Editorials
10 Overlooked ’90s Horror Movies You Should Watch
While some people regard the 1990s as an overall weak time for horror, others feel the decade has been too maligned. Especially when looking back on the era through a modern lens. If nothing else, the ’90s were an interesting time of transition before Scream (1996) stirred the pot and sparked new interest in all things horror. Admittedly, the years before then were all over the place, and not every movie made in Scream’s immediate wake was as game-changing; however, there are plenty of less detectable gems buried in the mix.
By now, a fair chunk of ’90s horror has been unearthed and reappraised, but these ten overlooked movies could certainly use a bit more attention.
Playroom (1990)
Pictured: Christopher McDonald and Jamie Rose in Playroom (a.k.a. Schizo).
Before going on to direct the rather underrated early-’90s slasher, Dr. Giggles, Manny Coto helmed this nearly forgotten flick. The twisted Playroom (or Schizo) sees an archaeologist, Chris (Christopher McDonald), confronting his childhood trauma; as a boy, his family was murdered at the European monastery in which his father was working. The exact one McDonald’s adult character now explores, hoping to find the tomb of Prince Elok. That prince’s legendary preference for sadism lives on as visitors come into his old playground without a clue of what’s to come. Playroom ultimately acts like something out of Tales from the Crypt, which, funny enough, Coto directed an episode of (“Mournin’ Mess”). That same episode also features Vincent Schiavelli, who plays a man wrongly accused of murder in Playroom.
No Telling (1991)
Pictured: Stephen Ramsey and Miriam Healy-Louie in No Telling.
Larry Fessenden’s clear love of monsters manifested after No Telling; however, this bad-science movie isn’t short on its own kind of monster. This Frankensteinian story follows the events of a scientist (Stephen Ramsey) whose experiments on animals become more and more troubling. His concerned wife (Miriam Healy-Louie) acts as our eyes as we examine the manmade horrors in this sinister drama. No Telling is a visually arresting, not to mention disturbing, entry from the iconic horror filmmaker.
Vacation of Terror II (1991)
It would be beneficial to watch the first Vacation of Terror (or Vacaciones de terror) beforehand, or at some point, but don’t be afraid to jump right into Pedro Galindo III‘s Vacation of Terror II if you’re feeling impatient. This follow-up is made for those who found the original movie a bit slow. On top of the evil doll, which got a makeover since we last saw it, there’s the wonderful inclusion of a rubbery, grotesque monster that keeps the energy up and going. As if that’s not enough to draw a crowd, the sequel also has a Halloween setting.
Stranger (1991)
Pictured: Yūko Natori in Stranger (1991).
If you enjoy vehicular horror, then definitely seek out Shunichi Nagasaki‘s Stranger (or Yoru no Sutorenjā Kyōfu). As part of Arrow’s V-Cinema Essentials: Bullets & Betrayal release, this very tense, straight-to-video thriller is in the vein of Duel, but instead of being set on an empty stretch of desert highway, the streets of Japan act as the backdrop for one unlucky woman’s nocturnal peril. A white-collared criminal named Kiriko (Yūko Natori) suddenly gains a stalker as she makes a new life as a taxicab driver. Soon enough, she is forced to confront that marauding motorist and their souped-up Land Cruiser. As much of a thrill ride as Stranger is, it also offers a worthwhile study of its main character.
Afraid of the Dark (1992)
Pictured: Ben Keyworth as Lucas in Afraid of the Dark.
Mark Peploe‘s Afraid of the Dark takes cues from giallo movies, particularly those with mysterious killers who fixate on certain body parts and have very specific targets. Here, a bespectacled and imaginative 11-year-old named Lucas (Ben Keyworth) awaits a scary operation on his eye. More frightening, though, is the prospect of a local slasher who preys on the blind. Yet, is young Lucas a reliable narrator? Something is amiss in this tense and strange thriller, and you’d be wise to find that out for yourself.
The Cormorant (1993)
Pictured: Ralph Fiennes in The Cormorant.
What looks to be a cozy and touching drama about a man and his bird is really more heady and uncomfortable than first realized. Based on the 1986 novel by Stephen Gregory, The Cormorant is really best described as a batty psycho-thriller with a smidge of “when animals attack” in its DNA. Before he gained international stardom, Ralph Fiennes starred in this feature-length, Peter Markham-directed episode from the BBC2 anthology series, Screen Two. Fiennes played a man who inherited his late uncle’s pet cormorant, then succumbed to the bird’s strange spell. And slowly does the protagonist go mad underneath the weight of this feathered fiend. Surely this increasingly bizarre story is why some Brits grew up to hate cormorants.
As for where you can watch this rarity in decent quality, and not have the the copy looking so old and shoddy, check your local library’s digital media services. It shows up in nice quality on Hoopla from time to time.
Aswang (1994)
Wrye Martin and Barry Poltermann‘s Aswang apparently had audience walkouts during its screening at the Sundance Film Festival. After having seen the movie, you’d understand why. This ultra low-budget, Wisconsin-shot indie taps into Filipino folklore, namely the titular creature that feeds on unborn children. The prospect of baby-eating sounds grisly all on its own, but the gruesomeness doesn’t stop there. It’s a wild, wild movie that must be seen to be believed.
Night of the Scarecrow (1996)
Night of the Scarecrow‘s biggest flaw is its title; it sounds too much like the peak of scarecrow horror, Dark Night of the Scarecrow. Nevertheless, Jeff Burr‘s supernatural slasher is a fun time. Sleazy and cheesy, this tale of a dead warlock returning as a killer strawman packs a lot of cool practical effects to compensate for any dated digital imagery. If you can get past the movie’s own attempt at creating a wisecracking horror villain, à la Freddy Krueger, then you should find yourself quite amused.
If I Die Before I Wake (1998)
Pictured: Stephanie Jones and Muse Watson in If I Die Before I Wake.
While still trapped on DVD, If I Die Before I Wake remains an effective home-invasion title that most folks haven’t heard of or seen. Having come out a couple of years before the insecurity horror trend, Brian Katkin‘s no-budget movie is often classified as a mere crime-thriller. So, it’s understandable if this one escaped a horror hound’s radar back then. Even still, it’s a truly terrifying and unflinching look at one family’s nightmare.
Lighthouse (1999)
Rachel Shelley and James Purefoy in Lighthouse.
Fans of one-location horror and slashers may find value in Simon Hunter‘s Lighthouse (or Dead of Night), a movie that didn’t initially receive much of a warm welcome. After a traveling prison ship runs aground and sinks, the survivors end up on an island with a lighthouse. Unfortunately, one of them got to shore first, and he’s a bloodthirsty killer who likes to chop off heads. Solid production values and atmosphere help to boost this British hack-and-slash whenever it runs the risk of feeling too familiar.
“Elevated Horror.” Of all the combinations in the English language, that one is the most insufferable.
It represents almost a decade of scary movies that, for the most part, took themselves too seriously. Horror responds to the moment, so its “why so serious” lean makes sense as we scuttle through the “worst of times” equation of Charles Dickens’ famous opening lines. But there’s still an opening and a need for a lighter approach; one that not only has fun with its audience but takes the piss out of a genre that is seemingly letting its newfound “respectability” go to its head.
Wes Craven believed devotees see horror films to let out their fears one primal scream at a time. At their core, these movies are roller coasters; they bring us as close to the edge as possible before pulling us back into a safety net of reality. The need for a bigger and badder coaster increases during times when the size of that net decreases.
There’s a thrill that comes from imagining being in a foot race with a madman, or outthinking the hordes of zombies on the other side of the door, plus the scavenger humans coming behind them. There’s even a rush that comes from imagining how one might deal with possession to see good triumph over evil in the end. It’s all about building tension and releasing it through catharsis. That cathartic release usually sounds like screams followed by laughter, which signals relief. Genre heavy hitters over the past 10 years offered very little of that respite when the credits rolled. Films like Hereditary, The Witch, Talk to Me, and even Smile (pick one) keep that tension going after the screen fades to black.
Hereditary
As the genre became obsessed with creating trauma metaphors, that lack of release made sense. Anyone with even a small sample size of traumatic experiences knows those emotions don’t magically resolve themselves in an allotted run time. But how much trauma can one take? Especially when there’s a mess going on outside that few of us can escape from. Movies offer that off-ramp, no matter how short.
Everything can’t be, nor should it be, “elevated.” Audiences need thoughtful explorations of life’s ills via monsters as much as they need murdering masked maniacs with kitchen knives. And no, it doesn’t have to go any deeper than that. Sometimes, a knife is just a knife, and it’s still worth our time and respect. As weird as it sounds, that simplicity is comforting not in spite of the trauma but because of it.
The worst of times should manifest more than just anguish. People need to laugh just as much as they need to think seriously about this moment in time. Even the Scream franchise forgot the meta rock upon which it built its church when the latest foray sacrificed the subtle comedy for serious drama. Scary Movie returned at the perfect moment. It provides the necessary laughs, but it’s not a cure-all.
This isn’t a call for Scary Movie imitators but a return to a mainstream landscape where Killer Klowns from Outer Space sat with The Serpent and the Rainbow, nestled neatly with the latest Nightmare on Elm Street, which took nothing away from The Vanishing.
They Live
Even They Live, John Carpenter’s horror sci-fi satire sandwich, kept its tongue firmly in cheek while discussing serious ideas still relevant in 2026. Yes, a film about aliens taking over the world through subliminal messaging only visible through coded sunglasses is, in fact, a tad silly. Carpenter understood that mainstream horror can’t become so self-important that it never looks itself in the mirror and laughs at that inherent silliness.
The thing is, horror historically excels at poking fun at itself. Most of the Scream franchise, The Cabin in the Woods, or The Blackening show adoration without kowtowing. They recognize tropes and trappings but invert them for an audience already in on the joke, but one that also finds solace in said conventions. This keeps the genre on its toes; once something gets parodied, it’s usually time to evolve. That breeds new ideas and fresh filmmakers, which not only strengthen the genre’s collective voice but also amplify it.
Get Out, as “elevated” as some critics want us to believe it is, is a cathartic, populist scary movie that spoke to an untapped audience rather than speaking down to them. Backrooms is one of the biggest horror hits in years, partially because it’s fine-tuned for modern-day teenagers instead of their parents. Movies like these tell everyone the genre is open for business; open for innovation and, yeah, open for new ways in which people can lovingly poke fun at with a wink and a nudge.
Horror needs dread as much as it needs laughter.
Catharsis is just as important as tension, and pulpy populism has the same merit as more high-brow material. Respectability shouldn’t come at the expense of an experience akin to walking through a haunted house. At a time when joy seems in short supply, horror should look to its past to map out its future, and make things just a tad brighter for audiences.
Backrooms
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