Top 100 Greatest Horror Movies of All Time

Top 100 Greatest Horror Movies of All Time

#100: “Child’s Play” (1988)
There are certain constants within the realms of horror cinema. Werewolves, vampires and the undead are certainly among them, but possessed dolls also enjoy a pedigree that dates back decades. Chucky wasn’t the first killer toy to scare fright fans, but he’s certainly the most famous. This is due to the “Child’s Play” franchise capturing the imaginations of generations, with an enduring menace and sense of humor. What’s particularly impressive upon rewatching the original “Child’s Play” is how much restraint director Tom Holland and crew have with regards to the Chucky reveal. Is the doll possessed by the spirit of serial killer Charles Lee Ray? Or is it all in young Andy’s mind? “Child’s Play” takes its time, and in doing so created a legend.

#99: “The Wolf Man” (1941)
Larry Talbot’s story is similar to Chucky’s, in that he wasn’t the first of his kind on film. Universal Pictures already financed a werewolf picture in 1935, titled “Werewolf of London,” but it would be 1941’s “The Wolf Man” that cemented its lycanthrope into pop culture forever. Lon Chaney Jr. remains a figurehead upon horror’s proverbial Mount Rushmore, and it’s his portrayal of the Wolf Man that many actors still look to for guidance. There’s a tragedy at play within Chaney’s performance that forever cements Talbot as an accidental monster, a killer who doesn’t want to kill. As a result, the regret at these moonlight murders become as intrinsically linked with “The Wolf Man” as its menacing howls and the blood-curdling screams of its victims…

#98: “The Beyond” (1981)
Italian horror films were notorious not only for their extremism, but also for the industry’s often esoteric and dreamlike senses of logic. “The Beyond” serves as an outstanding example of both these ends, a visceral and violent piece that somehow retains an artistic and even melancholic atmosphere of beauty. Director Lucio Fulci was often referred to as Italy’s “Godfather of Gore,” and there’s certainly no shortage of the red stuff here for horror fans. However, “The Beyond” also meditates on the hereafter, the occult and this foreboding sense of futility against fate. And it does so with set pieces that set the bar for cinematic violence in 1981, right up through to the modern day.

#97: “Paranormal Activity” (2007)
The found footage genre can often be a “love it or hate it” proposition, but there’s no denying the original “Paranormal Activity” as an absolute titan of the medium. Origins of the style can actually be traced back to Italy with 1980’s “Cannibal Holocaust,” but writer-director Oren Peli’s supernatural take on found footage is an excellent blueprint for how to create incremental dread. The intentionally minimalist execution with regards to set pieces and even acting allows “Paranormal Activity” to cast shadows within the viewer’s mind. As a result, it’s easy for us to become swept up in the story, right on through to that final, shocking ending.

#96: “Häxan” (1922)
The original “Häxan” may have been released in 1922, but it was its re-release in 1968 - now featuring the subtitling of “Witchcraft Through the Ages” - that’s arguably even more famous. This is due not only to the new English narration from famed American author William S. Burroughs, but also how this re-release helped expand the viewership of “Häxan” to a new generation. Even today, horror fans marvel at the amazing feats of evocative visual effects conceived and executed by writer-director Benjamin Christensen. This is silent horror that delights in accurately representing the fear and paranoia behind witchcraft and the occult, a sensorial feast that’s as creepy now as it was over a hundred years ago.

#95: “The Exorcism of Emily Rose” (2005)
The devil has always been in the details when it comes to horror cinema. Religious themes boomed during the 1970s in the wake of “The Exorcist” and “The Omen,” and that narrative fear of the unknown continues on within “The Exorcism of Emily Rose.” The plot of this 2005 effort from director and co-writer Scott Derrickson takes from real-life horror history of Anneliese Michel and adapts it to the modern day. Here, courtroom drama is counterbalanced against horrific flashbacks, and asks tough questions about the efficacy of exorcism, as well as clerical responsibility. The end results work well, and allow the audience to also measure their own faith and beliefs against the possibility of demonic possession.

#94: “Ganja & Hess” (1973)
The reputation of “Ganja & Hess” has slowly but surely gained esteem and appreciation since its original release in 1973. The edited home video version, titled “Blood Couple,” arguably helped keep “Ganja & Hess” swirling within the public consciousness, but the uncut film also endures today as a formative example of Black creativity within the horror genre. Writer-director Bill Gunn resists the urge to make “Ganja & Hess” a mere blaxploitation cash-in after the smash success of “Shaft,” and instead delivers an intentionally brooding, experimental and atmospheric piece. Symbolism of everything from substance use disorder to religious and marital compunction is present within “Ganja & Hess,” and the film is highly recommended to any horror fans seeking out something a little different.

#93: “Black Christmas” (1974)
A number of movies released prior to 1974’s “Black Christmas” contain elements of what would eventually become known as the slasher film. However, it could be argued that this masterpiece from director Bob Clark codified those elements to something truly genre-defining and special. It isn’t only about the ratcheted-up tension and dread of “Black Christmas” that makes it great, but also the time Clark spends with his characters. The audience gets to know a lot about these sorority sisters, their motivations and their backstories. The inevitable slayings feel more earned as a result, and Clark doesn’t even give his viewers the satisfaction of a neat ending. Instead, the impact of “Black Christmas” echoes and reverberates, like the distant and faintly fading sound of a telephone…

#92: “Les Diaboliques” (1955)
The crux of any good horror film is a great story, and 1955’s “Les Diaboliques” owns one of the true all-timers. It’s the sort of tale with no real heroes, questionable motivations and a classic twist that got adapted time and time again by other films in the decades that followed. Director Henri-Georges Clouzot crafts a melodramatic murder mystery with a lot of supernatural elements, a concoction that would go on to influence Italy’s infamous giallo cycle in the late sixties and into the seventies. “Les Diaboliques” is style and substance, a potboiler with legitimately creepy atmosphere and an ending that’s nothing short of pure brilliance.

#91: “The Mist” (2007)
Speaking of “endings,” is there anyone out there that was even remotely anticipating the gut-punch finale to “The Mist” from 2007? Writer-director Frank Darabont shocked everyone when he adapted this novella from Stephen King with one very specific request: a downbeat ending. This shocking turn of events makes “The Mist’s” tales of otherworldly monsters feel even more harrowing, echoing the film’s darkly imaginative creature design. Sure, “The Mist” might have ranked higher on this list had the mid-2000s CGI been replaced with more traditionally practical effects, but this takes nothing away from the film’s cultural impact as a whole. That’s because everyone remembers where they were when Darabont first sprang that ending on ‘em: EVERYONE.

#90: “The Wailing” (2016)
Part police procedural, part occult horror and part zombie film, 2016’s “The Wailing” is somehow much, much more. This is a modern horror classic that isn’t a short watch, but never feels intimidating. Instead, “The Wailing” invites audiences that are perhaps uninitiated into the worlds of Eastern mysticism and leads them into an almost impenetrable darkness. Director Na Hong-jin constructs a bleak narrative here, and those looking for popcorn horror frights are almost destined to turn away from “The Wailing.” However, those seeking a more cerebral and satisfying excursion into terror are well advised to set aside enough time to allow “The Wailing” to work its magic.

#89: “Insidious” (2010)

#88: “The Changeling” (1980)

#87: “The Black Phone” (2021)

#86: “Behind the Mask: The Rise of Leslie Vernon” (2006)

#85: “Trick ‘r Treat” (2007)
“Trick ‘r Treat” was the little horror movie that could, an anthology flick that was originally intended to be released theatrically, but instead was sent straight to DVD. This could’ve signaled the death knell for a lesser film, but director Michael Dougherty’s dedication to paying respect to horror’s past while also striving to be its future shone brightly in direct-to-video hell. “Trick ‘r Treat” created a minor horror icon in the form of its diminutive mascot Sam, who appears throughout each of the film’s stories. This is quick-paced storytelling with a wicked sense of humor that’s nevertheless unafraid to get downright dark in places. “Trick ‘r Treat” is a modern horror classic that we rewatch every year.

#84: “Phantasm” (1979)

#83: “Re-Animator” (1985)

#82: “Terrifier 2” (2022)

#81: “Creature from the Black Lagoon” (1954)

#80: “The Bird with the Crystal Plumage” (1970)
Director Dario Argento arguably crystalised the giallo genre with his 1975 opus “Deep Red,” but it was five years earlier, and “The Bird with the Crystal Plumage,” where the pieces were beginning to fall into place. The stylish and graphic murders, committed by an unknown assailant wearing fetishized black gloves. The controversial combination of sex and violence. An evocative, untraditional music score. All of these elements and more went into “The Bird with the Crystal Plumage,” taking a quirky murder mystery and dragging it, kicking and screaming, into the world of horror.

#79: “The Black Cat” (1934)

#78: “Jacob’s Ladder” (1990)

#77: “Braindead” [aka “Dead Alive”] (1992)

#76: “The Others” (2001)

#75: “Candyman” (1992)
The creative sandbox of the 1990s was very different from the previous few decades. As a result, a fresh injection of originality was needed in order to create a new horror icon. Enter Daniel Robitaille, aka Candyman. Tony Todd entered the horror pantheon back in 1992 when he took on the titular role in Bernard Rose’s film. Granted, the character’s official backstory wouldn’t be revealed until the 1995 sequel, subtitled “Farewell to the Flesh,” but the Robitaille tragedy went a long way into inspiring the 2021 “Candyman” remake. The “Candyman” franchise is actually rather consistent when it comes to quality, but there’s no denying the gothic melancholy and bloody power that lies behind Todd’s original portrayal of this hook-handed master of bees.

#74: “The Hills Have Eyes” (1977)

#73: “The Orphanage” (2007)

#72: “Pearl” (2022)

#71: “Audition” (1999)

#70: “The Invisible Man” (2020)
The character of the Invisible Man is one that’s intrinsically linked with old-school horror, but what do you do when you’d like to slap a fresh coat of creative paint upon that archetype? Writer-director Leigh Whannell did so wonderfully with his 2020 iteration of “The Invisible Man.” Here, the focus shifts from the devious temptations of invisibility to a man who’s already pretty reprehensible before he disappears. Instead, it’s Elisabeth Moss who shines as a woman stalked by this invisible ex, all the while attempting to alert others to her danger. It’s serious stuff, and taken seriously by Whannell, who directs “The Invisible Man” almost like a horror-fueled update of “The Burning Bed,” starring Farrah Fawcett. It’s powerful stuff.

#69: “Raw” (2016)

#68: “Rec” (2007)

#67: “Dr. Jekyll and Mr. Hyde” (1931)

#66: “Videodrome” (1983)

#65: “The Conjuring” (2013)
If “The Conjuring,” as a franchise, has taught us one thing, it’s the old adage of “never let the truth get in the way of a good story.” That’s because this series, and particularly its original film entry from 2013, have given us two wonderful performances from Patrick Wilson and Vera Farmiga. The actors portray fictionalized versions of the real-life Ed and Lorraine Warren, who rose to fame on their claims to be paranormal investigators. “The Conjuring” provides all of the horror jump scares and demonic possessions we expect from a film like this, but where it really shines is with Wilson and Farmiga’s chemistry. What can we say? We just love to see these two be in love… and fight off ghosts, of course.

#64: “Barbarian” (2022)

#63: “Hellraiser” (1987)

#62: “The Wicker Man” (1973)

#61: “Train to Busan” (2016)

#60: “Friday the 13th” (1980)
It’s difficult to remember, if you weren’t there, the absolute GLUT of slasher films that erupted in a post “Friday the 13th” world. Granted, Pamela Voorhees and her son Jason weren’t the first maniacs to stalk their victims with style, but the original “Friday the 13th” arguably helped usher in the era of slasher villains-as-rock stars into the cultural zeitgeist. Granted, the template of randy teenagers, secluded woods and a bunch of bad ideas wasn’t exactly novel in 1980, but “Friday the 13th” outdid them all with viciousness and a mean spirit. Plus, the film is a genuinely great whodunit to boot. We wish every Friday was “Friday the 13th.”

#59: “A Quiet Place” (2018)

#58: “It Follows” (2014)

#57: “A Girl Walks Home Alone at Night” (2014)

#56: “The Phantom of the Opera” (1925)

#55: “Eraserhead” (1977)
If one were to look up the phrase “idiosyncratic” into a hypothetical encyclopedia of film, then it’s likely that a photo of David Lynch might be the first thing they saw. That’s because Lynch has carved a career out of doing things his own way, caring little about whether or not his audience understands the vision. “Eraserhead” is one such film, a cult classic that gained steam with audiences appraising its merit on the midnight movie circuit. It’s a heady trip of industrial sound collages, nightmarish imagery and strange performances, but there’s more going on underneath the surface. Fears of fatherhood and sex are but two themes that are going on within the narrative, with “Eraserhead” pulling no punches with regards to its transgressive content.

#54: “The Host” (2006)

#53: “Invasion of the Body Snatchers” (1978)

#52: “House on Haunted Hill” (1959)

#51: “The Cabin in the Woods” (2011)

#50: “Freaks” (1932)
“Freaks” may be preserved today within the halls of the National Film Registry, but sadly the original version of this cult classic is lost to the sands of time. Or, rather, make that the MGM editing room. That’s because the hullabaloo regarding “Freaks” was almost instantaneous back in 1932. This was due primarily to the casting of real sideshow industry performers with legitimate disabilities. Today, this fear of “Freaks” can largely be chalked up to prejudice, since director Tod Browning’s film is largely seen as presenting the titular characters as sympathetic, rather than villainous. As a result, “Freaks,” though certainly scary, avoids the label of exploitation, and instead enjoys a modern day reputation as an all time classic.

#49: “Let the Right One In” (2008)

#48: “Cat People” (1942)

#47: “It” (2017)

#46: “28 Days Later” (2002)

#45: “Godzilla” (1954)
Here’s a question: is “Godzilla” a horror or a sci-fi film? Well, one could answer “both,” but what sets both the original “Gojira” and its “King of the Monsters!” variation from many of its sequels is tone. It’s well-established today that Godzilla the monster is an analogy for nuclear war, specifically the American bombings of Hiroshima and Nagasaki during World War II. However, what “Godzilla” the film does so well is present these monster attacks as something truly harrowing. The destruction and devastation committed by Godzilla isn’t taken for granted, and the usage of the Oxygen Destroyer to kill the original Big G is given the same sort of grave reverence as Fat Man and Little Boy. This “Godzilla” is no joke.

#44: “Ju-On: The Grudge” (2002)

#43: “Carnival of Souls” (1962)

#42: “The Descent” (2005)

#41: “The Witch” (2015)

#40: “Saw” (2004)
The “Saw” franchise would go on to become something of a Halloween tradition over the years, with multiple sequels, prequels and spin-offs. There’s certainly been a case of diminishing returns with many of those films, yet it’s important to remember the impact of the OG “Saw” when it was released back in 2004. Both Tobin Bell and his creepy puppet live rent-free within horror fans’ nightmares, and Jigsaw has to be one of millennial horror’s most intriguing and enduring villains. Additionally, the construction of Jigsaw’s traps and his motivations would go on to capture moviegoers’ imaginations all around the world. And that has to count for something.

#39: “Dawn of the Dead” (1978)

#38: “Black Sunday” (1960)

#37: “The Babadook” (2014)

#36: “Don’t Look Now” (1973)

#35: “The Blair Witch Project” (1999)
Never underestimate the marketing. The viral campaign to create a buzz behind 1999’s “The Blair Witch Project” worked really well. Perhaps a little too well, since many went into their viewing experience taking the “documentary” bait hook, line and sinker. Of course, we’ve already mentioned how found footage films like “The Blair Witch Project” were riding upon the creative coattails of “Cannibal Holocaust,” yet this one still stands out as a titan amongst the pack. “The Blair Witch Project does so much with so little, setting up likable characters and palpable dread together with a lore that feels lived-in and scary. It may not possess the same punch in the modern day, but audiences in 1999 frankly were not ready for “The Blair Witch Project.”

#34: “An American Werewolf in London” (1981)

#33: “Peeping Tom” (1960)

#32: “Eyes Without a Face” (1960)

#31: “The Haunting” (1963)

#30: “The Cabinet of Dr. Caligari” (1920)
Silent horror has received a lot of love throughout this list, and with good reason. There’s just something naturally spooky about these classics, including 1920’s “The Cabinet of Dr. Caligari.” Additionally, this German expressionist film from director Robert Wiene was incredibly influential with regards to its visual style. It’s easy to connect the modern day imagination of Tim Burton with the twisted lines, sharp angles and evocative lighting present within “Dr. Caligari.” Additionally, the film has raised questions from film scholars over the years with regards to its theme. Is “Caligari” a political film? Yes. Is “Caligari” a horror film? Also yes. More than anything, however, it’s a wonderful film.

#29: “Evil Dead II” (1987)

#28: “The Mummy” (1932)

#27: “The Sixth Sense” (1999)

#26: “The Birds” (1963)

#25: “Poltergeist” (1982)
The legacy of “Poltergeist” is so much more than the sum of its infamous parts. Today, the film is arguably more known for what went on behind the scenes than in front of the camera. However, we shouldn’t let ideas of an alleged curse, questions of direction, nor the real-life tragedies of Dominique Dunne and Heather O’Rourke distract from “Poltergeist” as a whole. It’s a remarkably well-crafted horror film with memorably warm and engaging performances from its cast. It’s also a great entry-level fright for young kids seeking to dip their toes into some heavier stuff. There’s just so much right with “Poltergeist” that it remains a go-to, yearly watch for many horror fans to this day.

#24: “Carrie” (1976)

#23: “The Omen” (1976)

#22: “The Fly” (1986)

#21: “Dracula” (1931)

#20: “A Nightmare on Elm Street” (1984)
We mentioned earlier this idea about slasher villains as “rock stars.” The character of Freddy Krueger is one such example of this idea, to the point where the “Nightmare on Elm Street” franchise toned down the character’s heinous backstory. Instead, subsequent sequels presented Freddy as a wisecracking centerpiece, as opposed to a villainous force of nature. Wes Craven’s first film, however, possesses no such distinction. Here, Krueger is depicted as deadly, malevolent and capable of true wickedness. The jokes are kept to a minimum, the young protagonists insanely likable, and the horror at full tilt, from first frame to last.

#19: “The Innocents” (1961)
In the world of classic horror, there are ghost stories…and then there’s “The Innocents.” This 1961 masterpiece may have been adapted from Henry James’s novella “The Turn of the Screw” and screenwriter Truman Capote’s adaptation of his collaborator’s stage play, but it’s also in no shortage of original ideas. This all boils down to execution and atmosphere, a growing sense of unease, paranoia and self-doubt that “The Innocents” builds to a feverish pitch. The idea of innocence possessed is juxtaposed against stress-induced hallucinations amongst an honest-to-goodness ghost story. The special effects and haunting music remain effective today, making “The Innocents” a film that you should definitely lift to the top of your “to watch” list.

#18: “Suspiria” (1977)
Dario Argento’s 1977 masterpiece is a once-in-a-lifetime event that must be seen to be believed. “Suspiria” is an audio-visual feast for the senses, a film that combines the prog rock score of Goblin with Argento’s proven ability to develop some of the most gut-wrenching murder set-pieces in film history. Oh, but we’re not done. “Suspiria” also possesses lighting to die for, and sound design that sets those little hairs on your arm alive with fear and trepidation. The film’s confusing narrative only adds to the unease present at Helena Markos’s dance academy: a psychedelic horror nightmare from which you might never awake.

#17: “Ringu” (1998)
The early 2000s saw a glut of Americanized remakes of Japanese horror films from the nineties. “The Ring” from 2002 was one of the more successful, but perhaps more creatively satisfying is its source material, 1998’s “Ringu.” The plot remains relatively the same: a cursed video tape is causing the deaths of anyone who views it, seven days after the incident. The visuals are also similarly stylish, creepy and unsettling. Moreover, the success of both “Ringu” and “The Ring” allowed for a deeper understanding and appreciation of international horrors in the modern day, which is always a good thing.

#16: “The Thing” (1982)
It seems hard to believe now that John Carpenter’s “The Thing” was a financial and critical disappointment back in 1982. A lot of real-world factors likely contributed to this outcome, but whatever the reason, Carpenter’s legacy as a genre-defining director remains secure in the modern day. This is thanks, in part, to films like “The Thing,” which not only boasts bar-setting special effects, but also a compelling narrative and bold performances from its ensemble cast. Carpenter’s loose remake of 1951’s “The Thing From Another World” inserts relentless paranoia and incessant nihilism into the mix, possessing a bleak tone and an ambiguous ending. That chill in the air is real. You can’t trust anyone. You can only be sure that the THING is out there.

#15: “Hereditary” (2018)
The world of horror cinema has experienced a renaissance as of late, with many pictures presenting a certain “prestige” crossing over into the cultural zeitgeist. “Hereditary” was one of those films, a talking-point debut from director Ari Aster that was followed up in 2019 by the folk-horror inspired entry titled, “Midsommar.” “Hereditary” attempts to elevate the medium via a possession story that feels somewhat removed from genre tropes, and instead pursues pastures of emotional and social commentary. Meanwhile, the back end swings back around to revel in the unsafe and unhinged, leaving many horror fans satisfied and searching for more.

#14: “Rosemary’s Baby” (1968)
Speaking of social commentary, the ability of horror films to successfully tap into certain topics beneath their surface level of fear is one that continually draws us into the medium. “Rosemary’s Baby” may be an occult-obsessed story of demonic rebirth, but it’s also a commentary upon motherhood and a woman’s place in society. There seems to be a systemic hierarchy of individuals out to control Rosemary Woodhouse’s life at every turn, from her husband and friends, to her doctor and all of them witches who seem to follow her every move. “Rosemary’s Baby” is no dream, and indeed Rosemary does give birth to Satan’s child, but perhaps even more frightening is her near-complete helplessness throughout the whole ordeal.

#13: “The Texas Chain Saw Massacre” (1974)
There have been a number of worthy sequels to the original “Texas Chain Saw Massacre” over the years, but none of them quite capture the same uncomfortable atmosphere. This is a film that was notoriously challenging to shoot for director Tobe Hooper and crew, and the fruits of that discomfort are readily visible on-screen. “The Texas Chain Saw Massacre” is a film that you can practically smell. A location where the heat almost radiates from the screen, and every character feels at their breaking point. Leatherface is a horror icon, sure, but the original “Texas Chain Saw Massacre” is also a microcosm all its own; a testament to die hard, DIY horror that lives and breathes a cinematic spirit.

#12: “Scream” (1996)
Was “Scream” the first horror movie to utilize meta humor or commentary? No, since films like “Student Bodies” and “There’s Nothing Out There” had both poked fun and lambasted cliché horror tropes back in the 1980s and early ‘90s. However, it could be argued that Wes Craven’s “Scream” did so in a way that felt fresh and revitalized. This is smart horror writing that’s still unafraid to BE a horror film. Sure, Sidney Prescott may admonish “bad” horror actresses who run up the stairs instead of out the front door, but what does Sidney do herself when she’s confronted by Ghostface? You get the idea. “Scream” was a joy to watch back in ’96, and the franchise is still going strong today.

#11: “Nosferatu” (1922)
It can prove difficult, sometimes, for younger horror fans to understand the hype behind fright flicks of old. Thankfully, films like “Nosferatu” have been preserved for generations, films that still pack a spooky punch over a century removed from their heyday. Specifically, all of the flowers need to be laid at the feet of Max Schreck as Count Orlok, he of the long fingers and sharp fangs who served as the stuff of nightmares for our parents, grandparents and their parents. Schreck simply kills it (pardon the pun) in this silent shocker, slowly and manically haunting our minds with that hollowed-out stare and determined, persistently slow gait. It doesn’t really matter how you see it: consider “Nosferatu” an integral part of any well-balanced horror diet.

#10: “Get Out” (2017)
Jordan Peele’s 2017 film “Get Out” built upon established “body snatcher” tropes set by horror predecessors and presented them through modern lenses of racial disparity and discrimination. As a result, “Get Out” feels both like a personal cinematic statement, while also serving as an effective horror offering. The tension and misdirection feels earned, the comedic beats satisfying and not overdone, and the performances, though occasionally exaggerated, are memorable. “Get Out” is another one of those horror films that achieved enough critical and commercial success to raise the genre’s cultural visibility to a new level.

#9: “Night of the Living Dead” (1968)
It serves modern audiences well to imagine what the horror landscape was like back in the late sixties when George Romero released “Night of the Living Dead.” The atomic age of giant monsters wasn’t that far in the rearview, and the more transgressive slices of horror cinema were largely imported from European directors. This is just one reason why Romero and “Night of the Living Dead” are so important. Here was an American filmmaker pushing boundaries with regards to thematic grotesqueries that were heretofore unknown. There are no irradiated monsters here, but instead real human drama played out against our friends and neighbors, who are all seeking their proverbial “pound of flesh.”

#8: “Jaws” (1975)
The legacy of “Jaws” is one that hits upon multiple levels of cultural relevance. On one hand, Steven Spielberg’s film helped usher in the age of the summer blockbuster, yet it did so at no expense to its creativity or story craft. This was a movie that was forced to adapt to a mechanical shark that, frankly, wouldn’t work, and in doing so created a legend. This was a movie that wisely changed the worst aspects of Peter Benchley’s original novel to create characters that would last a lifetime. This was a movie that literally instilled a fear of the ocean within some viewers, and which provided generational thrills and chills. “Jaws” is pretty much perfect. Perfect to watch anytime, every time, ALL the time.

#7: “Halloween” (1978)
Speaking of movies that we can watch all the time. Hands up if you watch John Carpenter’s “Halloween” every October. You’re not alone, of course, since Carpenter’s perennial slasher classic has gone on to help define the genre. This is another horror film that leaps wide over genre conventions and boundaries to become something larger than itself. The characters of “Halloween,” from Dr. Loomis and Laurie Strode to Annie Brackett and Tommy Doyle capture our creative imaginations. They’ve even gone on to reappear, decades later, in retconned re-imaginings of Carpenter’s universe. “Halloween” just gets it all right, from the fluid camera work and iconic musical score to its palpable sense of menace and dread. Everyone’s entitled to one good scare.

#6: “The Silence of the Lambs” (1991)
Is “The Silence of the Lambs” a legitimate horror film or a psychological thriller? It doesn’t really matter upon which side of the fence you reside, because Jonathan Demme’s film has gone to metamorphosize into something bigger than itself. The character of Hannibal Lecter is one that’s been adapted wonderfully by different actors, from Brian Cox to Mads Mikkelsen, yet Sir Anthony Hopkins’s performance here remains firmly iconic. “The Silence of the Lambs” isn’t just about Hopkins-as-Lecter, of course, since Jodie Foster also puts in a wonderfully vulnerable yet determined performance as Clarice Starling. Demme’s film may be a procedural, but it possesses enough realistic horror to haunt our psyches for decades to come.

#5: “Alien” (1979)
Ridley Scott’s “Alien” is another film with some very worthy sequels and spin-offs, yet it’s only Scott’s OG vision that truly belongs within the annals of horror. The slow-burn feeling of isolation and mystery, combined with the Xenomorph’s near-slasher villain appeal, makes “Alien” feel less action oriented than its counterparts. This is definitely not a bad thing, either, since it allows not only for us to understand our human characters more, but also to ramp up what’s inevitably going to happen to them on the Nostromo. Many, many films have taken the “Alien” blueprint and ran with it for all they’re worth, yet Ridley Scott’s achievement still stands alone as a titan of interstellar horror.

#4: “Frankenstein” (1931)
The Universal Monsters weren’t just icons of the silver screen back in their day. They’ve gone on to become synonymous with classic horror, and those who helped shape the genre as it’s known today. James Whale’s adaptation of the Mary Shelley novel “Frankenstein” is among the best and most classic Universal horror pictures. It established so many of the tropes we now take for granted, from the mad scientist archetype to the sympathetic monster’s tragic demise. Additionally, “Frankenstein” is well-paced and atmospheric, a far cry from the occasionally stodgy execution that would mar contemporary films of the day. Simply said, “Frankenstein” (and its 1935 sequel, “Bride of Frankenstein”) just hold up.

#3: “The Shining” (1980)
There have been many haunted house movies throughout the years - we’ve even seen some previously on this list - but “The Shining” is the greatest of them all. Stephen King’s story uses its haunted hotel trappings to explore deeper and more personal themes. The core plot involves the Torrance family moving into an empty hotel over the winter. Of course, the performances and Stanley Kubrick’s filmmaking are both transcendent, but the movie generates many of its scares from the human issues at play. Exploring themes of alcohol use disorder, generational trauma, family dysfunction and cabin fever, “The Shining” deftly combines its horrifying supernatural scares with a deeply troubling story of mental degradation. We don’t know which aspect is scarier.

#2: “The Exorcist” (1973)
Many films within the “Exorcist” franchise have attempted to do something new with the formula that director William Friedkin helped establish back in 1973. However, none of them possess the same, lightning-in-a-bottle black magic that allowed Friedkin’s original to strike such a public nerve. It’s not hyperbole to say that “The Exorcist” changed the landscape of horror forever back in 1973, paving the way for so many other films that revel in satanic panic. Yet, this panicked and feverish feeling of danger still resides with “The Exorcist,” so many years later. This allows for Friedkin’s film to scare so many horror fans, for generation after generation. It’s just that good.

#1: “Psycho” (1960)
“Peeping Tom” and “Psycho” were released in the same year, 1960. They were both helmed by British directors, Michael Powell and Alfred Hitchcock. Cinematic transgression wasn’t exactly commonplace during this time, yet why did Hitch’s film go on to become a classic, while Powell’s resides within cult appreciation? Well, marketing for starters. The legacy of the “no one will be allowed in” policy after the first number of minutes helped, as did Hitchcock’s notable showmanship and cameos in his trailers. Beyond this, however, “Psycho,” quite frankly, still chills to the bone. Anthony Perkins shines as Norman Bates throughout the entire franchise, yet his playing off against stars Vera Miles and Janet Leigh here in the original “Psycho” is a sight to behold. It’s truly perfect.

What’s your take on our Top 100? Let us know in the comments!