Delirium
A Vietnam veteran, a vigilante group and a plot that gives up. Not the Lamberto Bava one.
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.
61 films · page 1 of 2
A Vietnam veteran, a vigilante group and a plot that gives up. Not the Lamberto Bava one.
Shot in Utah for 100,000 dollars with a score that never stops. Beloved by a small and stubborn group.
An Australian wellness influencer at a hen weekend. Much sharper and much nastier than the premise suggests.
An Aztec-obsessed killer in New Orleans. A Blood Feast remake in all but name, and slower.
Roughly 40 percent flashback to the first film. A sequel assembled rather than made.
A painter's nightmares kill people on an off-season island. Genuinely atmospheric and badly underrated.
Three women, a mansion, rain, and a twist. Shot in Oregon and stranger than its reputation.
A motorcycle killer in Boston with a kukri. Rachel Ward's debut and a real giallo influence.
Clint Howard, a military academy, a computer and a lot of pigs. Better than it has any right to be.
A deaf teacher, a disfigured twin and a rottweiler. Shot in Savannah and better made than most of the list.
Michael Ironside stalking a hospital. A real cast, a real budget, and no business being on the list.
A dorm over Christmas break and a plot that runs out. Notable mainly for an early Daphne Zuniga.
A group of Black friends at a cabin play a racist board game that traps them, and the whole film is the joke that the Black character always dies first.
The distributor went to prison over this one. The only DPP case that put a man behind bars.
Susan Tyrrell as the aunt, giving a performance far too committed for the film around it.
The first fifteen minutes are notorious. The remaining seventy are a different and much duller film.
D'Amato remaking his own Anthropophagous as a Halloween knock-off. Grim and dull in equal measure.
A slasher shot entirely from behind the killer, at walking pace, with no score. A formal experiment that works.
A chainsaw killer on a Boston campus, made by Spaniards, and it is gloriously incoherent.
A haunted mirror and a Halloween score Ulli Lommel could not afford to license properly.
Jess Franco doing a slasher for German money. Contains the stone-saw scene and little else.
The first gore film. Shot in four days for 24,500 dollars and it looks it, which is half the appeal.
Argento's late return to the giallo, with Max von Sydow as a retired detective and a genuine nursery-rhyme killer.
A killer in a giant owl mask trapped in a theatre with a dance troupe. Michele Soavi's debut and the best late giallo.
Famous for two shots and unwatchable between them. George Eastman wrote himself the title role.
Vincent Price as a hammy actor murdering the critics who denied him an award, each death staged from Shakespeare.
Hooper on a real budget with Rick Baker's monster. Nowhere near nasty enough to be on this list.
An Australian teenager says no to a girl for the school dance, and she holds her own dance instead.
Hooper's follow-up to Chain Saw, shot entirely on a sound stage lit in red. A hotel, a scythe and a crocodile.
Told out of order in six chapters, shot on 35mm by Giovanni Ribisi. The structure is the whole trick.
The giallo at its most slasher-like, and the last act is a genuine masterclass in silent suspense.
Joe Spinell wrote himself the lead and Tom Savini blew his own head off on camera.
Vincent Price murders the surgeons who let his wife die, each death based on the plagues of Egypt. A gorgeous, deranged art deco comedy.
Anna Kendrick's directorial debut, about the serial killer who appeared on The Dating Game mid-spree.
A young man carries his surgically-separated deformed twin in a wicker basket, and they are taking revenge.
A cheap, badly acted summer camp slasher with an ending that has been argued about for forty years.