Scary For The Right Reasons. Six Political Horror Movies.

When Hollywood sends a message, chances are it’s from the Left. Or, in the case of Leonardo DiCaprio’s open borders screed “One Battle After Another,” the far, far Left.

The same applies to horror movies.

We’ve seen a wave of “socially conscious” horror in recent years, often with depressing results. Think the 2021 “Candyman” reboot, 2020’s “Antebellum,” and 2022’s “They/Them.” 

Horror has always let storytellers send a message or two between the scares, often doing so without exclamation points. And, given the industry’s leanings, that rarely aligns with conservative world views.

That doesn’t mean the films in question aren’t worth watching. Some message-minded movies remain essential Halloween fare. A few have themes that aren’t as neatly progressive as one expects.

And, as faith-based movies continue to improve and expand their focus, we’re seeing thrillers that touch on heartland values. Really.

“Nefarious” (2023)

Soli Deo Gloria Releasing. Believe Entertainment.

This spicy two-hander follows a psychiatrist (Jordan Belfie) trying to gauge a death-row inmate’s state of mind. Sean Patrick Flanery chews up the scenery in the very best ways as a prisoner who claims he didn’t commit the crimes in question.

The Devil made him do it. Literally.

“Nefarious” is now streaming on The Daily Wire.

Based on the book “A Nefarious Plot,” by Steve Deace and backed by Glenn Beck, this indie Christian film eschews blood and gore tactics for spiritual scares. This smart, faith-based shocker shows the power of performance and dialogue over FX. 

Produced by Soli Deo Gloria and Believe Entertainment, this is a Heartland friendly film, but still not suitable for younger audiences.

“The Hunt” (2020)

Blumhouse Productions. Universal Pictures.

It’s the ultimate Culture War movie, but one where the shouting barely reflects what’s seen on screen. A group of privileged liberals kidnap and hunt conservatives for sport. Sound awful? It is, no doubt, and it’s remarkably bloody.

Enter Betty Gilpin as Crystal, a feisty Republican who leads a rebellion after being kidnapped by the Hunt’s handlers. She’s the ultimate Final Girl, a resourceful gal who can’t help but gain the audience’s admiration.

The third act turns silly, but its political message is surprisingly balanced. Let’s lower the temperature on the cultural conversation before it’s too late. Just five years after its controversial release, it seems we need that lesson even more. And, chances are, today’s media would likely skewer the film for that reason.

“Get Out” (2017)

Monkeypaw Productions. Blumhouse Productions. Universal Pictures.

Jordan Peele went from half of a goofy Comedy Central pairing to horror auteur with this gem. An interracial couple (Daniel Kaluuya and Allison Williams) pays her family a visit, hoping to avoid any awkward exchanges. They get just the opposite as the clan endlessly kisses up to Kaluuya’s character.

“I would have voted for Obama for a third term if I could,” brags Bradley Whitford, cast as the young man’s potential father-in-law. Then, slowly, we realize how this progressive family is using black people for nefarious purposes.

The themes are unabashedly progressive, with whites exploiting blacks anew. Peele’s craftsmanship and affinity for horror shine through from the opening sequence. It’s as good as advertised.

The biggest surprise? The film’s ending sets up a tired, evil white cop trope that never happens. Shocking. Truly.

“Night Of The Living Dead” (1968)

Image Ten Productions. Continental Distributing.

Director George A. Romero’s zombie classic still has bite, but casting a black actor as its heroic lead (Duane Jones) proved shocking in the turbulent ‘60s. That wasn’t the only reason Jones’ performance left a mark.

The film caps with a group of white hunters, disposing of random zombies stalking the land, accidentally shoot Jones’ character in the head. Romero never hid his progressive bona fides, but he suggested in interviews that the ending’s racial connection was unintentional.

Subconscious or not, the film’s cultural potency is undeniable. So is its fright factor. The black and white original, shot on a tiny budget with no recognizable stars, remains an essential watch each October.

“Dawn Of The Dead” (1978) 

Laurel Group Productions. Dawn Associates. United Film Distribution Company.

Romero, again, uses zombies for more than just brain-munching kills. This time, the undead have swarmed a Pittsburgh-area mall, forcing a small band of humans to scramble for safety.

The horror guru’s visual masterstroke – stumbling, shuffling zombies roaming through an all-American mall, just as they did in their living years. The commentary on consumerism couldn’t be missed this time around, and it didn’t take a lecture or signpost to share it. He said as much via a 2010 interview:

“If there’s something I’d like to criticize, I can bring the zombies out … I get the financing that way. So I’ve been able to express my political views through those films.” 

“Invasion Of The Body Snatchers” (1956), (1978)

SoloFilm Productions. United Artists.

The 1956 original introduced us to “pod people,” replicated humans who looked like our friends and neighbors but without their humor, personality and heart. And they spread so fast across the culture. Social commentators connected the film to the McCarthy-era anxiety infecting the country at the time. They’re all around us! Beware! You could be one, too!

Others suggested the pod people captured the Communist ethos – worker drones who cast humanity aside for the betterment of The State. Some of the best movies allow for any number of interpretations. Either way, the film endures as a horror classic.

The 1978 remake is even better – chilling, creepy, and capped by an ending that’s both bleak and perfect. Once again, the story spoke to the paranoia of the times – post-Watergate, post-Vietnam – but could address big city fears and other societal ills.

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Christian Toto is an award-winning journalist, movie critic, and editor of HollywoodInToto.com. He previously served as associate editor with Breitbart News’ Big Hollywood. Follow him at HollywoodInToto.com.

The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.