Terrors from Beyond
H.P. Lovecraft’s dark influence on horror cinema and culture.
“The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.”
— The Call of Cthulhu, H.P. Lovecraft (1928)
Cosmic horror, a subgenre of horror fiction, has gained significant popularity in recent decades. Originally popularized by American author H.P. Lovecraft, it remained relatively obscure during his lifetime, only gaining traction after his death in 1937. Today, the genre is often synonymous with the term “Lovecraftian” horror.
Stories in cosmic horror typically center on the strange, unknowable, and indescribable. Here, human protagonists — if we can call them that — are dwarfed by their encounters with unfathomable terrors from beyond, their sole hope being survival with their minds somewhat intact.
Many of Lovecraft’s tales hinge on themes of hubris and greed — whether for wealth or forbidden knowledge — and elements of cosmic horror often appear in unexpected places. For example, in J.R.R. Tolkien’s The Lord of the Rings, Gandalf issues a chilling warning about Moria, hinting at “Nameless Things” dwelling far beneath the mountains. These ancient beings, older than time itself, gnaw at the earth’s roots, echoing Lovecraft’s fascination with vast, unknowable horrors.
The genre’s influence extends to movies and games. Renowned science fiction classics like Alien (1979) and The Thing (1982) clearly wear their cosmic horror roots, with terrifying unknowns lurking just beyond human understanding. Over the years, direct adaptations of Lovecraft’s works have surfaced on screen — some more successful than others, as we’ll explore later.
In video games, cosmic horror has also flourished. Several games directly adapt Lovecraft’s stories, such as Call of Cthulhu (2018) and Call of Cthulhu: Dark Corners of the Earth (2006). Many others borrow from his mythos, including Alan Wake (2010), Alan Wake II (2023), Alone in the Dark (1992), Amnesia: The Dark Descent (2010), Bloodborne (2015), and Conarium (2017) — to name a few. Board games and tabletop RPGs also abound, with Call of Cthulhu standing out as the best-known example based directly on Lovecraft’s stories.
While challenging to adapt for the screen — how do you capture the “indescribable” or the “unspeakable”? — filmmakers have nonetheless found inspiration in cosmic horror. Director Richard Stanley’s Color Out of Space (2019), starring Nicolas Cage, serves as the first installment in his planned trilogy based on Lovecraft’s works. Meanwhile, Guillermo del Toro has long expressed a desire to adapt At the Mountains of Madness, and Stuart Gordon has directed three horror films drawn from Lovecraft’s stories.
But first, let’s meet the man who started it all.
H.P. Lovecraft: A Man and His Demons
Howard Phillips Lovecraft was born in Providence, Rhode Island, in 1890. Troubled and eccentric even as a child, Lovecraft grew into a deeply paranoid and xenophobic adult — a product of his strict, psychologically tormented upbringing.
It’s easy to draw a line from Lovecraft’s difficult childhood to his obsession with and fear of the unknown, a theme that runs throughout his literature. But, as with many great stories, the roots of his work delve deeper — and, in the case of horror, often into far more unsettling places.
Let’s explore!
Lovecraft’s early life was difficult. After losing his father at a young age, he was emotionally mistreated by his strict and puritanical mother. This led to various psychological issues, such as severe depression, agoraphobia, anxiety, paranoia, vivid nightmares, and a deep fear of anything unfamiliar. As a result of this fear and the conservative views instilled in him, Lovecraft developed what can only be described as extreme racism, even for his time. His stories and the thousands of letters he wrote were often laced with these views.
Despite an apparent fear of women and sex, Lovecraft married Sonia Greene in 1924, and the couple moved to New York City. Lovecraft disliked the multicultural nature of the city, and the troubled marriage lasted only two years. In a letter written in 1925, he described New York’s melting pot of cultures as follows:
“I certainly hope to see promiscuous immigration permanently curtailed soon. Heaven knows enough harm has already been done by the admission of limitless hordes of the ignorant, superstitious and biologically inferior scum of Southern Europe and Western Asia.”
Lovecraft’s racist views softened somewhat as he aged. He began to travel more and came into contact with other American authors, such as Robert E. Howard, August Derleth, and Donald Wandrei, with whom he shared ideas and stories. Some of his later works, such as The Whisperer in Darkness, hinted at a growing tolerance for minorities and other cultures. Lovecraft never made much money from his writing, partly due to low self-esteem, constant self-criticism, and a belief that true gentlemen shouldn’t be paid for artistic work.
In 1936, Lovecraft suffered from a series of health issues, but his fear of doctors prevented him from seeking treatment in time. He died of intestinal cancer in 1937 at the age of 46.
Film Adaptations: Cosmic Horror on Screen
Despite the controversy surrounding Lovecraft, his stories and the subgenre he created have gained immense popularity after his death. Many prominent authors, including Stephen King, Neil Gaiman, and Ramsey Campbell, cite Lovecraft’s literature as one of their greatest inspirations. Lovecraft’s mythology — often referred to as the Cthulhu Mythos — continues to permeate films, series, video games, and other media.
Numerous films have drawn inspiration from Lovecraft’s works, spanning various genres, from gory horrors to character-driven dramas and even comedies (for those with a dark sense of humor). Filmmakers like Guillermo del Toro, Ridley Scott, Jordan Peele, John Carpenter, Richard Stanley, and Stuart Gordon often pull from Lovecraftian themes, and cosmic horror plays a significant role in films like Alien, IT, The Thing, 2001: A Space Odyssey, Hellboy, War of the Worlds, Annihilation, Bird Box, Event Horizon, and the series True Detective.
Color Out of Space (2019)
“It was just a color out of space. A messenger from realms whose existence stuns the brain and numbs us with the gulfs that it throws open before our frenzied eyes.”
— Ward (Elliot Knight), Color Out of Space
The eccentric director Richard Stanley brings us the first in his trilogy of films inspired by Lovecraft’s short stories, starring Nicolas Cage, Joely Richardson, Madeleine Arthur, Brendan Meyer, and Julian Hilliard.
Color Out of Space tells the story of the Gardner family, who have moved to the countryside to start an alpaca farm. Theresa, the mother, is recovering from breast cancer surgery, adding stress to her relationship with her husband, Nathan. Their three children, each in their own way, are also grappling with these family challenges.
But their attempt at a peaceful rural life takes a bizarre turn when a meteorite crashes in their yard, setting off a cascade of strange events. Alien plants and insects start to overtake the property while an eerie glow colors the night sky. These bizarre phenomena soon begin affecting the family in terrifying, physical, and psychological ways.
As one of my favorite Lovecraft stories, I was thrilled to see how closely Stanley followed the source material, even while setting it in the present day. The film is incredibly effective, with Nicolas Cage delivering his signature brand of on-screen madness. It’s both terrifying and grotesque, even for seasoned horror fans, and raises my hopes that Stanley’s next Lovecraft adaptation, The Dunwich Horror, will be just as compelling. Color Out of Space is a must-watch for anyone drawn to surreal, grotesque, and vibrantly unsettling horror!
The Whisperer in Darkness (2011)
“Shall I tell you? Are you ready? Come closer. Let me whisper it to you.”
— Henry Akeley (Barry Lynch), The Whisperer in Darkness
The Whisperer in Darkness is a 2011 indie film directed by Sean Branney and produced by the H.P. Lovecraft Historical Society, a dedicated fan organization. Filmed in a style evocative of 1930s and ’40s cinema, the movie captures an authentically Lovecraftian atmosphere despite its modest budget, yielding an impressive result.
The film, adapted from Lovecraft’s story of the same name, opens with heavy rains in New England that cause rivers to flood, washing up strange, crustacean-like creatures with wings on the riverbanks. Professor Albert M. Wilmarth of Miskatonic University is drawn to investigate and soon finds himself entangled in a conspiracy involving humans and the creatures — known as the Mi-Go — in a remote valley.
While The Whisperer in Darkness might cater more to die-hard fans due to its indie nature, it stands as a solid adaptation. The film closely follows Lovecraft’s narrative, with an added twist at the end that rounds off the plot in a way Lovecraft’s original story left open-ended.
Cthulhu (2007)
“I don’t know what they were. There were things, and they were on the ground, they were on the ceiling… everywhere!”
— Russel Marsh (Jason Cottle), Cthulhu
Directed by Dan Gildark, Cthulhu is a loose adaptation of Lovecraft’s story The Shadow Over Innsmouth. Released in 2007 on a modest budget, the film didn’t make a significant impact with audiences or critics and was quickly forgotten.
The story centers on Russ, a young history professor played by Jason Cottle, who returns to the coastal town of his childhood to attend his mother’s funeral. As a gay man, Russ faces friction from his conservative family and community but soon realizes something far more sinister lies beneath the town’s eerie atmosphere.
Cthulhu is an unusual adaptation. Despite drawing from one of Lovecraft’s more action-driven stories, the film takes a slower approach, featuring bizarre cults, ominous sea creatures, and eerie rituals, but sparing on action and effects. Instead, it leans heavily into atmosphere, and at times, it’s genuinely unsettling.
The Call of Cthulhu (2005)
The Call of Cthulhu is an indie production by the H.P. Lovecraft Historical Society and stands out as a unique homage to 1920s cinema: it’s a silent film shot in the style of that era.
The film closely follows Lovecraft’s famed short story, tracing an investigation into the mysterious Cthulhu cult. Through a series of narratives — ranging from a police officer’s chase of cultists in the American South to a Norwegian sailor’s encounter with monsters at sea — a chilling picture of the cult and its godlike entities gradually comes together.
Premiering at film festivals in 2006, The Call of Cthulhu was praised for its inventive visual style, though it’s best suited for enthusiasts and those seeking a truly unusual cinematic experience.
Dagon (2001)
“No one leaves Imboca. People come, but no one leaves.”
— Ezequiel (Francisco Rabal), Dagon
First, let’s clear up some potential confusion for Lovecraft readers. Dagon, like Cthulhu (2007), draws from the same Lovecraft tale: The Shadow Over Innsmouth, which Lovecraft wrote in 1936, about a year before his death. However, Dagon is also the title of another, largely unrelated Lovecraft short story, while Cthulhu refers to The Call of Cthulhu, likely Lovecraft’s most famous work.
While Dagon loosely adapts The Shadow Over Innsmouth, it’s quite different in style and tone from Cthulhu (2007) and bears all the hallmarks of a Stuart Gordon horror film. Shot in Spain, the film has some adapted elements — such as the town’s name being changed from Innsmouth to Imboca, with a coastal setting on the Spanish shore rather than New England.
The plot follows four friends sailing off the coast of Spain when their boat wrecks in a storm. As the two of them head into the nearby coastal town for help, they quickly discover it’s inhabited by grotesque fish people and other monstrous beings.
In true Stuart Gordon style, Dagon is bloody and gory. Although it sticks to parts of Lovecraft’s original story, its tone diverges sharply from the eerie Lovecraft was known for.
From Beyond (1986)
“Humans are such easy prey.”
— Dr. Edward Pretorius (Ted Sorel), From Beyond
Alright, hold on to your butts and sanity, because we’re diving into the deep end of Stuart Gordon’s unhinged IMDb profile! Whether From Beyond is a cult classic might be up for debate. It’s certainly… something, and while it got positive reviews when it came out, its over-the-top nature didn’t quite translate to box office success. Understandably so — at times, it’s so grotesque and unsettling that it’s genuinely hard to watch.
The basic idea from Lovecraft’s short story is still there, but Gordon, true to form, has cranked everything up to deliver a sci-fi horror film that forges its own excessive and disturbing path.
In the film, we meet scientist Crawford Tillinghast (played by cult icon and Star Trek favorite Jeffrey Combs), who invents a machine that stimulates a specific brain organ to expand sensory perception. Naturally, things go sideways, and when slimy, eel-like creatures begin materializing out of thin air, chaos ensues.
For an ’80s horror flick, From Beyond showcases some impressive special effects, though they’re often overshadowed by the sheer grotesqueness, violence, and unfiltered perversity the film brings to the table.
Re-Animator (1985)
“You’ll never get credit for my discovery. Who’s going to believe a talking head? Get a job in a sideshow!”
— Herbert West (Jeffrey Combs), Re-Animator
Stuart Gordon’s Re-Animator is widely hailed as a cult classic and one of the defining horror comedies of the 1980s. It’s based on Lovecraft’s short story Herbert West–Reanimator, which was actually the author’s only experiment with horror-comedy (apparently, Lovecraft wasn’t exactly known for his funny bone). The film was well-received by both audiences and critics and has scooped up several awards.
The story follows Herbert West (Jeffery Combs), an arrogant, ambitious medical student who’s developed a serum that can bring dead bodies back to life. While Lovecraft’s short story offered a “Lovecraftian” twist on Frankenstein, with grave-robbing and morbid scientific experiments, the movie veers in a different direction — after all, Stuart Gordon is in the director’s chair.
Re-Animator is, in true Stuart Gordon style, bloody, gory, and perverse. But unlike From Beyond, it pulls this off with sharp humor and a playful wink to the audience. Jeffrey Combs is fantastic as the eccentric — no, scratch that — the downright insane Herbert West, which makes this film truly unforgettable.
That said, like other Gordon films, this one isn’t for everyone; it includes some extremely graphic scenes that push the boundaries of horror-comedy.
The Lovecraft Enigma — Why Is He So Popular Now?
H.P. Lovecraft, or rather, his stories, has never been more popular, and sometimes I wonder how he’d react if he were around today. Would this eccentric, controversial figure have continued to soften his views with time, as some believe? I’m not so sure. It’s hard to ignore the deeply toxic opinions that seeped into his stories and letters, especially in the early part of his career.
So, why the growing popularity? Maybe it’s less about Lovecraft himself and more about the genre he pioneered. Cosmic horror has taken on a life of its own across films, books, games, and other media, rekindling interest in the man behind it all. Some might dismiss his views as a “product of the times,” but that’s only partly true. Lovecraft was undeniably a racist, anti-Semite, and xenophobe — a fact that even drew criticism during his life. His friend, the Texan writer Robert E. Howard, creator of Conan the Barbarian, often urged him to tone it down.
So, should we just ignore Lovecraft’s racism now, over 80 years after his death? That seems too simple. At the very least, it’s something worth bearing in mind when engaging with his works. And today, creators who reinterpret his stories — whether in film, books, or games — are free to shape them in ways that might fit a modern audience.
Whatever we think of Lovecraft’s views, the universe he built has become a permanent fixture in popular culture. His most famous creation, Cthulhu, is everywhere. Fans can find Cthulhu Monopoly, plush toys, conventions, and appearances in shows from South Park to children’s films like the animated Howard Lovecraft and the Frozen Kingdom.
Filmmakers have also started capturing the essence of Lovecraft’s work more faithfully. Richard Stanley’s Color Out of Space is a standout example. Jordan Peele’s Lovecraft Country for HBO tackles Lovecraft’s racism head-on, setting the series in the Jim Crow 1950s to explore both the horror genre and America’s history of racial injustice. And, like many fans, I’m still hoping Guillermo del Toro finally gets to bring At the Mountains of Madness to the big screen.
Only time will tell if we gradually forget Lovecraft the man and continue celebrating the mythos he left behind. For now, his creations are here to stay.