On Friday the 13th, we took it upon ourselves to update The Best Horror Movies Streaming on Netflix, diving into the more than 700 horror movies the streaming service offers. From the camp to the classic, all 25 of the movies we chose are sure to entertain as they give you a fright. They include works from cinematic legends like Francis Ford Coppola, Michael Haneke and Roman Polanski, as well as horror specialists Wes Craven and Clive Barker. Some are still great 85 years after they were made, while others are new releases. Don’t settle for crappy movies just for the scare—watch a horror movie that you’ll remember.

25. Troll Hunter
Year: 2010
Director: André Øvredal
There’s no denying that at its beginning, Troll Hunter seems like another Blair Witch Projectknock-off. The first 20 minutes show us a young camera crew investigating some unexplained bear deaths and a suspicious man who may be poaching them. But rather than drawing out the mystery, it takes a sharp turn and tells us matter-of-factly that of course it was trolls killing the bears, and not only that, here’s one of them ready to bonk you on the head. The titular Troll Hunter extraordinaire is played by the affable comedian Otto Jespersen, who brings the entire monster premise to an entirely different level through his nonchalant attitude. In every sense, Troll Hunter lives up to its ridiculous name and premise.—Sean Gandert

24. Tucker & Dale vs. Evil
Year: 2011
Director: Eli Craig
Let’s face it, hillbillies and their ilk have been getting the short end of the pitchfork in movies since the strains of banjo music faded in 1972’sDeliverance. And whether due to radiation (The Hills Have Eyes) or just good old determined inbreeding (Wrong Turn and so, so many films you’re better off not knowing about), the yokel-prone in film have really enjoyed slaughtering innocent families on vacation, travelers deficient in basic map usage skills, and, best of all, sexually active college students just looking for a good time. But fear not, members of Hillbillies for Inclusion, Consideration & Kindness in Screenplays (HICKS)—writer/director Eli Craig has your hairy, unloofahed back. His film, Tucker & Dale vs. Evil, answers the simple question: What if those hillbillies are just socially awkward fellows sprucing up a vacation home and the young college kids in question are just prone to repeatedly jumping to incorrect, often fatal, conclusions? Think Final Destination meets the Darwin Awards.—Michael Burgin

23. Beyond the Black Rainbow
Year: 2010
Director: Panos Cosmatos
Panos Cosmatos’ feature debut is an affectionate paean to that first wave of straight-to-video horror and sci-fi flicks—or, more precisely, to their cover art, since he was then too young to actually watch most of them. Quiet, portentous, and surprisingly affecting, “Beyond the Black Rainbow” shows immense confidence in its inventive visuals as well as its moving allegory of the freedoms that come with adolescence and experience. Eva Allen gives a highly charged performance without speaking a single world, but it’s Michael Rogers, as a doctor with some truly bizarre secrets, that gives this movie its heady charge. He’ll be a cult star as sure as this movie will be a perennial midnight fave.—Stephen M. Deusner

22. House of the Devil
Year: 2009
Director: Ti West
Detractors complain that Ti West’s movie are “slow,” which is missing the point. A better adjective is “deliberate.” On his third and best movie, he builds the tension gradually and carefully, as though there is nothing scarier than watching a young woman dance around an empty house while listening to the Fixx. By the time the second act ends, you’ve been holding your breath for an hour when the film explodes into its gory, violent third act, which offers a perverse sense of release. It also gives Jocelin Donahue’s heroine her finest moment, as she at least attempts what the audience is by then shouting for her to do. —Stephen M. Deusner

21. Pontypool
Year: 2008
Director: Bruce McDonald
A quick plot summary of Pontypool makes it sound like just a rehash of Orson Welles’ 1938 The War of the Worlds broadcast with zombies in the place of aliens, and while it’s certainly more than a little bit indebted to that work, that would be to give the film far too little credit. The movie instead draws thematic inspiration from the words of its radio broadcast and recasts the zombie disease as verbal, a product of mindless repetition and meaningless phrases in the English language. Pontypool’s clever script is superbly acted, and the film manages to take the zombie genre in a different direction without going the route of ironic deconstruction.—Sean Gandert

20. Scream 2
Year: 1997
Director: Wes Craven
It was going to be hard to follow up the originalScream for plenty of reasons: Aside from it being one of the more innovative, self-aware horror films in years, Wes Craven killed off all of its bad guys in the final scenes of the movie. Here’s where Scream 2—a respectable follow-up and one that sets the stage for all of the film’s sequels—comes into play. It follows a new string of “ghost face” murders, this time centering around the creation of Stab, a film based upon the Woodsboro murders. As always, the film is painfully critical of the horror movie genre while still scaring the pants off audiences in voice-morphed, quizzical phone calls and Ghost Face pop-ups.—Tyler Kane

19. The Mummy
Year: 1932
Director: Karl Freund
Good lord, not the 1999 remake/atrocity with Brendan Fraser. Inspired by the 1922 excavation of King Tutankhamun’s tomb, this 1932 hit established the Mummy as one of Universal’s premiere monsters, alongside Frankenstein, Dracula, and the Wolfman. Playing both the title character as well as a mysterious Egyptian with the amazing name of Ardath Bey, Boris Karloff is supremely creepy, using his gaunt features and tall frame to instill every scene with menace.—Stephen M. Deusner

18. Re-Animator
Year: 1985
Director: Stuart Gordon
Ironically, the most entertaining take on H.P. Lovecraft is the least “Lovecrafty.” Stuart Gordon established himself as cinema’s leading Lovecraft adaptor with a juicy take on the story “Herbert West, Re-Animator,” about a student who concocts a disturbingly flawed means of reviving the dead. Re-animator more closely resembles a zombie film than Lovecraft’s signature brand of occult sci-fi, but it boasts masterful suspense scenes, great jokes and Barbara Crampton as a smart, totally hot love interest. Jeffrey Combs established himself as the Anthony Perkins of his generation as West, a hilariously insolent and reckless genius whom he played in two Re-Animator sequels. The actor even played Lovecraft in the anthology film Necronomicon.—Curt Holman

17. V/H/S
Year: 2012
Director: Adam Wingard, David Bruckner, Ti West, Glenn McQuaid, Joe Swanberg, Radio Silence
The various makers of V/H/S have revisited the found-footage well and have layered on a bit of technological nostalgia for effect, using the outdated video format as the inspiration for this anthology. As a group of frat-boy thugs search for the one tape they need, they pop in some of the others, each of which contains a different horrible story. With different directors, writers, and cast for each of the individual sequences, there’s a little something for every horror fan in V/H/S, from a haunted house to a vicious monster to a mysterious crime tale. It delivers a healthy dose of atmospheric chills and scares, exhibiting a sense of style that raises it above most of the run-of-the-mill slasher sequels and retreads that pass for horror these days.—Dan Kaufman

16. Bram Stoker’s Dracula
Year: 1992
Director: Francis Ford Coppola
In 1992, Francis Ford Coppola decided that the count had too long floundered in mediocrity and aimed to give the legendary villain, along with vampire hunter Dr. Abraham Van Helsing, the filmic treatment they deserved. While the plot may not be the tightest that Coppola ever directed, the film succeeds with gorgeous cinematography from Michael Ballhaus and superb acting from Gary Oldman, Winona Ryder and Anthony Hopkins.—Josh Jackson

15. House on Haunted Hill
Year: 1959
Director: William Castle
We’ve hit a few William Castle features on this countdown, but House on Haunted Hill is the guy’s masterpiece. It’s got it all: Vincent Price at his goofiest, a big spooky house, a mystery and a profoundly non-frightening walking skeleton. The gimmick this time around was referred to by Castle as “Emergo,” and it amounted to a plastic skeleton on a pulley system being flown over the audience—not his most creative, but shameless enough that only Castle would stoop so low. To me, this is the quintessential 1950s horror film, even though it comes at the end of the decade. It’s totally tame by today’s standards but has some fun, over-the-top performances, a bit of witty dialog and a large helping of cheese. I can watch this thing over and over without getting tired of it.—Jim Vorel

14. Evil Dead 2: Dead By Dawn
Year: 1987
Director: Sam Raimi
Sam Raimi’s entire Evil Dead trilogy is biblical in its importance to independent film, horror and horror-comedy alike. The original Evil Dead was a seminal progenitor of the low budget (or nowadays faux-low budget) horror genre. Much like the Old Testament it’s a bizarre, somewhat alienating and legitimately frightening tale of possession—good and evil—and the horrors of the ancient world. The visual composition of the film screams amateur film buff nerd-dom in the best possible way, and its twisted, minimalist, and almost punk-rock take on the horror genre is simply unmatched. Its sequel, Evil Dead II, turns the original completely on its head. Our hero (once again impeccably portrayed by Bruce Campbell) now reaches comic-book levels of heroism in his now superhuman struggle with the dark forces within, providing the Christ-figure in our New Testament. Similarly adopting a much more lighthearted tone than the stoic original, the genre-bending film is seamlessly and intentionally interwoven with humor and B-movie level action hyperbole, thereby making it much more palatable for the masses. It’s truly the Gospel according to Sam Raimi, and easily the most widely adopted sect among the three.—Chuck Whistler

13. Hellraiser
Year: 1987
Director: Clive Barker
The head villain behind Clive Barker’s Hellraiserfranchise is the Cenobite Pinhead, sent from the pits of hell to drag you down into the depths with him. Where he tortures you. For eternity. All because you opened a fancy Rubik’s Cube. Pinhead has zero remorse, looking you dead in the eye as he delivers a deadpan promise to “tear your soul apart.” Oh yeah, and they’re indestructible. Personally, it turned me off to puzzle boxes forever.—Rachel Haas

12. American Psycho
Year: 2000
Director: Mary Harron
There’s something wrong with Patrick, I mean really wrong. Although a Christopher Nolan-esque what-is-a-dream conundrum, Bateman is just all around evil. He is also one of the few characters to blatantly express he’s insane, unfortunately to uncaring or uncomprehending ears. Also the drug-addled banker gets creative with his kill weapons. Nail gun, anyone?—Darren Orf

11. Funny Games
Year: 1998
Director: Michael Haneke
A friend of mine once compared filmmaker Michael Haneke to a scientist: In his movies, Haneke locates a functioning system, introduces an external stimulus, and observes the results. In Caché, his brilliant 2005 film, a bourgeois French family receives anonymous video tapes that show the exterior of their house, and they take them, as many of us might, to be some kind of threat. Haneke’s task is to observe their telling response. But often the subject of his experiment isn’t the family on the screen but the people in the theater, and there may be no clearer example than Funny Games, both his own 2005 remake and this, the original.—Robert Davis

10. The Blair Witch Project
Year: 1999
Directors: Daniel Myrick, Eduardo Sanchez
When horror movies were increasingly over-relying on special effects, along came The Blair Witch Project, an early example of low-budget, found-footage filming that became an iconic entry into the horror canon based on story alone. The violence was always off screen, more terrifying because the audience had no more idea than the protagonists about what was happening around them. The pent-up suspense as the horror circled closer and closer made for an unforgettable ending and changed the world of horror films forever.—Josh Jackson

9. Scream
Year: 1996
Director: Wes Craven
Before Scary Movie or A Haunted House were even ill-conceived ideas, Wes Craven was crafting some of the best horror satire out there. And while part of Scream’s charm was its sly, fair jabs at the genre, that didn’t keep the director from dreaming up some of the most brutal knife-on-human scenes in the ‘90s. With the birth of the “Ghost Face” killer, Craven took audiences on a journey through horror-flick fandom, making all-too-common tricks of the trade a staple for survival: sex equals death, don’t drink or do drugs, NEVER say “I’ll be right back.” With a crossover cast of Neve Campbell, Courteney Cox, David Arquette, Matthew Lillard, Rose McGowan and Drew Barrymore (okay, for like, 10 minutes), Scream arrived with a smart, funny take on a tired genre.—Tyler Kane

8. Carrie
Year: 1976
Director: Brian De Palma
Based on Stephen King’s first novel, this first King adaptation still remains among the best. The scene where Carrie burns down the school gym with her mind while her tormentors are trapped inside is one of the most relentless revenge scenes in history. That’ll teach bullies to be nicer to the nerds.—Wyndham Wyeth

7. Night of the Living Dead
Year: 1968
Director: George A. Romero
There were zombie movies long before George Romero shot his debut film, but none defined the genre so thoroughly. All the hallmarks are here for the first time: the band of survivors, the violent power grabs, the stoic hero/martyr, the potential for social metaphor. Too bad so few filmmakers (Romero included) forgot to copy his grim humor and stark black-and-white film stock, which makes everything so much more frightening. —Sean Edgar

6. Children of the Corn
Year: 1984
Director: Fritz Kiersch
It’s not often that the adults should be the ones afraid to watch a horror movie with kids, but it would be hard not to look at kids differently after 1984’s Children of the Corn. The film focuses on a cult in a fictional Gatlin, Neb., lead by redheaded terror Malachai who is convinced by an entity called He Who Walks Behind the Rows that all adults over 18 should get the ax. We see Burt and Vicky (played by Peter Horton and Linda Hamilton) struggle to escape the small town after driving through and hitting a young, dying boy with their car. There’s plenty of slasher scares and creepy visuals, but like any good horror movie, it’s a commentary on us as a society. And like Lord of the Flies before it, this Stephen King-based story looks towards our kids to point out the oddities of our culture, including an obsession with religion.—Tyler Kane

5. The Cabin in the Woods
Year: 2011
Director: Drew Goddard
For a movie chock-full of twists, perhaps the biggest is that despite all appearances to the contrary, The Cabin in the Woods is a heartfelt love story. Mind you, not between any of the young and pretty college students who tempt fate at the cabin in question. No, this romance is between creators Joss Whedon and Drew Goddard, and the scary-movie genre as a whole. A ménage à terror, if you will. Like Scream before it, the film is a simultaneous dissection and celebration of all the tropes to which it pays homage, while also managing to be a superb example of the genre in its own right. The script is vintage Whedon—smart, funny and surprising. Thanks to Goddard’s direction and staging, and despite the film’s very focus on the formulaic nature of horror, it still manages to be tense, atmospheric and jump-out-of-your-seat scary. The Cabin in the Woods may very well be the ultimate schlocky little horror movie.—Dan Kaufman

4. Nosferatu
Year: 1929
Director: F. W. Marnau
F.W. Murnau’s sublimely peculiar riff on Dracula has been a fixture of the genre for so long that to justify its place on this list seems like a waste of time. Magnificent in its freakish, dour mood and visual eccentricities, the movie invented much of modern vampire lore as we know it. It’s once-a-year required viewing of the most rewarding kind.—Sean Gandert

3. Let the Right One In
Year: 2008
Director: Tomas Alfredson
Vampire stories are plastered all over American pop culture these days (True Blood, Twilight, The Vampire Diaries), but leave it to the Swedes to produce a vampire film that manages to be both sweet and frightening. The friendship between Oskar, a scrawny, 12-year-old outcast, and Eli, a centuries-old vampire frozen in the body of a child, is a chilling but beautiful story to behold.—Jeremy Medina

2. The Silence of the Lambs
Year: 1991
Director: Jonathan Demme
In the face of grotesque sequels, lesser prequels and numerous parodies, The Silence of the Lambsstill stands as a cinematic work of art among crime dramas. Winning the five gold rings of Oscar-dom (best picture, best director, best actor, best actress, best screenplay) Anthony Hopkins’ portrayal of the murderous Hannibal Lecter proves the worth of surrounding one of cinema’s greatest thespians with a stellar supporting team. Director Jonathan Demme deftly wields the brush of that talent to bring audiences into the dark, sadistic world of Dr. Lecter while leaving them gasping at the twists and turns of novelist Thomas Harris’ gruesomely wonderful story. As what happens with all great films, second and third viewings fail to diminish the ride.—Tim Basham

1. Rosemary’s Baby
Year: 1968
Director: Roman Polanski
The most famous of Polanski’s paranoid thrillers, not to mention the most inviolable. The film infiltrates a privileged space of middle-class entitlement and pollutes it with the most extreme evil possible: sweet, unassuming Rosemary (Mia Farrow) is pregnant, but could her baby already belong to someone else? The volatile climax has an answer, and the sequence has remained one of the most celebrated in horror history for good reason.—Sean Edgar

25個最佳恐怖電影流在Netflix（2014年）
由喬希·傑克遜
2014年6月13日| 3:00
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25個最佳恐怖電影流在Netflix（2014年）
上週五13日，我們把它在我們自己更新的最佳恐怖電影流在Netflix，潛入700多恐怖電影的流媒體服務提供。從營地到經典，所有25我們選擇的電影是一定要招待，因為他們給你嚇了一跳。它們包括從電影傳奇像弗朗西斯·福特·科波拉，邁克爾·哈內克和羅曼·波蘭斯基，以及恐怖專家韋斯·克雷文和克萊夫·巴克的作品。有些還存在很大85年他們作出後，有的則是新版本。不要滿足於蹩腳的電影只是為了嚇唬手錶一部恐怖電影，你會記得。

巨魔hunter.jpg25 巨魔獵人
年份： 2010 導演：安德烈Øvredal 沒有否認，在其開始，巨魔獵人看起來像另一個女巫布萊爾敲斷。第20分鐘我們展示了一個年輕的攝製組調查一些不明原因的熊人死亡，一名可疑男子誰可能是偷獵他們。但是，而不是畫出來的神秘面紗，它需要一個急轉彎，並告訴我們就事論事，實事求是地，當然，這是巨魔殺熊，不僅如此，這裡是其中的一個準備重重的敲你的頭。名義上的巨魔獵人非凡是由和藹可親的喜劇演員奧托·葉斯柏森，誰通過他滿不在乎的態度，帶來了整個怪物前提到一個完全不同的水平發揮。在任何意義上來說，巨魔獵人辜負它的可笑的名字和前提- 肖恩Gandert

塔克-dale.jpg24 塔克和戴爾與邪惡
年份： 2011 導演：禮克雷格 讓我們面對現實吧，山人之流已經越來越在電影杈的短端，因為班卓琴音樂的張力消失在1972年的拯救。以及是否因輻射（深山大屠殺），或者只是好老決心近親繁殖（轉錯等等，這麼多電影，你最好不知道有關），本粗人多發的電影真的很享受度假屠殺無辜的家庭，短少在基本地圖的使用技能，而且，最重要的是，性生活活躍的大學生的旅客只是為了尋找一個好時機。但是不要擔心，山人的成員納入，代價與仁慈的電影劇本（希克斯）-writer/director禮克雷格有你毛茸茸的，unloofahed回來。他的電影，塔克和戴爾與邪惡，回答簡單的問題：那如果這些鄉下人都只是社交尷尬研究員打理一下度假屋和有問題的年輕大學生們都只是容易出現反复跳不正確的，往往是致命的，結論是什麼？想到死神符合達爾文獎- 邁克爾•布爾金

黑rainbow.jpg23，除了黑色彩虹
年份： 2010 導演：帕諾斯Cosmatos 帕諾斯Cosmatos“功能首次亮相是一個深情的讚歌，首先直接對視頻恐怖和科幻的波筆觸，或者更準確地說，他們的封面，因為他當時太年輕，實際觀看了一大半。安靜的，不祥的，令人驚訝的影響，“超越黑彩虹”顯示無比的信心在其創造性的視覺效果，以及隨之而來的青春期和經驗的自由，它的移動的寓言。伊娃-阿倫沒有給人講一個單一的世界高電荷的性能，但它的邁克爾·羅傑斯，與一些真正奇怪的秘密是醫生，這給了這部電影的令人興奮的費用。他會成為一個邪教明星當然，由於這部電影將是一個長期的午夜最喜歡的- 斯蒂芬M Deusner

房子devil.jpg22 惡魔眾議院
年份： 2009 導演：鈦西方 批評者抱怨說，鈦西方的電影是“慢”，這是缺少了這一點。一個更好的形容詞是“故意的。”在他的第三個和最好的電影，他建立的逐漸緊張，小心，彷彿沒有什麼比看著一個年輕女子跳舞周圍的空房子一邊聽FIXX可怕。到了第二幕結束的時候，你已經屏住呼吸了一個小時，當薄膜分解成它的血腥，暴力的第三幕，它提供了釋放的一種反常的感覺。這也給喬斯林多納休的女主角她最輝煌的時刻，因為她至少嘗試觀眾是那麼喊她做。- 斯蒂芬M Deusner

pontypool.jpg21。龐蒂浦
年份： 2008 導演：布魯斯·麥克唐納 的快速劇情梗概龐蒂浦使它聽起來像奧森威爾斯“1938年只是一個翻版的世界大戰廣播與外星人的地方殭屍，雖然它肯定比多一點有點感激這項工作，這將是給電影太少信貸。這部電影，而不是吸引專題靈感來自其無線電廣播的話，並用高超的殭屍病為口頭，盲目的重複和毫無意義的短語在英語語言的產品。龐蒂浦的聰明劇本是高檔擔任，而本片管理採取的殭屍類型在不同的方向，而無需具有諷刺意味的解構主義的路線- 肖恩Gandert

scream2.jpg20 驚聲尖叫2
年份： 1997 導演：韋斯·克雷文 這將是很難跟進原來的吶喊為充足的理由：除了它是在幾年更多的創新，自我意識的恐怖片之一，韋斯·克雷文死光了所有的壞人在影片的最後場景。這裡就是吶喊2 -一個可敬的隨訪和一個設置了舞台，所有影片的續集的，發揮作用的地方。它遵循的“鬼面”謀殺一個新的字符串，這一次的創作定心刺，仍按Woodsboro謀殺膠片。與往常一樣，這部電影是痛苦至關重要的恐怖電影風格的同時還嚇跑脫褲子觀眾在語音演變，滑稽電話和鬼面彈出窗口- 泰勒凱恩

mummy.jpg19 木乃伊
年份： 1932 導演：卡爾·弗羅因德 好傢伙，不是1999年的翻拍/暴行與布蘭登弗雷澤。由1922年發掘的圖坦卡蒙國王的陵墓啟發，這個1932年成立打擊木乃伊，作為通用的首映怪物之一，與科學怪人，吸血鬼和狼人。打這兩個標題字符以及一個神秘的埃及與Ardath Bey的驚人名稱，鮑里斯卡洛夫是無比毛骨悚然，用他的憔悴的功能和高幀灌輸的每一個場景與威脅- 斯蒂芬M Deusner

重新animator.jpg18，重新動畫
年份： 1985 導演：斯圖爾特-戈登 諷刺的是，最有趣的取在HP洛夫克拉夫特是最“Lovecrafty。”司徒登確立了自己作為電影的領先洛夫克拉夫特適配器與多汁採取的故事“赫伯特西，重動畫“，講述一個學生誰炮製振興死的令人不安的有缺陷的手段。重新動畫更像一個殭屍片比Lovecraft的簽名神秘科幻的品牌，但它擁有高超懸念的場景，巨大的笑話和芭芭拉克蘭普頓作為一款智能，完全熱愛興趣。杰弗裡梳子確立了自己作為他這一代的安東尼·珀金斯作為西，一個歡快的張狂和魯莽的天才，誰他兩打重動畫續集。演員甚至在文集電影玩死靈書洛夫克拉夫特- 柯特霍爾曼

vhs.jpg17，V / H / S的
年份： 2012 導演：亞當·溫高，大衛·布魯克納，鈦西，格倫·麥奎德，喬Swanberg，無線電靜默 的各種製造商的V / H / S已經重新找到的，畫面良好，並層疊在對於效果的技術留戀，使用過時的視頻格式為靈感的這本詩集的位。作為一個群體的兄弟會男孩暴徒搜索一個磁帶他們需要，他們彈出一些其他的，每一個都包含一個不同的恐怖故事。不同的導演，編劇，和塑像為每個單獨的序列，有一個小東西，每恐怖風扇的V / H / S，從鬼屋惡性怪物神秘的犯罪故事。它提供了大氣寒戰和恐慌的一個健康的劑量，表現出時尚感引發它上面大部分徑流式的磨的恐怖片續集和翻新是通過對這些恐怖的日子- 丹考夫曼

BRAM-爐排-dracula.jpg16。布拉姆史托克的德古拉
年份： 1992 導演：弗朗西斯·福特·科波拉 在1992年，弗朗西斯·福特·科波拉決定伯爵太長掙扎在平庸和目的是給傳說中的小人，隨著吸血鬼獵人亞伯拉罕博士範海辛中，薄膜類治療他們當之無愧。雖然情節可能不是科波拉執導過最嚴格的，影片成功與邁克爾·巴爾豪斯華麗的攝影和加里·奧德曼，薇諾娜·賴德和安東尼·霍普金斯精湛的演技- 喬什·傑克遜

房子鬧鬼，hill.jpg15，房子鬧鬼希爾
年份： 1959 導演：威廉·卡斯爾 我們已經打了幾威廉城堡特徵，在這個倒計時，但房子鬧鬼山是那傢伙的傑作。它得到了這一切：文森特·普萊斯在他的goofiest，一個幽靈般的大房子，一個謎，一個深刻的非可怕行走骨架。噱頭這次被提到了城堡為“EMERGO”，它為塑料骨架上的滑輪系統正在飛過觀眾，不是他最有創造力的，但夠無恥，只有城堡會彎腰彎那麼低。對我來說，這是典型的20世紀50年代的恐怖片，即使它是在這個十年結束。它是按今天的標準完全馴服，但有一些樂趣，過度的頂級表演，有點詼諧的對話和大量幫扶的奶酪。我一遍又一遍地看著這東西不膩呢- 吉姆Vorel

邪惡死2.JPG14 屍變2：死了黎明
年份： 1987 導演：山姆·雷米 山姆·雷米的整個屍變三部曲是聖經中的重要性，以獨立電影，恐怖和驚悚喜劇的一致好評。原來屍變是低預算（或時下人造低預算）恐怖電影的開創性祖。就像舊約它的身上，善惡和古代世界的恐怖離奇，有些疏遠和合法可怕的故事。影片的視覺構圖尖叫業餘電影愛好者書呆子DOM中最好的方式，它的扭曲，簡約，幾乎朋克搖滾採取的恐怖片簡直是無與倫比的。它的續集，屍變II，打開它的頭原來完全。我們的英雄（再次無可挑剔由布魯斯·坎貝爾刻畫）現在到達了他在與黑暗勢力現在超人的鬥爭英雄主義的漫畫書的水平，提供了基督的人物在我們的新約聖經。同樣採用一個更輕鬆的語氣比原來的堅忍，體裁彎曲膜無縫和故意交織著幽默和B級電影級動作誇張，從而使之更可口群眾。這是真正根據山姆·雷米的福音，並輕鬆在三者之中最廣泛採用的教派- 查惠斯勒

hellraiser.jpg
13 猛鬼追魂
年份： 1987 導演：克萊夫·巴克 的背後克萊夫·巴克的頭小人猛鬼追魂特許經營是修道士針頭，來自地獄的坑發送到向下拖動你到深處他。在那裡，他折磨你。永恆。都是因為你開了一個奇特的魔方。針頭具有零悔恨，看著你死了的眼睛，因為他提供了一個面無表情的承諾“撕裂你的靈魂分開。”哦，是的，他們是堅不可摧的。就個人而言，它把我關到永遠拼圖盒- 雷切爾哈斯

12 美國殺人
年份： 2000 導演：瑪麗·哈隆 有什麼不妥帕特里克，我是說真的錯了。雖然克里斯托弗·諾蘭式的東西-是-一-夢想難題，貝特曼只是各地的邪惡。他也是為數不多的人物之一，公然表示他是瘋了，可惜的是，以冷漠或不理解的耳朵。同時藥物腐壞的銀行家得到的創意與他的必殺武器。釘槍，任何人- 達倫羊痘

搞笑 - games.jpg11 有趣的遊戲
年份： 1998 導演：邁克爾·哈內克 我有一個朋友曾經導演相比，邁克爾·哈內克以一個科學家的：在他的電影，哈尼克找到一個功能系統，引入外部刺激，並觀察其結果。在Caché的，他輝煌的2005影片，資產階級的法國家庭接收，顯示他們的房子的外牆匿名錄像帶，他們帶他們，因為我們很多人可能，是一定的威脅。哈尼克的任務是觀察其說服力的回應。但往往他的實驗的對象是不是家庭中的屏幕上，但人們在影院，並有可能成為不超 ​​過清晰的例子滑稽的比賽，無論是他自己的2005年重拍，這，原來- 羅伯特·戴維斯

布萊爾witch.jpg10。女巫布萊爾
年份： 1999 董事：丹尼爾·邁里克，愛德華多· ​​桑切斯 在恐怖電影越來越多地過度依賴特效，來了女巫布萊爾，低預算，發現，拍攝的畫面的一個早期例子，成為基於單獨的故事偶像進入恐怖經典。暴力總是關閉屏幕，更可怕的是因為觀眾有比發生了什麼事他們周圍的主角沒有更多的想法。壓抑已久的懸念恐怖盤旋密切，使一個難忘的結局，改變了恐怖電影的世界永遠- 喬什·傑克遜

scream.jpg
9。吶喊
年份： 1996 導演：韋斯·克雷文 之前驚聲尖笑或鬧鬼的房子甚至被居心不良的想法，韋斯·克雷文是編寫一些最恐怖的諷刺在那裡。雖然部分尖叫的魅力是它的狡猾，公平刺戳的流派，即沒有保持導演的夢想了一些最殘酷的刀對人的場面在90年代的。隨著“鬼面”殺手的誕生，克雷文把觀眾透過恐怖輕彈影迷的旅程，使得該行業的全太常見的招數主食生存：性愛等於死亡，不喝酒或吸毒，千萬不要說：“我馬上就回來。”有了一個交叉投尼夫坎貝爾，柯特妮·考克斯，大衛·阿奎特，馬修·里沃德，羅斯·麥高恩和德魯·巴里摩爾的（好吧，對於喜歡，10分鐘），吶喊帶著一個聰明，有趣採取一個疲憊的流派- 泰勒凱恩

carrie.jpg
8 嘉莉
年份： 1976 導演：布萊恩·德·帕爾瑪 根據史蒂芬·金的第一部小說，這首改編國王仍然名列前茅。其中嘉莉燒毀她心目中的學校體育館，而她的折磨都被困在裡面的場景是在歷史上最無情的報復場景之一。這會教惡霸是更好的書呆子- 溫德姆惠氏

夜間客廳dead.jpg7 活死人之夜
年份： 1968 導演：喬治A.羅梅羅 有殭屍電影很久以前喬治·羅梅羅拍攝了他的第一部電影，但沒有如此徹底地定義的流派。所有的標誌都在這裡第一次：倖存者，暴力爭奪權力，堅忍的英雄/烈士，為社會隱喻的潛力的樂隊。太糟糕了，這麼幾個製片人（羅梅羅含）忘了複製他的冷酷的幽默和鮮明的黑色和白色的膠片，這讓一切都這麼多可怕。- 肖恩·埃德加

孩子，corn.jpg6，兒童的玉米
年份： 1984 導演：弗里茨Kiersch 這不是經常的成年人應該害怕看恐怖電影與孩子們的，而這將是很難不經過不同的1984我們來看看孩子們孩子的玉米。這部電影的重點是在一個虛構的加特林，內布拉斯加州，鉛邪教由紅發恐怖Malachai誰是由一個實體說服叫他的人走在後面，所有的成年人18歲以上應該得到的斧頭行。我們看到伯特和Vicky（由彼得·霍頓和琳達·漢密爾頓飾）鬥爭開車經過，打一個年輕的，垂死的男孩，他們的車後逃跑的小城鎮。有大量的恐怖片恐慌和令人毛骨悚然的視覺效果，但像任何好的恐怖電影，這是對我們的解說作為一個社會。而像蠅王之前，這個斯蒂芬·金為基礎的故事看起來對我們的孩子要指出我們的文化的怪事，包括與宗教的痴迷- 泰勒凱恩

客艙woods.jpg
5，在伍茲的客艙
年份： 2011 導演：德魯戈達德 對於電影通篇充滿了坎坷，也許最大的是，儘管外表與此相反，在樹林中的客艙是一種發自內心的愛情故事。你要知道，沒有任何之間的誰誘惑的命運在問題機艙的年輕漂亮的大學生。不，這浪漫是創作者喬斯溫登和德魯戈達德，和可怕的，電影類型作為一個整體之間。一個三人同居恐怖，如果你願意。像吶喊在它之前，這部電影是同時解剖和慶祝所有它所致敬的比喻，同時也管理是在自己的權利的曲風一個極好的例子。該腳本是老式的溫登，聰明，有趣和令人驚訝的。由於戈達德的方向和分期，儘管電影的非常專注於恐怖的公式化的性質，它仍然是緊張，大氣和跳外的你的座位嚇人。在樹林裡的小屋很可能是最終schlocky有點恐怖電影- 丹考夫曼

nosferatu.jpg4。諾斯費拉
年份： 1929 導演： FW Marnau 茂瑙對德古拉sublimely奇特的即興重複段一直是驚悚片的夾具這麼久，證明其在此列表中的地方似乎是在浪費時間。宏偉在其畸形的，陰鬱的心情和視覺的怪癖，電影發明了很多現代吸血鬼傳說，因為我們知道這一點。這是需要一次的年收視最有成就感的那種- 肖恩Gandert

讓的最右one.jpg3，讓合適的人在
年份： 2008 導演：托馬斯·阿爾弗雷德松 吸血鬼故事都貼滿了美國流行文化的這些天（真愛如血，暮光之城，吸血鬼日記），但它留給瑞典人，生產，管理的吸血鬼電影既甜蜜又可怕。奧斯卡，一個骨瘦如柴，12歲的棄兒，和禮之間的友誼，一個百年歷史的吸血鬼凍結在一個孩子的身上，是一個令人不寒而栗，但美麗的故事脫俗- 傑里米·梅迪納

沉默 - lambs.jpg2，在沉默的羔羊
年份： 1991 導演：喬納森·戴米 在怪誕的續集，前傳較輕和許多蠢事的臉，在沉默的羔羊仍然屹立作為藝術的罪案劇之間的電影作品。獲獎奧斯卡DOM的五個金戒指（最佳影片，最佳導演，最佳男主角，最佳女主角，最佳編劇）的殺氣漢尼拔的安東尼·霍普金斯大學的寫照證明了周圍的電影院的最大增輝與恆星支援隊伍之一的價值。導演喬納森·戴米靈巧地揮動那天賦刷帶觀眾進入萊克特醫生的黑暗，殘暴的世界，讓他們在喘氣的小說家托馬斯哈里斯的令人可怕的精彩故事的曲折。正如所有偉大的電影，第二和第三收看不能削弱騎會發生什麼- 蒂姆·巴沙姆

rosemarys-baby.jpg1，羅斯瑪麗的嬰兒
年份： 1968 導演：羅曼·波蘭斯基 最著名的波蘭斯基的偏執驚悚片，更何況是最不容侵犯的。該片滲入中產階級享有優越的空間和最極端的邪惡可能的污染是：甜，不事張揚的迷迭香（米亞·法羅）是懷孕，但可能她的孩子已經屬於別人？揮發性高潮有一個答案，而序列仍然最有名的恐怖歷史上有很好的理由- 肖恩·埃德加