Buzz
The world of horror cinema is vast (and haunted). From its origins in silent eerie tales to its various peaks, dips, and revivals, the genre has evolved greatly. Along the way, a number of filmmakers made just one horror film, then chose to leave the genre behind. Whether due to personal, financial, critical, or time constraints, these directors left a singular mark before exiting the world of horror.
10. Stanley Kubrick (The Shining, 1980)
In 1980, Stanley Kubrick brought Stephen King's novel The Shining to life, with Jack Nicholson delivering a haunting performance as Jack Torrance, the family man turned axe-wielding madman. The film delves into the psychological unraveling of its isolated protagonist.
Before taking on The Shining, Kubrick had little interest in the horror genre, even turning down the opportunity to direct The Exorcist. Known for exploring the male psyche's darker corners through themes of control, violence, and war, The Shining both aligns with and diverges from these themes, reflecting Kubrick's unique vision.
Though once hailed as one of the scariest horror films ever made, The Shining is now appreciated by modern audiences more for its tension and psychological dread than for straightforward horror. Kubrick successfully avoided conventional horror clichés, opting for something more nuanced and intellectual. His goal, as stated by his PA Leon Vitali, was to create a horror that was 'psychological' rather than 'vicious, horrible, blood-filled.' This approach, combined with Kubrick's tendency to experiment with various genres, provides insight into why he never revisited horror.
9. Tomas Alfredson (Let the Right One In, 2008)
Tomas Alfredson’s filmography is a mixed bag, with a few comedy successes in the Swedish indie scene, a major studio hit, a notable flop, and, in the middle, one hauntingly solitary horror film.
Based on John Ajvide Lindqvist’s novel, Let the Right One In takes place in a quiet Stockholm suburb and delivers a fresh take on vampire romance, one that leaves the likes of Twilight trembling. Despite its Swedish-language subtitles, the film became a breakout success internationally and has since earned its place as one of the finest vampire films ever made.
So why, despite being his most successful film at the time, didn’t Alfredson make more horror? It turns out that what sparked his interest in the project was not the genre but the emotional depth of the young protagonist, Oskar. Although Alfredson mentioned he’d be open to doing another horror film if the right script came along, that opportunity never materialized.
8. James Gunn (Slither, 2006)
James Gunn is now widely recognized for his massive success with superhero franchises, including Guardians of the Galaxy, the revitalization of The Suicide Squad, and his leadership of the DCEU. Yet, in all this acclaim, many fans seem to have conveniently forgotten his earlier, less polished works, which reveal a director more interested in experimenting with whatever genre comes his way than in crafting films with a clear artistic direction.
Gunn made his directorial debut with the horror-comedy Slither, after writing the scripts for the live-action Scooby-Doo films. Though it was a loving tribute to B-movie horror, it failed to earn back its modest production costs at the box office. Since then, Gunn has written a few more horror scripts but hasn’t directed another, and it’s clear why that might be.
Although Slither has gained a cult following and is now regarded by fans and critics in the same breath as films like Death Proof and Machete, the film’s commercial failure was compounded by harsh reviews from high-profile critics. Roger Ebert was among those who gave it negative feedback, while Borys Kit of The Hollywood Reporter took it a step further, declaring that Slither “killed off the horror-comedy genre for the near future.”
7. Jonathan Demme (Silence of the Lambs, 1991)
Jonathan Demme, although famous for major films like Philadelphia and Rachel Getting Married, has intentionally steered clear of the auteur label throughout his career, seemingly by choice. One such choice led him to direct the psychological horror classic Silence of the Lambs. Demme took over the helm after original director Gene Hackman ran out of time and stepped down. The studio was forced to find a replacement on short notice. (https://www.empireonline.com/movies/features/gene-hackman-archive-interview-retirement-acting-novels/) Shifting away from his usual action comedies and concert films, Demme fully embraced the project. Alongside Jodie Foster and Anthony Hopkins, he brought Hannibal Lecter to life for the second time, capturing five Academy Awards and setting a new standard for high-quality horror in Hollywood.
Despite the overwhelming success of Silence of the Lambs, which might have tempted Demme to return to the horror genre, it was the sequel that made him turn his back on both the franchise and the genre for good. After the release of Thomas Harris's sequel novel, Hannibal, Demme, Foster, and screenwriter Ted Tally all rejected the idea of continuing the series, finding the book’s extreme and unsettling content too disturbing to handle.
6. David Fincher (Alien 3, 1992)
David Fincher’s films frequently explore the unsettling aspects of contemporary life. His career has largely been defined by intense thrillers like The Game and Gone Girl, as well as major American dramas like The Social Network and Benjamin Button. After the difficult production of his first film, Alien 3, Fincher has avoided returning to the horror genre.
The troubled production of Alien 3 began with interference from producers David Giler, Walter Hill, and Gordon Carroll, who saw the potential for a lucrative Alien sequel and sought to exert as much control as possible over the film. This led to the hiring of Fincher, a young director who was still making a name for himself in music videos.
If the plan was to exploit Fincher’s inexperience in order to control him, it didn’t work. The director, a perfectionist by nature, insisted on handling things his own way, which led to constant tension between him and the producers. This resulted in a chaotic production that failed to meet the expectations of anyone involved. Alien 3 became a symbol of frustration and hardship. Fincher disowned the film and has never returned to the horror genre.
5. Stephen King (Maximum Overdrive, 1986)
Stephen King, one of the most influential figures in horror, has been shaping the genre for over fifty years. Naturally, it wasn’t long before he decided to try his hand at adapting one of his own stories for the big screen.
Maximum Overdrive depicts a world where all machines gain sentience, sparking a global killing spree masterminded by everything from trucks to vending machines. While the premise was fun and gory, it ultimately became both a critical and commercial failure. King, with no experience in filmmaking and lacking the technical knowledge required to direct a movie, struggled with everything from camera angles to actor direction. He even caused a dangerous accident on set, costing his director of photography an eye due to unsafe practices.
After the failure of Maximum Overdrive, King vowed never to direct again, making it his only film and his sole venture into the horror genre. However, this hasn’t stopped him from appearing in adaptations of his work, including a small cameo as a shopkeeper in It Chapter Two.
4. Kathryn Bigelow (Near Dark, 1987)
Known for her hard-hitting action-dramas like The Loveless and Detroit, it is surprising that Kathryn Bigelow's second feature was a neo-Western supernatural horror. The film follows a young farmer who becomes entangled with a rebellious group of undead outlaws.
A hidden gem of the genre, the vampire film Near Dark didn’t achieve the same popularity as its contemporary, The Lost Boys. Despite its small but devoted fanbase, the film wasn’t made to compete with other vampire flicks. Bigelow’s take on horror was driven by a desire to break with tradition, eschewing many classic elements to create something fresh. Combining the supernatural with the Western genre, it centers around themes of outlaws and rebels, which also appear in her directorial debut, The Loveless.
Having never had a deep fascination with horror, Bigelow approached it as an opportunity to explore new artistic possibilities. Since her focus was on the craft of creating something unique, she has never felt compelled to revisit the genre.
3. Robert Altman (Images, 1972)
Robert Altman’s films are often chaotic and unfocused, typically favoring realism over a structured narrative, even when dealing with fantastical elements. However, his sole venture into horror, Images, is an exception. Featuring a minimal cast and set in an isolated location, the film intensely revolves around Cathryn, a children's author whose hallucinations become all too real while she stays in a remote country house to finish her latest book.
After viewing Ingmar Bergman’s Persona in the 1960s, Altman felt compelled to create his own interpretation, which manifested in the form of unsettling visuals. The result is a disorienting experience, intentionally crafted to defy conventional storytelling, with fluidity in time, place, and character—where characters swap roles and the setting remains purposefully undefined.
Altman passed away in 2006, having never revisited the horror genre. Whatever influence he absorbed from Bergman seemed to be fully exorcised through Images, a film that stands as a strange anomaly in the otherwise consistent career of a renowned auteur, offering us a rare glimpse into his artistic range.
2. Gus Van Sant (Psycho, 1998)
Gus Van Sant, another director known for his experimental approach, has consistently made unconventional choices throughout his career. From the school shooting drama Elephant, to the plotless wilderness journey Gerry, and even his controversial remake of Alfred Hitchcock’s horror classic Psycho, Van Sant never shies away from zigging when everyone else expects him to zag.
With Vince Vaughn playing Norman Bates, Van Sant's shot-for-shot remake of Psycho served two purposes: one was to bring the film into color, in response to the declining popularity of black and white movies, and the other was simply because it hadn’t been done before. The film's success as one of the most iconic horror movies of all time was mostly incidental—Van Sant’s true goal was to experiment with, preserve, and breathe new life into a classic film he passionately adored.
Since then, the director has not ventured into the horror genre again, and in fact, he hasn’t made or produced any films since 2018. Given that Van Sant’s typically naturalistic style is at odds with most horror conventions, it seems unlikely he’ll return to the genre.
1. Steven Soderbergh (Unsane, 2018)
Unsane, a low-budget horror, marks a significant departure from Steven Soderbergh's usual filmography, which includes Ocean’s Eleven and Magic Mike. What sets this film apart is not just its genre but also its unconventional approach. Shot entirely on an iPhone 7, Unsane offers an up-close and personal perspective, capturing the story of a woman trapped in a psychiatric facility, where she believes her stalker is being held with her. The film leaves the audience questioning whether she’s truly delusional or if there’s a larger conspiracy to profit from the patients' insurance claims.
Soderbergh was so determined to create something authentically different that he tried to have his name removed from the film. Although the Directors Guild didn’t allow it, his intention was to give audiences the chance to experience the film without the influence of a famous director’s reputation. Always one to defy conventions, there remains the possibility that Soderbergh could return to horror, but he has yet to make that leap again.
