25. Cat People (1942)
Cat People may not be frightening now in the same way that it was when it was first released, but it represents a watershed moment for the genre. At a time when films were desperate to show a convincing monster or beast, Cat People went in the other direction and used shadows, implied actions and misdirection to create horror in the viewers imagination. And most times, what we can imagine outdoes what we see on the screen. It also presented a more direct connection between fears of sexuality (primarily female sexuality) than had been made at the time. Cat People lasts longer than many of its contemporaries because of how it creates fear in the mind rather then the eye of its audience. Other films from the time are taken with a grain of salt these days, their age being an excuse for how unconvincing they seem. But the imagined fear that the mind can conjure has no expiration date, so while it still looks outdated, Cat People can still create plenty of fresh tension in the minds eye.
24. Rosemarys Baby (1968)
Roman Polanskis adaptation of Ira Levins novel is the American nightmare. Young couple (Mia Farrow and John Cassavettes) moves into a brand new, seemingly perfect apartment to start a new life. They try to have a baby. But when they finally conceive, something is terribly wrong. Whats worse, young Rosemary discovers, is how heavily involved in the mystery those closest to her might be. Paranoia drives this movie forward, and Polanski makes the plot feel like its not only advancing, but constricting around us. The ending leaves a bit to be desired, but as far as fever dreams go, Rosemarys Baby is one of the best.
23. Dawn of the Dead (1978)
George A. Romeros second go-round in the zombie genre is bigger than his first in almost every way. The film is in color, adding a fresh flavor to the gore. We see initial scenes of the zombie epidemic as it sweeps across the globe. And then finally we settle in on a small band of survivors hiding out in an abandoned shopping mall, a much larger environment than the farm house where the majority of Night of the Living Dead took place. A far more visceral film than its predecessor, Dawn of the Dead also features more fully rounded characters and more complications to their situation. The allusions to the brain-dead nature of consumerism in America may or may not have been intentional, but either way they're a presence on screen. It doesnt have the same magic as Romeros first film, but Dawn of the Dead is a zombie classic either way.
22. Henry: Portrait of a Serial Killer (1986)
Side by side with The Last House on the Left as one of the more uncomfortable films to watch on this list. Portrait is indeed the best word to describe Henry, as we get a complete picture of him; a total image. We see the him performing heinous, murderous acts, and then see him in normal life, relating to a friends sister and seeming almost human. Almost. Disturbing as the film is, it also carries a feeling of sadness, as we cant help but feel some sympathy for a life this broken and awry, even in spite of the horrible things that hes doing. Not easy viewing.
21. Evil Dead & Evil Dead 2: Dead By Dawn (1981 & 1987)
It might be cheating here to place both of these together, but since they each offer a different picture of Sam Raimis skills as a horror director, I feel its necessary. The first Evil Dead is mostly business, making the most of a shoe-string budget to become one of the most successful and intense horror movies of its day. The second installment, almost a revisionist sequel to the first, takes a more campy, comic approach, and turns Bruce Campbells Ash into the chainsaw armed, catchphrase spouting Deadite slayer that made Campbell a legend. Both films are worth watching, albeit for somewhat different reasons, and both showcase how effective Raimi can be at balancing horror and comedy, able to give either one the upper hand without sacrificing the other.