The Best Horror Movie of 1993: Cronos

This post is part of Paste’s Century of Terror project, a countdown of the 100 best horror films of the last 100 years, culminating on Halloween. You can see the full list in the master document, which will collect each year’s individual film entry as it is posted.
The Year
Compared to the year that just came before, 1993 is a very weak crop indeed—a good example of this decade’s tendency to be erratic in terms of horror quality from year to year. This is the kind of collection of films that makes you seriously consider giving Jurassic Park the top spot, before coming to your senses and putting such an idea right out of your head. There just aren’t any other genuine horror classics here, although there are some interesting oddities. In general, though, this is a moment when it feels like the traditional “horror film” has ebbed from the forefront of the cultural consciousness, where it will remain in reduced stature until the arrival of Scream at least.
If there’s one thing that stands out this year, it’s the wealth of family friendly, Halloween season classics that touch only lightly on the true “horror” genre, including The Nightmare Before Christmas, Hocus Pocus and Addams Family Values. That’s a strong lineup for any year of all-ages releases, although these movies are borrowing the iconography of the genre more than they’re trying to frighten anyone, even children. We’re by no means calling something like The Nightmare Before Christmas a sub-par film—it’s a classic that holds up incredibly well today—but it does little to assuage the feeling that this is a weak year for adult horror.
One offering that does stand out is Fire in the Sky, the fictionalized account of the supposed alien abduction of forestry worker Travis Walton in 1975. The film approaches its premise with cold, dispassionate seriousness, carrying itself like an attempt at documentary, which helps to make a situation that could have been laugh inducing into one that is genuinely terrifying at times. Some of the “abduction” tropes established here, such as a craft shooting a beam of light that levitates a person into its interior, became well established in the UFO/alien film genres, to the point that they’re now practically universal. The “probing” sequences, meanwhile, were among the first of their kind in film, and are truly disturbing in their clinical detachment—the aliens don’t look at Travis like he’s a living creature, but just a screaming piece of meat to be poked and prodded. If you’ve ever been at all creeped out by the thought of alien abduction, it’s guaranteed to make you squirm.
As for the rest of 1993, it’s pretty much a hodgepodge. You’ve got a prominent entry in the very specific horror sub-genre known as “melt movies,” in Body Melt—I think you can guess why the niche is called that—along with a 12-year-old Macaulay Culkin playing a surprisingly effective sociopath in the poorly received The Good Son. And who could forget the arrival of Warwick Davis as a comedy horror icon in Leprechaun? Still, a weak year.