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.
325. Prof. Henry Jarrod (Vincent Price) / Beauregard “Bo” Sinclair (Brian Van Holt) | House of Wax (1953 / 2005)
I’ve only seen the 2005 version of House of Wax once, but I’ve seen the 1953 version every year for decades, as it’s an annual Halloween tradition in our house. Vincent Price as Henry Jarrod is one of my formative impressions of the actor, and I still anticipate with glee every moment he’s on screen. He’s interesting enough as the gifted sculptor we see in the beginning, but as the physically maimed survivor of a tragic fire he manages to convey both pathos and a calculating shrewdness. What’s really going on behind those penetrating eyes, as he stares at Sue Allen? Just seeing a model for his Marie Antoinette? Or something more sinister?
Well, of course, it’s more sinister! This is Vincent Price, after all, and his true, grotesque visage is a joy to behold as he first creeps around the foggy London streets and then as he rises from his wheelchair to pursue Sue, intending to encase her in wax in order to preserver her true beauty forever. I love when he finally stops pretending and becomes the monster we always knew he was.
While I have no distinct memories of Bo Sinclair from the remake, I do enjoy Lionel Atwill’s turn as Ivan Igor, the same basic character, in the original Mystery of the Wax Museum (yep – the 1953 version is itself a remake!). While not as distinct as Vincent Price’s performance, Atwill still manages to give us a memorable monster. Unlike some people.
–Bob Cram
324. Gage Creed (Miko Hughes) | Pet Sematary (1989)
Gage Creed manages to be the most terrifying thing in a movie with a demon cat, people brought back from the dead, and Fred Gwynne attempting a Maine accent. Miko Hughes is maybe the best child actor ever, starting off the film as the cutest kid on earth. You know his death is coming – Mary Lambert isn’t subtle about reminding us about those massive trucks on the road – but it’s still a shock. And then you know he’s coming back, because she’s shown us what the Pet Sematary really does. Nothing really prepares you for that returned Gage, though. Even images of him – in a dress, hat and walking stick – make me shudder. All I can hear is that voice in my head, “we had an awful good time, Daddy.” Gah.
–Bob Cram
323. Insp. Fritz Haarmann (Kurt Raab) | Tenderness of the Wolves (1973)
Despite being an acolyte of Rainer Werner Fassbinder, Ulli Lommel is an absolutely atrocious filmmaker. His career is filled with nothing but unwatchable garbage but he did manage to produce at least one good movie. Tenderness of the Wolves is a semi-fictional account of Fritz Haarmann, a notorious German serial killer active in the 1920s. The film focuses not just on the gruesome details of the murders but also on the way Haarmann was able to operate with little suspicion from the authorities. His role as a police informant gave him a cover that allowed his crimes to go unnoticed for years. He used to lure young men with the promise of food, shelter, and affection, only to murder them in grotesque acts of violence.
Kurt Raab’s performance is central to the film’s disturbing atmosphere. His portrayal is restrained yet deeply unsettling, embodying a complex blend of menace and vulnerability. His subtle approach magnifies the character’s predatory nature while hinting at the loneliness and desperation beneath the surface. It’s a performance devoid of sensationalism; instead, it delves into the mundane horrors of a man who managed to hide his monstrosity in plain sight. The film itself is more about the psychology of the character and the complicit systems that allowed him to thrive, rather than just focusing on shock value. The cold, detached style, combined with Raab’s performance, creates an atmosphere of dread that lingers long after the film ends.
322. Tomás (Óscar Casas) | The Orphanage (2007)
Laura (Belén Rueda), her husband, and their adopted son Simón move into an old orphanage from her childhood. The plan is to eventually convert it into a home for sick children. One day, Simon disappears. When he is still missing several months later, he is presumed dead. Grief-stricken Laura believes she hears spirits, who may or may not be trying to help her find the boy. One of these spirits is Tomás, a mysterious child whose presence haunts the orphanage, and his unsettling image, wearing a sackcloth mask, becomes one of the film’s most iconic visuals. Though Óscar Casas has limited screen time, his portrayal of Tomás as a silent, almost ghostly figure adds to the film’s emotional tension. He is not a typical villain or spirit in the horror genre; rather, his character is tied to a tragic backstory that evokes sympathy and sorrow. He was once a real boy who suffered greatly during his life at the orphanage, and his death under tragic circumstances left his spirit lingering in the building.
321. Metal Fetishist (Tomorô Taguchi) | Tetsuo: The Iron Man (1989)
A “metal fetishist” driven mad by the maggots wriggling in the wound made by the metal he’s shoved into his flesh, runs out into the night and is accidentally run down by a Japanese businessman and his girlfriend. The pair dispose of the corpse in hopes of quietly moving on with their lives. However, the businessman soon finds that he is now plagued by a vicious curse that transforms his flesh into iron. This is one of those films that feels like it’s about something but I honestly couldn’t tell you what it’s trying to say. Is it about body dysmorphia? Is the main character a walking metaphor for the Industrial Complex? Is it about our growing obsession with technology? How we’re all slowly killing the planet with junk? Or is it just crazy shit with no real meaning behind anything? I have no idea. The fact that he made two more of these things suggests to me that it’s more than likely the latter but he did go on to create some highly respectable and critically acclaimed dramas that don’t seem to be pretentious and/or wacky, so I don’t know. Either way, it’s original and has a character unlike any in horror.
320. The Ghosts (Various) | Thir13en Ghosts (2001)
I love Thir13en Ghosts and the ghosts are the best part, so it’s kind of a crime that we don’t see more of them. They each have an extensive backstory, almost none of which shows up on screen. (I think The Juggernaut has the most on-screen description, being the first ghost we see.) All the ghosts have a designation – there’s The Torso, The Juggernaut, The Torn Prince, and The Jackal amongst others. Really, they’re the primary reason to see the film, as the makeup effects are just top-notch. I really wanted the film to focus more on them – it’s called Thirteen Ghosts, not Terrified Family and Some Ghosts – but what we get is still worth the price of admission. (I’ve always wanted a sequel in which some of the family – assisted by ghost Dennis – have to track down all the monsters that they’ve released from the house.)
For my money, the most awful ghost is The Angry Princess, a woman who committed suicide (after botching her own plastic surgery) – she’s terrifying. A scene in which daughter Kathy (Shannon Elizabeth) gleefully uses the bathroom, while that ghost also uses the mirror and then sits in a tub full of blood, is great. Without the glasses that let you see ghosts, the daughter can’t see the scarred and bloody (and armed) woman while she washes her face, but we’re able to see everything in awful detail.
It’s worth picking up the film on Blu-ray or DVD just for access to the Ghost Files extras, which give more detail on each ghost.
–Bob Cram
319. Giant Ants | Them! (1985)
The earliest atomic tests in New Mexico cause common ants to mutate into giant man-eating monsters that threaten civilization. In a less competent director’s hands, this film could’ve easily ended up as an Ed Wood-level farce seeing as it is about giant killer ants but since Gordon Douglas plays it completely straight, it ends up being one of the best monster movies ever made. The special effects may not have held up over time, every other aspect of the production is still startlingly good. The high-pitched screeches the ants make is still effective, as is the moody cinematography. Modern audiences may not be accustomed to this era of film (i.e., the lack of action and the over-reliance of exposition) but if they go in knowing it’s not like Avengers: Endgame, they might be pleasantly surprised. Or they might just think it’s a quaint curio of the past. Either way, I doubt they’d be bored by it. Its got giant ants for god sakes!
318. Purificazione “Purif” (Daliah Lavi) | Il Demonio (1963)
Horror fans hate the term “elevated horror” because they know critics only use it to describe a two-decade-old window. Elevated horror implies the movie in question is head and shoulders better than most in terms of its quality and subject matter. Basically, it’s not a mindless slasher or gratuitous torture porn, two genres born from the early ’80s and that died out well before the ’10s. It’s a ridiculous dismissal of every other decade of horror that produced high-quality horror on the regular. There’s nothing wrong with wanting to shine a light on a refreshing slow-burn horror that focuses more on vibes, atmosphere and tone over jump scares, splatter effects, and non-stop nudity but it’s disingenuous to suggest it’s an anomaly. Horror has always been elevated.
Case in point: Il Demonio (aka The Demon), a blistering commentary on patriarchy and misogyny that feels like an A24 film made fifty years before the studio existed. Set in a remote village in Southern Italy, The Demon follows Purificata (Daliah Lavi), a young woman who is ostracized by her community and accused of being possessed by the Devil after her love for a local man is rejected. The Demon is a film about the destructive power of superstition and the persecution of those who do not conform to societal norms. Purificata’s suffering can be seen as a symbol of the broader plight of women who are marginalized and demonized for their desires and independence.
317. David (Kiefer Sutherland) | The Lost Boys (1987)
The Lost Boys might hold the record for the coolest vampire movie ever made. Jordan Peele thinks it’s cool and that dude knows what’s up. It’s what the kids call a vibe. Part of its lasting appeal is its impeccable cast of characters. You remember every character, regardless of their screen time even after just one watch. They leave an impact. It’s hard to pick the one that left the biggest impact but a case could be made for David played by Kiefer Sutherland. He’s the leader of a gang of vampires that terrorizes the coastal town of Santa Carla. Sutherland’s portrayal of David exudes a rebellious cool that makes him both magnetic and terrifying. With his platinum blonde hair, leather jacket, and piercing gaze, David is the quintessential bad boy, embodying the dangerous seduction of eternal youth. As the leader of a group of vampires who thrive on the town’s nightlife, David invites Michael (Jason Patric) into his world of hedonism, tempting him with the promise of freedom and immortality. When Tim Burton briefly considered putting Robin in one of his Batman films by reworking the character to be more of a badass teen punk rebel, the studio should’ve remembered Burton’s take on the character and offered Kiefer the role Batman a couple of years later. David is that same blend of threatening, badass and cool. David is the Batman of vampires.
316. Fenix (Axel Jodorowsky) and Concha (Blanca Guerra) | Santa Sangre (1989)
While not as gonzo as his most famous films, Santa Sangre still has the same style and themes of Alejandro Jodorowsky’s previous films. It’s a blend of horror, psychological drama, and surrealism that deals with trauma, control, and madness. Body Double is what happens when De Palma decides to tackle Psycho and Santa Sangre is Alejandro Jodorowsky’s take on the material. Axel Jodorowsky plays Fenix, a traumatized young man who grows up in a circus and witnesses his parents’ horrific violence. After his father maims Concha by cutting off her arms in a fit of rage, Fenix is institutionalized, haunted by this traumatic event. Fenix becomes both her literal and metaphorical puppet, performing daily tasks as her “arms” in an almost trance-like state, with Concha exerting a controlling influence over every aspect of his life. Concha is a former circus performer turned cult leader, obsessed with preserving her bloodline and avenging her personal losses. Axel Jodorowsky and Blanca Guerra play off each other perfectly, creating an unsettling and surreal interplay of control and submission. Fenix’s gradual descent into madness under Concha’s control mirrors the film’s exploration of identity, repression, and the destructive power of familial bonds.
315. Roger (Scott H. Reiniger) | Dawn of the Dead (1978)
Roger is part of a team tasked with clearing out a housing project overrun by zombies. Along with his friend and fellow SWAT officer, Peter (Ken Foree), Roger decides to abandon his post and join a small group of survivors seeking refuge from the chaos. They eventually take shelter in a shopping mall, where they attempt to build a new life amid the zombie apocalypse. As much as I love the remake, there’s no character in it I like as much as I like Peter or Roger from the original. Their bond is beyond friends, they’re brothers looking out for each other at the end of the world. So when he starts to snap, you start to worry he might not make it and your heart starts to break because you don’t want Peter to lose his friend.
After a series of increasingly dangerous encounters, Roger becomes more reckless, taking unnecessary risks as he begins to view the zombie apocalypse almost like a game. This shift in his mindset leads to his tragic downfall. In a crucial moment, while attempting to move trucks to block the entrances to the mall, Roger is bitten by zombies. The once cocky and energetic soldier quickly deteriorates, both physically and mentally, as the infection spreads. Romero was the king of the genre because he knew that the dead should only be the catalyst for drama, the character should always come first and Roger is one of his best creations because he’s one of his most tragic.
314. Jacob (Tim Robbins) | Jacob’s Ladder (1990)
Tim Robbins recently said in an interview that he’s shocked that he won an Oscar for Mystic River but wasn’t even nominated for The Shawshank Redemption, and I feel the same way but about Jacob’s Ladder. This is one of those performances invisible to the Academy due to their utter indifference to the genre. Jacob is a vet who begins experiencing disturbing hallucinations, seeing grotesque, otherworldly creatures and reliving traumatic moments from his time in Vietnam triggered by his son’s (Macaulay Culkin) tragic death. It’s an unforgettable journey through hell anchored by a crazy good performance by Robbins. Whether he’s trying to piece together his fragmented memories of the war or confronting the strange, nightmarish entities that seem to follow him, Robbins keeps the audience emotionally invested in Jacob’s journey. One of the most striking aspects of Robbins’ performance is how he embodies Jacob’s inner conflict. The film hints at multiple possible explanations for his experiences, from post-traumatic stress disorder (PTSD) to drug experimentation, but at its core, Jacob’s Ladder is about a man’s struggle to make peace with his past.
313. Robert Ledgard (Antonio Banderas) | The Skin I Live In (2011)
In terms of holding a grudge, not many do it better than Robert Ledgard. If you haven’t seen The Skin I Live In, it might be worth skipping to the next entry as it contains one of the craziest plot twists of the last few decades. Played by Antonio Banderas, Ledgard is a renowned plastic surgeon and scientist. He is incredibly intelligent and even more determined. When he thinks his disabled daughter has been abused, the lengths he goes to to seek revenge are extraordinary. He is also a grieving husband and somehow manages to take these two issues and find a solution. An absolutely bonkers solution, but one that seems to satisfy him. Banderos is great in the role, and even manages to extract some sympathy from the viewer, regardless of Ledgard’s actions.
–Lee McCutcheon
312. Sylvia Ganush (Lorna Raver) | Drag Me to Hell (2009)
Sylvia Ganush is an elderly Hungarian woman who curses Christine Brown (Alison Lohman) after being denied an extension on her mortgage, leading to a series of terrifying events as Christine tries to rid herself of the deadly curse. At first, Ganush appears as a vulnerable, pitiful old woman, desperately pleading for mercy when she faces foreclosure on her home. However, when Christine denies her request, the character’s vulnerability quickly turns into terrifying wrath, showcasing Raver’s ability to switch between fragility and pure menace. As the curse takes hold, Sylvia Ganush transforms into a looming, otherworldly presence that haunts Christine, appearing in terrifying visions and supernatural manifestations. Raver’s depiction of Ganush in these scenes, whether she’s taunting Christine from beyond the grave or appearing as a ghastly specter, is consistently unsettling. Her character’s vindictive spirit and unrelenting pursuit of vengeance drive the tension and horror throughout the film.
311. Nola Carveth (Samantha Eggar) | The Brood (1979)
Samantha Eggar gives a chilling and unforgettable performance as Nola Carveth, a deeply disturbed woman undergoing radical, experimental therapy that results in horrific consequences. Eggar’s portrayal of Nola is both terrifying and tragic. At the start of the film, she is confined to a psychiatric facility run by the unconventional Dr. Hal Raglan (Oliver Reed), where she undergoes a controversial form of therapy known as “psychoplasmics.” This therapy encourages patients to manifest their repressed emotions as physical symptoms. In Nola’s case, her deep-seated anger and emotional trauma take on a nightmarish form—she gives birth to deformed, homicidal children who act out her suppressed rage.
Eggar’s performance is controlled and unnerving, often shifting between vulnerability and a barely contained fury. In her early scenes, Nola appears fragile and broken, clearly traumatized by her past and her strained relationship with her husband and daughter, Candice. However, as the film progresses, Eggar reveals Nola’s darker side, particularly in her intense therapy sessions with Dr. Raglan, where she expresses her rage through cryptic, unsettling dialogue. Her quiet intensity gives the character a menacing presence, even when she is not physically on screen. The culmination of Eggar’s performance comes in the film’s shocking final act, where the full extent of Nola’s psychological and physical transformation is revealed.
310. The Collector (Juan Fernández, Randall Archer) | The Collector / The Collection (2009-2012)
Horror fans have been clamoring for a third entry in The Collector trilogy for years. They love this franchise and want to see more of this trap obsessed killer and it seems like they’re getting their wish. The Collected is on track for a 2026 release and if it does finally come out, hopefully it can live up to the hype. In both films, the character is known for his brutal traps, intricate planning, and disturbing habit of “collecting” survivors after murdering everyone else.
In The Collector (2009), Juan Fernández’s portrayal introduces the character as a masked, calculating psychopath who invades homes and sets elaborate death traps. His true identity remains unknown, adding to his mystique and making him all the more terrifying. He wears a black leather mask that covers his entire face, emphasizing his cold and detached personality. The traps he constructs in the victim’s house are reminiscent of the Saw franchise, where pain and terror are prolonged through meticulous, handcrafted devices meant to inflict maximum suffering. Unlike other slasher villains, The Collector’s motives are not initially clear, making him unpredictable and scarier. He doesn’t just kill for pleasure but takes victims he finds “worthy” for his disturbing collection.
In The Collection (2012), Randall Archer takes over the role, and while the character remains masked and his personality largely the same, the sequel elevates the scope of his cruelty. In this film, The Collector targets larger groups, including an entire nightclub full of people. He continues his gruesome modus operandi of using traps, this time on a grander scale. Archer’s portrayal maintains the cold, methodical nature of The Collector, emphasizing his relentless pursuit of those who manage to survive his traps. The character is depicted as someone with a near-supernatural ability to plan and anticipate his victims’ movements, allowing him to manipulate environments and turn any space into a deadly puzzle.
The Collector’s character is deeply influenced by the likes of Jigsaw from Saw (the films share some production lineage), but his particular brand of horror lies in his unpredictability, physicality, and personal sadism. The films offer a brutal, blood-soaked game of cat and mouse, with The Collector as the near-unstoppable villain at the center.
309. Pluto (Michael Berryman, Michael Bailey Smith) | The Hills Have Eyes (1977, 2006)
In the 1977 original, Pluto is portrayed by Michael Berryman, whose unique physical appearance (a result of a rare genetic condition) added an eerie authenticity to the character. Berryman’s Pluto is brutish, sadistic, and primal, embodying the raw savagery of the mutant family that preys on the protagonists. His performance, characterized by grunts, growls, and a menacing presence, helped cement the film’s status as a classic in the horror genre. The original Pluto was not given much backstory, but his appearance and demeanor suggested a life of isolation and violence, driven by the brutal conditions of survival in the wasteland.
In the 2006 remake, Pluto is portrayed by Michael Bailey Smith, and while the character retains his violent and terrifying nature, he is physically more imposing and modernized to fit the grittier tone of the remake. The character design of Pluto in this version emphasizes his mutant origins more heavily, with exaggerated facial deformities, suggesting years of exposure to nuclear testing in the desert. Smith’s Pluto is more aggressive and physically dominant, engaging in brutal, hand-to-hand combat with the survivors, making him a more physically threatening version of the character.
Both portrayals of Pluto are iconic in their own right. Berryman’s Pluto is more of a cult figure due to the original film’s raw, low-budget aesthetic, while Smith’s interpretation in 2006 brings a more polished, menacing version of the character suited to the remake’s heightened brutality.
308. Mary (Katharine Isabelle) | American Mary (2012)
Mary, a med student struggling with mounting debt and a failing career trajectory, stumbles into the underground world of body modification. She is an intelligent but financially desperate surgical student. As the film progresses, her descent into the world of illegal surgeries mirrors her psychological unraveling. She transforms from a driven, aspiring surgeon into a dark, morally ambiguous figure who is both empowered and haunted by her choices. Isabelle’s performance is cold and detached, yet nuanced. She brings out Mary’s vulnerability, resentment, and later, her calculated detachment from conventional ethics. The trauma Mary experiences early in the film—when she is assaulted by her mentor—marks a turning point that drives her transformation into a figure who exacts revenge through her surgical skills. The body horror aspect of the film is both grotesque and fascinating, with Mary becoming a “sculptor” of flesh. She starts to embody the very idea of a body modification artist who uses surgery to manipulate both her clients and her own psyche.
307. Max Cartwright (Taissa Farmiga) and Amanda Cartwright / “Nancy” (Malin Akerman) | The Final Girls (2015)
Joshua John Miller revealed that when Sony optioned the film, they gave him and the director an ultimatum: eliminate all of the deep character moments and the mother-daughter plot or the blood and guts to get a PG-13 rating. They knew the emotional core was the entire point of the film and decided to keep it despite knowing that rating was going to kill their film. Sony’s baffling decision to mess with this film kept it from being the classic it was destined to be. Max Cartwright is a teenage girl still mourning the loss of her mother, Amanda, a former actress who found limited fame in the ’80s for playing Nancy, the sweet and innocent “final girl” in a popular cult slasher film Camp Bloodbath. Amanda’s tragic death in a car accident leaves Max devastated, longing for the mother-daughter bond that was cut short too soon. Through a strange series of events, Max and her friends are transported into the world of Camp Bloodbath, where they encounter the movie’s characters—including Nancy, the role Amanda played. Here, Max is confronted with the bittersweet reality of interacting with her mother, though not quite as herself but as the character of Nancy.
Her time spent with Nancy in the film’s world allows her a second chance to connect with her mother—though in the form of a fictional character. Max struggles to reconcile the Nancy she meets with the Amanda she knew in real life. She is forced to confront her feelings of loss while fighting for survival in the literal sense, as the slasher film’s killer is on the loose. Throughout the film, she becomes fiercely protective of Nancy, realizing that keeping her alive means preserving a part of Amanda. However, as the final girl formula of the slasher genre demands, only the “final girl” can survive. This leads to a heart-wrenching climax where Max must come to terms with the fact that Nancy, like Amanda, cannot be saved. Nancy sacrifices herself in a heroic final act, knowing that it’s the only way for Max to defeat the killer and survive.
306. Grace (Samara Weaving) | Ready or Not (2019)
If you’re into brides who go from “I do” to “I don’t fucking think so,” Grace Le Domas is your new hero. Grace starts off as the quintessential fish out of water. A bright-eyed bride just trying to make a good impression on her in-laws. But from the moment she realizes she’s the prey in the family’s high-stakes version of hide-and-seek, she transforms into a force of nature not to be reckoned with. Armed with sheer determination (and the occasional rifle or teapot), Grace outwits, outruns, and outlasts her crazy ass in-laws, all while sporting a tattered wedding dress that somehow makes her look even more badass. Honestly, it’s the aesthetic I want if I ever remarry. Samara Weaving nails the balance between horror and humor. One moment, Grace is delivering a visceral scream worthy of a final girl, and the next, she’s cursing her way through the mansion like a horror-comedy queen. Grace’s journey from newlywed to a blood-soaked survivor is as fun as it is intense.
—Ricky Ratt
305. Otis (Tom Towles) | Henry: Portrait of a Serial Killer (1986)
Loosely based on the real-life serial killer Ottis Toole, Otis, portrayed by Tom Towles, is a character that embodies the raw, unfiltered darkness at the heart of Henry: Portrait of a Serial Killer. Otis starts as a seemingly ordinary but crude character, an ex-convict living a dismal life in Chicago with his sister, Becky. However, as he becomes influenced by Henry (Michael Rooker), Otis is drawn into his world of random and senseless violence. Unlike Henry, who kills without much emotional attachment, Otis finds a twisted pleasure in the acts of murder, and as the film progresses, his violent tendencies escalate into something far more grotesque.
One of the most disturbing aspects of the character is his lack of moral boundaries. While Henry is a remorseless killer, Otis revels in depravity, indulging in horrific acts of sexual assault and necrophilia, which elevates his character from a mere criminal to something far more monstrous. The infamous home invasion scene, where Otis and Henry film the brutal murder of an entire family, stands as one of the most chilling moments in the film. Towles’ performance in this scene is particularly unsettling, as he shows gleeful participation in the violence, underscoring his enjoyment of cruelty. Say what you will about Rob Zombie and his films but if it wasn’t for him, Tom Towles wouldn’t have had a career in the latter half of his life and he’s an actor that definitely needed to be in more movies.
304. Hans (Harry Earles) and the Freaks (Various) | Freaks (1932)
Hans is a little person who works in a circus alongside other “freaks,” individuals with physical differences that make them outcasts in society. Despite his appearance, Hans is presented as a kind-hearted and emotionally complex character. He becomes romantically involved with Cleopatra, a beautiful but cruel trapeze artist. She, along with her lover, the strongman Hercules, deceives Hans into thinking she loves him, all while plotting to marry him and steal his fortune. Hans’ innocence and desire to be accepted by someone outside of his world make him vulnerable to Cleopatra’s manipulation. How a little person running a freak show has a fortune is anyone’s guess but just go with it.
The “freaks,” who are often portrayed with sympathy and humanity, have a strong sense of loyalty and community among themselves. When they realize Cleopatra’s cruel intentions, they band together to protect one of their own, which leads to the film’s infamous and chilling climax. The final scenes, where they exact their revenge, turn the tables on Cleopatra and Hercules, inverts the power dynamics of typical horror films. In every other horror film, the physically deformed are always the villains but controversially, in Freaks, they’re the sympathetic heroes.
303. Doctor Hill (David Gale) | Re-Animator (1985)
Doctor Hill starts off as an annoying and competitive doctor and professor at Miskatonic university – a professional antagonist for Herbert West (Jeffrey Combs), the main character. He’s annoying, but really not that interesting – until he loses his head. That’s when he becomes one of the most memorable movie monster/villains. Decapitated, but returned to life, Hill uses his severed head and separate (but also reanimated) body to take control of West’s re-agent. At one point he even wears an anatomic dummy head on top of his neck, to try and pass for normal.
This is all quite fun, and David Gale is obviously having a blast playing the not-so-good doctor, but one scene in particular elevates Hill to truly memorably monstrous levels. While he’s spent much of the last half of the film as a head in a tray (full of blood), he also spends some time carrying his own severed head around (to great horrific and comedic affect). Then, after he straps a naked Megan (the great Barbara Crampton) to a table he grabs his own head and lifts it over Megan to… well, it’s memorably disturbing in a film that includes someone getting caged inside a corpse’s chest. Let’s just say nobody is unaffected by that scene. Hill is a gruesome and disgusting joy in Re-Animator and makes a fun appearance (with bat wings grafted onto his head!) in Bride of Re-Animator as well.
–Bob Cram
302. The Blind Man (Stephen Lang) | Don’t Breathe (2016)
Stephen Lang plays The Blind Man, an elderly blind veteran living alone in a nearly abandoned Detroit neighborhood who flips the traditional home-invasion scenario. Initially, he appears to be a vulnerable victim when three young thieves break into his house to steal a rumored fortune. However, it is quickly revealed that he is far more dangerous and capable than the robbers anticipated. Despite his blindness, his character is incredibly intimidating. The audience’s initial sympathy for him gradually erodes as more is revealed about his dark and twisted motives, including his secret in the basement. One of the key aspects that makes The Blind Man so terrifying is the film’s use of tension and sound. Since he relies on his hearing and other senses, much of the movie plays with silence and subtle noises, creating an intense atmosphere where every sound could lead to the thieves’ discovery. This makes him an omnipresent threat even in the scenes where he isn’t directly visible. What adds complexity to the character is that, while he is the antagonist, he is not a simple villain. The Blind Man’s backstory—a war veteran who lost his daughter in a tragic accident and is left bitter and grieving—adds layers of moral ambiguity to his actions. However, his horrifying choices and the cruelty he displays strip away any lingering empathy, positioning him as a villain you understand but cannot condone.
301. Nina Sayers (Natalie Portman) | Black Swan (2010)
Not many of us can identify with the struggles of elite athletes or elite artists. The pressures they face. The demands put on them. That they put on themselves. But many of us can understand struggles with the self. Internal battles. Even the most cheerful, squared-away among us struggle with choices we’ve made or haven’t made, others’ expectations of us, past failures, future triumphs, etc. Nina Sayers’ world may be somewhat exotic to most of us, but she’s no less compelling or relatable because of it. Because in some ways, we are all Nina Sayers and she is us.
Nina is a young, talented ballerina who is cast as the lead in Swan Lake, tasked with playing both the innocent White Swan and the seductive Black Swan. Her character arc is driven by her struggle to embody both roles, particularly the Black Swan, which demands a darker, more uninhibited side that Nina has suppressed. Throughout the film, Nina’s intense dedication to perfectionism and her fear of failure become increasingly destructive. As Nina dives deeper into her role, she begins to experience vivid hallucinations and psychological breakdowns, blurring the line between reality and fantasy.
–Billy Dhalgren
350-326 | 300-276
What do you think of the list so far? Which characters do you hope will make the cut?
