A Chinese Ghost Story
A tax collector shelters in a haunted temple and falls in love with a ghost enslaved by a tree demon with a very long tongue.
1931 onward · 53 films
Castles, candelabra and inherited guilt. The oldest room in the house.
Gothic horror predates cinema by 150 years, and the films inherited the furniture more or less intact: a decaying great house, a family with something buried in it, a woman who arrives from outside and works out what.
The 1931 to 1935 Universal cycle fixed the images everybody still uses. Dracula is stagey and slow, but Karloff's Frankenstein monster and the sets built for it established that horror could look expensive. Bride of Frankenstein (1935) is the one that holds up: James Whale is openly funny in it, Ernest Thesiger's Pretorius is the first camp villain in horror, and the film is sympathetic to the monster in a way the novel is not.
By the mid-1950s the Universal formula was exhausted. Hammer restarted it in colour, with blood that looked like blood, and with Christopher Lee playing Dracula as a physical threat rather than a foreign aristocrat with a cape problem. The Curse of Frankenstein (1957) made money in a way that reorganised British film production for a decade.
Mario Bava's Black Sunday (1960) is the high-water mark for gothic photography. Shot in black and white because Bava could not afford colour, it looks more expensive than anything Hammer made, and Barbara Steele's face became the genre's single most recognisable image.
Running alongside the castles is a subtler line that trusts suggestion: The Innocents (1961), The Haunting (1963), Kill, Baby... Kill! (1966). These are the gothics that still frighten people, largely because they never show you the thing.
Gothic never went away, it just stopped being the default. Del Toro works almost exclusively in it. Robert Eggers' The Lighthouse is gothic with the castle replaced by a rock. Anything with an inheritance, a locked room and a family secret is drawing on this.
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A tax collector shelters in a haunted temple and falls in love with a ghost enslaved by a tree demon with a very long tongue.
The highest-grossing Korean horror film ever, and it is really a family drama with a haunting in it.
Brazil's first horror film, made by a man who invented himself as a character and played him for fifty years.
Three Bava stories introduced by Boris Karloff, and the middle one is the most frightening thing Bava shot.
Andy Milligan shooting in Staten Island with a hand-held Auricon. An acquired taste nobody acquires.
Romero and King doing EC Comics, with panel borders, primary lighting and a story about a cake.
Elizabeth Báthory in an empty Ostend hotel out of season, and it is the most elegant vampire film ever made.
The British portmanteau that every anthology since has copied, and the ventriloquist episode has never been bettered.
Grief, Venice, and an edit that keeps showing you the ending before you can read it.
Stagey, slow, and it has no score at all. Lugosi's face is the entire reason it survives.
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.
A teenager works out his new neighbour is a vampire and no adult will believe him, so he hires a washed-up TV host.
Christopher Lee plays Dracula as a physical threat rather than a foreign gentleman, and it is over in 82 minutes.
Nunsploitation with a real budget. The last shot is a single unbroken take and it is the reason to watch.
A haunted red dress moves from customer to customer through a nightmarish department store.
Jane Eyre relocated to a Caribbean sugar plantation, and it is the most beautiful film in this category.
A Carpathian village, a dead girl with a white ball, and Fellini borrowed the image wholesale.
Four ghost stories on hand-painted sound stages, three hours long, and among the most beautiful films ever made.
A Guatemalan dictator on trial for genocide is haunted in his own home. The weeping woman as historical reckoning.
Bava given complete freedom, and the film is a dream nobody can escape, including the producer.
Eggers going back to Murnau rather than to Stoker. Filthy, plague-ridden, and Orlok has a moustache.
An illegal Dracula that survived a court order to burn it. Still the best-looking vampire film.
A tall undertaker, a flying silver sphere, and a film that runs entirely on dream logic. Don Coscarelli was 23.
Nicolas Cage plays Dracula as a toxic boss, and his familiar wants to leave the relationship. A horror comedy about codependency.
Amicus adapting the EC Comics, with Joan Collins menaced by a killer Santa and Peter Cushing as a wronged dustman.
Vincent Price murders the surgeons who let his wife die, each death based on the plagues of Egypt. A gorgeous, deranged art deco comedy.
Vincent Price as a hammy actor murdering the critics who denied him an award, each death staged from Shakespeare.
The film that made Hammer, made in colour, with blood that looks like blood.
Hammer's only werewolf film, Oliver Reed's first lead, and the transformation is largely his face.
Del Toro's other Spanish Civil War film, and he has called it the companion to Pan's Labyrinth.
A pregnant woman is forced to care for her husband's monstrous, dying, evangelical stepmother.
Four stories tied to one house, written by Robert Bloch, with Christopher Lee and a very young Jon Pertwee joke.
Shot on black and white 35mm in a 1.19:1 box. Two men, a rock, and a great deal of drinking.
Joel Schumacher's MTV vampires in a California beach town, and it made the genre cool for a decade.
James Whale between the two Frankensteins, having a wonderful time, and Karloff is the least of it.
Produced by del Toro, and it is a film about a mother rather than a house.
A twist that survives a second viewing, which is rarer than it sounds.
A model moves into a Brooklyn brownstone that turns out to be the gateway to Hell, guarded by a blind priest.
The first Hollywood ghost film to play it entirely straight. Almost nothing has aged.
Most werewolf folklore you think is ancient was invented for this script in 1941.
Children orphaned by the Mexican drug war, three wishes, and the dead following them through the streets.
An Indian folk horror about greed, a hidden god, and a womb in the earth, spanning three generations.
A Czech surrealist film about a thirteen-year-old girl, vampires and menstruation, and it is not what that sounds like.
A plague-quarantined village visited by a travelling circus, and it is the strangest film Hammer made.
The first zombie film, made independently, with Lugosi controlling the dead on a Haitian sugar plantation.