Since birth, we’ve been indoctrinated with a love of horror, whether we knew it or not. The first game your mother would play with you involved her hiding behind her hands and then shouting, “Boo!” We would get taught folk tales that involved a witch wanting to eat children or a wolf wearing the skin of an elderly woman. Some of us were warned of the Krampus, who’d kidnap misbehaving little boys and girls. We’d play Bloody Mary and watch old Disney films. You know, the scary ones. It was a lifetime of preparation for horror. Because deep down, we all have an innate desire to be frightened. We crave it and these characters scare us better than any others. Since this list encompasses the entire history of horror, every genre (and subgenre) is represented. Everything from creature features to kinder trauma, action movies to horror comedies are eligible. I combined characters if they worked as a duo or a group and I excluded animals (save for one) unless they were supernaturally possessed or if they had an internal monologue so that we could understand their motivations. I also only included characters from thrillers if they targeted children. This list is a celebration of horror and the icons that help us lose sleep at night.
These are the 500 Greatest Horror Characters of All Time.
250. The Gecko Brothers (George Clooney & Quentin Tarantino) | From Dusk Till Dawn (1996)
Seth Gecko is the more charismatic and composed of the two brothers. Clooney imbues Seth with a confident, charming demeanor that makes him both a likable antihero and a dangerous criminal. Seth is a skilled bank robber, and Clooney’s portrayal captures his intelligence and resourcefulness, as well as his darker impulses. Throughout the film, Seth oscillates between being a protective older brother and a ruthless criminal, reflecting the complexity of his character.
Quentin Tarantino’s portrayal of Richie Gecko is a stark contrast to Clooney’s Seth. Richie is unpredictable, impulsive, and unhinged, embodying a darker and more chaotic energy. Tarantino plays Richie with a manic intensity, infusing the character with a sense of danger and volatility. Richie is often portrayed as erratic, exhibiting unsettling behavior and tendencies that foreshadow the horror elements of the film. Seth is a professional bank robber, whereas Ritchie is a murderous rapist. Not exactly the most sympathetic leads of a horror film, and yet you root for Seth to make it to El Rey and you actually mourn the loss of Seth. And that’s because of the actor’s chemistry.
Clooney and Tarantino perfectly capture the complexities of sibling bonds in a high-stakes environment. Seth often acts as the stabilizing force, trying to rein in Richie’s more reckless tendencies, while Richie, in turn, represents the chaotic element that propels their story forward. Their dynamic explores themes of loyalty, brotherhood, and the consequences of their criminal lifestyle. Tarantino works so well opposite Clooney, that he actually gives a legit great performance and he’s a notoriously awful actor.
249. Johnny Smith (Christopher Walken) | The Dead Zone (1983)
Johnny Smith is a character marked by his extraordinary yet burdensome gift of foresight. After a car accident leaves him in a coma, he awakens to discover that he can see glimpses of the future and the past through touch. This ability becomes both a blessing and a curse, as he grapples with the moral implications of his visions and the isolation that comes with them. As he begins to understand his psychic abilities, Walken deftly balances the wonder of his gift with the weight of its consequences. The tension escalates as Johnny uses his powers to help others, particularly in a pivotal moment when he attempts to prevent a tragic event.
As the film progresses, Johnny’s character transforms from a passive victim of circumstances to a man who must confront the darker aspects of his gift. Walken captures this evolution through his physicality and vocal inflections, emphasizing the emotional weight of each decision Johnny makes. The climactic scenes in which he confronts the antagonist, Greg Stillson (Martin Sheen), are particularly powerful. Walken’s portrayal of Johnny’s fear, determination, and ultimately tragic resolution showcases the depth of his character, making it one of the most compelling performances in the horror genre.
248. Rhonda LeBeck (Finn Carter) | Tremors (1990)
The formidable Graboids were no match for cuteness and brains. Case in point, Rhonda successfully outwitting them at every turn helping save Val’s bacon a time or two. (Get it? I’ll see myself out.) Rhonda is a grad student studying seismology when all hell breaks loose and she has to use not only her learning but some street skills to survive these vicious land sharks. Unlike many of the other characters, Rhonda brings a scientific approach to the chaos unfolding around them. Carter’s portrayal emphasizes Rhonda’s intelligence and resourcefulness, making her a vital asset to the group as they face the terrifying Graboids.
The chemistry between Rhonda and the other characters, particularly Val (Kevin Bacon) and Earl (Fred Ward), adds depth to the film. Carter’s interactions with Bacon and Ward are marked by playful banter and a burgeoning romantic tension that provides a lighter, comedic contrast to the film’s horror elements. Rhonda’s dynamic with Val is particularly engaging, as their relationship evolves from initial skepticism to mutual respect and attraction. She’s a romantic lead who isn’t unrealistically hot, constantly uses her big brains to outsmart the threat and is witty to boot. In short, she’s ultimate wifey material.
—Vincent Kane
247. Moses (John Boyega) | Attack the Block (2011)
When you first meet Moses (John Boyega) he’s evidently a thug, the leader of a youth gang, and wouldn’t be out of place in one of the “hoodie horror” films of the early 2010’s (like Eden Lake or Citadel). Then an alien crashes to earth while the gang is robbing a nurse (Doctor Who‘s Jody Whitaker) and things go sideways. Soon Moses and his gang (and the nurse, Sam) are on the run, trying to survive and defeat an alien invasion. Moses reveals a complicated and, in the end, heroic character. It’s been a while since I saw Attack the Block (I’d forgotten Nick Frost was in it, for instance), but I remember Boyega’s Moses. He’s the film’s anchor and your appreciation of the character grows as the film progresses. I just read that director Joe Cornish is making a sequel, featuring Moses, and I for one cannot wait to see it.
–Bob Cram
246. Robert Thorn (Gregory Peck) | The Omen (1976)
The casting of Gregory Peck in The Omen was very intentional. Due to his role in To Kill a Mockingbird, Peck had earned the reputation of Hollywood’s ultimate dad. The Omen took that image and brilliantly twisted it. The film took the ideal image of the perfect dad and had the audience root for him to murder his own son. And it worked. Robert Thorn is a successful American diplomat living in London. At the start of the film, he is a man of confidence and integrity, but his life takes a dramatic turn when he adopts a child, Damien, who is revealed to be the Antichrist. Peck’s performance is characterized by a gradual emotional evolution as he navigates the horrors surrounding Damien.
Initially, Robert is depicted as a loving and caring father, and Peck portrays this affection with warmth and tenderness. As events unfold—strange occurrences, tragic accidents, and the eerie behavior of Damien—Peck’s demeanor shifts from confident optimism to disbelief and dread. One of the film’s most impactful aspects is Robert’s internal struggle as he grapples with the implications of his son’s true nature. Peck brings an intense vulnerability to the role, especially in scenes where he confronts the reality of what Damien represents. His ability to convey profound fear and anguish as he discovers the truth makes Robert a deeply sympathetic character, resonating with audiences who share in his horror and disbelief.
245. Asa Vajda/Katia Vajda (Barbara Steele) | Black Sunday (1960)
Barbara Steele’s dual portrayal of Asa and Katia Vajda in Black Sunday, directed by Mario Bava, is a defining performance in the history of gothic horror cinema. Steele’s striking presence and ability to embody two distinct characters—the vengeful witch Asa and the innocent princess Katia—cemented her status as a horror icon and contributed significantly to the film’s eerie, atmospheric power.
As Asa Vajda, Steele exudes malevolence and an otherworldly menace. Asa is introduced in the film’s chilling opening sequence, where she is sentenced to death for practicing witchcraft. Even as she faces execution, Steele’s performance radiates defiance and rage. Asa’s curse upon her executioners and their descendants is delivered with a venomous intensity that sets the tone for the film.
In contrast to Asa, Katia Vajda, Asa’s descendant, is portrayed as pure, vulnerable, and kind. Steele’s performance as Katia highlights the character’s innocence, making her a direct contrast to Asa’s darkness. Katia is a gentle, compassionate figure caught in the web of Asa’s curse, and Steele gives her a softness and fragility that elicits the audience’s sympathy.Steele’s dual roles are greatly enhanced by Mario Bava’s direction, with his mastery of gothic imagery and atmosphere amplifying the performances.
Barbara Steele’s performance in Black Sunday as both Asa and Katia Vajda is a masterclass in gothic horror acting. Her ability to embody two diametrically opposed characters—one a malevolent witch bent on revenge, the other a fragile and innocent victim—showcases her range and versatility. Steele’s haunting portrayal of Asa in particular became emblematic of gothic horror, leaving an indelible mark on the genre.
—Vincent Kane
244. The Female (Scarlett Johansson) | Under the Skin (2013)
I have no idea whether or not Glazer was inspired by the film The Man Who Fell to Earth or if its themes of loneliness and isolation and what it actually means to be human are merely coincidental or accidental but either way, the parallels between the two films is undeniable. And while the same could also be said about Species (due to the fact that both films involve incredibly good looking female aliens who lure men to their deaths with the promise of sex), it’s presented in such a wildly different manner, any similarities are incidental. There are ton of films about extraterrestrials and while this one feels similar to others (like a couple of the films previously mentioned), it’s unlike any other in history.
Mostly due to the fact that it feels like it was made by one. As much as Johansson’s character is inhabiting the skin of a human to blend in, Under the Skin is inhabiting the shape of celluloid to pass as a film. The film is an alien masquerading as a movie. It is a psychedelic mind fuck that baffles as much as it mesmerizes. Part of its hypnotic quality is due to Scarlett Johansson’s central performance. In the film, she plays an alien masquerading as a prostitute to lure men into a mysterious room that sinks them into a liquid void that dissolves them in memorable fashion. Why she is doing this and for who is never revealed. All you know is her task, which she starts to question when she begins to feel human. It’s a fascinating character filled with emotionally complexity that’s only this low on the list because the film is more sci-fi than horror.
243. Henry (Macaulay Culkin) | The Good Son (1993)
The killer kid subgenre is sorely lacking in quality titles. Audiences love watching murderous tykes creatively dispatch adults and yet, they hardly get made. Movies like Mikey, The Paper Boy, Devil Times Five, Bloody Birthday, Beware: Children at Play, Who Could Kill a Child, Children of the Corn, Joshua and Orphan (technically) are more memorable due to having children as the killers. The Bad Seed is the granddaddy of this trend but the heir apparent is most definitely The Good Son.
A million miles away from his work in Home Alone and My Girl, Macaulay Culkin clearly took this role as a means to transition into more serious parts but that unfortunately didn’t pan out for him. Audiences just weren’t ready to see Kevin McCallister murdering people. In The Good Son, Henry Evans is a seemingly normal boy with a close relationship to his mother, but he quickly reveals a much darker side. His character is manipulative, cruel, and capable of extreme violence, which makes him a compelling antagonist. Culkin’s portrayal of Henry juxtaposes his boyish charm with unsettling behavior, effectively drawing the audience into the tension between his innocence and the evil lurking beneath the surface.
One of the most effective aspects of Culkin’s performance is how he portrays Henry’s manipulative nature. He often uses charm and wit to mask his true intentions, drawing in his cousin, Mark (played by Elijah Wood), while simultaneously undermining him. This dynamic creates a sense of dread as the audience witnesses Henry’s calculated cruelty. Macaulay Culkin delivers a haunting and multifaceted performance as Henry Evans, showcasing his range as an actor beyond the childhood roles for which he is best known.
242. Jerry (Ryan Reynolds) | The Voices (2014)
Ryan Reynolds doesn’t have the biggest set of tools in his acting bag but what he’s really good at, almost better than anyone else, is making insane killers or the most obnoxious d-bags likable. It’s more than just charisma, it’s as if he’s managed to somehow weaponize likability. You can’t help but like him. Hell, he even makes rom-coms watchable. He uses this superpower to great effect in The Voices. A mentally unhinged factory worker must decide whether to listen to his talking cat and become a killer, or follow his dog’s advice to keep striving for normalcy. The best performance of his career by a country mile, The Voices is the best use of hitman-like likability. He will disarm you will his personality, you will be taken off guard by his talking pets (both voiced by Reynolds) and you will continue to root for him after he fills his refrigerator with severed heads. No other actor could’ve done this role justice and no other actor could’ve gotten it made. It’s a whole lotta messed up but because Reynolds is in it, you’ll love it.
241. Ralph (Sid Haig), Virginia (Jill Banner), and Elizabeth (Beverly Washburn) | Spider Baby or, the Maddest Story Ever Told (1967)
In a dilapidated rural mansion, the last generation of the degenerate, inbred Merrye family live with an inherited curse: a disease that causes them to mentally regress from the age of 10 or so on as they physically develop. The family chauffeur (Lon Chaney Jr.) looks out for them and covers up their murderous indiscretions but when greedy distant relatives and their lawyer arrive to dispossess the family of its home, the chauffer might not be able to stop them from going kill crazy and losing everything. The trio of Ralph (Sid Haig), Virginia (Jill Banner), and Elizabeth (Beverly Washburn) are the Merrye family, three mentally stunted adult children who have to be constantly monitored because left to their own devices, people end up dead.
Ralph is both quirky and menacing, serving as the family’s enforcer and protector. Ralph is a hulking, mute figure with a childlike demeanor, which creates a juxtaposition that heightens the film’s darkly comedic tone. Haig’s physicality is striking; he embodies Ralph with an intimidating presence while also displaying a level of innocence and vulnerability.
Virginia is characterized by a combination of innocence and twisted playfulness. Virginia, one of the “Spider Babies,” exhibits childlike qualities that contrast sharply with her cannibalistic tendencies. Her playful interactions, particularly with the visitors to the family home, highlight her unhinged nature while allowing glimpses of her desperation for love and acceptance.
Elizabeth is a more grounded character within this chaotic family dynamic. As the more sensible sibling, Elizabeth often finds herself navigating the fine line between her family’s disturbing tendencies and the outside world. Her character serves as a lens through which the audience can engage with the horror of the family’s actions.
Haig’s imposing yet innocent Ralph, Banner’s playful and deranged Virginia, and Washburn’s conflicted yet resilient Elizabeth work together to create a memorable and unsettling family portrait that has made Spider Baby a beloved cult classic.
240. Jess Bradford (Olivia Hussey) | Black Christmas (1974)
Olivia Hussey’s portrayal of Jess Bradford in Black Christmas is one of the earliest and most influential performances in the slasher genre. Black Christmas is often cited as one of the first slasher films, predating Halloween and setting the template for many of the tropes associated with the genre. Hussey’s portrayal of Jess stands out as a strong, complex protagonist who defies many of the traditional horror movie stereotypes.
Jess Bradford is an intelligent and independent woman, a university student living in a sorority house during the Christmas holiday season. The film takes a dark turn as an unseen killer begins making obscene phone calls to the house and eventually starts murdering the sorority sisters one by one. Jess finds herself at the center of the mystery, trying to protect herself and her friends while grappling with her own personal dilemmas.
Hussey’s portrayal of Jess is grounded in a sense of realism and emotional depth, which helps to elevate her character beyond the typical “final girl” archetype. Jess is not only dealing with the horror of the murders, but she is also struggling with a deeply personal decision regarding her relationship with her boyfriend, Peter, and her pregnancy. This subplot adds layers to Jess’s character, making her a more well-rounded and relatable protagonist.
239. Stretch (Caroline Williams) | The Texas Chainsaw Massacre 2 (1986)
Stretch (that nickname has to be because of them legs, right?) is a local DJ at a rock station in a small Texas town. That already makes her cooler than most other characters and she has a spunky personality that is instantly likable to both male and female viewers when we first meet her. She has a mouth on her and she knows how to handle herself which comes in handy when Chop Top and Leatherface show up. After she accidentally records a murder committed by the cannibalistic Sawyer family when two rowdy callers are attacked while on air, the murderous duo shows up to eliminate her. This sets the stage for her harrowing experience of survival. Williams gives Stretch a unique blend of toughness and fear, making her more than just a passive victim—she is determined to fight back against the horror that unfolds around her. Here’s a fun fact for you trivia nerds: her first name is Vanita. Who knew?
—Vincent Kane
238. Carl Stargher (Vincent D’Onofrio) | The Cell (2000)
Carl Stargher is a serial killer who abducts women and subjects them to torturous drownings, later suspending their bodies in grotesque, artistic displays. On the surface, Stargher is a brutal and sadistic figure, but as the film dives into his subconscious through a sci-fi premise involving entering his mind, D’Onofrio’s performance reveals the complex layers of trauma and psychological damage beneath his monstrous exterior. In the real world, Stargher is presented as a reclusive and emotionally stunted individual, almost catatonic by the time the FBI captures him.
D’Onofrio plays him with a quiet, disturbed demeanor, using subtle facial expressions and body language to convey his fractured mental state. Where D’Onofrio’s performance truly shines, however, is within the dreamlike, symbolic landscapes of Stargher’s subconscious. Once protagonist Catherine Deane (Jennifer Lopez) enters Stargher’s mind through experimental technology, D’Onofrio’s portrayal shifts dramatically. In this dream world, he is no longer a passive, damaged figure; he becomes an all-powerful, god-like version of himself, embodying his darkest desires and inner demons.
D’Onofrio takes on multiple personas in these sequences, each more terrifying than the last. One of his most iconic appearances is as a regal, demonic figure, complete with elaborate robes and horns, symbolizing his control and dominance in this nightmarish landscape. Here, D’Onofrio imbues Stargher with a sense of terrifying confidence and sadism, using his towering physical presence to dominate the screen. His performance is unsettling because of the way he moves between menace and grotesque theatrics, embodying the embodiment of Stargher’s darkest fantasies.
237. Jack (Matt Dillon) | The House That Jack Built (2018)
Jack is a highly intelligent but emotionally detached engineer and failed architect who views his gruesome murders as artistic expressions. Jack is not a chaotic or frenzied killer; rather, he approaches murder with a twisted sense of logic and creativity. He is highly self-aware, often reflecting on his killings and seeing them as part of a larger, philosophical pursuit. His conversations with Verge (Bruno Ganz), the mysterious figure who guides him through his recollections, allow Dillon to explore Jack’s complex psyche, showing moments of arrogance, nihilism, and vulnerability. Dillon excels in these moments of introspection, presenting Jack as someone who believes he is operating on a higher moral and artistic plane, despite the horrific nature of his actions.
As his murders escalate in brutality and scope, Dillon’s performance shifts subtly. What begins as a controlled and calculated series of killings becomes increasingly chaotic and unhinged, revealing cracks in Jack’s cold exterior. Dillon captures Jack’s descent into madness without losing the character’s core essence—his belief that his actions are part of a grander vision. By the film’s climax, Jack has fully embraced his monstrous nature, and Dillon’s portrayal becomes more intense and frenzied, culminating in a finale that is both shocking and allegorical.
236. Arnie (Keith Gordon) | Christine (1983)
At the start of the film, Arnie Cunningham is a classic underdog: shy, socially awkward, and constantly bullied at school. He’s a young man who, for whatever reason, just doesn’t quite fit in. His friendship with the more popular Dennis (John Stockwell) highlights his insecurity and yearning for a sense of belonging and power. Arnie’s vulnerability in the early part of the film makes his later transformation all the more shocking and tragic. The turning point in Arnie’s character arc begins when he purchases Christine, a 1958 Plymouth Fury that is far more than just a run-down car.
As he begins restoring Christine, Gordon’s performance subtly shifts. His confidence grows, but with it comes a darker edge. He starts dressing differently, standing up to his bullies, and distancing himself from the people who care about him. Gordon’s performance masterfully captures Arnie’s descent into obsession and possession. Under Christine’s influence, Arnie’s transformation isn’t just psychological—it’s physical. He begins to look more hardened, more dangerous, his appearance becoming slicker and more self-assured, but in an unnerving way.
The deeper Arnie falls under Christine’s control, the more unrecognizable he becomes, both to the audience and to his friends. There’s a possessive, almost romantic dynamic between Arnie and the car. As his connection to Christine deepens, it’s clear that the car is more than just a symbol of power—it’s a corrupting force that devours him from the inside. By the film’s climax, Arnie has become fully consumed by Christine, and Gordon plays him with a terrifying, unhinged energy. His performance underscores the tragedy of Arnie’s character—what begins as a quest for empowerment and identity spirals into obsession, madness, and ultimately, self-destruction.
235. The Follower | It Follows (2014)
I love that we don’t ever really find out what, exactly, the Follower is. It’s something monstrous, we know that. We know it can look like anyone – though it has a penchant for appearing like people the victim knows. We know that once you have sex with someone who is being followed then the Follower is passed on to you. And if it catches you, you will be brutally murdered. Beyond that, it’s really the “look like anyone” thing that gets me. Because of the way David Robert Mitchell shoots the film there’s always a lot of empty space in the background, where things are always moving. It unnerves and throws you off. Is that them? Is that the Follower? Despite knowing it can be anyone, it’s still usually a shock when it finally shows up, just behind a friend or reaching through a hole in the door. The ending lets us down a little, but I’m still horrified by the whole setup. And I don’t really believe they got it, anyway. Would I be down for a sequel? Absolutely.
—Bob Cram
234. Emily Rose (Jennifer Carpenter) | The Exorcism of Emily Rose (2005)
Loosely based on the real-life case of Anneliese Michel, The Exorcism of Emily Rose is a movie of two parts. Half is a courtroom drama, and the other is a supernatural horror. While it may not coalesce into a unified whole, Jennifer Carpenter’s portrayal of Emily Rose is the glue that keeps it all from falling apart. Her performance is visceral and raw, particularly in the scenes depicting Emily’s possession. Her ability to contort her body in unnatural and grotesque ways without relying heavily on CGI is remarkable, adding a layer of realism to the horror. These physical transformations, combined with her guttural screams and vocalizations, make the possession scenes some of the most terrifying in modern horror.
Carpenter uses her body to express Emily’s internal torment, making her suffering feel palpable and immediate to the audience. The intensity with which she conveys Emily’s physical and emotional pain is central to the film’s unsettling atmosphere. In the quieter, more introspective moments, Carpenter’s portrayal is heart-wrenching. She conveys the fear and desperation of a young woman whose life is spiraling out of control, and her vulnerability contrasts sharply with the violent and grotesque manifestations of her possession. The audience is invited to empathize with Emily, even as the film leaves the question of whether she was truly possessed or suffering from a medical condition open to interpretation.
233. Victor Crowley (Kane Hodder) | Hatchet (Franchise)
Fans of the Hatchet series must resent Art the Clown. After just one movie, he was immediately anointed the new king of horror while Victor Crowley hasn’t even been in the conversation despite producing four solid slashers. He was the only one keeping the genre alive for years and yet, he still hasn’t received the love I think he deserves. Victor Crowley is a deformed, swamp-dwelling killer who haunts the Louisiana bayou. His backstory is one of tragedy: born disfigured due to a rare medical condition, Victor was mercilessly bullied by the local children and accidentally killed by his own father in a fire set by the taunting kids. This tragic element adds a layer of pathos to the character, giving him a tortured and sympathetic quality, even as he commits unspeakable acts of violence.
Best known for playing Jason Voorhees in several Friday the 13th films, Kane Hodder brings a similar physicality and intensity to the role of Crowley. His performance is largely non-verbal, but he uses his imposing physical presence and expressive body language to create a truly terrifying character. Standing at over 6 feet tall and with a muscular build, Hodder makes Crowley a towering figure of relentless savagery. His movements are deliberate and forceful, conveying a sense of rage and unstoppable power. Crowley’s kills are over-the-top and gory, reflecting the franchise’s embrace of practical effects and old-school slasher brutality.
232. Man (Everett McGill) and Woman (Wendy Robie) | The People Under the Stairs (1991)
Two thieves break into the creepy old home of a couple of deranged slum landlords and soon discover a disturbing scenario underneath the stairs. Bouncing back and forth between blunt satire, cartoon slapstick, teen horror and perverse violence, The People Under the Stairs is Wes Craven‘s most political film, his funniest film and craziest film all in one uneven package. A lot of it doesn’t work but for the most part, the good far outweighs the bad. For one thing, it gets major points for being shockingly progressive for its time.
The film has a black kid take on an evil white family (with the help of another black guy) and he not only survives but saves two white kids. It’s unheard of. It also has the balls to have the main antagonists be a BDSM subversion of a stereotypical 1950s couple named Mommy and Daddy. Man (Daddy) is the domineering, violent patriarch of the household. Whether dressed in militaristic gear or the notorious leather bondage suit he dons in several scenes, McGill’s character embodies a monstrous authority figure who is both terrifying and grotesque. His character is a critique of oppressive, patriarchal power, which he exercises over the household and those trapped within the walls.
Woman (Mommy), is equally disturbing but in a different way. She brings a deranged sense of control and false propriety to the role. a maniacal obsession for cleanliness, order, and religious morality, while hiding deep cruelty beneath her prim exterior. Her constant scolding of the children (the titular people under the stairs) and twisted sense of maternal care reveal her as a figure of twisted domesticity—both nurturing and punishing. Together, McGill and Robie create a deeply disturbing power dynamic as a deranged couple, their performances perfectly complementing one another. Their warped version of “family” is central to the film’s themes, with the two acting as stand-ins for the greed, cruelty, and class oppression embodied by the wealthy elite.
231. Santi (Junio Valverde) | The Devil’s Backbone (2001)
I can’t confirm this but I have a sneaking suspicion that The Devil’s Backbone was built around the image of Santi. Guillermo del Toro had the image of a ghost boy with cracked skin, as if submerged underwater, with blood perpetually floating from the wound on his head and worked backwards from there. It’s an image so memorable, I completely understand the overwhelming desire to make something simply to share it with the world. The Devil’s Backbone is a gothic horror story set during the Spanish Civil War at an isolated orphanage. Santi is the ghost of a young boy who was tragically killed at the orphanage.
While only having a handful of scenes with the film’s main character Carlos (Fernando Tielve), he, along with the bomb lodged in the courtyard of the orphanage, are the most memorable elements of the film. He represents the innocence lost to violence, particularly the horrors of war. His appearance is initially frightening to the protagonist but as the film unfolds, it becomes clear that Santi is not the villain. He is a victim, searching for justice and connection. Santi’s tragic fate becomes a metaphor for the forgotten and silenced victims of violence, both personal and societal, and Valverde’s portrayal of the character is crucial to the film’s emotional and thematic impact.
230. May (Angela Bettis) | May (2002)
A film that embraces the lyrical loneliness few horror films bother to tackle, May is a disturbing tale of an odd outsider who’s extreme isolation and rejection eventually lead to a gory nightmare. Bearing the name of its central, horribly sad protagonist, the film is easily carried by Angela Bettis, whose gloomy disposition stands in stark contrast with her character’s ironically sunny name. An outcast since childhood, May was shunned by classmates due to her lazy eye and ignored by her parents because of her weirdness.
Never developing basic social cues and having impaired empathy, May has a hard time talking to and connecting with anyone besides her best friend, a porcelain doll. But the doll doesn’t always give the best advice. Now grown up and striving for some normalcy and companionship, she tries in vain to find a boyfriend (Jeremy Sisto) or a girlfriend (Anna Faris) but with each attempt marred by a constant string of heartbreaks, she decides that the only friend worth having, is the one you make yourself. Deeply disturbing and terribly tragic, May is a sympathetic journey into the mind of a damaged woman who just wants to be loved, at any cost.
229. Helen Lyle (Virginia Madsen) | Candyman (1992)
Based on Clive Barker’s short story The Forbidden, Candyman is a supernatural horror film that delves into themes of race, class, and folklore, with Madsen’s Helen serving as the film’s focal point. Helen Lyle is a graduate student investigating urban legends, particularly the story of the Candyman, a vengeful spirit said to haunt the Cabrini-Green housing projects in Chicago. The more she investigates, the more her initial skepticism is replaced by a growing sense of paranoia and helplessness as the Candyman (Tony Todd) asserts his influence over her life. As she delves deeper into the Candyman myth, her determination to uncover the truth puts her at odds with both the people around her and the rational world she once relied on.
The ambiguity of her situation—whether the Candyman is real or a manifestation of her own psychosis—adds layers to her performance, allowing Madsen to explore both terror and tragedy in her portrayal. Her interactions with Tony Todd’s Candyman are charged with a strange, almost hypnotic chemistry, as the film blurs the lines between victim and accomplice. By the film’s end, Helen has undergone a profound transformation. Her descent into madness is complete, but she ultimately finds a kind of redemption through sacrifice. Her arc is both tragic and heroic, as she transcends the role of a mere victim and becomes a key figure in the Candyman mythos herself. The haunting final image of Helen, now a vengeful spirit, mirrors the film’s exploration of cyclical violence and legacy.
228. Ray Cameron (Tom Atkins) | Night of the Creeps (1986)
Detective Ray Cameron is introduced as a no-nonsense cop with a traumatic past. His character arc is driven by guilt and a desire for redemption, as it’s revealed that Cameron’s fiancée was murdered by a psychopath in 1959, an event that has haunted him ever since. That subplot ties into the film’s larger narrative, where alien slugs that turn people into zombies are wreaking havoc on a college campus. Fred Dekker wanted Night of the Creeps to be a mix of sci-fi, zombie horror, and campy humor and Tom Atkins’ portrayal of Detective Ray Cameron, a throwback to hardboiled detective archetypes, helps tie all of those themes and genres together. One of the most memorable aspects of Atkins’ performance is his dry delivery of iconic one-liners, particularly the oft-quoted, “Thrill me,” which he uses every time he picks up a call or enters a crime scene. It’s a perfect encapsulation of his character—someone who has seen it all and is almost too jaded to be shocked by anything, even when the dead start walking.
227. Theresa ‘Tree’ Gelbman (Jessica Rothe) | Happy Death Day (Franchise)
Time-loop films rely on the protagonist being likeable enough to keep the audience invested in the ongoing struggles the protagonist faces. Groundhog Day had Bill Murray’s Phil; Edge of Tomorrow has Tom Cruise’s Bill Cage; and Happy Death Day has Jessica Rothe’s Tree Gelbman. Honestly, without Rothe, I don’t think this film would have been as enjoyable to watch. Time-loop films require the actor to shoot the same scenes multiple times, but add something new to each take to help differentiate each “loop”. No scene in the film highlights Rothe’s talents as an actor more than the “morning after walk home”. Rothe’s having fun in the scene, and, by the end of it, so is her character. The sequel is unfortunately nowhere near as good as Happy Death Day, but again it’s Rothe who holds that film up as Tree. Horror movies require memorable characters in order to leave a footprint on the genre. Tree has definitely ensured Happy Death Day a place as not just a modern horror classic but a modern time-travel one too. And that’s worth taking notice of.
—Marmaduke Karlston
226. Laura Palmer (Sheryl Lee) | Twin Peaks: Fire Walk With Me (1992)
Sheryl Lee’s portrayal of Laura Palmer in Twin Peaks: Fire Walk With Me is a performance so good, I could see it landing at number 1 on a more pretentious list. If your only metric for judging what makes a great character is the quality of the performance, it’s hard to argue against Sheryl Lee being the best of all time. She’s the same level of haunting and emotionally devastating as she is on the TV show the film is based on. Fire Walk With Me is a prequel to David Lynch’s iconic TV series Twin Peaks that delves into the final week of Laura Palmer’s life, unraveling the layers of trauma, abuse, and inner turmoil that she experiences.
The film shows Laura’s descent into darkness, her struggles with drug addiction, and the constant pressure of living under the abusive control of her father, Leland Palmer (Ray Wise), who is possessed by the evil entity BOB. The abuse, both psychological and physical, becomes an unbearable burden, and Sheryl Lee makes Laura’s pain visceral, her breakdowns raw and agonizing. Sheryl Lee brings remarkable depth to Laura, a character who was previously known mostly as a symbol in the TV series, a murdered homecoming queen at the center of the mystery.
In the film, Laura is a complex and tormented young woman, leading a double life of outward beauty and success, while inwardly grappling with the unspeakable horrors of her reality. Lee portrays her fragility and desperation with incredible nuance, making her both tragic and deeply human. The fans wanted the film to be a continuation of the story but Lynch loved Laura Palmer so much, he decided to piss everyone off and go backwards in time just to see more of her character. They hated it at the time but eventually realized he was right. The world needs more Sheryl Lee.
275-251 | 225-201
What do you think of the list so far? Which characters do you hope will make the cut?
