S. Craig Zahler and his leading man Vince Vaughn may be earning heaps of praise for delightfully brutal Brawl in Cell Block 99, now in theaters, but it’s the chilling performance by blue-eyed Udo Kier that threatens to steal the show in his limited scenes. Kier plays a character only credited as “Placid Man,” and takes the simple task of delivering exposition that escalates the plot to the next face-melting level and turns it into something wholly frightening. There’s an elegance about Kier’s line delivery that only heightens his menace.

Having appeared in over 100 films, the German-born actor doesn’t shy away from the quirky or strange roles, especially in horror, and he shows no signs of slowing down either; he’ll be appearing in the upcoming reboot Puppet Master: The Littlest Reich as Andre Toulon. In celebration of his October 14th birthday, and his continued ability to deliver mesmerizing performances, here are 10 of his most memorable roles in horror:

Mark of the Devil – Count Christian von Meruh

Meant to cash in on 1968’s Witchfinder General, this witchsploitation follows a super young Kier as witch hunter apprentice to Lord Cumberland in 18th century Austria. Brutal, violent, and depressing, Kier’s performance is great as the vulnerable Christian grappling with morality. Graphic torture, massive bloodshed, and the rape of nuns makes this one not for the faint of heart- but Kier’s vulnerable Christian, as horribly dubbed as he is, helps ground the emotional story.

Flesh for Frankenstein – Baron Frankenstein

Somehow, despite the premise that features Baron Frankenstein creating a male and female zombie to mate for the sake of creating a master race, people were still surprised upon release just how outrageously offensive and over-the-top Paul Morrissey’s film would be. It’s hilarious, extremely gory, and what solidified Kier’s reputation for camp. His intentionally hammy acting is what really makes this worth seeking out. The best part is that Morrissey cast Kier in the role after a chance meeting on an airplane.

Blood for Dracula – Count Dracula

Directed by Paul Morrissey and produced by Andy Warhol, as a companion piece to Flesh for Frankenstein, Kier stars as Count Dracula, the ailing vampire who travels from Transylvania to Italy in search of virgin blood. In all the cinematic iterations of the famous vampire, Kier’s amazing performance is often overlooked. Tragically weak and sickly from lack of proper virgin blood Kier manages to make you pity the sometimes sensitive Count. Just as quickly, he flips from sensitive to comically over the top as the parasitic vampire delivering memorably eccentric lines like, “The blood of these whores is killing me!”

Trauma – Paul Martin

Also known as House on Straw Hill, this twisted psychological horror sees Kier as a struggling writer suffering writer’s block. His agent arranges for a typist to come assist, but there’s something sinister about her. Filled with sex, violence, and a ton of suspense, Kier ooze sleaze in this role. His character’s descent into madness, and his lack of innocence in the first place is a large part of what makes this film work. The only thing missing is his accent- Trauma features terrible dubbed over dialogue.

Suspiria – Dr. Frank Mandel

Udo Kier’s role was rather small in this Dario Argento classic, so why make the cut? Because the serious, more toned-down nature of his character was indicative of his wide range, making him much more than just an eccentric horror villain. Dr. Frank Mandel was also important to the plot, giving Suzy Bannion, and the audience, important exposition on the dance academy and its witchy founder, Helena Markos. Suspiria proves what a chameleon Kier can be.

The Kingdom – Aage Krüger

If there’s one thing we can count on from Udo Kier, is that he can nail sinister time and time again. So it’s no surprise that his character, a demon responsible for fathering little ghost Mary, is ominous and evil. What is surprising is that Aage also fathered another baby in this Lars von Trier series, this one born with a baby’s body and a man’s head- Kier’s head. Yes, you read that correctly. Kier plays both the evil demon Aage and the feeble baby. It’s every bit as strange as it sounds, but Kier’s fearlessness in embracing both roles prove why he’s so great.

Blade – Gitano Dragonetti

Blade’s main opponent may have been the human turned vampire Deacon Frost, but Deacon had to earn his way to becoming a worthy enemy. Step one, bite the woman who winds up birthing the half-vampire hero. Step two, mutiny against a powerful elder of the vampire clan. How do you really sell step two? By casting an actor who instantly invokes power and pride; Udo Kier.

Shadow of the Vampire – Albin Grau

A meta-horror twist to the making of Nosferatu biopic, Kier plays Albin Grau, producer of the film within the film. Based on the actual Albin Grau, who was an occultist, producer, art director, and costume designer, Kier’s plays his character as the stressed producer, suspicious of the method acting by their film’s lead star Max Schreck, a scene-chewing Willem Dafoe as the iconic vampire. Dafoe may have rightfully earned praise for his performance, but it wouldn’t have been quite as comical, or as conversely creepy, without supporting roles like Kier’s to feed off (literally).

Masters of Horror “Cigarette Burns” – Bellinger

This episode, directed by John Carpenter, sees Kier as a wealthy man in search of the only existing print of a film known to drive its viewers to homicidal insanity. It’s a great episode in terms of Carpenter’s directing and the clever writing, but where the episode really shines is in Kier’s casting. Mr. Bellinger is funny, but there’s a menacing feel of danger lurking beneath the surface. Where Mr. Bellinger’s character arc ends is even more satisfying.

The Theatre Bizarre – Peg Poett

Udo Kier is front and center in this horror anthology, featured in the wraparound that ties all segments together as Peg Poett, a marionette host of an abandoned theatre. Poett introduces each of the six stories within the framework, and with each new introduction, he grows more human as his audience becomes more puppet-like. There’s not much to the character, a malevolent host that taunts his guest and makes way for the next segment, but Kier’s larger than life presence elevates the simple role far beyond what’s on paper. Poett is unnerving as a living marionette, and it’s hard to imagine anyone else could be so effective.

What’s your favorite role of Udo Kier’s?