They Shoot Zombies, Don't They?

#901-#1000

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

Auch Zwerge haben klein angefangen

901. (+53) Auch Zwerge haben klein angefangen

Werner Herzog

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

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

Black Death

902. (new) Black Death

Christopher Smith

2010 / UK / 102m / Col / Historical Drama | IMDb
Sean Bean, Eddie Redmayne, John Lynch, Tim McInnerny, Kimberley Nixon, Andy Nyman, David Warner, Johnny Harris, Emun Elliott, Tygo Gernandt

“As it turns out, no one is without sin in “Black Death,” a grungy, cynical little number from the British director Christopher Smith that slams Christians against pagans with little love for either… With old-fashioned style and old-school effects — you can feel the weight of the broadswords and the crunchy resistance of every hacked head — “Black Death” takes Dark Ages drama to the limits of moral ambivalence. Here, excessive piety and rampant paganism are equally malevolent forces, the film’s baleful view of human nature mirrored in Sebastian Edschmid’s swampy photography. As is emphasized in a nicely consistent coda, the Lord’s side and the right side are not necessarily one and the same.” – Jeannette Catsoulis, New York Times

Dr Jekyll & Sister Hyde

903. (-151) Dr Jekyll & Sister Hyde

Roy Ward Baker

1971 / UK / 97m / Col / Gothic | IMDb
Ralph Bates, Martine Beswick, Gerald Sim, Lewis Fiander, Susan Brodrick, Dorothy Alison, Ivor Dean, Philip Madoc, Irene Bradshaw, Neil Wilson

“The overall atmosphere is a pitch-perfect evocation of period London, complete with dark, foggy alleyways, street merchants bawling out their slogans, men in top hats and women in flouncy dresses. Then, of course, there’s Jekyll’s laboratory full of Mysterious Equipment, Mrs. Hyde’s signature blood-red outfits, bawdy beer halls, stained-glass windows casting splashes of color – lots and lots of nice sets and costumes and cool stuff. Not to be ignored, either, is the amazing similarity between Martine Beswick’s and Ralph Bates’ facial features, apparently a complete coincidence discovered only after the film had been cast. She really does look quite a lot like a beautiful female version of him, which adds a good deal of authenticity to the transformation sequences, accomplished solely through skillful trick photography.” – Deneb T. Hall, Mutant Reviewers

The Asphyx

904. (-66) The Asphyx

Peter Newbrook

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

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

The Stone Tape

905. (-5) The Stone Tape

Peter Sasdy

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

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

Red White & Blue

906. (+2) Red White & Blue

Simon Rumley

2010 / USA / 104m / Col / Psychological | IMDb
Amanda Fuller, Marc Senter, Jon Michael Davis, Nick Holden, Patrick Crovo, Mary Mathews, Noah Taylor, Julian Haddad, Ernest James, Jenny Gravenstein

“Restraint pays dividends for British writer/director Simon Rumley in this devastating and demanding revenge tragedy set in Austin, Texas. A low-budget tale of broken lives and misguided retribution, Rumley’s slow-burner is driven by superbly nuanced performances, with Amanda Fuller’s emotionally scarred nymphomaniac gradually forming a relationship with a mysterious Iraq War veteran… When the brutality finally explodes, Rumley continues to focus on reactions rather than action, the harrowing events hitting harder by being kept predominantly off-screen.” – Sloan Freer, Radio Times

Dr. Phibes Rises Again

907. (-58) Dr. Phibes Rises Again

Robert Fuest

1972 / UK / 89m / Col / Black Comedy | IMDb
Vincent Price, Robert Quarry, Valli Kemp, Peter Jeffrey, Fiona Lewis, Hugh Griffith, Peter Cushing, Beryl Reid, Terry-Thomas, John Cater

“Like any good sequel, ‘Dr. Phibes Rises Again’ builds on the first film, recycling what worked while adding some new elements…. If there is a weakness, it is that the sequel tends to emphasize the campy humor at the expense of the horror. With Phibes now nominally the hero, the audience is not really expected to be frightened by him; instead, we are invited to identify and laugh along with him as he polishes off everyone in his way. Still, this is a small price to pay for the faster-paced plot and many imaginative and amusing touches that make this an extremely entertaining fantasy adventure, if not a very scary horror film.” – Steve Biodrowski, Cinefantastique

La corta notte delle bambole di vetro

908. (new) La corta notte delle bambole di vetro

Aldo Lado

1971 / Italy / 92m / 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

The Night Flier

909. (-55) The Night Flier

Mark Pavia

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

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

Scarecrows

910. (-96) Scarecrows

William Wesley

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

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

The Village

911. (new) 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

Pandorum

912. (new) Pandorum

Christian Alvart

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

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

Gui da gui

913. (new) Gui da gui

Sammo Hung Kam-Bo

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

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

Curse of Chucky

914. (+32) Curse of Chucky

Don Mancini

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

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

Would You Rather

915. (-34) Would You Rather

David Guy Levy

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

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

Mumsy, Nanny, Sonny & Girly

916. (-44) 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

Blue Sunshine

917. (-16) Blue Sunshine

Jeff Lieberman

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

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

House of Dracula

918. (+59) House of Dracula

Erle C. Kenton

1945 / USA / 67m / BW / Vampire | IMDb
Lon Chaney Jr., John Carradine, Martha O’Driscoll, Lionel Atwill, Onslow Stevens, Jane Adams, Ludwig Stössel, Glenn Strange, Skelton Knaggs

“Silly as the film undoubtedly is, and this is a film that elevates silliness to a fine art, House of Dracula sill manages to be eminently watchable and it is easily one of the more entertaining of Universal’s classic horror films. As if the combined monstrosity of Dracula, Wolfman, and Frankenstein’s monster isn’t enough, we are also offered a hunchbacked nurse and a variant on the Dr Jekyll and Mr Hyde story. As the mad scientist (who is clearly related to Fritz Lang’s Dr Mabuse), Onslow Stevens steals the show, delivering far more thrills than the anaemic Dracula and his jaded monstrous entourage. This is a film which ought to be unremittingly awful but it isn’t. It may not scale the heights of Universal’s other great monster movies of the 1930s and ’40s, but it is still an enjoyable, well-crafted horror romp, marred only by its unimaginably daft plot.” – James Travers, Films de France

The Queen of Spades

919. (-55) The Queen of Spades

Thorold Dickinson

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

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

Maléfique

920. (-60) Maléfique

Eric Valette

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

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

La novia ensangrentada

921. (-82) La novia ensangrentada

Vicente Aranda

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

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

Los ojos de Julia

922. (new) Los ojos de Julia

Guillem Morales

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

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

Murder Party

923. (new) Murder Party

Jeremy Saulnier

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

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

Fritt vilt II

924. (-95) Fritt vilt II

Mats Stenberg

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

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

Trauma

925. (-132) 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

Home Movie

926. (-84) Home Movie

Christopher Denham

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

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

The Pit

927. (-70) The Pit

Lew Lehman

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

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

Sightseers

928. (+13) Sightseers

Ben Wheatley

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

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

Vierges et vampires

929. (-15) Vierges et vampires

Jean Rollin

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

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

I Sell the Dead

930. (+21) I Sell the Dead

Glenn McQuaid

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

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

I Spit on Your Grave

931. (-8) I Spit on Your Grave

Steven R. Monroe

2010 / USA / 108m / Col / Rape and Revenge | IMDb
Sarah Butler, Jeff Branson, Andrew Howard, Daniel Franzese, Rodney Eastman, Chad Lindberg, Tracey Walter, Mollie Milligan, Saxon Sharbino, Amber Dawn Landrum

“Butler is excellent in the lead, striking the appropriate balance between vulnerable victim and kick-ass revenge merchant, so that both seem convincing… The script is a vast improvement over the original film: the characters are better written, their interactions are more believable, there’s much more suspense in the build-up and there’s a hint of class conflict (in the smalltown paranoia/suspicion of “city types”) that adds an extra level to the attack. Similarly, Monroe goes out of his way to ensure that, unlike in the original film, the horrific rape scene is not exploitative… obviously, it’s upsetting to watch, but it’s handled well and serves its purpose in setting up the motive for the violent revenge to come.” – Matthew Turner, ViewLondon

The Uninvited

932. (-6) The Uninvited

Charles Guard & Thomas Guard

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

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

Cockneys vs Zombies

933. (new) Cockneys vs Zombies

Matthias Hoene

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

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

Dracula A.D. 1972

934. (-82) 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

The Awakening

935. (-33) The Awakening

Nick Murphy

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

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

Scars of Dracula

936. (-132) 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

As Above, So Below

937. (new) As Above, So Below

John Erick Dowdle

2014 / USA / 93m / Col / Found Footage | IMDb
Perdita Weeks, Ben Feldman, Edwin Hodge, François Civil, Marion Lambert, Ali Marhyar, Cosme Castro, Hamid Djavadan, Théo Cholbi, Emy Lévy

“This is a tidy little horror film heavy on mood, light on gore, and bursting with a refreshing originality of story line. Fans of alchemy will find much to reward them here, including the true meaning of vitriol. Fans of the Lovecraftian school of weirdness will also find much to enjoy. Plus, there’s a dash of Dante, and a hint of Templars that make the mix of hubris and guilt that much more piquant… AS ABOVE SO BELOW gifts us with a lively history lesson on the catacombs of Paris, the history and practice of alchemy, and some nifty insights into ancient engineering practices even as it makes our pulses races. It’s a fun flick that is clever, surprising, and satisfyingly well-executed.” – Andrea Chase, Killer Movie Reviews

The Deadly Spawn

938. (-28) The Deadly Spawn

Douglas McKeown

1983 / USA / 81m / Col / Science Fiction | IMDb
Charles George Hildebrandt, Tom DeFranco, Richard Lee Porter, Jean Tafler, Karen Tighe, James L. Brewster, Elissa Neil, Ethel Michelson, John Schmerling, Judith Mayes

“The Deadly Spawn is one underrated horror movie that most fans of B-horror films will love. It is like a mixture of a 1960s sci-fi flick and a splatterflick akin to The Evil Dead. The puppets and gore effects are great to behold and there is plenty of blood to spread around. Despite a few hiccups in sound and acting skills the story will hold most viewers until the end. And the movie is worth it alone for the attack of the mini-spawns on the grandma’s luncheon party. If your looking for something fairly mindless and fun then The Deadly Spawn may be just the ticket.” – Noah Patterson, A Slice of Horror

Rear Window

939. (new) Rear Window

Alfred Hitchcock

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

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

The Toolbox Murders

940. (-29) 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

Baby Blood

941. (-142) Baby Blood

Alain Robak

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

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

Blood Diner

942. (+28) Blood Diner

Jackie Kong

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

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

The Fall of the House of Usher

943. (+31) The Fall of the House of Usher

James Sibley Watson & Melville Webber

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

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

La terza madre

944. (-61) La terza madre

Dario Argento

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

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

Bloody Birthday

945. (+52) Bloody Birthday

Ed Hunt

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

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

Fire in the Sky

946. (new) Fire in the Sky

Robert Lieberman

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

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

The Tunnel

947. (+41) The Tunnel

Carlo Ledesma

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

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

Mute Witness

948. (-89) Mute Witness

Anthony Waller

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

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

Constantine

949. (-33) Constantine

Francis Lawrence

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

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

The Living and the Dead

950. (-100) The Living and the Dead

Simon Rumley

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

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

Sombre

951. (new) Sombre

Philippe Grandrieux

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

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

De dødes tjern

952. (new) De dødes tjern

Kåre Bergstrøm

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

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

Dead Set

953. (+30) Dead Set

Yann Demange

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

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

The Watcher in the Woods

954. (new) The Watcher in the Woods

John Hough

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

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

Scream and Scream Again

955. (-114) Scream and Scream Again

Gordon Hessler

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

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

The Hole

956. (-120) The Hole

Nick Hamm

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

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

Valkoinen peura

957. (-27) Valkoinen peura

Erik Blomberg

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

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

Murders in the Rue Morgue

958. (-33) Murders in the Rue Morgue

Robert Florey

1932 / USA / 61m / BW / Mystery | IMDb
Sidney Fox, Bela Lugosi, Leon Ames, Bert Roach, Betty Ross Clarke, Brandon Hurst, D’Arcy Corrigan, Noble Johnson, Arlene Francis

“It’s silly and frivolous and absolutely deserves to be laughed right off the screen, but for one tremendous achievement: it is one of the best-looking horror films of the ’30s, full stop. It was shot by Karl Freund, who I’m increasingly sure could save anything: if the rumors are true, he’s the only reason Dracula exists as a functional object, and between The Mummy and Mad Love, he directed two of the most excitingly atmospheric films in the first wave of Universal horror. And good God, but does he ever bring the most flamboyant Expressionist zeal to Murders in the Rue Morgue, using sharp delineations of light to hammer home moments of terror and the uncanny, and he and Florey combined for some really amazing camera placements that present a sense of depth and shape to the rather generic Parisian settings that blazes miles past anything in the stagey Dracula.” – Tim Brayton, Antagony & Ecstasy

Fiend Without a Face

959. (+40) Fiend Without a Face

Arthur Crabtree

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

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

Marebito

960. (+16) Marebito

Takashi Shimizu

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

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

Friday the 13th

961. (new) Friday the 13th

Marcus Nispel

2009 / USA / 97m / Col / Slasher | IMDb
Jared Padalecki, Danielle Panabaker, Amanda Righetti, Travis Van Winkle, Aaron Yoo, Derek Mears, Jonathan Sadowski, Julianna Guill, Ben Feldman, Arlen Escarpeta

“Marcus Nispel’s remake… isn’t really a remake at all. After dispensing with Mrs. Voorhees before the opening credits, it launches into a brand new slaughterfest that sporadically pays homage to scenes from the first three films but stays truest only to their formula. And yet it works. It is easily the best Friday the 13th ever made, if only by virtue of the fact that it’s actually pretty good. How good? That depends what you’re looking for. By now, you know whether Friday the 13th is your kind of movie, and if it’s not, you’ve probably stopped reading by now. If it is, be assured that the acting is passable, the effects are impressively convincing, and the suspense is real. It’s not a great film, but it is a frightening one, and what more do you need to know?” – Rossiter Drake, San Francisco Examiner

Slugs, muerte viscosa

962. (-31) Slugs, muerte viscosa

Juan Piquer Simón

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

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

Doctor X

963. (-34) Doctor X

Michael Curtiz

1932 / USA / 76m / BW / Mystery | IMDb
Lionel Atwill, Fay Wray, Lee Tracy, Preston Foster, John Wray, Harry Beresford, Arthur Edmund Carewe, Leila Bennett, Robert Warwick, George Rosener

“The film’s a comedy for most of its running time, but that melts away for the most part as the last act reveals the criminal mastermind. We’re treated to a lengthy sequence showing how the villain transforms himself by means of ‘synthetic flesh’, which he hauntingly repeats as he rubs goo over his face. Director Michael Curtiz delves into dreamlike imagery for this sequence, and lets the killer’s body modification glow in unearthly oranges and with horrifying delight. The sequence has been called ‘Cronnenberg-esque’ by many, and its hard to deny that the film sees scientific attempts to modify and supplement the body as the path to a new, grotesque species of madmen. Don’t be fooled, though, for about 60 minutes of the film’s 77 minute run time, this film is a rather dark tinged comedy. Lee Tracy’s pratfalls, double takes, and backbiting witticisms are on full display.” – Danny Reid, Pre-Code

Frankenstein

964. (-7) Frankenstein

Kenneth Branagh

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

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

The Beast Within

965. (-72) The Beast Within

Philippe Mora

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

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

Wendigo

966. (-69) Wendigo

Larry Fessenden

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

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

All That Money Can Buy

967. (new) All That Money Can Buy

William Dieterle

1941 / USA / 107m / BW / Drama | IMDb
Edward Arnold, Walter Huston, Jane Darwell, Simone Simon, Gene Lockhart, John Qualen, H.B. Warner, Frank Conlan, Lindy Wade, George Cleveland

“Walter Huston’s performance as the charming, urbane, and supremely self-confident Mr. Scratch is the key to the film; he doesn’t get much screen time, and has even less dialogue, but he’s hands down the most memorable character in the film… If it weren’t for Huston’s performance, The Devil and Daniel Webster would be relegated to lecture halls where film students would dutifully catalogue its expressionist elements and cultural history classes would write tedious papers about its critique of the American banking system. Huston steals the show with a performance more imp-like in it’s physicality than devilish or evil” – Sarah Boslaugh, PopMatters

Final Destination 3

968. (new) Final Destination 3

James Wong

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

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

The Dentist

969. (-162) The Dentist

Brian Yuzna

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

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

It Came from Beneath the Sea

970. (-96) It Came from Beneath the Sea

Robert Gordon

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

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

Stoker

971. (0) Stoker

Chan-wook Park

2013 / UK / 99m / Col / Thriller | IMDb
Mia Wasikowska, Nicole Kidman, David Alford, Matthew Goode, Peg Allen, Lauren E. Roman, Phyllis Somerville, Harmony Korine, Lucas Till, Alden Ehrenreich

“Park Chan-wook’s long-awaited English-language debut is a gorgeously mounted family mystery dressed up as a gothic fairytale. The atmosphere is suffocatingly effective, and if the scarcity of shocks leaves some viewers feeling cheated (Park created the South Korean Vengeance trilogy after all), this misdirection is also one of the movie’s great strengths. Stoker is a puzzle. Its lush visuals, allied with Clint Mansell’s eerily dynamic score, are MacGuffins to some degree. After Sunday night’s world premiere at Sundance, Chan-wook spoke of his admiration for Alfred Hitchcock and homage courses through Stoker like, well, blood… Literary references and symbolism abound in Stoker. You can get tied up trying to figure out who is what. That is the idea. All the clues are there. You just have to look closely.” – Jeremy Kay, The Guardian

Darkness

972. (-8) Darkness

Jaume Balagueró

2002 / Spain / 102m / Col / Haunted House | IMDb
Anna Paquin, Lena Olin, Iain Glen, Giancarlo Giannini, Fele Martínez, Stephan Enquist, Fermí Reixach, Francesc Pagès, Craig Stevenson, Paula Fernández

“Miramax/Dimension kept Jaume Balagueró’s horror film Darkness on the shelf for two years before releasing it on Christmas Day with no press screenings, opening it among Oscar contenders like Million Dollar Baby. The few critics who bothered to check it out predictably panned it, but it deserves reconsideration. Shot in stunning widescreen, Darkness does stumble through a couple of brain-dead plot impediments, but it makes up for quite a bit with its overwhelmingly chilling mood… Unfortunately, it’s not hard to figure out the big secret, and the movie lazily relies on things like lunar eclipses to explain. Lena Olin and Anna Paquin turn in solid performances as the mother and daughter, even if none of the characters actually listen to one another… Despite all this, Darkness is a good case of style over substance and it gave me a memorable, scary evening.” – Jeffrey M. Anderson, Combustible Celluloid

Jeepers Creepers II

973. (-53) Jeepers Creepers II

Victor Salva

2003 / USA / 104m / Col / Supernatural | 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

House of Dark Shadows

974. (-53) House of Dark Shadows

Dan Curtis

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

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

La tarantola dal ventre nero

975. (-47) La tarantola dal ventre nero

Paolo Cavara

1971 / Italy / 89m / Col / Giallo | IMDb
Giancarlo Giannini, Claudine Auger, Barbara Bouchet, Rossella Falk, Silvano Tranquilli, Annabella Incontrera, Ezio Marano, Barbara Bach, Stefania Sandrelli

“Instead of a coherent mystery narrative, Black Belly of the Tarantula has style by the bucketful. Compared to Bava’s color films, there’s not so much gloriously gaudy color; compared to mid-period Argento, there’s not the same fever-dream imagery. But even if he’s not one of the well-known Italian thriller directors and probably doesn’t deserve to be, Paolo Cavara is neither a slouch nor a hack, and his ability to construct tension is certainly estimable. This is a particularly well-edited giallo, using cross-cutting and graphic matches to tie together all sorts of disparate elements in a grand unified statement, and the killing scenes in particular benefit greatly from some very precise cuts. Cavara and his editor Marcello Gatti had a real gift for stretching out a moment in exactly the right places to make it as agonisingly suspenseful as possible.” – Tim Brayton, Antagony & Ecstasy

Mutants

976. (new) Mutants

David Morlet

2009 / France / 95m / Col / Zombie | IMDb
Hélène de Fougerolles, Francis Renaud, Dida Diafat, Marie-Sohna Conde, Nicolas Briançon, Luz Mandon, Driss Ramdi, Grégory Givernaud, Justine Bruneau de la Salle, Jérémy Loth

“In this incarnation of the tried-and-true [zombie survival narrative] formula, the enemy isn’t just a stranger the protagonist is holed up with. It’s a lover and father-to-be. And his gradual descent into infection will test his grief stricken partner, who is left alone with him in an isolated facility in the middle of a snowy forest… Mutants is 28 Days Later and Day of the Dead meets The Shining, and it takes the zombie genre’s theme of isolation to a new level. It presents a provocative, melancholic case study of the limits of human affection when confronted with the unimaginable. And despite the predictable and formulaic turn of the third act, the first two acts should please anyone who enjoys their heroes trapped, their apocalypses thorough, their zombies fast and mean, and their heroines handy with submachine guns.” – Ulises Silva, Quiet Earth

The Dark Half

977. (-98) The Dark Half

George A. Romero

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

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

Firestarter

978. (-79) Firestarter

Mark L. Lester

1984 / USA / 114m / Col / Thriller | 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

A Field in England

979. (new) A Field in England

Ben Wheatley

2013 / UK / 90m / Col / Historical Drama | IMDb
Julian Barratt, Peter Ferdinando, Richard Glover, Ryan Pope, Reece Shearsmith, Michael Smiley, Sara Dee

“With A Field In England Wheatley and his regular writing partner (and wife) Amy Jump aren’t just outside the box – they’ve erupted way out of the storage depot… Before long we have runestones, magic-mushroom visions, much talk of alchemy and stolen manuscripts; there’s a black mirror that becomes an earth-engulfing planet and a man who’s shot dead, resurrected and killed again. All shot in moody, portentous black-and-white widescreen, bleak and beautiful, while Jim Williams’ nervy, percussive score deepens the sense of nameless foreboding. Does it work? For the most part, yes; though at times you may feel you’re being fed obscurity for obscurity’s sake… But one thing’s for sure: bracingly bold and (surely) inimitable, A Field In England is like no other movie you’ve ever seen.” – Phillip Kemp, Total Film

Citadel

980. (-90) Citadel

Ciaran Foy

2012 / Ireland / 84m / Col / Psychological | IMDb
Aneurin Barnard, James Cosmo, Wunmi Mosaku, Ian Hanmore, Amy Shiels, Ingrid Craigie, Pete Murphy, Jake Wilson, Chris Hegarty, Sandra McFadden

“Director Ciaran Foy – who found himself housebound following an attack – has constructed a lean and mean horror set in a shattered city that is both all-too-recognisable as broken Britain while also feeling totally alien. Barnard impresses as the shellshocked Tommy, crippled by his condition, yet drawing the strength from his unconditional love for his daughter to confront his barely human nemeses. Until the final reel, when there’s a half-hearted explanation for the feral delinquents, their presence is chillingly evoked, from sinister reflections in kettles and car doors to a solid menace distorted by frosted glass.” – Tim Evans, Sky Movies

Nochnoy dozor

981. (-28) Nochnoy dozor

Timur Bekmambetov

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

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

La campana del infierno

982. (-88) La campana del infierno

Claudio Guerín

1973 / Spain / 106m / Col / Thriller | IMDb
Renaud Verley, Viveca Lindfors, Alfredo Mayo, Maribel Martín, Nuria Gimeno, Christina von Blanc, Saturno Cerra, Nicole Vesperini, Erasmo Pascual, Antonio Puga

“With a screenplay by Santiago Moncada, the character of John is ambiguous, as we never really know much about his past, how insane he really is and how much of what happens on screen is actually in his mind. But what A BELL FROM HELL may lack in logical contrivance is made up for in style and uniqueness. Even though it owes a bit to Hammer Films’ psychological horrors of the 1960s, the surrealist visions of Louis Bunuel, and the macabre writings of Edgar Allan Poe, the film has a number of clever shocks and a perversity about it that makes it fascinating to watch […] The camera is planted in the most unusual places, boasting some very inventive shots, and the film’s persistent ambiance of sexual and murderous tension, performed by a stellar international cast, makes this one of the genre’s finest of the 1970s.” – George Reis, DVD Drive-In

The Comedy of Terrors

983. (-61) The Comedy of Terrors

Jacques Tourneur

1963 / USA / 84m / Col / Comedy | IMDb
Vincent Price, Peter Lorre, Boris Karloff, Joyce Jameson, Joe E. Brown, Beverly Powers, Basil Rathbone, Alan DeWitt, Buddy Mason, Douglas Williams

“Not bawdy or terribly sophisticated, all told, The Comedy of Terrors derives its charm from its talented cast and crew, its oddly-pleasing, familiar period setting and – I don’t mean this word in the pejorative sense which has crept in during the decades between us and this film – its camp style. It’s light Gothic entertainment through and through, a tale signifying nothing, perhaps, but an opportunity to see some of our best-beloved actors having a damned good time.” – Keri O’Shea, Brutal as Hell

Vamp

984. (-151) Vamp

Richard Wenk

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

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

Honeymoon

985. (new) Honeymoon

Leigh Janiak

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

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

Splice

986. (-135) 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

Class of Nuke 'Em High

987. (new) Class of Nuke ‘Em High

Richard W. Haines & Lloyd Kaufman

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

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

Kansen

988. (-97) Kansen

Masayuki Ochiai

2004 / Japan / 98m / Col / Supernatural | IMDb
Michiko Hada, Mari Hoshino, Tae Kimura, Yôko Maki, Kaho Minami, Moro Morooka, Shirô Sano, Kôichi Satô, Masanobu Takashima, Isao Yatsu

“While not technically a character, the hospital in Infection plays a large part in the movie. It’s a dark, dirty and run-down place that’s low on money and understaffed. They use the hospital’s appearance to underline the depressed and negative state of the film, its characters and the situations that we are presented with. It ends up being the perfect backdrop for an unknown and mainly unseen force that is terrorizing a questionable medical staff that is attempting to deal with several things at once. Infection is not something that would be considered a slasher type film or anything. It focuses on the horror, but also on the morals of the people, the way they treat each other and how their choices can affect themselves and others in the long run. This is a movie that you may not completely understand until the end of it. As it goes by, it’ll start to unveil more and more of its plot and you’ll probably begin to get you’re questions answered. It’s a good watch that has a little bit of a campy style to it and a lot of entertainment value.” – Jaskee Hickman, The Movie Picture Show

Student Bodies

989. (-72) Student Bodies

Mickey Rose

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

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

Shocker

990. (new) Shocker

Wes Craven

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

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

Carriers

991. (-59) Carriers

David Pastor & Àlex Pastor

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

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

Nadja

992. (new) Nadja

Michael Almereyda

1994 / USA / 93m / BW / Vampire | IMDb
Elina Löwensohn, Nic Ratner, Karl Geary, Peter Fonda, Martin Donovan, Jack Lotz, Galaxy Craze, David Lynch, Isabel Gillies, José Zúñiga

“Almereyda uses New York clubs as the backdrop for this vampire saga — a stroke of genius — much the way Jean Cocteau did when, in “Orphee,” he set the myth of Orpheus among a group of squabbling Left Bank poets — as a means of giving a classic story a sharp, contemporary edge. Almereyda shares some of Cocteau’s sense of film as a magic plaything. Shot in hallucinatory black-and-white by Jim Denault — who also works the Pixelvision camera used in some sequences — the film has an atmosphere that fluctuates between languid and hysterical. Visually, it’s a thrilling movie, gorgeously, hypnotically textured. Images fly in from all over—a snippet of Bela Lugosi’s Rorschach eyebrows, a few frames of a ravishing peasant girl, a grainy long shot of a skulking, caped figure — as if Almereyda had found a way of patching directly into the collective pop id.” – Hal Hinson, Washington Post

Alien Raiders

993. (new) Alien Raiders

Ben Rock

2008 / USA / 85m / Col / Science Fiction | IMDb
Carlos Bernard, Mathew St. Patrick, Rockmond Dunbar, Courtney Ford, Jeffrey Licon, Samantha Streets, Derek Basco, Bonita Friedericy, Bryan Krasner, Keith Hudson

“Think The Thing set in a small town supermarket instead of the Artic wastelands and you will have a good idea of what to expect of Alien Raiders… Part of the fun in Alien Raiders lies in guessing who is human and who isn’t. Sure, it has a “twist” ending that one can spot a mile away, but clocking in at a brisk 85 minutes it is a fast-paced action horror movie that boasts some decent writing and gore special effects. For starters, thanks to some good casting the characters never feel interchangeable and the acting is pretty decent too… While there is some gore, including some gruesome finger severances, one also never feels that Alien Raiders is one of those typical low-budget zombie movies that merely serve as showcases for their gore makeup artists.” – James O’Ehley, Sci-Fi Movie Page

Dead Heat

994. (new) Dead Heat

Mark Goldblatt

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

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

Gli orrori del castello di Norimberga

995. (-57) Gli orrori del castello di Norimberga

Mario Bava

1972 / Italy / 98m / Col / Gothic | IMDb
Joseph Cotten, Elke Sommer, Massimo Girotti, Rada Rassimov, Antonio Cantafora, Umberto Raho, Luciano Pigozzi, Dieter Tressler

“In truth, there isn’t a whole lot going on in Baron Blood, with much in the way of actual plot a secondary consideration to the grisly set pieces and swathes of style audiences expect from the work of Mario Bava… yet, Bava’s eye is consistently impressive, creating swathes of Gothic imagery such as a chase sequence through fog-laden streets, sterling use of shadow in framing his antagonist, and a great location in the form of the Baron’s castle. To be expected is also the director’s excellent use of lighting and primary colours, making this another rich visual experience with that distinctly European feel. While it certainly isn’t anywhere near the upper echelons of Bava’s filmography, it offers enough in the way of style and the gleefully macabre to keep it afloat.” – Gareth Jones, Dread Central

Ms. 45

996. (new) Ms. 45

Abel Ferrara

1981 / Spain / 80m / Col / Rape and Revenge | IMDb
Zoë Lund, Bogey, Albert Sinkys, Darlene Stuto, Helen McGara, Nike Zachmanoglou, Abel Ferrara, Peter Yellen, Editta Sherman, Vincent Gruppi

“Ms. 45 wasn’t well received upon its release; it wasn’t quite right for its time, probably because it was so much of its time. But it has a wild, rangy energy, like an exploding star cluster. And if the violence perpetrated by its vengeful heroine is a turn-on — that, after all, is what makes exploitation tick — Ferrara shows a great deal of tenderness for her as well. Thana may not be able to speak, but she sure knows how to make herself heard… The sexual politics of Ms. 45 are blunt and easy to read, and the picture is riotously cathartic. The basics are all there: the foul-mouthed men who deserve the wrath of Thana’s handy pressing tool; the schoolgirl turned vixen who slinks out into the night in search of her prey.” – Stephanie Zacharek, Village Voice

Shura

997. (new) Shura

Toshio Matsumoto

1971 / Japan / 135m / BW / Jidaigeki | IMDb
Katsuo Nakamura, Yasuko Sanjo, Juro Kara, Masao Imafuku

“Matsumoto Toshio’s seldom discussed haunting and horrific Jidai Geki is an alternate take on the famous Japanese true story of the ’47 Ronin’ and their plight to avenge the death of the ritual suicide of their leader, Asano Takumi. Beautifully shot in stark B/W, Matsumoto’s vision of a decrepit world filled with unscrupulous, weak minded individuals is simply one of the most brutal motion pictures ever made. The violence, although infrequent, is strong and escalates in the extreme by the end which resulted in the picture being banned in some territories. Possessing but a single shot in color, this brief moment of the sun descending foreshadows the darkness ahead and as the film progresses, the surroundings appear to get darker and darker as the picture gets closer to its conclusion.” – Brian Bankston, Lone Wolves and Hidden Dragons

Freddy's Dead: The Final Nightmare

998. (new) Freddy’s Dead: The Final Nightmare

Rachel Talalay

1991 / USA / 89m / Col / Slasher | IMDb
Robert Englund, Lisa Zane, Shon Greenblatt, Lezlie Deane, Ricky Dean Logan, Breckin Meyer, Yaphet Kotto, Tom Arnold, Roseanne Barr, Elinor Donahue

“The Nightmare movies have also, to this point, refused to take themselves too seriously, walking a line between absurd and creepy and placing a toe (or ten) on either side every once in a while. This movie goes whole hog into a tone that bordered on slapstick in more than one scene. Freddy is also back to his old self, quipping with his victims and vogueing as though he is, on some level, aware of the film audience. Even with much more history and backstory than we’ve gotten so far, this movie manages to stay squarely in the kind of territory that Nightmare does best.” – Sophie Day, Bloody Good Horror

Tôkaidô Yotsuya kaidan

999. (-156) Tôkaidô Yotsuya kaidan

Nobuo Nakagawa

1959 / Japan / 76m / Col / Jidaigeki | IMDb
Shigeru Amachi, Noriko Kitazawa, Katsuko Wakasugi, Shuntarô Emi, Ryûzaburô Nakamura, Junko Ikeuchi, Jun ôtomo, Hiroshi Hayashi, Shinjirô Asano, Arata Shibata

“Along with the masterful camerawork, the film’s lighting and music play an integral role in selling the dreadful feeling that permeates the entire film. The final moments are scored with traditional Japanese music that grows in driving intensity with the images on-screen, culminating in a stunning, powerful ending that perfectly caps off the film. The violence is surprisingly graphic and still very effective, over fifty years after release. No US film would have ever gotten away with the stuff they do in this film, and as such it feels like a more recent film than 1959. The violence is nothing compared with later films of course, but given the time, it’s incredible. The Ghost of Yotsuya is an amazing, haunting, wonderful horror film that fans of the genre should definitely not miss. It is proof that horror films can be artful and grotesque simultaneously.” – Will Kouf, Silver Emulsion

The Creeping Flesh

1000. (new) The Creeping Flesh

Freddie Francis

1973 / UK / 94m / Col / Science Fiction | IMDb
Christopher Lee, Peter Cushing, Lorna Heilbron, George Benson, Kenneth J. Warren, Duncan Lamont, Harry Locke, Hedger Wallace, Michael Ripper, Catherine Finn

“The principal themes of madness, ambition, greed, deceit, and vanity make this a very human tale, and the opposition between palaeontology and psychology is made all the more intriguing by its extension to the principal characters. Naturally Cushing and Lee are on fine form, and although Cushing has the lions share of the screen time Lee makes quite an impression as the more unscrupulous sibling. The Creeping Flesh has an intriguing premise supported by some wonderful images and fine performances, but is never quite able to entangle itself from a messy plot.” – Shaun Anderson, The Celluloid Highway

  • samlam

    Thanks for compiling this !