28 Days Later
Shot on DV, made them fast, and restarted the whole genre for fifteen years.
1971 onward · 51 films
No supernatural element, no killer with a motive. Just terrain, weather and time.
Survival horror strips out the monster. What is left is a situation that will kill the characters if they make one more mistake, and a running time spent watching them make mistakes.
Tone and outcome. A survival thriller is about competence rewarded. Survival horror is about how thin the margin is, and it frequently declines to reward anything.
Open Water (2003) was shot on digital video for around 130,000 dollars, with real sharks and no cages, and is about a couple left behind by a dive boat. Almost nothing happens for an hour, which is the point: the horror is the arithmetic of how long a person floats.
The Descent (2005) is the best film in this category and one of the best British horror films full stop. Six women, an uncharted cave system, and a group dynamic that is already poisoned before anything goes wrong. Neil Marshall shot it in a set built in Pinewood rather than a real cave, and it is still unbearable if you dislike enclosed spaces.
The UK and US endings differ. The UK one is correct and the US distributor removed the last ninety seconds.
These films need characters worth following, because there is no monster to cut away to. A survival horror film with thin characters is ninety minutes of people you do not know being cold.
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.
Shot on DV, made them fast, and restarted the whole genre for fifteen years.
Boyle and Garland back together, shot largely on iPhones rigged in arrays. Stranger than the sequel anybody expected.
A high-concept gimmick executed with real discipline. The nail on the stair is the whole film.
A near-wordless survival film in a post-apocalypse where a cult has cut out their own tongues.
A remote Brazilian village disappears from the map and finds itself hunted for sport. Weird, angry and unclassifiable.
Go in knowing nothing. The structure is the point and every synopsis ruins it.
A class of Japanese schoolchildren are dropped on an island and made to kill each other. Kinji Fukasaku's last major film.
A Seoul bank worker visits the island she grew up on. Everybody there has been failing one woman for years.
A weekend away with a reveal in the first act rather than the third, which is the smart choice.
Six strangers in a lethal maze of identical rooms, shot on one set for under 400,000 Canadian dollars.
Nazi zombies in the Norwegian mountains, and it knows exactly how silly it is.
Not marketed as horror and the founding text of an entire horror subgenre.
A squad on exercise in the Highlands versus werewolves, and it is closer to a war film than to horror.
The King novel everyone said was unfilmable. One bed, two handcuffs, and a degloving.
A punk band plays the wrong venue. Jeremy Saulnier does not flinch and neither does the film.
Two missionaries, one house, and Hugh Grant enjoying himself enormously as the worst man alive.
A Perth couple abduct a teenage girl, and the film is about the fracture between the two of them.
An Indonesian folk horror about a woman who returns to a village that has been waiting for her.
The mechanical shark did not work, so Spielberg shot around it and accidentally made the best one.
Starts as a kitchen-sink drama about money, ends somewhere else entirely. The turn is brutal.
A couple with a failing marriage treat a beach with contempt. Nothing supernatural happens.
Kathy Bates won the Academy Award, which is one of two horror performances ever to do it.
A comet turns most of Los Angeles to dust, and two Valley girls inherit the city.
A woman alone in a farmhouse fends off an alien home invasion, with almost no dialogue in the entire film.
Spanish, a bullied teenager, and a moral problem she is left holding alone.
A bride versus her new in-laws and their family obligation. Very funny and mean.
Reworks the structure with the assault largely off screen, which removes nothing it needs.
Two men chained in a bathroom, made for 1.2 million dollars in eighteen days, and it is far better than its franchise.
The concierge of a Barcelona apartment block cannot bear that a tenant is happy, so he makes sure she is not.
A girl raises a spider that fell from space in a New York apartment block, and it grows.
A former detective running an escort agency works out that his missing women all went to the same client.
Bryan Bertino's bleakest film. Two siblings return to the family farm as their father dies and something takes the household apart.
A nuclear family against a family mutated by nuclear testing. By the end there is no difference in method.
Reworks Universal's monster into a film about being disbelieved. The empty corners of the frame do the work.
Two children snowed in with their father's new partner, who has a history with a cult.
A French couple terrorised in a house at night, 77 minutes, and it claims to be true.
Frank Darabont's third King adaptation, and the ending he changed is one of the cruellest in cinema.
A vertical prison and a descending table of food. The metaphor is a brick and the film is effective anyway.
A man spends three years looking for his girlfriend and is finally offered the answer on one condition.
The best zombie film since Romero, and the only one that makes you cry.
The monster has rules and the film obeys them. A perfectly built piece of engineering.
A yacht, a storm, an ocean liner, and a loop that keeps folding back on a single mother.
An American in Bucharest who cannot speak the language and is not being believed. Quietly excellent.
Opens with eight minutes of real famine footage, then asks its title question literally.
Three backpackers in the Australian outback. The first hour is a holiday film and it is not padding.
A stranger knocks during a storm at a caravan-park trailer, and neither of the two people is quite what they seem.