With Scream 6’s release just around the corner, the highlighting of Scream’s staple duo Dewey Riley (David Arquette) and Gale Weathers (Courteney Cox) has never been more important. The pair nail the opposites attract trope, with Gale’s fierceness and Dewey’s softness being a perfect match to track down the copious Ghostface killers. Their on-screen chemistry was made even more present due to the fact that Arquette and Cox were married for over a decade.
2- Chucky and Tiffany (Bride of Chucky)
Chucky (Brad Dourif) and Tiffany (Jennifer Tilly) are the definitive killer couple who really are bad to the bone (or plastic in their case). The murderous team bring tough love to the forefront as their brutal jabs, constant bickering, and subsequent decimation of one another somehow lead to an iconic horror couple. Over the years, the pair have appeared in four movies together, as well as featuring in Chucky (2021-), the acclaimed TV series adaption of the franchise.
3- Evelyn and Lee (A Quiet Place)
Evelyn (Emily Blunt) and Lee Abbot (John Krasinski) belong to the blossoming Quiet Place franchise, which revels in the duo battling an apocalyptic landscape whilst still devoting themselves entirely to their marriage and children. In what can only be described as an extremely emotional state of affairs is the parting of Lee and Evelyn’s long partnership after the tragic ending of the first film. But the reason why the couple made such an impact with just one film is due to their impeccable connection in real life, with the pair being together since 2008.
4- Shaun and Liz (Shaun of the Dead)
Shaun (Simon Pegg) and Liz (Kate Ashfield) stray more on the unconventional side, particularly as they spend the majority of the film trying to juggle a fresh breakup with the impending doom that comes with a zombie outbreak. The beauty of Shaun and Liz revolves around the simplicity of their relationship, they break up, they make up, and ultimately create a dishevelled vibe that makes the dreaded zombie situation all the more heightened.
5- Seth and Veronica (The Fly)
Lying beneath the visceral body horror and Cronenbergian madness is The Fly’s rather emotional tonality as we see Seth (Jeff Goldblum) metamorphosis into a grotesque fly as his love interest Veronica (Geena Davis) has to watch him succumb to his illness. The Fly lures us in with all of its dismay and visual aesthetics, but what truly forces us to stay invested is the tragedy that comes between Seth and Veronica coming to terms with the impending deathly fate.
6- Adelaide and Gabe (US)
Adelaide (Lupita Nyong’o) and Gabe (Winston Duke) are one of the rare horror couples whose relationship remains unchallenged throughout the film; there are no affairs, serious disputes, or mentions of past mistakes. Rather than act as an instigator of tension, Peele simply infuses their marriage as part of the story. Through this subtlety it’s a given that we become invested in the outcome of the characters, meaning that every knock, blow, and tragedy stings just that little bit more.
7- Deena and Sam (Fear Street)
The Fear Street trilogy was certainly a standout surprise when it hit Netflix back in 2021, with each film surveying the unique stylisations that come with Summer slashers, witchy archaic atmospheres, and modern-day teen horror. Amidst all the chaos and thrills of every film, one running aspect that remained strong was the relationship between the two leads Deena (Kiana Madeira) and Sam (Olivia Scott Welch)—acting as a refreshing spin on the typical jock and cheerleader dynamic seen within the archetypal teen horror flick.
8- Morticia and Gomez (The Addams Family)
Whilst the world has taken Wednesday under its wing, the relationship between Morticia (Anjelica Huston) and Gomez Addams (Raul Julia) has simultaneously grown in popularity amongst newer audiences. But, Gomez’s cinematic love story has been brewing for years with their relationship first appearing on screen all the way back in 1964 in the original sitcom.
9- Big John and Little John (Halloween Kills)
Now… Big John (Scott MacArthur) and Little John (Michael McDonald) may not hold the strongest presence within the horror genre as their appearance in Halloween Kills was very much brief, but their impact was definitely not underwhelming. The hilarious duo is possibly one of the best factors in Halloween Kills, with the pair’s stellar comedic line delivery, and eventual brutal dismay making for a more than memorable watch.
10- Ed and Lorraine Warren (The Conjuring)
Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) have been at the top of the horror love story hierarchy since their appearance in the first of many entries in the ever-growing Conjuring universe. The possession-battling duo are always shown battling it out together, at each other’s side. So much so, that even the latest Conjuring film (The Conjuring: The Devil Made Me Do It) focused on the relationship between the Warrens as a backbone for the entire film.
Two families meet on holiday, leading to an impromptu trip, but when the groups reunite, a series of misunderstandings wedges a dangerous divide.
Shudder has become an absolute go-to streaming platform for all things macabre and morbid, with hundreds of classics and hidden gems lining the service. Yet, there is one film that truly stands above the rest. Speak No Evil has dominated the horror game since its release. Which is no surprise considering its unexpected paths, commanding characters, and astonishing story beats that will leave your jaw on the floor before the film has even reached its peak. Speak No Evil understands the severity of the mundane; in fact, it’s the very blandness of passive behaviour that ends up being the catalyst for terror. Tafdrup makes no mistakes when it comes to devising tricky situations, which makes the most innocent of actions exude a suspicious level of insincerity.
2- Men (Directed by Alex Garland)
Harper (Jessie Buckley) embarks on a countryside trip to get over the death of her husband. Whilst there, strange villagers interrupt her peace with growing ferocity.
Men is quite possibly one of 2022’s most controversial films, not necessarily due to the graphicness of ‘that’ ending… But, rather what Garland puts forth within the socially conscious A24 gem. Much of the criticism stems from Buckley’s role as a woeful widow, innately making her character development slip into distressed territories. However, as our review (link) points out, Men actively pursues a freeing emotional palette that disavows the one-dimensionality that is often seen within female roles. Men allows Harper to express grief without wearing a ‘final girl’ cloak that would have stripped Buckley of her incredibly intimate performance. Further ingraining this tone of allowing oneself to be a wreck (especially considering the film’s context) is Garland’s layered set design that flourishes in nature-based aesthetics, and intense soundscapes that transport the viewer into a mythical hellish landscape.
3- Watcher (Directed by Chloe Okuno)
When Julia (Maika Monroe) and her partner Francis (Karl Glusman), relocate to Budapest for work, Julia begins to loose her grip on reality as she suspects that she has a stalker watching and following her every move.
Watcher unravels with an air of noir mystery, devoting a certain cryptic sleekness within a mystery-based narrative. Further implicating this ‘classic’ quality is the intricately woven sense of dismantlement that slowly unwinds until the tension reaches an unbearable, but purgative peak in the final scene. The ties between Watcher and Giallo cinema are clear, except, rather than heavily entwining the villain within the film, Okuno meddles with the idea of troubled psyches and questionable motives, akin to a modern Hitchcockian tale. This is where the true beauty of the film lies, within its own unpredictability.
4- You Won’t Be Alone (Directed by Goran Stolevski)
As part of a ruthless curse, a young woman is forced to live a life of uncertainty through a transformative, witchy form.
This Macedonian set horror stormed through the Sundance Film Festival (22) with an impeccable response from both audiences and critics alike. It was the slow, chilling buildup, the exceptional performances, and the artful manner that allowed Stolevski’s debut to garner this immediate praise. You Won’t Be Alone tackles heavy subject matters such as solitude lifestyles, hidden identities, and envious behaviours to create a film brimming with depth and a brooding sense of dread that refuses to quit for the entire runtime.
5- X (Directed by Ti West)
A team of adult filmmakers rents out a cabin in rural Texas to make the biggest erotic film yet, however, things soon go array when the land owners catch onto their plans.
Ti West has been on the scene for years, with films such as The House of the Devil (2009) and The Innkeepers (2011) rightfully earning their spot in the modern horror hall of fame. Adding to his extensive portfolio is X, a rather salacious number that takes no prisoners, especially when it comes down to the nitty-gritty details… X draws inspiration from the hardy grindhouse films of the 1970s, especially concerning the infamous skinflicks that cruised the scene at the time. X refuses to rely on its indelicate nature to conjure a favourable response, opting to additionally focus on stellar performances and a whopping soundtrack. West’s return to horror has been met with open arms, with X‘s prequel ‘Pearl’ only being released five months after the premiere of its predecessor. With the third entry in this budding franchise being released next year, could West be onto a winning trilogy?
6- Bodies Bodies Bodies (Directed by Halina Reijn)
After an incident ends in tragedy during a storm, a group of twenty-somethings must make it through the night.
As fantastic as horror comedies can be (Shaun of the Dead [2004] and Little Monsters [2019] to name a few) it can sometimes be hard to find one that perfectly balances satire without becoming drenched in silly slapstick. Bodies Bodies Bodies nails this tricky footing of satirical dark humour through its genuine labyrinth-like story which hones in on the classic ‘Cluedo’ framing, as well as fleshing out its essential characters with the ideal amount of sincerity – just enough to care, but still cruel enough to root for the ‘villain’. Speaking of villains, what makes Bodies such a must-see is its bitterly hilarious take on the flaws of human temperaments, introducing quite a morbid take on the indoctrination of social media and the domination of cyber lifestyles.
7- The Lies of Our Confines (Directed by Leon Oldstrong)
During a trip to the Highlands of Scotland, one of a group of young Black males from the inner city come across a corn doll, harboring an angered spirit…
The Lies of Our Confines is living proof that independent cinema is just as, if not better than any blockbuster. This powerhouse of a film commands the attention of the audience from start to finish, with its dynamic cinematography and potent framing making use of the ample woodland setting. The rural habitat and rich narrative thrive thanks to the basis of the film’s diegesis. Horror, particularly that with an essence of neo-folk origins is lacking a much-needed boost of representation, presenting one-dimensional stories with no variety. The Lies of Our Confines breaks down that barrier and is a demonstration of the necessity of modern indie film.
8- Crimes of the Future (Directed by David Cronenberg)
A performance artist (Viggo Mortensen), begins to grow new organs to remove them as part of his shows.
Cronenberg reached legendary status a fairly long time ago, with films such as Videodrome (1983) and Crash (1996) being just two examples of his sensational filmography. Crimes of the Future brings Cronenberg back to his sci-fi roots, and it’s more than obvious that this is where his bizarre, but stunning auteurship works best. The film is easy to spoil, but just be aware that this instant hit is a chaotic journey into the obscene and absurd, with a somewhat sporadic sense of lustiness that could only be pulled off by Cronenberg’s cinematic wit.
9- Master (Directed by Mariama Diallo)
At a prestigious university, three women are finding their footing amidst a troublesome, and elitist presence haunting the grounds.
Master is truly a hidden gem, with the film not receiving all of the attention that it really does deserve. The college setting works incredibly well within the genre, there really is just something so sinister about old halls and urban legends within a scholarly environment that has a sinister lure. Except, rather than Master indulging in sorority frights (as seen with so many college films), Diallo dips into brave, and ghostly territory to create a film so rich and entwined with allegorical groundings that it is nearly impossible not to take away a lingering reaction. Master knows how to manipulate a scare out of its viewer, but it also knows not to overindulge in jumpscares, making it a go-to for any movie night.
10- Eating Miss Campbell (Directed by Liam Regan)
When Beth Conner (Lyndsey Craine), a devout vegan high schooler, falls for her English teacher (Lala Barlow) she develops an untamed appetite for flesh.
Eating Miss Campbell is a bonanza of boisterous, frenzied, and rather cathartic obscenity–i.e., it’s a beautiful rarity that budding filmmakers should take note of for inspiration. Regan leaves no stone unturned within the latest Troma classic, with the film juggling contentious subject matters with a witty, and daring sense of humour that is quite unmatched. Throughout the 84-minute runtime, Regan, along with lead performer Craine show off their bountiful capabilities, making Eating Miss Campbell an absolute standout entry from 2022.
11- Dashcam (Directed by Rob Savage)
Livestreamer Annie (Annie Hardy) jets to London at the start of the pandemic, leading to one hell of an unforgettable night.
The dream team comprised of Rob Savage along with writers Gemma Hurley and Jed Shepherd are the minds behind one of this century’s most impactful horrors, Host (2020). Continuing their cyber-minded work is Dashcam, a gloriously unfriendly tale of the objectionable nature of social media, all told through the perspective of a hilariously unwholesome character, played by the one and only Hardy. Dashcam has equal measures of thrilling, bloody frights and cynicism, with a means to create one of 2022’s most unique and brutish films.
12- Nope (Directed by Jordan Peele)
After a suspected UFO flies over a Californian ranch, a brother and sister duo (Daniel Kayuua and Keke Palmer) bands together to capture the flying object on film.
Prior to Nope, Peele had only two films in his horror credits, yet the sheer adoration for his work was and still is fantastically immense, and rightly so. Nope understands its own excessive portrayal of spectacles. In fact, that is precisely what Nope actionizes. Peele’s work is laden with meta-commentary that focuses on the trajectory of human behaviour, all tied together with truly career-defining performances by Kalyuua and Palmer.
13- The Stranger (Directed by Mike Clarke & Paul Gerrard)
The lives of an unsuspecting mother (Jennifer Preston) and daughter (Isabella Percival) are forever changed when an unexpected stranger (Damien Ashley) turns up at their guest house.
The cryptic nature of The Stranger’s narrative path is the reason behind the film’s robust and rigorous flow, allowing for a slow buildup of dread and unease that makes for a notably insidious ending. Completely the thrilling ride is The Stranger’s double-edged disposition; the film is as much of a mind invasion as it is home, making the film a true cinematic experience.
14- Searching for Veslemøy (Directed by Leo X. Robertson)
Searching for Veslemøy is a witty, eerie, and above all hilarious mockumentary that dares to go down the off-kilter route with Robertson’s talented filmmaking style allowing for bleak humour and a morbid sensibility to perfectly meld together. Further digging into the film’s style—the performances led by Tom Montgomery also pushes a hefty level of sincerity to the overarching found-footage method that manages to stand out amongst the popular sub genre. Searching for Veslemøy is a must see on anyone’s watchlist!
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1- The rocking chair – Black Christmas (Directedby Bob Clark, 1974)
Black Christmas is a horror that remains a public favourite all these years later for great reasons. The glossy darkness of this sorority fright is brimming with a holiday essence that embraces that idyllic juxtaposition of Christmas horror. With countless kills under its belt, it’s nearly impossible to pick just one entry from Bob Clark’s seventies bloodfest. However, one is just that cut above the rest. Before the film’s crazed killer works his way through his hapless prey, he sets his sights on Clare (Lynne Griffin). Clare’s end is brutal; she is suffocated with a plastic wrap before being positioned on a rocking chair in view of the attic window for everyone to see. What works incredibly well is the subtlety of the kill. Whilst harsh, the true beauty of the act is in its imagery of a lifeless corpse rocking back and forth in view of an entire street, but no one ever notices her and she remains undiscovered…
French horror has a penchant for yuletide frights, with Deadly Games (1989), Sheitan (2006), and The Advent Calendar (2021) all thriving in the extremism of French cinema whilst still featuring the spark of festivity. However, one film that leads the pack is Inside. A pregnant widow (Alysson Paradis) fending off a mad woman (Béatrice Dalle) on Christmas Eve is a fierce venture without heaps of savagery, yet Julien Maury and Alexandre Bustillo refuse to settle for a pg-13 rating. Inside defines the word merciless, particularly within the ending scene. After the house has been painted with blood and countless people have been murdered, the intruder finally gets her hands on the prize. In an act of revenge, the killer performs an impromptu and forced caesarian on a dirty staircase, with the camera not shielding away from the bloody viscera and gore as we see a fetus being plucked from a hopeless woman.
3- The wood chipper – Silent Night (Directed by Steven C. Miller, 2012)
Scary Santa’s are a given for any Christmas slashfest, with Steven C. Miller’s Silent Night being no exception. As a small town begins to succumb to an evil St. Nick (Rick Skene), Sherrif Cooper (Malcolm McDowell) and Deputy Bradimore (Jaime King) have to work through a series of grizzly murders to get down to the bottom of the savage case. Films like these are exceptional at creating kills by the dozen, with Silent Night featuring everything from Christmas light electrocution to groin impalements. One kill that is the cardinal of the film is the wood chipper scene. As Santa Claus slices his way through the town, he gets his hands on a doomed victim and shoves her feet first into a woodchipper as tonnes of matter spews out the funnel!
4- Paint can experiment – Better Watch Out (Directed by Chris Peckover, 2016)
Better Watch Out (or Home Alone’s evil twin) has become a modern Christmas classic, leading the viewer in all sorts of directions before delivering a great twist that kickstarts the ‘real’ movie. After its revealed that the sweet boy Luke (Levi Miller), whom Ashley (Olivia DeJonge) is babysitting turns out to have a deadly crush on her, all hell breaks loose. A sequence of tense events leads to the film’s most untamed moment; after Ashley’s boyfriend Ricky (Aleks Mikic) arrives at the house, Luke takes it upon himself to try out a trick he saw in Home Alone where a paint can is swung toward someone. However, instead of Ricky getting a comedic bump on the head, his head is squished by the tins completely annihilating him and painting the walls in the process.
5- Death by nutcracker – Christmas Evil (Directed by Lewis Jackson, 1980)
Christmas Evil follows suit with various festive horrors following a maniacal Santa on the loose. Where Lewis Jackson’s Santa-gone-wild feature differs is within the gnarly kills that play out with a keen callous energy. After a collection of events rile up evil Father Christmas, in this case also known as Harry (a disgruntled factory worker [Brandon Maggart]), he decides to go on a rampage, making a heavy steel weapon in the shape of an inconspicuous nutcracker toy. Harry arrives at a church where people on his ‘naughty’ list attend, but as a group of big-talkers block him from ticking off his Christmas list he grabs the nutcracker and rams the sharp end right into one’s eyesocket before taking a toy hatchet and smashing the blade down on two more people’s heads, leaving a bloody trail of chaos.
6- Blender whirl – Red Christmas (Directed by Craig Anderson, 2016)
The wickedly cruel Ozploitation flick Red Christmas may have received a very mixed reception due to the film’s contentious subject matter surrounding life v. choice matters, however, the deliberately offensive horror does offer superb kills including a bear trap closing on someone’s face, an umbrella stabbing straight through the forehead, and a seatbelt strangulation. However, the most startling and original scene is when the spinning blade of a blender is met with the back of someone’s head. As the Christmas day mayhem runs through to the night, one victim is forced back onto a kitchen counter where the blender’s motor is on high speed. After what feels like forever, tensely waiting for the inevitable kill, the unbearable death is finally in action as we see the man’s eyes pool up with red as blood seeps out of every orifice as his brain is swirled around.
7- Antler hanging – Silent Night, Deadly Night (Directed by Charles E. Sellier, Jr., 1984)
Silent Night, Deadly Night erupted onto the scene with an unreal amount of hate, with the film even getting a live ‘shame on you comment directed at the film crew during the Siskel and Ebert show. And yet all these years later it’s now a cult classic must-see. The film seeks out another man-with-the-bag story, centering on Billy Chapman (Robert Brian Wilson), who after a series of unfortunate events reaches his tether. Rightfully earning its place on the list is the film’s plethora of instant-classic kills, particularly the ending of Denise (Linnea Quigley). Billy hoists Denise up in the air and meticulously and slowly plants her down on a set of sharp antlers, before leaving her like a dangling morbid ornament.
8- Mason family massacre – Santa’s Slay (Directed by David Steiman, 2005)
Akin to a tin of Quality Street, Santa’s Slay has a bit of something for everyone. Irreverent humour, plenty of vulgarity and lude comments, as well as a heaping dose of over-the-top, violence for the sake of it. It’s difficult to pin just one demise as Santa’s Slay rivets within all of the copious brutality, but there is certainly one scene that feeds right into Christmas horrors’ hands. During the first act, Santa (Bill Goldberg), makes his way down the chimney of the Mason family to massacre the lot of them. The turbulent sequence displays whole new levels of madness that thrives in its own depravity, with Santa blow torching the scalp of the matriarch before drowning her in a bowl of eggnog, using the Christmas tree topper as a shuriken, and ramming a turkey leg down a man’s throat.
9- Flesh cookies – Black Christmas (Directed by Glen Morgan, 2006)
The original Black Christmas is a genuinely frightful experience, utilising a tense atmosphere and a suspenseful mystery element to garner a foreboding sense of dread. The 2006 remake is nearly just as effective but in a totally alternative way. Glen Morgan’s retelling is the ultimate teen horror that understands its almost asinine 2000s vibe and runs with it. The film dives deep into Billy’s (Robert Mann) cruel backstory and shines a light on his barbaric ways. During the film’s goriest peak we see Billy murder his mother by batting her repeatedly with a rolling pin, going overboard with the bludgeoning. Once she is shown lifeless on the floor, he grabs a gingerbread cookie cutter and begins to carve out pieces of her skin before baking them. Billy’s last moments of freedom before prison shows him chilling at the dining table eating the ‘cookies’ with a glass of milk like a deranged Santa. Truly disgusting!
10- Jack-in-the-box – Krampus (Directed by Michael Doughtery, 2015)
The lore of Krampus runs deep within German culture, with the anthropormorphic creature acting as an assistant to Santa, gifting disobeying children with birch rods. Many films have attempted to tell the Krampus legend, particularly A Christmas Horror Story (2015) greatly featuring some very gruesome short stories, but one horror that stands out above them all is Michael Dougherty’s Krampus, starring Toni Collette and Adam Scott. Krampus envisions a develishly grim Christmas, where Krampus’s evil sidekicks include re-animated mini but mighty gingerbreads, evil elves, and a giant jack-in-the-box with massive fangs and a horrid, glazed expression. Krampus’s standout kill includes that very jack-in-the-box as it eats a small child whole with ease.
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1- The Shining (Directed by Stanley Kubrick, 1980)
Jack Torrance (Jack Nicholson) moves his wife and son to The Overlook Hotel after accepting a job as an off-peak caretaker, however, after a storm traps them in the hotel, Jack slowly begins to lose his grip on reality.
Any horror film list would be incomplete without The Shining, let alone a winter horror list. Kubrick’s alternative adaption of Stephen King’s 1977 novel of the same name may have had a rocky reception upon its release (no surprises there Hollywood!), but over time the film has endured an endless riptide of praise, with Kubrick’s demanding attention to detail encapsulating the horror genres habitual urge to dig deeper under the surface, fleshing out daunting truths. Lead Jack Nicholson and Shelley Duvall’s enigmatic performances shock and frighten to the point of no return, and no matter how many times one may watch The Shining, it never fails to give you the chills.
2- Frozen (Adam Green, 2010)
After an unsuspecting trio becomes stranded on a ski lift they have to make the decision to either wait it out for the weekend until opening day or to take the chance and jump.
Adam Green’s snowy expedition is simply 90 minutes of nail-biting, foot-tapping tension. The closed setting is a stunning trope when done well, with Frozen being an exemplary feat in contained horror. The nightmare inducing situation allows for countless intense scares, including lurking wildlife, dreaded frostbite, and super effective psychological mind games that will keep you guessing the outcome until the very end. Amalgamating the minimalistic position with a no-holds-barred attitude brings a heavy dose of trepidation to the film that makes an exciting skiing holiday seem like your worst possible nightmare.
3- Curtains (Directed by Richard Ciupka, 1983)
A group of aspiring actresses audition for a role in a prestigious filmmaker’s new movie, however, a masked killer is on the loose and out for blood.
Many eighties slashers may adhere to campgrounds and teenage-ridden forestry, but the criminally underrated Curtains forgoes commonality to deliver an icy scare that thrives in the madness of its own unhinged plot. With a light brush of meta-commentary on cinema and a ragtag of untrusty characters whose appearances are not just movie-meat currency, Curtains adopts an unconventional position within the slasher market, joining the likes of Sleepaway Camp (1983), and April Fools Day (1986), where the inventive kills are just as prevalent as the whodunnit aspect.
4- Dead Snow (Directed by Tommy Wirkola, 2009)
A team of medical students travels to the Artic mountains for a fun weekend, little do they know that a troop of Nazi zombies lies beneath them.
Nothing screams ‘winter horror’ as much as Dead Snow, a Nazi zombie hybrid that actually manages to bypass its absurdly sounding plot to be rather frightening at times. The sincere brutality is made all the more present by the unbelievably graphic kills, ranging from your average zombie frenzies to full-on disembowelments. Dead Snow recognises it’s satirical innateness, leaving more than enough room for Tommy Wirkola to go on the lam and make use of zombie politics to create pitch dark jokes and over the top irreverent plot points.
5- Pontypool (Directed by Bruce McDonald, 2008)
During an average night at the radio station, a report comes in detailing a deadly virus that is spread via the English language.
Based on the second novel in the Pontypool Trilogy (Tony Burgess) is Bruce McDonald’s carefully conducted feature that transforms a radio studio into the most hellish place imaginable. Pontypool understands the fear of confinement, and how claustrophobia-inducing settings and situations can provoke such an intense sense of dread. The dreary melancholy of the sickness at hand perfectly harmonises with the harrowing severity of a virus-based storyline, which in itself is enough to conjure the most horrible nightmares imaginable.
6- Cold Prey (Directed by Roar Uthaug, 2006)
After an injury during a thrill-seeking excursion, a group of snowboarders travels to an abandoned lodge to call for help, but something much darker lies in store for them.
The popularity of this Norwegian snowy slasher is strong, but it should be way rifer than it is. Cold Prey tackles a cat-and-mouse-like game as the motley crew of slasher victims run from a mysterious killer who shows zero mercy. Throughout the exhilarating journey, the film dashes through bloody leaps and bounds to put on a brutal and brilliant show that has the sensibility to display fleshed-out characters whilst also having the gravitas to deliver shock after shock.
7- The Wolf of Snow Hollow (Directed by Jim Cummings, 2020)
Troubled police officer, John Marshall (Jim Cummings) begins to stray from his straight-laced ways after his small town seems to come under attack from werewolves.
The Wolf of Snow Hollow came onto the scene with a whopping ferocity, commanding a beyond-positive reputation within the two years since its release. And anyone whose seen Jim Cumming’s lycanthropic feature will certainly understand all of the praise. The film ever so carefully balances well-timed jokes (with a focus on dark humour) with an enveloping story that is both cryptic and intense. Further complimenting the full-bodied tale are the stellar performances by Cummings himself, along with the likes of Robert Foster (Mulholland Drive), and Riki Lindhome (The Last House on the Left).
8- Let the Right One In (Directed by Tomas Alfredson, 2008)
The constantly bullied Oskar (Kåre Hedebrant) finds an endearing connection and unexpected revenge when he meets Eli (Lina Leandersson), the strange new girl in town.
Horror, no matter how good, does not always receive the warmest welcome from mainstream cinema. However, every once in a while a film comes about that is so excellent that not even horror-hating critics can deny its distinction. Let the Right One In’s rightful status is owed to the innately stylized fashion that vampires behold in cinema. It’s the delicateness juxtaposed with that infamous beastly quality that follows the undead in such a mysterious way that always makes the viewer want more. Promoting that habitual command that Let the Right One In thrives in is the film’s rather emotive narrative that dares to tiptoe into the more fragile side of human reflection to shell out a well-rounded motive and create a lingering viewing effect.
9- Misery (Directed by Rob Reiner, 1990)
When successful author Paul Sheldon (James Caan) gets into a car accident, his number one fan Annie Wilkes (Kathy Bates) comes to his rescue and brings him back to her secluded cabin.
Being based on Stephen King’s 1987 novel of the same name, it’s no surprise that Misery has had audiences squirming in their seats ever since the film’s release 32 years ago. Kathy Bates and James Caan truly make Misery the extreme adventure it is, with their talents putting on classic, but unique displays of that captive vs. villain narrative that can work so well when done perfectly. Even further encouraging the film’s high-stakes state of affairs is the isolated cabin setting that really hones in on Paul’s trapped position, and Annie’s malevolent, domineering repute.
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To celebrate our first year representing everything horror at Thought Bubble Comic Art Festival, here’s our list of the best comic adaptations to film!
The Crow (Directed by Alex Proyas, 1994)
A year after his death, musician Eric Draven (Brandon Lee) awakens from his grave to avenge the death of his fiancé.
The Crow is a vengeance tale complete with a dark romance spin and ripe kinetic energy that shines thanks to the film’s comic book roots. Adapted from James O’Barr’s series of the same name, The Crow has gone on to release an extra three films, a TV series, and an upcoming reboot starring Bill Skarsgård as the avenging musician. The Crow is infamous for the tragic death of Brandon Lee, who passed away on set. However, the film went on to earn a cult-level status that has kept Lee’s legacy as Eric Draven in high regard for over two decades now.
Hellboy (Directed by Guillermo del Toro, 2004)
In an attempt to win the war, a team of Nazis accidentally summon a demon into the human world. Years on, the creature works to fight evil away, however, when forces from his past arise to the surface, Hellboy (Ron Perlman) finds himself in the toughest battle of them all.
Originally conceived from the mind of comic book artist Mike Mignola is Hellboy, a half-human/half-demon straight from East Bromwich..?! (According to the comics). Both in the adaption and the comic book Hellboy may be a beastly crimson demon, but he sides with the ‘good’ and helps to keep the universe safe from paranormal incidents. The first filmic entry into the franchise, and quite easily the best pick, has to be Guillermo del Toro’s take on a hybrid demon/action movie complete with exceptional character design, an immersive universe that compliments the fantastical elements and an off-kilter sense of humour that melds in perfectly with del Toro’s Sharp directorial eye.
30 Days of Night (Directed by David Slade, 2007)
Just as the small Alaskan town of Barrow enters its 30-day polar night, a swarm of vampires takes over the land.
Rapid, bloodthirsty, remorseless, and evil vampires do not usually belong in snowy movies. Yet, David Slade’s adaption of Steve Niles comic book miniseries resulted in one of the most nail-bitingly tense horrors of the mid-2000s. The polar night backdrop entwines with the fear factor of the creatures impeccably well, allowing for the isolated landscape to have this eerie, inescapable aura surrounding it the entire time. Furthering the intense thrill ride is the practical effects that make the most of the brutal kills, leaving no gory detail hidden. 30 Days of Night is a daring feat that has no qualms in threatening the life of every character, no matter how central they are to the story.
Blade (Directed by Stephen Norrington, 1998)
A Half-mortal/half-vampire takes on a vow of revenge to rid the world of vampires.
Many superhero franchise fans may have noticed that newer additions to the Marvel universe such as Doctor Strange in the Multiverse of Madness (2022) and Werewolf by Night (2022) have been amping up the fright factor. However, these were not Marvel’s first attempts at drifting into the dark side. Blade first appeared in Marvel’s regime in The Tomb of Dracula #10 (1973) where the ruthless vampire hunter, known as Blade (played by Wesley Snipes in the adaption), will stop at nothing to rid the world of evil vampires. Blade has an undeniable smooth quality that emits this ‘cool’ aesthetic, feeding into the leather-clad band of vampire films that saw a resurgence in the late 1990s.
Ichi the Killer (Directed by Takashi Miike, 2001)
Whilst searching for his missing mob boss, Kakihara (Tadanobu Asano) comes across Ichi (Nao Ômori), a psychotic killer who knows no limitations.
In 1993 Hideo Yamamoto wrote and illustrated Ichi, a graphically violent manga that in 2001 was adapted into an even more horrifically savage horror. Directed by one of Japan’s most intense filmmakers, Takashi Miike’s Ichi the Killer has been fully banned in Malaysia, and Norway and refused distribution in Germany. Just like its original source the film begins at 100mph and refuses to slow down, fully fleshing out the quick-paced action with more than enough cruelty and energetic stylisation to ensure a wild time from start to finish. Ichi the Killer is a risk even for experienced gore-hounds, let alone new viewers!
Constantine (Directed by Francis Lawrence, 2005)
Exorcist and demonologist by trade John Constantine (Keanu Reeves) go on a mission to help solve a mysterious case that has the potential to end mankind.
DC Comics’ Hellblazer was loosely adapted in 2005 with the Keanu Reeves led Constantine, following an exorcist with the ability to banish demons from the earth. Although the Francis Lawrence adaptation differs quite considerably compared to the comic, the film still manages to transport the audience into a cryptically contrived world filled of battles of good vs. evil, coupled with impressive visuals and gripping dynamics throughout. Constantine has fallen under the radar over the years, but with the ever-rising popularity of comic book adaptions and news of its sequel in the works, could Constantine be seeing a second coming?
Tales from the Crypt (Miscellaneous, 1989-1996)
Join the Crypt Keeper for some of horror’s most frightening stories.
Based on EC Comics series in which each issue would feature multiple horror-based stories accompanied by vivid graphics is Tales From the Crypt. The show has earned itself a massive name within horror, with the anthology-based work producing multiple spin-offs, a cartoon series, a game show, and radio series. In keeping with its source material, Tales from the Crypt balances ghostly frights with a dark sense of humour, mainly found within the show host known as The Crypt Keeper (voiced by John Kassir) whose corpse-like appearance, one-liner jokes, and ultimately creepy demeanor perfectly compliment the madness of each story.
I Am Not Okay with This (Directed by Johnathan Entwistle, 2020)
Sydney (Sophia Lillis) is a normal teenage girl battling through the trials and tribulations of girlhood, high school, and her superpowers.
Although short-lived with Netflix cancelling after just one season (despite the high ratings and positive reviews), I Am Not Okay with This still remains one of the more impressive television adaptations of a graphic novel. With a show so entwined with social hierarchies and teenage exploitations, as well as the whole ‘existential crisis over one’s supernatural abilities, a strong lead is necessary. And that’s exactly why I Am Not Okay with This excels; the character of Sydney is both incredibly well written and portrayed, making this one-season show a must-watch for anyone. And lets not forget to mention that incredible finale that had viewers’ jaws dropped to the floor.
The Walking Dead (Miscellaneous, 2010-2022)
After a deadly outbreak, flesh-eating walkers dominate the earth, leaving the few survivors to fend for themselves in a deadly world.
The Walking Dead is not only one of the most successful comic book adaptations across the board, but it is also one of the most acclaimed zombie TV series to ever exist, with over 155 nominations for awards (ranging from Emmys and Golden Globes to the Fangoria Chainsaw and Critics Choice awards). The Walking Dead is based on the comic series of the same name which ran for 193 issues before ending in 2020. Over time the show has been praised for its internal conflicts, digging into the moralities of survivors and how ugly society can be when put under pressure, reminiscent of classic zombie narratives seen in Romero’s Dead series.
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1- Haunt (Directed by Scott Beck & Bryan Woods, 2019)
On a Halloween night out, a group of friends attend an immersive haunt. Little do they know that the spooky theatricals hold a deadly threat.
Over the years, innocent pumpkin carving traditions and trick-or-treating have been overshadowed by the budding extreme ‘haunts’ experience; promising bone-chilling frights in a controlled environment. However, amongst the rise of these attractions, there has been an ongoing conspiracy regarding the limits these haunts will exceed. Beck and Woods deliver possibly one of the most frightening and uncomfortably realistic takes on a ‘house of horrors’ narrative. With an ambiguous motive and nightmarish boogeymen wreaking havoc on the ragtag group, Haunt ensures that no audience member will be left unscathed after 90 minutes of electric, intense scares.
2- Night of the Demons (Directed by Kevin S. Tenney, 1988)
A team of high school students host a seance inside an abandoned funeral parlour as part of a Halloween party.
Teens finding themselves trapped in a cursed, isolated location is not unfamiliar territory for any viewer, yet Night of the Demons manages to subvert that sense of familiarity to distract and tease with already formed expectations before delivering one hell of a disturbing third act. The instigator of the terror, Angela Franklin (Amelia Kinkade), has become a staple for 1980s horror, with her eccentric antics embodying the film’s zaniness and natural ability to launch a tidal wave of gory fun. All of the animated absurdity is balanced with the madly creative practical effects that range from grossly infected skin to graphic eye gouging.
3- Hell Fest (Directed by Gregory Plotkin, 2018)
The travelling theme park ‘Hell Fest’ promises the ultimate ghoulish experience, however, all hell breaks loose when a masked killer transforms the carnival into their own murderous playground.
The adrenaline-pumping nature of theme parks during fright nights is enough to summon a scare-ridden horror on its own, however, rather than Hell Fest simply relying upon the innate creepiness, Plotkin adds in immersive set designs, gloriously disturbing kills, and an almighty, ominous force behind the lead antagonist (known as The Other). The sheer ferocity of Hell Fest thrives on the pedal to the metal detailing that refuses to slow down or ease off at any point.
4- Trick (Directed by Patrick Lussier, 2019)
On one fateful Halloween night, Patrick ‘Trick’ Weaver manages to escape from the police after massacring his classmates at a party. Despite Trick’s ‘deadly’ wounds, a masked killer continuously reappears every Halloween. Has Trick somehow survived or is there something much more sinister at play?
Like a nostalgic driven 1990s thriller, Trick continuously convolutes with its cryptic plot that will have the viewer in an eerie mind spin decoding the mystery within. Lussier, known for editing the Scream franchise (1-3) and directing the 2009 remake My Bloody Valentine, comes his take on a Halloween-centred horror. Akin to the judicial background of a Saw thriller is Trick’s richly entwined story that doesn’t just wallow in vicious kills, it also delves into the rocky territory that follows with the horrific aftermath of massacres. Joining all that fleshy exposition are the intense Halloween elements that refuse to let you forget that Trick is a film dedicated purely to the allure of spooky season itself.
5- Halloween II (Directed by Rick Rosenthal, 1981)
In the aftermath of Michael Myers (Jonathan Prince) and Laurie Strode’s (Jamie Lee Curtis) bloody battle it is revealed that Myers escaped, leading Dr. Loomis (Donald Pleasence) and Strode to kill The Shape for good.
With the original Halloween creators Debra Hill and John Carpenter taking on the writing duties, and first time feature director Rosenthal’s eagerness for the film to be dedicated to its predecessor, Halloween II has become somewhat of an absolute staple amidst the franchise’s thirteen films. Halloween II is where Myer’s long and dense evolvement starts, with the film bashing apart his banality through injecting an interesting and at times contentious backstory for his motives; nevertheless, this sequel is brimming with creative kills and immensely tense chases that seem to take the unpredictable route at all times.
6- Hell House LLC (Directed by Stephen Cognetti)
On a quest to create the most terrifying Halloween house experience, a group of professional ‘haunters’ take over the Abaddon Hotel, known for its horrifying incident that occurred many years prior.
With Halloween being the time of year where horror-hounds seem to be the most at home, it can be difficult to watch a film that continues to scare even after multiple watches- This is where Hell House comes into focus. Cognetti’s concoction of bitterly cold, spine tingling terrors will have even the most habituated horror fans sitting on the edge of their seats. The premise of a haunt gone wrong is now a classic trope, that when done well can make for a remarkably memorable film. Hell House takes the classic idea of ghostly apparitions and dark hallways to conjure awfully realistic scares that make for an unforgettable finale.
7- Trick ‘r Treat (Directed by Michael Dougherty, 2007)
Four Halloween-themed connected stories show the consequences of breaking Halloween traditions.
All Hallows’ Eve would not be complete without a screening of Trick ‘r Treat, possibly one of horror’s most infamous cult films in recent years. Every little detail within Dougherty’s spooky extravaganza is doused with ghostly, autumnal motif’s, whether that be pumpkins and fall leaves dressing every street, auburn lighting glowing throughout the set, or the film’s central character, Sam (Quinn Lord), who is sure to put tradition breakers in their place. The seasonal decorations are infectious, even putting Halloween Scrooge’s in the haunting mood.
8- Terrifier (Damien Leone, 2016)
The sinisterly minded Art the Clown (David Howard Thornton) terrorises a group of people on Halloween night.
Art’s history goes way back to the short film ‘The 9th Circle’ (2008). Fourteen years later, horror’s most vicious clown has become one of the most notorious villains in modern horror. Terrifier both perfectly captures the chaotic brilliance of Art and tests how far he is willing to go to create ultimate destruction. Healthy doses of sawing into hanging bodies, face eating, and mutilation take over the screen making it clear from the beginning that Terrifier is not here to tease. If abundances of gore and a maniacally twisted time is what you’re after, Terrifier has to take the crown at your Halloween movie marathon.
9- 31 (Directed by Rob Zombie, 2016)
A ragtag group of carnival workers are taken hostage before having to fight tooth and nail to survive the night.
Rob Zombie is no stranger to the horror scene whatsoever, with his barbarically minded films such as House of 1000 Corpses (2003) and The Devil’s Rejects (2005) creating incredibly detailed worlds for the vivaciously cruel characters to thrive in. 31 takes the audience through bloody and awfully offensive grounds like a filmic rollercoaster to deliver a fright to remember. The film puts the abducted group through various battles with a motley crew of slighting antagonists including Doom-Head (Richard Brake), who makes Zombie’s Captain Spaulding (Sid Haig) and Otis Driftwood (Bill Moseley) seem PG-13!
10- Tales of Halloween
(Directed by Darren Lynn Bousman, Axelle Carolyn, Adam Gierasch, Andrew Kasch, Neil Marshall, Mike Mendez, Dave Parker, Ryan Schifrin, John Skipp and Paul Solet, 2015)
Ten interwoven stories focusing on ghoulish monsters, devils, aliens, urban legends, and mad men band together to create a creepy anthology tale.
Tales of Halloween manages to cram ten grisly stories into a 97 minute time frame, all whilst remaining original, exciting, and most importantly scary. Anthologies have an innate way of having something for everyone, leaving Tales of Halloween to thrive in its own variety. Accompanied by a self-aware comedic atmosphere, the film utilises the short runtime of every story to create a quick to the point punch that results in equal levels of laughs and eerie vibes.
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Dani (Florence Pugh) travels to Sweden with her anthropology boyfriend (Jack Reynor) and his friends to celebrate the town’s annual Midsummer Festival.
Ari Aster may have begun drawing heaps of attention thanks to his incredibly dark short film The Strange Thing About the Johnsons (2011), but it would be nearly a decade until he reached pivotal success with Hereditary (2018), and then the infamous Midsommar, which received praising reviews from both tough to please critics and cinema goers. The film takes its time to unravel, where the horror is delayed to focus the attention of Dani’s inner psyche and what it means to feel lost and lonely even though she is surrounded by people. Like its folk predecessors The Wicker Man (1973), and Penda’s Fen (1974), Midsommar is rooted both physically and metaphorically within nature and the allure of innocence that secretly hides ancient secrets. The anonymity that Midsommar possesses is one of the many reasons behind its success, with the harmonious town of Hälsingland creating a sense of safety. Akin to the earthy aesthetics that Aster creates, the film takes inspiration from the dark nature that lies within humanity, especially conflicting emotions of grief, desperation, and guilt.
2- The Fear Street Trilogy (Directed by Leigh Janiak, 2021)
The town of Shadyside is terrorised by an infamous evil that has been plaguing the town for centuries.
R. L. Stine’s Goosebumps series just may be the igniter that started many horror fan’s love of the morbid and macabre. However, Goosebumps wasn’t Stine’s only creepy venture as his Fear Street novels also garnered plenty of success. And rightly so! In 2021, Netflix dropped the news that Leigh Janiak would be writing and directing an entire trilogy based on the Fear Street books, with every film being released one week after the after. The first entry acts as a solid introductory point where nostalgia is the keen focus all thanks to the slasher-like vibes that run throughout. The sequel goes back in time and utilises the cabin in the woods vibe that dominated 1980s horror, and last but not least the finale acts as an overarching binder that moulds together everything that Fear Street has been working towards, nestling the trilogies place as an absolute must-watch that has a bit of something for everyone.
3- The Lost Boys (Directed by Joel Schumacher, 1987)
The lively, sunny town of Santa Carla may seem like a haven for the sweet life, but a gang of cruel vampires take over and cause utter mayhem.
The Lost Boys is not an unfamiliar entry on this list for any horror fan, some might even say that Joel Schumacher’s vampire flick is one of the most notorious blood-sucking films to come from the 1980s. This praise may seem far fetched from a glance, but The Lost Boys is an unmissable thrilling descent into gory antics and wicked effects. The Santa Carla beach setting lays the path for a tale rife with coming-of-age bonding, beachside parties, and beyond entertaining vampire escapades.
4- Summer of 84 (Directed by François Simard, Anouk Whissell and Yoann-Karl Whissell, 2018)
Set in the summer of 1984, a group of teens suspect that their local police officer may be a serial killer.
Summer of 84 perfectly wraps together what modern audiences loves about 1980s horror; it’s the whole aspect of adventure, and a sense of freedom that allows the characters to explore the land of the films narrative, almost akin to beloved throwback films such as The Goonies (1985) and Stand By Me (1986). Keeping up with this theme is Summer of 84’s heartfelt basis that lies at the bottom of the grisly horror, just like 2017’s IT remake, the film puts friendship at the heart of the journey, meaning that the threat of this murderer on the loose becomes so much more real and menacing, forcing the audience to actually care about what happens to the group.
5- Jaws (Directed by Steven Spielberg, 1975)
In a bid to stop a killer shark from ruining the tourist buzz in Amity Island, a group head out into the ocean to capture the deadly beast
Summer and horror may seem like a world apart, with gruesome fates and sunny skies contrasting against one another. However, this clash wouldnt last for long thanks to Academy Award winning director Steven Spielberg combining slow burning terror with the creature feature to create one of cinema’s favoruite horrors. Set in the beach town of Amity Island is a story that made audiences scared to go out into the ocean for years, fearing that a great white will come along and snap them up. Besides the hysteria that Jaws caused (including the supposed reaction of neurosis in one audience member…), the film offers a tidal wave of good old fashioned fun to be had amidst all the jumpscares and impressive effects, making it one of the most quintessential summer films.
6- Aquaslash (Directed by Renaud Gauthier, 2019)
Wet Valley Water Park becomes the centre for the graduation class of Valley Hills High to celebrate their upcoming futures. However, it’s not long until their gratuitous debaucheries are interrupted as a mad killer sets their sights on killing as many of the students as possible.
Keeping in theme with the water-based frights is possibly one of horror’s most under-recognised entries in recent years– Aquaslash. Fresh from Fantasia’s Film Festival in 2019 is this Canadian gem that unearths a new-found fear for waterparks, with the film’s daring third act being grossly horrifying enough to even make professional fright-seekers wince and cover their eyes. In order to ensure audiences’ shocked reactions as the film’s conclusion hits, we’ll keep it brief, however, just know that this irreverent, outrageous film is sure to be a surprise.
7- The Ruins (Directed by Carter Smith, 2008)
Two couples go on a romantic vacation to Mexico, where they are invited on a trip to a Mayan temple where they find themselves entangled within the hungry vines of the Mayan jungle.
The 2000s harboured a reputation as being rather contentious for a while, and whilst over the years this era has received plenty of praise for its slasher-inspired, teen-based, overly cheesy movies, many films from this period still remain fairly undetected by the masses. One of these entries include The Ruins, a sun-soaked, fable-filled, earthy horror that explores the vengeance of the elements. The nature of the film itself allows for brave levels of hysteria and uncertainty of actions to thrive, but what makes the film become really elevated is the surprisingly graphic body horror, whose visuals remain etched in the viewer’s mind for long after watching.
8- The Town That Dreaded Sundown (Directed by Charles B. Pierce, 1976)
A fictitious retelling of the 1946 Moonlight Murders, whose perpetrator stalks their prey at night killing them in the most horrific ways possible.
The Town That Dreaded Sundown has remained somewhat timeless, which is a bold statement considering it has been forty-six years since its release. Yet, those decades have not been without controversy for Charles B. Pierce, in fact the film came across as so raw to the true story that a lawsuit was filed against the film’s marketing team, as well as Pierce being involved in a court trial after someone involved in the true case tried to sue him for privacy infringements. This highly heated hit has a foreboding atmosphere that fails to quit, as well as crafting such a terror stricken aura that any form of security the viewer may have found is completely jolted, alarming the senses and creating a memorably horrific film.
9- The Burning (Directed by Tom Maylam, 1981)
In upstate New York, Camp Blackfoot becomes the playground for a vengeful serial killer who is hellbent on creating a world of hell for the unlucky campers.
Cabin, camps, and creepy caretakers were at the forefront of horror in the 1980s. One of the film’s that started this trend included Friday the 13th (1980), leading to many filmmakers drawing inspiration from the success of Sean S. Cunningham’s work, with movies such as Madman (1982), Sleepaway Camp (1983), Cheerleader Camp (1988), and later hits such as Cabin Fever (2002) all becoming staples in the summer horror realm. But one horror that didn’t just copy and paste the teen-summer-slasher was Tom Maylam’s The Burning. The general concept of a crazed killer targeting a group of unsuspecting victims is a classic method that is destined to provide a fun ride for the viewer, however, where The Burning really shines is within the special effects orchestrated by none other than the legend himself Tom Savini. Throughout, super gnarly gushing wounds and smashed heads feature, leaving no stone unturned when it comes to the gore factor.
10- Turistas (Directed by John Stockwell, 2006)
A group of vacationers travel to the Brazilian Coast where the bright nightlife and climate makes the trip seem like a dream, that is until they are unknowingly drugged and find themselves stranded in the middle of nowhere with no belongings left. They eventually travel to a supposed safe haven where imminent rescue is promised, however, they soon realise that it is all a deadly trap.
Holidays are a chance to kick back and relax, leaving inhibitions at the door. But, at the back of everyone’s minds there is a lingering worry that being in an unfamiliar land where there are language and cultural barriers can lead to nightmarish consequences. Turistas is aware of exactly that, as it preys on very real worries, leading the viewer anxious to let their guard down abroad ever again. All of this paranoia would not be as effective if it wasn’t for the genuinely powerful performances from Melissa Geroge, Olivia Wilde, Josh Duhamel, and Beau Garrett, who all nail that paranicked fear, making Turistas so much more than a cheap thrill.
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1- The Toxic Avenger (Directed by Michael Herz & Lloyd Kaufman, 1984)
A measly nerd (Mark Torgl) residing in New Jersey finds himself transforming into a ginormous monster after falling into a barrel of toxic waste.
If there was one singular film totally synonymous with the entire Troma legacy, then the film at hand would be The Toxic Avenger, the key to the company’s legacy and long-lasting success. The basis of the film’s existence came about in quite a typical fashion for Troma; Kaufman got wind that horror movies were apparently ‘no longer popular’ after reading an article at the Cannes Film Festival. So, with a boost of gumption and an upcoming production company backing him up, Kaufman and Herz concocted the idea of a swampish monster who would take on a hero persona to tackle those up to no good. The 1980s mainstream media would constantly belittle the horror genre, but Kaufman and Herz’s efforts were still met with solid reviews, leading to flocking audiences desperate to see this weird and absurd creation. Over time, The Toxic Avenger has built an entire franchise running behind it, with comic books, sequels, tv-series, a range of merchandise, and an upcoming reboot directed by Macon Blair and starring Peter Dinklage, which is due to be released later next year.
2- Combat Shock (Directed by Buddy Giovinazzo, 1986)
Frankie Dunlan (Rick Giovinazzo), a war veteran who fought in Vietnam is living in despair with his argumentative wife and deformed baby. The gritty poverty that he lives in, along with his less-than-perfect home life forces him to lose touch with reality and descend into insanity.
During the golden age of Troma came Combat Shock, a wild, wacky, and enthusiastic exploitation flick directed by Buddy Giovinazzo. Even those completely unfamiliar with Troma will probably have heard of Combat Shock being thrown into filmic conversations every now and then, primarily thanks to its nihilistic, drastic take on wartime history, particularly the Vietnam War. Whilst, Giovinazzo is certainly not the first filmmaker to tackle this important world event, he is however one of the only creators who have depicted such events in a radically chaotic and torturous way.
3- Cannibal! The Musical (Directed by Trey Parker, 1993)
A man on trial for cannibalism tells his story of how his deeds all went down through songs, performances, and dramatic flashbacks.
This cannibalistic, flesh-frenzied, meat-eating musical is nothing short of completely trippy. It was slightly based on the true story surrounding the self-confessed ‘Colorado Cannibal’ Alfred Packer, the film boards gruesome, grizzly visuals, epic settings, and surprisingly uplifting songs to create a film, unlike anything anyone would ever expect. Director and writer duo Trey Parker and Matt Stone (Now known for creating South Park) originally came up with the film’s premise for a project for a film class where they had to compose a trailer. The short garnered a lot of attention, encouraging the pair to raise a tidy budget of $125,000 to shoot a full-length movie. After the project wrapped and editing was complete, Cannibal! The Musical did not get a general release. However, in 1996 Troma saw the grave potential in the darkly spirited musical and picked it up. Over the years, Troma considered the film to be one of its best releases, even including it in the 2008 launch of the ‘Tromasterpiece Collection’.
4- Father’s Day (Directed by Astron-6, 2011)
Ahab (Adam Brooks) becomes hellbent on seeking revenge on the man who murdered his father.
Although Troma has its ties with the 1980s slasher hit Mother’s Day, 2011’s aptly named Father’s Day holds no relation to the classic; instead, this extravaganza is much more obscure, depraved, and downright hilarious. Father’s Day is directed by the team known as Astron-6, composed of Adam Brooks, Jeremy Gillespie, Matthew Kennedy, Steven Kostanski, and Conor Sweeney. The collective is responsible for must-sees such as The Void (2016) and Psycho Goreman (2020). Similar to Cannibal! The Musical, the film was conceived as a short film, but demand would take over, with the eventual full-length feature premiering at the Toronto After Dark Film Festival where it would receive a whopping total of 8 awards, including Best Film, Best Director, and nearly every Fan’s Choice award going. It’s difficult to pinpoint just one of the many reasons why the film is both one of Troma’s best features and a standout Grindhouse-like film, but a starting point is how far Father’s Day is willing to go whilst still remaining quick-witted and comedic. Throughout the violent journey expect plenty of mutilation, decapitations, and incest.
5- Terror Firmer (Directed by Lloyd Kaufman, 1999)
A maniac killer is out on the prowl at the same time as a film crew is shooting a low-budget feature in New York. To stop the madman on his path of destruction the crew bands together, resulting in tons of bloodshed and chaotic mania.
Grimy b-movies including Peter Jackson’s Braindead (1992) and Michael Muro’s Street Trash (1987) are distinct setups for that niche subgenre of horror that often gets overlooked and downgraded as total schlock. Terror Firmer understands this critical reception and uses it as a blueprint to create the most gnarly and gross-out b-movie to ever grace Troma’s books. The film was birthed by Douglas Buck, Patrick Cassidy, Kaufman, and James Gunn, and was based on the autobiography book written by Kaufman and Gunn titled ‘All I Need to Know About Filmmaking I Learned from The Toxic Avenger’ (1998). This gory voyage utilises the meta trend that soared through cinema during the late 1990s, setting the perfect scene for gruesome kills and humorous quips throughout.
6- Tromeo and Juliet (Directed by Lloyd Kaufman, 1997)
Filmmaker Tromeo (Will Keenan), falls head over heels for Juliet (Jane Jensen), the daughter of his rival.
William Shakespeare’s tragedy, Romeo & Juliet is an embracing tale of forbidden love, battling families, and the tortured fate of life without romance. Troma’s Tromeo and Juliet is an ‘interesting’ adaptation of the said play, except it follows a much more alternative route, depicting violent bodily vandalization and explicit phallic fantasies. Across the board, Kaufman’s vision may not be to every individual’s taste, but it is certainly a feast for Troma fans, with James Gunn’s script steeping the film in nightmarish scenes that dare the viewer to keep watching throughout all of the madness.
7- Class of Nuke ‘Em High (Directed by Richard W. Haines, Michael Herz, Lloyd Kaufman, 1986)
A group of students from Tromaville High mutates into hideous freaks after toxic waste finds its way into their water supply.
In the same lines as The Toxic Avenger, Class of Nuke ‘Em High is one of Troma’s most defining hits, with four sequels following (one [Return to Return to Nuke ‘Em High AKA Volume 2– 2017] even premiering at Cannes Film Festival). And just like The Toxic Avenger, this film acts as a loose sequel, also being based in Tromaville and being soaked in visceral, green sludge that makes every violent act even more audacious. Adding to the genre-defying theme are the electric-like sci-fi elements including the threat of nuclear plants, radiation fears, bodily mutations, and dominating creatures–all commanding the screen, creating a lingering fandom that refuses to stop.
8- Citizen Toxie: The Toxic Avenger IV (Directed by Lloyd Kaufman, 2000)
The Toxic Avenger (David Mattey) arises once again to save Tromaville from his evil counterpart The Noxious Offender.
Troma is rife with sequels, prequels, trilogies, and entire franchises. And out of all of these continued films, one of the best has to be Citizen Toxie. Just like the original–The Toxic Avenger–Citizen Toxie has plenty of bold gravitas and a keen sense of what Troma fans adore, tons and tons of madness. Quite impressively, the fourth installment features some stellar cameos from the likes of Eli Roth, Stan Lee, Corey Feldman, and Lemmy from Motörhead. Similar to nearly every Toxic Avenger film, the lack of societal correctness is a deliberate strategy to both provoke the comfort that resides in mainstream cinema and to create a film that soars past what anyone could possibly expect.
9- Blood Sucking Freaks (Directed by Joel M. Reed, 1976)
Magician, Sardu (Seamus O’Brien), kidnaps a string of people to use for his magic show. Little does the audience know that the torturous tricks are actually real.
Blood Sucking Freaks is possibly one of Troma’s most controversial films, and that’s saying a lot considering some of their other titles include Chopper Chicks in Zombietown (1989) and Surf Nazis Must Die (1987). Joel M. Reed’s nightmarish extravaganza was picked up by Troma in 1981, where they would make certain cuts to the film to receive an R rating, however, the version they ended up releasing depicted extremely graphic content, leaving no stone unturned through every scene, even including visuals of botch amputations, head crushing, teeth-pulling, and healthy doses of general torture. Of course, the censor board was not happy with the release of such content, but like with any cult classic, this made Blood Sucking Freaks all the more fun.
10- Poultrygeist: Night of the Chicken Dead (Directed by LLyold Kaufman, 2006)
A fast-food restaurant is taken over by zombie chickens after the building was constructed over an ancient burial ground. If the name of Kaufman’s 2006 feature doesn’t give you enough information already, Poultrygeist: Night of the Chicken Dead is a demented, unreal, and shockingly absurd descent into mayhem. In the essence of true independent filmmaking, the film was made possible by the pure devotion to the cinema, with Kaufman and Herz partially self-funding the film just to get it made. Along with this, most of the crew were volunteers who were fortunate enough to see the adverts on Craigslist and other messaging boards looking for a pair of extra hands to help out on a film set for a legendary production company. However, this hard work wasn’t in vain as the film was a rip-roaring success, with its reception making it a firm favorite for Troma fans.
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1- Halloween II (Directed by Rick Rosenthal, 1981)
On All Hallows Eve babysitter Laurie Strode (Jamie Lee Curtis) has to fend off Michael Myers, a masked crazed killer. Since the events, Laurie has been taken to hospital to recover from the dreaded attack, but Myers refuses to go down without his revenge.
Time and time again it has been stated that John Carpenter’s Halloween (1978) was the kick-starter for the beloved slasher subgenre. Carpenter’s spooky fright fest turned heads across the world of horror, cementing a change from the normalised ghost or sci-fi story and creating the premise of the ‘slasher icon’. Michael may have made his first appearance in the late 1970s, however Halloween II is just as unforgettable, legendary, and necessarily terrifying as the one that started it all. With Rick Rosenthal in the director’s chair and Carpenter as writer, Halloween II is a rip-roaring jubilee of thrills, both featuring some truly epic kills, including the striking death by scalding scene, and the introduction of what would end up being the Halloween franchises defining story arc- Michael Myers was Laurie Strode’s brother this whole time!
2- Friday the 13th (Directed by Sean S. Cunningham, 1980)
Camp Crystal Lake has long been plagued by the wrongful death of a young boy, Jason Voorhees. Years have passed since the incident and the camp is set to reopen for the summer, however, when the counsellors show up to prep the site, they begin dropping off one by one.
Friday the 13th is entirely synonymous with the early days of the slasher era. The template founded within this film pushed horror into a bloody, camp, and above all an entertaining spectrum rife with scandalous teens being punished for their misdeeds in the most gnarliest of fashions. The entire premise of Friday the 13th thrives in a careful balance of exploitation and humour, both pleasing avid gore hounds and average movie-goers thirsty for something out of their comfort zone. Over the years, what started out as a profit seeker from Wes Craven’s OG collaborator Sean S. Cunningham has now become a multi-dimensional cinematic universe, with countless sequels, merchandise galore, and even a very successful video game. Whilst some of the franchise’s later ventures (particularly Part III [1982] and Final Chapter [1984]) go above and beyond in fleshing out Jason’s legacy, this iconic series would be nothing without this timeless original.
3- Sleepaway Camp (Directed by Robert Hiltzik, 1983)
Camp Arawak is a safe haven for parents to send their kids off to for the summer season, however, not much joy is to be found as a mysterious killer begins to slay their way through the camp.
Thanks to Friday the 13th, summer campgrounds became a chief factor for eighties slashers, in fact it’s difficult to narrow down all of the great campsite horrors from the decade, with The Burning (1981) and Madman (1982) being strong classics within the genre, but Sleepaway Camp continuously rises to the top. The performances are certainly off-kilter thanks to the dramatic yet purposefully hilarious character of Sleepaway Camp’s archetypal mean-girl Judy (Karen Fields), whose bratty brashness has been the blueprint for many on-screen rascals to come. Joining the string of amusements is the film’s burning secret that is the reasoning behind Sleepaway Camp’s successful reputation that remains upheld to this day, nearly forty years later. The ending comes as a total shock, straight out of the blue, in fact the director’s twist reveal has been continuously compared to the classic Hitchcockian shocker that features in the one and only Psycho (1960).
4- The Slumber Party Massacre (Directed by Amy Holden Jones, 1982)
An unsuspecting slumber party turns deadly when a recently escaped serial killer goes on the run with his power drill.
Verging on the cusp of satire, but still rooted within genuine horror is Amy Holden Jones The Slumber Party Massacre. Writer, Rita Mae Brown originally conceived the film as a spoof, mimicking the influx of low budget splatter’s that quintessentially took over the 1980s home video market. During production the tongue-n-cheek writing evolved into something more concerned with profitability, essentially becoming another run of the mill thriller equipped with plenty of nudity and brutal gore. However, allowing the film to stand out amongst the rest is Mae Brown’s and Holden Jones obvious authenticity devout to creating elaborate characters that are more than just meat for the phallocentric drill-wielding maniac stalking the teens.
5- April Fool’s Day (Directed by Fred Walton, 1986)
A group of college students take a trip to a friend’s isolated island manor. Little do they know someone is on a deadly mission to wreak havoc on the gang.
Over the years a barrage of holiday themed horrors has taken the stage, with the best of the bunch being Black Christmas (1974), My Bloody Valentine (1981), and finally April Fool’s Day. Stylishly executed and brimming with that 80s Charm, Fred Walton delivers one of his most innovative and unexpected pieces of works that stands right up there with his other hits including When A Stranger Calls (1979). Rather intentionally April Fool’s Day, like a prank experienced on the 1st, constantly toys with the audience’s assumptions, making sure to pack a hefty punch when the film’s marvellously unforgettable ending is revealed.
6- A Nightmare on Elm Street (Directed by Wes Craven, 1984)
Years after a vengeful death, Freddy Kruger (Robert Englund) begins to haunt the residents of Springwood in their dreams.
Michael Myers, Jason Voorhees, and Freddy Kruger have become somewhat of the unholy trinity of slasher villains. Each pack member harbours a frightful exterior, murderous habits, and most importantly a vicious taste for blood. However, no one else has a nasty personality like the one and only Fred Krueger. A Nightmare on Elm Street is literally your worst nightmare; the premise of a serial killer hellbent on killing you in your most vulnerable state is terrifying, especially when this blurring between dreams and reality is combined with the brutal deaths that Freddy enacts on each one of his victims. Aiding the film to remain in the spotlight is the incredibly effective practical effects, such as the iconic bed of death scene where a baby-faced Johnny Depp is sucked into a mattress that gushes out gallons of blood.
7- Prom Night (Directed by Paul Lynch 1980)
During a high school prom an unidentifiable killer hunts down a group of teens who were responsible for an accidental death years prior.
Like a typical sleeper hit, Prom Night did not receive glowing reviews upon its release from nearly every major critic and media outlet, but it was Canada’s highest grossing film of the year. Overtime Prom Night’s reputation has soared, with Paul Lynch’s slasher epic now being considered a bonafide cult classic. Amongst the early stages of the film a more generic approach to the setting and timing was in plan, but the script was imminently changed to focus around a universal event to attract more audiences, thus resulting in the now iconic school dance setting. With the unique setting, immersive soundtrack, and detailed narrative comes a factor that can be rare in slashers, fully fleshed out characters. Jamie Lee Curtis will always hold the crown of being one of horror’s most glorified Scream Queens, and whilst Halloween is primarily responsible, Curtis’s performances of a distressed but fearless final girl/prom queen accelerates the film into a whole other level of legendary.
8- Pieces (Directed by Juan Piquer Simón, 1982)
The students from a college campus are being killed off by a mysterious killer whose aim is to create a human jigsaw using the body parts as puzzle pieces.
Upon its initial release Pieces was met with rather a lot of contention. Of course, the notion of an unhinged serial murderer stalking and violently killing people in order to compose a sick puzzle is certainly disturbing when composed as such, however, as any slasher fan knows, it always sounds worse than it is. Pieces may not have been on the most serious section leading to prosecution on the video nasties list, but the film was still seized and subsequently confiscated in the UK. With its historical reputation, Pieces may seem like another dose of schlock, yet Juan Piquer Simón masterfully crafts a giallo-slasher hybrid rich with dramatic stylisation, a cathartic ending, and such a high level of absurdity that slightly infuses the film with an air of deadpan humour.
9- The House on Sorority Row (Directed by Mark Rosman, 1982)
A seemingly harmless prank thrown by a group of sorority sisters leads to deadly consequences.
Sororities and frats have garnered quite the reputation in horror movies over the years, with films such as Sorority Row (2009), Sorority House Massacre (1986), Pledge (2018), and The Initiation (1984) all tackling the inner dynamics that naturally occur within sorority environments. In line with this notion, The House on Sorority Row relies upon a whodunit basis to build up dread and tension, forcing the viewer to be unsure of everyone’s actions, making the film a fright to remember. At the time, when slashers were released to the public it was not uncommon for the masses to view them as degrading or unimportant to cinema as a whole, however Mark Rosman’s juggling of heavy gore and suspenseful kills made the film hit the top spot with audiences and critics alike.
10- The Mutilator (Directed by Buddy Cooper & John S. Douglass, 1984)
A grief stricken man goes on a campaign of vengeance at a beachfront condo.
On the outskirts, The Mutilator may seem like an ordinary slasher, filled with middle-of-the-road theatrics, unrealistic gore, and frivolous chase scenes. Whilst, The Mutilator does revel in the typical formula of stalk and kill antics, Buddy Cooper and John S. Douglass have created a memorable and more than efficient slasher that manages to be lighthearted and ghastly at the same time. The college coeds featured in the film are considerably developed, with their presence acting as a major contributing factor to the story, rather than just acting as slasher bait. Alongside this is The Mutilator’s brutally violent effect’s that still put up a tough fight against today’s SFX.
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@kurtsworld96 (Joe Kerry), a fame-hungry blogger is over the exhausted trends on social media, from unboxing hauls, reviews, day in the life tags, and tutorials- Kurt has tried them all, but to no avail, his shot at internet fame falls flat. However, he concocts a fatal plan using a Livestream to finally go viral.
Cinema, particularly horror thrives in commentary upon the current cultural climate. Since the rise of social media, content creators and influencers have become the ultimate career goal for many. Kurt’s raveling attempts at pushing the limits are both sad and oddly comedic, to put it simply his actions are nothing short of psychopathic. And this innocence regarding Kurt’s lack of right and wrong unwillingly places the viewer in a sympathetic position. Kurt’s twisted motions begin with what he calls ‘The Lesson’; using his new job as a rideshare driver for the fictional Uber-Esque company ‘Spree’, he lures unknowing riders into his car just to kill them off in front of his live audience.
Over the course of The Lesson, things do not go to plan, in fact, what was already a maniacal descent into madness becomes a complete unravelment of Kurt’s psyche with deadly consequences for everyone. The intrinsic quality that adheres to the life of an influencer is rich with commentary surrounding people losing touch with reality, becoming a greedy shadow of a person. Whilst Spree takes no time in forcing the ruthlessness of social media down the viewer’s throat, what actually makes Spree more than a cheap trick is the bizarre and wacky world presented through the eye of live streams, vlogs, reel-style videos, and candid footage. The online take is a familiar view for audiences, hitting close to our sense of reality, or more aptly- the loss of of it.
2- Cam (Directed by Daniel Goldhaber, 2018)
Cam girl Alice (Madeline Brewer) has been rising up on the charts of FreeGirlsLive, soon to become the number 1 actress on the site. However, her imminent success is jeopardized when a look-alike steals her account, locking her out of it forever. In a race against time, Alice must track down her doppelganger before it’s too late.
Director Daniel Goldhaber is joined by screenwriter Isa Mazzei to create a wild film tackling stereotypes and taboos not typically openly explored within mainstream cinema. Whilst Mazzei was previously working as a cam girl her videos became pirated and reposted across various sites with no credit given to her. When she approached the police with the plagiarism she was brushed off and laughed at. Cam focuses on the judgment experienced by sex workers through Alice’s family finding out about her career, as well as the site itself and legal representatives not taking her issues seriously. Amidst the societal critique is Cam’s bold colour palette consisting of lavish pinks and blues, creating a lush environment suited to Alice’s work. However, although Alice has thousands of devoted fans, she is really just alone. Whilst her fabulous studio is filled with life, her reality paints an isolated picture, placing her in a desolate dream-like landscape that reflects her inner turmoil. Cam illustrates how a bustling online life is a guise hiding a mirage of flaws.
3- Unsane (Directed by Steven Soderbergh, 2018)
Still reeling from a stalking indicent, Sawyer (Claire Foy) attends a therapy session to vent her frustrations. However, she unknowingly signs a form committing her to a 24-hour stay at a behavioural centre. Now lost and abandoned, she must fight her way out of the psychiatric hospital before she meets a terrible fate.
Found footage, desktop horror, and cyber cinema has a weighty relationship with the low-budget indie market, hence when Academy Award winner Steven Soderbergh announced that he would be directing a feature film solely filmed on an iPhone many were surprised. Soderbergh has previously used visual dynamics to portray a story, in the case of Unsane the unusual phone ratio of 1.56:1 not only distorts the viewers perception of media’s normal screen, the frame additionally traps Sawyer in small box, akin to her emotive state by being held captive under her will. The gaze from the phone acts like a fly on the wall in the hospital, cementing our place in the unit alongside Sawyer, going through the same traumatic experiences. Besides the filming semantics, Unsane flourishes in the riveting performances from Joshua Leonard portraying a sinister orderly, Jay Pharoah playing one of Sawyer’s only companions, and lastly Claire Foy herself. Foy perfectly melds together a level of sincerity with subtle hints of hysteria to make her history with the stalker seem questionable. And it’s not until the very end when the shocking truth about the entire situation comes to light.
4- Kairo (Directed by Kiyoshi Kurosawa, 2011)
A sudden suicide leaves a group of young adults in Tokyo witnessing strange apparations that become easily transferred online.
Kairo forms a convoluted story rife with terrifying images, intense highs, and fleshed out characters to dissect the early 2000s fear about the rise of the internet. Told across two fairly unconnected stories, Kiyoshi Kurosawa slowly fills the setting with utter dread where every scene (no matter how mundane) has an eerie tone, eventually leading to a traumatic conclusion. The film places the computer in a villainous position, haunting whoever uses it through creating a dull pit inside of them that allows nothing but loneliness and depression to set in. At the time of the film’s release a mild moral panic was spiralling thanks to the internet booming, especially amongst the younger generations. This new and scary machine was fabricated to be a portal to morbid material, whereas the most scandalous aspect of the whole situation was society’s reaction not the world wide web itself. Kurosawa forgoes gore and disregards bloody horror iconography in favour of developing a unique story commenting upon the rise and fear of the ‘unknown’.
5- Searching (Directed by Aneesh Chaganty, 2018)
Widowed father David Kim (John Cho) turns to deperate measures to find his missing teenage daughter Margot (Michelle La).
Set entirely across a desktop is Searching, one of 2018’s most profitable films. The structure alone is to be admired, with Aneesh Chagnanty’s directorial eye taking on the shape of a laptop lense, showing David’s investigate efforts through Skype calls, iMessaging, and countless scenes of sifting through his daughters personal photos and chats to get to the bottom of her disappearance. Although his actions are innocent and solely done to the benefit of the case, a slight emotional shift is placed upon the viewer. Along with David, we are snooping through Margot’s inner life, acting as a voyeur. And whilst Searching uses the guise of safety to soften the suspicious gaze, the film gruellingly comments upon social media’s natural privacy infringement. With the boom in sharing every aspect of your life online, barely anything is sacred or left to the imagination.
6- Like Me (Directed by Robert Mockler, 2017)
Kiya (Addison Timlin), an aimless loner turns to streaming violent escapades that make her go viral.
Like Me follows the blueprint for chaotic, frenzied, surreal nightmares similar to the likes of the South African gem Fried Barry (2020). The film immediately sets the bar high, ramming a kaledsocpic of colours into every scene accompanied by dominating characters and electric settings and not once does this madness stop throughout the rest of the film. Whilst Like Me does not define itself as entirely desktop or found footage based, the premise of Kiya feeling almost an intrinsic itch to upload her endeavours online is key for both the narratives progression and the film’s overall aesthetic.
Kiya’s initial attempt at making a viral hit comes from filming herself robbing a food mart, to then progressing her antics as she ties up a hotel manager (played by indie legend Larry Fessenden) to stream the brutal sadomasochism acts between the two. Before Kiya and the audience know it, gaining these online views and a wealth of followers twists Kiya’s mind into a sick breeding ground of obsession and utter mania. In what could easily be a colourful mess, Like Me transforms the barriers between self and screen; Kiya’s lack of human interaction is compensated by the deranged online world she finds herself in.
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