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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.
1945 onward · 142 films
The threat is a person, or it is nobody, and you are not sure which.
Psychological horror puts the uncertainty inside the protagonist. There may be no monster. There may be no ghost. What there is is somebody whose account of events cannot be trusted, and a film that refuses to correct them.
Les Diaboliques (1955) is the template, and it ends with a title card asking the audience not to spoil it. Hitchcock tried to buy the rights, missed, and made Psycho instead.
Psycho and Peeping Tom were released within months. Both are about a damaged young man who kills women. One made Hitchcock the most famous director alive. The other ended Michael Powell's career in Britain, because it implicates the audience directly: the killer films his victims, and you are watching. It took twenty years and Scorsese's advocacy to get it properly reissued.
Repulsion (1965), Rosemary's Baby (1968) and The Tenant (1976) are usually grouped as a trilogy about flats. The horror in all three is that the protagonist is right about the conspiracy or is completely mad, and the film stays balanced on the point for as long as it can hold.
The strongest modern strand uses horror mechanics on bereavement. Don't Look Now (1973) is the founding text and the best of them. The Babadook, Hereditary and Saint Maud are all downstream. The complaint that these are not really horror films is wrong, and usually comes from people who want a body count.
These films are quiet, slow and frequently ambiguous at the end. If you want resolution they will annoy you.
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.
Deserters in the English Civil War eat mushrooms and dig for treasure while reality dissolves. Shot in black and white in twelve days.
An Iranian vampire western shot in California, in Farsi, in black and white. Nothing else looks like it.
Fulci's best giallo, a fever of LSD dreams and a murder that may not have happened.
Mickey Rourke hunts a missing crooner for a client called Louis Cyphre, and the answer is the worst possible one.
An Austrian film about a killer released from prison, shot with a camera rig nobody had used before.
The highest-grossing Korean horror film ever, and it is really a family drama with a haunting in it.
Ari Aster's three-hour anxiety odyssey, and it is horror only in the sense that being alive is.
A meek British sound engineer comes apart while dubbing an Italian horror film he can hear but never see.
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.
The shadow-puppet sequences are the best thing in it. A sequel that is actually about the original.
Philip Glass wrote the score believing it was an art film. That mistake is why it sounds like nothing else.
Made for 33,000 dollars by an industrial film-maker in Kansas, and it looks like a dream somebody had.
De Palma's split screens, a bucket of blood, and the last thirty seconds that made an entire genre of ending.
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.
The last great Italian horror film, and it is a romantic comedy about a man who shoots the dead for a living.
A BBFC examiner during the video nasties panic starts to come apart. Essential viewing for this site specifically.
Carpenter directing King's killer car in the same year he made almost nothing else work.
A dance troupe, spiked sangria, and Gaspar Noé's camera refusing to cut. Unbearable by design.
A dinner party the night a comet passes, and reality starts to fork. Shot in one house in five nights.
A weekend away with a reveal in the first act rather than the third, which is the smart choice.
A teacher calmly tells her class she knows two of them killed her daughter, and that she has already taken revenge.
Two actors, a cabin and a camera. Mark Duplass is the most unsettling thing in modern horror.
Six strangers in a lethal maze of identical rooms, shot on one set for under 400,000 Canadian dollars.
A German alpine resort, Hunter Schafer, and Dan Stevens doing an accent. Deeply strange.
A detective investigating identical murders committed by unconnected people who cannot say why.
Eerie, well made, and completely undeserving of the list. Stan Winston's effects.
The British portmanteau that every anthology since has copied, and the ventriloquist episode has never been bettered.
Jeremy Irons plays twin gynaecologists who share everything, and Cronenberg's coldest, saddest film.
A Vietnam veteran, a vigilante group and a plot that gives up. Not the Lamberto Bava one.
Reconciles King's novel with Kubrick's film, which should not have been possible.
A man with a flamethrower and a steel room. The mother is the point and the film knows it.
An asylum where you cannot tell staff from patients. Shot in twelve days in Texas and quite effective.
A lone woman on a Cornish island in 1973, a flower, a standing stone, and time coming apart.
Five years of weekend shooting, and it is about being a father and being terrified of it.
The only British film on the DPP list. A novelist, a typist and Fiona Richmond in a farmhouse.
Every line is dubbed, including scenes with nobody talking. Almost hypnotically incompetent.
The King novel everyone said was unfilmable. One bed, two handcuffs, and a degloving.
Won the screenplay Oscar, which horror never does. The sunken place is the best new image in the genre this century.
Austrian, cold, and it works out its own twist early enough that the dread is the point.
Bava's first-person portrait of a killer who murders brides to recover a childhood memory. Genuinely strange.
A film about grief that turns out to be a film about a cult. Toni Collette should have won everything.
Two missionaries, one house, and Hugh Grant enjoying himself enormously as the worst man alive.
A South Sudanese couple in British asylum housing. The haunting and the bureaucracy are the same thing.
Miike at his most gleefully unpleasant, and the sickbag handed out at Toronto was a marketing stunt that worked.
A Canadian courtroom drama about a real murder. Its presence on the list is inexplicable.
A haunted red dress moves from customer to customer through a nightmarish department store.
The third of Carpenter's Apocalypse Trilogy and the most explicitly Lovecraftian thing he made.
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.
One rule, followed exactly. The most frightening use of a wide shot in modern horror.
A Vietnam veteran in New York whose reality will not stay put, and the demons move wrong on purpose.
Anita Ekberg as a morphine-addicted nun in a hospital. Nunsploitation with an actual performance in it.
Barely a horror film for an hour. Then there is a shot on a mobile phone people do not forget.
A woman fresh out of a psychiatric hospital moves to a Connecticut farmhouse, and the film never confirms what is real.
Marketed better than almost any horror film this decade. The first hour earns it, the last act is arguable.
James Wan spending studio money on something deranged. The third act is one of the great swerves.