My 10 Go-To Halloween Movies I Rewatch Every Year

My 10 Go-To Halloween Movies I Rewatch Every Year


The months leading up to Halloween and the day itself are a time when I revisit some of my favorite movies that fit the tone and atmosphere of the season. While plenty of them fall into the horror category and have scary moments, many incorporate humor and satire into their stories, giving them added depth and commenting on the genre. Of course, classics like Scream, The Texas Chainsaw Massacre, and Halloween are perfect for watching this time of year, and horror movie franchises with legendary final girls are some of my favorites.




However, these movies are so synonymous with horror that I watch them almost any time of year. Conversely, my Halloween picks are projects that don’t feel right to watch when there isn’t a chill in the air. Some of the most underrated Halloween movies have gained notoriety throughout the past few years. I’m always interested in uncovering hidden gems that explore new territory within the niche of Halloween films. While not all of these movies are set during the fall months, they share themes that suit a night-in in October better than anything.


10 Jennifer’s Body (2009)

Directed by Karyn Kusama


It’s tragic that Jennifer’s Body was one of the biggest Halloween movie box office flops of its time. However, the reevaluation surrounding its quality has made up for the initial failure. The sharp script and hilarious dialogue from the writer, Diablo Cody, is one of my favorite parts of the film, as the quips between Megan Fox and Amanda Seyfried never get old. Though it was mismarketed at the time of its release and framed as a vehicle to objectify the women in the film, this isn’t the movie’s intention (via Indiewire).

Her revenge takes the form of eating boys and some fun body horror moments throughout the narrative.

The film attempts to unpack the complexities and nuance of relationships between young women and gives Jennifer the power back over her body and her life after she’s exploited because of it. Her revenge takes the form of eating boys and some fun body horror moments throughout the narrative. Though Fox and Seyfried are brilliant as Jennifer and Needy, the movie is enhanced by the supporting roles. As one of Adam Brody’s best movies, Jennifer’s Body


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Rotten Tomatoes Critic Score

Rotten Tomatoes Audience Score

Jennifer’s Body (2009)

46%

35%

9 Young Frankenstein (1974)

Directed by Mel Brooks

Out of Gene Wilder and Mel Brooks’ many collaborations, Young Frankenstein might be the very best and is certainly my favorite. As with most of Brooks’ projects, Young Frankenstein pokes fun at the tropes of the monster movie genre, utilizing the familiar beats of Mary Shelley’s famous novel and subverting them. Hilarious from start to finish, Young Frankenstein is the perfect movie to watch when you’re not looking for thrills or scares but still want a film with a little edge.


While Young Frankenstein was made for viewers who love monster movies, it also connects with audiences who aren’t as aware of the beats of Frankenstein. Brooks and Wilder craft a plot that is funny and nostalgic on its own, not just as a pastiche. It’s incredible to revisit Young Frankenstein because of how well it holds up today. Though there are some dated elements, the humor has a distinctly modern feel that easily translates to the contemporary era.

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Rotten Tomatoes Critic Score

Rotten Tomatoes Audience Score

Young Frankenstein (1974)

95%

92%


8 Clue (1985)

Directed by Jonathan Lynn

Basing a movie on a board game was a risky move, and though Clue was far from an instant hit with critics and audiences, it’s become a cult classic and a film I love to revisit. With performances from actors like Tim Curry and Christopher Lloyd, Clue‘s slapstick script works thanks to the cast, who commit themselves to their over-the-top roles and every potential whodunit ending. The multiple conclusions to the story are a hilarious cap on the narrative and connect the movie to the game.

While
Clue
isn’t the most innovative mystery-comedy, it rises above its formulaic plotting because of how fun it is to spend time with the characters.


While Clue isn’t the most innovative mystery-comedy, it rises above its formulaic plotting because of how fun it is to spend time with the characters. With the rise in popularity of whodunit movies like the Knives Out series and Kenneth Branagh’s adaptations of Agatha Christie’s novels, it’s fun to watch Clue and see how much the mystery genre has evolved as well as stayed the same. Many of the most iconic parts of Clue, like its iconic setting, have influenced the best thriller stories.

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Rotten Tomatoes Critic Score

Rotten Tomatoes Audience Score

Clue (1985)

72%

86%


7 The Cabin In The Woods (2011)

Directed by Drew Goddard

Though there’s a lot to love about traditional slasher movies and horror films, there’s no question that there are parts of the genre to be critical of. The Cabin in the Woods attempts to unpack both the criticisms and the best parts of exploitative and gory movies that are so prevalent in cinema. The story unfolds similarly to a traditional horror flick but with a compelling twist that subverts the archetypes and pitfalls of traditional scary movies.


The nihilistic edge of The Cabin in the Woods is what initially drew me to the project, and I’ve always liked how the film interrogates the viewer as much as it does the antagonists of the story. In many ways, the villains and their manipulation of events are a stand-in for the voyeuristic enjoyment audiences get out of violent movies. It’s an interesting commentary, but it doesn’t get too heavy-handed, as the project delivers plenty of laughs and some great jump scares.

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Rotten Tomatoes Critic Score

Rotten Tomatoes Audience Score

The Cabin in the Woods (2011)

92%

74%

6 Monster House (2006)

Directed by Gil Kenan


Ever since I was first introduced to Monster House as a kid, it both entranced and haunted me. Though I don’t find the movie as scary as I once did, it’s still just as compelling and serves as a time capsule of early 2000s animation, using a style and aesthetic that’s difficult to find in filmmaking today. Blending the story of a haunting with the familiar beats of the coming-of-age story, Monster House remains relatable to all audiences, and the experiences of the protagonist, D.J., are universal.

Dakota Fanning as Coraline Jones wears a yellow raincoat in a scene from Coraline.

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The story of Monster House is surprisingly emotional and poignant, hiding a sentimental and valuable message within the fantastical ride of the narrative. It’s impossible not to be moved by the end of Monster House, but that doesn’t mean there isn’t plenty of action and thrills to enthrall the audience. The pace of Monster House moves quickly, never dragging, but providing enough space for the emotional moments to land without seeming cheesy.

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Rotten Tomatoes Critic Score

Rotten Tomatoes Audience Score

Monster House (2006)

75%

64%

5 Raw (2016)

Directed by Julia Ducournau


I don’t find myself overly drawn to intensely violent or graphic horror movies, but when a film uses these elements as purposefully as Raw, it’s difficult not to be engaged. Using Justine’s, the protagonist, desire for human flesh as a metaphor for sexual awakening and desire is an incredibly compelling use of the cannibal genre, making even her most grotesque actions impossible to look away from. However, Justine’s journey to uncover her true nature doesn’t just stop at her sexuality.

While not always easy to watch,
Raw
is well worth viewing, even during the most disgusting moments.


In addition to the themes and narrative impact of the project, the cinematography and stylistic choices in Raw are vivid and transport the audience into Justine’s unraveling world. As one of the best cannibal movies of all time, Raw doesn’t rest on the metaphor to drive the story forward, touching upon the world of academia and the tense dynamic between Justine and her sister. While not always easy to watch, Raw is well worth viewing, even during the most disgusting moments.

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Rotten Tomatoes Critic Score

Rotten Tomatoes Audience Score

Raw (2016)

93%

76%

4 ParaNorman (2012)

Directed by Chris Butler & Sam Fell


ParaNorman is an underrated animated kids Halloween movie that should be on everyone’s list. Stop-motion horror movies are some of the best of the genre, and ParaNorman‘s beautifully crafted visuals effectively capture the look of a classic New England fall and the area’s legacy of witchcraft and the supernatural. Norman is part of this legacy, as he has the ability to see and communicate with the dead, a trait that isolates him and sets him apart from the community.


The issue of conformity versus individuality is a central theme in ParaNorman, as is the desire to be accepted and loved. There’s a piece of every audience member, young and old, inside Norman, and his quest for self-acceptance and bravery ignites some of the same traits in the viewer. Though ParaNorman doesn’t have the same reputation as other horror stop-motion films like Coraline, it should be better remembered for its enduring themes and empathetic tone.

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Rotten Tomatoes Critic Score

Rotten Tomatoes Audience Score

ParaNorman (2012)

89%

72%

3 The Love Witch (2016)

Directed by Anna Biller

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The Love Witch, directed by Anna Biller, follows Elaine, a modern-day witch, who uses magic to make men fall in love with her. Set in a meticulously crafted 1960s aesthetic, the film explores themes of love, desire, and gender dynamics through a unique blend of horror and satire. Samantha Robinson stars as Elaine, whose quest for romance leads to unforeseen complications.

Director
Anna Biller

Release Date
November 11, 2016

Writers
Anna Biller

Cast
Elle Evans , Jeffrey Vincent Parise , Samantha Robinson , Katy Morris , Ryan Poole , Robert Michael Anderson

Runtime
120 minutes


The campy and stylized horror-comedy The Love Witch is a gorgeous project that has narratively modern themes but looks like it emerged straight out of the 1960s. Samantha Robinson anchors the movie as the central character, a witch, Elaine, who seeks her true love but is consistently thwarted by the behavior of the men around her and her own deadly tendencies. The Love Witch touches upon the misogynistic fear of women’s power and agency and uses Elaine’s actions as a comment on what society teaches women about love.

The director, Anna Biller, has made it clear that
The Love Witch
is a film deeply in conversation with feminist theory and film history.

The director, Anna Biller, has made it clear that The Love Witch is a film deeply in conversation with feminist theory and film history. As the horror genre has evolved and included more women filmmakers, stories like The Love Witch have risen to the forefront of independent cinema. The Love Witch was written, produced, and directed by Biller, with many of the costumes and sets her work as well, making the film a labor of love and the product of a singular vision.


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Rotten Tomatoes Critic Score

Rotten Tomatoes Audience Score

The Love Witch (2016)

95%

61%

2 Bodies Bodies Bodies (2022)

Directed by Halina Reijn


When setting a movie in the contemporary era, one of the most important aspects is to write dialogue that matches the way young people speak without immediately being clunky and dated. Most of the time, this is an almost impossible task, but Bodies Bodies Bodies is referential and rooted in the present without feeling too much like a time capsule. This is helped by the stellar cast led by Amandla Stenberg, Myha’la Herrold, and Rachel Sennott, who have all proven to be part of the groundbreaking actors of their generation.

imagery from The Black Phone (2021) and M3GAN (2023) and Nope (2022), a few of the best horror movies from the 2020s

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Despite its satirical dialogue and the tongue-in-cheek final twist of the story, there are some genuinely frightening moments in Bodies Bodies Bodies. Deeply in conversation with the works of the whodunit genre that came before it, Bodies Bodies Bodies updates its narrative to connect with modern audiences effectively. Though it only came out a few years ago, I’ve enjoyed it just as much as when I watched it in theaters every time I revisit it.


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Rotten Tomatoes Critic Score

Rotten Tomatoes Audience Score

Bodies Bodies Bodies (2022)

86%

69%

1 The Silence Of The Lambs (1991)

Directed by Jonathan Demme

The Silence of the Lambs - Poster

The Silence of the Lambs follows FBI trainee Clarice Starling, portrayed by Jodie Foster, as she seeks the help of imprisoned Dr. Hannibal Lecter, played by Anthony Hopkins, to solve a series of gruesome murders. Directed by Jonathan Demme, this 1991 psychological thriller delves into the dark world of criminal profiling and the complex relationship between a young investigator and a brilliant, but dangerous, psychopath.

Director
jonathan demme

Release Date
February 14, 1991

Writers
Thomas Harris , Ted Tally

Runtime
118 Minutes

Starring Jodie Foster and Anthony Hopkins as Clarice Starling and Hannibal Lecter, The Silence of the Lambs is one of the best and one of my favorite thriller movies of all time. Though it’s terrifying enough to sometimes lean further into the horror genre,The Silence of the Lambs spends its runtime deliberately pacing out the incredible story. It builds tension until the viewer feels as though they’re going to explode with the weight of the narrative.


The dynamic between Clarice and Hannibal is relentlessly compelling, and watching
The Silence of the Lambs
is a masterclass in how to structure a thriller.

There are undoubtedly aspects of The Silence of the Lambs that haven’t aged well, namely the way that trans identities are touched upon with the character Buffalo Bill. These are moments to be critical of and shouldn’t go unspoken, but this criticism is part of an attempt to ensure that the other amazing parts of the film can still be enjoyed. The dynamic between Clarice and Hannibal is relentlessly compelling, and watching The Silence of the Lambs is a masterclass in how to structure a thriller.


Title

Rotten Tomatoes Critic Score

Rotten Tomatoes Audience Score

The Silence of the Lambs (1991)

95%

95%

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