“We’ve all got the disease – the disease of being finite. Death is the basis of all horror.” – David Cronenberg
From the inner workings of our fleshy minds to the inexplicable fears of the wider universe, horror is a genre ingrained within the subconscious. Used for generations as the dark consequences of cautionary tales, horror keeps our own mortality in check and nips our curiosity in the bud. So what keeps us coming back?
There’s a strange thrill to being terrified, particularly when you’re on a rollercoaster, lost in the world of VR, or indeed sitting in a cinema. Though whilst it has the capabilities to make us profusely sweat and keep us awake at night, in a world of increasing worry and danger, horror can become the perfect device to house a political or sociological statement, or even ridicule higher powers altogether.
As the great John Carpenter once said: “Horror is a reaction; it’s not a genre.” It traverses genre and burrows into the fabric of everyday life, explaining the countless sub-genres that have been born since its inception. From Dario Argento’s contribution to Italian Giallo horror to Sam Raimi’s visceral comedy to Hideo Nakata’s Japanese moral tales, we take a look into the very best of horror cinema.
Here we go…
The 31 greatest horror films:
31. Pulse (Kiyoshi Kurosawa – 2001)
Fears of a new digital age provide the fuel for 2001’s Pulse (Kairo) Kiyoshi Kurosawa’s horror-mystery, dealing with the ever-present isolation and loneliness of the internet.
After the mysterious suicide of a computer analyst, two groups of people set out to uncover the truth, discovering that spirits may be invading the human world through the door of the computer screen. Using an ingeniously spine-tingling choral soundtrack, Pulse depicts a new kind of spirit. Unstable, otherworldly and utterly terrifying, their dreamlike movements brandish its mark on horror cinema.
30. Silence of the Lambs (Jonathan Demme – 1991)
The second iteration of serial killer Hannibal Lecter in cinema, Jonathan Demme’s Silence of the Lambs, is a crime thriller with serious bite with help from a delightfully shocking performance from Anthony Hopkins.
Based on the novel of the same name, and series of books following the serial killer from author Thomas Harris, Demme’s film tails along with a young F.B.I cadet seeking help from an incarcerated cannibal in efforts to track down another vicious serial killer. With a central plot that is palpable to the core, Hopkins’ performance drives the drama, fueling the roaring fires propelling the film forward. Lecter’s piercing, unwavering stare consumes the young F.B.I agent, played by an excellent Jodie Foster, makes for a heart-palpating conclusion featuring characters you cherish so closely.
29. The Descent (Neil Marshall – 2005)
A cinematic achievement on the smallest of scales, The Descent portrays horror at its very best and most simple; a claustrophobic fear of the unknown.
During a weekend retreat, a group of cave explorers become trapped in a strange network of caves that seem to harbour a breed of scuttling predators. Part monster film, part a claustrophobic’s worst nightmare, the real horror of Neil Marshall’s film is in the sense of isolation that is cleverly created through the sound and cinematography. Dialogue echoes around the dripping, rocked walls, as our eyes scramble for a way out, bound only to the limits of the torchlight, creating a squirming, tense and highly uncomfortable atmosphere.
28. REC (Jaume Balagueró and Paco Plaza – 2007)
Inspired by the sprinting horrors of Danny Boyle’s 28 Days Later, and the British director’s innovation of the iconic monsters, Jaume Balagueró and Paco Plaza’s REC formed together with its own ingenious take on the zombie sub-genre.
Truly innovative, REC plays out in real-time following a TV reporter and a group of firefighters who report to a mysterious disturbance at a block of flats. What conspires to be the result of occult medical science, REC spirals into a grungy, dirty take on the infected undead, helping to consolidate the zombie infatuation of the mid-late noughties. It’s a film that creates a tangible panic and a snappy sense of ‘fight or flight’ urgency like no other.
27. Videodrome (David Cronenberg – 1983)
“Long live the new flesh…”
Possibly David Cronenberg’s most notable and most acclaimed films, Videodrome is a thrillingly sleazy judgement on new media and an entertaining conversation into what the technological future may have in store.
Though, of course, any technological future that Cronenberg suggests would never be as disorientating and bizarre as the one presented in Videodrome. Searching for a new kind of show for his seedy cable-TV station, a programmer becomes obsessed with a mysterious broadcast, and a new reality, named ‘Videodrome’. Typifying the style and extravagant nature of 1980’s filmmaking, Cronenberg’s film is a visual rollercoaster that utilises the very best effects of its time. This is a director in the crux of his career, flexing his muscles to show off the body-horror ingenuity that would go on to typify his filmography.
26. The Blair Witch Project (Daniel Myrick and Eduardo Sánchez – 1990)
The infamous found-footage horror film of the 1990s, The Blair Witch Project was, in many ways, a literal ‘project’ that challenged the cinematic medium as well as audience expectations.
Unapologetically unsophisticated and unpolished, Eduardo Sánchez and Daniel Myrick’s film is simple, following three young film students through the woods as they try to capture footage of the urban legend, ‘The Blair Witch’. What results is a frantic dash through the Maryland wilderness with rare moments of respite, as the characters become lost in a labyrinth of occult mystery. It’s a paranoid chase scene with an invisible predator and horror at its most basic, resurfacing in your mind every time you go for a night time stroll.
25. Scream (Wes Craven – 1996)
Wes Craven doffs his cap to the very horror genre he helped to create with Scream, his final masterpiece, heralding in the reign of a brand new genre icon, Ghostface.
Satirically twisting the conventions of the horror genre itself, Craven would kill off the films biggest name, Drew Barrymore, within the first sequence of the film, letting you in for 110 minutes of pure surprise. The story is pretty predictable, and purposefully so, following a teenage girl and her group of friends, stalked by a serial killer using horror films as inspiration for his murderous acts.
With all its twists, turns and misdirection, Scream is thrilling to its very core, pedalled by a leading cast reaping obvious enjoyment from the inspired script. Matthew Lillard take a bow…
24. The Fly (David Cronenberg – 1986)
One of director, David Cronenberg’s greatest directorial achievements, The Fly is a pioneer of body horror special effects and an iconic piece of science fiction cinema.
Ripped and borrowed from hundreds of times over, Cronenberg’s film is based on the short story of the same name from author George Langelaan, following an eccentric scientist, who upon trying to master teleportation, uses himself as a test subject to disastrous consequences. Encapsulated by Jeff Goldbloom’s scatty central character, The Fly is, first and foremost, a psychological paranoia that raucously descends into gruesome physical horror.
Be afraid. Be very afraid….
23. The Omen (Richard Donner – 1976)
The original, and arguably best horror movie minion, child and spawn of the devil, Damien, leads Richard Donner’s highly enjoyable satanic treat The Omen.
From the shocking suicide of Damien’s nanny to the hair-raising final shot, Donner’s film contains several iconic moments that would inspire a genre to-come. Surrounding the life of the American ambassador of the UK, and the mysterious deaths that stalk him every day, The Omen explores the horror and paranoia of knowing (or not knowing) that your own son may be the antichrist. It’s a wild ride.
22. 28 Days Later (Danny Boyle – 2002)
Before 2002, zombies were idiotic meat-parcels. Pinatas of guts, goo and copious blood for characters to rip apart and stick into blenders. Granted, the terrifying, infected monsters that sprint around the city of London in 28 Days Later, may not technically be zombies, but the film certainly changed the way we looked at the undead.
Danny Boyle’s landmark debut horror movie is a visionary masterpiece. With help from a terrific script from Alex Garland which not only establishes an apocalyptic London with deft imagination but also manages to contain an excellent, isolated story within the world itself. Waking up from a coma to the windswept tumbleweed of central London, Jim (Cillian Murphy) staggers through the city, searching for survivors and sanctuary. It was a zombie movie that would change everything.
21. Let the Right One In (Tomas Alfredson – 2008)
Released the same year as ‘tween’ phenomenon Twilight, Let the Right One in showed an altogether darker, more humanistic approach to the classic monster.
Part horror, part coming-of-age romance, Tomas Alfredson’s remarkable film revolves around Oskar, a bullied schoolboy, who with the help of his new, mysterious friend, Eli, finds revenge and much more. This is a horror film, rooted in a love story, played out with naturalistic aptitude from lead actors Kåre Hedebrant and Lina Leandersson. Though whilst presenting this touching tale of young love, the film effortlessly weaves in moments of pure terror, marvellously artistic set pieces that will leave you conflicted towards Oskar’s newfound friend.
20. A Nightmare on Elm Street (Wes Craven – 1984)
Wes Craven’s fleshy supernatural slasher is a creative masterpiece of the subgenre, creating one of cinemas most subversive and iconic villains, Freddy Krueger.
Starring a young Johnny Depp, Craven’s film follows the evil spirit of Freddy Krueger, a deceased child murderer who seeks revenge from the grave on the children of those who sent him to his death. Featuring revolutionary, grungy special effects and a truly unique sinister entity, straight from the camp underworld, A Nightmare on Elm Street is one of slashers’ best and most unsettling.
19. An American Werewolf in London (John Landis – 1981)
Teetering of the borderline between horror and comedy is no easy feat. Too funny and the horror will be ridiculed, too grisly and the comedy could be seen as sadistic. John Landis’ An American Werewolf in London perfectly tows this line, miraculously producing a film both unforgettably disturbing and joyously camp.
A predecessor to late ’80s horror-comedy classic, Evil Dead II, Landis’ film is the grandfather of the genre, following the tale of two American college students who are attacked by a mythical werewolf whilst on a walking tour of Britain. Though, this brief description does a disservice to the wide breadth of chaotic imagination that Landis creates. Featuring one of cinema’s greatest ever transformation sequences in a true feat of practical effects, as well a satisfyingly strange scene of Nazi mutant house invasion, this is true horror at its most playful.
18. Carrie (Brian De Palma – 1976)
Though many films explore the many fears that come with high school, many of these stories stem from the horrors presented in Carrie, particularly its blood-soaked third-act sequence.
Based on the original novel from literary horror aficionado Stephen King, Carrie is a fantastical tale of grief and discrimination following a shy, lonely teenage girl with a domineering, pious mother and surprising telekinetic powers. Led by fantastic performances from Sissy Spacek as the frail, unstable titular character and Piper Laurie as her truly terrifying, possessed mother, Carrie is in many ways a tragedy, following a lonely and betrayed central character. Carrie’s journey is a metamorphosis fueled by teen-angst that results in a pivotal violent outburst and one of horror’s greatest scenes.
17. Audition (Takashi Miike – 1999)
Takashi Miike isn’t unfamiliar to the explicitly disturbing, renowned for his frank and blunt approach to sex and violence. Audition is no different, taking the word ‘disturbing’ to new cinematic heights.
In this strange tale of a widower auditioning local women to be his new wife, Miike crafts a slow burner that patiently culminates into a gripping drama. Though, behind the curtain something far more sinister is brewing, delivering one of cinema’s most surprising and most uncomfortable tonal deviations. Few films can imbed themselves into the minds of every viewer, though one particular image in Audition is so unforeseeable, and so instantly disturbing, it will inhabit the shadowed corners of your mind for long after.
16. Jaws (Steven Spielberg – 1975)
Whilst horror can often deal in the abstract and psychological, it can also consolidate physical fears, and even embellish them, with Steven Spielberg’s film Jaws planting a fear of sharks into the minds of a whole cultural generation.
Dealing with the deep, dark blue of the unknown, Speilberg’s classic horror-drama stalks the activity of a killer shark causing chaos in the waters of a local beach community. Featuring groundbreaking cinematography that places the viewer within the shark’s gaze, just beneath the break of the water’s surface, Jaws creates an unprecedented tension that screams of inevitable bloodshed. Considering the film’s soft PG rating, and relative lack of visceral violence, the terror it has created of the deep dark blue for a whole western culture is staggering.
15. Suspiria (Dario Argento – 1977)
When style defeats substance, emotion, over reason, takes the president. After all, often the ensemble of clever sound design and emotionally resonant cinematography can do a lot more in translating a particular feeling than words could ever do.
Dario Argento’s Giallo masterpiece, Suspiria, certainly falls into this stylistic bracket—a bright fantastical dream world of saturated reds and neon blues. Set in a German ballet academy, Argento’s film followers an American newcomer who quickly comes to realise that there’s something far stranger, and more sinister functioning behind the theatrical velvet curtain. Bolstered by a creeping progressive rock soundtrack, narrating the film from its mysterious introduction to its violent conclusion, Suspiria is a hellish trip into a sinister, alternate reality.
14. Halloween (John Carpenter – 1978)
Introducing one of cinema’s first-ever slasher killers, Halloween is perhaps the genre’s most influential release, leading a whole sub-genre into the late 20th-century kicking and screaming in fear.
With a blank, white rubber mask, Michael Myers (a name as starkly fearful in the genre as Freddy or Jason) wreaks havoc on a small Illinois town following his escape from a mental hospital. A town as defiantly postcard-American as David Lynch’s Blue Velvet, John Carpenter’s Halloween brought a sense of unease to every small town U.S suburb—suggesting something fantastically abnormal could be lurking in the shadows. Setting the standard for modern horror cinema Carpenters film is underscored by his own, timeless creeping score. A synth-led nightmare that has you instinctively checking over your shoulder.
13. Don’t Look Now (Nicolas Roeg – 1973)
Navigating the back alleys and sheltered corners of the psyche, Nicolas Roeg’s Don’t Look Now is a psychological horror like no other, exploring the concept of grief with tormenting suspense.
Starring Donald Sutherland and Julie Christie, the film follows their travels to Venice to take on the restoration of a church, only to be followed by the grief of their recently deceased daughter and the psychic warnings of two strange sisters. An impressionistic chiller, Roeg’s film builds uneasy suspense through particularly haunting, outlandish imagery, projecting the mind of an afflicted central character onto the surface of the film itself. What results is a bizarre, almost Lynchian, deconstruction of despair, laced with eerie symbolism of a life lost but never forgotten.
12. Night of the Living Dead (George Romero – 1968)
The grandfather of the zombie sub-genre, George Romero’s Night of the Living Dead set new rules and standards for the classic movie monster. Zombies were not fantastical ghouls, they were the living dead…
A simple, classic siege narrative houses the film itself, set in a Pennsylvanian farmhouse where a ragtag group barricade themselves against the flesh-eating, brain-hungry walking dead. Given the shoestring budget and near-total lack of visual effects, it’s no mean feat that Night of the Living Dead remains a gripping horror tale, especially when compared to the high-budget standards of contemporary zombie moviemaking. Moreso than its pioneering imaginative spirit, however, was the social commentary that lay beneath its foundations, making it more than a midnight movie, becoming instead an important piece of American cultural history.
11. Rosemary’s Baby (Roman Polanski – 1968)
Horror itself tends to tap into the intricacies of innate human fears, whether it be something as abstract as the angst of existentialism, or the mental paranoia of an imminent physical change, such as pregnancy.
Rosemary’s Baby toys with this fear masterfully, creating an eerie, sinister atmosphere with no more than a handful of characters, a claustrophobic New York apartment and an anxious mother-to-be. Written for the screen from Ira Levin’s novel by director Roman Polanski, this simple tale follows a young couple who move to a plush New York apartment, where paranoia quickly brews when Rosemary (Mia Farrow) becomes pregnant and their peculiar neighbours begin to pry. Polanski is a master at upsetting the ambience, with slow, subtle suggestions, through a quality script and a creeping soundtrack, that something else may be at work as we watch our paranoia grow alongside Rosemary.
10. Invasion of the Body Snatchers (Phillip Kaufman – 1978)
Often, the very best of sci-fi horror takes an outlandish, unfathomable cosmic horror and reigns in toward earth, embedding the terror within a deeply humanistic story. Playing on fears of paranoia, and of the ‘other’, Phillip Kaufman’s 1978 version of Invasion of the Body Snatchers is a perfect example of this, embedding fear within the intentions of an unknown evil.
Based on the book from author Jack Finney, Kaufman’s film stars cult favourites Donald Sutherland, Jeff Goldblum and Leonard Nemoy as a solitary group fighting against the invasion of strange cosmic seeds, turning the population into emotionless automatons. Equally enjoyably camp and eerily disturbing, Invasion of the Body Snatchers, fits snugly into that groove. When cosmic horrors are so difficult to translate from page to film, screenwriter W.D. Richter evocatively brings the body snatchers to life, with some truly horrifying special effects and sound design to boot.
9. The Shining (Stanley Kubrick – 1980)
In his astonishing cinematic career, covering several genres, it was Stephen King’s horror novel The Shining that piqued director Stanley Kubrick’s interest—leading him to create one the greatest films of the genre.
Set in the magnificent, fictional Overlook Hotel, located in the Colorado Rockies, the tale follows Jack Torrance (Jack Nicholson) and his family who opt to look after the hotel over the winter. Dwarfed by the towering presence of the hotel, however, Jack soon becomes engulfed by an evil, violent presence, influencing his temper toward his wife and psychic son. This chilling, isolated exploration of madness is punctuated by several fantastic performances, notably Jack Nicholson who’s cruel psychotic descent is one of the very best put to screen, and perhaps more so, Shelley Duvall radiating an unrivalled physical fear; coming undoubtedly as a result of her taxing time on set.
8. Evil Dead II (Sam Raimi – 1987)
Departing from the tone of the iconic original, Sam Raimi’s Evil Dead II, turns the horror genre into a sandbox playground, injecting a good dose of manic comedy to create one of cinema’s most innovative films.
Surviving the horrific onslaught of the previous film, Ash (Bruce Campbell) becomes the leader of another group of strangers hoping to survive against the evil dead, barricading themselves inside a cabin to fight off the flesh-eaters, whilst they each become increasingly insane. In Raimi’s inventive, slapstick approach to gory horror-comedy, he had subverted the bad taste of the genre like few others had ever done before. His bombastic journey into the depravities of hell’s most ghoulish and malleable creatures is campy horror fun, and equal parts grimy horror and deranged hilarity.
7. Ringu (Hideo Nakata – 1998)
Spawning sequels, spin-offs, remakes and re-releases, Ringu and its following series has become a horror trailblazer for all things grungy, supernatural and long-black-haired. Centred around a mystical VHS tape which carries the curse of a young, bedevilled girl and the dark promise of death after seven days, the film birthed a new fear of technology and was, for many western audiences, their first taste of Asian horror. Its influence has been evident ever since.
Whilst ghosts and curses used to inhabit spaces of the home, spaces of particular objects and even the spaces of one’s own mind, Ringu suggested that it might exist in the questionable realm of television and marvellous new technologies. The film was a cultural questioning of how trustworthy technology truly was, and in-particularly television. It’s a truly terrifying concept that cinema, let alone the horror genre, had never seen before – a dark, demonic, impossible spirit that you couldn’t evade and was futile to fight against…
6. The Thing (John Carpenter – 1982)
Master of cult cinema, John Carpenter’s remake of the 1951 film The Thing from Another World, itself based on John W. Campbell Jr. novella Who Goes There?, is a pioneer of cosmic horror storytelling; deftly entwining the terror of man’s paranoid struggle with the inconceivable horror of the unknown.
Set within an isolated Antarctic research facility, The Thing follows the activity of a cosmic being that perfectly assimilates its prey, infiltrating the team of scientists and taking them out one-by-one. With help from the groundbreaking monster design from special effects artist Rob Bottin, The Thing exudes a shocking terror that remains as slimy, gruesome and disturbing to this very day. A compelling thriller with more than a few doses of stomach-churning horror, Carpenter’s film is a masterpiece of suspense typified by an ominous climactic scene that radiates a perpetual paranoia even after the credits roll.
5. The Wicker Man (Robin Hardy – 1973)
The fear of the ancient and unexplainable in an ever ordered world is a staple theme of folk horror. It’s a theme which underpins the pioneers of the sub-genre and is most notably laced throughout The Wicker Man.
Robin Hardy’s film about a catholic police sergeant who travels to a Scottish island to solve the mystery of a missing girl is a chiller that speaks to the very core of the human condition. From the moment Howie, the film’s central character, steps on the island he is unknowingly trapped in the performance of the townsfolk—a pawn in their latest ritual. It is this central fear of ignorance, of never really knowing what is going on, and never really feeling safe as a result, that The Wicker Man emanates so well. Suddenly, the idea of walking through a secluded, quaint, countryside village doesn’t seem so jolly.
4. Psycho (Alfred Hitchcock – 1960)
‘The master of suspense’, Alfred Hitchcock, likely earned his rightful title from his 1960 film Psycho, a psychological thriller years ahead of its time, that subverts cliches of the genre and leaves you on tenterhooks till it’s shocking, and now infamous final sequence.
Under the strange domination of his mother, a young man named Norman Bates runs the everyday functioning of the ‘Bates Motel’, a secluded hideaway where a young woman evading the law finds herself trapped. A masterclass in tone and sustained suspense, Hitchcock elevated the, then ‘trashy’, horror genre into what it looks like today, validating its existence by toeing the line between thrilling terror and well-constructed art. This terror is heightened by an iconic soundtrack, a hellish staccato theme, stabbing itself, with every beat into your mind and mentality.
3. Alien (Ridley Scott – 1979)
Together with the titular Jaws in Steven Spielberg’s 1975 masterpiece, Ridley Scott’s Alien created the blueprint for every great monster movie. The crux? Using tension as a tool, gradually cranking it up with every glimpse of the monster at hand—sometimes what’s scarier is the mere suggestion that something is there. A fin above the water in Jaws, or the cosmic shriek of the Xenomorph in Alien.
A mere merchant vessel floating through space in the year 2122 AD, the Nostromo crew pick up a distress call from an unknown transmission, and after following it, become the vulnerable prey of a deadly alien. Ridley Scott’s iconic science fiction nightmare owes its popularity to a number of different ingredients that each blend effortlessly, thanks to the simplicity of the story at hand. This is a game of cat and mouse between the Alien and the crew, a space in which fighting back seems futile and the only option is to run. An unbearable tension is built up with the simplicity of just a few moving parts, and no less from the visionary art direction from H.R. Giger, giving the ship itself a flabby, fleshy life of its own and the Xenomorph an alarmingly sickening presence. A modern classic, Ridley Scott’s film is one of the scariest, most intense film experiences and is an antecedent to contemporary sci-fi horror.
2. The Exorcist (William Friedkin – 1973)
When it comes to popular media, the 1970s was a far more innocent time. In America, despite the horrors of the Vietnam war overseas, nudity was still considered taboo and shocking on public television screens and the slasher-movie phenomenon of the 1980s was yet to spill depravity onto cinema screens worldwide. As a result, in a similar way to which audiences ran from The Arrival of a Train in 1896, in 1973 people fainted, experienced anxiety and even reportedly suffered heart attacks from The Exorcist.
William Friedkin’s film, based on the novel and screenplay from author William Peter Blatty, is in part a dark tale of a young girl transitioning into adulthood with intense painful trauma, and on the other hand, a satanic possession story about two priests questioning their faith to save the same girl. These two elements marry together with perfection to explain why Friedkin’s film is such a timeless classic, defining the horror of a generation marred by the Vietnam war.
Punctuated by the flickering, ethereal soundtrack of the tubular bells acting as a religious omniscient overseer, the film achieves an eerie, unsettling tone with effortless ease. Layered atop of groundbreaking special effects, bringing a satanic Linda Blair to life, as well as a rich subtext of growing women’s independence, The Exorcist’s longevity and impression on horror cinema make it a classic of the genre.
1. The Texas Chainsaw Massacre (Tobe Hooper – 1974)
Whereas with many horror films, including some on this list, the genre is often bound to the walled limits of its celluloid boundaries. In the case of Tobe Hooper’s The Texas Chainsaw Massacre, however, a certain tone is achieved that is so visceral that it transcends the limits of the screen—it infects your mind and environment and intends to stay for several hours.
Framed as a true-story upon its release in the mid-1970s, despite its near-complete fiction, the film follows two siblings and three of their friends who fall victim to Leatherface and his cannibalistic family after venturing into the baron Texas countryside. Captured on a budget 16mm camera with fine-grain, Hooper’s film manages to acquire a suffocating tone, documenting a living nightmare of raw, brutal authenticity. Upon many of the main characters’ capture and demise, we venture into Leatherface’s family home, a desolate wooden shack with a fog of hopelessness and impending doom. The dank stench of the rotting walls wafts through the film itself and throughout a house stained with blood and dirt. It’s one of cinema’s greatest, understated pieces of set-design.
There’s no crescendo, no fancy camera work or piercing soundtrack when Leatherface, a snarky, dribbling villain captures his victim, only his terrifying victorious pig squeal that sends a grotesque shockwave down the spine. His equally despicable family join him in his torture, a band of unkempt, greasy maniacs, that in one particularly horrific dinner table scene evoke an almost fantastical quality, as if they’re so repugnant and depraved that they somehow inhabit a different plane of existence, typified by a grandfather impossibly clinging to life through his wrinkled white skin.
It all leads to a strangely beautiful ending, an ode to mindless chaos and destruction, showing the sunset on Leatherface’s brutal murders, but also the sunrise on a new dawn for horror cinema.