Horror that takes its time and then doesn't let go.
the shower, and the structure nobody saw coming
an apartment closing in
grief as a horror film, with the greatest edit in either
the biggest horror film ever made, and still effective
the third pillar of 70s religious horror, and the score won an Oscar
Kubrick's most argued-over film on release, and unarguable now
the film that created a whole thriller subgenre
Bates won an Oscar for a two-hander in a bedroom
Scorsese and De Niro, operatic and nasty
Norton's debut, and the ending
the film that made the late-90s twist an industry
a premise so good it ran for six films
the best haunted-house film in decades
the saddest of the J-horror wave
the most beautiful ghost story of the decade
surveillance, guilt, that final shot
the year's most emotional horror film
a faux-documentary that builds to one genuinely devastating image
a perfect 1980s pastiche, shot on 16mm
Wan's haunted-house machine, built cheap and effective
opens as kitchen-sink drama and does not stay there
anxiety made literal
a film about sound, about a film
the found-footage-within-a-film conceit, done well
Deakins at his darkest
Park's English-language debut, all texture
old-fashioned craft, and it launched a universe
grief as a pop-up book, and a real debut
the best horror premise in years
McAvoy in two dozen rooms, and the stealth *Unbreakable* sequel
the highest-grossing horror film ever made
marketed as a monster film; it isn't one
Lanthimos's coldest
a horror premise that rewrote its own sound design
Lee Chang-dong's slow-burn masterpiece
a D+ audience grade, and one of the great horror films
Peele's more ambitious second film
a remake premise turned into a film about being disbelieved
the less you know going in, the better it works
a sleeper hit built on one very effective image
a satire that works as a thriller
the best mainstream horror debut in years
mainstream horror that actually works
made for $750,000, grossed over $370 million; one of the most profitable films ever made
