Summary

• Universal Monsters films are classic cultural landmarks that are still considered some of the best in their genre, mixing gothic horror with campy fun.
• Many of the sequels and crossovers in the Universal Monsters franchise are not as strong or original as the original films, and some are considered the worst in the series.
• The Abbott and Costello crossovers inject comedic elements into the monster franchise, offering a fun and entertaining twist on the iconic characters.

With several monster films in development, it's a fantastic time to revisit the classic Universal Monsters films, though they drastically range in quality. From the 1930s to the 1950s, Universal Pictures developed thirty monster films, starting with Dracula, Frankenstein, The Mummy, and The Invisible Man. These classic movies became cultural landmarks that are still considered some of the best in their genre, mixing gothic horror with campy fun. By no means are they scary by modern standards, but the monster films are a joy to revisit.

There are several tangentially related monster movies, such as Edgar Allan Poe adaptations like The Raven or The Black Cat, but the official thirty belong to the Universal Classic Monsters Complete Collection, released in 2018. The collection contains films primarily related to the original '30s monsters and numerous sequel films. There are also comedic horror crossovers like Abbott and Costello Meet Frankenstein.

30 The Mummy's Tomb (1942)

Directed by Harold Young

Long before the Brendan Fraser and Tom Cruise versions of The Mummy, the Universal Monster franchise was developing various sequels for the title. Unfortunately, very few of the classic sequels lived up to the first movies in their saga. The Mummy's Tomb suffers from offering nothing new after the original. It's incredibly slow-paced with nothing exciting to give to the franchise, resulting in one of the worst Mummy movies.

29 The Creature Walks Among Us (1956)

Directed by John Sherwood

After Creature from the Black Lagoon marked the first successful new title in the Monster franchise in decades, it was followed up by two abysmal sequels. The Creature Walks Among Us is the third film in the Gill-man trilogy and the final film in the Universal Monsters series, and unfortunately, it ends both on a low note. The last installment attempts to balance its campy monster action with philosophical commentary on human nature, and it doesn't pan out.

28 The Mummy's Curse (1944)

Directed by Leslie Goodwins

The final film of The Mummy saga ends it all on a low note, with an almost identical premise to the previous sequels, though this time in a Louisiana swamp setting. The events of the film are meant to take place in a futuristic period, though, like many narrative elements in The Mummy's Curse, the date and setting are tediously arbitrary. The best part of The Mummy's Curse is the involvement of Ananka, the female Mummy.

27 She-Wolf Of London (1946)

Directed by Jean Yarbrough

She-Wolf of London is one of the campiest and weakest films in the Universal Monsters franchise. Despite the title alluding to being related to The Wolf Man or Werewolf of London, the 1946 film doesn't actually have a werewolf in it. Instead, a woman spends the film under suspicion that she is a werewolf, but it just never happens. She-Wolf of London is one of the lesser-known films in the franchise for a reason, as it's hardly a horror movie.

26 The Mummy's Ghost (1944)

Directed by Reginald Le Borg

Two Mummy sequels were released in 1944, and unfortunately, neither is very strong. The Mummy's Ghost suffers from repetitive narrative ideas from previous films, as a mummy seeks to bring a lost lover back to life. The Mummy's Ghost isn't as fun as the original, notably lacking in its stale human characters. The saving grace of the sequel is its twist ending, which distinguishes it from the more predictable films in the series.

25 The Invisible Man's Revenge (1944)

Directed by Ford Beebe

The Invisible Man saga has seen various interpretations through the years, including some terribly corny '90s comedies. As for the Universal Monsters franchise, the 1944 sequel is the worst of The Invisible Man movies. The Invisible Man's Revenge tries to incorporate themes about morality, as a fugitive is given the power of invisibility to evade the law. Like The Mummy saga, The Invisible Man sequels run out of gimmicks to play with.

24 Revenge Of The Creature (1955)

Directed by Jack Arnold

The second film in the Gill-man saga is Revenge of the Creature, and the installment offers nothing original, mainly retreading the camp of the first. A brief pre-fame Clint Eastwood appearance adds a bit of retrospective levity to Revenge of the Creature. The film is mildly entertaining for those who seek more of the creature, but it's a sad step down from the inventive excitement of the first.

23 The Invisible Woman (1940)

Directed by A. Edward Sutherland

The Invisible Woman embraces the Universal Monsters' comedic elements, centered around a model seeking revenge on her previous employer after an experiment turns her invisible. Like many monster sequels, The Invisible Woman suffers from a dull script, relying on its quips and screw-ball humor instead of a story. Still, the shift in tone to comedy is effective, and the special effects are extremely impressive for 1940.

22 House Of Dracula (1945)

Directed by Erle C. Kenton

House of Dracula is the worst among the franchise's big crossover films, but it's still a fun mashup of monster films with Dracula, Wolf Man, and a brief appearance from Frankenstein's monster. Lon Chaney Jr., as the Wolf Man, is the only star who reprises his role from the original films in each saga, with John Carradine reprising his role as Count Dracula instead of Bela Lugosi. Both Dracula and Wolf Man seek out cures for their afflictions, making for a decently engaging narrative to compliment the excellent visual work.

21 Son Of Dracula (1943)

Directed by Robert Siodmak

Wolf Man actor Lon Chaney Jr. brings Count Dracula to life in the 1943 sequel, Son of Dracula. The title creates a misconception as the film has nothing to do with Dracula having a son, but rather Dracula arriving in the United States, where he takes a new bride. The Southern Gothic setting adds to the film, which has some of the more alluring visual and narrative elements among Universal's monster films.