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A Danish-Jewish folk horror about a dybbuk, a mother, and a relationship the mother will not permit.
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.
43 films · page 1 of 2
A Danish-Jewish folk horror about a dybbuk, a mother, and a relationship the mother will not permit.
Clint Howard, a military academy, a computer and a lot of pigs. Better than it has any right to be.
A grieving mother and an occultist doing a months-long ritual properly. The tedium is deliberate.
Mexican nunsploitation with an actual argument, and everybody in it screams for eighty minutes.
A Taiwanese found-footage film built around a curse the film itself tries to pass to you.
An Indian-American teenager unleashes a demon from Hindu folklore while trying to assimilate.
Bryan Bertino's bleakest film. Two siblings return to the family farm as their father dies and something takes the household apart.
Ti West made a 1983 film in 2009, on 16mm, and the first hour is a girl walking around a house alone.
Argentinian, merciless, and it establishes early that the film will not spare anybody. It means it.
A palliative nurse decides she has been called. Morfydd Clark is terrifying and the last shot is a gut punch.
Oz Perkins' debut. Glacial, wintry, and the timeline is doing something you will only spot late.
A model moves into a Brooklyn brownstone that turns out to be the gateway to Hell, guarded by a blind priest.
Christopher Lee as the hero for once, and the best script Hammer ever filmed.
Thai-Korean, a documentary crew following a shaman, and the last twenty minutes are relentless.
Shot over lockdown on Zoom in twelve weeks, runs 56 minutes, and is better than it has any right to be.
A Madrid teenager holds a séance during a solar eclipse and brings something home. Loosely based on a real police file.
Two shamans and two geomancers exhume a cursed grave in Korea, and what is under it is worse than the curse.
A 1977 Halloween talk show broadcast, live, going wrong. David Dastmalchian finally gets a lead.
Wes Craven in Haiti, adapting a real ethnobotanist's account of the drug behind zombie folklore.
The Philippou brothers' second, and considerably harder to sit through than the first. Sally Hawkins is the reason.
The sequel picks up minutes after the first, sends a SWAT team into the sealed building, and reframes the whole outbreak.
A divorce film with a tentacle in it. Adjani's U-Bahn scene is the most extreme acting on this site.
Ken Russell's best film, cut in every territory it has ever played, and still not properly released.
A prequel nobody wanted that turned out to be the best-directed studio horror of its year.
Two and a half hours, and it withholds whether the shaman is helping right until the end.
Nunsploitation with a real budget. The last shot is a single unbroken take and it is the reason to watch.
King wrote the novel and thought it too bleak to publish. The film keeps the bleakness.
An embalmed hand, a ninety-second rule, and teenagers filming it. The Philippou brothers' first feature.
Marketed better than almost any horror film this decade. The first hour earns it, the last act is arguable.
The second of Carpenter's Apocalypse Trilogy, and it is quantum physics as a book of the dead.
Moves the cabin to a Los Angeles tower block. The cheese grater is the sequence people talk about.
A curse that passes by witnessing. Cheap scares, but the mechanism is sound and the ending commits.
Structured as a courtroom drama, which is a smarter frame than the subgenre usually gets.
Mickey Rourke hunts a missing crooner for a client called Louis Cyphre, and the answer is the worst possible one.
A film about grief that turns out to be a film about a cult. Toni Collette should have won everything.
The super-8 reels are the film. Everything between them is a man in an office not turning the lights on.