Alien
A haunted house film in space, and the crew are contractors arguing about bonuses.
1963 onward · 47 films
The universe is indifferent and much larger than you. Lovecraft's, and mostly unfilmable.
Cosmic horror argues that the universe is vast, old, indifferent, and that understanding any part of it correctly would destroy you. The monster is not hostile. You are not important enough for it to be hostile.
H.P. Lovecraft wrote the template and is very hard to film. His method is to withhold, to describe things as indescribable, and to have narrators go mad rather than report. Cinema shows things. The moment the entity is on screen it has a size and a texture and it is no longer beyond comprehension.
Lovecraft's racism is not incidental and not a matter of being of his time; it was extreme by the standards of his own correspondents, and a good deal of the horror in the stories is straightforwardly about immigration and miscegenation. Adaptations generally drop it, which is why they often feel structurally hollow.
The Thing (1982) is the best Lovecraft adaptation ever made and is not adapted from Lovecraft. The creature has no plan, no communication and no interest in the men beyond replication, and the film never explains it.
Fulci's The Beyond (1981) has almost no coherent plot, which several critics have argued is the point: it is structured like a nightmare, the geography does not resolve, and the ending is one of the bleakest in the genre.
Carpenter called The Thing, Prince of Darkness and In the Mouth of Madness his Apocalypse Trilogy. All three end with the world lost.
Annihilation (2018) and Color Out of Space (2019) both take the same source idea, a zone where physics and biology stop behaving, and both are more interested in beauty than in dread. Annihilation is the better film and its final twenty minutes are the closest cinema has come to the thing Lovecraft was describing.
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.
A descent into the Paris catacombs that becomes a descent into hell, shot for real under the city.
A remote Brazilian village disappears from the map and finds itself hunted for sport. Weird, angry and unclassifiable.
A priest hangs himself and opens a gate. Fulci at his least coherent and most upsetting.
A dinner party the night a comet passes, and reality starts to fork. Shot in one house in five nights.
Stuart Gordon adapting The Shadow over Innsmouth, relocated to a rotting Spanish fishing town.
A haunted house film in space, hated on release, and the studio destroyed roughly thirty minutes of it.
Stuart Gordon and Jeffrey Combs reunite after Re-Animator for a Lovecraft story about a machine that reveals what is always there.
A serious film about the atomic bomb with a man in a suit in it, and the American recut removed most of what mattered.
Seventy years on, the series returns to what it was for: the war, the guilt, and the cost.
A plane crash, an alien blob, and the single most striking red sky in Japanese genre film. Tarantino borrowed it.
The Suspiria sequel. Less coherent, more beautiful, and has the best underwater sequence Argento shot.
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.
The best paranoia film ever made, and it works whichever politics you bring to it.
Barely a horror film and one of the most upsetting things on this site. About a life not lived.
A Vietnam veteran in New York whose reality will not stay put, and the demons move wrong on purpose.
The best J-horror film and the least seen. About loneliness and the internet, and genuinely despairing.
Tobe Hooper's space-vampire epic, adapted from Colin Wilson, and it is completely insane in the best way.
Nicolas Cage, a chainsaw duel and Jóhann Jóhannsson's last score. Not for everyone and not trying to be.
Takashi Shimizu, between Grudge films, shot this in eight days about a cameraman who brings something home from the underworld.
A California coastal town waiting for a blood moon, made by the writers of American Graffiti, and it looks like nothing else.
Peele's best-looking film. About spectacle, and about what happens to the people who handle the animals.
A tall undertaker, a flying silver sphere, and a film that runs entirely on dream logic. Don Coscarelli was 23.
The second of Carpenter's Apocalypse Trilogy, and it is quantum physics as a book of the dead.
An Aztec god nests atop the Chrysler Building and eats sunbathers, and Michael Moriarty is extraordinary.
A Martian spacecraft under a London tube station, and it explains the Devil.
The funniest Lovecraft adaptation ever made, which is not what anybody expected.
Two friends in a cabin while something rewrites the story around them. Benson and Moorhead's first film.
A man convinced aliens are infiltrating Earth kidnaps a CEO to torture the truth out of him. Nothing prepares you for where it goes.
A love story that happens to involve an immortal woman whose body is not stable. Benson and Moorhead again.
A machine for explaining why every other film on this site is shaped the way it is.
Cronenberg's most restrained film, and Christopher Walken plays a man who can see how it ends.
Dumped by the studio with no marketing, runs 137 minutes, and has a 20-minute prologue people rave about.
Two brothers return to the UFO death cult they escaped, and time is looping in the hills.
Shot on black and white 35mm in a 1.19:1 box. Two men, a rock, and a great deal of drinking.
Frank Darabont's third King adaptation, and the ending he changed is one of the cruellest in cinema.
A white dessert oozing from the ground becomes a national craze, and it is eating the people who eat it.
A Mexican film in which a creature from a crashed meteorite provides pleasure and death in equal measure.
A radio DJ and a switchboard operator in 1950s New Mexico chase a signal across one night. Shot for almost nothing.
Practical effects made on Kickstarter money, doing an unembarrassed Carpenter impression.
Carpenter's angriest film, disguised as a B-movie, about sunglasses that let you see the ads underneath everything.
A town becomes obsessed with spirals. Junji Ito adapted before his manga had finished.