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Let's be frank: when it comes to chopping up teenagers, Jason may be more creative than Michael Myers, but he has none of the genuine menace or the interesting backstory.

In fact, when Jason shows up as a readymade killing machine in Friday The 13th Part 2, it makes next-to-no-sense, given the events of the first film.

Still, the mask, the machete and the massacring are all too iconic for him not to rank highly, even if he did descend into self-parody long before the end.

Film s : The Omen Played with sublime gruffness and unfolding layers of guilt by Gregory Peck who, along with Richard Donner, believed he was making a thriller, rather than a supernatural horror , Thorn gives The Omen a rock-solid foundation on which to ladle the scares.

It's hard to imagine anyone but Peck selling the 'When the Jews return to Zion' speech. Just ask Liev Schreiber.

Film s : Night of the Living Dead George A. Romero's debut was groundbreaking for the horror genre in a number of ways, including its protagonist.

It's hard, now, to overstate the impact that Duane Jones's Ben had at the time. Not only was he a black hero at the height of the Civil Rights movement, in the same year that Martin Luther King was assassinated, but he was a black hero who was smart, sassy, proactive, and who survived.

That is, of course, until Romero's pointed ending, in which Ben is 'mistaken' for a zombie and shot by a bunch of rednecks.

Film s : Halloween Jamie Lee Curtis' stalked 'sitter becomes, arguably, less interesting later when she's saddled with being Michael Myers' stalked sister.

But she's still the resourceful, indefatigable horror heroine to beat. Film s : Shaun of the Dead Simon Pegg is a very British hero. Penchant for tea?

Cricket bats? Watching the telly? He may make terrible decisions that get plenty of red on him and his friends, but Pegg imbues the hapless, ever-so-slightly lost Shaun with such likeability that we're with him every step of the way as he tries desperately to prevent 'Of The Dead' from becoming his new surname.

Film s : Frankenstein Although he shouts "It's alive! He's clearly one bolt short, but Clive plays Frankenstein as a driven, hungry young scientist who is almost immediately consumed by regret and guilt once he sees what he has created.

Perhaps because audiences in the s needed someone to root for, Clive is alive by the movie's end, and is more heroic still in Bride Of Frankenstein, where he's coerced into continuing with his experiments.

Children of the night. What music they make. Based on a stage play, Lugosi's is by far the most verbose of screen Draculas, wrapping that magnificent Hungarian accent around lines like the above while, with his burning stare and Ray Reardon hair, he's possibly the most iconic screen vampire of them all.

Maybe even more so than Christopher Lee's version. Film s : The Wicker Man Why does Sgt. Howie burn so easily?

Because he's made of Wood! Anyway, The Artist Formerly Known As Eewah Woowah is hugely impressive in Robin Hardy's classic as the puritanical Scottish cop whose moral rectitude and outrage at the pagan rituals he finds on Summerisle is outweighed only by the sheer size of the brick in his boxers when he spies the Wicker Man and realises his imminent fate.

Oh, Christ! Oh, Jesus Christ! Film s : Ring , Ring 2 The most chilling of the stream of raven-haired J-horror ghosts, Sadako is the ultimate video nasty.

Hideo Nakata's original Japanese version is much more terrifying than Gore Verbinski's American remake precisely because it has the balls not to show us Sadako's face, trusting instead that a close-up of a vengeful eye will be enough to make us rush to unplug the telly.

Film s : Event Horizon It's clear that Sam Neill's Dr. William Weir is a mite crazy even before he gets on board the ship that he created; a ship that has become, literally, a gateway to Hell.

He's plagued by visions of his dead wife, something that's only exacerbated by the presence on board, a presence that soon claims the good Doctor and puts the 'Weir' in 'weird'.

Before you can say 'Jurassic Park', Weir has plucked his eyes out and is running around naked, bumping off the crew one by one with gay abandon while hissing lines like 'Where we're going, we won't need eyes to see'.

Who'd have thought a naked, eyeless Sam Neill would be so terrifying? Don't answer that. Lina Leandersson's wicked inversion of the girl next door, reinvented as an age-old vampire trapped in the body of a wide-eyed teen, forms a morbid and mutually dependent relationship with her young death-obsessed neighbour, Oskar.

It's boring. Film s : Hellraiser Although his impact was watered down by a phalanx of terrible sequels, it's no surprise that Doug Bradley's demonic torturer - billed simply as 'Lead Cenobite' in the first movie - became the focal point of the Hellraiser series.

His appearance alone is startling, as is the deep, treacly British accent, but Pinhead's a fascinating character far removed from Freddy or Jason or any other 80s movie monster.

He's not, initially at least, a stalk'n'slasher, but a complex character who's only interested in one thing: meting out punishment to those who deserve it.

Or is it pleasure? As far as Pinhead's concerned, it's one and the same thing, the kinky bastard.

Blair is extraordinarily brave as the young girl corrupted by Pazuzu, going to a host of dark places and enduring a number of indignities with the fearlessness that only children can possess.

Yes, Dick Smith's astonishing make-up and Mercedes McCambridge's rasping voice does some of the heavy lifting, but without Blair's rock-solid base upon which to build, Regan wouldn't have half the lasting impact she does.

Also, some of the most affecting scenes show Regan pre-transformation, when Blair perfectly captures the panic of a young girl who doesn't understand why her body is, all of a sudden, betraying her.

Film s : Rosemary's Baby An unforgettable Mia Farrow is the gentle soul driven to distraction and madness when she suspects that she's at the centre of a supernatural conspiracy.

Of course, she's absolutely bang on about that, but the most disturbing moment in Roman Polanski's movie comes at the end when the conspiracy is revealed and Rosemary comes face-to-face and eye-to-lizardy-eye with her baby, the scion of Satan, and begins cooing like any devoted mother would.

We've got a feeling those two are going to end up on Jeremy Kyle any day now. Robert Shaw was a force of nature as a man, so it's only fitting that his most memorable screen role follows suit.

Quint, the Ahab-a-like shark hunter who becomes obsessed with hunting down the Great White munching on tourists in Amity, has one of the most memorable entrances nails down the blackboard and exits bitten in half, blood spurting from his nose in distressing fashion in movie history.

Inbetween, Quint is a roaring, raving maniac, singing old sea shanties and snarling for New England. And then comes the speech about the Indianapolis, the origins of which have been forever debated.

But here's one thing that's incontrovertible: whoever wrote the words, Shaw says 'em with a gusto and a gravitas that tips Quint over from larger-than-life a-hole to tragic hero.

Heather Langenkamp is the original Dream Scream Queen, the first nemesis of Freddy Krueger, smart enough and plucky enough to take on the four-fingered fiend not once, not twice, but three times if you count Wes Craven's brilliant New Nightmare, in which Langenkamp plays herself.

The key to confronting Freddy seems to be in Nancy's demeanour. From the off, she seems a lot older, wiser and more self-assured than her years.

She's far from the flighty teenagers who usually populate movies like this, and that level-headedness comes in handy when she's confronting Krueger in his boiler room, or running up porridge stairs.

Film s : Mulholland Drive Inexorable nightmare logic and an atmosphere of utter dread leads to this massive jump scare behind the Winkies diner.

If you're wondering how a character that appears in just one scene can be so high up on this list, just count the nightmares.

The role that made a star out of Susan Alexandra Weaver, Ellen Ripley of course, we don't learn that she's called Ellen until Aliens is a put-upon, long-suffering but steely warrant officer on board the good ship Nostromo, who finds that she must step up to the plate when a slimy bastard with acid for blood starts treating her crew as an all-you-can-eat buffet.

Ripley has always been painted as an indomitable force of nature, but what's interesting about Alien, in particular, is how willing Weaver was to show that she's absolutely bloody terrified, even as she musters up the courage to blow the thing out of the goddamn airlock.

Film s : Day Of The Dead Joe Pilato's blackhearted soldier is insane when we first meet him, and only spirals downwards from there, his raging bloodlust way more dangerous than any zombie.

Film s : Bride of Frankenstein English actress Elsa Lanchester only has a few minutes of screentime as the eponymous bride in James Whale's sequel she bolsters that by starring as Mary Shelley in the framing device , but pound-for-pound, second-for-second, it's arguable that no horror character makes so much with so little.

Jerking her face and body like a prototype Harryhausen creation, with her beehive hairdo streaked through with white, Lanchester is an instant icon.

Such a shame that The Bride - specifically built so that Boris Karloff's Monster can have someone to love and bump really uglies with - instantly rejects her betrothed.

These mail order marriages never work out. Walter White isn't the only cancer victim to break bad. When Tobin Bell's John Kramer is diagnosed with an inoperable tumour, he attempts to take his own life, but fails.

In that moment, he becomes his very own Heisenberg as The Jigsaw Killer, a twisted genius who traps his victims in elaborate scenarios designed to make them appreciate the fact that they're alive - if they survive, of course.

Kramer's curious moral code look back at the films and you could even argue that he never directly kills anyone; his victims all contribute to their own downfall makes him, by some distance, the most interesting screen monster since Freddy Krueger.

It's a shame that Bell was relegated to flashback work for the last few instalments. I spent eight years trying to reach him, and then another seven trying to keep him locked up because I realized that what was living behind that boy's eyes was purely and simply Later on, he blows Myers himself out of the window with six shots from a revolver, and hippocratic oath be damned.

Sam Loomis is, of course, the only person who knows how dangerous Michael Myers can be, and so tracks him all the way from his escape from the lunatic asylum to Haddonfield, where he's fairly sure Michael is going to go loco once more.

Pleasance, here starting a fruitful relationship with John Carpenter, is brilliant: part Basil Exposition, part hero, never unafraid to show that Loomis is utterly bricking it and, perhaps more importantly, that prolonged exposure to those blackest eyes, the devil's eyes, has driven Loomis more than a little bit mad himself.

Jodie Foster bagged her second Oscar for her beautiful portrayal of a young, nervous FBI agent who becomes locked into a dangerously intrusive relationship - far, far from quid pro quo - with Anthony Hopkins' Hannibal Lecter.

Surrounded on all sides by leering male figures the loathesome Dr. Chilton, Lecter, Buffalo Bill , Foster is amazing as a green-behind-the-ears but astoundingly capable and intelligent woman desperately trying to forge her way in a world dominated by men.

Robert Mitchum's preacher has 'love' tattooed on one hand, and 'hate' on the other, but there's never any doubt in Charles Laughton's superb directorial debut and one-off about which way Harry Powell leans.

A cold-blooded killer who bashes more than the Bible, Powell is an implacable, unstoppable predecessor of characters like The Terminator, taking his sweet time to hunt down two cute kids who have run off with a bag of cash that he thinks should be his.

Often seen in silhouette, Mitchum is never more chilling than in the sequence where he sings hymns with Lillian Gish's Rachel, as she stands guard over the children with a shotgun at her lap and God by her side.

The poster child of Tobe Hooper's horrifying original and all the unfortunate sequels, remakes and remake prequels that followed , Leatherface is the sort of guy who gives DIY enthusiasts a bad name.

A maniac of a manchild who, in the original at least, has a mask for every occasion made out of the skin of former victims, a trait nicked from the real-life killer Ed Gein , Leatherface is the attack dog of the Sawyer family, looming out of the darkness to kill people with one blow of a hammer, hang others on hooks, and wave a chainsaw around in a manner that would frankly infuriate Tim The Toolman Taylor.

Played with genuine menace by Gunnar Hansen, Leatherface was divested of much of his scariness in the subsequent sequels, but we'll always have Texas.

All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes jack a dull boy All work and no lay makes Jack a dul boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy.

There's a very real possibility that, had Ed been played by any other actor, he wouldn't be on this list. For Shaun's best friend is, and let's be frank here, an absolute tit, a sponging freeloader who says inappropriate things at the worst possible times, makes hideous life choices, and takes his friends for granted.

If he hadn't been played by the innately likeable Nick Frost, there's a chance we'd have been begging for him to be bitten by the end of the first act.

As it is, when Ed does go down, there's a note of real tragedy. The greatest zombie of all time: fact. Howard Sherman's Bub - presumably named after Wolverine's favourite term of endearment it can't be a coincidence that another character in Day Of The Dead is named 'Logan' - is the natural culmination of the evolution of zombies throughout his original Dead trilogy.

Bub is a 'good' zombie, one who vaguely remembers his past life as a soldier, who salutes when he sees superior officers, who revels in culture he listens to Beethoven and 'reads' Stephen King and doesn't necessarily want to eat human flesh.

Brilliantly played by Sherman, who makes the character almost childlike in his movements, Bub is a bright spot of innocence in a movie filled with some horrible deeds and characters.

Intriguingly, at the end, he becomes the hero, gunning down the movie's villain, Rhodes. Even then, though, there's a sense of regret that his purity has been corrupted.

Snake Plissken has the patch and the flash, but R. A cynic and budding drunk, MacReady, an outsider in the camp who lives apart from the rest of the men, comes into his own when the shit starts assailing the fan.

Effortlessly cool and sometimes cold , Mac is a wonderful character: smart enough to come up with the blood test theory, dumb enough to mistake Norwegians for "crazy Swedes" and noble enough to sacrifice himself, and his colleagues, for the rest of mankind.

And even then, he goes out on his own terms, swigging Scotch straight from the bottle while the camp burns all around him.

Years after playing chess with Death, Max von Sydow donned a dog collar and seamless old-age make-up to play Rock Paper Scissors with the Devil himself.

Father Lankester Merrin is a noble, implacable soul who, unlike Jason Miller's Damien Karras, has faced demons before, and knows how deceitful they can be.

It's just a shame that his flesh isn't quite as unwavering as his spirit. Merrin is, of course, the star of the film's poster and the title itself, but - prologue aside - Merrin doesn't really show up until near the film's end and, once there, he's virtually straight into compelling Pazuzu with the power of Christ.

Nevertheless, the impact von Sydow makes as Merrin cannot be overstated: just check out any Exorcist parody, and there'll always be a Merrin figure there, while Karras is often overlooked.

Film s : Psycho Well, yes, but we don't all stab innocent people in the shower, hide their bodies in a swamp, or keep the corpse of our mums in the basement while dressing up as them to carry out unspeakable murders now, do we?

Five stars in Empire, one star on TripAdvisor. Swings and roundabouts. A walking advert for contraception, Harvey Stephens' teeny terror — product of the unholy union between the Devil and a jackal — is perhaps even more unsettling given that, in The Omen, he's unaware of his propensity for evil.

He's just a kid, a tremendously creepy kid around whom bad things just happen to occur. Tall, domineering and genuinely aristocratic, Christopher Lee was a far better fit for Count Dracula's cape than he was for the rags of Frankenstein's creature.

Lee was in his mids when he bagged the role that would come to define his career, and he understood from the off that his vampire would have to differ substantially from previous incumbent Bela Lugosi.

And so it does. Lee's Dracula is a force of nature: red-eyed, blood dripping from fangs, often in the grip of rage. He's hypnotic, physically powerful, well-spoken, but Lee also understood - crucially - that an important layer from Bram Stoker's novel had been missing from Lugosi's performance: sexuality.

Lee's Dracula is a rampant sex fiend, using that stare to make buxom ladies everywhere come over a little faint.

Of course, this being the s, we never see Dracula seal the deal, so to speak, but we like to think it involves at least one verse of The Impossible Dream.

Film s : Bride Of Frankenstein , Frankenstein The first and best version of Dr. Frankenstein's well, really, Mary Shelley's cobbled-together creation, James Whale's classic made a jobbing British character actor into a huge star.

His numerous appearances on this list indicate that he was able to forge a career outside the nuts and bolts of the Monster, but William Henry Pratt - sorry, Boris Karloff - will always be inextricably linked with his lumbering creation.

Karloff's trick was not just to create a visual template that defines the Monster to this day, but to see the creature as much more than a creature, to imbue it with a genuine longing to be whole again, to be human, to have a friend, to have a soul.

These moments of calm - smoking with the blind hermit, or throwing stones into a lake with a young girl - make the tragedy of the inevitable storm all the greater.

At first glance, there's precious little that's interesting about Michael Myers. Yes, he shares a name with Austin Powers. Yes, he wears an inside-out, dyed William Shatner mask.

But otherwise, he's just a blank, remorseless, mute killing machine like Jason Voorhees, slaughtering transgressive teens in their dozens, right?

Well, wrong. As imagined by John Carpenter and brilliantly played by stuntman Nick Castle, Myers - aka The Shape, aka The Haddonfield Hacker ok, we made that one up - is the literal embodiment of pure evil, an unstoppable, glassy-eyed abyss staring right back at us.

This particular abyss just happens to have a thing for butcher knives. Myers is also far more psychologically interesting than Jason or any of the myriad copycats that followed in his wake; for him, it's mostly about family.

There's also an interesting wrinkle with Myers that you sense Carpenter wanted to leave hanging, open to interpretation. The last lines of Halloween are "Was it the boogeyman?

Then we see that Myers has survived six bullets and a fall from a second-storey window. He now lurks everywhere, his breathing dominating the soundtrack.

Because there's a supernatural tinge here. How else can you explain his indestructibility? His penchant for appearing and disappearing, seemingly at will?

Because he is the Boogeyman. The coolest character in any Romero zombie film and, by extension, any zombie film , Ken Foree's SWAT guy is cooler than a cucumber Cornetto, equally adroit at wearing turtlenecks and cooking romantic meals as he is roundhouse-kicking zombies and ominously intoning, 'When there's no more room in Hell, the dead will walk the Earth'.

When the world goes to pot, we'd like to be like Peter. Knowing our luck, we'll be more like Peter Mannion. Jonathan Demme's adaptation of Thomas Harris' serial killer novel is magnificent, but every time that Anthony Hopkins appears on screen, it becomes a fully-fledged masterpiece.

His Hannibal Lecter is parceled out throughout the film, dispensed to us in, appropriately enough, bitesized chunks, offering sinister advice and wisdom to Jodie Foster's Clarice Starling.

Hopkins played Lecter, the brilliant psychiatrist turned incarcerated cannibal, as part-bird, part-Dracula. The combination is unforgettable.

There are still those who would lobby to have Brian Cox's Lecktor, from Michael Mann's Manhunter, recognised as the best screen iteration of Hannibal, but it's the Oscar-winning, iconic, endlessly quoted Hopkins who gleefully sank his teeth into the zeitgeist.

Let's hope he washed it down with a nice chianti. Wes Craven reached into his nightmares and pulled out the greatest screen monster of them all.

Craven fused Freddy Krueger from a combination of real-life experiences he once had a scary encounter with a homeless man upon whose look he would base Freddy's appearance and a fanciful notion about a monster who could operate in the dreamscape, a terrifying notion.

Robert Englund - then best known as the nice alien, Willy, from V - revelled in the chance to give vent to his inner demons, pocking his voice with cruel, taunting hate, his face scarred and blemished beyond recognition.

It was a marriage made in, well, Not Heaven. Freddy was built to be an instantly recognisable icon, with the hat and the scars and the glove made of four razor-sharp knives.

What's interesting, though, is how the character mutated. His first and last appearances, both directed by Craven we're ignoring Freddy Vs Jason for the sake of our theory and our sanity , see a truly sinister, frightening Freddy: a coldblooded killer, preying on kids a child molester was, Craven has said, the very worst thing he could think of with nary a one-liner in sight.

But as the sequels some of which have merit progressed, and Freddy became the star of the show, the deaths became more elaborate, and Krueger himself became almost comedic, almost like Roger Moore's Bond, a wisecracking machine built of pure irony.

It's testament to the character's strong foundations, and Englund's brilliant performance, that both versions of Freddy remain equally memorable.

Here is your number one, and The Chin has it by an overwhelming margin. Good thing, too, as we didn't want to have to get out our boomstick.

Let's be very clear here: the Ashley Williams of The Evil Dead is not the number one horror character of all time.

He's a very different creation, a passive, almost cowardly character who becomes the hero of the film almost through default being best mates with the director didn't exactly hurt.

And as much as we love Army Of Darkness it's hard to make a case for that Ash — an unapologetic idiotic American abroad who shoots first, asks questions later — being number one as well.

That's a different story altogether, and it was clear from your votes that you feel the same. They had nothing to lose, and so they built the kind of horror hero they wanted to see: a swaggering, stone-faced, super-cool ass-kicker, as if someone had parachuted Clint Eastwood into the middle of a horror film.

Raimi and Campbell's impish shared sense of humour saw to it. It's about the evolution of a hero, the birth of a badass, as Ash is dragged — sometimes literally — kicking and screaming — again, sometimes literally — from a hapless haunted husk of a man to the sort of grizzled action hero who can look a giant demon in the face and slide a chainsaw into its eye.

Raimi has often said that torturing Campbell is fun. It may even be his raison d'etre, and it's fascinating to see the sheer hell that Ash is put through in Evil Dead II.

He's possessed, near drowned, hit with branches wielded by Raimi himself , flung through car windshields, smacked on the head with pottery, chucked down wooden stairs, driven mad by laughing household objects, covered in more blood and goo than you could shake a large stick covered in blood and goo at and, of course, has his right hand seized by demonic bailiffs.

But it's all part of this particular hero's torturous journey as he finally mans up and does what anyone would do in that situation: weld a chainsaw to the bloody stump, arm himself with a sawn-off shotgun, and start speaking almost entirely in one-liners.

We asked Bruce Campbell how he felt on being voted number one: "How do I feel? I feel pretty fucking good.

I think your readers are fine, intelligent, discerning people with obviously a lot of taste. The Ash character we like doing because he's an evolving character, a very flawed character.

In the first Evil Dead he's a worthless git who slowly learns how to survive. The second one, he's got a little more abilities, he's like a Vietnam veteran in the second, and by the third one he's a full, ugly American who causes the deaths of hundreds of innocent people through his ignorance.

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Ry Jewelly Store. Baby Store. Figures Toy House Store. Robert Shaw was a force of nature as a man, so it's only fitting that his most memorable screen role follows suit.

Quint, the Ahab-a-like shark hunter who becomes obsessed with hunting down the Great White munching on tourists in Amity, has one of the most memorable entrances nails down the blackboard and exits bitten in half, blood spurting from his nose in distressing fashion in movie history.

Inbetween, Quint is a roaring, raving maniac, singing old sea shanties and snarling for New England.

And then comes the speech about the Indianapolis, the origins of which have been forever debated.

But here's one thing that's incontrovertible: whoever wrote the words, Shaw says 'em with a gusto and a gravitas that tips Quint over from larger-than-life a-hole to tragic hero.

Heather Langenkamp is the original Dream Scream Queen, the first nemesis of Freddy Krueger, smart enough and plucky enough to take on the four-fingered fiend not once, not twice, but three times if you count Wes Craven's brilliant New Nightmare, in which Langenkamp plays herself.

The key to confronting Freddy seems to be in Nancy's demeanour. From the off, she seems a lot older, wiser and more self-assured than her years.

She's far from the flighty teenagers who usually populate movies like this, and that level-headedness comes in handy when she's confronting Krueger in his boiler room, or running up porridge stairs.

Film s : Mulholland Drive Inexorable nightmare logic and an atmosphere of utter dread leads to this massive jump scare behind the Winkies diner.

If you're wondering how a character that appears in just one scene can be so high up on this list, just count the nightmares.

The role that made a star out of Susan Alexandra Weaver, Ellen Ripley of course, we don't learn that she's called Ellen until Aliens is a put-upon, long-suffering but steely warrant officer on board the good ship Nostromo, who finds that she must step up to the plate when a slimy bastard with acid for blood starts treating her crew as an all-you-can-eat buffet.

Ripley has always been painted as an indomitable force of nature, but what's interesting about Alien, in particular, is how willing Weaver was to show that she's absolutely bloody terrified, even as she musters up the courage to blow the thing out of the goddamn airlock.

Film s : Day Of The Dead Joe Pilato's blackhearted soldier is insane when we first meet him, and only spirals downwards from there, his raging bloodlust way more dangerous than any zombie.

Film s : Bride of Frankenstein English actress Elsa Lanchester only has a few minutes of screentime as the eponymous bride in James Whale's sequel she bolsters that by starring as Mary Shelley in the framing device , but pound-for-pound, second-for-second, it's arguable that no horror character makes so much with so little.

Jerking her face and body like a prototype Harryhausen creation, with her beehive hairdo streaked through with white, Lanchester is an instant icon.

Such a shame that The Bride - specifically built so that Boris Karloff's Monster can have someone to love and bump really uglies with - instantly rejects her betrothed.

These mail order marriages never work out. Walter White isn't the only cancer victim to break bad. When Tobin Bell's John Kramer is diagnosed with an inoperable tumour, he attempts to take his own life, but fails.

In that moment, he becomes his very own Heisenberg as The Jigsaw Killer, a twisted genius who traps his victims in elaborate scenarios designed to make them appreciate the fact that they're alive - if they survive, of course.

Kramer's curious moral code look back at the films and you could even argue that he never directly kills anyone; his victims all contribute to their own downfall makes him, by some distance, the most interesting screen monster since Freddy Krueger.

It's a shame that Bell was relegated to flashback work for the last few instalments. I spent eight years trying to reach him, and then another seven trying to keep him locked up because I realized that what was living behind that boy's eyes was purely and simply Later on, he blows Myers himself out of the window with six shots from a revolver, and hippocratic oath be damned.

Sam Loomis is, of course, the only person who knows how dangerous Michael Myers can be, and so tracks him all the way from his escape from the lunatic asylum to Haddonfield, where he's fairly sure Michael is going to go loco once more.

Pleasance, here starting a fruitful relationship with John Carpenter, is brilliant: part Basil Exposition, part hero, never unafraid to show that Loomis is utterly bricking it and, perhaps more importantly, that prolonged exposure to those blackest eyes, the devil's eyes, has driven Loomis more than a little bit mad himself.

Jodie Foster bagged her second Oscar for her beautiful portrayal of a young, nervous FBI agent who becomes locked into a dangerously intrusive relationship - far, far from quid pro quo - with Anthony Hopkins' Hannibal Lecter.

Surrounded on all sides by leering male figures the loathesome Dr. Chilton, Lecter, Buffalo Bill , Foster is amazing as a green-behind-the-ears but astoundingly capable and intelligent woman desperately trying to forge her way in a world dominated by men.

Robert Mitchum's preacher has 'love' tattooed on one hand, and 'hate' on the other, but there's never any doubt in Charles Laughton's superb directorial debut and one-off about which way Harry Powell leans.

A cold-blooded killer who bashes more than the Bible, Powell is an implacable, unstoppable predecessor of characters like The Terminator, taking his sweet time to hunt down two cute kids who have run off with a bag of cash that he thinks should be his.

Often seen in silhouette, Mitchum is never more chilling than in the sequence where he sings hymns with Lillian Gish's Rachel, as she stands guard over the children with a shotgun at her lap and God by her side.

The poster child of Tobe Hooper's horrifying original and all the unfortunate sequels, remakes and remake prequels that followed , Leatherface is the sort of guy who gives DIY enthusiasts a bad name.

A maniac of a manchild who, in the original at least, has a mask for every occasion made out of the skin of former victims, a trait nicked from the real-life killer Ed Gein , Leatherface is the attack dog of the Sawyer family, looming out of the darkness to kill people with one blow of a hammer, hang others on hooks, and wave a chainsaw around in a manner that would frankly infuriate Tim The Toolman Taylor.

Played with genuine menace by Gunnar Hansen, Leatherface was divested of much of his scariness in the subsequent sequels, but we'll always have Texas.

All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy All work and no play makes jack a dull boy All work and no lay makes Jack a dul boy All work and no play makes Jack a dull boy All work and no play makes Jack a dull boy.

There's a very real possibility that, had Ed been played by any other actor, he wouldn't be on this list.

For Shaun's best friend is, and let's be frank here, an absolute tit, a sponging freeloader who says inappropriate things at the worst possible times, makes hideous life choices, and takes his friends for granted.

If he hadn't been played by the innately likeable Nick Frost, there's a chance we'd have been begging for him to be bitten by the end of the first act.

As it is, when Ed does go down, there's a note of real tragedy. The greatest zombie of all time: fact. Howard Sherman's Bub - presumably named after Wolverine's favourite term of endearment it can't be a coincidence that another character in Day Of The Dead is named 'Logan' - is the natural culmination of the evolution of zombies throughout his original Dead trilogy.

Bub is a 'good' zombie, one who vaguely remembers his past life as a soldier, who salutes when he sees superior officers, who revels in culture he listens to Beethoven and 'reads' Stephen King and doesn't necessarily want to eat human flesh.

Brilliantly played by Sherman, who makes the character almost childlike in his movements, Bub is a bright spot of innocence in a movie filled with some horrible deeds and characters.

Intriguingly, at the end, he becomes the hero, gunning down the movie's villain, Rhodes. Even then, though, there's a sense of regret that his purity has been corrupted.

Snake Plissken has the patch and the flash, but R. A cynic and budding drunk, MacReady, an outsider in the camp who lives apart from the rest of the men, comes into his own when the shit starts assailing the fan.

Effortlessly cool and sometimes cold , Mac is a wonderful character: smart enough to come up with the blood test theory, dumb enough to mistake Norwegians for "crazy Swedes" and noble enough to sacrifice himself, and his colleagues, for the rest of mankind.

And even then, he goes out on his own terms, swigging Scotch straight from the bottle while the camp burns all around him.

Years after playing chess with Death, Max von Sydow donned a dog collar and seamless old-age make-up to play Rock Paper Scissors with the Devil himself.

Father Lankester Merrin is a noble, implacable soul who, unlike Jason Miller's Damien Karras, has faced demons before, and knows how deceitful they can be.

It's just a shame that his flesh isn't quite as unwavering as his spirit. Merrin is, of course, the star of the film's poster and the title itself, but - prologue aside - Merrin doesn't really show up until near the film's end and, once there, he's virtually straight into compelling Pazuzu with the power of Christ.

Nevertheless, the impact von Sydow makes as Merrin cannot be overstated: just check out any Exorcist parody, and there'll always be a Merrin figure there, while Karras is often overlooked.

Film s : Psycho Well, yes, but we don't all stab innocent people in the shower, hide their bodies in a swamp, or keep the corpse of our mums in the basement while dressing up as them to carry out unspeakable murders now, do we?

Five stars in Empire, one star on TripAdvisor. Swings and roundabouts. A walking advert for contraception, Harvey Stephens' teeny terror — product of the unholy union between the Devil and a jackal — is perhaps even more unsettling given that, in The Omen, he's unaware of his propensity for evil.

He's just a kid, a tremendously creepy kid around whom bad things just happen to occur. Tall, domineering and genuinely aristocratic, Christopher Lee was a far better fit for Count Dracula's cape than he was for the rags of Frankenstein's creature.

Lee was in his mids when he bagged the role that would come to define his career, and he understood from the off that his vampire would have to differ substantially from previous incumbent Bela Lugosi.

And so it does. Lee's Dracula is a force of nature: red-eyed, blood dripping from fangs, often in the grip of rage.

He's hypnotic, physically powerful, well-spoken, but Lee also understood - crucially - that an important layer from Bram Stoker's novel had been missing from Lugosi's performance: sexuality.

Lee's Dracula is a rampant sex fiend, using that stare to make buxom ladies everywhere come over a little faint. Of course, this being the s, we never see Dracula seal the deal, so to speak, but we like to think it involves at least one verse of The Impossible Dream.

Film s : Bride Of Frankenstein , Frankenstein The first and best version of Dr. Frankenstein's well, really, Mary Shelley's cobbled-together creation, James Whale's classic made a jobbing British character actor into a huge star.

His numerous appearances on this list indicate that he was able to forge a career outside the nuts and bolts of the Monster, but William Henry Pratt - sorry, Boris Karloff - will always be inextricably linked with his lumbering creation.

Karloff's trick was not just to create a visual template that defines the Monster to this day, but to see the creature as much more than a creature, to imbue it with a genuine longing to be whole again, to be human, to have a friend, to have a soul.

These moments of calm - smoking with the blind hermit, or throwing stones into a lake with a young girl - make the tragedy of the inevitable storm all the greater.

At first glance, there's precious little that's interesting about Michael Myers. Yes, he shares a name with Austin Powers.

Yes, he wears an inside-out, dyed William Shatner mask. But otherwise, he's just a blank, remorseless, mute killing machine like Jason Voorhees, slaughtering transgressive teens in their dozens, right?

Well, wrong. As imagined by John Carpenter and brilliantly played by stuntman Nick Castle, Myers - aka The Shape, aka The Haddonfield Hacker ok, we made that one up - is the literal embodiment of pure evil, an unstoppable, glassy-eyed abyss staring right back at us.

This particular abyss just happens to have a thing for butcher knives. Myers is also far more psychologically interesting than Jason or any of the myriad copycats that followed in his wake; for him, it's mostly about family.

There's also an interesting wrinkle with Myers that you sense Carpenter wanted to leave hanging, open to interpretation. The last lines of Halloween are "Was it the boogeyman?

Then we see that Myers has survived six bullets and a fall from a second-storey window. He now lurks everywhere, his breathing dominating the soundtrack.

Because there's a supernatural tinge here. How else can you explain his indestructibility? His penchant for appearing and disappearing, seemingly at will?

Because he is the Boogeyman. The coolest character in any Romero zombie film and, by extension, any zombie film , Ken Foree's SWAT guy is cooler than a cucumber Cornetto, equally adroit at wearing turtlenecks and cooking romantic meals as he is roundhouse-kicking zombies and ominously intoning, 'When there's no more room in Hell, the dead will walk the Earth'.

When the world goes to pot, we'd like to be like Peter. Knowing our luck, we'll be more like Peter Mannion. Jonathan Demme's adaptation of Thomas Harris' serial killer novel is magnificent, but every time that Anthony Hopkins appears on screen, it becomes a fully-fledged masterpiece.

His Hannibal Lecter is parceled out throughout the film, dispensed to us in, appropriately enough, bitesized chunks, offering sinister advice and wisdom to Jodie Foster's Clarice Starling.

Hopkins played Lecter, the brilliant psychiatrist turned incarcerated cannibal, as part-bird, part-Dracula.

The combination is unforgettable. There are still those who would lobby to have Brian Cox's Lecktor, from Michael Mann's Manhunter, recognised as the best screen iteration of Hannibal, but it's the Oscar-winning, iconic, endlessly quoted Hopkins who gleefully sank his teeth into the zeitgeist.

Let's hope he washed it down with a nice chianti. Wes Craven reached into his nightmares and pulled out the greatest screen monster of them all.

Craven fused Freddy Krueger from a combination of real-life experiences he once had a scary encounter with a homeless man upon whose look he would base Freddy's appearance and a fanciful notion about a monster who could operate in the dreamscape, a terrifying notion.

Robert Englund - then best known as the nice alien, Willy, from V - revelled in the chance to give vent to his inner demons, pocking his voice with cruel, taunting hate, his face scarred and blemished beyond recognition.

It was a marriage made in, well, Not Heaven. Freddy was built to be an instantly recognisable icon, with the hat and the scars and the glove made of four razor-sharp knives.

What's interesting, though, is how the character mutated. His first and last appearances, both directed by Craven we're ignoring Freddy Vs Jason for the sake of our theory and our sanity , see a truly sinister, frightening Freddy: a coldblooded killer, preying on kids a child molester was, Craven has said, the very worst thing he could think of with nary a one-liner in sight.

But as the sequels some of which have merit progressed, and Freddy became the star of the show, the deaths became more elaborate, and Krueger himself became almost comedic, almost like Roger Moore's Bond, a wisecracking machine built of pure irony.

It's testament to the character's strong foundations, and Englund's brilliant performance, that both versions of Freddy remain equally memorable.

Here is your number one, and The Chin has it by an overwhelming margin. Good thing, too, as we didn't want to have to get out our boomstick.

Let's be very clear here: the Ashley Williams of The Evil Dead is not the number one horror character of all time. He's a very different creation, a passive, almost cowardly character who becomes the hero of the film almost through default being best mates with the director didn't exactly hurt.

And as much as we love Army Of Darkness it's hard to make a case for that Ash — an unapologetic idiotic American abroad who shoots first, asks questions later — being number one as well.

That's a different story altogether, and it was clear from your votes that you feel the same. They had nothing to lose, and so they built the kind of horror hero they wanted to see: a swaggering, stone-faced, super-cool ass-kicker, as if someone had parachuted Clint Eastwood into the middle of a horror film.

Raimi and Campbell's impish shared sense of humour saw to it. It's about the evolution of a hero, the birth of a badass, as Ash is dragged — sometimes literally — kicking and screaming — again, sometimes literally — from a hapless haunted husk of a man to the sort of grizzled action hero who can look a giant demon in the face and slide a chainsaw into its eye.

Raimi has often said that torturing Campbell is fun. It may even be his raison d'etre, and it's fascinating to see the sheer hell that Ash is put through in Evil Dead II.

He's possessed, near drowned, hit with branches wielded by Raimi himself , flung through car windshields, smacked on the head with pottery, chucked down wooden stairs, driven mad by laughing household objects, covered in more blood and goo than you could shake a large stick covered in blood and goo at and, of course, has his right hand seized by demonic bailiffs.

But it's all part of this particular hero's torturous journey as he finally mans up and does what anyone would do in that situation: weld a chainsaw to the bloody stump, arm himself with a sawn-off shotgun, and start speaking almost entirely in one-liners.

We asked Bruce Campbell how he felt on being voted number one: "How do I feel? I feel pretty fucking good. I think your readers are fine, intelligent, discerning people with obviously a lot of taste.

The Ash character we like doing because he's an evolving character, a very flawed character.

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