The 50 Best Horror Movies on HBO Max Right Now (June 2022)

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The 50 Best Horror Movies on HBO Max Right Now (June 2022)

The first thing one notices, looking at the horror genre as it exists on HBO Max, is that there’s an unusual level of genuine curation involved here. The overall scope of the service might not be quite as broad as something like Netflix, but you’re likely to have heard of far more of these films. That’s because unlike the horror selections of Netflix, Hulu or (especially) Amazon Prime, the bulk of the selections here aren’t made up of modern, straight-to-VOD, zero-budget productions with vague, one-word titles like Desolation or Satanic. Rather, almost everything here received a wide release at some point.

That makes for an interesting horror library indeed, one that balances total schlock from Roger Corman with acclaimed works by the likes of Guillermo Del Toro and Stanley Kubrick. There are strange, foundational early horror films, such as Haxan or Vampyr, along with classics of world cinema like Japan’s Kwaidan, Onibaba and House. There are also some franchise staples like Friday the 13th, and indie gems like Trollhunter or The Empty Man.

Regardless, of all the major streamers, HBO Max likely has the horror library most focused on what you’d call older “classics,” rather than newer releases—fine with us, considering that segment tends to be less well represented.

Here, then, are 50 best horror movies streaming on HBO Now. You may also want to consult the following horror-centric lists:

The 100 best horror films of all time.
The 100 best vampire movies of all time.
The 50 best zombie movies of all time.
The 50 best movies about serial killers
The 50 best slasher movies of all time
The 50 best ghost movies of all time
The best horror movies streaming on Netflix
The best horror movies streaming on Hulu
The best horror movies streaming on Shudder
The best horror movies on Amazon Prime


1. The Shining

the shining poster (Custom).jpg Year: 1980
Director: Stanley Kubrick
Stars: Jack Nicholson, Shelley Duvall, Danny Lloyd, Scatman Crothers
Rating: R
Runtime: 142 minutes

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As an aural-visual experience, The Shining is likely the single most distinctive horror film ever made. Its droning soundtrack, innovative Steadicam shots and singular images, like that of the two little Grady girls standing in the hallway, beckoning to Danny, are instantly recognizable even to people who have never explored horror cinema. Its most famous sequences, such as Danny scrawling “redrum” on the wall or Jack chopping down the bathroom door to get to Wendy, are so deeply embedded in pop culture at this point that references to them will be easily understood until the end of recorded history. At the same time, though, The Shining also still rewards scholarly analysis of its elements that are less known to the casual cinemagoer, such as Kubrick’s unique use of dissolves layered on top of one another to create composite images, or the seemingly purposeful continuity errors that pop up in a handful of scenes. These small details have for decades fueled mysteries and conspiracy theories about the director’s true intent, as was captured beautifully in The Shining documentary Room 237 by Rodney Ascher. Watching that film, one begins to understand how a movie such as The Shining can draw forth deep, primordial responses from its audience, such as the all-consuming need to understand. It is telling that, unlike some of the other great horror films on this list, The Shining saw few attempts at what you’d call direct imitation in the years that followed. It was too much the product of an auteur mind to be so easily unwrapped and reverse engineered; nor was its initial reaction entirely positive, contrary to what you might now assume. It was and remains an exceptional film of great beauty, coldness, precision, calculation and yes, fright.—Jim Vorel


2. 28 Days Later

28-days-later-poster.jpg Year: 2002
Director: Danny Boyle
Stars: Cillian Murphy, Naomie Harris, Christopher Eccleston, Megan Burns, Brendan Gleeson
Rating: R
Runtime: 113 minutes

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The classical zombie film was effectively dead by the time 28 Days Later came along in 2002 and completely reanimated the concept. (And yes, we all know that the “infected” in this film aren’t technically zombies, so please don’t feel that you have to remind us.) The definition of “zombies” is fluid, and always expanding. Here, they’re living rather than dead, poor souls infected by the “rage virus” that makes them run amok, tearing through whatever living thing they see. It’s a modernization of the same fears that powered Romero’s ghouls—unthinking assailants who will stop at nothing and are now more dangerous than ever because they move at a full-on sprint. It’s hard to overstate how big a quantum leap that mobility was for the zombie genre—the early scenes of 28 Days Later where Jim (Cillian Murphy) tries to navigate a deserted London in hospital scrubs, chased by fast-moving zombies, did for this genre what Scream did for the slasher revival, sans the humor. Indeed, 28 days Later is a dead-serious horror film, marking a return to seeing these types of creatures as a legitimate, frightening threat. It’s indicative of another trend of the 2000s, which was to reimagine the classic rules of zombie cinema to fit the needs of the film. The Zack Snyder Dawn of the Dead remake replicated a lot of this film’s DNA when it was released two years later, although it marries the concept with the more traditional Romero ghoul. Together, those two movies gave birth to the concept of the 21st-century serious zombie film. —Jim Vorel


3. Poltergeist

poltergeist-1982-poster.jpg Year: 1982
Director: Tobe Hooper
Stars: Craig T. Nelson, JoBeth Williams, Dominique Dunne, Heather O’Rourke, Zelda Rubinstein
Rating: PG
Runtime: 114 minutes

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They’re heeeeeeeeeere… Steven Spielberg’s first big success in the producer’s chair (and notionally directed by Tobe Hooper) was released concurrently with ET: The Extraterrestrial and could arguably be seen as the dark side of a dyad about alienation in suburbia. Nonetheless, it retains the Spielberg Feel Good Stamp even as a horror film. The Freelings are a “typical” unassuming middle class family living in a peaceful suburb that becomes not-so-peaceful as the house is caught in the grip of supernatural disturbances. The pet canary dies. There are bizarre weather events. Youngest-kid Carol Ann (Heather O’Rourke) stands entranced in front of the TV in one of the most iconic moments in horror film history, lit by a mysterious beam of green light while the room begins to shake. As Carol Ann is repeatedly drawn to the television, where she begins to talk to “the TV people,” and eventually gets sucked into a dimensional vortex in the closet, father Steve (Craig T. Nelson) consults parapsychologist Dr. Lesh (Beatrice Straight). Lesh finds she’s in over her head and calls for an exorcist. The anatomization of the “happy family” is lavishly paced, making the ensuing horror all the more vivid. Not the deepest movie ever made, certainly, but an enduring classic of the genre, a highly detailed take on the “unassuming regular-Joe family savaged by invisible menace” trope, and still pretty damn creepy. —Amy Glynn


4. King Kong

king-kong-1933-poster.jpg Year: 1933
Directors: Merian C. Cooper, Ernest B. Schoedsack
Stars: Fay Wray, Robert Armstrong, Bruce Cabot
Rating: NR
Runtime: 100 minutes

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There had been monster movies or “creature features” before Kong, but it became the key reference point for that entire film demographic from the time of its release until the genre underwent an atomic-age reimagining with the likes of The Beast from 20,000 Fathoms in 1953 and Them! in 1954. Likewise, it set the bar on its special effects at such a high level that in many instances, shots and sequences from King Kong weren’t suitably duplicated for decades to come. Much of the credit belongs to pioneering stop-motion animator Willis O’Brien, who was inventing new techniques on the set of Kong on a daily basis, laying a foundation for an entire field of visual effects that are still being refined by studios such as Laika today. Those techniques were likewise carried on and further refined by O’Brien’s arguably more famous protege, Ray Harryhausen, who used them to great effect in the second golden age of the monster movie, from the 1950s through the 1970s.

Kong, though, stands as an unparalleled achievement for its time—far grander and more ambitious in scope than most anything you can compare it to back then. On one hand it’s a rollicking adventure film, with a classic “journey into the unknown” plot that is still being recycled for modern monster installments like Kong: Skull Island. At the same time, though, it was likewise an interesting experiment in genre-blending—an FX-driven adventure-drama film with horror elements and no clear-cut, traditional “antagonist.” Carl Denham might fit the bill, but he’s better described as a naive dreamer with stars in his eyes, oblivious to the ethical quandary of shanghaiing a huge beast to display in the middle of New York City. Kong, meanwhile, is a misunderstood creature, operating on the sense of self preservation he learned in a home where he’s only ever known a daily fight for survival against a neverending stream of monsters. The film’s empathy for Kong, and its condemnation of the hubris that led to his ascent of the Empire State Building, are what helped make the story such an emotionally affecting classic. —Jim Vorel


5. Kwaidan

kwaidan-movie-poster.jpg Year: 1964
Director: Masaki Kobayashi
Stars: Rentaro Mikuni, Tatsuya Nakadai, Katsua Nakamura, Osamu Takizawa, Noboru Nakaya
Rating: NR
Runtime: 184 minutes

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Ghost stories don’t get much more gorgeous than the four in Masaki Kobayashi’s sprawling Kwaidan. Between two acerbically political and widely lauded samurai epics, Hara-kiri (1962) and Samurai Rebellion (1967), Kobayashi led what was then Japan’s most expensive cinematic production ever, an anthology film with its parts loosely connected by Lafcadio Hearn’s collection of Japanese folk tales and Kobayashi’s intuitive penchant for surreal, sweepingly lush sets. In “The Black Hair,” a selfish, impoverished ronin (Rentaro Mikuni) abandons his wife to marry into wealth, only to realize he made a dire mistake, plunging him into a gothic nightmare of decay and regret. “The Woman of the Snow” follows a craftsman (the always welcome Tatsuya Nakadai) doomed to have everything he loves stolen from him by a patient bureaucratic specter. The movie-unto-itself, “Hoichi the Earless,” pits the titular blind monk musician (Katsua Nakamura) against a family of ghosts, forcing the bard to recite—in hushed, heartbreaking passages on the biwa—the story of their wartime demise. Rapt with indelible images (most well known, perhaps, is Hoichi’s skin completely covered in the script of The Heart Sutra to ward off the ghosts’ influence), “Hoichi the Earless” is both deeply unnerving and quietly tragic, wrung with the sadness of Kobayashi’s admission that only forces beyond our control hold the keys to our fates. The fourth, and by far the weirdest, entry, “In a Cup of Tea,” is a tale within a tale, purposely unfinished because the writer (Osamu Takizawa) who’s writing about a samurai (Noboru Nakaya) who keeps seeing an unfamiliar man (Kei Sato) in his cup of tea is in turn attacked by the malicious spirits he’s conjuring. From these disparate fairy tales, plenty of fodder for campfires, Kobayashi creates a mythos for his country’s haunted past: We are nothing if not the pawns of all those to come before. —Dom Sinacola


6. The Haunting

the-haunting-1963-poster.jpg Year: 1963
Director: Robert Wise
Stars: Julie Harris, Claire Bloom, Richard Johnson, Russ Tamblyn
Rating: G
Runtime: 114 minutes

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Director Robert Wise purportedly hoped to experience paranormal phenomena during the filming of this adaptation of a Shirley Jackson novel, and disappointingly never did. Nonetheless he left viewers with a fairly chilling and highly stylish imagined experience. Anthropology professor Dr. John Markway (Richard Johnson) investigates reports of psychic phenomena at the spooky New England mansion called Hill House. His entourage consists of two ESP-gifted-but-very-different-women, Eleanor and Theodora (Julie Harris and Claire Bloom, respectively), as well as skeptic and Hill House heir Luke Sanderson (Russ Tamblyn). Johnson and Tamblyn both give great performances, but the heart of the film is the high-voltage and high-contrast acting by Harris and Bloom, who both respond to the house’s various presences in very different ways. Wise creates a tapestry of unease and suspense with an allusive, suggestive directorial style that leaves a lot of room for speculation as to how much of what we’re witnessing is genuinely paranormal and how much is driven by the distorted perceptions of the troubled characters—especially of Harris’s Eleanor, a distraught caregiver desperate to escape the clutches of her overbearing family. Wise, along with cinematographer Davis Boulton, uses wide-angle lenses and infrared photography, as well as incredibly creepy sets, to create a sense of unreality and distortion; unexpected angles serve to keep us off-kilter. In turn, The Haunting is a gooseflesh-inducing study in detachment from reality and a masterful deployment of ambiguity. The ghostly phenomena might be real or might be in the characters’ heads, and the sense of uncertainty is what creates profound unease. —Amy Glynn


7. Godzilla

godzilla-criterion-movie-poster.jpg Year: 1954
Director: Ishiro Honda
Stars: Sachio Sakai, Takashi Shimura, Momoko Kochi, Akira Takarada
Rating: NR
Runtime: 95 minutes

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Early in Godzilla, before the monster is even glimpsed off the shore of the island of Odo, a local fisherman tells visiting reporter Hagiwara (Sachio Sakai) about the play they’re watching, describing it as the last remaining vestige of the ancient “exorcism” his people once practiced. Hagiwara watches the actors “sacrifice” a young girl to the calamitous sea creature to satiate its hunger and cajole it into leaving some fish for the people to enjoy—at least until the next sacrifice. Ishiro Hondo’s smash hit monster movie—the first of its kind in Japan, the most expensive movie ever made in the country at the time, not even a decade after the atomic bombing of Hiroshima and Nagasaki—is, after 20-something sequels over three times as many years, a surprisingly elegiac exorcism of its own, a reminder of one nation’s continuing trauma during a time when the rest of the world jonesed to forget.

As J Hoberman describes in his essay for the film’s Criterion release, much of Honda’s disaster imagery is “coded in naturalism,” a verite-like glimpse of the harrowing destruction wrought by the beast but indistinguishable from the aftermath of the Americans’ attacks in 1945, especially when the U.S. and Russia, among other powers, were testing H-bombs in the Pacific in the early 1950s, bathing the Japanese in even more radiation than that in which they’d already been saturated. And yet, Godzilla is a sci-fi flick, replete with a “mad” scientist in an eye patch and a human in a rubber dinosaur suit flipping over model bridges. That Honda handles such goofiness with an unrelentingly poetic hand, purging his nation’s psychological grief in broadly intimate volleys, is nothing short of astounding. Shots of Godzilla trudging through thick smoke, spotlights highlighting his gaping maw as the Japanese military’s weapons do nothing but shock the dark with beautiful chiaroscuro, have been rarely matched in films of its ilk (and in the director’s own legion of sequels); Honda saw gods and monsters and, with the world entering a new age of technological doom, found no difference between the two. —Dom Sinacola


8. Night of the Living Dead

24. night of the living dead (Custom).jpg Year: 1968
Director: George A. Romero
Stars: Judith O’Dea, Duane Jones, Marilyn Eastman, Karl Hardman, Judith Ridley, Keith Wayne
Rating: N/A
Runtime: 96 minutes

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What more can be said of Night of the Living Dead? It’s pretty obviously the most important zombie film ever made, and hugely influential as an independent film as well. George Romero’s cheap but momentous movie was a quantum leap forward in what the word “zombie” meant in pop culture, despite the fact that the word “zombie” is never actually uttered in it. More importantly, it established all of the genre rules: Zombies are reanimated corpses. Zombies are compelled to eat the flesh of the living. Zombies are unthinking, tireless and impervious to injury. The only way to kill a zombie is to destroy the brain. Those rules essentially categorize every single zombie movie from here on out—either the film features “Romero-style zombies,” or it tweaks with the formula and is ultimately noted for how it differs from the Romero standard. It’s essentially the horror equivalent of what Tolkien did for the idea of high fantasy “races.” After The Lord of the Rings, it became nearly impossible to write contrarian concepts of what elves, dwarves or orcs might be like. Romero’s impact on zombies is of that exact same caliber. There hasn’t been a zombie movie made in the last 50-plus years that hasn’t been influenced by it in some way, and you can barely hold a conversation on anything zombie-related if you haven’t seen it—so go out and watch it, if you haven’t. The film still holds up well, especially in its moody cinematography and stark, black-and-white images of zombie arms reaching through the windows of a rural farmhouse. Oh, and by the way—NOTLD is public domain, so don’t get tricked into buying it on a shoddy DVD. —Jim Vorel


9. Eraserhead

eraserhead-poster.jpg Year: 1977
Director: David Lynch
Stars: Jack Nance, Charlotte Stewart, Allan Joseph
Rating: R
Runtime: 90 minutes

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It can be a painful experience to watch a film and have no idea what it’s about—to have the film’s meaning nagging at the core of you, always out of reach. Yet, that’s exactly the molten, subterranean fuel that pushes David Lynch’s visions forward, and with his debut, the perplexing and terrifying Eraserhead, the director offers no consolation for the encroaching feeling that with him we’ll never find any sort of logical mooring to keep our psyches safe. A simple tale about a funny-haired worker (Jack Nance) trundling nervously through a phantasmagoric industrial landscape, in the process fathering a mutant turtle-looking baby who he’s left to raise after his new wife abandons her “family,” Eraserhead is an astounding act of burying independently-minded cinematic experimentation in the popular consciousness. You may not know much about Eraserhead, but you probably know what it is. And whether or not it’s a meditation on the horrors of fatherhood, or a glimpse of the weird devolution of physical intimacy in a dying ecosystem, or a groundbreaking work of DIY sound design, or whatever—Eraserhead is a black hole of influence. It’s gross, it’s soul-stirring, it’s a visceral nightmare, and to this day, it’s unlike anything I’ve ever seen before. Which may or may not be a compliment. I can’t be sure. —Dom Sinacola


10. Les Diaboliques

les diaboliques poster (Custom).jpg Year: 1955
Director: Henri-Georges Clouzot
Stars: Véra Clouzot, Paul Meurisse, Simone Signoret
Rating: NR
Runtime: 107 minutes

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Watching Henri-Georges Clouzot’s Les Diaboliques through the lens of the modern horror film, especially the slasher flick—replete with un-killable villain (check); ever-looming jump scares (check); and a “final girl” of sorts (check?)—one would not have to squint too hard to see a new genre coming into being. You could even make a case for Clouzot’s canonization in horror, but to take the film on only those terms would miss just how masterfully the iconic French director could wield tension. Nothing about Les Diaboliques dips into the scummy waters of cheap thrills: The tightly wound tale of two women, a fragile wife (Véra Clouzot) and severe mistress (Simone Signoret) to the same abusive man (Paul Meurisse), who conspire to kill him in order to both reel in the money rightfully owed the wife, and to rid the world of another asshole, Diaboliques may not end with a surprise outcome for those of us long inured to every modern thriller’s perfunctory twist, but it’s still a heart-squeezing two hours, a murder mystery executed flawlessly. That Clouzot preceded this film with The Wages of Fear and Le Corbeau seems as surprising as the film’s outcome: By the time he’d gotten to Les Diaboliques, the director’s grasp over pulpy crime stories and hard-nosed drama had become pretty much his brand. That the film ends with a warning to audiences to not give away the ending for others—perhaps Clouzot also helped invent the spoiler alert?—seems to make it clear that even the director knew he had something devilishly special on his hands. —Dom Sinacola


11. A Nightmare on Elm Street

nightmare-on-elm-poster.jpg Year: 1984
Director: Wes Craven
Stars: Heather Langenkamp, Robert Englund, Johnny Depp, Ronee Blakley, John Saxon, Amanda Wyss, Nick Corri
Rating: R
Runtime: 91 minutes

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Of the big three slasher franchises—Halloween, Friday the 13th and this—it’s Nightmare on Elm Street that presented us with the greatest and most complete of original installments. No doubt this is a factor of being the last to come along, as Wes Craven had a chance to watch and be influenced by the brooding Carpenter and the far more shameless and tawdry Cunningham in several F13 sequels. What emerged from that stew of influences was a killer who shared the indestructibility of Myers or Voorhees, but with a twist of Craven’s own demented sense of humor. That’s not to say Freddy Krueger (Robert Englund) is a comedian—at least not here in the first Nightmare, where he’s presented as a serious threat and a genuinely frightening one at that, rather than the self-parodying pastiche he would become in sequels such as Final Nightmare—but his gleeful approach toward murder and subsequent gallows humor make for a very different breed of supernatural killer, and one that proved extremely influential on post-Nightmare slashers. The film’s simple premise of tapping into the horrors of dreaming and questionable reality was like a gift from the gods presented directly to the artists and set designers, given carte blanche to indulge their fantasies and create memorable set pieces like nothing else ever seen in the horror genre to that point. It’s a phantasmagoria of morbid humor and bad dreams. —Jim Vorel


12. Onibaba

onibaba-poster.jpg Year: 1964
Director: Kineto Shindo
Stars: Nobuko Otowa, Jitsuko Yoshimura, Kei Sat?, Taiji Tonoyama
Rating: NR
Runtime: 102 minutes

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Kaneto Shindo’s Onibaba will make you sweat and give you chills all at once, with its power found in Shindo’s blend of atmosphere and eroticism. It’s a sexy film, and a dangerous film, and in its very last moments a terrifying, unnerving film where morality comes full circle to punish its protagonists for their foibles and their sins. There’s a classicism to Onibaba’s drama, a sense of cosmic comeuppance: Characters do wrong and have their wrongs visited upon them by the powers that be. (In this case, Shindo.) But what makes the film so damn scary isn’t the fear of retribution passed down from on high, it’s the human element, the common thread sewn in a number of modern horror movies where the true monster is always us. Did demons, or demonic idols, foment the civil war that serves as Onibaba’s backdrop? Are spirits culpable for the ruthless survivalism of the film’s two main characters? Nope and nope. Put a checkmark next to “mankind” in reply to both questions, and then wish that demons and spirits were real, because that’d be preferable to acknowledging reality. Back a human into a corner, and they’ll throw you into a ditch, leave you for dead and steal your shit, and what’s more unsettling than “better you than me” as a guiding principle for living? —Andy Crump


13. Eyes Without a Face

eyes-without-a-face-movie-poster.jpg Year: 1959
Director: Georges Franju
Stars: Édith Scob, Pierre Brasseur, Francois Guerin
Rating: NR
Runtime: 91 minutes

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I remember seeing my first Édith Scob performance back in 2012, when Leos Carax’s Holy Motors made its way to U.S. shores, in which she donned a seafoam mask, every bit as blank and lacking in expression as Michael Myers’, in the film’s ending. I thought to myself, “Gee, that’d play like gangbusters in a horror movie.” What an idiot I was: Scob had already appeared in that movie, Georges Franju’s Eyes Without a Face, an icy, poetic and yet lovingly made film about a woman and her mad scientist dad, who just wants to kidnap young ladies that share her facial features in hopes of grafting their skin onto her own disfigured mug. (That’s father of the year material right there.) Of course, nothing goes smoothly in the film’s narrative, and the whole thing ends in tears—plus a frenzy of canine bloodlust. Director Franju plays Eyes Without a Face in just the right register, balancing the unnerving, the perverse and the intimate, as the most enduring pulpy horror tales tend to do. If Franju gets to claim most of the credit for that, at least save a portion for Scob, whose eyes are the single best special effect in the film’s repertoire. Hers is a performance that stems right from the soul. —Andy Crump


14. The Empty Man

the-empty-man-poster.jpg Year: 2020
Director: David Prior
Stars: James Badge Dale, Owen Teague, Stephen Root, Marin Ireland
Genre: Horror/Thriller
Rating: R
Runtime: 137 minutes

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From the start, everything about The Empty Man is misleading. Its title sounds like the absolutely terrible Bloody Mary-esque The Bye Bye Man or the botched adaptation of Slender Man, where spooky too-long shadow dudes creep up on some doltish teens. Those bad high school urban legend films (that this trailer is cut oh-so-specifically to evoke) don’t usually stray from the 90-minute mark. Even Candyman, maybe the best and most ambitious example of this type of film, is barely 100 minutes. The Empty Man’s 137-minute runtime clearly has more to do than kill off a couple of kids for failing to be superstitious enough. Rather than falling into that traditional type of stock schlock, The Empty Man follows a troubled ex-cop investigating the root causes of an incident that could’ve been the entire plot of one of those movies. “We knew we weren’t making that movie and nobody wanted to make that movie,” writer/director/editor David Prior told Thrillist. “But it turns out, the people who inherited the movie wanted that kind of movie.” It makes sense that the ever-expanding, ever-spiraling photos-and-folders paranoid conspiracy of The Empty Man can feel a bit like getting sucked into the kind of heady, hyper-specific hell that festers in the underbellies of Zodiac, Se7en or Mindhunter. That ‘70s thriller structure, dedicated to the paper trail, merges in The Empty Man with a downright otherworldly horror (used here in the literal sense, as opposed to terror) aesthetic that’s sheer scope makes a mockery of the movie’s shoe-leather detective work. But even The Empty Man’s start is a delightful little horror film all its own, a mythological amuse-bouche set on snowy Bhutan peaks where set design and some solidly naturalistic acting sell the scares. Great! Solid. Sold. And then the movie keeps going, as if to literally push past your expectations. Its narrative evolves into something increasingly strange and engaging. It’s like A Cure for Wellness, another cult favorite, in its dedication to piling on an investigator’s hallucinogenic obsession and repulsion as he finds himself suddenly so deep that climbing back out—or, perhaps, out for the first time—proves impossible. Prior’s grasp of tone and savvy subversion of different modern monster tropes, alongside a staggering and committed James Badge Dale performance, position the film as one that understands and appreciates studio horror movies, but has much bigger things on its mind. In short, it rules.—Jacob Oller


15. A Nightmare on Elm Street 3: Dream Warriors

dream-warriors-poster.jpg Year: 1987
Director: Chuck Russell
Stars: Robert Englund, Heather Langenkamp, Patricia Arquette, Priscilla Pointer, Craig Wasson, Lawrence Fishburne
Rating: R
Runtime: 96 minutes

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Dream Warriors is almost invariably hailed as the best of the Nightmare on Elm Street sequels, and this is one case where the horror fans aren’t wrong—although The Dream Master and New Nightmare are both solid, as well. After the oddball diversion (and famous gay subtext) of the first sequel, Freddy’s Revenge, Dream Warriors benefits greatly from a returning Heather Langenkamp as top tier final girl Nancy Thompson, now grown up and attempting to help a new generation of kids fight back against the pure evil that is Freddy Krueger. It’s a film that benefits from a perfect supporting cast of dreamers, all battling their own personal demons, but of course it’s Robert Englund who steals the show as Freddy. Building upon his persona from the first two Nightmare installments, this film is the zenith of “funny Freddy” as an archetype, expertly balancing the character’s menace with deadly one-liners that are instantly iconic. Every death scene in Dream Warriors is memorable, while the dream sequences are more unbound than ever. If the original A Nightmare on Elm Street is the series at its most frightening, then Dream Warriors is perhaps the series at its most purely entertaining—the mold that lesser sequels were always trying to duplicate in the years that followed, with diminishing returns. —Jim Vorel


16. The Conjuring

conjuring.jpg Year: 2013
Director: James Wan
Stars: Vera Farmiga, Patrick Wilson, Ron Livingston, Lili Taylor
Rating: R
Runtime: 112 minutes

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Let it be known: James Wan is, in any fair estimation, an above average director of horror films at the very least. The progenitor of big money series such as Saw and Insidious has a knack for crafting populist horror that still carries a streak of his own artistic identity, a Spielbergian gift for what speaks to the multiplex audience without entirely sacrificing characterization. Several of his films sit just outside the top 100, if this list were ever to be expanded, but The Conjuring can’t be denied as the Wan representative because it is far and away the scariest of all his feature films. Reminding me of the experience of first seeing Paranormal Activity in a crowded multiplex, The Conjuring has a way of subverting when and where you expect the scares to arrive. Its haunted house/possession story is nothing you haven’t seen before, but few films in this oeuvre in recent years have had half the stylishness that Wan imparts on an old, creaking farmstead in Rhode Island. The film toys with audience’s expectations by throwing big scares at you without standard Hollywood Jump Scare build-ups, simultaneously evoking classic golden age ghost stories such as Robert Wise’s The Haunting. Its intensity, effects work and unrelenting nature set it several tiers above the PG-13 horror against which it was primarily competing. It’s interesting to note that The Conjuring actually did receive an “R” rating despite a lack of overt “violence,” gore or sexuality. It was simply too frightening to deny, and that is worthy of respect. —Jim Vorel


17. Ugetsu

Ugetsu285x400.jpg Year: 1953
Director: Kenji Mizoguchi
Stars: Mitsuko Mito, Masayuki Mori, Eitaro Ozawa, Kinuyo Tanaka
Rating: NR
Runtime: 98 minutes

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During an incredibly prolific point at the end of his career, Kenji Mizoguchi released Ugetsu between The Life of Oharu (1952) and Sansho the Bailiff (1954), only three years before his death. Like in those two films, Mizoguchi set Ugetsu in feudal Japan, using the country’s civil war as a milieu through which he could explore the ways in which ordinary people are kept from seeing to their basest needs, ground instead to dirt by forces far beyond their control. So it goes with two couples: Genjuro (Masayuki Mori), a potter hoping to profit from wartime, and his wife Miyagi (Kinuyo Tanaka); Tobei (Eitaro Ozawa) and Ohama (Mitsuko Mito), who rightly indicts her husband’s dreams of being a well-decorated samurai as foolish, especially considering that Tobei shows no signs of physical mettle, let alone a brain with any sense of militaristic prowess. Ignoring both their wives’ grave concerns and the ecliptic tide of war, the two men set out to make one last big bid for fame and fortune, setting out only to find a country haunted, literally sometimes, by casualties. Ugetsu is a lushly elemental film, epitomized by Mizoguchi’s long takes and aloof mise-en-scene, highlighted the callousness of what he was trying to capture. Seamlessly shifting between ethereal setpieces—the iconic rendezvous between boats, set amidst a hellish waterscape of mist and portent is perhaps the crux around which the film unwinds—and grittier clusterfucks of mass pain in progress, Mizoguchi conjures up a sense of inevitability: No matter how much these characters learn about love or family or themselves, they are doomed. Misery unfolds supernaturally and pointlessly in Ugetsu—so much so that by the time anyone’s noticed that tragedy’s struck, it’s already well-burrowed into the bones of those at its mercy. —Dom Sinacola


18. The Lure

the-lure-2015-poster.jpg Year: 2015
Director: Agnieszka Smoczynska
Stars: Marta Mazurek, Michalina Olszanska
Rating: NR
Runtime: 92 minutes

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In Filmmaker Magazine, director Agnieszka Smoczynska called The Lure a “coming-of-age story” born of her past as the child of a nightclub owner: “I grew up breathing this atmosphere.” What she means to say, I’m guessing, is that The Lure is an even more restlessly plotted Boyhood if the Texan movie rebooted The Little Mermaid as a murderous synth-rock opera. (OK, maybe it’s nothing like Boyhood.)

Smoczynska’s film resurrects prototypical fairy tale romance and fantasy without any of the false notes associated with Hollywood’s “gritty” reboot culture. Poland, the 1980s and the development of its leading young women provide a multi-genre milieu in which the film’s cannibalistic mermaids can sing their sultry, often violently funny siren songs to their dark hearts’re content. While Ariel the mermaid Disney princess finds empathy with young girls who watch her struggle with feelings of longing and entrapment, The Lure’s flesh-hungry, viscous, scaly fish-people are a gross, haptic and ultimately effective metaphor for the maturation of this same audience. In the water, the pair are innocent to the ways of humans (adults), but on land develop slimes and odors unfamiliar to themselves and odd (yet strangely attractive) to their new companions. Reckoning with bodily change, especially when shoved into the sex industry like many immigrants to Poland during the collapse of that country’s communist regime in the late ’80s, the film combines the politics of the music of the time with the sexual politics of a girl becoming a woman (and the musicals that exploit the same). And though The Lure may bite off more human neck than it can chew, especially during its music-less plot wanderings, it’s just so wonderfully consistent in its oddball vision you won’t be able to help but be drawn in by its mesmerizing thrall. —Jacob Oller


19. Häxan

haxan-criterion-cover.jpg Year: 1922
Director: Benjamin Christensen
Stars: Clara Pontoppidan, Maren Pedersen, Oscar Stribolt
Rating: NR
Runtime: 107 minutes

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A truly unique silent film, Häxan is presented as both a historical documentary and a warning against hysteria, but to a modern audience it plays with a confounding blend of genuine horror and humor, both intentional and not. Director Christensen based his depictions of witch trials on the real-life horrors codified in the Malleus Maleficarum, the 15th century “hammer of witches” used by clergy and inquisitors to persecute women and people with mental illness. The dreamlike—make that nightmarish—dramatization of these torture sequences were almost unthinkably extreme for the time, leading to the film’s banning in the U.S. But put simply: There’s iconography in Häxan that grabs hold of you. Puffy-cheeked devils with long tongues lolling lazily out of their mouths. Naked men and women crawling and cavorting in circles of demons, lining up to literally kiss demonic asses. Scenes of torture straight out of Albrecht Dürer woodcuts or Divine Comedy illustrations. The grainy silence of black and white only makes Häxan more otherworldly to watch today—it feels like some kind of bleak Satanic relic that humankind was never supposed to witness. This is one silent film you won’t want on with children in the room.

Häxan is also an oddball testament to one of the enduring qualities of human nature, which is our tendency to be snarky assholes in our appraisal of previous generations. Christensen’s film often points a finger at the “superstitious” and “religious fanatic” persons of 1922 with a modern sense of cynicism and superiority in its implication that society had long since grown past such things. Obviously, almost 100 years later, we know this is not the case: We’re still deeply informed by the dusty trappings of religion and supernatural superstition, just as Christensen’s contemporaries were. Watching Häxan, then, becomes a different kind of warning: to not think too highly of our own sophistication, or make the assumption that we have in some way evolved from what we once were. People, as it turns out, have always been this way, and may always be. —Jim Vorel


20. Vampyr

vampyr-poster.jpg Year: 1932
Director: Carl Theodor Dreyer
Stars: Julian West, Maurice Schultz, Rena Mandel, Jan Hieronimko, Sybille Schmitz, Henriette Gerard
Rating: NR
Runtime: 73 minutes

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While wandering the countryside, a naïve young man with a propensity for the occult stumbles upon a castle where he learns that the owner’s teenage daughter is slowly descending into vampirism. Upon seeing the village doctor trying to poison the girl, the boy intervenes and complications, naturally, ensue. Notable as being one of the few early vampire movies not even passingly based on Bram Stoker’s Dracula, Vampyr nonetheless brought very little joy to its creator, legendary Danish director Carl Theodor Dreyer (he of The Passion of Joan of Arc). Forced to shoot the production in three different languages (French, German and English), Dreyer’s first sound film experience was a proverbial trial by fire. To add salt to the infuriating production, the film was released only after some fairly heavy censoring. The reception was no less brutal, with critics delivering scathing reviews. As the years have passed by and an appreciation for Dreyer has grown, however, so has an appreciation for the film, with many modern critics citing its subversive take on sexuality to be years ahead of its time. Shot with the delicacy and elegance of a dream, Dreyer quickly plunges the viewer into an expressionistic hellscape of shadows and dread. Though it may be a bit slow for some audiences, even with a sparse 73-minute runtime, Vampyr is a intense mood piece that picked up where Nosferatu left off. —Mark Rozeman


21. Hausu

hausu-poster.jpg Year: 1977
Director: Nobuhiko Obayashi
Stars: Kimiko Ikegami, Miki Jinbo, Ai Matubara, Kumiko Oba, Mieko Sato, Eriko Tanaka
Rating: NR
Runtime: 88 minutes

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Oh, how to describe Hausu? Anyone who has seen this crazed Japanese mishmash of horror, comedy and fantasy knows this is no easy task—it’s simultaneously as simple as saying “It’s about some girls who go to a haunted house,” and much more complicated. Hausu has often been described as being “like Jaws, but with a house,” but the comparison isn’t exactly accurate—where Spielberg’s film is classic adventure, Obayashi’s is like a bad acid trip, sporting trippy, day-glo color schemes and mind-bending visuals. Animated cats, disembodied flying heads and stop-motion monsters are all par for the course as Hausu goes for the jugular, seemingly trying to overwhelm the viewer with an all-out assault on the senses. As a piece of modern camp spectacle it’s top tier, but it would be a shame to overlook the genuinely imaginative visual effects and how they would seem to presage the likes of Evil Dead 2 in the years to come. If there’s another film where a woman is eaten by a living, evil piano, I haven’t yet seen it. —Jim Vorel


22. Here Comes the Devil

27. here comes the devil (Custom).jpg Year: 2012
Director: Adrián García Bogliano
Stars: Laura Caro, Francisco Barreiro, Michele Garcia
Rating: NR
Runtime: 97 minutes

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This indie Mexican horror film from a couple years back hasn’t been seen quite enough yet, and deserves a wider audience for its legitimate shocks and hopeless tone of evil that corrupts innocence in daily life. It suffers just a bit from its low-budget video look, and there’s an almost ridiculous amount of sometimes gratuitous nudity, but the story is simple, effective and downright chilling in its best moments. When a pair of parents on vacation allow their two pre-teen children to go exploring on cursed ground, the children come back … different. Full of not-at-all subtle sexual imagery, Here Comes the Devil has very little regard for anyone’s idea of what might be taboo. It leans into and gathers strength from its own perversion in scenes that approximate reality before throwing the audience headlong into a world of insanity when things take a turn for the supernatural. It’s a genuinely creepy flick on multiple levels. —Jim Vorel


23. Scanners

scanners.jpg Year: 1981
Director: David Cronenberg
Stars: Michael Ironside, Jennifer O’Neill, Stephen Lack, Patrick McGoohan, Lawrence Dane
Rating: R
Runtime: 103 minutes

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Everything to love about David Cronenberg rests squishy and bulging in Scanners—but this is before The Fly, before VIdeodrome, before Dead Ringers, and long before Naked Lunch—and so everything we love about Cronenberg is in Scanners, squishy and bulging and also with the slight gleam of nascent dew. To be sure, the body horror is egregious, and its tension visceral, but the bonus of Scanners is that, still so early in his career, Cronenberg had an obviously dubious time trying to figure out what kind of films he wanted to make. Sci-fi thriller, old-timey cyberpunk, grody procedural—Cronenberg litters his typical themes of transformation and transmutation throughout a story that, at practically any moment, feels like it could turn completely on its head. A head which would then, in a firework of brains and bone, explode—nothing if a gratuitous sign of genius things to come.—Dom Sinacola


24. American Psycho

13. american psycho (Custom).jpg Year: 2000
Director: Mary Harron
Stars: Christian Bale, Jared Leto, Justin Theroux, Willem Dafoe, Chloë Sevigny, Reese Witherspoon
Runtime: 96 minutes

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There’s something wrong with Patrick Bateman (Christian Bale)—really wrong. Although he writhes within a Christopher Nolan-esque what-is-a-dream conundrum, Bateman is just all-around evil, blatantly expressing just how insane he is, unfortunately to uncaring or uncomprehending ears, because the world he lives in is just as wrong, if not moreso. Plus the drug-addled banker has a tendency to get creative with his kill weapons. (Nail gun, anyone?) Like anybody needed another reason to hate rich, white-collar Manhattanites: Mary Harron’s adaptation of Bret Easton Ellis’ is a scintillating portrait of corporate soullessness and disdainful affluence.—Darren Orf


25. The Faculty

the faculty poster (Custom).jpg Year: 1998
Director: Robert Rodriguez
Stars: Elijah Wood, Jordana Brewster, Clea DuVall, Laura Harris, Josh Hartnett, Famke Janssen, Piper Laurie, Robert Patrick, Usher Raymond
Rating: R
Runtime: 104 minutes

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It’s sort of easy to forget that The Faculty is a Robert Rodriguez movie, given its more conventional setting—more John Hughes than the pulpy backdrops that usually accompany Rodriguez films. But if you actually go back and rewatch the movie today, wow is it a colorfully cheesy spectacle. The cast is a bunch of guilty pleasures—young Elijah Wood and Josh Hartnett as dopey high school students, Jon Stewart as a nerdy science teacher, Famke Janssen, Salma Hayek and T-1000 Robert Patrick as aliens masquerading as teachers, it’s just absurd from top to bottom. It combines elements of both effective sci-fi horror films such as Invasion of the Body Snatchers and John Carpenter’s The Thing with the sexualization of bargain bin trash such as Species, while simultaneously capturing the mid-’90s teen movie aesthetic of Can’t Hardly Wait or I Know What You Did Last Summer. Rodriguez just dumps it all into the blender and hits puree. —Jim Vorel


26. Carnival of Souls

carnival of souls poster (Custom).jpg Year: 1962
Director: Herk Harvey
Stars: Candace Hilligoss, Herk Harvey
Rating: PG
Runtime: 80 minutes

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Carnival of Souls is a film in the vein of Night of the Hunter: artistically ambitious, from a first-time director, but largely overlooked in its initial release until its rediscovery years later. Granted, it’s not the masterpiece of Night of the Hunter, but it’s a chilling, effective, impressive tale of ghouls, guilt and restless spirits. The story follows a woman (Candace Hilligoss) on the run from her past who is haunted by visions of a pale-faced man, beautifully shot (and played) by director Herk Harvey. As she seemingly begins to fade in and out of existence, the nature of her reality itself is questioned. Carnival of Souls is vintage psychological horror on a miniscule budget, and has since been cited as an influence in the fever dream visions of directors such as David Lynch. To me, it’s always felt something like a movie-length episode of The Twilight Zone, and I mean that in the most complimentary way I can. Rod Serling would no doubt have been a fan. —Jim Vorel


27. The Blair Witch Project

blair-witch.jpg Year: 1999
Directors: Eduardo Sánchez, Daniel Myrick
Stars: Heather Donahue, Michael Williams, Joshua Leonard
Rating: R
Runtime: 81 minutes

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Where Scream reinvented a genre by pulling the shades back to reveal the inner workings of horror, The Blair Witch Project went the opposite route by crafting a new style of presentation and especially promotion. Sure, people had already been doing found footage movies; just look at The Last Broadcast a year earlier. But this was the first to get a wide, theatrical release, and distributor Artisan Entertainment masterfully capitalized on the lack of information available on the film to execute a mysterious online advertising campaign in the blossoming days of the Internet age. Otherwise reasonable human beings seriously went into The Blair Witch Project believing that what they were seeing might be real, and the grainy, home movie aesthetic captured an innate terror of reality and “real people” that had not been seen in the horror genre before. It was also proof positive that a well-executed micro-budget indie film could become a massive box office success. So in that sense, The Blair Witch Project reinvented two different genres at the same time. —Jim Vorel


28. Malignant

malignant-poster.jpg Year: 2021
Director: James Wan
Stars: Annabelle Wallis, Maddie Hasson, George Young, Michole Briana White
Rating: R
Runtime: 111 minutes

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Before anything else, horror director James Wan is a master of depicting possession. Of course, we see this in the prolific Conjuring series, where countless bodies are puppeteered by evil spirits. We also bear witness to it in the Saw franchise, where the sadistic influence of Jigsaw possesses his victims to mutilate themselves or others. The entirety of Wan’s career has pondered what it is exactly about the idea of possession that shakes us to our very cores. Decades after his cinematic debut, Malignant, or, more specifically, the film’s final moments, finally answers that question. Malignant follows Madison Lake (Annabelle Wallis), a young woman who, after being attacked by her abusive husband, becomes regularly consumed by visions of a hooded figure committing grisly murders. It isn’t long before Madison discovers that these aren’t just visions—they’re happening in real life. For much of Malignant, Wan relies on campy acting and jump scares to keep the solid, if not edging on unimaginative, story happily trodding along, and its viewers with it. He confidently holds back on revealing the film’s true genius until the final act, at which point it unexpectedly mutates into a masterclass of mind-bending, absurdist psychological horror. —Aurora Amidon


29. Gremlins

gremlins.jpg Year: 1984
Director: Joe Dante
Stars: Zach Galligan, Phoebe Cates, Hoyt Axton, Polly Holliday, Frances Lee McCain, Dick Miller
Rating: PG
Runtime: 106 minutes

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In the same vein as Die Hard, Joe Dante’s Gremlins is a yearly Christmastime argument waiting to happen: Both are annually tossed onto “best Christmas movie” lists, but when it comes to the latter, at least, those debates often overlook the dark comedy of an expertly crafted ‘80s horror film from Dante at the height of his powers. Taking the lessons he learned as a ‘70s Roger Corman protege, Dante borrows character actors like Dick Miller to create a cynical, biting rebuke of maudlin sentimentality and children’s entertainment. The film’s surprising counterpoint between comedy and graphic violence was a source of consternation that led directly to it being in the early class of genre films that led to the PG-13 rating, but its more important impact was shaping the aesthetic of nearly every horror comedy to come. —Jim Vorel


30. Urban Legend

urban-legend-poster.jpg Year: 1998
Director: Jamie Blanks
Stars: Alicia Witt, Jared Leto, Rebecca Gayheart, Joshua Jackson, Loretta Devine, Tara Reid, Michael Rosenbaum, Robert Englund
Rating: R
Runtime: 100 minutes

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Urban Legend is one of those late 1990s slashers that cropped up in the wake of Scream and its sequels, and considering its meta-slasher leanings, it’s almost impossible to discuss Urban Legend without noting the context of Scream, as reviewers certainly did at the time. Despite the similarities, though—especially to 1997’s Scream 2, as both occur on a college campus—Urban Legend is mining subtly different territory, being something of an ode to the oral tradition of scary stories rather than paean specifically to horror cinema. With that said, it does feature some great horror geek cameos, from the obvious inclusion of Robert Englund as a creepy professor teaching a course on urban legends, to Brad Dourif as a suspicious gas station attendant or Halloween 4’s Danielle Harris as a promiscuous, gothy roommate. Urban Legend can also boast fun, silly deaths based in pop culture lore, like the infamous “Pop Rocks and drain cleaner” combination used to dispatch one particularly unlucky soul. Overall, the film is a brisk watch that is never anything less than entertaining, equipped with a seemingly obvious supply of red herrings to keep you occupied until it barrels through a conclusion that seems obvious in hindsight, but is all good fun in the moment. —Jim Vorel


31. From Dusk Till Dawn

from dusk till dawn poster (Custom).jpg
Year: 1996
Director: Robert Rodriguez
Stars: George Clooney, Quentin Tarantino, Juliette Lewis, Harvey Keitel, Cheech Marin, Fred Williamson, Salma Hayek
Rating: R
Runtime: 108 minutes

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I can’t help but wonder, watching From Dusk Till Dawn, what the film might have looked like if Robert Rodriguez wrote it as well, rather than Quentin Tarantino. Would the Mexican vampire element have been introduced before the halfway mark? Probably. But there’s Tarantino for you, not content to tell one story—instead, he delivers what almost becomes two entirely separate movies starring the same characters. In the first half we get a crime dramedy about a pair of sociopathic brothers on the lam, taking hostages down the Mexico. When they finally get there, the switch flips and it turns into a gory vampire western. Both halves are entertaining in their own way, although genre purists who went in expecting a vampire film were probably perplexed by the lead-in to the payoff. That payoff is satisfyingly pulpy, though, and there’s a certain pleasure in going back to see the earlier era of George Clooney, when he thought the idea of fighting Mexican vampires seemed like a good career move. —Jim Vorel


32. Cronos

cronos-movie-poster.jpg Year: 1993
Director: Guillermo del Toro
Stars: Federico Luppi, Ron Perlman, Claudio Brook, Margarita Isabel, Tamara Shanath
Rating: R
Runtime: 92 minutes

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Even working with a small budget in his first feature film, the vitality of Guillermo Del Toro’s imagination was immediately on full display in Cronos, his Mexican vampire horror drama. Reflecting themes and visual elements that the director has continued to refine in The Devil’s Backbone, Pan’s Labyrinth and Crimson Peak, Cronos is a simply told but visually striking story about an antique shop owner who is slowly and unwittingly transformed into a vampire-like creature after a 450-year-old mechanical device clamps onto his arm and refuses to let go. At first he enjoys the new vitality of the transformation, before other parties come hunting for the device, turning the movie into almost a vampire crime story, as it were. Regardless, Cronos features a very sympathetic vampire at its core, an old man who is simply thrilled by what at first appears to be a new lease on life but eventually requires deadly sacrifices. It’s certainly not Del Toro’s most spellbinding feature, but it was an excellent debut. —Jim Vorel


33. John Dies at the End

john dies at the end poster (Custom).jpeg Year: 2012
Director: Don Coscarelli
Stars: Chase Williamson, Rob Mayes, Paul Giamatti, Clancy Brown, Glynn Turman, Doug Jones, Daniel Roebuck
Rating: R
Runtime: 100 minutes

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Your ability to withstand the absurdity of John Dies at the End will depend almost entirely on if you’re able to tolerate nonlinear storylines and characters who, woven together, tax the lengths of the imagination. An oftimes crude and farcical combination of horror, drug culture, and philosophical sci-fi, it’s a film you won’t entirely grasp until you’ve seen it for yourself. Central is a drug known as “soy sauce,” which causes the user to see outside the concept of linear time, existing at all times at once, similar to the alien beings from Vonnegut’s Slaughterhouse-Five. Also appearing: phantom limbs, an alien consciousness known as “Shitload,” a heroic dog, Paul Giamatti and an evil, interdimensional supercomputer. No drugs necessary—John Dies at the End will make you feel like you’ve already ransacked your medicine cabinet. —Jim Vorel


34. It

it-2017-poster.jpg Year: 2017
Director: Andy Muschietti
Stars: Jaeden Martell, Bill Skarsgård, Jeremy Ray Taylor, Sophia Lillis, Finn Wolfhard, Wyatt Oleff, Chosen Jacobs, Jack Dylan Grazer
Rating: R
Runtime: 135 minutes

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Whereas the relative disappoint of 2019’s It: Chapter 2 was somewhat expected, given that most readers and horror geeks have always been far more fond of the front half of Stephen King’s novel than the second part of the story starring the Loser’s Club as adults, the sheer, exhilarating success of the first half of Andy Muschietti’s retelling of the story still took the world by surprise. This was the big-budget, beautifully cast and genuinely disturbing take on It that some had thought impossible, driven by a fantastically alien performance by Bill Skarsgård as Pennywise, a “dancing clown” that is hiding a much more unknowable, exotic form of evil than the jokester played by the equally great Tim Curry in the 1990 TV adaptation. Perhaps it’s the strength of King’s elemental story, but everything in this first It film just works, from the camaraderie of the Loser’s Club to their satisfyingly visceral final confrontation with Pennywise—and the film looks great throughout. Sadly, it wouldn’t be able to maintain that momentum in the more staid second half of the story, but it does little to diminish the effectively spooky vibe cast by the 2017 film. Perhaps it’s best to simply treat it as a stand-alone story. —Jim Vorel


35. The Hitcher

hitcher-movie-poster.jpg Year: 1986
Director: Robert Harmon
Stars: C. Thomas Howell, Jennifer Jason Leigh, Rutger Hauer
Rating: R
Runtime: 98 minutes

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In horror films, there’s something alluring to a relentless and unstoppable killer whose motivation is only to destroy innocent life with nihilistic, almost supernatural fervor. Part of the reason the original Halloween is still so frightening lies in its chillingly effortless ability to present Michael Myers as a figure of death itself: no reason, no rhyme, he won’t stop until you stop breathing. The original The Hitcher operates on many of the same levels, as the simplicity of its premise about a couple (C. Thomas Howell and Jennifer Jason Leigh, who takes on a dual role, as the top and bottom halves of her body) hounded by a murderous maniac hitchhiker (Rutger Hauer) takes full advantage of the unresolved mystery surrounding the killer’s motivations. (Transform the truck from Duel into Rutger Hauer, and you get The Hitcher.) Director Robert Harmon’s film casts an appropriately icky, low-grade aura, perfectly fitting the killer’s philosophical point-of-view, an aesthetic approach that eludes the makers of the ill-fated 2007 remake, which looks too glossy to work on a visceral level. Also, with all due respect to Sean Bean, he’s no Rutger Hauer. —Oktay Ege Kozak


36. Cloverfield

cloverfield-poster.jpg Year: 2008
Director: Matt Reeves
Stars: Lizzy Caplan, Jessica Lucas, T.J. Miller, Michael Stahl-David, Mike Vogel, Odette Yustman
Rating: PG-13
Runtime: 85 minutes

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When Matt Reeves dropped Cloverfield on unsuspecting multiplex audiences in 2008, it quickly became painfully clear that the average viewer wasn’t quite ready to absorb what he was dishing out. Today, the same film would no doubt arrive as a streaming original feature from the likes of Netflix or Amazon, where its genre-redefining camera perspective would be less of a risk. That Cloverfield hit theaters in wide release at all is actually something of a marvel, considering how profoundly different it was in a visual sense from anything that the majority of its viewers had ever seen before. The film is of course on some level a “monster movie,” but it’s one where the primary creature is never the center of the film’s attention, precisely because we spend our time following regular folks who are in no way responsible for or connected to its rampage through New York City. For the film’s entire duration, we see only what they see, cleverly capturing one aspect of the true horror present in disaster situations—the very likely reality that no one present will have any idea what is happening, or any idea of what to do about it. Cloverfield puts its characters into some insane situations, but never breaks the trust it establishes that this is a bystander-eye’s view. No four-star general suddenly shows up to explain what’s going on, or empower our protagonists to take on the creature. No key to the creature’s origin is unearthed. It’s just a shaky-cam tribute to the idea that utter chaos can run rampant in one’s life, and there may be not a damn thing you can do about it. —Jim Vorel


37. Tales From the Darkside: The Movie

31. tales from the darkside (Custom).jpg Year: 1990
Director: John Harrison
Stars:
Rating:
Runtime:

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The spiritual successor to the first two Creepshow films was the Tales from the Darkside feature film, also an anthology. The stories are a bit ridiculous and cartoonish, even moreso than Creepshow, but fun in their own zany way. The highlight is probably “Cat From Hell,” a segment that was originally supposed to be featured in Creepshow 2 about a seemingly evil cat tormenting and stalking a wheelchair-bound old man to punish him for his past misdeeds. Although honestly, my favorite aspect of Tales from the Darkside: The Movie is the anthology framing story, which involves a child chained up in the kitchen of a witch (none other than Blondie herself, Debbie Harry) who is planning on cooking him for dinner. Like some take on The Thousand and One Nights, the kid plays Scheherazade and distracts the witch by telling horror stories until he can engineer his escape. It’s like something from an overgrown episode of Are You Afraid of the Dark?Jim Vorel


38. Killer Klowns From Outer Space

killer klowns poster (Custom).jpg Year: 1988
Director: The Chiodo Brothers
Stars: Grant Cramer, Suzanne Snyder, John Allen Nelson, Royal Dano, John Vernon
Rating: R
Runtime: 88 minutes

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Stephen, Charles and Edward Chiodo are a trio of siblings who have spent most of their careers working in practical movie effects, on everything from Critters to Pee-Wee’s Big Adventure, but to horror fans they’ll always be known as those guys responsible for Killer Klowns From Outer Space. The titular monsters are actually aliens—it appears to be a series of incredible coincidences that everything about them is related to clowns. As in, their spaceship is a giant circus tent. Or the fact that they turn people into cotton candy before eating them. Or the fact that they’re all wearing floppy shoes and red ball noses. Coincidences, beautiful coincidences. The movie is a darkly comic story that never legitimately attempts to frighten—it’s saccharine faux-horror fun as silly and colorful as the clowns themselves. Today, it’s mostly worth seeing for the impressive makeup and FX work that the Chiodos managed to pull off on a small budget. Particularly memorable is the “shadow puppets” sequence, wherein one of the clowns uses what can only be described as Clown Magic to create a shadow T-Rex that first entertains, then devours, a crowd of onlookers. —Jim Vorel


39. The Brood

the-brood-poster.jpg Year: 1979
Director: David Cronenberg
Stars: Oliver Reed, Samantha Eggar, Art Hindle
Rating: R
Runtime: 92 minutes

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Even by the standards of David Cronenberg, The Brood is a particularly nasty piece of work. This is a meanspirited and misanthropic yarn that blends body horror and science fiction into a new-aged parable of revenge and repressed rage, erupting forth whether we want it to or not. The titular “brood” are a deformed band of what look like dwarf-like children, created not by mad science but new-age psychobabble—a woman turns her latent anger, fear and mental illness into a physical product, which becomes a series of small, psychically linked killer dwarves who are sent out to destroy those who caused her grief. Totally absurd? Oh, 100% accurate, but also just as deeply off putting as you’d expect the work of Cronenberg to be in so many cases. It’s a messed-up metaphor on the destructive power of pent-up bitterness, inspired by Cronenberg’s own rancorous divorce. —Jim Vorel


40. The Conjuring 2

conjuring-2-poster.jpg Year: 2016
Director: James Wan
Stars: Vera Farmiga, Patrick Wilson, Frances O’Connor, Madison Wolfe, Simon McBurney, Franka Potente
Rating: R
Runtime: 134 minutes

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The film is a blast as a funhouse-style genre exercise, but there’s very little holding it all together. If The Conjuring offended some with its historical revisionism, at least that film had cohesion. The Conjuring 2, meanwhile, plays with themes that never wind up being fully developed. Once the Warrens come to the Hodgsons’ aid, Ed explains that wicked spirits have a particular affinity for negative energy, and tend to manifest when bad things happen to people in their lives. “They like to kick us when we’re down,” he tells Peggy, and the Hodgsons are indeed down by anyone’s definition. Their home is deteriorated: The walls are peeling, the woodwork is cracked, and the cupboards are bare of biscuits. But matters of economy and class are window dressing. The film’s core is Janet’s overwhelming sense of loneliness. As the primary target of her family’s supernatural tormentor, she has become totally isolated from her friends at school. We don’t really see that, though. We just hear about it. The film’s script, penned by returning twin sibling screenwriting duo Chad and Carey Hayes, plus Wan, plus David Leslie Johnson, puts more emphasis on Lorraine’s premonitions of Ed’s death in an instance of just-too-muchery. —Andy Crump


41. 28 Weeks Later

28 weeks later poster (Custom).jpg Year: 2007
Director: Juan Carlos Fresnadillo
Stars: Robert Carlyle, Rose Byrne, Jeremy Renner, Harold Perrineau, Catherine McCormack, Imogen Poots, Mackintosh Muggleton, Idris Elba
Rating: R
Runtime: 99 minutes

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28 Weeks Later is an often interesting, often scary, often powerful and often frustrating film for zombie/horror genre geeks. As a sequel to 2002’s supremely influential 28 Days Later, it’s a partial success. It does a wonderful job of transplanting that film’s nihilistic, hopeless streak of terror and what one person is willing to do to survive—especially in the masterful opening scene, where Robert Carlyle’s character abandons his wife while fleeing from zombies in a soul-crushing chase across the fields of England as tears of guilt stream down his face. On the other hand, the film’s true main characters, his children, aren’t nearly as interesting—nor is the collection of military suits who have locked down England in the post-Rage virus cleanup. The film also violates one of the unwritten rules of zombie cinema, which is, “There shouldn’t be a ‘main zombie.’” In this case, when Robert Carlyle’s Don becomes infected and escapes, it hurts the story’s ability to be legitimately suspenseful, as we know the kids aren’t in any real danger during any of their encounters with the infected, because zombie Don is still unaccounted for. If the audience knows that the script will require this one infected person to be present for a conclusion, then it robs all the other infected of being perceived as legitimate threats. Still, despite all that, 28 Weeks Later is well-shot and full of shocking, gritty action sequences. It’s not without its flaws, but certain scenes such as the opener are so powerful that we’re willing to forgive a lot. —Jim Vorel


42. Warm Bodies

warm-bodies-poster.jpg Year: 2013
Director: Jonathan Levine
Stars: Nicholas Hoult, Teresa Palmer, John Malkovich, Rob Corddry, Dave Franco, Lio Tipton
Rating: PG-13
Runtime: 98 minutes

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It would be easy to cast this Nicholas Hoult “rom-zom” film aside as simple teen fluff, but Warm Bodies is more entertaining than the serious horror geek might expect, and if your significant other isn’t so fond of exploding heads or people being torn apart in typical Romero-esque fashion, this film might be exactly what you’re looking for. Hoult plays “R,” a rather morose zombie whose days are spent endlessly wandering a defunct airport with hundreds of his brethren as the last vestiges of his humanity slip further and further from memory. That is, until he sees Julie (Teresa Parker) for the first time, and his cold, dead heart inexplicably begins to beat once again. What follows is something of a “Romero and Julie” situation, as we’re combining star-crossed zombies with the threat of Julie’s dictatorial father (a “I heard there was a paycheck here to be collected” John Malkovich).

Still, the best things in Warm Bodies aren’t necessarily the romantic aspects, but the amusing camaraderie between its characters. “R” has what amounts to a zombie bro, played by Rob Corddry, and their minimalistic, coworker-esque small talk is a highlight that is nicely integrated into the plot as the other zombies begin experiencing some of the same awakenings as “R.” Likewise, Julie’s own teenage existence in a heavily gated, walled survivalist community is the sort of thing you don’t often get a chance to see in more serious, horror-centric zombie fiction. All in all, Warm Bodies is a pleasant surprise that will appeal to the romantic comedy enthusiast and the zombie buff in equal measure. —Jim Vorel


43. Mimic

mimic poster (Custom).jpg Year: 1997
Director: Guillermo del Toro
Stars: Mira Sorvino, Jeremy Northam, Josh Brolin, Giancarlo Giannini, Alexander Goodwin, F. Murray Abraham, Charles S. Dutton
Rating: R
Runtime: 106 minutes

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It’s so very tempting to want to write a revisionist history of a film such as Mimic, 20 years after it was initially released to mixed and negative reviews. Just about any film from Guillermo del Toro, after the likes of Pan’s Labyrinth and The Shape of Water, will attract a few impassioned defenses as a “lost classic” if you look hard enough—even this one, about giant, mutated cockroaches in the New York sewers who have evolved to blend in among humans. The truth is, though, that Mimic does not represent a fully formed del Toro as the auteur we know him today—the film contains some of his stylistic flourishes and fascination with the macabre, but he was by no means given free rein to create the derelict insect society that no doubt haunted his dreams. Mimic is a studio potboiler, and a decent little thriller, with a better than average cast who are let down by a script that feels like its first priority is appeasing the multiplex crowd, wrapping itself up in a neat little package in the process. If you let del Toro produce the same film today, it would surely have ended up as something far more esoteric, and ultimately more memorable. —Jim Vorel


44. Gremlins 2: The New Batch

gremlins-2-movie-poster.jpg Year: 1990
Director: Joe Dante
Stars: Zack Galligan, Phoebe Cates, John Glover, Robert Prosky
Rating: PG-13
Runtime: 107 minutes

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Joe Dante didn’t want to make a sequel to Gremlins. The first film exhausted him and was wrapped up so nicely, he didn’t see a need to carry the story forward. The studio, however, refused to give up and, out of desperation, gave him complete creative control. They sure got what they paid for, as the cult classic sequel throws absolutely everything at the viewer with zero interest in whether it will stick or not. It’s a slapstick comedy wrapped up in cartoonish violence and some sharp-edged satire about corporations and capitalism. Oh, and there’s a cameo by Hulk Hogan to boot. —Robert Ham


45. Freaky

freaky-poster.jpg Year: 2020
Director: Christopher Landon
Stars: Kathryn Newton, Vince Vaughn, Alan Ruck
Genre: Horror/Comedy
Rating: R
Runtime: 102 minutes

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On its face, the prospect of resurrecting two franchise IPs which have been endlessly re-made decade after decade teeters on the banal and unimaginative. Yet director Christopher Landon’s Freaky effortlessly weaves together the conventions of Freaky Friday and Friday the 13th, eschewing the confines of “remake,” instead creating a unique genre hybrid that’s slick and endlessly entertaining—all the while maintaining a clever self-awareness which enlivens the film’s jump-scares and punchlines without descending into the horror-comedy pitfall of self-referential metaness. What follows is a binary-bending comic exercise in sexual fluidity and gender expression which juxtaposes Vince Vaughn’s hefty stature with Kathryn Newton’s petite frame in order to prod at the horror genre’s previously held notion of who is perceived as weak, both in attitude and appearance. Vaughn and Newton give stellar performances, channeling the other’s mannerisms while poking fun at their own corporeal limitations and their immediate (dis)comfort within their new vessels. It’s heartening to see that the horror genre—still undeniably male-dominated—persists in its commitment to pushing boundaries. Whether those boundaries demarcate what we are able to stomach in terms of violence or what we are able to unpack within our own internal concepts of gender and sexuality, Freaky joins these tenets in order to craft a horror story rife with unexpected, imaginative kills all while subverting societal expectations of who we should really be afraid of—and why.—Natalia Keogan


46. The Blob

the-blob-1958-poster.jpg Year: 1956
Director: Irvin Yeaworth
Stars: Steve McQueen, Aneta Corsaut, Earl Rowe, Olin Howland
Rating: NR
Runtime: 86 minutes

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Alternatingly described as either a parable on creeping Communism or simply a good excuse for some necking at the drive-in, 1958’s The Blob fits neatly regardless into the era of atomic monster creature features that began roughly with 1954’s Them!. It has elements of the “us vs. them” counterculture films to come, with its “teen” characters (Steve McQueen was 27 at the time) being the immediate suspects of civil unrest according to local law enforcement, rather than the gelatinous alien blob slithering around town. It was made for a pittance of a budget, but the special effects hold up surprisingly well even today, especially in the iconic sequence in which The Blob attacks a “Midnight Spook Show” theater full of the target demographic. Still, in the years that followed, the film was likely best remembered for spawning Burt Bacharach’s novelty hit “Beware the Blob,” until Chuck Russell’s slick 1988 remake infused it with a whole new level of gross-out gory violence. Both films capture the same justified teenage fear of authority; the choice is only a matter of how viscerally you want to watch someone’s face get dissolved. —Jim Vorel


47. Friday the 13th

friday-13-2009-poster.jpg Year: 2009
Director: Marcus Nispel
Stars: Jared Padalecki, Danielle Panabaker, Aaron Yoo, Amanda Righetti, Travis Van Winkle, Derek Mears
Rating: R
Runtime: 97 minutes

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The 2009 remake of Friday the 13th simultaneously delivered as loving a tribute to the F13 series as one could reasonably expect, and highlighted exactly why that sort of tribute has trouble standing on its own outside of the golden era of slasher movies in the early 1980s. The pieces are here—the blood and guts, the extremely gratuitous nudity, the idiot characters—but as with other Platinum Dunes horror remakes of the era (especially 2010’s Nightmare on Elm Street), the film has no ideas of its own to contribute. It comes off as simply a string of finger-pointing moments, begging the viewer to “remember this?”, while executing most of those moments in ways far less satisfying than the first four Friday the 13th movies it’s using as inspiration. Even the action feels muddy and poorly lit in a way that was never problematic in the original run of the series. It’s a film that sought to please fans of the series who came armed with the lowest of expectations. —Jim Vorel


48. Deep Blue Sea

deep blue sea poster (Custom).jpg Year: 1999
Director: Renny Harlin
Stars: Saffron Burrows, Thomas Jane, LL Cool J, Jacqueline McKenzie, Michael Rapaport, Stellan Skarsgard, Samuel L. Jackson
Rating: R
Runtime: 105 minutes

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Look, it’s not easy to make a decent “shark movie” even under the best of circumstances. In the decades since Jaws was released in 1975, you could count the legitimately entertaining shark movies released on one hand, so it’s safe to say that Deep Blue Sea had a tough swim ahead of it … particularly given that it came from five-time “worst director” Razzie nominee Renny Harlin. So the fact that it succeeds as a loony popcorn shark thriller is worthy of a little bit of recognition. The effects are a bit dated now, but for 1999 it was actually pretty decent CGI, used to animate this story about super-intelligent sharks created in an underwater research facility. A few of the scenes are appreciably bloody, such as the live-shark brain surgery that ends with one of the researchers short a hand. And then of course there’s the death of Samuel L. Jackson’s character, a legitimately shocking moment that has gone down in history as one of the best movie deaths of the ‘90s. But really, it’s the little things that make Deep Blue Sea more charming than most, from the cheese factor of Thomas Jane’s mop of curly hair, to the surprisingly amusing role played by L.L. Cool J, who memorably dispatches a shark because “you killed my bird!” A character in a thriller, using his final moments to video record the “perfect omelette” recipe for the world? I can get behind that. —Jim Vorel


49. Splinter

splinter 2008 poster (Custom).jpg Year: 2008
Director: Toby Wilkins
Stars: Shea Whigham, Paulo Costanzo, Jill Wagner, Rachel Kerbs
Rating: R
Runtime: 82 minutes

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Splinter begins with a strong, though bordering on cliché, hook. Two (naturally, young) people driving from a campsite spot a woman in the road and are soon carjacked by her hick cohort. When forced to drive away, they hit and kill something monstrous in the road, quickly combining both the “something’s in the woods” theme with the less politically correct but frequently more frightening “rednecks are serial killers” concept. From here, though, the film becomes less interesting, as the cast ends up locked into a gas station, fighting to escape If Splinter incorporates a third type of horror film, it’s the zombie movie. Whenever the monster strikes someone with its quills (which, incidentally, should’ve been the title for the movie: Quills), the victim becomes a creature as well. The film especially emulates the disembodied hand concept of Evil Dead II: Dead by Dawn, and with some good reason. For how low-budget the production clearly is, the design on the monster is inspired and doesn’t look like anything else out there. It’s a case of better-than-average production design elevating a film out of forgettable territory. —Sean Gandert


50. Bad Milo!

bad milo poster (Custom).jpg Year: 2013
Director: Jacob Vaughan
Stars: Ken Marino, Peter Stormare, Gillian Jacobs, Stephen Root, Mary Kay Place, Patrick Warburton
Rating: R
Runtime: 84 minutes

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Bad Milo! is a silly, enjoyably stupid exercise in B-horror comedy, the exact sort of premise that Troma would have been happy to make, except here it’s handled slightly (emphasis on “slightly”) more tastefully. It tells the story of a harried man named Duncan, who is beset by stressors both at home and the office, and the extremely unusual way his body responds as a coping mechanism. The titular “Milo” is a small demon that literally lives up Duncan’s rectum—and it emerges to wreak a terrible vengeance whenever stress pushes him over the edge. You know what you’re getting here: A mostly funny gross-out comedy, but one with an above-average cast that includes Gillian Jacobs, Stephen Root, Peter Stormare and Patrick Warburton, among others. The puppet is suitably icky—it’s like if the baby from Dinosaurs grew a bunch of sharp teeth and was rubbed with Vaseline. But really, this is the kind of movie where you should probably be able to tell before even turning it on if it’s the kind of thing you’re likely to enjoy. —Jim Vorel