Why do horror movies still feel undervalued? One thing’s for certain: In this age of geekery and craft reigning supreme, critics and academics no longer dismiss the genre as disreputable with the kneejerk regularity some once did. But even now there’s talk of “elevated horror” (see that concept’s lambasting in “Scream 5″) appearing in artier explorations of dread and terror — Ari Aster’s “Midsommar,” Luca Guadagnino’s “Suspiria,” Rose Glass’ “Saint Maud” — that are clearly distinguished from, well, non-elevated horror. The idea being that they engage your brain more than just showing brains…eaten by zombies or splattered against the wall.
How can films that fire your adrenal glands, send shivers down your spine, raise goosebumps, and quicken your breath — that inspire such an intense physical reaction — also be cerebral experiences? We forget all the time that, as Anna Karina’s “Pierrot Le Fou” character Marianne Renoir says, “There can be ideas in feelings.”
What scares people says a lot about them, as the debates about “Get Out,” “Men,” and similar titles have revealed. What scares people, and makes them laugh, says even more; see “Ready or Not” or “What We Do in the Shadows.” These two genres are the most often expected to provoke an immediate, visceral reaction from audiences. Maybe the aversion some viewers have to both is a fear of losing control: of laughing so hard you snort or having to turn away in fright, of embarrassing yourself. A lot of people simply don’t want to lose control, no matter what. What’s funny is that horror, like comedy, is a genre in which each filmmaker has to assert their utmost control over the material, has to perfectly calibrate the storytelling, so that their art’s audience can lose it. Extreme control so that the audience can lose control: That seems to be the key.
To celebrate these intensely primal, personal films, the IndieWire staff has put together this list of the 155 Greatest Horror Movies of All-Time. Our writers and editors suggested well over 155 titles and then voted on a list of finalists to determine the ultimate ranking of the first 100 entires. Numerous addendums have been made since. It’s a list that captures the wide range and diversity of the genre, from underseen Laird Cregar vehicles to a Russian chiller based on a Nikolai Gogol story, from J-Horror to the Mexican gem “Alucarda.” Brace yourself for these movies: losing control has never been so much fun.
Eric Kohn, Anne Thompson, David Ehrlich, Jamie Righetti, Michael Nordine, Chris O’Falt, Tambay Obenson, Steve Greene, Zack Sharf, Jude Dry, Chris Lindahl, Kate Erbland, Ryan Lattanzio, Noel Murray, and Christian Blauvelt also contributed to this story.
155. “The Invitation” (Karyn Kusama, 2015)
“The Invitation”
Everett Collection
Painfully slow at the start, but building to a uniquely effective last act, “The Invitation” is your basic mystery-dinner-invitation movie. But with a realistic set of characters and serpentine plot, director Karyn Kusama’s 2015 flick makes a lasting impression in a crowded horror category. Following the death of his young son — which, in turn, was followed by a messy divorce — the tortured Will (Logan Marshall-Green) agrees to dinner at the house of his ex-wife Eden (Tammy Blanchad) and her new husband David (Michiel Huisman). At first, Will and girlfriend Kira (Emayatzy Corinealdi) mingle with a few bottles of wine and a cast of very Los Angeles characters. But our hero’s gut feeling that something is going wrong can’t be explained by bad hors d’oeuvres. —AF
154. “The Craft” (Andrew Fleming, 1996)
“The Craft”
Columbia Pictures/Everett Collection
A surprisingly sinister staple of witchy teen cinema, “The Craft” examines the heavenly highs and hellish lows of betrayal in girlhood friendships. When new-in-town Sarah (pitch-perfect Robin Tunney) falls in with an outcast trio of magic enthusiasts at school, mousy introvert Bonnie (Neve Campbell), fired-up athlete Rochelle (Rachel True), and goth ringleader Nancy (an utterly iconic Fairuza Balk) pull her into their dangerous spiritual ambitions. Directed by Andrew Fleming, this 1996 flick struggles with pacing and a plot that ultimately doesn’t go very far. But it qualifies among the best of the horror genre because of its all-star cast, who, in tandem with well-written dialogue, make the coven-turned-clique into a believable and compelling anchor for the film’s action. Balk and Tunney achieve especially electric chemistry in their shared scenes, but Campbell and True also deliver stirring performances in solo beats that show off their apptitudes for acting out internal conflict. —AF
153. “Scream” (Matt Bettinelli-Olpin and Tyler Gillett, 2022)
“Scream”
©Paramount/Courtesy Everett Collection
Do you like scary movies? The fifth “Scream” depends on it. “Scream” (2022) subverted expectations with a requel, returning to the roots of the original by introducing the next generation of Ghostface victims, all of whom are related to the original victims—and killers. Directed by Matt Bettinelli-Olpin and Tyler Gillett, “Scream” stars Jenna Ortega and Melissa Barrera as the Carpenter (ahem, as in John Carpenter, most likely) sisters who are targets of the new Ghostface. Jack Quaid, Jasmin Savoy Brown, Dylan Minnette, Mason Meeks, and Mikey Madison round out the friend group who, one by one, encounter Ghostface thanks to a new set of established franchise rules. Sure, Courteney Cox, Neve Campbell, and David Arquette are back as well, but “Scream 5” aptly relies on Sam (Barrerra) and her secret tie to the original film for the main final girl gore. —SB
152. “Ready or Not” (Matt Bettinelli-Olpin and Tyler Gillett, 2019)
“Ready or Not”
Part “Clue,” part “Purge,” “Ready or Not” turns a boardgame on its head in a deadly game of hide and seek. Bride Grace (Samara Weaving) is inaugurated into the wealthy Domas family after marrying eligible bachelor Alex (Mark O’Brien). Yet the eccentric family of board game fame force Grace into a not-so-playful party trick: Survive the night by hiding in the mansion if you dare. Siblings Adam Brody and Melanie Scrofano set out to kill Grace, at the request of parents Andie MacDowell and Nicky Guadagni. Yet the commentary on wealth, marriage, and domesticity endures thanks to Weaving’s dedication to the “comedy of terrors,” as IndieWire’s David Ehrlich wrote. “She never lets us forget that this was supposed to be the best day of Grace’s life,” Ehrlich penned in his review, citing Grace’s descent into survival mode in lieu of newlywed bliss. Sure, the Domas family can hunt Grace down, but Weaving’s spiral into flight or fight paranoia makes “Ready or Not” worth playing. —SB
151. “Malignant” (James Wan, 2021)
“Malignant”
©Warner Bros/Courtesy Everett Collection
James Wan’s viral hit “Malignant” is almost not worth mentioning. Why? Because without knowing the twist, it’s difficult to describe just how fantastic the film is. Madison (Annabelle Wallis) is hit by her husband Derek (Jake Abel) and starts being able to see murders before they happen—starting with Derek himself. Half home invasion thriller, and half detective story, “Malignant’ is all horror…until it’s not. Madison is forced to investigate her own past and come to terms with the fact that she may not be who (or what) she thinks she is. “Malignant” relies on the absurd and thrives in the ridiculous; it would be a horrific shame if we didn’t get more. —SB
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