Editorials
Just Before the Credits Roll: 13 Underrated Horror Movies with Unforgettable Endings
Twists are ingrained into the DNA of horror movies. The ending of The Sixth Sense is so iconic that the next generation comes out of the womb knowing that Bruce Willis was dead the whole time. Would a Saw movie be a Saw movie without the cued music and dramatic reveal?
But of course, you can only watch these films so many times before the magic has dwindled. Even the great Lin Shaye saying, “It’s not the house that’s haunted. It’s your son,” in Insidious loses its mystique after multiple views.
If like many horror fans, you already know the twists in A Tale of Two Sisters, Us, The Others, and Orphan, like the back of your hand, you need something more. Step away from the box office with me and enjoy these 13 underrated horror films whose twist endings are unforgettable.
For general horror movie recommendations, check out Underrated Horror Gems of 2022 You May Have Missed.
13 Underrated Horror Movies with Twist Endings
Trigger warning: These spoilers are not for the faint of heart.
13. Dark Circles
After having a baby, a new mom begins seeing a strange apparition in the house. Is it haunted, or is she hallucinating due to sleep deprivation?
Spoiler: It’s the scary movie you’ve seen a thousand times before until it isn’t. The apparition the sleep-deprived new mother keeps seeing is a person secretly living in their home- a squatter. There’s no ghost, and she’s not crazy. It’s a third option I didn’t see coming and is honestly scarier for it.
12. Funny Games (2007)
Two killers descend upon a vacationing family.
Spoiler: Just as the mother finally gets the upper hand, snatching a shotgun and eliminating one of her captors, in the most meta-act on this list, Michael Pitt’s character retrieves a remote and rewinds the scene. This time, he moves the shotgun out of the mom’s reach, and it’s clear there is no hope for this family.
This ending understandably splits audiences, as some find it too over the top, while others see the symbolic meaning.
11. Dumplings
A woman finds eternal youth by eating specially made dumplings.
Spoiler: The dumplings are made from aborted fetuses, but that’s only the beginning. As our main character stops eating the dumplings, she realizes their effect reverses. In a desperate attempt to regain her beauty, the main character makes a dumpling of her own.
10. April Fool’s Day (1986)
A group of classmates stays on an island with their wealthy peer, Muffy St. John. Things take a horrific turn when bodies begin piling up.
Spoiler: During a showdown between one character and the purported killer – none other than Muffy’s evil twin “Buffy,” – the fight leads to the living room where all of the friends who allegedly died throughout the events of the film are sitting around, completely unharmed. No one is dead; it was all an April Fool’s prank.
9. We Need to Do Something
A troubled family is locked in a bathroom together while mysterious havoc rages outside.
Spoiler: While some moments were laughable (the dad whipping the mom with the decapitated snake, for example), the twists hit hard, and you’re guaranteed to remember specific remnants when it’s all over. The little boy dying from the snake bite and the reveal that the daughter messing with witchcraft was to blame for whatever hell is happening outside all build up to a finale where the daughter wakes up in the bathroom all alone.
Eventually, her mother returns, clearly suffering from whatever she’s encountered after managing to escape the bathroom finally. Given her state and urgency to get back inside, it’s clear that after everything, there is no escape, no resolution, nor do we get to see what’s lurking outside. The family that needs to do something is powerless to do anything, and the same as they’ll never see outside this bathroom, neither will we.
8. The Lie
This film was the first in the Welcome to the Blumhouse film series.
After a father/daughter trip goes awry, a swirl of consequences follows. Is it scary? No. Will you remember the ending? Yep!
Spoiler level one: At the beginning of the movie, a father and daughter duo happens across the daughter’s best friend and offers her a ride. After the friend goes missing, the daughter confesses to killing her.
Spoiler level two: Her divorced parents work together to cover up the daughter’s involvement in the murder, but the best friend’s father gets involved. As he gets close to discovering the daughter’s secret, the parents kill him.
Spoiler level three: As the parents are trying to destroy the evidence implicating them in this murder, the friend, who the daughter claimed was dead, walks into the garage. The girls had concocted a scheme to let the friend spend the weekend with her boyfriend, uninhibited by parental inquiry. The friend was okay all along.
The daughter explains she didn’t want to let it go this far, but seeing her parents together again made her so happy. The police close in as the movie draws to a close. The film’s slow pacing pays off in quite a memorable finish.
7. The Dark and The Wicked
A brother and sister visit their ailing parents and encounter a demonic entity.
Spoiler: The brother suddenly leaves, deciding nothing can be done, in an attempt to escape the evil and return to his wife and children. His sister is left behind, and she eventually succumbs to the evil herself. When the brother gets home, he finds his entire family slaughtered. He immediately takes his own life. His family then walks into the kitchen. It was a hallucination caused by the evil entity. Evil won.
6. Triangle
Something is amiss from the very beginning. As our main character boards a boat, something seems off, and as the strange events worsen, the protagonist fights to return to her son.
Spoiler: As was evident from the beginning, our main character is trapped in an ever-repeating time loop. The first time I watched it, I wondered whether the time loop was the twist. I was delighted and horrified that the time loop was the plot, and the twist was much more meaningful.
It’s a personal hell she has trapped herself in to save her son and punish herself for her abusive actions toward him. After seeing herself literally from the outside looking in, abusing her autistic son, she rescues him from herself, only for him to die. A cab driver, who seemingly served as a ferryman between worlds, asks if she wants to try again. And she did – even though all the evidence showed she couldn’t make a difference.
5. You’re Next
As a family gets together in an attempt to mend their broken bonds, they become the victims of a home invasion where people in animal masks begin killing them off one by one.
Spoiler: Our final girl Erin has excellent survival training and sets up traps around the house. She fights back and discovers that her boyfriend and brother are behind the attack. She kills her treacherous boyfriend just as the police finally arrive at the house. The police witness this and shoot Erin. Then, a trap that Erin set for the assailants goes off, killing the officer. The movie closes with the words “You’re Next” on the wall as Erin bleeds out.
4. Would You Rather
A group of strangers is subjected to a game of “Would You Rather” for a large cash prize. The game slowly escalates in torturous intensity, leaving lives in its wake.
Spoiler: As I’m sure you’ve begun to gather from the other items on this list, I am a sucker for horror movies where the protagonists lose. It’s not that I don’t enjoy a happy ending now and again; it just makes the stakes feel higher when there’s no guarantee that a character will walk away unscathed.
This twist works so that our protagonist both wins and loses. After subjecting herself to torment to help her brother, she finally wins the game to go home and find her brother has killed himself. Womp womp, it was all for naught. Ironic, memorable, and gut-wrenching. It completely blindsided me.
But in all seriousness, if you or someone you know is thinking about suicide, call or text 988 for the Suicide and Crisis Lifeline or visit their website.
3. Don’t Look Now
A father grieving the loss of his daughter begins seeing a strange figure who bears a striking resemblance to his deceased child.
Spoiler. Okay, this one gives me the giggles. Maybe it’s because of how devastatingly morbid it is; maybe it’s because I would have never guessed it in a thousand years. But the reveal – when it is, in fact, not glimpses of his dead daughter he has been seeing, but a murderous short woman who then ruthlessly murders him – gets me every time. Good luck ever forgetting that ending!
2. Oculus
To me, this film isn’t underrated because it’s one of my all-time favorites. However, because I think this 2013 gem by Mike Flanagan isn’t talked about often enough, I will shamelessly include it here.
A brother and sister reunite as adults and try to obtain proof that a haunted mirror ruined their childhoods.
Spoiler:
Just as Tim engages the kill switch to destroy the mirror once and for all, the Lasser Glass’ mind-warping ways win out. Tim doesn’t see his sister Kaylie standing in front of the mirror, and he impales her instead of the mirror.
In a riveting final shot, Tim is led out of the house by police, yelling, “It wasn’t me; it was the mirror!” This shot is intercut with a similar clip of young Tim crying the same thing as a child after his father’s murder- showing history repeated itself.
The past, present, and future occurring concurrently is a recurring theme we would see again in many Mike Flanagan productions such as The Haunting of Hill House, Midnight Club, and The Haunting of Bly Manor.
1. I See You
Strange things begin happening in a house.
Spoiler: this entire movie is one big plot twist. Much like Dark Circles, the beginning of the film presents as a paranormal horror until the movie reveals people are phrogging in the house (hidden squatters who move from one home to another). But that’s only the beginning of the film. As the phroggers learn of infidelity and murder, it all culminates in a shocking conclusion.
If you don’t know how it ends – plot twist – I won’t be spoiling it here today.
From demonic tricks, questionable meals, treachery, heroism, and more, these 13 horror movies with twist endings are bound to leave a lasting imprint on your memory.
Let us know what you think of these choices, or give us your underrated horror movie recommendations in the comments below!
Editorials
50 Years Later, ‘Black Christmas’ (1974) Is Just as Relevant and Frustrating as Ever
The film opens with Jess Bradford (Olivia Hussey) confronting her boyfriend Peter (Keir Dullea) with the news of her pregnancy, and her plans to have an abortion in light of her career. Let me remind you again, it’s 1974, and even on a 2024 rewatch, no viewer should be surprised when Jess is met with a gaslighting attack. Peter’s attempts were dismissed, but the message and accompanying rage couldn’t be more relevant. Every line of weaponized dialogue from Peter’s mouth is written so well that it’s impossible to ignore even 50 years later.
Horror is the most undoubtable mirror that fictional entertainment has ever seen- I’ll stand on that. It’s known for giving a broad snapshot of what our greatest fears might’ve been at any given time. From climate change to the social and systemic issues in between- it all comes out through fictional stories of horror.
Women across the United States are teetering on the line of a life-threatening regression. Repetition is something that history will always whip around, but when creative minds grab on, we can use their memorialized messages to paint a bigger picture for further education. For the fandom, the time is ripe to look for scholars at the intersection of activism and genre history to guide us through. Take Chris Love, for example; reproductive justice advocate, Arizona lawyer, and “repro horror” scholar.
“We’re so used to seeing abortion being treated as difficult or heart-wrenching. Black Christmas stands out because Jess was so clear and unbothered about her decision to choose herself and her future. That’s how it should be and frankly, how it actually is most of the time”
Bob Clark’s holiday massacre of 74’ is invaluable to horror history. On the side of the genre, it’s the most responsible for our treasured ‘slasher’ sub-genre while pumping the gas on true fears of home and personal invasion. On the side of U.S. history, the film was released only one year after the ruling of Roe V. Wade.
The film opens with Jess Bradford (Olivia Hussey) confronting her boyfriend Peter (Keir Dullea) with the news of her pregnancy, and her plans to have an abortion in light of her career. Let me remind you again, it’s 1974, and even on a 2024 rewatch, no viewer should be surprised when Jess is met with a gaslighting attack. Peter’s attempts were dismissed, but the message and accompanying rage couldn’t be more relevant. Every line of weaponized dialogue from Peter’s mouth is written so well that it’s impossible to ignore even 50 years later.
It’s here, before the fantasy fear kicks in where fans and genre scholars alike can recognize a crossing of an ethical line- a single decision that could greatly impact a woman’s life, career, and comfort. The great thing is women today are more likely to be like Jess, and challenge ideas of patriarchy for their right to decide. Opening our greater horror story with an additional personal one makes Jess’s fight relatable, and even more important- for her survival, and the shot at life she has a right to. Queue the telephone.
I could go on forever about the film’s first act, but the conflict driving Black Christmas is the creep on the other end of those perverted phone calls. Even though this is a separate issue from Jess’s plan for her body, my recent rewatch opened my eyes to the idea that these two conflicts are two sides of the same coin. I’m a woman, and a citizen of the United States. Now that I’ve lost some of my confidence in the protection of reproductive rights, I’ve digested this whole scenario in a different, more infuriating light.
Through the calls, the killer causes panic, and threatens the security of the sorority sisters inside. His remarks are disturbing and sex-obsessed, and the girls react with fear and disgust like any person would. Imagine making all the right decisions to ensure a future of comfort and success, just to have your right to it stripped under the guise of gross misogynistic mental gymnastics. That’s how I feel right now, and I almost can’t believe how smudge-free the mirror is.
In the film’s opening, we witness what an intimate conflict over women’s reproductive rights might look like. Most of the horror community has given the scene their highest praise, but my damage this month was experiencing that those themes don’t actually stop once the calls start. Those themes end up getting stronger by switching from seeing the problem with patriarchal power, to understanding what it feels like to exist trapped underneath it.
History is repeating itself again, and the deja-vu in Black Christmas is tough enough to hand out complimentary whiplash. It’s still disturbing, but as consumers of horror, we know how to trust the final girl. Through just about any period commentary you can find in horror, there’s a final girl who’s survived it- maybe two or three. The truth in that statement holds the most weight at a time like this, though. Cheers to Jess Bradford, and everyone she represents.
Editorials
‘Black Christmas’ (2019): More Hollow Feminism From Hollywood
Black Christmas (2019) opens with so much promise but immediately gets in its own way. What seemed like an attempted indictment of rape culture led to confusion and resentment for me as an audience member. Whatever the original goal is gets buried in black goo at the modernized version of the He-Man Woman-Haters Club.
My entryway to the Black Christmas universe was accidentally watching the 2006 film at an Alamo Drafthouse. My friend and I thought it was the original and wanted to finally see the classic. In our haste, we did not investigate which movie the chain had pulled from the vaults. So, a few years later, when I saw a new Black Christmas in theaters, I asked more questions. I went into the 2019 film knowing it was not the original and with the expectation that it had to be better than the version I had previously seen. I got a wildly confusing take on feminism and a giant red flag planted in the Blumhouse Productions column instead.
The film has an engaging opening that utilizes the winter Christmas atmosphere while giving us a fun enough first kill. There is some cool cinematography (Mark Schwartzbard) and direction (Sophia Takal) on display that make you want to root for this entry so much. There are also glimmers of a movie that understands how ahead of its time the original Black Christmas was and seemingly wants to ride that feminist wave. Sadly, the road to hell is paved with good intentions, and this movie takes the express bus to Satan’s doorstep.
Black Christmas (2019) follows a group of sorority sisters stalked during their Christmas break. They soon discover the cloaked figures slashing their way through sorority girls are part of an underground college conspiracy to “put women back in their place.” This all comes out in a messy third-act battle where it sounds like dialogue was pulled directly from Joe Rogan’s podcast. There is a lot of black goo coming out of the misogynists as Professor Gelson (Cary Elwes) gives the monologue that tries to explain what is happening. I am firmly in the camp of “Yes, all men” and am usually an easy person to win over when a movie wants to talk about toxic masculinity. Yet, this movie had so many problems and fell into what often feels like Blumhouse projects following a checklist that I could not get on board. Especially because long before men try to destroy the squad, we find out the calls are coming from inside the house.
We watch Riley (Imogen Poots) as she is constantly bombarded by her supposed friends who remind her she was sexually assaulted. They follow her to her job and throw it in her face if she hesitates to sign a petition. They have choreographed a Mean Girlsesque Christmas number where they sing about it to supposedly clap back at her rapist. The plan is to perform it in the frat house where Riley was assaulted. When one of the members of this weird choir has to step out, Riley is bullied into performing it by again reminding her she was attacked. On stage, when Riley locks eyes with the guy who assaulted her and freezes. Her bestie whispers, “Rebuild yourself, bitch” before they start the misguided jingle in earnest. When they started singing about “S-E-X” before describing something that was, in fact, rape, it felt like the culmination of this remake’s problems.
While I have no doubt Black Christmas (2019) started with great intentions, its impact undoes all that goodwill. It seems like a muddled brand of feminism wrapped around a bunch of tweets from people who learned about gender studies from broadcast TV. I know many people might have the impulse to write this off and blame the PG-13 rating. However, I am not sure we should be arming tweens with the idea that throwing your friend’s trauma in their face hourly is friendship or feminism. We see Riley have nightmares about this attack that happened three years ago. We know she’s still in the same school with her rapist, and their Greek societies seemingly still host shindigs they both attend. So, seeing how shitty her support system is while yelling about their sisterhood and talking about how they’re all an extension of each other seems hollow.
I questioned Riley’s squad the whole movie, so Helena’s (Madeleine Adams) reveal that she was working for the man was not a gag. If anything, it was refreshing to see at least one of the girls was aware that she was a bad feminist. This twist might have worked if we had not spent the entire run time watching Riley’s best friends treat her like a prop instead of a person. Or, maybe if the male characters had not said all the quiet parts aloud the whole movie. The lack of subtlety and nuance worked against this story. It wore everything on its sleeve, and while on paper, I agree with the sentiments…the result is a confusingly awful time.
I have watched this film three times in my life. Each viewing, I try to figure out who this movie is for. Is it for audiences who are just learning that women are real people? Or is it for execs wanting to make a quick buck off the #MeToo movement without actually doing the work? Each time, I wonder what the original script looked like because I cannot imagine this is the finished product anyone involved wanted. Black Christmas (2019) opens with so much promise but immediately gets in its own way. What seemed like an attempted indictment of rape culture led to confusion and resentment for me as an audience member. Whatever the original goal is gets buried in black goo at the modernized version of the He-Man Woman-Haters Club.