The article seeks to explore how motherhood is portrayed and examined within the horror genre, offering a classification of its various configurations. These are primarily divided into three categories: positive (A), negative (B), and ambiguous (C). The “good mother” may appear as a “saviour” (A+), as in The Ring, or as a “victim” (A–), as in The Shining. The “bad mother” can take different forms: the “monster-maker” (B+), as in Psycho; the “monster generatrix” or “anti-Maria” (B–), as in Rosemary’s Baby; or the “monstered mother” (BB), further divided into the “monster (mother)” (BB!), the “false mother” (BB?), and the “transformed mother” (>BB). Ambiguous motherhood is represented by the “mother-and-monster” (CA/B) or “weird procreation,” which includes the “extra-maternal” (C*), as seen in Alien; “human” ([C]), as in The Brood; or “inhuman” (/C/), as in Species. Building on previous critical frameworks, the essay revisits key works (The Brood, Dark Water, The Ring, Rosemary’s Baby, etc.) and expands the discussion by analysing more recent cinematic productions (The Babadook, Mama, La Llorona, Hereditary). It also integrates insights from other media, including novels, short stories, video games, and TV series.