Film

See No Evil

Name: See No Evil
Genre: Horror, Thriller
Released: 2006
Cast: Glenn Jacobs, Christina Vidal Mitchell, Luke Pegler, Craig Horner, Rachael Taylor

Other titles called See No Evil: the 1971 film.

See No Evil is a raw, visceral slasher that works best if you surrender to its logic: a WWE wrestler plays a genuinely scary monster in a decaying hotel, and the film knows exactly what it is. It's nasty, propulsive, and unapologetic about its b-movie bloodletting. Perfect for late-night horror with friends who don't need much plot.

TMDb rating

2.7

If you liked this

Hostel2006

Eli Roth's backpacker nightmare has the same transgressive energy and willingness to make you deeply uncomfortable. Beautiful people in terrible jeopardy, stylish gore, and a sensibility that refuses to apologize.

But It's transgressive for transgression's sake sometimes, and the middle section drags while building toward its nastier turns. Also very much a product of mid-2000s torture-horror trends.

The Hills Have Eyes2006

Released the same year, Craven's remake shares See No Evil's commitment to graphic violence and siege mentality. Tight pacing, genuine dread, and a family-versus-savages framework that never lets up.

But The family unit makes it messier and less fun than a standard slasher. Some viewers find the tonal whiplash between brutal violence and character moments jarring.

Severance2006

British horror that also traps young people in a building with a killer, but leans into dark comedy and social commentary. Sharp and inventive, with real wit alongside the blood.

But The comedy-horror blend won't land if you want straightforward terror. It's also less relentless than See No Evil—more interested in laughs than momentum.

Not sure tonight? Get a pick in a minute, starting from See No Evil

The wildcard

Something you would not have found on your own.

Hard Candy2006

Both are films about hunters and hunted in enclosed spaces, but Hard Candy subverts the genre's usual power structure—the young prey becomes the predator.

A teenage girl invites a predator home and turns the tables. Ellen Page is terrifying and brilliant. It's a slasher in disguise—hunting, trapping, ritualized violence—but flips the power dynamics and moral certainties completely.

But The ambiguity about who you're supposed to root for will alienate viewers seeking simple good-versus-evil. It's claustrophobic, dialogue-heavy, and deliberately uncomfortable in ways that feel less like horror fun.

A Perfect Getaway2009

Honeymoon couple hunted through Hawaiian wilderness. Nasty, twisty, and genuinely fun in the way trashy slashers should be. Fast-moving and full of rug-pull reveals.

But The reveals feel cheap on a second viewing. It's a movie that only works once, built entirely on misdirection rather than character or atmosphere.

Eden Lake2008

A couple besieged by feral locals in an isolated lake house. Uglier and more punishing than most horror, with real stakes and no comfortable catharsis. Genuinely unsettling.

But It's relentlessly bleak and offers no reassurance or justice. The social commentary can feel clumsy, and the violence is exhausting rather than cathartic.

Martyrs2008

French extremist horror that refuses to look away. Merciless filmmaking that earns its title through genuine commitment to moral transgression, not just blood.

But It's one of the most difficult films to sit through—graphic torture, despair, and philosophical emptiness. Not entertainment, exactly. A real ordeal.

Wrong Turn2003

Backwoods slasher about hikers hunted by cannibals. Efficient and inventive, with real tension and creature design that actually works. B-movie perfection.

But It's thin on character development and thick on contrivance. If the premise doesn't grab you immediately, nothing else will either.

High Tension2003

French home-invasion horror with no sympathy for its victims. Startling visual language, genuine suspense, and a twist that forces you to reconsider everything.

But The twist alienates viewers who felt the first half was straightforward. Some see it as a cheat rather than a recontextualization.

The Descent2005

Women trapped in a cave system hunted by blind creatures. Claustrophobic, visceral, and genuinely frightening. One of the best pure horror films of the 2000s.

But The claustrophobia isn't for everyone—some viewers feel anxious rather than entertained in the cave passages. The creature work is CGI, which hasn't aged perfectly.

In a Glass Cage1986

Both are films about confinement and degradation, but where See No Evil is visceral and immediate, In a Glass Cage is methodical and historical—the violence is memory and implication rather than spectacle.

Spanish horror about a paralyzed former Nazi child abuser visited by a young man claiming to be his victim. Gorgeously shot, deeply perverse, and sustained tension that builds across decades.

But It's a slow burn about childhood trauma and revenge. The subject matter is pedophilia, which is upsetting by design. Very little action, mostly psychological torment.

Come True2020

Both trap young people in institutional settings and force them to survive through their bodies, but Come True is sci-fi and dreamlike where See No Evil is grounded and immediate—violence of the mind rather than flesh.

Teenage girl volunteers for sleep study that becomes a descent into psychological horror. Lush synth score, gorgeous neon cinematography, and a slow-burn atmosphere that feels genuinely alien and wrong.

But Nothing happens for long stretches. It's pure mood and unease without plot momentum or payoff. The ending divides viewers—some call it beautiful, others call it pointless.