If horror films reflect the hysteria and fear of the moviegoing public, then we, as a planet, are definitely afraid of our children – or of children in general. There are countless examples of murdering, mutant, bloodthirsty, demonic youngsters. Whether they are born monsters or have been claimed by the Dark One, whether they belong to roving bands of toughs or happen to be your own evil offspring, children seem to play upon our deepest fears. So let’s celebrate that today with a count down of the scariest children ever!
6. Let The Right One In (2008)
In 2008, Sweden’s Let the Right One In emerged as an original, stylish thriller – and the best vampire flicks in years. A spooky coming of age tale populated by outcasts in the bleakest environment, the film breaks hearts and bleeds victims in equal measure. Kare Hedebrant‘s Oskar, with his blond Prince Valiant haircut, falls innocently for the odd new girl (an outstanding Linda Leandersson) in his shabby apartment complex. Reluctantly, she returns his admiration, and a sweet and bloody romance buds.
As sudden acts of violence mar the snowy landscape, Oskar and Ali grow closer, providing each other a comfort no one else can. The film offers an ominous sense of dread, bleak isolation and brazen androgyny – as well as the best swimming pool scene perhaps ever. Intriguingly, though both children tend toward violence – murder, even – you never feel anything but empathy for them. The film is moving, bloody, lovely and terrifying in equal measure.
5. The Bad Seed (1956)
The minute delicate Christine’s (Nancy Kelly) husband leaves for his 4-week assignment in DC, their way-too-perfect daughter begins to betray some scary behavior. The creepy handyman Leroy (Henry Jones) has her figured out – he knows she’s not as perfect as she pretends.
You may be tempted to abandon the film in its first reel, feeling as if you know where the it’s going. You’ll be right, but there are two big reasons to stick it out. One is that Bad Seed did it first, and did it well, considering the conservative cinematic limitations of the Fifties.
Second, because director Mervyn LeRoy’s approach – not a single vile act appears onscreen – gives the picture an air of restraint and dignity while employing the perversity of individual imaginations to ramp up the creepiness.
Enough can’t be said about Patty McCormack. There’s surprising nuance in her manipulations, and the Oscar-nominated 9-year-old handles the role with both grace and menace.
4. Them (2006)
Brisk, effective and terrifying, Them is among the most impressive horror flicks to rely on the savagery of adolescent boredom as its central conceit.
Writers/directors/Frenchmen David Moreau and Xavier Palud offer a lean, unapologetic, tightly conceived thriller that never lets up.
A French film set in Romania, Them follows Lucas and Clementine, a young couple still moving into the big rattling old house where they’ll stay while they’re working abroad. It will be a shorter trip than they’d originally planned.
What the film offers in 77 minutes is relentless suspense. I’m not sure what else you want.
Creepy noises, hooded figures, sadistic children and the chaos that entails – Them sets up a fresh and mean cat and mouse game that pulls you in immediately and leaves you unsettled.
3. The Brood (1979)
Dr. Hal Ragland – the unsettlingly sultry Oliver Reed – is a psychiatrist leading the frontier in psychoplasmics. His patients work through their pent-up rage by turning it into physical manifestations. Some folks’ rage turns into ugly little pustules, for example. Or, for wide-eyed Nola Carveth (Samantha Eggar), rage might turn into bloodthirsty, puffy coated spawn. This is Cronenberg’s reimagining of procreation, and it is characteristically foul.
Cronenberg is the king of corporeal horror, and The Brood is among the best of the filmmaker’s early, strictly genre work. Reed and Eggar both are unseemly perfection in their respective roles. Eggar uses her huge eyes to emphasize both her former loveliness and her current dangerous insanity, while Reed is just weird in that patented Oliver Reed way.
But it’s the climactic image of procreation – of motherhood and childbirth – and the way the filmmaker and his leading lady subvert that life-giving moment, turning it into something beastly, that will stick with you.
2. The Omen (1976)
Gregory Peck brought impenetrable gravitas to this film, making everything seem very serious and worthwhile. This could be no ordinary horror flick – not with Atticus Finch in the lead.
Peck plays Robert Thorn, a rising politician and best friend to the President of the United States. He agrees to a delivery room switcheroo when he’s told his own son perished during childbirth, but another baby born simultaneously was orphaned. He brings home the tot, his loving wife (Lee Remick) none the wiser.
Eventually she does develop a sixth sense about the cherubic little Damien, though.
This mid-Seventies gem is gloriously over-the-top with its self-serious approach to the coming of the antichrist. Richard Donner – who would go on to direct a couple Superman movies, a bunch of Lethal Weapons, as well as the Goonies – made a name for himself as a director with this bloated and deadly serious bible thumper.
The film’s sinister elements – Mrs. Baylock, that dog, and Jerry Goldsmith’s intensely creepy (and Oscar winning) score – combine with Peck’s elegant heroism to keep the film fascinating, but all would have been for naught except for Harvey Stephens’s impish perfection as Damien.
1. The Ring (2002)
Gore Verbinski’s film achieves one of those rare feats, ranking among the scarce few Hollywood remakes that surpasses the foreign born original, Japan’s unique paranormal nightmare Ringu.
The Ring – thanks in large part to the creepy clever premise created by Koji Suzuki, who wrote the novel Ringu – is superior to its source material principally due to the imagination and edge of the fledgling director. Verbinski’s film is visually arresting, quietly atmospheric, and creepy as hell.
This is basically the story of bad mom/worse journalist Rachel (Naomi Watts) investigating the urban legend of a video tape that kills viewers exactly seven days after viewing.
The tape itself is the key. Had it held images less surreal, less Bunuel, the whole film would have collapsed. But the tape was freaky. And so were the blue-green grimaces on the dead! And that horse thing on the ferry!
From cherubic image of plump cheeked innocence to a mess of ghastly flesh and disjointed bones climbing out of the well and into your life, the character is brilliantly created. (It’s actually a full grown man who climbs herky-jerky out of the TV.)