Written by: Matt_Molgaard

I’ve got to issue a personal thanks to essential BHM contributor, Mike Blakely, who really hit me with some challenging topical ideas to spearhead: this specific subject matter in particular. Selecting the best horror films of the 1990’s is a wildly difficult duty, and I cherish a test of this magnitude as it really forces one to exercise a handful of different regions of the brain. So, thanks Mike, you’ve got my wheels spinning at a frightening speed… here’s hoping I can keep this one reeled in!

I’m certain a few of my selections will, in the minds of many, merit a thorough verbal bashing. I can understand that right now, having just faced the difficulty of assembling a list of this nature. And I assure you all, I will not hold your disdain personally; this is all (of course) subjective, and to be honest with myself, all too damn challenging! Regardless, what’s life (or work for that matter) without a test or two along the way?

Note: I did not list these films in any form of specific order; picking the decades major stars was intimidating enough, I dare not attempt to actually rank them from 1-15. You the reader are welcome to formulate your own official ranking, I’m simply casting light on some of the greatest features to see release from 1990 to 1999.

The Best Horror Films of the 1990’s:

Scream (1996): There can be no debate as to the cultural relevance and genre impact that Scream induced. Wes Craven single handedly revived the slasher sub-genre with his tale of “Ghostface”, the masked slasher intent to torment naïve Woodsboro teens. The film was remarkably well written (kudos go out to scribe Kevin Williamson who brought legitimate wit to a dying branch of the horror tree), well directed, and birthed the greatest Scream Queen (Never Campbell as Sidney Prescott) the public has been introduced to since Jamie Lee Curtis’s Laurie Strode, of Halloween fame. Still an immensely popular franchise some 15 years distanced from the inaugural entry, Scream is by and large, one of the greatest and most significant horror features of the 1990’s.




Candyman (1992): While strikingly similar to Clive Barker’s original short story, The Forbidden, the Bernard Rose helmed feature film Candyman differs from the source in equal measure. Everything terrifying about Barker’s short is explored on screen (quite effectively may I add), though the essence of terror is embodied on screen by the Candyman himself (played with perfection by Tony Todd), a figure not exactly pronounced in Clive’s fiction. Regardless of the differentials between the story and the film itself, this one is genuinely frightening. The film’s inclusion of an age old urban legend could well have backfired on Rose, but that was not to be, in fact, it worked like a charm. The story is unsettling, the gore is memorable, the picture’s finger prints certainly belong to Clive Barker, and in the end, we’ve got a film that stands as arguably the greatest slasher/haunting hybrid ever shot.




From Dusk Till Dawn (1996): If you’re looking for the most enjoyable picture of the 1990’s with, in my opinion the most replay value of the decade (I kid you not, I’ve seen this film at least 60 times), From Dusk Till Dawn is the clear pick. Robert Rodriguez, Quentin Tarantino and Robert Kurtzman make for a perfect creative trio; this film has everything from action to comedy, to grotesque horror, and noteworthy eroticism. The most redeeming quality however, is the sheer entertainment value of the film: From Dusk Till Dawn is nearly unparalleled in how outright fun it is! If you’re debating vampire features of the 1990’s, this film should dominate the debate!




Dead Alive (1992): I touched down on this film recently, so I’ll aim to avoid redundancy and get right down to the qualities of this picture. Dead alive is hilarious, outrageous, over-the-top, and thoroughly entertaining. If you’re familiar with Peter Jackson’s early genre efforts, you’re well aware that he’s a man who likes to push boundaries and pull no punches. That’s exactly what Dead alive offers: an unremorseful zombie examination with one of the greatest finales captured in the lengthy history of our beloved genre.




The Blair Witch Project (1999): Before “Found Footage” films had become recognized as a valid sub-genre, there was The Blair Witch Project, the proverbial springboard. This feature that pits a trio of young filmmakers against supernatural powers they’re unfit to combat was shot on a shoe string budget, subjected to a new marketing method (that worked in a way that still staggers the mind) and performed in noble fashion at the US box office. Whether you love or hate this movie, the trend it launched must be acknowledged; it would also be an insult not to note that there have been some fantastic found footage flicks that we may never have witnessed if not for this film. That said, I enjoyed this film tremendously, though I’ll be the first to admit it doesn’t tote much replay value.




Army of Darkness (1992): It’s no shock that Army of Darkness was welcomed with open arms. Despite the lack of the words ‘evil’ or ‘dead’ attached to the title, word leaked quickly that AOF served as the third installment in the Evil Dead trilogy, and every soul that had fallen in love with Sam Raimi’s early features unquestionably clamored to get a glimpse of the third picture in the series. The film definitely doesn’t disappoint, as Raimi brings more tasty visuals to the screen, more sidesplitting punch lines and a whole new load of evil villains to soak up. When describing AOD, I often tell associates that it was “likely aimed at the big beer drinker”, because this one is absolutely perfect for a good time. Knock a few cold ones back and the comedy of this treasure becomes even more pronounced, which basically equates to a great workout: toss in Army of Darkness, chug a six pack, and laugh hard enough to walk away from the experience with a physical six pack. You just can’t lose with this movie!




Cape Fear (1991): If you’ve read John D. MacDonald’s novel, The Executioners, and seen the 1991 Martin Scorsese directed remake (the story was initially transferred to screen in 1962) of Cape Fear, you know that this is one faithful adaptation. There are certainly significant differences between both works, but MacDonald’s sinister character, Max Cady is brought to life without fault by Robert de Niro, and that sole faithfulness really establishes a fine adaptation that manages to remain true to the original tale, while modernizing the vile depths of the story. If psychological terror is your forte, there are few films that rival the impact of Cape Fear. De Niro and Nick Nolte work terrifically opposite one another, and the technical execution of this picture is downright admirable. A haunting picture that certainly sticks around long after viewing, Cape Fear is one of the greatest remakes ever filmed, and one unbelievably chilling film.




Sleepy Hollow (1999): Tim Burton took Washington Irving’s original story, and managed to amplify the terror, significantly. This piece of wondrous artwork boasts some absolutely incredible set pieces, awe inspiring atmosphere and the kind of tension that really leaves the fingernails dug deep in the cushions of the recliner. This rendition of the insane Hessian Horseman is terrifying, and far surpasses the impact of the numerous telling’s of this tale, regardless of the platform with which delivered. To add the cherry, the film chalk full of spectacular performances, top lined by the amazingly diverse Johnny Depp. Sleepy Hollow is another one of those rarities that demands regular revisits, and in today’s cinematic landscape, that’s saying quite a bit. Don’t sleep on Sleepy Hollow, lest you lose your head!




The Frighteners (1996): Peter Jackson makes this list a second time for one simple reason: next to Guillermo del Toro, the man could do no wrong in regards to the genre during the 90’s. Careful of what material to tackle, mindful of minute yet significant details, Peter delivered time and again high caliber stories, decorated by stimulating visuals and grandiose climaxes. The Frighteners is no exception. Michael J. Fox offers forth his best work since the original Back to the Future, and gets loads of help from a competent supporting cast (including Jeffrey Combs, Dee Wallace, Jake Busy and R. Lee Ermey). But the story itself is engaging, as Jackson takes a typical ghost story and adds a spin to die for. Between the visual beauty and passion invested, The Frighteners stands as one of the finest films to see release in the 1990’s; sadly, a few more commercial releases stole a little wind from the sales of this film. That however, certainly hasn’t detracted Jackson fans or true horror buffs: this one if cherished on a very major level!




Mimic (1997): Speaking of Guillermo del Toro, Mimic may just be his most disturbing pure-bred horror features. The film could easily be compared to a modern day Invasion of the Body Snatchers, but it’s got its own set of blueprints with which it follows, and a few key elements certainly help classify the film as original. Man mimicking insects are terrorizing Manhattan, and a few select scientists possess the knowledge to combat this fierce predator, the question is: will they succeed in overcoming this new threat? Terrific performances anchor this perturbing story, and I’d be a damn fool not to issue credit where it’s due: Mira Sorvino, Josh Brolin and Charles S. Dutton (in particular) are fantastic. Even if you can’t wrap your head around the film’s concept, you’ll certainly be able to appreciate these top notch performances.




Ravenous (1999): Antonia Bird’s period cannibal piece stands head and shoulders above virtually every film of similar nature. The tension manufactured in this film is absolutely amazing, and the impact of the performances from Guy Pierce and Robert Carlyle surpasses memorable, and treads closer to career defining. There is an engrossing story to feast on here (see what I did there?), powerful performances and an absolutely wonderful twist. While students of the art form will predict the big reveal early, those who don’t invest obnoxious hours in watching genre pieces will be captivated by the direction that Bird and scribe Ted Griffin travel. Gripping from beginning to end, Ravenous is one of the most underrated films of the decade… ironic considering the fact that it’s easily one of the strongest pictures to see release between ’91 and ’99.




Misery (1990): What would this list be without a Stephen King addition you ask? Incomplete, that’s what. Misery is not only one of King’s finest novels it’s easily one his better screen transfers as well. In major part, credit is due to both James Caan and Kathy Bates, who carry the film together, opposing one another as psychopathic fan and crippled victim. The film leans on the shoulders of suspense and tension so heavily that grotesque visuals are never a requirement. The realism of the premise is really rather haunting, as this is a scenario that is undeniably possible. Director Rob Reiner respects King’s material and doesn’t attempt to over accentuate or force a single element, which pays off in a major way, especially as the film approaches its climax. A great feature for not only horror or King fans, but fans of quality pictures in general.




The Silence of the Lambs (1991): While I have yet to read Thomas Harris’s source novel, I can tell you that this is the best written script to grace this list, boasting a multitude of layers that just so happen to have been fleshed out with perfection by a monumental cast. Jodie Foster, Anthony Hopkins, Scott Glenn and Ted Levine are gripping. Not a cue is missed, and nearly every scene boasts a memorable exchange or distinct visual quality. In truth you’ll be hard pressed to find a film focused on the pursuit of a serial killer that rivals the photographic bearing of Silence. Furthermore, you’ll be hard pressed to pinpoint a film strong enough to even approach the technical qualities on display here. No stone is left unturned in this shocking masterpiece, and I can say with complete honesty, that this is one of the most technically refined pictures to be shot in the last few decades.



The People Under the Stairs (1991): Overshadowed by a few truly successful genre efforts released the same year, Wes Craven’s The People Under The Stairs is a terrific film that makes bold social statements while incorporating some seriously taboo subject matter. Racism, greed, sadomasochism and incest sit at the heart of this disturbing tale that happens to cover far more bases than that, like, oh say, kidnapping, and torture. There are a bevy of great performances to entertain viewers here, including absolutely stunning work from Everett McGill and Wendy Robie (both redefine the term disturbing). One of Craven’s stronger efforts, The People Under the Stairs is an appreciated film, but not to the extent that it warrants.



The Sixth Sense (1999): M. Night Shyamalan started his career not with a bang, but a thundering explosion. The Sixth Sense is an eerie ghost story that really plays on irony and sensitive subject matter. At the heart of this story is a disturbing case of child neglect that only helps to lead to a connection with the afterlife that no man, let alone boy should have. The irony comes in the film’s perceived mission, and the correlation of the picture’s climax. If you’re one of the nine people alive who haven’t seen the film, I’ll refrain from spoiling the conclusion, but I’ll tell you this, it’s extremely rewarding. Though a tad predictable (at least it becomes so late in the second act), the finale scenes of The Sixth Sense are some of the most powerful to grace the genre, and no matter what anyone thinks of Shyamalan these days, he deserves a wealth of credit for this picture alone.

Honorable mentions: Cemetery Man, Jacob’s Ladder, The Cube, In the Mouth of Madness, and Cronos: all of which are supreme pictures that absolutely must be viewed!