Not all cinema-goers are up to being disturbed, and even within the horror genre, many fans will impose limits on the type of content they actively engage with. At the same time, certain movies are worth watching, even if they can be a struggle to get through due to their content. These horror movies offer a glimpse into the darker side of human nature, often exploring taboo subject matter or presenting shocking imagery. They may be challenging to approach, but each of these films should be watched at least once, either for their artistic merit, entertainment value, or overall influence on the genre.
To establish a definition of classic, we examined any movie released before 2000. Also, instead of listing only classics that you should absolutely watch once, like Texas Chainsaw Massacre and The Exorcist, we went for a mix of semi-on-the-nose choices and obscurities to ensure there is something here for the hardened horror hound and newcomers alike.
Here are 10 horror movies everyone should watch once, regardless of how disturbing they all are.
‘Dementia’ (1955)
Dementia follows a young girl with a fragmented memory, known only as “The Gamin.” Wandering through a shady urban neighborhood, she encounters various grotesque characters who embody greed, lust, or violence. At the same time, flashbacks and her own willingness to commit cruelty to others start to point to her own past being one of abuse and trauma that had led her to the predicament she finds herself in.
A Surreal Trip into Trauma
While Demenita has more of an artistic flair for the era than what many would consider disturbing, the movie still touches on sensitive themes like sexual abuse, including incest, and violence towards women, in a way that is still jarring to this day. Still, the movie stands out as one of the first American productions to fully embrace surrealism in a way that would become highly influential. Visually, it is a real treat for horror fans, with its haunting imagery and abstract dialogue-free narrative that is vastly engrossing.
‘Spider Baby’ (1967)
The Merrye family has lived in isolation for many generations through inbreeding. They suffer from a fictional disease named after them, “Merrye Syndrome,” which causes them to regress and turn violent. When distant relatives arrive with a lawyer to claim the family estate, they are soon subjected to the unpredictable chaos and cruelty of the family in a series of deadly confrontations.
Setting the Stage for a New Type of Demented Horror
There is a disturbing, yet distorted innocence to Spider Baby that tends to crawl under viewers’ skin, with the actors shifting between childlike innocence and overtly sadistic behavior. The film itself exists in a similar state of fluctuation, with its campy tone often betrayed by brutality and its exploration of taboo subjects, many of which are offensive to modern-day sentimentality. Still, Spider Baby acts as a fascinating bridge between gothic horror and counterculture exploitation, making its identity crisis a truly unique viewing experience. The movie remains genuinely creepy and unnerving decades after its release.
‘Horrors of Malformed Men’ (1969)
Troubled medical student Hirosuke Hitomi escapes a mental institution and finds himself stumbling into a surprise inheritance after stealing the identity of someone who looks like him. To claim his inheritance, he heads to a remote island, which is ruled over by a mad scientist, Jogorô, who experiments on people to create ‘malformed men.’ Now a prisoner, Hirosuke becomes a witness to the absurd world created by Jogorô.
One of the Strangest Horror Films Ever Made
The Island of Dr. Moreau already dwells in the realm of the disturbing, in any of its iterations. Yet, Horrors of Malformed Men pushes it to uncomfortable extremes, using psychedelic, surreal, and nightmarish imagery unlike anything else committed to film. The movie was deemed obscene on release and was banned for many years in its native Japan.
For Western audiences, Horrors of Malformed Men offers a unique perspective on a revered classic horror story, blending with the work of the venerable Japanese author of horror and mystery, Edogawa Rampo. The best way to describe the film is as audacious and bizarre, utilizing a series of performers in the arts to create strange visions of an island ruled by the ‘malformed.’ Its director, Teruo Ishii, is considered the “King of Cult” in Japan, with the film being the ideal introduction to the unique madness he brought to the screen.
‘Sisters’ (1972)
Fraternal twins Grace and Danielle Collier, both played by Margot Kidder, start to see their psyches shatter through a seeming psychic connection after Grace witnesses the murder of a model in New York. Psychiatrist Dr. Emil Breton (George S. Irving) becomes involved in the twins’ case, finding himself caught between being mesmerized by Grace and dealing with the discovery of violent tendencies and dependency on her sister, Danielle.
Fracturing Personalities
Playing on split personalities, with a dreamy flow punctuated by shocking violence, Brian De Palma’s Sisters remains surprisingly disturbing despite its lack of gore; Margot Kidder’s hypnotic and layered performance certainly contributes to this effect. Still, the movie remains one of the best psychological horror/thrillers of the 1970s, with De Palma flexing his mastery of telling complex, intimate stories both through visual and narrative means; notably, the voyeuristic camera techniques employed would prove to be highly influential on many others trying to capture madness in such an uncomfortably intimate style.
‘Who Can Kill a Child?’ (1976)
A British couple, Tom (Lewis Fiander) and Evelyn (Prunella Ransome), travel to the Spanish coast and a remote island to escape their busy lives and spend quality time together before the arrival of their child. However, on their arrival, they discover a deserted landscape where only the children still seem to be around. After witnessing a man being murdered by the kids, the two begin desperately trying to find a means of escape.
A Nightmare Getaway
In title alone, Who Can Kill a Child? offers up a chilling enough question for many that would make many viewers steer clear, especially with the violence both committed to and against children being undeniably disturbing. However, the sensational title conceals a well-constructed and unrelenting horror tale that addresses the moral quandary in a less exploitative manner than one might expect after posing such an audacious inquiry.
It does start with actual historical images of cruelty towards children to frame its idea of youth getting revenge for global atrocities, but that one misstep aside, it is a competent and compelling horror outing that often gets overlooked. Fans of Lucio Fulci’s Zombi will find the ending to be surprisingly similar in concept, scope, and grimness.
‘Maniac’ (1980)
Frank Zito (Joe Spinell) wanders the streets of New York, traumatized by the past and with a desire for murder. He stalks women, murders them, and turns them into trophies at his home. When he meets Anna D’Antoni (Caroline Munro), however, he tries to form a sincere relationship with her. Yet, the push for normalcy is offset by more intense delusions and a more pervasive desire to kill.
Going Out Killing Tonight
Joe Spinell delivers one of the most grimy and memorable killers ever committed to screen in Maniac, making the look into the mind of a murderer all the more entrancing. The practical effects, including the infamous scene of a shotgun being fired through a window, are remarkable and still stand as some of the best work of practical effects guru Tom Savini. Gritty, disturbing, and highly exploitative, Maniac is a treat for those who like their horror with a thick layer of grime. And in case you are wondering, yes, the 2012 film of the same name starring Elijah Wood is a remake.
‘White Dog’ (1982)
After discovering an abandoned dog, Julie Sawyer (Kristy McNichol) instantly bonds with the kind dog and brings it home to her family. However, after an incident at a shoot, she learns that the dog had been trained to target and kill black people through an abusive system of conditioning. Veteran dog trainer Keys, played by Paul Winfield, attempts to deprogram the dog, but with racism so deeply ingrained in the dog, it becomes a harrowing challenge.
Training a Dog To Hate
Simulated dog attacks mark uncomfortable viewing for many; yet, what makes White Dog even more shocking is the deeper moral and social undertones in these sequences. Making a dog a vessel of hate is a problematic approach for anyone who has experienced the kind compassion and lack of judgment from their own pets. Yet, White Dog remains a compelling and provocative exploration of systemic racism. Directed by Samuel Fuller, the movie showcases the director’s unapologetic and confrontational approach to storytelling, highlighting his integral role in the evolving landscape of cinema.
‘Tetsuo: The Iron Man’ (1989)
An unnamed office worker (Tomorowo Taguchi) accidentally runs over a metal fetishist (Shinya Tsukamoto) with his car while fooling around with his girlfriend (Kei Fujiwara). Fleeing the scene of the crime, the two try to put it out of their minds, but the office worker soon finds his body transforming into metal, brought on by the appearance of the ghost of the man he killed.
A Metallic Mashing of Cyber Punk and Body Horror
Don’t worry about the plot here, Tetsuo: The Iron Man is more about spectacle, like Eraserhead “Turned up to 11.” Melding sci-fi and body horror, Tetsuo: The Iron Man is a pulse-pounding oddity (one of the best original scores of all time, for those who love industrial music) that would go on to become one of the most influential movies to emerge from Japan in the 1980s. A non-stop visual spectacle, its surreal imagery and fast pacing may require more than one viewing, but fans of fantastic cinema deserve to watch this one at least once.
‘Braindead’ (1992)
Weak-willed Lionel Cosgrove (Timothy Balme) lives under the thumb of his mother, so even when he believes he has found his first romantic interest in a woman named Paquita (Diana Peñalver), he instead sheepishly obeys his mother’s wishes to stay away. Yet, after a Sumatran rat-monkey bites Lionel’s mom and succumbs to an illness that turns her into a violent zombie, he gets the chance to finally stand up to his mother and save the girl of his dreams.
Soaked in Buckets of Blood
Peter Jackson’s Braindead is a darkly comedic classic that has garnered a cult fan base for its quirky one-liners and plethora of gore; it is reported to have used 300 liters of fake blood throughout the shoot. The excess of blood and bits is a bit too hyperrealistic to feel disturbing, but the amount of goop and specific sequences are still enjoyably disturbing in the modern context. If you have already seen one film on this list, it will likely be this one. However, if not, make sure to check it out; it is one of the most entertaining, fan-pleasing horror movies ever made.
‘Audition’ (1999)
After being encouraged by his son to move on, widow Shigeharu Aoyama (Ryo Ishibashi) finally decides to enter the dating pool again. Overwhelmed with how to approach dating at his age, his friend proposes they hold an audition for a show that will never be made, for him to get himself out there again and potentially meet a girl. Shigeharu finds himself smitten with mild-mannered Asami Yamazaki (Eihi Shiina), and the two start a relationship. Yet, Asami has a dark past and a violent nature that slowly emerges as the two become closer.
When “I Love You” Is the Most Frigthening Thing You Can Hear
A slow-burn horror movie, the disturbing element of Audition comes down to a few brief scenes before the film’s shocking final confrontation between Asami and Shigeharu. The final moments of the film will stay burned in the memory of anyone who watches Audition. However, what is often understated is the film’s perfect build-up to the violent confrontation, as well as the exploration of how language can be misconstrued and escalate into something utterly terrifying. One of the best horror movies to emerge from Japan, Audition is ideal for those who prefer more brooding, psychological horror.
