10 Horror Movies You Probably Hated The First Time Round (But Loved The Second)

expectations play a huge role in how we

eventually feel about something and

scary movies are no exception after all

it's quite discouraging to anticipate

certain things from a horror film only

to discover that the trailers and other

promotional hype misled you and the end

product delivered on few if any of them

even when no outside influences are

involved we can still hate a movie based

solely on what we wanted versus

ultimately what we got the following 10

entries here demonstrate precisely all

of this as while they were originally

scorned by numerous genre lovers for one

reason or another upon their initial

release we're betting that over time

they and you grew to love them a lot

more for what they are rather than what

they're not so with that in mind I'm

Ellie with what culture here with 10

horror movies you probably hated the

first time round but loved the second

number 10 Halloween ends this is

probably the best example of hate

turning into love in recent memory as

countless franchise fans have

encouragingly shifted their their

opinions since this finale to David

Gordon Green's reboot Trilogy premiered

last October to be fair unlike

predecessors Halloween and Halloween

kills it's easy to find a lot of flaws

throughout Halloween ends primarily

viewers were upset about three main

elements the prioritization of a brand

new character the lack of consistent and

compelling final showdowns between

villain Michael Myers and savior Laurie

Strode and the corresponding lessening

of Maya's screen time and scariness that

said many former naysayers have come to

deeply enjoy and respect how different

it is by emphasizing intentionally

intimate psychological drama over

routine slasher tropes Halloween ends

felt much fresher and Bolder plus each

of the four main characters Laurie

Michael Corey and Lori's niece Allison

Nelson were developed in daringly

interesting if not entirely satisfying

ways even the opening credits seem to

predict audiences inevitable change of

heart as it overtly mirrored the style

of the comparatively a typical Halloween

3 season of The Witch which has been

similarly reassessed since its 1982

debut number nine Freddy's Dead the

Final Nightmare The Nightmare on Elm

Street series always housed a cruel

sense of humor with 1987's a Nightmare

on Elm Street 3 Dream Warriors featuring

the first and best instances of blending

antagonist Freddy Krueger's now

trademark catchphrases and jokes with

gloomier subject matter and visuals for

better or worse it sequels increasingly

swapped Kruger's original sadism for

unabashed silliness the more egregious

instance is 1991's downright cartoonish

Freddy's Dead the Final Nightmare which

force every devotees was the final straw

after all it saw the eponymous burned

bad guy spoofing The Wizard of Oz and

Looney Tunes once they get over how

dissimilar it is to Wes Craven's 1984

Masterpiece though it's common for

people to Value Freddie's dead as a

commendably imaginative largely amusing

and boldly non-conforming chapter of of

The Saga in fact when it comes to pure

entertainment it's hard to beat it

what's more Freddy's Dead is deceptively

dark and effective in its explorations

of multiple kinds of childhood Trauma

from enduring sexual abuse and excessive

punishments to witnessing school

bullying and the murder of one parent by

the other there's a ton of real world

issues examined beneath the sophomoric

surface number eight the babadook

Jennifer Kent's 2014 directorial debut

the babadook is a superb illustration of

allegory and symbolism in horror why

because its titular creature is actually

a manifestation of the confrontational

bitterness and sorrow felt by matriarch

Emilia and her son Samuel following the

fatal car accident of family patriarch

Oscar specifically and somewhat

understandably Emilia becomes

perpetually resentful and violent

towards Samuel who is undeniably

annoying needy erratic and all-around

insufferable from the moment their

Journey Begins his unbearableness

coupled with the film being generally

unfrightening in a traditional sense

resulted in a considerable amount of

onlookers outright loathing Kent's

Vision as is often the case

retrospective analysis of what the

babadook is really about and how well it

succeeds at its depictions have

substantially altered such negative

appraisals today babadook enthusiasts

see it as a beautifully constructed and

touchingly Earnest tale of grief love

and connection between a mother and her

child as for Samuel's excruciating

behaviors and Emilia's reprehensible

responses to them both are far more

frightening yet necessary than what

might be seen in a conventional monster

movie number 7. Seed of Chucky simply

put the fifth entry in the child's play

franchise 2004's Seed of Chucky was way

too comedic for most aficionados upon

their first screening granted 1998's

Bride of Chucky foreshadowed this change

in tone but it also stayed true to

Mastermind Don Mancini's scary origins

in contrast Seed of Chucky fundamentally

focused on third moments such as Chucky

mating and cringe-worthy nods to

celebrities such as red man John Waters

and Britney Spears when the initial

sting wore off however numerous Watchers

relished the continuously spirited

Chemistry Between Chucky and his

aforementioned bride Tiffany and by

association voice actors Brad Dourif and

Jennifer Tilly plus having Tilly play

herself alongside the film's mockery of

Hollywood doubled down on the meta

satire of its precursor in hindsight

subsequent watches also earned Seed of

Chucky distinction for being ahead of

its time in terms of lgbtqia inclusivity

which Mancini has always incorporated

into the series to some degree by giving

Chucky and Tiffany's non-binary child

Glenn glender agency over their identity

as well as showcasing their parents

support for them the movie is often

championed for giving a substantial

section of the horror Community the

representation and acceptance it

deserves number six malignant James 1 is

one of the most reliable and distinctive

otors in modern horror so it was only

logical for fans to expect 2021's

malignance to be another classic in his

catalog and it definitely is but

experiencing it twice is practically

mandatory to see it that way you see

what originally seems like a fairly

straightforward tale of a woman being

framed for the murders of her seemingly

imagined childhood friend turns out to

be a much more deranged and awkward ride

in terms of both narrative and execution

just about everything in malignant from

the camera work and editing to the

acting and dialogue is

uncharacteristically messy and laughable

plus the big plot twist that Gabriel is

Madison's parasitic twin who lives on

her back and controls her is

mind-blowingly outlandish the thing is

all of that is completely deliberate

because malignant is an ingeniously

tongue-in-cheek homage to past horror

experimentation from trashy great such

as the Evil Dead and Basket Case to the

giallo opuses of Dario Argento Mario

Barber and Lucio fulchi malignant is a

knowingly ridiculous yet awesome

throwback to one's Inspirations how can

you not love the now legendary prison

and police station fight scenes number

five the Mist although it's not as great

as their prior collaborations 1994's the

Shawshank Redemption and 1999's The

Green Mile 2007's the Mist is

nonetheless among the best Motion

Pictures with which writer director

Frank Darabont and novelist Stephen King

have ever been involved it follows a

familiar setup by placing a small group

of distinctive and debatably

stereotypical community members in a

supermarket to fend off lovecraftian

monsters and their own growing

frustrations and suspicions with each

other by every measure it's

exceptionally well done even so it's

easy to see why people detested it all

those years ago Beyond featuring The

requisite Trope of characters making

overtly stupid and dangerous decisions

the ways in which religious zealot

misses Carmody indoctrinates her

neighbors into cultish tribalism is

infuriatingly ridiculous but realistic

then there's the unequivocably

nihilistic ending that in inevitably

depresses each viewer while deviating

significantly from King's more hopeful

conclusion after those initial gut

punches wear off though future

re-watches allow the Miss sheer boldness

and craftsmanship to shine through

that's through for the commendable

technical aspects as much as it is for

being able to accept and possibly enjoy

who gets saved versus who gets

slaughtered number four it comes at

night centered around two sets of people

who were forced to cohabitate a house

during a pandemic how chillingly

relatable in retrospect it comes at

night was marketed to be one of 2017's

scariest supernatural films with the

title and trailer like that who wouldn't

expect something tangible and terrifying

to appear once the sun sets instead the

eponymous it refers not to any sort of

paranormal or otherwise unnatural being

but to the paranoia Division and

ruthlessness that infects the

character's Minds when they're forced to

contend with unimaginable threats and

uncertain circumstances admittedly

crowds had every right to feel deceived

and upset when it ended yet a revised

Outlook permits it comes at night to be

cherished in a fresh and favorable light

with its mounting tension dreamily

abstract imagery and eternally resonant

social observations it's an engrossing

and sobering look at the ugliness of

humanity plus its Central thesis has

been a part of entertainment for decades

for example the Twilight zones the

monsters are due on Maple Street 28 Days

Later and all versions of The Last of Us

just because there isn't a traditional

fiend doesn't mean there's nothing

unalluringly and metaphorically fiendish

to contemplate number three the

blackcoat's daughter arguably no other

movie studio today is as synonymous with

elevated horror as a24 and as such their

projects are known for being slowly

paced and conceptually ambiguous at

least during the opening two acts 2015's

the blackcoat's daughter is a perfect

example of this for one thing it divides

itself into multiple timelines amidst

juxtaposing multiple narratives the

ominous despondent winter break

interactions of schoolmates Rose and cat

and the Mysterious trajectory of escaped

mental patient Joan a decade later that

jumbled structure matched with the

blackcoat's daughter's leisurely stride

it takes a while for the plot to really

get going no doubt prompted many

first-timers to ask themselves what is

the point of all this and where is this

going luckily Mastermind Osgood Perkins

pays off everything in artfully

troubling fashion during the final third

with the connections between those three

characters becoming cleverer and

creepier as various bits of

foreshadowing stylistic parallels and

game-changing secrets are discovered

once all the blackcoat's daughter's

implications are revealed audiences can

embark on a second screening with a

stronger appreciation not only for where

it ends up but for how it gets there too

number two the Texas Chainsaw Massacre

2. considering how unapologetically

depraved and disturbing 1974's The Texas

Chainsaw Massacre is it was reasonable

to anticipate more of the same from Toby

Hooper's belated 9 1986 follow-up rather

than offering another relatively

grounded and unsettling journey into

figurative hell though the Texas

Chainsaw Massacre 2 fully Embraces the

black comedy tone the director allegedly

aims to achieve with the original from

beginning to end it's a pointedly

colorful and droll picture that while

still grungy and gory is unlikely to

keep anyone up at night in keeping with

the overarching theme off this list the

Texas Chainsaw Massacre 2 is also

another instance of initially dismayed

moviegoers savoring what they did get

when they returned for an additional

helping of hoopa's surreal Shenanigans

and satire be it the outrageous opening

Road tussle the carnivalistic closing

face-offs or almost anything in between

it's a blast to watch in particular

Caroline Williams idiosyncratically

courageous and irreverent stretch is an

absolutely iconic final girl Bill

Mosley's cartoonishly bizarre Chop Tops

deals every scene he's in and Dennis

Hooper as the vengeful Lieutenant

Enright gives his most entertainingly

unhinged and quotable performance next

to his turn as Frank Booth in David

Lynch's blue velvet from the same year

number one possession oh where to start

with the puzzlingly peculiar possession

released in 1981 the French German film

has been confusing and fascinating

audiences for over 40 years and for good

reason preliminarily it's a genuinely

believable and evocative if curiously

stagey examination of a married couple

wrestling with infidelity divorce and

the shared responsibilities of raising

their young son from there it gradually

evolves or devolves depending on your

perspective into a wholly unusual tour

of surreal symbolism we're talking

cannibalism doppelganger's graphic

homicides cronenberg-esque body horror

including Anna having sex with a

tentacled creature and perhaps most

famously a horrifyingly uncomfortable

and inexplicable possession scene in a

Subway clearly it's a profoundly

challenging and adventurous Excursion

into avant-garde storytelling that

leaves people bewildered and irritated

when the credits roll and yet they can't

help but return to it a second time if

not more to fully process and appreciate

all of its socio-political and

interpersonal commentaries captivating

acting and stylish camera work it's too

much to digest in one viewing but with

each subsequent undertaking possession

reveals itself to be brilliantly

audacious and absorbing it's truly a

one-of-a-kind creation and that

concludes our list if you think we

missed any then do let us know in the

comments below and while you're there

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