Alien
A haunted house film in space, and the crew are contractors arguing about bonuses.
1933 onward · 42 films
Something large is coming and the army will be no help. Usually the fault of a scientist.
A creature feature needs one thing: a monster that is a physical animal rather than a supernatural one. It can be enormous, it can be small and numerous, but it obeys biology and it can in principle be killed.
The cycle belongs to the 1950s, and it belongs to the bomb. American International and Universal turned out giant ants (Them!, 1954), giant spiders, giant crabs and one very good amphibian man (Creature from the Black Lagoon, 1954, whose suit design has never been improved on). Almost all of them are about radiation, and almost none of them are subtle about it.
Japan made the definitive version. Gojira (1954) is a serious film about Hiroshima with a man in a suit in it, and the American recut that added Raymond Burr removed most of what made it worth watching.
Jaws (1975) is the best film in this category and it changed the economics of the industry. It is also the reason the shark barely appears: the mechanical shark did not work, Spielberg shot around it, and the resulting restraint is what makes the film frightening. Every imitator learned the wrong lesson and showed the monster constantly.
Rob Bottin's work on The Thing (1982) is the ceiling for this kind of film. It flopped, it was reviewed as empty and disgusting, and it is now the most influential horror film of its decade after Halloween.
The monster has rules and the film obeys them. Tremors (1990) is the cleanest demonstration: the graboids hunt by vibration, the characters work that out, and the last hour is people solving a problem with what is in the back of a truck.
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 baby alligator flushed down a toilet grows huge on discarded lab animals in the sewers. John Sayles wrote it and it is a delight.
A high-concept gimmick executed with real discipline. The nail on the stair is the whole film.
A Swedish customs officer who can smell guilt meets a man who smells like nothing she recognises.
Val Lewton was told to make a film from a title and a poster. He made one about a woman afraid of her own desire.
Carpenter directing King's killer car in the same year he made almost nothing else work.
A monster attacks New York, filmed on a camcorder from street level, and the marketing invented a genre of mystery.
A black bear ingests a fortune in dropped cocaine and goes on a rampage. Loosely, very loosely, based on a true event.
An Alien knock-off with exploding chests and a Goblin score doing heavy lifting throughout.
A German alpine resort, Hunter Schafer, and Dan Stevens doing an accent. Deeply strange.
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.
Icelandic, extremely slow, and entirely dependent on you accepting the thing in the second act.
A robotics engineer builds an AI doll to parent her orphaned niece, and the doll takes the job seriously.
Toho's mushroom people, made by the Godzilla team, and it is far bleaker than its reputation.
A luchadora, a heart transplant from a gorilla, and real open-heart surgery footage spliced in.
Bigfoot tears a man's genitals off. That is the scene, that is the film, that is why it was prosecuted.
A woman alone in a farmhouse fends off an alien home invasion, with almost no dialogue in the entire film.
Peele's best-looking film. About spectacle, and about what happens to the people who handle the animals.
Nazi zombies with a real budget and a unusually good first act. Better than the premise deserves.
Saul Bass's only feature. The ants are shot like a nature documentary and it is deeply strange.
Jennifer Connelly communicates with insects at a Swiss boarding school, and there is a chimpanzee with a razor.
Joe Dante's Jaws cash-in, written by John Sayles, and it is far smarter and funnier than it needed to be.
Mercury poisoning produces a mutant bear in the Maine woods, and it is angrier about logging than most activists.
An Aztec god nests atop the Chrysler Building and eats sunbathers, and Michael Moriarty is extraordinary.
The real Santa Claus is a horned thing frozen in a Finnish mountain, and a drilling company has found it.
A girl raises a spider that fell from space in a New York apartment block, and it grows.
No score, no explanation, no resolution. Hitchcock withholding everything and getting away with it.
Six women, an uncharted cave, and a group dynamic already poisoned before anything goes wrong.
Under the effects it is a film about watching someone you love get a terminal illness, and Goldblum plays it that way.
Hooper on a real budget with Rick Baker's monster. Nowhere near nasty enough to be on this list.
Opens with a real incident: formaldehyde poured into the Han river in 2000. Funny, which nothing else here manages.
Paul Naschy in the Himalayas. On the list almost certainly because somebody read the title and stopped.
A teenager suspects the woman next door is a witch wearing the neighbours' skins. A word-of-mouth streaming hit.
Norwegian students follow a poacher who turns out to hunt state-secret trolls. Deadpan and enormous.
A British alien-abduction film so incoherent and disturbing it has never been fully explained, by anyone, including its director.