Movies
Underrated Horror Gems of 2022 You May Have Missed

2022 has been, by and large, one of the most incredible years in horror movie history. We’ve seen instant classics rise one after another, and the slate for 2023 doesn’t show any signs of slowing.
You’ll be seeing best-of-the-year lists with the most obvious suspects at the top: Nope, Prey, Pearl & X, Hellraiser, and many more films that I just don’t have enough space to list here. And those movies deserve all the praise they get! But I’m a champion of the underdog, and I can’t just sit by and let great films go by without showing them to as many people as I can.
So, I’ve made a list of the most unsung heroes of horror in 2022, both creators and their creations, for you to check out in 2023. Because even though the year is over and Christmas has passed, its gifts of horror are far from gone!
HONORABLE MENTION: THE LONG WALK
This is going to be the shortest of my mentions on this list, not for any fault of the film; it’s a heartbreaking and masterfully crafted venture, but my rewatch of the film has not radically changed my opinion of it. It’s still pretty dope, and you should still check it out!
If you need any more convincing, I have a more detailed (and positively glowing) review of The Long Walk already up on this site, and I think you should give it a shot if you’re at all a fan of horror drama or sci-fi horror. You will not be disappointed.
ALL OF GUILLERMO DEL TORO’S CABINET OF CURIOSITIES, BUT ESPECIALLY THE VIEWING
And speaking of sci-fi horror, let’s talk about The Viewing…
Once I’m done ranting about how Cabinet of Curiosities did not get the flowers it deserved!
I was fully expecting Horror Twitter to prostrate itself before Guillermo Del Toro and all the artists he platformed for making such an excellent collection of short films, and instead I saw a mere sprinkling of tweets. A tiddlywink of tweets. For shame. All the shorts in this series are great in their own right, there’s not a single bad one among them, and I encourage you to check them all.
But the one I feel got the least credit was Panos Cosmatos’ The Viewing (written by Mandy collaborator Aaron Stewart-Ahn). The creature design in The Viewing is only matched by Hellraiser (2022)’s special effects wise, which tracks given that The Viewing feels exactly like something that Barker would have written. In it, a hedonistic hermit assembles a group of like-minded eccentric individuals to witness something incredible, wanting to reignite their hearts and minds. The viewing, like many sights man was not meant to see, goes terribly wrong, and Cosmatos makes it look earth-shakingly fantastic.
The Viewing is a slow-paced, coke-induced dream of an even dreamier late-70s aesthetic that is embodied in its upper-echelon set design and production. It brings together a colorful cast of the most unexpected character actors (Eric Andre, Sofia Boutella, and Peter Wellers together? Seriously?) all under the same roof, executing the intricate construct of a true-blue horror visionary.
NOCEBO
Nocebo released in early November, and despite the time that’s gone by, the internet hype wave never really carried this excellent film to the shores of cultural consciousness as it should have. This supernatural horror was a rare international collaboration of the Film Development Council of the Philippines and Screen Ireland, and like Detention which I spotlighted last year, is inspired by true horrific events; namely, the 2015 Kentex slipper factory fire that ravaged the Philipines.
Irish director Lorcan Finnegan and writer Garret Shanley, who headed the trippy sci-fi horror Vivarium, weave the tragic tale of Christine (Eva Green), a flourishing fashion designer who, after being attacked by a wild dog, begins suffering from a mysterious ailment and becomes the inadvertent employer of Diana (Chai Fonacier), a picture-perfect nanny with preternatural healing abilities.
It reminds me of both Possession, in following a descent into madness, and Hereditary, in following the slow and grisly dissolution of a family. Cinematography-wise, it’s well-executed but this tale of supernatural revenge and traditional medicine that harms more than it fixes shines when it lets the actors breathe. Green’s performance is wrenching and works perfectly in contrast to Fonacier’s reserved and captivating coldness.
The general atmosphere of the film is one that you can feel yourself walking through, slowly picking up the pieces of a tragedy that makes you feel helpless. The final sequence is shockingly powerful and hard to watch, so brace yourself for this one.
SISSY
When popular influencer Cecilia runs into her best friend and unrequited love Emma all grown up and engaged, the hen’s weekend she’s invited to takes a turn for the worst when confronted by her childhood bully; what begins as a reunion turns into a bloody brilliant rampage as Sissy…sorry, Cecilia, goes out for retribution.
I watched Sissy the same week as Bodies, Bodies, Bodies, A24’s smash hit, and was blown away by how great both were. Both are about parties gone horribly wrong, both are out of the park at being equal parts black comedy and horror, and both have a satirical streak that runs through their entire scripts. There’s a special kind of balance only these two movies achieve where they can have you ratcheted tight with anxiety one minute and cracking up laughing at grotesque absurdities (emotional and physical) the next.
Whereas Bodies opts for a much darker setting literally and figuratively, Sissy’s photography choices are aptly matched with one of the film’s core themes; though everything is cheery and bright on the surface, this is regularly juxtaposed with the sinister and rotten relationships we foster with our self-image and others, as well as some plain old nasty human cruelty.
In an age where toxic positivity is on a meteoric rise, and where the loudest mental health awareness advocates tend to have a beam in their eye the size of their follower count, Sissy is the film that tackles that modern attitude with acerbic wit.
And, no spoilers, but you will not look at kangaroos the same after this one.
SALOUM
But by far, the most underrated horror film of the year for me was Saloum.
Saloum follows a trio of mercenaries known as the Bangui’s Hyenas. Escaping a massacre they didn’t cause with gold that isn’t theirs, sabotage forces the guns-for-hire to hide out in the small coastal town of Saloum, where, the characters face phantoms from the country’s past as well as their own.
This Shudder exclusive release needs to get a reassessment from the public, and part of me wonders if it’s because of its structure. Horror fans are effectively watching a crime thriller for the first 40 minutes with only soft hints of horror dashed in. After that point, all hell breaks loose as the tale becomes a horrific story of survival for the crew, with some very frightening monsters to boot.
On the surface, Saloum is a tale of revenge, and it tells you that upfront. On a deeper level, Saloum is a movie about myth in a uniquely Senegalese tradition. The personal myth, the mythologization of war and its combatants, and the mythos of a country. It sells these ideas with an intensely charismatic cast and some impeccable directing. The movie is a perfect genre fusion, slick and stylish without losing its substance, Saloum was a tour de force that I enjoyed every minute of.
SO…
Did I miss any that you think should be on here? Let me know in the comments and talk to us on Twitter to get your voice out there, you know we love to hear from you!
Here’s to another great year of horror ahead!
Movies
The Best Horror You Can Stream on Shudder in July 2025

Looks like another July will be spent getting cozy with Shudder in this house. Between all the new (to me) international titles and the conclusion of Hell Motel on July 29th, the app has filled my calendar for the month. Hold my texts, keep your emails in the draft folder, and don’t look for me outside. My TV and I are on a mission, and we’re prioritizing the five titles below. I hope they grab your attention and make it into your Shudder viewings this summer as well. However, I’ll be too busy watching them to know what anyone else is doing, so happy streaming whatever you decide to get into.
While we have you here, you should consider joining us for Bloody Brunches! Every Sunday at 11 AM CST / 12 PM EST, we’ll be livestreaming a new episode of Hell Motel. Who know’s who you’ll see, sometimes Ian Carpenter and crew stop by!
The Best Movies to Stream on Shudder This Month
Lake Placid (1999)
A small group of people try to capture a gigantic crocodile terrorizing the people of Black Lake, Maine. I am not an aquatic horror girl, and I am usually unimpressed with 90s action horror titles. I make a special exception for Lake Placid though. Sure, it stars Bridget Fonda, Bill Pullman, and Oliver Platt. However, real film buffs know that it’s really the late Betty White who carries this movie. Her foul-mouthed character stood on business and is the reason most of us revisit this title during the summer.
You can watch Lake Placid on July 1st.
Nyi Blorong (1982)
The South Sea Queen’s daughter rises to take a human lover. I have a long history of disliking snakes and movies about snakes. However, I’m leaning into this 1982 film because I deserve a retro Indonesian horror fantasy moment. I am also excited because it stars the late Suzzanna, the queen of Indonesian horror. I only learned about her a few years ago and wanted to spend some time with her work. As usual, Shudder is making it too easy to become a better cinephile.
You can watch Nyi Blorong on July 7th.
The Housemaid (2018)
An orphaned girl is hired as a housemaid at a haunted rubber plantation in 1953 French Indochina. Once there, she falls in love with the landowner, which sends the ghost of his dead wife into a jealous rage. I was excited to watch this just because it sounds chaotic, and I do not see enough Vietnamese horror for my liking. However, I recently discovered it is also an IFC Midnight title, so now my expectations are through the roof. IFC has been the home of upsetting, weird, and unique horror since 2010. I have a date with Shudder on July 14th, because I want this movie in my eyeballs the second it becomes available.
You can watch The Housemaid on July 14th.
Swallow (2020)
A pregnant housewife is compelled to eat dangerous objects, leading her husband and in-laws to become more controlling. Swallow had the misfortune of debuting during the top of the pandemic, so many people missed it. I found it on accident during Thanksgiving back when Showtime still had its own app. It’s quiet chaos that surprised me in a good way. I have been trying to make everyone I know watch it, and Shudder is making that so much easier this month. I am overdue for a rewatch myself, so I will also be hitting play while it’s available this July.
You can watch Swallow on July 21st.
Monster Island (2024)
A Japanese ship transporting prisoners of war and a British POW are stranded on an island where a mythical creator hunts them. Can they work together now that their very survival depends on it? I was bummed I missed this movie at Overlook Film Fest this year because all my friends loved it. So, obviously, I am thrilled Monster Island (also known as Orang Ikan) is hitting the Shudders streets so soon. I do not know what the other monster movies are doing this July because my heart belongs to this baby.
You can watch Monster Island on July 25th.
So, as usual, I will be hiding in my apartment and trying to make Shudder Saturdays my personality. I’m running at their international titles like it’s my job and revisiting a few movies I never spend enough time with. I hope your Shudder watches spark as much joy for you as I expect mine will this July.
Movies
‘Bride of Frankenstein’ at 90: Why Universal’s Horror Classic Still Haunts and Inspires

In the 90 years since its release, The Bride of Frankenstein is still the Universal Monsters franchise’s strongest film.
I first watched The Bride of Frankenstein on cable around 15 years ago. Director James Whale’s fable of a misunderstood creature’s quest for a bride really stayed with me after subsequent viewings. Speaking of The Bride, she’s the Universal Monster with the most potential for a gripping and modern reimagining that hasn’t been fully tapped into yet. Universal’s newest theme park Epic Universe, opening back in May, inspired a deeper dive into The Bride of Frankenstein, the titular role and its legacy.
Unveiling The Bride: The Plot and Power of the 1935 Classic
Immediately following 1931’s Frankenstein, The Bride of Frankenstein centers on Henry Frankenstein (Colin Clive) as the sinister Dr. Pretorius (Ernest Thesiger) urges him to collaborate on creating a mate for The Monster (Boris Karloff). In the meantime, The Monster travels across the countryside, learns to speak, and meets Pretorius. When both scientists complete and unveil The Bride (Elsa Lanchester), she rejects The Monster, motivating him to pull a lever and famously say, “We belong dead.” Pulling the lever ignites an explosion, killing The Monster, The Bride, and Pretorius.
Just as it took two scientists’ minds to create her onscreen, two individuals gave life to The Bride’s characterization and look: Lanchester and makeup master Jack Pierce, who designed nearly all the original Universal Monsters.
The Bride’s Hiss: How Lanchester Stole the Show with Limited Screentime
The Bride not being the film’s main protagonist is ironic since she’s the title character. Making the most of her brief performance, Lanchester’s swan-like mannerisms as The Bride sharply contrast with the humanity Karloff brings out of The Monster. After her dual role as The Bride and author Mary Shelley herself in the film, Lanchester took on more horror film roles like Henrietta Stiles in Willard (1971). It’s not hard to imagine what could’ve been for her career if she reprised her role in The Bride of Frankenstein’s sequels Son of Frankenstein and Ghost of Frankenstein. If a lab explosion couldn’t kill The Monster, wouldn’t it be the same for The Bride?
Besides the white streaks, Lanchester surprisingly didn’t wear a wig to portray The Bride since Pierce shaped her red hair to look the way it does. Pierce’s work on The Bride is just as iconic if not more so than Lanchester’s performance, ensuring the character became inseparable from her intended suitor in pop culture’s eyes. Case in point: There’s so much officially licensed merchandise playing up a romance between the two characters, even though The Bride can’t stand her intended mate. Beyond Lanchester and Pierce, there is one man responsible for how the film itself would come out.
James Whale’s Masterpiece: Directing The Bride of Frankenstein
Whale stitched great set designs, fantastic performances and composer Franz Waxman’s eerie score together to create a masterpiece.
Having Frankenstein, The Old Dark House and The Invisible Man under his belt by the mid-‘30s, it’s clear Whale creatively peaked while working on The Bride of Frankenstein. Although so much about Whale’s talents has been said, there’s a reason why his work on the film stands out across his filmography: He really went wild when directing it. Every character is practically cartoony, the sets are more elaborate and the plot is thematically richer than the original’s. Being an openly gay filmmaker, he cranked up The Bride of Frankenstein’s camp to legendary heights.
The Bride of Frankenstein is the final horror movie Whale directed. The novel Father of Frankenstein and its film adaptation Gods and Monsters, starring actor Ian McKellen as Whale, dramatize his life after directing the film. According to the reference book Universal Horrors by Tom Weaver, Michael Brunas and John Brunas, he initially didn’t want to direct his horror work’s apex. Just like Henry Frankenstein’s relationship with the monster he created, The Bride of Frankenstein’s production is a case of life imitating art. The Monster’s in-universe infamy further parallels Whale’s Frankenstein duology’s lasting popularity.
How The Bride of Frankenstein Shaped Horror Sequels and Adaptations
The Bride of Frankenstein’s influence can be seen across other horror films and Frankenstein adaptations.
Having “Bride of” in a horror sequel’s title is synonymous with including the main character’s female counterpart, leading to Bride of Re-Animator, Bride of Chucky, etc. The similarities go further than the titles, with The Bride of Frankenstein inspiring the former’s plot and furthering Tiffany’s arc in the latter. The Bride of Frankenstein inevitably shaped Frankenstein’s future adaptations as well.
Directed by Kenneth Branagh, Mary Shelley’s Frankenstein from 1994 closely follows the original novel. Breaking away from the novel’s narrative, its third act pays homage to The Bride of Frankenstein when Victor brings Elizabeth back to life with similarly brief screentime. Mia Goth’s seemingly red hair on the set of Guillermo Del Toro’s upcoming Frankenstein may hint at her character similarly becoming The Bride.
The Bride’s Untapped Potential for a Modern Horror Remake
With Warner Bros. releasing its own take on the character with The Bride! in 2026, it makes Universal’s reluctance to make a new remake downright egregious.
The Bride is still the literally redheaded stepchild among the Universal Monsters. When it comes to being neglected by Universal, The Creature From the Black Lagoon is the only character who rivals The Bride, but that’s another story. Universal did plan a remake directed by Bill Condon, who helmed Gods and Monsters, for its aborted Dark Universe film franchise.
The Bride’s Absence in Epic Universe’s Monsters Unchained Ride
Looking at Epic Universe, the Monsters Unchained: The Frankenstein Experiment ride apparently leaves The Bride out, even though she makes more sense to be in it than The Phantom of the Opera. However, The Bride does make meet-and-greet appearances across Dark Universe’s grounds.
Several ideas can be incredible for when Universal finally releases a remake of The Bride of Frankenstein someday. Based on what I’ve heard about 2023’s Poor Things, it’s exploration of a mad scientist’s creation’s experiences in a restrictive society is closer to what a modern reimagining should be. Having a woman behind the camera can lead to a feminist vision, delving into The Bride questioning her life’s purpose.
Until the day a proper remake debuts, the original 1935 film remains The Bride of Frankenstein’s definitive incarnation.