After the lacklustre Scream 3, this gives the beloved bloodbaths a final run. Scream 4 serves up just enough jolts to warrant its existence and proves that Craven can show the young pretenders how it is done.
A well-presented thriller that nods towards the ‘home invasion’ elements of Craven’s past work, Red Eye is a little less layered than the director’s finest achievements, but remains a solid example of popcorn thrills.
A return to political potency, the underclass/upper-class division of suburban Los Angeles is given a psycho-sexual twist with this gory story of very, very bad parenting.
One of his less remembered romps, The Serpent And The Rainbow is also one of his most stylised. A malevolent mystery, with plenty of cob-webbed gothic atmosphere.
A sanguine-splashed companion piece. It only comes undone when the cast has to enter ‘full-on’ post-modern mode, Scream 2’s exposition-heavy whodunnit plot would have made Agatha Christie proud.
A debut frightener every bit as powerful as Romero’s Night Of The Living Dead (1968), The Last House On The Left is a grim, but politically potent, tale of savagery and revenge.
A strange but ambitious attempt to make Freddy scary again (after five sequels), New Nightmare reinvented mainstream American horror as postmodern folklore.
The resurrection of the slasher flick came with Scream – a super-slick, and very well-paced teen-kill murder-mystery that launched Neve Campbell and gave Craven late-in-the-day blockbuster credentials.
Craven crafted one of his most enduring outings with this brutal story of survival in the desert. Michael Berryman’s bald-headed cannibal remains an instantly iconic sight.
A Nightmare On Elm Street is an absolute must-see. Robert Englund’s Freddy Krueger became a figurehead of fright films and made a whole generation afraid of falling asleep.