Berserk! (1967) is a campy murder-mystery-slash-horror hybrid that stands as a curious artifact from the later career of Joan Crawford. Known for her commanding performances and status as a titan of Hollywood’s golden age, Crawford’s presence elevates what might have otherwise been a forgettable schlockfest into something undeniably watchable. While it’s not a masterpiece, Berserk! offers enough intrigue and melodrama to keep audiences entertained, even if its thrills are more tame than terrifying.
Set in the colourful yet sinister world of a traveling circus, the film wastes no time diving into its macabre premise. A series of gruesome murders rocks the troupe, leaving circus manager Monica Rivers (Crawford) to navigate the chaos while safeguarding her business—and her secrets. Crawford, in her early sixties at the time, commands the screen with her trademark mix of icy authority and simmering vulnerability. Her Monica is as ruthless as she is enigmatic, and Crawford’s sheer charisma ensures she remains the centre of attention in every scene.
That’s not to say the rest of the cast doesn’t try. Ty Hardin brings a certain swagger as the hunky new high-wire act, and Diana Dors oozes campy charm as a jealous rival performer. Yet, their characters often feel like mere pawns in a game that Crawford is orchestrating. Her ability to dominate the narrative, even in a low-budget thriller like this, is a testament to her enduring star power.
The film itself is a mixed bag. Director Jim O’Connolly crafts an entertaining but uneven narrative, often veering into melodramatic territory. The murder sequences, though strikingly staged for their time, lack the visceral edge to fully capitalise on the horror elements. Similarly, the “whodunit” aspect doesn’t quite deliver the nail-biting suspense it promises, culminating in a finale that feels more absurd than shocking.
However, Berserk! does succeed in delivering a gaudy, vibrant aesthetic that captures the circus milieu. From the bright costumes to the dramatic performances under the big top, the film revels in its setting, creating an atmosphere that is as unsettling as it is ostentatious. It’s a shame the plot can’t fully match the energy of its lead and setting, often succumbing to formulaic beats.
The Prognosis:
Berserk! is not a great film, but it’s an oddly fascinating one. Its appeal lies less in its plot and more in the chance to witness Joan Crawford embracing the genre with gusto, proving she could still mesmerise audiences even in her later years. For fans of campy horror and classic Hollywood, it’s worth a watch—if only to see the legendary Crawford working her magic under the circus tent.
Shudder Original Series Series Premiere Date: December 13, 2024
As The Creep Tapes bows out with its final episode, Mom (and Albert) delivers a potent blend of psychological unease and familial dysfunction. Taking the story back to Josef’s roots, this episode ventures into the unsettling realm of the family home, peeling back layers of his psyche while injecting a fresh dose of tension with the titular Albert—his mother’s new lover.
The shift in setting immediately distinguishes this episode. The familiar, impersonal backdrops of previous entries give way to the suffocating intimacy of a childhood home. It’s a place that should offer comfort but instead brims with latent tension. Josef’s arrival feels less like a homecoming and more like an invasion, with every exchanged glance and clipped remark between him and his mother steeped in unspoken history.
Enter Albert, a seemingly mild-mannered addition to the household, whose presence tips the power dynamics into dangerous territory. Played with an unsettling mix of charm and obliviousness, Albert becomes a lightning rod for Josef’s simmering rage and jealousy. Their interactions veer between awkward civility and veiled hostility, and as the cracks in Josef’s mask widen, it becomes clear that Albert is more than just an unwelcome guest in Josef’s eyes—he’s a symbol of everything Josef feels he’s lost.
The direction here is particularly sharp, leaning into uncomfortable silences and tight framing that captures the oppressive weight of these relationships. The episode’s tension builds methodically, leading to a climactic moment that is equal parts shocking and darkly comedic—a trademark of the series. The “titillating” conclusion, while provocative, feels earned in the context of the episode’s exploration of power, control, and Josef’s fractured psyche.
What makes Mom (and Albert) so effective is its ability to subvert expectations. Where previous episodes leaned heavily into Josef’s control over others, this installment strips him of his dominance, leaving him exposed and vulnerable. It’s a bold move for a finale, challenging the audience to reconsider their understanding of Josef while providing an unsettling endnote to his arc.
Final Thoughts: Mom (and Albert) is a fittingly twisted send-off for The Creep Tapes, doubling down on the series’ psychological and emotional complexity. By juxtaposing Josef’s past with his present and introducing a disruptive force in Albert, the episode underscores the fragility of Josef’s carefully constructed persona. As the series concludes, it leaves us with a lingering sense of dread—and a morbid curiosity about what lies ahead for Josef.
Saul Muerte
The Creep TapesSeries are currently streaming Exclusively on Shudder and AMC+
When Friday the 13th: The Final Chapter slashed its way into theaters in 1984, it was marketed as the definitive conclusion to Jason Voorhees’ reign of terror. Of course, hindsight reveals this “final” chapter was merely the midpoint of a sprawling franchise. Yet, even after 40 years, this fourth installment remains a fan favourite, celebrated for its heightened intensity, memorable characters, and pivotal role in shaping the series’ future.
Tommy Jarvis: A Hero is Born
A key reason The Final Chapter resonates so deeply with fans is the introduction of Tommy Jarvis, played by a young Corey Feldman. Tommy, a precocious horror enthusiast with a knack for special effects makeup, is a rare protagonist who feels as intriguing as Jason himself. Feldman brings an authentic mix of vulnerability and resourcefulness to the role, making Tommy an instantly iconic character.
Tommy’s climactic confrontation with Jason—a battle of wits and willpower—is one of the franchise’s most intense moments. His shocking decision to shave his head and impersonate a younger version of Jason to disorient the killer was both unsettling and ingenious, adding a psychological edge rarely seen in slasher films of the era. This pivotal moment not only cemented Tommy as a standout character but also set the stage for his return in later entries, making him a central figure in the saga.
The Turning Point
By the time The Final Chapter arrived, the Friday the 13th formula was well established: a group of teenagers ventures to Crystal Lake, where they meet gruesome ends at Jason’s hands. However, this installment elevated the franchise in several key ways.
Director Joseph Zito (The Prowler) brought a more polished aesthetic to the film, combining tense, atmospheric build-ups with visceral kill sequences. Tom Savini, returning to provide the special effects after his groundbreaking work on the original film, delivered some of the franchise’s most memorable gore. From Jason’s harpoon impalement to his shocking demise via machete to the face, the kills were as creative as they were brutal, solidifying Jason as an unstoppable force of nature.
The film also marked a tonal shift, balancing the campy thrills of earlier installments with a darker, more serious approach. This wasn’t just another Jason romp—it felt like the franchise was reckoning with its own legacy. The inclusion of Tommy Jarvis and his family introduced a level of emotional investment often absent from slasher films, giving audiences someone to root for beyond mere survival.
Jason’s (Temporary) Swan Song
Perhaps most notably, The Final Chapter marked the (temporary) end of Jason Voorhees as fans knew him. The film’s bold decision to actually kill off Jason in a conclusive and gruesome manner was a major gamble. For many fans, this death felt definitive, a fitting end to a character who had become synonymous with the genre. Of course, Jason would rise again, but this film gave him a sense of finality that added weight to his demise.
Fan Favorite Legacy
Decades later, The Final Chapter continues to stand out as one of the franchise’s most beloved entries. Its blend of suspense, gore, and character-driven storytelling has made it a benchmark for slasher sequels. For many fans, this installment represents the franchise at its peak—a perfect storm of horror elements that capture everything audiences love about Friday the 13th.
Final Thoughts
Friday the 13th: The Final Chapter may not have been the end of Jason Voorhees, but it was undeniably a turning point for the franchise. With the introduction of Tommy Jarvis, the escalation of gore and tension, and a climactic showdown that still leaves audiences breathless, this installment remains a testament to why Friday the 13th endures as a cornerstone of horror. Forty years later, it’s clear that The Final Chapter is anything but the end—it’s the moment Jason and his machete became immortal.
What’s your favourite memory or moment from this fan-favorite slasher? Let’s celebrate four decades of terror at Crystal Lake!
Few films manage to capture the sheer cosmic dread and creeping insanity of H.P. Lovecraft’s writing, but John Carpenter’s In the Mouth of Madness not only achieves this, it arguably transcends it. As the third entry in Carpenter’s “Apocalypse Trilogy”—following The Thing (1982) and Prince of Darkness (1987)—this 1994 film stands tall as one of the finest examples of Lovecraftian horror on screen. For many, it’s also regarded as Carpenter’s last truly great film, a testament to his mastery of mood, pacing, and his ability to weave terror into every frame.
A Spiral Into Madness
Sam Neill delivers a career-defining performance as John Trent, an insurance investigator hired to locate the missing horror author Sutter Cane (Jürgen Prochnow). What begins as a seemingly straightforward investigation swiftly devolves into a kaleidoscopic nightmare, as Trent journeys to the ominous town of Hobb’s End—a fictional place that exists only in Cane’s novels, or so he believes.
Neill’s portrayal of Trent is pitch-perfect. He oscillates between skepticism, defiance, and pure, unhinged terror with ease. His descent into madness is as gripping as it is harrowing, with Carpenter using him as a surrogate for the audience, dragging us deeper into the abyss of Cane’s twisted reality.
Lovecraft Brought to Life
The film is an unapologetic love letter to Lovecraft. Themes of forbidden knowledge, crumbling sanity, and eldritch horrors permeate every corner of the story. The monstrous, otherworldly creatures lurking in the shadows and the unrelenting sense of dread feel ripped straight from Lovecraft’s pages. Yet, In the Mouth of Madness also stands as a uniquely Carpenter creation, blending the author’s cosmic nihilism with the director’s penchant for kinetic storytelling and sharp social commentary.
Books Within Films Within Madness
The layers of meta-textual storytelling are dizzying. Sutter Cane’s novels don’t just terrify; they infect reality itself, reshaping the world into his grotesque vision. Carpenter masterfully blurs the line between fiction and reality, leaving audiences questioning whether Trent’s unraveling is the result of supernatural forces or his own fragile psyche. The meta-commentary on the power of storytelling—and its ability to reshape perception—is hauntingly prescient in a world increasingly shaped by media narratives.
A Visual Nightmare
Carpenter’s direction is both methodical and chaotic, amplifying the film’s escalating insanity. The eerie small-town setting of Hobb’s End is a masterpiece of unsettling design, with its shifting geography and uncanny atmosphere. Cinematographer Gary B. Kibbe’s use of shadows, distorted perspectives, and surreal imagery keeps the audience on edge, while the practical effects, including the grotesque creatures, are a horrifying delight.
A Horror Swan Song
For Carpenter, In the Mouth of Madness represents a culmination of his lifelong exploration of apocalyptic dread. While he would go on to direct more films, none would achieve the same level of craftsmanship, ambition, or raw terror. It’s a film that demands repeat viewings, with new layers of meaning and horror revealed each time.
Final Thoughts
In the Mouth of Madness is an unrelenting descent into the heart of madness—a film where reality, fiction, and insanity bleed together in a cacophony of terror. It’s Carpenter’s boldest and most thematically rich work, a fitting capstone to his reign as one of horror’s greatest auteurs. Sam Neill’s towering performance, combined with the film’s Lovecraftian sensibilities and Carpenter’s confident direction, solidifies it as a masterpiece of cosmic horror.
John Krasinski’s A Quiet Place is a revelation in modern horror, a film that uses sound—or the lack thereof—to deliver some of the most nail-biting tension in recent memory. The story unfolds in a post-apocalyptic world where monstrous creatures hunt by sound, forcing a family to live in near-total silence. The narrative is deeply personal, focusing on a family’s struggle to survive and protect each other while navigating grief and hope in a world that has fallen apart. Krasinski’s direction transforms silence from a survival mechanism into a harrowing storytelling tool, forcing viewers to hang on every sound.
Emily Blunt’s performance is a standout, particularly in a sequence involving childbirth that showcases both her character’s and the film’s ability to generate relentless suspense. The familial relationships elevate A Quiet Place beyond a standard creature feature, grounding the horror in universal emotions of love and loss. Krasinski’s portrayal of a father doing everything he can to protect his children resonates deeply, adding layers to the film’s already compelling story.
What makes A Quiet Place truly remarkable is its ability to engage audiences on a primal level. It demands their attention and silence, pulling them into its carefully constructed world. The film is a triumph of minimalist horror, proving that tension doesn’t require elaborate plots or excessive dialogue—just a clever concept executed with precision. Krasinski’s transformation from a comedic actor to a horror auteur is inspiring, leaving us curious about what other surprises he might have up his sleeve.
S. Craig Zahler’s Bone Tomahawk defies easy categorization, blending the Western and horror genres into a film that is as thought-provoking as it is harrowing. The story follows a small-town sheriff (Kurt Russell) leading a rescue mission into hostile territory after a group of townsfolk is abducted by a tribe of cave-dwelling cannibals. Zahler’s deliberate pacing gives the film a meditative quality, allowing audiences to bond with its richly drawn characters before plunging them into an abyss of terror.
The cast is exceptional, with Kurt Russell delivering a commanding performance as a grizzled lawman, and Richard Jenkins offering a poignant turn as his loyal but aging deputy. Patrick Wilson and Matthew Fox round out the group with compelling portrayals of men driven by duty and desperation. The film’s restrained first half lulls viewers into a sense of security, emphasizing camaraderie and moral dilemmas, which makes its shocking third act all the more jarring.
When Bone Tomahawk shifts into full horror mode, it does so unapologetically, with some of the most gruesome sequences in modern cinema. The brutality isn’t gratuitous but serves to underscore the savage reality of the world Zahler has created. The film challenges audiences to grapple with themes of survival, morality, and the limits of humanity in the face of inhuman threats. It’s a unique entry in the horror canon, proving that genre hybrids can be as unsettling as they are innovative.
8. Raw (2016)
Julia Ducournau’s Raw is a visceral exploration of identity, desire, and transformation, wrapped in the guise of body horror. The film follows Justine (Garance Marillier), a vegetarian veterinary student who develops an insatiable craving for flesh after a hazing ritual. What begins as a subtle coming-of-age story evolves into a grotesque yet beautiful meditation on the complexities of human nature and familial bonds. Ducournau’s direction is fearless, blending shocking imagery with a deeply empathetic narrative.
The relationship between Justine and her older sister, Alexia (Ella Rumpf), is central to the film’s emotional core. Their sibling rivalry, complicated by their shared dark secret, mirrors the duality of love and destruction that defines Raw. Ducournau uses their bond to explore themes of inheritance and transformation, both literal and metaphorical. The film’s stark visuals and pulsating soundtrack amplify its intensity, immersing the audience in Justine’s unsettling journey of self-discovery.
Beyond its shock value, Raw is a deeply introspective film that challenges viewers to confront their own perceptions of normalcy and taboo. It’s a story about growing up, breaking free, and embracing the parts of oneself that society deems unacceptable. Ducournau’s masterful storytelling and Marillier’s haunting performance make Raw an unforgettable cinematic experience—a horror film that transcends its genre to deliver something profoundly human.
Bong Joon-ho’s The Host is more than a monster movie—it’s a masterful blend of horror, satire, and family drama that redefines the creature-feature genre. The story begins with an environmental disaster caused by human negligence, leading to the birth of a monstrous creature that terrorizes the Han River. The film focuses on the dysfunctional Park family as they band together to rescue their youngest member, who has been abducted by the creature. Bong uses this central narrative to weave in commentary on government incompetence, societal apathy, and environmental responsibility.
The titular creature is a marvel of design, grotesque yet oddly graceful, and its appearances are both thrilling and terrifying. However, what truly sets The Host apart is its focus on the human element. The Park family, led by the bumbling but lovable Gang-du (Song Kang-ho), is a far cry from the typical heroic protagonists of monster movies. Their flaws and resilience make them relatable, anchoring the film’s fantastical elements in a deeply emotional reality.
Bong’s ability to balance tonal shifts—from horror to humor to tragedy—is nothing short of remarkable. The Host’s mix of heart-pounding action and poignant family drama ensures it resonates on multiple levels. It’s a film that entertains while provoking thought, solidifying Bong Joon-ho’s reputation as a filmmaker who defies conventions and elevates every genre he touches.
6. Midsommar (2019)
Ari Aster’s Midsommar is a visually stunning and psychologically disturbing exploration of grief, relationships, and cultural alienation. The film follows Dani (Florence Pugh), a young woman reeling from a devastating personal loss, as she accompanies her distant boyfriend Christian (Jack Reynor) and his friends on a trip to a secluded Swedish commune. What begins as a seemingly idyllic cultural retreat quickly devolves into a harrowing descent into ritualistic horror. Aster masterfully juxtaposes the radiant beauty of the setting with the dark undercurrents of the story, creating a uniquely unsettling experience.
Florence Pugh delivers a career-defining performance as Dani, capturing her emotional fragility and gradual transformation with remarkable nuance. Her journey from victimhood to empowerment, albeit through disturbing means, is both tragic and cathartic. The film’s dissection of toxic relationships adds depth to its narrative, with Dani and Christian’s crumbling partnership serving as a metaphor for the broader themes of connection and isolation.
Midsommar stands out for its unorthodox approach to horror, eschewing darkness and jump scares in favor of daylight terror and slow-building dread. The intricate production design, folk-inspired rituals, and meticulous pacing immerse viewers in the eerie world of the Hårga. Aster’s second feature cements his status as a modern horror auteur, proving that terror doesn’t always lurk in the shadows—it can also bloom in the blinding light of midsummer.
5. Train to Busan (2016)
Train to Busan reinvigorates the zombie genre with its heart-pounding action and deeply emotional storytelling. Directed by Yeon Sang-ho, the film unfolds on a high-speed train from Seoul to Busan, where passengers must fight for survival as a zombie outbreak spreads rapidly through South Korea. While the premise may seem familiar, the execution is anything but, blending relentless tension with heartfelt moments that elevate it above standard fare.
At its core, Train to Busan is a story about humanity, focusing on Seok-woo (Gong Yoo), a workaholic father traveling with his estranged daughter, Su-an (Kim Su-an). Their relationship serves as the emotional anchor, and their evolving bond amid the chaos is profoundly moving. The film also introduces a memorable ensemble of characters, from a selfless father-to-be (Ma Dong-seok) to a pair of elderly sisters whose loyalty transcends the apocalypse. Each adds depth and texture to the story, making the stakes feel personal.
Yeon Sang-ho’s direction ensures that the film is both a thrilling spectacle and a poignant exploration of sacrifice, heroism, and societal flaws. The confined setting of the train amplifies the tension, while the expertly choreographed action sequences keep audiences on edge. Train to Busan isn’t just one of the best zombie films of the 21st century—it’s a testament to the power of genre cinema to evoke fear, tears, and triumph all at once.
4. Shaun of the Dead (2004)
Edgar Wright’s Shaun of the Dead is a brilliant fusion of comedy and horror, affectionately dubbed a “rom-zom-com.” The film follows Shaun (Simon Pegg), a hapless everyman navigating a zombie apocalypse while attempting to win back his ex-girlfriend Liz (Kate Ashfield) and reconcile with his mother. Wright’s razor-sharp direction and Pegg’s witty screenplay, co-written with Nick Frost, breathe new life into the zombie genre, blending laughs with genuine scares and heartfelt character moments.
The film’s strength lies in its characters and their relationships. Shaun’s bromance with his slacker best friend, Ed (Nick Frost), provides endless comedic moments, but it also adds emotional weight as their dynamic shifts throughout the story. Meanwhile, the strained relationships with Liz and his stepfather (Bill Nighy) serve as a backdrop for Shaun’s reluctant journey toward maturity. These elements ensure the film is as much about personal growth as it is about survival.
Wright’s signature visual style, characterized by kinetic editing and clever foreshadowing, enhances the film’s humor and tension. From its iconic use of Queen’s “Don’t Stop Me Now” during a zombie beatdown to its biting commentary on societal apathy, Shaun of the Dead strikes a perfect balance between parody and homage. It remains a genre-defining masterpiece that showcases the versatility of horror-comedy and its ability to entertain, scare, and touch audiences in equal measure.
3. The Lighthouse (2019)
Robert Eggers’ The Lighthouse is an atmospheric descent into madness, a tale of isolation and obsession that feels both timeless and uniquely contemporary. Shot in stark black-and-white and framed in a nearly square aspect ratio, the film immerses viewers in the claustrophobic world of two lighthouse keepers, played with ferocious intensity by Willem Dafoe and Robert Pattinson. As they battle the elements, each other, and their own sanity, Eggers crafts a narrative that is as enigmatic as it is mesmerizing.
Dafoe and Pattinson deliver career-best performances, with Dafoe’s crusty, sea-faring monologues and Pattinson’s simmering desperation providing the film’s dramatic core. Their dynamic oscillates between camaraderie and hostility, creating a tension that is both deeply unsettling and darkly comedic. The film’s dialogue, rooted in 19th-century vernacular, adds to its authenticity, while its mythological undertones invite endless interpretation.
Eggers’ meticulous attention to detail extends to every aspect of the production, from the haunting sound design to the evocative use of light and shadow. The result is a film that feels like a fever dream, blending psychological horror with elements of folklore and existential dread. The Lighthouse is not for everyone, but for those willing to dive into its depths, it offers an unforgettable cinematic experience that lingers long after the final frame.
Jordan Peele’s Get Out is a groundbreaking exploration of racial tension and social horror, wrapped in the guise of a psychological thriller. The story follows Chris (Daniel Kaluuya), a young Black man visiting the family of his white girlfriend, Rose (Allison Williams). What begins as a seemingly awkward weekend soon reveals a sinister conspiracy that forces Chris to fight for his life. Peele’s razor-sharp script weaves biting satire with genuine terror, creating a film that is as thought-provoking as it is unsettling.
Daniel Kaluuya’s performance anchors the film, capturing Chris’s unease and resilience as he navigates an increasingly hostile environment. The supporting cast, particularly Allison Williams and Catherine Keener, deliver chilling performances that add layers to the narrative. Peele’s use of visual motifs, such as the sunken place, underscores the film’s exploration of systemic oppression and the erasure of Black identity.
Get Out is more than a horror film—it’s a cultural touchstone that sparked conversations about representation and racism in America. Its success cemented Peele as one of the most exciting voices in modern cinema, and its influence can be seen in the wave of socially conscious horror films that followed. By blending horror with incisive commentary, Get Out redefined what the genre could achieve, making it an essential entry in the canon of 21st-century cinema.
Tomas Alfredson’s Let the Right One In is a hauntingly beautiful tale of love, loneliness, and the monstrous within us all. Set in the snowy suburbs of 1980s Sweden, the film tells the story of Oskar (Kåre Hedebrant), a bullied boy who befriends Eli (Lina Leandersson), a mysterious girl with a dark secret. Their relationship blossoms against a backdrop of violence and despair, creating a poignant contrast between innocence and horror.
Eli’s vampiric nature adds a chilling layer to the story, but the film is less about bloodlust and more about the connection between two outcasts. Alfredson’s direction emphasizes the quiet moments—the tentative exchanges, the shared silences—that make their bond feel authentic and deeply moving. The performances of Hedebrant and Leandersson are extraordinary, capturing the vulnerability and resilience of their characters.
Cinematographer Hoyte van Hoytema’s stark visuals and Johan Söderqvist’s ethereal score create an atmosphere that is both melancholic and otherworldly. Let the Right One In transcends the vampire genre, delivering a story that is as tender as it is terrifying. It’s a masterpiece of modern horror, a film that lingers in the mind and heart long after its chilling final scene.
Closing Thoughts:
The 21st century has seen an evolution in the horror genre that defies its often-dismissed reputation as mere entertainment. From psychological dread to blood-soaked nightmares, these films represent a golden age of creativity, where directors are unafraid to challenge conventions and elevate horror to an art form. Each of the top ten entries demonstrates the genre’s versatility, pushing boundaries while exploring profound themes like grief, identity, and societal anxieties.
What makes these films so impactful is their ability to resonate on a deeply human level. Whether it’s the heartbreaking struggle for connection in Let the Right One In, the biting social commentary of Get Out, or the raw emotional unraveling in Midsommar, these movies prove that horror is not just about scares but also about what lingers beneath the surface—our fears, desires, and vulnerabilities.
As horror continues to evolve, these films serve as a testament to the genre’s enduring power and creativity. They have redefined the landscape, proving that horror is more than a niche—it’s a mirror to the human condition, capable of both terrifying and inspiring audiences. This list celebrates not just the scares but the stories, performances, and visionary filmmaking that have defined horror in the 21st century so far. And if these ten films are any indication, the future of the genre is both bright and deliciously dark.
Frederick R. Friedel’s Lisa, Lisa, better known as Axe, is a fascinating artifact of 1970s exploitation cinema. A minimalist revenge thriller, the film has earned a cult following over the decades for its stark brutality, eerie atmosphere, and unflinching low-budget aesthetic. While it lacks the polish or complexity of other genre classics, Lisa, Lisa delivers a harrowing and compact tale of survival and vengeance that lingers in the memory.
The plot is simple yet effective. Three criminals, on the run after a murder, seek refuge at a secluded farmhouse where 13-year-old Lisa lives with her bedridden grandfather. What follows is a tense game of cat and mouse as the intruders push Lisa too far, unleashing her simmering rage. The film’s brevity—running at a taut 68 minutes—leaves little room for filler, keeping the story tightly focused on its grim premise.
What sets Lisa, Lisa apart from its contemporaries is its unrelenting bleakness. Friedel leans into the limitations of his low budget, using the sparse setting and minimal dialogue to create an oppressive atmosphere. The farmhouse itself feels like a character, its peeling wallpaper and creaking floorboards underscoring the isolation and decay at the heart of the story.
Leslie Lee’s haunting performance as Lisa is the film’s centrepiece. Her quiet, almost detached demeanour adds an unsettling layer to the character, making her transformation into an avenger all the more chilling. Lisa isn’t portrayed as a triumphant heroine but as a damaged and dangerous individual, blurring the lines between victim and predator.
The film’s violence, while shocking for its time, is more suggestive than explicit, relying on Friedel’s knack for implication and mood. The gore is sparingly used but effective, reinforcing the grim realism of the narrative. This restraint, combined with the film’s low-fi aesthetic, gives Lisa, Lisa a raw edge that elevates it above mere exploitation.
However, the film isn’t without its flaws. The pacing occasionally feels uneven, and the limited budget shows in the occasionally wooden performances from the supporting cast. Additionally, the film’s lean runtime leaves little room for character development, which might leave some viewers craving more depth.
Despite these shortcomings, Lisa, Lisa holds its place as a notable entry in the revenge thriller subgenre. Its stark simplicity and oppressive tone make it a compelling watch, especially for fans of gritty, no-frills exploitation cinema. Fifty years later, it remains a testament to how resourceful filmmaking can turn limitations into strengths, delivering a haunting and visceral experience.
Few films embody the phrase “style over substance” quite like The Torture Chamber of Dr. Sadism (1967). Directed by Harald Reinl and loosely inspired by Edgar Allan Poe’s The Pit and the Pendulum, this German-Italian co-production takes Poe’s tale of terror and cranks the melodrama up to eleven, delivering a feverishly over-the-top gothic spectacle. While visually striking, the film’s excessive theatrics and lack of narrative depth ultimately keep it from achieving greatness.
The story centres on Count Regula (Christopher Lee), a sadistic nobleman who seeks immortality by performing gruesome experiments on virgins. Executed for his crimes, he rises from the grave decades later to exact revenge and continue his diabolical quest. A lawyer (Lex Barker) and a young woman (Karin Dor) find themselves drawn into his nightmarish world, traversing eerie forests and labyrinthine dungeons to face the undead count.
If nothing else, The Torture Chamber of Dr. Sadism is a visual feast. The production design is suitably gothic, with crumbling castles, fog-drenched woods, and macabre torture devices that feel ripped from the pages of a penny dreadful. The film’s set pieces are undeniably atmospheric, and there’s a dreamlike quality to the more surreal moments, such as a forest filled with hanging corpses or the titular torture chamber itself.
However, these striking visuals can’t compensate for the film’s lack of substance. The plot is paper-thin and feels more like an excuse to string together elaborate set pieces than a coherent story. The characters are one-dimensional, with Lex Barker’s stoic hero and Karin Dor’s damsel-in-distress offering little to engage the viewer. Even Christopher Lee, despite his commanding presence, is given little to do beyond glowering menacingly.
The film’s melodramatic tone is both its greatest strength and its biggest weakness. On the one hand, the over-the-top performances and operatic score lend it a certain campy charm. On the other hand, the relentless theatrics often verge on self-parody, undercutting any genuine sense of dread or suspense.
While The Torture Chamber of Dr. Sadism has its moments—particularly for fans of gothic horror—it ultimately feels like a missed opportunity. The film’s dazzling visuals and promise of Poe-inspired chills are undermined by a lacklustre script and an overreliance on melodrama.
For those seeking an over-the-top gothic romp, it’s worth a watch. But for those hoping for a faithful or genuinely chilling adaptation of Poe’s work, this film falls far short of its potential.
Eskil Vogt’s supernatural thriller offers a chilling exploration of innocence corrupted. Set against the backdrop of a Norwegian summer, the film follows a group of children who discover they possess strange powers. What starts as innocent fun takes a darker turn as their abilities spiral out of control. The movie skillfully combines coming-of-age elements with psychological horror, crafting a narrative that juxtaposes childhood purity with unsettling menace.
The strength of The Innocents lies in its refusal to spoon-feed answers, forcing viewers to grapple with the moral complexities of its characters. The young cast delivers astonishingly mature performances, lending an eerie authenticity to the unfolding chaos. This is a film that dares to ask: what happens when innocence and power collide? The answer is both haunting and devastating.
19. The Descent (2005)
Neil Marshall’s The Descent is a triumph of claustrophobic horror, plunging viewers into the depths of primal fear. Following a group of adventurous women on a spelunking trip, the film takes a nightmarish turn when they become trapped in a labyrinth of caves inhabited by grotesque, bloodthirsty creatures. Marshall’s direction excels at creating unbearable tension, exploiting both the physical confines of the cave and the emotional fractures within the group.
With its all-female cast delivering powerhouse performances, The Descent is as much a story of survival against external monsters as it is about confronting inner demons. Brutal, relentless, and impeccably paced, the film redefined creature features for the modern era, proving that the real horrors lie not just in what lurks in the dark but also in the bonds we think we can trust.
18. Mandy (2018)
Panos Cosmatos delivers a kaleidoscopic descent into madness with Mandy, a visceral revenge tale drenched in neon-soaked visuals. Nicolas Cage stars as Red, a man whose tranquil life is shattered when his lover Mandy is abducted and murdered by a deranged cult. Fueled by grief and rage, Red embarks on a blood-soaked quest for vengeance, wielding a handcrafted axe and the unrelenting power of Cage’s most unhinged performance.
Mandy is more than just a revenge thriller; it’s an audiovisual assault on the senses. The hypnotic cinematography and surrealist score by the late Jóhann Jóhannsson create an experience as intoxicating as it is horrifying. This is a film that revels in its eccentricity and dares to push the boundaries of genre filmmaking, standing as a love letter to fans of the bizarre and the brutal.
Produced by Guillermo del Toro and directed by J.A. Bayona, The Orphanage is a masterclass in atmospheric horror. The story follows Laura, a woman who returns to the orphanage where she grew up, with plans to reopen it as a home for disabled children. When her son mysteriously disappears, Laura is drawn into a chilling mystery involving the spirits of the orphanage’s tragic past.
Bayona crafts an emotional narrative that blends supernatural terror with poignant human drama. The film’s gothic setting, combined with an unnerving score and carefully orchestrated scares, makes for an experience that lingers long after the credits roll. The Orphanage is a haunting reminder that the ghosts of our past are often more terrifying than anything imagined.
16. Climax (2018)
Gaspar Noé’s Climax is a nightmarish, intoxicating descent into chaos. The film opens with a mesmerising dance sequence, showcasing the raw talent of its ensemble cast, including Sofia Boutella. As the night unfolds, the celebratory atmosphere devolves into madness when the group discovers their sangria has been laced with LSD.
Noé’s trademark style is on full display, with long takes, dizzying camera work, and pulsating music creating an immersive and disorienting experience. Climax is a brutal exploration of human nature under duress, pushing its characters—and the audience—to the brink. While not for the faint-hearted, this experimental horror piece is a visceral triumph for those who can handle its intensity.
15. The Devil’s Backbone (2001)
Guillermo del Toro’s The Devil’s Backbone is a ghost story that transcends its supernatural trappings to explore the scars of war and the resilience of the human spirit. Set in a remote orphanage during the Spanish Civil War, the film centers on young Carlos, who uncovers the mysteries surrounding a ghostly presence haunting the grounds.
Del Toro weaves a tale rich in symbolism and emotional depth, using the ghost as a metaphor for unresolved grief and trauma. The film’s haunting visuals and poignant storytelling showcase the director’s ability to blend beauty with horror. The Devil’s Backbone is a cinematic gem that lingers in the memory, reminding us that the most powerful ghosts are often the ones we carry within.
14. The Substance (2024)
Coralie Fargeat’s sophomore feature The Substance is an unrelenting plunge into psychological and body horror. Starring Demi Moore in a career-redefining performance, the film unfolds as a chilling exploration of obsession, transformation, and societal ideals pushed to grotesque extremes. Fargeat, who previously wowed audiences with Revenge (2017), crafts a narrative that blurs the line between beauty and terror.
What sets The Substance apart is its audacious visual style and haunting thematic depth. Fargeat melds elegance with grotesquery, resulting in a cinematic experience that is as alluring as it is unsettling. While its bold approach may alienate some, for those willing to embrace its nightmarish vision, The Substance is nothing short of a masterpiece—a film that lingers in the psyche and challenges perceptions of cinematic horror.
E. Elias Merhige’s Shadow of the Vampire is a darkly comedic and deeply unsettling reimagining of the making of F.W. Murnau’s Nosferatu (1922). John Malkovich stars as Murnau, an obsessive director determined to create the ultimate horror film, while Willem Dafoe delivers a mesmerising, Oscar-nominated performance as Max Schreck, who may be more vampire than actor.
This metafictional tale delves into the sacrifices made for art, blurring the lines between reality and fiction. The film’s eerie atmosphere and biting commentary on filmmaking make it a standout entry in 21st-century horror. Dafoe’s Schreck is both terrifying and tragic, embodying a creature caught between his monstrous nature and the absurdity of the human world. A must-watch for fans of horror and cinema history alike.
12. Don’t Breathe (2016)
Fede Alvarez’s Don’t Breathe flips the home invasion subgenre on its head, pitting a trio of young thieves against a blind man (played with terrifying intensity by Stephen Lang) in his fortified home. What begins as a simple heist spirals into a claustrophobic nightmare as the blind man’s lethal skills and dark secrets come to light.
Alvarez masterfully ratchets up the tension, using silence and sound design to keep viewers on edge. The film’s moral complexities add an additional layer of unease, challenging audiences to question who they should root for. With a sequel that continues to explore its characters’ fates, Don’t Breathe solidified Alvarez as a filmmaker to watch and left horror fans eagerly anticipating his next move.
David Robert Mitchell’s It Follows is a modern horror classic that reinvents the supernatural curse trope with haunting originality. The story centers on Jay (Maika Monroe), who becomes the target of a relentless, shape-shifting entity after a sexual encounter. The entity follows her at a slow but unstoppable pace, forcing her to constantly stay on the move to survive.
Mitchell’s minimalist approach and retro aesthetic create a timeless, dreamlike quality, amplified by Disasterpeace’s eerie synth score. The film’s central metaphor, examining the lingering consequences of intimacy and vulnerability, resonates deeply without being overly didactic. With its inventive premise, masterful pacing, and striking cinematography, It Follows is a chilling exploration of paranoia and the inevitability of mortality.
When it comes to the annals of horror cinema, few figures loom as large—or as unapologetically blood-soaked—as Herschell Gordon Lewis. Dubbed “The Godfather of Gore,” Lewis carved out a niche in the 1960s for his gleeful embrace of low-budget, high-shock filmmaking, pioneering the splatter subgenre that would influence horror for decades to come. While films like Blood Feast (1963) and Two Thousand Maniacs! (1964) are often cited as his most infamous works, his career is also punctuated by strange and memorable entries like Something Weird (1967), A Taste of Blood (1967), and The Gruesome Twosome (1967).
Something Weird (1967)
Among Lewis’s catalogue, Something Weird stands out for its sheer oddity. Mixing supernatural elements, psychedelic visuals, and a bizarre romantic subplot, the film defies easy categorisation. The story revolves around a disfigured man who gains psychic powers after a brush with death, only to become entangled with a witch who demands his love in exchange for restoring his looks.
Something Weird is less a traditional horror film and more a kaleidoscopic fever dream, complete with eerie electronic soundscapes and disjointed narrative turns. While the gore is comparatively restrained, the film’s weirdness compensates, making it one of Lewis’s most intriguing offerings. It’s a testament to his willingness to experiment, even if the result is more bewildering than terrifying.
A Taste of Blood (1967)
Often referred to as Lewis’s attempt at a “classy” horror movie, A Taste of Blood is a sprawling vampire tale with surprising ambitions. Clocking in at over two hours, the film tells the story of John Stone, a businessman who inherits two bottles of brandy from his ancestor, none other than Count Dracula. After drinking the brandy, Stone becomes a vampire, seeking revenge on the descendants of those who killed Dracula.
While it lacks the frenzied gore of Lewis’s other works, A Taste of Blood compensates with its melodramatic tone and surprisingly involved storyline. The pacing drags in places, and its length feels at odds with Lewis’s usual snappy, exploitative style. Still, the film offers a fascinating glimpse of what might have been had Lewis pursued more traditional storytelling in his career.
The Gruesome Twosome (1967)
Returning to his roots with this lurid tale of scalp-harvesting, The Gruesome Twosome epitomises the gleefully grotesque aesthetic that earned Lewis his nickname. The plot revolves around a mother-and-son duo running a wig shop that sources its hair from murdered young women.
The film’s low-budget charm is evident from the opening scene—a bizarre monologue delivered by two talking mannequin heads—and its over-the-top violence is pure Lewis. While the effects are crude by today’s standards, they have a handmade quality that captures the spirit of exploitation cinema. The Gruesome Twosome is quintessential Lewis: shocking, campy, and unrelentingly bizarre.
Legacy of the Godfather of Gore
Herschell Gordon Lewis didn’t just create films; he created a movement. With his unapologetic approach to gore and exploitation, he pushed boundaries in ways that were both shocking and innovative. Films like Something Weird, A Taste of Blood, and The Gruesome Twosome showcase his range—from the surreal to the ambitious to the outright grotesque—cementing his place as a true pioneer in horror.
Though his work remains divisive, there’s no denying the impact of his vision. Lewis’s films opened doors for countless filmmakers who sought to blend shock and subversion into their storytelling. To this day, his bloody fingerprints can be seen across the horror landscape, reminding audiences that sometimes, it’s not about how polished a film is—but how unforgettable.
Some films from the 1960s manage to endure as classics, while others remain firmly planted in the realm of passable entertainment. The Spirit is Willing (1967), directed by William Castle, is decidedly in the latter camp—a light-hearted supernatural comedy that aims for charm but lands squarely in middle-of-the-road Americana.
The story follows the Whitlock family as they move into an old seaside home, only to discover it’s haunted by a trio of mischievous ghosts. What unfolds is a series of slapstick encounters and mild frights that lean more on farcical antics than genuine scares. It’s a blend that Castle, known for his knack for gimmicky horror, doesn’t fully commit to, leaving the film feeling oddly safe and uninspired.
The comedy, while present, struggles to hit consistent highs. Much of the humour feels sanitised, playing to an audience that might have been more easily amused in the 1960s. By modern standards, the laughs are few and far between, with the film’s attempts at wit coming across as quaint rather than clever.
What The Spirit is Willing does have going for it is its cast, led by Sid Caesar (best remembered as the coach in Grease—who brings his trademark wry delivery to his role) and Vera Miles, who do their best with the material they’re given. Special mention must go to the young Barry Gordon, who injects a sense of energy into the proceedings. These performances elevate the film just enough to keep it watchable, even if they can’t entirely save it.
Visually, the film boasts some fun practical effects for its ghostly gags, though nothing particularly groundbreaking for the time. It’s all serviceable but lacks the kind of creativity that could have made the film a standout in Castle’s filmography.
Ultimately, The Spirit is Willing is a harmless, moderately amusing romp that never quite rises above mediocrity. While it has its moments, they are too few and far between to leave a lasting impression. For fans of 1960s cinema or William Castle completists, it’s worth a look—but don’t expect to be haunted by its brilliance.
Surgeons of Horror 