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.
450. Cropsey (Lou David) | The Burning (1981)
Although it is often times miscategorized as a cheap Friday the 13th knockoff, The Burning was actually in development before Sean S. Cunningham’s movie. Numerous production delays kept it coming out beforehand, so they’re wrong to call it a knockoff. They’re also wrong about it being cheap. Madman is a cheap Friday the 13th knockoff, The Burning is an impressive-looking carbon copy. The story drags and the characters aren’t interesting but Cropsey looks great and the Savini effects are stellar. Based on the New York urban legend of the Cropsey maniac, the film is about a former summer camp caretaker who is horrifically burned in a prank gone wrong and returns years later to exact his revenge on the campers he holds responsible and anyone else who gets in his way. His disfigured visage is memorably horrific and his vengeful rampage has Savini effects, so they’re a cut above most slasher villains.
449. Regan Abbott (Millicent Simmonds) | A Quiet Place Part II (2020)
While I admire and appreciate what the first one did, I think it had so many logical problems, it was impossible for me to not nitpick it to death. This one also has one or two moments that made me grind my teeth into dust (both involve the boy/son) but for the most part, I dug what it was doing more. And what it’s doing is ripping off the aesthetic and some of the set pieces from the game The Last of Us. I haven’t heard Krasinski mention it directly but I don’t give a rat’s ass what he says to the contrary — there’s no fucking way the beginning of this film wasn’t inspired by that game. He even has Cillian Murphy team up with the daughter later in the movie to mirror Joel and Ellie’s rocky relationship. And the thing is, I’m not complaining. Those two working together should’ve been the whole film because every time it cuts back to either the mom or the unbearable son, the film loses momentum. Krasinski saw how good Millicent Simmonds was in the first one and smartly released she should carry the franchise. She was the heart of the first and she’s the reason the second works as well as it does.
448. Mr. Frost (Jeff Goldblum) | Mister Frost (1990)
Despite starring as one of the internet’s favorite thirst daddies, Mr. Frost has yet to be discovered by the cult of Goldblum. He might be the sexiest and most charming version of Satan ever and yet his fans have no idea this thing exists. If they lost their minds for him in Jurassic Park, they would be obsessed with him here. Mr. Frost is introduced as a mysterious, charming, and highly intelligent man who is arrested after admitting to a series of murders. His chilling confession—that he is, in fact, Satan—immediately sets the tone for a film that explores the nature of evil, belief, and the human psyche. Throughout the movie, Frost remains calm and composed, never showing remorse or fear, which only amplifies the unsettling aura surrounding him. Goldblum’s performance as Mr. Frost is pivotal to the film’s impact. He plays the role with a mix of charismatic charm and quiet menace, making the character both intriguing and terrifying. Mr. Frost is not your typical cliched villain; he is an embodiment of a more cerebral, existential kind of horror. If he is in fact the Devil in it, he’s the sexiest Devil in the history of cinema.
447. Mick (Seth Green) and Pnub (Elden Henson) | Idle Hands (1999)
Clearly inspired by Griffin Dunne’s character in An American Werewolf in London, Mick (Seth Green) and Pnub (Elden Henson) are the undead best friends of the main character whose possessed hand killed them in the first place. Like true ride-or-die bros, they’re caught up in the chaos their best friend causes, even after they become undead. Mick is the sarcastic and witty one of the pair. Even after being killed by Anton’s possessed hand, Mick retains his laid-back attitude and quick sense of humor, delivering some of the film’s funniest lines. Pnub is the more innocent and clueless of the duo. After his death, Pnub’s head gets severed, but this doesn’t stop him from continuing his friendship with Mick and Anton. Henson brings a likable, goofy charm to the character, making him the perfect contrast to Mick’s more cynical outlook. Their interactions and chemistry with Devin Sawa are most of the reasons why it’s a cult favorite.
446. Mrs. Delores Bickerman (Betty White) | Lake Placid (1999)
A biologist studying beavers (shut up) in a remote Maine lake is savagely attacked and bitten in half (he’s pretty lively for all that – at least for a few moments). The local authorities ask for an expert from New York to examine a tooth that’s been recovered from the body and the museum sends Kelly Scott (Bridget Fonda). Kelly isn’t exactly a fan of fieldwork, but she’s willing to go to get away from a co-worker with whom she’s had a bad breakup. She gets to Maine and examines the tooth where she quickly identifies it.
Guess what it is. Go on, guess.
Sheriff Keogh (Brendan Gleason) and Game Warden Jack Wells (Bill Pullman) aren’t sure the snarky (and somewhat flaky) paleontologist is correct, but they head to the lake to investigate. They’re quickly joined by Hector Cyr (Oliver Platt), an eccentric mythology expert who thinks that crocodiles are godly.
God, this really does sound stupid, doesn’t it?
It all somehow works, though. The comedic bits and character interactions are all balanced by crocodile attacks and some pretty salty language from Betty White. She plays Mrs. Bickerman, the only resident of the lake and someone who readily admits to killing her husband while hiding the fact that she also knows about the monstrous crocodile. She’s awesome. And really foul-mouthed. We all somehow realized Betty White was incredibly funny in the later decades of her life, but in 1999 I was not expecting that from the Golden Girl, so it made me giggle each time she muttered “cocksuckers.” The whole movie is made up of “characters” who are really neurotic tics, but Mrs. Bickerman is the best – and funniest – of them all.
-Bob Cram
445. Jess (Melissa George) | Triangle (2009)
Jess is a single mother with an autistic child, getting ready for a day on the water with her male friend and a handful of other people. We get to see elements of her morning, but it’s probably not important. After a freak storm capsizes the boat, the survivors are rescued by the appearance of an ocean liner named the Aeolus. And then things go horribly wrong. Melissa George is fantastic as Jess, selling both panic and determination very well. I can’t go into detail about the plot much, as this is a time travel movie, and the details are what make it great, but Jess is a complicated and interesting heroine – one with depths and flaws and qualities that become more and more apparent as the film continues. Or if you watch it more than once, which you should absolutely do.
-Bob Cram
444. El Santo (Rodolfo Guzmán Huerta) | Santo (Franchise)
Because he’s the world’s most famous luchador, Santo is unquestionably in the Wrestler Hall of Fame but I would argue that’s not the only hall of fame he should be in. Santo, whose real name was Rodolfo Guzmán Huerta, starred in over 50 films between the 1950s and 1980s. Many of these films blend action, horror, and sci-fi, with Santo battling against supernatural creatures like vampires, mummies, werewolves, and zombies. Movies such as Santo vs. las Mujeres Vampiro (Santo vs. the Vampire Women) and Santo en el Museo de Cera (Santo in the Wax Museum) are prime examples of how his films embraced classic horror elements while placing Santo in the role of a fearless hero. To be clear, that’s 50 movies where Santo played himself in every movie. Unlike every other movie made with a wrestler in the lead, every movie Santo made was set in the same universe. What that means is, you could go see him wrestle on a Friday and then the next day, go to the movies and watch him wrestle a mummy or a La Llorona and you’re supposed to believe that’s just what he does when he’s not wrestling. He’s out there beating the shit out of ghouls. Forget the Monster Slayer Hall of Fame, he should be in the All-Time Greatest Badasses Hall of Fame.
443. Max Renn (James Woods) | Videodrome (1983)
Arguably the most Cronenbergian movie Cronenberg ever made, Videodrome is a prescient look into the future where human beings become desensitized to everything due to their dependency on technology and how we’ll become receivers for things we’re not even conscious of. Like all of his films, it successfully manages to juggle multiple themes, with Max Renn as the focal point of all of them. He is the president of a small UHF television station that specializes in airing controversial and sensationalist content. Always on the hunt for the next big thing to captivate his audience, Max stumbles upon a pirated broadcast of a mysterious show called “Videodrome,” which appears to depict real acts of violence and torture.
Intrigued by its raw intensity, Max begins to investigate the source of Videodrome, only to find himself spiraling into a nightmarish world where the boundaries between reality and hallucination blur. His character represents the dangers of unchecked media consumption and the loss of self in the face of overwhelming technological influence. As he begins to experience hallucinations, body horror, and a distorted reality, the film delves into Cronenberg’s signature exploration of the “New Flesh,” where human bodies and minds are irrevocably changed by technology. Woods brings a gritty, cynical energy to Max, making him a compelling anti-hero who is both fascinated and repulsed by the extreme content he seeks.
442. Tommy Tilden (Brian Cox) and Austin Tilden (Emile Hirsch) | The Autopsy of Jane Doe (2016)
The Autopsy of Jane Doe starts out with a murder. Well, the aftermath of a murder, anyway. In a small town Sheriff Burke (Michael McElhatton) is at the scene of a triple homicide when he’s called to the basement. Buried in the floor is the body of a young woman, perfectly preserved.
The body is brought to the local mortuary which also functions as a coroner’s morgue. There, Tommy Tilden (Brian Cox) and his son Austen (Emile Hirsch) – who bails on a date with his girlfriend to help his father – will conduct an autopsy to try and figure out the cause of death. With no identification the woman is entered into the records as a “Jane Doe.”
Brian Cox and Emile Hirsh do excellent work as a father and son. The death of Tommy’s wife – Austen’s mother – is a sore spot barely acknowledged. Tommy is obviously grooming Austen to take over the family business, but his son is considering leaving not just the job, but the town as well. These are background details only sketched out, so it’s up to the actors to make us believe in their relationship. Cox is excellent in everything, but Hirsch holds up his end quite well, making us care and identify with them both and invested in what happens to them. That’s a necessary buy-in as they’re the only living things on screen for most of the film.
Jane Doe’s body is a puzzle, one that draws the Tildens further and further down a rabbit hole of weirdness and violence and supernatural activity. You would never think that a motionless corpse, flayed open and with organs removed, would have such a weight of menace to it, but as the movie progresses that passivity becomes its own sort of antagonism. Tommy and Austen do their best to solve – and survive – the puzzle of Jane Doe, and their relationship is really why we maintain our investment for the length of the story.
-Bob Cram
441. David Dutton (Timothy Olyphant) | The Crazies (2010)
There’s something about Romero’s work that perfectly lends itself to remakes. The first two entries of his Dead trilogy have extremely solid remakes, as does his political paranoia thriller The Crazies. We just need new versions of Monkey Shines, Knightriders, and Martin, and we’d have a full set. Focusing more on the unexplained sickness that’s driving everyone banana balls than the distrust of the faceless government sent to quarantine everyone, the remake loses the political commentary of the original in favor of non-stop horror action. It doesn’t reinvent the wheel or do anything different you haven’t seen in a million other zombie-ish movies but it does hit the targets it’s aiming at dead on. Namely the characters and the scale of the chaos. Each of the leads feel distinct, which each one getting equal amounts of screen time to feel fleshed out and memorable. I almost went with Russel (Joe Anderson) but ultimately decided that Olyphant gave the better performance and was the better character. His determination to save his lady makes him an easy hero to root for.
440. Father (Gene Jones) | The Sacrament (2013)
Inspired by real-life events, most notably the Jonestown massacre led by Jim Jones, The Sacrament is a found footage horror film that follows a group of journalists who arrive at Eden Parish, a commune led by Father, to document the reunion between one of their colleagues and his sister. They are initially taken in by the seemingly idyllic and harmonious life within the commune but red flags start popping off like hot corn kernels every time someone talks about their leader. Father’s control over his followers is evident in the reverence and fear that his followers display. His speeches, delivered with a soothing yet authoritative tone, reveal a man who has convinced his followers of his absolute moral and spiritual authority, creating an atmosphere of trust that veils the horror that lies ahead.
Known for his small but memorable role in No Country For Old Men, Gene Jones is perfectly cast as a cult leader in this because there’s something about him that makes you instantly love him. He gives off good grandfather vibes, not bad grandfather vibes like so many old men do. He plays the role with a mixture of charm, sincerity, and quiet menace, which keeps both the characters and the audience on edge. The interview scene between Father and the journalists is a masterclass in building tension—Jones’s calm demeanor contrasts sharply with the growing unease as it becomes clear that Father is not just a benign leader, but a dangerous figure capable of extreme actions to maintain control over his followers.
439. Gunther (Wayne Doba) | The Funhouse (1981)
While I’m not a fan of his work, I do think Eli Roth would’ve been the perfect choice to remake this. He would’ve either made a loving homage that respects the original while doing its own thing or he would’ve missed the mark completely and his incompetence and hubris would’ve made it a hilarious disaster. There’s no in-between with Roth. But since most of the work is already done for him, he has less of a chance of fucking it up. All he has to do is tighten up the first act (not a single moment of horror happens till over 40 minutes in) and keep the setting and Gunther and he’s golden.
This may be an uneven film with numerous issues but Gunther isn’t one of them. A physically deformed assistant to the carnival barker who hides his ugly visage behind a Frankenstein’s Monster mask, Gunther is both deeply sympathetic and undeniably terrifying once his actual face is revealed. He is revealed to have severe physical deformities, including albinism and facial deformities, which contribute to his isolated and mistreated life within the carnival. Despite his monstrous appearance, Gunther is portrayed with a degree of sympathy, as his monstrous behavior is more a result of the abuse and neglect he has suffered at the hands of his father and the other carnival workers. He’s a victim of abuse who’s been turned into a monster simply because he looks like one.
438. Liz Blake (Nancy Allen) and Peter Miller (Keith Gordon) | Dressed to Kill (1980)
Liz Blake is a Manhattan call girl who unwittingly becomes a key witness in a brutal murder. Allen’s portrayal of Liz is nuanced, blending vulnerability with a streetwise toughness. After witnessing the murder of Kate Miller (Angie Dickinson), Liz finds herself entangled in a dangerous situation. The police suspect her of involvement, and the real killer is now after her to eliminate the only witness. Liz is a character who challenges the viewer’s expectations. Initially, she appears to be a typical “femme fatale” archetype, but as the film progresses, her resourcefulness and determination to survive come to the fore. Her interactions with Peter Miller bring out a different side of her, as she reluctantly partners with him to solve the murder and clear her name. Peter Miller is the teenage son of Kate Miller, the woman whose murder sets the plot in motion. Keith Gordon plays Peter as a highly intelligent and tech-savvy young man, deeply affected by his mother’s death. His character is driven by a desire for justice and a need to understand the mystery surrounding his mother’s murder. Peter’s knowledge of electronics and his investigative skills make him a valuable ally to Liz, despite his initial distrust of her. They’re an unlikely pair but goddamn do they work together perfectly. Their chemistry and rapport with one another is one of the reasons this is far more than a Hitchcock ripoff.
437. Cotton Marcus (Patrick Fabian) | The Last Exorcism (2010)
A Southern preacher and a professional exorcist who has become disillusioned with his work, Cotton was groomed from a young age to be a charismatic preacher, following in his father’s footsteps but over the years, he has lost his faith in the rituals he performs, seeing them as more of a psychological tool than a spiritual one. He no longer believes in demonic possession or the supernatural, viewing exorcisms as mere performances that can help people who are convinced they are possessed. At the start of the film, Cotton decides to expose the fraudulent nature of exorcisms by allowing a documentary crew to follow him during what he plans to be his final exorcism. He selects a case at random, choosing to help a young girl named Nell Sweetzer, who her father believes is possessed by a demon.
If you’ve seen a horror movie before, you already know this case is going to be the real deal. Cotton’s journey throughout the film is one of skepticism turned to horror. Initially, he is confident in his abilities to manipulate the situation and prove that exorcisms are nothing more than elaborate theater. He performs a mock exorcism on Nell, complete with stage tricks and theatrics, believing that he has successfully “cured” her through suggestion alone. However, as the events surrounding Nell become increasingly bizarre and unexplainable, Cotton begins to question his own beliefs. It’s refreshing to see a movie about an exorcist who thinks what he does is horse shit suddenly having to deal with a real case of possession instead of a super priest that easily fights evil with the power of Jesus.
436. Bughuul (Nicholas King) | Sinister (2012)
I love Sinister – it’s one of my favorite horror movies of the last 20 years, containing some of the creepiest images (and one of the best jump scares) in film. But if I’m honest, Bughuul is my least favorite part of it. Maybe it’s just because I prefer my horror with as few explanations as possible, maybe it’s because the design of Bughuul is reminiscent of black metal costumes, which I find more annoying than frightening. I like the basic idea of it – that an ancient Babylonian god is infecting children with some kind of murder virus – but the final appearance of the god as a presence really lets all of the air out of the film for me. I know there are people who love the monster, and of course, there was a sequel, but for me having Bughuul just be a name people put on something horrifying that they don’t understand would have been much better. Maybe harder to market, though.
-Bob Cram
435. Hans (Otto Jespersen) | Troll Hunter (2010)
While investigating a series of mysterious bear killings, a group of students stumble onto something far more dangerous. The man they suspected of killing all of those bears is, in fact, a troll hunter. Taking a page from Richard Matheson’s I Am Legend, the film puts its own unique stamp on the troll mythology by explaining every facet of their biology, diet, weaknesses and so on. The book went to great lengths to ground vampires in reality by describing the ins and outs of vampire lore: why they need blood, why they hate garlic and mirrors, why you have to stab them in the heart or expose them to sunlight, etc. He didn’t create the lore but he is the first to properly explain it and because of that, his explanations are now forever cannon in my mind and the same goes for this film.
I don’t often think about trolls but if I ever do, these are the ones I’ll think about. If that was all this film had going for it, it would arguably be enough but there’s actually a lot more to this film than just it’s excellent lore. In addition to its gorgeous cinematography (shots of this could be used in a tourism reel for Norway) and unique looking troll designs, the most impressive thing about it is its pace. Most found footage films or mockumentaries are a slow build up to a jump scare but this one is a build up to a thrilling action set piece. It’s really impressive what the director was able to accomplish on his modest budget and doubly impressive that it works as well as it does. I’m actually shocked this one hasn’t been remade yet but good luck finding a replacement for Otto Jespersen, he’s amazing in this and every time he’s on screen, he makes everything I just said irrelevant.
434. Sara (Desiree Akhavan) | Creep 2 (2017)
Sara is a struggling filmmaker who creates a YouTube series called Encounters, where she meets and interviews eccentric individuals she finds through online ads. Her show hasn’t been successful, and she is desperate to find something that will draw viewers and give her work some meaning. When she responds to an ad placed by Aaron, who claims to be a serial killer seeking a videographer to document his life, Sara sees it as the perfect opportunity to create compelling content. Unlike the previous victims in the series, Sara is not easily intimidated.
She’s skeptical but also fascinated by Aaron’s candidness about his murderous past. Her willingness to engage with Aaron, despite the obvious danger, makes her a compelling and unpredictable character. Sara’s fearlessness and curiosity drive the film’s tension, as she willingly steps into a situation where the line between reality and performance is increasingly blurred. She is both a participant and an observer, trying to keep control of the situation while also pushing the boundaries to see how far Aaron will go. Sara is a unique protagonist in the horror genre. She is neither a typical victim nor a passive observer; instead, she actively engages with the danger she faces, making her a formidable counterpart to the titular creep.
433. Sheriff Dan Gillis (James Farentino) | Dead & Buried (1981)
Sheriff Dan Gillis is the chief law enforcement officer in Potter’s Bluff, a seemingly quiet coastal town with a dark secret. As the film begins, Gillis is confronted with a series of grisly murders, where outsiders who visit the town are brutally killed and then mysteriously reappear as residents of the town, seemingly alive and well. The odd behavior of the townsfolk, coupled with the escalating violence, leads Sheriff Gillis to suspect that something far more sinister is at play. Gillis is portrayed as a diligent and committed lawman, determined to uncover the truth behind the disturbing events in his town. As he delves deeper into the mystery, he uncovers a horrifying conspiracy that involves not only the townspeople but also his close associates. The more he investigates, the more his sense of reality begins to unravel, culminating in a chilling and unexpected revelation.
Dead & Buried is one of the crown jewels of undiscovered cinema. Everyone who’s already discovered it loves it but it’s still languishing in obscurity. It’s time to bump it up from a cult classic to an actual classic. If this was an A24 film, it would be heralded as a modern masterpiece and critics would demand an Oscar nom for Farentino. His performance, especially when everything is revealed, is unreal. His arc is central to the suspense and horror of Dead & Buried. His journey from skeptical investigator to a man confronted with the unimaginable is a key element of the film’s narrative. Farentino brings depth to the character, making his descent into fear and madness all the more impactful.
432. Sophia Howard (Catherine Walker) and Joseph Solomon (Steve Oram) | A Dark Song (2016)
In the 2016 psychological horror film A Dark Song (often mistakenly referred to as A Dark Place), Catherine Walker and Steve Oram deliver intense performances as Sophia Howard and Joseph Solomon, two characters who embark on a harrowing and deeply personal journey through the occult. Sophia Howard is a grief-stricken woman who is consumed by the loss of her young son. Driven by a desperate need for closure and revenge, she hires an occultist, Joseph Solomon, to help her perform a dangerous and complex ritual known as the “Abramelin operation.”
This ritual, drawn from real-life occult practices, is intended to summon her guardian angel, through which she hopes to communicate with her deceased son and seek vengeance on those she believes are responsible for his death. Sophia is a character who is both sympathetic and enigmatic. Walker portrays her with a quiet intensity, capturing the depth of Sophia’s grief and her unwavering determination. Throughout the film, her emotional state oscillates between vulnerability and steely resolve, as she endures the physical and psychological toll of the ritual. Her character is complex, with layers of hidden pain and guilt that are gradually revealed as the story unfolds. Joseph Solomon is an experienced occultist who agrees to guide Sophia through the rigorous and dangerous ritual. Solomon is a gruff, no-nonsense figure who is both knowledgeable and deeply cynical.
He approaches the ritual with a mixture of professionalism and disdain, making it clear to Sophia that the process will be grueling and that there are no guarantees of success. Oram’s portrayal of Solomon is a masterclass in restrained menace. He embodies a man who has seen too much and is jaded by his experiences, yet he is still dedicated to his craft. As the ritual progresses, Solomon’s facade begins to crack, revealing a more vulnerable and human side. The dynamic between Solomon and Sophia is central to the film’s tension, as their relationship fluctuates between collaboration, conflict, and a reluctant bond formed through shared suffering. You’re unsure as to whether or not he actually knows what he’s talking about or if he’s capitalizing off of her grief. It’s a unique dynamic.
431. The Circus Troupe | Midori (1992)
One of, if not the most notorious anime of all time, Midori lives up to its infamy and then some. Based on the manga of the same name (published in English as Mr. Arashi’s Amazing Freak Show), Midori tells the simple story of a young girl who joins the circus and lives a happy life and everything is great. Since the film has been banned and heavily censored numerous times since its release and is once again labeled, the most notorious anime of all time, you would be right to doubt the credibility of that plot synopsis. There is a little girl named Midori that joins the circus, that much is true but there is no happy ending to be found here. That’s also about as much of the plot I’m going to reveal because trust me when I say, this film is about as close to a non-stop assault of depravity, misery and violent perversions as any film as ever been. If this was a ranking of how awful these horror characters were within their own films, the Circus Troupe in this would take the number 1 spot easily. There are no other characters in any film as nightmarishly repugnant as they are. There’s a reason why I’m not getting into specifics and that’s because every thing they do in this, you’d consider the absolute worst thing ever. Now remember they’re doing it to a 12 year old girl. Don’t watch this movie. It’s an unpleasant experience. Just trust me, these guys (and gal) have definitely earned their spot on this list and then some.
430. Matt Cordell (Robert Z’Dar) | Maniac Cop (Franchise)
I know Refn really wanted to remake this and as fascinating as that would’ve been, I can’t help but think this is a project for Peele. I just feel like this subject matter would be fertile ground for his sensibilities. Matt Cordell is a former police officer who becomes a vengeful, undead killer after being wrongfully imprisoned and brutally attacked by fellow inmates. His backstory is tragic, adding a layer of complexity to his character. Once a decorated officer, his life takes a dark turn after he is betrayed by the very system he once served. Left for dead, he returns as an unstoppable force of vengeance, targeting not only criminals but also the innocent, making him a truly terrifying figure. Robert Z’Dar’s imposing physical presence, with his distinctive jawline and towering stature, makes Cordell an unforgettable and menacing antagonist. His performance, though mostly silent, relies heavily on physicality and a sense of relentless pursuit, which adds to the horror. The second one turns him into more of an unkillable zombie Terminator who’ll pursue his target till one of them is dead and the third one pushes him in the direction of antihero. Whichever your flavor, Z’Dar delivers.
429. Harry Stadling (Brandon Maggart) | Christmas Evil (1980)
Christmas Evil is John Waters’ favorite Christmas movie and it’s easy to see why. Not because it’s weird and filthy like one of his films but because of its depiction of madness. Waters is clearly fascinated by crazy people and this has one of the best and surprisingly most realistic depictions of a character slowly losing their mind and snapping completely. Like most psychos of this era, Harry’s break with reality started when he witnessed his mom being intimate with a Santa. The man being dressed as Santa is unique to Harry but the psycho switch being flipped at the mere sight of a mother having sex isn’t. I don’t know why that was such a popular backstory for so many movie maniacs but I’ve also never saw my mother naked (thankfully), so I guess I don’t know how traumatizing it is. This event leaves him with a distorted and obsessive view of Christmas and the figure of Santa.
He works in a toy factory and is obsessed with the idea of being a perfect Santa Claus, to the point of keeping detailed records of children’s behavior in his neighborhood, much like Santa’s “naughty or nice” list. As the film progresses, Harry’s obsession with Christmas leads him down a dark path. He begins to see himself as the real Santa Claus and takes it upon himself to punish the “naughty” and reward the “nice,” but his actions become increasingly violent and unhinged. The film’s title and plot misleads you into thinking this is a horror movie. It’s really not. The original title You Better Watch Out sells the tone better. It’s a slow burn psychological thriller that talks to horror in the halls but doesn’t have the courage to ask her to the prom.
428. Abin Cooper (Michael Parks) | Red State (2011)
Red State is the best thing Kevin Smith has ever made and I wonder what his career would be if he stuck to horror. But then I remember Tusk and Kilroy Was Here exist and I’m glad he didn’t. Based loosely on real-life extremist religious figures, Abin Cooper is the charismatic and terrifying leader of the Five Points Trinity Church, a fundamentalist group. Abin is a preacher who uses his twisted interpretation of religion to justify acts of extreme violence, especially against those he deems sinners. He has female members of the church honeypot horny teenagers that they then kidnap and kill because of their lust. His motives are terrifying but it’s his monologues that are truly chilling. Parks delivers sermon long monologues that unfortunately hits a little too close to home. These dangerous religious fanatics exist and they are this crazy.
427. Uncle Red (Gary Busey) | Silver Bullet (1985)
If all you know about this movie is that it’s based on a Stephen King book and that a werewolf is in it, you’d be forgiven for thinking that Gary Busey plays the werewolf. The man has looked like he’s in the middle of a transformation for over twenty years. He looks like insanity personified. But he’s actually the nicest uncle in film history. This might be Busey at his most charming. Now, he’s not perfect. Uncle Red is a bit of a wild card—he’s brash, impulsive, and often drinks too much, but he’s also fiercely protective of his nephew, Marty, and his niece, Jane. In the film, Marty (Corey Haim), a wheelchair bound kid with an over active imagination, becomes convinced that a werewolf is terrorizing their small town. Although skeptical at first, Red eventually believes him and helps him devise a plan to catch the creature. In 90% of horror films with a similar premise, the kid would’ve been left to fight the monster by himself because adults never believe children. But Uncle Red believes in his nephew and that belief is what separates Silver Bullet from most kid lead horror movies. He also gives Marty the coolest fucking wheelchair in history. Because Uncle Red is the fucking coolest.
426. Horace Pinker (Mitch Pileggi) | Shocker (1989)
Wes Craven’s unsuccessful attempt to create another Freddy is a fucking mess. Horace Pinker has a great look and Mitch Pileggi is giving it his all but his powers are never explained (he can possess people ala Fallen, he can possess electronic devices like Maximum Overdrive and he can also pull people into the TV like Stay Tuned), the supernatural elements are never explained (the lead has clairvoyance and can see the ghost of his dead girlfriend) and certain character motivations are never made clear. And yet, despite a flawed script, Pileggi manages to rise above it and deliver a performance far better than the film deserves. If you’re one of the film’s defenders, it’s because of this performance.
475-451 | 425-401
What do you think of the list so far? Which characters do you hope will make the cut?
