The genre is home to some of the most engrossing revenge narratives. Though revenge stories can be found in any genre, the fear and suspense associated with horror are the perfect foundation for retaliatory action. Protagonists in these films have been wronged by others, being attacked themselves or losing a loved one at the perpetrators' hands, and are now out for blood. , as few things are more rewarding than seeing a villainous character get exactly what they deserve.

While a few of these films are somewhat upbeat thanks to their psychedelic visuals (Mandy) or injection of comedy (Ready or Not), most touch on sensitive subjects, including rape and genocide. Films like La Llorona and the controversial I Spit on Your Grave elevate their revenge narratives by tackling these tough themes, adding emotional depth to their protagonists' choices, and preventing them from embarking on a superficial killing spree.

Exploring themes of capitalism and exploitation is the psychological thriller Nocebo. The collaborative effort from the Philippines and Ireland follows fashion designer Christine (Eva Green) after her world gets turned upside down following the arrival of Diana, a woman claiming to be a caregiver Christine had hired. Creating a potent, suspenseful atmosphere, the film does still have a semi-predictable plot and asks that audiences buy into its minor implausibilities.

Diana is a suspicious figure from the moment she enters on screen, but audiences, nor Christine's family in the film, aren't quite able to pinpoint what exactly the mysterious woman's true intentions are. As it turns out, and has now shown up to get revenge using her supernatural abilities.

The graphic depiction of violence and rape in I Spit on Your Grave is incredibly upsetting and forces audiences to sit in discomfort as the life of writer Jennifer Hills (Camille Keaton) is forever changed. Following the traumatizing attack, , cleverly luring them in before killing them.

Since its late '70s release, I Spit on Your Grave's reputation has been quite poor. Film critic Roger Ebert panned the horror film, deeming it a "vile bag of garbage." Considered to be a cult classic by some and one of the worst movies ever made by others, the revenge flick's portrayal of sexual assault is candidly horrific to ensure audiences understand the grave impact such an act can have on someone. While shocking indeed, the importance of such a movie can't be fully denied.

Nicolas Cage has appeared in numerous horror films throughout his career and has proved to thrive in both comedic movies and those that are downright terrifying. The latter can describe 2018's Mandy, where Cage leads the film as Red Miller, by a bizarre cult.

Following her death, , refusing to back down until each responsible individual is dealt with. Though the film wasn't successful at the box office, Mandy has earned a positive response from critics regarding its visual style and Cage's intense performance. The combination of surrealist imagery throughout the film and Red's descent into madness make Mandy an entertaining and satisfying watch, and one of Cage's best horror films.

Samara Weaving is a scream queen, starring in horror films like Mayhem, The Babysitter, and Ready or Not. The latter is a horror comedy centered around the abnormal game of hide-and-seek played by Grace's (Weaving) new wealthy in-laws, the Le Domas. The rules of the game declare that if the family doesn't kill the newest addition to Le Domas before dawn, there will be deadly consequences. Frightened, but determined to stay alive, Grace gets revenge against the twisted family.

While there are plenty of horror films about frightening family dynamics in the genre, . The overt class commentary throughout the film allows Grace to be an easy protagonist to root for, as her resourcefulness and tenacity make her a strong match against the callous, rich family.

Before being celebrated for films like Scream and A Nightmare on Elm Street, horror director. One of Craven's scariest horror films, the rape and revenge plot follows Mari Collingwood (Sandra Peabody) and her friend, who are kidnapped, raped, and killed by a group of escaped convicts. After the killers unknowingly seek shelter at Mari's family home, her parents get their revenge.

Like I Spit on Your Grave, The Last House on the Left was criticized and banned for its graphic on-screen violence, though the amount of retrospective reviews of Craven's film has been greater throughout the years. The film has earned its cult status due to its explicit content, infamous reputation, and because it introduced the talent of Craven to the horror genre.

In her feature directorial debut, French filmmaker Coralie Fargeat introduces a story of revenge that reworks the tropes associated with rape and revenge films to create something invigorating and refreshing. The film follows Jen (Matilda Lutz), a woman who is stuck in the desert with her married boyfriend, Richard, and his group of friends. After Jen is raped by one of Richard's friends and threatens to tell Richard's wife about their relationship, .

Jen's resilience and longing for revenge allow her to survive and take down the group of men one by one. Unlike most movies in the horror subgenre, Fargeat's rape and revenge tale doesn't focus as much on the violence inflicted upon Jen. Instead, , allowing Jen to have a commendable and emotional character arc.

Several horror movies are based on Latin American folklore, including Jayro Bustamante's La Llorona. The horror film is based on who resides near bodies of water following the death of her children. Unlike most movies inspired by La Llorona, Bustamante's film elevates the recurring themes of the legend by tying them to Guatemalan history.

In the film, Guatemalan dictator Enrique Monteverde (Julio Díaz), responsible for orchestrating the native Mayans' genocide in the 1980s, finds himself haunted by the spirit of La Llorona in the form of his mysterious housemaid, Alma (María Mercedes Coroy). Seen as one of the best international horror movies in recent years, La Llorona interweaves moving themes of oppression and loss within its overall frightening story of revenge.

Based on John Ajvide Lindqvist's novel of the same name, Let the Right One In strips the narrative of many original elements to focus on the somewhat endearing and unexpected connection between two isolated individuals. The horror film is stillpacked with bloody imagery and intense kills, but the scares are strategic and restrained. As a result, audiences are likely to walk away being moved most by the relationship between Oskar (Kåre Hedebrant) and his neighbor and only friend, Eli (Lina Leandersson).

Before Eli arrives in the Blackeberg suburb, the act of revenge against his bullies is merely a fantasy for Oskar. as an act of revenge and survival. This complicates both the audience and Oskar's feelings about Eli's actions but makes for some fascinating character development between the two.

One of the few horror movies to be nominated for multiple Academy Awards, Brian De Palma's adaptation of Stephen King's 1974 novel Carrie has become an influential tale of revenge. The film is centered around Sissy Spacek's Carrie White, a teenage outcast with telekinetic powers who is often bullied by her classmates at school and abused by her tough mother (Piper Laurie) at home.

Spacek's portrayal of Carrie allows audiences to sympathize with the character, as much of the film depicts the various forms of inescapable repression and bullying she experiences. Carrie's big act of revenge doesn't take place until the film's explosive finale, where . Carrie's famous prom scene is stylish, implementing a split-screen technique that highlights the satisfying chaos inflicted by the vengeful protagonist.

One of the best performances in a Korean horror movie is that of Choi Min-sik as I Saw the Devil's serial killer Jang Kyung-chul. The action-packed film sees Kyung-chul as the target of NIS agent Kim Soo-hyeon (Lee Byung-hun), the fiancée of a woman Kyung-chul brutally murdered. The film is regarded as one of the best Korean horror movies as its bloody cat-and-mouse game is nearly impossible not to get wrapped up in.

until he feels Kyung-chul's suffering is satisfactory. The gruesome violence in the film rarely lets up, but there are moments throughout I Saw the Devil that take time to illustrate just how emotionally devastated Soo-hyeon has been left by his fiancée's death. The grief and rage that motivate Soo-hyeon don't necessarily justify his actions, but they do complicate the audience's view of the character and inform the film's devastating ending.