15 Best Hammer Horror Movies, Ranked (2024)

Hammer Films is a British production company that is synonymous with horror. Founded in 1934, the company produced several influential horror and fantasy movies between the 1950s and '70s, including iconic depictions of characters like Victor Frankenstein, the Mummy, and Count Dracula. Hammer dominated the horror genre for more than a decade, raking in big returns at the box office, until competition forced them to cease production in the '80s.

They started making movies again in the 21st century, including the vampire gem Let Me In, though they haven't yet recaptured their glory days. Although their commercial ascendance never translated into critical approval during their heyday, many Hammer films have since been praised for their atmosphere and striking visuals, and for establishing tropes that would be widely emulated. The company's fans include Martin Scorsese, who has said: "In my early teens I went with groups of friends to see certain films. If we saw the logo of Hammer, we knew it was going to be a very special picture. A surprising experience. And shocking." These are the finest of the Hammer horrors, ranked.

15 'The Abominable Snowman' (1957)

Directed by Val Guest

"This creature may have an affinity for man, something in common with ourselves. Let's remember that before we start shooting." This icy horror centers on Dr. John Rollason (Peter Cushing), and his colleague Dr. Tom Friend (Forrest Tucker). They're on an expedition to find the yeti, the legendary monster of the Himalayas. As they venture deeper into the treacherous terrain, they encounter the enigmatic Lama (Arnold Marlé), who warns them of the dangers that lie ahead.

Although the plot is somewhat slight, The Abominable Snowman is oppressive and claustrophobic. Director Val Guests ratchets up the psychological tension rather than solely relying on creature scares. The characters also wrestle with ethical dilemmas around their pursuit of the surprisingly intelligent creature. In part, this decision may reflect budget constraints, as they couldn't show the yeti too extensively. Either way, it works. Finally, the desolate shots of the snowy landscapes, with the characters appearing as lonely specks against them, hold it all together.

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14 'The Vampire Lovers' (1970)

Directed by Roy Ward Baker

A deeply ahead-of-its-time horror experience regarding themes and depictions of lesbian love and affection, The Vampire Lovers has itched a niche out for itself among the Hammer Films filmography. The movie follows the rise and return of a vicious vampire by the name of Mircalla (Ingrid Pitt), who under the new name of Carmilla is determined to avenge the destruction of her vampire family, as well as satisfy her ever-growing bloodlust. As far as female-centric vampire movies go, few are as effective and influential as The Vampire Lovers.

While its initial premise seems largely similar to many other vampire and monster films, it's the execution and lesbian themes that help distinguish The Vampire Lovers from other 70s horror films. Carmilla taps into the same style of alluring, hyper-sexualized enchanting of her victims as other vampire films, although the female-on-female love depicted with her and her victims was some of the first of its kind in film history. It comes together to create a deeply compelling and timeless horror experience that has only served to age gracefully in the 50+ years since its release. – Rob Lee

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13 'The Quatermass Xperiment' (1955)

Directed by Val Guest

"There's no room for personal feelings in science." Professor Bernard Quatermass (Brian Donlevy) oversees a three-man space mission that goes awry. Their ship crash-lands in the English countryside, so Quatermass and his assistant Marsh (Maurice Kaufmann) set out to find it. They discover that only one astronaut, Victor Carroon (Richard Wordsworth), is still alive. However, he appears to be morphing into an alien life form.

The Quatermass Experiment was a big hit on release and significantly boosted Hammer's profile, bringing the production company to the attention of major distributors. It's also notable for predating the similar Invasion of the Body Snatchers by a full year. Despite somewhat lackluster creature effects – the monster resembling little more than a large, slime-filled sack – the climactic scene set in Westminster Abbey is well done. It may be a little rough around the edges, but there's a certain charm and nostalgia to the film, with its distinctive accents, outdated futuristic gadgets, and visionary scientists.

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12 'Dracula: Prince of Darkness' (1966)

Directed by Terence Fisher

"After a reign of terror spanning more than a century, the king of the undead was finally traced to his lair high in the Carpathian Mountains." The plot is straightforward: four travelers seek shelter at Castle Dracula, unaware of the horrors that await them. Ignoring the warnings of the villagers, they unleash Dracula (Christopher Lee) from his slumber, leading to a battle for survival as the Count tries to spread his maleficence once more.

The story may not be especially memorable, but there are several solid set pieces, Dracula's resurrection scene chief among them. They work thanks to Lee, who pushes the character's ferocity to new heights. This was Lee's second film as the lord of the vampires. Here, he hisses like a beast, all blood-red eyes and menacing fangs, without uttering a single word. Reportedly, Lee kept silent in the movie because he didn't like the script. "I said to Hammer, if you think I'm going to say any of these lines, you're very much mistaken," the actor has said.

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11 'The Brides of Dracula' (1960)

Directed by Terence Fisher

"Count Dracula, monarch of all vampires, is dead, but his disciples live on." Count Dracula is notably absent from this movie, yet his malevolent legacy looms large over Transylvania. There, schoolteacher Marianne (Yvonne Monlaur) and vampire hunter Van Helsing (Peter Cushing) must contend with the Count's acolytes, who seek to revive the blight of vampirism. Baroness Meinster (Martita Hunt) keeps her vampire son (David Peel) chained up, bringing him victims to feed on, but his dark influence soon begins to seep out beyond the manor walls.

The Brides of Dracula doesn't add much to vampire mythology, and the antagonist doesn't hold a candle to Christopher Lee, but the movie compensates with exquisite costumes, meticulous production design, and a delectable Gothic atmosphere. Cobwebs, crypts, dark forests, and shadowed corridors are abundant here. Director Terence Fisher once again flexes his confidence with this kind of material. Plus, the sexual overtones add a different kind of tension.

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10 'Dr. Jekyll & Sister Hyde' (1971)

Directed by Roy Ward Baker

A unique and daring take on the classic Jekyll & Hyde storyline, adds deep and philosophical themes of gender and self-image to create a brilliant evolution of the story. The film follows a similar sort of structure to other versions of the story, with a pained and disturbed Dr. Jekyll (Ralph Bates) performing dangerous experiments upon himself in a search for immortality. However, instead of a hideous beast, this film's version of Hyde sees Jekyll transforming into a beautiful young woman (Martine Beswick), as this new side fights to become the dominant personality.

While Hammer Films had adapted the story of Jekyll & Hide previously, seen in The Ugly Duckling and The Two Faces of Dr. Jekyll, Dr. Jekyll & Sister Hyde stands out as their best rendition of the material. While during its release, its gender-swapping twist on the concept acted as a novel and fun addition to the classic fable, the film takes on an entirely new meaning in the modern era, aging like a fine glass of wine. While it's far from a perfect and non-problematic retelling, there is still a core and inherent beauty to the story that fully commits to its themes and concepts of gender ambiguity. – Rob Lee

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9 'The Mummy' (1959)

Directed by Terence Fisher

"He who robs the graves of Egypt, dies!" In 19th-century Egypt, archaeologist John Banning (Peter Cushing) and his team uncover the tomb of the ancient Egyptian priestess Ananka. However, in the process, they inadvertently awaken the vengeful mummy of Kharis (Christopher Lee). Seeking to resurrect his long-lost love, the revenant embarks on a rampage, leaving death and destruction in its wake. Caught in the crossfire is Isobel (Yvonne Furneaux), a young woman who bears an uncanny resemblance to Ananka.

While certainly campy, The Mummy is also visually impressive, boasting some of the best cinematography and lighting of any Hammer film from that era. Notable locations such as the mummy's tomb and a swamp in the British moorland stand out as highlights. The plot is quite predictable, especially in hindsight, but the movie deserves props for its surprisingly thoughtful themes. It has much to say about the clash between ancient beliefs and modern ignorance, especially the latter's tendency to exploit anything deemed valuable.

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8 'The Nanny' (1965)

Directed by Seth Holt

In what is easily one of the best and most underrated performances from Hollywood icon Bette Davis, The Nanny sees Bette as the titular live-in maid, tasked with caring for a morbid 10-year-old who has been in the psychiatric ward for 2 years. The young boy is unwilling to eat the food that the Nanny has prepared and demands to sleep in a room with a lock, with his parents all but convinced that he is disturbed and too far gone. However, the truth proves itself to be much more complicated, as the boy may be justified in his fear of the Nanny.

The Nanny succeeds greatly thanks to its slow, methodical pace and psychological horror approach to its concept, allowing the terror and nightmare premise to simmer as it boils to a point of dread and despair. Davis easily elevates the character of Nanny to massive heights, finding the perfect balance between a seemingly wholesome caretaker and the vicious, mysterious dark side lying beneath the surface. It's highly unique among the other films in the Hammer Films catalog, but this helps distinguish it as truly something special in their lineup. – Rob Lee

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7 'The Hound of the Baskervilles' (1959)

Directed by Terence Fisher

"There is more evil around us here than I have ever encountered before." With this film, Hammer put their distinctive spin on Sir Arthur Conan Doyle's iconic detective. It sees Sherlock Holmes (Peter Cushing) and Dr. Watson (André Morell) heading to the English moors to investigate the mysterious death of Sir Charles Baskerville. Their inquiries lead them to the gloomy Baskerville Hall, where the enigmatic heir, Sir Henry Baskerville (Christopher Lee), finds himself haunted by the legend of a demonic hound said to stalk the family.

Despite significant deviations from the source material, the movie ultimately succeeds because of the terrific work done by Fisher and his crew, who imbue the film with their signature Gothic style. The acting is also solid. Cushing expertly balances Sherlock's charm and arrogance, while Morell deserves praise for moving beyond the bumbling stereotype typical of Watson performances. His take on the character is almost on par with Holmes, and they have an entertaining chemistry. Lee is also great, but that goes without saying.

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6 'Captain Kronos: Vampire Hunter' (1974)

Directed by Brian Clemens

"What he doesn't know about vampirism wouldn't fill a flea's codpiece." This cult classic offers a unique take on the vampire mythos. It centers on fiend slayer Captain Kronos (Horst Janson), and his trusty companion Professor Hieronymus Grost (John Cater), as they traverse the countryside in pursuit of vampires. Their quest leads them to a remote village terrorized by a cult plotting to resurrect an ancient vampire queen (Wanda Ventham).

Captain Kronos: Vampire Hunter is essentially a hybrid of vampire horror and swashbuckling action. While light on frights and gore, the movie boasts notable swordplay sequences, and the mystery surrounding the antagonist adds intrigue until the final reveal. Most of all, it stands out by experimenting with vampire tropes. Here, different vampire bloodlines have different weaknesses that must be identified in order to destroy them. As Grost explains: "There are as many species of vampire as there are beasts of prey." Impressively, both Quentin Tarantino and Peter Jackson have named the film as a favorite.

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5 'Quatermass and the Pit' (1967)

Directed by Roy Ward Baker

The third film in the Quatermass trilogy, Quatermass and the Pit sees Professor Bernard Quatermass (Andrew Keir) having to deal with the consequences and outcry of some mysterious ancient human remains discovered near the London Underground. As more and more mysterious occurrences find themselves surrounding these remains, Quatermass is brought in to study and analyze these phenomena, seeing the profound psychic effects that these artifacts and remains have on the people around them.

While the concepts and stories of Bernard Quatermass were effectively translated to film in the previous entries, Quatermass and the Pit is the clear quintessential version of the character put to film. It finds the perfect balance between science fiction, mystery, and the abject terror of the unknown that, when combined with the modern technologies and effects that the previous films didn't have, makes for a highly memorable experience. Even as the third film in a trilogy, the film works well enough that viewers could just as easily skip the other two entries and not have it affect the viewing experience at all. – Rob Lee

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4 'The Devil Rides Out' (1968)

Directed by Terence Fisher

"With this knife, do I draw out the blood, which is thy life." Written by I Am Legend's Richard Matheson, The Devil Rides Out follows the aristocratic occultist Duc de Richleau (Christopher Lee) as he races to rescue his friend Simon Aron (Patrick Mower) from the clutches of a Satanic cult. As Richleau and his allies delve deeper into the dark arts, they confront demonic forces, grim rituals, and supernatural entities bent on ensnaring Aron's soul for eternity.

This is one of the more reflective Hammer horrors, with a focus on mood over violence. Stylistically, there are many strong elements here, including a finely crafted car chase and the decidedly unsettling 'circle of protection' scene. There are also a few bold flourishes, like a shot where a character is punched to the ground and the camera unexpectedly shakes. Plus, The Devil Rides Out is notable for being one of the few Hammer movies where Lee is the hero. It adds up to an intriguing tale of skepticism, evil, and the supernatural.

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3 'Taste of Fear' (1961)

Directed by Seth Holt

Easily one of Hammer Films's greatest achievements when it comes to a dark and deeply disturbing original horror experience, Taste of Fear, also known in the US as Scream of Fear, is one of the studio's most critically acclaimed and widely beloved films. The film follows a young, girl who uses a wheelchair and finds herself returning to her father's estate for the first time in 10 years. Despite being reassured that the father is away and gone from the estate, however, she keeps experiencing haunting visions of his dead body on the estate.

Taste of Fear was deeply ahead of its time in terms of its approach to psychological horror, combining its dark themes and twisted concepts to come from what is within our own minds instead of a physical, tangible monster. The execution makes this film easily one of the best of its era, with pinpoint precision in creating masterful tension and painful dread with each reveal and twist unfolding. While the film may not be as iconic as some of the studio's more acclaimed monster films, it easily deserves a spot as one of the best Hammer horror films. – Rob Lee

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2 'The Curse of Frankenstein' (1957)

Directed by Terence Fisher

"Let's let our friend here rest in peace... while he can." This adaptation of Mary Shelley's classic novel follows the morally dubious scientist Victor Frankenstein (Peter Cushing), as he embarks on a reckless quest to conquer death itself. With the aid of his assistant, Paul Krempe (Robert Urquhart), Frankenstein defies the laws of nature to reanimate dead tissue, stitching together a monstrous creature (Christoper Lee) from various cadavers.

Here, Cushing turns in a career-defining performance, radiating obsession and menacing swagger. Lee is also impressive beneath his pounds of makeup. Taking on a character this iconic is no small feat, especially given Boris Karloff's towering portrayal, but he succeeds in making it his own. He's helped along by makeup artist Phil Leakey, who crafts a distinctive look for the monster which is a bit more subtle while still being creepy. The Curse of Frankenstein was a massive hit, reportedly grossing more than 70 times its budget, paving the way for many of Hammer's subsequent projects.

The Curse of Frankenstein (1957)

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Release Date

June 25, 1957

Director

Terence Fisher

Cast

Peter Cushing , Hazel Court , Robert Urquhart , Christopher Lee , Melvyn Hayes , Valerie Gaunt , Paul Hardtmuth , Fred Johnson

Runtime

82 Minutes

1 'Dracula' (1958)

Directed by Terence Fisher

"I am Dracula and I welcome you to my house." There had already been Dracula movies for decades when Hammer decided to try their hand at the character, but this version packed far more of a bite. Lee leads the cast as the bloodsucker, joined by John Van Eyssen as unsuspecting librarian James Harker and Peter Cushing as Van Helsing. Harker and Van Helsing must venture through a labyrinth of secrets, horrors, and forbidden desires as they race to save Harker's beloved Lucy (Carol Marsh) from undeath.

Drenched in vibrant technicolor visuals and propelled by a thunderous score, Dracula injected fresh energy into this classic tale. The movie crackles with thinly veiled sensuality, most of it courtesy of the charismatic Lee. Like The Curse of Frankenstein, it was a major blockbuster, and its success left a lasting imprint on the vampire genre. Indeed, in the decades since, Dracula has appeared in more than 538 movies, making him the most-played literary character of all time.

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NEXT: The Best Horror Movies of All Time, Ranked