Did you walk past a serial killer today? Maybe it was in the carriage of a packed commuter train, maybe a brushed shoulder in the refrigerated aisle of the supermarket. You probably didn't... but, maybe? They could be anywhere or nowhere and you'd never even know. Until they started murdering you, that is.

How exciting!

Clandestine killers have long been a grisly obsession for movie directors and cinema-goers alike. The thing is, there's a lot (and we mean a lot) of below-par slashers out there. So we decided to do the heavy lifting for you, with a list of all the best serial killer movies ever made.


Manhunter (1986)

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The connoisseur's choice of Hannibal Lector movie, Michael Mann's Manhunter is altogether a more cerebral, less overtly horror-y serial killer movie. Brian Cox's version of the extremely smart cannibal lives in a starkly lit, bright white cube of a prison cell rather than the dank, Castle Dracula hole which Anthony Hopkins would take up residence in. There, Cox's Lecktor – note the extra K there – plays psychological chess with Will Graham, an FBI guy he attacked but who now needs his help to track down another killer. The 'Tooth Fairy' is on the loose in Atlanta, running amok and biting people. Soon, it turns out this new killer is quite the fan of Lecktor – and Graham is in far more danger than he knows. It's a seductively stylised and slick movie, and one which has found its audience at last having tanked at the box office when it first opened.

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Blood and Black Lace (1964)

There are a lot of claimants to the title of the first true slasher film, and a couple of them are here – see Peeping Tom and Psycho below. Blood and Black Lace has a stronger claim than most though, and it's certainly one of the most important of the early Italian giallo horrors. In Rome, a model is murdered late at night by a man wearing a featureless mask, a mac and a fedora. So far, so slasher-y. But unlike most slashers there's a reason behind the carnage. This model had possession of a diary full of secrets which threatened to bring down a fashion house, and whoever picks it up becomes a target for the mysterious murderer. In its super-saturated colours and intense, unnatural lighting you can see Dario Argento's hallucinatory, almost supernatural feel, and while it's definitely on the lurid side it's also a luscious, decadent place to spend some time.

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Magic (1978)

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For all that he was a knight of the realm and turned into ‘dear old Dicky’ in his dotage, Richard Attenborough liked a serial killer flick during his early career. By the Seventies he’d turned his talents to directing, and this under-seen gem starring Anthony Hopkins picks up that thread, but runs into psychological thriller territory with it. Hopkins is Corky, a failing magician who gussies up his act with a foul-mouthed ventriloquism bit. Fats the dummy turns Corky into a massive hit, but while massive success is calling Corky starts to crumble mentally. Escaping to his hometown, he bumps into an old flame and a love triangle emerges. Soon, though, Fats starts to get jealous. If you like creepy dummies and thespy Brits, try Dead of Night with Michael Redgrave.

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10 Rillington Place (1971)

If you like your Dicky Attenborough in front of the camera rather than behind, there’s this chilling telling of the exploits of John Christie, who killed at least eight people at his nondescript terraced house in Notting Hill during the Forties. Attenborough is a cold, ruthless Christie, who lures his gullible neighbour Timothy Evans (played by a desperate John Hurt) into his scheme and gradually slips a noose around his neck. But Christie has that classic serial killer Achilles heel of being quite clever, and also not nearly as clever as he thinks he is. It’s an unshowy, austere portrait of a morally decrepit Britain so numbed by violence it doesn’t see a murderer in its midst.

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Don't Look Now (1973)

It's hard to imagine modern horror cinema without Nic Roeg's eerie Don't Look Now. You can see its influence in pretty much every and any 'arthouse' horror made in the last 20 years, particularly in using dreamlike images and searing colour pops to tell the story, and in using horror to explore grief and the splintering effect it has on the people left behind. In Roeg's adaptation of the Daphne du Maurier story, Donald Sutherland and Julie Christie try to outrun the death of their young daughter in England by heading to Venice. But there are rumours of a serial killer on the loose there, and shards of the couple's life before threaten to catch up.

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M (1931)

In Weimar era Berlin, there's a child-killer stalking the streets. Fritz Lang's first talkie was also one of the first procedural police dramas, but it came with a couple of twists: it's not just the police on the tail of the killer, but the criminal underclass too; and we know exactly who the murderer is from the very beginning. Peter Lorre's breakout role as killer Hans Beckert used his soft, sad eyes to make him an especially unsettling bad guy. He set a trend among movie serial killers to follow too, in questioning the moral authority of the people sitting in judgement on him.

There's an economy and poetry to M – see the opening sequence in which young Elsie is lured away by Beckert with a balloon – which perhaps explains why it was Lang's favourite of his own films. It was the last to be released in his homeland too. He drifted away to Paris after Nazi propaganda minister Joseph Goebbels offered him the biggest job in German cinema; M stands as a portrait of a country about to lose its innocence.

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The Batman (2022)

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The Batman

There was a lot of fluff before Matt Reeves' Batman turned up about how Robert Pattinson (The Patman, R-Batz, Bobby Battinson, etc) would be a hardboiled detective who would play up the comic book Batman's frighteningly lucid deductive powers. Did that happen? Hmm. Kinda. Looking at it now, the whole 'el rata alada' pivot point features one of the least satisfying switcharoos in detective fiction – no spoilers, but this version of Gotham must be somewhere in the Nineties, because nobody's used the phrase 'URL' since '96 – and it takes our caped crusader a long time to work anything out. But! Paul Dano's Riddler is a tremendously creepy Zodiac-influenced serial killer, brutal and wild-eyed, and like all the classic murderers he's in possession of his own weird headgear. It's a US Army winter combat mask, FYI.

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Pieces (1982)

If you're a fan of Nightmare on Elm Street, Halloween and other first-wave slasher flicks, this might be one for you. Not because it matches them, you understand. Pieces is demonstrably not in the same class. It is, however, extremely fun and silly, and a crystallisation of the then-fresh tropes of the genre. There's a demonic child. There's a shadowy chainsaw-wielding murderer in suburbia. There's a bunch of teens on the case. There's splatter aplenty. And there's an absolutely barmy twist ending to boot. Big daft laughs.

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Peeping Tom (1960)

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United Archives

Peeping Tom arrived in cinemas on 16 May 1960; Psycho opened on 15 September that year. Alfred Hitchcock's film broke attendance records. Michael Powell's Peeping Tom very much did not. One critic declared it "more nauseating and depressing than the leper colonies of East Pakistan". Another recommended the reels be thrown into a sewer. But gradually, it's been rediscovered as a lost classic of British cinema. "I make a film that nobody wants to see and then, 30 years later, everybody has either seen it or wants to see it," Powell wrote in his autobiography. Mark Lewis (Carl Boehm) is our serial killer here, and unusually Peeping Tom follows his spree and his fascinating with recording the very moment of death on his camera. It's a provocative, seedy, brooding piece that asks uncomfortable questions about voyeurism and cinema.

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Titane (2021)

Julia Ducournau's Raw from 2016 was one of the most viscerally (and that's the only word for it) shocking and thrilling feature debuts of the last decade. That one was about a hazing ritual which turned into a frenzy of cannibalism; Titane revs up the body horror even further while dropping the gore factor. After surviving a car crash as a little girl, Alexia has a metal plate in her head.

As she grows up, it turns out – and this is a very crude summation – that she has a sexual connection with cars and heads out on a bit of a murder spree. "David Cronenberg reckons he's the body horror and automotive erotica don, does he?" Ducournau seems to be saying. "Hold my anti-freeze."

It's not for everyone. It's not your average nuts and bolts procedural. No detective picks up a bit of paper with Mad Murder Guy scribbles on it and declares that it's like the killer's playing a game with them. It is deeply, deeply weird. But you might just love it.

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Jennifer's Body (2009)

Yes, it's about a succubus who pukes weird black bile everywhere rather than yer Bundys and yer Zodiacs, but given that Nightmare on Elm Street's about a killer who only exists in the realm of dreams we're going to run with it. Considered a schlocky Megan Fox vehicle when it was first released, Jennifer's Body has had a total reappraisal as a feminist cult classic.

Cody fought executives who wanted to play up the Fox angle to get teen lads in. "And I was like, no! This is a movie for girls too! That audience, they did not attempt to reach." It was to no avail. But if Diablo Cody's film looked in 2009 like an exploitative slasher which used Fox's body to sell itself, now feels, with distance, more like a deeply subversive pulling apart of exactly that impulse. Fox's Jennifer and Amanda Seyfried's nervous Needy have been mates since forever – but then it turns out Jennifer's taken part in a Satanic ritual gone wrong. Bloody typical.

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Summer of Sam (1999)

This Spike Lee joint is less about the serial killer himself than the paranoia and fear which permeates around a hot, dense city like New York when a serial killer is on the prowl. The atmosphere in The Bronx in 1977 is febrile as the 'Son of Sam' killer shoots young women and their partners, and after a close graze with the killer the shag-about Vinny (John Leguizamo) decides to reform his ways, while his old friend Ritchie (Adrien Brody) has suddenly turned punk and has started pretending to be English. That – and his sideline as a sex worker in a gay cinema – are grounds for Ritchie to be suspected as the murderer.

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Monster (2003)

You've definitely read things like this before where an actor is declared to be completely unrecognisable in a role. Nicole Kidman in Destroyer, for instance. They never actually are unrecognisable though. It's still Kidman in Destroyer, obviously, but with slightly different hair. So hear us when we say: Charlize Theron is literally unrecognisable in her Oscar-winning turn in Monster. Patty Jenkins' film follows Aileen Wuornos (Theron), a sex worker who finds herself trapped in the industry despite trying to leave it after being assaulted, and turns to robbing and murdering her clients while keeping it from her new girlfriend. She begins to suspect something's up, though.

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Blood and Black Lace (1964)

Though traditionally Psycho and Peeping Tom are thought of as the big slasher forebears, there's a lot of Giallo horror to them too. This one is a prime example: lurid, pulpy and extraordinarily violent. At a Roman fashion house, models are being stalked by a killer in a trenchcoat and fedora and a featureless white mask. Unfortunately, the investigating officer is an absolute moron.

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Dirty Harry (1971)

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San Francisco is under attack by a lone wolf sniper called Scorpio, who's taking out innocent bystanders until he gets the $100,000 ransom he's demanding from the city. And how do you fight a lone wolf? You unleash your own, state-employed lone wolf. 'Dirty' Harry Callahan (Clint Eastwood, who was actually at least seventh on the list to play Callahan) stops bank robberies in his lunch breaks, has a gigantic horn for his .44 Magnum, and has a torture first, ask questions later outlook generally. As a film, there's a bit of a fascist undercurrent within Dirty Harry – when things get bad, the answer is one big, hard man with a gun – and in terms of empathy, there's very little between Callahan and Scorpio besides a badge.

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Ma (2019)

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Sue Ann 'Ma' Ellington is a middle-aged woman who becomes a hit with the neighbourhood kids when she decks out her house as a party base. Things start getting weird, though, when she insists on hanging out with them and stealing their jewellery. Driven to avenge an early trauma, Ma goes on the rampage. It's not a slam-dunk, but Octavia Spencer's sly, dry, slightly knowing performance as Ma holds together some increasingly mad handbrake turns toward the end of the film.

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Hot Fuzz (2007)

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It's easy to forget, despite having likely watched it a thousand times, that Hot Fuzz is about a serial killer stalking the Somerset badlands. Yes, it's obviously a buddy cop action movie homage first and foremost, and yes, it does turn out not to be a serial killer in the end, but it's easy to miss how smoothly and smartly it nicks bits of the finest slashers of the Eighties to drive the action along and give the hooded murderer a genuinely frightening edge. Fun fact: while they were filming the bit where Nicholas Angel confronts the NWA (a good gag! A very, very good gag) things overran and screen legends including Billie Whitelaw and Edward Woodward couldn't hang about; Simon Pegg had to do his reverse shots acting opposite players from the Wells amateur dramatics society.

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Memories of Murder (2003)

Long before Parasite won him an unexpected Academy Award, Memories of Murder was the film that shot director Bong Joon-ho to international acclaim. In fact, it often ranks amongst the best films of the past century, and is a mainstay in other directors’ all-time lists; Quentin Tarantino even called it “one of the most interesting and complex movies” of the 21st century, and “a masterpiece”.

Loosely based on the real-life story of South Korea’s first serial murders and set during the military dictatorship in 1986, Bong Joon-ho’s second film begins with a shocking scene: two woman have been raped and killed in the small rural town. The police detectives put in charge of dealing with the case (played by Kim Roi-ha and Parasite actor Song Kang-ho) are immediately overwhelmed by the shocking magnitude of the crime, as well as their own lack of experience and personal ethics. The actions undertaken at the scene are ruinously sloppy, and their interrogation techniques are even worse. They rely on violence and their own deeply flawed instinct (“My eyes can read people”) to identify the culprit, and it all leads them to one person: a local boy with learning difficulties, called Baek Kwang-ho.

The murders continue, and it becomes horrifyingly apparent that they are dealing with a serial killer. A detective from Seoul, named Seo Tae-yoon, volunteers to help the small-town cops deal with the case, to much reluctance. What follows is a powerful and grisly portrait of police corruption, brutality and incompetence, as well the dark impact of social inequality and ablism. In 2019, over three decades after he committed murder in 1986, Lee Choon-jae, the serial killer who inspired the movie, was finally identified and charged. He confessed to the crimes, but was already serving a life sentence at a prison in Busan.

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Happy Death Day (2017)

A slightly sideways kind of a serial killer film, this larksome Blumhouse time-twister is actually the same murder happening again and again. It's Groundhog Dead. College student Tree Gelbman wakes up on her birthday, noodles about a bit, sacks off some mates, continues dating a scummy professor, and, suddenly, finds herself being hacked about in a tunnel by a baby-masked lunatic. But then she wakes up in her own bed and starts all over again. Perhaps if Tree can work out who keeps murdering her, she can get back to living again.

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Cruising (1980)

William Friedkin's cop drama, which saw Al Pacino's officer Steve Burns go undercover in the gay S&M scene in San Francisco to catch a serial killer preying on men picked up in clubs, caused a lot of controversy when it was first released. Filming was picketed by gay rights groups, Friedkin had to hack it about to even get an R certificate, and critics hated it. It's undergone a bit of a reappraisal since though, and is a deeply atmospheric and suspenseful ride.

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Eyes Without a Face (1960)

Christiane survived a car crash but was badly disfigured by it. So, her dad decides to help her in the only way he knows how: by murdering young women and trying to steal their faces in the hope of giving Christiane another bite of the cherry. Haunting and poetic in roughly equal measure, this is a more thoughtful and outright disturbing spin on the mad scientist genre which digs into the quest for physical perfection and the obsession with youth.

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The Killer Inside Me (2010)

While other films in the genre mess with your sympathies – ie cult hero Patrick Bateman –The Killer Inside Me stays true to the logic that serial killers are irredeemably evil. Adapted from the 1952 Jim Thompson novel, this Michael Winterbottom movie came out in the same year as The Trip, though the two have seldom been confused. Casey Affleck plays Lou Ford, a Texan deputy sheriff, who is also a sociopath who falls in with Jessica Alba’s prostitute character Joyce Lakeland. Stylishly shot and unflinchingly grisly, at one point or another a version of this film had been attached to Marilyn Monroe, Quentin Tarantino and Tom Cruise.

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Perfume: The Story of a Murderer (2006)

The always-great Ben Whishaw is Jean-Baptiste Grenouille, a notorious murderer with a unique passion: armed with a super-human sense of smell, he attempts to recreate the scent of a girl he’s accidentally suffocated. Reviving the career of perfumer Giuseppe Baldini (Dustin Hoffman) along the way, there’s an in-your-face visual style that was arguably of its time, but for OTT thrills it still delivers. Based on the Patrick Süskind novel, which is also excellent.

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The Night of the Hunter (1955)

Set in Depression-era West Virginia and based on the 1953 novel by Davis Grub, The Night of The Hunter endures in the popular consciousness thanks to Robert Mitchum’s indelible performance as Harry Powell, a serial killer posing as a priest. Powell’s MO is to marry widows for their money and then kill them off, suggesting he’s doing the work of the Lord. Filmed in nostalgic, expressionistic black and white – and with a terrific score to match – The Night of The Hunter frequently polls among the best films of all time, though it’s really in a class of its own.

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The Lodger: A Story of the London Fog (1927)

We're going to talk Alfred Hitchcock a fair bit in this list, and we're starting with the first time he propelled a story along with a string of murders. The Lodger was his third feature and entirely silent, but even this early on a lot of his touchstones and motifs are already there: a juicy murder, identity mix-ups, and the first of his cameos, as a man on the phone in a newsroom.

As the fog lies thick around the city, a serial killer called The Avenger has terrified Londoners after a string of murders. They're all young blonde women – a demographic Hitchcock would continue to merrily butcher and terrorise for the rest of his directing career – and when handsome but creepy young man turns up at a lodging house suspicions are piqued. The evidence mounts up, but not everything is as it seems.

Dripping with dread and the influence of German Expressionism, it's a spooky, Gothic introduction to the two themes that would intertwine over the rest of Hitchcock's oeuvre: sex and death.

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A Nightmare on Elm Street (1984)

Between Halloween and The Texas Chainsaw Massacre, the serial killer slasher had pretty much peaked by 1984. A Nightmare on Elm Street, though, sharpened the dulling blade with its queasy mixture of suburban teenhood, fantasy, gore and supernatural terror.

It did it by weaponising the last space that America's unsuspecting middle class teens had to retreat into. Michael Myers stalked suburbia and Leatherface would do in any townies venturing out into the sticks; Freddy Krueger kills them in their dreams. Desperate to sleep but terrified of Freddy, dreams and reality begin to spill over into each other. Inventive, funny, strange and full of some of the most haunting images in all of horror cinema.

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Prevenge (2016)

There haven't been loads of films about serial killers written and directed by women, and Alice Lowe's feature debut is a welcome blast of dark humour and fresh energy. Recently widowed and soon to be a mum for the first time, Lowe's Ruth is very apprehensive about the whole thing, and not just about the usual stuff like nappies and sleeping and unexplained rashes.

"I'm not in control, I don't want to know what's in there," Ruth explains to her midwife. "I'm scared of her."

"Baby knows what to do," says the midwife. "Baby will tell you what to do."

What baby wants to do is kill. And kill again. And again. Vengeance for her partner's death turns into a random killing spree, egged on by a tiny voice from inside her bump. Alienated from her own body, Ruth's pregnancy becomes an invasion of the tiny body-snatcher which also meditates on grief, loss, and learning how to carry on.

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Halloween (1978)

Forget the impossibly knotted web of sequels, prequels and reboots which followed the first Halloween. The original is perhaps the essential horror film of the last 50 years, pitching the voyeurism of Hitchcock's creepiest films into anonymous suburban America's back yard. Michael Myers could be lurking in your neighbourhood.

Myers, sent to a psychiatric hospital after murdering his sister when he was 6, escapes 15 years later and stalks more victims. His blank, hollow eyes light on Laurie Strode (Jamie Lee Curtis, in her first big role), who enlists the help of Dr Sam Loomis (Donald Pleasence) to evade him. It's got a belting soundtrack too.

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The Texas Chainsaw Massacre (1978)

Tobe Hooper's extraordinary, visceral, darkly hilarious slasher had one of the best poster taglines ever written: "Who will survive and what will be left of them?" In it, chainsaw-wielding giant Leatherface and his ghoulish, partially undead family take literal and psychological chunks out of a group of country teens lost in the sticks.

Made on a tiny budget, its power is in its vérité style and lulling rhythms which suddenly jerk you from atmospheric road movie to quasi-occult chiller riddled with post-Watergate paranoia and mistrust. It's also the source of loads of horror conventions that lesser films trot out by rote, like the faceless masked murderer and the power tool as weapon. None ever did it so well as this, though.

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Frenzy (1972)

Late period Hitchcock can be a bit hit-and-miss, but his penultimate film was a triumph, recapturing the tone of his conspiracy thrillers of the 1940s with the sly humour of Anthony Shaffer's script and a classic set-up of the wrong man being chased for a crime he didn't commit.

Covent Garden market trader Bob Rusk sets up his friend Richard Blaney to take the blame for a string of stranglings. It's all done with energy and flair, and there are a couple of classic Hitchcockian set pieces in there too, most notably the tracking shot which leaves a room mid-murder and mingles among shoppers blissfully unaware of the horror happening feet away.

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Zodiac (2007)

Based on the true story of a killer (who may or may not be United States senator Ted Cruz, if you ask certain (*WRONG) sections of Twitter), who terrorised San Francisco and northern California in the late Sixties, Zodiac is David Fincher's take on one of the most infamous manhunts in U.S. history (you better believe that it's tense).

Featuring Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr. and lots of Fincher-esque close-ups in dimly lit interrogation rooms, Zodiac may be long (162 minutes), but who said catching a killer (NOT Ted Cruz) would be easy? Nobody, that's who.

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Silence of the Lambs (1991)

Come on Clarice, you knew this one was coming. The fact that Anthony Hopkins won an Oscar for just 16 minutes of screen time as the Chianti and flesh-loving monster, Dr. Hannibal Lecter is evidence enough that - if by some grace of Lucifer - you haven't seen Silence of the Lambs yet, then you should really get on that right away.

"Whenever feasible, one should always try to eat the rude." Just one of many pieces of sage advice from Hopkins' Lecter.

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Psycho (1960)

Inspired by the story of Ed Gein, a murderer with a particular penchant for interior design that featured human body parts, Hitchcock's Psycho is a classic in the genre and one of the most influential films of all time; pushing the boundaries in violence, sexuality and shower scenes.

Terrifying in its build-up and stifling tension, Hitchcock famously bought up every copy of Robert Bloch's novel prior to his film's release, in order to maintain the mystery and horror of Norman Bates, his mum and his murderous motel.

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Se7en (1995)

Another one for Fincher, this time starring pre-sad-boy Brad Pitt as the dynamic foil to Morgan Freeman's tired old detective, the pair desperately hunting down a serial killer who employs ostentatious and gruesome techniques on his victims, each representing one of the seven deadly sins (gluttony is our favourite).

It's definitely very Nineties (Brad Pitt in a leather jacket staring up into the pouring rain of New York while some obnoxious orchestra plays in the background), but that matters little with a story that's as tight and fast-paced as this one.

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Henry: Portrait of a Serial Killer (1986)

A filmed deemed so depraved by the American board of censorship that it was given an 'X' rating (meaning that cinemas wouldn't want to go near it), Henry: Portrait of a Serial Killer eventually found a release in 1990 and has since gone on to gain cult acclaim for its visceral, fly-on-the-wall portrayal of Henry Lee Lucas, a killer with mother problems, who confessed to killing up to 300 people.

Less of a psychological or smart thriller than an instrument for blunt trauma, it's the nihilism and pointlessness of Henry's killings that make it so disturbing. The idea that someone could murder you just because they feel like it.

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American Psycho (2000)

Featuring elements of biting satire, farce and black comedy - along with the whole serial killer thing - Christian Bale played American Psycho's anti-hero Patrick Bateman, a soulless Wall Street finance bro prone to bouts of insatiable mania and murder, along with an obsession with clothes, restaurant bookings, business cards and Huey Lewis and the News.

A brilliant film in its own right, American Psycho also serves as a wry pre-crash portrait of the vanities and excesses of a selfish city lifestyle. "Is that a raincoat?"

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Badlands (1973)

Based on the true story of Charles Starkweather and Caril Ann Fugate, teenage lovers whose 1958 murder spree across the Nebraska plains made headlines across America, Badlands is Terence Malick's best work (sorry, Tree of Life).

One of many great films about a young couple escaping onto the back roads of free America, Badlands is Bonnie and Clyde with more style, a better script and way more blunt psychopathy.

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Headshot of Finlay Renwick
Finlay Renwick
Deputy Style Editor
Mother, blogger, vegan, model, liar