Movies
Five Giallo Movies to Watch to Get a Crash Course in the Subgenre
What I’d like to share with you here is a quick, five-film crash course in getting to know the ins and outs of the giallo genre. Astound your friends and amaze your peers with your in-depth knowledge once you’ve completed this simple course from the comfort of your own couch!
It’s giallo month here at Horror Press. If you saw that and asked yourself, “What the hell is giallo anyway?” then this is the article for you. In brief, giallo is a subgenre of Italian horror that had its heyday from the late 1960s through the late 1970s and is named after the yellow covers (“giallo” is Italian for “yellow”) of a series of popular pulp crime novels. Giallo movies (referred to in the plural as gialli) are typically murder mysteries that blend whodunits with a proto-slasher vibe, usually following professional or amateur detectives on the trail of a murderer (who is almost invariably wearing black gloves) who stalks and kills an interconnected group of victims (who are almost always beautiful women).
What I’d like to share with you here is a quick, five-film crash course in getting to know the ins and outs of the giallo genre. Astound your friends and amaze your peers with your in-depth knowledge once you’ve completed this simple course from the comfort of your own couch!
A tip: Go ahead and watch these movies in English. You won’t be breaking any cinema snob rules. Italian movies in the 1960s and 1970s were largely co-productions with other nations and featured actors on set speaking whatever language they were most comfortable with, with the intention that every character would later be dubbed into whatever language the audience spoke. So if you speak English, good news! The director intended for you to watch the movie in English. Do you speak Italian? Go ahead and throw on that Italian track and bask in your authenticity. But it’s absolutely unnecessary to seek out subtitled versions of any of these movies, several of which feature English-speaking actors in major roles.
Five Giallo Movies to Watch
Blood and Black Lace (1964)
Mario Bava set the template for the 1970s giallo film with his 1963 movie The Girl Who Knew Too Much. He was very obliging apparently, because after that he set the template for the 1980s teenage slasher film with an extended sequence in his 1971 movie A Bay of Blood. However, as good as those movies are, the Bava movie you need to watch to understand what the giallo was doing in its early years is Blood and Black Lace.
The movie follows a masked killer stalking the models working at a fashion house in Rome to keep a dangerous secret hidden. At least, it’s about that on paper. Frankly, the whodunit doesn’t really make all that much sense. But it doesn’t matter, because the movie is most concerned with presenting the viewer with gorgeous, stylish, color-drenched frames as the murders occur, and at this it succeeds beautifully. Style has not only trumped substance, it has devoured it whole. This approach would come to dominate the giallo genre, for better or worse, but mostly for better.
Deep Red (1975)
You can’t just jump into talking about giallo movies without a Dario Argento title in your quiver. While his debut film, The Bird with the Crystal Plumage would also give you a great idea of what Argento was all about before he started dabbling in more supernatural fare like Suspiria, Deep Red is the quintessence of the director’s signature filmmaking style.
This features so many Argento hallmarks it’s difficult to keep track, including a memorable score by the band Goblin, the protagonist digging into every detail of an important memory to attempt to solve a murder, and oodles of style, style, style. Does it make sense that a porcelain doll has just skittered into the frame? Of course not! But were you freaked out by it? Exactly.
Your Vice is a Locked Room and Only I Have the Key (1972)
For one thing, this movie is important because it features a trifecta of giallo stalwarts in director Sergio Martino (The Strange Vice of Mrs. Wardh, All the Colors of the Dark, Torso) and stars Anita Strindberg (A Lizard in a Woman’s Skin, Murder Syndrome, The Case of the Scorpion’s Tail) and Edwige Fenech (Five Dolls for an August Moon, The Case of the Bloody Iris, Strip Nude for Your Killer).
For another, it’s an exploration into how giallo can quite easily tip into softcore without sacrificing the genre’s effervescent murder mystery twists and turns. An adaptation of Poe’s “The Black Cat” with a heaping dollop of lesbian erotica on top, Your Vice is a thrilling, jangling, feast for the senses.
Don’t Torture a Duckling (1972)
You also can’t make an essential giallo list without bumping up against Lucio Fulci. While the director is probably best known for his supernatural gore-fests like The Beyond and Zombie, he made quite a few contributions to the giallo genre, usually tawdrier fare like The New York Ripper and Murder-Rock: Dancing Death. While Don’t Torture a Duckling is one of his classier titles, it’s nevertheless got a no-holds-barred approach to its storytelling that is darker and more brutal than quite a few other 1970s gialli.
Viewing the genre through the lens of such a distinctive filmmaker – who generally has such a gleeful disdain for the notion of “good taste” – is an important way to glimpse the wider breadth of the genre. The gialli were never here to class up the joint, but sometimes when you’re watching a Bava or Argento movie, you can be forgiven for mistakenly thinking so.
StageFright: Aquarius (1987)
StageFright: Aquarius comes from director Michele Soavi, who came to prominence too late to direct many proper gialli, though he was an assistant director on several Argento movies and made appearances in early ’80s Italian offerings including Argento’s Tenebrae (also excellent), A Blade in the Dark, and the aforementioned The New York Ripper. However, that’s the thing that makes StageFright special. It’s a movie that’s deeply in conversation with the American slasher boom of the 1980s (which had pretty much crowded out the by-then venerable giallo genre), yet doesn’t sacrifice any of its innate Italian-ness.
Following an owl-masked killer murdering the cast members of a theater production, it’s a terrific, weird, compelling movie that blends top-shelf gore with eye-rattling imagery that is sometimes chaotic and sometimes elegant, but always absolutely gorgeous to behold.
Editorials
‘Ready or Not’ and the Cathartic Cigarette of a Relatable Final Girl
I was late to the Radio Silence party. However, I do not let that stop me from being one of the loudest people at the function now. I randomly decided to see Ready or Not in theaters one afternoon in 2019 and walked out a better person for it. The movie introduced me to the work of a team that would become some of my favorite current filmmakers. It also confirmed that getting married is the worst thing one can do. That felt very validating as someone who doesn’t buy into the needing to be married to be complete narrative.
Ready or Not is about a fucked up family with a fucked up tradition. The unassuming Grace (Samara Weaving) thinks her new in-laws are a bit weird. However, she’s blinded by love on her wedding day. She would never suspect that her groom, Alex (Mark O’Brien), would lead her into a deadly wedding night. So, she heads downstairs to play a game with the family, not knowing that they will be hunting her this evening. This is one of the many ways I am different from Grace. I watch enough of the news to know the husband should be the prime suspect, and I have been around long enough to know men are the worst. I also have a commitment phobia, so the idea of walking down the aisle gives me anxiety.
Grace Under Fire
Ready or Not is a horror comedy set on a wealthy family’s estate that got overshadowed by Knives Out. I have gone on record multiple times saying it’s the better movie. Sadly, because it has fewer actors who are household names, people are not ready to have that conversation. However, I’m taking up space this month to talk about catharsis, so let me get back on track. One of the many ways this movie is better than the latter is because of that sweet catharsis awaiting us at the end.
This movie puts Grace through it and then some. Weaving easily makes her one of the easiest final girls to root for over a decade too. From finding out the man she loves has betrayed her, to having to fight off the in-laws trying to kill her, as she is suddenly forced to fight to survive her wedding night. No one can say that Grace doesn’t earn that cigarette at the end of the film. As she sits on the stairs covered in the blood of what was supposed to be her new family, she is a relatable icon. As the unseen cop asks what happened to her, she simply says, “In-laws.” It’s a quick laugh before the credits roll, and “Love Me Tender” by Stereo Jane makes us dance and giggle in our seats.
Ready or Not Proves That Maybe She’s Better Off Alone
It is also a moment in which Grace is one of many women who survives marriage. She comes out of the other side beaten but not broken. Grace finally put herself, and her needs first, and can breathe again in a way she hasn’t since saying I do. She fought kids, her parents-in-law, and even her husband to escape with her life. She refused to be a victim, and with that cigarette, she is finally free and safe. Grace is back to being single, and that’s clearly for the best.
This Guy Busick and R. Christopher Murphy script is funny on the surface, even before you start digging into the subtext. The fact that Ready or Not is a movie where the happy ending is a woman being left alone is not wasted on me, though. While Grace thought being married would make her happy, she now has physical and emotional wounds to remind her that it’s okay to be alone.
One of the things I love about this current era of Radio Silence films is that the women in these projects are not the perfect victims. Whether it’s Ready or Not, Abigail, or Scream (2022), or Scream VI, the girls are fighting. They want to live, they are smart and resourceful, and they know that no one is coming to help them. That’s why I get excited whenever I see Matt Bettinelli-Olpin and Tyler Gillett’s names appear next to a Guy Busick co-written script. Those three have cracked the code to give us women protagonists that are badasses, and often more dangerous than their would-be killers when push comes to shove.
Ready or Not Proves That Commitment is Scarier Than Death
So, watching Grace run around this creepy family’s estate in her wedding dress is a vision. It’s also very much the opposite of what we expect when we see a bride. Wedding days are supposed to be champagne, friends, family, and trying to buy into the societal notion that being married is what we’re supposed to aspire to as AFABs. They start programming us pretty early that we have to learn to cook to feed future husbands and children.
The traditions of being given away by our fathers, and taking our husbands’ last name, are outdated patriarchal nonsense. Let’s not even get started on how some guys still ask for a woman’s father’s permission to propose. These practices tell us that we are not real people so much as pawns men pass off to each other. These are things that cause me to hyperventilate a little when people try to talk to me about settling down.
Marriage Ain’t For Everybody
I have a lot of beef with marriage propaganda. That’s why Ready or Not speaks to me on a bunch of levels that I find surprising and fresh. Most movies would have forced Grace and Alex to make up at the end to continue selling the idea that heterosexual romance is always the answer. Even in horror, the concept that “love will save the day” is shoved at us (glares at The Conjuring Universe). So, it’s cool to see a movie that understands women can be enough on their own. We don’t need a man to complete us, and most of the time, men do lead to more problems. While I am no longer a part-time smoker, I find myself inhaling and exhaling as Grace takes that puff at the end of the film. As a woman who loves being alone, it’s awesome to be seen this way.
The Cigarette of Singledom
We don’t need movies to validate our life choices. However, it’s nice to be acknowledged every so often. If for no other reason than to break up the routine. I’m so tired of seeing movies that feel like a guy and a girl making it work, no matter the odds, is admirable. Sometimes people are better when they separate, and sometimes divorce saves lives. So, I salute Grace and her cathartic cigarette at the end of her bloody ordeal.
I cannot wait to see what single shenanigans she gets into in Ready or Not 2: Here I Come. I personally hope she inherited that money from the dead in-laws who tried her. She deserves to live her best single girl life on a beach somewhere. Grace’s marriage was a short one, but she learned a lot. She survived it, came out the other side stronger, richer, and knowing that marriage isn’t for everybody.
Movies
The Best Horror You Can Stream on Shudder in January 2026
My New Year’s resolution is to spend more time watching my favorite app. Luckily, Shudder is not taking it easy on us this holiday season, so I may meet my quota this January. The streamer is bringing in the new year with quite a few bangers. We have classics from icons, a new title from the first family of indie horror, and a couple of lesser-known films that have finally found a home. So, I am obviously living for this month’s programming and think most of you will too. I have picked the five films that I believe deserve our collective attention the most. Get into each of them and start your 2026 off on the right foot.
The Best Movies to Stream on Shudder This Month
Carrie (1976)
A sheltered teen finally unleashes her telekinetic powers after being humiliated for the last time. Carrie is the reason I thought proms might be cool when I was a kid. This Brian De Palma adaptation is one of my favorite Stephen King adaptations. It is also an important title in the good-for-her subgenre. I cannot help rooting for Carrie White (Sissy Spacek) when I watch her snap at this prom and then head home to accidentally deal with her mom. The only tragedy of this evening is that Carrie had to die, too. I said what I said, and I will be hitting play again while it is on Shudder. This recommendation goes out to the other recovering sheltered girls who would be the problem if they had powers. I see you because I am you.
You can watch Carrie on January 1st.
Marshmallow (2025)
A shy 12-year-old gets sent to summer camp and finds himself in a living nightmare. While Marshmallow did not land for me, I know plenty of people who love it. Which makes this the perfect addition to the Shudder catalogue. I am actually excited to see more folks fall in love with this movie when it hits the streamer. If nothing else, it will help a few folks cross off another 2025 title if they are still playing catch-up with last year’s movies. It also gets cool points from me for not taking the easy route with the mystery it built. I hope you all dig it more than I did, and tell your friends about it. Perhaps you could even encourage them to sign up for the app.
You can watch Marshmallow on January 1st.
Chain Reactions (2024)
Tobe Hooper’s The Texas Chain Saw Massacre cemented his horror legacy over fifty years ago. So, it is long overdue for a documentary where horror royalty can discuss its impact on them and their careers. I have been waiting for a couple of years to hear Karyn Kusama and Takashi Miike talk about Hooper’s work and how he inspired them. So, I am super geeked that Shudder is finally giving me the chance to see this film. The streamer is also helping the nerds out by adding The Texas Chain Saw Massacre (1974) and The Texas Chain Saw Massacre 2 (1986) this month. If you are also an overachieving couch potato, I will see you at the finish line next week.
You can watch Chain Reactions on January 9th.
In the Mouth of Madness (1994)
An insurance investigator discovers the impact a horror writer’s books have on people. I love chaos, and John Carpenter chaos happens to be one of my favorite kinds of chaos. While we talk about The Thing and Halloween all the time, this maestro has given us plenty of horror to celebrate. In the Mouth of Madness is very much one of those titles vying for a top spot among the best of his filmography. To sweeten the batshit pot, this movie features Sam Neill. You know that he only shows up in our genre if the movie is going to be legendary. You cannot tell me this is not a Shudder priority this month.
You can watch In the Mouth of Madness on January 10th.
Mother of Flies (2025)
A terminally ill young woman and her dad head to the woods to seek out a recluse who claims she can cure her cancer. The Adams Family has been holding court on Shudder for years, so it feels right that Mother of Flies is a Shudder Original. More importantly, this fest favorite has one of the best performances of 2025. Which makes it a great time for people to finally get to see it and get in line to give Toby Poser her flowers. Whatever you think your favorite Poser role is, it is about to change when you see her as Solveig. I am being serious when I say that this movie might be the first family of indie horror at their best.
You can watch Mother of Flies on January 23rd.
New year, but same Shudder. I would not want to go into 2026 any other way, personally. I hope these horrific recommendations bring you the good kind of anxiety. Or at least distract you from the state of the world for a bit.


