Halloween Recommendations: My Favourite Horror Movies

It's that time of the year again, Halloween. Every October I enact the same ritual of watching, and rewatching, as many horror films as I possibly can before November 1st and this year I figured I'd but all that time spent to good use. So, if like me your ideal Halloween night involves getting comfy, turning out the lights and indulging in some cinematic terror, here's a few recommendations in the form of my favourite horror movies of all time...

20. TRICK R' TREAT (2007) 

This is one of those films that truly fits the bill of a "cult" hit. Flying largely under the radar on it's release, this Horror anthology flick seems to be gaining more and more fans with every passing year. Approaching Halloween with a sentimentality usually reserved for Christmas movies, what this films lacks in scares it makes up for with sheer entertainment and clever storytelling. The film tells a series of seemingly isolated spooky stories that become increasingly interconnected as the night unfolds in interesting and clever ways. With excellent performances from Brian Cox, Anna Paquin and Dylan Baker as well as a brisk 80 minute runtime, this is a perfect way to start the scary movie season. Also the instantly iconic design of the pumpkin-headed, sack boy 'Sam' deserves all the love in the world. 

19. SESSION 9 (2001) 

Having watched literally hundreds of horror movies in my life, I've become largely immune to being scared in a movie, that being said the first time I watched SESSION 9 it really got to me. Set in and around the real life Danvers State Hospital, aka The Danvers Lunatic Asylum, the film follows a crew of blue-collar asbestos removers as they are hired to work the dilapidated hospital against a looming deadline. The film features solid performances from the likes of David Caruso, Peter Mullan and Josh Lucas but the real star of the film is the building itself. Built in the late 1800's, the architecture of the building is the ideal setting for this psychologically tense tale, and director Brad Anderson makes the absolute most of the location through the film.s methodical pacing, the building of suspense and as well as the decision to utilise digital filming to capture every nook and cranny is terrifying detail. The best way to view this film is by knowing as little as possible going in, but I will say that one particularly tense sequence set in the tunnels beneath the hospital will stay with me for a long time.

18. FRIDAY THE 13th: THE FINAL CHAPTER (1984) 

The fourth instalment in the Friday The 13th franchise, or "the good one" as I like to shorthand it, is where the iconic image of horror icon Jason Vorhees is fully realised for the first time. It's reasonably well known horror trivia that Jason doesn't become the killer until the 2nd instalment in the series, and doesn't gain his iconic hockey mask until midway into the 3rd, but it's not until this sequel that he emerges fully formed. At the time, the franchise was on it's last legs and the filmmakers genuinely intended for this to be the film that ended the series. It's unexpected success at the box office however meant the franchise would continue for many years subsequently and not only send Jason into space but also see him face off with fellow 80's icon Freddy Krueger. So why then is this "the good one"? Simply put, the film manages to have it's cake and eat it too. There are two plot lines that run through the film, one that that follows a stereotypical group of teenagers that have come to Crystal Lake to party, and another that focuses on a small family unit that end up as their neighbours. While the first of these groups provide opportunity for the carnage that defines much of the slasher genre, the film wisely spends its time humanising the family and earning enough audience investment that when the two plot lines inevitably crash together in the climax there is a greater sense of jeopardy than there might otherwise have been. Throw in a couple of red herring characters who seem like they may emerge as heroes and the film manages to be genuinely unpredictable (at least compared to it's peers). If that hasn't sold you, it's worth watching solely for the at times bizarre performances of Crispin Glover and Corey Feldman in very early roles. 

17. THE HOST (2006) 

A common theme on this list is that the horror movies I enjoy the most aren't necessarily trying to be "scary" but instead are seeking to use the genre to explore other ideas, themes and emotions. Nowhere is this more evident than in this South Korean monster movie from acclaimed director Bong Joon-Ho (probably most well known in the western world for 2013's SNOWPIERCER, which is watchable now on Netflix and will lead to a TV series on that same platform in 2020). The film has a fairly typical plot at first glance, as it follows a small family unit and their conflict with a hideous beast that suddenly appears and wreaks havoc on their lives. The real genius of THE HOST though, lies in it's intense focus on the emotional devastation the monster causes the family juxtaposed against the social and economic factors that not only lead to its creation, but the government's subsequent overreactions. The central cast of characters are so well written and depicted that their struggles inspire both triumph and heartbreak. Moreover, Bong Joon-Ho's direction of the creature scenes are so inspired and dynamic that it more than makes up for the sometimes limited effects. This is a monster movie with a message that does not pull it's punches and is well worth a watch.

16. WES CRAVEN'S NEW NIGHTMARE (1994)

I was never particularly a fan of  the NIGHTMARE ON ELM STREET franchise. While it possesses some excellent set pieces and effects work, the over the top personality of Robert Englund's Freddy Krueger has always been a barrier  to my enjoyment. It's little surprise then that my favourite film of the series is the one where Krueger is played with the least camp. But it is the ingenious concept of the film, and not Englunds more serious performance, that earns its place on this list. For those unfamiliar with the film, its meta slasher nature may come as a surprise. Set in the "real world", the film follows the production of a new entry in the NIGHTMARE series, with Heather Langenkamp, John Saxon, Robert Englund and even Wes Craven playing themselves as they are beset by a supernatural entity that takes the form of Freddy. While this concept could easily be used for parody, the film plays it entirely straight and is all the better for it. At times genuinely disturbing, as the films version of Langenkamp begins to question her sanity and lose grip with reality, NEW NIGHTMARE is a reinvention of the horror genre that went under appreciated on release (predating SCREAM's postmodern slasher antics by 2 years) but has aged remarkably well.

15. JENNIFER'S BODY (2009)

Upon release JENNIFER'S BODY was lost in a sea of bad marketing and worse publicity. Between the advertising campaign that portrayed the film as a male sex fantasy, and star Megan Fox's very public feud with Michael Bay, there was very little chance that this distinctly feminist horror comedy from director Karyn Kusama and screenwriter Diablo Cody was ever going to find its audience on release. Fortunately, it seems that 10 years on there is a new found appreciation for this gem of a movie. In truth, JENNIFER'S BODY seems destined to have been a cult classic. With its whip smart sense of humour, emphasis on female friendships and punishing the evils done by men against women, mainstream success was never likely in 2009. The film tells the story of two childhood friends, portrayed by Megan Fox and Amanda Seyfried, as they steadily grow apart. But before they can reach a natural separation, Fox's Jennifer is sacrificed by an evil emo band, fronted by the excellently seedy Adam Brody, for fame and fortune. But the sacrifice fails, thanks to a misunderstanding of Jennifer's sexual experience, and she return to life as a demonic succubus. Seyfried's 'Neady' must now try and balance her loyalty to Jennifer, and guilt over abandoning her friend, with her increasingly homicidal nature. The relationship between the two female leads remains the central concern throughout the movie and really explores the the boundaries and transgressions of a mutually dependent friendship. JENNIFER'S BODY may not deliver enough scares for some horror fans, but it is hugely entertaining and has more heart than most of its genre contemporaries.

14. BEHIND THE MASK: THE RISE OF LESLIE VERNON (2006)

Of all the films on this list, I imagine this will be the one that the fewest people have actually heard of. It’s likely also the film that would divide audiences the most as your likely of it will rest almost entirely on how much you enjoy both the slasher movie genre and postmodern filmmaking. For the first 2/3rds of it’s runtime, BEHIND THE MASK takes the mockumentary form as an aspiring journalist and her camera team follow the daily routine and preparations of a would be serial killer. The key is that in the world of the film, Jason Vorhees, Michael Myers, Freddie Krueger and their ilk are all really life murderers who employed planning and theatrics to make themselves seem more than human and Leslie Vernon plans on joining that pantheon. With such a concept, the film wisely mixes black humour with its meta commentary on not only genre but the sensationalising of violence on screen. In its final act, the film becomes a more traditional slasher film but manages to maintain interest with an escalating game of cat and mouse between Leslie and his would be victims. Add to that an absolutely killer (pun intended) end credits sequence and BEHIND THE MASK proves a satisfying experience for anyone willing to go along for the ride.

13. EVIL DEAD II (1987)

Horror comedies had existed for decades before Sam Raimi’s debut film THE EVIL DEAD, but few had shown as passionate a commitment to balancing the seemingly contradictory experiences of fear and laughter. But it wasn’t until the follow up classic EVIL DEAD II that the balance was perfected. It is truly remarkable the tonal mastery Raimi show’s in this film. Moments of terror and violence lead seamlessly into extended sequences of slapstick comedy without ever compromising the overall tone of the film. Much of this can be attributed to the brisk runtime (and the film effectively serving as a remake of it’s predecessor) but undeniably Raimi’s not so secret weapon is the film’s lead performance by Bruce Campbell. Honestly, I would recommend this film to pretty much anyone on the merits of Campbell’s performance alone. His transitions from extreme fear and madness to unmatched physical comedy and back again would surely have earned him award recognition in a just world but sadly, Campbell has never quite gotten the mainstream acclaim that Sam Raimi would later earn for his work. Look, if you’re a horror fine you’ve likely watched EVIL DEAD II dozens of times and there’s nothing new I can tell you so why not revisit a classic this Halloween and dream of a world where Bruce Campbell won an Oscar for fighting his own severed hand (and hey, if DiCaprio could win for THE REVENANT then I think the Academy owes Bruce an apology).

12. ALIEN 3 (1992)

From one of the most obvious entries in this list to the one that’s most likely to earn people’s ire, hell even David Fincher distances himself from the film and he directed it. Before getting into what I consider to be the genuinely admirable qualities of ALIEN 3, I will briefly mention why it makes it on to the list ahead of any of the other entries into the franchise. ALIENS is one of my favourite films of all-time but I simply wouldn’t consider it a horror movie, it’s definitively more of a war/action film and I don’t think anyone could realistically argue. I’ve always recognised the importance and creative accomplishment of the original ALIEN film, but like much of Ridley Scott’s work it leaves me cold and I struggle to invest in those characters beyond who Ripley will become in the sequels. The less said about the later ALIEN branded films the better, though I maintain that ALIEN: COVENANT is a return to form and deserving of reappreciation. So that brings me back to ALIEN 3 and the special place it holds in my heart. Simply put, I love the character of Ellen Ripley and consider Sigourney Weaver’s performance in this film to be the best of her career. While the creative choices the film makes in it’s opening minutes will likely alienate (pun intended) many, I feel they were absolutely necessary to return the film to the horror genre after the previous film transformed Ripley into an action hero. ALIEN 3 is a film about despair and depression. It’s about the struggle to find purpose when a person is at their absolute lowest ebb. It’s a film about defiance. And every aspect of the film, from Weaver’s performance, to the circumstances and location she finds herself in serves this purpose. Having lost everything she’s ever loved, Ripley has to find the will to keep going and fight against the oppressive desires of not just the titular monster but also the corporation that serves as the secondary villains of the trilogy. This central conflict proves utterly compelling to me and is also why I rate the ending of the ASSEMBLY CUT of the film over the original. Without going into spoilers the difference may appear relatively minor but it fundamentally changes the nature of Ripley’s final choice and thus the meaning of the film. I know many people hate all versions of ALIEN 3 on general principle but I believe that if you give it another watch with fresh eyes, you may be able to appreciate some of the creative aspirations and choices the film makes. Also Sigourney Weaver has better chemistry with Charles Dance than she ever had with Michael Biehn so there’s that too.

11. GREEN ROOM (2015)

The most recent film on this list and another that I feel has flown under a lot of people’s radars, GREEN ROOM is a highly effective update of similar ideas that can be found in John Carpenter’s ASSAULT ON PRECINCT 13 (1976) and Howard Hawk’s RIO BRAVO (1959) and is more than deserving of the comparisons. The plot is genius in its simplicity, a struggling punk band are forced by circumstance to take a gig at a remote Neo Nazi bar and when they are inadvertently witness to a horrific crime they are forced into conflict with the white supremacists and their terrifyingly meticulous leader, portrayed in a typically excellent performance by Patrick Stewart. The thing that makes the film special is its approach to the decision making of its characters. It is a well worn cliche that in horror movies, characters make dumb decisions to service the plot, eg. they split up so that the killer can pick them off one by one. Here, every single decision made is motivated by the personalities of the characters themselves. Yes, at one stage the group do divide, but it is a decision born from a brutal, simple, truth one of the characters believes. He will stand a better chance of survival alone than with his friends. Every decision made by both the heroes and villains comes from who the film has told us these people are and has ramifications they have to be dealt with. Similarly to this approach, GREEN ROOM is less interested in sensationalising violence than it is the grim reality. This is not a film for the squeamish, its depiction of both the moment of violence as well as its aftermath is extreme, but in my opinion never excessive. Sadly, the film will most likely be remembered for the being one of final performances of Anton Yelchin before his tragic death in 2016. Yelchin’s performance serves as the heart of GREEN ROOM and the sympathy he generates stops the film from ever drifting into the realms of exploitation cinema. This film is the true definition of a cult classic and one I sincerely hope will find its audience over time.

10. THE CABIN IN THE WOODS (2012)

This collaboration from Drew Goddard and Joss Whedon is another worthy inclusion in the sub genre of the horror comedy, and while it may never quite attain its lofty goals it manages to be thoroughly entertaining throughout its runtime. To reveal too much of the plot would be a disservice to anyone who hasn’t had the chance to experience it for themselves. I will simply state for first time viewers that the films overly cliched set up of a group of young people visiting an isolated cabin, soon gives way to something else entirely. The film succeeds based on the performances of its cast with a pre-Thor Chris Hemsworth proving his knack for comedy long before THOR: RAGNAROK would reveal it to the world. Fran Kranz and Amy Acker both serve their roles well but it is the presence of Bradley Whitford and Richard Jenkins that elevates the film. It is hard to discuss much else about the film without drifting into spoiler territory but I will say that the last 30 minutes of the film are truly remarkable and endlessly entertaining. THE CABIN IN THE WOODS is yet another under appreciated gem and makes for perfect Halloween viewing.

9. DAWN OF THE DEAD (1978)

Similarly to EVIL DEAD II, this film is so well known that it is difficult to offer a fresh take in this recommendation. Instead I’ll focus on the one aspect in particular that I love about the film. It is surprisingly difficult to portray realistically intelligent fictional characters. In fact, rational thinking and problem solving as the focus of a film is usually reserved for heist movies yet here it serves as the main narrative thrust for the bulk of DAWN OF THE DEAD. Once the four protagonists arrive at the shopping mall that serves as the film’s setting, their main conflict becomes the practicalities of survival. I find the extended sequences of them securing their new home against both internal and external threat to be exhilarating and unlike almost anything else I have ever seen in cinema. It shows the strength of George Romero’s storytelling that he is able to place the same four characters, in essentially the same location, facing the same threat for well over an hour of screen time without ever losing the audience’s interest. While much of the film’s meaning is derived from the malaise that subsequently sets in for the characters, the defence of their home from invaders and the subsequent choices that are made are equally compelling and lend the film a surprisingly upbeat tone considering its apocalyptic setting. That’s right, I’m arguing that DAWN OF THE DEAD is a feel good film. Give it a re watch and prove me wrong. 

8. HALLOWEEN (1978)

John Carpenter’s HALLOWEEN certainly wasn’t the first “slasher” movie, it distinctly follows in the footsteps of PEEPING TOM (1960), A BAY OF BLOOD (1971), BLACK CHRISTMAS (1974) and even Tobe Hooper’s THE TEXAS CHAINSAW MASSACRE (1974). It was however, the first to truly break into the mainstream. In fact it would hold the title of the most profitable independent film ever made until the release of THE BLAIR WITCH PROJECT in 1999. Much of the success of the film can be attributed to Carpenter’s decision to downplay the onscreen violence and put more effort into creating an atmosphere of suspense and dread. Instant horror icon, Michael Myers, spends much of the film lurking in the background of shots and doesn’t unleash true carnage until well into the second half of the film. The pacing and tone of the film are perfect, Jamie Lee Curtis in the lead role creates a character so sympathetic and relatable that she was not only brought back for the immediate sequel, HALLOWEEN II (1981) but also 1996’s HALLOWEEN: 20 YEARS LATER and 2018’s reimagined sequel, HALLOWEEN (2018). The less said about her appearance in the dire HALLOWEEN: RESURRECTION (2002) the better. But as icon as Curtis’ Laurie Strode would become, this initial entry into the franchise is carried by the Van Helsing to Myers’ Dracula, Donald Pleasence as Dr. Sam Loomis. I can say enough good things about Pleasence’s performance and he lends the entire film a sense of gravitas it might not otherwise have possessed. HALLOWEEN is simply put the quintessential “slasher” movie and an absolute must watch for any horror fan.

7. BATTLE ROYALE (2000)

Some might argue against BATTLE ROYALE’s inclusion on a list of horror movies but I’ve never understood that argument. While the film’s primary concerns definitely lend themselves to dystopian science-fiction, the cinematic language it employs is undeniably that of the horror movie. For those who aren’t familiar with director Kinji Fukasaku’s masterpiece (based on the equally compelling novel by Koushun Takami) BATTLE ROYALE is the story of a Japan in the near future where societal upheaval has resulted in the passing of the BR Act which states that once a year, every year, a class of high school children will be selected to take part in a brutal fight to the death with only one survivor permitted. This bout of institutionalised madness serves not only as tawdry entertainment to sedate the masses, but also as a constant reminder of the government’s power. I won’t belabour the Hunger Games comparisons as both stories share similar antecedents, but the genius of BATTLE ROYALE lies in its execution. The high schoolers selected are, with a couple of intentional exceptions, portrayed as realistically as possible. They are not the usual horror movie fodder and so when they inevitably begin to turn on one another the violence on display is double shocking and impactful. The cruelty of the situation is magnified by the malevolent indifference of Takeshi Kitano as a former teacher of the group, now serving as the overseer of their game. The film manages to avoid being relentless bleak through the moments of friendship, love and defiance that shine through as the story progresses to its seemingly inevitable climax. BATTLE ROYALE was somewhat buried in the west upon release owing to its (in my opinion falsely) implied similarities to the then still recent in the memory Columbine shootings and the subsequent events of September 11^th 2001 but nevertheless it remains one of the greatest films of all time. But don’t take my word for it as no less an authority on film than Quentin Tarantino once cited BATTLE ROYALE as the best film made during the duration of his career, high praise indeed.

6. FROM DUSK TIL DAWN (1996)

Speaking of Tarantino, here he is again with FROM DUSK TIL DAWN. As a reminder, this is a list of my personal favourites and not objective quality as there is no way on earth that Robert Rodriguez’s western/horror genre mashup is a better film than some of the others I’ve already mentioned. There’s even a pretty solid argument to be made that it’s not actually a good film, and to be honest I could make many of those myself. It is however a film I find relentlessly entertaining. FROM DUSK TIL DAWN is the story of the thoroughly unpleasant criminals, the Gecko brothers, as they kidnap a family and try to make their way south of the border on their flight from the law. Honestly, so much of the first half of this movie only works thanks to a handful of outstanding performances from Micheal Parks (who’s role here is little more than a cameo, but made such an impression on the filmmakers that he would return as the character in not only Tarantino’s KILL BILL but also the GRINDHOUSE collaboration between Tarantino and Rodriguez), Harvey Keitel and George Clooney. In fact it is the interplay between Clooney’s anti-hero protagonist Seth Gecko and Keitel’s faithless preacher Jacob that propels much of the drama of the film through the first hour. What might otherwise have been a small scale, but compelling, crime drama turns into a gonzo monster movie once these characters arrive at the site of the much of the film’s carnage, the Mexican strip bar known as the Titty Twister. The B-movie schlock that follows won’t be to everyone’s tastes but for me at least, the compelling characters, hilarious one liners and rock n’ roll soundtrack keep me thoroughly engaged and entertained through to the climax and Seth Gecko remains one of my favourite horror characters to this day. One common complaint about the film is Tarantino’s acting performance as the younger Gecko brother, Richie, but for me, QT as a delusional, irritating, sociopath with a foot fetish is perfect casting.

5. LET THE RIGHT ONE IN (2008)

I’m not sure it’s possible for two movies to have as little in common as FROM DUSK TIL DAWN and LET THE RIGHT ONE IN but they are both technically horror movies about vampires so both qualify for a place on this list. Let’s cut to the chase, I honestly believe that Swedish director Tomas Alfredson’s adaptation of John Ajvide Lindqvist’s 2004 novel of the same name, along with BATTLE ROYALE and the film that tops this list, belongs in the discussion of the greatest films ever made, not just greatest horror films. It is a masterpiece of pacing and suspense, with some of the best period accurate clothing and set design I have ever seen. The plot can be summed up succinctly as a young boy, struggling with isolation, bullying and his parents’ separation, befriends a new child in the neighbourhood whom he subsequently discovers is a vampire. As basic as that set up appears, the filmmaker manages to create remarkable depths of meaning and emotion from it. This isn’t a film that would be described as “scary” on the surface but it is a truly disturbing exploration of the nature and origins of evil. While the temptation might be to watch Matt Reeves’ acclaimed English language remake, LET ME IN (2010) in place of the subtitled LET THE RIGHT ONE IN, I would actually urge you to watch both. LET ME IN is a solid enough reimagining of the original film but it actually manages to completely invert the message and meaning of Alfredson’s film. I’m still not sure if this was intentional on Reeves’ part but it certainly makes for an interesting double bill. If you only have the inclination to watch one of them though, I can’t recommend LET THE RIGHT ONE IN highly enough. Its pacing may seem slow in comparison to some of the other films on this list but it builds to a truly unforgettable climactic scene that the American remake simply fails to capture with quite the same impact.

4. THE HITCHER (1986)

THE HITCHER went largely unheralded upon release with largely negative reviews and an abysmal box office performance but, as with many other films on this list, it has managed to find a more appreciative audience over time. With a one sentence plot, a guy driving cross country picks up the worst hitchhiker ever, and intentional allusions to both Steven Spielberg's DUEL and James Cameron's THE TERMINATOR, THE HITCHER was dismissed by many as a cynical cash grab upon release. But thanks to a handful of perfectly judged performances and an ever increasing sense of tension and dread, Robert Harmon's film manages to perfectly capture a hellish journey through the desert roads of America's Route 66. C. Thomas Howell and Jennifer Jason Leigh portray two of the most sympathetic horror protagonists of all time but it is Rutger Hauer's masterful depiction of the villainous Jack Ryder that steals the show. I won't give too much away for first time viewers other than to say that Ryder remains one of the few horror villains that manages to retain his unnerving presence after multiple viewings. Many site his performance in Ridley Scott's BLADE RUNNER as his career high point but I honestly feel that THE HITCHER represents Hauer's at his very best. One final merit in THE HITCHER's horror bona fides is the excellent work by scriptwriter Eric Red, who would go on to write the cult classic NEAR DARK (1987) and the vastly underrated BAD MOON (1986). Red doesn't over burden these characters with needless back story, he instead allows them to exist fully formed in the moment, adding further depth and realism to the nightmarish situation the protagonists find themselves in. THE HITCHER is an excellent horror movie that doesn't pull any punches and Hauer's Ryder is an all time great horror villain.

3. FALLEN (1998)

If nothing else, FALLEN deserves to be recognised for having one of the greatest casts of all time. Featuring typically excellent performances from Denzel Washington, Donald Sutherland, John Goodman, James Gandolfini and Elias Koteas, the film utilizes it's principle players to blend a tense police procedural with psychological supernatural horror. To be clear, this is easily the least violent film on this list, instead the demonic antagonist of FALLEN presents an entirely different and more disturbing threat. Capable of transferring from person to person by touch, and delighting in cruelty, the film's villain is brought to vivid life through the performances of the cast, brilliantly conceived set pieces and the excellent use of a couple of Rolling Stones tunes that you'll never be able to listen to in the same way again. This game of cat and mouse between Washington's John Hobbes and his supernatural foe plays out initially as a mystery for the Detective to solve before the true extent of the danger he is in reveals itself. Don't worry, the film makes its supernatural aspects clear from the opening scenes so I haven't spoiled the experience at all. FALLEN is a truly quality entry into the horror genre and has easily one of the most unforgettable endings of any film on this list. I can't recommend it highly enough, even to non-horror fans.

2. SCREAM 2 (1997)

Owing to a couple of spectacularly ill-advised childhood viewing experiences (specifically watching KILLER KLOWNS FROM OUTER SPACE and CHILD'S PLAY 2 before I was 10 years old) I was utterly terrified of horror movies until the age of 15 when, thanks to the slightly obsessive nature of one of my closest friends, I was badgered into watching SCREAM for the first time and I've honestly never been the same. Wes Craven and Kevin Williamson's postmodern reinvention of the slasher genre fundamentally changed something in me and I've loved the entire genre ever since. Yet for all of it's, well deserved, acclaim I will forever argue that SCREAM is surpassed in almost every way by his first sequel. SCREAM 2 takes everything the first film does well and does it better, the set pieces are more impressive, the dialogue more refined and in the case of one particular character death, it is far more daring. Yet what brings me back to the film year after year is how it deals with trauma. I won't go too far into critical mode here, but I will say that the way the film depicts the PTSD and trust issues that have formed in Neve Campbell's Sydney Prescott after surviving the events of the first film deserves far more recognition. This film outlines clearly that the same qualities that make Sydney a survivor, also fundamentally hinder her ability to have an ordinary happy life. As a result, the events of the sequel take on an additional tragic quality that is absent from most slasher movies, a theme that plays out perfectly in the film's ending. SCREAM 2 is easily one of horror maestro Wes Craven's best film and I love it more with every year that passes. So basically, a thank you to Dr Liam Barker for being a big weirdo who decided the best way to champion the merits of SCREAM was to reenact the murder scenes in art class using clay figures, I owe you one. 

1. THE THING (1982)

Anyone who has talked to me about horror or just film in general could probably have told you this film was going to top my list. John Carpenter's THE THING isn't just my favourite horror movie of all time, its my favourite film period. For me, the merit of a film is in the balance between intent and execution. There are plenty of films on this list that received negative critical appraisals, but I love them because of how well they execute their intention, how well they "are what they want to be". By this metric, I honestly believe THE THING to be one of the best examples of filmmaking in the history of the industry. Every single frame of this film is meticulously executed to maximise feelings of isolation, paranoia and ultimately a uniquely claustrophobic terror. The cast are chosen, with the exception of regular Carpenter player Kurt Russell, not for their fame or looks, but for their ability to manifest this believable cast of characters. Russell himself utterly encapsulates the film's protagonist RJ McReady and manages to convey a great deal about his character without any overt backstory being presented. Even the film's costume continuity is used to subtly reveal huge plot reveals that many audience members might not even pick up on upon first viewing. The practical monster effects manage to be nightmarish and unforgettable without really on referencing genre staples. The soundtrack, a collaboration between Carpenter himself and Hollywood legend Ennio Morricone, is instantly iconic and captures the tone of the film perfectly. I could honestly heap praise on the film for hours as even the few quibbles I do have such the film's idea of early 80's computing technology bordering on laughable, are intentional choices by the director (Carpenter decided it was worth these few moments of bending realism to make sure that the audience understood the stakes of the film). Ultimately, the highest recommendation I can give the film is this, in the last 4 years I have attended 6 different cinema screenings of THE THING and would go again in a heartbeat. The film is John Carpenter's masterpiece.

That's my list then. My genuine hope is that I might have tempted a few of you to either seek out a film you haven't seen before or rewatch one you maybe overlooked. Either way I hope you enjoyed this piece and have a suitably spooky Halloween.