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There are some more explicit key scenes – a potential nighttime rape and a chilling climax – that serve to get right under our skin without making the whole premise seem ridiculous. This is the intelligent, subtle face of horror, as Polanski limits the specifics to a minimum and keeps us guessing as to how much is going on merely in the mind of Mia Farrow’s character as she comes to believe she’s been impregnated by a creepy bunch of well-to-do Manhattanites with a connection to the occult. It’s hard enough moving into a flat and trying to start a family without having to wrestle with the enveloping suspicion that your new neighbours might be satanists dead-set on parenting a demon child via you. And make no mistake: The Exorcist is most definitely a horror film: though it may be filled with rigorously examined ideas and wonderfully observed character moments, its primary concern is with shocking, scaring and, yes, horrifying its audience out of their wits – does mainstream cinema contain a more upsetting image than the crucifix scene? That it still succeeds, almost four decades later, is testament to Friedkin’s remarkable vision.Ĭast: Mia Farrow, John Cassavetes, Ruth Gordon

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In cutting from the clanging bazaars of Iraq to the quiet streets of Georgetown, in blending dizzying dream sequences with starkly believable human drama, Friedkin created a horror movie like no other – both brutal and beautiful, artful and exploitative, exploring wacked-out religious concepts with the clinical precision of an agnostic scientist. The first to achieve that blend with absolute certainty was The Exorcist – which perhaps explains its position as the unassailable winner of this poll. The first film to attempt to bring the two together was Rosemary’s Baby, but Polanski’s heart clearly belonged to the surreal. On the other, there were the more outrageous dream-horrors popular in Europe, the work of Hammer Studios in the UK and Mario Bava and Dario Argento in Italy, films that prized artistry, oddity and explicit gore over narrative logic. 🩸 The 15 scariest horror movies based on true storiesĬast: Ellen Burstyn, Linda Blair, Jason Miller, Max von Sydowīy the ’70s, horror had divided into two camps: on one hand, there were the ‘real life’ terrors of Psycho and Night of the Living Dead, films that brought horror into the realm of the everyday, making it all the more shocking. 👹 Cinema’s creepiest anthology horror movies Written by Tom Huddleston, Cath Clarke, Dave Calhoun, Nigel Floyd, Phil de Semlyen, David Ehrlich, Joshua Rothkopf, Nigel Floyd, Andy Kryza, Alim Kheraj and Matthew Singer There is, after all, more than one way to scare someone – and these movies do it better than all others. Some push physical boundaries gory, but others will leave you rattled using little more than shadows and suggestions. Among our picks, you’ll find psychological terrors that probe deep, universal human fears and traditional slashers that jab at our most elemental instincts for survival. It’s a fact illustrated by our list of the greatest horror movies ever made. In truth, the best horror movies cut deeper to the human condition than just about any other film experience.

The current ‘elevated horror’ renaissance has also led to a reappraisal of the genre’s past as a whole, but let’s be real: the genre has never needed validation. The likes of A Quiet Place, Get Out and Hereditary are among the most lauded movies of the past decade, while crowdpleasers like M3GAN have become bona fide cultural phenomenons. It’s only in the last few years that horror’s reputation has begun to change. Video store shelves filled with formulaic slasher schlock, tarnishing even the form’s acknowledged classics. As the VHS market opened up in the 1970s and ’80s, demand for cheap content exploded, and for many fly-by-night filmmakers, the quickest way to an easy buck was to lead a bunch of attractive teenagers to the slaughter. For decades, it was cinema’s most misunderstood genre – and not without reason. It took the cinema world at large a while to come around on horror – even after a silent era that was hallmarked by Expressionist chillers like Nosferatu and The Cabinet of Dr Caligari.