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.
500. The Man in the Beaver Hat (Lon Chaney) | London After Midnight (1927)
Many characters on this list made the cut simply due to the fact that they have a memorable mask or look. Slasher villains aren’t known for their complex backstories and most of the actors playing them never have to give an actual performance outside of a flashback revealing the inciting incident during the big villain monologue. They’re cool toys or Halloween costumes and that’s pretty much all they offer. The main villain at the center of London After Midnight is the ultimate example of this. His look is undeniably iconic and has inspired countless merch despite the fact that not a single soul on Earth has ever seen the movie he’s in. Arguably the most famous lost film in existence, London After Midnight was destroyed in an MGM vault fire, making it one of the most sought-after lost silent films. There have been reconstructions made from remaining stills and title cards explaining the plot but the quality of the character or even how much screen time he has is unknown. All we have is that impeccable Chaney makeup and that’s honestly all we need. It might be a cheat to include him but when the cheat is as cool-looking as The Man in the Beaver Hat, can you blame me?
499. The Creeper (Jonathan Breck) | Jeepers Creepers (2001) & Jeepers Creepers 2 (2003)
Because of the controversy surrounding his creator, I ran a poll to see if The Creeper should even make the cut and the response was overwhelmingly positive. People really love this human meat-eating, organ-stealing monster. Whether it’s his mythology, the weird-looking truck he drives, the Wild West duster he wears and/or his look, there’s something about The Creeper that’s made an impact on audiences. I personally find the character boring and the films he’s in laughably bad but I can’t deny his popularity among horror fans.
498. Capt. Howdy / Carleton Hendricks (Dee Snider) | Strangeland (1998)
Dee Snider does not get enough credit for creating the torture porn genre. Before the members of the Splat Pack (Eli Roth, Rob Zombie, Alexandre Aja, Neil Marshall, and Greg McLean) burst onto the scene with their ultra-violent debuts that kick-started the genre, Snider had already been there years earlier. It could be argued that the Faces of Death and Guinea Pig series of films were the true progenitors but since they’re faux documentaries, they belong in a separate subcategory. Strangeland is the true origin point of torture porn and it started off with a bang.
497. Wong Chi Hang (Anthony Chau-Sang Wong) | The Untold Story (1993)
Based on the true story of the Eight Immortals Restaurant murders, The Untold Story is a shocking and visceral film that remains one of the most notorious entries in Hong Kong’s Category III cinema. It pulls no punches in its depiction of violence, depravity, and human cruelty. The film follows the story of Wong Chi Hang (Anthony Wong), a sociopathic chef who takes over a small family-run restaurant after murdering the original owners. As the new owner, Wong continues running the restaurant while secretly using it as a front to dispose of bodies, even serving human flesh to unsuspecting customers. The story escalates as a group of bumbling police officers begin to investigate the strange happenings at the restaurant. Anthony Wong’s performance is the centerpiece of The Untold Story, and it’s nothing short of mesmerizing. Wong fully embodies the deranged and malevolent Wong Chi Hang, creating a character that is both repulsive and terrifyingly charismatic. His portrayal earned him the Best Actor award at the Hong Kong Film Awards, and it remains one of his most iconic roles.
496. The Happy Toyz Truck | Maximum Overdrive (1986)
When you find out that during the making of Maximum Overdrive that Stephen King was on so much cocaine, he doesn’t even remember making it, every creative decision suddenly makes sense. Every electric device, including every vehicle not driven by the main characters is suddenly evil because of a radiation storm caused by a comet. Solid gold cocaine idea. The entire soundtrack is comprised of AC/DC, despite the fact that this is supposed to be a horror movie. Another great idea brought to you by cocaine. The main threat is a Happy Toyz truck with a giant Green Goblin head affixed to the front making it practically impossible to see for the driver but when you have cocaine behind the wheels, you don’t need eyes to see. Every decision only makes sense if you’re high on Columbian nose candy but when they’re as fun as an evil truck with a Green Goblin face, they justify their baffling insanity.
495. Dr. Alan Kessler (Randall William Cook) | I, Madman (1989)
Known for his work on the cult classic The Gate, I, Madman is another sleeper hit from Tibor Takács. The story revolves around Virginia (Jenny Wright), a bookstore clerk and aspiring actress with a passion for pulp horror novels. She becomes engrossed in a book titled I, Madman, written by Malcolm Brand, a little-known author with a dark and twisted imagination. The novel tells the tale of a deranged doctor, Dr. Kessler, who falls in love with a woman and, in his obsession, surgically removes his facial features to win her love. As Virginia delves deeper into the book, she begins to notice strange and terrifying events occurring around her. The novel’s macabre storyline starts to manifest in reality, and Virginia finds herself being stalked by the fictional Dr. Kessler, who now appears to be real and is killing people in her life. The line between fiction and reality blurs, and Virginia must unravel the mystery of the book and stop the killer before it’s too late. Randall William Cook, who also worked on the film’s special effects, portrays the menacing Dr. Kessler. His portrayal is haunting, with notes of the Phantom and elements of the Creeper (from Jeepers Creepers), Dr. Kessler is a wholly unique villain that’s as memorable as the film’s way-ahead-of-its-time meta narrative.
494. Brandon Breyer (Jackson A. Dunn) | Brightburn (2019)
A direct inversion of the Superman mythos, Brandon Breyer symbolizes the corrupting influence of unchecked power. Many comics have explored the “what if Superman was evil” storyline but all of them have rang false to me. The whole point of Superman is that he’s uncorruptible. He’s the best of us, so to subvert that is to miss the point of his character. However, the stories that use an evil alternate version of the same archetype work like gangbusters. If a man was as powerful as Superman, no force on Earth could stop him, which means he’d inevitably turn evil due to the law of absolute power corrupting absolutely. The Boys is a perfect example of this. But what if those powers manifested much earlier in a boy mentally and emotionally incapable of dealing with them? He’d be an unstoppable killing machine. Despite being raised by caring parents, Breyer’s extraterrestrial nature and the alien programming (he shares the same origin and alliterative name as his obvious inspiration) in his mind overpower his upbringing suggesting that some aspects of identity are inescapable. His gradual shift from a seemingly normal, albeit introverted, child to a cold and calculating killer makes his murderous journey compelling and his eventual unstoppable murder spree terrifying.
493. Charles “Bubba” Ritter (Larry Drake) | Dark Night of the Scarecrow (1981)
One of the first made-for-TV horror films that didn’t have that “TV” feel to it. You know, that quality of filming or acting that you can’t really explain but you know it when you see it. Dark Night of the Scarecrow doesn’t have any of that. The performances are all exceptional across the board with Larry Drake being the stand out. A simpleton who enjoys the company of children due to his limited mental capabilities, Bubba is targeted by an angry mob who accuse him of harming a child. After they dole out their justice which ends with Bubba’s death, a scarecrow who may or may not be possessed by the spirit of Bubba starts picking the people responsible off one by one. If you prefer your slashers with a sympathetic monster at the center, you won’t find many with a more memorable back story or look than Dark Night of the Scarecrow.
492. The Chauffer (Anthony James) | Burnt Offerings (1976)
With his impossibly wide smile, gaunt face, cadaver like completion, Slenderman like physique, pitch black riding glasses and hat, everything about The Chauffeur is instant nightmare fuel. While Burnt Offerings may just be a poor man’s Amityville Horror, it has one thing that movie (and every entry in that franchise) desperately wants: a legit scary character. A reoccurring nightmare based on a child’s recollection of a chauffer at their mother’s funeral, The Chauffeur is literally a child’s idea of death that haunts their nightmares. If I was a director and I saw that character’s description, I’d panic because so few actors can embody the concept of death and thankfully for this director and the movie, Anthony James is one of them. He must’ve done backflips when he came into the casting room because one look at him and you know the search is over. He’s immediately terrifying to look at.
491. Jackson Rippner (Cillian Murphy) | Red Eye (2005)
If the marketing never revealed the twist, the revelation that Cillian Murphy’s character is a killer would be as shocking as the death of Drew Barrymore in Scream. If you went into this blind, there’s zero indication that it’s a thriller until about twenty minutes in. Murphy does an excellent job of selling the cliche romcom character you’re supposed to love immediately and somehow does an even better job of a cold-blooded killer who’ll do whatever it takes to complete their task. His switch in demeanor when he reveals to Rachel McAdams’ character that he needs her to use her position at a hotel to switch the rooms of a political figure who’s going to get assassinated is spine-chillingly cold. It’s a complete 180 from the charming smooth talker she met moments earlier at the airport bar. His performance in this should’ve been an earlier sign that his future Oscar win was all but inevitable. If you can make a behavior switch this whiplash-inducing, you can do anything.
490. Marti (Linda Blair) | Hell Night (1981)
Some characters made the cut simply for subverting a well worn trope. Neither the film nor Blair’s performance in it are particularly noteworthy but she does do one thing that earns her a spot on this list. At the end of the film, when she’s trying to escape the mansion that’s now filled with the corpses of her friends (there was a fraternity prank gone wrong, don’t worry about it), she heads outside, gets in her car and tries to drive the fuck outta there. But since she’s in a horror movie, the engine obviously won’t work. But unlike every other character in a horror movie, she doesn’t just get out and run, she pops the fucking hood and fixes the car. That proactive move that saved her life puts her in a category no other final girl occupies. She fixed the fucking car and for that, she earned a spot on this list.
489. The Grabber (Ethan Hawke) | The Black Phone (2021)
When he originally conceived of the character, Joe Hill wanted The Grabber to be a clown but by the time the movie was made, creepy clowns had made a resurgence in popularity, so he decided to turn him into a party magician. Since he still wears face paint (when he’s not wearing his trademark mask), the change is negligible but appreciated. There’s fair too many scary clowns but not enough creepy magicians in film. They can turn a balloon into any shape and they love sawing people in half. It’s an untapped market for scares is all in saying.
When he isn’t performing tricks at parties, The Grabber is a child abductor and serial killer. It’s also heavily implied that he’s also sexually assaulting the boys he kidnaps. He wears a variety of sinister masks that seem to reflect his fragmented personality, switching between playful, menacing, and blank expressions. These masks are symbolic, concealing his true emotions and intentions while heightening the tension in the film. Hawke’s portrayal of the Grabber is particularly unsettling because of how unpredictable and eerily calm he appears. He mixes charm and malice, sometimes talking softly to his captives while hiding his violent tendencies.
His detached demeanor makes him more terrifying, especially in contrast with the film’s supernatural elements, where a ghostly phone allows the abducted children to communicate with previous victims to help the protagonist, Finney, survive. The film’s use of psychological horror, combined with Hawke’s menacing performance, elevates The Black Phone beyond a typical horror movie. Not enough movies blend serial killer thriller with the paranormal and The Black Phone does it effortlessly.
488. The Djinn (Andrew Divoff) | Wishmaster (1997) & Wishmaster 2: Evil Never Dies (1998)
Traditionally, djinn (or genies) are supernatural beings from Middle Eastern lore, often associated with granting wishes. However, in Wishmaster, the Djinn is reimagined as a demonic entity who twists the desires of his victims into grotesque and horrifying outcomes. His true form is terrifying, with grotesque features that underscore his inhuman nature—a leathery, gnarled visage with piercing red eyes and a sinister smile that hints at his sadistic enjoyment of human suffering. Andrew Divoff’s portrayal of The Djinn is a masterclass in malevolent charm. Divoff’s performance is layered with a mix of charisma and menace. In his human disguise, Nathaniel Demerest, he is suave and persuasive, drawing people in with the promise of granting their deepest desires. However, Divoff seamlessly shifts to the Djinn’s true nature—a sadistic entity that revels in the suffering of others. His voice, deep and resonant, adds to the character’s unnerving presence, especially when he delivers the iconic line, “Make your wish.”
487. Dr. Alan Feinstone (Corbin Bernsen) The Dentist (1996) & The Dentist 2 (1998)
The Dentist (and its sequel) feels like the best film Brian De Palma never directed. Not the De Palma that directed Carrie or The Untouchables but the De Palma that directed Body Double and Raising Cain. The one that has no problem cranking his worst impulses up to 11. It’s a heightened soap opera whose reality is as flexible as rubber. The amount of murders Dr. Alan Feinstone manages to hide is ridiculous. The fact that he can just move to another town and set up a new life even though he’s a wanted murderer is preposterous. His back story and motivating reason to continuously kill is silly. Almost nothing about these movies can be taken seriously but when the main character is played by Corbin Bernsen, who’s giving each scene way more effort than this film deserves, you won’t care. Bernsen is having a ball as an obsessive-compulsive, dangerously possessive murderous dentist who’s losing his mind more and more with each passing scene.
486. Duc de Richleau (Christopher Lee) | The Devil Rides Out (1968)
For once Lee is cast as the good guy in a Hammer picture, and his Duc de Richleau is awesome. A modern (well, 1930’s) van Helsing, Nicholas affects a certain world-weary knowledge of pretty much everything. He consistently knows exactly what’s happening and why it’s bad before anyone else has a clue. His ever-calm nature and answer for everything makes those few moments when he loses his cool much more effective. Only Lee could make a phrase like “Good God, man!” fraught with danger and import. The Devil Rides out was based on a series of novels by Dennis Wheatley, and there could have been a series featuring Lee, if only it had done better at the box office. The role was one of Lee’s favorites, and he held out hope for a re-make until his death. I would have loved to see more of the Duc de Richleau and his friends, fighting Satan in all his guises, but at least we got this film – one of Hammer’s, and Lee’s, best.
–Bob Cram
485. George Stark (Timothy Hutton) | The Dark Half (1993)
If you rounded up a thousand Stephen King fans and asked them who his greatest on screen collaborator is, I’d wager that it would be almost evenly split between Reiner and Darabont with a couple of lunatics picking Mick Garris. Not a single one would say Romero despite the fact that both of their collaborations were solid. Creepshow is the best anthology film ever made and it has a visual style no film has ever duplicated and The Dark Half, while not a classic by any stretch of the imagination, at least offers one of the craziest and most committed performances found in a King film to date. The story centers on Thad Beaumont (Timothy Hutton), a mild-mannered writer who has found commercial success under the pseudonym “George Stark,” a name he uses to publish violent crime novels. While Thad’s literary career is more prestigious, it’s Stark’s brutal and grim stories that make him famous.
When Thad decides to “kill off” his pen name and reveal the truth to the public, something sinister happens: George Stark, the pseudonym, comes to life as a separate, malevolent entity determined to exact revenge on Thad for his “murder.” Hutton delivers a compelling dual performance as both Thad Beaumont and George Stark. As Thad, Hutton portrays a man who is struggling to maintain his sanity while dealing with the horrors his alter ego unleashes. His portrayal of Stark, on the other hand, is chillingly menacing—a stark contrast to Thad’s gentle demeanor. Hutton’s ability to embody both characters effectively is one of the film’s strongest points, adding depth to the exploration of Thad’s split identity. The story was born from King’s decision to kill off his real life pseudonym Richard Bachman and the idea that Bachman would try to come back for revenge. It’s a silly idea and the movie tries everything in its power to play it straight and the only time it works is when Hutton is unleashed as George Stark.
484. Sweeney Todd (Johnny Depp) | Sweeney Todd: The Demon Barber of Fleet Street (2007)
There are four characters from horror musicals on this list and I’m letting all of you goth nerds know ahead of time, none are from Repo! The Genetic Opera. It’s a mediocre movie that has one catchy song. The fact that it’s garnered a cult whose size and passion rivals the fans of this and the three other musicals on this list, is insanity to me. That feels like a cheap student film, whereas this is Sondheim turned up to a million. His music and Burton’s aesthetic make for the perfect pairing. The story is as black as an inkwell and filled with gallows humor, so who better to helm the first big budgeted adaptation than the king of monochromatic mood pieces. And who better to bring the murderous barber to life than his best collaborator Johnny Depp.
After he returns to London after 15 years of wrongful imprisonment and adopting the alias Sweeney Todd, Benjamin Barker learns that his wife, Lucy, was raped by the corrupt Judge Turpin (Alan Rickman), who sentenced him to exile. Believing that Lucy is dead and that their daughter Johanna is now Turpin’s ward, Todd vows revenge. Todd sets up a barbershop above Mrs. Lovett’s (Helena Bonham Carter) meat pie shop, and together they hatch a gruesome plan: Todd will kill his unsuspecting customers, and Mrs. Lovett will use their bodies to fill her meat pies. As Todd becomes consumed by his thirst for vengeance, the body count rises, leading to a tragic and bloody climax. Depp’s signing may not be up to snuff but every other aspect of his performance is incredible. His portrayal is both haunting and sympathetic, making Todd a complex and compelling antihero.
483. Ambrose McKinley (Nick Damici) | Late Phases (2014)
Werewolf movies fall into two categories: the “holy shit I’m a werewolf!” and the “holy shit, that’s a werewolf!” The former produced a masterpiece that will never be topped but there has yet to be a definitive version of the latter. The Howling, Dog Soldiers and Silver Bullet have all taken a shot at the title but I think Late Phases deserves the crown. When a group of werewolves beset a secluded retirement community, it is up to a grizzled veteran to deal with the problem lest everyone become tomorrow’s meal.
A contemplative, thought-provoking look at how everyone eventually ages out of their usefulness to society and how the old and discarded must find purpose now that no one wants them around wrapped up in a horror film about werewolves, Late Phases is exactly like Bubba Ho-Tep but with a pack of wolfmen instead of an ass sucking mummy, Charles Bronson in the lead instead of Elvis and with a more serious tone. It’s a well-acted character drama that becomes a badass monster hunt in the third act. Nick Damici is this generation’s Peter Cushing or Christopher Lee, if he shows up in a genre film, that film just became a must watch.
482. Le Père Noël (Patrick Floersheim) | 3615 Code Père Noël (1989)
Due to its obscurity, I highly doubt either John Hughes or Chris Columbus saw this before making Home Alone but the resemblances between the two are striking. They both involve a kid having to booby trap their home to fend off invaders on the night before Christmas but where they diverge is in the tone. At no point during Home Alone do you believe Kevin McAllister is in any real danger. He’s beset by live action Looney Tunes characters that pose no actual threat. The kid in this though? He could die any second. The home invader in this isn’t a petty thief who wants to burglarize a house, he specifically targeted this house to kill the kid inside. Not for revenge or any other ulterior reasons. He wants to kill him because he kills children. No more explanation needed. He’s a terrifying psycho dressed as Santa who will stop at nothing to satisfy his blood lust and the kid is a Rambo obsessed rascal who’s as clever as he is capable. 3615 Code Père Noël is a pulse pounding, thrill-a-minute Christmas classic just waiting to be discovered.
481. Os Bijourn (Mark Proksch) | Another Evil (2016)
If Mark Duplass remade the Cable Guy as a horror comedy that had way more cringe humor and had 1/12th the budget, the end result would look a lot like Another Evil. The film is much more a character drama than an outright horror but when it’s scary, the film doesn’t fuck around. There’s a scene towards the beginning that does an excellent job of cultivating dread and while it’s certainly effective, it’s not terrifying enough to carry you through to the end but the chemistry between the two leads certainly will. Before he became an energy vampire on the television adaptation of What We do in the Shadows, Mark Proksch played the cringiest, most annoying (in a good way) ghost killer in the world. When ghosts invade their vacation home, a successful artist and his family hire an exorcist named Os Bijourn who may be more of a problem than the spirits he’s been hired to destroy. At first, he’s an annoying pest who’s clearly never heard of personal boundaries but as the film goes on, his desire to ingratiate himself into the family, becomes much more intense. Like an awkward One Hour Photo starring Colin Robinson, Another Evil is a mixture of genres held together by Proksch’s performance.
480. José Sirgado (Eusebio Poncela) | Arrebato (1979)
After watching a film sent to him by a friend, a struggling filmmaker becomes drawn into a strange world of obsession, where the boundaries between cinema and reality start to dissolve. The two men’s (the friend and the filmmaker) obsessions start to mirror one another, leading both men down a dark and disorienting path. Arrebato is often described as a reflection on the nature of filmmaking and the consuming nature of artistic creation. One of the film’s most notable themes is the idea of vampirism, not in the traditional sense but as a metaphor for the parasitic relationship between an artist and their medium. The camera becomes a kind of vampiric entity, feeding off the life force of those who attempt to wield it. This metaphor extends to the main characters’ struggles with heroin addiction, drawing a parallel between the destructive power of drugs and the consuming nature of creative obsession. If viewed through the lens of a vampire story, José Sirgado wins the award for the strangest vampire, that’s for sure.
479. Henry Spencer (Jack Nance) | Eraserhead (1997)
Some entries on this list will stretch the definition of horror to its breaking point. The aim of Eraserhead is neither to scare you or to keep you in suspense but it does have Lynchian nightmare vibes, so it almost balances out. The best argument for it being a horror film is to think about it from the perspective of the main character. We might not be scared of anything on screen but he’s absolutely terrified in every frame. Lynch made this film after his daughter was born and I’m interested to know how she feels about inspiring the newborn abomination at the center of it. Having a baby was so stressful to Lynch, he had to make a movie about it which is nothing but a surrealistic nightmare about a new father slowly losing his sanity while trying to take care of it. Lynch doesn’t make home movies, he makes movies about his home life and it’s terrifying.
478. Terry (Mark Soper) | Blood Rage (1987)
When Eli Roth was approached to make a fake trailer for Grindhouse, he immediately knew he was going to make a slasher but since every slasher premise had already been done, he decided to base it on a holiday. And the only holiday that never received one was: thanksgiving. Far be it for me to correct the man who directed Borderlands but if Roth did a little homework, he would’ve realized that there are, in fact, Thanksgiving themed horror films. They’re just not good. There’s the cheap-o monster flick Blood Freak, the ridiculously bad Home Sweet Home and the hilariously awful Thankskilling. As this lineup shows, Thanksgiving easily gets the biggest shaft out of all the holiday that have received horror films. Either directors don’t know what to do with the subject matter or realize that trying to top the awesomeness of Blood Rage is a fool’s errand.
This film is operating on another plane of existence. Everything about it, from the performances, direction, tone and plot is absolutely crazy. Louise Lasser spends the entire movie crying on the phone to someone unrelated to the plot and deals with her depression by sitting on the kitchen floor eating Thanksgiving leftovers straight from the refrigerator. There’s a sex scene on a diving board that looks as awkward as it does uncomfortable, the main villain has a good identical twin which isn’t played as twist and the phrase “that’s not cranberry sauce!” is used multiple times to denote that all of the blood found in various places, is in fact, blood. This gem sat on the shelf for 6 years before it was released and whoever made the call to shelve it in the first place deserves to be shot into space. There’s a reason Roth’s The Pilgrim didn’t make the cut from Thanksgiving and Terry from Blood Rage did. If you shoot at the King of Thanksgiving themed horror, you better not miss and Roth didn’t even come close.
477. Father McGruder (Stuart Devenie) | Dead Alive (1992)
If it wasn’t for the kung-fu in the cemetery, I don’t think Father McGruder would be on this list. Yes, he presides over a zombie funeral and, later, has zombie sex with a nurse that results in a zombie baby, but honestly, in Dead Alive those moments are just part of the background craziness. No, our good Father is famous for the few minutes of screentime when he flies out of nowhere, kicks a zombie in the face and yells “I kick ass for the Lord!” It’s so gloriously incongruous that it makes you laugh, and made the character instantly iconic. And he’s a fairly competent ordained martial artist! If only he’d kicked that zombie’s head away, instead of straight up, he’d probably still be fighting the good fight. (I would dearly have loved a Father McGruder origin film, featuring more martial arts against the undead.)
–Bob Cram
476. Patrick (Fedja van Huêt) and Karin (Karina Smulders) | Speak No Evil (2022)
You can gauge how impactful a foreign horror film is based on how quickly the American remake gets greenlit. Speak No Evil feels like it came out yesterday and yet the McAvoy one is already available for rent. More of a psychological thriller than outright horror film, this future Danish classic delves into the unease and discomfort that can arise from cultural differences, social etiquette, and the terrifying consequences of failing to heed one’s instincts. The film follows a Danish family—Bjorn, Louise, and their young daughter Agnes—who are invited by a Dutch couple, Patrick and Karin, to spend a weekend at their rural home in the Netherlands. The two families previously met on vacation and formed a seemingly pleasant bond. However, as the weekend progresses, what starts as slightly awkward social interactions quickly escalates into something far more sinister. Without giving too much away, Speak No Evil masterfully escalates tension through a series of increasingly uncomfortable and disturbing situations. The film gradually reveals the dark intentions of the Dutch couple, leading to a shocking and horrifying climax that lingers long after the credits roll.
Female Horror Characters | 475-451
What do you think of the list so far? Which characters do you hope will make the cut?
