Best ’70s Horror Movies of All Time – menshealth.com

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The 1970's was a decade of intense political and cultural upheaval, what with Vietnam, Watergate, the Sexual Revolution and expansion of womens rights, the aftermath of Civil Rights birthing the Black Power movement, and the advent of cults and serial killers. Following the dissolution of the Production Code, which had censored onscreen storytelling for decades, the 1970s also saw an enormous boom in the movie industry, particularly, horror flicks.

New leniency surrounding content violence, language, nudity, sexuality, and other standards of behavior expanded the possibilities of the genre across a broad spectrum. This decade brought the first horror films to receive nominations and win Academy Awards (The Exorcist, Carrie), but it also gave us the era of grindhouse exploitation (led by notorious production studio, AIP under producer, Sam Arkoff, responsible for films like The Vampire Lovers, Dr. Jekyll and Sister Hyde, and Blacula), as well as those which tread in the territory of the experimental (Eraserhead, Hausu, everything by John Waters).

Exploitation films eventually birthed blaxploitation, marking a significant boom in onscreen representation for Black folks. Though the vast majority of these films are highly problematic by current standards, key entries mark deeply significant contributions to the Black Horror tradition including Blacula, Scream Blacula Scream, the aforementioned, Ganja and Hess, Sugar Hill, and J.D.s Revenge. Also within exploitation, women began taking the lead in slashers and rape revenge films (Black Christmas, The Texas Chainsaw Massacre, I Spit on Your Grave), leading to the establishment of the trope Carol Clover coined as the Final Girl in her book, Men, Women, and Chainsaws: Gender in the Modern Horror Film.

In other words, the '70s birthed some of the most iconic horror flicks in history and influenced generations of movies to come, a reflection of a tumultuous time in U.S. history. Want to get caught up? Here are some of the best picks from the decade:

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The Exorcist (1973)

The first horror movie to ever be nominated for an Academy Award for Best Picture, The Exorcist drastically shifted the landscape of the genre, effectively opening the door for the modern possession narrative as we know it. The critical acclaim it received could only be matched by the utter hysteria around its release (heart attacks, miscarriages, vomiting, and fainting were all reported by audience members)which, of course, only made people want to see it more. Linda Blair is simply iconic in her role as Regan, the demon possessed girl-child who became one of the most recognizable movie-monsters of all time.

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Daughters of Darkness (1971)

Made by Belgian director, Harry Kmel, Daughters of Darkness, like many of the lesbian vampire films of the 70s, is loosely based on Joseph Sheridan Le Fanus 1872 novella, Carmilla. In this rendition, a newlywed couple check into a luxurious hotel for their honeymoon, soon interrupted by the presence of the seductive and alluring Countess Elizabeth Bathory (Delphine Seyrig). Distinctly Gothic in its aesthetic treatment, similar films include 1970s The Vampire Lovers and 1972s The Blood-Spattered Bride.

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Multiple Maniacs (1970)

Despite their preoccupation with monstrosity and filth, John Waters work is rarely identified as horrorstrange, since horror and disgust are undoubtedly the most common responses to his films. Its true that several trigger warnings are necessary for this first entry into the Best Of the exploitation era, but its radical embrace of the grotesque renders it the most honest reflection of the cultural anxieties of its moment.

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Vampyros Lesbos (1971)

This German-Spanish erotic horror film has been the most successful of co-writer & director Jesus Francos offerings. Following the standard story of hypnotic seduction which characterizes most lesbian vampire films, Francos rendition is known for its hazy, dream-like atmosphere and soundtrack. An exploitation film to be sure, the monstering errs much more on the side of sexy than terrifying.

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A Clockwork Orange (1971)

Stanley Kubricks adaptation of Anthony Burgesss 1962 novel doesnt receive enough credit for being a horror movie, though that's precisely the emotion the film is designed to inspire. Reflecting an essential anxiety around communism in its use of Nadsat, the fictional slang (Russian-influenced English) created by Burgess for the original novel, the film showcases a dystopian British future where sociopaths like Alex (Malcolm McDowell) and his band of droogs lay waste to society, treating ultraviolence (rape, torture, murder) as sport while The State attempts to control these impulses via modes of coercive behavioral therapy. Despite its intention as anti-communist propaganda, the violence it portrays (and there is a lot of it) is violence committed with complete banality under the rugged individualism purported by capitalism. Loathing toward the vulnerable and marginalized, rape culture, anti-intellectualism, revisionist history, and a police state which experiments on and exploits its inmates? Cant imagine what that sounds like.

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The Last House on the Left (1972)

Inspired by Ingmar Bergmans 1960 film, The Virgin Spring, Wes Cravens first entry as both writer and director is one of the most infamous exploitation films of the erawell known for the extraordinarily explicit violence it depicts. This film is definitely a rough watch, featuring sustained and prolonged scenes of rape and torture. But unlike A Clockwork Orange, the films treatment of violence is not to be confused for celebration. Rather, Craven succeeds at effectively using violence as a trick mirror. Horror at its most literal and confrontational.

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Blacula (1972) and Scream Blacula Scream(1973)

William Marshall is nothing short of iconic in this role, which transcends the trappings of standard blaxploitation to offer a rare-for-the-time representation of a Black man/vampire with worldliness, elegance, and grace. These films also offer a nuanced rendering of a Black monster which resists centering the projections of the white gaze, truly honoring the subjecthood of its characters. (We recommend these classics of Black Horror as a double feature for how strong the sequel is alongside the original.)

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Ganja and Hess (1973)

Ganja and Hess is amongst the most visually stunning films ever created. Director Bill Gunns rich use of color makes its aesthetic treatment as influential as its original storytelling, which, like Blacula, treats us to a rendition of a distinctly Black vampire (with a distinctly Black love story sewn in at that). Starring Duane Jones and Marlene Clark in the titular roles, the movie treats the condition of vampirism as a metaphor for addiction, but its far from blaxploitation. The couple at the center of this film are mutually complex characters, rendering this entry canonical within the Black Horror tradition.

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The Texas Chainsaw Massacre (1974)

The Texas Chainsaw Massacres influence on the genre simply cannot be overstated. Masterful in its use of tone and pacing, it would elevate and come to define certain elements of the slasher featured in countless future films and franchises, including Halloween and Friday the 13th. Further, its critique of American capitalism and the (cannibalistic) patriarchal structure that is the nuclear family has literally never ceased relevancy in the nearly half century since its initial release.

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Sugar Hill (1974)

Like most blaxploitation films (and many of the other films on this list), Sugar Hill isnt entirely unproblematic, but it does mark a significant shift in depictions of both Black women and African spiritual religions. While it cant be overstated that what you see onscreen shares zero likeness with Vodoun (which has been demonized throughout the entire history of film) this movie does mark a shift where the religion is no longer represented as the force of evil itself. Rather, Sugar (Marki Bey) wields it as a tool of empowerment, to both seek and establish justice.

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The Rocky Horror Picture Show (1975)

What is there left to say about the impact of Rocky Horror? An homage to classics of Queer Horror like 1932s The Old Dark House and 1954s I Was a Teenage Frankenstein, it essentially established the notion of a cult film. Shadow-cast live performances have existed all over the country for the 40+ years since the films release, additionally laying the groundwork for other horror-musicals like The Nightmare Before Christmas, Little Shop of Horrors, and Repo! The Genetic Opera.

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The Stepford Wives (1975)

We've always loved The Stepford Wives for its understanding of aspirational white womanhood, the nuclear family, and suburbia (or, by extension, the gated community) as what they area cult. A key entry for those who appreciate daylight horror and critiques of conformity.

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Jaws (1975)

Jaws was amongst the first blockbuster films and the defining creature feature of an entire generation. Dont want to get bit? Stay the hell out of the water.

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Carrie (1976)

Adapted from Stephen Kings novel of the same name, Carrie is widely regarded as one of the greatest horror films of all time in its showcasing of the real-life horrors and desperation which can often define teen girlhood. Directed by Brian De Palma and starring Sissy Spacek, it offers some of the most recognizable scenes of terror from the genre at large, as well as one of its most satisfying conclusions.

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Suspiria (1977)

Set in a ballet school operated by a coven of malevolent witches, Suspiria has been the introduction to Italian giallo for many. Directed by Dario Argento, this film is known for its impeccable use of color and distinct stylizationwhich is to say nothing of the incredible score composed entirely by Argento and Italian progressive rock band, Goblin. While the original version of the film isn't available to stream, the 2018 version starring Dakota Johnson is, and made for a fantastic remake.

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Hausu (1977)

Directed by Nobuhiko Obayashi, Hausu (House) is among the more experimental films on this list and quite possibly one of the most subversive haunted house movies ever made. There are tropes at play here certainly, but theyre so bombastic as to reach the level of camp. Gorgeous (Kimiko Ikegami) and her friends (who all bear names as though they were Spice Girls: Kung Fu is athletic, Fantasy is a daydreamer, etc.) plan to spend their summer vacation at her estranged aunts country house, but things quickly go awry upon their arrival. Despite its high femme sheen, this surrealist bubblegum pop horror movie doesnt shy away from blood or gore and features some of the most creative modes of visual storytelling produced onscreen.

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Eraserhead (1977)

David Lynchs first feature-length endeavor, Eraserhead shares similar anxieties at its core to many of the other films on this list: anxieties surrounding sex, prescribed gender roles, the nuclear family, and various conditions of moral monstrosity. Nevertheless, its entirely singular sound design, the desolation of its landscape, and the sheer absurdity of its visuals renders the tone of this film almost impossible to convey. Much like Hausu, its simply what critics often call an experience.

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Halloween (1978)

Id be remiss not to include the film that launched one of the most significant franchises in all of horror history. Drawing influence from Psycho, Texas Chainsaw Massacre, and Bob Clarks Black Christmas (1974), John Carpenter perfected what would become the established formula for the entire slasher subgenrewhich is to say nothing of the films iconic score and Jamie Lee Curtiss stellar performance as OG Final Girl, Laurie Strode.

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Invasion of the Body Snatchers (1978)

A remake of director, Don Siegels 1956 original (itself based on Jack Finneys 55 novel), this later rendition of Invasion of the Body Snatchers is the answer to every question regarding the validity of remakes. Directed by Philip Kaufman and starring Donald Sutherland, Brooke Adams, Leonard Nimoy, and Jeff Goldblum, it is the rare example of a later attempt which successfully builds on the original to reach new heights of fear and anxiety. A disconcertingly timely film for our present moment.

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Alien (1979)

Amongst the most written-about horror movies of all time, Ridley Scotts sci-fi-horror masterpiece essentially launched Sigourney Weavers career with her depiction of Ellen Ripley as The One Who Survivesa role which was notoriously written for a man and re-cast at the last minute. Forty years since its original release, it has never ceased relevancy for the malleability of its storytelling and capacity to support several distinct readings of the films tensions (analyses include references to Vietnam, climate crisis, nationalism, feminism, psychoanalysis, etc.). Additionally, the xenomorphs which populate Aliens universe remain some of the most legitimately terrifying movie monsters to ever grace our screens.

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The Brood (1979)

The 70s displayed a distinct and intense preoccupation with anxiety about future generations, illustrated in many of the films on this list as well as other features like The Omen (1976) and Its Alive! (1974). David Cronenbergs The Brood, with the directors trademark use of body horror, not only corrupts the innocence and inherent goodness prescribed to young children, it does so by prescribing monstrosity to the mother. Misogynisticyes (Cronenberg infamously wrote this film after his own divorce), but nevertheless remains a fascinating indicator and reflection of social attitudes toward women and motherhood in general.

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Best '70s Horror Movies of All Time - menshealth.com

Reviewed and Recommended by Erik Baquero