Editorials
Double the Terror and Fun: 10 of Horror’s Best Sequels Ahead of ‘Ready or Not 2’
I’ve always loved a sequel. As a child, I assumed the more recent the film, the higher the quality, and I frequently jumped into the middle of long-established franchises before seeking out their opening chapters.
Ghostbusters II, for example, still holds a special place in my heart because it introduced me to the haunted world of 80s-era New York City long before I watched Ivan Reitman’s 1894 classic.
In many ways, sequels have an easier path than other films. With a built-in audience often demanding its existence, the sequel can forgo cumbersome table setting and get down to business in a previously established scenario. Audiences sink back into a familiar realm and watch known characters embark on a new adventure. Or at least that’s what’s supposed to happen.
As horror fans, we know that the genre is littered with forgettable sequels lining discount VHS bins or languishing at the far end of streaming menus. Is Randy Meeks (Jamie Kennedy) right when he posits that, “by definition alone, sequels are inferior films” in Wes Craven’s beloved Scream 2?
Ready or Not 2: Here I Come breaks this ominous pattern by building on the surprise 2019 hit Ready or Not, a blood-soaked romp through a sinister family estate. On the night of her wedding, Grace (Samara Weaving) is pulled away from the honeymoon suite and roped into a bizarre family tradition. After drawing a card from a devilish deck, she becomes the target in a violent game of Hide and Seek that doubles as ritual sacrifice. Having barely escaped that horrific ordeal, she now finds herself hunted by maniacal in-laws determined to cut her out of their family tree.
Directed by Matt Bettinelli-Olpin and Tyler Gillett, Ready or Not 2: Here I Come adds genre darling Kathryn Newton to the cast as a partner for Weaving’s intrepid survivor. This thrilling odyssey through feminist empowerment is the latest in a handful of horror sequels that manage to distinguish themselves from the pack.
Though good sequels may be exceedingly rare, the ten following franchise entries perfect the art of continuing the story and arguably surpass the films that sparked their existence.
Bride of Frankenstein (1935)
Director James Whale was reluctant to follow his 1931 hit Frankentstein, believing he’d mined every drop of inspiration from Mary Shelley’s 1818 source material. After several false starts, Universal coaxed Whale back to this monstrous world by agreeing to produce another passion project. Already satisfied with Frankenstein, Whale decided his sequel would shoot for the moon and wound up creating one of horror’s most memorable stories.
Bride of Frankenstein picks up the original’s narrative threads as the titular mad scientist creates a female companion for Boris Karloff’s lonely Monster. With a single scene and zero lines of dialogue, Elsa Lanchester’s Bride has become one of the most enduring images in genre history, a symbol of monstrous femininity. Following nine decades of sequels and inventive reimaginings, Maggie Gyllenhaal’s 2026 feminist fantasy The Bride! proves that Whale’s masterful film is still just as relevant to modern horror audiences.
Dawn of the Dead (1978)
While some sequels continue an original story, others take a relatively simple concept and drastically expand the world. The follow-up to George A. Romero’s iconic Night of the Living Dead features a new cast of characters struggling to survive a world overrun with hungry corpses. Set in a Pennsylvania shopping mall, Dawn of the Dead builds on themes of bodily autonomy and consumerism while again presenting humans as the story’s true monsters.
Filmed in color, this action-packed nightmare also features the work of legendary SFX creator Tom Savini — fresh from active service in the Vietnam War, which kept him from working on Romero’s original. Though Night remains one of the genre’s most influential titles, its sequel set the standard for the modern zombie film.
Aliens (1986)
James Cameron’s Aliens also has the dubious task of following a cinematic masterpiece. Ridley Scott’s 1979 “haunted house in space” story follows a crew of industrial astronauts as they’re hunted by a parasitic entity who nests inside their abdominal cavities. Bigger, bolder, and more bombastic, Aliens sees sole survivor Ellen Ripley (Sigourney Weaver) once again tasked with exterminating the so-called Xenomorphs, this time with the help of Colonial Marines. Rather than a single extraterrestrial monster, Ripley must face a massive Alien Queen and her hordes of similarly dangerous children.
Cameron builds upon Scott’s themes of pregnancy horror with an empowering portrait of motherly love and one of the most exciting final showdowns in the history of horror. Determined to save her surrogate daughter, Ripley dons a metal exoskeletal loader to throw down with another ferocious mother.
Evil Dead II (1987)
Lionized by genre author Stephen King, Sam Raimi’s Evil Dead II: Dead by Dawn boasts a larger budget, expanded timeline, and a new menagerie of special effects. Bruce Campbell reprises his role as the heroic Ash, essentially recapping the original film in a delightfully campy opening act. From there, things get truly weird. Periodically possessed by Deadites summoned by another ill-conceived recitation of the Necronomicon, Ash finds himself tasked with saving the world from maniacal demons. This time sporting a chainsaw for a hand, the strong-jawed hero blasts his way through hordes of creatures before he’s sucked into an alternate dimension.
Exceedingly creative, Raimi’s Evil Dead II plays with prophecy before turning the story upside down in a shocking cliffhanger ending that deftly sets up Army of Darkness, another beloved horror sequel.
Hellbound: Hellraiser II (1988)
Tony Randel’s Hellbound: Hellraiser II leans into the gore of Clive Barker’s decadent original while transporting the story to hell itself. After surviving the dreadful Cenobites, Kirsty (Ashley Laurence) finds herself dragged into a labyrinthine netherworld to prevent her stepmother Julia (Clare Higgins) and her sinister paramour Dr. Channard (Kenneth Cranham) from once again opening the puzzle box. Inside, she encounters a mysterious beast known as the Leviathan, a “god of flesh, hunger, and desire.”
Also written by Barker, Randel’s breathtaking film not only presents Julia as the rightful Queen of Hell, but offers a disturbing backstory for the franchise’s most evocative creatures. Hellbound: Hellraiser II begins with a harrowing vignette in which a curious human solves the Lament Configuration and finds himself transformed into the alluring Hell Priest (Doug Bradley), more commonly known as Pinhead. Now a connoisseur of pain, we see that Pinhead and his fellow cenobites were once flesh and blood humans just like us.
Terminator 2: Judgment Day (1991)
Five years after the extravagant Aliens, Cameron would take a similar approach to the long-awaited extension of his 1984 sci-fi hit The Terminator. As humanity inches toward nuclear annihilation, Sarah Connor (Linda Hamilton) rots away in a high-security mental institution, leaving her young son John (Edward Furlong) utterly defenseless. Once again, a killer machine has been sent back in time to prevent his future leadership by terminating the boy at a more vulnerable moment. In one of cinema’s most exciting twists, Arnold Schwarzenegger reprises his role as the T-800, but this time serves as the story’s hero, a Terminator programmed to ensure John’s survival.
Cameron also interrogates his own central concept with altruistic coder Miles Dyson (Joe Morton), who inadvertently creates the monstrous AI while genuinely trying to save the world. Featuring revolutionary special effects, Terminator 2: Judgment Day is a surprisingly poignant rumination on the value of human life disguised as an action-packed spectacle.
Scream 2 (1997)
Upon the surprise success of Wes Craven’s now-iconic Scream, Miramax executives rushed a follow-up into production. Despite a tight timeline and script leaks revealing the originally planned killers, Craven managed to create a thrilling meta-slasher sequel that many believe surpasses its original film. We reunite with final girls Sidney (Neve Campbell) and Gale (Courteney Cox) on the campus of Windsor College when the notorious Ghostface killer rises again. While the aforementioned Randy and his fellow film students debate the nebulous sequel “rules,” Craven continues his own exploration of the well-trodden slasher genre with Stab, an in-world parody of Scream itself. An ingenious twist ending ties the two stories together in a heartwrenching final act, proving that creative lightning can indeed strike twice.
Final Destination 2 (2003)
Rather than continuing a singular story, some sequels succeed by taking the original film’s established pattern and turning the details all the way up. That’s the case with David R. Ellis’ Final Destination 2, a sequel to James Wong’s directorial debut. Bridging the late-90s meta-slasher trend and the torture porn movement of the early 2000s, Final Destination follows survivors of a midair plane explosion stalked by the spectre of death itself. One year later, another handful of lucky (?) survivors escape a similar mass casualty event only to find themselves still ensnared in Death’s design.
With the grisly concept already established, Ellis delights in a series of elaborate death sequences, each one more gruesome than the last. Innocuous objects become deadly weapons as the unseen Grim Reaper checks off his list. An admittedly thin plot grows unwieldy as the film careens toward an unlikely conclusion, but the Rube Goldberg-style set pieces are well worth the price of admission. Final Destination 2 is also the rare horror film to break through to normie audiences, ensuring that no one in their right mind will ever drive behind a log truck again.
The Devil’s Rejects (2005)
Sheri Moon Zombie does not consider her husband’s celebrated film to be a true sequel, stating, “It’s more like some of the characters from House of 1000 Corpses came on over, and now they’re The Devil’s Rejects.” And considering the seismic tonal shift that distinguishes Rob Zombie’s dual cult classics, she may just have a point. The grisly sequel opens with a violent attack as police swarm the dreaded Firefly house. Baby (Moon Zombie) and her brother Otis (Bill Moseley) manage to escape, later reuniting with their father, Captain Spaulding (Sid Haig). Zombie follows this trio of gleeful killers as they evade arrest and a vengeful crusade led by the brother of their recent victim.
While both are inspired by 70s exploitation films and the disturbing true crimes of Ed Gein, Rejects’ sunbleached horror stands in direct contrast to Corpses’ ghoulish Halloween iconography. More mature and nuanced in tone, Rejects strips Zombie’s anti-heroes of their sadistic masks, exposing the relatable monsters who lurk beneath.
Creep 2 (2017)
While most sequels search for new and inventive ways to continue a singular story, Patrick Brice’s Creep 2 blows up its initial concept in the first fifteen minutes. We reunite with the Creep (Mark Duplass), a wily serial killer adept at weaponizing empathy, on the cusp of his latest kill. But while his victim bleeds to death, the strangely charming murderer laments an oncoming midlife crisis while longing for a new creative challenge. Enter Sara (Desiree Akhavan). The similarly frustrated YouTuber is desperate to revive her flagging channel and agrees to film the Creep’s documentary.
Assuming the name of a former victim, Aaron (Duplass) candidly explains his previous crimes, even showing her footage from the original film. But Sara clings to her illusion of safety and calls the flummoxed killer’s bluff. Equally hilarious and harrowing, Creep 2 surpasses its predecessor by pushing through its own narrative boundaries and daring to take the next logical steps.
Despite Randy’s insistence on following the rules, there’s no one path to a successful horror sequel. Whether reinventing a tried-and-true concept, expanding an intriguing world, or simply throwing more fuel on the fire, our most cherished horror sequels never forget where they started and maintain the heart of their original films while daring to step forward into uncharted territory.
Kathryn Newton in READY OR NOT 2: HERE I COME. Photo by Searchlight Pictures/Pief Weyman, Courtesy of Searchlight Pictures. © 2026 Searchlight Pictures. All Rights Reserved.
In this day and age, the word “troll” is often used to describe various online nuisances. Yet as abundant and irksome as the modern troll can be, they aren’t usually as fearsome as their mythological counterparts. I’m not talking about the small and gentler versions that have become more common to see in media. No, there are much bigger and scarier trolls out there—and André Øvredal’s movie Troll Hunter is one of the best places to find them.
It doesn’t take long for Troll Hunter (or Trolljegeren) to dump the Blair Witch Project-esque setup and aim for something a lot fresher. The trajectory of the story is augmented by Otto Jespersen’s character Hans, the titular Troll Hunter. The second he comes barreling out of the deep, dark woods and shouts “troll” at the camera, this movie takes a turn into what feels like uncharted territory. Not only subject-wise, but also conceptually.
For fantastical and made-up subject matter in cinema, found footage is a fast way to add a guise of believability. After all, what we accept to be the most crucial aspect of documentaries—the truth—rubs off on pseudo-documentaries, despite our understanding of the pretense involved. That is what Øvredal delivered with Troll Hunter: a movie so convincing that some viewers wondered if trolls really do exist. So, had this been straightforwardly made, it likely wouldn’t have been as effective. Conventional narratives would be more inclined to treat something like trolls as flat out unreal, and never try to convince the audience to think otherwise.
Hans petrifies the three-headed Tusseladd troll.
The viewers, like the characters trailing Hans, are quickly thrown into the deeper end of that extraordinary story. They have to process all this new information while staying on the go. So, although there is no significant amount of meandering, narratively or physically, there is still a good amount of atmosphere, not to mention tension building. It’s never anything frightful, but then again, Troll Hunter isn’t your standard offering of horror; it’s more on the low end of the dark fantasy spectrum. We aren’t ever spirited away to a faraway world—we stay in rather familiar surroundings, as well as dip into those less so. The outcome is a movie where you’re constantly more in awe than in terror.
As fantasy fiction might do, Troll Hunter prefers not to deal with incredulity. There is no time to waste on doubt, as interviewer Thomas (Glenn Erland Tosterud), soundperson Johanna (Johanna Mørck), and cameraman Kalle (Tomas Alf Larsen) all follow Hans around, recording whatever this character is willing to reveal about his bizarre job. Of course, the Troll Hunter himself is not an open book; in that respect, the diegetic documentary fails to fully capture and unpack the more interesting of its two subjects. Yes, all those giant, monstrous trolls are indeed incredible, but understandably, your mind wanders to their pursuer. What kind of person signs up for this gig and then chooses to stick with it for so long?
Reviews have called out Troll Hunter for its lack of character development. In regard to Thomas and his fellow documentarians, that criticism is valid, but bear in mind, they aren’t the focus of the story, either. Meanwhile, Hans is a well-crafted character. At least better than first realized. Before he was introduced, Hans had already grown tired of the troll grind. Fed up with that low compensation for his services, resentful of the bureaucracy, and wanting to expose his employer on a large scale, Hans’ discontent is glaring.
Then there are those finer details about the Troll Hunter, such as that indifference to both the natural splendor of his everyday surroundings and the affections of an obviously smitten colleague, that also suggest some level of despondency. So it is fair to say this movie doesn’t feature any sizable growth for its characters; however, the namesake isn’t underwritten. No doubt, putting a real-life character like Otto Jespersen in that role is partly why Hans is so fascinating—maybe even relatable.
Otto Jespersen as Hans the Troll Hunter.
There is always a small risk whenever using the term “mockumentary” to describe a found-footage movie, as the word could imply humor where there is none. In the case of Troll Hunter, the term’s usage is appropriate. Some folks have claimed the English-dubbed version has the more comedic tone, however, the Norwegian cut isn’t exactly humorless. Apart from the trolls’ absurd appearances, this is a movie where the characters nearly choke on the monsters’ farts, and Christians are like walking targets. Hans’ complete apathy towards everything is another cause of laughter. Overall, the comedy is intentionally dry and inconsistent. Unfunny, though? Absolutely not.
In a movie where endemic creatures are maltreated, as well as disavowed from living freely and peacefully, it’s hard not to notice the ecological message buried beneath the story. In addition to that is the unmistakable political satire. There is this whole business about intrusive and unsightly power lines—like trolls, they’re big blemishes on the land—that leads to what is perhaps the movie’s funniest moment. The scene in question is that one where certain electric lines, the ones secretly being used to keep the trolls at bay, go in a loop and don’t actually send power to any residents. Yet the monitors of said lines don’t find this at all weird. So it stands to reason that Øvredal was having a go at those who accept the government’s doings without question.
Looking past the fact that trolls aren’t actually real, this movie is an enlightening source of information. And not just for international audiences; Norwegians, too, get schooled about their homeland’s own mythology. It’s also evident from everything on screen that Øvredal and his crew were enthusiastic about the topic. The creature designs are the most indicative of that zeal; those imaginative yet myth-accurate manifestations are equally amusing and grotesque. One second you’re laughing at their phallic noses, the next you’re white-knuckling during a hairy sequence. Most surprisingly is how well the trolls’ visual effects hold up after fifteen years. It’s not all spotless, but on the whole, they remain impressive.
Vouching for a mockumentary about trolls isn’t easy, but those who do come around and give it a shot will more than likely be grateful for the recommendation. For Troll Hunter is a real find in that vast and varied genre we call “found footage“.
A bridge troll reaches up for food and finds Hans decked out in armor.
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