The Monster Post of 'Horror' Films That Are Best Picture Oscar Worthy

Alien (1979)

Upon release in 1979, Ridley Scott’s Alien introduced audiences to an abundance of cinematic gifts: acid blood, chest bursting creatures and Sigourney Weaver. It was the perfect mix of horror and sci-fi set in an otherworldly universe that felt terrifyingly familiar. It would go on to revolutionize its genre, kickstart the careers of those involved and spawn a franchise that 8 movies and 40 years later continues. Despite its massive box office and critical success, the Academy would only reward it with two (albeit hugely deserved) nominations in craft categories.

While the Oscars are well-known for rarely rewarding sci-fi or horror, its absence from major categories are a noticeable stain in the awards history. At its core a monster movie, Scott’s film remains a staple of the genre thanks to its brooding, claustrophobic atmosphere. Its effectiveness deriving not only from the frightening creature, but the panic with which the film fills you throughout. From the tilted camera angles and dark cinematography that conceal more than meets the eye, to the quick, jarring cuts in the editing that set off the alarm button. Not only should it have been nominated, it should have won. – – – – – Alex @adounce

The Others (2001)

What we have in The Others is a throwback to class gothic horror that relied upon atmosphere to achieve its scares more than anything else. And in terms of hey horror elements, The Others ticks all the boxes. It has everything: pale, unsettling kids; an old ridiculously haunted house; a mysterious, paranormal presence; and an amazing twist. The Others succeeds in its ability to blend old gothic devices with modern jump scares that always feel earned.

It’s rare to find a film that deftly balances both styles of horror, and The Others stands as a prime example. Nicole Kidman is excellent here, and we’re as emotionally invested in her dramatic narrative and the mystery of what’s actually happening in this house as we are in the ghostly elements of the story. Also, not to put too fine a point on it, but you can’t go wrong when a large portion of your movie revolves around creepy kids and their creepy, ghostly imaginary friend. – – – – – Audrey @audonamission

The Conjuring (2013)

Hundreds of directors have tried and failed to make a genuinely scary horror film. Why? Because it’s all too tempting to give into classic tropes such as jump scares and excessive, gratuitous gore. That’s why in 2013, James Wan’s eighth horror film, The Conjuring, stood out from the rest. It scared the shit out of everyone (did you make it past 3:07am?) while simultaneously draining us emotionally. The reason it was so scary? Family was at its heart. Both Vera Farmiga and Patrick Wilson play the roles of real-life husband and wife ghost hunters, Lorraine and Ed Warren expertly.

And we care for the Perron’s too – their fear is as obvious as their love for one another. And as events begin to spiral, an overwhelming sense of dread takes over as it dawns on us, this family could be torn apart at any moment. Wan’s use of character development, slow and steady pacing and impeccable seventies cinematography make for an authentic, formidable creation, worthy of a nomination at least. Furthermore, Wan incorporates the ‘show not tell’ method perfectly, rarely showing us what’s haunting the Perron’s house. Instead allowing glimpses, which drives our overactive imaginations into overdrive – what we can imagine in our minds is significantly scarier than what’s on screen… – – – – – Shannon @shazzzzakhan

28 Days Later (2002)

Regarded as a classic of Danny Boyle’s and sometimes even the entirety of British horror, as well as labelled “a genuine work of art by a director at the top of his game” by Bloody Disgusting, the 2002 film 28 Days Later explores the breakdown of society following the outbreak of a deadly, rage-inducing virus after its taken over the UK. This film is a beautifully intimate look at a contemporary civilisation’s downfall. And I would go as far as to say it reinvented the way we view the iconically terrifying ghouls that are zombies. As while it’s still argued the creatures of this film are not traditional zombies themselves, they definitely share similarities.

And since the film’s release, more archetypical zombie films like Dawn of the Dead and Zombieland have taken strong inspiration from these sprinting, fury-filled beings. Furthermore, in my opinion this film deserved much higher award recognition upon release. As whilst it is a fantastic work of cinema anyhow it arguably deserves a place as a contender due to its “Vancant London” scene alone. It’s there where we see the protagonist (Cillian Murphy) walk through the once-thriving English city as it’s now utterly deserted. A truly grand height of filmmaking and cinematic innovation, created practically in an age before CGI could replace all the difficult on-set efforts, supported by an all-round emotional and intimate horror. – – – – – Jon @jonnbridges

A Quiet Place (2018)

We’re not done calling things early. In the same vein as Hereditary, we’re all in agreement the Academy will also overlook A Quiet Place for Best Picture. Sure, Paramount will give this film an almighty For Your Consideration push, given it’s their only horse in the race. But monster flicks are not the Academy’s bag these days. If any film of this sub-genre of horror deserves to be considered, it’s writer/director John Krasinki’s dazzling and original work.

Krasinki’s concept of one noise equals instant death creates the most uncomfortable yet intoxicating level of tension and suspense which will leave your heart racing throughout almost the entire film. The film shines through a series of wildly entertaining set-pieces, particularly a horrific silent labour. But it’s the quiet, intimate family moments which elevate the film even further. With a terrific (and nom-worthy) performance from Emily Blunt and some of the year’s greatest sound design work, A Quiet Placeis supremely tense, deliciously thrilling, and a wonderfully suspenseful rollercoaster ride. Audiences loved it. Can’t the Academy fall in line too? – – – – – Doug @itsdougjam

Misery (1990)

“I’m your biggest fan.” Such ordinary and innocent words, so sinister and full of menace. These are the first words that Annie Wilkes (Kathy Bates) utters to Paul Sheldon (James Caan) as he wakes up from a car crash. Already, the horror of waking in an unknown bed in an unknown house, is settling in. The horror of being helpless and bed bound, relying on someone else for assistance is uncomfortable. Misery, like all good modern horror films, is adapted from a Stephen King novel. King has a way of taking the most ordinary, mundane aspects of life and twisting them into a living nightmare. His monsters come in many forms, but none of then are as monstrous as nurse Annie Wilkes.

Misery wouldn’t be so effective if it wasn’t for Bates’ powerhouse performance. She has such an amazing ability to switch her personality, in an instant, from sweet and caring nurse to an angle of death. Bates won an Oscar for her performance, but the film is a Best Picture in my eyes. The screenplay is adapted expertly well without sacrificing any of King’s in-depth character developments and traits. The horror is subtle and isn’t played up. Director Rob Reiner respects the source material, and he respects his main leads, his professionalism and craftmanship helps to hod the film together. Misery remains just as disturbing today as it did back nearly 30 years ago. – – – – – Bianca @thefilmbee

Gremlins (1984)

Give Gremlins the Oscar. Go back to 1984, rip the Best Picture trophy from the clutches of Amadeus and give it to the film it rightfully belongs to. The telecast would be torn to shreds, the pit band would be tortured by being forced to listen to White Snake. Harvey Weinstein would be seen tied to a malfunctioning chair lift ala Mrs. Deagle and flung through the top story window of the Dolby Theatre. If Gremlins won the Oscar, it would certainly be the last Oscars to be broadcast. The ernest, self righteous speechifying of actors, writers, and directors, would be replaced by, terrified hordes of frightened celebrities cowering behind their personal trainers.

Meanwhile Warren Beatty and Jack Nicholson would be kidnapped, and held up in the women’s bathroom with a very seductive female Gremlin, something both of these guys would be into. If Gremlins won the Oscar, we would have no Driving Miss Daisy or Crash, or La La Land/Moonlight debacle. There would be no rule changes, no talk of Most Popular Oscar, and no more thank you’s to God, Jesus, and Steven Spielberg. If Gremlins won the Oscar we would no longer worry about the Oscars, because they would no longer exist. – – – – – Jeremy @jeremytwocities