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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

La corta notte delle bambole di vetro

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

Aldo Lado

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

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

4 mosche di velluto grigio

902. (new) 4 mosche di velluto grigio

Dario Argento

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

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

The Addams Family

903. (+11) The Addams Family

Barry Sonnenfeld

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

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


904. (new) Noroi

Kôji Shiraishi

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

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

Ringu 2

905. (new) Ringu 2

Hideo Nakata

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

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


906. (new) Macabre

Kimo Stamboel & Timo Tjahjanto

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

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

Kim Bok-nam salinsageonui jeonmal

907. (new) Kim Bok-nam salinsageonui jeonmal

Chul-soo Jang

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

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

Red State

908. (+85) Red State

Kevin Smith

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

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

Play Misty for Me

909. (-159) Play Misty for Me

Clint Eastwood

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

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

Wai dor lei ah yut ho

910. (new) Wai dor lei ah yut ho

Ho-Cheung Pang

2010 / Hong Kong / 96m / Col / Slasher | IMDb
Josie Ho, Juno Mak, Hee Ching Paw, Michelle Ye, Hoi-Pang Lo, Eason Chan, Ying Kwan Lok, Norman Chu, Kwok Cheung Tsang, Chu-chu Zhou

“”Dream Home” is a ghastly, disturbing and, in its depiction of a person who can’t seem to get ahead in a competitive, unforgiving economic climate, surprisingly melancholy horror show. Unspooling out of sequence for a reason, with Sheung’s killing spree interlaced with the telling of the events that have led her to such drastic measures, the film does not condone her actions, but does show how someone could be pushed in such an extreme direction. Indeed, Sheung has a passable apartment as it is, but her obsession with moving up in status turns her into a monster who will stop at nothing to get what she thinks she deserves.” – Dustin Putnam, The Movie Boy


911. (new) Gothika

Mathieu Kassovitz

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

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

House of Whipcord

912. (-18) House of Whipcord

Pete Walker

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

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

Satan's Little Helper

913. (new) Satan’s Little Helper

Jeff Lieberman

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

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

Bordello of Blood

914. (+74) Bordello of Blood

Gilbert Adler

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

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

Scars of Dracula

915. (-265) 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


916. (new) Dread

Anthony DiBlasi

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

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


917. (new) Rinne

Takashi Shimizu

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

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

Frankenstein and the Monster from Hell

918. (-67) Frankenstein and the Monster from Hell

Terence Fisher

1973 / UK / 99m / Col / Monster | IMDb
Peter Cushing, Shane Briant, Madeline Smith, David Prowse, John Stratton, Michael Ward, Elsie Wagstaff, Norman Mitchell, Clifford Mollison, Patrick Troughton

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

Requiem for a Dream

919. (new) Requiem for a Dream

Darren Aronofsky

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

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

Scream 4

920. (new) Scream 4

Wes Craven

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

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


921. (new) 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

El ataque de los muertos sin ojos

922. (+51) El ataque de los muertos sin ojos

Amando de Ossorio

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

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

The Signalman

923. (new) The Signalman

Lawrence Gordon Clark

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

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

The Conjuring 2

924. (+4) The Conjuring 2

James Wan

2016 / USA / 134m / Col / Haunted House | IMDb
Patrick Wilson, Vera Farmiga, Madison Wolfe, Frances O’Connor, Lauren Esposito, Benjamin Haigh, Patrick McAuley, Simon McBurney, Maria Doyle Kennedy, Simon Delaney

“In this Conjuring, the haunted-house tropes play second fiddle to something less graspable, even though there’s no question that a game of fright is in full, masterful swing. Cinematographer Don Burgess’ camera prowls and swoops, Bishara’s choral score sends shivers up the spine and Wan uses prolonged silence as well as sounds — creaking floorboards, a screeching backyard swing — to maximum unsettling effect. The director knows how to turn objects, from an antique zoetrope to a ringing telephone, into icons of free-floating evil or, in the case of a crucifix, into tools of redemption.” – Sheri Linden, Hollywood Reporter


925. (new) Madman

Joe Giannone

1982 / USA / 88m / Col / Slasher | IMDb
Gaylen Ross, Tony Fish, Harriet Bass, Seth Jones, Jan Claire, Alexander Murphy Jr., Tom Candela, Carl Fredericks, Michael Sullivan, Paul Ehlers

“Writer/Director Joe Giannone fashions a palpable atmosphere from the very first frame, and the dark recesses of the forest have perhaps never been as imposing as here. It’s impossible to avoid feeling the chills once Madman Marz begins stalking his prey, and our first full glimpse of him – cloaked in silhouette while watching from the trees – is nothing short of startling. Madman makes the viewer feel its presence, creating a wonderfully uneasy movie going experience. And while atmosphere is an important part of any good slasher film’s success, it doesn’t work without the right villain to get the heart pumping. From his inhuman appearance to his unabashed brutality with an axe (or a truck hood), Madman Marz is easily among the most imposing slashers to ever grace the screen and actor Paul Ehlers plays him without a twinge of sympathy.” – Matt Serafini, Dread Central

Un gatto nel cervello

926. (new) Un gatto nel cervello

Lucio Fulci

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

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


927. (new) Sílení

Jan Svankmajer

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

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

Final Destination 3

928. (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

Countess Dracula

929. (-74) Countess Dracula

Peter Sasdy

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

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

Needful Things

930. (-57) Needful Things

Fraser Clarke Heston

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

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

La main du diable

931. (new) La main du diable

Maurice Tourneur

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

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

I Am Legend

932. (-106) I Am Legend

Francis Lawrence

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

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

Les raisins de la mort

933. (-76) Les raisins de la mort

Jean Rollin

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

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

Mulberry Street

934. (new) Mulberry Street

Jim Mickle

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

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

The Abominable Snowman

935. (new) The Abominable Snowman

Val Guest

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

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


936. (-232) Species

Roger Donaldson

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

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


937. (new) Sakebi

Kiyoshi Kurosawa

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

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

La terza madre

938. (new) La terza madre

Dario Argento

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

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


939. (new) Nightmare

Romano Scavolini

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

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

Vampyros Lesbos

940. (-262) Vampyros Lesbos

Jesús Franco

1971 / Germany / 89m / Col / Vampire | IMDb
Soledad Miranda, Ewa Strömberg, Dennis Price, Heidrun Kussin, José Martínez Blanco, Andrés Monales, Paul Muller, Michael Berling, Jesús Franco

“A lot of Franco buffs consider Vampyros Lesbos to be a classic, and while it is certainly one of his most noteworthy and beautiful films, it falls far from being a traditional horror film. Franco’s appearance as saw-wielding nutjob with a penchant for tying up women and killing them is probably the most straightforward element that could drag Vampyros Lesbos kicking and screaming into the horror genre, while it really seems to want to be an arty lesbian fantasy with elements of gothic horror. Soledad Miranda gives Franco the kind of charismatic lead that is easy and subdued, so that the sexual vibes she gives off don’t have the tacky cheesiness of a typical domestic grindhouse title of the time. The moments between Miranda and Ewa Strömberg are beautifully staged, erotic and sensual without being smutty, amid most certainly not horrific. The convenient vampiric angle that Franco unfurls seems like a thin disguise for touting the free love rebellion against uptight sexual repression.” – Rich Rosell, Digitally Obsessed

Il profumo della signora in nero

941. (new) Il profumo della signora in nero

Francesco Barilli

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

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


942. (new) Vampires

John Carpenter

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

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

Wild Zero

943. (new) Wild Zero

Tetsuro Takeuchi

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

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


944. (new) Halloween

David Gordon Green

2018 / USA / 106m / Col / Slasher | IMDb
Jamie Lee Curtis, Judy Greer, Andi Matichak, James Jude Courtney, Nick Castle, Haluk Bilginer, Will Patton, Rhian Rees, Jefferson Hall, Toby Huss

“[Director Green] clearly has an eye for the cozy, autumnal feel of Carpenter’s original film. From moment one through to the explosive denouement, Green’s Haddonfield feels like a real place filled with real people. And while he does indeed borrow from Carpenter’s cinematic toolbox, this is still very distinctly a Green film. He has brought the imagery into a modern lens, without leaning into the gaudy, aggressive modernity that Zombie tried to invoke with his tale on the material. In the same way that Pineapple Express borrows from a lifetime of crime films to create an atypical stoner comedy, Halloween is reverent to even the worst entries in the preceding franchise, while creating a film wholly its own in both style and structure.” – Dan Scully, Cinema76

House of Mortal Sin

945. (new) House of Mortal Sin

Pete Walker

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

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

The Girl Next Door

946. (new) The Girl Next Door

Gregory Wilson

2007 / USA / 91m / Col / Crime | IMDb
William Atherton, Blythe Auffarth, Blanche Baker, Kevin Chamberlin, Dean Faulkenberry, Gabrielle Howarth, Benjamin Ross Kaplan, Spenser Leigh, Daniel Manche, Mark Margolis

“Daniel Farrands and Philip Nutman’s screenplay sticks close to Ketchum’s novel, which was inspired by the notorious 1965 torture-murder of Indiana teenager Sylvia Likens. Neither Ketchum nor the filmmakers take an exploitative approach to the material; their focus is the way the youngsters’ petty cruelty erupts into murderous sadism through exposure to Ruth, whose homey manner conceals a sociopath’s warped worldview. Baker is chilling as Ruth and young actress Auffarth gives a strong performance as the brutalized Meg, which only makes the film’s unsettling subject matter more difficult to watch.” – Maitland McDonagh, TV Guide

Trick or Treat

947. (new) Trick or Treat

Charles Martin Smith

1986 / USA / 98m / Col / Supernatural | IMDb
Marc Price, Tony Fields, Lisa Orgolini, Doug Savant, Elaine Joyce, Glen Morgan, Gene Simmons, Ozzy Osbourne, Elise Richards, Richard Pachorek

“[Trick or Treat] is about a deceased heavy-metal star who returns to wreak havoc at a small-town high school. The rock star is played most energetically by Tony Fields, who stomps through the film in studs and low-cut black leather, scaring everyone he sees. Ozzy Osbourne, who does this kind of thing in real life, appears in the film briefly (and none too convincingly) as a minister. ‘Trick or Treat’ was directed by Charles Martin Smith, who played the likable nerd in ‘American Graffiti’ and has given his own film something of a likable nerd quality. It’s genial, not too frightening and even rather sweet.” – Janet Maslin, New York Times

The Gore Gore Girls

948. (new) The Gore Gore Girls

Herschell Gordon Lewis

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

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

The Toolbox Murders

949. (new) 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

The Incredible Melting Man

950. (new) The Incredible Melting Man

William Sachs

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

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

Jason Goes to Hell: The Final Friday

951. (+49) Jason Goes to Hell: The Final Friday

Adam Marcus

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

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

Ganja & Hess

952. (new) Ganja & Hess

Bill Gunn

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

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


953. (-88) Paranoiac

Freddie Francis

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

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

The Last House on Dead End Street

954. (new) The Last House on Dead End Street

Roger Watkins

1977 / USA / 78m / Col / Exploitation | IMDb
Roger Watkins, Ken Fisher, Bill Schlageter, Kathy Curtin, Pat Canestro, Steve Sweet, Edward E. Pixley, Nancy Vrooman, Suzie Neumeyer, Paul M. Jensen

“The sheer immense power of ‘Last House on Dead End Street’ is in the techniques employed by Roger Watkins with his sharp artistic eye in getting the most out of the very little budget he had to work with. The visceral intensity of the gruesome displays of murder played out in ritualistic fashion are not overly gory for the most part except for the as before mentioned surgical themed mutilation of the wife of one of the porn producers. The story is secondary here to a gruelling exercise in a nihilistic claustrophobic atmosphere. The combination of the gritty look of the 16 mm camera (blown up to a 35 mm print) and the cocktail of surreal stock music and sound effects creates and immerses us in a bizarrely hallucinogenic nightmarish world while we witness the most strange and grotesque acts.” – Dave J. Wilson, Cinematic Shocks

Torture Garden

955. (-155) Torture Garden

Freddie Francis

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

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

Bad Moon

956. (+18) Bad Moon

Eric Red

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

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

Repo! The Genetic Opera

957. (+26) Repo! The Genetic Opera

Darren Lynn Bousman

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

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

The Mask of Fu Manchu

958. (-154) The Mask of Fu Manchu

Charles Brabin

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

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


959. (new) Vacancy

Nimród Antal

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

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

Incubo sulla città contaminata

960. (new) Incubo sulla città contaminata

Umberto Lenzi

1980 / Italy / 92m / Col / Zombie | IMDb
Hugo Stiglitz, Laura Trotter, Maria Rosaria Omaggio, Francisco Rabal, Sonia Viviani, Eduardo Fajardo, Stefania D’Amario, Ugo Bologna, Sara Franchetti, Manuel Zarzo

“Both the crypto-zombies of Nightmare City and the film itself are fast-paced sons of bitches without so much as a whisper of a thought inside their heads… the afflicted zombies aren’t really undead; it’s just their blood cells that have been paralyzed by radioactivity, hence the need for the zombies to constantly refresh their supply with fresh plasma. In that sense, the creatures in Lenzi’s film are more like anti-charismatic vampires. As one character points out late in the film, humanity reaps what it sews, and the terrified populace has no one to blame for the chaos that ensues but themselves… it does manage to suggest society surprised to find itself on the verge of chaos and annihilation. In practice, it feels like Planet Terror‘s disaster movie-derived uncle.” – Eric Henderson, Slant Magazine

Le pacte des loups

961. (-156) Le pacte des loups

Christophe Gans

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

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

Jeepers Creepers II

962. (new) Jeepers Creepers II

Victor Salva

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

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

Matka Joanna od aniolów

963. (new) Matka Joanna od aniolów

Jerzy Kawalerowicz

1961 / Poland / 110m / BW / Drama | IMDb
Lucyna Winnicka, Mieczyslaw Voit, Anna Ciepielewska, Maria Chwalibóg, Kazimierz Fabisiak, Stanislaw Jasiukiewicz, Zygmunt Zintel, Jerzy Kaczmarek, Franciszek Pieczka

“Kawalerowicz is making a defining statement with the way he has shot Mother Joan of the Angels. By allowing the lens to act as the eye of God, he opens up the film from being a standard work of witchy horror, and rather allows it to become a statement about filmmakers, filmmaking, and the way art can capture things that could go otherwise unseen by the world and each other. Furthermore, what if characters in film were presented so plainly and cleanly with the face of God; what would it reveal? The vitality of its imagery and the immediacy of its actions suggest a director who seeks a more powerful truth even in a folly as potentially silly as possessed nuns, allowing it to take on a bigger, bolder, grander importance.”- Glenn Dunks, Glenn Dunks, Writing

The Village

964. (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


965. (new) Xtro

Harry Bromley Davenport

1983 / UK / 81m / Col / Science Fiction | IMDb
Philip Sayer, Bernice Stegers, Danny Brainin, Maryam d’Abo, Simon Nash, Peter Mandell, David Cardy, Anna Wing, Robert Fyfe, Katherine Best

“The narrative is somewhat incoherent and this is not a film that could ever be praised for its strong storytelling. Many questions are left unanswered, frustratingly so at times yet in an absurd way this all seems to click due to the sequence of utterly ridiculous events that are depicted in ‘Xtro’. A man is mauled by a panther, an Action Man figure comes to life after growing to lifesize proportions and a woman ends up trapped in a bizarre cocoon – and this is just the edited highlights. There are a copious number of wacky and bewildering events to occur in this low-budget piece of insanity.” – Chris Austin, Cult Reviews


966. (new) Frozen

Adam Green

2010 / USA / 93m / Col / Nature | IMDb
Emma Bell, Shawn Ashmore, Kevin Zegers, Ed Ackerman, Rileah Vanderbilt, Kane Hodder, Adam Johnson, Chris York, Peder Melhuse

“Adam Green’s fun 2006 horror film ‘Hatchet’ revelled in the art of self-aware pastiche, but it is in his second major work that he has found a legitimately great concept out of which to wring more nuanced thrills… If anything, Green suggests here that is likely a much better director than a writer; especially exciting is an overhead shot of the lift as a wolf darts by in the distance. The lean nature of the narrative dictates that the small things count, and as such, Green chooses to focus on them – frostbite scabs, the barely-threaded bolts on the ski-lift, and the frayed steel wires holding them precariously in place – to chilling effect.” – Shaun Munro, What Culture


967. (-254) Sleepwalkers

Mick Garris

1992 / USA / 91m / Col / Supernatural | IMDb
Brian Krause, Mädchen Amick, Alice Krige, Jim Haynie, Cindy Pickett, Ron Perlman, Lyman Ward, Dan Martin, Glenn Shadix, Cynthia Garris

“Those who find value in horror flicks like Pet Sematary will find value in Sleepwalkers, while grim drones will likely want to move on from King’s tale as quickly as possible. This may seem combative, but finding enjoyment in Sleepwalkers really does depend on approach. There is humour and horror in abundance in this motion picture and it’s a perceptively campy and catty delight. Taking it seriously is a grave mistake.” – Jordan Richardson, Canadian Cinephile

Sole Survivor

968. (new) Sole Survivor

Thom Eberhardt

1983 / USA / 85m / Col / Zombie | IMDb
Anita Skinner, Kurt Johnson, Robin Davidson, Caren L. Larkey, Andrew Boyer, Daniel Bryan Cartwell, Wendy Dake, Stephen V. Isbell, William Snare, Peggy McClure

“[It’s] easy to compare Sole Survivor with the Final Destination films. However, a more appropriate comparison would be to the 1962 black-and-white classic Carnival of Souls. Whereas the Final Destination films are largely about coming up with ludicrously convoluted ways for Death to get what he or she wants, Sole Survivor (like Carnival of Souls) is less concerned with how Death gets the job done and more concerned with building and maintaining a growing sense of dread and hopelessness. For the most part, director Eberhardt disdains easy shock effects in order to concentrate on building up a palpable atmosphere of doom. As a result, the film can occasionally seem to be a little slow but it stays with you even after the final credit.” – Lisa Marie Bowman, Horror Critic

Wake in Fright

969. (new) Wake in Fright

Ted Kotcheff

1971 / Australia / 109m / Col / Psychological | IMDb
Donald Pleasence, Gary Bond, Chips Rafferty, Sylvia Kay, Jack Thompson, Peter Whittle, Al Thomas, John Meillon, John Armstrong, Slim DeGrey

“For decades, Wake in Fright (aka Outback in the UK and US) was cinema’s pre-Cern Higgs Boson particle, a theoretical keystone in the construction of the New Australian Cinema of the 1970s, and its gap-toothed relative, the Ocker Comedy. Released in the same year – 1971 – as Nicolas Roeg’s Walkabout, Ted Kotcheff’s psychodrama has been variously cited as a precursor for Mad Max, a jumpstart for a national film industry, and, by the reckoning of Rex Reed and Nick Cave, the greatest Australian film ever made… John Grant’s odyssey, for all its excesses, forms a neatly symmetrical, perfectly Kafkaesque narrative.” – Tara Brady, Irish Times


970. (new) Valentine

Jamie Blanks

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

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


971. (new) Môjû

Yasuzô Masumura

1969 / Japan / 86m / Col / Psychological | IMDb
Eiji Funakoshi, Mako Midori, Noriko Sengoku

“Given the rather static nature of the mise-en-scène, Masumura must be admired for stretching out such an elementary idea to feature length, yet the most overwhelming impression of this film is its deliciously overwrought visual style, conjuring up such a vivid and endlessly interesting, self-contained cinematic world inside the claustrophobic confines of Michio’s studio. Yes, The Blind Beast really is as outlandish as it sounds, and must rank as one of the most powerful and potently disturbing horror films ever conceived.” – Jasper Sharp, Midnight Eye

The Final Girls

972. (new) The Final Girls

Todd Strauss-Schulson

2015 / USA / 88m / Col / Comedy | IMDb
Taissa Farmiga, Malin Akerman, Alexander Ludwig, Nina Dobrev, Alia Shawkat, Thomas Middleditch, Adam DeVine, Angela Trimbur, Chloe Bridges, Tory N. Thompson

““Final Girls” isn’t the first movie to show self-aware characters using their knowledge of horror films to plot an escape. Drew Goddard’s “Cabin in the Woods” and Wes Craven’s “Scream” mined that ground a while back. But give director Todd Strauss-Schulson some serious credit here. “Final Girls” still manages to use a quick wit and a few surprises to keep things interesting for the audience… The most surprising thing about “Final Girls” is how sweet it is. The subplot about Max and her mother leads to a number of tender scenes, and “Final Girls” has a genuine heart in the middle of all of its experimentation and social commentary. None of the characters are especially deep, but almost all of them are easier to cheer for than the cannon fodder of the “Friday the 13th” films.” – Josh Terry, Deseret News

You Better Watch Out

973. (-183) You Better Watch Out

Lewis Jackson

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

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


974. (-344) Firestarter

Mark L. Lester

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

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

Die Säge des Todes

975. (new) Die Säge des Todes

Jesús Franco

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

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


976. (new) 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

The Children

977. (new) The Children

Max Kalmanowicz

1980 / Canada / 93m / Col / Zombie | IMDb
Martin Shakar, Gil Rogers, Gale Garnett, Shannon Bolin, Tracy Griswold, Joy Glaccum, Jeptha Evans, Clara Evans, Sarah Albright, Nathanael Albright

“Better known to a certain generation of horror fans as “that movie with the creepy kids with black fingernails hugging people to death,” The Children is the kind of region horror oddity that wedges into viewer’s memories for decades whether they like it or not… It’s best to avoid saying anything further since this film features a truly crazed climax complete with surreal imagery involving the children’s fate that has to be seen to be believed. The introduction of semi-supernatural elements into the killer kid formula here gives the low budget production a strong dreamlike vibe that helped set it apart at the time and ensured it would have a firm place alongside other creepy curios like Devil Times Five” – Nathaniel Thompson, Mondo Digital

Would You Rather

978. (new) Would You Rather

David Guy Levy

2012 / USA / 93m / 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

Dracula A.D. 1972

979. (-414) 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

Due occhi diabolici

980. (+10) Due occhi diabolici

Dario Argento & George A. Romero

1990 / Italy, USA / 120m / Col / Anthology | IMDb
Adrienne Barbeau, Ramy Zada, Bingo O’Malley, Jeff Howell, E.G. Marshall, Harvey Keitel, Madeleine Potter, John Amos, Sally Kirkland, Kim Hunter

“Two Evil Eyes began life as an anthology horror film to end all anthology horror films, but ended up an occasionally interesting shadow of two genre titans’ best work… This proto- Masters of Horror would’ve featured Argento, Romero, Michele Soavi, Steven King and Richard Stanley as writer/directors. When that fell through, Argento and Romero teamed up near Pittsburg to shoot their own short Poe films, which would be awkwardly stuck together in the form of the final film… Minus one gruesome finale Valdemar is a pretty anaemic film, but effects expert Tom Savani (who has a small role as a homage to ‘Berenice’) gets to pull out the stops for Black Cat, including a horrifically realistic pendulum victim, a toothless corpse, an unnerving hatchet murder, a super icky decayed body, and more fake cats than you can shake a fake dead cat at.” – Gabriel Powers, DVDActive

The Pit and the Pendulum

981. (-113) The Pit and the Pendulum

Stuart Gordon

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

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

El espanto surge de la tumba

982. (new) El espanto surge de la tumba

Carlos Aured

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

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

Ghost Ship

983. (new) Ghost Ship

Steve Beck

2002 / USA / 91m / Col / Haunted House | IMDb
Gabriel Byrne, Julianna Margulies, Ron Eldard, Desmond Harrington, Isaiah Washington, Alex Dimitriades, Karl Urban, Emily Browning, Francesca Rettondini

“Director Beck (who also made 13 Ghosts) really keeps things moving, spending the first half of the film setting up the atmosphere, showing us the ship and its ghostly passengers… then suddenly dispatching each character with over-the-top slasher-film gruesomeness. The cast gamely goes along with this combination of action movie heroics and ghost movie terror, injecting humour into every scene to keep us off balance. And it works, because the characters are actually intriguing and the “mystery” plot is preposterous and clever at the same time. It’s refreshing to watch a horror film that’s this unpretentious.” – Rich Cline, Shadows on the Wall

Don't Be Afraid of the Dark

984. (new) Don’t Be Afraid of the Dark

John Newland

1973 / USA / 74m / Col / Supernatural | IMDb
Kim Darby, Jim Hutton, Barbara Anderson, William Demarest, Pedro Armendáriz Jr., Lesley Woods, Robert Cleaves, Sterling Swanson, Joel Lawrence, William Sylvester

“With a following that rivals many of it’s big screen counterparts, director John Newland’s Don’t Be Afraid of The Dark may very well be the quintessential made for television horror film. Highlighted by a suspenseful story, strong acting, and a premise that succeeds in raising all the intended goosebumps, Newland’s film is indicative of how frightening the small screen can truly be. ” – Bruce Jordan, Classic-Horror

Dracula: Pages from a Virgin's Diary

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

Guy Maddin

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

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

Jennifer's Body

986. (new) Jennifer’s Body

Karyn Kusama

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

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


987. (-31) Zodiac

David Fincher

2007 / USA / 157m / Col / Crime | IMDb
Jake Gyllenhaal, Mark Ruffalo, Anthony Edwards, Robert Downey Jr., Brian Cox, John Carroll Lynch, Richmond Arquette, Bob Stephenson, John Lacy, Chloë Sevigny

“Running almost three hours, without much action, it’s hard to think that David Fincher’s Zodiac would be as gripping as it is. Fincher employs a strong visual style that doesn’t draw attention to itself right away, but as you sit there you slowly realize that Fincher is indeed flexing is creative muscles. The end result is a complex crime drama that limits its action, opting to save it for the times that bring the greatest impact… It’s subtle and doesn’t jump out and grab you at first. But when you dwell and contemplate it, the fine craftsmanship of Fincher is clearly apparent.” – Ryan Cracknell, Movie Views

Los cronocrímenes

988. (new) Los cronocrímenes

Nacho Vigalondo

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

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


989. (new) Detention

Joseph Kahn

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

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


990. (new) Dementia

John Parker

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

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

Il tuo vizio è una stanza chiusa e solo io ne ho la chiave

991. (new) Il tuo vizio è una stanza chiusa e solo io ne ho la chiave

Sergio Martino

1972 / Italy / 96m / Col / Giallo | IMDb
Edwige Fenech, Anita Strindberg, Luigi Pistilli, Ivan Rassimov, Franco Nebbia, Riccardo Salvino, Angela La Vorgna, Enrica Bonaccorti, Daniela Giordano, Ermelinda De Felice

“It’s probably not fair to describe as “grounded” any film with the kind of ragged, uneasy editing and loopy score by Bruno Nicolai, lurching from funk to Baroque harpsichords without a twitch of restraint, that Your Vice… has, but grounded it is, all the same; grounded, at least, in that its concerns are more with human behavior than style, and with considering the consequences of events that in most A-list gialli would serve solely as shocking moments for the heck of it. It is legitimately intelligent and psychologically meaningful, not just psychologically exploitative, and that is certainly not something I ever expected to stumble across in an Italian genre movie of any vintage. Indulgent title it may have, but everything else about this fine, tight, tense movie is the very opposite of indulgence.” – Tim Brayton, Antagony & Ecstasy

Rare Exports

992. (new) Rare Exports

Jalmari Helander

2010 / Finland / 84m / Col / Black Comedy | IMDb
Onni Tommila, Jorma Tommila, Tommi Korpela, Rauno Juvonen, Per Christian Ellefsen, Ilmari Järvenpää, Peeter Jakobi, Jonathan Hutchings, Risto Salmi

“This is a story about the true meaning of Christmas, old-style. Its 15 certificate is no accident, though unfortunate, as there’s little here that’s really inappropriate for younger viewers – it’s just that it’s so damn scary. There’s a creepiness here from the outset and no amount of dark humour can alleviate it; as the tension escalates grown adults will also find themselves hiding behind the seats. It successfully captures the sense of something otherworldly, mixing snowflakes and fairy lights with something that might have been written by Dennis Wheatley or HP Lovecraft. Yet despite this, it is at its core a classic children’s adventure.” – Jennie Kermode, Eye For Film

Il gatto a nove code

993. (new) Il gatto a nove code

Dario Argento

1971 / Italy / 112m / Col / Giallo | IMDb
James Franciscus, Karl Malden, Catherine Spaak, Pier Paolo Capponi, Horst Frank, Rada Rassimov, Aldo Reggiani, Carlo Alighiero, Vittorio Congia, Ugo Fangareggi

“While the film might not be Argento’s favorite of his work, it does hold the test of time as being a solid gialli and showcases Argento’s early development of greatness… [It] displays the early molding of Argento’s filmmaking career and still manages to contain much of the elements of Argento’s more honored work. While not on the color scheme level of something like “Inferno“ the film is still stylish with a lush vibrant color pallet. It also contains some grisly murders (the strangulation, the train death as well as the film’s finale all come to mind) that Argento fans have grown to appreciate and anticipate. Ennio Morricone is also here and delivers a wonderful score, which will be no surprise to Morricone enthusiasts.” – Chris Mayo, Severed Cinema


994. (-125) 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

We Are Still Here

995. (new) We Are Still Here

Ted Geoghegan

2015 / USA / 84m / Col / Haunted House | IMDb
Barbara Crampton, Andrew Sensenig, Lisa Marie, Larry Fessenden, Monte Markham, Susan Gibney, Michael Patrick Nicholson, Kelsea Dakota, Guy Gane, Elissa Dowling

“Bored with shiny horror movies featuring perfect-looking, plastic-souled teens you care for not one jot? Then this throwback haunted house pic is for you. Not only does it feature middle-aged protagonists, genuine suspense and a creepy mythology, it boasts some of the best ghosts since The Devil’s Backbone… Then, just as you’re thinking We Are Still Here is akin to Ti West’s The House Of The Devil and The Innkeepers in its old-school, modulated menace, it takes a left-turn into balls-out bloodletting. Arteries spray, torsos spill, heads pop. It might have unbalanced the movie were it not an extension of the carefully seeded fun – far from being cruel and torture porn-y, this is Geoghegan now tapping the outré horrors of the ’80s. He splashes in plasma and viscera like a kid in a puddle, and his joy is infectious.” – Jamie Graham, Games Radar


996. (new) Stigmata

Rupert Wainwright

1999 / USA / 103m / Col / Psychological | IMDb
Patricia Arquette, Gabriel Byrne, Jonathan Pryce, Nia Long, Thomas Kopache, Rade Serbedzija, Enrico Colantoni, Dick Latessa, Portia de Rossi, Patrick Muldoon

Stigmata is a collection of moments that speak to the rapture of religion. Not Catholicism, but the cult of personality and perhaps the cult of film as well. It’s a voyeur’s shrine–the pictures we keep of beautiful people and profound images that don’t tie into any throughline save for some feeling of engagement with the universe of the self… deeply felt and faux-profound at once and, like all great Theater of the Absurd, able to highlight the extra-textual consequence of that tension. It’s a film of its time, more explicable as a marker of a digital moment and part of a contemporary sociological conversation; it works best freed from the responsibility to make literal sense.” – Walter Chaw, Film Freak Central

Elvira: Mistress of the Dark

997. (new) Elvira: Mistress of the Dark

James Signorelli

1988 / USA / 96m / Col / Comedy | IMDb
Phil Rubenstein, Larry Flash Jenkins, Cassandra Peterson, Damita Jo Freeman, Tress MacNeille, Edwina Moore, Mario Celario, Lee McLaughlin, Bill Swearingen, Charles Woolf

“The film is extremely campy, but anybody who chooses to watch a film centered around Elvira knows this going into it. The real question is can Elvira carry an entire feature length film on her own? The answer to this is fortunately “yes”; although much of it consists of deliberately-bad acting or breaking the fourth wall, the character of Elvira is entertaining enough to make it all fun. It’s a film for a certain type of movie fan. Anybody who is a fan of B-grade horror films — or who simply remembers her late 80s media blitz — should already be acquainted with Elvira, and will know what to expect from the film.” – Morgan R. Lewis, Morgan on Media


998. (new) Turistas

John Stockwell

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

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

Jaws 2

999. (-163) Jaws 2

Jeannot Szwarc

1978 / USA / 116m / Col / Nature | IMDb
Roy Scheider, Lorraine Gary, Murray Hamilton, Joseph Mascolo, Jeffrey Kramer, Collin Wilcox Paxton, Ann Dusenberry, Mark Gruner, Barry Coe, Susan French

“Jaws 2 gets an unfair rap as a sequel, mainly because the following sequels were atrocious. Jaws 2 seemingly gets lumbered in with them when people talk about the follow-ups but it’s actually a rather decent sequel which is far better than it has any right to be. Though still a troubled production like its predecessor, Jaws 2 manages to deliver decent suspense, another solid performance (if better) by Roy Scheider and, of course, some plentiful shark action. The main problem is that it tries to replicate the original but without the best parts.” – Andrew Smith, Popcorn Pictures

Sette note in nero

1000. (new) Sette note in nero

Lucio Fulci

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

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