Happy 30th anniversary to 1992’s Class of Horror Movies! Still early into a decade often ranked the worst for the genre, the year’s theatrical output strongly favored sequels to beloved ’80s favorites. But 1992 also delivered an all-time classic, a massive-scaled period epic that took home the highest-grossing horror prize for the year, plenty of Stephen King, and a few titles with an enduring grip on pop culture. Beyond franchise sequels and emerging classics, 1992 seemed to embrace horror-comedies, and thrillers were all the rage.
Here’s a look back at 1992’s horror movie highlights.
The Gate II – February 28
Surprise, the first straight horror release of the year belonged to Tibor Takács‘s follow-up to his 1987 gateway horror movie. Louis Tripp reprised his role as Terry, this time as the movie’s lead. In the five years since The Gate‘s events, his buddy Glen moved away, and Terry’s home life took a deeper nosedive. So, he heads next door to summon demons once more, this time with the hope it’ll fix his domestic woes. Naturally, things don’t go as planned. This sequel received a minuscule theatrical roll-out before its home release later in the year.
The Lawnmower Man – March 6
Very little of this Stephen King adaptation resembles its source material, so much so that the author sued to have his name removed. The resulting feature makes for a peculiar time capsule of ’90s VFX. Thanks to virtual reality experimentation, Jeff Fahey stars as the titular character, a simpleton rendered intelligent and telekinetic. It also unleashes a sadistic streak that results in a body count.
Sleepwalkers – April 10
Sleepwalkers marks the first feature film written by Stephen King yet not based on any of his pre-existing works. An incestuous pair of shapeshifting vampires target the virginal Tanya (Madchen Amick) as their next meal, but she puts up a fight with the help of police and cats. Directed by Mick Garris, look for King, Clive Barker, Joe Dante, John Landis, and Tobe Hooper cameos.
Alien 3 – May 22
David Fincher delivered the franchise’s first polarizing entry with a shocking end for many fan-favorite characters. Ripley (Sigourney Weaver) finds herself battling the deadly xenomorphs once more after crash landing on a high-security prison planet. The sequel marked the feature debut by Fincher, who would only three years later return with one of the decade’s most brutal crime horror thrillers, Seven.
Buffy the Vampire Slayer – July 31
Before the critically acclaimed TV series took the character and world in a darker, more dramatic direction, Buffy began as a lighthearted horror-comedy that leaned into the character’s valley girl persona. Rutger Hauer played the film’s big bad vampire, with Paul Reubens as his right-hand man. It’s a teen coming-of-age comedy with a vampiric twist.
Death Becomes Her – July 31
Bruce Willis, Meryl Streep, and Goldie Hawn starred in this satirical dark comedy that saw two women escalate their rivalry after discovering immortality. Of course, living forever isn’t all that it’s cracked up to be for the murderous pair. This horror-lite comedy directed by Robert Zemeckis was a commercial success.
Raising Cain – August 7
Brian De Palma‘s horror-thriller stars John Lithgow as a child psychologist with multiple personalities. One of those personalities happens to be a serial killer. Lithgow gives a magnetic performance in an over-the-top thriller that brings the thrills and camp in nearly equal measure.
Pet Sematary Two – August 28
Mary Lambert returned to direct the follow-up to her massive hit. The sequel departed from King’s source material and introduced an entirely new set of characters that would run afoul of the evil burial ground. It took on a much less somber tone than its predecessor, which confounded critics upon release. Clancy Brown gives a stand-out, scenery-chewing performance as the cruel sheriff.
Twin Peaks: Fire Walk with Me – August 28
It should surprise no one that David Lynch‘s prequel movie refused to give in to expectations and polarized upon release. The film chronicled Laura Palmer’s final days and embraced experimental horror, even if critics and audiences didn’t entirely embrace it. Consensus eventually changed for the better with this one, and Twin Peaks received a revival in 2017.
Hellraiser III: Hell on Earth – September 11
The third entry in the Hellraiser series moved away from the Cotton family, in large part because Clare Higgins declined to reprise her role as the villainous Julia. The previous movie’s events caused Pinhead to split his soul in two, with one half wreaking havoc in a nightclub thanks to the puzzle box and the pillar of souls. Waxwork‘s Anthony Hickox helmed this sequel.
Innocent Blood – September 25
Director John Landis tackled vampires with this horror-comedy. Vampire Marie adheres to a strict moral code regarding bloodsucking; she only feeds on the criminals. She gets interrupted when she attempts to drain a mob boss dry, unwittingly creating an even bigger vampire problem. Innocent Blood had to get trimmed down a couple of times to avoid an NC-17 rating but ultimately failed to make a splash at the box office.
Candyman – October 16
Bernard Rose‘s adaptation of Clive Barker‘s short story “The Forbidden” made for a perfect Halloween season treat and an enduring horror classic that inspired sequels and reboots. Tony Todd‘s performance delivered an unforgettable modern boogeyman that won over critics and audiences upon release.
Dr. Giggles – October 23
Candyman might’ve been the Halloween season’s most significant release, but it also introduced another slasher via a limited release. Larry Drake plays the eponymous character, a murderous madman who escapes from a mental institution and fixates on a teen with a heart condition.
Bram Stoker’s Dracula – November 13
Francis Ford Coppola‘s sprawling Gothic adaptation of Bram Stoker‘s novel boasts stunning production design, an A-list cast, and exquisite costume design by Eiko Ishioka. The romantic horror movie became a massive box office success and won three Academy Awards. It brought a strong close to 1992’s horror movies.
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