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.
475. Hunter (Haley Bennett) | Swallow (2019)
Swallow is a psychological drama that explores themes of control, repression, and the societal expectations placed on women. The film follows Hunter, a seemingly perfect housewife married to a wealthy husband, who develops a compulsion to swallow inedible objects. The narrative is deeply unsettling as it delves into Hunter’s life of isolation and the immense pressure to conform to an idealized version of womanhood. Her strange compulsion, known as pica, becomes a metaphor for her struggle to regain control over her own life. As her behavior becomes more dangerous, the film peels back layers of her past, revealing traumatic experiences that fuel her need to assert control in the only way she feels she can. Haley Bennett delivers a haunting and nuanced performance, embodying Hunter’s fragility and quiet desperation. Her portrayal is both sympathetic and disturbing, making Hunter a compelling and tragic figure.
474. Ilsa (Dyanne Thorne) | Ilsa: She Wolf of the SS (1975)
If Nazisploitation is the most extreme form of exploitation film, then that makes Ilsa, who’s the star of four of them, the undisputed Queen of exploitation. Notorious for its graphic content, blending elements of horror, sexploitation, and historical revisionism, Ilsa: She Wolf of the SS is set in a Nazi concentration camp, where Ilsa serves as the camp commandant, conducting sadistic medical experiments on prisoners and engaging in sexual violence. Her goal is to prove that women can endure more pain than men and should thus be allowed to serve on the front lines in combat.
I would normally say that’s a pretty weak excuse to justify a 90-minute torture porn but since this is loosely based on Ilse Koch, a convicted war criminal and overseer at the Buchenwald concentration camp who did far worse than this film ever dreamed of, I’m going to give it a pass. This is not a film for the faint of heart or for those seeking any meaningful insight into the horrors of World War II. It is a product of its time, reflecting the excesses of the exploitation genre in the 1970s. The film’s legacy is largely defined by its notoriety and its place within the broader context of exploitation cinema, rather than any cinematic merit. But it does have at least one redeeming element that justifies its existence and that’s the performance by Dyanne Thorne. Her portrayal of Ilsa is central to the film’s infamy. She embodies the character with a cold, unflinching demeanor that makes Ilsa a memorable, though highly controversial, figure in exploitation cinema.
473. Doctor Evan Rendell (Larry Drake) | Dr. Giggles (1992)
In an alternate universe, Larry Drake was a horror legend on par with Jeffrey Combs and Lance Henriksen who worked non-stop and was in a million movies. Any actor who can give three equally great but radically different horror performances like Drake did in Night of the Scarecrow, the pilot of Tales From the Crypt and Dr. Giggles should’ve had a healthy career in the genre but those are all he made. He had a great career in television, appearing in the bulk of LA Law and a bunch of episodes of other shows but horror was where he excelled and I wish he made more of them.
While Dr. Giggles is good enough to be what horror fans call “Blockbuster worthy” (a horror movie with enough kills and nudity to justify a rental), it’s also not good enough to be considered a classic, either. It knows what it is and delivers exactly the type of experience you’re looking for. No more, no less. The one unimpeachable element and the sole reason anyone remembers it exists is Drake’s performance. He plays Dr. Evan Rendell, Jr., also known as Dr. Giggles, a deranged killer who escapes from a mental institution and returns to his hometown to continue his father’s gruesome medical experiments. His character is nothing but over-the-top kills involving medical instruments immediately followed by a cheesy medical-related pun and it’s glorious.
472. Sutter Cane (Jürgen Prochnow) | In the Mouth of Madness (1994)
To close out his Apocalypse trilogy, John Carpenter decided to go all out and introduce his most terrifying world-ending threat yet. In The Thing, he had an alien invasion that would take just over three years to result in the total assimilation of all human life. Prince of Darkness one-upped that by having the Anti-God, a being even eviler than Satan. Cane is not just a typical antagonist; he embodies the terrifying idea that fiction can overwrite reality. As an author whose works drive readers insane and alter the fabric of reality, Cane plays on deep fears about the power of storytelling and the fragility of our perception of the world.
His motives and the extent of his powers remain mysterious throughout the film, which enhances his menacing presence. He’s a character who blurs the line between reality and fiction, making it hard for both the characters and the audience to discern what is real and what is part of his twisted narrative. He’s an all-powerful meta-villain who exists within the context of the film and the world outside it. The film plays with the notion that Cane’s horror stories are influencing not just the characters in the film but potentially the audience as well, creating a sense of unease that lingers even after the movie ends.
471. Paul Serone (Jon Voight) | Anaconda (1997)
Does Jon Voight give a good performance in Anaconda? No. He does, however, give a great performance in Anaconda. Jon Voight looked like he walked to set everyday wearing a bib with a knife and fork ready to devour every bit of scenery. It’s the type of hammy over-the-top performance that made actors like Walken, Cage, and Kinski legends and that lesser actors could never have pulled off. Voight is clearly modeling it on a specific stereotype but what it’s a stereotype of, is anyone’s guess. His commitment to the role is evident in every scene. He fully embraces the character’s eccentricities, from his thick, exaggerated accent to his unnerving facial expressions. This level of intensity helps elevate Serone from what could have been a clichéd villain into a character who is fascinating in his exaggerated madness.
470. Mama (Javier Botet) | Mama (2013)
Mama is a tragic character, born from a story of loss and madness. She is the ghost of a woman who died trying to protect her child, and this maternal instinct continues in her afterlife. When she finds two abandoned girls, Victoria and Lilly, Mama adopts them as her own, caring for them in a twisted, possessive way. The film shows her deep attachment to the girls, and while she is protective, she is also dangerously jealous and vengeful toward anyone who tries to take the children from her. Javier Botet’s performance as Mama is remarkable due to his unique physicality.
Botet, who has a genetic condition called Marfan syndrome, uses his extremely slender and elongated frame to create unnatural movements that add to the ghost’s eerie and unsettling presence. His portrayal of Mama brings a disturbing realism to the spirit, making her movements seem both graceful and horrifying. Despite being a monstrous figure, Mama’s backstory and motivations reveal her as a tragic figure who is driven by the trauma of her own death and the loss of her child. This blend of horror and emotional depth, combined with Botet’s physically haunting performance, makes Mama an unforgettable figure in modern supernatural horror.
469. Simone (Désirée Nosbusch) | Der Fan (1982)
The only reason this wasn’t remade years ago, is the fact that no American studio knows it exists. The only thing you’d need to do to modernize it is to update the technology. Other than that, this haunting psychological thriller that tackles the darker side of obsession and celebrity worship plays far better today, than it did in 1982. The film follows Simone, a teenage girl who is obsessed with a pop star known only as “R” (played by the real-life musician Bodo Staiger).
Simone’s infatuation with R consumes her entire existence; she writes him letters, dreams of meeting him, and isolates herself from her family and friends. When R comes to her town for a performance, Simone finally gets the chance to meet him, leading to a disturbing series of events that reveal the depth of her obsession. Der Fan takes a shocking and unexpected turn in its final act, shifting from a seemingly straightforward tale of teenage infatuation into something far more disturbing and psychologically complex.
The film’s climax is infamous for its graphic and unsettling depiction of the consequences of Simone’s obsession. Desirée Nosbusch, who was just seventeen at the time of filming, delivers a powerful performance as Simone. She captures the character’s innocent yet disturbingly single-minded devotion with a subtlety that makes her eventual breakdown all the more horrifying. Nosbusch’s portrayal of Simone’s descent into madness is both believable and deeply unsettling, making her one of the most memorable aspects of the film.
468. Black Phillip | The Witch (2015)
On the surface, Black Phillip looks like a typical old billy goat, albeit ornery as hell, but as the film progresses, it becomes clear that he is far more than just an ordinary animal. Originally, Eggers wanted the goat to have a much more pivotal role in the film but that damn goat just would not cooperate. Every shot of Black Philip was comprised of the only usable footage he could get of the thing. He was so stubborn and obstreperous, it was like he was actually possessed by a demon. Or alternatively, he was so method, he convinced everyone he was. He could either be the Val Kilmer or Daniel Day-Lewis of animal actors.
Either way, his unruly behavior definitely added to the mystique of the character, who is naturally supposed to be enigmatic considering he’s keeping a secret. By the end of the film, it is revealed that Black Phillip is Satan in disguise, who offers the film’s protagonist, Thomasin, a way out of her oppressive life. He seduces her with promises of freedom, pleasure, and power, encapsulated in his chillingly whispered line: “Wouldst thou like to live deliciously?” This climactic moment solidifies Black Phillip’s role as a tempter, promising escape from the harsh, repressive existence Thomasin endures. Ironically, the most difficult asshole in the movie ends up being the hero.
467. Grant Mazzy (Stephen McHattie) | Pontypool (2008)
Stephen McHattie brings a powerful and commanding presence to the role of Grant Mazzy. His deep, gravelly voice and intense demeanor make Mazzy a compelling figure, able to hold the audience’s attention even when he’s just speaking into a microphone. This is crucial for a film that largely takes place within the confines of a radio station. As a radio DJ, he’s used to being a voice in the dark, speaking to an unseen audience. This role becomes even more eerie and significant as the film progresses, with Mazzy isolated from the outside world and only able to gather information through fragmented reports and desperate calls from listeners.
His gradual realization of the horror unfolding outside adds to the tension and claustrophobia of the film. When news starts trickling in that something awful is effecting everyone, he starts off as disillusioned and dismissive, but as the situation becomes more dire, we see layers of fear, frustration, and determination emerge. He’s a complex character with a mix of cynicism, curiosity, and defiance.
Eventually he is forced to confront a moral dilemma: how to use his voice and platform responsibly in the face of an unprecedented crisis. The film’s unique premise, where language itself becomes a vector for infection, places Mazzy in a position of power and danger. His struggle to navigate this responsibility, trying to help while avoiding making things worse, adds depth to his character. McHattie might be best known for his work in A History of Violence but this is by far the best showcase of his skills as an actor.
466. The Golem (Paul Wegener) | The Golem: How He Came into the World (1920)
London After Midnight might be the most famous example of lost horror cinema but it’s far from the only case of a horror film being destroyed because of WW2. A Blind Bargain was a 1922 film also starring Lon Chaney that’s lost. There’s also The Head of Janus (1920), The Monster of Frankenstein (1921), The Wizard (1927), King Kong Appears In Edo (1938) and two other films in this series. The Golem: How He Came into the World is actually the third in a trilogy but the only one to survive, making it the most recognized adaptation of the Golem legend.
Little is known about the first film but the second was the first ever spoof according to some archival evidence. The story was to be a meta take on the series, with actor Paul Wegener dressing as the Golem to frighten guests at a party, where he meets the dancing girl of the film’s title. It could’ve been a really fascinating trilogy but as an unfortunate one-off, it’s still pretty great.
Set in 16th-century Prague, the story follows Rabbi Loew, who creates a Golem, a clay figure brought to life through magic, to protect the Jewish community from persecution. The narrative weaves themes of mysticism, faith, and the dangers of hubris. The Golem, while initially a protector, becomes a force of destruction, embodying the fear of uncontrolled power.
It’s a unique take on a monster story brought to life by an incredible performance by Paul Wegener. His portrayal is iconic, with his imposing presence and stoic expression conveying both the Golem’s inhuman nature and the tragic fate of a being created to serve but ultimately misunderstood and feared.
465. Businessman (Tzu-Chiang Wang) | The Sadness (2021)
Many books have been described as “unfilmable” but few have earned that distinction quite as decisively as the graphic novel Crossed. There’s shit in that comic that would make Mike Diana wince and he’s one of the only people alive to receive a criminal conviction for artistic obscenity. While it’s nowhere near as graphic (nothing is), The Sadness is about as close to an unofficial adaptation as we’re going to get.
Now, that’s not to say this is lacking in the gore, it’s just not as gory as the most fucked up comic ever created. It’s so violent, you can almost hear Damian Leone taking notes on how to go even further with his Terrifier films. While its extreme subject matter might turn off even the hardened moviegoer, for the hunters of the ultimate fucked up movie, they just received their new favorite movie to pass along to unsuspecting people.
Not since A Serbian Film has a movie immediately turned into a dare. The movie wants you to tap out and punishes you every second you continue to watch it. The film follows a young couple who are trying to reconnect after a pandemic makes the citizens of Taiwan turn into bloodthirsty rape-hungry violent maniacs. The worst of these maniacs is a businessman that pursues than main character and if you’ve seen the movie, you’d agree that he might be the most repugnant monster cinema has ever produced.
464. Anna (Ella Hunt) | Anna and the Apocalypse (2017)
Anna and the Apocalypse is a unique blend of genres, mixing elements of horror, musical, and comedy into a Christmas-themed zombie apocalypse film. Ella Hunt plays the lead role of Anna Shepherd, a high school student who finds herself fighting for survival—and singing her way through it—when a zombie outbreak turns her small Scottish town upside down. She is a strong, resourceful, and determined teenager who dreams of leaving her small town for bigger adventures.
Despite the chaos and danger surrounding her, Anna remains focused on her goals and the protection of her friends. Her character embodies resilience and hope, qualities that are showcased both in her actions and through the film’s musical numbers. One of the standout scenes is the musical number “Turning My Life Around,” where Anna, oblivious to the carnage unfolding around her, dances and sings her way through the town.
This scene perfectly encapsulates the film’s tone, combining upbeat music with the grim reality of a zombie apocalypse. She is the symbol of hope and resilience. She embodies the message that even in the face of unimaginable horror, it’s possible to find strength and continue fighting for a better future. Just keep singing and everything will be ok.
463. Melanie (Sennia Nanua) | The Girl With All the Gifts (2016)
Dismissed by critics and audiences due to zombie burnout and just plain forgotten by those who hadn’t seen or heard of it, The Girl with All the Gifts became forgotten by virtually everyone, which is a shame considering it’s the freshest take on the zombie genre in years. Set in an apocalyptic society that’s visually reminiscent of the video game The Last of Us, the film is about a scientist (Glenn Close) and a teacher (Gemma Arterton) who embark on a journey of survival with a special young girl named Melanie.
While the entire cast is top-notch, it’s newcomer Sennia Nanua as Melanie who steals the show. She shows a surprising amount of emotional depth for a child actor and holds her own against some true titans of cinema. If more people had seen this film, she’d be a star by now. The fact that The Walking Dead has five spin-offs, a couple of TV movies on the way and has ten seasons while this film remains obscure, feels like it should be illegal.
462. Elvira (Cassandra Peterson) | Elvira: Mistress of the Dark (1988)
Horror fan or not, pretty much everyone knows about Elvira in some capacity. In the early ’80s, actress Cassandra Peterson would create the character to host a new horror TV series. Inspired by The Vampira Show, Peterson as Elvira would host Elvira’s Movie Macabre, a very popular show for horror fans at the time. Elvira’s campy humor and sex appeal would resonate with horror fans so much that her show would spawn a feature film. Peterson made Elvira all her own in how she walks, talks, and flirts. She grabs every scene by its neck. People absolutely loved both her sexy gothic/punk-inspired fashion and twisted sense of humor. She is gorgeous, voluptuous, sarcastic, and funny, with a dark heart.
—Vincent Kane
461. Mia (Sophie Wilde) | Talk to Me (2023)
Ghosts as a metaphor for drug use and peer pressure is a novel one and while I do wish the filmmakers did a bit more with it, they still delivered a haunting, dread-inducing future classic. A group of friends discover how to conjure spirits with an embalmed hand and then become hooked on the new thrill and high-stakes party game — until one of them goes too far and unleashes terrifying supernatural forces. Like most A24 horror films, Talk To Me is a slow-burn character study that periodically sprinkles in the spooks and is more concerned with story and a couple of showstopping set pieces than being a jump scare machine. I, for one, love the return to character-focused horror over bloody body count horror. I’m more invested when I care and Talk to Me really wants me to care about its main character. Mia’s arc in this is as insane as it is heartbreaking as it is terrifying. Playing around with supernatural disembodied arms that let you communicate with your dead mom — not even once.
460. Det. Kenichi Takabe (Koji Yakusho) | Cure (1997)
It’s a true testament to Kōji Yakusho’s skill as an actor that he appears twice on this list, both times playing detectives who couldn’t be more different. One is a sweaty bull of a man who rampages through every scene, leaving nothing but destruction and ugliness in his path. He’s like the human personification of a grapefruit in a fruit salad, he just spoils everything around him. His character in Cure is the polar opposite. Detective Kenichi Takabe is a character steeped in psychological complexity.
Throughout the film, he grapples with intense inner turmoil, stemming from his demanding job and the burden of caring for his mentally ill wife. His internal conflict is mirrored in the film’s exploration of the human psyche, making him a fitting protagonist for such a psychological thriller. Despite the overwhelming nature of the case, Takabe remains resolute and determined to uncover the truth, even as the investigation takes a toll on his mental state.
His stoicism is both a strength and a weakness; it allows him to push forward when others might falter, but it also isolates him and exacerbates his internal struggle. This resilience in the face of such an overwhelming, almost supernatural force, adds to the film’s tension and makes Takabe’s journey all the more gripping.
459. R (Nicholas Hoult) | Warm Bodies (2013)
Warm Bodies is Romeo and Juliet but with zombies. It’s the exact same story but with a girl falling for a brain-eating corpse instead of dumb overdramatic children of warring families committing suicide because of love. R (get it) is a zombie, but unlike typical depictions in the genre, he’s portrayed as a sympathetic and introspective character. His inner monologue, filled with humor and longing, makes the audience see him as more than just a mindless creature. This perspective humanizes him, allowing viewers to empathize with his struggles, which is a fresh take on the zombie archetype.
R’s journey from a mindless ghoul to someone capable of love and thought is central to the film. His gradual transformation symbolizes the power of human connection and emotion to bring someone back from the brink of despair. This development is heartwarming and provides a hopeful message within a genre often associated with hopelessness and despair. His relationship with Julie is the heart of Warm Bodies and watching him try to court her is what makes the movie. His awkward attempts at communication, combined with his genuine care for Julie, make him an endearing romantic hero.
458. Cheng Lai Sheung (Josie Ho) | Dream Home (2010)
Dream Home is the kind of film that justifies the ridiculous hunt horror fanatics go on to find those hidden gems worth discovery. The film has a great story that hasn’t been told a million times and has one of the most compelling female protagonists in modern horror. Cheng Lai Sheung is both a victim and a perpetrator, which creates a complex and unsettling dynamic. On one hand, she’s driven by a deep-seated desire to own her dream home, a goal rooted in a tragic past and a harsh socio-economic reality.
This makes her somewhat sympathetic, as the audience can understand her frustrations and ambitions. On the other hand, the extreme lengths she goes to achieve her goal—committing brutal murders—make her a disturbing figure, challenging the audience’s sympathies. The character embodies the frustrations of those left behind by Hong Kong’s skyrocketing real estate market.
Her desire for a home is not just personal but also symbolic of the struggles faced by many in a society where owning property is increasingly out of reach. Her descent into violence can be seen as a critique of the socio-economic pressures that push individuals to their breaking points. This makes her a representative of broader societal issues, adding depth to her character and the film’s narrative.
Unlike many horror films where the female protagonist is the victim or the one who escapes the killer, Dream Home subverts this trope by making Lai Sheung both the protagonist and the predator. This subversion adds to the film’s impact, as it challenges audience expectations and places them in the uncomfortable position of following and, to some extent, rooting for a character who is deeply flawed and morally compromised.
457. Dr. Hess Green (Duane Jones) | Ganja & Hess (1973)
While everyone knows Duane Jones from his iconic zombie movie, less are familiar with his vampire movie which ironically might have the better of the two performances. After being stabbed with an ancient dagger and transformed into a vampire-like being, Dr. Hess Green becomes a figure torn between his intellectual identity and his new, uncontrollable bloodlust. This internal conflict makes him a fascinating character, as he struggles to reconcile his humanity with his new, darker impulses. Hess is not just a character but also a symbolic figure.
His transformation into a vampire can be seen as a metaphor for addiction, colonialism, and the loss of cultural identity. The film, directed by Bill Gunn, is rich with allegory, and Hess’s journey reflects the complexities of African American identity, particularly the tension between assimilation and the preservation of cultural heritage. His character explores themes of spirituality, immortality, and the eternal struggle between the sacred and the profane. Note: none of these themes are present in the awful remake by Spike Lee.
456. Juan (Alexis Díaz de Villegas) and Lazaro (Jorge Molina) | Juan of the Dead (2010)
Juan of the Dead, Cuba’s first zombie movie, garnered immediate attention due to its mere existence and although it received critical acclaim and was a huge success in its home country, it seems to have disappeared just as fast as it arrived. Either American audiences were looking for something scary like The Walking Dead or were under the impression that it was a parody of Shaun of the Dead. Nevertheless, it was ignored and it eventually faded from the public consciousness. Since it’s one of the handful of zombie films released this decade that doesn’t suck, I think it’s time people are reminded of its greatness.
Two middle-aged layabouts decide to open up a zombie killing service after the government all but ignores them declaring the flesh eaters “U.S.-funded political dissidents.” If you couldn’t tell, the film is a political satire but it never hits the audience over the head with its message. It cares more about crafting likable characters that’ll stick with you and in that regard, it has most zombie movies beat. Juan and Lázaro are among the best horror comedy duos and that’s a category that has Abbott and Costello, Tucker and Dale, and Shaun and Ed in it.
455. Raymond Lemorne (Bernard-Pierre Donnadieu) | The Vanishing (1988)
The Vanishing is one of those films where the first and only thing you think of is the end. Like The Wicker Man, it will forever live on in the annals of cinematic terror. I won’t spoil it here but Kubrick was so rattled by the film’s finale that he promptly contacted the director to proclaim it the scariest film he’d ever seen. If that’s all you remember about the film, I don’t blame you. It’s an iconic moment but it’s not the film’s only bright spot. Bernard-Pierre Donnadieu is absolutely on fire as the film’s big bad. Raymond Lemorne is a man who kidnaps people.
We don’t know why and we don’t know what he does with them till the end and every second till then, you’re desperate for answers. He’s a puzzle of a man who has a methodical and cold-blooded approach to committing horrific acts. Unlike typical villains who might act out of passion or desperation, he operates with a terrifying level of calculation.
One of the most unsettling aspects of Lemorne is how ordinary he appears on the surface. He is a family man, a respected member of society, and someone who blends seamlessly into the world around him. This contrast between his outward appearance and his inner monstrosity amplifies the horror, as it suggests that evil can lurk behind the most benign facades. The banality of his exterior makes him relatable, which in turn makes his actions even more disturbing.
454. The Headless Horseman (Christopher Walken) | Sleepy Hollow (1999)
The collision of Tim Burton and The Legend of Sleepy Hollow feels almost inevitable. It inspired one of the darkest Disney shorts that no doubt left an impression on Burton and the novel itself is tailor-made for his aesthetic. It’s a perfect union made even better by the changes to the source material. He added a whole-ass mystery to piece together and turned The Headless Horseman from a frightening ghost to an unstoppable murder puppet controlled by someone with an insane agenda. It retains the essence of the original character while adding motive which improves it tenfold. Adding Walken to the mix is just the cherry on top of an already perfect sundae.
453. Torquemada (Lance Henriksen) | The Pit and The Pendulum (1991)
The greatest adapter of Lovecraft tackling Poe feels like it should’ve been a slam dunk but hardly anyone even remembers this thing exists. But being overlooked and underappreciated is kind of Stuart Gordon’s bag. His filmography is far from perfect but you’ll be hard-pressed to find one more eclectic. He wasn’t afraid of tackling any genre and clearly gave every project 100%. Which is the best thing you can say about The Pit and The Pendulum.
It may not all work but you could tell everyone involved showed up and gave it their all, and then some. The best example of someone delivering work substantially better than the project deserves is the performance of the always-dependable Lance Henriksen. The best way to describe his character in this, is to picture Frollo from Hunchback of Notre Dame and Alan Rickman from Robin Hood: Prince of Thieves having a baby together who’s raised by Vincent Price. He’s sadistic, sinister, campy, sexually repressed and over the top in all the right ways.
452. Alice (Milla Jovovich) | Resident Evil (Franchise)
If you count the easy-to-forget TV show, the animated movies, and the reboot, there have been twelve attempts at bringing Resident Evil to the big and small screen and not a single one of them has been faithful to the games. Ironically, the worst one (the reboot) is the closest to the games but it feels like a bad fan film, so it ultimately doesn’t even matter. The most baffling thing is, they turned down a faithful adaptation from George Romero of all people to do Paul W.S. Anderson’s version instead.
I personally think they went in the wrong direction from the jump but I also acknowledge that Anderson’s version is exactly what they wanted, for better or worse. Fans of the games shit on these movies without realizing how much of an impact they had on the games themselves. First it was homages in the games (dodging the lasers) and then the games started becoming more action-packed to match the movies.
Even the animated movies became bigger and more action-forward as a response. Even if you’re not a fan of the movies, you can’t deny their impact on the franchise as a whole and if you are a fan, you’re annoyed at all this shoe leather. Fans of this franchise don’t need any rambling excuses or qualifiers to defend her inclusion. They know her badassness speaks for itself.
451. Mandy Lane (Amber Heard) | All the Boys Love Mandy Lane (2006)
Apologies to all of those primo bed-shitting memes born from the Heard/Depp trail but All the Boys Love Mandy Lane is the only good thing Amber Heard has ever made and we were very close to never seeing it. Due to complications with its distributor, Senator Entertainment, which went bankrupt shortly after purchasing the film from The Weinstein Company, the film sat on the shelf for seven years. Everyone who saw it at festivals when it was supposed to come out all raved about it and their passion kept it from fading into obscurity. When it was finally released, the general consensus was that it lived up to the hype and then some.
The film follows Mandy Lane, a beautiful and mysterious high school girl who attracts the attention of all the boys in her school. She is invited to a weekend party at a remote ranch, where the boys begin competing for her attention. As the night progresses, the party turns deadly, and it becomes clear that there is someone bumping off possible suitors to get closer to her but who and why? The twist is why it became a festival darling, so without spoiling too much, all I’ll say is that it plays with the conventions of the teen slasher genre, particularly the trope of the “final girl” to great effect. Mandy Lane is not the first example of this particular subversion but she might be the best.
500-476 | 450-426
What do you think of the list so far? Which characters do you hope will make the cut?
