Movies
3 Modern Horror Films With Classic Giallo Influences
While there are many parallels between giallo and American slasher films, the latter often abandons that signature blend of horror and mystery so commonplace in giallo, instead opting for a high body count and choreographed kills. While giallo remains an influence for modern filmmakers like Luca Guadagnino and James Wan, modern parallels in non-slasher horror films and giallo provide intriguing information on how giallo shapes the stories we tell in horror.
Italian giallo is a subgenre of horror as visually slicing as it is brutally bloody. But at the heart of giallo films is mystery. Bodies are mangled, sliced to bits, or to the police’s chagrin, disappear into thin air with nothing but missing posters and heartbroken hanger-ons. But as the body count grows, a hand will once again wield the knife. Eyes go wide. A shallow gasp before a blade slashes across the victim’s throat. Music swelling as candy apple red blood pools on the floor. Our killer, masked or shadow obscured, will circle our heroine, the music will crescendo, only for one last final battle before the detective close on the killer’s tail kicks down the door.
How Do Modern Horror Films Incorporate Giallo?
While there are many parallels between giallo and American slasher films, the latter often abandons that signature blend of horror and mystery so commonplace in giallo, instead opting for a high body count and choreographed kills. While giallo remains an influence for modern filmmakers like Luca Guadagnino and James Wan, modern parallels in non-slasher horror films and giallo provide intriguing information on how giallo shapes the stories we tell in horror.
Last Night in Soho (2021)
Edgar Wright’s 2021 film Last Night in SoHo follows smalltown dreamer Eloise Turner (Tomasin Mackenzie), a first year fashion student at a London fashion school, as she finds herself spiraling into a sparkling, neon nightmare as she inhabits the body of 1960s lounge singer Sandie (Anya Taylor Joy) as she desperately seeks fame. Visually, Last Night in SoHo’s giallo influences are clear. Glowing neon lights flood Eloise’s vision, eyes growing wide and even more unhinged as her grasp of reality becomes unsteady.
But the film draws parallels with the stories we’ve seen time and time again in giallo films. Notably, the trope of the giallo heroine being a fish out of water, often in a strange, foreign land. She’ll find herself at the heart of a mystery hidden beneath the façade of her own precious dream. Be it Susie Banon’s arrival at the famed dance academy at the center of Dario Argento’s Suspiria (1977) or Liza Merril’s lucky inheritance of a cursed inn in Lucio Fulci’s The Beyond (1981), giallo films frequently throw our heroines into the unknown, luring them with the promise of what they’ve always wanted. Eloise’s abandonment of her small-town life to achieve her fashion goals in London aligns with the tradition of giallo films while incorporating supernatural and psychological elements to modernize the film.
Blending Detective and Heroine Roles
As Eloise becomes more enamored with this sexual, violent 1960s, she becomes attached to her avatar Sandie, developing an intense need to discover what happened to her. Eloise inhabits the role of your classic giallo detective and heroine in one world, while losing her grasp of reality in the other. Haunted by Sandie in the modern world, Eloise has no option but to find answers, even if that means putting herself in harm’s way. Edgar Wright creates a modern horror film that draws inspiration from giallo without trying to imitate it.
Giallo is a genre conveyed in pieces. The glaring shine of a knife. A gasp from a parted, lipstick-painted mouth. Manicured fingernails scratching at the floor as the knife pierces skin. Again. And again. The killer’s crime hidden from the viewer by the absence of all the details, the victim reduced to little more than a body for a disillusioned detective to ponder over. Giallo is a genre whose violence is incompressible in its entirety.
Under the Skin (2013)
Jonathan Glazer’s Under the Skin (2013) shows an alien invader whose malevolent appetite is concealed beneath the guise of a beautiful woman (Scarlett Johansson) stalking the Irish countryside for rides and the men who provide them to her. The alien invader draws the attention of the male eye, entices them to slow to a stop and let her into the car. When small talk proves tedious, she seduces them, drawing them in with sex. She undresses, a naked woman upon inspection. Her victim’s gaze falls upon the curve of a hip. An uncovered breast. She draws them in to consume their very essence.
Unlike a classic giallo where the lack of the whole obscures our killer, Under the Skin’s use of imagery in pieces is one grounded in the familiar. A naked body, no matter how beautiful, is something that we as human beings recognize. But the horrifying thing about Johansson’s portrayal is that even if we were to see her in her entirety, the thing that is deadly and violent about her is beneath the skin. Under the Skin may not be a giallo movie, but it engages with the visual styles so popular in the subgenre, creating a film that is hypnotic and erotic.
The Beauty of Brutality in Giallo and Modern Horror
Intense and violent murders are frequently featured in giallo films, but giallo also juxtaposes brutality with beauty. Characters meet their ends in settings with striking, original architecture, neon lit backdrops, and exquisite, detailed set dressing only deserving of a gorgeously shot murder. But modern horror films tend to be more fixated on the uniqueness of the kill. Be it a bread slicer or paper shredder, the settings in many modern slashers tend to just be dressing to set up the kill. However, Peter Strickland’s In Fabric manages to do both, juxtaposing violence with beautiful imagery as a beautiful dress causes her life to spin into a dizzying spiral.
In Fabric (2018)
Sheila (Marianne Jean-Baptiste) is a recently divorced mother of artistic hanger-on son Vince (Jaygann Ayeh). Caught up in the humdrum of her job as a bank teller and her uneventful social life, Sheila finds herself drawn in by a bizarre television advert marketing a new boutique. Enraged at the news that her ex-husband is dating, Sheila sets out to find her very own revenge dress, or more accurately, find something she can wear out on a date. And as a strange shop merchant walks Sheila through the boutique’s inventory, she comes upon a dazzling red dress.
Even as she finds her fingers flitting over the dress’s skirt, her eye adoring the red fabric demarcated by nothing more than a single black slash at the hip, she wonders aloud if it’s too provocative yet allows herself to be led to a dressing room. Even though Sheila admits she could never fit into a size 36, the dress fits. It’s almost like it was made for her, predestined perhaps.
While the date leads nowhere except disappointment, Sheila dreams visions of the dress’ twirling skirt, stirred by a ghostly wind. The garment constricts against her body as she gasps in, the red striking against the intricately designed interior of the restroom. When she removes the dress, it harms her too, leaving Sheila with a painful rash then later turning her washing machine into a bucking, feral interloper on Sheila’s domestic solitude.
Giallo’s Mystery and Visual Extravagance
In classic giallo fashion, the story behind the dress and its many victims threads through the film. Just when we come to know Sheila, she dies at the dress’ hands. She’s just another death for the dress’ next investigator and victim to stumble upon. In Fabric is a neo-giallo meets existential dilemma, as the dress mystifies and transforms its wearers to the point of madness and inevitable death.
Why Giallo Continues to Inspire Modern Horror
Giallo is a genre of strange machinations and dangerous mysteries. A dream becomes entangled in a deadly plot, a question the only thing between a heroine’s redemption and her unfortunate death. Giallo is a tense & thrilling genre of horror, neon-soaked extravagance setting the scene for extraordinary violence. It’s no wonder that modern filmmakers find themselves drawn to take influences from giallo. After all, in an era where everyone’s eyes are on the next big thing, you need to find a way to catch your audience’s attention. Add a dash of mystery to your horror, and make it big, beautiful, and brutal all around, and you’re set.
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.


