Haunted locations like the Overlook in The Shining, the very middling remake of House on Haunted Hill, or ahuge mansion like The Others, all provide different types of haunted horror. The following list won’t include any of the films previously listed, nor any of the Paranormal Activity films or The Conjuring.  Mainly to add some variation, and nearly everyone knows of those films by now.  Instead, you’re getting a little bundle of haunted location horror films that might not be on your radar.

Let’s roll up to your haunted location of choice and likely not go inside, we’ll just marvel at the infrastructure before we head on out. Sounds like a good idea, right? Keep reading on and see what you find.

House (1977)

The ‘70s was quite the time for delightfully weird horror films, and this one is a great international horror example as well. House (or Hausu) follows a young girl and her friends who go to visit her aunt, only for supernatural occurrences to occur during their stay. It’s not nearly as serious in tone as it sounds. And it’s actually a comedy horror film, so it’s meant to elicit a few laughs.

Hauntings don’t always need to be downright terrifying or even just stereotypically scary. This one has a few bizarre and unsettling moments that might cause people to be scared as a result. But House is so experimental and playful in its stylistic approach that it sets itself apart from other haunted house films. It’s a Japanese horror film that folks should absolutely watch if they are interested in international haunted location films.

Grave Encounters (2011)

Haunted psychiatric facilities are relatively typical, but this one has a cult following for a reason. Grave Encounters follows a crew of paranormal investigators who aim to film a hit episode in an asylum, only for it to be the last one they ever create. The characters range in terms of how tolerable they are, but it’s still a terrifying situation to watch them willingly enter. And not to mention how once they enter, it’s impossible for them to get out.

The film doesn’t have a huge budget, but horror films about hauntings don’t always need budgets like The Conjuring films, especially with found-footage horror films like Grave Encounters, as we’re meant to believe what’s happening is very real. It’s the perfect haunted location film to throw on during a random evening. And the ending will make you feel extremely hopeless (just don’t watch the sequel, it’s a mess).

Hell House (2015)

At this point, the Hell House LLC franchise has a relatively strong fanbase, and it all starts with the original. Hell House LLC follows what happened to a crew of haunted house creators and the individuals who died during their opening night of “Hell House”. The scares are incredibly effective in this film, and the crew feels like a tight-knit group. And what happens to them is pretty tragic.

There’s a lot of lore in the other films that help explain the events of this one. But for the most part, Hell House LLC is a fun solo watch if you’re not interested in bingeing the series. Overall, it’s one of those films that if you watch it without the lights on, you’ll be in for an unsettling night. It’s worthy of the hype it receives from other folks, especially if you love found footage set anywhere but a house or an asylum.

Gonjiam: Haunted Asylum (2018)

When the supernatural things start happening, you will be genuinely scared of the sequences that occur. Gonjiam: Haunted Asylum follows a horror YouTubers who make the horrible decision to travel to the Gonjiam Psychiatric facility to gain views and virality. It’s a solid entry in influencer horror, found footage, and international horror as it’s a South Korean horror film.

The scares don’t happen right away like one might expect. But if you stick with Gonjiam: Haunted Asylum and be patient, you’ll be pleasantly surprised. There’s one particular scene that’ll make you glad you’re not in the character’s position. And if you’re interested, Wi Ha-joon (Squid Game) is the lead in this, and his performance really lends to the film. 

Strange Frequencies: Taiwan Killer Hospital (2024)

The inspiration from Gonjiam: Haunted Asylum is strong in this one. Strange Frequencies: Taiwan Killer Hospital follows a bunch of influencers who decide to film a paranormal reality series in a haunted and abandoned hospital. Of course, everything goes wrong and the characters don’t realize how bad of a situation they’re in. It’s quite a lot like Gonjiam because of the direct inspiration; it’s said to be based on it. Therefore, it’ll either work for you or it won’t.

There are some decent moments in this film, and it’s not a bad watch at all. Does it reinvent the wheel at all? No, but that doesn’t mean it’s not worth at least checking out if you love haunted asylum films, found footage, or you want to support a Filipino horror film.

Many of us horror fans have favorite horror films that are set in a gothic environment. Whether they’re about vampires, ghosts, or other beings that make nighttime impossible to relax. And the following horror movies are all set in different places, but they have mostly ominous atmospheres (even the one comedy horror film in this list does, don’t deny it).

If you want to find out if any of your favorites are on here or if you are in need of a recommendation for the remainder of summerween, you’ve come to the right gothic castle. Just try not to disturb the ghosts and avoid going into the hot vampire’s quarters and you’ll be fine.

The Old Dark House (1932)

Horror that came out in the ‘30s can be a bit challenging to watch, but this pre-code horror film might satisfy various horror fans who don’t mind older horror. The Old Dark House follows 5 individuals who find themselves temporarily lodging in an old house occupied by the Femm’s. There’s a fair amount of queer subtext woven throughout the film, and that can be chalked up to the film’s director, James Whale (as he was an out gay man).

The film is in black & white, which does contribute to the gothic aesthetic of the decaying house the characters are in. Of course, the characters themselves add to the atmosphere by being peculiar and occasionally ominous in their intentions. The Old Dark House isn’t a blood soaked time in the slightest, and is a comedy horror film, so there’s a blend of comedic beats alongside the horror. But you should watch it if you want to learn more about queer coded horror from the ‘30s.

Army of Darkness (1992)

It might be a little goofy and not everyone’s favorite in the Evil Dead franchise, but it’s got a little something to offer. Army of Darkness follows survivor Ash (Bruce Campbell) who time travels back to the Middle Ages and is forced to face a Deadite army. The film leans heavily into the comedy and isn’t nearly as scary as it could be in comparison to the first film. Though its atmosphere is heavily appreciated by some folks.

Army of Darkness has its flaws, though its set pieces are relatively memorable, and the aesthetics are there. It’s not a film that’ll scare you under a blanket and its goofiness might not be everyone’s cup of tea, but it’s not unworthy of a first time watch. If you happen to enjoy Evil Dead and or Evil Dead 2, then watching the third film won’t be the worst mistake you could make.

Elvira’s Haunted Hills (2001)

Elvira is a queer icon (who is part of the community if you didn’t know) and this comedy horror film is a fun time. Elvira’s Haunted Hills is set in the 1800s and follows Elvira (Cassandra Peterson) and her assistant Zou Zou (Mary Jo Smith), who end up staying at a castle before they head off to Paris. Only for Elvira to realize that she looks quite a bit like the deceased wife of the Lord whose castle they’re lodging in.

The silliness of the premise and the fact that Elvira is the only person who is in her regular costume is a riot. It’s not period accurate in a few ways, and that’s part of Elvira’s Haunted Hills’ overall charm. You’re not meant to take anything too seriously, and you’ll absolutely laugh at Elvira’s constant antics. It’s one of those films that you have fun with, appreciate the practical effects, and the charm that comes with a low budget at times.

Oculus (2013)

A haunted mirror should be the stupidest premise you can’t take seriously for a second. Though in the case of Oculus, it does take itself seriously and does a great job with it. Oculus follows siblings who are finally investigating the haunted mirror which destroyed their lives. Since it’s a Mike Flanagan film, there’s a specific moodiness that spreads throughout the film’s runtime, until its very heartbreaking ending.

Oculus lets you into its world and doesn’t let you go whatsoever, even when you feel most uncomfortable. There’s no escape from the mirror’s influence, and that’s shown clearly through the flashbacks of the siblings’ lives. And their childhood home is perfectly crafted to be creepy for its audience. As a whole Oculus is very much worthy of a watch, even if the haunting is specifically in the mirror and not the entire home.

House of Darkness (2022)

It might not break any ground as far as what it aims to do, but you might find yourself appreciating the gothic estate more than anything. House of Darkness follows a man who goes home with a mysterious woman he met, only to find that not everything is what it seems. The film offers some commentary on the expectations that straight men often have with the women they meet, and how predatory men come in all forms.

House of Darkness takes a while to really get going and vibes might not be enough to sustain everyone. Though aside from its flaws in the writing, the film allows the women to be as unapologetically sexy as they wish. And Justin Long plays a character that you know is getting what’s coming to him. Overall, you could watch it if you’re fine having to wait until near the end of the film for the big leap.

At this moment in time, the selection for horror films has been relatively vast. There’s been something for everyone in the releases so far this year. From supernatural horror, slashers, body horror, and more. Of course, not everything works for everyone and some films are over-hyped. But you’re sure to find at least one horror release that works for you. Though with this list, the focus is going to be on upcoming supernatural horror films.

Supernatural horror often overlaps into Gothic horror because of the elements involving hauntings, ghostly imagery, demons and or possession, castles and abandoned buildings that are derelict in appearance, and all sorts of qualifying Gothic goodness. Regardless of whether these films overlap, they all look enticing one way or another.

Below are some upcoming supernatural horror films that we’re looking forward to. The list is sure to expand, but these are a few for you to potentially anticipate as well. Trailers might spoil too much for you, so consider yourself warned and proceed with absolute caution.

Hell House LLC: Lineage

Theatrical release: August 20th | Preview

The rise in popularity of the Hell House LLC franchise is nothing short of remarkable, especially with the subgenre it falls into. After four previous entries, Hell House LLC: Lineage is being labeled as the final film (we shall see if that remains completely true). The film follows Vanessa Shepherd (Elizabeth Vermilyea), a survivor from Hell House LLC: Lake of Fire (2019) who finds herself plagued by nightmares as well as visions. She ends up uncovering more about the Carmichael Manor and Abaddon Hotel.

One of the key differences between this entry and the others is that it’s not found footage. If that doesn’t deter you too much, then this might be enjoyable when it comes to theaters. There aren’t a lot of details, but there have been varied responses from folks who have seen the film already. We shall see what the universe has in store for us in this final installment.

Shelby Oaks

Theatrical release date: October 3rd | Preview

Sometimes directional debuts can be magic and maybe that’ll be the case with Shelby Oaks. The film follows a determined woman looking for her missing sister and what she finds isn’t what she was expecting. Of course there’s a whole lot of mystery as to what happened to her sister and there are supernatural forces that she’s now dealing with.

Considering the film is still a little far out from its release date, more details will likely come out about it next month. However, there’s something about incorporating found footage into this film that makes it a bit more interesting. Especially when camera footage can be unsettling depending on what’s happening onscreen.

It: Welcome to Derry

Streaming release month: October (HBO Max) | Preview

In 2017 we received new adaptations of Stephen’s King novel It with It Chapter One and then in 2019 came It Chapter Two. Therefore when a prequel series was announced, fans were absolutely excited. It: Welcome to Derry is set during the ’60s and will further explore Pennywise’s origins and the events that occurred before the ’80s.

There are only so many details that have been released about the prequel series. But what we do know is that we’ll be exploring events that have only been referenced in the other films. And knowing all of the terror that the town has endured, plus the diversity in the cast for this series, we’re in for an interesting ride.

Black Phone 2

Theatrical release date: October 17th | Preview

There’s a wonderfully captured eeriness in The Black Phone and it ends in a way that doesn’t hint at a sequel. Therefore when a sequel was announced, people were hesitant as to why it was being made and whether it would make a single bit of sense. Only for the first trailer to drop and prove to us that it isn’t going to be a pointless follow-up.

It’s clear that Scott Derrickson and C. Robert Cargill are aiming for the Grabber to be very Freddy Krueger inspired and there’s a lot of fun in noticing that. Overall there’s a low chance that Black Phone 2 fails to deliver on scares and frightening imagery, especially in its snowy small town setting.

Keeper

Theatrical release date: November 14 | Preview

Oz Perkins has a particular vibe that he likes to capture in his films and he really knows how to capture creepy atmospheres, and it seems like Keeper’s atmosphere will be unnerving. The film follows a wife who finds herself experiencing isolation and is forced to deal with an evil she can’t explain. Details about the film are incredibly under wraps at this point in time and with the release date so far away, that’s not a surprise.

Keeper’s premise is also quite mysterious and the trailer gives nothing away as to what the film is really about. Knowing Oz Perkins’ work, it’ll likely be in the same universe as his other films and that means the evil force could be anything. It might not even be something as obvious as the devil. Either way, we’ll find out in November!

It’s hard not to become immersed when watching a Gothic horror film. The vibes are often immaculate, the imagery gets stuck like gum in the brain, and when there’s queerness baked into the film, that makes it even better. Many Gothic horror films include vampires, it’s not a new development. And at the end of the day, vampires are incredibly queer and oftentimes there’s outright queer coding in vampire films.

Unpacking horror is something many of us do, as horror is political as well as queer at its core (I recommend watching the Queer for Fear documentary on Shudder). There’s no shortage of queer horror films to watch, but in the case of the following list, we’re going to focus on some sapphic (or coded) Gothic horror films. Otherwise, I’d be here forever discussing queer horror in general, and then we’d really be vampires, right?

Below you’ll find a few horror films you might have seen and maybe some you haven’t. Bear in mind that American Gothic is a subgenre of Gothic horror.

Dracula’s Daughter (1936)

Being Dracula (Bela Lugosi)’s daughter isn’t an easy road to travel and for Countess Zaleska (Gloria Holden), it’s a rollercoaster. Dracula’s Daughter is the sequel to Dracula (1931) and follows Dracula’s daughter, Countess Zaleska as she tries to rid herself of the curse of vampirism. Despite the time in which the film was released, there are outright queer themes within it. Some of which could be seen as negative, but there’s still much to dissect about it.

The film uses Zaleska’s vampirism as a metaphor for her queerness and how she wants to be a “normal” woman. Of course, given the time period, she has to be vanquished as she is a monster. Though, it’s intriguing to look at the film as an example of deep-seated shame, internalized homophobia, and how one’s environment often impacts how they see themselves.

The Vampire Lovers (1970)

There’s being subtle and there’s being explicit, and this film falls into the latter category. The Vampire Lovers follows a sapphic vampire who has a big appetite and takes it out on an 18th century town. There’s a lot of focus on seduction, insatiable hunger, and what it means to indulge in what you truly want. And Marcilla (Ingrid Pitt) wanting the daughter of a wealthy man is something she doesn’t waver on.

The film isn’t rich in terms of its plot and that’s all right; even the name is a bit deceiving for what actually happens throughout. But there’s a certain feeling that radiates from this film, especially since it’s not hiding how queer it is. And with it being a British Gothic horror film, it does have a different feeling to it as a result because non-American horror is distinguishable.

Let’s Scare Jessica to Death (1971)

Let’s scare the audience by showing a husband who seems more concerned about what he wants than his own wife. Let’s Scare Jessica to Death follows a woman who is recently released from a psychiatric facility and moves to a farmhouse, where she meets a woman and allows her to stay with them. The film plays with the heads of the audience, just like it plays with Jessica (Zohra Lampert)’s head throughout.

Let’s Scare Jessica to Death can be considered American Gothic and is certainly a weird horror film to watch. The vampirism isn’t depicted as extraordinarily violent, there’s sapphic intrigue (making it qualify because it’s implied enough), and the film is extremely focused on building paranoia for Jessica as a character. And while it’s not the most exciting horror film, there’s a certain charm that it has as an early 70s film. If that’s something you find yourself interested in, then Let’s Scare Jessica to Death will be suitable.

Daughters of Darkness (1971)

Queer awakenings in a lush hotel with a hot countess? Yes. Daughters of Darkness follows a newly-wed couple who meets Countess Bathory (Delphine Seyrig) at their hotel, and their lives change forever. As far as Gothic erotic horror goes, Daughters of Darkness is at the very top for recommendations. It’s a very style-based film, as the plot isn’t a huge focus, and it’s more about the budding connection between the countess and Valerie (Danielle Ouimet).

The film is incredibly queer and very gorgeous to look at, even when the blood doesn’t look realistic (which is part of the charm). Of course, the women are the most interesting characters and Valerie’s husband is the worst (also potentially closeted himself) in terms of personality. Aside from the characters, this film will potentially satisfy people who enjoy vibes and eroticism in their horror films.

The Hunger(1983)

It’s not an exaggeration to say that this film is an iconic goth horror film. The Hunger follows a specialist and a vampire couple who become intertwined. The late David Bowie plays a role in this film as a vampire and if that doesn’t entice you, then it also has Catherine Deneuve as well as Susan Sarandon—both of whom begin a love affair in this film.

Just like some films before it, the film focuses a lot on its visuals and vibes rather than being heavy on plot. Despite how The Hunger is loosely based on the book of the same name, it seemingly does its own thing. And if you like “Bela Lugosi’s Dead” by Bauhaus, then the opening of this film will be top tier for you. Overall, The Hunger is essential viewing if you love Gothic horror, and it’s unapologetically queer as well.

X (2022) is a slasher set in the 1970s and focuses on budding porn stars and their small crew who are looking to make a hit pornographic film. Little do they realize that the elderly couple that allow them to stay on their Texas farmland are killers. And instead of being hunted by a masked killer, senior citizens are the ones to fear. It’s a nice change of pace

Howard

Imagine aiding your spouse throughout your marriage in keeping people as sex slaves and helping her kill people or doing it outright—only to die of a heart attack when you’re startled by your victim’s death rattle. It’s a foreshadowed death (much like every other death), but it’s a basic heart attack. Instead of dying in a violent way that he inflicted upon other characters.

Wayne

Lower on the tier is where Wayne (Martin Henderson)’s death falls because of its suddenness and overall meh nature. Instead of being a lecherous creep, much like many middle-aged men in his role would be, he’s just an ambitious producer. Not to mention helpful when Lorraine (Jenna Ortega) later requests his help in finding RJ. Stepping on a nail in an old as hell barn is one thing. But being stabbed in the eye with a pitchfork by a deranged old woman is another. It’s a quick death for him and not as inventive as it could have been.

Jackson

Having the porn stars in this film come across like regular people is a huge part of why the film works. Jackson (Scott Mescudi) might not be the best character in the film, but he still deserved a more interesting send off. Especially considering he was the only Black character and actually stuck his neck out for a stranger, only to be murdered by way of a shotgun to the chest. And it was off-screen, which makes it even more lackluster than it already is. Thus landing it incredibly low on the list.

Bobby-Lynne

Normally, a character like Bobby-Lynne (Brittany Snow) wouldn’t be likable and would be viewed as worthy of a grisly end. Of course, the polar opposite is the case in X. Trying to help Pearl is what ends up killing her. After being talked to very rudely by Pearl and responding justifiably, she ends up being pushed into the lake and is eaten by an alligator. It’s a horrific way to go out and not deserved in the slightest. Certainly not when she was actually trying to help who she thought was a sick old woman.

Pearl

There’s much more to Pearl than this first film in the trilogy reveals. Of course, it’s obvious that her being murderous isn’t a new concept. The prequel Pearl (2022) reveals how she became who she is. Throughout the film, she envies the other characters’ youthfulness and ability to fulfill their desires. Her sensitive hip is what ends up sealing her fate at the end of the film. When Pearl tries to shoot Maxine (Mia Goth), the kickback sends her flying and she breaks her hip. And after being incredibly slut shamey to Maxine once more, Maxine runs over her head with the pickup truck. Having your head crushed by a tire is gory and incredibly gruesome to me.

Lorraine

It’s no joke when I say that Lorraine gets it the worst as far as the main group goes. She gets trapped in a disgusting cellar where there’s a corpse, has her fingers broken, and it certainly doesn’t end well for her. Lorraine’s death comes as a huge surprise because Jenna Ortega is typically who people view as a final girl. So when she narrowly escapes the deranged farmhouse, only to be shot, it’s a shock. Her death is primarily gruesome because of the suddenness and how she was shot in the face. And we see a brief glimpse of the aftermath.

RJ

Out of all the characters in the film, RJ (Owen Campbell) is the least interesting of the bunch. Yet, he gets one of the most brutal deaths in the film. After realizing he can’t handle his girlfriend experimenting with porn, he attempts to abandon the group (a relatively shitty move) and gets killed violently by Pearl (Mia Goth) when he rejects her advances. Being stabbed a few times is rough, but being stabbed a little over 20 until your head is severed from your body is peak gruesome.

I’ve compiled a mini list of horror and one psychological thriller series that will trip you out one way or another. Whether it be because of the psychological or sheer mystery, I’ve got you covered.

Sharp Objects (2018; HBO)

When shows are grounded in what we, the audience, perceive as reality, it can be a hard pill to swallow. Sharp Objects is a miniseries that follows Camille Preaker (Amy Adams), an alcoholic reporter who has a past she’s forced to face when she returns to her hometown to investigate unsettling murders.

The show is based on a book of the same name by Gillian Flynn, and it’s an uncomfortable journey that involves dysfunctional families, small town secrets, the murders of young girls, Southern Gothic flavor, and more. There are moments throughout the show that’ll have you jumping in and out of different points in time with flashbacks that fold into the present day so neatly. It might not be traditional horror, but it damn sure is creepy enough to satisfy any horror lover.

From (2022; Epix/MGM+)

Being trapped in any place, without any promise of being able to escape, is an awful thing to think about. From follows a bunch of people that are stuck in a Middle American small town while trying to survive every night when creepy creatures come out with the intention to kill.

There’s still so much mystery wrapped up in the show, and the third season will likely answer some more questions. For now, it’s a show with a blend of characters that you’ll either like or you won’t. As well as a solid mystery, creepy as hell moments, violence, and some tremendous performances (especially from Harold Perrineau). Saying much else would spoil key points in the show. So the only thing I’ll say is that you should check it out.

Archive 81 (2022; Netflix)

The number of shows that Netflix has canceled before they could be wrapped up properly is astounding. Archive 81 is based on a podcast of the same name, and it follows a man named Dan (Mamoudou Athie) who is hired to restore video footage that sends him down a spiral of uncovering a mystery of a cult and demons.

A good portion of the series is analog horror, and it makes the tapes feel so real (something that’s incredibly effective about found footage). Overall, the characters come across as real people and there’s a genuine sense of conflict.

The series isn’t perfect because we’re left with more questions than answers thanks to the cancellation. But it gets the job done as far as being unsettling, especially when the walls start to close in on Dan. Not to mention, anything involving cults is eerie because we have plenty of those in our regular life.

Chambers (2019; Netflix)

People are free to say what they want, but Chambers has plenty of twists and turns, and it deserved to be wrapped up properly.

The series follows a Native American teen named Sasha (Sivan Alyra Rose) who receives a heart transplant from a girl who died under mysterious circumstances. Sasha becomes burdened with startling visions that lead her down a path of mystery.

It’s not every day where a horror series has a Native American character at the forefront. There are no ancient burial grounds that bring people back from the dead or harmful stereotypes. And it’s actually well shot, the cast is good, plus the mystery isn’t what folks might expect. If you love psychological horror and representation, you might like this series.

Brand New Cherry Flavor (2021; Netflix)

You can’t go wrong with complicated and/or shitty characters and a lot of body horror. Brand New Cherry Flavor is a limited series based on a novel of the same name.

It follows a young filmmaker named Lisa (Rosa Salazar) who gets screwed over by a horrible man, and she takes her revenge with the help of a witchy tattoo artist. The series is hard to explain without spoiling the best parts, and it’s certainly not a show for the faint of heart.

An important aspect to it that doesn’t give too much away is that predatory men in the film industry are a huge component to the show. Also, Lisa isn’t as likable of a person, but she’s the character we’re following for the most part. And she goes through the wringer, complete with body horror that you’ve likely never seen before. It’s a series worth watching at least once.

Religious horror hits differently for folks who were raised religious, particularly Christian. I personally find religious horror to be particularly difficult to watch at times because of how they paint the church. As well as those who consider themselves to be some form of Christian. Franchises like The Conjuring are very guilty of Christian propaganda (it gets even more egregious as the films go on) and fail to critique much of anything. Often feeding into narratives that if you’re not a person of faith, then your fate is doom. The First Omen (2024) is the polar opposite of that, and in fact is the pro-choice film we need at this point in time. It’s a prequel to The Omen (1976) that sheds some insight into the horrors of how Damien came to be.

The First Omen follows a young woman named Margaret (Nell Tiger Free) who goes to Rome in 1971 to work in a church, only to uncover sinister conspiracies surrounding the birth of the Antichrist. Margaret isn’t your typical leading lady in a religious horror film. She has a personality, doubts about her own faith, and is a tremendous main character. Nell Tiger Free’s performance helps convey that perfectly as she slowly comes to understand the dangers she and Carlita (Nicole Sorace) are in. As well as the real story about her own conception and the churches’ abuse of other women.

Throughout the film the imagery becomes increasingly disturbing and there is sexual violence (mentioned and briefly shown), none of which are depicted as an attempt at titillating anyone. The First Omen captures the horrific reality of violation and lack of choice. Despite how the film is set in 1971, its messages surrounding pro-choice, sexual violence, and bodily autonomy as a whole are very relevant. Especially with Margaret not only being a product of sexual violence by way of a jackal, but also a survivor of it (also by way of the same jackal). Instead of the church being a place of safety for her, they were orchestrating all of these events to force her to give birth to the Antichrist.

The film does have periods of lull, but for a directorial debut. Arkasha Stevenson understands the task. At the very heart of The First Omen isn’t strictly the story about the Antichrist. A lesser film wouldn’t allow her to have relationships or connections that last until the end of the film (such as hers with her daughter that was born alongside Damien or Carlita) or would capitalize off that and make Margaret nothing more than a cheap spectacle. A prequel that manages to add more to the lore of a classic is hard to come by. But we’ve been given a gem this time around.

If you’re looking for a film with cheap jump scares and a lot of moments involving the jackal, you won’t find them. It’s a slow burn prequel with homages (to the original and similar films) that’s meant to disturb you by way of visuals and sheer atmosphere. There are some scenes that even I, as someone who isn’t easily shaken, was shocked by. Spoiling those does a disservice to you as the viewer, but if you’re squeamish, then you might get freaked.

At the end of the day, The First Omen is worth checking out, even if you’ve yet to see The Omen (1971). Since it’s a prequel, you can watch it and then check out The Omen because it’s certainly worth watching as well. There is a major tonal shift (symptom of the time the first film came out and also artistic vision) between both movies, and there’s nothing wrong with that. But don’t go in expecting the same feeling, other than the dread that’s built into both. And whatever you do, don’t compare the films because The First Omen’s messaging isn’t to be disregarded. Walk into it with an open mind and allow yourself to be immersed in the experience. You might not be disappointed if my praises have swayed you. And there’s much more I could discuss, but then I’d be talking your ear off.

Currently, you can watch the entire The Omen franchise on Disney+ or Hulu. Meanwhile, you’ll have to go to the theater to watch The First Omen. If it’s safe enough for you to do so, watching this at least once in the theater is highly recommended.

Thankfully that’s not the case for the upcoming and highly anticipated Longlegs (2024). A film that has one of the most unsettling horror trailers of recent years. It’s not often that a trailer gives us just enough to pique interest. Longlegs has an interesting premise and from what the trailer suggests, some very macabre imagery.

Keep reading to find out more details about this highly anticipated horror film.

What’s the plot of Longlegs?

The film is set in 1974 and follows an FBI agent named Lee Harker (Maika Monroe) who is working on an unsolved case involving a serial killer who murders families. Each murder has an occult aspect.

Longlegs is directed by Oz Perkins, the son of iconic actor Anthony Perkins (Psycho). Oz Perkins has directed and/or written horror films and television such as The Girl in the Photographs (2015), The Blackcoat’s Daughter (2015), and I Am the Pretty Thing That Lives in the House (2016). Having worked in horror gives him an edge, and he never makes the same thing twice. The atmosphere of Longlegs might remind folks of the eeriness of The Blackcoat’s Daughter (I certainly recommend checking that out).

Another important tidbit is that Nicolas Cage is one of the producers on this film. He’s been dubbed a scream king within the horror community because of his contributions to the genre.

Trailer

I said it already but the trailer is so unsettling and will make you run throughout your home to make sure the doors are locked. The snowy atmosphere throughout certain shots makes everything feel so cold. Combine that with how it’s period horror with it being set in the ‘70s. So calling someone on an Android will not be happening in this film.

Who is in the cast of Longlegs?

The cast is relatively stacked as far as I’m concerned because Maika Monroe (It Follows) is starring in the lead role as Lee Harker, Nicolas Cage (Mandy) is playing the unnamed serial killer, Alicia Witt (Urban Legend), and Blair Underwood (Set It Off). The roles of Alicia Witt and Blair Underwood haven’t been announced yet. But it’ll be interesting to see how much of a part both play in the film.

When will Longlegs be released?

The film is set to be released on July 12 in theaters and while it doesn’t feel like a summer horror film, it’s nice we don’t have to wait too long.

Any horror recommendations to watch in the meantime?

Despite how Longlegs hasn’t been released yet, there’s a vibe that’s omitted from the trailer.  So going off the very ominous and unsettling vibes alone, I’m going to suggest folks watch:

• The Blackcoat’s Daughter (2015)
• The VVitch (2015)
• The Lodge (2019)
• The Black Phone (2021)

People often cite the films Poltergeist (1982) and The Amityville Horror (1972)  as the perfect examples of haunted houses in horror. But I’m not going to do that today (primarily because I haven’t seen either of those in full); instead I’m diving into some of the other scariest haunted buildings in horror. Television series included? Absolutely. So grab your sage and get ready to run.

Overlook Hotel – The Shining          

There’s something about a large, open area that’s even more frightening than an enclosed one. Despite how there are more places to hide, it also appears to be more stressful. The Shining (1980) is a Stephen King adaptation that people often flock to. The film focuses on a family that stays in the Overlook Hotel as caretakers, only for the hotel to cause Jack (Jack Nicholson) to lose his mind due to ghostly influences. The Overlook Hotel is just as much of a character in the film as the human beings and ghosts. It’s massive and has a history (much like everything does) surrounding Native American burial grounds. It’s hard not to be frightened by this hotel when the ghosts are insane. Not to mention the secluded location that makes the haunting more perilous.

Alpha Delta House – Buffy the Vampire Slayer Season 4, Episode 4

Failing to mention the Alpha Delta House from Buffy the Vampire Slayer season 4, episode 4 (“Fear Itself”) would be nonsense. The series is known for having more than a few episodes that actually scare the shit out of people. “Fear Itself” is absolutely one of those, and for good reason. The episode is one of several Halloween episodes in the series and follows Buffy (Sarah Michelle Gellar) and the gang as they try to survive a frat house that becomes accidentally haunted. Everyone’s fears manifest because of a demon, and there are many unsettling moments, including corpses crawling after Buffy. It’s an effectively creepy episode and deserves to be on this list.

Murder House – American Horror Story: Murder House

It might not be the best season for some, but American Horror Story: Murder House did deliver as far as haunted houses go. The first season follows the Harmon family and their descent into madness upon moving into the “Murder House,” in which many disturbing deaths and occurrences took place over time. The ghosts range in terms of how dangerous they are. And the haunting only becomes increasingly disturbing as the season rolls on. Not only is the haunting not cleared up, but the season doesn’t end happily. No ghost hunters come in to clear the problem. Knowing there’s no normal for the house itself is part of what makes it being haunted so damn scary. The ghosts have no problem killing or terrorizing anybody.

Riverview Hospital – Grave Encounters (2011)

Exploring haunted houses by way of found footage makes everything feel more authentic. And that’s kicked up a notch when it’s a haunted asylum where people willingly stay overnight. Grave Encounters (2011) follows a crew of paranormal hunters that stay in an abandoned psychiatric facility that’s said to be haunted. And they soon discover how big of a mistake that was.  The ghosts might not be that terrifying, but not being able to leave somewhere and possibly dying in strange ways is awfully scary. Considering patients were tortured in that facility, that only adds to why this building landed on the list.                                                                                                                                                            

Katie and Kristi –  Paranormal Activity 3 (2011)

The Paranormal Activity franchise is incredibly popular, and people might be more inclined to cite the house from the first film as the scariest. But Paranormal Activity 3 ups the scares and doesn’t fuck around with placing the characters in peril. The film follows Katie (Chloe Csengery) and Kristi (Jessica Tyler Brown)’s childhood and what happened to their mother, as well as her boyfriend, Dennis (Chris Smith). A kitchen being essentially destroyed, a demon playing around with a bedsheet, and more, shouldn’t be as scary as it is. But that falls into how effective found footage is. The ending also shows how inescapable some entities are. As well as how a dead quiet home that has a demon problem is a certain kind of hell.

Abaddon Hotel – Hell House LLC (2015)

There’s so much to love about Hell House LLC (even the franchise as a whole is worth watching) and one of those things being it feels so incredibly real. The film follows a group of friends that run a haunted house attraction called “Hell House” and what led up to the tragedy that killed fifteen people. If you don’t get scared easily, Hell House LLC will absolutely scare the shit out of you. The characters feel like real people just struggling to survive in a hotel that has an insidious past. Revealing all the scares will dampen the experience of watching for the first time. But what I will say is that it’s a refreshing found footage with genuinely scary moments.

Roanoke House- American Horror Story: Roanoke

American Horror Story: Roanoke is undoubtedly one of the most underrated seasons of the series. The season is one part paranormal documentary and one part found footage, and the second part is bone chilling. When a haunting is incredibly malevolent and violent, that’s when you know you’re in for a hellish ride. The chances of survival decrease when you come up against spirits that fully intend to murder. Nothing and nobody is safe throughout the season. If you love hauntings that are unpredictable and unstable, you will have the best time with Roanoke. Put it on at night and try not to be paranoid when looking out the window.

Hill House – The Haunting of Hill House

Mike Flanagan’s universe is pretty spectacular, and he deals in hauntings more than anything else with his work. The Haunting of Hill House is a series that follows a traumatized family and uses ghosts to amplify issues. Hill House is another example of a building being its own character. The family adamantly avoids Hill House after the events that shattered their lives in ‘92. But, of course, unforeseen events lead them back to the house eventually. The spirits that reside in Hill House aren’t kind, and they aim to manipulate and create misery. It’s safe to say that nobody would want to stay there overnight.

The Carmichael Manor – Hell House LLC Origins: The Carmichael Manor (2023)

A fourth sequel in a found footage franchise shouldn’t be as good as Hell House LLC Origins: The Carmichael Manor (2023). The film follows queer couple Margot (Bridget Rose Perrotta) and Rebecca (Destiny Leilani Brown) and Margot’s brother, who look to uncover the mystery of the Carmichael Manor murders. It’s set in the same universe as the other Hell House LLC films and does unveil details about the previous films. Not only that, but the manor is haunted by unhinged spirits, including those creepy-ass clowns. And with the film making it clear nobody survives is even more eerie. The manor itself is very creepy and no place in it is safe.

Terrifier 2 focuses on a new final girl, Sienna Shaw (Lauren LaVera) who has to face off against Art to keep her brother safe. There’s more of a plot in this sequel compared to the first film, and that works in its favor. It also takes it up a notch when it comes to the kills, and that’s why I’m ranking them. How? From gory to goriest.

Note: I’m not counting the Clown Café deaths as they occur in Sienna’s nightmare.

There’s very little to say about this guy because we barely interact with him in the film. Art goes to the laundromat after murdering a coroner and kills the only other person in the laundromat with a broken mop handle. The man gets it through the head, but we don’t get to see it happen. Ultimately, it’s a basic death compared to how Art tends to take care of his victims.

Seeing your daughter on her bed, completely mutilated and barely alive, with a murderous clown beside her is horrific. But so is dying merely because you came home. We don’t get to see Allie (Casey Hartnett)’s mother die. All we know is that Art decapitated her and served trick or treaters candy with her severed head.

Characters like coroners aren’t always safe in slashers and this guy fell victim to Art’s insanity. Sure, being brutalized in numerous ways and finally killed off by having your head smashed in is a rough gig. It’s just that in comparison to what happens to some of the characters, it’s certainly not the goriest murder. Art was saving the bonkers kills for much later in the film.

More often than not, parents tend to be killed off in slashers, especially if the protagonist(s) are teenagers. It’s just the way things often go, and Sienna’s mother didn’t get to defy the odds. Barbara (Sarah Voigt) spends most of the film being an exasperated single mother to Sienna and her brother Jonathan (Elliott Fullam). But she gets to have one last tender phone conversation with her less-than-sober daughter and when she goes to clean her vandalized car in the garage, Art blows her brains out from inside the car. It’s very abrupt and violent, but it’s not the worst Art can do.

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After brutalizing many people in real-life and nightmares, Art meets his end when our resilient final girl decapitates him after suffering through a violent night. Art’s death might be retconned entirely during Terrifier 3 or he’ll magically be resurrected. Either way he does meet his end in a way that’s nearly as gruesome as his own kills.

A slasher villain mutilating someone’s genitals is gross, and Jeff (Charlie McElveen) knows that all too well by way of Art. Jeff’s character is merely the boyfriend of Sienna’s friend, Brooke (Kailey Hyman). He’s a nothing character, and his death is almost not as gory as it could have been. Art stabs him in the penis multiple times when he goes to pee in the abandoned carnival parking lot. And his penis is severed offscreen. Maybe that sounds noodles to minimize what was indefinitely a painful death, but it’s all about sorting out gory to goriest, so I’ve got to be honest.

Sometimes working in a costume shop is a death sentence. Ricky (Johnath Davis) does nothing but his job and even manages to make one sale to Sienna before Art finishes clowning around. When Art decides to stop playing with the shop items, he mangles Ricky and then cleavers his head, ultimately decapitating him. It’s gruesome and outrageous, and those are a few words to describe the films as a whole.

Air-headed friends in slashers aren’t always the most likable, and while Brooke isn’t that deep of a character, she manages to get a memorable death. She gets away before Art can kill her in the parking lot, like he did her boyfriend. Unfortunately, it doesn’t matter because Art catches up with her in the carnival building. Brooke tries her best to defend herself, only to get a face full of acid and breaks her body with a homemade weapon. In the end, her heart is taken out of her chest and eaten by Art. What’s worse is how Sienna has to find her friend like that, and it’s completely undignified.

Terrifier 2 made various movie goers puke like they ate some bad camp food. And Allie’s death is violent enough to cause some folks to barf their lunch. Being Sienna’s friend is a death sentence throughout this film because Allie meets a grisly end. Art breaks into her home and rips body parts off, flays her back, mangles her, and brutalizes her in general. Bleach and salt? She experiences the pain of having both poured on her exposed wounds. And then dies on her bed because she just couldn’t catch a break.

If you’re looking to be reminded of some (not all) iconic goth scenes in horror films, you’ve come to the right place. We’re going down a path of strangeness, style, and a lot of top tier outfits. Not to mention a lot of women being bad-asses because that’s just how it goes, right?

The Hunger (opening credits)

Let’s face it, something should be immediately goth as fuck if Bauhaus starts playing. Okay, maybe not everything, but in the case of the opening scene of The Hunger then it absolutely does. It’s an artsy erotic horror film starring David Bowie, Catherine Deneuve, and Susan Sarandon. Not only is the film very outwardly queer, it has cemented itself as part of goth culture. The opening basically shows a lot of sexy goth people and Bauhaus singing “Bela Legosi’s Dead.” It’s hard not to revel in the atmosphere and get caught up.

Angela’s dance (Night of the Demons)

Dancing in a demon-filled empty funeral home is pretty damn goth if you ask me. Not to mention dancing to Bauhaus (a running theme in goth horror? Probably). Night of the Demons isn’t as discussed compared to other ’80s horror films. But Angela (Amelia Kincaid)’s dance is iconic as hell. She becomes possessed and starts creepily dancing to “Stigmata Martyr” by Bauhaus. It’s wonderfully choreographed and perfect for connoisseurs of goth horror.

“We are the weirdos, Mister” (The Craft)

Witches tend to be thrown into the goth conversation, when in reality not every witch is goth and not every goth is a witch. In the case of The Craft, it’s pretty damn goth as a whole and there happen to be witches in it. Nancy Downs (Fairuza Balk) is often touted as a goth icon, and for good reason. And the iconic line “We are the weirdos, Mister” is something that many folks who identify as goth can subscribe to. There’s something so freeing about claiming weirdness, and that ties directly into the subculture.

Blood rave (Blade)

If you don’t remember much from Blade, it’s likely not the blood rave. The blood rave is so damn iconic in horror, and it’s without a doubt the embodiment of goth insanity. A human goes to a rave, only to fail to realize he’s partying with vampires, and blood rains down from above. It’s morbidly sexy, and vampires are naturally goth figures. What more is there to say? Especially when Blade (Wesley Snipes) is a notably Black goth character in the MCU!

Tiffany’s introduction (Bride of Chucky)

The iconic entry of our queer icon Tiffany Valentine (Jennifer Tilly) is part of what makes Bride of Chucky so good. Tiffany is unapologetically goth and sexy, and “Living Dead Girl” by Rob Zombie plays over most of the opening. What else can you ask for? The Child’s Play franchise is delightful as it is, and absolutely one of the most consistent. Inserting a goth sensibility into the franchise is exactly what it needed at the time. And having Tiffany enter the franchise in such a way makes it worthy of being included on this list.

Hallway scene (Ginger Snaps)

It wouldn’t be dramatic to say the hallway scene in Ginger Snaps was pivotal for goths in the early 2000s. The film itself follows a story of girlhood puberty, using lycanthropy as a metaphor. And of course, werewolves already fall into the gothic category. Ginger walking down the hallway, unapologetic and confident in her look and herself, is tremendous. It’s so iconic that it for sure inspired Jennifer Check (Megan Fox)’s hallway walk in Jennifer’s Body.  

Underworld (Selene overseeing the city)

The scene and the film speak for themselves because a vampire hanging out in a leather outfit on a balcony is deliciously gothic. Underworld is a must-watch if you’re looking for an atmospheric and very stylish vampire/werewolf horror film. The reason it’s being included on this list is because it authentically captures goth aesthetics. Not to mention Selene (Kate Beckinsale) is a vampire that should be talked about more in terms of discussions on vampires.

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