Kevin Bacon has never shied away from his roots in the once less-reputable horror genre and tipped his toes in the genre over time, including the newly-released They/Them, where he portrays a sinister owner of a conversion camp.
Bacon himself has acknowledged the camp-based similarities between his newest horror venture and Friday the 13th, his first. But those two aren't the only times the actor has dipped his toes in the genre and considering his openness about loving it, there's reason to believe audiences haven't seen the last of Kevin Bacon in horror.
The Darkness (2016) — 3%
Stream On Netflix
Bacon teamed up with Blumhouse Productions for what unfortunately turned out to be one of their lowest-grossing movies. It's essentially Poltergeist if the Freelings drove out to the Grand Canyon and brought the spirits back with them as opposed to moving into a house positioned over unmarked graves.
As The Darkness' low rating on Rotten Tomatoes indicates, critics found very few things in the film worth championing. Fortunately, it wasn't Bacon's only project with Blumhouse, as the actor would re-team with the production company for You Should Have Left (2020) and They/Them (both of which also featured Bacon either as a producer or executive producer).
Hollow Man (2000) — 26%
Stream On HBO Max
Paul Verhoeven ended his string of American films with what has ultimately been considered more whimper than a bang, but even its low Rotten Tomatoes score shouldn't give potential viewers reason to believe there's nothing worth watching. Bacon has a lot of fun with Hollow Man, and there are a few inventive set pieces that help make the whole film memorable.
Furthermore, the special effects are outright astounding, even if they do lean towards product-of-their-time 22 years later.
The main issue critics took with Verhoeven's film was its tone, which was widely perceived as carrying an air of hostility, particularly in regard to women. Hollow Man is an invisible shadow of Verhoeven's glory days, but it still makes for a nice double feature with Leigh Whannell's superior The Invisible Man (2020).
They/Them (2022) — 34%
Stream On Peacock
They/Them should be commended for having something to say, but there's little doubt that, whatever it was going for, critics feel the film missed the mark.
This is a shame because the cast almost universally gives excellent performances, particularly Bacon himself, who again shows why he's arguably an even better villain than he is a hero. But, of course, Bacon can do it all, and he does it all in They/Them alone, as his character is one who envelopes, and makes them feel safe, only to reveal that he's far from the understanding and genial individual he's made himself out to be.
You Should Have Left (2020) — 40%
Stream On Peacock
You Should Have Left generated higher marks from critics than The Darkness without even going to theaters. To be fair, it was just one of many films that wisely released on VOD instead of risking the theatrical market amidst the burgeoning COVID-19.
Bacon portrays the retired banker husband, Theo Conroy, to Amanda Seyfried's significantly younger actress, Susanna. Like The Darkness, You Should Have Left has the actor leading his family through a scary situation, but instead of a vague haunting, there's a morphing house that has a mind with something on it, not to mention constant speculation on their marriage (particularly when it comes to the ultimate fate of Theo's ex-wife).
Flatliners (1990) — 49%
Stream On Peacock
Joel Schumacher's Flatliners was a financial hit for Columbia Pictures back in 1990, but there was a general consensus that the star-studded film didn't quite live up to its high concept potential.
However, the film was respected for having something on its mind about life and what comes after. Furthermore, the cast of medical students (Bacon's David Labraccio included) were relatable enough to work as a hook for most critics and audience members, though to varying degrees. Namely, Bacon's Labraccio and Kiefer Sutherland's Nelson Wright are fleshed out, genuine people, while William Baldwin's Joe Hurley and Julia Roberts' Rachel Manus are given precious little to do.
Friday The 13th (1980) — 63%
Stream On Pluto TV
It may not be one of Kevin Bacon's underrated roles, but his Jack has some solid screen time for a doomed Friday the 13th character. He also has, bar none, the most memorable (if also illogical; bunk beds would reveal Mrs. Voorhees beneath, and Ned atop) death of all 12 films. Jack's death in Friday the 13th is perhaps the definitive horror movie kill. It's perfect, with the timing of the joint inhalation to the blood drop to Jack's head to the touching of his head to Mrs. Voorhees firmer touching of his head to the arrow through the throat is absolutely seamless.
But Jack's death isn't the only reason Friday the 13th is Bacon's most notable horror film (even if it and its sequels have always been easy critical targets). It's a perfectly paced classic with a group of counselors who all feel like genuine people more than they do stock characters (a fair complaint that could be and has been leveled at the franchise's later installments). The film's reputation has improved over the years, as have several other entries: Friday the 13th Part II, Friday the 13th: The Final Chapter, and Friday the 13th Part VI: Jason Lives.
Stir Of Echoes (1999) — 68%
Stream On Peacock
In terms of box office success, Stir of Echoes was gutted by M. Night Shyamalan's The Sixth Sense. It's another example of two similar films being released at nearly the identical time, e.g. Armageddon and Deep Impact or White House Down and Olympus Has Fallen, only for one to fall.
In the case of Sense and Stir, both films are solid, but there's little doubt that Shyamalan's piece is more accessible to a general audience, and certainly far more rewatchable (in spite of sharing the same gut-punch thematic elements as Stir). But one thing Stir of Echoes arguably has on The Sixth Sense is more thorough character development. Both films have a mystery at their core, but Stir engages in the unraveling of that mystery far more than Sense, which effectively allows the mystery to wash over the viewer. Bacon's Tom Witzky is a phenomenal protagonist because he has his own questions he needs answering, but the third act reveals how he can put subjective needs aside if there are others who require a sense of closure all their own.
Tremors (1990) — 87%
Stream On Peacock
The passing of the late Fred Ward has sealed the deal on an official, long-awaited reunion between Tremors' Val and Earl, but it's telling how much depth one 96-minute film gives a bromance.
Tremors was well-reviewed right out of the gate, but such a surface-level silly concept of a film never had a chance in theaters. And the film did horribly on the big screen. On small ones, however, the first horrific Graboid eating spree was a significant hit, standing as one of the major examples of a film that could tank at the box office, but soar on VHS.