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#401-#500

The 1,000 Greatest Horror Films: #401-#500

The 1,000 Greatest Horror Films: Introduction | #1-#100 | #101-#200 | #201-#300 | #301-#400 | #401-#500 | #501-#600 | #601-#700 | #701-#800 | #801-#900 | #901-#1000 | Full List | Sources | The 21st Century’s Most Acclaimed Horror Films | Top 50 Directors

Son of Dracula

401. (-90) Son of Dracula

Robert Siodmak

1943 / USA / 80m / BW / Vampire | IMDb
Robert Paige, Louise Allbritton, Evelyn Ankers, Frank Craven, J. Edward Bromberg, Samuel S. Hinds, Adeline De Walt Reynolds, Pat Moriarity, Etta McDaniel, George Irving

“If you can cope with the dated ideologies, and big lug, Lon Chaney Jr, looking more out of place than a priest in a day care center, you’ll find much to celebrate in SON OF DRACULA. All that priceless Universal atmosphere is here in spades. The soundtrack, the Gothic splendor, the hot ladies and the cold, dark shadows…all here. It’s a forgotten, roughly hewn gem, but its one worth seeking out for lovers of ‘ye olde horror’. The atmosphere is palpable, the plot is unique and the strange change of setting from olde world England/Transylvania, to the deep south, is a refreshing one. Give SON OF DRACULA a little of your time, and you may be pleasantly surprised. And besides, if you don’t watch it, Lon Chaney will eat you!” – Kyle Scott, The Horror Hotel

1408

402. (-5) 1408

Mikael Håfström

2007 / USA / 104m / Col / Haunted House | IMDb
John Cusack, Paul Birchard, Margot Leicester, Walter Lewis, Eric Meyers, David Nicholson, Holly Hayes, Alexandra Silber, Johann Urb, Andrew Lee Potts

“Whatever its weaknesses, 1408 holds you captive. The film may seem like a one-room version of THE SHINING, condensed and tight rather than big and sprawling like the Kubrick movie, but Hafstrom does an impressive job of keeping its limited space visually interesting for feature length, and when all else fails the story succeeds on the strength of Cusack’s performance. The actor is allowed to give a virtual one-man show, ranging from funny to fearful, alternating between broad physical action (when the character explodes in rage against the room’s asault on him) with quieter interludes of angst and despair. Forcing the audience to experience his terror with an almost first-hand immediacy, Cusack runs the emotional gamut, delivering a performance as layered and complex as any of the 2007s Oscar nominees. Thanks in large part to his efforts, 1408 comes close to being a character study rather than a horror film – WILD STRAWBERRIES, with ghosts. Unlike too many movies that aspire to more than mere horror, this one achieves its goal without neglecting the fear factor.” – Steve Biodrowski, ESplatter

Seconds

403. (-8) Seconds

John Frankenheimer

1966 / USA / 106m / BW / Science Fiction | IMDb
Rock Hudson, Salome Jens, John Randolph, Will Geer, Jeff Corey, Richard Anderson, Murray Hamilton, Karl Swenson, Khigh Dhiegh, Frances Reid

“Frankenheimer and his cinematographer James Wong Howe (who justifiably won the Oscar) are operating in full baroque mode from the shadowy, off-kilter crowd scenes in Grand Central. Wong’s canted, expressionist angles and lusciously dark and pinprick-sharp depth of focus become even more overpowering in the film’s third act, as Arthur is kicked back into the company’s infernal machinery. He failed to remake himself as an all-new kind of American and so is now meant for the scrap heap like every other worn-out cog in the machine. Within a few years, the capitalist and consumerist critique that Seconds put to such thrilling use would be more commonplace in a film industry desperate for counter-cultural cachet. But unlike many of those rebel statements against the mainstream, Frankenheimer’s film understood that there were no easy answers to Arthur’s kind of despair.” – Chris Barsanti, PopMatters

Orphan

404. (+15) Orphan

Jaume Collet-Serra

2009 / USA / 123m / Col / Evil Children | IMDb
Vera Farmiga, Peter Sarsgaard, Isabelle Fuhrman, CCH Pounder, Jimmy Bennett, Margo Martindale, Karel Roden, Aryana Engineer, Rosemary Dunsmore, Jamie Young

“Spaniard Jaume Collet-Serra’s wickedly entertaining, if slightly over-stretched, variation on the familiar ‘evil child’ scenario displays an unusually complex grasp of twisted psychology… Producer Joel Silver regularly specialises in routine horror remakes, such as Collet-Serra’s previous ‘House of Wax’. But here, courtesy of an insidious screenplay by David Leslie Johnson, we are in more disturbing territory. More of a psychological thriller than a horror movie, ‘Orphan’ does contain explosions of shocking, though not especially graphic, violence.” – Nigel Floyd, Time Out

Quatermass 2

405. (-6) Quatermass 2

Val Guest

1957 / UK / 85m / BW / Science Fiction | IMDb
Brian Donlevy, John Longden, Sidney James, Bryan Forbes, William Franklyn, Vera Day, Charles Lloyd Pack, Tom Chatto, John Van Eyssen, Percy Herbert

“With no contrived plot twists or overly complex narrative it is an exemplar to film making basics, age old principles that can be as appreciated now as they were in 1959. While the cinematography experiments with a range of techniques, it is executed well and complements the movie beautifully. Due to excelling in its core elements, Quatermass 2 has aged exceptionally well. The acting, while stilted, is indicative of its time and curiously compliments the underlying sense of urgency, with Donlevy’s staccato delivery actually hastening the frenetic plot. Likewise the excellent use of implied horror doesn’t rely on the sort of effects that would traditionally date such a film. Only the finale exhibits any sort of overt fantasy and even this is handled flatteringly, distance and darkness mitigating the scene as if the director was aware of his limitations and conscious that time would frown on anything too explicit.” – Alex Barahona, That Film Guy

La residencia

406. (-2) La residencia

Narciso Ibáñez Serrador

1969 / Spain / 99m / Col / Psychological | IMDb
Lilli Palmer, Cristina Galbó, John Moulder-Brown, Maribel Martín, Mary Maude, Cándida Losada, Pauline Challoner, Tomás Blanco, Víctor Israel, Teresa Hurtado

“Gore hounds may find the long excursions into character development rather disappointing and it’s true that the maniac killer is not the key point in the plot for the entire ninety-nine minutes. But with that said, when he does strike, the slaughters are excellently conveyed and the film’s approachable characters and Samson-like-in-strength performances make this something of a cinematic treat. It’s nice to see a movie where every shot has been painstakingly planned to perfection and the net-result is a visual masterpiece that excels from start to finish.” – Luisito Joaquin Gonzalez, A Slash Above

Sweeney Todd: The Demon Barber of Fleet Street

407. (-13) Sweeney Todd: The Demon Barber of Fleet Street

Tim Burton

2007 / USA / 116m / Col / Musical | IMDb
Johnny Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall, Sacha Baron Cohen, Jamie Campbell Bower, Laura Michelle Kelly, Jayne Wisener, Ed Sanders, Gracie May

“In lesser films, songs can prove to be an alienation device by emphasising the constructed artifice of the film, foregrounding the performance aspect and losing the audience’s belief in the onscreen events. Here, they fit in seamlessly as part of the cohesive and bold direction from Burton. The calibre of acting is uniformly sublime from the veteran thespians to the younger performers. Depp and Bonham Carter complement each other well as the devious couple, their sunken eyes often saying more than several pages of script. Similarly, Burton’s expressionistic landscapes also convey a great deal, with the rare flashes of bright colour serving a narrative function by transporting us into the warmer memories of Barker/Todd. They also highlight the brutal barber’s potential for compassion and good, eroded by the injustices of humanity.” – Ben Rawson-Jones, Digital Spy

Calvaire

408. (-3) Calvaire

Fabrice Du Welz

2004 / Belgium / 88m / Col / Psychological | IMDb
Laurent Lucas, Brigitte Lahaie, Gigi Coursigny, Jean-Luc Couchard, Jackie Berroyer, Philippe Nahon, Philippe Grand’Henry, Jo Prestia, Marc Lefebvre, Alfred David

“It helps to find the very dark, dark humor in “Calvaire,” a grueling, disgusting and quite effective horror film from Belgium. Part “Psycho,” part “Deliverance” and all creepy, it is simultaneously off-putting and absorbing… What sells this movie is the realistic attention to detail and the bravura direction of Fabrice Du Welz, who draws a gut-wrenching performance from Lucas, who cries, squeals and screams with the best of them… this feels different and fresh. At the very least, it gets under your fingernails.” – G. Allen Johnson, San Francisco Chronicle

Død snø

409. (+4) Død snø

Tommy Wirkola

2009 / Norway / 90m / Col / Zombie | IMDb
Vegar Hoel, Stig Frode Henriksen, Charlotte Frogner, Lasse Valdal, Evy Kasseth Røsten, Jeppe Beck Laursen, Jenny Skavlan, Ane Dahl Torp, Bjørn Sundquist, ørjan Gamst

“I’m not going to bother here with the argument that tremendously over-the-top gore like this is or isn’t a wicked thing, or a guilty pleasure, or balls-out fun; when I’m watching a movie in which the filmmakers are plainly loving their gore as much as Tommy Wirkola plainly loves gore, that is what I am going to respond to. Dead Snow is a movie made with a childlike glee for the material, which translates into marvelously playful geysers of blood. It’s all so much fun, made with a minimal level of contempt for the characters that makes it far unlike so many American horror films, and for this reason the comedy in the film (which is a horror-comedy more than it is a horror film with comedy relief) actually works, better than the comedy works the vast majority of English-language horror. This is the sprightliest movie about mowing down revenants with a chainsaw that you are are ever likely to see.” – Tim Brayton, Antagony & Ecstasy

Ils

410. (+18) Ils

David Moreau & Xavier Palud

2006 / France / 77m / Col / Home Invasion | IMDb
Olivia Bonamy, Michaël Cohen, Adriana Mocca, Maria Roman, Camelia Maxim, Alexandru Boghiu, Emanuel Stefanuc, Horia Ioan, Stefan Cornic, George Iulian

“Them has obviously been shot on the cheap, and although it lacks the professional sheen you get with bigger budget productions, its griminess suits the tone perfectly – stripped down to the bare essentials with no theatrics and no pyrotechnics, it’s an ugly movie that is wise to stick to the shadows, playing to its strengths by using what you can’t see rather than what you can. It could have perhaps done with a little more time in the editing room – some shots are re-used and the sound mix leaves something to be desired – but Them hits hard where it counts: the money shots are all worth their weight in gold. Perhaps ‘horror’ isn’t quite the right term to describe Them; ‘terror’ sums it up much better. Although the word has been associated with bearded bombers and cartoon advertisements of late, it’s not a movie that revels in gore or tries to shock you, rather one that tells a terrifying story that everyone can relate to. Sparingly shot and ingeniously executed, it’s a film that subscribes to the idea that real life is far scarier than anything you’ll see in the movies.” – Ali Gray, TheShiznit

C'est arrivé près de chez vous

411. (-3) C’est arrivé près de chez vous

Rémy Belvaux & André Bonzel & Benoît Poelvoorde

1992 / Belgium / 95m / Col / Found Footage | IMDb
Benoît Poelvoorde, Jacqueline Poelvoorde-Pappaert, Nelly Pappaert, Hector Pappaert, Jenny Drye, Malou Madou, Willy Vandenbroeck, Rachel Deman

“For all its This Is Spinal Tap in-jokes, Belvaux’s film can be a difficult thing to watch (one scene in particular has managed to send record numbers of viewers scurrying from the theatre in revulsion, and although the Austin print of the film is unedited, the national distributor has removed the offending bit from most versions). Shot in black-and-white, Man Bites Dog has the feel of a genuine documentary, which makes it all the more grisly. The questions raised — Where is the line between reality and fiction? How much is too much? and, of course, That’s Entertainment? — are dodgy enough in themselves but the film never resorts to preaching — it doesn’t have to. Shocking, audacious, compelling, and more than a little humorous, Man Bites Dog is a stunning original: Love it or hate it, you’ll never forget it.” – Marc Savlov, The Austin Chronicle

House of Frankenstein

412. (-26) House of Frankenstein

Erle C. Kenton

1944 / USA / 71m / BW / Monster | IMDb
Boris Karloff, Lon Chaney Jr., J. Carrol Naish, John Carradine, Anne Gwynne, Peter Coe, Lionel Atwill, George Zucco, Elena Verdugo, Sig Ruman

“House of Frankenstein may be one of the weaker entries in Universal’s horror series, but this doesn’t prevent it from being fun. Even when the screenwriters were happy merely to regurgitate old ideas and reinforce the famous cliches, there is still some magic to be found in that eerie black-and-white Gothic fantasy world that Universal created for us. The plots may be as well-worn as the floor coverings at Hampton Court Palace, the later films may have been made for the most cynical of motives, but who can fail to take delight in the sight of the old horror icons as they emerge from their shadowy cobwebbed lairs to chill and thrill us?” – James Travers, Films de France

The Walking Dead

413. (-22) The Walking Dead

Michael Curtiz

1936 / USA / 66m / BW / Zombie | IMDb
Boris Karloff, Ricardo Cortez, Edmund Gwenn, Marguerite Churchill, Warren Hull, Barton MacLane, Henry O’Neill, Joe King, Addison Richards, Paul Harvey

“Warner Brothers zaps Boris Karloff back to life with a plot device torn from the headlines so he can exact vengeance on a group of racketeers… The Film Daily reported that for The Walking Dead’s premiere at the New York Strand the lobby display was comprised of several still photos of the Lindbergh Heart scene from the movie, accompanied by real newspaper clippings triumphing the actual invention… The Walking Dead is run-of-the-mill gangster stuff with a horror twist but an exemplary performance by Boris Karloff, who always gave heart and soul to his work, that boosts its status in both genres. It’s a must for Karloff fans and will be enjoyed by those who love both the Universal monsters and Warner Brothers gangsters.” – Cliff Aliperti, Immortal Ephemera

Dracula: Prince of Darkness

414. (-37) Dracula: Prince of Darkness

Terence Fisher

1966 / UK / 90m / Col / Vampire | IMDb
Christopher Lee, Barbara Shelley, Andrew Keir, Francis Matthews, Suzan Farmer, Charles ‘Bud’ Tingwell, Thorley Walters, Philip Latham, Walter Brown, George Woodbridge

“This classic vampire approach still works for me, despite the 40 plus year old imagary. Sure it’s got its age to contend with and modern horror filmaking is a whole different sport to this but serve me up a slow moving, creepy Dracula luring you into his cape for a nibble above where vamps seem to be at the moment… Movies need to get back to classic vampire imagary like this again and make them scary. Dracula Prince of Darkness, while pretty silly as a movie has the king of all Transylvanian blood suckers doing everything right and this is a fine place to be reminded of just how great Dracula can be.” – Marcus Doidge, DVDActive

Children of the Corn

415. (-3) Children of the Corn

Fritz Kiersch

1984 / USA / 92m / Col / Evil Children | IMDb
Peter Horton, Linda Hamilton, R.G. Armstrong, John Franklin, Courtney Gains, Robby Kiger, Anne Marie McEvoy, Julie Maddalena, Jonas Marlowe, John Philbin

“So Children of the Corn is goofy and campy, but it’s also awesome. The atmosphere is killer, evoked by some eerie shots of cornfields both in the daytime and at night – and it’s surprising how scary this is even when most of the film takes place during the day. The kids, while not GREAT actors, do get the job done and manage to come off as legitimately creepy rather than just silly. The main characters are both good, with real personalities and as an added bonus, they actually DO things rather than just letting things HAPPEN to them, which is a big problem a lot of horror movies have. By avoiding that pitfall, this movie has a lot of drive and momentum and remains consistently exciting all throughout its duration.” – Lawrence Griff, Doc Universe

The Lodger: A Story of the London Fog

416. (-18) The Lodger: A Story of the London Fog

Alfred Hitchcock

1927 / UK / 68m / BW / Mystery | IMDb
Marie Ault, Arthur Chesney, June, Malcolm Keen, Ivor Novello

“What’s most impressive about The Lodger is the inventiveness and audacity with which Hitchcock solves problems. He creates moods that effortlessly modulate from gaiety to dread, dark humour to suspense, suspicion to fear, right through to concern, sympathy, a sense of identification and release. It’s no spoiler to say that for Hitch, the casting of matinee idol Novello made things complicated – as matters of innocence and guilt often are. The questions that he sets himself – and we, the audience, must ponder – are: who can doubt that this creepy lodger is the killer? And yet matinee idol Novello can’t be the villain, can he?” – Wally Hammond, Little White Lies

Hush...Hush, Sweet Charlotte

417. (-21) Hush…Hush, Sweet Charlotte

Robert Aldrich

1964 / USA / 133m / BW / Psychological | IMDb
Bette Davis, Olivia de Havilland, Joseph Cotten, Agnes Moorehead, Cecil Kellaway, Victor Buono, Mary Astor, Wesley Addy, William Campbell, Bruce Dern

“Hush…Hush, Sweet Charlotte is a finely executed psychological thriller/horror film. There is a surprising amount of gore and swearing for a picture of this time and that works in its favor. It lends a realistic quality to a film that could otherwise be a little ridiculous. It’s well paced and offers no end of surprises. The ending haunts you long after it’s over and makes you recalculate everything you just saw.” – Doug Heller, Next Projection

Cujo

418. (+15) Cujo

Lewis Teague

1983 / USA / 93m / Col / Nature | IMDb
Dee Wallace, Danny Pintauro, Daniel Hugh Kelly, Christopher Stone, Ed Lauter, Kaiulani Lee, Billy Jayne, Mills Watson, Sandy Ward, Jerry Hardin

“The attacks are startling, and Cujo unleashes his wrath on the helpless pair who can do nothing but hope for the dog to grow bored with its assaults and move on to another target. But his rage seems almost supernatural to where Donna and her son are just prime targets Cujo almost lusts toward mauling under its diseased teeth and nails. With subtexts about sin and infidelity coming around to become our ultimate undoing, “Cujo” is still a very effective and terrifying nature run amok film. With excellent editing and direction from Teague that make this a horror film worthy of its classic status, “Cujo” is a favorite. Dee Wallace provides yet another riveting performance in a nature run amok horror classic that hasn’t aged a bit. Wonderful performances, an primal villain, and a compelling story make this a horror gem worthy of re-discovering time and time again.” – Felix Vasquez Jr., Cinema Crazed

Burnt Offerings

419. (+15) Burnt Offerings

Dan Curtis

1976 / USA / 116m / Col / Haunted House | IMDb
Karen Black, Oliver Reed, Burgess Meredith, Eileen Heckart, Lee Montgomery, Dub Taylor, Bette Davis, Joseph Riley, Todd Turquand, Orin Cannon

“On its release, I was happy to find Burnt Offerings to be a serious-minded, slavishly faithful adaptation of the book (with the exception of a more cinematic, crowd-pleasing ending) that avoided the usual post-Exorcist bombast and instead concentrated on mood and atmosphere. It’s one of those rare films that can give you a good, solid scare when you watch it alone, yet provide plenty of unintentional laughs when you watch it with friends. Contemporary audiences are likely to find the film predictable, slow, over-reliant on tried-and-true clichés (there should be a moratorium on rainstorms in haunted house movies), and hampered by the kind of empty ambiguity that often signals poor storytelling; but it’s those who saw Burnt Offerings when they were very young (the film was rated PG) or before The Shining and the Amityville series drove the genre into redundancy, that today recall the film with the most fondness..” – Ken Anderson, Le Cinema Dreams

The Craft

420. (-9) The Craft

Andrew Fleming

1996 / USA / 101m / Col / Witchcraft | IMDb
Robin Tunney, Fairuza Balk, Neve Campbell, Rachel True, Skeet Ulrich, Christine Taylor, Breckin Meyer, Nathaniel Marston, Cliff De Young, Assumpta Serna

““The Craft” has a remarkable sense of style and it offers something for everyone with sharp performances, great special effects, and a unique horror story that ends on a truly twisted note. It’s a film that deserves much more attention than it gets in the span of the decade, as “The Craft” is a pure nineties gem that offers great imagery, strong special effects, and a story that will appeal to fantasy and horror buffs alike.” – Feliz Vasquez Jr., Cinema Crazed

I Was a Teenage Werewolf

421. (-11) I Was a Teenage Werewolf

Gene Fowler Jr.

1957 / USA / 76m / BW / Werewolf | IMDb
Michael Landon, Yvonne Fedderson, Whit Bissell, Charles Willcox, Dawn Richard, Barney Phillips, Ken Miller, Cynthia Chenault, Michael Rougas, Robert Griffin

“There are few horror titles which are as evocative as I Was a Teenage Werewolf, immediately a klaxon announcing bad make-up, bad acting, drippy 50’s pop culture trappings and throw-away chaff. In actual fact, it is a well-made, well-shot drama which, though having the worst song and accompanying dance routine in the history of cinema, is a more successful commentary on teenage life than many alien invasion/nuclear bug films were at decrying The Bomb. Landon, almost squeaky in his youth (he was actually 21 years-old) plays the role of every-man perfectly well, whilst his generic group of friends and sundry adults prove to be a more believable agitate than a parade of well-known names.” – Horrorpedia

Angst

422. (+63) Angst

Gerald Kargl

1983 / Austria / 87m / Col / Crime | IMDb
Erwin Leder, Robert Hunger-Bühler, Silvia Rabenreither, Karin Springer, Edith Rosset, Josefine Lakatha, Rudolf Götz, Renate Kastelik, Hermann Groissenberger, Claudia Schinko

“Kargl’s genius here is to show everything in real time, with numerous close-ups and diegetic sound. Viewers get to experience none of the pleasure (whether guilty or gleefully acknowledged) that comes from watching stylized, aestheticized killing—replete with slow-motion camerawork, overlapping edits and a meticulously composed mise-en-scene. Instead, writer-cinematographer Zbigniew Rybczynski alternates close-up point-of-view shots of the victim and her attacker and some canted overhead shots besides, constantly altering our relationship to the action. We have no one to identify with, or rather, no one person with whom to identify, experiencing not only the old woman’s terror but the killer’s increasing excitement and determination as well.” – Steven Jay Schneider, CE Review

Two Thousand Maniacs!

423. (-9) Two Thousand Maniacs!

Herschell Gordon Lewis

1964 / USA / 83m / Col / Splatter | IMDb
Connie Mason, William Kerwin, Jeffrey Allen, Shelby Livingston, Ben Moore, Jerome Eden, Gary Bakeman, Mark Douglas, Linda Cochran, Yvonne Gilbert

“Maniacs is a gleefully absurd and vicious social satire (as well as something of a spoof of Brigadoon) in the guise of an intensely gory horror film. The rednecks of Pleasant Valley, Georgia are so hell-bent on killing the tourists they have lured to their town, yet they have so much fun doing it, that it is hard not to want them to succeed. The Yankees in the film are such drips anyway (and Connie Mason always makes a good girl-in-peril) that one begins to take delight in the inventive methods of demise the rednecks think up for them. After all, is this not the reason we watch films like this, to get a kick out people (literally) spilling their guts?” – Matt Bailey, Not Coming

Trilogy of Terror

424. (-8) Trilogy of Terror

Dan Curtis

1975 / USA / 72m / Col / Anthology | IMDb
Karen Black, Robert Burton, John Karlen, George Gaynes, Jim Storm, Gregory Harrison, Kathryn Reynolds, Tracy Curtis, Orin Cannon

“Short and to the point (the three stories are told in a scant seventy-two minutes), Trilogy of Terror wastes little time on clumsy exposition or subsidiary characters. Throughout the trilogy, Karen Black gets ample opportunity to demonstrate her range. Her four roles over the three episodes (in the middle entry, she plays twins) see her play prim and passionate, twins and terrified. It’s a real showcase for the actress, who is asked to carry the entire film. Her performance is to credit for most of the tension that the first two tales manage. In many scenes, she’s the only person on screen, whether she is having a phone conversation with an off-screen character or merely talking to herself at length. The slightly demented demeanor that Black brings to all of her roles pays major dividends here, whether she is playing a creepy seductress, engaging in a deadly mind game, or ensuring us, with a look of complete fear in her eyes, that the doll that is stalking her is truly alive.” – Jeremy Heilman, MovieMartyr

La casa dalle finestre che ridono

425. (-23) La casa dalle finestre che ridono

Pupi Avati

1976 / Italy / 110m / Col / Giallo | IMDb
Lino Capolicchio, Francesca Marciano, Gianni Cavina, Giulio Pizzirani, Bob Tonelli, Vanna Busoni, Pietro Brambilla, Ferdinando Orlandi, Andrea Matteuzzi

“What is… haunting, is the number of questions, especially concerning the different villagers’ behaviours and motivations, that The House With Laughing Windows leaves entirely unresolved. For the film is not only about a particularly unspeakable series of crimes, but about the way a closed community’s code of silence can spread complicity and guilt far beyond the original wrongdoers. So while The House With Laughing Windows is certainly a gripping murder mystery, it is also an intelligent allegory… of post-war Italy’s struggles to emerge from the Fascist outrages of its recent past.” – Anton Bitel, Eye for Film

Ghost Busters

426. (-8) Ghost Busters

Ivan Reitman

1984 / USA / 105m / Col / Comedy | IMDb
Bill Murray, Dan Aykroyd, Sigourney Weaver, Harold Ramis, Rick Moranis, Annie Potts, William Atherton, Ernie Hudson, David Margulies, Steven Tash

“What Reitman’s film did was blend genres in a way that was truly novel and is still tough to pull off. When I read about the series being rebooted, I always wince because I feel like someone will get the recipe wrong. It’ll either be too funny, or too serious. ‘Ghostbusters’ is the rare tentpole that’s hilarious throughout, but also has real stakes… Watching the film now, it can’t help but feel miraculous just to see how seamlessly all the elements blend together, and how on-point everyone from the actors to the special fx guys, to the set designers, composers, etc., were here… This pretty much made Murray the cult icon he is today, with him being the “cool-guy funny man” which is a tough gig to pull off.” – Chris Bumbray, JoBlo’s Movie Emporium

Dead Silence

427. (-1) Dead Silence

James Wan

2007 / USA / 89m / Col / Evil Doll | IMDb
Ryan Kwanten, Amber Valletta, Donnie Wahlberg, Michael Fairman, Joan Heney, Bob Gunton, Laura Regan, Dmitry Chepovetsky, Judith Roberts, Keir Gilchrist

“So what makes Dead Silence more creepy and clever than the dozens of horror films that have preceded it in this decade? It comes directly from the talents of director James Wan and writer Leigh Whannell. The scenarios they set in motion combine logical storytelling with strong suspense filmmaking and keep us in the audience in a constant state of alert, sitting on the edge of our seat, unable to predict what is going to happen next. Wan and Whannell never retreat to the typical horror cliches to achieve their scares. There are no unnecessary shock cuts, no red herrings and no abuse of bombastic musical scoring to tell audiences when to be scared. Where so many modern horror films are utterly predictable, the Saw pictures, all written by Whannell with producer credits for Wan on Saw 2 and 3, and now Dead Silence avoid predictibility by employing great staging and scene setting. The audience is so busy covering their eyes in anticipation of the next scare, they simply don’t have time to predict what comes next.” – Sean Kernan, Smart-Popcorn

Das Testament des Dr. Mabuse

428. (-22) Das Testament des Dr. Mabuse

Fritz Lang

1933 / Germany / 122m / BW / Crime | IMDb
Rudolf Klein-Rogge, Gustav Diessl, Rudolf Schündler, Oskar Höcker, Theo Lingen, Camilla Spira, Paul Henckels, Otto Wernicke, Theodor Loos, Hadrian Maria Netto

“What is perhaps most striking about Das Testament des Dr Mabuse is its scale and sophistication. Not only does it qualify as a masterpiece on artistic grounds (some of its imagery is the stuff of film legend), but it is by far and away the most ambitious dramatic thriller of its time, thanks to some extraordinary action sequences (which incudes one of cinema’s most imaginative car chases). Lang uses sound almost as effectively as he uses image to tell his story and create an unsettling mood of paranoia and anticipation.” – James Travers, French Film Site

Shadow of the Vampire

429. (-6) Shadow of the Vampire

E. Elias Merhige

2000 / UK / 92m / Col / Vampire | IMDb
John Malkovich, Willem Dafoe, Udo Kier, Cary Elwes, Catherine McCormack, Eddie Izzard, Aden Gillett, Nicholas Elliott, Ronan Vibert, Sophie Langevin

“The movie does an uncanny job of re-creating the visual feel of Murnau’s film. There are shots that look the way moldy basements smell. This material doesn’t lend itself to subtlety, and Malkovich and Dafoe chew their lines like characters who know they are always being observed (some directors do more acting on their sets than the actors do)… Vampires for some reason are funny as well as frightening. Maybe that’s because the conditions of their lives are so absurd. Some of novelist Anne Rice’s vampires have a fairly entertaining time of it, but someone like Schreck seems doomed to spend eternity in psychic and physical horror.” – Roger Ebert, Chicago Sun-Times

The Exorcism of Emily Rose

430. (-13) The Exorcism of Emily Rose

Scott Derrickson

2005 / USA / 119m / Col / Possession | IMDb
Laura Linney, Tom Wilkinson, Campbell Scott, Jennifer Carpenter, Colm Feore, Joshua Close, Kenneth Welsh, Duncan Fraser, JR Bourne, Mary Beth Hurt

“By giving us the facts as seen through the eyes of the various beholders, the film is asking us to be the jury that decides the case, and the information provided is very intentionally left open to interpretation. Rather than seeming wishy-washy and indecisve, this results in a film with a great deal of tension and suspense. Structuring the story as a courtroom drama increases the horror because it takes place in a believable context: whether you think Emily is ill or possessed, what happens to her is almost beyond endurance. Moreover, because the fate of the priest rests on the trial’s outcome, it’s clear that the horrific events in the story have dramatic consequences: what happens is part of a convincing story, not just a series of gratuitous special effects shocks.” – Steve Biodrowski, Cinefantastique

It Came from Outer Space

431. (-24) It Came from Outer Space

Jack Arnold

1953 / USA / 81m / BW / Science Fiction | IMDb
Richard Carlson, Barbara Rush, Charles Drake, Joe Sawyer, Russell Johnson

“It Came from Outer Space stands out from the 50’s alien-invasion-movie crowd in so many ways that it’s difficult to keep track of them all. For one thing, there’s the portrayal of the aliens themselves. These spacefarers are a far cry from the Martians of War of the Worlds or Invaders from Mars, but they are equally far from the stern but benevolent Klaatu of The Day the Earth Stood Still. Of all the movie aliens of the time, I believe these are the most plausibly portrayed, the ones whose actions and motivations most closely resemble what one would expect from intelligent organisms in their position. They are neither villainous conquerors led by a diabolical megalomaniac (think Earth vs. the Flying Saucers) nor beatific missionaries of interstellar peace. They are reasonable beings who have gotten themselves into trouble, and who are willing to do whatever they have to in order to get out of it again. If that means treating the natives a bit roughly, so be it.” – Scott Ashlin, 1000 Misspent Hours

Sien lui yau wan

432. (+16) Sien lui yau wan

Siu-Tung Ching

1987 / Hong Kong / 98m / Col / Comedy | IMDb
Leslie Cheung, Joey Wang, Ma Wu, Wai Lam, Siu-Ming Lau, Zhilun Xue, Jing Wong, David Wu, Ha Huang, Yau Cheung Yeung

“Truly a classic, and a film any fan of Hong Kong cinema needs to have seen. Its energy is boundless but never overwhelming or out of control. It does not depend on its special effects or wild choreography and instead remains faithful to the central romance even when the most insane stuff is happening and Wu Ma is being attacked by a giant tongue. Joey Wong may have glided elegantly off into retirement, but for a whole generation of film fans, and hopefully for generations yet to come, the image of her sitting amid the silks streaming across an otherworldly pavilion remains one of the great, iconic images from the heyday of the Hong Kong New Wave.” – Keith Allison, Teleport City

The Ghost of Frankenstein

433. (new) The Ghost of Frankenstein

Erle C. Kenton

1942 / USA / 67m / BW / Monster | IMDb
Lon Chaney Jr., Cedric Hardwicke, Ralph Bellamy, Lionel Atwill, Bela Lugosi, Evelyn Ankers, Janet Ann Gallow, Barton Yarborough, Doris Lloyd, Leyland Hodgson

“Overall Ghost of Frankenstein is a better movie than if often gets credited for. While this might be the weakest of the series (ignoring the crossover movies) it’s still a pretty good movie with solid characters and solid acting. While Lon Chaney isn’t anywhere near the level of Karloff as the Monster, Chaney still delivers an excellent take on the Monster and with a strong cast Ghost of Frankenstein is a fun B-Movie and while it may not reach the epic of heights of past Frankenstein films it does provide a fun time.” – Last Road Reviews

Young Frankenstein

434. (-2) Young Frankenstein

Mel Brooks

1974 / USA / 106m / Col / Comedy | IMDb
Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn, Cloris Leachman, Teri Garr, Kenneth Mars, Richard Haydn, Liam Dunn, Danny Goldman

“It’s a silly, zizzy picture — a farce-parody of Hollywood’s mad-scientist—trying-to-be-God pictures, with Wilder as the old Baron Frankenstein’s grandson, an American professor of neurology, who takes a trip to the family castle in Transylvania. Peter Boyle is the Frankenstein monster, and Madeline Kahn is the professor’s plastic-woman fiancée, who becomes the monster’s bride. It isn’t a dialogue comedy; it’s visceral and lower. It’s what used to be called a crazy comedy, and there hasn’t been this kind of craziness on the screen in years. It’s a film to go to when your rhythm is slowed down and you’re too tired to think… You can go to see it when you can barely keep your eyes open, and come out feeling relaxed and recharged.” – Pauline Kael, New Yorker

Gritos en la noche

435. (-6) Gritos en la noche

Jesús Franco

1962 / Spain / 90m / Col / Thriller | IMDb
Conrado San Martín, Diana Lorys, Howard Vernon, Perla Cristal, María Silva, Ricardo Valle, Mara Laso, Venancio Muro, Félix Dafauce, Faustino Cornejo

“The audio elements of Orlof complement the visuals, combining efforts to keep the audience on their toes. The dizzy musical score by José Pagán and Antonio Ramírez Ángel… Actually, I misspeak – “music” is far too nice a word for the cacophony of percussion and bizarre arrangements that permeate Orlof’s soundscape. Pagán and Ángel’s work is more of a thrumming wakeup call to the senses, a bucket of cold water tossed down the ear. The camerawork and the soundtrack combine to form a general aesthetic of “screw aesthetics,” infusing Orlof with a manic, exhilarating energy that enlivens and rejuvenates the clichés in the script.” – Nate Yapp, Classic-Horror

The Little Shop of Horrors

436. (-9) The Little Shop of Horrors

Roger Corman

1960 / USA / 72m / BW / Black Comedy | IMDb
Jonathan Haze, Jackie Joseph, Mel Welles, Dick Miller, Myrtle Vail, Tammy Windsor, Toby Michaels, Leola Wendorff, Lynn Storey, Wally Campo

“Though it lacks the gloss and sophistication of its successor – in places, the sets actually shake, and the quality of surviving prints is universally dreadful – this is still a stylish piece of work. Denied colour, Roger Corman plays with light and shadow like a master of film noir. This adds a creepy edge to scenes where Seymour is skulking round the backstreets of the city, an atmosphere which emphasises the agony of his moral dilemma. It’s a darker film in every sense, but this is alleviated by some brilliant comic performances from various minor stars of the time, patched together in a quirky style which is positively surreal.” – Jennie Kermode, Eye For Film

The War of the Worlds

437. (-13) The War of the Worlds

Byron Haskin

1953 / USA / 85m / BW / Science Fiction | IMDb
Gene Barry, Ann Robinson, Les Tremayne, Robert Cornthwaite, Sandro Giglio, Lewis Martin, Houseley Stevenson Jr., Paul Frees, William Phipps, Vernon Rich

“The special effects were state-of-the-art for the time, and they remain impressive today. If a few wires are visible to discerning eyes, at least the images are interesting in design and colorful in execution; something about the smooth, sleek look of the Martian hovercraft make them fascinating to watch, even if their miniature origins are sometimes apparent. Although subsequent films (such as INDEPENDENCE DAY) would outdo WAR OF THE WORLDS in terms of depicting mass destruction, this film retains its classic status thanks to the dramatic conviction with which it portrays its characters helplessly fighting against an unstoppable enemy bent on driving humanity into extinction.” – Steve Biodrowski, Hollywood Gothique

Lisa e il diavolo

438. (-16) Lisa e il diavolo

Mario Bava

1973 / Italy / 95m / Col / Gothic | IMDb
Telly Savalas, Elke Sommer, Sylva Koscina, Alessio Orano, Gabriele Tinti, Eduardo Fajardo, Alida Valli, Franz von Treuberg, Kathy Leone, Espartaco Santoni

“”Lisa and the Devil” is a mesmerizing, singularly one-of-a-kind experience. The story, driven by an artistic eye for stunning imagery and quixotic cinematography by Cecilio Paniagua, is spellbinding to watch unfold. Deliberate pacing is mixed with striking mise en scene compositions and floating camerawork that also incorporates low angles, representing Lisa’s foreign landscape crushing down upon her, and a number of startlingly effective zoom-ins—a calling-card of Mario Bava’s work.” – Dustin Putnam, The Movie Boy

Uzumaki

439. (-9) Uzumaki

Higuchinsky

2000 / Japan / 90m / Col / Supernatural | IMDb
Eriko Hatsune, Fhi Fan, Hinako Saeki, Eun-Kyung Shin, Keiko Takahashi, Ren Ohsugi, Denden, Masami Horiuchi, Tarô Suwa, Toru Tezuka

“Directed by Higichinsky, this freaky Japanese horror film uses all kinds of physical cinema techniques, such as shock cuts, flash cuts, dissolves, skip frames and superb digital effects in a constant effort to keep the film alive and spinning. Occasionally it employs a William Castle-like device of digitally swirling a small spot in the corner of the frame — and you may not even notice. Some scenes are so unbearably spooky that they give you that cold, clammy feeling and make your stomach drop out from under you, as if in a terrible nightmare. It’s one hell of a brilliant horror film with an original idea and style to spare.” – Jeffrey M. Anderson, Combustible Celluloid

Beetle Juice

440. (-9) Beetle Juice

Tim Burton

1988 / USA / 92m / Col / Comedy | IMDb
Alec Baldwin, Geena Davis, Annie McEnroe, Maurice Page, Hugo Stanger, Michael Keaton, Rachel Mittelman, Catherine O’Hara, J. Jay Saunders, Mark Ettlinger

“”Beetlejuice” is an extraspectral experience, a wonderfully wacko look at the hereafter’s relationship with the here and now. It’s a cartoon view of the afterlife landscape, where the living haunt the dead and death’s no escape from life’s little irritants – like waiting rooms and elevator music. Tim Burton, the Disney animator who directed “Pee-wee’s Big Adventure,” is the mind behind this stylish screwball blend of Capraesque fantasy, Marx Brothers anarchy and horror parody. And Michael Keaton is the juice that makes it go. He’s a stand-up zombie as the revolting free-lance bio-exorcist hired to help Geena Davis and Alec Baldwin, playing the Maitlands, a couple of flummoxed young newly deads… It’s strong on lines and situations, but absolutely, happily preposterous. And the moral is a fairy-tale bromide played for laughs: You can’t escape your problems.” – Rita Kempley, Washington Post

Silent Hill

441. (-2) Silent Hill

Christophe Gans

2006 / Canada / 125m / Col / Supernatural | IMDb
Radha Mitchell, Sean Bean, Laurie Holden, Deborah Kara Unger, Kim Coates, Tanya Allen, Alice Krige, Jodelle Ferland, Colleen Williams, Ron Gabriel

“The film is overlong, with too many unnecessary scenes (a lot of the movie seems like pointless running around), but it packs in a few scary moments and offers a nicely ambiguous conclusion. In Silent Hill, atmosphere trumps storyline… I have never played the game Silent Hill, but that didn’t stop me from appreciating some of what director Christophe Gans (who displayed a similar visual flair in Brotherhood of the Wolf) puts on the screen – although I suspect aficionados will have a better grasp of what is transpiring. Silent Hill looks great. The town is suitably eerie and the periods of darkness are ominous. The movie is all about visual appeal, feel, and tone, because the story underwhelms.” – James Berardinelli, ReelViews

Los sin nombre

442. (-7) Los sin nombre

Jaume Balagueró

1999 / Spain / 102m / Col / Mystery | IMDb
Emma Vilarasau, Karra Elejalde, Tristán Ulloa, Toni Sevilla, Brendan Price, Jordi Dauder, Núria Cano, Isabel Ampudia, Carles Punyet, Aleix Puiggalí

“Rather than bombard viewers with shocking scares, Jaume Balaguero’s multi-award-winning feature debut builds up an overwhelming and oppressive sense of dread with plenty of suspense thrown in. As the characters’ fear grows, so does yours… There are a few plot weaknesses – many questions go unanswered – but The Nameless gets it right in so many other areas it is easy to forgive. Albert Carreras and Xavi Giménez’s cinematography is stunning and creates pit-of-your-stomach dread from the off. There is very little colour in the film – the world is icy blue and grey aside from the old home movies Claudia pores over… Balaguero sets out to define evil – and he manages it in truly graphic yet glorious style.” – Leanne McGrath, Eye for Film

Batoru rowaiaru

443. (+3) Batoru rowaiaru

Kinji Fukasaku

2000 / Japan / 114m / Col / Splatter | IMDb
Tatsuya Fujiwara, Aki Maeda, Tarô Yamamoto, Takeshi Kitano, Chiaki Kuriyama, Sôsuke Takaoka, Takashi Tsukamoto, Yukihiro Kotani, Eri Ishikawa, Sayaka Kamiya

“A few twists and turns keep the formula from becoming repetitive, and Fukasaku brings enough compassion to the deserving to keep the grizzly deaths from numbing our moral sensitivities. A sharp sense of humor assists him: aimed towards insight and ridicule rather than the nihilistic glee to which it might have succumbed. It chills us even as we snicker, and the resulting mayhem ultimately reads as a condemnation of our own violent tendencies rather than a tacit celebration. The underlying messages combine with sharp filmmaking for a gloriously entertaining ride, provided you have a taste for dark material and don’t mind the occasional poke in the ribs. Battle Royale completely engages us without losing track of its anti-violence message, a tricky balance that has sent many lesser productions spinning into hypocrisy.” – Rob Vaux, Mania

The Ghost Breakers

444. (-1) The Ghost Breakers

George Marshall

1940 / USA / 85m / BW / Comedy | IMDb
Bob Hope, Paulette Goddard, Richard Carlson, Paul Lukas, Willie Best, Pedro de Cordoba, Virginia Brissac, Noble Johnson, Anthony Quinn, Tom Dugan

“All in all, “The Ghost Breakers” is a crowd-pleasing popcorn movie with a lot to offer audiences patient enough to follow its labyrinthine plot. It delivers in all areas. Hope, Best and Norton elicit some of the biggest laughs of their formidable careers. Goddard emerges as one of if not the most memorable heroine in the classic horror-comedy genre. The scares are not only genuine but the overall tone of dread is consistent – consider even the scenes on the boat to Cuba, enhanced by highly effective, shadowy, mist-shrouded black and white cinematography. Hope and Goddard come off as a convincing romantic couple-in-the-making (bolstered by the fact that Hope could more easily pass as a leading man than some of the less attractive male comics – his charm in the scene where he and Paulette dance in her stateroom is ingratiating).” – Paul Castiglia, Scared Silly

Ugetsu monogatari

445. (-9) Ugetsu monogatari

Kenji Mizoguchi

1953 / Japan / 96m / BW / Jidaigeki | IMDb
Machiko Kyô, Mitsuko Mito, Kinuyo Tanaka, Masayuki Mori, Eitarô Ozawa, Sugisaku Aoyama, Mitsusaburô Ramon, Ryôsuke Kagawa, Kichijirô Ueda, Shôzô Nanbu

“Like a painter determined to catch one vista in canvas after canvas, Mizoguchi considers how the price of indulging men’s desires is often the suffering of women. This is done in individual shots (e.g. the highway robbers in the background gorging themselves on food the victimized Miyagi was carrying) as well as in the film as a whole. On another level the film can be read as paralleling the plight of post-WWII Japan. Either way, the film’s subtle mix of realism and fantasy (consider a tracking shot with a near-invisible dissolve which “impossibly” links a sensual bath with a picnic) makes for challenging viewing. Working within Japanese genre conventions which seek to validate traditional values, Mizoguchi also considers their inherent contradictions. Look carefully at the pan and tracking shot as the errant Genjuro thinks he’s returning to home and hearth near the end and you will witness a great moment in the history of cinema as both art and social commentary.” – TV Guide’s Movie Guide

The Night Stalker

446. (+9) The Night Stalker

John Llewellyn Moxey

1972 / USA / 74m / Col / Vampire | IMDb
Darren McGavin, Carol Lynley, Simon Oakland, Ralph Meeker, Claude Akins, Charles McGraw, Kent Smith, Elisha Cook Jr., Stanley Adams, Larry Linville

“An exceedingly enjoyable vampire film and top-notch investigative horror film, in which the resolution of a mystery results in horror, I can’t recommend this film highly enough. Carl Kolchak is without a doubt my favorite horror hero and the sort of which I’d like to see more of; forget the quip-spitting wise-ass with a shotgun, give me the cautious wise-ass smart enough to piece together the puzzle and run screaming from the results long enough to grab a stake and mallet.” – Bill Adcock, Radiation-Scarred Reviews

Land of the Dead

447. (-10) Land of the Dead

George A. Romero

2005 / USA / 93m / Col / Zombie | IMDb
Simon Baker, John Leguizamo, Dennis Hopper, Asia Argento, Robert Joy, Eugene Clark, Joanne Boland, Tony Nappo, Jennifer Baxter, Boyd Banks

“The ideas fly as fast and furious as the body parts, but brilliantly Romero never stoops to obvious, dialogue-driven harangues, instead opting to submerge his conceit- that is, a divided society where zombies reflect our own political complacency – in the forgotten stuff of subtext. The gore is amped up appropriately from earlier films, and provides a literal cross-section of destruction and dismemberments; some of them exist for sheer thrill value, but Romero, unlike many of his style-stealing disciples, knows that substantive storytelling is the key to evoking true dread, not a coroner’s checklist of body parts.” – Todd Gilchrist, IGN Movies

The Curse of the Cat People

448. (-33) The Curse of the Cat People

Gunther von Fritsch & Robert Wise

1944 / USA / 70m / BW / Fantasy | IMDb
Simone Simon, Kent Smith, Jane Randolph, Ann Carter, Eve March, Julia Dean, Elizabeth Russell, Erford Gage, Sir Lancelot

“Though very different in purpose and tone to Cat People, Val Lewton’s ‘sequel’ is far more closely tied to its predecessor than is commonly believed. For one thing, all the main characters remain very much the same as they were in the earlier film, to which there are many specific references; for another, both films concern the way that guilt, fear and fantasy can arise from isolation and misunderstanding. In this case, it’s a small girl, lonely and repeatedly scolded by her parents and shunned by her friends for indulging in day-dreaming; when she populates her solitary world with the ghost of her father’s dead first wife (Simon, heroine of Cat People), her imagination (or is it?) gets her into serious trouble. Far from being a horror film, it’s a touching, perceptive and lyrical film about childhood, psychologically astute and occasionally disturbing as it focuses entirely on the child’s-eye view of a sad, cruel world.” – Geoff Andrews, Time Out

Koroshiya 1

449. (-9) Koroshiya 1

Takashi Miike

2001 / Japan / 129m / Col / Splatter | IMDb
Tadanobu Asano, Nao ômori, Shin’ya Tsukamoto, Paulyn Sun, Susumu Terajima, Shun Sugata, Toru Tezuka, Yoshiki Arizono, Kiyohiko Shibukawa, Satoshi Niizuma

“‘Ichi the Killer’ is a bizarre sado-masochistic love story, an unnerving excursion into criminal and sexual extremes, and a comicbook explosion of lurid colours and freakish characters – but most of all, it is a furious, frenetic and at times very funny piece of bravura filmmaking, with outstanding performances, spectacular setpieces, dizzying moodswings, a killer soundtrack, and a mindbending conclusion. Guaranteed to amaze, shock, disgust and intrigue in equal measure, ‘Ichi the Killer’ is one of the most striking films ever made.” – Movie Gazette

Jurassic Park

450. (+18) Jurassic Park

Steven Spielberg

1993 / USA / 127m / Col / Adventure | IMDb
Sam Neill, Laura Dern, Jeff Goldblum, Richard Attenborough, Bob Peck, Martin Ferrero, Joseph Mazzello, Ariana Richards, Samuel L. Jackson, BD Wong

“A true movie milestone, presenting awe- and fear-inspiring sights never before seen on the screen. The more spectacular of these involve the fierce, lifelike dinosaurs that stalk through the film with astounding ease… They appear only for brief interludes, but the dinosaurs dominate “Jurassic Park” in every way. Amazingly graceful and convincing, they set a sky-high new standard for computer-generated special effects. But thoughts about how those effects were achieved aren’t likely to surface while the film is under way. The most important thing about the dinosaurs of “Jurassic Park” is that they create a triumphant illusion. You will believe you have spent time in a dino-filled world.” – Janet Maslin, The New York Times

Evil Dead

451. (+11) Evil Dead

Fede Alvarez

2013 / USA / 91m / Col / Zombie | IMDb
Jane Levy, Shiloh Fernandez, Lou Taylor Pucci, Jessica Lucas, Elizabeth Blackmore, Phoenix Connolly, Jim McLarty, Sian Davis, Stephen Butterworth, Karl Willetts

“Evil Dead is relentless. Once it starts, it never lets up. It becomes a constant barrage of gory fun, and in the spirit of the original, Alvarez and his team use make-up and real-world special effects rather than relying solely on CGI. Another distinctive and key part of the original series were the off-kilter and exaggerated camera angles. Alvarez adopts the film language of Raimi’s films, adds more to the bag of tricks, and keeps the sardonic attitude without necessarily being slapstick.” – Eric Melin, Scene Stealers

Drácula

452. (+20) Drácula

George Melford

1931 / USA / 104m / BW / Vampire | IMDb
Carlos Villarías, Lupita Tovar, Barry Norton, Pablo Álvarez Rubio, Eduardo Arozamena, José Soriano Viosca, Carmen Guerrero, Amelia Senisterra, Manuel Arbó

“Still, the Melford-Avalos Dracula is a big step up from the Browning version. Its substantially longer running time (more than 20 minutes in excess of the English version’s) allows for more and better character development, and provides the opportunity to plug up plot holes left gaping in its better-known counterpart. The directors’ firmer grasp of their medium shines through in every scene, resulting in a film that is livelier despite its greater length. The more competent cast rises to the occasion throughout, putting in performances with far greater depth of feeling than the English-speakers who played their roles on the same sets by day. With a more forceful actor in the all-important title role, this Dracula could really have been the classic Browning’s version is generally regarded to be.” – Scott Ashlin, 1000 Misspent Hours and Counting

The Reptile

453. (+27) The Reptile

John Gilling

1966 / UK / 91m / Col / Gothic | IMDb
Noel Willman, Jennifer Daniel, Ray Barrett, Jacqueline Pearce, Michael Ripper, John Laurie, Marne Maitland, David Baron, Charles Lloyd Pack, Harold Goldblatt

“Despite the threadbare effects, though, and an ending that staggers across the finish line, The Reptile is an oddly restrained, moving, even genuinely eerie little film from the cult production house. No gore, scream queens, heaving cleavage or flirtation with softcore fanservice (okay, don’t all leave at once) – instead we get actual natural-sounding dialogue, character development and horror that stems from something convincingly inhuman. This is still camp, still cult, but you’re laughing with the cast, not at them, and the darker material elicits an emotional response as much as a stifled ‘Ewww!’.” – Matthew Lee, Twitchfilm

Altered States

454. (-13) Altered States

Ken Russell

1980 / USA / 102m / Col / Science Fiction | IMDb
William Hurt, Blair Brown, Bob Balaban, Charles Haid, Thaao Penghlis, Miguel Godreau, Dori Brenner, Peter Brandon, Charles White-Eagle, Drew Barrymore

“The film’s real hook was—and is—the fantasy scenes, and these hold up remarkably well 30 years after the fact. There’s a true sense of wonder, awe and terror to them, and Russell—working with the biggest budget of his career—allowed his imagination to run wild. In fact, Altered States became a cult classic on this basis alone, being particularly cherished by the late-night stoner crowd, who had timed the film so they could sneak out for another toke or two during the dialogue scenes. While that’s amusing, it’s also rather unfortunate, because it obscures the fact that the film itself is pretty darn impressive on a number of other levels and has a cumulative emotional punch that’s quite unexpected.” – Ken Hanke, Mountain Xpress

Lord of Illusions

455. (+15) Lord of Illusions

Clive Barker

1995 / USA / 109m / Col / Supernatural | IMDb
Scott Bakula, Kevin J. O’Connor, Joseph Latimore, Sheila Tousey, Susan Traylor, Ashley Tesoro, Michael Angelo Stuno, Barbara Patrick, J. Trevor Edmond, Wayne Grace

“With Lord of Illusions, Barker was beyond establishing himself as one of the genre’s most exciting directors; however, it does offer proof that he had no intention on resting on any sort of laurels. It’s just as sharp of a departure from Nightbreed as that film was from Hellraiser. Seeking to infuse his supernaturally-tinged narratives with a neo-noir style (much like Alan Parker did in Angel Heart), Barker presides over a twisty, snaking narrative that becomes increasingly convoluted as secrets are divulged and intertwined with sexual trysts. Lord of Illusions has enough twists, turns, and sultriness expected of any film noir, not to mention the aesthetic: this is a grimy, low-key pot-boiler draped in shadows and sweat—it just so happens to also feature enough eviscerated corpses to fill up a slasher film.” – Brett Gallman, Oh, The Horror

The Monster Squad

456. (-11) The Monster Squad

Fred Dekker

1987 / USA / 79m / Col / Comedy | IMDb
Andre Gower, Robby Kiger, Stephen Macht, Duncan Regehr, Tom Noonan, Brent Chalem, Ryan Lambert, Ashley Bank, Michael Faustino, Mary Ellen Trainor

“Although a heart felt tribute to the great movie monsters of filmland this little gem was especially appealing to an 80s kid because it dared to stick an affectionate middle- finger up at the stately Hammer Horror movies that were concurrently screened on our TVs ad nauseum. This movie opens with Van Helsing fucking up! It also depicts the classic character of the Wolf Man being kicked in the nuts! That singular boot to the balls kick starts the Squad’s ascendancy to a force to be reckoned with and also acted as the ultimate revenge for a legion of sleep deprived kids haunted by late night werewolf TV escapades.” – Dan Palmer, You’ve Got Red On You

[Rec]²

457. (+47) [Rec]²

Jaume Balagueró & Paco Plaza

2009 / Spain / 85m / Col / Zombie | IMDb
Jonathan D. Mellor, Óscar Zafra, Ariel Casas, Alejandro Casaseca, Pablo Rosso, Rafa Parra, Pep Molina, Andrea Ros, Àlex Batllori, Pau Poch

“The story being depicted elaborates on the original scenario and is endlessly intriguing. We only got a taste of the virus’ demonic nature in the original and here, that concept is expanded in a frightening manner. This is no longer the story of crazed infected humans running around biting each other’s faces off; it’s a terrifying tale of deadly people being influenced by a demonic source… Balagueró and Plaza really know what they’re doing. The continuation of their story is what keeps you intrigued, but it’s the eeriness and constant need to be prepared for what’s lurking around the corner that makes this film downright as horrifying as it is relentless. REC 2 it isn’t as good as its predecessor, but only finds itself a notch below, making it an enjoyable and honorable sequel” – Perri Nemiroff, CinemaBlend

The Funhouse

458. (-9) The Funhouse

Tobe Hooper

1981 / USA / 96m / Col / Slasher | IMDb
Elizabeth Berridge, Shawn Carson, Jeanne Austin, Jack McDermott, Cooper Huckabee, Largo Woodruff, Miles Chapin, David Carson, Sonia Zomina, Ralph Morino

“Menacingly scored by composer John Beal, the booming orchestrations complimenting the onscreen action, “The Funhouse” is a scary, fantastical, and most of all intelligent thriller that, like the original “Halloween,” proves slasher films can be sleek and upscale without going for low-rent gore tactics. The climax, rising to a fever pitch within the bowels of the funhouse, is first-rate, while the final scene subtly says a lot without spelling things out.” – Dustin Putnam, The Movie Boy

Danza macabra

459. (-21) Danza macabra

Antonio Margheriti

1964 / Italy / 87m / Col / Gothic | IMDb
Barbara Steele, Georges Rivière, Margrete Robsahm, Arturo Dominici, Silvano Tranquilli, Sylvia Sorrente, Giovanni Cianfriglia, John Peters, Merry Powers

“One of Barbara Steele’s most impressive vehicles, and one of the cornerstones of the classic Euro Horror Renaissance (1956-66), Castle of Blood is perhaps the best film by the erratic, prolific Antonio Margheriti. A very nifty ghost turn involving a perpetual cycle of sex and murder among a quintet of libidinous ghosts, the story brings in vampiric ideas as well. Edgar Allan Poe makes an appearance as a character, which is all well considering that the story attribution to him is a complete falsification.” – Glenn Erickson, DVDTalk

Inland Empire

460. (+13) Inland Empire

David Lynch

2006 / USA / 180m / Col / Experimental | IMDb
Laura Dern, Jeremy Irons, Justin Theroux, Karolina Gruszka, Jan Hencz, Krzysztof Majchrzak, Grace Zabriskie, Ian Abercrombie, Karen Baird, Bellina Logan

“Because watching movies is a bizarre business, and a movie creates its own world, in some ways more persuasively cogent and real than the reality surrounding it, Lynch positions himself in the no man’s land between these two realities and furnishes it with a landscape and topography all his own… It is mad and chaotic and exasperating and often makes no sense: but actually not quite as confusing as has been reported. Even the most garbled of moments fit approximately into the vague scheme of things, and those that don’t – those worrying rabbits – are, I guess, just part of the collateral damage occasioned by Lynch’s assault on the ordinary world. How boring the cinema would be without David Lynch, and for a long, long moment, how dull reality always seems after a Lynch movie has finished.” – Peter Bradshaw, Guardian

Blade

461. (+62) Blade

Stephen Norrington

1998 / USA / 120m / Col / Vampire | IMDb
Wesley Snipes, Stephen Dorff, Kris Kristofferson, N’Bushe Wright, Donal Logue, Udo Kier, Arly Jover, Traci Lords, Kevin Patrick Walls, Tim Guinee

“[Blade] is a movie that relishes high visual style. It uses the extreme camera angles, the bizarre costumes and sets, the exaggerated shadows, the confident cutting between long shots and extreme closeups. It slams ahead in pure visceral imagery… Wesley Snipes understands the material from the inside out and makes an effective Blade because he knows that the key ingredient in any interesting superhero is not omnipotence, but vulnerability… By embodying those feelings, Snipes as Blade gives the movie that edge of emotion without which it would simply be special effects.” – Roger Ebert, Chicago Sun-Times

Alucarda, la hija de las tinieblas

462. (+12) Alucarda, la hija de las tinieblas

Juan López Moctezuma

1977 / Mexico / 78m / Col / Gothic | IMDb
Claudio Brook, David Silva, Tina Romero, Susana Kamini, Lili Garza, Tina French, Birgitta Segerskog, Adriana Roel, Antonia Guerrero, Martin LaSalle

“Alucarda is delirious, never once faltering or running out of steam, a frenzied assault on the viewer with the filmmaker constantly staying one step ahead to ensure each new scene becomes a revelation of fabulous obscenity. Story and coherence is just thrown out in favour of intensity, naked flesh and a generous helping of bodily fluids to just ooze things along. If this isn’t doing it for you, I really don’t know what will, but if there is one thing I can be certain of, Alcuarda is not for the faint of heart. If, on the other hand, you really get your kicks from seeing content that goes against the moral grain to deliver something fiendishly fruity, this film is essential viewing.” – Kat Ellinger, The Gore Splattered Corner

Street Trash

463. (-19) Street Trash

J. Michael Muro

1987 / USA / 91m / Col / Splatter | IMDb
Mike Lackey, Bill Chepil, Vic Noto, Mark Sferrazza, Jane Arakawa, Nicole Potter, Pat Ryan, Clarenze Jarmon, Bernard Perlman, Miriam Zucker

“Awful business aside, “Street Trash” is a fantastically directed picture, enjoying fluid camera movement and textured locations, with crisp, smartly framed cinematography that makes the minimal budget look like the production spent millions of dollars. Muro has a terrific eye for the dark delights of the movie, and his visual sense is masterfully boosted by extraordinary achievements in set design and make-up effects, with the melt scenes unforgettable. It’s unnerving how polished “Street Trash” is, once again disturbing expectations with a virile cinematic appearance.” – Brian Orndorf, Blu-Ray.com

Esta Noite Encarnarei no Teu Cadáver

464. (+22) Esta Noite Encarnarei no Teu Cadáver

José Mojica Marins

1967 / Brazil / 108m / Col / Supernatural | IMDb
José Mojica Marins, Tina Wohlers, Nadia Freitas, Antonio Fracari, Jose Lobo, Esmeralda Ruchel, Paula Ramos, Tania Mendonça, Arlete Brazolin, Geraldo Bueno

“The film is forcing a wonderful polarization, titillation tinged with terror. The film is unabashedly enticing you with these shots of womanly body parts, and then does its best to disgust be perverting those images with grotesque creatures and the like. Other sequences, such as sex paired with snake attack, provide more of this same dichotomy. But there is more to the visuals than boobs and bile. These shots are well constructed, the lighting is always stark, giving good contrast and keeps the details of the film clear. We are not seeing some shoddily produced horror film, this is a lovingly crafted work.” – Timothy J. Rush, Classic-Horror

What We Do in the Shadows

465. (-8) What We Do in the Shadows

Jemaine Clement & Taika Waititi

2014 / New Zealand / 86m / Col / Vampire | IMDb
Jemaine Clement, Taika Waititi, Jonathan Brugh, Cori Gonzalez-Macuer, Stuart Rutherford, Ben Fransham, Rhys Darby, Jackie van Beek, Elena Stejko, Jason Hoyte

“Fans of Clement and Waititi’s previous work know the kind of humour to expect: bone-dry, beautifully observed and deeply silly. There’s a brilliantly funny sequence in which the three speaking vamps furiously debate the washing up rota, the importance of virgin blood is floridly discussed, while a dinner party sequence in which potential victims are confronted with re-enacted Lost Boys sequences is beautifully done… Clement in particular is clearly having a brilliant time, as it soon becomes apparent that the lascivious Vlad’s best years are behind him, while Waititi slays with his portrayal of the sweetly heartbroken Viago. In short, the most important thing to know about What We Do In The Shadows is that it’s laugh-out-loud hilarious” – Jonathan Hatfull, SciFiNow

Wolfen

466. (-15) Wolfen

Michael Wadleigh

1981 / USA / 115m / Col / Werewolf | IMDb
Albert Finney, Diane Venora, Edward James Olmos, Gregory Hines, Tom Noonan, Dick O’Neill, Dehl Berti, Peter Michael Goetz, Sam Gray, Ralph Bell

“It plays primarily as horror, but as the mystery as to what is behind the killings unravels, thriller and fantasy elements begin to take over. It’s an uneven experience, but does have its rewards, and the quirky nature of it can probably be attributed to the previous directorial experience of counter-culture director Michael Wadley, whose previous work includes putting together the highly influential documentary, Woodstock. Although the goriness of the film isn’t excessive, mostly generated by graphic descriptions of the events, this does have the effect of making the movie a little more unnerving. There are a few shots of dismembered bodies and the like, but the more these are shown, the less convincing they become. In fact, that can be said of the film as a whole, which retains more interest as a mystery than after all the cards are shown, but by the time it all clicks together, enough thrills and chills have been had to make it a worthwhile viewing experience for those looking for that kind of entertainment.” – Vince Leo, Qwipster’s Movie Reviews

The Other

467. (-8) The Other

Robert Mulligan

1972 / USA / 108m / Col / Evil Children | IMDb
Uta Hagen, Diana Muldaur, Chris Udvarnoky, Martin Udvarnoky, Norma Connolly, Victor French, Loretta Leversee, Lou Frizzell, Portia Nelson, Jenny Sullivan

“”The Other,” which is based on the novel by former actor Tom Tryon (you saw him as “The Cardinal”), has been criticized in some quarters because Mulligan made it too beautiful, they say, and too nostalgic. Not at all. His colors are rich and deep and dark, chocolatey browns and bloody reds; they aren’t beautiful but perverse and menacing. And the farm isn’t seen with a warm nostalgia, but with a remembrance that it is haunted. The movie isn’t scary in the usual horror-film way, but because Niles is such a creep – the kind of kid who would pull the wings off a fly and then claim the big boys made him (and get them in trouble, and go out looking for more flies). Kids like that will stop at nothing. – Roger Ebert, Chicago-Sun Times

Friday the 13th Part VI: Jason Lives

468. (-15) Friday the 13th Part VI: Jason Lives

Tom McLoughlin

1986 / USA / 86m / Col / Slasher | IMDb
Thom Mathews, Jennifer Cooke, David Kagen, Renée Jones, Kerry Noonan, Darcy DeMoss, Tom Fridley, Alan Blumenfeld, Matthew Faison, Ann Ryerson

“The previous FRIDAY films were one-note affairs; this time out, a slightly new tune is being played (this is literally the case: composer Henry Manfredini’s familiar theme music is augmented with a couple songs performed by Alice Cooper (including “He’s Back: The Man Behind the Mask”). Whatever its weaknesses, JASON LIVES is a reasonably fun attempt at remaking the franchise into an old-fashioned monster movie, and fans of Frankenstein, the Mummy, and other creatures of the walking dead may find it appealing.” – Steve Biodrowski, Cinefantastique

Let Me In

469. (+14) Let Me In

Matt Reeves

2010 / USA / 116m / Col / Vampire | IMDb
Kodi Smit-McPhee, Chloë Grace Moretz, Richard Jenkins, Cara Buono, Elias Koteas, Sasha Barrese, Dylan Kenin, Chris Browning, Ritchie Coster, Dylan Minnette

“In transliterating a foreign-language horror hit into an Anglophone movie it doesn’t follow [shot-for-shot]… though it does lift many scenes verbatim… If anything, this is a grimmer reading: as per Lindqvist, Abby genuinely feels for Owen, but the film suggests – via a photo-strip showing that she has been with her current protector since he was Owen’s age – that the vampire is going through another iteration of a relationship she has had before and will have again… Let Me In isn’t as rich or daring as Let the Right One In and seldom improves on it – but it plays better as a horror film, more concentrated in its focus on the creepy and shocking aspects of its unusual love story.” – Kim Newman, Sight and Sound

Race with the Devil

470. (-18) Race with the Devil

Jack Starrett

1975 / USA / 88m / Col / Thriller | IMDb
Peter Fonda, Warren Oates, Loretta Swit, Lara Parker, R.G. Armstrong, Clay Tanner, Carol Blodgett, Phil Hoover, Ricci Ware, Paul A. Partain

“What sets “Race with the Devil” apart from all the others of its ilk is that Starrett takes his time in developing the ensuing carnage between the cult and our helpless victims and takes a route very similar to “Duel” where no matter how far they run, their nightmares catch up with them. This leaves us with some truly memorable and freakish incidents involving the hanging of a cat and a slithery intruder that shrinks their world more and more as the time rolls on. They’re not sure who they can trust and that makes this more of a mystery since most of the cult remains faceless and without remorse. They’re truly vile villains who can be just about anyone they desire and they chase our foursome through county after county attempting to silence them. “Race with the Devil” is something out of the mind psychedelic storytellers since it’s such a tense and urgent piece of filmmaking with a talented cast who make us believe we’re being sucked in as they are.” – Felix Vasquez Jr., Cinema Crazed

Alligator

471. (-24) Alligator

Lewis Teague

1980 / USA / 91m / Col / Nature | IMDb
Robert Forster, Robin Riker, Michael V. Gazzo, Dean Jagger, Sydney Lassick, Jack Carter, Perry Lang, Henry Silva, Bart Braverman, John Lisbon Wood

“The basic angle to John Sayles’ script (dubious scientific research leading to a dangerous freak of nature) is a reworking of his 1978 Piranha, but the sense of humour, narrative economy and attention to character are as sharp and fresh as you could wish. No prizes for guessing that Ramon finally devours the shady hand that unwittingly fed him, or that the cop on his tail literally blows the lid off his own guilt problems, but Sayles and Teague never stint on incidental pleasures. The result is an effective and unpretentious treat.” – Time Out

Resident Evil

472. (+10) Resident Evil

Paul W.S. Anderson

2002 / UK / 100m / Col / Zombie | IMDb
Ryan McCluskey, Oscar Pearce, Indra Ové, Anna Bolt, Joseph May, Robert Tannion, Heike Makatsch, Jaymes Butler, Stephen Billington, Fiona Glascott

“This science-fiction cannibal zombie adventure does not dislodge George Romero as czar of the Living Dead but does implant Paul Anderson (Mortal Kombat, Event Horizon) as a possible franchise horror director. The story about genetics experimentation and corporations that think they are above the law offers a balanced blend of high-tech conspiracy and low-tech flesh munching… The gruesome action borrows Cube’s slice and dice laser and The Matrix’s combat special effects while bloodied Dobermans from Hell and rotting humans chomp at the gorgeously stone-faced Milla Jovovich (The Fifth Element), the ever-pouting Michelle Rodriguez (Girlfight) and their male entourage.” – Mark Halverson, Sacramento News & Review

The Stuff

473. (-23) The Stuff

Larry Cohen

1985 / USA / 87m / Col / Black Comedy | IMDb
Michael Moriarty, Andrea Marcovicci, Garrett Morris, Paul Sorvino, Scott Bloom, Danny Aiello, Patrick O’Neal, James Dixon, Alexander Scourby, Russell Nype

“The Stuff should be an awful film, it should cause anger and upset for wasting your time with an inconsequential plot and terrible characters. Liking a film because “it’s so bad it’s good” has become such an irritating ironic pastime these days, but it’s hard to knock when a film like The Stuff shuffles into view. It’s like the mad friend of a friend who shows up at your party, sicks up on the cat, knocks over the telly and wanders off. It’s stupid, badly put together, and often infuriating, but yet – somehow – oddly engaging and, well, entertaining.” – That Film Guy

Spalovac mrtvol

474. (+29) Spalovac mrtvol

Juraj Herz

1969 / Czechoslovakia / 95m / Col / Black Comedy | IMDb
Rudolf Hrusínský, Vlasta Chramostová, Jana Stehnová, Milos Vognic, Zora Bozinová, Ilja Prachar, Eduard Kohout, Jirí Menzel, Míla Myslíková, Vladimír Mensík

“Herz’s direction has an expressionist feel, shot in black and white with a striking use of shadow and marked gothic sensibility. The film is very much seen through Kopfrkingl’s eyes, and as such, the city is given the look of a tomb, with the crematorium resembling the grand temple of death which he imagines it to be. This does mean that the proceedings do at times slip into the realm of the surreal, though this is skilfully done and works well as a method of illustrating both the character and the country’s decent into madness, giving the atmosphere that of an inescapable nightmare. “The Cremator” is a unique example of modern gothic cinema, being both fantastic and grimly realistic.” – James Mudge, Beyond Hollywood

A Girl Walks Home Alone at Night

475. (+61) A Girl Walks Home Alone at Night

Ana Lily Amirpour

2014 / USA / 101m / BW / Vampire | IMDb
Sheila Vand, Arash Marandi, Marshall Manesh, Mozhan Marnò, Dominic Rains, Rome Shadanloo, Milad Eghbali, Reza Sixo Safai, Ray Haratian, Pej Vahdat

“Iranian-American writer-director Ana Lily Amirpour describes her weirdly exhilarating feature debut, which premiered at Sundance last year, as the Iranian love-child of Sergio Leone and David Lynch, with Nosferatu as a babysitter. It is set in the fictional Iranian ghost town of Bad City (the name nods toward Frank Miller’s Sin City) and plays out like the missing link between Kathryn Bigelow’s first two features; the ultra-cool biker pastiche The Loveless and the latterday vampire flick Near Dark. It is steeped in the pop iconography of the past, yet its crystalline anamorphic black-and-white photography has an unmistakably contemporary edge. Cinematically, it exists in a twilight zone between nations (American locations, Iranian culture), between centuries (late 19th and early 21st), between languages (Persian dialogue, silent cinema gestures) and, most importantly, between genres.” – Mark Kermode, The Observer

Lo squartatore di New York

476. (-20) Lo squartatore di New York

Lucio Fulci

1982 / Italy / 91m / Col / Giallo | IMDb
Jack Hedley, Almanta Suska, Howard Ross, Andrea Occhipinti, Alexandra Delli Colli, Paolo Malco, Cinzia de Ponti, Cosimo Cinieri, Daniela Doria, Babette New

“The ugly duckling and the slashed nipple, a Géricaultian composition. A bald steal from Friedkin’s Cruising introduces the view under the Brooklyn Bridge, the credits roll over a freeze-frame of a purplish, severed hand gripped by an old man’s dog. One young woman is slaughtered while trapped in the belly of the Staten Island Ferry (the cityscape vanishes in the distance, the switchblade fills the screen), another is mutilated backstage at a 42nd Street sex club (green and scarlet neon bathes the splayed corpse), two of the pit-stops in Lucio Fulci’s American Sodom Tour… Fulci’s most corrosive vision. What comes in from Fleischer’s The Boston Strangler goes into Fincher’s Seven.” – Fernando F. Croce, CinePassion

April Fool's Day

477. (+20) April Fool’s Day

Fred Walton

1986 / USA / 89m / Col / Slasher | IMDb
Jay Baker, Pat Barlow, Lloyd Berry, Deborah Foreman, Deborah Goodrich, Tom Heaton, Mike Nomad, Ken Olandt, Griffin O’Neal, Leah Pinsent

“Lest it seem like “April Fool’s Day” is but a talky, introspective bore, the film does a solid job of intermixing the character work with a well-paced horror plot that grows creepier and more involving once the ensemble has been whittled down to only a few. The climax, wherein Kit and boyfriend Rob (Ken Olandt) piece together the dark secrets from Muffy’s past as they sense an immediate danger lurking around them, generates slick suspense, several indelible images (murdered baby dolls and eyes behind a painting spring to mind), and a whopper of a twist ending that lifts the picture above and beyond the typical, standard-issue slasher fare.” – Dustin Putnam, The Movie Boy

The Crazies

478. (-17) The Crazies

Breck Eisner

2010 / USA / 101m / Col / Zombie | IMDb
Timothy Olyphant, Radha Mitchell, Joe Anderson, Danielle Panabaker, Christie Lynn Smith, Brett Rickaby, Preston Bailey, John Aylward, Joe Reegan, Glenn Morshower

“Don’t be afraid of the horror remake stigma here; be afraid of The Crazies’ constant, electric hum of dread. Be afraid of the unpredictable bursts of violence and well-earned jump scares. Be afraid of director Eisner’s unexpected mastery of the material — he seems to have been a standout horror filmmaker-in-waiting all this time, and The Crazies shows that off in a huge way. He understands timing and mood and how important a good score is to a horror film (Mark Isham’s synth score is noticeably great, like a quiet callback to John Carpenter’s way of scoring horror). He gets the actors to take the material seriously, he’s not afraid to go bleak and nasty, and he knows how to build suspense (a talent too rare in studio horror).” – John Gholson, MovieFone

The Hidden

479. (+5) The Hidden

Jack Sholder

1987 / USA / 97m / Col / Science Fiction | IMDb
Kyle MacLachlan, Michael Nouri, Claudia Christian, Clarence Felder, Clu Gulager, Ed O’Ross, William Boyett, Richard Brooks, Larry Cedar, Katherine Cannon

“With a fantastic blend of wit and horror, The Hidden is a surprisingly overlooked flick from the ‘80s that would have gone well paired with They Live or some of Fred Dekker’s past films. There’s an absurdity to the whole thing that makes the film laughable; but then again, The Hidden might be seen in a more morbid light by our post-9/11 audiences, especially when it comes to the multiple scenes of aimless violence the alien commits. Even decades later, the film remains relatable, despite the obvious tale of fiction it presents.” – Ryne Barber, Horror News

Hangover Square

480. (+11) Hangover Square

John Brahm

1945 / USA / 77m / BW / Film Noir | IMDb
Laird Cregar, Linda Darnell, George Sanders, Glenn Langan, Faye Marlowe, Alan Napier

“To accompany some fine acting, Brahm especially flexed his directorial muscles here, with some very stylish set-ups. The opening murder is startlingly shot partly with subjective camera, and he utilises a range of closeups, swooping camera moves and camera effects to work up a sense of delirium… its histrionics and hyperbole create a texture of tragic madness that perfectly compliments Cregar’s haunted playing… The real shame of it would be that there would be no more Cregar performances: still in his twenties, he was dead by the time this was released.” – Graeme Clark, The Spinning Image

Lake Mungo

481. (+62) Lake Mungo

Joel Anderson

2008 / Australia / 87m / Col / Found Footage | IMDb
Rosie Traynor, David Pledger, Martin Sharpe, Talia Zucker, Tania Lentini, Cameron Strachan, Judith Roberts, Robin Cuming, Marcus Costello, Chloe Armstrong

“Anderson’s use of the documentary framework is an inspired choice, since it lends what we’re seeing an air of reality that helps build the tension to jangling point. It also gives him the opportunity to vary the look with the use of different types of film, including Super 8 and lots of still photography, smartly serving the story while keeping a grip on what was, presumably, a very tight budget. By staying true to the audience’s expectations of the documentary format, the sense of dread that settles over the family is also more readily conveyed than it might have been if we were watching something which looked more ‘fictional’. It’s not just the format that draws the viewer in, but also the manner in which the film is shot. Since much of what the family talk about relates to spooky images in pictures, Anderson’s camerawork draws you deeper and deeper into the frame with an increasing feeling of unease.” – Amber Wilkinson, Eye For Film

The Lair of the White Worm

482. (-17) The Lair of the White Worm

Ken Russell

1988 / UK / 93m / Col / Black Comedy | IMDb
Amanda Donohoe, Hugh Grant, Catherine Oxenberg, Peter Capaldi, Sammi Davis, Stratford Johns, Paul Brooke, Imogen Claire, Chris Pitt, Gina McKee

“Christianity and paganism clash in Ken Russell’s The Lair of the White Worm, a campy account of the horrors that beset a small England town when the mysterious Lady Sylvia Marsh (Catherine Oxenberg) decides to conjure up the ghosts of worms from long ago… Russell’s compositions are gorgeous to look at though it’s the deliciousness with which the story unravels that made Lair of the White Worm Russell’s most enjoyable film since his masterpiece Crimes of Passion. One amusing scenario here says everything that needs to be said about Russell as a director: James discusses worm-lore while his friend Angus (Peter Capaldi) voraciously chews on spaghetti. Cheap effects and gratuitous displays of nudity only heighten the film’s delirious demeanor.” – Ed Gonzalez, Slant Magazine

Triangle

483. (-25) Triangle

Christopher Smith

2009 / UK / 99m / Col / Science Fiction | IMDb
Melissa George, Joshua McIvor, Jack Taylor, Michael Dorman, Henry Nixon, Rachael Carpani, Emma Lung, Liam Hemsworth, Bryan Probets

“After his passable, low-budget horror movie, Severance, the British writer-director Christopher Smith takes a big leap forward with this clever and compelling occult thriller. Shot on the coast of Queensland but set in Miami, it interweaves to potent effect Nietzsche’s theory of “eternal recurrence”, the mystery of the Mary Celeste and Sutton Vane’s once popular play Outward Bound… It’s creepy, atmospheric stuff and at every twist of this Möbius strip we wonder how Smith will keep things going. But he manages it with considerable skill and we leave his picture suitably shaken.” – Philip French, The Observer

Bubba Ho-Tep

484. (-5) Bubba Ho-Tep

Don Coscarelli

2002 / USA / 92m / Col / Comedy | IMDb
Bruce Campbell, Ossie Davis, Ella Joyce, Heidi Marnhout, Bob Ivy, Edith Jefferson, Larry Pennell, Reggie Bannister, Daniel Roebuck, Daniel Schweiger

“Campbell could have been born to play Elvis – he completely nails both the voice and the mannerisms, even under a hefty amount of old age make-up. It’s a superb performance – if there were any justice, Campbell would get an Oscar nomination. Davis is equally good and the pair make a great screen couple – their friendship is genuinely touching… Bubba Ho-Tep isn’t quite the full-on schlock-fest you might be expecting – in fact, it’s relatively short on action, and the actual showdown, though funny, is rather anti-climactic. Instead, the film emerges as a surprisingly moving story about death, dignity and doing what needs to be done. (Noting, in the process, that anything’s better than meeting your maker while on the toilet).” – Matthew Turner, ViewLondon

El día de la bestia

485. (+21) El día de la bestia

Álex de la Iglesia

1995 / Spain / 103m / Col / Black Comedy | IMDb
Álex Angulo, Armando De Razza, Santiago Segura, Terele Pávez, Nathalie Seseña, Maria Grazia Cucinotta, Gianni Ippoliti, Jaime Blanch, David Pinilla, Antonio Dechent

“The Day of the Beast (El Día de la Bestia) was Álex de la Iglesia’s second feature film and effectively launched his career on the international stage. In keeping with the form of Spanish humour known as esperpento – in which a distorted version of reality is utilised in order to critique it – the film contains grotesque violence and slapstick humour in a nonetheless affectionate take on the horror genre… the film benefits from characters who are written and performed with warmth and humour. At the centre, Angulo – who sadly died earlier this year – was never better than as the plucky and determined little priest, ready to do battle with the forces of evil on the streets of Madrid, and he’s ably supported by the rest of the cast.” – Rebecca Naughten, Eye For Film

Le notti del terrore

486. (-8) Le notti del terrore

Andrea Bianchi

1981 / Italy / 85m / Col / Zombie | IMDb
Karin Well, Gianluigi Chirizzi, Simone Mattioli, Antonella Antinori, Roberto Caporali, Peter Bark, Claudio Zucchet, Anna Valente, Raimondo Barbieri, Mariangela Giordano

“Sure, the plot is paper (or should I say slasher) thin, but the direction is competently done. It’s not as artistic or well done as a Fulci film, but there’s a very guerilla, hand-held style that captures the mayhem effectively. Veterans of Italian cinema will notice a lot of other staples here, like the use of long, drawn-out takes, dramatic zooms, and weird voice dubbing. If you’re not use to Italian horror, the dubbing will throw you off at first, but believe me, this film doesn’t come close to offering the weirdest in that respect (anyone that remembers Bob from House by the Cemetery can attest to that). Once you get used to it, however, it really becomes part of the charm. You also get some signature, upbeat music that’s almost a staple of these Italian films; the horror music cues, however, sound like 60s stock music that further contributes to the bizarre Night of the Living Dead vibe.” – Brett Gallman, Oh, The Horror

The Woman in Black

487. (-12) The Woman in Black

Herbert Wise

1989 / UK / 100m / Col / Haunted House | IMDb
Adrian Rawlins, Bernard Hepton, David Daker, Pauline Moran, David Ryall, Clare Holman, John Cater, John Franklyn-Robbins, Fiona Walker, William Simons

“With the phenomenal success of both the West End play and the recent Hammer Films adaptation, it’s easy to forget this earlier version of Susan Hill’s spine-chilling ghost story. Broadcast on the ITV network on Christmas Eve in 1989 The Woman in Black still manages to stir up a few scares in a slow-moving but effective yarn… Adrian Rawlins as Arthur Kidd is particularly sympathetic and you cannot help but feel for our handsome but haunted hero as he is mercilessly pursued by the terrifying spectre of the mysterious woman in black… there are enough twists and turns of the plot to leave an uneasy chill long after the credits have rolled.” – Richard Gladman, Classic Horror Campaign

The Queen of Spades

488. (+39) The Queen of Spades

Thorold Dickinson

1949 / UK / 95m / BW / Gothic | IMDb
Anton Walbrook, Edith Evans, Yvonne Mitchell, Ronald Howard, Mary Jerrold, Anthony Dawson, Miles Malleson, Michael Medwin, Athene Seyler, Ivor Barnard

“Between the pair of them, and with Dickinson’s drive to exacerbate the melodramatic, feverish atmosphere, they make a virtue out of the small budget and limited sets, using mirrors, shadows, candelabra, religious icons and period paraphernalia to encrust the Countess’s palace and its myriad doorways, passages and rooms. The Countess’s boudoir and the ornate Russian church used in the heartstopping funeral sequence of the film are brilliant examples of their craft and they emphasise the film’s squeezing in and expansion of space, from claustrophobia to agoraphobia.”- Frank Collins, Cathode Ray Tube

The Collector

489. (+97) The Collector

Marcus Dunstan

2009 / USA / 90m / Col / Slasher | IMDb
William Prael, Diane Ayala Goldner, Juan Fernández, Josh Stewart, Michael Reilly Burke, Andrea Roth, Karley Scott Collins, Madeline Zima, Haley Pullos

“Writer/director Dunstan, emerging from the ‘creative’ team behind a bevy of the Saw films, takes this relatively simple conceit and milks it for maximum chills. That said, much of the film’s gut-level effectiveness comes from his staging of some truly hideous moments; scenes involving fish-hooks, cockroaches, Alsatian guard dogs and bear traps go pretty close to crossing the line, as does the involvement of pre-teen actress Collins, who is party to several particularly heinous acts. (And cat owners…trust me, avoid at all costs) […] Collaborators on the film all seem at the top of their game – the film benefits from atmospheric, dreamlike lighting; Jerome Dillon’s music nods to electro-soundtrack maestros, Tangerine Dream; and restrained, precise editing, especially of scenes shot in slow-motion, adds to the overall ‘waking-nightmare’ impact.” – Simon Foster, Screen-Space

Us

490. (+252) Us

Jordan Peele

2019 / USA / 116m / Col / Thriller | IMDb
Winston Duke, Elisabeth Moss, Tim Heidecker, Shahadi Wright Joseph, Evan Alex, Yahya Abdul-Mateen II, Anna Diop, Cali Sheldon, Noelle Sheldon, Madison Curry

“Peele develops a genuinely thrilling, heart-in-the-throat-scary horror picture. The archly creepy doubles – called “the Tethered,” after the manner in which they are existentially bound to their above-ground versions, like shadows – are a monster worthy of the Universal logo that precedes the film’s opening titles. Peele exhibits a mastery of his camera, of managing suspense, and of teasing (and rewarding) the intimation of violence. He’s also an exceptionally talented director of actors. Nyong’o’s physicality in her dual role as both herself and her Tether is revelatory.” – John Semley, Globe and Mail

Silent Night, Deadly Night

491. (-10) Silent Night, Deadly Night

Charles E. Sellier Jr.

1984 / USA / 79m / Col / Slasher | IMDb
Lilyan Chauvin, Gilmer McCormick, Toni Nero, Robert Brian Wilson, Britt Leach, Nancy Borgenicht, H.E.D. Redford, Danny Wagner, Linnea Quigley, Leo Geter

“Silent Night, Deadly Night is a really decent slasher movie that is more than just a “tab-a into slot-b” horror. It delves deep into the mind of our protagonist and it raises interesting questions about nature vs. nurture and how this can effect the mind of someone who is already troubled. Billy may be doing the killings, but the true villain of the film is Mother Superior who shows no compassion for Billy’s troubled past. Watching his parents get murdered by a guy dressed as Santa was certainly the catalyst for Billy’s troubled childhood, but it is Mother Superior’s teachings that he’s dishing out – just on a more violent scale. Because of this, Silent Night, Deadly Night is a lot different to the slasher movies that were out at the time as it focused more on the psyche of its killer as opposed to just putting a guy in a mask and giving him killing implements.” – Luke Owen, Luke Writes Stuff

Vampyres

492. (-29) Vampyres

José Ramón Larraz

1974 / UK / 87m / Col / Vampire | IMDb
Marianne Morris, Anulka Dziubinska, Murray Brown, Brian Deacon, Sally Faulkner, Michael Byrne, Karl Lanchbury, Margaret Heald, Gerald Case, Bessie Love

“As an actual work of evocative, erotic horror, Vampyres works surprisingly well. Much of the credit must go to director/writer (under a pseudonym) Jose Ramon Larraz. He creates a narrative filled with unexplained scenes, missing information and wildly suggestive sensuality that keeps the viewer tantalized and teased throughout the running time. He utilizes the incredibly moody settings and countryside of England to give his movie more than a modicum of menace. He then adds those red herrings and scenes of mysterious consequence to keep things unsettled and surprising. Match that with a couple of curvaceous creatures and the aforementioned torrents of red torment, and you’ve got a good little gothic terror on your hands.” – Bill Gibron, Pop Matters

Wishmaster

493. (0) Wishmaster

Robert Kurtzman

1997 / USA / 90m / Col / Black Comedy | IMDb
Tammy Lauren, Andrew Divoff, Robert Englund, Chris Lemmon, Wendy Benson-Landes, Tony Crane, Jenny O’Hara, Kane Hodder, Tony Todd, Ricco Ross

“A well directed, extremely gory, funny romp. It grabs you in the beginning with an over the top slaughter fest set in old Persia and never lets go. This flick has enough imagination for three movies and is not ashamed to also borrow elements from previous genre films . A little bit of “Hellraiser” here, a pinch of “Elm Street” there…hey…it never hurts. This film is a throwback to 80’s vibe horror with jaw dropping special effects, weird dream sequences, funny one liners and a wonderful nasty villain.” – The Arrow, Arrow in the Head

Angustia

494. (-27) Angustia

Bigas Luna

1987 / Spain / 86m / Col / Slasher | IMDb
Zelda Rubinstein, Michael Lerner, Talia Paul, Àngel Jové, Clara Pastor, Isabel García Lorca, Nat Baker, Edward Ledden, Gustavo Gili, Antonio Regueiro

“With this film I get the feeling of having got two different film for the price one and the whole thing is definitely greater than the sum of it parts. I loved the over-the-top melodrama of The Mommy with its grisly eye horror, vengeful madwoman and deeply trippy hypnosis scenes but I also thought Anguish itself was nice tense thriller film too all framed nicely together to form a wry and entertaining examination of the relationship between the audience and the film. This film had me gripped me right up until the old man in the cloth cap got up and left the cinema.” – Peter Anderson, Nameless Horror

Deliria

495. (-19) Deliria

Michele Soavi

1987 / Italy / 90m / Col / Slasher | IMDb
David Brandon, Barbara Cupisti, Domenico Fiore, Robert Gligorov, Mickey Knox, Giovanni Lombardo Radice, Clain Parker, Loredana Parrella, Martin Philips, James Sampson

“If most surreal horror is something like a messy dream, Soavi’s debut is something almost better, a film in which dreamlike horror keeps interfering with something almost realistic, from the moment that dance number erupts in a back alley, to the deliberately obnoxious joke ending. It is horror expressed as purely as it can be, not so very frightening, but massively unsettling and chaotic, an exercise in crafting 90 minutes of uncanny sensory overload just for the pure brutal delight in doing it. This is, as such things go, not a terribly “meaningful” horror movie, theme-wise; but oh how very wonderfully it captures the capriciousness of the inexplicable and the psychotic!” – Tim Brayton, Antagony & Ecstasy

Humanoids from the Deep

496. (-8) Humanoids from the Deep

Barbara Peeters

1980 / USA / 80m / Col / Exploitation | IMDb
Doug McClure, Ann Turkel, Vic Morrow, Cindy Weintraub, Anthony Pena, Denise Galik, Lynn Theel, Meegan King, Breck Costin, Hoke Howell

“It’s this sort of attention to detail that makes Humanoids from the Deep an effective monster movie. Sure, it’s silly and exploitative, but it’s also a hoot to watch, particularly for gorehounds, Corman fans and cult enthusiasts. This isn’t a film built for most mainstream audiences – it’s simply too audacious, too nasty, and too off-the-wall to be accepted as A-level entertainment. But, in an era where movies like Alien and Halloween were filling theaters with teen fans hungry for more, Humanoids delivers in bloody spades. And years later, in continues to impress.” – R.L. Shaffer, IGN

The Mothman Prophecies

497. (-31) The Mothman Prophecies

Mark Pellington

2002 / USA / 119m / Col / Psychological | IMDb
Richard Gere, David Eigenberg, Bob Tracey, Ron Emanuel, Debra Messing, Tom Stoviak, Yvonne Erickson, Scott Nunnally, Harris Mackenzie, Will Patton

““The Mothman Prophecies,” delves into numerous sightings that occurred in Point Pleasant in the 1960s. But director Mark (“Arlington Road”) Pellington’s stylishly eerie movie would be just as effective without this knowledge. Using shadows and strikingly designed sounds, he skillfully creates an atmosphere of otherworldly, invisible menace. Gere and Linney, both solid, dance around the edges of a romance. Alan Bates contributes a juicy cameo as a spooked-out scientist. Pellington knows, as did the 1940s master of horror Val Lewton, that what you don’t see can raise far more goose bumps than what you do.” – David Ansen, Newsweek

Puppet Master

498. (-44) Puppet Master

David Schmoeller

1989 / USA / 90m / Col / Evil Doll | IMDb
Paul Le Mat, William Hickey, Irene Miracle, Jimmie F. Skaggs, Robin Frates, Matt Roe, Kathryn O’Reilly, Mews Small, Barbara Crampton, David Boyd

“The puppeteering while ancient is still rather eye catching as Schmoeller saves time and money by picture most of the puppets through point of view shots and roaming angles through the hotel while relying on stop motion to do the rest of the work vividly painting a picture of the characters and their own innovative defense mechanisms. Including the Tunneler and his steel drill atop his head, and Blade whose own hook and knife combo would become a trademark of the series. “Puppet Master” ends as a fairly Frankenstein-ish film that meshes dream like paranoia with classic monster movie tropes to bring us the first of a lasting money fueling legacy for the Full Moon collective.” – Felix Vasquez Jr., Cinema Crazed

Don't Breathe

499. (+49) Don’t Breathe

Fede Alvarez

2016 / USA / 88m / Col / Home Invasion | IMDb
Stephen Lang, Jane Levy, Dylan Minnette, Daniel Zovatto, Emma Bercovici, Franciska Töröcsik, Christian Zagia, Katia Bokor, Sergej Onopko, Olivia Gillies

“The key highlight of director Fede Alvarez’s movie is innovation. There’s a segment in the movie shot in pitch darkness with grey night vision and that has the potential to be the most frightening 10 minutes of your life. Even the build up on the sequence where the gang breaks in to the house at night is just nerve-wracking. You can easily compare Don’t Breathe to thriller horror classics like Psycho, Old Boy and Vertigo. The tension here is so authentic and gripping this film can impress even those with nerves of steel. Forget those CGI-driven ghost soap operas that pretend to be horror movies. This film, its dark basement environments and its superlative camera and sound work is like a real life nightmare unfolding on the big screen.” – Rachit Gupta, Filmfare

Green Room

500. (+64) Green Room

Jeremy Saulnier

2015 / USA / 95m / Col / Thriller | IMDb
Anton Yelchin, Joe Cole, Alia Shawkat, Callum Turner, David W. Thompson, Mark Webber, Macon Blair, Eric Edelstein, Michael Draper, Andy Copeland

“A merciless maelstrom set within grungy, cramped quarters for much of its 94 minutes, “Green Room” mounts and mounts with grabby urgency and anything-can-happen danger. A battle of wits and survival begins as Darcy uses his power of persuasion from the other side of the door and asks the band to hand over the gun they’ve retrieved, forcing The Ain’t Rights to become resourceful in other ways as they plan their escape out of that one door. When the kill-or-be-killed spree takes off in the second half, the violence is very savage and matter-of-fact without coming across gratuitous for the hell of it. It’s also underscored by cinematographer Sean Porter having an eye for making nerve-shredding chaos look controlled.” – Jeremy Kibler, The Artful Critic