They Shoot Zombies, Don't They?


The 1,000 Greatest Horror Films: #901-#1000

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

Kitchen Sink

901. (-31) Kitchen Sink

Alison Maclean

1989 / New Zealand / 14m / Col / Surrealism | IMDb
Theresa Healey, Peter Tait, Annagretta Christian

“The relationship that developed between the woman and the man/monster was reminiscent of myths and fairy tales. Containing almost no dialogue, KITCHEN SINK presented the story as a dreamlike succession of events. Cleverly structured, the film returned again and again to a few motifs – hair, water, eye and razor – reminiscent of early surrealist films such as Un Chien Andalou. These images, reinforced by an eerie soundtrack, had a gut-level impact on audiences, who gasped, laughed, and screamed.” – Roger Horrocks, Film in Aotearoa New Zealand

Friday the 13th Part VII: The New Blood

902. (new) Friday the 13th Part VII: The New Blood

John Carl Buechler

1988 / USA / 88m / Col / Slasher | IMDb
Jennifer Banko, John Otrin, Susan Blu, Lar Park-Lincoln, Terry Kiser, Kevin Spirtas, Susan Jennifer Sullivan, Heidi Kozak, Kane Hodder, William Butler

“[It] really wants to do something different. “Different,” in this case, means gene-splicing elements from another film into the familiar formula, and the result – about a face-off between the hulking masked maniac and a troubled teen with telekinesis – is fondly if not quite respectfully called “Carrie Meets Jason.” You cannot really take the results seriously, but they are fun, offering both an interesting subplot and a chance to see something never really shown in a Friday film before: Jason getting his ass handed to him on a platter. “Purists” might object to seeing their favorite anti-hero dissed so badly, but anyone looking for a good time should be able to get at least a few chuckles out of seeing Jason meet his match.” – Steve Biodrowski, Cinefantastique

La bête

903. (-32) La bête

Walerian Borowczyk

1975 / France / 93m / Col / Fantasy | IMDb
Sirpa Lane, Lisbeth Hummel, Elisabeth Kaza, Pierre Benedetti, Guy Tréjan, Roland Armontel, Marcel Dalio, Robert Capia, Pascale Rivault, Hassane Fall

“Like so much provocative 1970s cinema, The Beast is representative of both the visual and aesthetic freedom allowed by the decade’s ease in censorship. Ironically though, having imbued its narrative with so much heavy thematic material, it was refused classification by the BBFC (though perhaps it was more to do with the continuous presence of giant, endlessly excited stallion). The combination of extreme sexual imagery and Borowczyk’s usual sense of powerful art-house ideas is still a shock today though one that is perhaps even more relevant in times of easy access misogyny and unquestioning desires of will at the click of a button.” – Adam Scovell, Celluloid Wicker Man

Blue Sunshine

904. (+13) Blue Sunshine

Jeff Lieberman

1978 / USA / 94m / Col / Zombie | IMDb
Zalman King, Deborah Winters, Mark Goddard, Robert Walden, Charles Siebert, Ann Cooper, Ray Young, Alice Ghostley, Stefan Gierasch, Richard Crystal

“The fantastic thing about Blue Sunshine is that it’s not some grungy, low-wattage chiller hanging on numbing shock value to entertain the masses. Instead, Lieberman scripts up something displaying a little restraint, turning the wrath of bald madmen into a tasteful thriller of sorts, highlighting Jerry’s clumsy attempts at detecting and evading. The majority of the movie is devoted to the wanted man gathering critical clues, trying desperately to understand what’s behind the sudden rash of murderous behavior. The investigative aspects of Blue Sunshine are actually semi-compelling, resembling a crisp television production from the 1970s (even including a cameo by Alice Ghostley), keeping tensions brightly lit and emphatically performed. Not that the central mystery behind the drug makes a whole heap of sense, but the director sells the rising anxiety with confidence, pulling the viewer into this odd world of emotional outbursts and heated interrogation.” – Bloody Disgusting


905. (+15) Maléfique

Eric Valette

2002 / France / 90m / Col / Supernatural | IMDb
Gérald Laroche, Philippe Laudenbach, Clovis Cornillac, Dimitri Rataud, Didier Bénureau, Félicia Massoni, Geoffrey Carey, Paul-Alexandre Bardela, Boris Lutz

“Although “Malefique” is set almost entirely in one room, debut director Eric Valette never allows things to get boring, and actually uses this restriction to his advantage, shooting the location for maximum claustrophobia and giving the viewer the unpleasant sensation of being trapped along with the characters. The film has a grimy, shadowy feel influenced by the works of H.P. Lovecraft, which makes for a very creepy and unsettling atmosphere. The plot moves along at a fair pace, with well-timed revelations, and Valette makes the brave move of not simply spoon feeding the viewer answers or explanations for the increasingly bizarre events.” – James Mudge, Beyond Hollywood

Sette note in nero

906. (-31) Sette note in nero

Lucio Fulci

1977 / Italy / 95m / Col / Giallo | IMDb
Jennifer O’Neill, Gabriele Ferzetti, Marc Porel, Gianni Garko, Ida Galli, Jenny Tamburi, Fabrizio Jovine, Riccardo Parisio Perrotti, Loredana Savelli, Salvatore Puntillo

“What makes The Psychic such a unique film is its atmosphere. This is neither your typical giallo nor your typical Lucio Fulci movie. Unlike Bava or Argento, who are well known for the array of eye-catching color in their films, Fulci has painted a canvas of grim darkness; the director went for a stripped-down, no-B.S. aesthetic in making The Psychic. You have none of the flashy, eye-gouging gore effects of Zombi 2, except for a brief pre-credits sequence; here the horror is more cerebral than visceral. Fulci doesn’t find it necessary to throw blood and entrails all over the place in this film, and so his genius for nauseating effects is sublimated into suspense.” – Lindsey Churosh, Classic-Horror


907. (-33) Secuestrados

Miguel Ángel Vivas

2010 / Spain / 85m / Col / Home Invasion | IMDb
Fernando Cayo, Manuela Vellés, Ana Wagener, Guillermo Barrientos, Dritan Biba, Martijn Kuiper, Xoel Yáñez, Luis Iglesia, Pepo Suevos, Eduardo Torroja

“Vivas’ biggest contribution to a familiar premise comes in his staging. Kidnapped consists almost exclusively of long tracking shots, which closely follow the characters in and out of cars, around the house, and even when they get violently knocked to the ground. Vivas also makes good use of split-screens, simultaneously showing what’s happening with Cayo and the kidnapping ringleader as they drive to an ATM, and what’s happening with the people they left behind, or showing what’s happening in adjoining rooms as Vellés and Wagener desperately try to call the police while the invaders try to stop them by threatening a surprise visitor.” – Noel Murray, AV Club


908. (new) Unfriended

Levan Gabriadze

2014 / USA / 82m / Col / Found Footage | IMDb
Cal Barnes, Matthew Bohrer, Courtney Halverson, Shelley Hennig, Renee Olstead, Will Peltz, Mickey River, Heather Sossaman, Moses Jacob Storm, Jacob Wysocki

“Rather than attempting to take us on a Hackers-style trip behind the screens, Unfriended plays on the addictive pull of the screen itself. Like James Woods being physically seduced by his TV in David Cronenberg’s Videodrome, the real horror here is our irritating antiheroes’ inability to pull themselves away from their laptops. Despite repeatedly telling each other to “just log off”, all are compelled to stay online; to open links that can only work their destructive magic if empowered to do so by the “user” – a word with entirely appropriate drug-addiction overtones. While the cast expend much energy trying to figure out the identity of their tormentor (the narrative follows the familiar “anniversary of death” riffs of Halloween, My Bloody Valentine, I Know What You Did… etc), the film forces its audience to spend 80-odd minutes effectively staring the bogeyman straight in the face.” – Mark Kermode, Observer


909. (-32) TerrorVision

Ted Nicolaou

1986 / USA / 83m / Col / Comedy | IMDb
Diane Franklin, Gerrit Graham, Mary Woronov, Chad Allen, Jon Gries, Bert Remsen, Alejandro Rey, Randi Brooks, Jennifer Richards, Sonny Carl Davis

“Make no bones about it, ‘Terrorvision’ falls firmly into the horror-comedy category with the emphasis heavily on the latter. Unlike many B-Movies, it’s self-aware and every one of the frequent laugh out loud moments is intentional and earned. The cast are solid and Ted Nicolaou’s direction is quirky and interesting in depicting the seediness and suburban weirdness of the family – slightly reminiscent of Tim Burton’s work, back in those long gone days when Burton still made films with original ideas in them. These elements would be enough to give the film a recommendation, but the absolute clincher for monster kids everywhere should be the creature itself. It looks truly fantastic and is full of personality with a face that’s pug-like in its ugly/cuteness.” – Michael Rose, Mysterious Universe


910. (+15) Trauma

Dario Argento

1993 / Italy / 106m / Col / Giallo | IMDb
Christopher Rydell, Asia Argento, Piper Laurie, Frederic Forrest, Laura Johnson, Dominique Serrand, James Russo, Ira Belgrade, Brad Dourif, Hope Alexander-Willis

“Dario Argento’s first American feature, was almost uniformly ignored or disparaged as “Americanised,” ie, cleaned up and “dumbed down.” Another adjective, unutterable but couched there in the silence, was “feminised.” The maestro had suddenly gone soft on women… The film’s issues are the stuff of female gothic and 1990s “trauma culture”: anorexia/bulimia nervosa, dysfunctional mother-daughter relationships, oppressive medical institutions, malpractice cover-ups, recovered memories, incest and false memory syndrome. The pop psychology usually left by Argento to subtext or used to wrap an already baroque finale, Trauma foregrounds and then develops in its case-study of a suicidal anorexic and a mother traumatised by the loss of her infant son.” – Linda Badley, Kinoeye


911. (-28) Below

David Twohy

2002 / USA / 105m / Col / Supernatural | IMDb
Matthew Davis, Bruce Greenwood, Holt McCallany, Dexter Fletcher, Nick Chinlund, Olivia Williams, Scott Foley, Andrew Howard, Christopher Fairbank, Chuck Ellsworth

“There isn’t a lot of blood and gore in it, and the movie prefers to get its chills from a more atmospheric approach. Also, CGI effects are kept to a minimum unlike recent horror movies such as “The Haunting” and “Thirteen Ghosts”. In this sense, “Below” is an almost old-fashioned movie. Not only are the special effects used sensibly, but it is edited and put together in a way that doesn’t treat the audience as if they might have attention deficit syndrome. So no swirling camera movements and music video editing… Its cast of unknowns is effective, and “Below” tries to keep the amount of submarine warfare clichés to a minimum… If the movie has any faults, it is perhaps because it doesn’t employ its atmospheric setting as effectively as it could have.” – James O’Ehley, Movie Gurus

The Ghoul

912. (new) The Ghoul

T. Hayes Hunter

1933 / UK / 77m / BW / Mystery | IMDb
Boris Karloff, Cedric Hardwicke, Ernest Thesiger, Dorothy Hyson, Anthony Bushell, Kathleen Harrison, Harold Huth, D.A. Clarke-Smith, Ralph Richardson

“It is perhaps a happy series of accidents that led to the results here, but whatever the case, the film is richly melodramatic horror — with marvelous performances, a witty script, atmospheric direction and a surprising number of effective shocks — including a final scene for Karloff that may well be the grimmest and most startling moment in classic horror.” – Ken Hanke, Mountain Xpress

Mum & Dad

913. (-35) Mum & Dad

Steven Sheil

2008 / UK / 84m / Col / Thriller | IMDb
Perry Benson, Dido Miles, Olga Fedori, Ainsley Howard, Toby Alexander, Micaiah Dring, Mark Devenport, Chris Roebuck, Clare Dyer, Penny Andrews

“A blackly comical twist on the torture porn genre, this lean, mean British horror is just gonzo enough to overcome the limits of the formula and keep us entertained. And it’s a truly vicious satire of family life… Filmmaker Shiel is pretty daring to take on heavy shades of the Fred and Rosemary West story here, mixing a biting pastiche of family movies with extreme gore. Cleverly shot and edited, the film continually shifts from bright and perky to dark and terrifying within moments, and constantly undercuts the horror with grim humour. It’s a bold mix, and credit should go to Shiel and his cast for making it work as well as it does.” – Rich Cline, Shadows on the Wall

The Uninvited

914. (+18) The Uninvited

Charles Guard & Thomas Guard

2009 / USA / 87m / Col / Psychological | IMDb
Emily Browning, Arielle Kebbel, David Strathairn, Elizabeth Banks, Maya Massar, Kevin McNulty, Jesse Moss, Dean Paul Gibson, Don S. Davis, Lex Burnham

“An effective blend of thriller and horror – of The Hand that Rocks the Cradle and The Grudge – The Uninvited is the best Hollywood adaptation of an Asian horror title since The Ring. Taut, nervy performances, lean, unobtrusive direction and a smattering of wit in the script make this the rare horror picture that rises above cheesy “gotchas” and gore… You can see the payoff coming and like many movies of the genre, there’s a tendency to oversell the coda… But that bit of dumbing down doesn’t make The Uninvited any less welcome.” – Roger Moore, Orlando Sentinel

The Dark Half

915. (+62) The Dark Half

George A. Romero

1993 / USA / 122m / Col / Supernatural | IMDb
Timothy Hutton, Amy Madigan, Michael Rooker, Julie Harris, Robert Joy, Kent Broadhurst, Beth Grant, Rutanya Alda, Tom Mardirosian, Larry John Meyers

“The idea that something real – an absorbed twin, a tumor in the brain – and something fictitious, like a nom de plume, could both be somehow intertwined is a very rare plot-point in cinema, and perhaps the greatest compliment one could give Romero is that, rather than trying to explain it all away or invent a justification through science or medicine, the situation is allowed to be as nuanced and unclear as cinema can be without becoming lazy. If you take away the psychopomps and all other literary flourishes, there is still the story of a man being hunted by something he invented but doesn’t understand; if you take away the blood-lust of the revenge-film hierarchy, there’s still a man at war with himself, or a physical representation of himself. The Dark Half, for all its flaws, is a movie happy to exist in a limbo where reality and fantasy are conjoined and almost inseparable, and that at least is worthy of admiration.” – Adam Balz, Not Coming To a Theater Near You

The Awakening

916. (+19) The Awakening

Nick Murphy

2011 / UK / 107m / Col / Haunted House | IMDb
Rebecca Hall, Dominic West, Imelda Staunton, Isaac Hempstead Wright, Shaun Dooley, Joseph Mawle, Diana Kent, Richard Durden, John Shrapnel, Cal Macaninch

“The camera slowly pans through empty spaces that are hushed carefully composed, but shot at dynamic angles, music rumbles faintly, and the overweening sense of expectation and dread is set in motion, but it is Hall’s performance as our surrogate in this cinematic universe, that is key and it is perfection. A cool exterior masking an interior that is slowly becoming untethered by circumstances beyond her ability to process. It is an understated, finely honed performance that reveals much by using little and is all the more complex for it… Though slightly undone by a twist that demands a grain or two too much credulity on the part of the viewer, it nonetheless triumphs as a tone poem of an unsettled zeitgeist that plays cat-and-mouse with that same viewer right until the very end.” – Andrea Chase, Killer Movie Reviews

Dracula A.D. 1972

917. (+17) Dracula A.D. 1972

Alan Gibson

1972 / UK / 96m / Col / Vampire | IMDb
Christopher Lee, Peter Cushing, Stephanie Beacham, Christopher Neame, Michael Coles, Marsha A. Hunt, Caroline Munro, Janet Key, William Ellis, Philip Miller

“[I]n the proud cinematic tradition of Abbott & Costello Meet the Mummy and The Three Stooges Meet Hercules, I give you this week’s title, Dracula A.D. 1972 — a riotously campy encounter between Christopher Lee’s legendary Carpathian bloodsucker, Peter Cushing’s tweedy Van Helsing, and a bevy of swinging Carnaby Street ‘birds’ lining up for the kill in miniskirts and go-go boots. Let me be clear about one thing upfront… Dracula A.D. 1972 isn’t a great movie. It isn’t even a great Hammer Dracula movie. But it is an undeniable hoot to watch” – Chris Nashawaty, Entertainment Weekly

Bride of Re-Animator

918. (-37) Bride of Re-Animator

Brian Yuzna

1989 / USA / 96m / Col / Zombie | IMDb
Jeffrey Combs, Bruce Abbott, Claude Earl Jones, Fabiana Udenio, David Gale, Kathleen Kinmont, Mel Stewart, Irene Cagen, Michael Strasser, Mary Sheldon

“Bride of Re-Animator is among the most gleefully disgusting films of all time, a splatterfest leavened by liberal doses of macabre good humour (“My god, they’re using tools!”) that, in sort of an odd way, speaks to the inappropriateness of the whole enterprise. Moments of mordant hilarity aside, what works in the picture works extremely well (namely the old-school special effects, and Combs), and if Bride of Re-Animator lacks the intimate cohesion of the first film despite its desire to resurrect a feeling of doomed love, it at least isn’t coy about ladling out the goodies.” – Walter Chaw, Film Freak Central

Scars of Dracula

919. (+17) Scars of Dracula

Roy Ward Baker

1970 / UK / 96m / Col / Vampire | IMDb
Christopher Lee, Dennis Waterman, Jenny Hanley, Christopher Matthews, Patrick Troughton, Michael Gwynn, Michael Ripper, Wendy Hamilton, Anouska Hempel

“The movie can drive a horror fan nuts. The script by “John Elder” (Hammer exec Anthony Hinds) is awkward and routine, annoyingly different from the previous Hammer Draculas, but very like lots of other horror movies. Unlike the previous entries in the series, there’s very little continuity between ‘Scars’ and its predecessor… The movie is frustrating because so much of it is so routine, and some of it looks so cheap – while more attention is paid to the character, the personality, of Dracula than in ANY of the previous Hammer outings… But despite this, and the generally high level of acting one expects from Hammer, the movie cannot evade a second-string, hangdog aura.” – Bill Warren, Audio Video Revolution


920. (+65) Honeymoon

Leigh Janiak

2014 / USA / 87m / Col / Psychological | IMDb
Rose Leslie, Harry Treadaway, Ben Huber, Hanna Brown

“Janiak is concerned with exploring how relationships break down and Honeymoon operates much better as an examination of married life than it ever does as a creepy horror flick. One morning Paul wakes up and feels like he doesn’t know his other half anymore. He feels frustrated, he feels trapped. Their sex life grinds to a halt. Bea finds her identity being chipped away by a relationship that is feeling increasingly like a performance. She still wants to love her husband but she can’t talk to him about what’s really going on and how she’s feeling. That’s the real horror of the piece – questioning how well you really know the person you’ve committed your life to. This is all subtext, of course, but it’s wonderfully conveyed in way that’s both subtle and hard to miss.” – Joe Cunningham, Film4


921. (-36) Popcorn

Mark Herrier

1991 / USA / 91m / Col / Slasher | IMDb
Jill Schoelen, Tom Villard, Dee Wallace, Derek Rydall, Malcolm Danare, Elliott Hurst, Ivette Soler, Freddie Simpson, Kelly Jo Minter, Karen Lorre

“Reggae, a Zaza score, a Vincent Price-ish villain with shades of Freddy Krueger, the film is a mish-mash of several different influences and makes for quite a unique film. It may not be the scariest or goriest movie that you could choose to watch during a festive October evening, but wearing it’s love of horror films of the past on its sleeve, I can’t help but recommend it. It’s a lot like mixing a bag of M&Ms into your warm buttery popcorn. Sure, it doesn’t completely fit, but somehow makes for a delicious taste uniquely its own.” – Wes R., Oh, The Horror


922. (+68) Shocker

Wes Craven

1989 / USA / 109m / Col / Slasher | IMDb
Michael Murphy, Peter Berg, Mitch Pileggi, Sam Scarber, Camille Cooper, Ted Raimi, Keith Anthony-Lubow-Bellamy, Heather Langenkamp, Virginia Morris, John Tesh

“With its freewheeling mixture of gore, surrealism and Freud, it will do almost anything to grab attention. The basic gimmick of the story is that the killer, via black magic, can remain immortal in spirit by repeatedly electrocuting himself with television sets. Through electrical contact, he can also enter the bodies of others and turn them into hissing fiends. The only way to stop him is to turn off the power. If the movie’s metaphors are as obvious and as portentous as the heavy metal music that punctuates the action, ‘Shocker’ at least has the feel of a movie that was fun to make. Just when you think that every trick has been thrown in but the kitchen sink, it goes in too, along with stove and the refrigerator.” – Stephen Holden, New York Times

Kyôfu kikei ningen: Edogawa Rampo zenshû

923. (-35) Kyôfu kikei ningen: Edogawa Rampo zenshû

Teruo Ishii

1969 / Japan / 99m / Col / Exploitation | IMDb
Teruo Yoshida, Yukie Kagawa, Teruko Yumi, Mitsuko Aoi, Michiko Kobata, Yumiko Katayama, Kei Kiyama, Reiko Mikasa, Miki Obana, Michi Tanaka

“Visually the film is breathtaking. Ishii, a director known for revelling in the erotic, violent and bizarre, is on top form in this quirky tale. While the scripting weaves an incredibly intricate and unconventional narrative, the look and feel of the film follows suit. There are some spectacular scenes on offer. The cinematography is just mind-blowing; the colours gaudy and luscious, which makes the whole thing just pop. Ishii also adds in a psychedelic flavour with some innovative editing techniques- also applying light filters in a couple of scenes to build on this factor.” – Kat Ellinger, The Gore Splattered Corner

Misterios de ultratumba

924. (-33) Misterios de ultratumba

Fernando Méndez

1959 / Mexico / 82m / BW / Supernatural | IMDb
Gastón Santos, Rafael Bertrand, Mapita Cortés, Carlos Ancira, Carolina Barret, Luis Aragón, Beatriz Aguirre, Antonio Raxel, J. Portillo, Abel Salazar

“Mexican director Fernando Méndez crafts astoundingly atmospheric visuals and writer Ramón Obón spins a dizzyingly suspenseful story, both creating an unforgettable film with The Black Pit of Dr. M. The visuals of the long halls of the arcane mental hospital, the dense fog, the Doctor’s villa and the dark shadows will strike you first. There are certain shots that are framed to perfection, including one scene that features the starkly back-lit gallows, which rival any of the classic Universal horror films for their gothic mystique. Secondly, you will notice that the story of intrigue builds upon itself and never leaves a dull moment. Not only that, but time is adequately taken to properly develop the characters as the story unfolds. While the gorgeously gothic visuals help grab your attention and establish the dark mood of the film, it’s the compounding storyline that keeps building that really sets this masterpiece apart.” – Sarah E. Jahier, Fatally Yours’ Horror Reviews

Yi boh lai beng duk

925. (-32) Yi boh lai beng duk

Herman Yau

1996 / Hong Kong / 98m / Col / Splatter | IMDb
Anthony Wong Chau-Sang, Ming Wan Yeung, Fui-On Shing, Tsui-Ling Wong, Miu-Ying Chan, Meng Lo, Lu Cheung, Edward Corbett, Lorraine Ho, Cheung-Lung Kai

“As unbelievable as it may sound, veteran director Herman Yau’s film is actually a comedy, albeit a very, very sick one, which only those with cast iron stomachs and loose sensibilities are liable to find funny. Despite, or perhaps due to the torrent of non-stop atrocities on screen, the film is far too ridiculous to be taken seriously, and everyone involved seems to have had a great deal of fun challenging the viewer’s sense of morality, with a sly wink and their tongues placed firmly in their cheeks. At the end of the day, it’s pretty hard not to crack a smile at a film which has scenes of genre king Anthony Wong, again playing a drooling psychotic, on the run in the wilds of Africa trying to hold up his trousers while being chased by a leopard.” – James Mudge, Beyond Hollywood

Lady in a Cage

926. (-34) Lady in a Cage

Walter Grauman

1964 / USA / 94m / Col / Home Invasion | IMDb
Olivia de Havilland, James Caan, Jennifer Billingsley, Rafael Campos, William Swan, Jeff Corey, Ann Sothern

“Usually lumped with the other ‘hag horror’ films after What Ever Happened to Baby Jane? by virtue of the presence of golden-age screen star Olivia de Havilland, Lady in a Cage is actually an upscale version of marginal movies like The Sadist – realistic accounts of everyday atrocious crimes in the modern world. Tricked up with blatant criticisms of contemporary society, Luther Davis and Walter Grauman’s film can’t escape an essential sickness: Like its low-grade drive-in competition, it is first and foremost an exercise in sordid exploitation.” – Glenn Erickson, DVDTalk

Baby Blood

927. (+14) Baby Blood

Alain Robak

1990 / France / 82m / Col / Splatter | IMDb
Emmanuelle Escourrou, Christian Sinniger, Jean-François Gallotte, Roselyne Geslot, François Frappier, Thierry Le Portier, Rémy Roubakha, Eric Averlant, Alain Robak

“Although it is frequently found lacking in the depth department, BABY BLOOD makes up for its shallow storytelling with plenty of outrageous gore and sadistic black humor. Alain Robak is far more concerned with the film’s intense visual style and moody atmosphere than in trying to explain the origins behind the parasite and its host. The creature’s internal dialog creates a number of entertaining moments as Yanka reacts with sudden outbursts of laughter and rage. Robak’s kinetic camera work follows Yanka’s knife as she buries in to her victims at ramming speed, producing absurd amounts of blood that drench the entire set in the process.” – Carl Manes, I Like Horror Movies

The Stand

928. (-34) The Stand

Mick Garris

1994 / USA / 366m / Col / Supernatural | IMDb
Gary Sinise, Molly Ringwald, Jamey Sheridan, Ruby Dee, Miguel Ferrer, Corin Nemec, Matt Frewer, Adam Storke, Ray Walston, Rob Lowe

“It doesn’t have anything like the usual steady, predictable rhythms of a miniseries-its scenes are of uneven lengths, and sometimes important characters disappear for hours at a time. The unexpected structure of the film-sort of an artful jumble-helps build suspense, because you realize very quickly that this movie doesn’t behave like other TV shows; anything can happen at any time. Garris also takes more care with the look of his film than most TV-movie directors-surely this is one of the prettiest scary movies ever made-and some entire scenes unfold without dialogue, a great rarity in television land.” – Ken Tucker, Entertainment Weekly

The Hamiltons

929. (-32) The Hamiltons

Mitchell Altieri & Phil Flores

2006 / USA / 86m / Col / Vampire | IMDb
Cory Knauf, Samuel Child, Joseph McKelheer, Mackenzie Firgens, Rebekah Hoyle, Brittany Daniel, Al Liner, Jena Hunt, Tara Glass, Larry Laverty

“The Butcher Brothers really wanted to make something different that was an amalgamation of genres and have pulled it off admirably with The Hamiltons, mixing the plight of trying to fit in in American suburbia with the rather unique drama that’s involved with keeping live women chained in your basement Certainly not an easy task at all… The Hamiltons is a tough movie to categorize. Though horror is its most obvious place setting, the other elements that are mixed in help to give it a unique voice. Ultimately it’s a question of whether you want some more subtly in your horror as well because The Hamiltons is virtually gore free aside from a few key shots.” – Johnny Butane, Dread Central

Dead Set

930. (+23) Dead Set

Yann Demange

2008 / UK / 141m / Col / Zombie | IMDb
Jaime Winstone, Andy Nyman, Riz Ahmed, Warren Brown, Liz May Brice, Beth Cordingly, Chizzy Akudolu, Adam Deacon, Kevin Eldon, Kathleen McDermott

“Vulgar and noisy, and often disgustingly hilarious, Dead Set is the perfect pop-culture poison for those of us convinced the world of Big Brother and its spawn is an endless night of the living dead, turning participants and fans alike into craven zombies. “They’re thick as s–t! As long as we’re still breathing, we’re smarter than them,” says one of Dead Set’s heroes, dismissing the threat outside. But we know better. In this unforgiving and relentlessly chaotic pitch-black farce, humans are their own worst enemy.” – Matt Roush, TV Guide

Friday the 13th: A New Beginning

931. (new) Friday the 13th: A New Beginning

Danny Steinmann

1985 / USA / 92m / Col / Slasher | IMDb
Melanie Kinnaman, John Shepherd, Shavar Ross, Richard Young, Marco St. John, Juliette Cummins, Carol Locatell, Vernon Washington, John Robert Dixon, Jerry Pavlon

“Setting the movie in and around a mental institute provides some freshness, plus an amusingly excessive early moment in which a twitchy inmate hacks up a fellow resident just for being fat and annoying. The “mystery” killer gets an array of sinister close-ups just in case we can’t guess for ourselves, and many characters are introduced for the purpose of having flares / meat cleavers / machetes shoved into their bodies. The deepest character development is to give one guy a stutter.” – Steven West, Horrorscreams

The Tunnel

932. (+15) The Tunnel

Carlo Ledesma

2011 / Australia / 90m / Col / Found Footage | IMDb
Bel Deliá, Andy Rodoreda, Steve Davis, Luke Arnold, Goran D. Kleut, James Caitlin, Ben Maclaine, Peter McAllum, Rebecca Clay, Shannon Jones

“Taking a chapter from “The Blair Witch Project” and a page from 1973 cult item “Raw Meat,” Aussie mock doc “The Tunnel” delivers a pretty good spook show in the abandoned subway tunnels beneath downtown Sydney… Making the most of super-atmospheric locations never previously seen in an Aussie feature, debut helmer Carlo Ledesma is well served by his convincing quartet of thesps. Special kudos goes to Steve Davis, a real-life cameraman who performs impressively while also filming a sizable portion of the finished product… Ace lensing on a multitude of formats contributes significantly to the film’s believability as a found-footage item. All other technical aspects are excellent.” – Richard Kuipers, Variety


933. (-33) Dementia

John Parker

1955 / USA / 56m / BW / Psychological | IMDb
Adrienne Barrett, Bruno VeSota, Ben Roseman, Richard Barron, Ed Hinkle, Lucille Rowland, Jebbie VeSota, Faith Parker, Gayne Sullivan, Shorty Rogers

“This mostly ‘silent’, black and white film opens with a high-angle, night-time shot of a neon-lit street, when, after being invited by the narrator to come with him, ”into the tormented, haunted, half-lit night of the insane”, we are drawn slowly through an open window into a young lady’s bedroom, á la Orson Welles. On the bed lies the sleeping beauty squirming and clutching her bed-sheet tightly. Is she having a nightmare… or an erotic dream? Of this the audience is kept guessing, and from here on in, the tone is set for a private view into the young lady’s twisted and perverse psyche. After wakening from her dream-state, she takes a flick-knife from the drawer and ventures out onto the streets, where she encounters all forms of low-lives, debauchery and sexual depravity, all tied together by hallucination sequences that even have the viewer questioning ‘what is reality/ what is fantasy?’.” – Tony D’Ambra, Filmsnoir


934. (-22) Pandorum

Christian Alvart

2009 / UK / 108m / Col / Science Fiction | IMDb
Dennis Quaid, Ben Foster, Cam Gigandet, Antje Traue, Cung Le, Eddie Rouse, Norman Reedus, André Hennicke, Friederike Kempter, Niels-Bruno Schmidt

“Alvart’s cynicism about the current state of mankind helps make futuristic Pandorum interesting, but what makes it fun is his evident enthusiasm and talent for exploring the conventions of sci-fi films. The Elysia might be without a commander, but right from Pandorum’s opening sequence – a gliding tracking shot alongside a listless, corroding spaceship – we feel like we’re in the hands of a filmmaker who knows what he’s doing… By shooting hand-to-hand combat close-up in darkened, oil- and blood-soaked corridors, Alvart involves us completely in Bower’s creepy crawl through the Elysia’s rotten core. You’ll want two drinks and a longish shower after the movie is over.” – Stephen Cole, Globe and Mail


935. (-37) Isolation

Billy O’Brien

2005 / Ireland / 95m / Col / Nature | IMDb
Essie Davis, Sean Harris, Marcel Iures, Crispin Letts, John Lynch, Ruth Negga, Stanley Townsend

“Looking for an overlooked film? A little something much better than it sounds? A film you might pass by on the video shelf because you’ve never heard how good it is? Then check out ISOLATION. Working from a rather inauspicious premise (a genetic experiment on an Irish cow farm creates a killer mutant calf), writer-director Billy O’Brien conjures a remarkable genre achievement: a somber, sad, and absolutely convincing film that is also genuinely terrifying. ISOLATION is a wonderful example of the heights that the genre can achieve when the material is treated with absolute conviction and human sympathy, instead of the gleeful gore that mars too many modern efforts.” – Steve Biodrowski, Cinefantastique

Auch Zwerge haben klein angefangen

936. (-35) Auch Zwerge haben klein angefangen

Werner Herzog

1970 / Germany / 96m / Col / Black Comedy | IMDb
Helmut Döring, Paul Glauer, Gisela Hertwig, Hertel Minkner, Gertrud Piccini, Marianne Saar, Brigitte Saar, Gerd Gickel, Erna Gschwendtner, Gerhard Maerz

“While another director might have played this story of liberation and anarchy for its ecstasy (see Zéro de Conduite or Revenge of the Nerds) or its humanism (see A Man Escaped or The Great Escape), Herzog captures a moment of pure chaos—neither inspiring nor liberating—in all its nightmarish disarray. Rather than championing the dwarfs as masters of their condition, the film posits dwarfism as the condition of humanity as a whole. The characters in the film are therefore not dwarfs—it is the massive construct of the social order that has grown and mutated to unmanageable, elephantine proportions. Patient and unrelenting, Herzog stages this steady destruction of all property and propriety, a total deterioration of narrative logic and social norms emblematized by the images of a crucified monkey and a cannibalizing chicken.” – Leo Goldsmith, Not Coming to a Theater Near You

The Stone Tape

937. (-32) The Stone Tape

Peter Sasdy

1972 / UK / 90m / Col / Haunted House | IMDb
Michael Bryant, Jane Asher, Iain Cuthbertson, Michael Bates, Reginald Marsh, Tom Chadbon, John Forgeham, Philip Trewinnard, James Cosmo, Neil Wilson

“It is a genuinely scary and affecting piece of work, and applying rational thought to the ghost makes it more terrifying, not less. The Stone Tape continues to work because it does such a good job of raising questions to which we still don’t know the answers, even if our recording and computing equipment has changed beyond recognition. The fear of the inexplicable remains, and Jane Asher finds something malevolent recorded in the stone that defies our understanding. The feeling at the end of watching is that the surface of the stone has only just been scratched. Who knows what memories are locked up in the walls that surround us?” – Aliya Whiteley, Den of Geek

The Asphyx

938. (-34) The Asphyx

Peter Newbrook

1973 / UK / 99m / Col / Gothic | IMDb
Robert Stephens, Robert Powell, Jane Lapotaire, Alex Scott, Ralph Arliss, Fiona Walker, Terry Scully, John Lawrence, David Grey, Tony Caunter

“Visually, The Asphyx is beautiful. The film’s budget probably wasn’t significantly higher than other British horror films of the period, but it’s far more delicately lit and photographed than the typical, rudimentary techniques employed in other ’70s horror pictures. However, as beautifully lit as all the sets are, Newbrook’s direction is singularly inert… The Asphyx bears a passing resemblance to The Private Life of a Sherlock Holmes. Stephens taps into the same melancholy, and both films feature prologues set in present-day Britain, followed by main titles over dusty personal mementos from 70 years before. Newbrook’s lack of experience directing horror films – those he produced were similarly unusual but not good – probably accounts for several bad ideas that work against the film’s effectiveness.” – Stuart Galbraith IV, DVD Talk

The Night Flier

939. (-30) The Night Flier

Mark Pavia

1997 / USA / 94m / Col / Vampire | IMDb
Miguel Ferrer, Julie Entwisle, Dan Monahan, Michael H. Moss, John Bennes, Beverly Skinner, Rob Wilds, Richard K. Olsen, Elizabeth McCormick, J.R. Rodriguez

“THE NIGHT FLIER stays true to the source material, while changing a few things up that actually work better in this visual medium. Even though Dees is a complete and utter tool, we can’t help ourselves enjoy watching this despicable man go through a creepy investigation that ultimately leads to a confrontation that will decide his fate. In the realm of Stephen King adaptations, THE NIGHT FLIER is great. In the world of vampire films, it’s also great. This is an underrated gem of a movie that deserves more acclaim than it gets.” – Derrick Carter, For The Love Of Celluloid

The Sorcerers

940. (new) The Sorcerers

Michael Reeves

1967 / UK / 86m / Col / Science Fiction | IMDb
Boris Karloff, Catherine Lacey, Elizabeth Ercy, Ian Ogilvy, Victor Henry, Sally Sheridan, Alf Joint, Meier Tzelniker, Gerald Campion, Susan George

“”How long do you think all this can last?” asks a bored Mike at a swinging 60s happening. And this throwaway line becomes the central thread of Michael Reeves’s stunning second film The Sorcerers, the movie that would pave the way for his masterpiece Witchfinder General in 1968. While on the surface offering a seemingly carefree world of mind altering drugs, free love and promiscuous sex, Reeves instead probes deeper and suggests a darker side where moral laxity leads not to joy, but to destruction. For the characters who abandon responsibility, death is waiting.” – Tom Fallows, Classic-Horror

Valkoinen peura

941. (+16) Valkoinen peura

Erik Blomberg

1952 / Finland / 74m / BW / Supernatural | IMDb
Mirjami Kuosmanen, Kalervo Nissilä, Åke Lindman, Jouni Tapiola, Arvo Lehesmaa

“When it comes to sex or death, The White Reindeer’s American and European contemporaries generally traipse in darkness; in this rare collaboration, a husband-and-wife team managed to make daylight more terrifying. By endowing its fairy tale gimmick with the fruits of documentary filmmaking, The White Reindeer neutralizes the usual kill-the-monster anxieties that loom over 50s gothic, instead giving grandeur and melancholy to its feminist subtext by burying it – as countless other stories must be buried – in the frozen wilderness.” – Steve MacFarlane, Not Coming

The Taking

942. (new) The Taking

Adam Robitel

2014 / USA / 90m / Col / Found Footage | IMDb
Jill Larson, Anne Ramsay, Michelle Ang, Ryan Cutrona, Anne Bedian, Brett Gentile, Jeremy DeCarlos, Tonya Bludsworth, Julianne Taylor, Jana Allen

“This is not your average devilish demon wreaking hellish havoc while looking for a human host cliché. A clever origin story accompanies Deborah’s mania and the supporting players in her life are woven into its fabric very well. One item to note is that snake-related mythology plays an important role. Anyone fearful of slithering shapes will have double the reasons to find the film’s imagery terrifying and its climactic scene uniquely disturbing. Something else deserving a mention is how the film’s characters are written to behave with rational thought. When inexplicable events and increasingly deadly circumstances reach an intolerable point, one member of the documentary-making trio says enough is enough and abruptly exits, never to be seen again.” – Ian Sedensky, Culture Crypt

Gui da gui

943. (-30) Gui da gui

Sammo Hung Kam-Bo

1980 / Hong Kong / 102m / Col / Martial Arts | IMDb
Sammo Hung Kam-Bo, Fat Chung, Lung Chan, Ha Huang, Po Tai, Ching-Ying Lam, Ma Wu, Siu-Ming To, Billy Chan, Suet-Mei Leung

“Cult classics don’t come as any more clear-cut than Encounter of the Spooky Kind, an off-beat kung fu-comedy-horror flick which is sort of like Enter the Dragon meets The Evil Dead. Responsible for kick-starting a whole slew of Hong Kong cinema in the 80s, Encounter of the Spooky Kind is a crazy ride right from the opening scene until the classic showdown at the end. Mixing comedy, horror and martial arts in equal measure, director and actor Sammo Hung crafts a wonderfully ludicrous tale of hopping vampires, black magic and possession… It’s hard to find a film which is as all-round fun and entertaining as Encounter of the Spooky Kind. If you have any sort of interest in any of the three major genres this film mixes together, then you should check this out.” – Andrew Smith, Popcorn Pictures


944. (-34) Scarecrows

William Wesley

1988 / USA / 83m / Col / Supernatural | IMDb
Ted Vernon, Michael David Simms, Richard Vidan, Kristina Sanborn, Victoria Christian, David James Campbell, B.J. Turner, Dax Vernon, Tony Santory

“With this nasty, lean little thriller, director William Wesley demonstrates two things: scarecrows are freakin’ scary, and he’s not afraid to exploit it… there is something distinctly sinister in how scarecrows hang there watching you… they’re also usually perched in fields in the middle of nowhere, surrounded by nothing but corn, the occasional bird and an abandoned farmhouse in the distance. That’s where Wesley takes us, and in a hurry. Purposely slim on story, his Scarecrows is efficiently told and very well paced. It takes him a speedy six or seven minutes to establish the characters and their predicament, just enough time for the opening credits to finish up. After that, he spends the next 75 minutes or so getting down to the business of scaring the pants off of us. He succeeds enough times to make this movie worth recommending.” – Bryan Pope, DVD Verdict

Curse of Chucky

945. (-31) Curse of Chucky

Don Mancini

2013 / USA / 97m / Col / Evil Doll | IMDb
Chantal Quesnelle, Fiona Dourif, Jordan Gavaris, Danielle Bisutti, A Martinez, Maitland McConnell, Brennan Elliott, Summer H. Howell, Adam Hurtig, Darren Wall

“Curse of Chucky shows serious restraint, which is rare for a fifth sequel. Instead of jumping right in, Mancini works his way to the reveal, treating the film like an introduction to a completely new, younger audience. And even after ol’ Chuckster is on a path of destruction, Mancini continued to peel layer, after layer, after layer off of the story, blasting the hardcore fans with more hat-tips than they’ll be able to handle… It’s a sincere love letter to the fans that really drop the gloves and goes for it. For some, the self-referential model may even be a little too much – but it without question carries the biggest geek-out moments since the 2003 Freddy vs. Jason.” – Brad Miska, Bloody Disgusting

Scream and Scream Again

946. (+9) Scream and Scream Again

Gordon Hessler

1970 / UK / 95m / Col / Science Fiction | IMDb
Vincent Price, Christopher Lee, Peter Cushing, Judy Huxtable, Alfred Marks, Michael Gothard, Anthony Newlands, Peter Sallis, David Lodge, Uta Levka

“It doesn’t really matter that much of it is nonsense, since it moves at a brisk pace and there are all those grand performances. The music is rather interesting, from the funky opening theme to the generic chase music, to the Amen Corner’s extended jams in the Busted Pot, to the climax where the variety of tunes come together with a bewildering swiftness (the triply scene with Kontratz walking through a series of TV screens is very well done). If stoned plot development and structure are not an impediment , the Scream and Scream again is worthy of the highest accolades.” – Wendell McKay, The Shrieking Sixties: British Horror Films 1960 – 1969

Would You Rather

947. (-32) Would You Rather

David Guy Levy

2012 / USA / 95m / Col / Thriller | IMDb
Brittany Snow, Jeffrey Combs, Jonny Coyne, Lawrence Gilliard Jr., Enver Gjokaj, Sasha Grey, John Heard, Charlie Hofheimer, Eddie Steeples, June Squibb

“”Would you Rather?” has a good time with its premise, delivering some grueling moments of torture, while Jeffrey Combs is deliciously slimy. He’s a sadist, and he is more than willing to help people as long as they degrade and torture one another for his pleasure. Brittany Snow also takes an empathetic turn as this anxious young girl who does literally anything it takes to help her brother. “Would you Rather?” really manages to rise above the entire torture premise with some unnerving tension, jabs at morality, and darkly comedic moments that will inspire uneasy laughter.” – Felix Vasquez Jr., Cinema Crazed

The Village

948. (-37) The Village

M. Night Shyamalan

2004 / USA / 108m / Col / Mystery | IMDb
Bryce Dallas Howard, Joaquin Phoenix, Adrien Brody, William Hurt, Sigourney Weaver, Brendan Gleeson, Cherry Jones, Celia Weston, John Christopher Jones, Frank Collison

“The Village does require faith; you must commit to it. Go in with a snide attitude, desperate to see The Sixth Sense director fail, and you’ll leave with your prejudices underpinned. Better to embrace the experience and allow Shyamalan to show off his sublime gift for suspense. This may be the most gleefully manipulative movie since prime period Hitchcock. Yet even as the love it/loathe it third act unfolds, its narrative bullets spent, there are social issues to consider for those so inclined. Does the conclusion endorse isolationism or simply state This Is The Way Things Are? Whichever, one disquieting message is clear: we are as troubling as any monsters.” – Nev Pierce, BBC


949. (+35) Vamp

Richard Wenk

1986 / USA / 93m / Col / Vampire | IMDb
Chris Makepeace, Sandy Baron, Robert Rusler, Dedee Pfeiffer, Gedde Watanabe, Grace Jones, Billy Drago, Brad Logan, Lisa Lyon, Jim Boyle

“[T]he make up effects are fantastic with Grace Jones taking on the form of clawed monster with grotesque results, while every vampire has their own distinct personality and form allowing them individual bouts of horror with every lunge at our characters. Sandy Baron is a considerably excellent reluctant hero who becomes a vampire hunter as the film progresses, learning to survive among the rats in the sewers who desperately want to kill him to save their goddess Katrina. “Vamp” is a wonderful trip down memory lane and a horror comedy that still holds up to this day with vampires who were actually horrifying at one point in time.” – Felix Vasquez Jr., Cinema Crazed

Final Destination 3

950. (+18) Final Destination 3

James Wong

2006 / USA / 93m / Col / Supernatural | IMDb
Mary Elizabeth Winstead, Ryan Merriman, Kris Lemche, Alexz Johnson, Sam Easton, Jesse Moss, Gina Holden, Texas Battle, Chelan Simmons, Crystal Lowe

“Like the plot, the cast is fairly dispensable (!), but at least these actors invest subtext into their characters, especially Winstead and Merriman, who realistically portray Wendy and Kevin’s reluctant journey from animosity to reliance. Otherwise it’s the usual assortment of high school nerds, freaks, jocks and sluts. But they’re engagingly funny, and we almost cheer each on to his or her grisly doom, played out with a perfect balance of dark hilarity and gruesome suspense. Wong directs with a slick attention to detail and a wonderfully deranged sense of humour, especially when it comes to picking songs for the soundtrack. It looks terrific, and is superbly well-paced.” – Rich Cline, Shadows on the Wall

La novia ensangrentada

951. (-30) La novia ensangrentada

Vicente Aranda

1972 / Spain / 100m / Col / Vampire | IMDb
Simón Andreu, Maribel Martín, Alexandra Bastedo, Dean Selmier, Ángel Lombarte, Montserrat Julió, Maria-Rosa Rodriguez

“Like DAUGHTERS OF DARKNESS and Jean Rollin’s erotic vampire thrillers of the same period, Vincent Aranda’s BLOOD SPATTERED BRIDE contains nudity and gore amidst the usual gothic European surroundings. However, this film does not wallow in endless softcore lesbian lovemaking scenes, but rather exploits the kinship between the two female antagonists with stylized class… Although sluggish in pacing, the film still succeeds and is a favorite amongst Euro horror buffs. Most of the meat is in the third act, but the discovery of the vampire Mircalla – buried in the beach sand, breathing through a snorkel and having her bare breasts dug out – is unforgettable.” – George R. Reis, DVD Drive-In


952. (+8) Marebito

Takashi Shimizu

2004 / Japan / 92m / Col / Supernatural | IMDb
Shin’ya Tsukamoto, Tomomi Miyashita, Kazuhiro Nakahara, Miho Ninagawa, Shun Sugata, Masayoshi Haneda, Ayumu Saitô

“It’s safe to say that Marebito is a substantial departure from Shimizu’s other work, not to mention the work of many of his contemporaries. This is partly due to Chiaki Konaka’s eclectic script, which mixes elements of hollow-Earth theory and H.P. Lovecraft, throwing in references to Madame Blavatsky, Werner Herzog, and Kolchak: The Night Stalker along the way. Konaka deliberately avoids explanations and shifts course a few times, leaving the viewer unsure whether what they’re seeing is reality or delusion. Shimizu builds upon this foundation by constructing a deeply claustrophobic atmosphere. The use of confined spaces, handheld cameras, and the absence of long shots all contribute to the feeling of confinement and draw the viewer in, something that can make you noticeably uncomfortable during the film’s more effective moments.” – Jim Harper, Flipside Movie Emporium

Murder Party

953. (-30) Murder Party

Jeremy Saulnier

2007 / USA / 79m / Col / Comedy | IMDb
Chris Sharp, Kate Porterfield, Tess Porterfield Lovell, Puff Snooty, Damon Lindsay, Macon Blair, Stacy Rock, Skei Saulnier, Paul Goldblatt, William Lacey

“Murder Party proves that horror films can be intelligent and being horrific does not always mean that blood and guts have to fly. Anchoring on strong and sharp dialogue through most of the film Saulnier’s script exposes the irony and ugliness of the New York art scene, any art scene, and society as a whole for that matter. What we see is an aspect of society and a culture of one-upmanship that is ultimately hypocritical as success is beaten down… And as their insecurities are exposed the only way they know to level the playing field is to tear down the esteem of one of their own. Then does the retaliation and resulting blunt force trauma begin and conclude with a blood soaked finale.” – Andrew Mack, Twitch

Slugs, muerte viscosa

954. (+8) Slugs, muerte viscosa

Juan Piquer Simón

1988 / USA / 92m / Col / Nature | IMDb
Michael Garfield, Kim Terry, Philip MacHale, Alicia Moro, Santiago Álvarez, Concha Cuetos, John Battaglia, Emilio Linder, Kris Mann, Kari Rose

“Slugs is a bit of a forgotten gem in the subgenre of nature-attacks horror, and that’s a shame because it’s actually good, gory fun. Spanish director Juan Piquer Simón (aka JP Simon) makes a solid-looking film on a budget and as with his earlier classic, Pieces, he never shies away from gratuitous entertainment in the form of gross practical effects and exposed flesh. Slugs lacks the wit of Pieces, but it still manages to succeed on gore and action alone.” – Rob Hunter, Film School Rejects

Home Movie

955. (-29) Home Movie

Christopher Denham

2008 / USA / 77m / Col / Found Footage | IMDb
Adrian Pasdar, Cady McClain, Amber Joy Williams, Austin Williams, Lucian Maisel, River O’Neal

“Where does the compulsion to capture these moments on film come from, and why does the presence of a camera turn people into monsters? This is clearly a question Christopher Denham, director of Home Movie, has pondered at length. Home Movie is literally the holiday home videos of the Poe family, covering a period from Halloween through Easter… But don’t let yourself be turned off by comparisons, even to other cinema-verite, low-def, shot on the cheap, horror films. Home Movie is a cut above other recent faux-snuff entries like Last Horror Movie, August Underground, and in most respects is better written, more realistic and more disturbing than the forefather of the modern found footage horror movie, The Blair Witch Project. In fact, Home Movie might just be the tautest, best acted, most tightly written and disturbing “found film” ever made!” – Evil Andy, Dread Central

Nochnoy dozor

956. (+25) Nochnoy dozor

Timur Bekmambetov

2004 / Russia / 114m / Col / Vampire | IMDb
Konstantin Khabenskiy, Vladimir Menshov, Valeriy Zolotukhin, Mariya Poroshina, Galina Tyunina, Yuriy Kutsenko, Aleksey Chadov, Zhanna Friske, Ilya Lagutenko

“I’ll admit it does end on a very dark note and with a question mark giving the audience the signal that something bigger is emerging in this amazing universe. Though, there are much special effects, there is also an excellent story, beautiful scenery, compelling characters, beautiful acting, and action that will keep you wide-eyed. Every time I thought this would get derivative, I kept getting proven wrong. You never know where this is going to go, but you know this is going somewhere great, and I can’t wait to see how this finishes. “The Nightwatch” is ultimately elaborate to a fault. The film is so complicated even I had a hard time following it, but that’s one caveat to an exciting, fun, and hauntingly beautiful piece of fantasy filmmaking that will leave you declaring “More! More!”” – Felix Vasquez Jr., Cinema Crazed


957. (-29) Sightseers

Ben Wheatley

2012 / UK / 88m / Col / Black Comedy | IMDb
Alice Lowe, Eileen Davies, Steve Oram, Roger Michael, Tony Way, Seamus O’Neill, Monica Dolan, Jonathan Aris, Aymen Hamdouchi, Tom Meeten

“With a wink and a shrug, Sightseers shows us evil in all its banality. Alice Lowe and Steve Oram, who wrote the screenplay, play the lead characters with an almost eerie precision. Neither character is particularly likeable, though the bearded Chris is slightly more odious than Tina… Director Ben Wheatley allows his two leads to chew up the screen as their increasingly dysfunctional relationship unravels, content to provide a series of less than inspiring landscapes — including tacky trailer parks — to punctuate the journey… There are few laugh-out-loud moments since the humour is mostly of the rueful and sardonic sort. But if you like your comedy black, this is a road trip worth taking.” – Bruce Demara, Toronto Star

It Came from Beneath the Sea

958. (+12) It Came from Beneath the Sea

Robert Gordon

1955 / USA / 79m / BW / Monster | IMDb
Kenneth Tobey, Faith Domergue, Donald Curtis, Ian Keith, Dean Maddox Jr., Chuck Griffiths, Harry Lauter, Richard W. Peterson

“But for all its familiarity and flaws, It Came from Beneath the Sea stands as a magnificent accomplishment in pure cinema. It’s a film that not only exhibits the medium’s possibilities at the time but also its continuing appeal. Sometimes, we go to the movies for pure, sheer spectacle, and nobody delivered that more earnestly than Harryhausen. In this case, his work thrives due to a more theatrical flair, as one of Gordon’s most noteworthy decisions is to shroud the effects in mystery. We don’t get a good glimpse of the giant octopus for quite some time; like any good carnival showman, Gordon knows what his biggest attraction is, so he keeps the curtain down for as long as possible. While this does result in an overly talky and obvious approach (of course the military guys end up looking like dumb curmudgeons), it also ensures that the film earns its eventual awe.” – Brett Gallman, Oh, the Horror

The Dentist

959. (+10) The Dentist

Brian Yuzna

1996 / USA / 92m / Col / Black Comedy | IMDb
Corbin Bernsen, Linda Hoffman, Michael Stadvec, Ken Foree, Tony Noakes, Molly Hagan, Patty Toy, Jan Hoag, Virginya Keehne, Earl Boen

“The film also has truly disturbing gore effects, the majority of which is a type that isn’t often seen in horror, mouth trauma. One of this film’s trademarks is a camera shot in which it appears the camera is inside the mouth looking at Feinstone’s work or is attached to the tool he’s using. You are right there, up close and personal, when he pulls a tooth, cuts the gums, cuts into the tongue, rips out teeth, or tries to rip a jaw open. Feinstone’s murderous mayhem, though, isn’t exclusive to oral injuries as he dispatches other people using such tactics as strangling, stabbing, and blunt force trauma to the head. The overall result is a series of truly grisly dental procedures and violent acts that are more than enough to put the viewer on edge.” – James Lasome, Best Horror Movies

Fritt vilt II

960. (-36) Fritt vilt II

Mats Stenberg

2008 / Norway / 86m / Col / Slasher | IMDb
Ingrid Bolsø Berdal, Marthe Snorresdotter Rovik, Kim Wifladt, Johanna Mørck, Fridtjov Såheim, Per Schaanning, Andreas Cappelen, Mats Eldøen

“Cold Prey II is a pretty great sequel, and that sentiment should be shared by anyone else who appreciated the first film’s old school, straight up slasher thrills. Especially considering the approach here, which takes place exactly where the first one left off and is set largely in a hospital – sound familiar? But unlike Rick Rosenthal’s inferior sequel, this one is just as scary/suspenseful as the original. It works as an extension – it’s not trying to “one up” the original. The body count is about the same, the kills are just as basic, and it expands the backstory just enough to keep it interesting but still leaving plenty of room for future entries.” – Brian Collins, Horror Movie a Day

Vierges et vampires

961. (-32) Vierges et vampires

Jean Rollin

1971 / France / 95m / Col / Vampire | IMDb
Marie-Pierre Castel, Mireille Dargent, Philippe Gasté, Dominique, Louise Dhour, Michel Delesalle, Antoine Mosin, Agnès Petit, Olivier François, Dominique Toussaint

“A film which is almost totally void of dialog in its first half and void of any significant characterization, REQUIEM FOR A VAMPIRE is an easily watchable surreal exercise in foreign filmmaking, crammed with bizarre comic art imagery strung together with various incidents of fetishistic kinkiness and sadism. With the usual low budget Rollin was allotted, he makes excellent use of some authentic gothic locations, and the picturesque, massive chateau makes for a better vampires’ liar than any studio could possibly provide. The use of oddball props, including rotted corpses affixed with squirming worms, severed arms protruding from stone walls, a line of hooded standing skeletons and assorted bats real and phony, add to the film’s unique appearance, and the clever use of colored lighting in some of the outdoor nighttime scenes is also noteworthy.” – George R. Reis, DVD Drive-In

The Pit

962. (-35) The Pit

Lew Lehman

1981 / Canada / 97m / Col / Black Comedy | IMDb
Sammy Snyders, Jeannie Elias, Sonja Smits, Laura Hollingsworth, John Auten, Laura Press, Paul Grisham, Wendy Schmidt, Andrea Swartz, Edith Bedker

“Things get gooey and there’s a bit of blood and gore for you fiends out there, along with multiple tit shots. Music that is damn near identical to that of certain pieces used in Halloween is featured along with music that sounds like it’s from a 50s gothic horror flick. This interacts well with the dialogue of the film, which is cheesy and amateurish at times, as though it’s been written for the generation that preceded the target audience of the film. It almost makes The Pit feel like some G-rated family movie that’s hit the crack pipe.” – Brett H., Oh, The Horror

Slaughter High

963. (new) Slaughter High

George Dugdale & Mark Ezra & Peter Mackenzie Litten

1986 / USA / 90m / Col / Slasher | IMDb
Caroline Munro, Simon Scuddamore, Carmine Iannaccone, Donna Yeager, Gary Martin, Billy Hartman, Michael Safran, John Segal, Kelly Baker, Sally Cross

“Written in a desperate rush and filmed on a very low budget, Slaughter High is not the most professional of productions. Its death scenes are imaginative and gruesome yet often provoke more laughter than they really should. But this is a film that is aware of its limitations and never makes the mistake of taking itself too seriously. In many ways it’s doing the same things as Scream, a decade earlier, providing a postmodern perspective on the slasher genre… Slaughter High is cheap, tacky, formulaic and often in poor taste, but many fans of the genre will love it, especially if watching in a group with a few beers to help wash it down.” – Jennie Kermode, Eye for Film

I Sell the Dead

964. (-34) I Sell the Dead

Glenn McQuaid

2008 / USA / 85m / Col / Comedy | IMDb
Dominic Monaghan, Larry Fessenden, Angus Scrimm, Ron Perlman, Brenda Cooney, John Speredakos, Daniel Manche, Eileen Colgan, James Godwin, Joel Garland

“Filled with grisly sound effects and Gaelic wit, I Sell the Dead may be more slapstick than horror, but McQuaid leaves the film’s genuinely chilling moments — like a shrouded corpse slowly unfurling behind Willie’s back — room to breathe. The director grew up in Ireland, watching Hammer horror movies and idolizing Peter Cushing, and Dead’s fondness for dry ice and spooky graveyards smoothly evokes an earlier, more innocent era of gruesome entertainments. Its wit and style, however, are thoroughly modern, as is a hilarious ending that leaves the sequel door wide open. And why not? Whether downing pints or unearthing aliens, Arthur and Willie are a buddy act we could stand to see again.” – Jeannette Catsoulis, NPR

Los ojos de Julia

965. (-43) Los ojos de Julia

Guillem Morales

2010 / USA / 118m / Col / Thriller | IMDb
Belén Rueda, Lluís Homar, Pablo Derqui, Francesc Orella, Joan Dalmau, Julia Gutiérrez Caba, Boris Ruiz, Dani Codina, Andrea Hermosa, Daniel Grao

“Two of 20th-century literature’s greatest film fans, James Joyce and Jorge Luis Borges, both went blind; film-makers have always been intrigued by blindness; and this fascination continues through the latest film produced by the Mexican horror maestro Guillermo Del Toro. It stars the Spanish actor Belén Rueda, who appeared in his production The Orphanage… [who] has the dual role of Spanish twins Sara and Julia, both suffering from a degenerative eye disease… Using blindness as a plot device, a metaphor for social awareness and as a numinous experience that romantically links minds, it’s a fascinating, broken-backed picture full of riveting twists and dubious psychology.” – Philip French, The Guardian

House of Dark Shadows

966. (+8) House of Dark Shadows

Dan Curtis

1970 / USA / 97m / Col / Vampire | IMDb
Jonathan Frid, Grayson Hall, Kathryn Leigh Scott, Roger Davis, Nancy Barrett, John Karlen, Thayer David, Louis Edmonds, Don Briscoe, David Henesy

“The soap opera Dark Shadows was Curtis’ baby and it ran on ABC from 1966-1971 hitting the peak of its popularity with the release of this film in 1970. While the show had many long running storylines and even storylines in different eras, Curtis decided that the film version was going to tell the Barnabas vampire tale alone. Audiences were a bit shocked by how much harsher the film version of the show was, with a Barnabas that was much less sympathetic and violence that was, well, violent. With a tightly focused vampire story, Curtis produced a film which has the feel of a classic Hammer film… The film is aided immeasurably in this regard by its location photography in upstate New York and Connecticut.” – Brian Holcomb, Kinetofilm

Cockneys vs Zombies

967. (-34) Cockneys vs Zombies

Matthias Hoene

2012 / UK / 88m / Col / Zombie | IMDb
Rasmus Hardiker, Harry Treadaway, Michelle Ryan, Jack Doolan, Georgia King, Ashley Thomas, Tony Gardner, Alan Ford, Honor Blackman, Tony Selby

“Stereotype collides with cliché in Cockneys vs. Zombies, but the impact isn’t as painful as you might imagine. Directed with explosive zeal and good humour by Matthias Hoene, who previously combined ravers and vampires in Beyond the Rave, it’s exactly what you’d expect — and maybe a little bit more. There are these Cockneys, see, who live in London’s working-class East End. They love rhyming slang (“apples and pears” means “stairs”) and also have an alarming fondness for guns and violence. This depiction probably doesn’t delight the London Tourist Board… Some laughs, some frights, loads o’ gore, Lord luv a duck.” – Peter Howell, Toronto Star


968. (+10) Firestarter

Mark L. Lester

1984 / USA / 114m / Col / Supernatural | IMDb
David Keith, Drew Barrymore, Freddie Jones, Heather Locklear, Martin Sheen, George C. Scott, Art Carney, Louise Fletcher, Moses Gunn, Antonio Fargas

“As with Carrie there is a deeper tragedy revealing itself here, the inability for these characters to even find a little solace in the only thing we all possess, namely ourselves. The startling pyrotechnic jamboree at the movies close is one of the more impressive pre-Jurassic Park visual effects feats. There is something bewitching and horrifying about seeing a small child walk through bullets and wreckage, whilst everything else around her burns to the ground. The great eighties electronica outfit Tangerine Dream provide yet another fantastically atmospheric soundtrack that helps to paint over some of the more drably realised visuals, whilst heightening the impact of this impressive ending.” – Apercu

Død Snø 2

969. (new) Død Snø 2

Tommy Wirkola

2014 / Norway / 100m / Col / Zombie | IMDb
Vegar Hoel, Ørjan Gamst, Martin Starr, Jocelyn DeBoer, Ingrid Haas, Stig Frode Henriksen, Hallvard Holmen, Kristoffer Joner, Amrita Acharia, Derek Mears

“The smartest thing returning director-writer Tommy Wirkola and co-writers Hoel and Stig Frode Henriksen do to avoid the whiff of rehash is broaden the original film’s mix of dark gore and bleak laughs to victim-rich, vulnerable neighboring towns, including the outlandish notion of World War II grudges resettled as zombie melees. The “Red” of the subtitle isn’t a blood-color reference. There’s also a sweetly funny tweak of geekdom in the form of an American trio of movie-zombie nerds — led by Martin Starr — who fly to embattled northern Norway to see and fight “real” zombies in the (rotting) flesh. As bad-taste splatter comedies go, “Dead Snow 2″ is one of the more charitably nutty ones, less about gorging on gore than reveling in how silly the whole genre can be.” – Robert Abele, Los Angeles Times

Student Bodies

970. (+19) Student Bodies

Mickey Rose

1981 / USA / 86m / Col / Slasher | IMDb
Kristen Riter, Matthew Goldsby, Jerry Belson, Joe Flood, Joe Talarowski, Mimi Weddell, Carl Jacobs, Peggy Cooper, Janice E. O’Malley, Kevin Mannis

“15 years before Scream and nearly 20 years before Scary Movie, there was Student Bodies. Released in 1981, it capitalized on the then popular slasher films exemplified by Halloween and Friday the 13th. Clearly a b-movie with sophomoric humor, it actually does a fairly good job of skewering its target with admittedly very lowbrow comedy… Much like the Scary Movie series of movies, this one tries to throw as many jokes as possible at the screen in the hopes that enough of them will stick. It’s a close ratio, but enough of them did make me laugh as to make it worthwhile. Just be aware if you do watch it that you will end up groaning almost as many times as you laugh.” – Scott Nash, Three Movie Buffs


971. (+20) Carriers

David Pastor & Àlex Pastor

2009 / USA / 84m / Col / Post-Apocalyptic | IMDb
Lou Taylor Pucci, Chris Pine, Piper Perabo, Emily VanCamp, Christopher Meloni, Kiernan Shipka, Ron McClary, Mark Moses, Josh Berry, Tim Janis

“A PG-13 virus thriller might sound like a contradiction in terms, but for the most part, “Carriers” spreads its bleak vision of post-pandemic terror to fairly chilling effect. Alas, in apparent avoidance of an R, the film fails to clarify the particular threat of its infected citizens, red-faced ghouls who look plenty scary and are indeed contagious, but are never shown to bite. Put into extremely limited release by Paramount Vantage after spending years in studio lockdown, “Carriers” has moments of genuinely communicable horror and thus deserves better than a de facto theatrical quarantine.” – Rob Nelson, Variety

Class of Nuke 'Em High

972. (+15) Class of Nuke ‘Em High

Richard W. Haines & Lloyd Kaufman

1986 / USA / 85m / Col / Splatter | IMDb
Janelle Brady, Gil Brenton, Robert Prichard, Pat Ryan, James Nugent Vernon, Brad Dunker, Gary Schneider, Théo Cohan, Gary Rosenblatt, Mary Taylor

“In truth “Class of Nuke ‘Em High” is almost indescribable as it is visually insane from the comedy of the hose coming apart at the Nuclear plant to spill out toxic waste to the look of the Cretins, the gang of mutants at the school who look like cavemen crossed with punks. Toss in a beach party at the school which gives us lots of young girls in bikinis and a memorable scene after as are two clean cut students get horny after a hit of toxic reefer and it is insane. But with everyone of the cast throwing themselves into it with endless enthusiasm and perfectly over the top performances it is so much fun. What is actually surprising is that whilst a low budget b-movie with some intentionally cheesy special effects some of them end up being quiet good, in fact some of the effects involving the make up work are quite spectacular.” – Andy Webb, The Movie Scene

Sugar Hill

973. (new) Sugar Hill

Paul Maslansky

1974 / USA / 91m / Col / Zombie | IMDb
Marki Bey, Robert Quarry, Don Pedro Colley, Betty Anne Rees, Richard Lawson, Zara Cully, Charles Robinson, Larry Don Johnson, Rick Hagood, Ed Geldart

“Sugar Hill is a compulsively watchable movie; while there’s none of the gore or tits that mark other great exploitation films of the era (and which could have easily fit in here), the general oddness of the proceedings more than makes up for it. The voodoo zombies also feel fresh in our walking dead saturated culture. Most of all I love the idea of Marki Bey’s one at bat being such a fun and diverting movie, filled with surprisingly family-friendly meanness.” – Devin Faraci, Badass Digest

Dead Heat

974. (+20) Dead Heat

Mark Goldblatt

1988 / USA / 86m / Col / Zombie | IMDb
Treat Williams, Joe Piscopo, Lindsay Frost, Darren McGavin, Vincent Price, Clare Kirkconnell, Keye Luke, Robert Picardo, Mel Stewart, Professor Toru Tanaka

“This is an interesting little, sometimes-overlooked film that really brings innovation to the genre. I must say too, this is a personal guilty pleasure of mine as well… The effects are actually very well done throughout Dead Heat and we get some surprisingly good zombie and gore scenes. Joe Piscopo is one of the elements that holds the film together most (hmm, never thought I would say those words!) with his constant one liners and smartass remarks. Treat Williams on the other hand takes the lead very well and is entertaining enough on his own. There is plenty of excitement and twists and turns to keep anyone entertained, especially if you love awesome 80s cheese!” – Ronnie Angel, Best Horror Movies

La casa sperduta nel parco

975. (new) La casa sperduta nel parco

Ruggero Deodato

1980 / Italy / 91m / Col / Exploitation | IMDb
David Hess, Annie Belle, Christian Borromeo, Giovanni Lombardo Radice, Marie Claude Joseph, Gabriele Di Giulio, Brigitte Petronio, Karoline Mardeck

“The House on the Edge of the Park, while by no means an imaginative or original piece of work, is an exploitation triumph. Gritty, grimy and thoroughly repugnant, director Deodato mostly eschews visual flair for a more matter-of-fact realisation of the events at this titular abode. Overt sexualisation, both consensual and not, is likely to make many a viewer very uncomfortable, and mostly earnest performances from the cast evoke an authentic level of fear and unpredictability. The script also toys with the audience’s allegiances, repeatedly switching roles between victim and perpetrator – whether it’s the unwitting Ricky being ridiculed or the socialites facing the blade of Alex’s razor. As both sides partake in acts that make them worthy of loathing, before (or after) being placed in the position of the victim, The House on the Edge of the Park will constantly toy with you, evoking a level of emotional disquiet that isn’t quickly forgotten.” – Gareth Jones, Dread Central

Rear Window

976. (-37) Rear Window

Alfred Hitchcock

1954 / USA / 112m / Col / Thriller | IMDb
James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, Raymond Burr, Judith Evelyn, Ross Bagdasarian, Georgine Darcy, Sara Berner, Frank Cady

“It’s one of Alfred Hitchcock’s inspired audience-participation films: watching it, you feel titillated, horrified, and, ultimately, purged. The story is set mainly in a Greenwich Village apartment with a view into the rooms across the courtyard, but in Hitchcock’s hands this small space contains multitudes. Here, he pushed the subjective-camera technique—putting the audience into the minds of his characters—to new heights… It’s an astonishing visual and psychological coup. Hitchcock’s brilliant satire of cramped city life and his masterly evocation of urban voyeurism suddenly generate primal fear and profound insight.” – Michael Sragow, New Yorker

Blood Diner

977. (-35) Blood Diner

Jackie Kong

1987 / USA / 88m / Col / Slasher | IMDb
Rick Burks, Carl Crew, Roger Dauer, LaNette La France, Lisa Elaina, Max Morris, Roxanne Cybelle, Sir Lamont Rodeheaver, Dino Lee, The Luv Johnsons

“In addition to being a total and complete hoot this film is also pretty damn violent as well (and I loved every minute of it). There are some pretty awesome death scenes to behold that are violent and just damn fun in general. Highlights include a decapitation via broom (!), a woman being cut in half from head to toe, and someone having his eyes knocked out of his head. There is enough blood and guts to make any gore hound happy, and most of it looks pretty damn impressive considering the fact that the film was produced with a pretty low budget.” – Todd Martin, Horror News

La terza madre

978. (-34) La terza madre

Dario Argento

2007 / Italy / 102m / Col / Witchcraft | IMDb
Asia Argento, Cristian Solimeno, Adam James, Moran Atias, Valeria Cavalli, Philippe Leroy, Daria Nicolodi, Coralina Cataldi-Tassoni, Udo Kier, Robert Madison

“As for the horrific elements, Argento is less interested here in scaring us per se as he is in unnerving us with moments of sudden and shocking imagery that jolts us so unexpectedly that we can never get comfortable enough to figure out what he is going to come up with next. More importantly, after seeing countless horror films that claim that they are fiercely original and are pushing the envelope in every scene, only to wind up giving us just another helping of the same old thing, this is a film that keeps managing to top itself throughout in terms of sheer outrageousness.” – Peter Sobczynski, eFilmCritic

The Fall of the House of Usher

979. (-36) The Fall of the House of Usher

James Sibley Watson & Melville Webber

1928 / USA / 13m / BW / Surrealism | IMDb
Herbert Stern, Hildegarde Watson, Melville Webber

“What was theoretical in Epstein’s The Three-Sided Mirror is here freer, more lucid and ethereal, and from its first image of a visitor with busy fingers wading through a tangle of trees and branches to the final orgy of poetic destruction, the director intensely considers the push-pull relationship between life and art—the precarious soul-suck between the two and the chaos their battle risks. When Debucourt’s Usher looks at his painting, he is both staring at the visage of his elusive wife’s representation and the audience itself. Epstein treats celluloid not unlike Usher’s canvas—a delicate, fragile thing to draw on (slow or fast, sometimes twice, thrice, four times over)—and to look at the screen of this film is to witness a portal into a complex, heretofore unknown dimension of cinematic representation.” – Ed Gonzalez, Slant Magazine

Bloody Birthday

980. (-35) Bloody Birthday

Ed Hunt

1981 / USA / 85m / Col / Evil Children | IMDb
Lori Lethin, Melinda Cordell, Julie Brown, Joe Penny, Bert Kramer, K.C. Martel, Elizabeth Hoy, Billy Jayne, Andrew Freeman, Susan Strasberg

“Directed by Ed Hunt, you get the distinct impression that Bloody Birthday was stalking the same crowd that came out in droves for Halloween. Released just four years after Michael Myers broke loose, Hunt’s horror shares many of the same tropes, including Lethin’s final girl, the sexy being punishable by death and – in retrospect – a healthy dose of post-70s kitsch. Obviously, Bloody Birthday didn’t share the runaway success of John Carpenter’s classic but that doesn’t make it any less potent. Despite an undeniably flimsy back story for its killer kids, the way they conduct their bloody business is pretty memorable. The three terror tykes… are never short of an evil plan and turn out performances that implore you to hate them, adding to the film’s endurability for modern eyes.” – Simon Bland, HorrorTalk

Fire in the Sky

981. (-35) Fire in the Sky

Robert Lieberman

1993 / USA / 109m / Col / Science Fiction | IMDb
D.B. Sweeney, Robert Patrick, Craig Sheffer, Peter Berg, Henry Thomas, Bradley Gregg, Noble Willingham, Kathleen Wilhoite, James Garner, Georgia Emelin

“What’s strange about Fire in the Sky is that it’s based on a true story. That’s what the makers of this movie want us to believe, anyway. On Nov. 5, 1975, in northeastern Arizona, Travis Walton was abducted by aliens. In the small fragment that he remembers of the five days and six hours that he was missing, he saw humanoids perform experiments on him… The movie is intentionally like a dramatized documentary. The producers want us to share their belief in Walton’s story. To make the story appear more believable, they use the real names of the loggers, shy away from fancy special effects that would distract the audience from the plot (the UFO looks like two pie-pans taped together, like Walton said it did), and, besides James Garner, don’t use any celebrity actors.” – John Jacobs, The Tech (MIT)

Mute Witness

982. (-34) Mute Witness

Anthony Waller

1994 / Russia / 93m / Col / Thriller | IMDb
Marina Zudina, Fay Ripley, Evan Richards, Oleg Yankovskiy, Igor Volkov, Sergei Karlenkov, Alec Guinness, Aleksandr Pyatkov, Nikolai Pastukhov, Aleksandr Bureyev

“Mute Witness has a keen sense of geography, and the camera movement is choreographed against the positions of the actors to sustain a remarkable cinematic tension. Sudina has a keen sense of her character, too, playing Billy as determined but terrified, smart but vulnerable. Her performance, along with Waller’s sure, straightforward direction, render some of the script’s more obvious implausibilities irrelevant in favor of sharp audience identification with Billy. And when the veracity of what she saw is called into question — was the ‘murder’ she witnessed really just a clever special effect? — the audience, too, is forced to reconsider its own experience of the murder on screen.” – Bryant Frazer, Deep Focus


983. (-34) Constantine

Francis Lawrence

2005 / USA / 121m / Col / Supernatural | IMDb
Keanu Reeves, Rachel Weisz, Shia LaBeouf, Djimon Hounsou, Max Baker, Pruitt Taylor Vince, Gavin Rossdale, Tilda Swinton, Peter Stormare, Jesse Ramirez

“Director Francis Lawrence has done some terrific videos for Justin Timberlake and Britney Spears (a pox upon your snickering!), and here he deploys more swirling, ominous overhead shots than Orson Welles did in Touch of Evil. He’s also clearly studied his David Cronenberg circa Scanners and Videodrome for queasy images like a baby hell-spawn scuttling just beneath the surface of a woman’s exposed belly. Reeves, meanwhile, has confidently entered his self-parodic period. You’ll enjoy his wry post-Matrix murmurs and squinty stares. And you don’t have to live in L.A. to get a kick out of the comically bemused way he invokes the city’s banal geography: “A demon just attacked me on Figueroa, right out in the open!”” – Ken Tucker, New York Magazine

De dødes tjern

984. (-32) De dødes tjern

Kåre Bergstrøm

1958 / Norway / 76m / BW / Thriller | IMDb
André Bjerke, Bjørg Engh, Henki Kolstad, Per Lillo-Stenberg, Erling Lindahl, Henny Moan, Georg Richter, Leif Sommerstad, Inger Teien, øyvind øyen

“In a poll of cinema critics carried out by the newspaper Dagbladet in 1998, De Dødes Tjern was ranked as Norway’s all-time fourth-best movie. It’s certainly a remarkably effective piece even today, beautifully shot in widescreen black-and-white and moving with a good pace as it builds up a sense of deep, uneasy foreboding that lies somewhere in the borderland between horror and noir, although the movie doesn’t really declare allegiance to either of those genres. Despite some lighter moments, its subtext—of sisters trying to escape the incestuous demands of their brothers—is surprisingly mature and grim, and certainly wouldn’t have got by Hollywood’s Production Code at the time.” – John Grant, Noirish

The Living and the Dead

985. (-35) The Living and the Dead

Simon Rumley

2006 / UK / 83m / Col / Zombie | IMDb
Leo Bill, Roger Lloyd Pack, Kate Fahy, Sarah Ball, Neil Conrich, Richard Wills-Cotton, Alan Perrin, Richard Syms, Hilary Hodsman

“A bizarre psychological study of degeneration and dependency, “The Living and the Dead” is a horror movie only in the most literal sense. Skirting genre conventions, Simon Rumley’s twisted feature inhabits shores where the gore is minimal and the demons unseen — neither of which makes it any less disconcerting… The travails of Britain’s inbred aristocracy have long been mined by its filmmakers, but rarely with such eccentricity or unrelieved ruthlessness. As James darts around the house, chased by Richard Chester’s increasingly dissonant score, the movie suffers lapses of looniness that strain credulity. Yet by plunging us visually and aurally into outright madness, the director — whose own mother died after a lengthy illness — finds the tragedy in deterioration. Sometimes that’s horror enough.” – Jeannette Catsoulis, New York Times

Black Water

986. (new) Black Water

David Nerlich & Andrew Traucki

2007 / Australia / 90m / Col / Nature | IMDb
Diana Glenn, Maeve Dermody, Andy Rodoreda, Ben Oxenbould, Fiona Press

“Superb cinematography, a great sense of place and an eerie sound score are the mainstay of this horror story set in the mangroves of Northern Australia and whatever the film lacks in budget, more than makes up for it in atmosphere. Maeve Dermody gives an outstanding performance as one of three adventurous holiday makers who find more than they bargain for under the rippling, shadowy waters. It’s tense and terrifying as a simple outing becomes a fatal nightmare… No doubt driven by the small budget, the decision to use images of real crocodiles, rather than computer-generated ones is effective and it is credit to the filmmakers that these are used so well. Also as a result of the budget, the choice of the swamp location (in Sydney’s south) is as authentic and effective as any in the Northern Territory.” – Louise Keller, Urban Cinefile


987. (-36) Sombre

Philippe Grandrieux

1998 / France / 112m / Col / Drama | IMDb
Marc Barbé, Elina Löwensohn, Géraldine Voillat, Coralie, Maxime Mazzolini, Alexandra Noël, Annick Lemonnier, Sadija Sada Sarcevic, Lea Civello, Astrid Combes

“Guaranteed to send [audiences] either straight to the exit or into paroxysms of rapture, “Sombre” is an impossibly arty, totally noncommercial construct that ends up, for those prepared to stay the course, as a surprisingly creepy look into the tortured mind of a serial killer… Even when the viewer’s patience is being stretched to the limit by the underlit, out-of-focus, minimalist photography, there’s a growing feeling as time wears on that Grandrieux’s movie is exploring areas hardly touched by mainstream killer-thrillers — such as complicity between victim and murderer, and the sense that the killer instinct is present in all humans but simply suppressed or only in vestigial form in “normal” people.” – Derek Elley, Variety

The Watcher in the Woods

988. (-34) The Watcher in the Woods

John Hough

1980 / USA / 84m / Col / Supernatural | IMDb
Bette Davis, Lynn-Holly Johnson, Kyle Richards, Carroll Baker, David McCallum, Benedict Taylor, Frances Cuka, Richard Pasco, Ian Bannen, Katharine Levy

“It’s curious to observe how Watcher edges towards genuine terror before retreating back into Disney’s comfort zone. Some blame studio executive Ron Miller for this inconsistency of tone, his reluctance to allow the film its darker elements resulting in a series of unhappy compromises… It’s all too tempting to consider what could have been, or indeed what briefly was, given that the original 1980 cut remains similarly out of reach. Nevertheless, even in its most widely viewed form The Watcher in the Woods is a haunting, unusual film, steeped in a strange magic that’s only enhanced by the dense thicket of rumour and myth that surrounds it.” – Joseph Stannard, Sight & Sound


989. (new) Fanatic

Silvio Narizzano

1965 / USA / 97m / Col / Thriller | IMDb
Tallulah Bankhead, Stefanie Powers, Peter Vaughan, Maurice Kaufmann, Yootha Joyce, Donald Sutherland, Gwendolyn Watts, Robert Dorning, Philip Gilbert

“This excellent little horror-thriller was directed by Silvio Narizzano who did a spectacular job at capturing all the little nuances of Bankhead’s performance as well as those around her as she delved into madness. The film would start out on a cheery note but would soon become incredibly moody, atmospheric and packed with as much tension and suspense Narizzano and writer Richard Matheson could muster. As Bankhead’s character lost herself, the anxiety and the uneasiness increased and topped with the horror of her actions, everyone involved from those in production to the actors themselves, made it impossible to turn away from the screen for fear of missing a single minute of it.” – Geoff Rosengren, The Telltale Mind

The Hole

990. (-34) The Hole

Nick Hamm

2001 / UK / 102m / Col / Psychological | IMDb
Thora Birch, Desmond Harrington, Daniel Brocklebank, Laurence Fox, Keira Knightley, Embeth Davidtz, Steven Waddington, Emma Griffiths Malin, Jemma Powell

“Pitched somewhere between The Blair Witch Project and The Famous Five, The Hole offers enough moments of duplicity, character degeneration and, of course, shock twists, to suggest it really wants to be the next Shallow Grave. And indeed, it boasts striking similarities – for example, the way in which it places its dislikeable protagonists in an extraordinary situation – but ultimately it lacks the necessary cleverness to really succeed… it is an effective enough chiller which prompts plenty of post-credits contemplation, and has far more imagination in a single reel than most recent British thrillers have had in their entire running time.” – Caroline Westbrook, Empire Magazine

Cheap Thrills

991. (new) Cheap Thrills

E.L. Katz

2013 / USA / 88m / Col / Thriller | IMDb
Pat Healy, Sara Paxton, Ethan Embry, David Koechner, Amanda Fuller, Laura Covelli, Todd Farmer, Elissa Dowling, Eric Neil Gutierrez, Ruben Pla

“Katz walks a fine line between humor and malevolence in his directing debut and handles it deftly, making sure that a laugh is never far away even if you’re cringing at the next method that Colin dreams up for Vince and Craig to debase themselves. And while it would be easy for a movie like this to descend into simple torture porn or gross-out comedy, it never does because we are invested in Healy’s poor schlub right from the start. His desperation and looming financial and housing crises ring all too true, and even as Craig begins to lose touch with his basic decency, you root for him because he’s trapped in an unwinnable situation.” – Don Kaye, Den of Geek

Ich seh, Ich seh

992. (new) Ich seh, Ich seh

Severin Fiala & Veronika Franz

2014 / Austria / 99m / Col / Psychological | IMDb
Susanne Wuest, Lukas Schwarz, Elias Schwarz, Hans Escher, Elfriede Schatz, Karl Purker, Georg Deliovsky, Christian Steindl, Christian Schatz, Erwin Schmalzbauer

“Standing in opposition to the overplayed, action-orientated, blood curdling, visceral gorefest synonymous with horror, Goodnight Mommy employs similar psychological tactics found in film noir and the gothic by arousing the same cultural moods of paranoia and mistrust, which have resulted from a disruption to a seemingly, civilized ideal. Unfolding in an achingly, laborious manner, the trudging, sedate pace plays on audience’s anticipatory senses by teasing out the narrative to the point of complete exasperation, the prickly tension designed to unnerve and infuriate, rather than thrill and titillate. The film’s exquisite style, captured through a palpably unsettling lens, becomes all the more disquieting, as slow, dark tracking shots and throbbing, pregnant silences, tear down the illusions of familial normality, to put the depraved, the sinister and the corrupt, firmly in the spotlight.” – FilmIreland


993. (new) Warlock

Steve Miner

1989 / USA / 103m / Col / Supernatural | IMDb
Julian Sands, Lori Singer, Richard E. Grant, Mary Woronov, Kevin O’Brien, Richard Kuss, Allan Miller, Anna Levine, David Carpenter, Kay E. Kuter

“The moody opening scenes set in 1690s Massachusetts are expertly realised and the final showdown in the ancient gothic graveyard (complete with glittering Eighties cityscape matt-background) is the icing on the deliriously trashy cake. Had more subtlety been administered throughout the script this could have been a genuinely unsettling and formidably creepy affair. As it is though, it’s a wonderfully exuberant schlock-fest with some imaginative flair and a few great ideas, that can’t fail to raise a wry smile.” – James Gracey, Eye For Film

Fiend Without a Face

994. (-35) Fiend Without a Face

Arthur Crabtree

1958 / UK / 75m / BW / Science Fiction | IMDb
Marshall Thompson, Kynaston Reeves, Kim Parker, Stanley Maxted, Terry Kilburn, James Dyrenforth, Robert MacKenzie, Peter Madden, Gil Winfield, Michael Balfour

“Director Arthur Crabtree kept the formulaic story moving forward and the mood grimly earnest. His straight-ahead style serves the material without ruffles or flourishes, although his pacing is too leisurely through the first half. But when the monsters show at the climax, that’s when the oh-boy starts. They’re brought to life via Harryhausen-style stop-motion animation that’s better than you might expect while still maintaining a pleasurable cheese factor. Naturally, expect to whistle past gaps in plot logic (where’s all that light coming from in that sealed windowless crypt? Is dynamiting the control room to a nuclear reactor ever really a good idea?), which should be all part of the fun.” – Mark Bourne, DVD Journal


995. (new) Dread

Anthony DiBlasi

2009 / USA / 108m / Col / Thriller | IMDb
Jackson Rathbone, Hanne Steen, Laura Donnelly, Jonathan Readwin, Shaun Evans, Vivian Gray, Carl McCrystal, Derek Lea, Siobhan Hewlett, Kieran Murphy

“It really helps when you feel genuinely sorry for the victims in a horror film, but when you have an anti-hero like Quaid whose sadistic actions are creative enough that you look forward to what he’ll do next, you are kind of forced to be a hypocrite as a viewer. I’m sure DiBlasi was well aware of this when writing the screenplay. The result is a conflicting moral dynamic that works extremely well as an ongoing narrative hook. Dread is a solid genre effort with great production values. It’s got a definite mean streak and it’s not the kind of film that lets the viewer off easy at the end, but it’s balanced out with characters who you get to know and actually give a shit about, so the toll of the experience is rewarding even if it’s shocking, upsetting, and not exactly what I’d class as cathartic.” – Paul McCannibal, Dread Central


996. (-32) Frankenstein

Kenneth Branagh

1994 / USA / 123m / Col / Monster | IMDb
Robert De Niro, Kenneth Branagh, Tom Hulce, Helena Bonham Carter, Aidan Quinn, Ian Holm, Richard Briers, John Cleese, Robert Hardy, Cherie Lunghi

“Writers Steph Lady and Frank Darabont (The Shawshank Redemption) retain much of the source’s action and all of its spirit, but still make the work speak to our age. Their lines echo modern concerns, from the boundaries of medicine to epidemics even to students on athletic scholarships. The mayhem that overtakes so many versions of Frankenstein doesn’t here. Through all the passion and horror runs a strong philosophical cord, questioning our ability to challenge nature, to remake it simply because we can. The film is ever reminding us there are costs to crossing frontiers, human lives, that must be considered.” – Robert Faires, Austin Chronicle

The Cat and the Canary

997. (new) The Cat and the Canary

Elliott Nugent

1939 / USA / 72m / BW / Comedy | IMDb
Bob Hope, Paulette Goddard, John Beal, Douglass Montgomery, Gale Sondergaard, Elizabeth Patterson, George Zucco, Nydia Westman, John Wray, George Regas

“This adaptation of John Willard’s 1922 play is notable for providing Bob Hope his starring debut, and for offering Paulette Goddard a chance to show off her sadly under-utilized comedic chops. The film’s “let’s scare the heroine to death” storyline — while imitated ad nauseum by countless later “old dark house” horror flicks — remains solidly suspenseful; you’re guaranteed to be kept in the dark (literally) about the identity of the killer. Director Elliott Nugent and cinematographer Charles Lang do a fine job keeping the proceedings appropriately spooky and atmospheric, though with Hope on board, there’s naturally plenty of corny levity (“Let’s all drink scotch and make wry faces.”).” – FilmFanatic

The Beast Within

998. (-33) The Beast Within

Philippe Mora

1982 / USA / 98m / Col / Werewolf | IMDb
Ronny Cox, Bibi Besch, Paul Clemens, Don Gordon, R.G. Armstrong, Katherine Moffat, L.Q. Jones, Logan Ramsey, John Dennis Johnston, Ron Soble

“While at times excessively slow-moving and ultimately over-thinking the building of its mystery a little too hard, overall THE BEAST WITHIN is a smart, effective film about all-too-human evil, especially the sort one finds in extremely small, close-knit communities where blood ties are stronger then the rule of law, manifesting itself as a superhuman evil, while at the same time providing an excellent twist on the werewolf theme that was popular in horror in the early 1980s and a deliciously visceral take on the old canard about “the sins of the father.”” – Bill Adcock, Radiation-Scarred Reviews


999. (-33) Wendigo

Larry Fessenden

2001 / USA / 91m / Col / Monster | IMDb
Patricia Clarkson, Jake Weber, Erik Per Sullivan, John Speredakos, Christopher Wynkoop, Lloyd Oxendine, Brian Delate, Daniel Sherman, Jennifer Wiltsie

“Writer/director Larry Fessenden throws everything including the kitchen sink into the visuals. “Wendigo” is a very good-looking film, even if a brief sequence using handheld cameras early on gets to be a bit tedious. The movie, despite being a slow and laborious character study, still manages to move well. Fessenden proves that he was paying attention in film school when the professors were talking about motifs and themes, and as a result the film’s visualization is swarming with secondary and third meanings — that is, if one cares to pick them out. Don’t go into “Wendigo” expecting a horror movie. Despite the title, the film is more about man’s interaction, and lack thereof, with one another than it is about a mythical beast. The film is never scary, but rather shocking in its nonchalant attitude toward human nature and violence.” – Nix, Beyond Hollywood

Dracula: Pages from a Virgin's Diary

1000. (new) Dracula: Pages from a Virgin’s Diary

Guy Maddin

2002 / Canada / 73m / Col / Vampire | IMDb
Wei-Qiang Zhang, Tara Birtwhistle, David Moroni, CindyMarie Small, Johnny A. Wright, Stephane Leonard, Matthew Johnson, Keir Knight, Brent Neale, Stephanie Ballard

“Knowing irony infuses Guy Maddin’s use of such long-moribund silent cinema techniques as masks, irises and tinting in this ballet inspired by Bram Stoker’s novel, as it complements both the Victorian setting and the notions of ‘undeath’ and resurrection… Zhang Wei-Qiang is imposing as the Count, bringing menacing sensuality to his seductions, and ruthless tenacity to his joust with Van Helsing. This arty approach may dismay hard-core horror fans, but it captures the dark grace of the original with wit and style… A fevered, sexy take on the material, it plays up the desires of the female players, the repression of the men and Dracula’s status as all-purpose object of dread and desire.” – Patrick Peters, Empire Magazine