Editorials
10 Underseen Horror Anthologies You Should Watch!
Horror anthologies have long been a mainstay in the genre, and in the recent years has seen a bit of a revival. The recent successes of the V/H/S series, ABCs of Death, Southbound, and even this year’s XX has kick started a trend of sci-fi/horror anthologies on the small screen as well, with news of multiple anthology series in the works by AMC arriving just last week. While the last time horror anthologies peaked in popularity was the ‘80s with hits like Creepshow, Creepshow 2, and Cat’s Eye, the truth is that they’ve always been around. Some have just slipped under the radar. Here are 10 horror anthologies that have fallen through the cracks, but are worth seeking out:
Nightmares (1983)
Originally made for network television, intending to be a pilot for an anthology series for NBC, it instead became a theatrical feature for Universal. While its network television roots mean a distinct lack of gore, the stories make up for that. There are a lot of notable actors in the anthology as well, from Emilio Estevez as the hardcore gamer fighting for his life in “The Bishop of Battle,” to Lance Henriksen’s priest struggling both with his faith and a demonic black Chevy in the desert in “The Benediction,” each segment is grounded with talented leads. While some of the effects are dated, particularly in “Night of the Rat,” the stories are well done and entertaining enough to overlook this. For those that prefer urban legend based segments and anthologies without a wraparound, this is for you.
Tale of Tales (2015)
Based on the Pentamerone, a collection of 17th-century Italian fairytales, Tale of Tales is an anthology of fairy tales in the darkest sense. It also doesn’t play like a traditional anthology, as all segments are fragmented and intertwined until it briefly converges at the end. Stories of a king who feeds blood to his pet flea until it grows monstrous, to a princess kept prisoner by an ogre, to the queen so desperate for a child that she’s willing to eat the heart of a giant water dragon, each story is filled with blood and sorrow. As with most old fairy tales, these are not tales of sweet happiness, but gruesome tragedies. It’s a polished, well-shot film lead by a star-studded cast, and yet it’s often overlooked.
Dead of Night (1945)
This classic British horror anthology came about at a time when few horror films were produced and remains highly influential in the genre to this day. The clever wraparound sees an architect meeting guests at a country home, and despite having never met them, he can predict events in the house before it happens. To assuage his increasing anxiety over this, each guest tells their own tales of the strange and supernatural, leading to each of the five segments. The most memorable of which is the final sequence featuring the creepy Ventriloquist’s Dummy. Dead of Night marks the rare instance where the wraparound segment holds the most gut punch ending, and has been the direct inspiration behind a lot of more recent films like 2009’s Triangle.
The Dark Tapes (2017)
I know, I know, found footage isn’t exactly enticing these days. Which is probably why this anthology isn’t as well-known as it should be. A micro-budget affair that interlocks four tales of terror, this anthology works well because it nails its atmosphere. Writer/director Michael McQuown often lulls the viewer into expecting more of the same from the found-footage sub-genre before cleverly subverting much of its tropes. The constant shake-up of the found footage formula is fun enough, but there’s a lot of dread and tension throughout that keeps your attention. Granted, as with most anthologies, not every segment sticks its landing, and the final segment before the wraparound concludes proves to be the weakest. Even still, there’s a lot of surprises to be found here, which makes the upcoming prequel/sequel something to look forward to.
Body Bags (1993)
Originally intended to become a series like HBO’s Tales From the Crypt, Showtime opted not to pick up the series shortly after filming of the pilot film began. It’s a shame because this anthology, directed by John Carpenter and Tope Hooper, is a treasure trove of Easter eggs and cameos for horror fans. Set in a morgue, a creepy coroner (played by Carpenter himself) introduces the three segments. The first segment, “The Gas Station,” takes place at an all-night gas station near Haddonfield, Illinois and boasts appearances by horror legends Wes Craven and Sam Raimi. Even the American Werewolf himself, David Naughton, plays a role in this segment. Look for special effects wizard and The Walking Dead director Greg Nicotero in the segment, “Hair,” and spot trailblazer Roger Corman in the final sequel, “The Eye.” Cameos aside, each segment is so entertaining that they stand on their own. It’s a shame this never became the series that was intended.
Campfire Tales (1997)
Direct-to-video films often get a bad rap in terms of quality, but sometimes a rare gem is overlooked as a result. Such is the case with Campfire Tales, an anthology New Line Cinema dumped onto VHS. As the title suggests, the wraparound features a group of teens telling each other urban legends around a campfire. The stories are familiar, “People Can Lick Too,” “The Hook,” “The Honeymoon,” and “The Locket,” yet they’re well done and the cast is likable. These are characters you root for, even if you know where these urban legends are headed. While not the most innovative, this anthology still delivers on tension and fun.
4BIA (2008)
Ignore the not so great title; this Thai horror anthology is far more deserving of a larger audience. Comprised of four horror directors; two of which are behind the extremely creepy and well-loved Shutter and Alone. Even the weakest segment in this anthology is still a huge success in comparison to most anthologies. Each director brings their own style and flavor, with “In the Middle” offering a crowd-pleasing sense of humor to camping in the woods tale of terror to “Happiness” bringing a claustrophobic creep fest. From veteran horror directors to up and coming talent, 4BIA reminds us that Thailand is a leader in Asian horror and it shouldn’t be missed.
Phobia 2 (2009)
The sequel to 4Bia is bigger and better in every way. Upping the ante to include 5 directors instead of 4 (therefore also dropping the terrible title), this sequel became a smash hit in Thailand and currently sits at number 3 in terms of highest grossing Thai horror films. Comprised of segments directed by horror vets, including the return of Banjong Pisanthanakun and Visute Poolvoralaks (Alone, Shutter), this horror film works as both a solid sequel and a stellar anthology. Light on gore but high on scares, there’s also an underlying theme of karma running through its segments.
Deadtime Stories (1986)
Ok, this anthology can’t be described as good, but it is a lot of B-movie fun. The wraparound sees the worst uncle in movie history telling his nephew three bedtime stories, all of which are warped versions of fairy tales. He clearly isn’t a fan of kids, but his nephew keeps reporting a monster in the closet and won’t go to sleep. Tales of killer witches, Little Red Riding Hood and her stalking werewolf, and an urban take on The Three Bears starring Oscar winner Melissa Leo as Mama Baer in one of her very first film roles. There’s a lot of well-done practical effects, but this anthology is far more interested in biting humor than horror. Fans of ‘80s B-horror will enjoy this romp, just don’t expect greatness.
Necronomicon: Book of the Dead (1993)
Sporting a prosthetic chin reminiscent of Bruce Campbell, Jeffrey Combs plays H.P. Lovecraft in the wraparound story that sees the prolific horror writer copying stories from the Necronomicon in the middle of an old library guarded by monks. Each copied story plays out on screen, a trio of Lovecraftian tales of horror and gore, each one progressively weirder than the preceding tale. While some of the camera work and dialogue feels like a made for cable movie, the special effects are top notch and what really elevates this anthology above most. Hardcore Lovecraft purists might take issue with the way these tales play out, but those who love oozing gore and fantastic creature effects should not skip this one. Necronomicon: Book of the Dead is a very fun anthology that often goes unnoticed.
Which horror anthology do you wish more people would see?
Five decades ago, Stephen King published the story of a bullied girl with telekinetic powers and forever changed the world of horror.
Carrie follows a high school misfit who seeks revenge for a hideous prank by psychically destroying her senior prom. The name Carrie White has become synonymous with the concept of a formal dance thanks to a flawless adaptation from Brian De Palma. Now fifty years after the film’s release, Mike Flanagan is putting his own stamp on the troubling story.
Rather than a feature film, the writer/director will expand King’s relatively slim debut novel into an eight-episode miniseries for Amazon Prime set to premiere on October 7.
Flanagan is no stranger to the world of Stephen King. A long-time Constant Reader, he first made waves with his daring adaptation of Gerald’s Game (2017), a novel many fans considered un-filmable. His underrated Doctor Sleep merges the disparate plot of Stanley Kubrick’s The Shining with King’s original source material, and his 2024 genre-bending tearjerker The Life of Chuck faithfully executes one of the author’s most metaphysical novellas.
He’s currently mired in pre-production for an expansive adaptation of The Dark Tower series, keystone to King’s connected universe, and Warner Bros. recently announced that Flanagan will helm a new version of The Mist, King’s 1980 novella which sees a small Maine town overrun by otherworldly monsters.
Considering the vast array of the author’s previously unadapted material, an obvious question arises. Why reimagine Carrie in 2026? Noting the timeless nature of the content, Flanagan expressed his desire to bring the story of a bullied girl into modern times, mirroring his approach to Shirley Jackson’s The Haunting of Hill House and Edgar Allan Poe’s The Fall of the House of Usher. He explained, “The only way to approach it was to build something new out of the ingredients of Carrie. Otherwise, there’s really no purpose in trying to retread ground that’s been so beautifully walked before.”
His miniseries will maintain the novel’s bloody bookends while delivering “big surprises” along the way.
A New Prom Night Nightmare
The roughly 60-second teaser introduces Summer H. Howell as Carrie White just before the moment of catastrophe. Standing in a prom dress, she smiles at her applauding classmates with an ominous crown perched upon her head. Moments later, Carrie unleashes a rage-filled scream into the night air while promgoers rush for the exit doors. But careful examination of this scene shows Carrie wearing a different, albeit dirty dress as she seems to telekinetically punish her peers.
In an exclusive first look with Entertainment Weekly, Flanagan explains that in his version of the story, “the events of that prom are going to be completely different.” An open trunk emitting a crimson glow does hint at the pig’s blood dumped on Carrie’s head, but it’s likely Flanagan’s formal dance will be a different kind of horror altogether. Despite these changes, the series may end with the widespread destruction outlined in the source material. Unlike any previous adaptations, King’s novel ends with the near-total destruction of Chamberlain, Maine. A flaming street in Flanagan’s trailer promises similar carnage no matter what prank sparks Carrie’s deadly revenge.
The Monstrous Addition of Social Media
On the opposite end of this fiery conclusion is an extreme act of bullying that brings together the story’s main cast. King’s novel begins as Carrie gets her first period while showering in the girls’ locker room. Completely unaware of the concept of menstruation, the sheltered girl thinks she’s bleeding to death. Her classmates respond with vitriolic rage. Led by ultra-mean girl Chris Hargensen (Alison Thornton), they mock the terrified teen while pelting her with tampons. Glimpses of this disturbing event reveal that Flanagan has excised the scene’s nudity while adding a seismic update. As Carrie sobs in the shower stall, Chris and her friends film the breakdown with their phones.
Other scenes note the presence of social media, bringing King’s fifty-year-old story into the digital age.
Flanagan’s adaptation promises to explore the destructive power of social media, an often invisible entity with a potential for harm rivaling Carrie’s own powers. While King’s tormented heroine suffers in front of a small group of girls, Flanagan’s version of the incident will likely become a viral video, potentially circling the globe on social media. Similar to Katt Shea’s criminally underrated The Rage: Carrie 2, which includes elements of revenge porn exploitation, Flanagan’s modern retelling will distinguish itself by exploring the nebulous cruelty of online bullying, a force ten times more powerful than the irl pranks King first envisioned.
A Completely Reimagined White Family
In addition to modernizing these canon events, Flanagan hints at updates to Carrie’s oppressive upbringing at the hands of her mother, Margaret White (Samantha Sloyan). Dead before the novel begins, we never meet Carrie’s domineering father Ralph, known to carry a bible alongside his gun. Flanagan’s White household will be an altogether different beast. In his version of the story, Carrie and her mother have been hidden away in the unassuming home, forced out of hiding by Ralph’s unexpected death. Perhaps we will finally meet this elusive man whose shadow hangs over his wife and child. Considering the White family’s fundamentalist lifestyle, this reimagining hints at tradwife culture and a home ruled by staunch patriarchal control.
Whereas King’s Carrie has been tormented by her classmates since Kindergarten, Flanagan’s Carrie will be a wide-eyed newcomer to public school, eager to make friends and engage with her peers. We glimpse Carrie cozying up to Chris and the equally popular Sue Snell (Siena Agudong) as she navigates a new social scene. Of course, we know this kindness is part of an elaborate plot designed to lull Carrie into a false sense of camaraderie, setting up an atrocious act of public humiliation. These brief moments of feigned compassion put Sue’s own complicity into question. Will Flanagan’s version of the character find the courage to defend Carrie from vicious bullies or will she succumb to peer pressure and join in the mob mentality?
Perhaps the biggest deviation from King’s original text is the relationship between Carrie and her mother. King’s Margaret White is a horrifically abusive religious zealot whose worldview has been hardened by internalized misogyny. She shames Carrie for menstruating, locks her in a closet to “pray,” and regrets not killing her child in infancy. She’s also responsible for Carrie’s social ostracization. Known to berate her neighbors for their “sins,” Margaret forces her daughter to live by an extreme code of conduct and disallows any potential friends lest they corrupt the girl with their worldly ways.
Flanagan’s version of the character is perhaps just as much a victim as Carrie herself. Also trapped inside her home, his Margaret is overly vigilant, her own trauma manifesting as strict control. Describing a more sympathetic depiction of the iconic villain, Flanagan explains, “Our Margaret White is a woman who fiercely loves her daughter and wants to protect her from this world … [She] doesn’t know how to do that and thinks the way to protect her is to close her off; not punitively, but to create this private utopia.”
Despite this potential softening, Sloyan’s Margaret may still have a sharp edge. Though she has appeared in many Flanagan projects, from Hush (2016) to The Fall of the House of Usher (2023), she is best known for her role as the abhorrent Bev Keane in the poignant saga Midnight Mass (2021). Perhaps inspired by King’s Margaret White, Bev is pious and sadistic, willing to punish anyone who does not adhere to her warped approximation of Catholicism.
Flanagan specifically wrote Margaret with Sloyan in mind, likely remembering the actress’s eerie ability to create deceptive empathy and shift our allegiances on a dime.
Expanding Stephen King’s Telekinetic Universe
While most of King’s story deals with an unthinkable prom night in Chamberlain, Maine, large sections of the semi-epistolary novel see experts debating the nature of telekinesis. Do Carrie’s frightening abilities represent a new phase in human evolution or is the prom night carnage merely a fluke? King settles the debate with a shocking denouement in which a young mother recounts her infant daughter’s ability to dangle her crib toys in midair. We’re left to wonder if she will become another tormented girl who surprises the world with metaphysical strength.
Flanagan plans to build out this brief scene while amplifying themes of female empowerment. After introducing our main cast of characters, episode two will open with an unrelated story in which we meet another girl with the TK gene. Each subsequent chapter will expand this world, building out a roster of telekinetic young women. Considering King’s fondness for stories about powerful kids, often described as possessing “the shining,” Constant Readers will no doubt have their eyes peeled for various Easter Eggs nodding to the author’s vast catalogue.
Giving Carrie Her Own Voice
Perhaps the most striking distinction in Flanagan’s new trailer is the extent to which we hear Carrie’s voice. The sneak peek is fully narrated by the titular prom queen as she demands accountability. “I want to know why,” she explains while detailing Chris’ elaborate plan. Aside from the aforementioned coda, King’s book essentially ends with the aftermath of the prom night tragedy, leaving little time for Carrie to reflect. His shifting narrative does bring the reader into her fragile mind, though not before she’s been cowed by relentless cruelty. We watch Carrie sink into bloodthirsty revenge, but never hear a considered desire for justice or repair.
Flanagan’s original monologue allows Carrie to voice her pain and mourn the life she could have had. We’re also treated to a mug shot-style photo of Chris with a bruised and bandaged face, implying that the mean girl will have to answer for her senseless sadism.
Flanagan is known for filling his series adaptations with heartwrenching speeches that cut to the heart of his thematic intentions, and this teaser seems to follow suit. After years of fans, critics, and scholars analyzing Carrie’s pain, perhaps his modern retelling will offer the titular anti-hero a chance to finally speak for herself.
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