The Stuff
A white dessert oozing from the ground becomes a national craze, and it is eating the people who eat it.
486 entries, from the 1931 Universal cycle to last year. Curated, not exhaustive: a short shelf of things worth knowing about beats a long one nobody can navigate.
486 films · page 5 of 14
A white dessert oozing from the ground becomes a national craze, and it is eating the people who eat it.
A Macedonian witch story told as a Malick film, and it is about what it is to be a person.
Famous for two shots and unwatchable between them. George Eastman wrote himself the title role.
Eerie, well made, and completely undeserving of the list. Stan Winston's effects.
Two women murdered by samurai return as cats bound by a promise to drink the blood of every samurai they meet.
A Martian spacecraft under a London tube station, and it explains the Devil.
The real Santa Claus is a horned thing frozen in a Finnish mountain, and a drilling company has found it.
A palliative nurse decides she has been called. Morfydd Clark is terrifying and the last shot is a gut punch.
Vincent Price as a hammy actor murdering the critics who denied him an award, each death staged from Shakespeare.
Oz Perkins' debut. Glacial, wintry, and the timeline is doing something you will only spot late.
Hooper on a real budget with Rick Baker's monster. Nowhere near nasty enough to be on this list.
Four stories tied to one house, written by Robert Bloch, with Christopher Lee and a very young Jon Pertwee joke.
An Australian teenager says no to a girl for the school dance, and she holds her own dance instead.
A model moves into a Brooklyn brownstone that turns out to be the gateway to Hell, guarded by a blind priest.
Banned outright in Sweden. The coldest film in this category and the one Kill Bill is built from.
Not really a werewolf film. Something older is hunting in the ruins of the South Bronx.
A family rents a summer house that heals itself by consuming them. Karen Black, Oliver Reed and Bette Davis.
Hooper's follow-up to Chain Saw, shot entirely on a sound stage lit in red. A hotel, a scythe and a crocodile.
A Finnish girl raises a monster from an egg, and it is about a mother's Instagram-perfect lie.
Romero's own favourite. A vampire film in which there may be no vampire, only a disturbed boy with razor blades.
Sit through the rough first 37 minutes. That instruction is the whole review and it is worth obeying.
Mercury poisoning produces a mutant bear in the Maine woods, and it is angrier about logging than most activists.
A Sierra Nevada fort in 1847, cannibalism as manifest destiny, and a score unlike any other.
Shot in a real abandoned asylum, and the building does most of the work.
A Beverly Hills teenager suspects his family are not human. The last twenty minutes prove it, wetly.
Christopher Lee as the hero for once, and the best script Hammer ever filmed.
Ferrara's debut, and mostly a film about being broke in New York. The sleeve got it prosecuted.
Thai-Korean, a documentary crew following a shaman, and the last twenty minutes are relentless.
A radio DJ and a switchboard operator in 1950s New Mexico chase a signal across one night. Shot for almost nothing.
An Indian folk horror about greed, a hidden god, and a womb in the earth, spanning three generations.
Peter Cushing as a witch-hunter who is worse than the vampires, and the Collinson twins were Playboy's first.
A plague-quarantined village visited by a travelling circus, and it is the strangest film Hammer made.
Vincent Price with the camp switched off, torturing people in English summer sunshine.
Fulci's best giallo, a fever of LSD dreams and a murder that may not have happened.
Del Toro's first film, and the vampire is a grandfather trying to stay with his granddaughter.
A mondo compilation whose most famous scenes are staged. Sold as real and marketed on being banned.