and dance would be performed against a story of mythology, religion and the disgrace of humanity. Whilst traction was aligned with the project and the concept blossomed, Merhige realised that the production as a live piece of theatre would be too costly, leading to his concept becoming a film. With the knowledge that Begotten’s corpus derived from experimental theatre, it becomes easier to mentally digest the final product, which is by all intents and purposes a complete deluge that resembles a total exodus of reality. The hellish imagery consists of the self-disembowelment of God whose mutilated remains gives birth to Mother Earth before conceiving the ‘Son of Earth’ and going on a surreal, nauseating path of destruction and discovery. Take this rambunctious idea and now imagine it paired with the film’s obtrusive score that runs throughout which features nothing but insect-like squirming noises over a ‘thu-dum’ heartbeat sound. Begotten obliterates normality and acts a sporadic experience from beginning to end.
5- Koko-di Koko-da (Johannes Nyholm, 2019)
Koko-di Koko-da is another Groundhog Day story that chronicles a grieving couple that are stuck in a time loop by nursery rhyme characters. The complex and structurally intricate storyline deliberately never makes sense or fully acknowledges its strangeness, it is just accepted by the cinematic universe, making every confused and disjointed emotion extracted from the viewers all the more disturbing. Paired with the absurdity of the events, there is an overall aggravation towards the antagonising characters. The beings terrorising the couple strive through with a morbid happiness that seems whimsical until we are reminded that this is very much a horrific story.
6- Uzumaki (Higuchinsky, 2000)
Based on the Junji Ito manga of the same name is Uzumaki, a film where atmosphere, aura and an unhinged narrative take over to create a boggling adaption. Uzumaki has received a decent share of criticism over time, partially due to its off-kilter humour that sporadically features throughout, which seems quite out of place. However, it is this strange placement of slapstick comedy that pierces the tension and makes the film an untamed watch where the entire direction of the film is consistently unprecedented. Adding to the peculiarity is the film’s central focus surrounding the spiral pattern and how it essentially drives the characters to the brinks of their psyche. The Fibonacci spiral hysteria twists and turns the story in the most unexpected of ways, leaving for the most memorable of watches.
7- Society (Brian Yuzna, 1989)
The magnificence of body horror is forever in debt to Brian Yuzna’s Society. Yuzna’s epic exploration into the potentials of depravity is an exercise in the brilliance of cinema that doesn’t take itself too seriously, with plenty of amalgamated bodies that fuse flesh to flesh and limb to limb to create a gigantic creature formed by body parts. The aspect of anthropomorphism plays a large role in Society with the monstrosity of the final act being a repulsive feast for the senses. For fans of excessive gore and stomach churning terror, this film is not to be missed!
8- Resurrection (Andrew Semans, 2022)
Despite the brilliance of the leads, Rebecca Hall and Tim Roth, Andrew Semans Resurrection is criminally underrated. Whilst many absurd films tackle obscene comedy to further the surreal nightmarish quality of mind-boggling horror, Resurrection takes a much more gloom-ridden route where the calamitous nature of the film shines alongside the unearthly and bizarre plot points. Whilst the story is best left as an enigma for first time watchers, what can be revealed is that Resurrection follows the disciplined business woman Maggie (Hall), whose life implodes when a strange figure (Roth) from her past comes back to haunt her. The words brutal and cold rings strong throughout this relentless shocker.
9- Visitor Q (Takashi Miike, 2001)
Hmm… where to begin with horror legend Takashi Miike’s Visitor Q? Not for the faint hearted and certainly not a family film is this utterly barbaric and gut-wrenchingly twisted tale of nihilistic dread following the perverted Yamazaki family as they fall apart at the hands of their own lewdness. Themes of incest, voyeurism, sadio-masochism, torture, necrophilia, coprophilia, lactophilia (and copius other ‘philia’ related terms) all take centre stage throughout the film, leaving any seasoned viewer affected, let alone an unsuspecting spectator. However, whilst there is a lot to be said about its extremity, Visitor Q is a fascinating watch, particularly due to its stylistic output. The film mimics documentary footage with the camera acting as a fly on the wall for most scenes, creeping up where you’d least expect it and bringing us uncomfortably close to the experimental action.
10- The Cabinet of Dr. Caligari (Robert Wiene, 1920)
German expressionism roots its origins within Berlin circa 1920s as a reflection of the turmoil during that era. Notable films from the period include the likes of Nosferatu (1922), Faust (1926) and most importantly in this case, Robert Wiene’s The Cabinet of Dr. Caligari. The film is renowned for its graphic style and striking aura that is straight from the dark underbelly of horror thematics. The set’s were purposefully built to create a dizzying effect where the walls were angled and floors were tilted, where featured trees would appear diagonal and staircases would be spiralized messes. It was a radical decision to portray such a frenzy that still pays off over 100 years later.
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A harmless weekend turns deadly when a Danish couple, Bjørn (Morten Burian) and Louise (Sidsel Siem Koch) and their daughter Agnes (Liva Forsberg) meet up with Patrick (Fedja van Huêt), Karin (Karina Smulders) and Abel (Marius Damslev), a family they met on holiday.
Yelling at the screen and simmering in frustration are common occurrences whilst watching Speak No Evil. But it is this exact vexation that the film thrives in as we are forced to watch deliberate, misinformed choices taking place, all for the characters to fall victim to one of modern horror’s most irrefutably evil couples. Patrick and Karin maliciously play this running game of ‘coincidences’ to play off their subtle, cruel jibes, disorientating the innocent family and forcing them to fall into the true horrific pits of their sinister intentions. Patrick and Karin employ a cold callousness that teases the viewer throughout, where we find ourselves constantly second-guessing whether the pair are building up to an act of violence or whether we are just being paranoid.
2- Henry (Henry: Portrait of a Serial Killer, 1986)
Following his release from prison, Henry (Michael Rooker) carries on his murderous antics as he goes on a wild and vicious killing spree.
The contentious reputation of Henry: Portrait of a Serial Killer is an ode to the pure brutality of the titular character’s actions throughout the film. Acts of depravity from murder, torture and assault all take centre stage throughout the brutish movie; however, whilst these homages to brutalism are entirely shocking, what makes the film so powerful and significant is the nonchalant carelessness that Henry displays. There is no regard given to his devastations, not a thought behind his eyes whilst dicing his way through victims and most importantly, there is no stopping him whatsoever. Henry states that he just moves on from state to state, killing with no particular modus operandi, implying that his limits are unfounded and that he will never be caught.
3- La Tenia (Irréversible, 2002)
Told in reverse order, Irréversible follows the acts of revenge two men commit after the torture and attack of the woman they love.
It would be hard to come by a spectator who was not left feeling emotionally torn after watching Irréversible. The film has become known as one of the more severe mainstream depictions of graphic violence, with the focus of terror being the infamous ‘tunnel scene’ showcasing an abhorrent pimp known as La Tenia (Jo Prestia) pinning down and sodomising Alex (Monica Bellucci), a young woman who was innocently walking past him, minding her own business. Emotions from fury to sickness and then back to anger all flood through us as we see La Tenia spew venomous sentiments at Alex whilst she is laid cold and battered on a dirty Parisian underpass. The camera statically lingers for a dreaded nine whole minutes as La Tenia exercises sheer immorality. Many movie villains are praised and held up as deviant icons within film; however, La Tenia is far from praise, becoming one of cinema’s most abominable monsters ever.
4- Patrick Bateman (American Psycho, 2000)
Patrick Bateman (Christian Bale) is a successful investment banker by day and a murderous psychopath by night whose grip on reality loosens as his habits become increasingly violent.
Patrick Bateman is the personification of arrogance. He views people not as humans but as toys in a treasure chest for him to do whatever he pleases with, whether that be to ridicule their class status or to savagely murder and dismember them. Whichever method of evisceration Bateman chooses, he will do it with a unique poise that ensures he is the most powerful and controlling person in the room. It is this assuredness that makes him overwhelmingly intimidating. Remaining both calm and manic, ruthless and serene, is a quality that makes Bateman stand out amongst the rest.
5- Troubled youth (Eden Lake, 2008)
Jenny (Kelly Reilly) and Steve’s (Michael Fassbender) romantic weekend away is cut short when they cross paths with an enraged group of local teens.
Eden Lake’s state of antagonism is wrapped up with the idea of generational horror. Although the force of horror mainly comes from the terror enforced by the teenagers, the film reveals that the gang’s thirst for trauma is rooted deep within their habitat. Eden Lake concludes with Jenny seeking rescue in a seemingly warming, normal family home, however, it is revealed that the house is occupied by the relatives of the gang she barely escaped from. The manner of the more mature members of the families are worse than that of the youth, exemplifying how nurtured, damaged behaviour is a terrifying cyclic practise.
6- Esther (Ophan, 2009)
A couple gets more than what they bargained for when they adopt Esther (Isabelle Fuhrman), a sweet ‘young’ orphan looking for a new family.
Esther has become synonymous with contemporary horror villainy, with her flawless infiltration system being savagely creative and cruel. As it happens, Esther is not a child but a woman in her thirties with an appetite for destruction. Her caring demeanour and her tragic orphaned backstory make the people in her life fall into her trap, only to ensnare them viscerally. Esther’s story is one that is scarily plausible and unique within the genre, making for a gnarly, fearful watch.
7- Kyung-chul (I Saw the Devil, 2010)
A cat and mouse game ensues after Soo-hyeon’s (Lee Byung-hun) wife and unborn child are found dead at the hands of serial killer, Kyung-chul (Choi Min-sik).
The antagonism exercised by the character Kyung-chul is utterly barbaric and reprehensible. Nothing, no one and no act is off limits for this despicable man. The film depicts each killing with such ferocity that it is nearly impossible not to feel some form of hatred for his character. Accompanying Kyung-chul’s beastliness is the film’s melancholy tones, a quintessential facet of South Korea’s fantastic filmmaking style, with each scene juxtaposing Kyung-chul’s inhuman actions with the audience’s evidential empathy towards his victims.
8- The Poughkeepsie killer (The Poughkeepsie Tapes, 2007)
A serial killer’s life’s work is unleashed as New York detectives find thousands of home videos depicting countless acts of murder, dismemberment and torture.
Although relatively infamous amongst many found footage fans, The Poughkeepsie Tape’s central antagonist (whose identity is never revealed) is rarely discussed regarding their atrocity. The film discloses that their victim count reaches far into the hundreds. Each tape screened revels in the killer’s gratuitous displays of punishment and abuse, with the perpetrator additionally employing disturbing fetishism throughout his inflictions of pain.
9- Mum and Dad (Mum & Dad, 2008)
Lone airport worker Lena (Olga Fedori) is held hostage by a sick and twisted family.
Head of the sadistic family are Mum (Dido Miles) and Dad (Perry Benson), who encompass the epitome of all things grotesque and macabre. Their incestuous attitudes and gleeful will to traumatise leave for an incredibly uncomfortable watch as we see the pair exude delight whilst tormenting the innocent. Adding to the pair’s awfully horrid actions is the film’s bleak and dreary flair that embodies a sense of misanthropic unease, forcing the viewer to wallow away within all of its overarching angst.
10- Chris Cleek (The Woman, 2011)
Whilst out hunting, Chris Cleek (Sean Bridgers) captures an uncivilised woman and brings her to his family home, keeping her tied up in an old out-shack for him to keep as a trophy, doing what he pleases.
Immediately there is a strong sense of banality seeping through Chris’s motives and actions, but what is the real nail in the coffin is how his actions are mimicked by those around him. He nurtures his teenage son to also treat the woman as an object for his desire, with the father son duo feeding from each other’s willingness to harm. Master manipulation and evil toxicity truly is the bread and butter of supposed ‘family-man’ Chris Cleek’s persona.
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In Frankenstein or, The Modern Prometheus (1818), author Mary Shelley once wrote, “There is something at work in my soul, which I do not understand”. It is an undeniably beautiful quote reminiscent of the delicate nature of the soul that speaks to the fragileness within humanity; it paints pictures of pale pinks and cotton with its sweetness. However, just as nature pins the human form as sensitive and innocent, there is equally a brutality, a malevolence that seeps through the soft belly and permeates the soul with an air of monstrousness that is impossible to precisely identify – it is, as Shelley details, something which we do not understand.
This odd polarity has often been used in horror to analyse the female. She is mellow yet ferocious, harmless yet venomous. This dissection of the monstrous speaks to countless films from Carrie (1976) to Raw (2016), where the likes of female witches, vampires, aliens, possessed creatures and werewolves are ignited on their path of abjection. However, one entity has somewhat escaped the line of fire – the feminine mediation of Frankenstein.
Monsters represent what we can fantastically be and are most certainly not, almost akin to the folkloric nature of haunting mythology surrounding culturally specific warnings like the La Llorona tale originating from Latin America. It is the knowing that otherness is a potent potential that we simultaneously want to hide from whilst devouring its unique alienness. Regarding feminising Frankenstein, the focal topic is the female body and its all-controlling, all-consuming traits and how it affects otherness and others.
Tyler MacIntyre’s Patchwork (2015) follows three women, Jennifer (Tory Stopler), Ellie (Tracey Fairaway) and Madeleine (Maria Blasucci), who, after spending the night partying, find themselves butchered and reattached together. Similarly, Frank Henenlotter’s Frankenhooker (1990) sees widowed scientist Jeffrey (James Lorinz) bring his wife back to life by attaching the few remnants left of her corpse with random body parts from prostitutes that he murdered. Within both of these films, the unwillingly and unknowingly spliced and diced female corpse represents the act of objection, particularly concerning the womanly form being a commodity for desire.
Whilst Jeffrey’s motives seem slightly touching at first, the film makes a point of showing his self-fulfilling prophecies; for example, during one of his grief-ridden rambles where he has the lightbulb moment of Frankenstein-ing his wife Elizabeth (Patty Mullen), he comments that he will give her the best figure possible. Adding to this is his nonchalant attitude to the several sex workers he kills to compose the new body, as well as his frustration over Elizabeth seeking agency over her new form (which she never even asked for). Jeffrey is frustrated over his lack of control, with this anger slipping into pure vexation when the film ends with Elizabeth performing the same body reassembly on Jeffrey.
Here, Elizabeth is a vessel in which to be fascinated and fearful. There is no conforming to the norm. The ‘new’ Elizabeth was biologically constructed to be an object of desire for Jeffrey, something to stare at and admire. But, she becomes a source of fear and allure when she begins to reject and sway from her presumed destined stature. Within this corruption, a tie is formed between the spectacle and the feminised monster. We internalise the knowledge of Elizabeth being undead, a reanimated dead, rotting corpse and internalise this grotesqueness along with her refusal to comply and see her as the epitome of the monstrous feminine.
The physical threat of decay paired with the fragility of female morals is additionally explored in Patchwork. The triptych-like Frankenstein creature goes on a path of vengeance within the narrative. When looking at the prospect of monstrosity and revenge, an immediate connection is made, exhibiting a cathartic purge of vehemence and revolt. Like Elizabeth, the characters experience a bodily rebirth regarding their new forced physical form and spirituality. They reluctantly take on their flesh with a sense of fury, shedding their skin and disengaging from the agency of their mutilator. With this, they create a new identity.
Further elaborating this facet of new autonomy is the secondary strain of the female Frankenstein – the ‘actual’ Frankenstein. Of course, when the term ‘Frankenstein’ is correctly used, it refers to the creator of the monster (known as Dr. Victor Frankenstein in the book and original media), with his creation being deemed as ‘Frankenstein’s monster’. Nevertheless, it is precisely this idea of Frankenstein’s creator that we are going to explore next.
Womanly, mad scientists taking discarded corpses and creating their own twisted, semi-living sapient beings has been a significant area that the horror and thriller world has traversed. Films such as Lady Frankenstein (Mel Welles, 1971), Birth/Rebirth (Laura Moss, 2023), The Angry Black Girl and Her Monster (Bomani Story, 2023) and the upcoming Lisa Frankenstein (Zelda Williams, 2024) all employ the use of a female scientist. Although under different strains, these creators of monsters all act as makers of individuals, albeit not necessarily ‘traditional’ cognisant beings. They are motherly architects of horror.
In horror, the maternal figure is continuously seen as monstrous because of her perceived transgressions that defy social normalities, with the focus being on all of the bodily changes experienced during pregnancy, childbirth and the aftermath of rearing the child. As seen in The Brood (David Cronenberg, 1979) and the more contemporary film Titane (Julia Ducournau, 2021), horror cinema utilises these themes of the motherly body, castration anxiety and the threat of maternal domination to create apprehension and dread. The female Dr. Frankenstein spends their blood, sweat and tears creating, nurturing, and training their creations before unleashing them. These creatures are motherly-esque creations made in a symbolic womb (improvised labs). Herein lies the possibility that the femme creator of the beast is the catalyst for all things monstrous.
In essence, the trajectory of femininity within the concept of the female Frankenstein reveals a nuanced portrait of monstrosity that has the ability to be explored in an extremely wide capacity. Going back to the beginning, Shelley’s timeless quote, “There is something at work in my soul, which I do not understand”, condenses the intricate web of the female experience, oscillating between fragility and fury, purity and wickedness. Through the likes of Frankenhooker and Patchwork, the female form is moulded to form a site of manipulation perpetuated by their cruel creators, with the films showing their journey to take back the power over their bodies. The barbaric transformations the women go through speak to the rejection of their prescribed roles, ultimately leading to an uproar.
On the other hand, we have the portrayal of the mother monster that blurs the complicated line between motherhood and monstrosity. Despite their nurturing intentions, these figures challenge and invoke fear through insubordination towards their traditional role. The female Frankenstein underscores the duality of beauty and brutality. It serves as a stringent cue of the complex and innate struggle to gain autonomy and agency in a world that seeks to confine.
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‘Thing’: the detailed, unearthly, alien-like conundrum of a creature is not simply one of the horror genre’s most iconic beings, but one of cinema’s itself. Instantly recognisable and synonymous with John Carpenter’s grandiose auteurism is this hybrid, shapeshifting brute whose physical capacities include mutating into an array of phobia-inducing monsters including mutated huskies and gargantuan arachnids with talking heads (props to the Kafkaesque composition). The Thing’s stellar reputation is largely owed to special effects artist Rob Bottin who primarily conjured the horrid creatures throughout the entire film. It can confidently be stated that Bottin’s originality and sheer ingenuity have created the ultimate blueprint for movie monsters.
2- The Monsters – Feast (John Gulager, 2005)
Whilst the Feast trilogy establishes that these apex predators are indeed deadly carnivores with an appetite for pure destruction to accompany their fleshy cravings, what is left undecided is their exact alien-like origin. However, forgoing whether they are innate earthly dwellers or not, what is noteworthy is how savage, beastly and ultimately gnarly these cosmic creatures truly are. Feast’s resident critters are responsible for some extremely gruesome antics such as eye gouging, head smashing, throat slashing and plenty of glimpses of archetypal sci-fi green goo and generous close-up shots of an array of slimy fluids. Further tearing into the response system of the viewer is the creature’s cruel, grotesquely evil actions that include assaulting their female victims in the most violent of manners. Feast certainly dares to shock the audience in every way possible.
3- The classic green Martian – Signs (M. Night Shyamalan, 2002)
One particular scene in M. Night Shyamalan’s Signs has garnered quite a reputation over the years, and for a very good reason as this single moment manages to conjure such a spine-tingling, nail-biting, pure burst of alarming fright. Of course, the scene in question is the ‘birthday party scene’. Supporting lead, Merrill (Joaquin Phoenix) is shown watching the news, trying to seek out the strange alien happenings going on in the world. However, during the broadcast, a clip is aired of a birthday party that is suddenly interrupted by a gangly green alien striding across the screen. It’s a moment of such simplicity and plainness that somehow manages to reach out from the fictional world of Signs and physically affect the viewer. The graininess of the shot paired with the sudden startle aids in the ‘realness’ of that moment, giving a raw, realist agency to the scene that is usually difficult to achieve amongst all the fantasticality displayed within the sci-fi genre.
4- Jean Jacket – Nope (Jordan Peele, 2022)
Briefly steering away from the visceral excess of horror beasts is a slightly more subtle take on extraterrestrial life that still manages to dedicate its screentime to amplifying the fear factor. Nope’s antagonist is known as ‘Jean Jacket’, a colossal UFO that takes on the shape of a biblically accurate angel with its expanding, curtained edges that flutter during its consumption and round off afterwards revealing a design that can only be described as a smoothed cowboy hat… Specific descriptions aside, what allows Jean Jacket a spot on this list is its omnipotent vibe that exemplifies mystery to harbour intense fears of the unknown and the uncanny. However, amidst all of Jean Jacket’s subtle ways, what would be a dishonour to not give credit is that scene involving Jean practically inhaling a sea of people, inducing intense feelings of brutal claustrophobia that is sure to stay with the viewer for long after watching.
5- The Long One – Slither (James Gunn, 2006)
Known as The Long One is Slither’s force of destruction. The Long One’s parasitic origins are responsible for its multitude of transfigurations across the film. Director James Gunn inventively displays these evolutions in the most absurd yet gorily creative ways possible. For instance, one of the more memorable parasitic forms exhibited in the film is when the leech-like creatures inhabit the body of Brenda (Brenda James), making her body expand into a mammoth fleshy sphere complete with protruding veins and puddled in a pit of merlot-tinted rot that emphasises the abnormally stretched beyond belief skin.
6- Xenomorph – Alien (Ridley Scott, 1979)
No extraterrestrial list would be complete without the undeniably infamous Alien. Ridley Scott’s 1979 tale on the powerful forces that exceed Earth is responsible for the one and only Xenomorph, an endoparasitoid species complete with a spiny tale, tubular skull and a hive mentality that makes for optimum domination over its prey. What makes the Xenomorph incredibly celebrated in the genre is its utter ruthlessness and its invasive potential. In the presence of Xenomorphs, no one is safe.
7- Shapeshifting parasites – The Faculty (Robert Rodriguez, 1998)
This late 1990s teen scream takes inspiration from the horror classic Invasion of the Body Snatchers (1956 [and its 1978 remake]) by placing the terror of the alien creature in its ability to shapeshift into a human, disguising and conniving before unleashing hell in its true form. Whilst The Faculty does an excellent job in the effects department when showing the creature in its full innate form, what remains the most foreboding aspect of the film is how these beasts transform into everyday people. It’s the fear of evil hiding where you’d least expect it, waiting and lurking in the shadows.
8- Death Angels – A Quiet Place (John Krasinski, 2018)
Hyper-evolved beings that possess the power of super hearing to the point that a loud breath is perceived as a scream is an utterly terrifying premise. These creatures, officially known in their world as ‘Death Angels’ are horror reincarnated, prepared to rip you into a million tiny pieces within seconds – as wickedly revealed during the film’s bitterly harsh opening sequence. These immense monsters are entirely blind, solely relying on their hearing to catch prey. And as discovered in the film’s sequel (A Quiet Place Part II [2020]), the Death Angels managed to achieve world domination – apocalypse style – within hours.
9- The ‘gorilla-wolf’ aliens – Attack the Block (Joe Cornish, 2011)
Described in the film as “big alien gorilla wolf motherf*****” are Attack the Block’s resident predators. This laugh-out-loud horror comedy may be equipped with a joke-a-minute coat, but underneath the humour are some pretty gruesome beasts that have the capability to instil enormous heaps of fright as the fuzzy, glowing creatures rapidly swarm down dark halls in their furry squads.
Psycho Goreman, also known as ‘PG’, is a self-proclaimed deadly, ferocious warrior who becomes trapped on planet Earth. PG’s death-lord ways see him destroy nearly everything in his path from murdering civilians to wrecking whole towns. However, PG does have an off-kilter charm that infuses the narrative and his persona with a warmth that can only be explained if one has seen the brilliantly wild and weird film itself. Throughout PG’s various rampages, his character becomes so emboldened with personality that it can be easy to overlook his barbarity. But one aspect that is impossible to escape is how exhaustively detailed the alien design is throughout the film. PG’s mottled skin with its constant crimson glow, coupled with a mountainous structure is a visual behemoth that both commands attention and adds to the horrifically majestical overarching tone of the entire film.
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Completing T.I. West’s zealous ‘X’ trilogy is MaXXXine, a cinematic epilogue following massacre survivor Maxine’s (Mia Goth) journey to stardom in the early 1980s. With West’s signature homage to gritty nostalgia-driven thematics and Goth’s ability to immersive herself into her characters with visceral ease, MaXXXine will certainly be an unmissable slasher.
2- Shelby Oaks (Directed by Chris Stuckmann)
Youtuber Chris Stuckmann’s directorial debut has already made waves across the independent film industry, with its Kickstarter campaign breaking records as the upcoming found footage inspired horror crossed the $1 million point early last year. Shelby Oaks tackles the story of a missing paranormal investigative team and the pandora’s box of hell that their disappearance unleashes.
3- Late Night with the Devil (Directed by Cameron and Colin Cairnes)
This highly anticipated Australian horror burst onto the scene with nothing but rave reviews after its premiere at the South by Southwest Film Festival. Taking centre stage is David Dastmalchian as Jack Delroy, a smooth-talking late-night talk show host whose show quickly goes south one fateful night after he interviews a survivor of a satanic mass suicide.
4- Lisa Frankenstein (Directed by Zelda Williams)
One of horror’s favourite writers, Diablo Cody (creator of Jennifer’s Body [2009]), is back with the 1980s set Lisa Frankenstein, a morbid, fresh and ghastly take on the classic Frankenstein monster’s tale. Kathryn Newton plays the role of enigmatic teenager Lisa Swallows, who falls head over heels with a living corpse (Cole Sprouse). Dressed with bubblegum pink aesthetics and a ghoulish love story, Lisa Frankenstin makes for a perfect spooky Valentine’s watch as it hits screens on the 9th of February.
5- Saw XI (Director TBC)
A new entry into the neverending, blood-filled, gore-ridden Saw franchise is heading to theatres in late September. However, this is all that is known about the latest cog in Jigsaw’s grand plan so far. Despite its acclaim, writers of the warmly received Saw X (2023), Peter Goldfinger and Josh Stolberg, will not be returning to carry on the Saw legacy. Although the mystery is strong surrounding this upcoming release, one thing is for certain: Jigsaw’s game is far from over!
6- Longlegs (Directed by Oz Perkins)
The chilling teaser trailer for Oz Perkins ‘Longlegs’ has been haunting the internet since the new year, with small snippets of malevolent stills and unnerving clips of tense, unfamiliar symbols appearing all over social media. This sure-to-be hit follows FBI agent Lee Harker (Maika Monroe) as she is assigned to an unsolved case of a serial killer linked to the occult.
7- Hell of a Summer (Directed by Finn Wolfhard and Billy Bryk)
Hell of a Summer follows the structure of a classic (and unbeatable) summer camp slasher, complete with a mysterious masked killer who lurks the grounds looking for prey. Whilst a strong sense of familiarity rings true, what Hell of a Summer does promise is an extremely gory, wild and savage take on a genre favourite.
8- Terrifier 3 (Directed by Damien Leone)
Horror’s residential terrifying clown – ‘Art’ (David Howard Thornton) has been scaring the wits out of people since his first appearance in Damien Leone’s short film The 9th Circle (2008), and now he’s back yet again for the highly anticipated Terrifier 3. With its first look trailer already rapidly making the rounds, this upcoming Christmas-based slasher will certainly be making some noise when it gets released come 25th October.
9- The Toxic Avenger (Directed by Macon Blair)
It takes a bold crew to tackle Troma Entertainment’s bold cult classic, The Toxic Avenger (1984). However, from the looks of the fiery trailer and the talented cast including none other than Peter Dinklage and Elijah Wood, the fifth entry into the ‘Toxie’ franchise is set to be an offbeat, untamed, maverick-like beast of a film. Catch the latest Lloyd Kaufman and Michael Herz produced flick later this year.
10- Baghead (Directed by Alberto Corredor)
Hitting theatres on the 26th of January is Baghead, a paranormal horror following Iris Lark (Freya Allan), who inherits a broken-down pub she soon discovers a sinister presence lurking underneath the premises. Baghead’s corpus of dread surrounds the rhetoric of loss, decay and the dwellings of mortality.
11- Abigail (Directed by Matt Bettinelli-Olpin and Tyler Gillett)
From the creators of Ready or Not (2019), Scream V (2022) and Scream VI (2023) is the upcoming creature feature Abigail. Based on Dracula’s Daughter (1936), Abigail takes on vampirism with a vicious twist as the enthralling plot follows a group of kidnappers who abduct the daughter of an influential figure for ransom, only to discover their victim’s bloody appetite…
12- The Strangers: Chapter 1 (Directed by Renny Harlin)
Despite the rumours, The Strangers: Chapter 1 is not a sequel nor a remake of the 2008 contemporary classic, The Strangers (Bryan Bertino). Alternatively, this Renny Harlin feature is the first of a standalone trilogy that occurs simultaneously with the original ‘08 timeline. With this being said, in Chapter 1 expect plenty of home invasion thrills, intense frights and most notably, some of the scariest masks horror has to offer.
13- Nosferatu (Directed by Robert Eggars)
Robert Eggars may just be the perfect choice to bring the infamous Count Orlok back to life, with his ability to convey macabre yet beautiful narratives, alongside his brilliant stylistic techniques that consistently utilise the likes of dramatic chiaroscuro lighting. Joining Eggars in bringing Nosferatu to old and new audiences to the screen are performers Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin and Willem Dafoe.
14- Your Monster (Directed by Caroline Lindy)
Based on Caroline Lindy’s 2019 short film of the same name is Your Monster, a horror comedy with a heartwarming dash of morbid romance. The film follows Laura Franco (Melissa Barrera), a young woman simultaneously dealing with a breakup and a cancer diagnosis. However, her world is about to get increasingly stranger as she uncovers a petrifying but oddly endearing monster (Tommy Dewey) residing in her closet.
15- The First Omen (Directed by Arkasha Stevenson)
The Omen (1976) still lives on 48 years later as Arkasha Stevenson introduces The First Omen, a prequel to the original Richard Donner directed tale of horror’s deadliest child. The film chronicles Margaret (Nell Tiger Free), a young American nun sent to a church in Rome. However, she soon discovers a conspiracy within the Lord’s house as they attempt to bring about the birth of an evil incarnate. The 6th entry into the all-mighty franchise is set to be theatrically released on April 5th.
16- In a Violent Nature (Directed by Chris Nash)
This indie horror follows a masked silent man as he makes his way through a secluded forest (and a sea of bodies). In a Violent Nature proves that slashers are alive and well, with this slick yet dauntingly raw and seriously creative horror forgoing cliches and putting an original twist on the beloved subgenre with the film following the perspective of the antagonist.
15- Dust Bunny (Directed by Bryan Fuller)
Mads Mikkelsen and Sigourney Weaver star in Bryan Fuller’s (Hannibal [2013-15] developer) feature debut film about an eight-year-old girl who pleads with her neighbour to kill the monster hiding under her bed who massacred her family. The seemingly outlandish but entertaining concept of Dust Bunny is said to be rife with a throwback vibe, reminiscent of dark yet oddly comedic and heartwarming horrors from the 1980s such as The Lost Boys (1987).
16- The Watchers (Directed by Ishana Night Shyamalan)
M. Night Shyamalan’s daughter Ishana makes her directorial debut with The Watchers, an eerie creature feature that amalgamates with a secluded forest horror setting as we follow young artist Mina (Dakota Fanning) who finds herself trapped alongside three strangers in an isolated forest in Ireland surrounded by sinister beasts.
17- Handling the Dead (Directed by Thea Hvistendahl)
Adapted from the 2005 John Ajvide Lindqvist (Let the Right One In [2004]) novel of the same name is Handling the Dead, a Norweigan zombie film that tells the tale of three families whose lives are plunged into madness when their deceased loved ones are reanimated. The film strips back the hecticness of the archetypal zombie territory and opts for a muted, haunting atmosphere where the emotional anti becomes the driving force.
18- The Home (Directed by James DeMonaco)
After troubled retirement home worker Max (Pete Davidson), discovers that his patients are harbouring a menacing secret, he begins to reveal connections between his upbringing in a foster care setting and the ominous happenings at the ill-omened home. The Home sees James DeMonaco back with another horror following on from his work with The Purge franchise.
19- Imaginary (Directed by Jeff Wadlow)
Joining the likes of the Chucky TV series (2021-), Megan (2023) and Five Nights at Freddy’s (2023) is Jeff Wadlow’s ‘Imaginary‘ which is set to hit theatres on March 8th. Imaginary’s ‘evil toy comes to life’ is a stuffed bear named Chauncey who was the beloved childhood companion of Jessica (DeWanda Wise). However, when Jessica’s stepdaughter Alice (Pyper Braun) gets hold of Chauncey and her once innocent behaviour turns vicious, Jessica realises that Chauncey holds a wicked secret.
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10- Soundless screams (Insidious: The Last Key [2018])
Insidious: The Last Key often goes unrecognised in the grand scheme of the Insidious universe despite being the franchise’s most profitable film, meaning that many of its brilliant surprises also go overlooked. One of these potent frights showcases a fear that many of us will have experienced in some of our worst night terrors – attempting to scream, but nothing comes out. The scene shows a key-clawed demon plunging its talons into its victim’s throat, trapping their breath and brutally silencing them. The harsh effects of such a moment make us squirm at the mere thought of running out of breath in a room full of air.
9- Ultraviolet (Insidious [2010])
The first entry into the Insidious franchise remains one of the best out of the bunch, mainly due to its simple scares that build up slowly, leaving us in suspense as we sit and wait for a big jolt to the senses. This brutally slow tension is brilliantly captured in the picture-taking sequence as we follow paranormal investigator Tucker around the haunted home, looking through a UV lens to identify suspicious activity. As Tucker flicks through the lens settings, we see an ordinary hallway plain as day, that is, until two wide-eyed ghosts suddenly appear in the frame, grinning ear to ear with the most menacing smile possible. It’s a classic scare. One that takes minimal moves to enact, but the slow anticipation of knowing you are in for a fright provides the scene with maximum payoff.
8- Beware of the wardrobe (Insidious: Chapter 2 [2013])
Tin canned walkie-talkies make a terrifying comeback in Insidious: Chapter 2 as we see the Lambert brothers trying to settle after the events of the first film. Upping the nostalgia factor is the inclusion of the tried and tested closet jumpscare. A sleepy Dalton soon realises that it’s not his brother at the other end of the line, but instead a sinister voice with bad intentions. As Dalton begins to sit up in anticipation, replicating the viewer’s goosebumps, a gangly monster leaps out from the closet and bolts to the door before turning to Dalton and unleashing an almighty scream as it glares a haunting stare from its jet-black eyes. It’s a scene to behold and an instance that brings us back to our innermost fears of monsters lurking in the dark crevices of our rooms.
7- Baby monitor (Insidious)
Since their mass popularisation in the mid-1980s, baby monitors have become a pinnacle prop in cinema, with films such as The Baby’s Room (2006), Nocturnal Animals (2016) and Lullaby (2022) all utilsing the radio system as a horror instigator. In Insidious, the baby monitor tactic is used continuously to elicit big scares over small instances of time, with the strange utterances heard over the transmitter multiple times. In the beginning, each baby check ends in a fake scare, one where the spookiness is almost a hoax. However, during the third case, the camera finally reveals a pale-faced, vampiric-like, suited ghost ominously staring over the child. The baby monitor scene is an exercise in deceit, ceaselessly building up until we no longer expect a reveal of any sort, until that dreaded moment where we are taken by utter surprise.
6- Crossing the street (Insidious: Chapter 3 [2015])
Insidious: Chapter 3 is brimming with some truly underrated shocks and startles, with the ‘car crash’ scene being a prime example of the film’s ability to seize the reins and make an ordinary segment transform into a nightmare. Quinn Brenner is a troubled young girl haunted by her mother’s death. Hoping to regain a sense of normalcy, she pursues her dreams of entering a performing arts school. After a mediocre audition, she is left even more disheartened; despite that, her night is about to worsen. Crossing the street, she sees an eerie figure waving at her in a hospital gown, catching her attention in the middle of the road. Suddenly a screeching car comes into the frame, smashing into Quinn as she falls lifeless on the floor. It is one of Insidious’ more grounded scares, with the terror of an unfortunate real-life affair, with the zooming car and sudden collision with Quinn’s helpless body being somehow more terrifying than a world of ghosts and ghouls.
5- Sheet ghosts (Insidious: Chapter 2)
Joining the likes of baby monitors and closet ghouls is another quintessential genre favourite, the classic sheet ghost. The blank, expressionless demeanour that the cloaked spirits withhold provides the perfect minimalistic scare where just the visual alone is enough to send shivers up your spine. In Insidious 2, we are confronted with a ghastly team of veiled feinds, sat eerily still with their clawed, decayed hands peeking out from underneath the cloth. The image alone is the definition of nightmare fuel and is utterly unforgettable.
4- Knock-knock (Insidious: Chapter 3)
The horrifying scene begins rather innocently with Quinn gleaming from hearing her ‘neighbour-meets-crush’ knocking on her bedroom wall from the otherside. Their sweet morse code leads to Quinn texting her admirer, only for him to reveal that no one is home. The sudden realisation that the knock is coming from a sinister presence makes our stomachs drop at the pertriyfing awakening.
3- The big reveal (Insidious)
Insidious begins as a rather mundane, yet alarming, haunted house meets possession story. However, during the finale, all hell is let loose as a whole movie universe is unleashed, revealing that the paranormal happenings run further into the veins of the Lambert family than anyone could have ever imagined. Within this reveal, the Insidious franchise was birthed, with the film’s layered lore opening up within the final act.
2- Tiptoe through the Tulips (Insidious)
Many of us will be familiar with the nerve-wracking ring of Tiny Tim’s falsetto voice singing his hit ‘Tiptoe Through the Tulips’, thanks to its appearance on many creepy internet videos. However, its best use has to be in the first entry into the Insidious world, with the song playing over one of the series’ scariest moments. As Renai unpacks belongings into her new, seemingly ‘unhaunted’ home, a little boy appears in the corner of the frame dancing along to the spooky chime of horror’s scariest song.
1- The Lipstick-Faced Demon (Insidious)
It would be criminal not to include the franchise’s most iconic jumpscare in this list. While Dalton’s grandmother discusses how the demon attacking Dalton may hold a greater significance than first believed, the now-infamous ‘Lipstick-Faced Demon’ appears behind Josh with a brazen ferocity, followed by the most gut-wrenchingly loud orchestral swell. The result of the stunning score combined with the incredible graphics of the demon and the sudden hecticness of the incident makes this scene the most memorable and effective in the franchise.
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