The 25 Greatest Horror Films of the Past Quarter Century, Part One

A quarter of the twenty-first century is almost over, and there has been no lack of quality horror, filmic or otherwise, during that time. It seems like an appropriate time to take stock and being that this is a column about horror movies, I decided that a list of twenty-five films for 2025 seemed appropriate. I’ll be starting at the bottom of the list and working my way up through these pieces until the end of the year. Although the list is ranked, I believe all of these films are great in different ways. Some are more subtle and others are more blatant, some are in your face terror and others are more comedic, but they’re all horror movies. As some of these films are decades old, there may be spoilers, but I’ll avoid that on more recent releases. 

#25 – Splinter (2008)

A nasty indie shocker that deserves to be better known than it is, this 2008 film is suspenseful, surprising and altogether a gruesome good time. Directed by Toby Wilkins and co-written by Wilkins, Ian Shorr and Kai Barry, it tells the tale of a group cornered in a gas station mini mart by some sort of toxic waste-derived goop monster that can infect and control its prey. It’s an early highlight in actor Shea Whigham’s career, the gore effects are gnarly (especially if you have an aversion to spiky growths), and there’s a bone-breaking sequence that almost prepared me for the Suspiria remake. 

This is a prime example of creativity and talent making something impressive on a low budget. The script is well written and creates characters you ultimately care about who are promptly thrown into an ever-intensifying situation. The filmmakers make a virtue of their one set, not only creating a very convincing gas station mini mart but also using its limited space to ratchet up the suspense – the characters have no place to hide. 

#24 – Terrifier (2016)

It’s time for a walk on the disreputable side of the street with a film that would have felt right at home in any grindhouse theater. Writer/director Damien Leone’s tale of some unfortunate young women’s Halloween encounter with a psychotic clown has an unexpected transgressive punch to it – I was constantly surprised how far this film was willing to go. Personally there’s at least one infamous scene where it goes too far for me in terms of sadism and gore (I don’t think viewers of the movie will have any doubt what scene I mean), but it’s great in so many other ways that I think it still belongs on this list. 

If Terrifier had just been responsible for introducing the fans to Art the Clown, the most iconic horror villain in the past twenty-five years, it would have merited being on this list. David Howard Thornton gives a fantastic performance as the monstrous Art, turning all the usual clown antics and mimes into mockery of his victims. His phony smile hides deep hatred and violence, and when that façade slips, it’s chilling. He’s funny and frightening, reminiscent in some ways of another horror icon, Freddy Krueger, except that Art never speaks. His visual look is unique – a black and white clown suit topped with a tiny hat, and he lugs around an ominously heavy trash bag with him – he’s like an evil Little Tramp.

Leone knows exactly what kind of movie he wants to make, a tribute to low-budget slashers from the ‘80s, the kind of flick you’d rent on VHS from a video store because of the gruesome cover art. Director of photography George Steuber gives the film just the right scuzzy look, a patina of rust and motor oil and the absence of a loving creator. The scene in which Art terrorizes the young women in a pizza parlor is a terrific introduction to his combo of mirth and menace. Another scene, in which Art gets tired of chasing his prey and just shoots them instead, genuinely took me by surprise – slashers aren’t supposed to use guns! Imagine Michael Myers or Jason pulling out a piece!

I used to tell people about this lesser-known film, but the immense success of its sequels has made that unnecessary. Terrifier is the first and best of the series, however, a lean and mean shocker that draws blood.

#23 – Ginger Snaps (2000)

If you want to watch a smart Canadian teen werewolf movie with a feminist perspective and pitch-black humor (and you should), your lycanthropic prayers have been answered. Sisters Brigitte (Emily Perkins) and Ginger (Katharine Isabelle) are very close, “united against life as we know it,” as Brigitte says. They spend their time staging gory fake death scenes to photograph and feeling contemptuous of their high school classmates. This situation changes when one evening Ginger is bitten by a werewolf, and to the siblings’ alarm, she slowly begins to transform, becoming cruel to Brigitte, and more sexual and violent in general. As things rapidly worsen, mousy Brigitte realizes it’s up to her to save her sister. 

Screenwriter Karen Walton created a very funny and pointed script for this film, which director John Fawcett put to its best use. Perkins and Isabelle are completely convincing as sisters, happy in their own little world, nailing all of the humor and drama. The introductory shot of Brigitte alone is like the intent of the movie in microcosm – she walks slowly toward the camera, a grim vision in a grey sweater and plaid shirt, carrying in her arms an extension cord, a gas can, a drill and a chainsaw, glowering for all she’s worth. Mimi Rogers is also quite amusing as the girls’ mother, who desperately wants to be helpful but isn’t.

It’s a nice change to see a horror movie shot in Canada actually set there as well. Along those lines, a lot of people in the film are playing some version of hockey, and it’s fun to see Ginger having to strap her newly grown tail to her leg so she can play. This movie has a lot to recommend it, from its blend of comedy, horror and teenage girl life, but the thing that sticks with me is the bond between the sisters, which is the most important thing to both of them. It makes the film more moving and memorable, and its gradual turn to tragedy is what ultimately puts the film on this list.

#22 – Mandy (2018)

Mandy is a fever dream of a film, less of a traditional narrative than a pure cinematic experience. It deserves to be seen on a large movie screen with a great sound system, but it’s still a gorgeous trip however you take it. It’s all about the atmosphere, which begins with the inspired use of King Crimson’s “Starless” over a montage of endless green forest, creating a sense of impending drama before a word is ever spoken. Director/co-screenwriter Panos Cosmatos favors long shots drenched in deep blues and reds (Benjamin Loeb’s cinematography is stunning) and uses purple to create a sense of the unearthly.

The story is simple. In 1983, Red (Nicolas Cage) and his girlfriend, Mandy (Andrea Riseborough), contentedly live in the Pacific Northwest (“The Shadow Mountains,” just to add more spooky flair). One day Mandy is noticed by Children of the New Dawn cult leader Jeremiah (Linus Roache), who kidnaps her to attempt to add her to his flock. When Mandy rejects his offer (Riseborough’s mocking laughter at his nudity is strong), Jeremiah has her burned alive. Red, fueled by rage, alcohol and a heroic dose of psychedelics, tracks Jeremiah and his minions down, and bloody revenge is the order of the day.    

The character of Mandy is an ethereal presence in the first place, but Cosmatos is smitten with the iconic possibilities of Riseborough’s face, having her frequently stare into the camera as an eye of calm in the visual hurricane. The film is arty in the best way, a ravishing nightmare that envelopes its audience in the doomy swells of Jóhann Jóhannsson’s soundtrack and an impressively overwhelming use of light and color that can correctly be described as visionary. The final couple of shots, in which Red (caked in gore, his eyes wide with madness) stares at the ghost of Mandy (a tiny smile of approval on her face) sitting in his car’s passenger seat and then drives off into a fantastical landscape, are a perfect encapsulation of the entire film – beauty intertwined with horror. 

#21 – House of 1000 Corpses

I know that Rob Zombie’s sequel to this movie has greater critical approval (and I like that film, too), but I love this one more. It’s bursting with visual creativity and love for horror movies, and I don’t think it’s ever gotten the credit it deserves. I wrote an article of my thoughts on it here.