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


901. (-33) Westworld

Michael Crichton

1973 / USA / 88m / Col / Science Fiction | IMDb
Yul Brynner, Richard Benjamin, James Brolin, Norman Bartold, Alan Oppenheimer, Victoria Shaw, Dick Van Patten, Linda Gaye Scott, Steve Franken, Michael T. Mikler

“In the 1970’s, writers were still being inspired by the technology of the Disneyland theme park attractions… The machines start breaking down in a pattern that spreads like a disease, thus predicting the computer virus, but calling it a “central mechanism psychosis”. Of course, this plot device was recycled for Jurassic Park… The long final act with the unstoppable robot with infra-red vision anticipates elements of The Terminator, Predator (right down to a crucial plot point), even the robo-vision of Robocop. In fact, the American Cinematographer articles about Westworld… point out that the gunslinger’s electronic viewpoint was the first [film] sequence to use actual computer imaging” – Mark Hodgson, Black Hole DVD Reviews


902. (-24) Screamers

Christian Duguay

1995 / Canada / 108m / Col / Science Fiction | IMDb
Peter Weller, Roy Dupuis, Jennifer Rubin, Andrew Lauer, Charles Edwin Powell, Ron White, Michael Caloz, Liliana Komorowska, Jason Cavalier, Leni Parker

Screamers has an interesting, multi-layered plot, with lots of twists and turns… Overall, the film shows us a great vision of a futuristic dystopia, where big corporations travel the solar system in search of resources and riches. The deceit and betrayal suffered by our protagonist provide a sense of despair and isolation. And the Screamers add threat, uncertainty and fear. All of these elements combine to make this an intriguing film about one man’s fight for survival when all hope seems lost.” – Emma Hutchings, Suspend Your Disbelief

The Believers

903. (-21) The Believers

John Schlesinger

1987 / USA / 114m / Col / Thriller | IMDb
Martin Sheen, Helen Shaver, Harley Cross, Robert Loggia, Elizabeth Wilson, Harris Yulin, Lee Richardson, Richard Masur, Carla Pinza, Jimmy Smits

“In 1987 John Schlesinger directed this neo-noir horror film adapted from the 1982 novel The Religion by Nicholas Conde. The subject is voodoo, or more specifically the religion known as Santería, a mix of Roman Catholicism and Afro-Caribbean religious rituals and traditions. In an attempt to not disparage an entire religion, in the movie the real villains practice an offshoot called brujería, which is Spanish for witchcraft. At any rate, The Believers was criticized by some for perpetuating negative stereotypes. If you can look past that, however, this is a solidly entertaining thriller with a terrific cast led by Martin Sheen.” – Patrick Nash, Three Movie Buffs

Body Melt

904. (-33) Body Melt

Philip Brophy

1993 / Australia / 81m / Col / Body Horror | IMDb
Gerard Kennedy, Andrew Daddo, Ian Smith, Regina Gaigalas, Vincent Gil, Neil Foley, Anthea Davis, Matthew Newton, Lesley Baker, Amy Grove-Rogers

“The trouble is that, by doing his thing so well, director Philip Brophy has left audiences unsure if his film is a spoof – but you only have to pay attention to its innovative camerawork, perfectly arranged lighting and seamless continuity to realise that there’s a lot of talent behind it. Whilst it would be entertaining either way, it’s clearly more than just a halfhearted slice of exploitation movie-making – it’s a hilarious tribute to the best-loved cliches of the genre, and the affection and understanding that have gone into it mean it has real spirit, energy and character.” – Jennie Kermode, Eye For Film

Deep Rising

905. (-32) Deep Rising

Stephen Sommers

1998 / USA / 106m / Col / Action | IMDb
Treat Williams, Famke Janssen, Anthony Heald, Kevin J. O’Connor, Wes Studi, Derrick O’Connor, Jason Flemyng, Cliff Curtis, Clifton Powell, Trevor Goddard

““Cheese Rising” might have been a more apt title for this Giant Monster from the Depths throwback. Despite its obvious drawbacks, however, this patently silly horror show is good, stupid fun if you can just manage to leave your intellect at home for a while… the film manages the look and feel of something far more than the sum of its many-tentacled parts… despite Deep Rising’s off-the-scale cheese factor, it’s still a rollicking good time, frequently poking fun at itself and assorted horror film conventions… While the film is essentially Aliens aboard a luxury liner, Sommers keeps thing fast and loose, negotiating some splendid action set-pieces within the cramped confines of the mammoth ship” – Marc Savlov, Austin Chronicle

Psycho III

906. (new) Psycho III

Anthony Perkins

1986 / USA / 93m / Col / Thriller | IMDb
Anthony Perkins, Diana Scarwid, Jeff Fahey, Roberta Maxwell, Hugh Gillin, Lee Garlington, Robert Alan Browne, Gary Bayer, Patience Cleveland, Juliette Cummins

“PSYCHO III goes back to basics, happily content in playing with the slasher conventions to toy with Norman Bates’ murderous side. After all, we know by the end of PSYCHO II that Norman is back to being bat-shit crazy, so any mystery of a killer wouldn’t exist anyway. And while that does take away some of the effect in terms of suspense with the lack of a whodunit angle, both Perkins and Pogue still manage to tell a fun, thrilling tale that harkens back to the original film that happens to feel fresher and more modern than the remake Gus Van Sant directed in 1998.” – Fred [The Wolf], Full Moon Reviews

The Legend of the 7 Golden Vampires

907. (-15) The Legend of the 7 Golden Vampires

Roy Ward Baker

1974 / UK / 83m / Col / Vampire | IMDb
Peter Cushing, David Chiang, Julie Ege, Robin Stewart, Szu Shih, John Forbes-Robertson, Robert Hanna, Shen Chan, James Ma, Hui-Ling Liu

“By the early ‘70s, the beloved English horror and science-fiction studio Hammer was losing it. After about 15 years spent turning out distinctive, entertaining films made on modest budgets, the studio tried to stay relevant by resorting to desperate variations on classic horror themes… One of the more bizarre developments was Hammer’s decision to team up with Hong Kong’s Shaw Brothers, the production company behind numerous kung-fu hits… It’s pretty much as ridiculous as it sounds, but there’s something inherently entertaining about make-up-splattered vampires, distinguished British actors, and martial artists squaring off in periodic eruptions of kung-fu fighting.” – Keith Phipps, The Onion A.V. Club


908. (-19) Delicatessen

Marc Caro & Jean-Pierre Jeunet

1991 / France / 99m / Col / Black Comedy | IMDb
Pascal Benezech, Dominique Pinon, Marie-Laure Dougnac, Jean-Claude Dreyfus, Karin Viard, Ticky Holgado, Anne-Marie Pisani, Boban Janevski, Mikael Todde, Edith Ker

“Set to the cadence and meanderings of a truly odd household of inmates/tenants, Delicatessen cunningly unfolds a futuristic domain of perverse gadgets and their owners who, in turn, run amok in a macabre and highly melancholy manner. Brutal machinery and fragile humanity are forever at odds, with love and devotion the only chance for survival. But can the cannibal elite of the tenement repel the attack of the subversive troglodytes? The juxtaposition of themes becomes increasingly delirious… Sure to be heralded as a masterpiece of vision and not merely a cult film, Delicatessen is so laden with humor and madness, brutality and tenderness, viewers will be left dumbstruck by the sheer style of the adventure alone.” – Roger Hurlburt, South Florida Sun-Sentinel


909. (-15) P2

Franck Khalfoun

2007 / USA / 98m / Col / Thriller | IMDb
Wes Bentley, Rachel Nichols, Simon Reynolds, Philip Akin, Stephanie Moore, Miranda Edwards, Paul Sun-Hyung Lee, Grace Lynn Kung, Bathsheba Garnett, Philip Williams

“Save for an early bit involving a cell phone (do they ever work in horror films?), there’s nothing here that wouldnít feel out of place in the bottom half of a ’70s drive-in double feature. The cast helps things out considerably. [Rachel Nichols] wavers believably between totally freaked and righteously wrathful, while Bentley’s Taser-wielding lonelyheart manages to shift between laughable, psycho, and strangely affecting, sometimes in a single scene. Your mileage may vary, depending on your general tolerance for B-picture skuzz, but taken as a whole (and despite the awful title), P2 makes for more than serviceable, no-frills exploitation fare.” – Andrew Wright, The Stranger


910. (-26) Threads

Mick Jackson

1984 / UK / 112m / Col / Nuclear War | IMDb
Karen Meagher, Reece Dinsdale, David Brierly, Rita May, Nicholas Lane, Jane Hazlegrove, Henry Moxon, June Broughton, Sylvia Stoker, Harry Beety

“Threads is perhaps the strongest anti-nuclear film ever made, the closest thing available to a documentary on post-apocalyptic life. The film takes its title from the concept that all life on earth is interconnected as if by invisible “threads.” The ultimate message of the film is that nuclear war is not simply an issue for politicians to debate, or for just the major nuclear powers. The threat of nuclear war affects all individuals equally and, as such, each individual is responsible for doing something about it. Even in the post-Cold War world of today, it is difficult to imagine anyone viewing Threads and not walking away from the film with that massive burden in the forefront of their minds.” – David Carter, Not Coming to a Theater Near You

Bloody Birthday

911. (-41) 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


912. (-8) Noroi

Kôji Shiraishi

2005 / Japan / 115m / Col / Found Footage | IMDb
Jin Muraki, Rio Kanno, Tomono Kuga, Marika Matsumoto, Angâruzu, Hiroshi Aramata, Yôko Chôsokabe, Dankan, Tomomi Eguchi, Gôkyû

“Noroi’s sense of realism may be unmatched in found-footage, and the journey of its idealistic, headstrong protagonist makes for gripping viewing; it’s the inseparable nature of the film’s form and content, however, that makes it a contender for one of the best horror films I’ve ever seen. Kobayashi’s film must feel real or else his journey would feel fake. If Noroi possessed the slightest suggestion of falsehood, the audience would have free reign to retreat to a comfortable spectator’s position, ready to let this fiction play out without any personal consequence. By convincing us of its veracity and giving us a protagonist whose drive for earth-shaking answers mirrors our own, Noroi directly interrogates our hunger for truth. In seeking truth, Noroi concludes, we become swallowed up by it. We’ve sought out Pandora’s box and wrest it open, and we deserve whatever comes out.” – Julian Singleton, Cinapse

Satan's Little Helper

913. (0) Satan’s Little Helper

Jeff Lieberman

2004 / USA / 96m / Col / Comedy | IMDb
Alexander Brickel, Katheryn Winnick, Stephen Graham, Amanda Plummer, Wass Stevens, Dan Ziskie, Melisa McGregor, Joshua Annex, Joyce R. Korbin

“With a solid cast lined up and a strong script, the film exhibits how much can be achieved with limited resources. The autumnal atmosphere of Halloween in New England is effectively established, especially considering that the movie was shot in the summer, and the tone never oversteps its boundaries between what is meant to get laughs and what is meant to disturb the viewer. “Satan’s Little Helper” is an uncompromisingly wicked, subjectively brave chiller practically crying out to be discovered.” – Dustin Putman,

Friday the 13th Part VIII: Jason Takes Manhattan

914. (-51) Friday the 13th Part VIII: Jason Takes Manhattan

Rob Hedden

1989 / USA / 100m / Col / Slasher | IMDb
Todd Caldecott, Tiffany Paulsen, Tim Mirkovich, Kane Hodder, Jensen Daggett, Barbara Bingham, Alex Diakun, Peter Mark Richman, Ace, Warren Munson

“Directed by Rob Hedden, Jason Takes Manhattan is the one installment that I have a love/hate relationship with. I hate that I love it because it’s probably one of the weakest installments in the entire franchise but yet, there are so many great moments too including the rooftop boxing match between Jason and Julius, Jason knocking over the thugs boombox, the scene in the diner with a future “Jason”, and sewer-face Jason at the end… Overall, as a horror fan, even the weakest of movies can still hold a place in my heart and Jason Takes Manhattan is definitely one of them. I mean, taking the serial killer and putting him on a boat isn’t the silliest thing you could do — you could always send him to space.” – Heather Wixson, Dread Central

Mumsy, Nanny, Sonny & Girly

915. (-25) Mumsy, Nanny, Sonny & Girly

Freddie Francis

1970 / UK / 102m / Col / Black Comedy | IMDb
Michael Bryant, Ursula Howells, Pat Heywood, Howard Trevor, Vanessa Howard, Robert Swann, Imogen Hassall, Michael Ripper, Hugh Armstrong

“Girly is not the nightmarish blur of sex, color, and violence one would expect judging by the poster. Instead, it is a slow, psychological meditation, a playful look into the disturbing details of suppressed sexuality, morbid isolation, and the notion of insanity by proxy. We are led into a world fully contained within a decaying mansion, but we aren’t met with a parade of bloody horrors and gleefully violent imagery; instead, we are witness to a coy, clever game of cat and mouse, where no action or emotion is ever true. Comically depraved actions and lustful yearnings hidden behind a strange veil of morality are commonplace.” – James Merolla

Paranormal Activity 3

916. (-42) Paranormal Activity 3

Henry Joost & Ariel Schulman

2011 / USA / 83m / Col / Found Footage | IMDb
Lauren Bittner, Christopher Nicholas Smith, Chloe Csengery, Jessica Tyler Brown, Hallie Foote, Dustin Ingram, Johanna Braddy, Katie Featherston, Sprague Grayden

“This paradox—the less you see the more you think you see, or the more you think about seeing—is what used to make horror go. Before Tom Savini and Dan O’Bannon, and before the essential redundancy of torture porn, scary movies depended on viewers’ imaginations. The Paranormal Activity films return to that low-budget idea, with an exponentially high profits pay-off. Their plots are rudimentary, and this third installment’s architecture is both banal and ludicrous (as it elucidates how the sisters came to know the demon plaguing them in the first two films, it wades into hoary-old-witches waters). But you don’t go to horror movies for story. You go for sensation, to be moved. Paranormal Activity 3 not only gets that, it also asks you to get it, to be aware of how you’re being moved, and your part in the moving.” – Cynthia Fuchs, Pop Matters

4 mosche di velluto grigio

917. (-15) 4 mosche di velluto grigio

Dario Argento

1971 / Italy / 104m / Col / Giallo | IMDb
Michael Brandon, Mimsy Farmer, Jean-Pierre Marielle, Bud Spencer, Aldo Bufi Landi, Calisto Calisti, Marisa Fabbri, Oreste Lionello, Fabrizio Moroni, Corrado Olmi

“The little-seen Four Flies on Grey Velvet is perhaps most remarkable for it’s unusual spiritual underpinnings and Dario Argento’s deft attention for sexual signifiers. The title of this third and final film in Argento’s “animal trilogy” is as egregious as the weird science that literalizes the eye as a photographic camera… If Argento’s signature use of a black-gloved killer is noticeably absent, this is compensated by the presence of [Michael] Brandon himself, whose striking features recall those of the giallo director’s. There isn’t much to Four Flies on Grey Velvet besides pent-up rage though much of the film’s sexual frenzy prefigures themes from Deep Red.” – Ed Gonzalez, Slant Magazine


918. (-2) 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

Blade II

919. (-33) Blade II

Guillermo del Toro

2002 / USA / 117m / Col / Vampire | IMDb
Wesley Snipes, Kris Kristofferson, Ron Perlman, Leonor Varela, Norman Reedus, Thomas Kretschmann, Luke Goss, Matt Schulze, Danny John-Jules, Donnie Yen

“Director Guillermo del Toro effortlessly switches gears from these sequences to quiet explorations of dark, brooding settings typical of the horror genre and back again. The horror scenes have genuine tension to them, and del Toro is always aware of the grotesque nature of the material. He’s not afraid to showcase pools of blood, dismemberment, characters sliced in half, vampires dissolving, and, of course, Reaper dissections. The story is pure comic book, which essentially means that it should be ignored to enjoy the strengths of the film. Eventually, though, the storyline delves into some mythology similar to another famous horror story, and there’s actually something a bit insightful about these scenes. Along with the more disturbing elements, the film has the feel of a graphic novel. Scenes are dark, dreary, and atmospheric. The performances, led by Wesley Snipes’ complete immersion into the fun of his role, are pure camp—just right for this material.” – Mark Dujsik, Mark Reviews Movies


920. (-14) Macabre

Kimo Stamboel & Timo Tjahjanto

2009 / Indonesia / 95m / Col / Slasher | IMDb
Shareefa Daanish, Julie Estelle, Ario Bayu, Sigi Wimala, Arifin Putra, Daniel Mananta, Dendy Subangil, Imelda Therinne, Mike Muliadro, Ruly Lubis

“Opting for an extreme, over-the-top approach to their violence, the stated goal of writer-director duo the Mo Brothers was not to dip into nauseating, torture porn territory but to take slasher concepts and push them ludicrous extremes in the name of entertainment. It’s all about the adrenaline rush here rather than the uncomfortable squirm and adrenaline they deliver indeed, with a seemingly endless string of tightly executed – there’s that word again – set pieces and innovative kill shots.” – Todd Brown, ScreenAnarchy

Child's Play 2

921. (-42) Child’s Play 2

John Lafia

1990 / USA / 84m / Col / Evil Doll | IMDb
Alex Vincent, Jenny Agutter, Gerrit Graham, Christine Elise, Brad Dourif, Grace Zabriskie, Peter Haskell, Beth Grant, Greg Germann, Raymond Singer

“An inevitable sequel that’s not as good as its progenitor, but better than most movies with the numbers 2 through 8 in their titles… “2” actually gets clever at the end, when Andy (Alex Vincent) and sidekick Kyle (Christine Elise) battle Chucky in the Good Guys factory amid moving conveyor belts, hydraulic presses and molding units. As surreal as it is suspenseful, the climax may be a little too sophisticated for the genre, but it manages to lower its expectations at the last minute.” – Richard Harrington, Washington Post

Requiem pour un vampire

922. (-119) Requiem pour un vampire

Jean Rollin

1972 / 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

Jennifer's Body

923. (+63) Jennifer’s Body

Karyn Kusama

2009 / USA / 102m / Col / Comedy | IMDb
Megan Fox, Amanda Seyfried, Johnny Simmons, Adam Brody, Sal Cortez, Ryan Levine, Juan Riedinger, Colin Askey, Chris Pratt, Juno Ruddell

“The movie could have explored its intriguing ideas in even more depth, and it certainly doesn’t reinvent the wheel. Jennifer’s Body is still a better-than-average horror movie, and considerably more pointed too. Several moments are genuinely creepy. Other moments are darkly funny. Cody’s script – under the director of Girlfight’s Karyn Kusama, who brings a top-notch visual style – manages to combine those things into something that is a lot of wicked fun. The message: inside every adolescent girl is a figurative man-eater waiting to be unleashed. And inside every teen boy is a desire to be feasted on by the hottest girl in school. You can agree with that sentiment or not, but it may just define adolescent sexuality. If nothing else, it makes for a hell-raising good time at the movies.” – Mike McGranaghan, The Aisle Seat

Needful Things

924. (+6) Needful Things

Fraser Clarke Heston

1993 / USA / 120m / Col / Supernatural | IMDb
Max von Sydow, Ed Harris, Bonnie Bedelia, Amanda Plummer, J.T. Walsh, Ray McKinnon, Duncan Fraser, Valri Bromfield, Shane Meier, William Morgan Sheppard

“During his long career, Wise directed many tales of the eerie, such as the brilliant The Body Snatcher (1945) and The Haunting (1963). He also directed some of the finest women’s films around, including I Want to Live! (1958) and So Big (1953). He also created two classic science fiction films, The Day the Earth Stood Still (1951) and The Andromeda Strain (1971). His respect for the subject matter of each of these disparate genres, his knowing direction of the women in his films, and the skill he brought to bear to create the appropriate mood for any story come together in Audrey Rose, a disturbing film that stands with the best of his work.” – Marilyn Ferdinand, Ferdy on Films

Kim Bok-nam salinsageonui jeonmal

925. (-18) Kim Bok-nam salinsageonui jeonmal

Chul-soo Jang

2010 / South Korea / 115m / Col / Slasher | IMDb
Yeong-hie Seo, Seong-won Ji, Min-ho Hwang, Min Je, Ji-Eun Lee, Jeong-hak Park, Jang-hun Ahn, Su-yeon Ahn, Su-ryun Baek, Shi-hyeon Chae

““Bedevilled” is a far more morally complex and challenging film than this synopsis might suggest, and is by no means a straightforward revenge thriller in the traditional sense. Similarly, despite its setting, the film isn’t an exercise in exploitative backwoods fear, nor is it an overtly feminist rant, with Seoul being portrayed as a bleak place full of random violence, and with the island being run by a monstrous matriarchy whose members are every bit as bad as Bok Nam’s male abusers, reinforcing oppression and ignorance. The film also eschews a typical revenge narrative or indeed the usual patterns of victims and abusers as protagonists, beginning with Hae Won as the main character, and later shifting to Bok Nam, only for things to be turned on their head when she turns devilish aggressor.” – James Mudge, Beyond Hollywood

La corta notte delle bambole di vetro

926. (-25) La corta notte delle bambole di vetro

Aldo Lado

1971 / Italy / 97m / Col / Giallo | IMDb
Ingrid Thulin, Jean Sorel, Mario Adorf, Barbara Bach, Fabijan Sovagovic, José Quaglio, Relja Basic, Piero Vida, Daniele Dublino, Sven Lasta

“Liberty is what this film is all about: a simple theme dealt with in an extremely assured and intelligent manner by Lado, who also contributed the surprisingly clever European riff on Wes Craven’s The Last House on the Left, Night Train Murders, four years later. By setting the film in Soviet Prague in the 1970s, Lado seems to have managed to fool both his Communist and capitalist masters to the extent that each thought the film was an attack on the other. Certainly, Short Night’s theme of decadent elders feasting on the blood of the young is a potent image and one that could probably be applied to just about any system of government with a reasonable level of success, but it is mainly thanks to Lado’s deft touch that the metaphor is ensured to be universal.” – Michael Mackenzie, The Digital Fix

Scream 4

927. (-7) Scream 4

Wes Craven

2011 / USA / 111m / Col / Slasher | IMDb
Lucy Hale, Roger Jackson, Shenae Grimes, Dane Farwell, Anna Paquin, Kristen Bell, Aimee Teegarden, Britt Robertson, Neve Campbell, Alison Brie

“It was the interplay between genre-fueled expectation and smart storytelling that created a number of memorable set-pieces (as well as twists) in the original trilogy. However, there’s no doubt that Scream 2 and (especially) Scream 3 failed to live up to the bar set by the original… Scream 4 is without a doubt a much better film than the prior Scream sequels – offering plenty of scares, suspicion, as well as light-hearted commentary about the state of the horror genre. More than any of the previous Scream installments, this film is unapologetic about meta-references and horror-film expectations – turning audience anticipation upside down once again. There are plenty of plot holes and a number of bland performances but for the most part the actors and filmmakers deliver an enticing and intentionally cheesy diversion from the current genre staples” – Ben Kendrick, ScreenRant


928. (-35) Grace

Paul Solet

2009 / USA / 84m / Col / Evil Children | IMDb
Jordan Ladd, Stephen Park, Gabrielle Rose, Serge Houde, Samantha Ferris, Kate Herriot, Troy Skog, Malcolm Stewart, Jeff Stone, Jamie Stephenson

“Many horror filmmakers say they want to capture the look and feel of classic ’70s horror films like “The Exorcist” or “Rosemary’s Baby,” but Solet has achieved it on many levels combining the film’s quiet and somber tone with a haunting ambient score to keeps you on the edge of your seat. That said, the movie certainly isn’t one for the squeamish, which was quickly discovered from one of the stories that circulated around the movie’s famous midnight premiere at Sundance when two men apparently fainted, but who’s to blame them? This is clearly the sickest and most disturbing movie you’ll see this year, extremely effective on every level without cowtowing to the overused formulas that have become standard in modern horror.” – Edward Douglas, Coming Soon

The Call of Cthulhu

929. (-57) The Call of Cthulhu

Andrew Leman

2005 / USA / 47m / BW / Supernatural | IMDb
Matt Foyer, John Bolen, Ralph Lucas, Chad Fifer, Susan Zucker, Kalafatic Poole, John Klemantaski, Jason Owens, D. Grigsby Poland, David Mersault

“[A] rousing throwback to the silent film era, the time where horror meant the twang of the score, and actually paying attention, focusing on the horror of our actors as they face this menace. In the silent era, actors were more based upon their facial expressions and presence upon the screen, and “The Call of Cthulhu” captures the mood of those old silent films, with the sheer goth of HP Lovecraft… Leman’s direction is gorgeous with wonderful set pieces, and beautiful cinematography, while the story’s tension mounts minute to minute for the big pay off. For a film that didn’t really seem to have a big budget, it sure had some fantastic special effects, especially in the climax where the sailors finally go above and beyond this legend.” – Felix Vasquez Jr., Film Threat

Ringu 2

930. (-25) Ringu 2

Hideo Nakata

1999 / Japan / 95m / Col / Supernatural | IMDb
Miki Nakatani, Hitomi Satô, Kyôko Fukada, Fumiyo Kohinata, Kenjirô Ishimaru, Yûrei Yanagi, Rikiya ôtaka, Yôichi Numata, Masako, Miwako Kaji

“If you’re looking for a satisfactory explanation and conclusion to the very clever premise of a cursed videotape causing viewers to die… you won’t find it here. You will, however, find plenty of intriguing conversation around the topic and some beautifully executed scenes as the girlfriend of professor Ryuji (Sanada Hiroyuki) launches her investigation into the powers of sinister spirit Sadako – the star of the mystery tape… That may be too frustrating for many viewers but if you don’t demand to know everything you can still be quietly chilled by some of the set pieces pulled off by director Nakata Hideo.” – Richard Kuipers, Urban Cinefile

House of Whipcord

931. (-19) House of Whipcord

Pete Walker

1974 / UK / 102m / Col / Exploitation | IMDb
Barbara Markham, Patrick Barr, Ray Brooks, Ann Michelle, Sheila Keith, Dorothy Gordon, Robert Tayman, Ivor Salter, Karan David, Celia Quicke

The House of Whipcord is sort of a horror movie, sort of a women’s prison movie, and extremely English all the way around… It lumbers a bit, in that characteristic British way, but it’s relatively fearless in the face of its potentially controversial subject matter, and director Peter Walker seems to have spared not a moment’s concern for the sensitivities of the easily offended… The story has a genuine logic to it (watch enough European-made cheapies and you’ll really come to appreciate the rarity of that quality), and a number of satisfying little twists as well.” – Scott Ashlin, 1000 Misspent Hours and Counting

Exorcist II: The Heretic

932. (-33) Exorcist II: The Heretic

John Boorman

1977 / USA / 118m / Col / Possession | IMDb
Linda Blair, Richard Burton, Louise Fletcher, Max von Sydow, Kitty Winn, Paul Henreid, James Earl Jones, Ned Beatty, Belinda Beatty, Rose Portillo

“One of the craziest films ever released by a major studio, a semi-coherent Grand Guignol romp involving telekinesis, James Earl Jones in a bee costume, and an airborne demon named “Pazuzu”… Exorcist II: The Heretic certainly has its defenders, chief among them Martin Scorsese, Pauline Kael, and Keith Phipps. Scorsese preferred it to The Exorcist while Pauline Kael gushed that it “had more visual magic than a dozen movies,” which is true only if those movies were directed by Uwe Boll or shot on grandma’s video camera.” – Nathan Rabin, The Onion A.V. Club

Un gatto nel cervello

933. (-7) Un gatto nel cervello

Lucio Fulci

1990 / Italy / 87m / Col / Splatter | IMDb
Lucio Fulci, David L. Thompson, Malisa Longo, Shilett Angel, Jeoffrey Kennedy, Paola Cozzo, Brett Halsey, Ria De Simone, Sacha Darwin, Robert Egon

“Some see CAT IN THE BRAIN as a Fulci masterpiece about art imitating life, while others see it as a poorly conceived patchwork utilizing clips from previous films. Using the goriest bits from films which Fulci either directed or supervised (including his GHOSTS OF SODOM and A TOUCH OF DEATH), the outcome is an outlandish film-within-a-film-within-a-brain with a very malicious, misogynistic nature. It could very well be a cynical commentary on violence in cinema and how it effects the viewer, or Fulci’s satirical side illustrating how some of his fans might perceive him. At any rate, it’s doubtful that Fulci was taking any of this too seriously, and apparently he had a lot of fun making it. It’s easy to see why splatter lovers have embraced CAT IN THE BRAIN over the years. Even with all its compiled recycling, it manages to embody every possible graphic atrocity imaginable.” – George R. Reis, DVD Drive-In

Joy Ride

934. (-46) Joy Ride

John Dahl

2001 / USA / 97m / Col / Thriller | IMDb
Steve Zahn, Paul Walker, Leelee Sobieski, Jessica Bowman, Stuart Stone, Basil Wallace, Brian Leckner, Mary Wickliffe, McKenzie Satterthwaite, Dell Yount

“Directed by the meticulous John Dahl (1994’s “The Last Seduction”), who excels at telling noirish stories of murder and mayhem, “Joy Ride” is an absolutely merciless thriller–exciting, marvelously crafted, strongly acted, and with more than a few moments destined to increase your heartbeat. Taking a short premise that could be described as “three victims terrorized by a giant truck,” director Dahl and screenwriters Clay Tarver and J.J. Abrams thankfully do not clutter the ingenious storyline with lots of subplots, nor do they feel it necessary to ever visually unveil the psychopath behind the big rig. Not knowing exactly what Lewis, Fuller, and Venna are up against makes for an even more unshakably eerie experience.” – Dustin Putnam, The Movie Boy

Ganja & Hess

935. (+17) Ganja & Hess

Bill Gunn

1973 / USA / 110m / Col / Vampire | IMDb
Duane Jones, Marlene Clark, Bill Gunn, Sam Waymon, Leonard Jackson, Candece Tarpley, Richard Harrow, John Hoffmeister, Betty Barney, Mabel King

“Pieced together in a disjointed, nonlinear fashion, Ganja & Hess is a strange, heady blend of grindhouse horror and avant-garde experimentation. Writer/director Bill Gunn was apparently tasked with creating a blaxploitation vampire movie in the vein of Blacula, but he instead managed to make something that feels wholly separate from any one genre- something bizarre and beautiful and horrible and totally unexpected. It is not an easy film to follow, with its story jumping back and forth, seemingly unfinished scenes, and unstable characters, but its imagery is so potent I found myself transfixed.” – Alex Kittle, Art, Film and Over-Enthusiasm


936. (-15) Splice

Vincenzo Natali

2009 / Canada / 104m / Col / Science Fiction | IMDb
Adrien Brody, Sarah Polley, Delphine Chanéac, Brandon McGibbon, Simona Maicanescu, David Hewlett, Abigail Chu

“Splice is not a David Cronenberg film but it comes closer to capturing the sensibility of Cronenberg’s films from the mid-1970s to the late 1990s than anything Cronenberg himself has done in the past decade… Underpinning the stylish production values and moments of shock are strong characters and engaging writing. What holds your attention throughout Splice is the changing sympathies you constantly have for Elsa, Clive and Dren as they all constantly shift from positions of being the aggressors to being the victims. Splice is science-fiction/horror at its best, underpinning its daring moments of bodily horror and sexual anxieties with flawed characters to care about and moral issues to wrestle with.” – Thomas Caldwell, Cinema Autopsy

Frankenstein and the Monster from Hell

937. (-19) Frankenstein and the Monster from Hell

Terence Fisher

1974 / UK / 99m / Col / Monster | IMDb
Peter Cushing, Shane Briant, Madeline Smith, David Prowse, John Stratton, Michael Ward, Elsie Wagstaff, Norman Mitchell, Clifford Mollison, Patrick Troughton

“Returning to the series after the misfire of Horror Of Frankenstein (1970), Terence Fisher turns in one of his finest works. He makes virtue of a minuscule budget by crafting a deeply claustrophobic piece. The image is heavy on greys and browns, Brian Probyn’s cinematography almost radiating stench and decay. Cushing’s final outing as Frankenstein is quite simply inspired. To paraphrase philosopher George Santayana, the Baron has become the definition of a fanatic, re-doubling his efforts long after he has lost sight of his original objective. The Baron of old is still visible, lurking in there somewhere, but the sparkling enthusiasm of the young and eager medical student has been replaced by something cold, world weary, methodical and calculating.” – Richard Phillips-Jones, The Spooky Isles


938. (-91) Thinner

Tom Holland

1996 / USA / 93m / Col / Supernatural | IMDb
Robert John Burke, Joe Mantegna, Lucinda Jenney, Michael Constantine, Kari Wuhrer, Bethany Joy Lenz, Time Winters, Howard Erskine, Terrence Garmey, Randy Jurgensen

“So why… is Thinner simply an entertaining movie and not one of the best King ones? It’s hard to put a finger on but there just seems to be something missing. It might be because side characters aren’t developed quite enough and I found the shift in the last third to be not as effective as what came before it. It also becomes a little hard to root for Billy when he can be a pretty unlikeable lout at times. As is, this is an enjoyable effort and one of the rare gypsy based horror flicks out there – with the best being, of course, Drag Me to Hell. If you’re into King, or want a quickly paced time with stellar effects work, then you should check this out.” – Chris Hartley, The Video Graveyard

Shutter Island

939. (new) Shutter Island

Martin Scorsese

2010 / USA / 138m / Col / Mystery | IMDb
Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Max von Sydow, Michelle Williams, Emily Mortimer, Patricia Clarkson, Jackie Earle Haley, Ted Levine, John Carroll Lynch

“With an Oscar on his mantelpiece, Martin Scorsese takes a breather from prestige pictures with “Shutter Island,” an exquisitely crafted potboiler… He creates a seriously creepy mood in the film’s opening moments and tightens the screws amid elaborate sets (some scenes were shot in an actual abandoned state asylum) and gorgeous cinematography — though cinematographer Robert Richardson’s rather pretty vision of Dachau made me queasy… “Shutter Island” strikes me as one of Scorsese’s more minor works, a rather elaborate trifle one of our greatest directors has devised for his — and our — amusement.” – Lou Lumenick, New York Post

El ataque de los muertos sin ojos

940. (-18) El ataque de los muertos sin ojos

Amando de Ossorio

1973 / Spain / 91m / Col / Zombie | IMDb
Tony Kendall, Fernando Sancho, Esperanza Roy, Frank Braña, José Canalejas, Loreta Tovar, Ramón Lillo, Lone Fleming, Maria Nuria, José Thelman

“Director Ossorio amasses a bunch of familiar genre faces and puts them in grave danger, killing them off one at the time in a plot eerily similar to one by a certain John Carpenter from 1979. The reliance on mood and fear in TOMBS is replaced with action and gore in the RETURN. There are some things that improve on Ossorio’s first, but overall this energetic sequel finishes a close second behind it. ATTACK is to TOMBS what ALIENS was to ALIEN. A highpoint in European horror and, like its predecessor, a must-see for horror enthusiasts.” – Brian Bankston, Cool Ass Cinema

House of Mortal Sin

941. (+4) House of Mortal Sin

Pete Walker

1976 / UK / 104m / Col / Thriller | IMDb
Anthony Sharp, Susan Penhaligon, Stephanie Beacham, Norman Eshley, Sheila Keith, Hilda Barry, Stewart Bevan, Julia McCarthy, John Yule, Bill Kerr

“Directed by horror auteur Pete Walker, you can almost smell the 1970′s emanating from the screen, a musty smell of cigarette smoke, cheap perfume and Silvikrin hairspray. Walker was known for his more subversive take on British horror which was a few steps ahead of the gothic Hammer ouvre in the way he commented on religion, politics and censorship of the arts. Susan Penhaligon makes a stunningly sexy heroine with her blend of seventies naivety and easy sexuality and plays well opposite an excellent Anthony Sharp as the sexually frustrated priest… On the whole, this is not one of Pete Walker’s best but has enough interesting qualities to make it a worthwhile option for a late-night movie screening.” – Richard Gladman, Classic Horror Campaign

Friday the 13th: A New Beginning

942. (-59) 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


943. (new) Ben

Phil Karlson

1972 / USA / 94m / Col / Nature | IMDb
Lee Montgomery, Joseph Campanella, Arthur O’Connell, Rosemary Murphy, Meredith Baxter, Kaz Garas, Paul Carr, Richard Van Vleet, Kenneth Tobey, James Luisi

“BEN wasn’t as big of a hit was WILLARD, though it was just as ubiquitous on late-night TV in the ’70s and ’80s. With the killer rat angle already established, BEN is able to get right to the horror element and as such, it follows a template not unlike later slasher films like HALLOWEEN, with Ben and the rats terrorizing a small suburban town and going back into hiding, pursued by cops and the media, both of whom have little success in catching them as the body count escalates. Again scripted by Gilbert A. Ralston, BEN manages to be simultaneously more nasty and grisly and more maudlin and silly than WILLARD.” – Mark Tinta, Good Efficient Butchery

Requiem for a Dream

944. (-25) Requiem for a Dream

Darren Aronofsky

2000 / USA / 102m / Col / Drama | IMDb
Ellen Burstyn, Jared Leto, Jennifer Connelly, Marlon Wayans, Christopher McDonald, Louise Lasser, Marcia Jean Kurtz, Janet Sarno, Suzanne Shepherd, Joanne Gordon

“Director Darren Aronofsky, fortunately, is addicted to images. He has put together a phantasmagoria of self-destructive obsession that is so visually astounding it becomes its own saving grace. Otherwise, we might not be able to bear it… Feverish hallucinatory moments and shocking “prequel” flashes of a character’s imagination are only the beginning of Aronofsky’s visual repertory. He finds a way to make a scream of despair visible. Other screams will make the screen rattle. He splits the screen, horizontally and vertically, and – addictively – repeats flashing close-ups of pill-popping, snorting and shooting up. The dreamy effects of the drugs circle upward. Their less-dreamy effects make refrigerators throb, and the screen distorts. The camera moves relentlessly across an apartment as the figure within frantically jumps and darts.” – Bob Graham, San Francisco Chronicle

Les raisins de la mort

945. (-12) Les raisins de la mort

Jean Rollin

1978 / France / 85m / Col / Zombie | IMDb
Marie-Georges Pascal, Félix Marten, Serge Marquand, Mirella Rancelot, Patrice Valota, Patricia Cartier, Michel Herval, Brigitte Lahaie, Paul Bisciglia, Olivier Rollin

“If you appreciate Rollin’s gothic, sexually provocative films, you should love this, his most suspenseful and accessible production ever. Even if you aren’t a Rollin fan, you may like this. The apocalyptic story moves along at a much faster clip than the ordinary Rollin sex-vampire art film, and like “Night” it features an ending that doesn’t sell out. It’s also one of Rollins’ most chillingly beautiful films: He makes incredibly effective use of ancient French buildings. Seeing an army of Romero-esque ogres (one carrying a severed head) shuffling around them at night is wonderfully chilling.” – Lucius Gore, eSplatter


946. (-29) Rinne

Takashi Shimizu

2005 / Japan / 96m / Col / Supernatural | IMDb
Yûka, Karina, Kippei Shîna, Tetta Sugimoto, Shun Oguri, Marika Matsumoto, Mantarô Koichi, Atsushi Haruta, Miki Sanjô, Mao Sasaki

“Reincarnation (Rinne) is a chilling J-Horror from Takashi Shimizu (director of Ju-On: The Grudge, Ju-On 2 and Marebito) and once again he does not let us down. Reincarnation is a typical supernatural J-Horror but that is far from a criticism, this movie is directed in a way that creeps you out rather than shock you with gore, the tension and mystery is maintained throughout with a crescendo involving masses of death, zombies and demonic dolls.” – Pazuzu Iscariot, Horror Extreme

Tutti i colori del buio

947. (-47) Tutti i colori del buio

Sergio Martino

1972 / Italy / 94m / Col / Giallo | IMDb
George Hilton, Edwige Fenech, Ivan Rassimov, Julián Ugarte, George Rigaud, Maria Cumani Quasimodo, Nieves Navarro, Marina Malfatti, Luciano Pigozzi

“All the Colors of the Dark isn’t a typical giallo, even though it’s usually lumped in with the rest of the genre. While it shares some themes and visual cues with Rosemary’s Baby, I think reducing it to a pastiche of that film doesn’t do it justice. When Sergio Martino allows the film to fire on all cylinders there’s a great synergy between the hallucinatory camerawork, the lurid plot twists, and Bruno Nicolai’s bleak, yet occasionally upbeat score.” – Dollar Theater Massacre

Mulberry St

948. (-14) Mulberry St

Jim Mickle

2006 / USA / 84m / Col / Zombie | IMDb
Nick Damici, Kim Blair, Ron Brice, Bo Corre, Tim House, Larry Fleischman, Larry Medich, Javier Picayo, Antone Pagan, John Hoyt

““Mulberry Street” is an ideal example of what can be done with a small budget, and amongst the better zombie flicks in years. Similar to “28 Days Later” in style and tone, it could almost serve as a prequel to Danny Boyle’s modern day masterpiece, if his infected were plagued by an unknown virus transmitted through the city’s rat population. The afflicted would also have to slowly acquire the characteristics of the rodents as the sickness took effect as well, sort of like living dead were-rats… It’s also a heart breaker. I’d grown so very close to this ragtag team of misfits in the opening scenes, I found myself crestfallen for the first time in ages by the trappings of horror conventions. I knew they all couldn’t possibly survive.” – Rob Getz,

El espanto surge de la tumba

949. (+33) El espanto surge de la tumba

Carlos Aured

1973 / Spain / 95m / Col / Supernatural | IMDb
Paul Naschy, Emma Cohen, Víctor Alcázar, Helga Liné, Cristina Suriani, Betsabé Ruiz, Luis Ciges, Julio Peña, María José Cantudo, Juan Cazalilla

“HORROR RISES FROM THE TOMB is an entertaining late-night mishmash made up of the kind of thrills that make Paul Naschy’s films what they are. In its strongest version, it’s packed pretty well with gore, sexuality and nudity… Nothing groundbreaking genre-wise (a sacred religious emblem is used to fight off the evil doers, a visit from the walking dead is strictly inspired by George Romero, etc.), but this has Naschy (in multiple roles, no less!) at his best, bloody gut-extracting effects that pre-date Tom Savini’s by years, and more beautiful woman on display (in various states of undress) than you could possibly ask for.” – George R. Reis, DVD Drive-In

The Signalman

950. (-27) The Signalman

Lawrence Gordon Clark

1976 / UK / 38m / Col / Supernatural | IMDb
Denholm Elliott, Bernard Lloyd, Reginald Jessup, Carina Wyeth

“Apparently inspired by both the Clayton Tunnel collision of 1961 and the Dickens’ first-hand experience of Staplehurst rail crash four years later, The Signalman is without question one of the strongest films in the [BBC] Ghost Story series and remains today of the finest of all televisual tales of the supernatural. The story was adapted by Andrew Davies – who was later to pen such luminary television works as A Very Peculiar Practice, House of Cards and a number of adaptations of literary classics, including two Dickens novels – and benefits greatly from being faithful to the source story, right down to the period formality of the dialogue.” – Slarek, Cine Outsider


951. (-9) Vampires

John Carpenter

1998 / USA / 108m / Col / Vampire | IMDb
James Woods, Daniel Baldwin, Sheryl Lee, Thomas Ian Griffith, Maximilian Schell, Tim Guinee, Mark Boone Junior, Gregory Sierra, Cary-Hiroyuki Tagawa

“All the while Carpenter does his best with the pretty bad script from Dan Jakoby who fills the movie with forced cheesy dialogue often spouted by Woods whose one-liners tends to fall flat on their backs, not to mention the plot has almost zero exposition in to the origins of the black cross and its functions. Regardless, Carpenter does create a very entertaining film around the almost hackneyed script and answers fan’s questions about his dabbling in to the vampire genre with pure popcorn fare and does like he does it best, with style. All in all, Carpenter does a good job with this stylish and scary vampire movie, giving us a great leading hero and a great villain.” – Felix Vasquez Jr., Cinema Crazed

Il profumo della signora in nero

952. (-11) Il profumo della signora in nero

Francesco Barilli

1974 / Italy / 103m / Col / Giallo | IMDb
Mimsy Farmer, Maurizio Bonuglia, Aldo Valletti, Mario Scaccia, Jho Jhenkins, Nike Arrighi, Lara Wendel, Aleka Paizi, Renata Zamengo, Ugo Carboni

“Camera angles are too acute, making everything seem sinister; much of the blocking feels overtly staged and aritifical. It’s a beautifully lit and appointed world in the film, but the deeper we go, the more we feel that we can’t trust it or even know for sure what’s going on. And having that lack of certainty, following along with Sylvia as her grip on reality ebbs and flows, makes The Perfume of the Lady in Black one of the most tense, and delectably unfathomable Italian horror films ever made. It’s as pure as any cinematic depiction of descent into insanity that I’ve seen, and it surely ranks with the most successful.” – Tim Brayton, Antagony & Ecstasy

Tales from the Darkside: The Movie

953. (-72) Tales from the Darkside: The Movie

John Harrison

1990 / USA / 93m / Col / Anthology | IMDb
Deborah Harry, Christian Slater, David Johansen, William Hickey, James Remar, Rae Dawn Chong, Matthew Lawrence, Robert Sedgwick, Steve Buscemi, Julianne Moore

“Director John Harrison doesn’t do too much wrong here, but he’s helped immensely by three decent stories, a fun wraparound, and a collection of great actors in the main roles […] There’s plenty of dark humour, there’s just enough gore to keep fans of the red stuff happy, and there are some enjoyable practical effects (some enjoyable for being good, and some enjoyable for being amusingly fake). It’s also perfectly paced, coming in at about 90 minutes, therefore preventing any one tale from outstaying its welcome.” – Kevin Matthews, For It Is Man’s Number

Die, Monster, Die!

954. (new) Die, Monster, Die!

Daniel Haller

1965 / USA / 80m / Col / Mystery | IMDb
Boris Karloff, Nick Adams, Freda Jackson, Suzan Farmer, Terence de Marney, Patrick Magee, Paul Farrell, Leslie Dwyer, Harold Goodwin, Sydney Bromley

“American International Pictures’ second attempt at adapting the work of H.P. Lovecraft… A break in filming [Masque of the Red Death] afforded his long-time art director and production designer Daniel Haller a chance to helm AIP’s adaptation of the 1927 Lovecraft tale “The Colour Out Of Space”… the film iself is saved from fading away into total obscurity by a bonkers final third which sees it suddenly transformed into a weird, B-movie crossbreed: part science-fiction, part crazed Gothic melodrama — the producers throw in every successful drive-in movie ingredient there’s ever been, regardless of genre, and mix them all up into one incoherent but enormously satisfying stew!” – Blackgloves,

Repo! The Genetic Opera

955. (+2) Repo! The Genetic Opera

Darren Lynn Bousman

2008 / USA / 98m / Col / Musical | IMDb
Alexa PenaVega, Paul Sorvino, Anthony Head, Sarah Brightman, Paris Hilton, Bill Moseley, Nivek Ogre, Terrance Zdunich, Sarah Power, Jessica Horn

“Cult films are best when they sneak up on the fringe audience, battling failure and disgrace to become something special, appreciated by a select few willing to cherish imperfection. “Repo! The Genetic Opera” is a motion picture that thirsts for alternative acceptance, positioning itself as a juicy piece of unlovable gothic muck that’s guaranteed to turn off mainstream audiences, thus assuring it life beyond the normal distribution timetable. “Repo!” is horrifically calculated to appeal to outsider mentality, but it clicks together rather marvelously, riding an offbeat sense of the macabre to peculiar, yet quite interesting results.” – Brian Orndorf,

I Am Legend

956. (-24) I Am Legend

Francis Lawrence

2007 / USA / 101m / Col / Post-Apocalyptic | IMDb
Will Smith, Alice Braga, Charlie Tahan, Salli Richardson-Whitfield, Willow Smith, Darrell Foster, April Grace, Dash Mihok, Joanna Numata, Abbey

“I Am Legend is a stark and stunning reality check nightmare portrait of a destroyed world, as Neville roams the dangerous urban wilderness that is now Manhattan, dodging carnivorous creatures, with a rifle in tow. And with his trusty German Shepherd Samantha as his sole companion, lending desperate new meaning to the notion of man’s best friend. Will Smith’s astounding performance as he carries the grim weight of this epic ordeal on his shoulders solo, is never less than physically, psychologically and emotionally shattering from moment to gripping moment.” – Prairie Miller, News Blaze


957. (-21) Species

Roger Donaldson

1995 / USA / 108m / Col / Science Fiction | IMDb
Ben Kingsley, Michael Madsen, Alfred Molina, Forest Whitaker, Marg Helgenberger, Natasha Henstridge, Michelle Williams, Jordan Lund, Don Fischer, Scott McKenna

“Boasting a solid cast (Michael Madsen, Ben Kingsley, Marg Helgenberger, Forest Whitaker, Alfred Molina, and, in her debut, Natasha Henstridge) and a few rather cool sci-fi concepts, Species is as slyly smart as it is silly, and the flick delivers a clever idea that’s wedged in between some rather slick action scenes. All in all, a very good time for the genre fans, and the original Species turned out to be a mildly bigger hit than anyone really expected.” – Scott Weinberg, DVDTalk


958. (new) Darkman

Sam Raimi

1990 / USA / 96m / Col / Action | IMDb
Liam Neeson, Frances McDormand, Colin Friels, Larry Drake, Nelson Mashita, Jessie Lawrence Ferguson, Rafael H. Robledo, Dan Hicks, Ted Raimi, Dan Bell

“Darkman is equal parts hilarious comedy, raging action film, comic book brilliance, monster movie, and relentless revenge epic. How can a movie balance that many equal parts? Only Sam Raimi can know for sure. The man can pack unholy amounts of entertainment into his films, and it is the frenetic energy and successful integration of all of these different elements that makes Darkman a genuine genre masterpiece… The third act of Darkman is a relentless series of set pieces involving a real live human stunt men dangling from a helicopter, getting shot at and dipped into traffic, and then a nail-biting conclusion atop a girdered skyscraper in the making. This is a thrilling and exciting movie with some iconic visuals to accentuate the excitement and the masterful staging of it all.” – Ed Travis,


959. (+15) 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

Dracula A.D. 1972

960. (+19) 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


961. (+37) Turistas

John Stockwell

2006 / USA / 93m / Col / Thriller | IMDb
Josh Duhamel, Melissa George, Olivia Wilde, Desmond Askew, Beau Garrett, Max Brown, Agles Steib, Miguel Lunardi, Jorge Só, Cristiani Aparecida

Turistas has been somewhat mis-marketed as a straight horror film in order to benefit from Hostel‘s success. In actuality it is as much a horror flick as an action/thriller hybrid that stands on its own as a solid, suspenseful picture. The narrative briefly critiques the exploitative nature of American tourism – sexual and otherwise – but it doesn’t linger there for very long. At times the extended shots of the lush jungles, pristine beaches and beautiful women revel in the very romanticization of the global south as an exotic hedonistic paradise which the film later disavows. However, it is much more sympathetic to the locals than either Hostel or its other paranoid, survivalist precursor, Deliverance.” – Robyn Citizen,

The Gore Gore Girls

962. (-14) The Gore Gore Girls

Herschell Gordon Lewis

1972 / USA / 81m / Col / Splatter | IMDb
Frank Kress, Amy Farrell, Hedda Lubin, Henny Youngman, Russ Badger, Jackie Kroeger, Nora Alexis, Phil Laurenson, Frank Rice, Corlee Bew

“The Gore-Gore Girls has got to be the most eccentric, bizarre gore film Herschell Gordon Lewis ever conceived or created. Looking at the insane, inspired list of actors, characters, and idiosyncrasies used to pad the storyline with comic confections, one becomes airplane glue goofy with unintentional delight. Would you believe Henny Youngman as a one-liner dropping flesh peddler? A fussy Nero Wolfe wannabe who is an ascot short of being straight? A fruit mashing ex-marine named Grout who pulverizes produce as a peacekeeping pastime? A snorting bartender who’s every word is accented with a sniffle? Or a daffy cocktail waitress who keeps Eva Gabor in wig merchandizing heaven? Together, they combine to make The Gore-Gore Girls Lewis’ funniest film. It is also one of his most brutal. In the long line of mutilations and murders Lewis has lensed, these are the bloodiest, most violent and visceral slices of carnage ever depicted.” – Bill Gibron

Crimson Peak

963. (new) Crimson Peak

Guillermo del Toro

2015 / USA / 119m / Col / Gothic | IMDb
Mia Wasikowska, Jessica Chastain, Tom Hiddleston, Charlie Hunnam, Jim Beaver, Burn Gorman, Leslie Hope, Doug Jones, Jonathan Hyde, Bruce Gray

“To absorb the extraordinary details, colors, shapes and situations that are rife with layered danger is to witness this director’s fierce commitment to his own vision of what life could, or should, be. Del Toro’s latest, “Crimson Peak,” is a case in point. Set in the early 20th century, the action takes place almost entirely in the confines of a dark, decaying, sprawling manor house in northern England called Allerdale Hall. The hall sits atop a mine of red clay that brings about all kinds of building stress: red liquid oozing from walls, thick red water clogging the pipes and trickling down faucets, as if the whole place is in a permanent state of menstrual seizure… But del Toro has always trafficked in very expensive, well curated yuck. And as a result, “Crimson Peak” is all sexy gothic decor mixed with dungeon-like discomfort.” – Kaori Shoji, Japan Times

The Addams Family

964. (-61) The Addams Family

Barry Sonnenfeld

1991 / USA / 99m / Col / Comedy | IMDb
Anjelica Huston, Raul Julia, Christopher Lloyd, Dan Hedaya, Elizabeth Wilson, Judith Malina, Carel Struycken, Dana Ivey, Paul Benedict, Christina Ricci

““The Addams Family” is more laughs than a casketful of whoopee cushions at a morticians’ convention. More than merely a sequel of the TV series, the film is a compendium of paterfamilias Charles Addams’s macabre drawings, a resurrection of the cartoonist’s body of work… Although the plot is flimsier than cobweb it serves well enough, thanks to the production designers’ elaborate contributions and the performers’ formidable panache. Eleven-year-old Ricci is a revelation as the morbidly fascinating Wednesday. The kid was born deadpan.” – Rita Kempley, The Washington Post


965. (-54) Gothika

Mathieu Kassovitz

2003 / USA / 98m / Col / Supernatural | IMDb
Halle Berry, Robert Downey Jr., Charles S. Dutton, John Carroll Lynch, Bernard Hill, Penélope Cruz, Dorian Harewood, Bronwen Mantel, Kathleen Mackey, Matthew G. Taylor

“The casting of Halle Berry is useful to the movie, because she evokes a vulnerable quality that triggers our concern… Berry can act, all right (see “Monster’s Ball”) but she can also simply evoke, and here, where she’s required to fight her way out of a nightmare, that quality is crucial. She carries us along with her, while logic and plausibility (see above) simply become irrelevant. Any criticism of this movie that says it doesn’t make sense is missing the point. Any review that faults it for going over the top into lurid overkill is criticizing its most entertaining quality… It takes nerve to make a movie like this in the face of the taste police, but Kassovitz and Berry have the right stuff.” – Roger Ebert,

Wild Zero

966. (-23) Wild Zero

Tetsuro Takeuchi

1999 / Japan / 98m / Col / Zombie | IMDb
Guitar Wolf, Drum Wolf, Bass Wolf, Masashi Endô, Kwancharu Shitichai, Makoto Inamiya, Haruka Nakajo, Shirô Namiki, Taneko, Yoshiyuki Morishita

“Anyways, for Wild Zero, you can easily see the influences of George A. Romero’s Trilogy of the Living Dead movies throughout this film – from the way the zombies behave and look to some familiar scenes and ideas being thrown up. Unlike Romero’s films, this one does not have any type of satire or social commentary, but just plain craziness, brainless action and Rock ‘n’ Roll! You can expect an abundance of over-the-top action sequences, gore, explosions, tacky situations, lame dialogue, clichés, computerised zombie blasting, dazzling special effects and flamboyant characters! There really is never a dull moment to be had. So just switch off your brain and enjoy the ride!” – Scum Cinema

Countess Dracula

967. (-38) Countess Dracula

Peter Sasdy

1971 / UK / 93m / Col / Vampire | IMDb
Ingrid Pitt, Nigel Green, Sandor Elès, Maurice Denham, Patience Collier, Peter Jeffrey, Lesley-Anne Down, Leon Lissek, Jessie Evans, Andrea Lawrence

“A Hammer Film production, the picture eschews gothic severity to portray a unique panic tied to the aging process, with the titular character not interested in drinking blood, only out to bathe in the stuff. Details, people. While “Countess Dracula” runs out of drama after the hour mark, this is an engaging effort from director Peter Sasdy… who wisely plays up the exploitation aspects of the production to avoid answering questions, keeping the film more invested in a dark hunt for virgin flesh as it teases strange fairy tale elements, though, overall, it’s executed with enough exposed flesh and growling jealousies to keep it engaging in a B-movie manner.” – Brian Orndorf,

Play Misty for Me

968. (-59) Play Misty for Me

Clint Eastwood

1971 / USA / 102m / Col / Thriller | IMDb
Clint Eastwood, Jessica Walter, Donna Mills, John Larch, Jack Ging, Irene Hervey, James McEachin, Clarice Taylor, Don Siegel, Duke Everts

“The movie revolves around a character played with an unnerving effectiveness by Jessica Walter. She is something like flypaper; the more you struggle against her personality, the more tightly you’re held. Clint Eastwood, in directing himself, shows that he understands his unique movie personality. He is strong but somehow passive, he possesses strength but keeps it coiled inside. And so the movie, by refusing to release any emotion at all until the very end, absolutely wrings us dry. There is no purpose to a suspense thriller, I suppose, except to involve us, scare us, to give us moments of vicarious terror. “Play Misty for Me” does that with an almost cruel efficiency.” – Roger Ebert, Chicago Sun-Times

Red State

969. (-61) Red State

Kevin Smith

2011 / USA / 88m / Col / Thriller | IMDb
Michael Angarano, Deborah Aquila, Nicholas Braun, Ronnie Connell, Kaylee DeFer, Joey Figueroa, Kyle Gallner, Anna Gunn, Matt Jones, John Lacy

“It’s casually referred to as a ‘horror movie’, but that’s not quite right. In fact, Red State feels a bit like a movie grappling with an identity crisis: it’s not gruesome enough to qualify as horror, just as it’s neither exclusively funny enough to be comedy nor ‘action-y’ enough to tempt the Michael Bay crowd, yet it has more than enough of each to remain both gripping and entertaining throughout… Overall, Red State delivers a captivating story unlike most of what finds its way to screens these days. It’s a tense, unnerving, infuriating and even amusing film that pulls no punches when it comes to Smith’s passionate sentiments regarding all things sex, religion and politics.” – Tom Glasson, Concrete Playground


970. (-43) Sílení

Jan Svankmajer

2005 / Czech Republic / 118m / Col / Surrealism | IMDb
Jan Tríska, Pavel Liska, Anna Geislerová, Martin Huba, Jaroslav Dusek, Pavel Nový, Stano Danciak, Jirí Krytinár, Katerina Ruzicková, Iva Littmanová

“By turns absurdly funny, disturbingly dissolute, unnervingly claustrophobic, and caustically misanthropic, Lunacy offers viewers the sort of punishing pleasures that so many of its characters seem, in their different ways, to seek. Perhaps it is not to everyone’s tastes, but if your idea of exotic fun can accommodate the sight of two animatronic cows’ tongues rutting away with sinewy abandon, then you would be mad to miss Lunacy. And the sound of the Marquis’ frenzied cackling, coupled with the film’s final, devastatingly simple image, will haunt the corridors of your mind long after the credits have stopped rolling.” – Anton Bitel, Eye For Film

The Toolbox Murders

971. (-22) The Toolbox Murders

Dennis Donnelly

1978 / USA / 93m / Col / Slasher | IMDb
Cameron Mitchell, Pamelyn Ferdin, Wesley Eure, Nicolas Beauvy, Tim Donnelly, Aneta Corsaut, Faith McSwain, Marciee Drake, Evelyn Guerrero, Victoria Perry

“Simply put, The Toolbox Murders is everything you’d expect it to be for the first third of the film. The gore might not be enough to satiate the staunchest of gore-hounds, but it is rather blunt and brutal. The rest of the film chooses to be psychologically disturbing and unsettling with a story that engages a viewer just enough. While you might be a bit put off by the change in pace and tone, you should definitely stick with this one.” – Brett Gallman, Oh, The Horror


972. (+17) Detention

Joseph Kahn

2011 / USA / 93m / Col / Comedy | IMDb
Alison Woods, Logan Stalarow, Julie Dolan, Shanley Caswell, Daniel Negreanu, Will Wallace, Josh Breeding, Marco Garcia, Josh Hutcherson, Mickey River

“Don’t be turned off by Kahn’s satirical take on teen angst and high school drama though, even if you find yourself outside the tech generation of today. Detention still has enough polished oddities to win over anyone with an open mind and a hunger for cutting edge cinema. One can simply marvel at how our director effortlessly pulls off tonal 180’s, or creates such indulgently fun scenarios, but does so with grace and beauty while simultaneously throwing massive amounts of dense script material directly in our face. Both challenging and rewarding, Kahn’s sophomore feature oozes unfiltered creativity films like Jennifer’s Body tried so hard to emulate, given the whole horrific high school experience scenario. Most impressive is the usage of self-aware filmmaking, opening a hidden door of silly gags and playful interactions. Kahn ingeniously pokes enough fun at his own movie as a smack to the audience’s head, almost as to say “Hey, this is supposed to be fun and not serious! Just embrace it!”” – Matt Donato, We Got This Covered

Il boia scarlatto

973. (new) Il boia scarlatto

Massimo Pupillo

1965 / Italy / 87m / Col / Gothic | IMDb
Mickey Hargitay, Walter Brandi, Ralph Zucker, Alfredo Rizzo, Nando Angelini, Albert Gordon, Gino Turini, Roberto Messina, Barbara Nelli, Moa Tahi

“By having a smooth pace, the right amount of action and cheese, and a good dolloping of the old fashioned castle dungeon ambiance, there definitely ends up being very little to not like about Massimo Pupillo’s turn from the black and white Terror-Creatures from the Grave to this colored and near comic-like take on de Sadean torture. The sheer zaniness of it all makes the overly elaborate death devices and unlikely situations perfectly acceptable. It’s just that type of movie. With an energetic, show stealing performance and a fitting resemblance to the flamboyant, masked antiheros populating the fummeti neri boom of the time, it becomes hard to forget Mickey Hargitay’s turn as the cruel but entertaining Crimson Executioner.” – John Plumley, Italian Film Review

Scars of Dracula

974. (-59) 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

Bordello of Blood

975. (-61) Bordello of Blood

Gilbert Adler

1996 / Italy / 87m / Col / Vampire | IMDb
John Kassir, Dennis Miller, Erika Eleniak, Angie Everhart, Chris Sarandon, Corey Feldman, Aubrey Morris, Phil Fondacaro, William Sadler, Kiara Hunter

“If you’re craving a strong story and drawn out characters, look elsewhere. If you’re in the mood for some good laughs, a couple of creamy tits, lots of zany (and well done) visual effects, some quirky side characters, a midget, some hints of lesbianism (always a good thing), lots of ketchup, a holy water squirt gun vampire massacre, Angie Everheart looking like my last solo fantasy and Corey Feldman making an ass of himself, this is the right whore house to smuggle into.” – The Arrow,


976. (-23) Paranoiac

Freddie Francis

1963 / UK / 80m / Col / Thriller | IMDb
Janette Scott, Oliver Reed, Sheila Burrell, Maurice Denham, Alexander Davion, Liliane Brousse, Harold Lang, Arnold Diamond, John Bonney, John Stuart

“Paranoiac was directed by Freddie Francis, and the screenplay adapted by Jimmy Sangster from a Josephine Tey novel called Brat Farrar. The look of the film is beautiful, rich and moody, whether the setting is the unforgiving, jagged clifftop or the neglected and crumbling buildings on the mansion grounds, and the scares are so well done that they truly shock and leave a mark on your memory. I love this film; it’s stood a number of rewatchings, lived up to all the things I liked about it at different ages, and I’d recommend it highly to anyone who loves a good mystery, gothic or otherwise, with gorgeous cinematography, unique chills and fine acting. One of Hammer’s and Reed’s better movies.” – Kristina Dijan, Speakeasy

The Village

977. (-13) 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

La main du diable

978. (-47) La main du diable

Maurice Tourneur

1943 / France / 78m / BW / Drama | IMDb
Pierre Fresnay, Josseline Gaël, Noël Roquevert, Guillaume de Sax, Palau, Pierre Larquey, André Gabriello, Antoine Balpêtré, Marcelle Rexiane, André Varennes

“What makes La Main du diable such a particularly dark and disturbing film is the genuine sensation of terror that comes through the performances, especially that of its lead actor, Pierre Fresnay. In the opening and closing segments of the film, Fresnay appears like a man possessed, a man who genuinely believes he has the Devil on his back and knows that he is about to lose the one thing dearest to him, his soul. […] The expressionistic set design and lighting work to create a mood of unrelenting oppression and lurking demonic menace, which is at its most intense in the chilling opening sequence and dramatic denouement.” – James Travers, Films de France


979. (-42) Sakebi

Kiyoshi Kurosawa

2006 / Japan / 104m / Col / Psychological | IMDb
Kôji Yakusho, Manami Konishi, Tsuyoshi Ihara, Hiroyuki Hirayama, Ikuji Nakamura, Ryô Kase, Kaoru Okunuki, Hironobu Nomura, Jin Muraki, Hajime Inoue

“For those in tune with his deliberate methods, Kurosawa–holding a quiet shot a bit longer than anticipated, keeping the camera far enough away from his characters that we can fully absorb every dark corner of their surroundings, or focused away from what we want to see–effectively subverts genre expectations. The affect is off-kilter, adding to our growing unease… The film generates scares, and empathy for its increasingly unhinged protagonist, but its impact goes deeper than that. Kurosawa offers a compelling detective story, but those expecting linearity or pat answers will be disappointed, because the real questions he is asking are philosophical. At its core, this unsettling work is less about Yoshioka’s (Yakusho) guilt than it is about our own.” – Josh Ralske,


980. (new) Anaconda

Luis Llosa

1997 / USA / 89m / Col / Nature | IMDb
Jennifer Lopez, Ice Cube, Jon Voight, Eric Stoltz, Jonathan Hyde, Owen Wilson, Kari Wuhrer, Vincent Castellanos, Danny Trejo, Frank Welker

“To watch “Anaconda” is to get the impression that there is only one snake in the entire rain forest and that it’s been waiting its whole life for a chance to devour Eric Stoltz, Jennifer Lopez and Ice Cube. The three play the leaders of the expedition, who are traveling with their crew by barge, looking for the lost tribe. But those actors are mere window dressing for the main attraction of “Anaconda,” Jon Voight, who does to the scenery what the snake does to the supporting players. He plays Sarone, a Paraguayan snake trapper who’s rescued by the crew. Voight gets ethnic in a shameless way reminiscent of Al Pacino in “Scarface.” He turns the corners of his mouth down so far that it’s impossible to tell if he’s smiling or sneering… He is the movie’s all-purpose embodiment of mystery and destruction, and as such he provides some of the most deliriously absurd moments in the picture.” – Mick LaSalle, San Francisco Chronicle


981. (-11) Valentine

Jamie Blanks

2001 / USA / 96m / Col / Slasher | IMDb
Denise Richards, David Boreanaz, Marley Shelton, Jessica Capshaw, Jessica Cauffiel, Katherine Heigl, Hedy Burress, Fulvio Cecere, Daniel Cosgrove, Johnny Whitworth

“What struck me during this rewatch of Valentine was just how smart the film is, and how interestingly it taps into these intriguing female characters and relationships as well, especially at the turn of a new century when there were only the inklings of where our society was headed towards these days… Blanks and screenwriters Gretchen J. Berg, Aaron Harberts, Donna Powers, and Wayne Powers are far more interested in celebrating these women and the bonds they share, flaws and all, and that’s pretty cool and certainly far more interesting than most of what we were seeing in horror at that time.” – Heather Wixson, Daily Dead

The Incredible Melting Man

982. (-32) The Incredible Melting Man

William Sachs

1977 / USA / 84m / Col / Science Fiction | IMDb
Alex Rebar, Burr DeBenning, Myron Healey, Michael Alldredge, Ann Sweeny, Lisle Wilson, Cheryl Smith, Julie Drazen, Stuart Edmond Rodgers, Chris Witney

“It’s clear that the real star here is Rick Baker, here coming into his own as one of the premiere effects artists of his generation after serving on crews for a handful of films. The Incredible Melting Man truly marked his arrival as a talent whose genius could elevate an otherwise ordinary (if not downright poor) film. At the time of its release, no one could have ever imagined that anyone would ever refer to it as “a Rick Baker film,” but that’s exactly what it is. His pièce de résistance here is the title character himself, who lives up to his name in that he’s melting and looks absolutely incredible while doing so. West is utterly transformed into a molten, gelatinous blob left to drip puss and body parts all over the countryside. Both hideous and alluring, the effect especially captures the juvenile thrill of reveling in something that’s gross for the sake of being gross.” – Brett Gallman, Oh, the Horror!

Torture Garden

983. (-28) Torture Garden

Freddie Francis

1967 / UK / 93m / Col / Anthology | IMDb
Jack Palance, Burgess Meredith, Beverly Adams, Peter Cushing, Maurice Denham, Barbara Ewing, Michael Bryant, John Standing, Robert Hutton, John Phillips

“Cinematographer turned director Freddie Francis was already an old hand at Amicus, having already helmed Dr. Terror and two non-anthology films… Though not his strongest film, this one is a solid example of his style with its vivid colors, nicely burnished cinematography, and swift, efficient storytelling that ensures the audience won’t get bogged down in one story for too long. The framing device is a great opportunity for Meredith ham it up like nobody’s business, and though the ending comes off as more than a little muddled, at least it avoids the usual cliché of revealing that everyone was dead the whole time. Perhaps most significantly, this was one of five Amicus films written by Robert Bloch, a very in-demand writer in the ’60s after the mammoth success of Alfred Hitchcock’s adaptation of his novel, Psycho.” – Nathaniel Thompson, Mondo Digital

The Abominable Snowman

984. (-49) The Abominable Snowman

Val Guest

1957 / UK / 91m / BW / Science Fiction | IMDb
Forrest Tucker, Peter Cushing, Maureen Connell, Richard Wattis, Robert Brown, Michael Brill, Wolfe Morris, Arnold Marlé, Anthony Chinn

“The remarkable The Abominable Snowman (sometimes with of the Himalayas tacked on) doesn’t enjoy the reputation it deserves. Few reviewers have had much to say about it. Monster fans aren’t charmed by its reluctance to show its title characters. Hammer aficionados would rather discuss that company’s Technicolored horrors. But this Nigel Kneale adaptation of his own story and teleplay, like his earlier Hammer Quatermass series, is a superior science fiction film of rare sophistication and power… Instead of creating the cardboard villains seen in most ecologically themed films… Kneale makes all of his characters basically decent… Their values are just unenlightened and Kneale doesn’t suggest that an appreciation of a ‘correct’ point of view is going to redeem either of them.” – Colin Covert, DVD Talk


985. (-46) Nightmare

Romano Scavolini

1981 / USA / 97m / Col / Slasher | IMDb
Baird Stafford, Sharon Smith, C.J. Cooke, Mik Cribben, Danny Ronan, John L. Watkins, Bill Milling, Scott Praetorius, William Kirksey, Christina Keefe

“I’ve seen other films from the Video Nasty list and always wondered what the hell was wrong with them that they ended up on that list in the first place. Nightmare may be the first Video Nasty that I’ve seen where I can totally see where they’re coming from. There are some insane scenes of blood and brutality. I think what makes it so uncomfortable for me is the fact that it seemed very much like a Texas Chainsaw type of film. The violence just happens, almost matter of factly, and you have to deal with it. It isn’t built up or so over the top that it’s laughable. It’s just there and the reality of it made my skin crawl at times.” – Will Brownridge, The Film Reel

Jason Goes to Hell: The Final Friday

986. (-35) Jason Goes to Hell: The Final Friday

Adam Marcus

1993 / USA / 87m / Col / Slasher | IMDb
John D. LeMay, Kari Keegan, Kane Hodder, Steven Williams, Steven Culp, Erin Gray, Rusty Schwimmer, Richard Gant, Leslie Jordan, Billy Green Bush

“Many faithful Friday advocates refer to this as the series’ lowest ebb and hold New Line contemptible for slaughtering their beloved franchise. On one hand they have a point. It’s unfocused, often inane, and disrespectful to its roots which could be viewed as unforgivable. Despite numerous failings and such a distinct departure from vintage Friday values, it still forms a decent double-bill with Freddy vs. Jason if you’re that way inclined… Taken on its own merits, Jason Goes To Hell is one of the easier Fridays to revisit. It’s not big, certainly not clever, and not particularly respectful of its once great heritage, but it’s 91 minutes of passable fare” – Richard Charles Stevens, Rivers of Grue

Deep Blue Sea

987. (new) Deep Blue Sea

Renny Harlin

1999 / USA / 105m / Col / Nature | IMDb
Thomas Jane, Saffron Burrows, Samuel L. Jackson, Jacqueline McKenzie, Michael Rapaport, Stellan Skarsgård, LL Cool J, Aida Turturro, Cristos, Daniel Rey

““Deep Blue Sea” takes all the action cliches and introduces three big sharks to demolish them. Call it silly. Call it obvious — there’s nothing more obvious than a shark attack. But this is one of the few big-fish horror films that still has the power to surprise. Any one of a dozen movies out there shows actors chewing the scenery. “Deep Blue Sea” shows the scenery chewing the actors, and not just nibbling. In one particularly delightful shot, a shark starts chomping on a man, and another shark comes over and munches on him too… Jackson is the only marquee name, but the cast lacks for nothing in talent and appeal.” – Mick LaSalle, San Francisco Chronicle

Die Säge des Todes

988. (-13) Die Säge des Todes

Jesús Franco

1981 / West Germany / 90m / Col / Slasher | IMDb
Olivia Pascal, Christoph Moosbrugger, Nadja Gerganoff, Alexander Waechter, Jasmin Losensky, Corinna Drews, Ann-Beate Engelke, Peter Exacoustos, Antonia García, Beatriz Sancho Nieto

“Bloody Moon is the legendary cult director Jess Franco’s take on the slasher genre, but as always with Franco he is not out to do something generic just to make a quick buck. The atmosphere of the film and the style it is shot in might not be the best of Franco, but it sure makes the film stand out from the rest of the early 80’s slasher films. The murders are set up nicely, delivering enough blood and guts to keep slasher fans happy. There’s also plenty of nudity, but what fans of slasher films will miss is the intense tone and the lack of attempts at making the film have any scary parts.” – Greg Baty, Cinesploitation

Dracula: Pages from a Virgin's Diary

989. (-4) 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

Bad Moon

990. (-34) Bad Moon

Eric Red

1996 / USA / 80m / Col / Werewolf | IMDb
Mariel Hemingway, Michael Paré, Mason Gamble, Ken Pogue, Hrothgar Mathews, Johanna Marlowe, Gavin Buhr, Julia Montgomery Brown, Primo

“Would you believe that the hero and central character of BAD MOON is the family dog? Yup, BAD MOON was actually adapted from a novel entitled Thor, which tells its story from the point of view of its German Shepard protagonist, who does everything in his power to protect the humans he considers to be part of his pack. While I have not read the novel, it is obvious a film could not be made entirely from a dog’s point of view. So, BAD MOON has altered the structure of the original story to suit cinematic conventions. Despite whatever changes were required to translate the story from the printed page to the screen; a German Shepard named Thor remains the heroic center… a fun little werewolf movie that is worth checking out for Halloween or any other night you are in the mood for some horror flicks.” – Derek M. Germano, The Cinema Laser

The Mask of Fu Manchu

991. (-33) The Mask of Fu Manchu

Charles Brabin

1932 / USA / 68m / BW / Adventure | IMDb
Boris Karloff, Lewis Stone, Karen Morley, Charles Starrett, Myrna Loy, Jean Hersholt, Lawrence Grant, David Torrence

“The Mask Of Fu Manchu is a typical MGM production, with a headlining star, a name supporting cast, and lavish production values… There is a tendency these days to think of “back then” as a more innocent time; but even a brief examination of the films of the pre-Production Code era should be enough to dispel that misguided notion. The few years between the coming of sound and the crackdown in censorship from 1934 onwards saw the release of numerous films featuring a quite staggering degree of cruelty and perversion… Where The Mask Of Fu Manchu is likely to blindside modern audiences is in the explicit sexual sadism of Fu Manchu’s daughter, Fah Lo See.” – Liz Kingsley, And You Call Yourself a Scientist!?

Jeepers Creepers 2

992. (-30) Jeepers Creepers 2

Victor Salva

2003 / USA / 104m / Col / Monster | IMDb
Ray Wise, Jonathan Breck, Garikayi Mutambirwa, Eric Nenninger, Nicki Aycox, Travis Schiffner, Lena Cardwell, Billy Aaron Brown, Marieh Delfino, Diane Delano

“An early image – an overhead shot of a yellow-haired boy running through a golden cornfield on a blazing summer day, while being chased by a black flying thing – is such a mix of earthly beauty and unconscious terror that it could make anyone a believer. Salva is no punch-up-the-soundtrack-and-kick-the-camera director of action. He’s a classicist. He builds a mood through compositions that register as eerie without our really knowing why… while the movie takes place in the daytime, we have a brilliantly filmed version of a typical horror script. Once night descends, the film descends with it. It becomes merely competent, and the flaws and the gracelessness of the screenplay – which Salva wrote – become more obvious.” – Mick LaSalle, San Francisco Chronicle

Los cronocrímenes

993. (-5) Los cronocrímenes

Nacho Vigalondo

2007 / Spain / 92m / Col / Science Fiction | IMDb
Karra Elejalde, Candela Fernández, Bárbara Goenaga, Nacho Vigalondo, Juan Inciarte

“The idyllic but mundane world of the film’s opening segues smoothly into a sequence out of a highly intelligent slasher film, before finally settling into its niche as a darkly funny, and at times mildly disturbing, sci-fi thriller. The scientific specifics of time travel are never discussed, but the question doesn’t ever really occur to you; as framed by Vigalondo’s script, you simply accept it as a reality, no convoluted explanations involving flux capacitors and stainless steel cars required… Vigalondo has made an entirely plausible science fiction movie with fewer effects shots than the average American romantic comedy, and it’s far better for having to stick to its realistic setting.” – Ian Buckwalter, DCist

The Pit and the Pendulum

994. (-13) The Pit and the Pendulum

Stuart Gordon

1991 / USA / 97m / Col / Supernatural | IMDb
Lance Henriksen, Stephen Lee, William J. Norris, Mark Margolis, Carolyn Purdy-Gordon, Barbara Bocci, Benito Stefanelli, Jeffrey Combs, Tom Towles, Rona De Ricci

“Of course, running throughout the film is the Inquisition’s sickly preoccupation with the ‘perils of the flesh’; although the majority of the torture scenes are quite bloodless, this obsession with carnality as something corrupting and malign lends the film and script an unseemly feel. It’s always there, finally coming to the fore in the film’s conclusion, but colouring word and deed throughout [..] Although The Pit and the Pendulum has an escalating pace and even odd moments of humour which makes it feel a long way away in tone from a period Gothic like, for instance, The Monk (2011), it does have substance and much to recommend it, aesthetically, stylistically and in its imaginative development of a classic horror short story (not forgetting Richard Band’s sweeping movie soundtrack).” – Keri O’Shea, Brutal as Hell

The Thing

995. (new) The Thing

Matthijs van Heijningen Jr.

2011 / USA / 103m / Col / Science Fiction | IMDb
Mary Elizabeth Winstead, Joel Edgerton, Ulrich Thomsen, Eric Christian Olsen, Adewale Akinnuoye-Agbaje, Paul Braunstein, Trond Espen Seim, Kim Bubbs

“The good news is that the lack of originality does not preclude effectiveness. An atmosphere of dread and uncertainty is augmented by the relative anonymity of the cast with a lack of star names to latch onto… While the characterisation is thin and delivered in broad strokes, by the time havoc breaks loose it’s unlikely you’ll care too much. Although the slick and plentiful CGI lacks the earthy, visceral punch of the 1982 version… what The Thing lacks in finesse and nuance, it more than makes up for in sustaining a relentless level of threat, progressing at a fast clip and containing its fair share of shocks and surprises.” – Ashley Clark, Little White Lies

You Better Watch Out

996. (-23) You Better Watch Out

Lewis Jackson

1980 / USA / 100m / Col / Slasher | IMDb
Brandon Maggart, Jeffrey DeMunn, Dianne Hull, Andy Fenwick, Brian Neville, Joe Jamrog, Wally Moran, Gus Salud, Ellen McElduff, Brian Hartigan

“Beautifully photographed, extremely well-acted and accompanied by a truly unnerving avant-garde sound design that is inclusive of a score that’s full of warped nerve frazzling Christmassy melodies played on toy instruments but mixed in with discordant synthesiser atmospherics, Christmas Evil is a class above most of its peers, but sometimes gets little credit from those expecting a more conventional ‘slasher’ approach. It is indeed very deliberately paced, and concludes with what continues to rank as a gloriously ludicrous conceit; but for me it completely works and weaves its own demented spell.” – Nothing But the Night


997. (-3) 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

Le pacte des loups

998. (-37) Le pacte des loups

Christophe Gans

2001 / France / 142m / Col / Werewolf | IMDb
Samuel Le Bihan, Vincent Cassel, Émilie Dequenne, Monica Bellucci, Jérémie Renier, Mark Dacascos, Jean Yanne, Jean-François Stévenin, Jacques Perrin, Johan Leysen

“Christophe Gans’ “Brotherhood of the Wolf” takes a colossal leap at that opportunity, melding all sorts of different genres, visual styles, scripting techniques, plot gimmicks, characterizations and story arcs like it were collecting souvenirs on a tourist’s excursion through the northern hemisphere. What’s quite remarkable about the result, at least other than the basic effort to use every element it can in 140 minutes, is how well the movie is made without seeming overly worked or lazy in the process. This isn’t a product that requires time to adapt to all the techniques tossed into the court, either, because it masters a balanced pattern almost as swiftly as the characters sail through their dialogue. It’s a stylish, smart, edgy, exciting and profoundly involving trek though familiar folklore, often better than the masses have been told and even more appealing after repeat viewings.” – David Keyes, Cinemaphile

The Invisible Man

999. (new) The Invisible Man

Leigh Whannell

2020 / USA / 124m / Col / Thriller | IMDb
Elisabeth Moss, Oliver Jackson-Cohen, Harriet Dyer, Aldis Hodge, Storm Reid, Michael Dorman, Benedict Hardie, Renee Lim, Brian Meegan, Nick Kici

“Taking a page out of Whannell’s previous feature, 2018’s Upgrade, The Invisible Man is full of lean and economical choices. Like its suspenseful opening scene, the film speaks volumes with its absences and omissions, perhaps even more so than what’s portrayed on screen. Whannell and cinematographer Stefan Duscio are particularly adept at weaponizing negative space and silence – empty chairs, vacant hallways, and quiet lulls instill a deeply frightening paranoia, sold even further by a powerhouse performance from Elisabeth Moss. As Cecilia, Moss sells a palpable fear not of an invisible monster, but of the all-too-real specter of domestic abuse.” – Jeffrey Zhang, Strange Harbors


1000. (-41) Vacancy

Nimród Antal

2007 / USA / 85m / Col / Thriller | IMDb
Kate Beckinsale, Luke Wilson, Frank Whaley, Ethan Embry, Scott G. Anderson, Mark Casella, David Doty, Norm Compton, Caryn Mower, Meegan Godfrey

“There is no gore to be found in Vacancy, and while the script sets up many opportunities for “boo!” type scares, he doesn’t really take advantage of them. Instead, he uses a simple assortment of techniques to keep our POV yoked to David and Amy’s, and he plays up the suffocating closeness of the spaces both interior and exterior, bringing a terrifying claustrophobia to the goings-on (I couldn’t list every instance in which one or both of the protagonists are “caged,” by Antal’s frame, or an element of framing within the mise en scène, but car mirrors, doorways, phone booths, and decorative fencing are all used at some point to increase that claustrophobia). In effect, he turns the characters into trapped animals, aware that they’re being watched and aware that there’s no way to escape. It’s worse than scary, it’s stifling; and that is terrifying, to me at least.” – Tim Brayton, Antagony & Ecstasy