Alien
A haunted house film in space, and the crew are contractors arguing about bonuses.
1975 onward · 57 films
The threat is your own flesh. Canadian in origin, and largely one man's fault.
Body horror locates the threat inside the body: disease, mutation, pregnancy, surgery, or technology grafted onto flesh. There is nowhere to run because the thing is already in you.
The subgenre is substantially David Cronenberg's invention. Shivers (1975) was funded by the Canadian Film Development Corporation and caused a parliamentary argument about whether public money should pay for it. A parasite that turns a Montreal apartment block into a sexual free-for-all is exactly as tasteless as it sounds and is filmed with total clinical calm, which is the trick.
The Brood (1979) came out of his divorce and custody battle and is the angriest film he made. Videodrome (1983) is about television and predicts most of what people now say about the internet. The Fly (1986) is the one that works on everybody, because underneath the effects it is a film about watching somebody you love get a terminal illness, and Goldblum plays it that way.
Tetsuo: The Iron Man (1989) is 67 minutes of black and white 16mm stop-motion industrial noise, made for almost nothing, and there is nothing else like it. Shinya Tsukamoto shot it over eighteen months with a crew that mostly quit.
A large amount of body horror is about pregnancy and about medicine done to women. Possession, The Brood, Inside (2007) and Titane (2021) all sit here. Inside is the most extreme thing on this list and is worth being warned about.
Body horror is the one subgenre where practical effects are not nostalgia. The point is that the flesh has mass and fluid. Rendered flesh has neither, and the films that use it do not work.
Open a chatbot with a question about this already typed out. Useful for a second opinion, a plot detail, or working out which cut you are holding.
A haunted house film in space, and the crew are contractors arguing about bonuses.
Fede Alvarez taking the franchise back to basics: young colonists, a derelict station, and one very bad idea.
A young man carries his surgically-separated deformed twin in a wicker basket, and they are taking revenge.
A morgue technician and a grieving mother reinventing Frankenstein without any of the theatrics.
William Friedkin directing a two-hander in a motel room about shared delusion, and it is not what the trailer sold.
A camgirl finds an identical copy of herself has taken over her account and locked her out.
An Alien knock-off with exploding chests and a Goblin score doing heavy lifting throughout.
Del Toro's first film, and the vampire is a grandfather trying to stay with his granddaughter.
Jeremy Irons plays twin gynaecologists who share everything, and Cronenberg's coldest, saddest film.
An ageing actress buys rejuvenating dumplings from a woman in a housing estate. You know what is in them.
Five years of weekend shooting, and it is about being a father and being terrified of it.
A haunted house film in space, hated on release, and the studio destroyed roughly thirty minutes of it.
A surgeon steals faces for his disfigured daughter. Filmed with a tenderness that makes it far worse.
Shot in 3D with Udo Kier and a spleen. Warhol's name on it, Paul Morrissey's film.
Karloff in Jack Pierce's makeup, and the flat head is a copyrighted design rather than anything from the novel.
Tod Browning cast real sideshow performers, MGM cut a third of it, and it ended his career.
Stuart Gordon and Jeffrey Combs reunite after Re-Animator for a Lovecraft story about a machine that reveals what is always there.
Won the screenplay Oscar, which horror never does. The sunken place is the best new image in the genre this century.
A Finnish girl raises a monster from an egg, and it is about a mother's Instagram-perfect lie.
Clive Barker adapting his own novella, and the Cenobites are on screen for about eight minutes.
Mexican, and the best pregnancy horror since Rosemary's Baby. The joint-cracking sound design is the thing.
Brandon Cronenberg again. Wealthy tourists, a legal loophole and Mia Goth having a wonderful time.
The most extreme film on this site. A pregnant woman, her house, and a woman with scissors.
James Wan spending studio money on something deranged. The third act is one of the great swerves.
Toho's mushroom people, made by the Godzilla team, and it is far bleaker than its reputation.
A lonely young woman decides that if she cannot find a whole person to love, she will assemble one.
Alex Garland being about as subtle as a church door. The final sequence is remarkable regardless.
A luchadora, a heart transplant from a gorilla, and real open-heart surgery footage spliced in.
Nazi zombies with a real budget and a unusually good first act. Better than the premise deserves.
A divorce film with a tentacle in it. Adjani's U-Bahn scene is the most extreme acting on this site.
Brandon Cronenberg working the family seam without embarrassment. The practical effects are appalling in the right way.
A disgraced puppeteer returns to his childhood home carrying a bag he cannot get rid of.
Cronenberg's second feature, with an experimental skin graft, a stinger in an armpit, and a plague across Montreal.
A vegetarian vet student develops an appetite. Julia Ducournau's debut and a genuine coming-of-age film.
The funniest Lovecraft adaptation ever made, which is not what anybody expected.
Everybody remembers the head. The film underneath is about a pharmaceutical company and a custody dispute.
A Beverly Hills teenager suspects his family are not human. The last twenty minutes prove it, wetly.
A love story that happens to involve an immortal woman whose body is not stable. Benson and Moorhead again.
Not a remake so much as an argument with the original. Colder, longer, and about postwar German guilt.
Two coroners, one body, one basement. A masterclass in escalating a single location.
The film that made Hammer, made in colour, with blood that looks like blood.
Swerves three times and mostly earns them. Best watched knowing nothing at all.
Almodóvar's only horror film, and it is a revenge story disguised as a mad-scientist melodrama.
A white dessert oozing from the ground becomes a national craze, and it is eating the people who eat it.
Body horror about how the industry treats women over fifty, with Demi Moore doing the bravest work of her career.
Flopped, was called empty and disgusting, and is now the most imitated horror film of its decade.
A Mexican film in which a creature from a crashed meteorite provides pleasure and death in equal measure.
Practical effects made on Kickstarter money, doing an unembarrassed Carpenter impression.
Won the Palme d'Or. A film about a woman, a car and a grieving fireman, and it is not a comedy.
Claire Denis made a vampire film with no vampires, and it was booed at Cannes.
A town becomes obsessed with spirals. Junji Ito adapted before his manga had finished.
A British alien-abduction film so incoherent and disturbing it has never been fully explained, by anyone, including its director.