A Chinese Ghost Story
A tax collector shelters in a haunted temple and falls in love with a ghost enslaved by a tree demon with a very long tongue.
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 8 of 14
A tax collector shelters in a haunted temple and falls in love with a ghost enslaved by a tree demon with a very long tongue.
A baby alligator flushed down a toilet grows huge on discarded lab animals in the sewers. John Sayles wrote it and it is a delight.
A teacher calmly tells her class she knows two of them killed her daughter, and that she has already taken revenge.
The title card arrives 33 minutes in, which tells you what kind of film it intends to be.
Three people stuck on a chairlift. Almost nothing else, and that is enough.
A Belgian film crew follow a serial killer and gradually start holding the equipment for him.
Two women murder soldiers in a sea of susuki grass in fourteenth-century Japan. The grass is the antagonist.
Real sharks, no cages, 130,000 dollars. The horror is arithmetic: how long does a person float?
Nazi zombies with a real budget and a unusually good first act. Better than the premise deserves.
Soderbergh shoots the entire film from the ghost's point of view, handheld, in long takes. It works.
Reworks the structure with the assault largely off screen, which removes nothing it needs.
The concierge of a Barcelona apartment block cannot bear that a tenant is happy, so he makes sure she is not.
The Production Code would not let a child murderer go free, so it ends with a spanking. See it anyway.
The middle of Argento's Animal Trilogy, and the one he liked least. A blind man and a reporter chase a killer.
A dinner party where you spend ninety minutes unsure whether the host is grieving or dangerous.
Tourists, a Mayan pyramid and a plant with intent. Nastier than its reputation.
Wes Craven in Haiti, adapting a real ethnobotanist's account of the drug behind zombie folklore.
A man spends three years looking for his girlfriend and is finally offered the answer on one condition.
Gareth Evans doing folk horror with the fight choreography left in. Much nastier than expected.
The highest-grossing Korean horror film ever, and it is really a family drama with a haunting in it.
The giallo template, and still the best-looking film in the category.
The Philippou brothers' second, and considerably harder to sit through than the first. Sally Hawkins is the reason.
A dance troupe, spiked sangria, and Gaspar Noé's camera refusing to cut. Unbearable by design.
A punk band plays the wrong venue. Jeremy Saulnier does not flinch and neither does the film.
Brandon Cronenberg again. Wealthy tourists, a legal loophole and Mia Goth having a wonderful time.
The sequel picks up minutes after the first, sends a SWAT team into the sealed building, and reframes the whole outbreak.
Two coroners, one body, one basement. A masterclass in escalating a single location.
A Norwegian student with a repressive religious upbringing discovers her desire has physical consequences.
A priest volunteers for a vaccine trial, dies, and comes back needing blood. Park Chan-wook adapting Zola.
Blonde children with glowing eyes and no interest in you. Efficient, cold, 77 minutes.
The Suspiria sequel. Less coherent, more beautiful, and has the best underwater sequence Argento shot.
Jane Eyre relocated to a Caribbean sugar plantation, and it is the most beautiful film in this category.
Icelandic, extremely slow, and entirely dependent on you accepting the thing in the second act.
Kathryn Bigelow's vampires are a violent family in a camper van. The word is never used.
Technicolor melodrama with a pitchfork. Mia Goth's final monologue is a single unbroken take.
A divorce film with a tentacle in it. Adjani's U-Bahn scene is the most extreme acting on this site.