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John Cusack alone in a hotel room for most of the running time, and it is the best single-location King film.
1944 onward · 46 films
A building with an opinion. The purest test of whether a director can do restraint.
The haunted house is the most reliable structure in horror and the hardest to do well, because the entire genre depends on withholding, and withholding is the one thing a nervous producer will not allow.
Robert Wise's The Haunting (1963) shows you nothing. A door bulges. Something enormous walks the corridor and is never identified. The film is frightening in inverse proportion to what appears on screen, and the 1999 remake proves the point by rendering everything in CGI and frightening nobody.
Almost every good example is about a woman with no money and nowhere else to go. Eleanor in The Haunting has spent eleven years nursing her mother. The house offers her belonging, which is the actual horror. The building is rarely just a building; it is usually the only place the protagonist has been welcome.
The Changeling (1980) is a widower, an empty mansion and a wheelchair coming down the stairs, and it is one of the most effective horror films ever made in Canada. The Others (2001) does the same job with a twist that survives a second viewing.
The Amityville Horror (1979) is not good, made an enormous amount of money, and set the template for the modern haunting film: a family, a mortgage, and a house that wants them out. James Wan rebuilt the whole industry on it in the 2010s. The jump scares are efficient and the films are interchangeable.
Watch the geography. In a good haunted house film you can draw the floor plan by the end. In a bad one the rooms exist only where a scare is needed.
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.
John Cusack alone in a hotel room for most of the running time, and it is the best single-location King film.
Go in knowing nothing. The structure is the point and every synopsis ruins it.
A family rents a summer house that heals itself by consuming them. Karen Black, Oliver Reed and Bette Davis.
Made for 33,000 dollars by an industrial film-maker in Kansas, and it looks like a dream somebody had.
Del Toro doing full gothic romance. The house is the best thing in it and it is sinking.
Nakata again, and the saddest of the cycle. A custody battle with a damp patch on the ceiling.
A disgraced livestreamer broadcasts himself alone in a haunted house for the clout, and gets exactly what he deserves.
Reconciles King's novel with Kubrick's film, which should not have been possible.
A web-streaming crew live-broadcast from a real abandoned Korean hospital for the views.
A team building a Halloween haunted attraction in a real abandoned hotel, and the footage is all that is left.
A South Sudanese couple in British asylum housing. The haunting and the bureaucracy are the same thing.
Toho asked their ad director what would scare children. He asked his eleven-year-old daughter and filmed her answers.
Wan's best jump scares and the film that built the modern haunting industry. The Further is silly and it works.
No plot to speak of, structured as loops. Either its weakness or the reason it works.
A haunted mirror, and a sister trying to prove it killed her parents by filming it destroying her too.
Irish, small, and it contains one of the best-constructed scares of the decade. The wooden man.
15,000 dollars into 193 million, and a decade of imitators nobody asked for.
A suburban family, a television, and a chair-stacking sequence that has never stopped being copied.
Soderbergh shoots the entire film from the ghost's point of view, handheld, in long takes. It works.
Dementia as a house that grows corridors. The last ten minutes are unexpectedly tender.
Shot in a real abandoned asylum, and the building does most of the work.
Argentinian, and it front-loads three of the best scares of the decade in the first twenty minutes.
Two coroners, one body, one basement. A masterclass in escalating a single location.
A film about a widowed mother who resents her son, wearing a monster as a coat.
A haunted mirror and a Halloween score Ulli Lommel could not afford to license properly.
Old-fashioned, extremely well made, and the reason there are now nine of these.
Del Toro's other Spanish Civil War film, and he has called it the companion to Pan's Labyrinth.
A woman is repeatedly assaulted by an invisible entity, and the film sides with her against the psychiatrists.
Carpenter's follow-up to Halloween: a Californian coastal town, a hundredth anniversary, and something owed.
Fulci's dream logic at its least coherent and most atmospheric. The dubbing of the child is a war crime.
Ti West made a 1983 film in 2009, on 16mm, and the first hour is a girl walking around a house alone.
Four stories tied to one house, written by Robert Bloch, with Christopher Lee and a very young Jon Pertwee joke.
Ti West's other 1970s-feeling film, about two clerks working the last weekend of a haunted hotel.
The Turn of the Screw done perfectly, and it never once tells you whether the ghosts are real.
Rebecca Hall carrying a film about grief with unusual use of negative space.
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.
King hated it. Everyone else was right. The geography of the hotel is deliberately impossible.
The twist made it famous and the film does not need it. It is about a boy nobody believes and a marriage that ended.
Tehran during the War of the Cities, a djinn, and a mother the state has already stripped of options.
A Madrid teenager holds a séance during a solar eclipse and brings something home. Loosely based on a real police file.