Top 30 Greatest Psychological Horror Movies

[00:00:00]My god, you know what? We have to do.

[00:00:01]You know what we have to do. We have to kill him.

[00:00:05]>> [snorts] >> Welcome to WatchMojo, and today we're counting down our picks for the greatest scary movies that will leave you thinking. There will be spoilers.

[00:00:15]>> I I understand just fine.

[00:00:18]But if I if I don't play along with your little game here, Dr. Nearing's going to turn me into one of his ghosts.

[00:00:24]>> Number 30, Backrooms. [music] Who would have thought that a single innocent image online would create one of the greatest horror films of the 2020s? Director Kane Parsons did.

[00:00:34]>> I found something in the store.

[00:00:37]>> Okay.

[00:00:38]What did you find?

[00:00:39]>> A24's highly anticipated adaptation of the Backrooms brings the dread of endless fluorescent-lit office corridors to the big screen. Following a depressed furniture store owner who discovers a portal to an impossible dimension, the film leans heavily on environmental unease. The true monster isn't just the roaring entity hiding in the labyrinth, but the mind-bending reality-fracturing nature of the space itself.

[00:01:01]>> You >> you.

[00:01:04]Research.

[00:01:05]>> It is a visually striking claustrophobic nightmare [music] that perfectly captures the existential dread of being hopelessly lost in a fabricated reality.

[00:01:13]>> It's a real mess.

[00:01:16]But also beautiful in a way.

[00:01:19]>> Number 29, The Vanishing. Some horror films shock audiences. The Vanishing haunts them.

[00:01:33]This Dutch psychological thriller features a man obsessively searching for his missing girlfriend. The [music] premise sounds simple, but the film's power comes from its relentless focus on uncertainty. Every year that passes only deepens the need to know the truth.

[00:01:53]What elevates the movie into horror territory is its chilling understanding of human curiosity and the terrible things people will endure for closure.

[00:02:01]Decades later, it remains a distinctly compelling and criminally underrated gem in the horror catalog.

[00:02:12]Oh, and in case there was any question, we 100% mean the original, not the remake. Number 28, The Invitation. Going to a dinner party hosted by your ex-wife is already awkward, but The Invitation masterfully weaponizes that anxiety into a 90-minute white-knuckled thrill ride.

[00:02:29][music] >> I think you need to go back inside.

[00:02:33]>> You don't like me?

[00:02:35]>> I don't know you.

[00:02:36]>> As our grieving hero navigates his complex feelings, the movie slowly ratchets up its tension. How much of this is real? Should we be suspicious or is it all in his head?

[00:02:45]>> You're all smiles, spewing out all this jargon with these two in tow. Don't tell me that this is normal.

[00:02:51]>> The Invitation walks a tightrope of perspective, leaving the audience constantly guessing as to what the truth really is. By the time it unveils its answers, the paranoia has already boiled over into a brilliant final act guaranteed to leave you reeling.

[00:03:05]>> Just let go. Just I'll be there soon.

[00:03:11]>> Number 27, Bug. There's an old horror adage about how what you don't see is scarier than what you do. That is Bug in a nutshell.

[00:03:19]>> I wish I didn't think about it, either, but they don't let you forget. They want you to know they're there.

[00:03:25]>> But what's there?

[00:03:26]The machines?

[00:03:27]>> Starring Michael Shannon and Ashley Judd, we follow a pair of broken people who are absolutely convinced they're being watched. What follows is a terrifying escalation as the two push each other to crazier and crazier heights in the name of survival.

[00:03:40]>> They can't get to everybody. People slip through the cracks. They find the chip, they cut it out, like me or Ted Kaczynski. They need a chip that will self-perpetuate, that will spread like a virus.

[00:03:51]>> And yet, Bug has a remarkable degree of restraint. At some points, it feels like these two really have some screws loose, but at others, we are convinced there really is something going on. Bug's determination to leave things vague is a bold and unforgettable cinematic swing.

[00:04:07]>> I am THE SUPER MOTHER BUG. [screaming] I AM THE SUPER MOTHER BUG. OH MY GOD.

[00:04:15]>> Number 26, Shutter Island.

[00:04:17]>> PLEASE STOP.

[00:04:19]>> MY NAME IS ANDREW LAEDDIS. Do you know >> Martin Scorsese, Leonardo DiCaprio, and famous source material. Need we say more? We will anyway. It's safe to say a lot of people showed up to Shutter Island for its pedigree alone, but they left with a twisted thought-provoking piece about the human psyche.

[00:04:36]>> This is a game. All of this is for you.

[00:04:40]I'm not investigating anything.

[00:04:43]You're a [ __ ] rat in a maze.

[00:04:45]>> Scorsese's at the top of his directing game here, with tight angles and eerie music perfectly putting you on edge.

[00:04:51]Then there's DiCaprio, who turns in some incredible work, too. If you somehow haven't had its bonkers ending spoiled, we urge you to run to your nearest screen and watch this to the end.

[00:05:01][music] >> Clock's ticking, my friend.

[00:05:04]We're running out of time.

[00:05:05]>> Number 25, The Changeling. [music] Grief and atmosphere are at the heart of the story.

[00:05:10]>> Are you the child killed by the Cola cap?

[00:05:15]>> No.

[00:05:16]>> Don't get us wrong, The Changeling is still terrifying enough to leave you sleepless for a few nights, but it balances those scares with a moving story of loss. Relying on overwhelming ambiance and psychological dread over cheap gore, it proves that sometimes the most terrifying monsters are simply the buried secrets of greedy, ruthless men.

[00:05:33]>> Well, what was that all about?

[00:05:35]>> Senator Carmichael thinks he's being blackmailed.

[00:05:38]>> While it's methodical pacing won't be for everyone, there is no denying the visceral impact you'll be left with at the credits. There's a reason it's still regarded as one of the best even 40 years after release.

[00:05:49]>> 99% are the frauds.

[00:05:53]But, the 1% is astonishing.

[00:05:58]>> Number 24, The Invisible Man. Escaping domestic violence is only half the battle. Trauma is something you can't outrun, an idea that takes on a new terrifying meaning in The Invisible Man.

[00:06:16]Recontextualizing the monster as the echoes of a dangerous relationship is brilliant. It allows the film to gaslight, manipulate, and frame both the audience and Cecilia.

[00:06:26]>> It's some kind of suit that Adrian has built, and it has cameras and it somehow >> What?

[00:06:34]>> Then, when The Invisible Man becomes not so invisible anymore, it feels like the movie has really earned it.

[00:06:39]>> You think you're learning how to beat me, so I'm going to truly teach you something.

[00:06:44]>> Not only is The Invisible Man an avant-garde update to a famous story, but it is one of the most addictive thrillers in recent memory, period.

[00:06:52]Number 23, Smile. It takes some serious work to turn a grin into a source of terror, but that is exactly what Smile does.

[00:07:00]>> Listen, Rose, I don't think you should go anywhere, okay? You just relax. I'm going to make a phone call, all right?

[00:07:07]Rose, don't go anywhere.

[00:07:08]>> You have to give this movie its flowers because there is another world where this could have devolved into a mindless cliché ghost story. Instead, the film dives deep into the psychological implications of shared trauma. It just so happens to come in the form of some very creepy smiles.

[00:07:25]Spine-tingling, but sophisticated at the same time, you'll come to Smile for the scares, but stay for its surprisingly nuanced message about the ways we all subconsciously affect each other.

[00:07:34]>> Why the [ __ ] DID YOU COME HERE? YOU'RE NOT GIVING IT BACK TO ME. GET OUT OF HERE.

[00:07:39]>> NUMBER 22, The Witch.

[00:07:41]>> I am no witch, Father.

[00:07:42]>> What, did I put C in my house?

[00:07:46]>> Can you not hear me?

[00:07:47]>> Please, let me confess.

[00:07:48]>> Why have you turned against me?

[00:07:49]>> If you want to check this one out, here's a piece of advice. Remember to breathe. Robert Eggers crafts such a suffocating tale here, it's genuinely difficult to avoid getting sucked in. On the surface, it's a fairly simple story, but The Witch excels in what it doesn't show. It lives in lengthy still frames and stretches of silence, slowly ramping up the terror until it's practically unbearable.

[00:08:11]>> Corruption.

[00:08:12]THOU ART MY FATHER.

[00:08:18]>> AND THEN, ONLY THEN WILL IT GIVE YOU A half beat to compose yourself before it's onto the next scene. We don't want to give too much away, but take our word for it. The Witch is downright spellbinding.

[00:08:28]>> Cannot write the name.

[00:08:31]>> I will guide thy hand.

[00:08:35]>> Number 21, It Follows.

[00:08:37]>> You can get rid of it, okay?

[00:08:39]Just sleep with someone as soon as you can.

[00:08:41]Just pass it along.

[00:08:42]>> In this film, you're never safe. Not when you're asleep, not when you're with friends, and definitely not out in public. The titular It is always on its way.

[00:08:55]Sometimes it's a stranger, sometimes it's someone you know, but it's always coming.

[00:09:00]>> [music] >> And when it finds you, well, you can guess. The ingenious premise adds a sense of danger to even the most innocent scenes. You really feel as desperate as Jay does, constantly wondering where the monster will strike next. Combined with a dream-like aesthetic and a truly haunting score, It Follows has risen above a mere cult hit and turned into a true modern classic.

[00:09:21]>> [screaming] >> Number 20, Get Out. Jordan Peele's directorial debut scares audiences in all the right ways. In lieu of gory set pieces or excessive jump scares, his film relies on its politically charged mysteries to generate tension. And to say it works would be a massive understatement.

[00:09:44]>> Sorry, man.

[00:09:44]>> Okay.

[00:09:45]>> Get out!

[00:09:46]>> Chris meeting his girlfriend's parents is its own kind of horror. But by the time the credits roll, Get Out devolves into a bone-chilling fright fest [music] that's bound to leave you thinking. Its biting social critique struck a major chord with audiences and critics.

[00:10:00]>> But we are divine.

[00:10:03]We are the gods trapped in cocoons.

[00:10:06]>> Alongside a massive box office haul, Peele walked away with the Academy Award for Best Original Screenplay. Clearly, Get Out leaves its viewers wanting to do anything but.

[00:10:17]Number 19, The Cabinet of Doctor Caligari. With just one look at this film's striking visuals, it's obvious why it's considered a revolution for arthouse horror movies. Doctor Caligari's twisted set design is the very definition of unsettling.

[00:10:32]>> [music] >> Even when nothing particularly scary is happening on screen.

[00:10:36]>> [music] >> And that's to say nothing of its actual narrative. The tale of a mad hypnotist turning patients into murderers is a painfully potent mirror to the state of 20th century Germany. It's all the more impressive since the silent film accomplishes it without any spoken dialogue.

[00:10:56]>> [music] >> Doctor Caligari's artistic merits have kept it in the conversation for over 100 years after its release. [music] And there's no reason to believe it can't do it for another 100, too.

[00:11:10]Number 18, Eraserhead. The story here is remarkably straightforward. Henry has a wife. He cheats on her. He blames their baby. And the screen cuts to black.

[00:11:21]However, the what isn't nearly as interesting as the how and why. You see, David Lynch's surrealist masterpiece features imagery so disturbing, it has to be seen to be believed.

[00:11:32]>> In [music and singing] heaven >> [music] >> Whether it's walking home from the grocery store or eating dinner with some friends, the film successfully turns each and every mundane act into a deeply horrific set piece. It's a harrowing portrait of parenthood, for better or for worse. Suffice it to say, Eraserhead is utterly unforgettable, if only for that nightmarish baby prop.

[00:12:00]>> Oh, you are sick.

[00:12:02]>> Number 17, Jacob's Ladder. This film is a little bit of everything on the horror scale. Psychological terror mixed with arthouse vibes and surrealistic moments.

[00:12:12]>> [screaming] >> But above all else, it is terrifying.

[00:12:17]The movie follows Tim Robbins as a Vietnam War veteran who begins to experience extremely strange visions.

[00:12:23]The nature of these visions remains a tantalizing mystery throughout, and you soon begin to question the film's reality. It'll make you feel disgusted long after the credits roll, thanks to its discomforting scenes and hopeless [music] attitude. But no matter how difficult it may be to stomach, Jacob's Ladder is definitely worth stepping on.

[00:12:41]>> No one can remember that night.

[00:12:44]Like a flash, it but they don't make sense.

[00:12:47]>> Number 16, Repulsion. Repulsion was director Roman Polanski's first feature film to be released in English, and what an introduction it was.

[00:12:59]When the troubled Carol Ledoux is left alone in the apartment she shares with her sister, she begins to experience strange and unexplainable occurrences.

[00:13:07]The movie is terribly claustrophobic and isolating, a terrifying depiction of a young woman's slow dip into utter insanity. The acting, Polanski's use of sound, the startling images, and the filmmaking are all top-notch, and the result is a truly unnerving psychological experience.

[00:13:32]>> Number 15, The Haunting.

[00:13:34]>> The dead are not quiet in Hill House.

[00:13:38]>> Director Robert Wise interpreted this story as one about mental health instead of ghosts, and that vision is reflected in the film's final cut.

[00:13:46]>> [music] >> Namely, there's a distinct lack of blood or monsters in its 2-hour runtime. Don't mistake that as a lack of scares, though. On the contrary, The Haunting [music] is easily one of the most off-putting films of its time.

[00:13:59]>> Ghost.

[00:14:01]It's alive.

[00:14:02]>> Wise purposefully used an imperfect camera lens in order to give the set a distorted look.

[00:14:07]>> [music] >> As a result, the haunted house feels as much like a character as the paranormal investigators. Plus, the focus on Eleanor's deteriorating mental state ensures that when the scares do come, they are fiendishly effective.

[00:14:21]Number 14, The Others.

[00:14:23]>> I think that sometimes the world of the dead gets mixed [music] up with the world of the living.

[00:14:33]>> The Others follows Nicole Kidman as a single mother who begins to suspect that her house is haunted. And even though it's a modern movie, it gleefully reminds us of old-school horror. There are no cheap jump scares, screeching violins, or buckets of blood. It's just a creepy haunted house that acts up in subtly horrifying ways. And Nicole Kidman perfectly portrays a troubled and increasingly desperate mother who only wants the safety of her children. It also has one of the most shocking endings in horror movie history, even if it's become common knowledge in the years since.

[00:15:03]>> I'm not dead. We're not dead.

[00:15:05]>> We're not dead.

[00:15:06]>> The Others is a simple, old-fashioned ghost story, and we love it.

[00:15:11]>> NOT DEAD.

[00:15:11]>> [screaming] >> WE'RE NOT >> DEAD.

[00:15:18]>> NUMBER 13, AUDITION. FOR the first hour of this seminal Japanese work, you'd be forgiven for assuming it's an oddly paced romance film. But a body bag and an infamous needle scene later, and Audition reveals itself as one of the most sinister horror films of all time.

[00:15:41]The shocking twist of fate works so well because the film spends most of its runtime intentionally lulling the audience into a false sense of security.

[00:15:49]Outside of an odd line here and there, there is nothing to prepare you for what the movie becomes in its final minutes.

[00:16:07]Audition is a true masterclass of turning audience expectations into a sadistic type of gruesome horror.

[00:16:14]Number 12, The Babadook.

[00:16:20]>> That's when you'll know he's around.

[00:16:23]You'll see him if you look.

[00:16:25]>> The Babadook was an unfortunate victim of misleading marketing. Many audiences expected another haunted house romp like The Conjuring, and were left disappointed with this more methodical film. However, those without faulty expectations found a harrowing movie about the destructive power of grief.

[00:16:40]The story follows a depressed single mother who becomes haunted and influenced by The Babadook, a monster found in her son's pop-up book. While The Babadook is indeed scary, it's in the metaphorical nature of the monster where the real scares lie, as Amelia soon becomes enveloped by the madness that The Babadook represents. This is both a depressing and uplifting film, and it's frightening to boot.

[00:17:02]>> YOU'RE TRESPASSING IN MY HOUSE!

[00:17:12]>> Number 11, The Blair Witch Project. To make this found footage movie, three actors were set loose in the woods with a camcorder and no written dialogue.

[00:17:21][music] Eight days of filming later, they turned in a movie that's still influential to this day.

[00:17:27]>> I know. I know. We have to get back to the car.

[00:17:29]>> We're obviously not wanted here, so let's get the hell out.

[00:17:32]>> The shaky cam presentation adds a certain visceral quality to each unnerving moment, and there are a lot of them. Yet, somehow the accelerating scares never compromise how authentic the footage feels. Even with the knowledge that this is fiction, the movie never fails to put you right in the character's shoes.

[00:17:50]>> I'm so so sorry.

[00:17:54]For everything that has happened.

[00:17:56]>> At a time when horror films were becoming increasingly cinematic, The Blair Witch Project went in the completely opposite direction. And evidently, that was a very good thing.

[00:18:06]Number 10, Funny Games. Despite its name, this horror flick is no laughing matter. Just not for the reasons most expect. On paper, a pair of sadistic invaders tormenting an innocent family is pretty standard horror fare. But instead of resisting those tropes, Funny Games embraces them by slowly and surely blurring the line between fact and fiction. [music] While there are still plenty of grizzly moments to satisfy genre diehards, none of them matches the mind-bending twists this movie throws at you. At a certain point, it feels less like a movie and more like, well, a game. Albeit one that is totally rigged. Nothing is scarier than villains who can write their own ending.

[00:19:02]Number nine, DON'T LOOK NOW.

[00:19:06]ANOTHER OLDIE BUT A GOODIE, DON'T LOOK Now stars Donald Sutherland and Julie Christie as a depressed couple who travel to Venice. There, they meet a psychic who informs them that their dead daughter is attempting to reach and warn them of impending danger.

[00:19:19]>> Oh, yes, she's with you. She's with you, my dear.

[00:19:22]>> The movie is arguably a masterpiece, and it's still manages to stop the heart all these years later thanks to its horrifying scenes and harrowing depiction of grief. It also has one of the scariest endings in horror movie history, one that's sure to leave you open-mouthed and petrified. It's influenced many filmmakers over the years, and it's not hard to see why.

[00:19:43]>> Wait.

[00:19:44]Wait.

[00:19:50]>> [screaming] >> Wait.

[00:19:53]>> Number eight, The Sixth Sense. M. Night Shyamalan's breakout feature is known for having the twist ending to end all twist endings. But, there's a whole film preceding that moment, and its execution is just as exemplary.

[00:20:06]>> I don't want to be scared anymore.

[00:20:08]>> From the very start, The Sixth Sense excels in the steady rise and fall of tension. It takes the time to let its characters sit back and breathe. Then, when a ghostly hand reaches out from under the bed, it has genuine stakes.

[00:20:22]Best of all, the film is just as interested in its contemplative themes as it is terrifying its audience.

[00:20:28]>> You're not going to see you anymore, [music] am I?

[00:20:33]>> I think we said everything we needed to say.

[00:20:35]>> That thoughtful approach makes for an incredibly fulfilling 2 hours, whether you know the ending or not.

[00:20:42]Number seven, Black Swan.

[00:20:44]>> Just want to be perfect.

[00:20:45]>> You what?

[00:20:47]>> Want to be perfect.

[00:20:48]>> Director Darren Aronofsky certainly knows how to explore the dark sides of the human mind, and he does it masterfully in Black Swan. This is a movie about a ballerina who descends into insanity due to the immense pressure of landing a coveted role.

[00:21:01]Natalie Portman shines as Nina Sayers, capturing both the childlike innocence of the white swan and the dark maturity of the black swan and helping us to feel conflicted about the nature of her character and her sanity. The film explores the dangers of attempting to reach perfection in a beautiful, scary, and unforgettable way. Aronofsky is a true master of the psychological.

[00:21:22]>> Perfect.

[00:21:23]>> What?

[00:21:25]>> [music] >> Perfect.

[00:21:32]It was perfect.

[00:21:34]>> Number six, Hereditary. At its core, this is a movie about a family in mourning and yet even in its most innocuous moments, Hereditary channels an unbearable amount of rising dread.

[00:21:46]>> It's hard to breathe.

[00:21:49]>> What do you mean?

[00:21:51]>> I think my throat's getting bigger.

[00:21:54]>> Then, just like that, it all boils over in a burst of graphic violence and then another and another.

[00:22:01]>> Mommy, Mommy, please the baby is >> None of these scenes is easy to sit through by any means. Still, it's hard not to be mesmerized by the film's ambitious themes, especially when they're brought to life by a career-best performance from Toni Collette.

[00:22:17]>> DON'T YOU SWEAR AT ME, YOU LITTLE [ __ ] DON'T YOU EVER RAISE YOUR VOICE AT ME. I AM YOUR MOTHER.

[00:22:23]DO YOU UNDERSTAND?

[00:22:24]>> All in all, Hereditary succeeds because it's an utterly enthralling deconstruction of grief that just so happens to come with a few jump scares, not the other way around.

[00:22:34]Number five, Misery.

[00:22:36]>> I thought you were good, Paul.

[00:22:39]But you're not good.

[00:22:41]You're just another lying old dirty birdie.

[00:22:43]>> Stephen King has really done it all when it comes to horror. A little gross-out gore here, a ghost story there, and some vampires sprinkled on top. With Misery, he tackled non-supernatural psychological horror and he succeeded brilliantly.

[00:22:57]>> I have this gun.

[00:23:03]Sometimes I think about using it.

[00:23:05]>> The story about an author who becomes trapped with a psychotic fan was adapted perfectly by Rob Reiner, who beautifully transfers the isolation and claustrophobia felt on the pages to the screen. Kathy Bates' performance in particular is stellar, playing the seemingly pleasant but realistically unhinged Annie Wilkes. It's a terrific adaptation and a terrifying look into the dangers of celebrity worship.

[00:23:28]>> Trust me.

[00:23:30]>> God's sake.

[00:23:31]>> It's for the best.

[00:23:32]>> Number four, The Silence of the Lambs.

[00:23:35]>> Where were you going, Clarice?

[00:23:37]>> I don't know. I didn't have any food, any water, and it was very cold.

[00:23:42]>> The Silence of the Lambs is undoubtedly a masterpiece and it remains the only horror film to win the Academy Award for Best Picture, a testament to just how memorable and powerful it is. The film follows FBI trainee Clarice Starling, who seeks the help of an imprisoned cannibal in order to catch a serial killer.

[00:23:59]>> If I help you, Clarice, what will be our terms with us, too? Quid pro quo. I tell you things, you tell me things.

[00:24:05]>> She soon forms a fascinatingly therapeutic bond with the cannibal, Hannibal Lecter. Not only is their relationship tantalizingly complex, but also the film itself is rife with unforgettable quotes, nightmarish images, and one of the best villainous performances of all time in Anthony Hopkins.

[00:24:22]>> I ate his liver with some fava beans and a nice chianti.

[00:24:30]>> It's not only a fantastic horror movie, but a fantastic movie, too. Period.

[00:24:35]>> I do wish we could chat longer, but I'm having an old friend for dinner.

[00:24:41]>> Number three, Psycho. It's not hyperbole to say Alfred Hitchcock's signature slasher flick practically defined what the horror genre could achieve. That being unforgettable plot twists, despicable villains, and loads of spine-tingling moments. Add in a downright iconic musical score and it's really no wonder Psycho lives on as Hitchcock's magnum opus.

[00:25:04]It's so scary good, it's genuinely difficult to choose a favorite part. The performances, the direction, or the fact that Hitchcock pulled it all off with a fraction of his normal budget. Either way, we can all unanimously agree on one thing. Despite decades of innovations and rip-offs, Psycho still easily holds up as a gripping example of tasteful horror at its best.

[00:25:26]>> They'll see.

[00:25:28]They'll see and they'll know and they'll say why she wouldn't even harm a fly.

[00:25:35]>> Number two, Rosemary's Baby.

[00:25:37]>> Let's have a baby.

[00:25:39]All right?

[00:25:40]Let's have three babies, one at a time, all right?

[00:25:42]>> Three years after Repulsion, Roman Polanski returned to cinemas with Rosemary's Baby and it strengthened his status as one of film's most disturbing directors. The movie, about a woman who begins to suspect that her neighbors want her baby for cultish reasons, is a horror masterpiece filled with Polanski's unique sense of dread and isolation. Just the concept itself, learning that you were impregnated by Satan and gave birth to his offspring, is horrifying enough.

[00:26:08]>> What have you done TO IT?

[00:26:10]WHAT HAVE YOU DONE TO ITS EYES?

[00:26:12]>> HOWEVER, it's Polanski's filmmaking, complete with a disturbing use of sound and tormenting lack of visuals, that elevates the movie TO ART.

[00:26:20]>> GOD IS DEAD.

[00:26:22]>> SAY IT AGAIN.

[00:26:23]>> SATAN LIVES!

[00:26:24]THE HEIR IS ONE.

[00:26:26]>> THE HEIR IS ONE.

[00:26:27]>> THE HEIR IS ONE. GOD [screaming] IS DEAD.

[00:26:31]>> BEFORE WE CONTINUE, BE SURE TO CHECK OUT WATCHMOJO'S 24-hour live stream. All of your favorite videos in one place, 24/7.

[00:26:38]Always on, always live.

[00:26:40]>> WHY ARE YOU NOT ENTERTAINED?

[00:26:43]>> Number one, The Shining. Although the initial reaction to Stanley Kubrick's masterpiece, The Shining, was mixed, it's now widely regarded as one of the best and scariest movies of all time.

[00:26:54]>> REDRUM.

[00:26:55]>> DANNY, STOP IT.

[00:26:55]>> REDRUM.

[00:26:56]>> DANNY.

[00:26:57]>> REDRUM.

[00:26:58]>> DANNY.

[00:26:58]>> [screaming] >> REDRUM.

[00:27:02]>> THE STORY FOLLOWS A jaded father who slowly loses his sanity due to the malevolent forces of a hotel. Jack Nicholson is simply outstanding in this role, delivering a nuanced performance that is equally terrifying and captivating.

[00:27:15]>> Here's Johnny.

[00:27:18]>> Aside from its now classic scares, like the twin girls and the bloody elevator, the movie explores the petrifying concept of watching a comforting and protective family member descend into murderous insanity. This is the ultimate psychological horror film and one of Kubrick's best.

[00:27:34]>> You can't get away.

[00:27:40]I'M RIGHT BEHIND YOU.

[00:27:42]>> WHICH OF THESE MOVIES kept you up the longest? Sound off in the comments.