The 80 Best Horror Movies on Amazon Prime Right Now

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The 80 Best Horror Movies on Amazon Prime Right Now

After drawing up huge rankings of the best horror movies on Netflix and the best horror movies on Hulu, it’s safe to say we’ve gotten used to the challenge of diving through the refuse of a streaming service and searching for the gems. But we’ve never really experienced a library with just as much junk in it as the Amazon library. If you’ve been paying attention, then you know this is only compounded by the fact that the “browse” function on Amazon Video is completely and utterly broken.

But with that said, Amazon subscribers also have access to a wealth of riches, many of them hiding in plain sight. Slowly but surely, they’ve built the biggest and most comprehensive horror library of all the major services—there’s really no question now that they’ve surpassed Netflix, Hulu and all other streamers except for genre-specific services like Shudder. The trick is realizing those movies are there at all. Sure, it’s no surprise that Hereditary is now on the service, given its release last year. But did you know Amazon Prime was loaded with classic Italian giallo movies like Deep Red, Opera and Blood and Black Lace? Or werewolf classics like Dog Soldiers and Ginger Snaps? Or the first eight entries in the Friday the 13th series? There are all sorts of great movies here, which have made us expand the scope of this list all the way to 80.

Therefore, fall back on our list of films that are worth your time for one reason or another—just don’t expect to find them via browsing, when something like Carrie only shows up when you’re 30 pages deep.


Here are the 80 best horror movies on Amazon Prime:

birdemic-shock-and-terror.24938 (Custom).jpg 80. Birdemic: Shock and Terror
Year: 2008
Director: James Nguyen
Birdemic is an absolutely horrendous film, but it’s one that absolutely everyone who’s ever enjoyed The Room needs to put on their list. On first inspection it simply looks like a rip-off of Hitchcock’s The Birds, but in reality it’s so much worse and more fascinating than that. The parallels to The Room are extremely accurate: Like Tommy Wiseau’s famously inept film, Birdemic is the product of a single, deranged mind, that of the Vietnamese-born would-be auteur James Nguyen, whose non-native writing fills the dialog with mind-bending absurdities and a pathetically sincere attempt at an ecological message. The actors seem to be people that Nguyen scooped off the street moments before shooting began, completely wooden and unsure of where they are or how they got here. Technical gaffes abound. And when the birds finally show up, the film is graced by some of the most gut-bustingly hilarious FX of all time—clip-art birds that flutter in place, suspended in mid-air while the heroes swipe at them with coat hangers. This is all in Birdemic. You need to see Birdemic. But please, I’m warning you: Ignore Nguyen’s self-aware attempt to follow up on the film with Birdemic 2: The Resurrection. The magic, unsurprisingly, is gone. — Jim Vorel


thankskilling poster (Custom).jpg 79. Thankskilling
Year: 2008
Director: Jordan Downey
In the pantheon of zany, holiday-themed horror movies, Thankskilling is somehow both the very worst and the very best. It’s immediately obvious that this profane, smutty horror-comedy about a killer turkey is “bad on purpose,” but at the same time it displays incompetence both intentional and unintentional. The performers, especially the leads, are bad in ways that no amount of coaching could ever help, but that turkey … his one-liners are somehow just crass enough to often be side-splitting. Made for a mere $3,500, it’s a clear case where a writer-director’s cleverness is on an entirely different level from the poor souls he was able to scrape together to make his film, and the effect is an endearingly weird mix of repulsion and charm. Enjoy it for what it is, but by all means, avoid the horrendous, shark-jumping sequel, Thankskilling 3. If you’re wondering about that title, it’s because the series skipped right over Thankskilling 2. Trust me, it’s not as clever as it sounds. —Jim Vorel


53. white zombie (Custom).jpg 78. White Zombie
Year: 1932
Director: Victor Halperin
One doesn’t need a Shudder subscription to see White Zombie—it’s readily available in the public domain, and you’ll see it included in every cheapo horror box set for that reason. Outside of star Bela Lugosi, the acting is pretty atrocious, but it’s a film that horror purists need to check off their lists at some point simply due to its influence and importance to the genre as the first-ever “zombie film.” Zombies, of course, had a very different connotation in the pre-George Romero world—these are Haitian voodoo zombies, Lugosi their spellbinding ringleader with the hypnotic eyes. This was in an age before subtlety had arrived in horror, so the name of Lugosi’s character is literally “Murder,” and he spends most of the film mucking about in the affairs of an engaged couple, zombifying the woman in the process to become his slave. It’s only 67 minutes long, so what do you have to lose? If you end up watching Revolt of the Zombies, King of the Zombies and I Walked with a Zombie afterward, I swear off all responsibility. —Jim Vorel


jason takes manhattan poster (Custom).jpg 77. Friday the 13th Part VIII: Jason Takes Manhattan
Year: 1989
Director: Rob Hedden
The slasher genre was well and truly out of steam by the time 1989 rolled around, and not even the Friday the 13th series could maintain any kind of momentum. There are kernels in Jason Takes Manhattan of what could probably have been an entertaining installment in the series, transplanting the standard formula to New York City rather than the familiar locales of Crystal Lake, but the film’s budget doesn’t allow for it to explore any of the possibilities the Manhattan setting would potentially offer. Instead, the whole “Manhattan as a draw” portion of the film comes off like a bait-and-switch, as the vast majority of the film actually takes place on a suspiciously basement-heavy boat full of high school students that is slowly steaming in the direction of New York Harbor. These scenes are interminable, highlighted only by the presence of a protagonist (Jensen Daggett) who is haunted by a childhood encounter she had with …child Jason? It’s a shame, given that the film picks up substantially by the time Jason (played with nice physicality by Kane Hodder) is striding through Times Square, beating up street toughs. Unfortunately, it’s too little, too late. —Jim Vorel


the town that dreaded sundown poster (Custom).jpg 76. The Town That Dreaded Sundown
Year: 1976
Director: Charles B. Pierce
The original version of The Town That Dreaded Sundown feels like a strange outlier among other proto-slashers, thanks to its insistence on marketing itself as a dramatization of a true story. This it does with surprising fealty in many ways: Its depiction of a string of murders in 1946 Texas is actually pretty accurate to the historical record, but that accuracy sometimes comes at the cost of a complete narrative. As in reality, the killer is never caught, and the film never deigns to speculate as toward his identity or true motivations—it’s the rare slasher film that is largely depicted from the perspective of the police trying to catch the killer, rather than the killer’s motley crew of victims, an embryonic version of David Fincher’s Zodiac. As a result, there’s an exploitative edge to The Town That Dreaded Sundown, and it’s unsurprising that the film offended family members of the people who had been killed, especially with its claim that the killer “still lurks the streets of Texarkana.” Still, perhaps they were right. In the end, this film is a gritty, sober, almost depressive slice of rural bloodthirstiness that raises more questions than it answers. (We should note that there is one extremely goofy kill, involving a trombone, that seems much more slasher-esque than the others.) —Jim Vorel


the little shop of horrors poster (Custom).jpg 75. The Little Shop of Horrors
Year: 1960
Director: Roger Corman
If you’ve only seen the Broadway musical or the 1986, Rick Moranis-fronted remake of The Little Shop of Horrors, then Roger Corman’s 1960 original might be something of a tough sell. It’s shot in grainy, low-budget black and white, of the kind that typified Corman’s horror comedies such as A Bucket of Blood in the same era, but it’s got an earnest goofiness that survives through it all. Seymour Krelboyne (Jonathan Hayes) is one of cinema’s great nebbishes, but you can’t help but root for the guy on some level, even as he’s manipulated to commit murders in service of a blood-drinking plant. And of course, the film is also filled with easter eggs, from the appearance of classic Corman bit player Dick Miller (of Gremlins and Terminator) to the weirdo performance turned in by a very young Jack Nicholson as a masochistic dental patient. And really—the film is a brisk 72 minutes long, so it’s not as if you’re making too much of a commitment here. —Jim Vorel


woman in black poster (Custom).jpg 74. The Woman in Black
Year: 2012
Director: James Watkins
There’s not much to this 2012 modern Hammer Horror film—nothing unique about it, but it’s quite competently assembled. With that said, you could argue that simply producing a ghost story this traditional in 2012 offered a bit of novelty. Daniel Radcliffe, fresh off his final Harry Potter appearance, took a role playing “an adult” as Arthur Kipps, a Victorian era lawyer who travels to the country to negotiate the sale of a house that is revealed to be haunted by the spirit of the Woman in Black. This CGI specter has a particular fondness for targeting children, and the film becomes a mystery in the “placate this restless spirit and set her free” mold. It offers a few fun twists and turns, and evokes classic British haunted house movies as Radcliffe stalks through dark, cobwebbed rooms with a flaming candelabra to light his way. The ending is a bit derivative of Sam Raimi’s Drag Me to Hell, but all in all this is a better-than-average, classical ghost story. —Jim Vorel


final exam poster (Custom).jpg 73. Final Exam
Year: 1981
Director: Jimmy Huston
During the height of the early slasher boom, some horror films attempted to carve out unique niches for themselves and expand the boundaries of the genre. Others were merely content to copy-cat the conventions of other films and let the bodies fall where they may. Final Exam falls mostly into the latter camp—the filmmakers were literally instructed to produce Halloween, except on a college campus, and this is the result. Still, there are a few little idiosyncrasies that make it more memorable than some of the other Halloween or Friday the 13th clones. Most notable is the killer himself, who is presented as a completely unknown, rampaging force to whom motive (or even identity!) is never ascribed. The anonymous, seemingly unmotivated nature of the threat makes it easier to sympathize with the college kids, rather than simply rooting for their voyeuristic deaths, as becomes common the longer the slasher genre is around. It’s a minor entry in the “death stalks campus” genre that also includes such films as Happy Death Day, The House on Sorority Row and Graduation Day. —Jim Vorel


friday new beginning poster (Custom).jpg 72. Friday the 13th Part V: A New Beginning
Year: 1985
Director: Danny Steinmann
Slasher sequels of the 1980s so often grappled with the same existential question: How do we allow our protagonists to triumph over the killer, or even kill the killer, but still bring that marketable murderer back for another installment? With Friday the 13th, the problem was only exacerbated by the intentional finality of a fourth installment that was literally titled The Final Chapter, complete with Corey Feldman taking a machete to Jason’s skull. Still, the box office demands what it demands, and the Friday the 13th series, like Halloween 3: Season of the Witch before it, came back for an installment without its central character—or more accurately, someone shows up wearing the hockey mask in A New Beginning, but it turns out to be a Jason copycat killer. That’s enough to turn off many fans entirely, although there’s a vocal contingent of A New Beginning defenders out there who claim the film is among the best in the series. In truth, A New Beginning is a perfectly competent mid-’80s slasher, with some goofy characters, decent kills and a uniquely mean-spirited and misanthropic tone that tends to be divisive among horror fans. Which is fitting, because everything about A New Beginning is divisive. It will always be the black sheep of the series. —Jim Vorel


day of the animals poster (Custom).jpg 71. Day of the Animals
Year: 1977
Director: William Girdler
After Jaws became the first true summer blockbuster in 1975, “animals attack” films proliferated. 1976’s Grizzly was the first big success in the “Jaws on land” variants, and director William Girdler followed it up with Day of the Animals, which could probably be considered the logical zenith of the “nature attacks” premise—an all-out war of all animals vs. all humans. As in, solar radiation somehow causes every animal above 5,000 feet of elevation to go insane, attacking anything in their path. A group of hikers are menaced by all kinds of animals—mountain lions, bears, birds of prey and even pet dogs. Leslie Nielsen, five years before his career-altering comedic turn in Airplane!, appears as the primary human villain, channeling a bit of his Creepshow character from the early ’80s. It’s sort of an ugly film to watch today, but if you’ve always wanted to see a shirtless Leslie Nielsen fight a bear, it’s really your only option. Regardless, of all the films on this list, it’s the one I’d most like to see remade with a big budget. I want to see that movie, and all the killer koalas it would surely entail. —Jim Vorel


madman 1981 poster (Custom).jpg 70. Madman
Year: 1982
Director: Joe Giannone
Madman is one of those perfectly serviceable early ’80s slashers that simply suffers in comparison to memories of the superior films it’s ripping off—namely Friday the 13th and The Burning. In actuality, this camp-set story was essentially going to be an adaptation of the same source material as The Burning, that of the New York “Cropsey” urban legend, before the (much better) film by Tony Maylam beat them to the punch. And lo, we got Madman instead, wherein Cropsey is replaced by the revenant of “Madman Marz,” a murderer who survived hanging and still stalks the woods located conveniently next to the camp for gifted children. This film is exactly what you expect it to be, full of red herrings and drawn-out stalk-and-slash killings. You could throw this on any night of the week and it would immediately feel comfortably familiar to any golden era slasher fan. It doesn’t aspire to be anything more than that, but it serviceably does its duty. —Jim Vorel


house at the end of time poster (Custom).jpg 69. The House at the End of Time
Year: 2013
Director: Alejandro Hidalgo
I earlier made the mistake of thinking this film was part of the prolific Spanish indie horror market, which has given us the likes of Nacho Vigalondo and Guillermo Del Toro, but The House at the End of Time is actually Venezuelan in origin. It’s ambitious but somewhat messy, a story about a family that undergoes a traumatic, fracturing event and its fallout over the course of 30 years. The eventual revelation of the twist pushes the story into more of a “sci-fi horror” direction, and feels somewhat inspired by the prime-era films of M. Night Shyamalan in execution. The film simply isn’t quite as profound as it would like to think it is, and the visual fidelity holds back its “cinematic” quality slightly, but it gets the most out of a strong central performance from its lead. If you get on a South American horror kick, you’ll end up watching it eventually. —Jim Vorel


dont go in the house poster (Custom).jpg 68. Don’t Go in the House
Year: 1979
Director: Joseph Ellison
Many entries on the famous British “video nasties” list of banned or otherwise restricted films are questionable, but Don’t Go in the House is one of those movies to actually earn the title in some respects—it truly is a nasty, mean-spirited movie with a seriously nihilistic streak. Equal parts Psycho, Carrie and Halloween, its central character/antagonist is a man who suffered long-running and traumatic abuse at the hands of his Norma Bates-esque mother, and lashes out at the world with fire as his preferred weapon to purify the world of evil. Some of its kills are particularly grisly, including graphic depictions of young women being burnt alive, and one imagines it was these sequences that partially inspired the fake trailer for Don’t, which ran in between segments of Rodriguez/Tarantino’s Grindhouse. Today, Don’t Go in the House stands as a minor grindhouse classic that appeals to the viewer with a somewhat misanthropic streak. —Jim Vorel


horror express poster (Custom).jpg 67. Horror Express
Year: 1972
Director: Eugenio Martin
An unusual film for its time period, Horror Express stars both Peter Cushing and Christopher Lee, and yet it’s not from Hammer as one would expect. Rather, it was a joint British/Spanish production simply aping the Hammer formula of classy actors in silly premises. This one is particularly weird: An archaeologist played by Lee discovers a “missing link” ape man buried in ice and tries to transport him in secret via train. The still-alive ape man defrosts, however, and proves to be armed with a rather unique set of powers. What follows is a bizarre film about stolen memories and brain-swapping, all taking place aboard the train. There are some really hypnotic performances, especially from relatively unknown Argentinean actor Alberto de Mendoza as a crazed priest. Telly Savalas, TV’s Kojak, even shows up out of right field playing a Russian Cossack officer, sans the usual lollipop. Who loves ya, baby? —Jim Vorel


silver bullet poster (Custom).jpg 66. Silver Bullet
Year: 1985
Director: Dan Attias
The best Stephen King adaptations have a consistency at their core, and that consistency is the palpable, warming feeling of nostalgia. Perhaps you didn’t expect us to start waxing philosophic about the warm and fuzzy feelings we’re getting from werewolf movies, but that’s how Silver Bullet will make you feel. It’s an intriguing blend of elements that simultaneously evokes the childhood coming-of-age quality you get in Stand By Me with some good old werewolf blood ’n’ guts at the same time. Corey Haim is a unique protagonist for this sort of film in the sense that he’s paraplegic, although not nearly as immobile as you’d expect—the titular “Silver Bullet” is his totally rad motorized wheelchair/motorcycle hybrid. The structure is almost like a parody of slasher movies, which were at their peak of popularity at the time—an unknown assailant in town among a list of suspects, while various people turn up dead in increasingly gruesome fashion. The special effects are a little suspect at times—the wolf kind of looks more like a bear—but it’s the only movie I know of where you can watch a young boy shoot a werewolf’s eye out with fireworks, and you’ve gotta reward that. Plus: Don’t discount the drunken Gary Busey Bump. —Jim Vorel


aaah zombies poster (Custom).jpg 65. Aaah! Zombies!!
Year: 2007
Director: Matthew Kohnen
There’s no escaping that in the post-Shaun of the Dead era, indie zombie comedies piled up like so many bodies at the morgue after a zombie outbreak. Many of them are terrible, but occasionally you do get one like Aaah! Zombies! that is a pleasant surprise. The film uses a similar “told from the zombie’s point of view” structure to what you see in Colin, but with a clever, comedic twist: The zombies are conscious and unaware that they’re zombies. Rather, a group of slacker friends believe that they’ve become “super soliders” thanks to a confused military private who’s also become zombified. This is achieved through differing perspectives: When we see things from the zombies’ point of view, the film is colorized and their dialog is audible. When we see things from the perspective of human characters, the film is black-and-white, and the zombies are lumbering and uncoordinated. Our zombies, then, are something like unreliable narrators—we mostly see from their perspective, but we’re quickly made aware that their perspective is incorrect, which is the main source of humor. I’m making this film sound a bit more cerebral than it actually is, though—what one should expect from Aaah! Zombies! is simply some over-the-top slapstick humor, cartoonish zombie violence and silly character actor cameos. It gets a decent amount of mileage and laughs out of a decidedly indie budget. —Jim Vorel


lifeforce poster (Custom).jpg 64. Lifeforce
Year: 1985
Director: Tobe Hooper
Even though he’s a classic horror director, Tobe Hooper of The Texas Chain Saw Massacre fame isn’t really the guy most would have expected to produce a kooky, ’80s sci-fi-infused vampire film. That is of course provided you recognize the aliens of Lifeforce as vampires. Hooper ditches the grimy aesthetic of his earlier work and cleverly plays with the old vampire genre conventions, keeping a few bat references but ditching the blood-sucking. Rather, the “space vampires” have been updated into more cerebral, aloof killers who drain people of their life energy. Oh, and by the way—the lead “space girl,” gorgeous French actress Mathilda May, spends pretty much the entire film nude, so be ready for that. What you’re left with is a uniquely gonzo, sexually charged sci-fi horror mash-up, equal parts mystical and pseudo-scientific—like a feature-length Twilight Zone episode as presented by USA Up All Night in the mid-’90s. I once saw it screened as part of a 24-hour B-movie festival, and that strikes me as exactly the way to consume Lifeforce: In a half-awake haze full of nudity and desiccated victims exploding into dust. —Jim Vorel


friday the 13th part 3 poster (Custom).jpg 63. Friday the 13th Part III
Year: 1982
Director: Steve Miner
Also known as Friday the 13th Part 3-D, the third installment in the Friday the 13th series is impossible to ever fully extricate from its visual gimmick, coming as it did during the second great wave of 3D filmmaking. This makes for some particularly hilarious and ham-handed lampshading when you watch the film within a modern context, as this entry is constantly sending objects careening in unnatural ways toward the camera, whether they’re yo-yos, freshly rolled joints, speargun ammunition or parts of the human anatomy. The story picks up where the second film left off, with an unmasked Jason (no more sack cloth with one eye hole!) on a rampage. Notably, this is the film where he first acquires the iconic hockey mask that would come to define the character, but the film’s human characters are more of a let-down—especially the sad sack Shelly, who plays grisly practical jokes on people and then can’t understand why no one likes him. Still, Part III is packed with enough unintentional laughs that it’s certain to scratch a particular itch for ’80s slasher cheese. It hits all the slasher cliches with such boundless enthusiasm that at times it almost feels like a very early genre parody. —Jim Vorel


slumber party massacre poster (Custom).jpg 62. The Slumber Party Massacre
Year: 1982
Director: Amy Holden Jones
The Slumber Party Massacre is a classic early ’80s cheesefest that holds the distinction of being one of the few slasher movies from the golden age of the genre that was actually directed and written by women—Amy Holden Jones and Rita Mae Brown, respectfully. In fact, Brown originally wrote the film as an early parody of the genre, playing off the tropes established by Halloween and Friday the 13th, but the movie was ultimately filmed as a legitimate horror vehicle instead, leaving it in a unique tonal middle ground that retains a fair amount of black comedy. As a result, it’s a trope-laden film that sees the denizens of the titular slumber party stalked by an escaped maniac (always a popular option, when you don’t want to write a killer’s backstory) armed with a power drill, à la 1979’s The Driller Killer. Ironically, despite being intended as parody, the film ended up establishing a number of “slumber party” horror movie tropes itself, the residuals of which echoed through the slasher genre for a decade to come. It’s also unusual in the sense that it has more than one character who could properly be labeled as a “final girl,” allowing for some tandem offense against the killer. —Jim Vorel


hell house llc poster (Custom).jpg 61. Hell House LLC
Year: 2015
Director: Stephen Cognetti
This is just about as lean and minimalist a concept as you can choose for a modern found footage horror movie, but Hell House LLC is much more a practice in execution than imaginative settings. It’s the documentary-style story of a haunted house crew that picks a decidedly wrong location for their attraction, and boom—they all wind up dead. Very standard set-up for a “no one gets out alive” entry in the found footage genre, but Hell House LLC actually does have some inspiring scares and performances. It gets a whole lot out of very small set-ups and deliveries, such as the shifting positioning of props and the life-size (and appropriately horrifying) clown costumes, shooting scenes in what looks very much like “real time,” with no cuts. There’s a naturalistic air to the actors’ sense of frustration and unease as weird events start to mount, but of course it all goes quite off the deep end and into unintentional humor in the closing moments. Still, there are many islands of genuine, blood pressure-raising fear in this well-executed film. Certainly, it’s better than most found footage efforts in the post-Paranormal Activity landscape. —Jim Vorel


carnival of souls poster (Custom).jpg 60. Carnival of Souls
Year: 1962
Director: Herk Harvey
Carnival of Souls is a film in the vein of Night of the Hunter: artistically ambitious, from a first-time director, but largely overlooked in its initial release until its rediscovery years later. Granted, it’s not the masterpiece of Night of the Hunter, but it’s a chilling, effective, impressive tale of ghouls, guilt and restless spirits. The story follows a woman (Candace Hilligoss) on the run from her past who is haunted by visions of a pale-faced man, beautifully shot (and played) by director Herk Harvey. As she seemingly begins to fade in and out of existence, the nature of her reality itself is questioned. Carnival of Souls is vintage psychological horror on a miniscule budget, and has since been cited as an influence in the fever dream visions of directors such as David Lynch. To me, it’s always felt something like a movie-length episode of The Twilight Zone, and I mean that in the most complimentary way I can. Rod Serling would no doubt have been a fan. —Jim Vorel


deathgasm poster (Custom).jpg 59. Deathgasm
Year: 2015
Director: Jason Lei Howden
New Zealand is seeing a revival as a hot-spot for indie horror comedies these days, between this film and others such as What We Do in the Shadows and its upcoming sequel, We’re Wolves, harkening back to the days of Peter Jackson. Deathgasm is a simple film, but a fun one that doesn’t aspire to much. A band of surly heavy metal-worshiping high school students stumbles upon “The Black Hymn,” a piece of medieval-era sheet music that has the power to summon demons and possibly bring about the end of the world. Naturally, they adapt it into a garage rock song, and soon enough, the neighborhood is abuzz with gore-heavy scenes of demonic possession. The humor is crude, and not quite as funny as it thinks it is, but the horror scenes are fun, and Deathgasm never drags. It’s been hailed as a new classic by metalheads, but I still think there’s an even better heavy metal horror film waiting to be made out there. Fun trivia note: Walmart refused to sell copies of the film without changing its title to “Heavy Metal Apocalypse,” so they did. —Jim Vorel


paranormal activity poster (Custom).jpg 58. Paranormal Activity
Year: 2007
Director: Oren Peli
Here’s a statement: Paranormal Activity is the most wrongly derided horror film of the last decade, especially by horror buffs. That’s what happens in the wake of massive overnight success, and immediately derivative, inferior sequels: The original gets dragged down by its progeny. The original Paranormal Activity is a masterful piece of budget filmmaking. For $15,000, Oren Peli made what is probably the most effective “for the price” horror movie ever released, surpassing The Blair Witch in terms of both tension and narrative while pulling off incredibly unnerving minimalist effects. Yes, there are some stupid, “I’m in a horror movie” choices by the characters, and yes, Micah Sloat’s “get out here so I can punch you, demon!” attitude is irritating, but it’s calculated to be that way. Sloat is a reflection of the toxic “man of the house” attitude, a guy who would rather be terrorized than accept outside help. Meanwhile, Katie Featherston’s realistic performance as a young woman slowly unraveling is a thing of beauty. But beyond performances, or effects, Paranormal Activity is a brilliant case study in slowly building tension, and in raising an audience’s blood pressure. I know: I saw this film in theaters when it was still in limited release, and I can honestly say I’ve never been in a movie theater audience that was more terrified. How could I tell? Because they were so loud in the moments of calm before each scare (the most dead giveaway of all: when a young man turns to his friends to assure them how not-nervous he is). This was just such an event—there were actually ushers standing at the entrance ramps throughout the entire film, just watching the audience watch the movie. I’ve yet to ever see that happen again. Deride all you want, but Paranormal Activity scared the hell out of us. —Jim Vorel


toxic avenger poster (Custom).jpg 57. The Toxic Avenger
Year: 1984
Directors: Michael Herz and Lloyd Kaufman
The Toxic Avenger, or simply “Toxie” as he’s known to fans, is the mascot and long-running figurehead of B-movie studio Troma Entertainment, having to date starred in four bone-crushing films. Born when a hapless nerd (Mark Torgl) falls into a barrel of toxic waste, Toxie (Mitch Cohen) is part Batman, part Swamp Thing and part Jason Voorhees, except his ire is thankfully directed solely at the legions of scumbags who ceaselessly seem to populate and spawn in the fictional Tromaville, NJ. A word to the wise: The Toxic Avenger isn’t for consumption by those without a strong stomach, although you could say that about most any of Troma’s classics. Their films aren’t so much “bottom of the barrel” or “lowest common denominator” as they are sub-denominatorial, reveling in their own poor taste and crassness, simultaneously parodying themselves and their own violent, sexual and scatological excesses. There’re no pretensions toward art in a Toxic Avenger movie, simply wish-fulfillment: a monster movie crossed with Death Wish, as performed by high school students. To quote the trailer: “The muggers and rapists didn’t know what law and order was until the Toxic Avenger came to town!” —Jim Vorel


friday-13th.jpg 56. Friday the 13th
Year: 1980
Director: Sean S. Cunningham
The Friday the 13th film that started them all. Years after two summer camp counselors are offed while they’re getting it on, a new group with similar extracurricular activities arrives at Camp Crystal Lake. Hack, slice. A pre-Footloose Kevin Bacon (one of the series’ many casting gems) gets lucky and then immediately gets an arrowhead through the back of the throat. Bummer. It’s a competent and formative slasher flick, though it barely resembles the series it spawned, in ways both positive and negative. Its impact, however, can’t be argued, and it’s the film most singularly responsible for properly kicking off the slasher boom of the ’80s. Jason makes only a brief, but extremely memorable appearance. And the ending reveal is among the most shocking in horror history. —Jeffrey Bloomer


childs play poster (Custom).jpg 55. Child’s Play
Year: 1988
Director: Tom Holland
Child’s Play is one of those late ’80s gimmick slashers where it’s all too easy to feel as if you’ve already seen the film, without actually having sat down to watch it. Killer doll, very cheesy, plenty of one-liners, right? Well yes, and no. The original (and pretty obviously best) entry in the Child’s Play series is the most serious-minded (at least slightly) and grounded of the movies, and it goes out of its way to humanize its iconic killer Chucky—or the spirit within him, that of serial killer Charles Lee Ray—more than one might expect. If you’ve never seen a film in the series, ask yourself this: Did you know that the plot of Child’s Play is technically all about voodoo? Because it is. In the end, though, its greatness and inherent watchability boils down to the charms of the wonderful Brad Dourif, who found in Chucky the vessel he needed to become a genre legend forevermore. Like Robert Englund did with Freddy Krueger, Chucky becomes the most beloved aspect of the series because Dourif’s voiceover just oozes charisma and character—he’s more alive than any of the flesh-and-blood characters in this series could ever be. It’s just one of those sublime moments of perfect casting—it’s easy to imagine that no one would remember the Child’s Play series today if that one aspect had been different. —Jim Vorel


the house that dripped blood poster (Custom).jpg 54. The House That Dripped Blood
Year: 1971
Director: Peter Duffell
If the output of British film studio Amicus Productions is usually said to lack the refinement and grandeur of Hammer’s horror films, they always seemed to make up for it with cheeky, good-natured charm. Their anthology horror films, such as Dr. Terror’s House of Horrors have a disarmingly simplistic quality to them—not the stately, stuffy gothic horror of Hammer, and more a continuation of the violent, ironic and comical horror stories seen in American E.C. Comics such as Vault of Horror or Tales From the Crypt. The House That Dripped Blood is one of those vintage anthologies, centered around a cursed house that keeps being inherited by new tenants—which is to say, victims. Its tales are silly and basic, but it’s buoyed by a strong cast of familiar British faces, from the duo of Peter Cushing and Christopher Lee (they’re in different stories, sadly) to Raiders of the Lost Ark’s Denholm Elliott and consummate Hammer buxom beauty Ingrid Pitt. It’s the perfect film for a jovial, Halloween party atmosphere—vintage spooky, but never truly disturbing. —Jim Vorel


48. frankenstein army (Custom).jpg 53. Frankenstein’s Army
Year: 2013
Director: Richard Raaphorst
Indie found footage horror, contrary to what the success of Paranormal Activity would have you believe, is not an easy proposition—not at all. The original Paranormal Activity succeeds as a low-budget triumph because it has such modest goals, and most of the other found footage successes share that in common, but Frankenstein’s Army is very different in that regard. It’s the story of a troop of Russian soldiers in the waning days of WWII, infiltrating a German compound that turns out to be the testing grounds for a Frankenstein-descendent mad scientist. When his undead soldier creations come to life, the Russian soldiers end up fighting for their lives. Plot and performances are essentially unimportant—what ends up being extremely impressive here are the fabulously grisly monster designs, practical effects and inventiveness in staging found footage action sequences. This is an ambitious film that can be dull when there aren’t monster attacks happening, but what they achieved on a limited budget in depicting their monsters is absolutely remarkable. —Jim Vorel


city of the living dead poster (Custom).jpg 52. City of the Living Dead
Year: 1980
Director: Lucio Fulci
If it’s an Italian horror film from the ’70s or ’80s, and it doesn’t involve cannibals, and it’s not a giallo, then it’s probably an arty, stylish, partially incomprehensible movie about zombies and ghosts. Such is City of the Living Dead, and such is almost everything in the filmography of Lucio Fulci. Never a director with the critical acclaim or heightened stature of a Dario Argento, Fulci was instead prolific, making his name in 1979 with the greatest of the Italian zombie films, Zombi 2. City of the Living Dead is considered the first in a so-called “Gates of Hell” trilogy, alongside two of his other best-known works, The Beyond and The House by the Cemetery. Like many of the Italian films it’s set in the U.S.A., which creates a strange, otherworldly quality given the international cast and dubbed dialog. It follows a young woman and her friends, who travel from New York to the Lovecraft-inspired town of Dunwich, where the suicide of a corrupted priest is causing the dead to rise from their graves and strike out at the living. It’s almost more a series of vignettes and unrelated scenes than a straightforward narrative, as residents of the town are killed at random by the zombies. That’s just how Fulci rolls. You don’t watch Lucio Fulci movies for plot; you watch them for atmosphere and stylish splatter. — Jim Vorel


absentia poster (Custom).jpg 51. Absentia
Year: 2011
Director: Mike Flanagan
Before he became Netflix’s go-to guy for horror, in projects such as Gerald’s Game and The Haunting of Hill House, Mike Flanagan completed his first feature, Absentia, which may very well be the best horror film you’ll ever see that raised its initial budget on Kickstarter. The film’s most notable achievement, though, is just how little it happens to be constrained by the extremely meager budget—at least until the third act gets a bit overambitious. Still, Absentia is a really impressive piece of indie filmmaking, with steady direction and fantastic performances from actresses Courtney Bell and Katie Parker, the former playing a woman who is finally going through the steps of declaring her husband dead after he went missing seven years earlier. Only now, she seems to be seeing him everywhere she looks. Part psychological thriller and part urban legend fantasy, it hinges almost entirely on the skillful, naturalistic performances of its leads and a collection of well-timed, unexpected scares that are sprung on the viewer when you’re least expecting them. Only in the big finale does its reach exceed its grasp, which makes us wish that perhaps Flanagan could remake Absentia someday, complete with the budget it needs. —Jim Vorel

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