6 Must-See Horror Movies Set in Hotels

      Flickering Myth’s Casey Chong offers a curated list of hotel horror films for your viewing pleasure…

      In the realm of horror cinema, checking into a hotel can herald your downfall. Take Marion Crane, who visits Bates Motel, only to meet a grisly end while taking a shower in Psycho. Consider Jack Torrance’s gradual descent into madness during his unsettling tenure at The Overlook Hotel in The Shining. Others, like Mike Enslin, who stubbornly stays in the haunted room at The Dolphin Hotel in 1408, and the married couple David and Amy, find themselves trapped in a decrepit motel filled with dark secrets in Vacancy. All these characters endure horrific experiences, confronting their worst nightmares. Hotel horror films have undoubtedly left their impression, and we’ve compiled six titles that are definitely worth a watch…

      The City of the Dead, also known as Horror Hotel (1960)

      This black-and-white supernatural thriller debuted the same year as Psycho, and it’s no surprise which film received the most attention. Notably, The City of the Dead (or Horror Hotel in the U.S.) follows a similar narrative arc to Alfred Hitchcock’s acclaimed horror classic, particularly in the fate of Nan Barlow (played by Venetia Stevenson). She portrays a history student eager to explore witchcraft connected to the (fictional) town of Whitewood in Massachusetts by visiting it solo.

      The film marks John Llewellyn Moxey’s directorial debut, showcasing his talent for crafting an atmosphere of dread sprinkled with gothic horror. With a generous use of fog and moody cinematography by Desmond Dickinson, the film instills an eerie quality to its small-town setting and the Raven’s Inn. Although The City of the Dead runs a brief 78 minutes, Moxey successfully incorporates numerous twists and developments into this supernatural tale.

      Daughters of Darkness (1971)

      The opulent seaside hotel in Ostend, Belgium, serves as a surreal and alluring backdrop for a newlywed couple (Stefan, played by John Karlen, and Valerie, played by Danielle Ouimet), both enchanted by the mysterious Hungarian countess, Elizabeth Báthory. Portrayed by the captivating Delphine Seyrig, the countess’s elusive charm and ethereal allure are highlights of the film.

      Belgian director Harry Kümel takes a refined approach to Daughters of Darkness, pacing it elegantly, which may not appeal to genre fans seeking straightforward horror. Instead, he incorporates a uniquely European flair by blending softcore erotic elements with gothic horror and psychological themes. The countess, revealed to be a vampire in disguise, offers more than mere gore, as the film utilizes the vampire genre as a metaphor for exploring hidden desires and power dynamics, portraying how intimacy and manipulation can jeopardize a relationship. Daughters of Darkness shines in its technical aspects, featuring stunning production and costume designs, along with Eduard van der Enden’s atmospheric cinematography that captures the film's sense of mystery.

      Ghostkeeper (1981)

      This lesser-known Canadian horror film tells the story of Jenny (Riva Spier), Marty (Murray Ord), and Chrissy (Sheri McFadden) during their snowmobile trip in the Rocky Mountains. Their ill-fated decision to venture deep into the snow leads them to a seemingly deserted hotel, where they become stranded due to a blizzard.

      Director and co-writer James Makichuk appears to draw inspiration from The Shining, focusing on slowly building atmospheric tension rather than sudden jump scares. While parts of the film may drag, extending the otherwise concise 87 minutes, the acting is unremarkable, except for Georgie Collins’s strong supporting performance as the innkeeper. Ghostkeeper also effectively utilizes Alberta’s Banff National Park and the Deer Lodge hotel to convey a sense of isolation far from civilization. Despite evident budget limitations, the film features John Holbrook’s moody cinematography and Paul Zaza’s haunting score that underscores the supernatural Wendigo elements.

      The Innkeepers (2011)

      Writer-director Ti West embraces the slow-burn horror technique, favoring this approach over a typical jump scare-heavy style, echoing classic films of the 1970s. The Innkeepers focuses on two young innkeepers, Claire (Sara Paxton) and Luke (Pat Healy), during their last days working at the Yankee Pedlar Inn. The film’s initial half is filled with dull, uneventful stretches that might bore traditional horror fans seeking thrills.

      However, West maintains interest through the authentic chemistry between Paxton’s Claire and Healy’s Luke, who spend their free time delving into the supposed supernatural occurrences in the hotel. Engaging in ghost hunting, they manage to keep the film from becoming entirely bleak, despite not reaching Ghostbusters levels of humor.

      The Innkeepers capitalizes on atmosphere, becoming increasingly unsettling as it progresses, with West expertly introducing a few well-placed scares. This supernatural horror relies heavily on imagination rather than aggressive terror