Movies
5 Great Horror Movies That Depict Black Childhood & Adolescence
Character identities also affect the world that is built around them. I find this especially fascinating when we follow children or adolescents because we can see the village surrounding that character. There is usually (not always) a view of their home life. This tends to acquaint the viewer with parts of the world and society because children typically have less control over their environment. They are forced to make decisions based on their situation and deal with whatever horror the movie throws their way. Although the situation can quickly become horrific, there is something special about seeing slices of your experience in a genre that often neglects or misrepresents it.
I’ve spent 30 years injecting horror into my eyeballs. I’ve absorbed it in most ways imaginable. Sometimes it was stumbling on a scary movie my older siblings were watching or tagging along with my mom to the theater if she felt I could stomach it. I have gathered with friends at hangouts or sleepovers to watch the umpteenth “scariest movie ever”. I’ve dumped hours into browsing through the aisles in Blockbuster (R.I.P.), inspecting Horror movie covers, and rolling the dice on a rental. I thrifted. I delicately thumbed through the $5 bins at Walmart. I’ve been scrolling through the Horror genre on the same Netflix account (not as much lately) for the past 15 years.
After laying my eyes on thousands of genre films, from the classics to the shot-on-iPhone flicks, I realized the characters (not surprisingly) had a lot in common: they were white older adolescents or adults, usually middle class or higher. No matter the shenanigans they find themselves in, whether it be a killer, a demon, a vengeful ghost, zombies, witches, etc.: the main characters ( especially if they make it to the end) fall into that group. When Horror focuses on children, they are usually white middle-class children. This affects the decisions they make, the amount of self-awareness they have, and how they evolve.
Character identities also affect the world that is built around them. I find this especially fascinating when we follow children or adolescents because we can see the village surrounding that character. There is usually (not always) a view of their home life. This tends to acquaint the viewer with parts of the world and society because children typically have less control over their environment. They are forced to make decisions based on their situation and deal with whatever horror the movie throws their way. Although the situation can quickly become horrific, there is something special about seeing slices of your experience in a genre that often neglects or misrepresents it.
Seeing an image onscreen and then being transported back to a scent, a song, a saying, a joy, or a fear allows for a deeper connection with the characters or the world they interact with because it’s viscerally relatable. There’s sometimes an instant feeling of “I lived there too” swirling around and dancing with your memories. Films can parade small parts of childhood that can affirm or trigger you: reminding you of your roots and making you face them. Here are a few films that display Black childhood and adolescence, and give a different perspective into the lives of Black youths.
Our Favorite Scary Movies That Depict Black Childhood & Adolescence
Mr. Crocket (2024)
There are limited genre films with Black directors, writers, and cast. This makes Mr. Crocket a rare treat! The film follows a Black family dealing with a recent loss and how that affects the relationship between mother and son. While we spend most of the screen time with Summer Beverly (Jerrika Hinton), we still get a glimpse into the life of a young boy in the early 90’s. There is a pit stop through a Black church, a familiar staple of the Black coming-of-age experience. The view of Black women in church hats giving stern looks to misbehaving children gave me flashbacks.
Before Mr. Crocket cha cha slides out of the TV, the tense moments are provided by the interactions between Beverly and her son Major (Ayden Gavin). Having a Black mom is a key part of the Black experience. When Major gave his mom attitude, I could feel my body tense. At one point he purposely destroyed a household item, and I jumped like Pumpkin (my mom) was going to pop up behind MY seat with a belt. I was able to see it in a small theater with a mostly Black audience. You could hear the wave of gasps every time Major talked back or rolled his eyes. Even a few moms and aunties let out quiet “uh uh’s” which translated to “ya’ll need to get him before I do”. This reaction opposes Beverly’s patient and gentle approach (up to a point), which seemed unheard of at that time. It’s important to note that in many cases, Black characters are not developed to the point of having parents or a home life at all. In the absence of Major’s character onscreen, the audience gets a front-row seat to a Black mother’s love and determination. It isn’t lost on me that the police seemed unhelpful and dismissive. When Black kids are missing, we cannot expect the same resources so it is up to the parents and families. Beverly takes so many risks to get her son back and helps others in the process (in true Black woman fashion). I also love that while financial hardship is mentioned, it’s not the centerpiece of this story.
Eve’s Bayou (1997)
Eve’s Bayou is a Black Gothic tale about a well-off family’s drama unfolding throughout the summer of 1962. I saw this movie shortly after seeing Tales From The Hood and felt the warm experience of truly seeing myself. Not only was there a Black girl, she had siblings! There’s something comforting about remembering summers with your siblings in the south. It involved teasing, running about the house, and letting your mom’s “good air” out of the house. Every time I watch this movie, I can smell the air. I can smell the hot comb and Dax grease. I can hear the echo of a screen door slapping a frame. Memories of us yelling at each other to get out of the tub: seven people and one bathroom is a nightmare I never want to live through again. Eve’s Bayou also showcases the sometimes tumultuous relationships between mothers and teenage daughters. There’s a constant push and pull between daughters trying to bloom and expand their freedom and their mothers who try to keep them in “a little girl’s place” or keep them from being “fast” (I hate that term). There is also a focus on the relationship between sisters, and what they are willing to do to protect each other, even from their parents.
The People Under The Stairs (1991)
This film follows a young Black boy, Fool (Brandon Quintin Adams), who gets involved in a break-in to provide for his family and avoid eviction. Usually, when a protagonist commits crimes to provide for their family, they are adults. Fool is thirteen. This feels relatable in the sense that many Black children are called on to support and provide for their families in ways that children with more resources are not. I have never had to save my family from eviction, but I did contribute to bills as a teenager. Even if they are not required to support their family financially, they are directly exposed to the financial woes of their caregivers (prayers up to the kids whose parents used their social security number on bills). These children might receive harsher consequences if they are perceived as using too many resources. They may go without necessities. Their environment could be crowded or unstable. The financial stress bleeds into everything. This can drive children to make dangerous decisions to lessen the burden on their household: They are in survival mode. The combination of childhood naivety, an underdeveloped frontal lobe, and a desperate situation is the perfect storm for others, especially adults, to manipulate these kids: Leroy (Ving Rhames) was able to take advantage of this, kickstarting the movie. The People Under The Stairs isn’t only about disparities and struggles, it’s about victory and justice. Fool outsmarts his captors, and frees the other victims and most of the neighborhood from the greedy clutches of Mommy (Wendie Robbie) and Daddy (Everett McGill).
Tales From The Hood (1995)
“Boys Do Get Bruised”
I will always bring up Tales From The Hood in any horror discussion I can squeeze it into. While the film makes poignant statements about the world (still relevant 30 years later), it still manages to be wildly funny at times. One of my favorite stories from the anthology is “Boys Do Get Bruised”. It follows a boy who is being tormented by a monster. I was around 7 or 8 when I saw Tales From The Hood and quickly related to Walter (Brandon Hammond). For the first time, I saw a Black kid in a horror movie. We saw a glimpse of his school and home life. His house looked just like my cousin’s house. I could feel the glass doorknob in my hand. I saw multiple Black staff members at a school in a horror movie, another first. The genre often features classroom settings (because of teens), but you’d be hard-pressed to find a classroom or school scene with more than four Black students and/or staff (Especially if they have dialogue). Black educators are a pillar of the community, and it was inspiring to see them represented. They usually go above and beyond, especially when they are less likely to have the same resources as their white counterparts. Back in my day (shakes cane at the sky), teachers would show up to your house to talk to your parents. This happens in “Boys Do Get Bruised”. Richard (Rusty Cundieff -also the director) shows up to discuss Walter’s bruises, his drawings, and mentionings of a monster. He ends up witnessing the wildest parent-teacher conference in history. The Monster was real, showing up as a metaphor for abuse. I loved how the justice did not involve the police. Instead, the story incorporates aspects of dark fantasy, using drawings that have the power to harm the person depicted.
The Angry Black Girl and Her Monster (2023)
This is one of the few horror films I have seen that takes place in public housing. As a kid, I always wondered “What if the monsters came to the hood?”. The Angry Black Girl and Her Monster poses a better question: “What if you made a monster in the hood?”. This introduces a level of secrecy and tension. Vicaria (Laya DeLeon Hayes) is a brilliant young scientist reeling from the loss of her mother and brother to violence. This drives her to become deeply invested in trying to reverse death because she sees it as a disease. I can directly connect with how witnessing death, especially due to violence, can shape or even warp your idea of death.
I was Vicaria’s age when my father was gunned down at a public housing complex in my hometown. It transformed death from this far-away thing that happened to other people into this omnipresent shadow that watched me when I slept. For Vicaria it was a sickness spreading over her family and neighborhood like a plague. Her father’s drug use may affirm this feeling. Having a parent with an addiction can feel like watching them die little by little. I appreciate how her father wasn’t always passed out in the house and letting his kids fend for themselves, which is how I usually saw Black parents with addictions depicted in media.
He had a job and he showed up to school to lay into Vicaria’s science teacher. He had flaws, but he wasn’t one-dimensional or a caricature. You can tell he loves his daughter, but he is struggling with grief and the stress of being a single parent. Vicaria turned to science to combat her grief. If she can cure death, she can eliminate her primary source of grief. Her “cure” brings her brother back to life, and in true Horror fashion, it goes awry. Still, I loved seeing a young Black girl in STEM, although she should not be alone with electricity or corpses.
Vicaria is the main focus, but it was interesting to see Jada’s(Amani Summer) upbringing. Her mother, Aisha (Reilly Stith), focuses on educating her daughter about unfortunate truths about the world around her. Many Black children cannot rely on public education to learn about the vast history and achievements of their ancestors. Black parents who want their children to be informed have to supplement what the school teaches with our factual history. My mother supplemented my public school education with Black Inventor flashcards, encouraging me to read, and forcing me to watch Roots (1977) and other programs like it. My grandmother joined in by telling me all her stories of segregation, experiencing racism, and growing up in the Carolinas in the 50s. It’s a step that Black families have to take to protect their kids because knowledge is power.
Representation is also a form of power. It is a reminder that we are real, we are seen, and our stories deserve to be told. With movies like Attack The Block, The Transfiguration, Wendell and Wild, Vampires Vs. The Bronx, etc., being readily available, I am hopeful that young Black horror fans will have an easier time seeing themselves in the genre.
I’m not too proud to admit it: Horror Press is severely lacking in anime coverage. Among the hundreds of articles I’ve written, I have one singular editorial talking about an anime, and that’s my highlight on The Summer Hikaru Died. I stand by that article, but it’s ridiculous that it’s the only one. Not a single Wicked City, Akira, or Perfect Blue review to be found for miles. And of all the oversights, how have we not talked about the best vampire anime?
Among horror anime, there’s a long and storied history with vampires. From The Vampyre and Carmilla to Egger’s Nosferatu today, we can’t get enough of the bloodsucking freaks (all due respect to bloodsucking freaks). It’s a morbid fixation that carries between cultures seamlessly and especially has a home in Japanese animated media.
10 Best Vampire Anime You Need to Watch
So, is it at all surprising that some of the best anime out there are films and TV shows about vampires? This article is a watch guide for the very best you can find. Not all of them are horror, but all of them are banger shows and movies with vampires at the center of them, and definitely worth the watch.
Some of them might be harder to find than others, especially our older offerings on the list. They’re scattered across the dark continent of the internet thanks to a lack of streaming releases and even worse physical media opportunities to enjoy them. But I have the utmost confidence in the beautiful fans of Horror Press and their meaty brains when I say you’ll find them with a little digging (and maybe a lot of piracy).
Honorable Mention: Jojo’s Bizarre Adventure
Now, the vast majority of Hirohiko Araki’s iconic manga and anime Jojo’s Bizarre Adventure is, in fact, not about vampires. It’s about Stand Users, serial killers with hand fetishes, becoming a Gang-star, plankton women, and having crazy custom cowboy grills. And I don’t have time to explain any of that, so hopefully you got those references.
But it’s fundamental first three series (Phantom Blood, Battle Tendency, and Stardust Crusaders) have vampiric menaces very much front and center for the famous Shonen anime. It all begins with a mysterious stone mask, the artifact that finalizes the fall of the hateful Dio Brando, turning him from a sociopathic human into an absolute, literal monster that haunts the entire series and the Joestar bloodline going forward. He’s one of the most iconic anime villains of all time; three non-consecutive wins for the Player Hater of the Year award is no easy feat. He might even be the most iconic villain on this list, and that’s saying something.
That’s not even touching on the Pillar Men of Battle Tendency, the souped-up primordial vampiric humanoids who invented the Stone Masks and put Joseph Joestar through his paces in Part 2. It would feel wrong to talk about anime vampires and not give them a namedrop, so consider this the unofficial 11th entry on the list.
Castlevania & Castlevania: Nocturne
The show that put Netflix’s animated programming back on the map, Castlevania and its sequel series Nocturne are only this low on the list because of how immensely popular they are. If you’re reading this in search of new vein ripping, fang sinking television to watch, you’ve probably already seen one of these two outrageously entertaining video game adaptations on your own.
If you haven’t, the premise goes as follows: as a vengeful Dracula casts a demonic army across the lands of Wallachia for killing his human bride, chaos and darkness reign. The final member of the noble monster slaying Belmont family, Trevor, is forced to fight back with the help of a mage and the vampire’s own son. Nocturne then follows Richter, fighting to stop the ascendancy of a vampire messiah during the French Revolution. It gets bonus points for being a loose adaptation of my personal favorite Castlevania game, Castlevania: Rondo of Blood.
As someone who watched Castlevania when it was released but was late to the party on Nocturne, I can now confidently say that both shows are fantastic thanks to some spot-on casting and solid story. And more importantly, you won’t regret finishing Castlevania, since it’s one of the rare Netflix offerings that doesn’t shoot itself in the foot repeatedly with awful writing and a terrible ending.
Hellsing Ultimate
Integra Hellsing sits at the head of a secret society called the Hellsing Organization, a monster hunting group founded by her ancestor Abraham Van Hellsing. When their compound is assaulted by a mysterious and well-funded enemy group called Millennium, Integra pulls her trump card as she sets out to destroy them: enlisting the oldest surviving vampire, Alucard, who has sworn fealty to the Hellsing bloodline after being staked by Abraham long ago.
If you were looking for edge sharper than this, you’re really not going to find it. As the regent of what I would call the vampsploitation sub-genre, Hellsing Ultimate is really nasty. And I mean nasty by horror standards. It’s through and through a splatterfest more interested in its sanguine and ultraviolent vibes than it is a great story. It gets those vibes, trust.
Hundreds of occult nazis getting blasted and torn apart, an immortal quantum cat boy who gets the Itchy and Scratchy treatment whenever he shows up, and the regular use of monofilament wires as weapons should tell you what this show is about. It’s absurd, and its writing is kind of bad. But damned if it isn’t fun to watch in a really sleazy, grindhouse sort of way.
Karin
This rare slice of life vampire anime also brings one of the most fun to watch vampires on the list. It’s a comedy of errors one would expect from the genre mashup; the classic foibles of a creature of the night doing damage control and trying to fit in among the mortals. The show follows Karin of the Maaka Family, a noble line of eccentric vampires living in a mansion in rural Japan.
While her eccentric, Addams Family-esque household sleeps by day, she walks among the living. Because Karin hasn’t fully transformed yet: she’s a reverse vampire who plays the role of “blood maker” rather than blood taker. She’s immune to sunlight and generates a high-pressure buildup of blood that causes profuse, geyser-like nosebleeds. As she tries to become the vampire her family wants her to be, she juggles love and life as a far from normal high schooler.
The show excels when it maximizes its sitcom potential and plays up the tropes of the genre (the arc where Karin’s evil twin grandmother appears and causes havoc is particularly enjoyable). It’s rough around the edges with all its fanservice and crude humor, like most early 2000s anime from smaller studios, but as a standalone season of television it’s hard not to find quick and charming.
Night Warriors: Darkstalker’s Revenge
This one is for all the fighting game fans out there whose niche series haven’t gotten an entry in a decade. The Darkstalkers OVA is, like Castlevania, based on a video game franchise of the same name. Also released under the name Vampire Hunter: The Animated Series, this four-parter is best consumed in marathon format, as its just under three-hour runtime is run at a brisk and breakneck pace filled with action.
The show drops us directly into a war between creatures of the night, known as “darkstalkers”, and their human victims. But as a vampire-led faction on a sunless earth comes into conflict with a succubus-led faction operating from the Demon World, another party enters the mix: a mysterious force of ancient alien robots that seek to destroy everyone, monster or human. The Darkstalkers are forced to band together as the approach of the robots’ maker, Pyron, spells doom for them all.
The Darkstalkers games are best known for their very expressive and animated sprites, and the very iconic move sets of their characters. The show captures that high energy feeling, and many of the animations from the game, perfectly. It leans very much more on the “Saturday morning cartoons and cereal” side of the spectrum, but if you’re looking for a one-of-a-kind setting with some truly wild character designs, this is your show.
Nightwalker: The Midnight Detective
Not at all meant to be confused with the previous entry on this list; similar names, unfortunate, I know. This jazzy supernatural anime from 1997 follows the titular private detective, Shido Tatsuhiko. He’s a vampiric demon who hunts other demons with his human friends, hoping to find some redemption and piece together his muddled past life.
And if that sounds familiar, it’s because this is basically the anime version of the Buffy spin-off show Angel before Angel was even a thing; it predates the Whedon project by two years. Unlike Angel, however, Shido is pure 90’s anime silliness. It’s a distillation of popular tropes from the era with a classic, gritty animation style to match. Those who loved the cyberpunk miniseries Cyber City Oedo 808 will find this show a kindred spirit thanks to the pseudo sci-fi vibes and the monster of the week set up. Just a tad less dramatic, and a bit campier.
A smooth-talking but tortured anime protagonist making weapons out of his own blood fast-tracked this to being high on the list for me, because I love corny concepts played straight. Hopefully, once you see this gem, you’ll understand the appeal instantly.
Mars Red
Now if there’s a vampire anime on this list that never really found its audience, it’s the highly underrated Mars Red. It’s based on a stage play by Bun-o Fujisawa, and despite my initial skepticism about stretching the material into 13 twenty-minute episodes, it actually flows wonderfully barring one or two pacing hiccups.
The year is 1923, and amidst the modernization of the Taisho era in Japan, vampires prowl the streets and infect unwitting targets. The government converts a task force of spies called Code Zero into a supernatural peacekeeping group as a response to a sharp rise in the vampire population. The trick up their sleeve? Harnessing stable, sane vampires as military assets and having them track down their rogue counterparts.
Despite the premise sounding action forward, the story of Mars Red is more of a supernatural mystery and drama. There is action, including some great swordfights, but it primarily uses the premise to explore the struggle of the characters rediscovering themselves and their humanity as cogs in an imperial machine. It’s chockful of literary dialogue backed by strong voice acting performances that remind you of its theatre roots. All in all, the ambiance and atmosphere of Mars Red is top notch.
Irina: The Vampire Cosmonaut
Another lesser-known anime from 2021, Irina: The Vampire Cosmonaut is a hard sell for a lot of people. A science fantasy romantic drama is already kind of pushing it. Making it an alternate history version of the Space Race between a faux United States and faux Soviet Russia is even more difficult to get people on board with.
The show centers on Irina, the Russian’s ace in the hole in trying to get a manned flight to space before the Americans do. Because vampires aren’t considered human and are feared by the general public, the risk of the mission is made permissible. Though Irina is initially thorny with her training supervisor Lev, she becomes fond of him slowly, and love blossoms between the two as mounting pressures from government figures seemingly attempt to pry them apart.
It’s an utterly bizarre pitch to toss out, but Irina is a heater of a curveball. An effective and fun romance with hard sci-fi and historical elements, and a lot of heart. And with only 12 episodes, not a sliver of time is wasted. Irina: The Vampire Cosmonaut is so incredibly unique that it feels like a must watch among the droves of romantic anime out there.
Vampire Princess Miyu (1988)
Cards on the table: I used to wake up obscenely early in the morning to catch old Adult Swim reruns of Inuyasha as a kid, and YuYu Hakusho still stands as my GOAT among all Shonen anime. So, I have a certain fondness for those shows that tints my opinion of Vampire Princess Miyu. You can say it’s biased, but you can’t say this show isn’t great.
Another OVA on the list, this four-episode banger is an obvious pick for its brevity and eerie horror vibes. Shinma, ancient beings that are both god and monster, trap and kill Japan’s citizens with hallucinations so they can feed on their dreams and souls. But an ancient “guardian”, the dhampir Miyu, is determined to destroy them. For a price, of course: Miyu’s wage is the blood of the victims’ loved ones, who will be mentally trapped in a vision of a happier life as Miyu feeds on them.
It’s a rare tale of an anti-hero vampire that actually feels sinister and alien to humanity. Miyu also has a longer anime series adaptation, but you won’t catch me watching it any time soon. It doesn’t have nearly as compelling characters, feels generic in its atmosphere and style, and the animation quality of the OVA just blows the extended series out of the water like a torpedo. If you’re going to watch Vampire Princess Miyu, you might as well watch the best version.
Blood: The Last Vampire
A short, pulp action OVA from the creative minds of director Hiroyuki Kitakubo and writer Kenji Kamiyama, 2000’s Blood: The Last Vampire became popular enough to spawn a manga and two reboot series, each telling their own spin on the story. But really, nothing beats the original.
Saya, a sullen katana-wielding vampire slayer finds herself in the employ of the Japanese government. She soon tracks down a “chiropteran” infestation (bat-like humanoids wearing human skin) to an American military base and its nearby high school. Disguised as a high schooler, she finds herself having to protect the school’s nurse as she tries to contain the rapidly evolving threat of the bestial undead among the living.
The fusion of styles utilizing traditional animation, rotoscoping, and CGI throughout this is so seamless that it makes Blood a masterpiece from a technical standpoint. Though the story is really simple, its grim atmosphere and its characterization of Saya make it easy to understand where the desire to learn more about her came from. Blood: The Last Vampire has long sat as an essential piece of animation in the 2000s anime catalog, and for good reason since it’s still a killer short animation today.
Vampire Hunter D & Vampire Hunter D: Bloodlust
Rounding us out, you knew they’d be on the list. The science fantasy horror films that started it all for a lot of anime fans. These technically count as two separate features, but chances are if you’re going to watch one, you need to watch the other.
Thousands of years after a nuclear war, a ravaged Earth lies slowly dying. Its inheritors are the few unfortunate humans left alive and the warped creatures that hunt them. A gothic hunter-for-hire named D travels through the wastes to protect his wards from mutants, monsters, hostile humans, and aristocratic vampires. The last is his specialty, since D himself is a half vampire (lot of those on this list today).
It’s impossible not to fall in love with the aesthetic of Vampire Hunter D. It’s a gonzo fusion between Solomon Kane, classic Westerns, contemporary sci-fi novels of the era, and old Hammer Horror movies that you’re not going to find anywhere else. Eleven years now since the announcement of Vampire Hunter D: Resurrection, the long-awaited animated series is still trapped in development hell to the chagrin of many fans. But with the eternal popularity of its two film adaptations, the franchise penned by Hideyuki Kikuchi seems just like a real vampire: boasting lots of devoted adherents, and impossible to put down.
What Is the Best Vampire Anime for Horror Fans?
For horror fans, Vampire Hunter D and Vampire Hunter D: Bloodlust are essential viewing, combining gothic vampires with post-apocalyptic science fiction, Westerns and classic Hammer Horror influences. Viewers looking for something considerably bloodier should try Hellsing Ultimate, while Vampire Princess Miyu offers eerie supernatural horror.
For Halloween season this year, Horror Press is taking you on a trip around the world of horror. No tour of international shockers would be complete without stopping by Spain for some tapas and found footage. The [REC] franchise had a short but robust run, spawning four Spanish movies and two American ones within seven years. It’s a unique cross-pollination of the zombie/rage virus and demonic possession subgenres, and it’s well worth a good, old-fashioned ranking.
The Entire [REC] Franchise Ranked
#6 Quarantine (2008)
I truly don’t know how they did it. 2007’s [REC] is a superb, terrifying movie. And its American remake, Quarantine, is essentially a shot-for-shot remake. Yet it lacks any of the potency of the original movie. The acting and the screenplay are flat, and the added material seems put in just for the sake of being different. Of course, adding anything unbalances the precisely calibrated pacing of the original movie. It makes an embarrassing hash of the material, from top to bottom.
#5 [REC] 4: Apocalipsis (2014)
Don’t ask me why the franchise abandoned the found footage approach in 2011. It makes no sense, but it’s definitely a bummer. Maybe they were just being lazy. That would certainly explain this boring, uninspired final installment. It originally seemed like [REC] 4 was going to be both a return to form and a major step forward. After all, it returned the franchise to its horror roots after a brief sojourn into horror-comedy. It brought back lead character Ángela Vidal (played by the impeccable Manuela Velasco). The subtitle (Apocalypse, in English) promised that the virus would be breaching quarantine. However, all they could think to do with this movie was stick Ángela on a ship. They have her run around a bit, then call it a day.
#4 Quarantine 2: Terminal (2011)
Here’s where I admit my dark secret. I secretly quite like the cheap, direct-to-video Quarantine sequel. But don’t be fooled: It doesn’t deliver on the promise of its poster, which is “Quarantine on a plane.” The zombie movie does have some brief plane antics. However, the plane quickly makes an emergency landing so the movie can take place in a quarantined terminal. It’s a slightly less interesting setting, but it’s still unique for the franchise. By virtue of being an original story, it’s already more interesting than Quarantine itself. And it does find several genuinely frightening things to do with all those infected people running around in the dark.
#3 [REC] 3: Génesis (2012)
When it first came out, I hated [REC] 3. It’s hard to be a fan sometimes. Being super into a franchise means you come into a new installment loaded with baggage. And [REC] 3 really does everything in its power to piss you off if you loved the first two movies. It’s the first Spanish entry to abandon found footage. It’s also the first to abandon Ángela. Instead, it’s a prequel about a wedding being beset by the demonic rage virus. And yes, this is the fabled horror-comedy installment. How this happened, I’ll never know. You simply can’t look at those taut, terrifying original movies and say “yeah, injecting comedy won’t give people whiplash.”
However, if you approach [REC] 3 as an unrelated movie that’s very much doing its own thing, the pain eases. Taken on its own terms, it’s even quite fun. I mean, we all love a woman in a wedding dress destroying the hell out of horror villains. They made two Ready or Not movies, after all. If you think of it as the Spanish answer to Evil Dead II (complete with chainsaw), it goes down easier.
#2 [REC] 2 (2009)
This found footage sequel is very much doing the sequel thing of “the same, but more.” [REC] 2 takes the same setting and the same characters, adding in a SWAT team with way more cameras. Plus a group of teens messing around with their own camera. I personally wish they hadn’t leaned in so much on the Catholicism of it all. There’s a full on Exorcist sequence that doesn’t gel with the all-out zombie vibes of the original. It’s also so stuffed with characters that you don’t really have the chance to get to know any of them. However, it’s still a tense, visceral exploration of how terrifying a situation like this would really be.
#1 [REC] (2007)
Full disclosure: [REC] is going to top literally any list it’s eligible for, because it’s my favorite horror movie. But don’t worry, I have good taste. [REC] is a 78-minute sledgehammer of a movie. It races in, brutalizes your nerves, then gets the fuck out. It does this in so many different ways. First, it presents a group of believable and relatable characters, who are grounded in reality by the found footage approach. The Barcelona apartment building setting is also incredible, delivering instant claustrophobia with its narrow central stairway. The zombie mayhem’s also terrifying, delivering drawn-out tense moments interspersed with some of the best jump scares in the business.
[REC] cruelly forces unassuming late night TV presenter Ángela into tighter and tighter spaces until the impossibly terrifying finale. Once you see Javier Botet’s performance as La Niña Medeiros (who brought the virus to the building)… Let’s just say you’ll never get a full night’s sleep again.
