To clarify, let me rephrase: What exactly is a monster movie? Or to put it another way, what does ‘monster’ mean in this context? The Merriam-Webster dictionary provides some hints, defining it as an animal with a bizarre or frightening appearance, or one that has an unusual form or structure. However, not all horror films are monster movies – while characters like Hannibal Lecter and Sadako can be considered monstrous, you wouldn’t classify “Silence of the Lambs” or “The Ring” as monster movies.
To create an engaging list comparing 12 outstanding horror films, we’ll focus on monstrous creatures rather than humans or supernatural beings such as ghosts. (Even though you may wonder about blood-sucking vampires and shape-shifting werewolves, for the sake of this discussion, let’s imagine that their true forms are undeniably monster-like and neither human nor spectral). We hope that if your preferred horror film didn’t make it onto our list, one of these intriguing titles could potentially become a new favorite!
Island of Lost Souls
The idea of merging humans and animals through scientific means can be traced back to H.G. Wells’ 1898 novel, “The Island of Dr. Moreau.” This concept has been portrayed in film at least six times, but the number of instances in other media might be around ten times that amount. However, none of these adaptations come close to matching the chilling atmosphere and iconic creatures found in the 1932 movie “Island of Lost Souls.
Title “Island of Lost Souls” deviates from Wells’ original work yet preserves its central concept: A castaway (Richard Arlen) encounters a distant island ruled by scientist Moreau (Charles Laughton), who unethically modifies animals to resemble humans. Unlike some adaptations, such as the 1996 version with Marlon Brando that portray Moreau as confused, Laughton’s depiction of Moreau exudes pleasure in inflicting suffering. Consequently, many countries prohibited the screening of “Lost Souls”.
In a more contemporary context, the “beast men” might appear quaint, but Kenton skillfully keeps them shrouded in mystery except for one chilling sequence. When Arlen stumbles upon these creatures and their ape-like Lawgiver (portrayed by Bela Lugosi), they charge towards the camera, shouting Moreau’s decrees (“Shall we not walk upright? Are we not human?”). This moment is electrifying and unmatched by any modern special effects; as the Sydney Morning Herald commented in 1933, “It carries the haunting, terrifying quality of a nightmare.
Featured Actors: Richard Arlen, Charles Laughton
The Man Behind the Camera: Erle C. Kenton
Year of Release: 1933
Duration: Approximately 70 minutes
Official Rating: Unrated at the time of release
Rotten Tomatoes Audience Score: 88% (as of current date)
The Host
A unique film blend: “The Host,” released in 2006 by director Bong Joon-ho, combines elements of a monster movie with humor, political commentary, and family dynamics – a seemingly implausible feat! Interestingly, Bong is known for seamlessly merging genres. Case in point, his award-winning film “Parasite,” which balances suspenseful thriller scenes with broad comedy and social critique on class disparities. To skillfully blend contrasting elements like drama and monster movies, one must have a thorough grasp of the conventions of each genre.
In a remarkable display, Bong’s film not only stands out as one of his finest works but also offers a fully captivating creature feature. His penchant for raw violence is evident in this production. The terrifying tadpole-like creature (a creation by Weta Workshop) leaves a trail of devoured extras in its wake. In a particularly graphic scene, a trailer door locked between the monster, trapped victims, and gushing blood. For those anticipating a comical monster, “The Host” either left them pleasantly surprised or utterly terrified.
In a monster movie like “The Host,” the effectiveness of the title creature hinges on its adversaries. The dysfunctional family at the heart of the story initially appears incapable of coordinating their efforts, let alone battling a colossal being. However, it’s precisely this monstrous foe that serves as a catalyst for the family to come together, which in turn generates some of the movie’s most poignant and impactful scenes. As Variety put it, “The Host” stands out among monster movies on almost every level.
Featured Actors: Song Kang-ho, Ko A-Sung
Director: Bong Joon-ho
Release Year: 2006
Duration: Approximately 1 hour and 59 minutes
MPAA Rating: R
Rotten Tomatoes Audience Score: 93%
The Thing
Despite the fact that John Carpenter’s “The Thing” was met with failure and critical disdain in 1982, as The New York Times put it, “‘The Thing’ is too visually unconvincing to be truly disturbing; it falls into the category of instant trash,” today it is widely regarded as the greatest science fiction horror film ever made. This timeless classic has spawned a 2011 prequel and even an attraction at Universal Studios’ Halloween Horror Nights.
What makes ‘The Thing’ so captivating in our moviegoing experience is its intense sensory impact. Each aspect seems poised to trigger an impending sense of unease: the chilling Arctic environment, the tension among the characters, the labyrinthine design of the research station, and the howling wind that echoes a continuous Halloween sound effect.
In the film “The Thing,” directors Carpenter and Bottin mercilessly unleash terror. Unlike the humanoid alien in the 1951 version, this Thing lacks a definite form, instead tearing apart its victims and reassembling them into grotesque combinations of humans, dogs, insects, and more. The horror of being absorbed by an alien force is already terrifying; the additional nightmare is waking up as a bizarre hybrid creature. As Under the Radar put it, “The Thing” is a chilling blend of paranoia-inducing atmosphere and groundbreaking monster effects, making it one of the best horror and science fiction films ever made.
Lead Actors: Kurt Russell and Keith David
The Film is Directed by: John Carpenter
Year of Release: 1982
Running Time: Approximately 109 minutes
Rating: Restricted (R)
Rotten Tomatoes Rating: 88%
The Blob (1958)
There’s no doubt about it: The 1958 film “The Blob,” while not reaching the heights of Hollywood production quality, is worth watching. Budgeted at $110,000, even by 1958 standards, it falls short in areas like dialogue and plot development, with an overemphasis on star Steve McQueen’s drag racing scenes. The creature’s origin, inspired by a real-life event and made from silicone and red dye, is also quite evident. Nevertheless, “The Blob” deserves recognition because it offers an enjoyable experience. After all, how many critically acclaimed films have left you feeling like you were trudging through a tedious movie marathon?
The entirety of “The Blob” is designed for audience entertainment. It boasts charming protagonists (Steve McQueen and Aneta Coursaut), a revolting monster (the initial scene where the Blob devours an elderly man, his doctor, and his nurse creates a disturbingly delightful sequence), and a fast-moving storyline that portrays children as heroes while adults appear foolish. To top it off, it has a catchy theme song by Burt Bacharach. These features have solidified “The Blob” in pop culture lore, resulting in a successful remake, influences on various works like “The Thing” and “Hotel Transylvania,” and even an annual festival. So, here’s looking at you, “Babadook”!
Lead Actors: Steve McQueen, Aneta Coursaut
Film Director: Irwin S. Yeaworth, Jr.
Release Year: 1958
Duration: Approximately 86 minutes
Rating: Unrated by any official body
Rotten Tomatoes Audience Score: 67% (indicating positive reception)
An American Werewolf in London
Many films on this list showcase a blend of tribute and originality. They respectfully acknowledge the horror films that came before them, yet strive to create their unique mark within their particular subgenres. For instance, John Landis’ “An American Werewolf in London” is a testament to this approach: It admires werewolf movies, but also recognizes that they had become self-parodies following the 1941 release of “The Wolf Man.” Thus, Landis crafted “An American Werewolf in London” as a horror-comedy, subtly poking fun at the more absurd elements of werewolf films, all while showcasing the most breathtaking transformation sequence ever captured on film.
The Oscar-winning special effects by Rick Baker, particularly the transformation sequences, remain the most memorable aspect of the movie. Instead of using conventional methods like gradual fading and fur from yaks as seen in “The Wolf Man”, these transformations are depicted as a gruesome process involving stretching jaws, tearing skin, and excruciating bone rearrangements. These effects not only boosted the film’s reputation, but also demonstrated to future directors such as Sam Raimi and Edgar Wright that horror-comedies can still deliver chilling moments without compromising on fear. As The Guardian put it, “the raw, unconventional intensity is a significant part of the film’s charm.
As a movie enthusiast, I’d like to share some exciting details about a classic horror-comedy film that I absolutely love:
In 1981, I had the pleasure of watching “An American Werewolf in London,” starring David Naughton and Griffin Dunne under the skilled direction of John Landis. This gripping tale spans an engaging 97 minutes, earning it a well-deserved R rating.
When it comes to critical acclaim, this film truly shines with a Rotten Tomatoes score of 89%. It’s safe to say that it’s a must-watch for any horror fan out there!
The Creature from the Black Lagoon
Among Universal Studios’ iconic monsters, including Dracula and the Frankenstein Monster, The Creature from the Black Lagoon stands out as the most beastly. Unlike these other characters, who are essentially human, the Creature is a hybrid between land-dwelling mammals and aquatic life, which means it lacks speech and reasoning abilities typical of humans. However, despite its monstrous appearance, in its 1954 introduction to the silver screen, it was one of the most compassionate Universal monsters, grappling with fear and, notably, love.
Director Jack Arnold skillfully crafted “Creature From the Black Lagoon” to satisfy fans of monster movies with numerous heart-jolting surprises and the unforgettable sight of Julie Adams in her striking white swimsuit, heightened in 3D. However, he also highlighted that the Creature was akin to a character from fairy tales such as “Beauty and the Beast.” While it was fearsome, it also exhibited vulnerability, particularly when attempting to reach out to Adams during an underwater dance sequence, suggesting it recognized its inability to reciprocate its feelings.
For several decades, these moments have captivated the interest of fans, including Guillermo Del Toro, who won an Oscar for his “Creature”-inspired movie, “The Shape of Water.” As Slant pointed out, what made Jack Arnold’s film unique back in 1954 is even more crucial to science fiction today: a sense of wonder.
Main Actors: Richard Carlson, Julie Adams
Film Director: Jack Arnold
Release Year: 1954
Duration: Approximately 79 minutes
Rating: Unrated
Rotten Tomatoes Audience Score: 80%
Nosferatu: A Symphony of Horror (1922)
As a gamer, I find that the portrayal of vampires in most movies leans towards the romantic and mystical side. However, the 1922 film “Nosferatu” takes a different approach, delving into more folkloric depictions of the creature as a harbinger of destruction and disease. This movie wasn’t an official adaptation of Bram Stoker’s “Dracula,” which led to a legal dispute that almost meant its disappearance from history. Director F.W. Murnau decided to strip away not only the characters’ well-known names but also any hint of a Gothic, adventurous storyline. Count Orlok isn’t like Dracula with his royal air; he’s barely recognizable as human. Orlok is solely focused on causing destruction wherever he goes. Fighting an embodiment of death like Orlok requires extreme sacrifices.
Over time, numerous vampire films that followed have somewhat diminished the enchantment of “Nosferatu”, with some even adopting F.W. Murnau’s eerie visual style and the character of Orlok, as seen in works like Tobe Hooper’s “Salem’s Lot” and “What We Do in the Shadows”. Yet, this familiarity has also boosted the prestige of “Nosferatu” as a seminal horror film. Its influence is so profound that two prominent directors, Werner Herzog and Robert Eggers, have attempted to recreate it. As Roger Ebert eloquently put it, “Watching F.W. Murnau’s ‘Nosferatu’ is like witnessing the vampire movie before it had truly understood itself.” The film exudes a genuine fascination with its subject matter. It appears to genuinely believe in vampires.
This film, produced in the year 1922, runs for approximately 65 minutes. It was directed by F.W. Murnau and features Max Schreck and Alexander Granach as the main actors. The movie does not have a rating but has been highly praised with a Rotten Tomatoes score of 97%.
Alien
A search online for “Alien influences” reveals numerous lists outlining various works that are said to have inspired Ridley Scott’s “Alien.” These range from A.E. van Vogt’s novel “The Voyage of the Space Beagle” to the 1958 movie “It! The Terror from Beyond Space,” as well as John Carpenter’s “Dark Star,” which was co-written by Dan O’Bannon, who also wrote “Alien.” However, none of these can match the terror found in Scott’s 1979 film, not even subsequent films in the “Alien” series.
What makes “Alien” so captivating? For one reason, its pacing mirrors that of “The Texas Chain Saw Massacre,” a movie director Ridley Scott watched before filming “Alien.” This slow build-up eventually escalates into relentless fear. Moreover, the characters in the film appear as powerless against these malevolent aliens as we would feel in their place. Furthermore, most of the action unfolds in the dark, heightening our sense of unease.
Moreover, H.R. Giger’s Xenomorph is an unsettling blend of human, insect, and machinery, which stirs up our deepest fears. Its menacing appearance, crafted purely for destruction and reproduction, evokes the darkest corners of our minds. It lurks in the shadows, morphs unexpectedly, suffocates, and overpowers its victims – features that are undeniably chilling. What seems even more disturbing is its lack of eyes. As New York Magazine puts it, “Alien, like ‘The Exorcist,’ skillfully taps into our nerves and emotions, employing techniques akin to a torturer extracting a confession.
Leading roles: Sigourney Weaver, Tom Skerritt
Director: Ridley Scott
Release Year: 1979
Duration: 1 hour and 56 minutes
Rating: Rated
Rotten Tomatoes Critics’ Score: 93%
Godzilla
Way back in 1925, I found myself face to face with a colossal beast in “The Lost World” – a brontosaurus causing chaos on screen. Later, in 1933 and 1953 respectively, I witnessed the terror of King Kong and The Beast from 20,000 Fathoms, both laying waste to New York City. Each film portrayed humanity paying the consequences for defying nature’s rules. This idea was amplified in “Godzilla” (1954), where a monstrous creature armed with atomic might served as a grim reminder of the destruction we unleashed during World War II when playing around with atomic power.
In the movies “King Kong” and “Beast from 20,000 Fathoms”, destruction is confined to specific areas, but when Godzilla rises from Tokyo Bay in 1954, it annihilates the entire Shinagawa district without mercy. Director Ishiro Honda doesn’t flinch in portraying the impact on humanity: Countless lives are lost, and those who survive grapple with radiation-induced illnesses, mirroring the hardships faced by the people of Nagasaki and Hiroshima just nine years earlier. Unlike “King Kong”, which has romantic or heroic interludes, “Godzilla” offers no such reprieve; instead, it’s a desperate struggle to halt the rampage.
As a dedicated gamer, I’ve always found myself drawn to the iconic figure of Godzilla. Though initially scoffed at upon its debut and later reimagined as a superhero in sequels, today, Godzilla stands as a powerful reminder of the perils that arise from the misapplication of science. The Oscar-winning film “Godzilla: Minus One” serves as a testament to this enduring theme, demonstrating its continued relevance in our modern world. In the words of SFGate, “These ancient terrors haven’t vanished, and neither has the timeless appeal of Godzilla.
Featured Actors: Akira Takarada, Takashi Shimura
Directed by: Ishiro Honda
Release Year: 1954
Running Time: 96 minutes
Rating (not specified)
Rotten Tomatoes Rating: 94%
Horror of Dracula
The theme of sexuality has long been an implicit aspect of vampire legends, however early cinematic adaptations attempted to conceal it through either grotesque physical appearance (“Nosferatu”) or mysterious sophistication (Bela Lugosi’s portrayal of Dracula). Yet, the 1958 film “Horror of Dracula” by Hammer Films in Britain openly emphasized the Count’s sensual side. According to BFI Online, this focus on the myth’s sexual undertones played a significant role in the movie’s success, though it drew criticism from some critics as well.
In the portrayal of Dracula by the darkly attractive Christopher Lee, the movie took on a more passionate approach. However, director Terence Fisher didn’t just focus on this aspect; he imbued the entire film with tangible realism, from Carol Marsh’s ecstatic response upon Dracula entering her bedroom to the transformation of Van Helsing into Peter Cushing’s energetic action hero. The use of vibrant color for filming – a first for vampire movies – added a striking contrast of pale whites, deep blacks, and, of course, bold reds to the visuals.
On both sides of the ocean, the movie “Horror of Dracula” turned Lee and Cushing into prominent horror actors, elevating Hammer as a major force in the genre for nearly 20 years. Most significantly, this film revolutionized screen vampires from ethereal entities to sensual characters, paving the way for series like “True Blood,” “The Hunger,” and numerous others.
Lead Actors: Christopher Lee, Peter Cushing
Film Director: Terence Fisher
Production Year: 1958
Running Time: Approximately 82 minutes
Rating: Unrated
Rotten Tomatoes Audience Score: 89%
Night of the Living Dead
George A. Romero’s 1968 film “Night of the Living Dead” is terrifying not just because its undead antagonists were once human, but also due to the unsettling reality that these creatures resemble ordinary individuals you might encounter at work or the post office. The horror lies in the fact that seemingly familiar strangers are actually mindless beings driven solely by the desire to kill and consume other humans, preferably alive.
As a devoted fan, let me express how George Romero and his masterpiece, “Night of the Living Dead,” revolutionized the horror genre by tearing the classic monster out of its safe havens and unleashing it onto a world teetering on the brink of moral chaos. In the words of Richard Harland Smith for Turner Classic Movies, this groundbreaking film struck like a shockwave through a nation accustomed to the bloodless Universal monsters and the colorful spectacles of Hammer horror productions.
Romero’s zombies serve as an ominous harbinger of impending doom – societal norms are no match for relentless hunger and violence. Conventional heroes meet their demise, families are (quite literally) torn apart, and the brave often pay the ultimate price. “Night of the Living Dead” overthrew the horror status quo by driving home the chilling truth: no cinematic monster could ever instill more fear and suffering than our fellow human beings.
In this film:
– Duane Jones takes the lead role.
– Judith O’Dea also stars.
– George A. Romero is the director.
– It was produced in 1968.
– The running time is 96 minutes.
– The rating is not specified.
– According to Rotten Tomatoes, it has a fantastic score of 95%.
Bride of Frankenstein
Universal’s “Frankenstein” is a notable horror movie that showcases German Expressionism and Hollywood’s ability to scare, cementing Boris Karloff’s fame in the genre. However, it can sometimes seem heavy-handed when Karloff’s Monster isn’t on screen. In contrast, its sequel from 1935, titled “Bride of Frankenstein,” avoids such sluggishness. Director James Whale’s film retains the Gothic atmosphere and emotional depth of its predecessor, but also introduces subtle themes and a striking performance by Elsa Lanchester as the Bride.
A lot of analysis has been done on the unconventional aspects of “Bride”, such as its use of Christian imagery (the Monster being portrayed as crucified by villagers) and hints of non-traditional relationships between characters like Dr. Praetorius (Ernest Thesiger) and Colin Clive’s Frankenstein, which seem to imply a deeper interest from Dr. Praetorius. However, what truly sets the film apart is its humor: The Monster sharing a smoke with O.P. Heggie’s Hermit shows that director Whale is enjoying himself, and encourages viewers to do so as well.
In the words of the National Society of Film Critics, as recognized by the Library of Congress, “The Bride” in the film never strays from the terrifying path. The movie swiftly builds towards its climax, reaching the peak of Hollywood horror with the creation of a fresh Bride of Frankenstein. At first, her movements resemble those of a bird, adding a comical touch, but her chilling shriek upon seeing the Monster quickly silences any laughter. The climactic, explosive ending, along with Karloff’s sorrowful declaration (“We belong dead!”), carries an emotional impact that remains rare in both past and modern horror films.
Leading roles: Colin Clive, Boris Karloff, Elsa Lanchester
Directed by: James Whale
Release Year: 1935
Duration: 75 minutes
Rating (unrated)
Rotten Tomatoes Rating: 98%
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