As we traverse the ever-evolving landscape of cinema in the 21st century, it becomes evident that this era has birthed an extraordinary tapestry of storytelling, innovation, and artistic expression. From gripping horror to thought-provoking dramas, the last quarter-century has not only reshaped genres but has also introduced us to unforgettable characters and narratives that linger long after the credits roll.
This countdown of the Top 100 Films of the 21st Century aims to celebrate the films that have resonated most deeply, pushing boundaries and challenging conventions while capturing the zeitgeist of our times. Each entry in this list reflects a unique vision—one that either redefines genres or offers a fresh perspective on familiar tropes.
Whether they’ve made us laugh, cry, or question our own realities, these films have contributed to the rich dialogue of contemporary cinema, leaving indelible marks on audiences and filmmakers alike. Join me as we journey through this curated selection, counting down from 100 to 1, with each film representing not just a moment in time but a piece of the larger cinematic puzzle that continues to evolve and inspire.
As horror fans know, some of the most unsettling scares don’t come from elaborate effects or high budgets—they emerge from intimate, character-driven stories that crawl under the skin. The Creep Tapes, a Shudder Original Series premiering on November 15, aims to deliver just that. Building on the spine-tingling foundation of the 2014 cult hit Creep, the series reunites the original creators, Mark Duplass and Patrick Brice, who brought us the disturbingly charming yet unnervingly unstable protagonist, Josef. With Duplass returning to the role of the enigmatic serial killer, this series promises an eerie experience that pushes boundaries and keeps audiences riveted.
The original Creep film thrived on its low-budget charm, turning a stripped-down, found-footage setup into an intensely unsettling experience. The series appears poised to follow suit, proving once again that horror doesn’t need lavish sets or CGI to get viewers’ hearts pounding. Here, the atmosphere is everything—raw, grainy footage brings a voyeuristic quality that makes each scene feel real, as if the terror is unfolding in the next room over. The simplicity of the setup—a videographer unknowingly documenting his own descent into darkness—creates a dread that builds with every frame. With The Creep Tapes, Shudder taps into the appeal of Creep and Creep 2, delivering a gritty, claustrophobic look into the killer’s mind that only becomes more menacing with each episode.
At the heart of this series’ potential is Duplass’s haunting performance. His portrayal of a maniac whose motives are as confusing as they are sinister is nothing short of mesmerising. Playing a predator who is both disarming and unhinged, Duplass infuses the character with a subtle, unpredictable menace that’s as charming as it is chilling. It’s this very duality that made the original film so effective, drawing audiences in with Josef’s unsettlingly friendly nature only to shatter any semblance of safety with his underlying menace. With Duplass back at the helm, viewers can expect an even deeper dive into this chilling character, one that will likely push The Creep Tapes into “must-watch” territory for horror fans seeking psychological tension and atmosphere over jump scares.
This new series amplifies the simplicity that made the original such a success. As each videographer steps into Josef’s twisted game, the narrative explores not only their harrowing experiences but the dangerously manipulative charms of the killer himself. The viewer becomes a silent observer, drawn closer and closer to the horrors unfolding on screen. And with Duplass and Brice’s creative control, fans can expect a series that honours the first two films while expanding the lore, providing more insight into the mind of this manipulative predator and his increasingly sinister tactics.
For those looking for horror that strips away Hollywood polish to reveal something raw, The Creep Tapes may be a dark horse that leaves a lasting impression. In an age of sleek, glossy productions, Duplass’s Josef reminds us that horror is sometimes most potent when it’s uncomfortably close, blurred, and right in your face. Prepare for The Creep Tapes to lure you in and make you question if you’re ever truly alone—on or off camera.
Saul Muerte
The Creep Tapes – Shudder Original Seriespremieres exclusively on Shudder and AMC+ from Friday 15 November
– Saul will be posting weekly ep reviews each week, so keep your eyes peeled.
Freddie Francis, the esteemed British cinematographer and director, made a notable return to the horror genre in 1966 with The Psychopath. Known for his impeccable visual storytelling, Francis elevates this otherwise standard thriller into something more atmospheric and unnerving. While it may not stand as a high point in the history of 1960s horror, the film benefits from Francis’ distinctive eye and strong performances from its cast, making it a memorable entry in the decade’s wave of psychological horror.
The plot centers around a series of mysterious murders, with each victim found near a doll resembling them. The link to a tragic past event involving a deceased war criminal adds a layer of intrigue as Inspector Holloway (Patrick Wymark) dives into the investigation. But the heart of The Psychopath is not just its narrative—it’s how Francis builds tension through his chilling visual style, bringing a rich, almost surreal atmosphere to an otherwise straightforward murder mystery.
Francis’ visual expertise shines throughout the film, particularly in the use of shadows and lighting to create an air of claustrophobia and tension. The way he frames key moments—particularly the scenes involving the dolls—lends an eerie, almost Gothic quality to the film, reminiscent of his earlier work with Hammer Films. His background as a cinematographer is especially evident in the beautifully composed shots and meticulous attention to detail in creating the unsettling mood.
The performances are also strong, with Patrick Wymark delivering a solid turn as the determined inspector. Margaret Johnston, as the unsettling Mrs. Von Sturm, is wonderfully creepy, bringing an icy presence to the screen that lingers long after the film ends. John Standing and Alexander Knox round out the cast, delivering performances that serve the tension well, even as the plot begins to wobble in places.
However, The Psychopath suffers from a script that doesn’t quite match the strength of its direction and performances. The story unfolds predictably, and while the mystery has moments of tension, it never quite breaks free from the genre tropes of the time. The pacing is uneven, and the film’s final act, while chilling, feels slightly rushed.
Despite these shortcomings, Freddie Francis’ work behind the camera is what truly gives The Psychopath its lasting impact. His ability to craft mood and tension through the lens is unparalleled, making even the most ordinary moments bristle with a quiet menace. In this way, the film rises above its limitations, showcasing once again Francis’ remarkable talent for transforming the mundane into the macabre.
While not the most innovative or terrifying film of the decade, The Psychopath remains a worthwhile watch, particularly for fans of Freddie Francis’ distinct visual style and those who appreciate the more atmospheric side of 1960s horror. It stands as a reminder of how style and atmosphere can elevate even the simplest of stories.
By 1966, Hammer Films had cemented its place as the dominant force in gothic horror, captivating audiences with its atmospheric settings, chilling villains, and signature blend of gore and mood. However, the year also marked a turning point for the company, as Hammer began to experiment with different subgenres, expanding its repertoire while still clinging to its horror roots. This was the year Hammer reminded the world it could not only scare them but could haunt them long after the credits rolled.
The standout among the five releases that year was Dracula: Prince of Darkness, which saw Christopher Lee return to the role that had made him synonymous with the infamous Count. Alongside it, films like The Plague of the Zombies and The Reptile ventured into new territory, testing the limits of traditional horror by mixing gothic dread with more exotic and psychological horror stories. Each film brought something fresh to Hammer’s catalog, reinforcing the studio’s status as the reigning master of fear.
In this series, we’ll revisit the five films that made 1966 Hammer’s most influential year, exploring how each one contributed to the studio’s enduring legacy. Though Hammer had found great success before, this was the year they owned horror, shaping the future of the genre in ways that continue to resonate.
Takashi Miike’s Audition is a film that blurs the line between genres, perceptions, and expectations. Initially masquerading as a melancholic romance, it stealthily devolves into a nerve-shattering nightmare that helped cement the late 1990s surge of the J-horror movement. But more than just a horror film, Audition is a visceral exploration of feminism, misogyny, and the grotesque power dynamics between men and women.
At its core, Audition presents itself as a critique of patriarchal entitlement. The premise, in which a middle-aged widower, Aoyama, uses a fake casting call to audition women for a potential new wife, unfolds like a manifestation of male objectification. His desire to “choose” the perfect partner through deception echoes centuries of male-dominated narratives. This setup is a classic male fantasy—until it unravels into a female nightmare, and Miike deftly shifts the audience’s sympathies.
Enter Asami Yamazaki, played by Eihi Shiina, one of the most compelling antagonists in modern cinema. Asami initially appears soft-spoken, delicate, and vulnerable, but she quickly becomes the embodiment of pent-up rage against male oppression. Her transformation is as much a shock to the audience as it is to Aoyama, turning from passive prey into the embodiment of vengeance. Asami’s cruelty is chilling not because it’s unexplained, but because it feels so justifiable within the framework of the film. She avenges not only her own pain but the collective trauma of silenced women, using sadistic torture as her means of expression. Asami’s soft “Kiri, kiri, kiri” during the film’s climax is one of the most terrifying and iconic moments in cinema—a sweet whisper of brutality that echoes long after the film ends.
Audition also stands as a pivotal film in the torture-horror subgenre, long before “torture porn” was coined to describe Western films like Saw and Hostel. What separates Miike’s film is the emotional and psychological depth behind the violence. The infamous torture scene—where Aoyama is rendered immobile and subjected to unspeakable pain—is not just there for shock value. It reflects deeper themes of control, vengeance, and the fragility of human bodies and relationships. It’s a slow, methodical build-up to terror, with Miike ensuring that every second of pain is felt by both the characters and the audience.
Released at the height of the J-horror wave alongside films like Ringu and Ju-on, Audition managed to stand apart due to its hybrid nature. While Ringu and its peers focused on supernatural dread, Audition delves into the psychological horror of human relationships. The supernatural in Miike’s world is implied rather than overt—it’s in the dreamlike sequences, the uncanny disconnect between Asami’s sweet demeanor and her sadism, and the eerie stillness that pervades every frame. Miike’s use of restrained cinematography, especially in the film’s first half, lulls the viewer into a false sense of security before pulling the rug out in the third act, transforming romantic subtleties into abject terror.
The film’s feminism and misogyny walk hand in hand, both reflecting and critiquing societal norms. Asami’s vengeance, in a sense, can be seen as a rebuke to the ingrained misogyny Aoyama represents, but Miike also uses Asami’s character to question the extremities of feminist retaliation. Her actions are simultaneously righteous and monstrous, blurring the lines between victim and villain. This duality forces the viewer to grapple with their own moral compass, never offering a clean resolution or simple interpretation.
Audition is a film that lingers. Its depiction of torture, emotional manipulation, and gender politics still resonates in modern horror. Asami Yamazaki remains an unforgettable figure, not just in J-horror but in global cinema—a character as terrifying as she is tragic. Audition is a masterpiece that’s not just about horror but about the human capacity for cruelty, control, and vengeance.
Takashi Miike’s work here is a testament to the power of cinema to provoke, unsettle, and challenge. With Audition, he delivered a film that stands tall in the pantheon of horror, one that haunts the mind long after the final frame.
My growing admiration for Mario Bava’s work finds yet another source of wonder in Planet of the Vampires (1965), a film that transcends its modest origins to deliver an atmospheric, visually stunning slice of 1960s sci-fi horror. Though rooted in pulp fiction sensibilities, the film’s eerie mood, bold use of colour, and creative set design elevate it far beyond its budgetary constraints, showcasing Bava’s gift for transforming the ordinary into the otherworldly.
The plot is pure pulp: a crew of space explorers lands on a distant, uncharted planet, only to fall victim to malevolent forces that reanimate the dead, turning them against their comrades. While the premise might not be groundbreaking, it’s the execution that makes Planet of the Vampires stand out. Bava leans heavily into the claustrophobic tension, crafting a nightmare where the dangers are as much psychological as physical. His signature use of shadow and lighting creates an atmosphere drenched in dread, with the fog-shrouded alien landscapes providing a haunting backdrop to the creeping terror.
What makes Planet of the Vampires particularly exciting is how it blends genres. It’s a mash-up of sci-fi adventure and Gothic horror, with clear influences from the pulp magazines of the early 20th century. You can feel the echoes of H.P. Lovecraft’s cosmic horror mixed with the adventure spirit of Flash Gordon. And though the title suggests a vampire movie, the creatures here are something more akin to body-snatching ghouls, lending an eerie twist to the undead motif.
Bava’s influence on later sci-fi horror is undeniable. From the claustrophobic dread to the slow-building paranoia among the crew, Planet of the Vampires laid the groundwork for films like Alien (1979). Even Ridley Scott and writer Dan O’Bannon have acknowledged the film’s impact on their sci-fi masterpiece. The reanimated crew members, stalking their former allies through the dimly lit corridors, predate the chest-bursting Xenomorphs in both style and tension.
The performances, while sometimes stiff, serve the pulpy charm of the film. Barry Sullivan anchors the story as Captain Markary, whose stoic leadership contrasts with the creeping fear overtaking his crew. But it’s not the performances that leave the biggest mark—it’s Bava’s visual style. His use of vibrant colours, from the deep reds and blues to the swirling mists and eerie lighting, makes the alien world feel both dreamlike and menacing. Despite the obvious limitations of the film’s budget, Bava’s ingenuity with special effects and set design makes Planet of the Vampires a testament to his ability to craft immersive, visually striking worlds.
While the film’s pacing can be uneven at times, and its plot falls into some predictable beats, there’s an undeniable charm to its pulpy roots. This is a film that wears its inspirations on its sleeve and revels in them, combining elements of Gothic horror, space adventure, and otherworldly thrills into a uniquely compelling package.
The Prognosis:
Planet of the Vampires is a testament to Mario Bava’s mastery of atmosphere and visual storytelling. It may not reach the heights of his other works like Black Sunday or Blood and Black Lace, but its influence on sci-fi horror and its sheer style makes it a must-watch for fans of the genre. My growing love for Bava’s work only deepens with films like this, which take the limitations of the genre and mold them into something visually captivating, eerily beautiful, and undeniably influential.
Hajime Satô’s House of Terrors(Kaibyô Noroi no Yakata) is an intriguing entry into the haunted house genre, offering a distinctive Japanese take on the themes explored in Robert Wise’s The Haunting (1963). While it doesn’t quite reach the heights of its inspiration, House of Terrors manages to deliver an eerie, atmospheric experience that will appeal to fans of slow-burn horror.
The film follows a grieving widow who inherits a secluded mansion after her husband’s mysterious death. Accompanied by her maid, she soon discovers that the mansion harbours vengeful spirits, including that of her late husband. This setup, while familiar, is given a fresh twist through the lens of Japanese folklore and cultural nuances, which add layers of intrigue to the unfolding mystery.
One of the film’s strongest aspects is its use of atmosphere. Satô skillfully crafts a sense of dread, utilising the mansion’s shadowy corridors and haunting silence to build tension. The cinematography, with its unsettling angles and effective use of light and shadow, is clearly influenced by The Haunting. However, House of Terrors injects its own flavor, with a more surreal and dreamlike quality that distinguishes it from its Western counterparts.
The pacing, while deliberately slow, serves to heighten the sense of unease. House of Terrors takes its time to unravel its story, allowing the viewer to sink into the eerie world it creates. While this approach might test the patience of some viewers, it also rewards those who appreciate a more measured build-up. The climax, though not as explosive as one might hope, is still satisfying in its own way, offering a resolution that is both haunting and thought-provoking.
The performances are solid, if not particularly memorable. The cast does a commendable job with the material, especially given the film’s focus on atmosphere over character development. The widow’s descent into fear and paranoia is portrayed with subtlety, and while the characters might not be as fully fleshed out as one would like, they serve their purpose within the narrative.
What sets House of Terrors apart is its unique blend of Western and Eastern horror elements. The film’s ghostly apparitions and cursed mansion are classic horror tropes, but the way Satô infuses them with Japanese cultural motifs and folklore gives the film a distinct identity. This cross-cultural approach adds an extra layer of interest, particularly for viewers familiar with the genre.
However, House of Terrors is not without its flaws. The slow pacing, while effective in building atmosphere, can also feel a bit meandering at times. Some scenes stretch on longer than necessary, which can dilute the tension rather than amplify it. Additionally, the film’s reliance on atmosphere means that it occasionally sacrifices narrative coherence, leaving certain plot points underdeveloped.
Despite these shortcomings, House of Terrors is an engaging watch, particularly for those who enjoy classic haunted house stories with a twist. It may not achieve the same level of psychological horror as The Haunting, but its atmospheric visuals and unique cultural perspective make it a noteworthy addition to the genre. For fans of Japanese horror and Gothic cinema alike, this film offers a moody, unsettling journey into the supernatural.
William Castle, the maestro of gimmick-laden horror, struck gold once again with Strait-Jacket, a psychological thriller that plays expertly with twists, turns, and the audience’s expectations. Released in 1964, the film stars Joan Crawford in a role that both revitalized her career and added another layer of depth to the “woman on the edge” persona she had so famously crafted.
The film’s narrative is a carefully constructed web of suspense and misdirection. Crawford plays Lucy Harbin, a woman who, after spending 20 years in a mental institution for the brutal axe murders of her husband and his lover, is released and reunited with her daughter. The plot hinges on whether Lucy has truly been rehabilitated or if she’s destined to repeat her murderous past. Castle masterfully plays with this uncertainty, leading the audience down one path only to jerk them violently down another. The film’s twists are meticulously timed, ensuring that the viewer is constantly kept on edge.
One of the most significant twists comes towards the end of the film, where the true nature of the murders is revealed. It’s a moment that not only shocks but also recontextualizes everything that has come before it, showcasing Castle’s ability to craft a narrative that’s as clever as it is chilling. The film’s climactic reveal is as satisfying as it is unexpected, leaving audiences with that perfect blend of surprise and inevitability that marks the best thrillers.
Crawford’s performance is the linchpin of Strait-Jacket. She brings a raw intensity to Lucy Harbin, capturing the character’s fragility and barely contained rage. It’s a role that requires her to oscillate between vulnerability and menace, and she does so with the ease of a seasoned pro. The film plays off her established screen persona, using her status as a Hollywood icon to enhance the narrative’s tension. Her mere presence in the film adds an extra layer of unpredictability, making the viewer question whether she’s the hero or the villain of the piece.
Castle’s direction in Strait-Jacket is both stylish and efficient. Known for his penchant for theatrical gimmicks, Castle wisely lets the film’s story and performances take center stage here, though he doesn’t entirely abandon his flair for showmanship. The film’s atmosphere is thick with dread, amplified by a haunting score and stark cinematography that captures the claustrophobic nature of Lucy’s world. Castle’s use of visual motifs—like the recurring image of the axe—serves to reinforce the film’s themes of madness and violence.
While Strait-Jacket may not be as overtly gimmicky as some of Castle’s other works, it’s no less effective. The film’s success lies in its ability to keep the audience guessing, all the while delivering the kind of thrills that Castle’s name became synonymous with.
The Prognosis:
In the pantheon of William Castle’s filmography, Strait-Jacket stands out as one of his most accomplished efforts. It’s a film that uses its twists and turns not just to shock, but to engage the viewer in a deeper psychological game. Anchored by Joan Crawford’s tour-de-force performance and Castle’s confident direction, Strait-Jacket remains a standout example of 1960s psychological horror. For fans of classic thrillers, it’s a must-watch that showcases the best of what the genre has to offer.
In order to connect with Vulcanizadora you can either go in cold like I did and trust in its flow, or try in some ways to understand its creator, American film director and screenwriter, Joel Potrykus. Now into his fifth feature film, Potrykus has established the moniker, “The New King of Underground Cinema” for his dalliance in the newly formed sub genre metal slackerism. In fact, Vulcanizadora is in itself a sequel from his earlier feature Buzzard, picking up with its two central characters Marty (Joshua Burge) and Derek (played by Potrykus. Not that you need to have seen Buzzard before this as Vulcanizadora serves as a scrutiny of these characters 10 years later with a focus on the impacts and hardships of middle aged men who bear no driving force or will to carry them through life and instead are drifting aimlessly. What traumatic history they have ebbs to the surface, threatening to claw its way out of the skin to make an impact, but our two leads are all two willing to wallow and bury their inner feelings to the detriment of their own wellbeing. The psychological impact this has will soon come crashing down around them and the consequences must be addressed before their souls can finally rest.
While all that may sound deep, the manner in which Potrykus handles their journey is painfully funny, and profoundly introspective, that by the journey’s end, will leave its own residual energy with you, to ponder; a sign of a director who not only owns his vision, but utilises it in a fashion that will connect and deliver this message with significant feeling or emotion.
The Prognosis:
Part of this appeal is the synergy crafted in Potrykus’ choice in music, weaving together the harmonious vocals of Maria Callas operatics and then fusing this with a juxtaposing contrast with the raw and gritty chords from Sepultura. This in many ways is a metaphor for the whole film, constantly drifting between a calm, serene experience where nature surrounds us all providing time for transcendence but is swiftly followed by a cut to the cerebral, grounding reality of life and its many obstacles. How we choose to embrace or battle these elements in life will either make us or break us, but to face up to these challenges, one must be true to yourself; a pool that Potrykus enjoys playing in. We encourage you to take the trip and raise your own questions.
When William Castle, known for his gimmicky horror films, teamed up with Hammer Films, the collaboration seemed promising on paper. Castle, with his flair for sensationalism, and Hammer, with its reputation for producing quality horror, seemed like a match made in cinematic heaven. However, their 1963 remake of The Old Dark House ultimately struggled to rise from the shadows cast by the 1932 Universal Pictures version directed by James Whale and starring Boris Karloff.
The original The Old Dark House is revered as a classic, blending atmospheric horror with dark comedy. Karloff’s menacing presence and Whale’s masterful direction created an eerie and engaging experience. Castle’s remake, while attempting to honor the original, unfortunately, falls short in capturing the same magic.
One of the main issues was the decision to play the film as a comedy horror. While the 1932 version had its share of dark humor, Castle’s approach leaned heavily on the comedic elements, which didn’t quite resonate with audiences. The tone was inconsistent, and the humor often felt forced, detracting from the suspense and horror that the story needed. This misstep in tone was particularly problematic for British audiences, where the film’s distribution faced significant challenges. The comedy horror angle proved to be a difficult sell, and as a result, the film struggled to find its footing in the UK market.
Despite the film’s shortcomings, there were some notable aspects to appreciate. The cast, featuring Tom Poston, Robert Morley, and Janette Scott, delivered commendable performances. Poston, in particular, brought a certain charm to his role, and Morley’s portrayal of Roderick Femm added a touch of eccentricity. Additionally, the film’s twist, while not groundbreaking, provided a gleeful deviation from the expected and injected some much-needed intrigue into the story.
Visually, Castle’s version does have its moments. The set design captures the Gothic atmosphere well, and there are flashes of creativity in the cinematography. However, these elements are not enough to elevate the film above its structural weaknesses.
The alliance between Castle and Hammer Films was an unfortunate mismatch. Castle’s penchant for campy horror and Hammer’s traditional Gothic approach didn’t blend seamlessly, resulting in a film that felt disjointed. The potential for a successful remake was there, but the execution fell flat, hindered by conflicting creative visions and an ill-conceived genre blend.
The Prognosis:
The Old Dark House (1963) is a somewhat failed attempt to recreate a classic. While it boasts a promising cast and a few enjoyable moments, it struggles to make a lasting impact. The mismatched collaboration between William Castle and Hammer Films, combined with the difficulties of balancing comedy and horror, ultimately hindered the film’s success. For those interested in exploring Castle’s filmography or Hammer’s ventures into different genres, it remains a curious but flawed entry in their respective catalogues.
Surgeons of Horror 
