The best Bill Nighy’s horror movies
William Francis "Bill" Nighy (pronounced /ˈnaɪ/ ny) is a British actor and comedian.
He worked in theatre and television before his first cinema role in 1981, and made his name in television with The Men's Room in 1991, in which he played the womanizer Prof. Mark Carleton, whose extra-marital affairs kept him "vital". He became known around the world in 2003 as Billy Mack, the aging pop star in Love Actually, and in the same year played James Mortmain, the eccentric husband struggling to keep his family afloat in a decaying English castle, in I Capture the Castle. He is also known for his roles in the films Underworld, Shaun of the Dead, The Hitchhiker's Guide to the Galaxy, Pirates of the Caribbean, Hot Fuzz, Valkyrie, G-Force and provided voice talents in the films The Magic Roundabout, Flushed Away and Rango. He recently played Rufus Scrimgeour in Harry Potter and the Deathly Hallows. Bill Nighy is a Patron and supporter of the artistic collective The Factory Theatre Company alongside other actors such as Mark Rylance, Ewan McGregor and Richard Wilson. Other notable members include founder Alex Hassell, Catherine Bailey and Alan Morrissey.
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Shaun of the Dead
7.9/10
Shaun lives a supremely uneventful life, which revolves around his girlfriend, his mother, and, above all, his local pub. This gentle routine is threatened when the dead return to life and make strenuous attempts to snack on ordinary Londoners.
I, Frankenstein
5.1/10
200 years after his shocking creation, Dr. Frankenstein's creature, Adam, still walks the earth. But when he finds himself in the middle of a war over the fate of humanity, Adam discovers he holds the key that could destroy humankind.
The Limehouse Golem
6.3/10
A series of murders has shaken the community to the point where people believe that only a legendary creature from dark times – the mythical Golem – must be responsible.
The Phantom of the Opera
5.5/10
When Christine Day accidentally discovers a rare piece of music, she brings back to life its composer, Erik Destler. Through her fascination with the music she is transported back to Destler's time, 1889, and is thrust into stardom by singing his opera as no one else can. But against the exciting backdrop of the opera lurks a hideous danger—the Phantom—and Christine soon finds herself the object of his relentless desire.
