The 50 Greatest Horror Films of All Time

50. Cat People (Jacques Tourneur, 1942)

At a time when horror films were full of bizarre and terrifying monsters and villains, Cat People went down a very different route. Instead of using makeup or special effects to create the cat person, Cat People instead uses shadow and sound to create its presence. The term 'less is more' had never been more relevant in horror cinema at this point, the monster doesn't jump from the shadows to attack its prey, instead it lurks there, slowly following and waiting to pounce. It's a very effective method and really helps to build suspense, the infamous pool scene where Alice (Jane Randolph) is stalked by the creature is a fine example of how terrifying sound and shadow can be when combined in the right way. The film also saw the first use of the Lewton Bus method, in which suspense is broken by a completely harmful and unrelated phenomena, it is named after producer Val Lewton.

49. The Fog (John Carpenter, 1980)

John Carpenter's sophomore outing after the success of Halloween turned to the concept of urban legends, in this case, the tale of ghostly pirates lurking in a sinister fog. Set in the beautiful town of Antonio Bay, the film gives us a look at the lives of some of the townsfolk such as radio DJ Stevie (Adrienne Barbeau) and unsuspecting hitchhiker Elizabeth (Jamie Lee Curtis) while the tension slowly builds and the fog approaches. Like Halloween, The Fog spends a lot of the film building suspense and foreshadowing the arrival of the undead pirates, Carpenter's direction and wonderful score are most effective in achieving this air of tension and he leaves us waiting in anticipation for what results in a crescendo of terror. While it does feel like a slow build at times, the payoff definitely makes it worth the wait in a climax very reminiscent of an old EC comic. While it did suffer production issues such as countless reshoots and additional scenes, it all paid off in the end and The Fog only managed to further establish John Carpenter as the horror maestro he is today.

48. The Masque of the Red Death (Roger Corman, 1964)

One of the more mature films of Roger Corman's numerous Edgar Allan Poe films, The Masque of the Red Death looks and feels like a much more serious, experimental horror film. The colourful set design, the mysterious cloaked figures, the beautiful cinematography from future director Nicolas Roeg, Masque is visually stunning. It isn't as heavy on the comedy as some of the other Poe adaptations either, sure the Hop Frog subplot is humourous and certain moments come across as unintentionally cheesy, but while the likes of The Raven and Tales of Terror were intentionally comedic it seems that this film was trying to take more of a serious route. Of course a Corman adaptation of an Edgar Allan Poe story would not be complete without horror icon Vincent Price, this time in a dual role as the sadistic Prospero and one of the forms of the Red Death, as always he manages to find the perfect balance between a powerful performance and sheer hamminess. The Masque of the Red Death is easily Corman's best Poe adaptation.

47. Nosferatu the Vampyre (Werner Herzog, 1979)

The original Nosferatu is a milestone of German cinema, so it seems only fitting that German native Werner Herzog would remake it over 50 years later, putting his own spin on the original film. While remakes of such iconic pictures don't often fare well and Dracula pictures had been in excess in the previous few decades, somehow Herzog's Nosferatu is very unique. It's a beautifully grim picture that has some gorgeously gloomy locations such as the streets of Wismar and the haunting woods of Transylvania. There is a constant atmosphere of dread throughout and some really creepy scenes including one involving a horde of rats. But the films greatest asset is by far Klaus Kinski as Count Dracula. His appearance is terrifying and every word he utters sends shivers down the spine, but unlike many portrayals of the Count, Kinski's adds another layer of depth to him. It emphasises the vampire's sense of loneliness and portrays him as a more tragic figure, but don't worry he's still the ghastly old count we all know and love.

46. Freaks (Tod Browning, 1932)

While it was met with immense controversy upon its release, Freaks is undoubtedly a masterpiece. Way ahead of its time, the film is most notable for casting real sideshow performers with real deformities as the eponymous freaks. However they are not the monsters of the piece, the real monsters are the greedy trapeze artist Cleopatra (Olga Baclanova) and her strongman boyfriend (Henry Victor) who take advantage of the sideshow performers, specifically the ringmaster Hans (Harry Earles), a dwarf. It was very badly received at its time of release, practically destroying director Tod Browning's career. But it has since found a place among modern audiences and is widely considered to be a countercultural film. It emphasises the humanity of the 'freaks', portraying them as a tightly-knit family of sorts who care for and support each other through thick and thin. The most memorable and shocking scene of the film is also a prime example of how far the performers will go to protect their kind, let's just say they're not a bunch to be trifled with. It's a shame that the film was so heavily criticised at its time of release, and I only wish that Browning were around now to see the film gain the appreciation it deserves.

45. Poltergeist (Tobe Hooper, 1982)

Written and produced by Stephen Spielberg and directed by Texas Chainsaw legend Tobe Hooper, it was impossible for Poltergeist not to be a success. While the age old story of a family being terrorised by the supernatural had already been done numerous times by the 1980's, the film still manages to be so distinctive and unique thanks to Spielberg's script, Hooper's direction and the incredibly talented cast. What really holds the film together is the Freeling family itself, the actors all share such a genuine onscreen chemistry you'd think they really were related offscreen. It adds more layers of depth to the stereotypical ghost story and seeing the extents this family go to in order to rescue their daughter makes it very touching for a horror. Spielberg has a thing for creating a great sense of chemistry in his stories and while it is very touching, Hooper does manage to inject the right amount of terror to class it as a horror film. The face melting scene and that bloody clown doll have since become iconic.

44. Black Christmas (Bob Clark, 1974)

Before giving us the hilarious yultide classic that is A Christmas Story, Canadian director Bob Clark gave us a very different Christmas story, one involving a deranged killer stalking and killing sorority girls. I feel like Black Christmas  is very underappreciated, predating the likes of Halloween and Friday the 13th by several years and having a heavy influence on both. It's also one of the first films to use the 'killer calling from inside the house' concept which has been done many times since. The killer in this picture has no distinctive mask or features, in fact he is never seen at all, the one thing that makes him stand out is his horrific voice heard over the phone in the form of deranged rambling. It's very unsettling to listen to and the fact that you never see his face makes it all the more chilling. The juxtaposition between the joy of Christmas and bloody murder makes Black Christmas a very sinister piece, but that's the beauty of this film, it turned a much loved holiday into a truly terrifying experience. Oh, it also has John Saxon playing a cop so how can you say no to that?

43. Carnival of Souls (Herk Harvey, 1962)

The film that was Lynchian before Lynchian was even a term, Carnival of Souls is a true surrealistic nightmare. Following a woman who experiences bizarre hallucinations following a near death experience, this rather low budget film relies not on effects, but atmosphere. The chilling organ soundtrack, the black and white photography and the very creepy nameless ghoul played by the director himself, they are what makes this film scary. The scares are subtle enough at the beginning, sudden appearances of the ghoulish man and such, but gradually the film descends into a true nightmare as Mary's (Candace Hilligoss) hallucinations become more and more frightening. It's a very clever film as it gradually allows the audience to question the reliability of its narrative without giving too much away, it constantly keeps you guessing until finally hitting you with a curveball and presenting one of the greatest plot twists in horror film history. 

42. The Fly (David Cronenberg, 1986)

David Cronenberg is without a doubt the king of body horror so it was only natural for him to eventually turn to an earlier body horror and Cronenberg it up. Remaking the 1958 film based on the 1957 book, The Fly has the perfect balance between disgusting and emotional. On the surface it follows scientist Seth Brundle (Jeff Goldblum) as he slowly transforms into a grotesque human-fly hybrid, but beneath all the gore and bodily fluids, this is a film that has real heart. Sure it's a lot more disgusting than the original but Seth Brundle is such a likeable character and his relationship with Veronica (Geena Davis) is so developed, that this version of The Fly manages to be superior to the original. Never has a film been so disgusting yet so beautiful at the same time, and the fly or 'Brundlefly' as he's known here, looks wonderful thanks to the brilliant practical effects. This is love, Cronenberg style.

41. A Nightmare on Elm Street (Wes Craven, 1984)

The film that introduced us to the man of everybodies dreams, Freddy Krueger (Robert Englund), A Nightmare on Elm Street is the film that made Wes Craven's career. Sure, he had already made a name for himself with films such as Last House on the Left and The Hills Have Eyes, but this is what established him as a true master of the genre. What makes the film so unsettling is its concept, sleep is something we all experience and something we can all relate to so the idea of a man who can kill you in your dreams is something that is universally scary. The dream sequences are quite eerie but some of the best moments of the film occur when the audience are unaware it's a dream, scenes such as Nancy's (Heather Langenkamp) encounter with Freddy in school. It toys with the mind at times making it a very fun horror film. The real star of the show of course, is its villain Freddy Krueger and old Freddy has since joined the ranks of some of horrors greatest antagonists. It's also got a young Johnny Depp and once again, John Saxon as a cop, so how can you say no to that?

40. Audition (Takashi Miike, 1999)

One of my old teachers, a fellow man of film, once described Japanese director Takashi Miike as 'nuts', and that's the only way to describe Audition, in the best way possible of course. Initially it doesn't really seem like much of a horror, following a man who decides to hold an 'audition' for a new wife and his relationship with the successful candidate. For a good portion of the film it feels like a romantic drama of sorts, but don't let its slow build put you off by all means, it's worth the wait. Towards the end the film takes an extremely twisted turn in a climax that involves possibly the most creative use of piano wire ever along with Miike's love for needles. Eihi Shiina is wonderful as the bride-to-be Asami, her development throughout the film is fantastic and very unpredictable, you'll be hearing her say 'kiri kiri kiri' for weeks after watching the film. A different kind of J-horror but, like Miike's bizarre imagination, in the best way possible.

39. Don't Look Now (Nicolas Roeg, 1973)

Almost a decade after doing cinematography on Masque of the Red Death, Nicolas Roeg gave us his own terrifying film about red hoods, Don't Look Now. The film deals with the theme of loss and coping with loss and follows a couple played by Donald Sutherland and Julie Christie as they go to Venice sometime after the death of their young daughter. The location alone is beautifully stunning, but this isn't the sunny Venice we're used to, this is the gloomy, off-season Venice and in my opinion it's much more beautiful and way more haunting. While things seem very normal initially, everything changes after an encounter with a pair of sisters, one of whom has psychic abilities. What follows is a haunting and surreal journey through the gloomy canals of Venice where everything is not as it seems. Roeg builds up an incredibly unsettling atmosphere especially in the final minutes of the film as Sutherland's character pursues the hooded figure through the dark Venetian alleyways. Don't miss this one.

38. Day of the Dead (George A. Romero, 1985)

After successfully reinventing the zombie genre with Night of the Living Dead and upping the ante with Dawn of the Dead, it was seemingly impossible for George A. Romero to create something as consistently great as its predecessors. With production troubles and problems with the budget it almost looked as though Day of the Dead was doomed to failure, however Romero managed to create a very different but very good zombie film on par with his previous efforts. The film takes place in an underground military base where survivors attempt to create a cure for the zombie epidemic. It's an interesting take on the zombie genre as instead of dealing with zombie/human conflict, it looks at the conflict between humans and how the apocalyptic situation can force them to turn on one another. Most notably the primary antagonist himself is human and one of the 'good guys' as the cute, domesticated zombie Bub (Sherman Howard). Now don't worry there is still plenty of flesh eating undead gore and the zombies are still as scary as ever, but Day of the Dead, much like its predecessors, has much deeper themes that pose a number of questions for the viewer.

37. Dracula (Terence Fisher, 1958)

Hammer horror films are arguably some of the best things to come out of the UK in the mid 20th century, with them brought a revival of gothic horror, this time full of blood and sensuality. One of the most iconic Hammer films is without a doubt Terence Fisher's adaptation of Dracula. While Universal and Bela Lugosi certainly brought about the definitive version of the Count, Hammer and Christopher Lee reinvented him, this time with fangs and a menacing hiss. Lee's Dracula was much more silent than previous portrayals, he only has a few lines of dialogue and tends to hiss more than talk, he brought a more animalistic vibe to the character compared to Lugosi's more reserved portrayal. His ruby eyes, his blood soaked, ivory fangs, Lee was terrifying as the Count, but he was not alone. Along for the ride was frequent Hammer collaborator, the already established Peter Cushing as Dr. Van Helsing. Much like Lee, Cushing helped to reinvent the character and flesh him out more, turning him from doddery old man to vampire hunter extraordinaire. 

36. A Bay of Blood (Mario Bava, 1971)

Also known as Twitch of the Death Nerve, Last House on the Left-Part II (No relation to part I), and a variety of other bizarre titles, A Bay of Blood could be considered to be one of the most influential horror films of the 70's. Directed by giallo maestro Mario Bava, the film follows a number of people murdering their way around a lakeside estate in order to gain a large inheritance. While Psycho and Peeping Tom are widely considered to be the first slasher films, A Bay of Blood is essentially what many slashers would use as inspiration in the following decade. From the Friday the 13th franchise to The Burning, the tale of a killer (or killers) stalking teens by a lake has been done countless times, but A Bay of Blood started that trend in some ways, hell, Friday the 13th Part 2 even copies one of the death scenes from this film (the one where the teens get impaled during sex). Full of bloody murders, gorgeous settings and tons of killer POV shots, A Bay of Blood helped to create the modern slasher, while many films would go on to rip off this film, none of them had the talent of Mario Bava behind the camera.

35. It Follows (David Robert Mitchell, 2015)

A more recent one now, but one that looked to the past for its inspiration, utilising a number of 80's horror tropes to give it that classic horror feel. From the synthy score to the gloomy cinematography, It Follows has all the good qualities of a John Carpenter film with enough originality to make it it's own thing. The films antagonist is like nothing we've ever seen before, a mysterious entity that follows its victim under a number of guises to help it blend in, only its victim can see it and the only way to get rid of it is to 'pass it on' to someone else. Even thematically this is pure 80's horror. When the thing finally does catch up, well, lets just say you better be a fast walker. With so many things paying homage to the 80's at the moment it's quite easy to do something boring and tedious, but It Follows is neither of those things. It's such a new and exciting concept and it's executed so well here, the whole film is so atmospheric with tension you could cut with a butter knife, it's a perfect homage to one of the greatest decades in horror.

34. Let the Right One In (Tomas Alfredson, 2008)

Based on the Swedish vampire novel of the same name, Let the Right One In is a beautiful film about childhood, friendship and, well, vampires. Taking place in a snowy town in Sweden, the film sees Oskar (Kare Hedebrant), a shy young boy who falls victim to bullying, as he befriends the mysterious Eli (Lina Leandersson), his new neighbour. Gradually we learn that Eli is a bloodthirsty vampire but nonetheless she remains friends with Oskar and encourages him to stand up for himself. It is quite touching seeing these two outsiders form a bond, both taking joy in each others company after enduring loneliness for so long. The two young actors share a brilliant onscreen chemistry and act as an emotional heart of sorts for the film. Don't get me wrong, it is very very dark and calling it bloody would be an understatement, but amidst all of the violence and gore, Let the Right One In is a truly beautiful film. It's certainly superior to another 2008 vampire romance anyways.

33. 28 Days Later (Danny Boyle, 2002)

After successes in the 90's with films such as Shallow Grave and Trainspotting, director Danny Boyle tried his hand at the horror genre after the turn of the century with a little film called 28 Days Later. Penned by Alex Garland, an author from whom Danny Boyle adapted The Beach, the film follows the outbreak of the 'rage' virus in the UK which turns its hosts into violent zombie things. Only these weren't the typical Romero zombies, nor were they the voodoo zombies that came before, these were animalistic savages who could also run. Yep, zombies who run, pretty terrifying. Like Romero years before, Boyle and Garland once again reinvented the zombie genre, making the creatures faster and more vicious and I have to say it's really effective, these lads are some of the scariest things to ever grace the screen. Boyle's masterful direction also helps to rise the tension and the film itself is as fast paced as the infected in it, it certainly is one thrilling horror. Boasting a talented cast including Cillian Murphy and Brendad Gleeson, 28 Days Later marked a new direction for zombie films, an even more horrifying one at that.

32. The Babadook (Jennifer Kent, 2014)

This Aussie horror was the surprise gem of horror cinema in 2014 and one of the greatest 'arthouse' horrors in recent years. The Babadook is a terrifying tale about a woman's loss and subsequent mental illness that manifests itself in the creepy Mr. Babadook, a storybook monster clad in all black who terrorises Amelia (Essie Davis) and her young son Samuel (Noah Wiseman). The two key things that make The Babadook so scary are subtlety and Essie Davis' phenomenal performance as the unhinged Amelia. As we gradually catch brief glimpses of Mr. Babadook, Amelia finds herself slowly descending into insanity, lashing out at her own son and even their pet dog. Other moments such as the trippy black and white film montage and the subtle appearances of Mr. Babadook are the cherry on top. While it is an incredibly dark film for the most part, Amelia and Samuel have this great connection that balances out the films darkness and gives the film a deeper layer of emotion. In the end, it is their bond that defeats Mr. Babadook. Touching stuff ladies and gents.

31. Pan's Labyrinth (Guillermo del Toro, 2006)

Guillermo del Toro has a recurring theme in his films where he blends dark fantasy with the harsh realities of war, and nowhere is this executed better than in Pan's Labyrinth. Set against the backdrop of the Spanish Civil War, the film follows the troubled young Ophelia (Ivana Baquero) as she moves to the war torn countryside with her mother and stepfather, the sadistic Captain Vidal (Sergi López). It is here where she confides in fantastical world below full of strange creatures such as the friendly Faun and the grotesque Pale Man (both played by the wonderful Doug Jones). With Pan's Labyrinth, you come for del Toro's twisted creature designs but stay for its truly harrowing story about a troubled young girl trying to cope with the harsh world unfolding around her. While the Pale Man is particularly horrific, the most terrifying creation from this film is Captain Vidal, cruel and ruthless, he is willing to do anything it takes to ensure his victory, including smashing a young mans face in with a bottle. Del Toro proves here that war is more terrifying than any creature he could conjure up.

30. The Evil Dead (Sam Raimi, 1981)

Before Sam Raimi became the acclaimed director he is today and before Bruce Campbell became, well, Bruce Campbell, they both began with a little film called The Evil Dead. A feature length version of their short film Within the Woods, The Evil Dead tells the age old story of a group of teenagers who get more than they bargained for during a trip to a cabin in the woods. This is the definition of indie filmmaking, a miniscule resulted in makeshift equipment and Raimi recruiting his friends for parts on and off screen so it's basically a classic tale of a couple of friends wanting to make it big in the industry. And it worked, the grotesque violence, demonic possession and horny trees proved to be very popular with audiences at the time and the film gained instant acclaim. Even if the effects are a bit dated not, the film proves to be even more popular now and has spawned a very successful franchise of films, comics, toys and the such. Most of all it produced Bruce Campbell's legendary badass with the boomstick, Ash Williams. Groovy.

29. The Blair Witch Project (Daniel Myrick & Eduardo Sánchez, 1999)

Another example of indie filmmaking within the woods, The Blair Witch Project issued in a new age of horror cinema: the found footage era. Thanks to some very convincing mockumentary filmmaking, relatively unknown actors and a clever internet marketing campaign, the film has this extreme sense of realism that at times it feels as though the footage we're watching is 100% genuine. Beginning with fake interviews with the townsfolk, the film then takes us to the woods of the Black Hills where the mythical Blair Witch supposedly resides. Several loud noises and twig figurines later, things start to get pretty unsettling in the woods and when one of the 'filmmakers' goes missing that's when shit really hits the fan. It all builds up to a very ambiguous ending that may seem disappointing a first, but later on you'll really appreciate it for what it is. Although it did essentially spark the now worn out found footage genre, The Blair Witch Project has this brilliant sense of realism that sets it apart from other found footage flicks. The acting, the direction, the environment, it all looks so real so that when something creepy does happen it's all the more effective.

28. Carrie (Brian De Palma, 1976)

Carrie was the novel that essentially began Stephen King's journey to becoming the essential 'King' of modern horror fiction, it was so successful after its release that two years later it was adapted to the big screen by the already established Brian De Palma. It follows Carrie White (Sissy Spacek), a troubled young girl who is pushed too far by both her classmates and domineering mother, forcing her to unleash her newfound abilities on them all. It's a bit of a slow burner that begins very much like a coming of age teen drama, however we are gradually teased with glimpses at Carrie's abilities and when the infamous prom scene finally does come we are hit with a catharsis of telekinetic insanity. It's quite a satisfying film, watching Carrie exact her bloody revenge on those who drove her to madness, and while Spacek is quite unsettling in all her blood drenched glory, the real star of the show is Piper Laurie as her religious fanatic mother. Spouting out religious jargon while abusing her daughter mentally and physically, Laurie is wonderful as the insane Mrs. White, quite possibly the scariest movie mother ever.

27. REC (Jaume Balagueró & Paco Plaza, 2007)

Another example of found footage done right, this Spanish zombie flick is all kinds of scary. Following a news crew who accompany a group of firemen on their night shift, the film begins like a regular old piece of news. However when the fire brigade are called to an old apartment building, things take a very sinister turn, not only does a virus break out that turns its hosts into flesh eating zombies, but the firemen and news crew get quarantined inside with the infected. REC is a truly terrifying piece of cinema, like the aforementioned Blair Witch Project, everything about this film feels so real and natural, so when things start to happen that are unnatural it's all the more scary. The shaky cam works wonders here especially when fleeing from the violent infected, it really helps to boost the tension into full throttle and turns what could've been a run of the mill zombie horror into a true thrill ride of terror. The highlight of the film however, comes at the end when the camera crew come face to face with the terrifying Tristana Medeiros played by the always unsettling Javier Botet who puts his elongated features to excellent use here.

26. The Witch (Robert Eggers, 2016)

A lot of contemporary horror films depend on explicit jumpscares to shock the audience, but The Witch took a very different route, it managed to scare audiences without really doing anything scary. This gloomy period piece follows a family of puritans living in an isolated part of 17th century New England where they begin to experience strange and supernatural occurrences. The Witch is very careful and articulate in building tension, combining its chilling soundtrack with lingering shots and tense sequences, this film oozes suspense. The suspense is usually broken by clever cutting and editing before anything scary really happens, but it's very effective and the subtle scares are this films strongest asset. The film has a very strong cast including Ralph Ineson of The Office, Game of Thrones' Kate Dickie and newcomer Anya Taylor-Joy, they are wonderful at exhibiting the rising tension between the family members and the increasing paranoia throughout. It's very psychological and highly unsettling, it contrasts the more explicit supernatural horrors of today by providing subtle, yet frightening scares, making The Witch one of the most unique horrors of the decade.

25. Frankenstein (James Whale, 1931)

After Universal studios' immensely successful Dracula, it was clear that they had fantastic potential in the horror genre, naturally they followed it up with another adaptation, this time Mary Shelley's Frankenstein. The film saw Colin Clive portray the eponymous doctor while Boris Karloff took on the role of the creature, a role that would change his career forever. Veering away from his portrayal in the book, the monster is portrayed as a much more sympathetic character here, innocent and curious, he is a misunderstood creature who yearns for acceptance in a world that shuns him. Karloff is superb as the creature and Jack Pierce's iconic makeup design has cemented the character in the horror hall of fame forever, not only that but the films general style and tone have influenced countless horror films to follow. The set design and the general tropes that began in Frankenstein have been used countless times ever since. Not only was it another massive success for Universal studios, but it also began a promising career in the genre for Boris Karloff who would star in a number of other horror films right up until his death 38 years later.

24. Dawn of the Dead (George A. Romero, 1978)

The second installment in George A. Romero's revolutionary zombie franchise was a big step up from its predecessor, a bigger location, a lot more zombies and a lot more blood. Taking place mostly inside a shopping mall, the film follows a number of survivors who hide out there and defend themselves from the impending undead. It was a lot more intense than the first film and much more extreme in terms of violence, the gore was turned up to eleven thanks to acclaimed makeup artist Tom Savini and his team, but this excess in bloody violence did not turn people away from the film. In fact, Dawn of the Dead was met with acclaim upon its release, this was mainly due to its talented cast which included Ken Foree and Gaylen Ross, and underlying themes of corporate consumerism. While it took some time for Night of the Living Dead to earn its deservant acclaim, Dawn of the Dead was an instant classic and is widely considered to be one of the greatest zombie films of all time.

23. Dracula (Tod Browning, 1931)

At the beginning of the 1930's Universal studios took advantage of the development from silent to talkie pictures by putting a great deal of money into the horror genre. Their first talkie horror production was Tod Browning's Dracula, an adaptation of the play based on Bram Stoker's novel. For the role of the Count, Dracula stage actor Bela Lugosi was chosen and his performance has since become the definitive one. The black cloak, slicked back hair and smooth Hungarian accent have all become heavily associated with the Count since and have been mimicked and parodied countless times since. Lugosi has this unbelievably intense presence whenever he is onscreen, from his bellowing voice to his sharp glare, he brought the character of Dracula to life with sheer perfection. The film was a hit and sparked an explosion of horror productions from Universal studios in the following two decades, however Lugosi would only play the Count onscreen one more time in Abbot & Costello Meet Frankenstein. However, he would become heavily associated with the character for the duration of his career and even went as far as being buried in his Dracula cape.

22. The Omen (Richard Donner, 1976)

The theme of Satan and demonic possession became vastly popular in the 60's and 70's, especially after The Exorcist. One of the more successful films that grew out of this craze was Richard Donner's The Omen, a film that followed diplomat Robert Thorne (Gregory Peck) who struggles with demonic forces when he learns that his adopted son Damien (Harvey Spencer Stephens) may very well be the antichrist. The thing that makes The Omen feel so unsettling is that from the very beginning, it always seems like there is something evil lurking within this film. There is this constant sinister atmosphere throughout and we always feel as though something horrific is about to happen. Still, this doesn't stop us from being scared stiff when something shocking does happen, from decapitation to self hanging, The Omen has many surprising and unsettling moments that will hit you like a brick when they come. The idea that all of the evil in this film is revolving around a seemingly innocent young boy makes it even more unnerving, and that final shot of him staring smugly at the camera is one of the most eerie closing scenes in any horror film. I guess you could say Damien was a real Thorne in everybodies side.

21. Rosemary's Baby (Roman Polanski, 1968)

Another film about the Devil, this time set in a seemingly normal apartment building occupied by seemingly normal tenants. The film sees a young woman named Rosemary (Mia Farrow) who, after becoming pregnant, soon discovers that her pregnancy is the result of a pact between her husband (John Cassavetes) and a satanic cult. It took me a while to appreciate Rosemary's Baby for what it is, it's not explicitly scary and very slow moving, but it has this increasing sense of suspense and paranoia throughout, emphasised perfectly by Mia Farrow's harrowing performance. Farrow really is the key ingredient to making this film the unsettling suspense horror that it is, watching her go from ordinary woman to being extremely paranoid and unhinged is quite disturbing at times and the fact that it's so gradual makes it all the more believable. Arguably the best things about the film however are Minnie and Roman Castevet (Ruth Gordon and Sidney Blackmer), the seemingly friendly old couple that live in Rosemary's apartment building. For a while it seems as though they are on her side, that they are helping Rosemary, but when we realise their true agenda it's almost darkly comical in a way, this pleasant old couple being secret devil worshippers. It all builds up to a bizarre finale in which Rosemary uncovers the truth behind the films events, it's the definition of a bittersweet ending.

20. An American Werewolf in London (John Landis, 1981)

John Landis is generally associated with comedies, films such as The Blues Brothers and Animal House, however in 1981 he presented us with something entirely different, An American Werewolf in London. Lycanthropy had been dealt with in countless horror films over the years but never like this, instead of merely focusing on a man turning into a beast and doing werewolf stuff, it focused more on the psychological repercussions of lycanthropy. After American tourist David (David Naughton) gets attacked by a mysterious beast in the moors of North Yorkshire, he begins to experience bizarre hallucinations that convince him that he is turning into a werewolf. It's a monster movie done in a very psychological way, David experiences some truly bizarre hallucinations and dreams such as one involving mutant Nazi's massacring his family, it never really makes it clear when he is awake or asleep which makes the hallucinations all the more effective. While it is quite a frightening film and contains one of the greatest transformation scenes ever (courtesy of SFX wiz Rick Baker), but Landis still manages to inject a subtle sense of dark humour into the film. One scenes involves David talking to the decomposing ghosts of his victims while they try to convince him to kill himself.

19. Scream (Wes Craven, 1996)

With the end of the great slasher boom of the 1980's, many horror filmmakers looked for new directions to take the genre. Screenwriter Kevin Williamson devised a story that was part parody, part homage to the genre and involved a serial killer who had an obsession with the genre. Established master of horror Wes Craven was hired as director and the final result was Scream, a tongue in cheek type film that poked fun at the genre while still being a pretty solid horror itself. The characters had conversations about horror, particularly Jamie Kennedy's Randy Meeks who outlines the three 'rules' of slasher films, and even the killer quizzes their victims on horror trivia. It was a horror about horror essentially, a meta-horror of sorts, and it sparked a wide new interest in the genre. It helped to revamp the teen slasher subgenre, inspiring a number of similar films in the years that followed, it also made the genre itself more self aware and prompted many future films to avoid the usual tropes. Although the Scream franchise would eventually become a mere parody of itself by the third installment, the first entry will forever be known for dissecting the genre and inspiring a new generation of horror filmmakers.

18. The Wicker Man (Robin Hardy, 1973)

The Wicker Man took a vastly different route to many of the other British horror films of its time, it went for a very subtle approach and avoided as many of the usual genre tropes as it could. Horror icon Christopher Lee enjoyed the idea of a more subtle horror and jumped on board as the films main antagonist Lord Summerisle, arguably one of his most sinister roles of his whole career. The film begins like your average mystery/thriller, with devout Christian Sargent Howie (Edward Woodward) heading to the remote Hebridean Island of Summerisle in search of a missing girl. However, Howie gradually discovers the islands pagan customs and that not everybody on Summerisle is as truthful as they claim to be, it is not long before he must keep his appointment with the Wicker Man. Dealing with themes such as religion and sexuality, The Wicker Man was a much more mature horror film for its time, it didn't deal with monsters or murderers but instead a group of people with a certain set of beliefs and their devotion to said beliefs. The whole idea of religious extremism is still something that is relevant today so seeing the extent that it is taken to in this film makes it all the more unsettling. It may take a while for anything horrific to really happen but that only makes the payoff more horrifying, it feels real, it feels genuine.

17. The Cabin in the Woods (Drew Goddard, 2012)

Twelve years after Scream popularised the idea of meta-horror, The Cabin in the Woods took that concept to the next level, it's the ultimate horror homage.The film begins with the age old story of five friends encountering supernatural forces during a weekend at a cabin in the woods, but not everything is as it seems and the protagonists soon discover a dark secret lurking beneath the cabin. This is by far one of the most clever horror films of the century, while Scream subtly poked fun at the genre, The Cabin in the Woods ties it down and jabs it with a pike. Taking every trope and turning it on its head, the film is not afraid to take the complete piss out of the genre, the character of Marty (Fran Kranz) frequently questions characters choices and decisions, essentially the way viewers would on the other side of the screen. However it does give reason and purpose to all of the decisions even if the explanations are truly bizarre. It also manages to pack in as many horror movie references and homages as it can and I was blown away at the amount of monsters that crop up throughout the film, the final half hour is every horror fans dream, an explosion of monsters and sheer carnage. The Cabin in the Woods is one of those films that no matter how many times you watch it, you'll always notice something new each time.

16. Evil Dead II (Sam Raimi, 1987)

After the immense success of The Evil Dead, Raimi, Campbell and co. returned for a sequel several years later, but instead of continuing the rather dark tone of its predecessor, Evil Dead II decided to take the complete piss. Continuing the story of Ash from the first film (or rebooting it depending on how you look at it), the film sees him fight for survival against the malevolent deadites while joining forces with a group of people investigating the cabin. Instead of being a straight out horror, Evil Dead II instead parodies its predecessor by making the violence more comical and cartoony and making Ash much more of a goofball. One of the most iconic scenes sees Campbell fighting against his own possessed hand which really marked the change in tone for the franchise. It's almost like if the three stooges spent a weekend battling against the forces of darkness. Campbell is superb as the wonderfully corny Ash who goes through hell in this film while still being able to produce as much clever one liners as possible, it is here where he dons his chainsaw arm and his iconic boomstick. The drastic change in tone may seem strange at first but it's what sets the franchise apart from other similar films and what has made Evil Dead II such a cult film since.

15. Nosferatu (F.W. Murnau, 1922)

The film industry in inter-war Germany was flourishing to say the least and saw a number of experimental expressionist films being produced, by far one of the most iconic of these if F.W. Murnau's Nosferatu. Essentially it is a loose, unauthorised adaptation of Bram Stoker's Dracula, taking the basic story while changing the names of the characters and locations, however since then it has become so much more. The defining feature of the film is the terrifying Count Orlok played by Max Shreck, tall, gaunt and rat-like, Orlok is very different from usual depictions of Count Dracula which has since set him apart as his own character. His mere appearance sends chills up the spine, even his shadow is unsettling. While the film is not necessarily scary by today's standards, the atmosphere is unmistakably eerie and the image of Count Orlok standing beneath the doorway is one that will haunt your dreams long after watching the film. It may not succeed in scaring audiences today, but one cannot deny that Nosferatu is a visual masterpiece and that Count Orlok is a lot more terrifying than later depictions of Dracula. It's very much the vampire film from before vampire films were cool.

14. Hellraiser (Clive Barker, 1987)

In a decade where horror films had a tendency to veer towards the camp and the corny, Clive Barker presented a much more serious film based on his own novella The Hellbound Heart. Instead of dealing with vampires or serial killers, the common themes of 80's horror, Hellraiser introduced an entirely new species of terror, otherworldly beings known as Cenobites. The character design of these beings is truly wonderful and some of the most original character design of any contemporary horror, heavily mutilated and clad in black leather, these are some terrifying looking creatures. They are not the true villains of the piece however, the real antagonist is one of their victims Frank Cotton (Sean Chapman) who manipulates his sister in law into murdering people in order to being him back to life. Not only is it one of the most original and most visually striking horror films of the 1980's, it also manages to add some depth to its story to make it more than just your average horror. Dealing with themes of family, deception and sexuality, Hellraiser is a lot deeper than it initially presents itself and its story becomes quite captivating once the tension begins to rise. The real star of the show here however, is the lead Cenobite simply known a Pinhead (Doug Bradley) who would join the ranks of some of the most iconic horror movie monsters in the years that followed. 

13. The Silence of the Lambs (Jonathan Demme, 1991)

Based on the book by Thomas Harris, The Silence of the Lambs follows the story of Special Agent Clarice Starling (Jodie Foster) who, in order to catch a notorious serial killer must seek the advice of another psychopath, the cannibalictic Dr. Hannibal Lecter (Anthony Hopkins). Hopkins was not the first actor to play Lecter onscreen (Brian Cox took on the role in Michael Mann's Manhunter) but his performance is certainly what immortalised him in cinematic history. Hopkins brings this incredibly intense atmosphere to all of his scenes as Lecter, he's like a lion constantly waiting to pounce and every line of dialogue he delivers is goosebump inducing. In his limited screentime Hopkins alone manages to make The Silence of the Lambs an extremely terrifying experience, he is the predator and practically everybody else is his prey. Lecter may be only a secondary character to Ted Levine's highly unsettling Buffalo Bill, but he definitely leaves the biggest impact of the two. Jodie Foster is also immaculate as Clarice and shares an interesting chemistry with Hopkins' Dr. Lecter, it's a shame she didn't return for the sequel because the duo are wonderful together here. The best way to watch this film is to sit back and relax with some fava beans and a nice chianti.

12. The Cabinet of Dr. Caligari (Robert Weine, 1920)

One of the earliest films of the German expressionist movement, The Cabinet of Dr. Caligari is one of the first masterpieces of horror cinema. Following the events that unfold after the arrival of the mysterious Dr. Caligari (Werner Krauss) in a small town, the film is an eerily distorted nightmare that blurs the lines between dreams and reality and plays on the minds of the viewers. Visually this film is incomparable, from it's bizarre set design to its distinctly gothic tone, this is without a doubt one of the most influential horror films in terms of style and would influence later directors such as Tim Burton and Dario Argento. There is this consistently haunting atmosphere throughout that reaches its peak whenever the sinister somnambulist Cesare (Conrad Veidt) appears onscreen, lurking in the dark corners and alleyways of this nightmarish town. Every frame of the film is like some terrifying painting that's unmistakably beautiful while simultaneously being wildly unsettling, it's a real treat for the eyes. While it is a film immersed in style, it has the perfect amount of substance to balance that out and contains one of the earliest and most ingenious plot twists ever. The Cabinet of Dr. Caligari is a revolutionary film whose influence spans across time, even in contemporary horror cinema.

11. The Thing (John Carpenter, 1982)

The 80's saw sci-fi films enter some very darker territory in comparison to earlier films of the genre and a fine example of this is John Carpenter's The Thing. A loose remake of the 1951 film The Thing From Another World, the film follows a group of researchers at a remote base in Antarctica as they encounter a mysterious alien who assimilates and impersonates its victims. Once again, John Carpenter exhibits an immaculate ability to build suspense with The Thing as the tension reaches immense levels here. The idea that the eponymous alien could be anyone in the base brings this consistent sense of paranoia to the film as we constantly guess who the thing is impersonating. That scene where the gang take the blood tests is perhaps one of the most suspenseful scenes of all time, especially thanks to Ennio Morricone's score, it's truly nailbiting stuff that will have the hearts of even seasoned horror fans racing. The setting suits the film so perfectly, it's remote, it's isolated, and it only adds to that sense of paranoia that carries through from start to finish. Kurt Russell and Keith David are as cool as ever in their roles, but even they can't escape the constant feeling of hopelessness that follows the characters in this film, no matter how hard they fight, realistically they know that there is no escape from the thing. Carpenter, you've done it again.

10. Bride of Frankenstein (James Whale, 1935)

James Whale's first Frankenstein film was a truly revolutionary horror film, but it's sequel The Bride of Frankenstein somehow managed to top it. Picking up where the last film left off, the film doesn't simply repeat the plot of the first only with a female monster, instead it develops both Frankenstein and the creature to add further layers of emotional depth to Whale's Frankenstein mythos. Once again, Karloff is spectacular as the monster, fleshing the character out more and making him even more sympathetic. We see how society shuns him for his monstrous appearance despite his kind and gentle nature, this is made clear when he forms a brief friendship with a blind man (O.P. Heggie) who gives him what he has been longing for since his creation: acceptance. It is perhaps one of the most powerful scenes in horror cinema. Along with Karloff, Colin Clive also returns as Dr. Frankenstein who tries very hard to distance himself from his work in the first film despite encouragement from his old mentor Dr. Pretorious (Ernest Thesiger) to return to the monster making business. Thesiger is a brilliant baddie and he gets the perfect balance between camp and sinister, represented when he stops to drink tea in a crypt. Despite being named after her, the titular bride (Elsa Lanchester) only shows up for the climax, however her distinct appearance and iconic scream has made her one of the most recognisable movie monsters of the era. It's a beautiful film about looking for acceptance in a narrow minded world.

9. Jaws (Steven Spielberg, 1975)

The film that made everybody afraid to go to the beach, Jaws is a monster movie with a monster who is very real. There were no aliens or atomic creatures here, but a very realistic monster who is found in oceans all across the world. The idea that something this deadly exists in our world is unsettling enough, but the fact that it could possibly kill you in a place usually associated with summer fun is simply terrifying. The shark always strikes when you least expect and when it does finally go in for the kill it is relentless. Even today when ol' Bruce the shark looks pretty fake he still leaves an impact during his kill scenes, this is mainly due to John William's incredibly tense and memorable score that will play in your head whenever you consider taking a dip in the sea. To make the film even more intense, its protagonists are all well developed and feel very human, Chief Brody (Roy Scheider) is not just the Chief of Police, but he is also a family man who cares not only for his wife and kids, but for his community as well. He is persistent on closing the beach despite the objections of the Mayor (Murray Hamilton), because his best interests are in the people, he is a character we can somehow relate to and one we constantly fear for throughout. Jaws is a film that feels very real, from its characters to the monster itself, it feels like something that could happen to anyone which makes it all the more frightening.

8. Night of the Living Dead (George A. Romero, 1968)

Before George A. Romero gave us this film, zombies were generally nonthreatening creatures who acted as mere servants to some voodoo witch doctor. Then Night of the Living Dead came along and horror cinema found yet another thing to scare audiences with. These zombies were people who returned from the dead and fed on the flesh of the living, slow moving yet deadly nonetheless, these zombies posed a genuine threat especially when they came in hordes. Because of the terrifying nature of these monsters, the film was met with immense controversy upon its release particularly due to scenes where a zombie child slaughters her own mother. However, a few years later it was met with its deservant acclaim and is now one of the most iconic horror films ever made. Not only did the film change zombies forever, but it did something that many other films at the time didn't even dream of: casting an African American man in the lead role. Duane Jones is fantastic as the lead protagonist Ben, he is rational and resourceful in comparison to the other survivors inside the farmhouse and takes charge when need be. Not only was it a big step in the zombie genre, but also a big step in race in cinema and helped to diminish the stereotypical role of African Americans in film in the years that followed. While it may seem relatively slow in comparison to the fast paced zombie films of today, if it were not for Night of the Living Dead we may not even have those films.

7. The Exorcist (William Friedkin, 1973)

In an era where horror cinema was beginning to push boundaries like no genre had ever done before, The Exorcist pushed harder than any other film of its time which was particularly unusual for a mainstream film. The film did things that not many other films dared to do at that time, displaying violent and disturbing imagery of a possessed child doing all sorts of bizarre things. From the spider walk to the infamous crucifix scene, The Exorcist went to extreme levels to shock its audience, seeing things like that alone is unsettling enough but seeing them happen to a child is almost traumatic. Aside from its disturbing imagery and subject matter, the film also has some controversial themes including the church and loss of faith which makes it one of the first truly mature horror films of its time. It wasn't campy, it wasn't corny, it was straight out horror and it does everything in its power to convey that to the audience. Linda Blair is phenomenal as Regan MacNeil, the young possessed girl and her performance remains as one of the most disturbing ones I've ever seen. She shares a genuine chemistry with her onscreen mother Ellen Burstyn which adds a layer of emotional depth to the film, making us fear for the characters even more. It's a film that is both well layered and well paced, gradually displaying signs of the supernatural and teasing dark forces before erupting in a catharsis of the profane and horrific. The Exorcist is the film that set the tone for the 70's, a dark, almost nihilistic tone that would change the horror genre forever.

6. The Shining (Stanley Kubrick, 1980)

Another adaptation of a Stephen King novel albeit drastically different from its source material, The Shining is an incredible exercise in suspense horror. The masterful Stanley Kubrick adapted King's novel to the big screen, adding his own signature flare and traits to make it a visually captivating film as well as being highly suspenseful. The tracking shots, the symmetry, the one point perspective, this film is pure Kubrick, and even though the basic premise of a family spending the winter in an isolated hotel matches that of the book, the story plays out very differently here. It's understandable why he omitted several things from the book such as the animal shrubs and fire hose coming to life, along with the (literally) explosive ending, these simply would not suit the style and tone of a Kubrick film. The hedge maze was a wonderful substitute for the animated topiary. He doesn't get rid of everything however, many of the ghosts from the book appear in the film, one of the most memorable is the rotting woman in room 237 who appears in one of the films most disturbing scenes. Kubrick manages to create and build this constant atmosphere of tension that develops each day during the film, the tension is so great here that even a simple cutting to a title card acts as a jumpscare. This tension that builds throughout really takes its toll on Jack Nicholson's character Jack Torrance, the isolation, abstinence from alcohol and his irritating wife Wendy (Shelly Duvall) all eat away at him gradually, so when he finally does begin to see the bizarre apparitions in the Overlook Hotel, he snaps and..well let's just say some doors get broken. The Shining is by far one of the most unsettling films of the 80's, a subtle horror in comparison to some of the more explicit ones that would follow.

5. The Texas Chainsaw Massacre (Tobe Hooper, 1974)

Independent filmmaking was a big part of the horror genre in the 1970's, many aspiring filmmakers finally had the means to bring their visions to life, no matter how unconventional they seemed. One of these aspiring filmmakers was native Texan Tobe Hooper who took the world of cinema by storm in 1974 with a little film called The Texas Chainsaw Massacre. This film was gritty, it was nasty, and despite the fact that there is a lot less blood and gore than the title suggests, people were shocked. Following a group of teenagers travelling across the Texas backroads, the film soon takes a sinister turn when they come into contact with the maniacal Leatherface (Gunnar Hansen) and his family of depraved cannibals. The film is a full on assault on the senses, visually it can be very hard to watch even despite the surprising lack of blood, the scene where Leatherface hangs up one of his victims on meat hooks is incredibly grizzly despite the fact that no blood is onscreen. But it's the timing, the acting, and the fact that everything looks and feels so grounded and real that makes the scares in this film effective. Leatherface himself proves to be a true force to be reckoned with, a hulking, unhinged figure who relentlessly pursues the teens with a gigantic chainsaw whose buzz will forever haunt your dreams. His mere presence is frightening enough, let alone the fact that he wears masks made from human flesh. Despite the initial disgust and negativity around this film, nowadays The Texas Chainsaw Massacre is considered art house horror. It's distinctively visual aesthetics set it apart from other horror films of the time, that closing scene of Leatherface dancing with his chainsaw in the sunset is without a doubt one of the most recognisable shots from any horror film. The Texas Chainsaw Massacre is what raised the bar for slasher films, encouraging them to be more gritty, violent and downright depraved.

4. Suspiria (Dario Argento, 1977)

Suspiria is the first horror film I watched that left me feeling genuinely scared for long afterwards, a surprising achievement for a film that holds very little scares. Following a young woman attending a prestigious ballet school in Germany, the film begins like a typical giallo film, but as things play out it soon becomes clear that there are supernatural forces at work here. Sure there is some blood and a couple of jump moments in Suspiria, but director Dario Argento opted to place more emphasis on atmosphere than anything else, a decision that would proved to be very effective. Visually this film is incomparable, its elaborate production design and colourful lighting give it this very psychedelic vibe, an almost dreamlike atmosphere that gradually descends into a horrific nightmare. Along with its visuals, Ssupiria's soundtrack is also very distinctive. Composed by Italian prog rock group Goblin, the score is like nothing you will every hear and is immensely unsettling, it's arguably what makes this film so scary in the first place. A combination of these visuals, the score and Argento's incredible direction give this film an immensely unnerving atmosphere, we always feel as if someone or something is watching the lead protagonist Suzy (Jessica Harper). One of the most unsettling scenes takes place when blind pianist Daniel (Flavio Bucci) is walking with his guide dog late at night. The suspense builds gradually and there is this constant sense of being followed throughout the scene, then that Goblin score kicks in and you know shit is about to hit the fan. Not only is Suspiria quite possibly the most visually stunning horror film of all time, it is one of the best examples of how subtlety can work so well in horror cinema. With the right director, cinematographer and soundtrack, you can create one incredibly unsettling piece of cinema while avoiding the usually predictable horror tropes.

3. Halloween (John Carpenter, 1978)

I've mentioned the great slasher boom of the 1980's many a time in this post, Halloween is what sparked that boom. Although it was not the first of its kind, it has a very distinctive formula and certain tropes that would be taken and applied to almost every slasher film in the years that would follow. The mysterious masked killer stalking the unsuspecting horny teenagers in a small suburban town, it's a premise with which we are all too familiar with at this stage, and Halloween is where it all began. Taking place on Halloween night in the small suburbia of Haddonfield Illinois, the film sees the psychopathic Michael Myers (Nick Castle) return home after years of being locked away in an asylum where he begins to stalk unsuspecting babysitters. Halloween was shot on a relatively low budget which meant that it had to be filmed over a very short period of time, along with forcing co-writer and director John Carpenter into the role of composer as well. However, the final result was much more terrifying than a lot of films with twice the budget. Carpenter's score proved to be one of the highlights of the film, making it a lot more tense than it already was, the main theme has become an iconic piece of music since. It also presented us with one of the most terrifying movie villains ever, Michael Myers. Tall, deadly and silent, Myers is an unstoppable entity of pure evil, from the scene where he escapes from the asylum it is clear that this is no ordinary man and as the film progresses he only becomes more imposing. There are a number of times where he is thought to be dead, but suddenly he gets back up again and the nightmare continues. Beginning promising careers for Carpenter and its leading lady Jamie Lee Curtis, Halloween is no ordinary horror film, it is a film that inspired a generation.

2. Alien (Ridley Scott, 1979)

The sci-fi genre is one that inspired people to look up into the stars and wonder about what's really out there, then Alien came in 1979 and suddenly people were shot scared of space. The film follows the ill-fated crew of the Nostromo as they come face to face with a terrifying extra-terrestrial being. The xenomorph from Alien was like no creature ever seen before, the space monsters in sci-fi flicks were usually corny and rubbery looking but this thing was horrific. The H.R. Giger designed creature came complete with two sets of jaws and acidic saliva and proved to be quite a menace for Ellen Ripley (Sigourney Weaver) and her fellow crew members. From the moment it bursts from poor John Hurt's chest it is evident that this is one of the most terrifying creatures to ever appear on the big screen. The isolated setting was also crucial in making Alien the horror extravaganza that it is, the isolated space craft in the middle of space is perfect for such a film as it means no escape. The crew members are stuck on board with this monstrous creature and their only choice is to band together and fight for survival. Claustrophobia is also a key feature in the film, the scene where Tom Skerritt's character crawls through the vent is a perfect example as to why. There is an underlying sense of hopelessness in this film, the crew are stuck in this tiny corner of space with one of the most terrifying creatures of all time, it's not exactly the best position to be in. Thankfully the film also gave us one of the strongest female protagonists ever with Ellen Ripley who would go on to combat numerous Xenomorphs in the films sequels. Alien is what made the sci-fi genre dark, it said goodbye to rubbery monsters and hello to horror, inspiring countless sci-fi films in the years that followed to go down the darker, more terrifying route.

1. Psycho (Alfred Hitchcock, 1960)

And now, numero uno on this list, Alfred Hitchcock's genre changing masterpiece that is Psycho. Hitchcock is the undeniable master of suspense, specialising usually in mystery thrillers. So it was only natural for Hitch to turn to the horror genre with an adaptation of Robert Bloch's novel about mysterious murders at the Bates Motel. The film was a giant leap for the genre and dealt with a number of taboo themes such as sexuality and violence in ways in which previous films had only touched upon. Scenes like the one in which Norman Bates (Anthony Perkins) spies on Marion (Janet Leigh) while she gets changed would have been considered very risque back then, but this did not stop Hitchcock. He went even further by including the infamous shower scene where one of the major characters is stabbed to death brutally while being naked in the shower. Imagery like this was very uncommon in mainstream cinema back then, but Hitchcock was not a man afraid of taking risks. A true master of building tension, Hitchcock put those talents to the extreme here with help from Bernard Herrmann's string heavy score and the result was golden. The suspense in Psycho is unlike anything else, it's Hitchcockian suspense applied to the horror genre which simply cannot be matched in any way, shape or form. The reason why Psycho is number one here is because despite being nearly 60 years old, it still holds up today as being incredibly scary. The scene where the detective is murdered at the top of the staircase still gives me chills whenever I think of it and that ending is one that is simply unforgettable. It was one of the first horror films to really take risks, which I feel is what the genre is all about. From its themes to its subject matter, to that career defining performance from Anthony Perkins, Psycho is incomparable, it is a true classic and it will never cease to be such.