As a fan of horror comedies, there’s nothing quite like the mix of scares and laughs that the genre delivers. The blend of terrifying monsters, supernatural elements, and gut-busting humor creates a unique experience that keeps audiences entertained and on edge. Over the years, horror comedies have given us some truly unforgettable films that deliver both genuine fright and hilarious moments. Here’s a countdown of the top five horror comedies ever, with a brief description of each and why they stand out as the best in this hybrid genre.

1. Shaun of the Dead (2004)

Director: Edgar Wright

Starring: Simon Pegg, Nick Frost, Kate Ashfield

Shaun of the Dead is widely regarded as one of the greatest horror comedies of all time, and for good reason. Directed by Edgar Wright, this British film perfectly balances humor and zombie carnage. The story follows Shaun (Simon Pegg), an average guy who tries to navigate a zombie apocalypse with his best friend Ed (Nick Frost) while attempting to win back his ex-girlfriend and mend his relationship with his mom. What makes Shaun of the Dead so great is its clever writing, sharp wit, and genuinely touching moments amidst the blood and guts.

Why It’s Great: Shaun of the Dead is a masterclass in genre-blending, with perfect comedic timing, memorable characters, and plenty of zombie-fueled action. It’s a heartfelt tribute to both horror and comedy that still stands as the gold standard for horror comedies.

2. Evil Dead II (1987)

Director: Sam Raimi

Starring: Bruce Campbell, Sarah Berry, Dan Hicks

If you love over-the-top gore, slapstick humor, and a wildly charismatic lead, Evil Dead II is the perfect horror comedy. Directed by Sam Raimi, the film serves as both a sequel and a partial remake of The Evil Dead (1981), following Ash Williams (Bruce Campbell) as he battles demons and the forces of evil in a cabin deep in the woods. Evil Dead II is packed with absurd amounts of blood, creative practical effects, and Bruce Campbell’s unmatched physical comedy. It’s a manic, fast-paced horror rollercoaster with plenty of laughs.

Why It’s Great: Evil Dead II is legendary for its mix of intense horror and slapstick comedy. Raimi’s inventive camera work, Campbell’s performance, and the film’s unique blend of gore and humor make it a genre classic that paved the way for countless horror comedies.

3. Tucker and Dale vs. Evil (2010)

Director: Eli Craig

Starring: Alan Tudyk, Tyler Labine, Katrina Bowden

This hidden gem flips the usual horror movie tropes on their head. Tucker and Dale vs. Evil follows two kind-hearted hillbillies, Tucker (Alan Tudyk) and Dale (Tyler Labine), who are mistaken for murderous backwoods killers by a group of college kids during a vacation in the woods. As misunderstandings pile up, the kids inadvertently cause their own demise in hilariously gruesome ways. This film cleverly subverts slasher tropes, turning the expected villains into lovable heroes.

Why It’s Great: Tucker and Dale vs. Evil stands out for its brilliant satire of the horror genre, offering a fresh, comedic perspective on classic slasher films. Its clever writing, endearing characters, and hilarious death scenes make it a must-watch for any horror-comedy fan.

4. What We Do in the Shadows (2014)

Directors: Taika Waititi, Jemaine Clement

Starring: Taika Waititi, Jemaine Clement, Jonny Brugh

What We Do in the Shadows is a mockumentary-style comedy about a group of vampires sharing a flat in modern-day Wellington, New Zealand. Directed by and starring Taika Waititi and Jemaine Clement, this film brings a fresh take to vampire lore by presenting the undead as relatable, bumbling housemates. The characters—including the ancient Nosferatu-like Petyr and the feuding vampires Vladislav and Viago—deal with mundane issues like paying rent, house chores, and getting into nightclubs, all while navigating their eternal lives.

Why It’s Great: With its deadpan humor, clever writing, and lovable characters, What We Do in the Shadows is a brilliant take on the vampire genre. It offers both horror and humor in spades, making it a modern classic that appeals to horror fans and comedy lovers alike.

5. Cabin in the Woods (2012)

Director: Drew Goddard

Starring: Kristen Connolly, Chris Hemsworth, Anna Hutchison

Cabin in the Woods is more than just a horror-comedy—it’s a deconstruction of the entire horror genre. Directed by Drew Goddard and co-written by Joss Whedon, the film starts as a familiar setup: a group of friends heads to a remote cabin for a weekend getaway, only to be terrorized by supernatural forces. However, it quickly becomes clear that there’s more going on beneath the surface, as a mysterious organization controls the horrors unfolding for a sinister purpose. Cabin in the Woods expertly blends humor with horror, poking fun at genre clichés while delivering genuine scares.

Why It’s Great: Cabin in the Woods is brilliant for its meta-commentary on horror films, offering both a love letter to and a critique of the genre. The film is packed with twists, memorable monsters, and a witty script, making it a standout horror-comedy that’s as smart as it is scary.

What makes horror comedies so enjoyable is their ability to balance fear with laughter. These five films masterfully blend the two genres, offering everything from clever satire to blood-soaked slapstick. Whether you prefer the classic zombie comedy of Shaun of the Dead or the meta-humor of Cabin in the Woods, each film provides a unique take on horror while delivering plenty of laughs along the way.

For fans of both genres, these films represent the best of horror-comedy, showcasing how terrifying monsters and gut-busting jokes can exist side by side.

Disclaimer on Apple TV+ delivers a gripping psychological thriller, blending mystery with moral complexity. Created by acclaimed director Alfonso Cuarón, this series is based on the novel by Renée Knight, and stars Cate Blanchett as Catherine Ravenscroft, a successful documentary filmmaker whose life is upended when a disturbing novel appears, revealing her darkest secrets.

The series centers around Catherine, who stumbles upon a novel that eerily mirrors events from her past that she believed were long buried. As the book’s existence begins to unravel her personal and professional life, she must confront disturbing truths about herself. What makes Disclaimer intriguing is its delicate balance between psychological suspense and character-driven drama, allowing the viewers to feel empathy, even for morally ambiguous characters.

Cate Blanchett’s performance is nothing short of mesmerizing. She portrays Catherine as having a complex mix of strength, vulnerability, and guilt. Kevin Kline, who plays her estranged husband, adds further depth to the story, making their fractured relationship a compelling subplot.

Alfonso Cuarón’s direction is both atmospheric and tense. The series often uses flashbacks, slow reveals, and intricate camera work to keep the audience on edge. The mood is constantly one of unease, leaving you questioning what’s real and what’s imagined.

The disclaimer explores themes of guilt, memory, and the consequences of the past. It dives into the gray areas of moral responsibility, showing how events can be perceived differently by those involved. The series also delves into issues of privacy and identity in the digital age, where our pasts are never truly erased.

Visually, Disclaimer excels in creating a sense of looming dread. From its dark, muted color palette to its sharp contrasts in lighting, every frame adds to the psychological tension. The soundtrack complements the eerie mood, with haunting melodies that amplify the sense of paranoia.

Disclaimer is a masterclass in slow-burn suspense, elevated by outstanding performances and a director who knows how to manipulate tension. It may not be a show for those who prefer fast-paced thrillers, but if you enjoy character-driven narratives that challenge your perception of truth, this is a must-watch.

Final Rating: 4.5/5

Cobweb had limited theatrical release in July 2023 where it was immediately swallowed up by the cultural juggernaut that was the summer of ‘Barbenheimer’. Released onto Netflix in September 2024, presumably in preparation for spooky season. It is an interesting watch. 

Cobweb weaves its creepy tale around Peter (Woody Norman) a reserved eight year old boy. Peter lives with his mum; Carol (Lizzy Caplan), and his dad; Mark (Antony Starr), in a decrepit house. Peter is kept awake by strange knockings on his bedroom wall during the night. Both his parents dismiss this as Peter’s overactive imagination yet Mark enlists Peter’s help to put down poison for suspected rats. 

Peter is quiet at school with no friends which inevitably attracts bullies. We see that Peter’s problems fitting in at school could be attributed to the odd behaviour of his parents. Despite being set in the modern era their house lacks a TV or seemingly any technology bar a landline phone in the kitchen. 

The knocking on Peter’s bedroom wall turns into a female child’s voice asking for help then claiming to be his sister whom his parents have locked away, her name is Sarah. The disembodied voice claims the parents are “evil”. The parents bizarre behaviour turns to abusive when they lock Peter in the basement for drawing the attention of his teacher to their home. 

Peter’s sister in the wall eventually tricks Peter into poisoning his parents with the rat poison and setting her free. Sarah turns out to be an evil spider-like monstrous being. She gleefully rips through people with her elongated nails while taunting Peter. Peter is eventually rescued by his teacher Ms Devine (clearly from the Charles Dickens school of character naming) and Sarah is locked back into her cage in the basement. Sarah warns Peter that the night will haunt him forever and that they are “family”.

But is all as it seems with this twisted tale? The outlandish ending left many scratching their  heads at what began as a pretty grounded movie. Fans and critics alike took to social media to share their theories and thoughts on this underrated horror. 

I enjoyed the story. The acting was superb, particularly Norman who sold his role as an anxious child who slowly begins to understand his own strength and resilience. Special mention of course goes to Antony Starr. His wide smile and Patrick Bateman-esque eyes upped the creepy factor significantly. When Sarah crawled out of her prison behind the wall while talking to Peter in her death rattle,  I had to mute the film because I was so creeped out! 

Many viewers commented that the third act is vastly different from the rest of the movie. Was this simply a rushed production deadline or COVID related problems? Or was the film alluding to something different altogether? There are many fan theories scurrying around the interweb regarding the origin and meaning behind Peter’s, apparently, demonic sibling. 

Here are a few of my favourites:

Sarah is Just a Figment

Throughout the narrative we are reminded that Peter has a big imagination. He’s also lonely,  he has no friends at school and spends recess helping the teacher. It also becomes clear that Peter is being abused by his parents, their behaviour becoming increasingly more erratic. Seeing a young child being locked in a basement is far more terrifying to me than any ghost or ghoul. When he’s finally allowed out of the basement his mum brings him a tray of cupcakes to celebrate his freedom and bathes him. In typical abuser fashion Peter is made to apologise for his behaviour. Is it any wonder this little boy conjured himself an imaginary friend? Maybe even one with a familial bond? He would at least have one family member who doesn’t abuse him.

The majority of the story takes place at the family home. Its very noticeable that the outside of the house doesn’t exactly match the layout of the interior (and not just because one is a sound stage). Every shot is so beautiful that we have to believe this was deliberate. Despite the house being colonial in design, the inside is spacious with the use of wide shots. Everything feels so big, is this because we are seeing through a small child’s eyes? In this large, sometimes scary house maybe Peter’s damaged mind build up a fantasy around the sounds of actual rats scratching the walls. Imagining a sister he could run away with and start a new life.

This theory is supported by the almost nonchalant way Peter’s parents treat the whole situation. They have sealed their daughter in the walls of their house, did they not ever think she would maybe try to communicate with their son? Carol doesn’t even seem particularly alarmed when Peter starts talking about hearing sounds coming from inside the walls. 

Maybe an abused little boy would fantasise about his magical imaginary sister tearing his bullies limb from limb. Not only that but his favourite teacher arrives in time to rescue him from the massacre. 

Did Peter invent a fantastical scenario to escape his abusive parents?

Sarah is Peter’s Subconscious 

This is related to the first theory. A Redditor pointed out that in the style of Jungian psychology there are many dream-like ‘hooks’ in the movie. A hook in a dream is something non-sensical to let the dreamer know they are dreaming. There are many of these in Cobweb. The family inexplicably have a beautiful pumpkin patch in their backyard. Very atmospheric but why? Are they selling these pumpkins? They don’t like Halloween. Some viewers think the soup the family ate (every night) was pumpkin soup but looked to me to be the wrong color. Not just the patch but there is a child’s swing hanging from a tree right in the middle. Why would you encourage a child to play in the middle of delicate fruit he could tread on? Or if we lean into the dream theory; the swing in the pumpkin patch could represent Peter’s life from his perspective. Trying to play and be a normal child but with one wrong move he could destroy everything and anger his parents.

Keeping with the narrative Sarah becomes Peter’s subconscious or shadow self, all the repressed thoughts and feelings that are not acknowledged in daylight. The walls of Peter’s bedroom are covered in pictures and drawings except the wall through which he talks to Sarah, which is completely bare. 

Sarah encourages Peter to stand up for himself against his bullies and the next day he pushes one down the stairs injuring the bully. Sarah eventually convinces Peter to poison his parents, she warns him they want to kill him. Even Sarah’s appearance; starts off initially creepy with Sadako’s spiderlike movements, long matted hair filled with spiders, and long lethal nails. When we finally see her face the CGI is admittedly awful. The rest of the film has seemed so deliberate with every shot is the CGI deliberately phony looking? Sarah has a too-wide mouth with sharp teeth and shining eyes, basically how a child would draw a ‘scary face’. Sarah taunts Peter, Evil Dead style, from beneath the grate in the basement saying he is just like her. So are they one in the same? Peter seemingly rejects his shadow self,  leaving her to rot in her cell. But is that enough after he killed his parents? Is cute little Peter a burgeoning psychopath and this is his origin story?

And They Were Demons!

This is a fun one. While Sarah is locked in her cell she pleads with Peter saying that “it is in our blood”. What exactly does that mean? Sarah is not a normal girl if the walking up walls didn’t give you a clue. How could these outwardly normal-looking parents have birthed such a monster? Unless they are monsters too. It would explain Mark’s sinister attributes. During Peter’s nightmare, his mother has shining white eyes just like his sister. 

So is Peter some kind of demonic being? During the movie, Peter shows no outward supernatural abilities. Some have argued he shows super strength when pulling Sarah by her hair or it may just be plot convenience. However, eight-year-old Peter thinks to use the rat poison to poison his parent’s dinner. He even thinks about cutting the phone line so they can’t call 911. That’s extremely evil behaviour to put it mildly. Is this Peter’s demonic genes?

This theory also explains why Peter’s parents are so strict with him. Why did they overreact when Peter pushed the bully down the stairs? They knew what happened with Sarah, she almost got them found out.

Will Peter start to mutate like his sister? Ideas for a sequel maybe?

Even without these theories, Cobweb was a fun ride while it lasted. For an hour-and-a-half film, I personally fell into a virtual world of critiques and fan theories. Perhaps it is best to think of it like a modern fairytale, certainly more Grimm than Hitchcock!