Horror Fans Beware: These Sequels Should Have Stayed Buried
Every year, a few film critics triumphantly declare that “horror is back.” But is it really making a comeback when it never truly leaves? Horror is Hollywood’s eternal survivor — low-budget, high-return, and endlessly reinvented. From creeping psychological dread to blood-curdling slashers, the genre constantly reinvents itself. Yet, for every terrifying masterpiece that sends shivers up our spines, there’s a misfire that leaves us wondering: how did this even get made? And this is where things get controversial — because some of the worst offenders come from the genre’s most beloved franchises.
When Sequels Kill the Fear
A great horror sequel builds upon fear — reimagining or deepening the terror of its predecessor. Unfortunately, these terrible continuations do the opposite. Instead of nightmares, they deliver headaches. Some franchises lose their edge right away; others keep stumbling along until they’re completely out of ideas, resorting to rehashed plots, awkward comedy, or baffling twists. Even icons like Freddy Krueger, Jason Voorhees, and Michael Myers aren’t immune to cinematic disaster. So if you value your sleep — and your time — these are the horror sequels to skip.
American Psycho II: All American Girl
Who asked for this sequel? No one — because it wasn’t even supposed to be one. The cult favorite American Psycho with Christian Bale remains a clever, chilling satire of greed and vanity. But its so-called sequel, American Psycho II: All American Girl, feels more like a misstep than a continuation. Originally titled The Girl Who Wouldn’t Die, this movie was rebranded as a sequel at the last minute — and it shows.
Mila Kunis plays Rachael Newman, a college student willing to kill her peers to get into the FBI. The only connection to Patrick Bateman is a slapped-on scene where child Rachael kills him after he murders her babysitter. Beyond that, the link is tenuous at best. What could’ve been a commentary on ambition and career obsession instead turns into a hollow, half-baked thriller with no real message. Even author Bret Easton Ellis has disowned it — and given his mixed feelings about the first film, that says everything.
Freddy’s Dead: The Final Nightmare
Freddy Krueger used to haunt dreams — now he haunts his own franchise. Freddy’s Dead is where the wisecracks fully eclipse the horror. Freddy, played by Robert Englund, becomes an over-the-top comedian rather than a genuine threat. The story — involving his estranged daughter and yet another batch of doomed teens — tries to add depth, but by then, the magic is gone. This supposed “final” entry reduced one of horror’s most inventive monsters into a caricature wielding punchlines instead of blades. For a sendoff, it deserved better.
Exorcist II: The Heretic
Even director William Friedkin couldn’t stomach this sequel, calling it “disgusting.” Exorcist II might genuinely be one of the most chaotic horror films ever made. The first Exorcist is revered for its psychological terror and spiritual tension; its follow-up throws all of that out the window with a bewildering globe-trotting plot involving locusts, telepathy, and a nonsensical return to Georgetown. Despite bringing back Linda Blair as Regan, the movie never decides what it wants to be — a sequel, a philosophical fable, or a fever dream. Fans and critics alike agree: it’s a low point for the genre.
Hellraiser: Hellworld
Even a young Henry Cavill couldn’t save this eighth Hellraiser film, and that’s saying something. This direct-to-DVD flop tries to update the story for the early 2000s gamer generation. A group of players of a “Hellworld” computer game end up trapped inside a mansion with Pinhead and his Cenobites. What follows is a tired, repetitive cycle of gory deaths and painfully dumb dialogue. Worst of all, Doug Bradley’s final appearance as Pinhead is wasted — he barely shows up. For a character who once symbolized sadistic sophistication, Hellworld is a pitiful curtain call.
Halloween: The Curse of Michael Myers
Sometimes, mystery is scarier than explanation — something this movie forgot. While John Carpenter’s original Halloween terrified audiences with ambiguity, The Curse of Michael Myers tries to explain everything. The result? Pure nonsense. This sixth entry blames Michael’s evil on a cult and a mystical “Curse of Thorn,” killing any sense of mystery that made him terrifying. Even Paul Rudd’s debut as Tommy Doyle can’t save its awkward pacing and flat chemistry. There’s a producer’s cut with extra footage that clarifies some points, but nothing can resurrect the horror once stripped of its mystique.
Friday the 13th Part VIII: Jason Takes Manhattan
The title promises chaos in the Big Apple — the reality? Jason Voorhees spends most of the movie on a boat. For nearly an hour, Jason stalks a graduating class on a cruise ship, finally reaching Manhattan for a mere 20 minutes. While those brief scenes deliver one memorable kill, fans couldn’t help but feel cheated. Worse, the film leans heavily into slapstick humor, turning a fearsome killer into a campy parody. Maybe it should’ve been called Jason Goes on a Cruise instead.
Children of the Corn II: The Final Sacrifice
Hint: if a horror movie uses the word “Final” in the title, it’s lying. The Final Sacrifice is the second of many Children of the Corn sequels — and easily among the worst. Gone is the unsettling commentary on blind faith and cultism from the original; in its place are laughable deaths and soap-opera-level acting. The movie’s only redeeming quality might be accidental comedy, particularly a ridiculous wheelchair scene that plays more like a Scary Movie spoof than serious horror.
Rings
The Ring (2002) proved that a cursed VHS tape could still terrify in the digital age. Fast-forward 15 years, and Rings tries — and fails — to modernize that fear for a new audience. Despite attempts to expand the mythology, the story drowns in exposition and loses all tension. Instead of spine-tingling mystery, viewers are treated to a plodding series of explanations. There is an interesting twist toward the end, but by then, it’s too late — you’re already counting down the minutes. Ironically, watching this movie feels like being cursed to boredom for seven days.
Amityville 3-D
3-D horror rarely ages well, and Amityville 3-D is proof that gimmicks can’t replace storytelling. Instead of genuine scares, you get objects flying at the screen and murky visuals that strain your eyes more than your nerves. The creepy realism that gave the original Amityville Horror its power is replaced by cartoonish effects and flat characters. Worse, the film’dark tone clashes with its silly 3-D stunts, creating something that’s not scary, not fun, and definitely not worth revisiting.
Silent Night, Deadly Night Part 2
The original Silent Night, Deadly Night became infamous for its killer Santa marketing, but its sequel achieved meme immortality for a different reason: laziness. Nearly half of Part 2 consists of recycled footage from the first film. The new material follows Ricky Caldwell, the brother of the original killer, who embarks on his own Christmas massacre. While it fails as horror, the movie accidentally succeeds as unintentional comedy. Ricky’s outlandish laughter and his delivery of the line “Garbage day!” have cemented its place in internet meme history.
Why do studios keep resurrecting franchises that clearly need to stay dead? Are these sequels harmless fun, or do they tarnish the legacy of the originals? Which of these films do you think deserves a second chance — and which should be buried for good?
