In lesser hands, the wild theatrics and camp stylings of Ken Russell’s story of religious persecution and demonic possession in seventeenth-century France would turn The Devils into no more than a fleshy, hysterical romp.
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His intention, said Dreyer, was ‘to create a daydream on the screen and to show that the horrific is not to be found around us, but in our own unconscious mind.’ And Vampyr is often compared to a waking dream, full of strange hallucinatory images that strike dread in audiences even today. The lord of the manor dies and his young daughter is gravely ill, bite wounds to her neck. It stars Nicolas de Gunzburg (a Russian aristocrat who bankrolled the film, appearing under the alias Julian West) as an occult-obsessed young man who visits a French village haunted by a vampire. Dreyer spun his cinematic nightmare from two stories from a Sheridan Le Fanu collection. And Vampyr is different, a film like no other. Vampyr, he declared, was ‘one of the worst films’ he’d ever seen, but added grudgingly that director Carl Dreyer could always be relied upon to be ‘different’. In 1932, the New York Times’s film critic was not impressed. Full of acid wit and howlingly funny, The Old Dark House is one of the most giddily glorious films you’re ever likely to see.Ĭast: Julian West, Jan Hieronimko, Sybille Schmitz Upstairs, their 101- year-old dad is bedridden and Saul their pyromaniac brother is locked in the attic, while Morgan the mad butler (Karloff) is getting fighting-drunk in the kitchen. I like gin,’), who’s constantly bickering with his batty, deaf sister. Head of the household is Horace (a juicily camp turn by Thesiger: ‘It’s only gin. Its inmates, the Femm family, are quite frankly bonkers. The film was adapted from JB Priestley’s novel Benighted, and sees a young couple, a chorus girl, a war veteran and a gruff self-made industrialist take shelter in a tumbledown Welsh mansion during a rainstorm. Thank goodness! What a tragedy it would have been to lose this deliciously ghoulish comedy of manners. Religious dogma, political division and – finally and devastatingly – military intervention all go under Darabont’s shakeycam microscope, resulting in perhaps the most intelligent, compelling and heartbreaking horror movie of the century so far.Ĭast: Boris Karloff, Ernest Thesiger, Charles Laughtonīelieved lost for over 30 years, they found The Old Dark House in the Universal Studios vaults in 1968. But it’s also a ferociously modern drama, picking apart the political and social threads which just about held America together under the Bush administration. On one level this is pure throwback, an old-school tentacles-and-all monster movie which really comes alive in its glittering monochrome DVD version. Having tackled Stephen King twice already – in The Shawshank Redemption and its inferior follow-up The Green Mile – Frank Darabont made his first out-and-out horror movie with this bleak, pointed adaptation of King’s novella about a mysterious fog which swamps a small town, forcing the inhabitants to take shelter in the local supermarket. 🩸 The 15 scariest horror movies based on true storiesĬast: Thomas Jane, Marcia Gay Harden, Toby Jones 👹 Cinema’s creepiest anthology horror movies Written by Tom Huddleston, Cath Clarke, Dave Calhoun, Nigel Floyd, Phil de Semlyen, David Ehrlich, Joshua Rothkopf, Nigel Floyd, Andy Kryza, Alim Kheraj and Matthew Singer
There is, after all, more than one way to scare someone – and these movies do it better than all others. Some stretch the boundaries of what can be shown on screen, but others can raise the hairs on your arms through mere suggestion. After all, every film exists to make an audience feel something – and what makes you feel more than a good horror movie? Among our picks, you’ll find films that mine universal human fears, whether it’s the fear of death and disease or more specific phobias. But let this list of the greatest horror movies ever made repudiate the idea that the genre has ever been of lesser value than others. Visionary auteurs like Ari Aster and Jordan Peele, and leftfield hits like A Quiet Place, It Follows and Get Out have brought horror to a higher standing in the cinematic universe. Only recently has that started to change. But that phenomenon had a generational trickle-down effect, staining even the smarter, more artful entries with the taint of schlock. Particularly in the 1970s and ’80s, the genre became a magnet for hacks and hucksters looking to make a quick buck via the burgeoning VHS video by crapping out a script and dousing horny teens in gallons of stage blood. Horror movies have rarely got the respect they deserve.
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