Best Old Films Discovered in 2025

As a realist, the chances of ever discovering a lost giallo on par with Tenebrae are none. As a dreamer, I'm watching dud after dud like Sideshow Bob stepping on rakes to prove myself wrong, regardless. That's why I'm always excited to watch an unfamiliar film as if it might potentially be a long, lost treasure. Granted, there could be booby traps everywhere, but occasionally you do find that precious gem. And that's what this lot of films are for your host:

The Mask of Fu Manchu (Charles Brabin, 1932)

The Mask of Fu Manchu is an outrageous, yet amusing gem from the pre-Code era. Like one of Fu Manchu's concoctions, the fact that it's over ninety years old and still a potent mix of sex, sadism and racism, makes it cinematic gold for me. ★★★★

 

Scarlet Street (Fritz Lang, 1945)

Fritz Lang’s morality tale unfolds unpredictably, shifting from melodrama to comedy before ending on a sour note. Edward G. Robison embodies the male mid-life crisis, while Joan Bennett is the quintessential femme fatale. Superb noir. ★★★★

 

Gun Crazy (Joseph H. Lewis, 1950)

Incredibly sexually suggestive film involving a Bonnie and Clyde like duo of gun nuts. In most films, there is a natural inclination to root for the underdog, in the case of Gun Crazy, this is particularly evident in the outlaw couple’s thrilling and tense heists. The film also stands out for its remarkably modern filmmaking style which has earned it a reputation for being ahead of its time. ★★★★

 

Yield to the Night (J. Lee Thompson, 1956)

Thompson, a staunch opponent of capital punishment, delivers a powerful film from his early oeuvre. Yield to the Night also showcases the acting talents of Diana Dors who shuns her glamourous image to demonstrate her acting abilities as a sympathetic prisoner awaiting her execution. It is unfortunate that Dors never had the opportunity to demonstrate her skills in more of her work, as her performance in this is exceptionally strong. ★★★½

 

The Demon (Brunello Rondi, 1963)

Daliah Lavi delivers a fantastic performance as a beautiful peasant woman whose rejection by her lover leads to madness and despair. To the town locals, she is a possessed woman. This unconventional Italian horror, shot in a mondo style at times, draws damning parallels between peasant superstitions and the Catholic Church. Highly recommended. ★★★★

 

Incubus (Leslie Stevens, 1966)

Despite its reputation as a poorly received and cursed film, Incubus exceeded my expectations. In fact, I actually found it to be a very good film. The pretentiousness of the Esperanto dialogue and its pretence of emulating an European art house production were not detracting factors, either. They were all part of its surreal charm. I also found William Shatner’s performance to be superb, too. A remarkably strange film that is undeserving of its negative reputation. ★★★½

 

The Ear (Karel Kachyňa, 1970)

Ludvík, a deputy minister, returns home from a political gathering with his intoxicated wife, Anna. Upon arrival, they encounter unsettling events, leading to paranoia and anxiety. Flashbacks reveal potential clues to their dire predicament. A tense and paranoid thriller, expertly filling a jigsaw puzzle and a fractured relationship over the course of the night  This was easily the standout title amongst the Eastern Bloc films I discovered this year. ★★★½

 

Night of the Juggler (Robert Butler, Sidney J. Furie, 1980)

Night of the Juggler is a film that really has earned its cult following. It’s a fascinating blend of sleaze, violence and a delightful nod to unapologetic film making seldom made today. It will definitely find appreciation by anyone who loves gritty crime thrillers from the 1970s and early 1980s. It’s packed with a dark and cynical atmosphere and keeps you on the edge of your seat with genuine suspense and tension. ★★★½

 

The Cat (Lam Nai-Choi, 1992)

The Cat is an amazingly eccentric film that should appeal to anyone with an interest in unconventional and whimsical films from around the world. Its influences are evident yet it instils its own brand of bizarre entertainment; making it a unique viewing experience. ★★★★

 

Tesis AKA Thesis (Alejandro Amenábar, 1996)

Alejandro Amenábar’s Hichcockian style thriller, centred on snuff tapes, is notable for its abundant plot twists and its red herrings. This is a particularly impressive film given its obvious low budget and the fact that it was written and directed by a 23-year-old film graduate shooting in his university. ★★★½

Cure (Kiyoshi Kurosawa, 1997)

A chilling psychological thriller that makes me question why I didn’t watch it sooner. Unlike typical police procedurals, it develops in a rich, nuanced and intelligent way. It’s a slow-burn shocker that lingers on, especially after that final scene. Its subesequent influence on J-horror seems very obvious, in retrospect. ★★★★½

 

The Platform (Galder Gaztelu-Urrutia, 2019) 

The Platform is a disturbing film; brutal, nihilistic and difficult to recommend to the squeemish. However, its most extreme aspect is its sci-fi concept. The brutalist construct that confines everyone to various levels serves as an allegory for both capitalism and the class system. Can't believe I slept on this film for so long. ★★★★ 

 

In hindsight, there were a few films which grew on me the more I marinated on them. At the very least, they warranted an honourable mention here: 

 

Mystery of the Wax Museum (Michael Curtiz, 1933) 

Phantom Lady (Robert Siodmak, 1944)

Where the Sidewalk Ends (Otto Preminger, 1950)

Assault! Jack the Ripper (Yasuharu Hasebe, 1976) 

Her Vengeance (Lam Nai-Choi, 1988)

Polytechnique (Denis Villeneuve, 2009)