10 Best Campy Horror Movies Of All Time, Ranked

The term ‘camp’ can be challenging to define precisely. At its core, it represents a unique attitude characterized by whimsical humor tinged with irony, flamboyance, and artificiality, often originating from a feminine perspective. Over time, this definition has evolved and broadened, encompassing anything that is excessively, even absurdly extravagant, and may be intentionally or unintentionally subpar. Lists of the poorest films ever produced tend to use ‘awful’ and ‘camp’ interchangeably, though there’s a degree of inaccuracy in this equivalence. Films like “Plan 9 from Outer Space,” “The Room,” and “Madame Web” may not meet all criteria for true camp, but they can be classified as such based on the definition you choose to follow.

All genres feature films with a campy flair – there are dramas, comedies, musicals, and even terrifying horror movies. Interestingly, the horror genre seems to be particularly suited for camp. It thrives on exaggeration, artificiality, and outlandish, implausible storylines. In this list, you’ll find 10 horror films that fully embrace their campy side (and just so you know, “The Rocky Horror Picture Show” is more of a musical with horror elements in its presentation rather than a traditional horror movie).

10. The Abominable Dr. Phibes

Walking the line of deliberate camp can be tricky; veer too far in either direction and the outcome becomes parody or absurdity. This was the challenge faced by “The Abominable Dr. Phibes,” a 1971 horror-comedy that starred Vincent Price as a scientist seeking vengeance on doctors who failed to save his wife during surgery. Drawing inspiration from the Ten Plagues of Egypt, the plot included chilling deaths by cold, rats, and blood loss – a nod to the campy style of pulp horror. Director Robert Fuest skillfully embraced this aesthetic while also incorporating comedic elements.

In a nutshell, the distinctive visual style of the film “Dr. Phibes” is influenced by the fact that its creator was once a production designer. The movie is set in the 1920s, and it showcases costumes and sets that are faithful to the era yet exaggerated to resemble the darkly Gothic cartoons of Edward Gorey.

The titular character, Dr. Phibes, embodies the traditional villain archetype, donning masks and playing the organ, while being disfigured after a car accident that left him speechless except through a Victrola. However, he also exhibits a softer side, acting as a loving husband to his late wife and displaying paternal affection towards his mute assistant, Virginia North.

The film’s blend of the grotesque, the peculiar, and the comical gives rise to its campy elements, contributing significantly to the success of “Dr. Phibes” as one of Vincent Price’s best works and a notable addition to ’70s horror cinema. A sequel titled “Dr. Phibes Rises Again” was released in 1972.

9. Feast

Similar to Sam Raimi’s “Evil Dead” movie franchise, John Gulager’s “Feast” created a trilogy due to its intense gore, rapid tempo, and cleverly designed plot twists that left viewers on edge. Notably, “Feast” was showcased during Season 3 of “Project Greenlight,” where Gulager demonstrated remarkable composure in the presence of tough producer Chris Moore. The film centers around a siege situation, where customers at a bar in the desert are under attack by seemingly unstoppable monsters.

A significant portion of an eccentric ensemble, featuring Balthazar Getty, Eric Dane, Judah Friedlander, and Jason Mewes meet grisly, grotesque ends at the hands of monstrous creatures. However, Krista Allen’s resilient waitress intervenes to even the score. The violence in this film is so excessively over-the-top – with faces being torn off, heads dissolving and shattering, and victims being devoured alive – that it borders on becoming a parody. Furthermore, Gulager’s cinematography mirrors this intensity with camera work that verges on hyperactivity; the frenetic scenes in “Evil Dead II” directed by Raimi appear almost serene by contrast.

Additionally, there’s a playful air of deceit throughout the events. Gulager strategically introduces main characters – Eric Dane and Navi Rawat, who are labeled as the Hero and Heroine – only to swiftly eliminate them. It seems that he found great pleasure in arranging conventional horror plots and then surprising the audience by subverting expectations repeatedly.

8. Hausu (House)

In Nobuhiko Obayashi’s 1977 fantasy movie “House,” the haunted title location is unlike any other eerie mansion you might have seen. The malevolent spirit within it doesn’t show itself as a conventional ghost, but rather transforms into ordinary household items like lamps, portraits, and in one particularly striking scene, a piano. These objects don’t just seem menacing; they actively try to harm and consume a group of seven teenage girls who are visiting the house for the summer. While the storyline may sound peculiar, it doesn’t do justice to the wildly eccentric nature of “House.

It seems that Obayashi was influenced by his young daughter’s fears, as she gave him a list of things that scared her. This childlike perspective, which reveals much yet explains little, is evident throughout “House.” The seven girls in the film are distinctly characterized by one trait each (Prof is intelligent, Mac is hungry, and Gorgeous is attractive), and they behave with an innocence that borders between cartoon characters and softcore fantasy figures. The environment around them is saturated with Day-Glo colors, and the supernatural events are deliberately presented in simple effects such as stop-motion and video FX, much like a child might produce. The film is fast-paced, filled with screams and vast amounts of blood – reminiscent of a child’s conception of a horror movie. At its finest moments, “House” feels like a precursor to “Evil Dead II,” but with only half that film’s budget and Sam Raimi’s frenetic energy at an even higher level.

7. Motel Hell

Motel Hell,” released in 1980, is a unique blend of horror and comedy that critiques consumerism, earning mixed reviews. While some critics appreciated its dark humor, others categorized it with the slasher films prevalent at the time. A quick look at the movie reveals it’s distinct from the typical slasher genre. The storyline, written by Steven-Charles Jaffe and his brother Robert, revolves around a charming farmer (Rory Calhoun) and his sister (Nancy Parsons of “Porky’s”). Their unusual smoked meat products contain an unconventional ingredient – human beings, which they harvest from a mix of motel, farm, and smokehouse. The victims in this film are not the typical teenagers but rather a group of eccentric individuals, such as swingers, a ludicrous metal band (with John Ratzenberger on drums), who arguably serve the world better as food.

British filmmaker Kevin Connor, known for directing ’70s cult classics like “The Land That Time Forgot,” offers a horror-comedy that caters to both fans of grindhouse films and comedy enthusiasts. The movie is filled with generous amounts of gore, yet the humor never falters. In an exhilarating climax, Calhoun, donning a pig mask, faces off against his sheriff brother (Paul Linke from “Parenthood”) in a comically over-the-top chainsaw duel. To top it all off, Wolfman Jack portrays a TV preacher who speaks in tongues.

6. Creepshow

In creating “Creepshow,” director George Romero emulated the vivid color schemes and distinctive framing of comic books, particularly those by E.C. Comics such as “Tales from the Crypt” from the 1950s. Known for their gruesome morality tales and dark humor, E.C. Comics used bold colors (lots of red) and unique panel layouts to amplify horror in their stories. The artists like Jack Davis and Al Feldstein were instrumental in shaping this signature style of E.C. Comics, which Romero utilized for “Creepshow.” This style has also been carried on by producer Greg Nicotero in the TV series inspired by the film.

In the same fashion as the source materials, the comic book-style effects become evident during the most frightening moments in “Creepshow”. For instance, when Ted Danson and Gaylen Ross’s reanimated corpses appear before Leslie Nielsen in “Something to Tide You Over”, the lighting and color palette shifts from a natural appearance to swirling greens and yellows reminiscent of sea sickness. Additionally, Romero’s camera angles are tilted as they capture these undead characters. Similarly, Adrienne Barbeau’s gruesome death in “The Crate” is depicted with deep red hues and jagged blue slashes. This blend of horror and comedy was a deliberate choice: both “Creepshow” and E.C. Comics aimed to create a mood that straddles the line between nightmares and absurdity, something that might provoke laughter or screams — or even both.

5. Night of the Creeps

Under the title “Night of the Creeps,” this movie skillfully balances homage and satire, successfully providing both elements within an engaging and vividly disturbing horror experience. As Fred Dekker’s (“The Monster Squad”) first feature film, it revolves around extraterrestrial slugs that turn their human hosts into violent zombies, causing quite the disruption to a college fraternity’s dance event.

In a surprising twist, Dekker blends together a comedic setting with a serious tone, expertly portrayed by veteran actor Tom Atkins (“Halloween III: Season of the Witch”). He skillfully combines elements from 1950s alien invasion films and 1980s teen romantic comedies – genres that initially seem incongruous. However, “Night of the Creeps” demonstrates that these two subgenres share more similarities than one might think at first glance. The central conflict here is not just about nerds competing for the affection of a girl, but rather about characters fighting against alien-possessed individuals.

4. M3GAN

In the movie “M3gan,” produced by Blumhouse, a moment turned it into a camp horror icon – the pre-kill dance number that went viral online. The sight of an eerily realistic doll performing a dance routine reminiscent of TikTok while dressed fashionably and sporting an “I Don’t Care Do U?” expression before brutally attacking Ronny Chieng, encapsulated camp at its essence: It was intentionally playful, ironic, and artificial, with exaggerated emotions and a distinctly feminine feel. The movie “M3gan” perfectly hit those notes, making it a massive success in 2022.

The film “M3gan” has garnered significant attention from one of camp’s primary audiences, the LGBTQIA+ community, who have placed it among iconic Gay Horror Characters such as Annabelle, Octavia Spencer’s Ma, and the Babadook. Justin Kirkland from The Daily Beast explained why this audience is drawn to the movie: “M3gan” has a special quality that resonates when you attend a gathering as a queer individual and identify another queer person in the room. You feel a desire to bond with M3gan because you share something in common. Yes, you’d even want to dance awkwardly with her. You long to be friends with someone who stands up for you (sometimes quite literally, with a bat). It appears that viewers still hold this sentiment towards the murderous fashionista: “M3GAN 2.0” (unrelated to the amusing “Saturday Night Live” sketch of the same name) is set for release in June 2025.

3. Killer Klowns from Outer Space

The 1988 film “Killer Klowns from Outer Space” embodies the quirky charm typical of a camp production, largely due to its unwavering dedication to the concept. This horror-comedy-sci-fi hybrid, created by the special effects wizards The Chiodo Brothers, takes a simple premise – malevolent aliens disguised as clowns causing chaos on Earth – and extracts every ounce of humor, suspense, and eccentricity it can.

The Klowns’ arsenal of deadly devices encapsulates the film’s audacious approach to comedy: a popcorn gun, a balloon attack dog, cotton candy cocoons, corrosive pies, and even armored clown cars. The variety is astounding, not only for the levels of absurdity it reaches but also for the ingeniousness the Chiodos display in transforming ordinary playthings into deadly weapons.

Many low-cost horror comedies or spoofs try to mimic the same level of absurdity seen in “Killer Klowns,” but The Asylum’s collection of the most ludicrous mockbusters often miss the mark. The key difference is that a silly concept isn’t enough; there needs to be cleverness hidden behind the rubber monsters and peculiar dialogue, which is why “Killer Klowns” has maintained its status as a cult-camp favorite for nearly four decades, while those trying to imitate it can be found languishing at the bottom of streaming platforms.

2. Evil Dead II

Sam Raimi’s movie, “Evil Dead II,” is both highly regarded as one of the top camp-cult films ever produced and incredibly impactful. Numerous domestic and international movies have emulated its fast-paced cinematography and humorous style. If it weren’t for Raimi creating “Evil Dead II,” films such as “Cabin in the Woods,” Peter Jackson’s “Dead Alive,” and “Shaun of the Dead” might not have been brought to life (not to mention the “Evil Dead” series itself, as well as Raimi’s own film “Doctor Strange in the Multiverse of Madness” to some degree).

The reasons behind numerous films attempting to emulate “Evil Dead II” and its franchise are quite clear. It’s a visual powerhouse, with Raimi’s camera showing an unrestrained enthusiasm for zooming, roaring, and scampering, flouting the conventions of filmmaking (and physics) to create a more impactful experience. Moreover, it doesn’t hold back in the gore aspect – it’s a movie where the protagonist chops off his own possessed hand with a chainsaw, a corpse dances with its severed head, and someone accidentally swallows an eyeball that was launched from its socket by a foot stomp. Most importantly, “Evil Dead II” is audacious and imaginative, showcasing a humor reminiscent of classic Hollywood chaos like Looney Tunes and the Three Stooges, as well as unconventional plot twists. To put it simply, this film starts off as a remake of its 1981 counterpart and ends by transporting hero Bruce Campbell to the Middle Ages.

1. Troll 2

In various critiques, features, YouTube videos, and even a humorous documentary titled “Best Worst Movie,” the peculiar charm of the 1990’s film “Troll 2” has been celebrated. This Italian-produced comedy-horror movie, as seen through the eyes of its bewildered cast, tells the story of a family battling vegetarian trolls, but it shares no connection with the 1986 film “Troll.” However, one may question whether “Troll 2” is intentionally campy or simply inept. It’s challenging to make that determination: Director and co-writer Claudio Fragasso, along with co-writer Rossella Drudi, have asserted that the movie’s most unusual moments were planned. This could possibly explain elements like Deborah Reed’s portrayal of Creedence, the goblin queen, whose exaggerated, wide-eyed performance is frequently highlighted among the film’s low points. Similarly, it may justify young hero Michael Stephenson’s survival from the clutches of plant-loving trolls by eating a baloney sandwich.

Indeed, a significant portion of the humor in “Troll 2” is accidental, stemming from production issues rather than intentional comedy. One of these challenges was the language barrier, as the Italian crew had limited English proficiency, making it difficult to effectively communicate with both amateur and professional actors. This mix-up of strange, overly dramatic acting styles from non-actors, combined with a script that seems misunderstood by everyone involved, is what has kept “Troll 2” in the realm of cult/camp status for so long.

2025-02-03 00:31