10 Must-See Horror Films from 1986

      It's time to reflect on some pivotal horror films from 1986...

      Horror is experiencing a revival at the moment, particularly with indie projects finding success through films like Obsession, Iron Lung, and Backrooms. This trend is an extension of the past decade, introducing fresh and innovative voices in the genre that are producing low-budget films that gain popularity both in theaters and on streaming services.

      Is this a recent development? Not at all. Horror remains evergreen, with certain vibrant periods and trends that tend to surge briefly. The current rise of YouTubers transforming into micro-budget breakout directors mirrors the earlier creatives who progressed from Super 8 shorts to video or moved up to shooting with 16 or 35mm film cameras.

      So let’s take a significant leap back to 1986 and explore the horror landscape of that time. Here are 10 key horror films from 1986…

      The Hitcher

      Robert Harmon effectively created a proof of concept for his now-cult classic film, The Hitcher, with China Lake. This outstanding short featured Charles Napier as a psychopathic motorcycle cop who terrorizes anyone he believes has wronged him. He resembles the idealized hero of a modern-day online warrior, but the straightforward concept would resonate when Harmon tackled Eric Red’s twisted hitchhiker horror script for his debut feature.

      This time around, Rutger Hauer excels at terrorizing C Thomas Howell and anyone else who crosses his path, all wrapped in a dark fairytale atmosphere. Hauer shines, along with C Thomas Howell and Jennifer Jason Leigh. Cinematographer John Seale (Mad Max) captures it brilliantly, complemented by Mark Isham’s atmospheric synth score. With plenty of stunts and the unpredictability of Hauer’s performance, it’s no surprise this film has developed a strong cult following. The real mystery is how Robert Harmon hasn't matched this initial success since.

      Vamp

      Odd, campy, cheesy, and vibrant. Vamp’s use of striking purples and greens makes it visually captivating, and the performances are entertaining. However, the standout of Richard Wenk’s cult horror film is Grace Jones.

      Jones had already made her mark in cinema with films like A View to a Kill and Conan the Destroyer, showcasing the wild and fiery persona she had developed as a performer. Vamp is a lot of fun yet has lingered just outside the mainstream horror radar. It's definitely worth a watch for 80s horror enthusiasts who haven’t experienced it yet.

      The Fly

      David Cronenberg had solidified his status as a significant voice in horror with his bizarre and avant-garde cinema. At first glance, remaking a somewhat corny 50s creature feature might have seemed unusual for someone who created Videodrome and The Brood, but Cronenberg's vision, perfectly aligned with Jeff Goldblum’s performance, resulted in a rarity: a remake that surpassed the original, much like Carpenter’s The Thing.

      Cronenberg had already perfected the art of body horror and further elevated it to grotesque yet almost darkly humorous levels.

      Dead End Drive In

      One defining characteristic of 80s horror was the abundance of derivative films. If something succeeded for one, it likely would succeed for another. Thus, countless masked slashers emerged in the wake of Myers and Voorhees. However, there were still many unique and creative ventures.

      Dead End Drive In, directed by Brian Trenchard-Smith, follows a group of young troublemakers lured into and imprisoned within a drive-in. Inside, small gangs form, and characters Carman and Crabs must survive the chaos while seeking an escape. It represents classic Ozploitation horror with touches of cyberpunk and impressive visuals. The blend of recognizable elements creates something fresh and distinct.

      Henry: Portrait of a Serial Killer

      True crime horror adaptations are all the rage today. Whether stylized or gritty and grounded, there’s plenty to choose from. Back in 1986, John McNaughton directed Henry: Portrait of a Serial Killer, featuring a then-unknown Michael Rooker. It’s raw, low-budget (yet effective), dark, and intense.

      McNaughton’s film was loosely based on real-life serial killer Henry Lee Lucas. Much like the current success of Obsession and Backrooms, Henry was filmed on a shoestring budget. Its initial impact wasn’t significant, but this was a much different era, long before the internet. Still, Henry gained traction and notoriety on video, ultimately being regarded as one of the best indie horror films of its era. Rooker’s performance is notably chilling.

      From Beyond

      Following the success of Re-Animator, Stuart Gordon delivered From Beyond, a dazzling and gruesome horror film filled with monstrous creatures and stunning visual effects that may even surpass those in Re-Animator.

      Gordon regulars Jeffrey Combs and Barbara Crampton returned, both in exceptional form. Based on an H.P. Lovecraft story, it ranks as perhaps the best