Remakes get a bad rap. And when it comes to audience demands, few are harder to please than horror fans when it’s their favorite horror icons getting the reboot treatment. Hell, evenThe Thingwas greeted with scorn at first. But the truth is there are actually quite a few horror movie remakes worth checking out, from films likeThe ThingandThe Flythat have become more classics in their own right to the best of the more recent remake trends, there are plenty of horror movies that either found something new and interesting to do with their concepts or honored the spirit of the original film in a fun new way.
And what’s so bad about a remake? After all, the original will always be there in its pure, untouched form and a new incarnation promises the potential for exciting new reads on the material. As something of a theater nerd, I always make my case by looking to Shakespeare, who adapted many of his most famous works from pre-existing myths and stories. On the stage, stories are told time and again by new directors and new performers, each new iteration offering the potential to bring new insights to sometimes ancient material. Sure, that’s not always the case, especially in film, where IP is regularly repurposed on the sole basis of brand recognition, but suffice it to say, I’m a big defender of remakes done right.
Of course, there’s some room for debate on the inherent value or harm of remakes in the industry – the old “can’t they thing of anything original?” argument – but if there’s one thing that 2018 has shown us, it’s that even in a year where original horror is flourishing (seeHereditary,The Endless,A Quiet Place, etc,) there’s still room for a good remake. On that note, withSuspirianow in limited theaters and rolling out nationwide this weekend, I’m looking back at some of the best horror movie remakes of all time. Check out my picks below, and be sure to sound off in the comments with your favorites.
The Crazies
Lots of horror remakes tend to conjure up ire in the fanbase, whether out of devotion to the original or distaste for remakes in general, but The Crazies has always just kind of lowkey accepted as good. Based onGeorge Romero’s 1973 film of the same name,The Craziesfollows the residents of a small town where a deadly biological weapon is accidentally unleashes among the innocent citizens. But they don’t stay innocent for long. The so-called Trixie virus turns your well-meaning neighbors into cold-blooded psychopathic killers, hellbent on getting their blood. DirectorBreck Eisnercrafts a propulsive horror ride, careening from one set-piece to the next with a small gang of painfully likable survivors (Timothy Olyphant,Radha Mitchell,Joe Anderson, andDanielle Panabaker), who inevitably get picked off one-by-one. The Crazies never quite recovers from the third act loss of a key character and may ultimately be one or two set-pieces too long, but it ends with a hell of zinger that makes up for the overlong finale.
Friday the 13th
This one’s sure to be one of the more controversial picks on the list, but I stand by it.Marcus Nispel’s 2009 remake ofFriday the 13th(or perhaps more accurately, a remake of the first few films in the long-running slasher franchise) maintains the proud lowbrow spirit of theFriday the 13thfilms – gruesome and gratuitous – while making sure Jason Voorhees (Derek Mears) is a brutal as ever. The film kicks off with a downright spectacular near-20-minute opening set-piece that’s essentially a mini-F13 movie in its own right, and while the film may never quite reach the heights of its opening again, it maintains a steady pace of boobs, douchebags, and bloodshed for bit of old school slasher entertainment. While the underground tunnels didn’t land for everyone (though I thought it was a clever-without-being-cutesy addition to the Jason Voorhees mythology),Friday the 13thdelivers straight-up classic carnage, including a few standout kills (the dock scene and the sleeping bag kill are still stuck in my mind almost 10 years later.) In the age of meta-horror, it’s hard to find a straight up slasher, and few remakes have ticked the boxes as well asFriday the 13th,it’s just a shame the folks at Platinum Dunes never pulled together a sequel before the franchise got tripped up in rights battles.
Fede Alvarez’s 2013Evil Deadremake seems to be one of those love it or hate it films that brings out passionate defenders and detractors on either side. In this house, we appreciate the virtues of the unrelenting remake, even if it never measures up to the goliath shadow cast bySam Raimi’s essential horror trilogy. If you take away Raimi, Bruce Campell, and the thread of absurd humor that underlined their no-budget horror classics, what’s left? A surprising amount of strong foundation, especially in the hands of Alvarez, who imagines the fight against the Deadite scourge as a viscerally violent and bleak battle for your soul (including some truly disturbing uses for an electric knife) and rains blood and body parts on his ace cast. One of the bloodiest studio films in recent memory, Evil Dead offers a completely different kind of horror than the original that inspired it, and while that understandably alienates some fans, it’s a fine example of what can be accomplished when a filmmaker takes the seeds of a story and reinvents them with a new vision.
Dawn of the Dead
The 2004 remake ofGeorge Romero’s essential zombie movieDawn of the Deadunites the best qualities of future blockbuster power playersZack SnyderandJames Gunnearly in their feature careers. Led by the exceptionalSarah Polleywith a cast of standout ensemble players includingTy Burrell,Ving Rhamesand a mustachioedMichael Kelly,Dawn of the Deadis a thrilling, fast-paced reinterpretation of Romero’s anti-consumerist classic that tones down the commentary in favor of straightforward (and fast-moving) zombie action and surprisingly strong character beats. Of course, not everything’s a home run –Dawn of the Deadhas some spectacular missteps, including pretty much anything to do withMekhi Phifer’s character, but the combination of Snyder’s visuals and Gunn’s reliably witty script make the film a highlight of the early-aughts zombie craze.
William Lustig’s 1981 slasherManiacwas one of the most grimy and grisly slasher movies ever made, conjuring a wave of outrage and protest in response to the graphic, deeply unnerving depictions of violence against women. In the years since, the film has become a slasher classic so naturally, there was a lot to live up to whenFranck Khalfounput his own spin on the material with the 2012 remake. Even more dangerous, the film has one hell of gimmick – it’s shown entirely from the perspective of the killer (Elijah Woodin his creepiest role to date), which sounds annoying but somehow totally works. The remake wisely relocates the action from New York City to Downtown Los Angeles, which up until very recent years still felt as dangerous and sleazy as the vintage NYC of Lustig’s original film. It also gives the remake a distinct neon cast and unique flavor to the original, while still honoring all the scalp-collecting , blood-soaked horrors of the loneliness of Frank Zito. Maniac can’t top the deranged disgust of the ‘81 original, but it comes mighty close.
Nosferatu the Vampyre
Werner Herzog’s breathtaking remake ofF.W. Murnau‘s 1922 essentialNosferatuis both an homage to what he considers the most important German film of all time, and a definitive entry into his own career that cements his status as one of modern cinema’s most poetic artists. When makingNosferatu, Murnau famously couldn’t access the rights toDracula, so he adapted the material to his needs, changing names and locations, in a bold move that resulted in a cinematic masterpiece that was almost entirely struck from existence as a result of retaliatory lawsuits from Bram Stoker‘s widow. By the time Herzog got his hands on the material forNosferatu The Vampyre, Dracula had fallen into the public domain, so the filmmaker was able to merge the two great source materials into one of the finest horror dramas of all time, centered on the aching loneliness and monstrous hideousness of the iconic creature.In Herzog’s hands, the daring remake of one of horror’s greatest films becomes a doting homage (sometimes down to the very shot) while also establishing its own place in the canon of the genre.
Fright Night
Another hotly contested remake,Fright Nightis one of those titles that has passionate defenders in its camp, and especially passionate detractors. Most likely it’s the nostalgia;Tom Holland’s 1985 vampire adventure was a beloved teen and childhood favorite for many (and for good reason), but the sequel is a fun supernatural thrill ride in its own right, anchored by a pair of pitch perfect performances fromAnton YelchinandColin Farrell.As the determined boy next door, Yelchin is an ideal teen hero, confident without being smug and consummately likable, and as the villainous vampire Jerry, Farrell is somehow stone cold sinister while also being as charming and attractive as he’s ever been. Yes, Jerry is a very bad vamp indeed, but Farrell is criminally sexy in the role and his performance helps makes the film magnetic in the absence of the original’s camp humor. It may not be quite as funny, but directorCraig Gillespebrings a snappy sense of fun and his knack for working with actors to his update on the beloved vampire title (not to mention an ensemble cast that includesToni Collette,David Tennant,Imogen Poots, andDave Franco), and despite some unfortunately dated CGI, Fright Night holds up as one heck of a fun and thrilling romp.
The Hills Have Eyes
One of the most evil, relentlessly brutal movies of the 21st Century,Alexandre Aja’sThe Hills Have Eyestakes the raw depravity ofWes Craven’s 1977 mutant hillbilly chiller and drenches it in the explosive bloodshed of the New French Extremity. Few theatrical horror release are willing (or able) to go as far as this one does, and while the extremity may be too much for the casual moviegoer, it makes for one of the most unyielding, shattering horror survival tales ever put on screen. Boasting fantastic performances all around, but especially fromAaron StanfordandEmilie De Raven,The Hills Have Eyesis a test of endurance that puts a lovable family of characters through the ultimate sun-soaked hell and drags you right along with them.
Invasion of the Body Snatchers
Considered by most to be one of the best remakes of all time, horror or otherwise,Invasion of the Body Snatchersis a taut atmospheric sci-fi horror that updatesDon Siegel’s McCarthy-era scares to 1978 California with outstanding results. Sharply directed by Phil Kaufman, the remake is a dose of intense post-Vietnam anxiety, mount a growing sense of paranoia with disarming closeup and low angle shots as the film’s mysteries unravel. Beautifully shot with a stnadout ensemble that includesDonald Sutherland,Leonard Nimoy,Brooke AdamsandJuff Goldblum,Invasion of the Body Snatchersa tight thriller with moments of piercing existential horror and dread, wrapped up with one of the most iconic and unforgettable endings in horror cinema.
Unlike the wave of uninspired cash-grab J-Horror remakes that followed it,Gore Verbinski’sThe Ringis a truly terrifying ghost story that embraces the visual motifs and stylistic trends introduced in the popular Asian horror movies of the late 90s and early 20s to create some of the most upsetting imagery and supernatural scares of the early aughts. Verbinski’s knack for visual invention is a natural fit for the J-horror inspiration, and with Naomi Watts delivering one hell of a dramatic performance as his leading lady the film is as engrossing as a desperate investigative narrative as it is a bone-chilling supernatural spook. Thanks to the infectious concept first introduced inKoji Suzuki’s book and the unforgettable unnerving imagery (I’m still messed up over the reveal of Katie’s death grimace),The Ringwas a well-deserved horror phenomenon that unfortunately spawned a legion of subpar imitators.
