Before I go further, I want to say that I am sadly still without a laptop. Either way, I plan on doing a blog entry for Steve (a regular visitor to this site) in November.
With the exception of the note below, this blog entry was originally published on here last year on October 24, 2024.
Note: This Friday, which is October 31st (Halloween), I will be posting a blog entry regarding my Top 100 Favorite Horror Films of All Time, so this is not the only Halloween post I will be doing this year
This blog entry is dedicated to what I consider to be an official version of my Top 10 Favorite Horror Films of All-Time. Aside from some different choices (see numbers 4,5 and 6) this year, every film on here from last years remains intact. I know I have said it before, but it bears repeating – all lists (including my own) are subjective. Nevertheless, please be kind to number 7 on this list because that one means a lot to me, so once again please be polite Also, any comment expressing negativity at number 7 will be deleted. Now, without further ado, I present to you all:
-My Top 10 Favorite Horror Films of All-Time-
(#10-01)
10.) Vampyr (1932)
Dir: Carl Theodor Dreyer
Country: Germany/France
Color: Black and White
Danish director Carl Theodor Dreyer’s only horror film was dismissed by critics as one of his lesser works during it’s initial theatrical release in 1932. Fast-forwarding ninety-two years later in 2024, many critics now consider Vampyr to be (in the words of former Village Voice film critic J. Hoberman) Dreyer’s most radical film. Given everything that came before and after it in Dreyer’s oeuvre, Hoberman’s view can not be stated any better. Intentionally emphasizing atmosphere and imagery over plot, when it comes to horror films produced after the advent of sound, Vampyr stands out as quite possibly the only one to truly resemble that of a nightmare.
Since I could not find a youtube video link to an official theatrical trailer, click here to view a 90th anniversary trailer
Click here to view a youtube video link of British film critic Mark Kermode’s commentary on it as one of his BFI Player picks
Click here to watch the film on youtube
09.) The Shining (1980)
Dir: Stanley Kubrick
Country: United States/United Kingdom
Color: Color
Author Stephen King may have been greatly disappointed over director Stanley Kubrick’s adaptation of his 1977 bestselling novel, but this has not prevented The Shining from eventually becoming (and deservedly so) a quintessential example of cinematic horror. Along with other Kubrick films, The Shining has only improved with time. Not unlike Carl Theodor Dreyer’s Vampyr, The Shining remains the only horror film within Kubrick’s oeuvre. Similar to the former, The Shining resembles the work of an idiosyncratic filmmaker. Here, we get now iconic scares ranging from the elevator of blood sequence to images of hacked up twins to the image of it’s lead actor Jack Nicholson exclaiming (through ad-libbing) Here’s Johnny!. As in all (or most) of Kubrick’s films since 1957’s Paths of Glory, The Shining has been open to all sorts of interpretations and neither one would be wrong.
Click here to view the film’s original theatrical trailer
08.) Nosferatu (1922)
Dir: F.W. Murnau
Country: Germany
Color: Black and White
German director F.W. Murnau’s unauthorized silent adaptation of author Bram Stoker’s 1897 novel Dracula also happens to be my personal favorite version of the source material. Whereas other versions romanticized the aforementioned title character, Nosferatu depicts the vampire (named Count Orlok in this film) as a truly hideous monster in every single way imaginable. All of his mannerisms are expressed perfectly by it’s lead actor Max Schreck. As a masterpiece of both German Expressionism and cinematic horror, Nosferatu is driven less by scares and more by it’s eerie atmosphere.
Since I can’t find an official theatrical trailer for it, click here to view this youtube video link of it’s 100 Anniversary trailer
Click here to watch the film on youtube
07.) Twin Peaks: Fire Walk with Me (1992)
Dir: David Lynch
Country: United States/France
Color: Color
Critically savaged upon it’s initial theatrical release back in 1992, Twin Peaks: Fire Walk with Me has since been reassessed as not only a misunderstood masterpiece, but also as one of director David Lynch’s major masterworks. As for myself, I will go one step further by citing Twin Peaks: Fire Walk with Me as the number one greatest American horror film of the 1990’s. A prequel to both the original series (1990-91) and 2017’s The Return, Twin Peaks: Fire Walk with Me centers on the sad last days of Laura Palmer – acted with gusto by the immensely beautiful and talented Sheryl Lee. Aided by composer Angelo Badalamenti’s haunting music score, the result is every bit as surreal and nightmarish as it is ultimately tragic. British film critic/novelist Kim Newman once stated that the film’s many moments of horror demonstrate just how tidy, conventional and domesticated the generic horror movie of the 1980’s and 1990’s has become. I could not have stated it any better.
Click here to view the film’s original theatrical trailer
Click here to listen to the soundtrack
Click here to watch author Scott Ryan’s introduction to the film at Chicago’s Music Box Theatre from last year
Click here, here, here, here and here to watch a Q&A with actress Sheryl Lee and actor Dana Ashbrook from a 2021 showing of Twin Peaks: Fire Walk with Me at Chicago’s Music Box Theatre
06.) The Devil’s Backbone (2001)
Dir: Guillermo del Toro
Country: Spain/Mexico
Color: Color
Along with the equally inventive Under the Shadow, The Devil’s Backbone is an inspired combination of the supernatural and the allegorical. When it comes to 21st century cinematic horror, both films serve as personal favorites of mine. As one may have deduced from this list, The Devil’s Backbone ranks very high for me. Set during the final year of the Spanish Civil War, The Devil’s Backbone is on the one hand, a subtly tragic ghost story and on the other, a quietly frightening antifascist historical drama. Now I love every single film of Mexican filmmaker Guillermo del Toro and the highly personal The Devil’s Backbone (my second favorite of his after Pan’s Labyrinth) is arguably the most insightful out of all the truly great horror films produced since the dawn of 2000.
Click here to view the film’s original theatrical trailer
Click here to view British film critic Mark Kermode’s commentary on it as one of his BFI Player picks
Click here to read Kermode’s Criterion essay for it
05.) Midsommar (2019)
Dir: Ari Aster
Country: United States/Sweden
Color: Color
Whereas Ari Aster’s directorial debut Hereditary resembled the work of a master filmmaker, it was his follow-up film Midsommar that officially cemented him as such. As a horror film, Midsommar’s masterstroke lies not so much in it’s atmosphere as in how it uses it. Like The Wicker Man before it, Midsommar’s unique emphasis on daylight is what makes the film all the more disturbing. In fact, everything about Midsommar still sends shivers down my spine. As it did during it’s initial theatrical release five years ago in 2019, Midsommar still hits close to home (metaphorically and otherwise) in more ways than one.
Click here to view the film’s original teaser trailer
Click here to view the film’s original theatrical trailer
04.) The Seventh Victim (1943)
Dir: Mark Robson
Country: United States
Color: Black and White
Out of the nine unique official (or unofficial) horror films produced by Val Lewton at RKO Pictures during the 1940’s, director Mark Robson’s The Seventh Victim stands out as my personal favorite of the group. Every single trademark that shapes a Lewton production reaches it’s peak here. While The Seventh Victim is similarly downbeat as Lewton’s other horror films, neither of them ended on such an explicitly bleak note as this one does. The film’s black-and-white color palette coincides perfectly not only with it’s urban setting, but also in it’s thematic elements relating to depression and satanism among other things. Mature subject matter like homoeroticism is even touched upon here in an intelligent and sensitive manner. In addition, The Seventh Victim features a quietly chilling shower sequence that predates Alfred Hitchcock’s Psycho by seventeen years.
Click here to view the film’s original theatrical trailer
Click here to view TCM’s Eddie Mueller’s Noir Alley intro to the film from 2020
Click here to view TCM’s Eddie Mueller’s Noir Alley outro to the film from that same episode
Click here to view a Vimeo link to the 2007 documentary entitled Val Lewton: The Man in the Shadows
03.) Diabolique (1955)
Dir: Henri-Georges Clouzot
Country: France
Color: Black and White
Though Alfred Hitchcock is often credited for redefining cinematic horror with Psycho in 1960, with all due respect to the Master of Suspense, the aforementioned genre was actually redefined five years earlier in 1955 by French director Henri-Georges Clouzot with Diabolique. Coincidentally, not too long after the publication of Diabolique’s 1952 source material She Who Was No More, which was written by Pierre Boileau and Thomas Narcejac, Hitchcock set out to option the rights to it. He changed course upon learning that Clouzot had obtained them serveral hours earlier, which enabled him to adapt it as Diabolique. As the film’s plot unfolds, Clouzot wastes no time in elevating the tension to completely unbearable heights and effortlessly keeps it going throughout. Culminating in one of the scariest twist endings ever conceived, Diabolique is a horror thriller that will ultimately make one’s heart stop.
Click here to view the film’s original theatrical trailer
Click here to view Alex Cox’s Moviedrome intro to the film
Spoiler Alert: If you have not seen the film, I strongly advise you not to click on the link below
Click here to view British film critic/novelist Kim Newman’s analysis of Diabolique
02.) Eyes Without a Face (1960)
Dir: Georges Franju
Country: France/Italy
Color: Black and White
If French poet Jean Cocteau had directed a 1930’s Universal horror film, the result would have undoubtedly been Eyes Without a Face. While it may not possess the delightfully eccentric humor that shaped The Invisible Man and Bride of Frankenstein among others, Eyes Without a Face does offer something every bit as inspired. Disturbing and poetic in equal measure, Eyes Without a Face is as much a horror film as it is a fairy tale. Dismissed by critics as one of his lesser films during it’s initial theatrical release in 1960, Eyes Without a Face has since been reassessed (and deservedly so) as not only French director Georges Franju’s most famous and influential film, but also his greatest one.
Click here to view what may or may not be the film’s French trailer
Click here to view British film critic Mark Kermode’s commentary on it as one of his BFI Player picks
Click here to view Kermode’s Kermode Uncut commentary on it
Click here to view Mark Kermode’s Cult Film Corner commentary on it
01.) Don’t Look Now (1973)
Dir: Nicolas Roeg
Country: United Kingdom/Italy
Color: Color
Now often hailed as one of the most influential horror films ever made, Don’t Look Now also happens to be my number one favorite horror film of all-time. Reportedly cited by it’s British director Nicolas Roeg as his exercise in film grammar, Don’t Look Now also stands out as quite possibly the most beautiful marriage between form and content. Accompanied by composer Pino Donaggio’s emotionally powerful music score, Roeg’s trademark unconventional editing style and it’s fittingly bleak, yet strangely lovely atmosphere, Don’t Look Now explores a tragedy’s impact on a married couple through the power of visual storytelling. Along with an explicit controversial sex scene between it’s two lead actors (Julie Christie and Donald Sutherland), Don’t Look Now is noted for featuring (like Diabolique before it) the scariest ending ever conceived in the history of cinematic horror.
Click here to view the film’s original theatrical trailer
Click here to view the film’s 2019 4K Restoration trailer
Click here to view British film critic Mark Kermode’s 2008 Culture Show interview with director Nicolas Roeg
Click here to view Kermode’s review of the 2019 4K Restoration of the film
Click here to view Irish documentarian Mark Cousins 2001 Scene By Scene interview with actor Donald Sutherland on the film
Click here to view Mark Cousins Moviedrome intro to the film
Click here to view Danish-Norwegian filmmaker Joachim Trier commentary on the film
Click here to listen to the soundtrack
Let me conclude this blog entry with two questions for my dear readers below
What are your top 10 favorite horror films of all-time?
What video links in my blog entry interested you the most?
cinematiccoffee 