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25 of the Decade’s Most Influential Figures in Horror

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While there were far too many influential figures in the horror genre this decade to include them all here, below are the 25 that were (arguably, of course) its greatest movers and shakers. From the video game revolution to sequel-happy movie studios; from the dark world of metal to the pages and panels of horror literature, love `em or hate `em the below 25 simply made too much noise to ignore. If you think we missed anything, throw it in the comment section below and say your piece. It’s all welcome!

25 OF THE DECADE’S MOST INFLUENTIAL
FIGURES IN HORROR!

Editor’s Note: This list is in no particular order and was compiled by Chris Eggertsen, Bloody Disgusting staff writer. This was NOT voted on or chosen by the entire staff.

Alexandre Aja


Defining work: High Tension (2003)

Why he’s on the list: Aja ushered in the era of extreme French horror with his gory High Tension and attained mainstream credibility after directing the successful remake of `70s exploitation classic The Hills Have Eyes. In the process, he opened the Hollywood door for contemporaries like Xavier Gens (Frontiere(s)), Pascal Laugier (Martyrs) and Alexandre Bustillo & Julien Maury (Inside). Whether or not his career continues to flourish Stateside, he’s the man responsible for opening the blood-spattered floodgates.

Alan Ball


Defining work: True Blood (2008-2009)

Why he’s on the list: Ball had dabbled (more like rubbed our faces) in death before, particularly with his hit HBO series Six Feet Under, but True Blood marked the first time he crossed over fully into the realm of the supernatural. By doing so he managed to tap into the Twilight zeitgeist and spawn a genuine pop cultural phenomenon. Of course, his show’s so good it probably didn’t need Stephanie Meyer to succeed.

Danny Boyle


Defining work: 28 Days Later (2003)

Why he’s on the list: Boyle’s zombie art film 28 Days Later unleashed the modern wave of walking dead movies on American multiplexes, but none of his adherents were able to match his uncompromising vision. As an Oscar-nominated director, his foray into horror gave a rare boost of critical respect to a genre often relegated to the cultural dustbin.

Bungie Studios


Defining work: The Halo series (2001-2009)

Why they’re on the list: Considered the Xbox’s “killer app” and largely credited with the initial success of both the original console and the Xbox 360, the influence of developer Bungie’s Halo series on the next generation of first-person shooters cannot be underestimated. Breaking records with each new installment in the franchise, 2007’s Halo 3 grossed $170 million in its first 24 hours of release, a feat even Hollywood had never managed. The series has gone on to spawn five bestselling novels, two graphic novels, and countless other associated merchandise. The film version, now postponed indefinitely, has attracted the likes of Guillermo del Toro, Neil Blomkamp, and Peter Jackson to the table. Undoubtedly, it’s become one of the most successful franchises ever, in any medium.

Guillermo del Toro


Defining work: Pan’s Labyrinth (2006)

Why he’s on the list: With The Devil’s Backbone del Toro proved there were still visionaries left in the horror genre. With Hellboy and its sequel he demonstrated that he could meld his unique sensibilities with a large-scale Hollywood production. With Pan’s Labyrinth he created a modern-day classic that shattered boundaries. Like The Silence of the Lambs before it, his Franco-era dark fantasy became the rare horror film to transform into a year-end critical darling and major awards contender.

Michael C. Hall/Daniel Cerone/Clyde Phillips


Defining work: Dexter (2006-2009)

The creative team behind the hit Showtime series about a blood-spatter expert/serial killer with a moral grounding are responsible for creating a genuine word-of-mouth sensation. While exec-producers Cerone and Phillips have exited the series (Cerone after the second season and Phillips after the fourth), Hall may be the man most responsible for the show’s success. He has accomplished what few actors could with his darkly humorous portrayal of the titular character: he’s made a serial killer likable. The fourth-season finale of the show became the most-watched single episode on Showtime ever. Water-coolers are buzzing.

Maynard James Keenan (Tool/A Perfect Circle)


Defining work: Lateralus (2001)

Why he’s on the list: While Tool may have come of age in the `90s, their greatest influence wouldn’t be seen until the `00s, upon the release of the double-platinum-selling Lateralus. The progressive tendencies of the band were carried to their logical extreme with this album, which cemented their status as the Radiohead of prog-metal. Of course, lead singer and creative force Maynard James Keenan didn’t rest on his laurels during the band’s long hiatus leading up to 2006’s 10,000 Days; his formation of platinum-selling A Perfect Circle with guitarist Billy Howerdel early this decade gave us the rare side project that nearly lives up to its forebear.

Robert Kirkman/Tony Moore/Charlie Adlard


Defining work: The Walking Dead series (2003-2009)

Robert Kirkman’s critically-acclaimed Walking Dead series brought a level of sophistication to the zombie sub-genre rarely seen in comic books, with a plot as focused on its human characters as on the guts and decapitations. Tony Moore set the tone with his award-winning black-and-white artwork in the first six issues; Charlie Adlard took over after the sixth issue (although Moore continued to draw the covers through issue #24). Kirkman has translated the series’ success to the television format, with a planned AMC series executive-produced by Frank Darabont set to debut next year.

Michael Bay


Defining work: The Texas Chainsaw Massacre remake (2003)

Why he’s on the list: Facts are facts, no matter how painful they may be. And the fact is, no one person was more responsible for the glut of horror movie remakes in the `00s than Michael Bay. They may not be works of art; they may even represent a cynical cash grab (duh). But there’s no denying that Bay is the instigator of the most pervasive trend in the horror genre over the last ten years (and the man most burned in effigy by fanboys). There’s certainly something to be said for that.

Mastodon


Defining work: Leviathan (2004)

Taking the world of metal (not to mention the music industry as a whole) by storm upon its release in 2004, Leviathan is considered by many the pinnacle of progressive metal band Mastodon’s oeuvre thus far. The heaviness and dark themes of the band’s previous work was combined with polished melodies on the Moby Dick-inspired concept album, the result of which was a work that defied easy description. With Blood Mountain and this year’s Crack the Skye, the band has followed through on their early promise and brought mainstream critical acceptance back to heavy metal.

Cormac McCarthy


Defining work: The Road (2007)

It may seem strange to include an author who has been releasing novels for over 40 years on a list of movers and shakers in the `00s, but Cormac Mccarthy’s 2007 The Road not only earned him the Pulitzer Prize, it became an Oprah Book Club selection and subsequently shot onto bestseller lists. Considering that the book tells an exceedingly dark tale, detailing a bleak post-apocalyptic world and horrific acts of cannibalism, these twin feats (not to mention that the novel was adapted into a major, awards-bait Hollywood film) are all the more impressive.

Stephanie Meyer


Defining work: The Twilight series (2005-2008)

Second only to the Harry Potter phenomenon this decade, Stephanie Meyer’s young-adult vampire series has sold over 85 million copies worldwide (and counting). While critics can gripe about the books’ literary merits and horror fans can bitch that the series shouldn’t be covered in the horror film press (this website included), the massive success and influence of the franchise on pop culture is undeniable. The copycats are rising up in droves (see shameless coattail-rider The Vampire Diaries), but none of them have a chance in hell of topping Meyers’ monolithic achievement.

Takashi Miike


Defining work: Audition (2000)

Why he’s on the list: Ever the prolific auteur, Miike has directed over 40 films since the beginning of the decade (that’s four films a year). The sadistic and unnerving Audition may have put him on the map in the States, but the films subsequent to it proved he wasn’t just a one-hit sensation. While he was often lumped in with the J-Horror trend, the controversial director has subsequently proven his worth as a stand-alone brand.

My Chemical Romance


Defining work: The Black Parade (2006)

Why they’re on the list: One of the musical acts most associated with the “emo” movement, My Chemical Romance also perfected what’s been termed the “neo-goth” aesthetic in their performance image. Sure, the band is radio-friendly “punk-lite” more than anything, their music only a shade removed from the likes of Fall Out Boy. But the pop hooks are utilized in service of dark lyrics dealing with somber issues like death, murder, loss and tragic love affairs. By the time concept album The Black Parade was released in 2006, lead singer Gerard Way had become a pinup boy for 13-year-old goth girls everywhere.

Steve Niles


Defining work: 30 Days of Night (2002)

Possibly more than any other comic book writer this decade, Steve Niles is responsible for bringing the horror genre back to prominence in the world of comics in the `00s. Gory vampire fable 30 Days of Night (co-created by artist Ben Templesmith) proved to be his breakout success, spawning a series of successful follow-ups and a well-received Hollywood film directed by David Slade. Other adaptations of Niles’ work on the horizon include 30 Days of Night direct-to-DVD sequel Dark Days, Wake the Dead with Jay Russell attached to direct, and Freaks of the Heartland helmed by David Gordon Green.

Oren Peli


Defining work: Paranormal Activity (2009)

Why he’s on the list: Much like The Blair Witch Project at the end of the last decade, Oren Peli’s Paranormal Activity sent the message to Hollywood (again) that bigger doesn’t necessarily equal better. Some might say the kudos are premature, but consider this: an entire new division dedicated to nurturing films made for under $100,000 was created at Paramount due to his movie’s success. Not to mention that despite the inevitable backlash, Peli crafted a pretty good flick.

Robert Rodriguez/Quentin Tarantino


Defining work: Grindhouse (2007)

Why they’re on the list: You could try to separate these two filmmakers into their own individual mentions, but it wouldn’t make much sense considering that their Grindhouse collaboration represented the ultimate expression of their mutual obsessions. While the two films were quite different stylistically, the directors’ love of Z-budget exploitation filmmaking was of a piece. The double-feature flopped upon its release, but it’s subsequently become a midnight-show favorite at theaters across the country. Like its shoestring inspirations, the film has become a cult classic all its own. Separately, the two directors’ towering 21st century genre achievements came in the form of Kill Bill (Tarantino) and Sin City (Rodriguez).

Eli Roth


Defining work: Hostel (2006)

Why he’s on the list: While Saw reeled in audiences with its traps and mind games, Roth stripped the sub-genre labeled by the media as “torture-porn” to its bare essentials with Hostel. With that film and its follow-up, along with his earlier indie hit Cabin Fever, he showed a flair for tongue-in-cheek humor that was completely lost on his most adamant critics. Hordes of cheap imitators followed in his wake.

Slipknot


Defining work: Slipknot (1999)

Why they’re on the list: Following in the theatrical footsteps of groups like Kiss, Gwar, and Insane Clown Posse, Slipknot catered to the horror crowd by integrating horror movie-inspired masks into their image and stage show. Some saw it as a gimmick, but the band nevertheless managed to turn out four solid metal albums in the last ten years that proved to be both critical and commercial successes. At the same time, they provided further proof of the horror community’s buying power in the music business.

System of a Down


Defining work: Toxicity (2002)

Why they’re on the list: Amidst the barrage of weak, “nu-metal” acts like Limp Bizkit, Linkin Park and Staind that were unleashed upon the listening public in the late `90s and early `00s, System of a Down broke the mold with their brand of wildly unhinged, neo-gothic alt-metal. Following on the heels of their well-received self-titled debut, Toxicity proved to be their breakthrough album; lead singer Serj Tankian’s guttural growl sounded like a rallying cry in the wake of Fred Durst’s frat-boy whine. Twin album follow-ups Mezmerize and Hypnotize upped the insanity quotient even further and went on to become platinum-certified best-sellers.

Team Silent


Defining work: The Silent Hill series (1999-2009)

While they haven’t attained the mega-selling status of more action-packed video-game franchises such as Resident Evil and Left 4 Dead, the Silent Hill series introduced a unique psychological depth into the arena of horror-themed video games that hadn’t really been seen before. Team Silent, the staff responsible for the first four titles in the ongoing series, crafted a truly unnerving atmosphere that more than any game before or since approximated the feel of walking through a horror film.

Valve Corporation


Defining work: Half-Life 2 (2004)

It’s been a good decade for the folks over at Valve. In 2004 their highly-anticipated, long-in-the-making sequel Half-Life 2 sold millions of units and won many top awards in the video game industry. Following on the heels of this success, the co-op video game Left 4 Dead and its follow-up Left 4 Dead 2 have become hugely popular first-person shooters. This is due in part to the integration of the artificial intelligence component coined “The Director”, which gives vidders a truly cinematic experience during gameplay. The sales of the first entry were more than doubled by follow-up Left 4 Dead 2 last month, giving the developer another viable franchise.

Rob Zombie


Defining work: The Devil’s Rejects (2005)

Why he’s on the list: Few could have anticipated that House of 1,000 Corpses would be such an assured entry into directing for the monster-obsessed musician; fewer still could have predicted the mainstream critical respect he would garner with The Devil’s Rejects. His remake of Halloween was simultaneously loved and reviled by horror fans, but in a decade of watered-down, faceless PG-13 fare he at least had the audacity to follow through on his Southern-fried vision. In the process he revived horror’s punk-rock spirit.

James Wan/Leigh Wannell/Darren Lynn Bousman


Defining work: The Saw franchise (2004-2009)

Why they’re on the list: Produced for $1.2 million, Saw was a shot in the arm to lovers of gore everywhere upon its release in October of 2004. Masterminds James Wan and Leigh Wannell, more than anyone this decade, revitalized the horror genre and made it marketable again. For his part, Darren Lynn Bousman took the reins with aplomb and became a major creative force in the series as director of the first three sequels. Five years after its debut, the franchise has become the highest-grossing in horror history.

Edgar Wright


Defining work: Shaun of the Dead (2004)

Why he’s on the list: When it was released with little marketing in April of 2004, Edgar Wright’s Shaun of the Dead was barely a blip on the pop cultural radar. That’s before it went on to become one of the most successful horror comedies of all time. He’s since inspired a slew of imitators, but compared to the razor-sharp wit of Shaun, they cut about as deep as butter knives (although some would argue Zombieland came close to matching it).

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Editorials

The 10 Scariest Moments in the ‘Ghostbusters’ Movie Franchise

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scariest Ghostbusters

WARNING: The following contains mild spoilers for the Ghostbusters franchise. 

Yes, Ghostbusters is a horror movie – gateway horror to be exact. Setting aside the fact that the title literally contains the word “ghost,” a foundational element of the scariest genre, the franchise follows a group of paranormal researchers who battle entities attacking from beyond the grave. After countless rewatches, the classic films and newer sequels may not scare us much anymore, but how many times have we as genre fans asserted that a film does not have to be “scary” to be considered horror?

Genre classification is nebulous and any film that centers on ghosts has a place in the sprawling house of horror. Yes, it’s true that most viewers over the age of thirteen will find more to laugh about than scream while watching a Ghostbusters film, but each entry contains a handful of terrifying moments. With Gil Kenan’s Ghostbusters: Frozen Empire uniting three generations of the parascientific warriors, perhaps it’s time to highlight the most frightening moments from each phase of this legendary franchise. 


Ghostbusters (1984)

A Haunted Library

scariest Ghostbusters movie

Ivan Reitman’s original film begins with a campfire tale come to life. We follow an unsuspecting librarian as she ventures deep into the stacks to reshelve a book. With her hair blowing from a spectral breeze, we watch a hardcover float across the aisle to the opposite shelf. A second book follows, but the librarian remains unaware. She finally notices the disturbance when card catalog drawers open on their own spewing cards into the air like literary geysers. She flees through the maze of narrow stacks only to come face to face with a mysterious force who blows her back with a powerful roar. We won’t see the Library Ghost (Ruth Oliver) until a later scene, but this introduction firmly positions the film that follows in the world of horror. On first watch, we can only speculate as to the ghost’s malevolence and whether or not the librarian has survived the encounter. It’s the perfect introduction to a world in which ghosts are not only real, they will pounce on unsuspecting humans at the drop of a … book. 

Shaky Ground

The original finale may not be the film’s most terrifying moment, but it has become the franchise’s most iconic image. When faced with choosing a form for Gozer (Slavitza Jovan), Ray Stantz (Dan Aykroyd) inadvertently conjures up an image from his childhood. Moments later, a set of once-cheery eyes peer through the skyscrapers. The Stay Puft Marshmallow Man towers over the city, stomping and destroying everything in its path. While there’s definitely something terrifying about a jovial mascot turned deadly killer, what happens moments before is arguably scarier. 

The Ghostbusters arrive at the luxury apartment building to throngs of adoring fans. Peter Venkman (Bill Murray) plays into this hero-worship and promises an easy solution to a supernatural problem. But before they can enter the building, lightning strikes the upper floors sending massive chunks of brick and cement raining down on the barricaded street. The ground begins to shake and a giant fissure swallows the entire team. It’s a destabilizing moment made all the more terrifying by its shocking reality. Speculation about the existence of ghosts may vary from person to person, but there’s no doubt that sinkholes are very real. It’s entirely possible that the ground we’re standing on right now could spontaneously begin to crumble, sucking us down into a seemingly bottomless void beneath the earth. 


Ghostbusters II (1989)

Runaway Baby

Ivan Reitman’s sequel begins with a sly update on the life of a beloved character as Dana Barrett (Sigourney Weaver) pushes a baby carriage containing her infant son Oscar (Henry and William Deutschendorf). When last we saw the attractive cellist, she was kissing Venkman in the wreckage of Gozer’s demise and the thought of this loveable lady’s man becoming a father may be more nerve-wracking than anything contained in the first film. We never learn much about Oscar’s real father, but we do discover that fate has a sinister plan for the adorable child. While Dana chats with her landlord, Oscar’s carriage rolls a few feet away. Dana reaches for the handle, but the buggy begins speeding down the sidewalk careening through the busy crowds. As if guided by unseen hands, the carriage twists and turns, then abruptly swerves into oncoming traffic. Cars honk and veer out of the way, but the racing carriage marks a collision course with an approaching bus. The wheels screech to a halt moments before what would surely be a deadly crash and Dana rushes to embrace her vulnerable child. This harrowing scene is likely to terrorize any parent who’s experienced the fear of trying to protect a baby in an unpredictable world.  

Sewer Screams

scariest Ghostbusters scene

While investigating the second film’s primary villain, Vigo the Carpathian (Wilhelm von Homburg), three of the Ghostbusters venture into the sewers hoping to find a growing river of slime. Ray, Winston (Ernie Hudson), and Egon (Harold Ramis) trek down an abandoned subway line while speculating about the hordes of cockroaches and rats they hear scurrying behind the walls. These vermin may be scary, but there are more malevolent monsters lurking in the dark. Ray and Egon both amuse themselves with the tunnel’s echo but Winston’s “hello” goes unanswered. Moments later, a demonic voice bellows his name from the dark end of the corridor. Waiting behind him is a severed head floating in the empty tunnel. As he tries to retreat, the team finds themselves surrounded by dozens of ghoulish heads that disappear faster than they materialized. Moments later, a ghostly train hurtles towards them, swallowing Winston in its spectral glow. Egon theorizes that something is trying to keep them from reaching their destination with effective scares designed to frighten the Ghostbusters and audience alike.  


Ghostbusters (2016)

Haunted Basement

Like its predecessor, Paul Feig’s remake opens with a spooky vignette. Garrett (Zach Woods) gives a tour of the Aldridge Mansion, a 19th century manor preserved in the middle of the busy city, and walks visitors through a troubling history of excess and cruelty. Hoping to inject a bit of excitement, he pauses near the basement door and tells the horrifying story of Gertrude Aldridge (Bess Rous), a wealthy heiress who murdered the house’s many servants. Hoping to avoid a public scandal, her family locked her in the basement and her restless spirit can still be heard trying to escape. Garrett triggers a trick candlestick to fly off the shelf, hinting at the spirit’s presence, but a late night incident shows that the deceased murderess may actually be lurking in her ancestral home. While closing up for the night, Garrett hears ominous noises from behind the barricaded door and watches the knob rattle against the heavy locks. An unseen attacker hurls him through the house and eventually drives him down the basement stairs to a sea of green slime pooling on the floor. The stairs crumble leaving the tour guide hanging on to the door frame for dear life as a spectral figure glides toward him with menacing hands outstretched. Once again, we won’t see the fully revealed ghost of Gertrude Aldridge until later in the film, but this terrifying opening sets the stage for a dangerous showdown with an army of the dead.

Mannequin On the Move

The scariest moment of the 2016 remake is arguably the vicious online hatred sparked well before the film’s release. In response to brutal comments posted to the first official trailer, the cast returned to film an additional scene in which they react to dehumanizing negativity. But another sequence may cut closer to the heart of this upsetting experience. The Ghostbusters respond to a call at a concert venue and split up to cover more ground. Patty (Leslie Jones) enters what she calls a “room full of nightmares” and immediately reverses course to avoid a multitude of mannequins stacked haphazardly in the dark. As she walks out the door, one of the faceless creatures turns its head her way. Walking on its own, this sentient prop follows her down the hall, pausing the moment she turns around. Eventually breaking cover, the mannequin chases Patty down the hall to the rest of the team. They unleash their proton packs and make quick work of the gargoyle-like ghost. Though this connection is surely unintentional, it’s a terrifying parallel to a faceless monster sneaking up to attack a woman simply trying to do her job. 


Ghostbusters: Afterlife (2021)

Smoke and Monsters

While Ghostbusters: Afterlife is nowhere near as scary as the horror films playing in the local summer school science class, Jason Reitman’s legacyquel does contain its share of frights. The film opens with a harrowing scene as we join Egon (Oliver Cooper) in the last moments of his life. Racing away from a sinister mountain, Egon’s truck collides with an unseen force and flips upside down in a field of corn. The elderly scientist races back to his crumbling farmhouse with a trap in hand, intent on ensnaring this invisible being. Unfortunately, the power fails and Egon has no choice but to hide the trap under the floorboards and wait. He sits in a comfortable old chair as a horrifying cloud of smoke drifts in behind him, momentarily forming the shape of a fanged beast. Demonic hands grab him from within the chair, likely causing the heart attack that will be listed on his death certificate. But his abandoned PKE meter below the chair activates, reminding us that Egon may be deceased, but he is far from gone.  

The Terror Returns

scariest Ghostbusters moments

Ghostbusters: Afterlife turns out to be a touching tribute to Harold Ramis as his friends and family unite to complete the beloved scientist’s heroic mission. In addition to a tearjerker ending, Reitman also includes a bevy of callbacks to the original film. Not only do the Spenglers square off against the team’s first enemy, Gozer (Emma Portner), the nonbinary entity brings back the Terror Dogs that once possessed Dana Barret and Louis Tully (Rick Moranis). These demonic beasts first rear their ugly heads while Gary Grooberson (Paul Rudd) stops by Walmart to buy a midnight snack. While the horde of mini marshmallow men are eerie in their gleeful self-destruction, the ghostly canine that chases him through the store is the stuff of nightmares. Early iterations of this fearsome creature are hindered by ’80s-era special effects, but Reitman’s version feels frighteningly real. While Gary frantically tries to find his keys, this Terror Dog snarls at him from atop his car dashboard, leaving the endearing science teacher with no way to escape. 


Ghostbusters: Frozen Empire (2024)

Frozen Dinner 

After a film set in a small mountain town, the opening of Ghostbusters: Frozen Empire takes us back to New York circa 1904. We see the fire station in its early years as a horse-drawn carriage responds to a call. Arriving at the scene, a fireman tests the door for heat and watches in horror as his hand instantly freezes. Inside, they find jagged shards of ice surrounding and piercing a frozen dinner party. Guests are posed in various states of ice-covered surprise while an eerie record skips in the corner. A figure covered in brass armor we will come to know as a Fire Master is crouched in the corner clutching a mysterious orb. When the fireman touches this rippling sphere, the frozen diners’ heads begin to explode, an ominous precursor to the chilling threat awaiting the newest Ghostbusting team. 

Lights Out

If Ghostbusters: Afterlife featured the lo-fi gear of the 80s, Ghostbusters: Frozen Empire hurls us into the future. Wealthy financier Winston Zeddemore has been surreptitiously building a new containment unit to relieve pressure on the original model along with a secret lab designed to study ghosts and haunted objects. In addition to fancy new gadgets and gear, this facility contains several captured spirits like a fanged Wraith and a speedy Possessor. Lab techs assure the astonished Spengler team that they are perfectly safe, but it seems they’ve overestimated the facility’s security. Lucky (Celeste O’Connor) and Lars (James Acaster) are studying the aforementioned orb when the power goes out, leaving them stranded in the dark with a cache of haunted objects. Not only does the ancient sphere hold a deadly spirit, the proton fields containing the captured ghosts have just been disabled. These terrifying creatures begin to drift through the walls toward the defenseless lab techs, perhaps at the bidding of an evil commander. Thankfully the generator kicks on in the nick of time, drawing the ghosts back into their cells. It’s a tense moment reminding us that no matter how charming the Ghostbusters may be, they still spend their days with evil spirits just waiting for an opportunity to wreak havoc.  


The Ghostbusters franchise excels at mixing humor and fear, practically setting the blueprint for the modern horror comedy. Moments from the original two films terrified a generation of gen-xers and elder millennials and newer iterations are currently scaring their kids. The fifth franchise installment effectively passes the proton pack torch to a new generation of Ghostbusters and we can only hope additional films will continue to induct future generations of Ghostbusters fans into the horror family as well. 

Ghostbusters: Frozen Empire is now playing in theaters. Read our review.

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