Goke, Body Snatcher from Hell
A plane crash, an alien blob, and the single most striking red sky in Japanese genre film. Tarantino borrowed 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.
47 films · page 1 of 2
A plane crash, an alien blob, and the single most striking red sky in Japanese genre film. Tarantino borrowed it.
A California coastal town waiting for a blood moon, made by the writers of American Graffiti, and it looks like nothing else.
Two friends in a cabin while something rewrites the story around them. Benson and Moorhead's first film.
A love story that happens to involve an immortal woman whose body is not stable. Benson and Moorhead again.
Practical effects made on Kickstarter money, doing an unembarrassed Carpenter impression.
Takashi Shimizu, between Grudge films, shot this in eight days about a cameraman who brings something home from the underworld.
An Aztec god nests atop the Chrysler Building and eats sunbathers, and Michael Moriarty is extraordinary.
A Mexican film in which a creature from a crashed meteorite provides pleasure and death in equal measure.
A town becomes obsessed with spirals. Junji Ito adapted before his manga had finished.
A scientist and a guide walk into a forest during a pandemic and find a man, and a spirit, that do not want them to leave.
A white dessert oozing from the ground becomes a national craze, and it is eating the people who eat it.
A Martian spacecraft under a London tube station, and it explains the Devil.
A radio DJ and a switchboard operator in 1950s New Mexico chase a signal across one night. Shot for almost nothing.
A man convinced aliens are infiltrating Earth kidnaps a CEO to torture the truth out of him. Nothing prepares you for where it goes.
Two brothers return to the UFO death cult they escaped, and time is looping in the hills.
The best J-horror film and the least seen. About loneliness and the internet, and genuinely despairing.
A remote Brazilian village disappears from the map and finds itself hunted for sport. Weird, angry and unclassifiable.
Nicolas Cage, alpacas, and a colour that does not exist. More faithful than most attempts.
Stuart Gordon and Jeffrey Combs reunite after Re-Animator for a Lovecraft story about a machine that reveals what is always there.
Tobe Hooper's space-vampire epic, adapted from Colin Wilson, and it is completely insane in the best way.
A priest hangs himself and opens a gate. Fulci at his least coherent and most upsetting.
Stuart Gordon adapting The Shadow over Innsmouth, relocated to a rotting Spanish fishing town.
Barely a horror film and one of the most upsetting things on this site. About a life not lived.
The Suspiria sequel. Less coherent, more beautiful, and has the best underwater sequence Argento shot.
Dumped by the studio with no marketing, runs 137 minutes, and has a 20-minute prologue people rave about.
Almost no coherent plot and that is the argument for it. One of the bleakest endings in the genre.
A descent into the Paris catacombs that becomes a descent into hell, shot for real under the city.
A dinner party the night a comet passes, and reality starts to fork. Shot in one house in five nights.
Seventy years on, the series returns to what it was for: the war, the guilt, and the cost.
Nicolas Cage, a chainsaw duel and Jóhann Jóhannsson's last score. Not for everyone and not trying to be.
A tall undertaker, a flying silver sphere, and a film that runs entirely on dream logic. Don Coscarelli was 23.
A Vietnam veteran in New York whose reality will not stay put, and the demons move wrong on purpose.
The funniest Lovecraft adaptation ever made, which is not what anybody expected.
The second of Carpenter's Apocalypse Trilogy, and it is quantum physics as a book of the dead.
Cronenberg's most restrained film, and Christopher Walken plays a man who can see how it ends.
The third of Carpenter's Apocalypse Trilogy and the most explicitly Lovecraftian thing he made.