They Shoot Zombies, Don't They?

Hidden Horrors

Hidden Horrors

Current Version: June 2018 (4th edition)

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

This is an extra little feature to highlight some of the lesser seen films that have been nominated. I’ve excluded films with more than 1000 IMDb votes. The ranking is the same as on the full ranked list, but also excludes films with less than 3 nominations. This list can also be found on iCheckMovies and IMDb. (still in the process of gathering reviews for this page)

Horrors of the Black Museum

1. (+19) Horrors of the Black Museum

Arthur Crabtree

1959 / UK / 95m / BW / Crime | IMDb
Michael Gough, June Cunningham, Graham Curnow, Shirley Anne Field, Geoffrey Keen, Gerald Anderson, John Warwick, Beatrice Varley, Austin Trevor, Malou Pantera

“The film is considered the first of what is known as the Sadian trilogy, along with Circus Of Horrors and Peeping Tom, films dealing with sadistic murder and psychology as opposed to Hammer’s more gothic and fantastic output of the same period. It’s probably the weakest of the three films, but, that said, it’s still an interesting and enjoyable movie and worth watching. Interestingly the role of Bancroft was intended for Vincent Price, but he proved too expensive. The film was also originally released in “Hypno-vista”, a William Castle style gimmick, and the film began with 15 minutes of psychologist Emile Franchel explaining hypnotism and including a woman having needles inserted through the skin of her arm while under hypnosis.” – Mark Satchwill, Classic Horror Campaign


2. (+69) Macabre

William Castle

1958 / USA / 72m / BW / Thriller | IMDb
William Prince, Jim Backus, Christine White, Jacqueline Scott, Susan Morrow, Philip Tonge, Jonathan Kidd, Dorothy Morris, Howard Hoffman, Ellen Corby

“Macabre is deservedly well known for its audacious advertising campaign (the old insurance policy if you die of fright slant)… At heart, Macabre is much more of a suspenser — albeit not one that’s as nail-biting as it wants to be… Still, Macabre has a few good setpieces that, through surprise and shock, do manage to produce a decent number of chills. Castle’s direction is competent, but not inspired enough; he benefits from fine assistance from cinematographer Carl Guthrie. While not as good as one wants it to be, Macabre has enough high points to make it worth a look.” – Craig Butler, AllMovie

Et mourir de plaisir

3. (-2) Et mourir de plaisir

Roger Vadim

1960 / France / 87m / Col / Vampire | IMDb
Mel Ferrer, Elsa Martinelli, Annette Stroyberg, Alberto Bonucci, René-Jean Chauffard, Gabriella Farinon, Serge Marquand, Edith Peters, Nathalie Lafaurie

“In some ways, Blood and Roses strikes me as a much-belated European response to Val Lewton’s horror movies for RKO. Like the majority of those films, Blood and Roses cloaks what is fundamentally a psychological thriller in a skin of supernatural horror, and circumvents the target audience’s natural antipathy for “rational” explanations by making the validity of the supernatural manifestations the story’s central mystery. Obviously, that demands from Vadim and his collaborators a much more acute understanding of people’s mental and emotional processes than was typically displayed by horror filmmakers in this era, together with a far greater investment in character development. At a time when most fright films were simplistic stories of good vs. evil, Blood and Roses presents a startlingly mature examination of sexual neurosis and the dark side of exactly the sort of romanticism in which escapist cinema normally trades.” – Scott Ashlin, 1000 Misspent Hours

The Dark Eyes of London

4. (+101) The Dark Eyes of London

Walter Summers

1939 / UK / 76m / BW / Thriller | IMDb
Bela Lugosi, Hugh Williams, Greta Gynt, Edmon Ryan, Wilfred Walter, Alexander Field

“Up to now, the most popular screen grotesqueries have had a certain lightness of touch; when Quasimodo, for instance, was beaten by knouts in the cathedral square, the camera mercifully averted its lens, or gave the streaming blood the merest glance, purely for verificative purposes. Not so “The Human Monster,” in which not only is Wilfred Walter more unglamorous than even Charles Laughton as the hunchback, but is totally blind in the bargain. Consequently, his homicidal technique is the more deliberative and, so to speak, stately, giving the camera plenty of time to dwell with sadistic relish on the more recherché details of his method of doing his victims in.” – B. R. Crisler, The New York Times

Murders in the Zoo

5. (+57) Murders in the Zoo

A. Edward Sutherland

1933 / USA / 62m / BW / Crime | IMDb
Charles Ruggles, Lionel Atwill, Gail Patrick, Randolph Scott, John Lodge, Kathleen Burke, Harry Beresford

“Murders in the Zoo is by no means a flawless horror-comedy film, bumping around between two tones with impunity and with nowhere near the grace or atmosphere as the amiable Doctor X from a few reviews back. However, Atwill and Burke make the movie’s moments of horror truly memorable set pieces and demonstrate how true human predators can operate outside cages. The rest, thankfully, will fade.” – Danny Reid, Pre-Code

L'orribile segreto del Dr. Hichcock

6. (+11) L’orribile segreto del Dr. Hichcock

Riccardo Freda

1962 / Italy / 88m / Col / Gothic | IMDb
Barbara Steele, Robert Flemyng, Silvano Tranquilli, Maria Teresa Vianello, Harriet Medin, Al Christianson, Evar Simpson, Nat Harley, Neil Robinson

“Raptus, the alternative title of Riccardo Freda’s L’Orribile segreto del dottor Hichcock (The Horrible Secret of Dr Hichcock, Italy, 1962) is certainly apt, as its effect on individuals attracted to the macabre is not unlike a rapture or delirium of cinematic pleasure. The atmospheric visuals of Riccardo Freda’s masterpiece of sexual alienation and necrophilia stands without precedent in the Golden Age of Italian Horror that virtually seized the Roman film industry from 1956 to 1966. With more than a nod to the literary influences of Ann Radcliffe and the 19th Century that informed them, L’Orribile segreto del dottor Hichcock is a catalogue of Victorian repressions regarding desire and death, the marriage bed and the grave.” – David Del Valle, Kinoeye

Before I Hang

7. (+31) Before I Hang

Nick Grinde

1940 / USA / 62m / BW / Science Fiction | IMDb
Boris Karloff, Evelyn Keyes, Bruce Bennett, Edward Van Sloan, Ben Taggart, Pedro de Cordoba, Wright Kramer, Bertram Marburgh, Don Beddoe, Robert Fiske

“The mechanical zest with which Director Nick Grinde usually manages to obscure script deficencies in films of this genre is conspicuously absent in “Before I Die.” But if you’re taken in by reels and reels of test tubes, mechanical hearts and other scientific gadgets, or the brooding atmosphere provoked through the use of murky photography, then “Before I Hang” should prove to be moderately entertaining. It’s strictly a one-man show—Mr. Karloff’s as far as performances go, but Pedro de Cordoba manages to get, off a pretty good imitation of a piano maestro.” – Bosley Crowther, The New York Times

Der Student von Prag

8. (+19) Der Student von Prag

Henrik Galeen

1926 / Germany / 110m / BW / Drama | IMDb
Conrad Veidt, Elizza La Porta, Fritz Alberti, Agnes Esterhazy, Ferdinand von Alten, Werner Krauss, Erich Kober, Max Maximilian

“Superior [to the 1913] version, thanks to some moody direction by Henrik Galeen (who was involved in either a writing or directorial capacities in an astonishing number of German horror movies, such as both versions of THE GOLEM, WAXWORKS, ALRAUNE and NOSFERATU) and a fine, powerful performance from Conrad Veidt, who may actually have been the finest horror actor of the silents and is here reunited with his CABINET OF DR. CALIGARI co-star Werner Krauss… there’s a real power in the growing horror of the story, and the final sequences in which Veidt is stalked by himself are absolutely chilling. In a sense, there’s no other horror movie out there quite like this one” – Dave Sindelar, Fantastic Movie Musings and Ramblings

I Was a Teenage Frankenstein

9. (+32) I Was a Teenage Frankenstein

Herbert L. Strock

1957 / USA / 74m / BW / Exploitation | IMDb
Whit Bissell, Phyllis Coates, Robert Burton, Gary Conway, George Lynn, John Cliff, Marshall Bradford, Claudia Bryar, Angela Blake, Russ Whiteman

“Like I Was a Teenage Werewolf, I Was a Teenage Frankenstein taps into a metaphor about teenage dissatisfaction. As in Teenage Werewolf, the monster comes to represent alienated adolescence and Whit Bissell is again cast as a calculating and manipulative scientist/authority figure. It is amusing to see that in this film Frankenstein is no longer traditionally a scientist with misguided intentions, he is utterly ruthless from the outset. I Was a Teenage Frankenstein is played considerably more tongue-in-cheek than Teenage Werewolf and emerges as the better of the two films as a result.” – Richard Scheib, Moria – The Science Fiction, Horror and Fantasy Film Review

The Man Who Changed His Mind

10. (+13) The Man Who Changed His Mind

Robert Stevenson

1936 / UK / 66m / BW / Science Fiction | IMDb
Boris Karloff, John Loder, Anna Lee, Frank Cellier, Donald Calthrop, Cecil Parker, Lyn Harding

““The Man Who Changed His Mind” is perhaps one of the most intense horror films from the 1930s that I’ve come across. From the first time Boris Karloff’s chain-smoking mad scientist crosses paths with Anna Lee’s brilliant and independent-minded surgeon, you know things are going to end badly for more than one of the film’s characters. But even with that knowledge, you’re not going to guess how badly and for whom until the story is all but done unfolding. Even after nearly 75 years, this is a horror film that countless modern-day filmmakers need to study and emulate’ their films would be far better for it.” – Steve Miller, Shades of Gray


11. (+28) J’accuse!

Abel Gance

1938 / France / 104m / BW / War | IMDb
Victor Francen, Line Noro, Marie Lou, Jean-Max, Paul Amiot, Jean-Louis Barrault, Marcel Delaître, Renée Devillers, Romuald Joubé, André Nox

“This is a powerful film that leaves quite an impression. Gance told the French government that the film could be used as a recruiting tool, so they allowed him to film at the front (he captured part of the Battle of St. Mihiel) and the footage was used in the movie. He was also able to use soldiers on leave as extras in the climactic scene where the dead come back to life. Most of the men used in this scene were in the army and were tragically killed weeks later. Still, they had seen battle in the trenches of France and you can tell by the looks on their faces that they weren’t acting so much as reacting to what they had experienced.” – John Sinnott, DVD Talk

House of Horrors

12. (+80) House of Horrors

Jean Yarbrough

1946 / USA / 65m / BW / Thriller | IMDb
Rondo Hatton, Robert Lowery, Virginia Grey, Bill Goodwin, Martin Kosleck, Alan Napier, Howard Freeman, Virginia Christine, Joan Shawlee

“A distinctly minor film, but in a bargain-basement way it toys with some interesting themes: the root causes of victimhood, the nature of power, and the price of outsourcing your dirty work to somebody else… Kosleck doesn’t disappoint in this film; as always his soft, accented voice works as a perfect counterpoint to his razor-sharp gaze, which can convey anger or madness — or both. Rondo Hatton doesn’t get top billing either, but this movie was designed as a vehicle for him and his peculiar physiognomy. Hatton suffered from a glandular condition called acromegaly, the symptoms of which weren’t apparent until he was well into adulthood. The condition gradually altered the shape of his head and distorted his body and facial features, giving him a coarse, brutal appearance.” – Michael Popham, The Horror Incorporated Project

The Stone Tape

13. (-1) The Stone Tape

Peter Sasdy

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

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

Voodoo Man

14. (+73) Voodoo Man

William Beaudine

1944 / USA / 61m / BW / Supernatural | IMDb
Bela Lugosi, John Carradine, George Zucco, Wanda McKay, Louise Currie, Tod Andrews, Ellen Hall, Terry Walker, Mary Currier, Claire James

“With Voodoo Man audiences get a glimpse of what the meta-minded future would hold for fans of horror. It’s tongue-in-cheek to be sure, but the thrills are there throughout. Most of the horror; however, is undercut by the humorous antics and comments of the cops who, ultimately, bring about the end of Voodoo Man’s reign… But pay no mind to them. The real focus of Voodoo Man is Lugosi who, in 1944, was churning out some pretty strong performances. The Hungarian-American actor, famous for his performance in the original 1931 version of Dracula, struggled to find his way through the shadowed corners of his career… His role in Voodoo Man might not have helped any of his struggles BUT, as a low grade thriller, his contribution to the thriller does enough to make it worthy of 60-minutes of your time.” – Loron Hays, Reel Reviews

Night Monster

15. (+53) Night Monster

Ford Beebe

1942 / USA / 73m / BW / Mystery | IMDb
Bela Lugosi, Lionel Atwill, Leif Erickson, Irene Hervey, Ralph Morgan, Don Porter, Nils Asther, Fay Helm, Frank Reicher, Doris Lloyd

“Night Monster is a neat little B thriller in the “old dark house” tradition with some memorable twists and a very competent cast. Although Bela Lugosi is top-billed, he’s completely wasted as the head butler who has little more to do than knit his brows, roll his eyes, and occasionally stare malevolently… Although it drags in places, Night Monster is a very effective and very dark B programmer. Charles Van Enger’s superb cinematography and Ford Beebe’s assured direction enhance some very chilling moments. Dr. Timmon’s demise is particularly notable – as he cowers in a darkened corner of his massive bedroom, a menacing shadow first covers half of his quivering form, then envelops him completely as the thing casting the shadow runs full speed at him. No less a film titan than Alfred Hitchcock is said to have admired Night Monster.” – Brian Schuck, Films From Beyond the Time Barrier

El vampiro

16. (-9) El vampiro

Fernando Méndez

1957 / Mexico / 95m / BW / Vampire | IMDb
Abel Salazar, Ariadna Welter, Carmen Montejo, José Luis Jiménez, Mercedes Soler, Alicia Montoya, José Chávez, Julio Daneri, Amado Zumaya, Germán Robles

“The movie is enveloped in an all pervading atmosphere of gothic fantasy: cobwebs glisten in artificial moonlight and luminescent mist enshrouds the dilapidated hacienda which is ensconced in permanent shadows. The film has a surprisingly expensive look to it. Although the turn toward horror and fantasy in fifties Mexican cinema was largely inspired by the decline of the industry, the superior production values of it’s heyday in the forties are still very much in evidence in “El Vampiro”. The film is loaded with exceptional moments of directorial brilliance and great imagination – and the camera often moves with a Bava or Argento-like mind of it’s own.” – Blackgloves, Horrorview

La llorona

17. (+84) La llorona

Ramón Peón

1933 / Mexico / 73m / BW / Mystery | IMDb
Ramón Pereda, Virginia Zurí, Carlos Orellana, Adriana Lamar, Alberto Martí, Esperanza del Real, Paco Martínez, María Luisa Zea, Alfredo del Diestro, Conchita Gentil Arcos

“Adapted to the screen by two legendary figures of early Mexican cinema, Carlos Noriega Hope (of “Santa” fame) and Fernando De Fuentes (who would become a famous filmmaker on his own right), “La Llorona” is based on a story by A. Guzmán Aguilera which is essentially the narrative of the two most famous variations on the legend of “La Llorona”, framed by a modern tale of mystery and horror, making technically a collection of three stories linked by the legend… [it] may not be the best horror movie of the 30s, but as the very origin of the Mexican tradition of horror film-making (and one of Mexico’s first talkies) is of great interest and importance.” – J. Luis Rivera, W-Cinema

Le viol du vampire

18. (new) Le viol du vampire

Jean Rollin

1968 / France / 95m / Col / Vampire | IMDb
Solange Pradel, Bernard Letrou, Ariane Sapriel, Eric Yan, Jacqueline Sieger, Catherine Deville, Ursule Pauly, Nicole Romain, Marquis Polho, Don Burhans

“The film is not really about anything, it is a series of abstract images, vaguely strung together with vampiric imagery that isn’t of the traditional stripe. This film is about atmosphere, more than perhaps any other film I’ve ever seen. It is incomparable in style and in substance, and yet feels quite at home in his filmography… Jean Rollin was a filmmaker for whom his work became an extension of himself. His films are all somewhat similar because he shot what he knew and what he felt. The chaos of late ’60s France made a huge impression on Rollin, and the abstract nature of The Rape of the Vampire reflects this chaos and puts it to the screen in a unique way that marries violence with eroticism in the very French tradition of the Grand Guignol.” – Charlie Hobbs, ScreenAnarchy

Tôkaidô Yotsuya kaidan

19. (-3) Tôkaidô Yotsuya kaidan

Nobuo Nakagawa

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

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

The Werewolf

20. (+29) The Werewolf

Fred F. Sears

1956 / USA / 79m / BW / Werewolf | IMDb
Steven Ritch, Don Megowan, Joyce Holden, Eleanore Tanin, Kim Charney, Harry Lauter, Larry J. Blake, Ken Christy, James Gavin, S. John Launer

“The Werewolf is horror noir and why shouldn’t it be? It’s the 1950s. Lots of front lighting and carefully picked camera angles, showcasing the outdoors beauty against the supernatural, and Sears knows better than to turn this thing over to blatant carnage. The beast kills off-screen, like in the prison cell scene where it offs the doctors. The screams and mashing are happening just below frame, almost inviting us to lean over and look down to see what’s happening. Sears leaves the details to our imaginations, playing off the tried-and-true trick of what we don’t see scares us most.” – Anthony Moretta, Out of the Gutter

Omnibus: Whistle and I'll Come to You

21. (+10) Omnibus: Whistle and I’ll Come to You

Jonathan Miller

1968 / USA / 42m / Col / Supernatural | IMDb
Michael Hordern, Ambrose Coghill, George Woodbridge, Nora Gordon, Freda Dowie

“To a modern audience, who have come to expect a big twist at the end of their ghost stories and are accustomed to being told loudly through music and editing when it’s time to feel scared, the more subtle and uncluttered narrative of Whistle and I’ll Come to You may at first glance feel a little primitive. But this simplicity allows Miller and Horden the scope they need to develop the film as a character study, with Dick Bush’s immaculately framed camera observing [the protagonist] Parkins with almost microscopic precision… With the pared-down plot and only one major character, [Miller] is able to really get inside Parkins’ head, using his lead actor and some striking locations to create an unnerving sense of a disrupted normality in which undefined dangers are stalking us even in daylight.” – Slarek, Cine Outsider

La vergine di Norimberga

22. (+100) La vergine di Norimberga

Antonio Margheriti

1963 / Italy / 83m / Col / Gothic | IMDb
Rossana Podestà, Georges Rivière, Christopher Lee, Jim Dolen, Anny Degli Uberti, Luigi Severini, Luciana Milone, Lucile Saint-Simon, Patrick Walton, Consalvo Dell’Arti

“Directed with a knowing hand by Antonio Margheriti, La Vergine di Norimberga is undoubtedly among the filmmaker’s finest work. This delirious dreamscape to the Cinema of Sadism is infused with gothic atmosphere and a ubiquitous sense of dread from start to finish. Along with the best works of Mario Bava and Riccardo Freda, La Vergine di Norimberga epitomises and legitimises the stellar reputation of Italy’s “Golden Age” of horror output in the 1960s. An under-appreciated classic, it is also a high watermark for genre films concerned with thematising Nazi atrocities.” – Christopher Dietrich, KinoEye

El barón del terror

23. (+74) El barón del terror

Chano Urueta

1962 / Mexico / 77m / BW / Supernatural | IMDb
Abel Salazar, Ariadna Welter, David Silva, Germán Robles, Luis Aragón, Mauricio Garcés, Ofelia Guilmáin, René Cardona, Rubén Rojo, Carlos Nieto

“Brainiac is delirious, sordid monster fun for ‘undiscriminating audiences.’ Its only practical function is to be able to say “I saw The Brainiac last night,” just to see which of your friends wants to hear more and which suddenly hurry away whenever you approach. Then again, it’s no trashier than any number of gory and cheap American movies of the 1950s… Viewers undeterred by those considerations will be floored by Urueta’s use of tacky, overly bright rear-projected stills to represent all exteriors not shot on interior sets. Like the best of American Z-filmmaking, Brainiac seems to take place in some unused broom closet of the imagination.” – Glenn Erickson, DVD Savant

The Mask

24. (+87) The Mask

Julian Roffman

1961 / Canada / 83m / Col / Thriller | IMDb
Paul Stevens, Claudette Nevins, Bill Walker, Anne Collings, Martin Lavut, Leo Leyden, Norman Ettlinger, Bill Brydon, Jim Moran, Eleanor Beecroft

“The strange aspect of the movie is that there is a very schizophrenic feeling it gives off. While the non-3D sequences are somewhat tame (while still being expertly shot in stark black and white by cinematographer Herbert S. Alpert), the 3D sequences are quite brilliantly directed and shot, almost as if they were created by an entirely different crew. They have this cerebral and surrealist vibe to them, something akin to the best aspects of Georges Franju, FW Murnau, Dali, and William Caste put in a blender, that results in a beautiful fever dream (literally) captured on celluloid… the strength of the film and the reason that people should continue watching The Mask despite its shortcomings — beyond its importance in Canadian cinematic history — lies in these scenes.” – Joe Yanick, Diabolique Magazine

Strangler of the Swamp

25. (+41) Strangler of the Swamp

Frank Wisbar

1946 / USA / 59m / BW / Supernatural | IMDb
Rosemary La Planche, Robert Barrat, Blake Edwards, Charles Middleton, Effie Laird, Nolan Leary, Frank Conlan, Therese Lyon, Virginia Farmer

“While the film’s sparse setting is no doubt a result of its limited budget, director Wisbar makes it a strength by infusing it with an overbearing gloominess. This is actually a remake of his own film, Fahrmann Maria, and he ports the gothic leanings of his native Germany over in this translation. While it’s not as overtly stylish and expressionist as early German horror, Strangler of the Swamp is bathed in shadows, mist, and moonlight and feels like a spectral dream not unlike The Vampyr. The persistent presence of the ferry recalls Charon and the River Styx, and it’s almost as if viewers are transported to a dismal underworld inhabited by the sprits of the living and the dead.” – Brett Gallman, Oh the Horror!

The Return of Dracula

26. (new) The Return of Dracula

Paul Landres

1958 / USA / 77m / Col / Vampire | IMDb
Francis Lederer, Norma Eberhardt, Ray Stricklyn, John Wengraf, Virginia Vincent, Gage Clarke, Jimmy Baird, Greta Granstedt, Enid Yousen

““The Return of Dracula” is a vampire movie that rises far above its low budget thanks to a good script, a decent cast, and some clever touches on the part of the director. Francis Lederer (who plays Dracula) may not be a Dracula in the class of Christopher Lee or Bela Lugosi, but he holds his own here. He’s comparable to—and even a little better than—Lon Chaney Jr. While one is always hardpressed to describe a vampire movie as “realistic”, this one comes close… The film also has several unexpected moments of artful creepiness, including one of the spookiest vampire seduction scenes ever filmed. Dracula’s first victim is Jennie, a sick blind girl (Virginia Vincent) who can see him in her mind’s eye as he corrupts her and devours her soul.” – Steve Miller, Terror Titans

La campana del infierno

27. (-12) La campana del infierno

Claudio Guerín

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

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

Kyôfu kikei ningen: Edogawa Rampo zenshû

28. (-18) Kyôfu kikei ningen: Edogawa Rampo zenshû

Teruo Ishii

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

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

The Monster

29. (+87) The Monster

Roland West

1925 / USA / 86m / BW / Mystery | IMDb
Lon Chaney, Gertrude Olmstead, Hallam Cooley, Johnny Arthur, Charles Sellon, Walter James, Knute Erickson, George Austin, Edward McWade, Ethel Wales

“The Monster is the precursor for the tongue-in-cheek old-dark-house-with-malevolent-horror-star-as-host movie… The Monster is an oddity in the way it uses star Chaney. Chaney’s body of work goes a considerable distance in debunking his reputation as a “horror” actor. The few horror films Chaney appeared in are more aptly described as bizarre, densely psychological melodramas. The Monster, however, could serve as a prototype for a genre celebrity in a B-movie parody… The Monster is not great cinema, its not the best West, best Chaney, or best Old Dark House movie (James Whale would deliver that seven years later), but it is silent pulp and, in the right mindset, it can take you back to the days of milk duds and acne.” – Alfred Eaker, 366 Weird Movies


30. (+69) Zibahkhana

Omar Khan

2007 / Pakistan / 77m / Col / Slasher | IMDb
Kunwar Ali Roshan, Rooshanie Ejaz, Rubya Chaudhry, Haider Raza, Osman Khalid Butt, Rehan, Najma Malik, Sultan Billa, Salim Meraj, Razia Malik

““Hell’s Ground” is being touted as ‘Pakistan’s first gore’ movie, and while it certainly offers more blood and guts than the original “Saw,” it is still relatively tame by Herschel Gordon Lewis standards or the recent American remake. It is surprisingly effective, with the cultural perspective adding spice to the mix (the well to do teens speak English, for example, until adrenaline reduces them to their native tongue; Baby’s mother is ostensibly seeking a wife for her son). In addition to the “Saw” like shot compositions, Khan uses plenty of visual and aural Lollywood references and even a few animated asides. The acting is above average for the genre, with Baby a unique treat.” – Laura Clifford, Reeling Reviews

Miss Muerte

31. (+4) Miss Muerte

Jesús Franco

1966 / Spain / 86m / BW / Science Fiction | IMDb
Estella Blain, Mabel Karr, Howard Vernon, Fernando Montes, Marcelo Arroita-Jáuregui, Cris Huerta, Alberto Bourbón, Lucía Prado, Guy Mairesse

“Many viewers will be coerced into pinching themselves to remember this is a Franco film. Beautifully shot in stunning black-and-white, Franco beautifully composes each shot into a tableau of light and shadow, creating an eerie atmosphere throughout the feature. This is a stunningly beautiful film, filled with luscious outdoor sequences and great suspense setpieces (the capture of Nadia in an abandoned theater is one of Franco’s best)… As with many Franco films, jazz is an important element. Not only is the film’s soundtrack made up primarily of catchy little jazz ditties and horn-driven melodies, the film’s climax is an experimental jazz piece laid onto film: frenetic, wild, and outrageous.” – Casey Scott, DVD Drive-In

Misterios de ultratumba

32. (-21) Misterios de ultratumba

Fernando Méndez

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

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

El espejo de la bruja

33. (0) El espejo de la bruja

Chano Urueta

1962 / Mexico / 75m / Col / Witchcraft | IMDb
Rosa Arenas, Armando Calvo, Isabela Corona, Dina de Marco, Carlos Nieto, Alfredo Wally Barrón

“The general mood and the visual style of “The Witch’s Mirror” is probably influenced by the old Universal horror-films and legendary tales by the ones like Edgar Allan Poe, and its gothic-mood has many similarities to the films by Mario Bava from the same era. The very imaginative and clever visual tricks in the film are not necessarily that hard to achieve and are occasionally dated, but they do work very well for the movie and for the black & white cinematography. Flowers are withered for no reason, the piano is playing the favourite tune of the late Elena by itself, the wind is blowing and the mood is restless and spooky. Some optical tricks (like superimposing) are surprisingly good, and filmmakers have used their best imagination to create the illusion with the mirror, the essential object in the film. The movie has almost as much fantasy elements as it has horror, and together they create a pretty effective little flick.” – Jari Kovalainen, DVD Compare

La horripilante bestia humana

34. (+9) La horripilante bestia humana

René Cardona

1969 / Mexico / 81m / Col / Splatter | IMDb
José Elías Moreno, Carlos López Moctezuma, Armando Silvestre, Norma Lazareno, Agustín Martínez Solares, Javier Rizo, Gerardo Zepeda, Noelia Noel, Gina Morett

“In the traditional sense of the word, “Apes” isn’t a very good movie… However, as a slice of cinematic trash, the thing succeeds. The gore and nudity, whilst crudely done, has a certain low rent charm, as does the poor dubbing. It also thankfully moves at a pretty reasonable pace, rarely if ever slowing down and more often then not adding in something to keep your interest. The influence it takes from low rent horror from the 40’s and 50’s is also noticeable, as apart from the aforementioned exploitable elements, has a naive sense of unpretentious fun. Really, that’s the best way to describe this movie” – Joseph Howell, Talk of Horrors

Eye of the Cat

35. (new) Eye of the Cat

David Lowell Rich

1969 / USA / 102m / Col / Crime | IMDb
Michael Sarrazin, Gayle Hunnicutt, Eleanor Parker, Tim Henry, Laurence Naismith, Jennifer Leak, Linden Chiles, Mark Herron, Annabelle Garth, Tullia

“Why this nifty little thriller is so forgotten and nowhere to be found today is a mystery. It’s really a rather intriguing, if sometimes uneven, attempt at mixing Hitchcockian suspense with the kind of supernatural theater of the macabre one might associate with an old episode of Night GalleryEye of the Cat was one of the earliest films to exploit the subtle malevolence and flagrant creep-out factor of packs of animals. A trend that blossomed into a full-blown horror sub-genre in the ’70s” – Ken Anderson, Dreams Are What Le Cinema Is For…

Cannibal Girls

36. (new) Cannibal Girls

Ivan Reitman

1973 / Canada / 84m / Col / Cannibal | IMDb
Eugene Levy, Andrea Martin, Ronald Ulrich, Randall Carpenter, Bonnie Neilson, Mira Pawluk, Bob McHeady, Alan Gordon, Allan Price, Earl Pomerantz

“Another classic Canadian horror delivers some laughs, a bit of blood, and a trio of beautiful and dangerous women, straight from the mind of Ivan Reitman… Within the first few moments of Cannibal Girls, you get a very good understanding of what lies ahead. A couple decide to make out in the woods, in the winter because it is Canada you know. A creepy figure emerges from the bush, brandishes a pickax and eliminates the man before tearing open the woman’s shirt to expose her breasts. The rest of the film plays out in pretty much the same way. Just throw in a little comic relief with Eugene Levy and Andrea Martin and you have a perfect example of Canadian exploitation.” – Will Brownridge, The Film Reel

Mumsy, Nanny, Sonny & Girly

37. (-29) Mumsy, Nanny, Sonny & Girly

Freddie Francis

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

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

House of Mortal Sin

38. (+38) 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


39. (+15) S&man

J.T. Petty

2006 / USA / 84m / Col / Found Footage | IMDb
Elizabeth Cartier, Carol J. Clover, Debbie D, Freddie Dingo, Michelle Glick, Julie Katz, Erik Marcisak, Carlina Salemi, Fred Vogel, Bill Zebub

“Many horror films, especially the slasher, are staged as implicit wars of the sexes, with have-nots viciously murdering the haves, giving release to those who might resent their place in the social pecking order of things. S&Man stresses that the creation of these movies logically serves an even more intimate catharsis for the director… Taking off from Carol Clover’s influential Men, Women and Chainsaws: Gender in the Modern Horror Film, S&Man acknowledges that both genders are getting something out of these films—that the victim/killer relationship (or director/actress) is more complicated and mutually rewarding… The film is onto something here—a working-class view of the symbiotic relationship between director and actress in the film business and its parallel with the fantasies of the viewers.” – Chuck Bowen, Slant Magazine

Valkoinen peura

40. (-27) Valkoinen peura

Erik Blomberg

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

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


41. (+7) Elves

Jeffrey Mandel

1989 / USA / 89m / Col / Monster | IMDb
Dan Haggerty, Julie Austin, Deanna Lund, Borah Silver, Mansell Rivers-Bland, Christopher Graham, Laura Lichstein, Stacey Dye, Winter Monk, Jeff Austin

“Elves is an incredibly tasteless movie, finding all sorts of ways to offend as many viewers as possible. It’s so perversely twisted, one can’t help but find affection for it on that level. Those looking for anti-Christmas films and are willing to tolerate some really cheap filmmaking will find it amusing, and they certainly could do a lot worse. It’s not surprising that there’s an undercurrent of black humor in this movie. After all, how could anyone take seriously a movie that includes (and not limited to) Nazis, ex-Nazis, nudity, rape, incest, children spouting four lettered words, urination, and drowning a cat in a toilet? No, having all of this material in a story hardly leaves any room for taking things seriously. The movie is so absurd, it becomes fascinating. ” – Keith Bailey, The Unknown Movies

El retorno del Hombre-Lobo

42. (new) El retorno del Hombre-Lobo

Paul Naschy

1981 / Spain / 92m / Col / Werewolf | IMDb
Paul Naschy, Julia Saly, Silvia Aguilar, Azucena Hernández, Beatriz Elorrieta, Rafael Hernández, Pepe Ruiz, Ricardo Palacios, Tito García, David Rocha

“Visually the film is a real treat. Pulling triple duties and directing his werewolf for the first time, Naschy bathes the film with gorgeous lighting and visual effects that really help to drench the production in a gothic atmosphere to the extent of the very best of Mario Bava and Terence Fisher… more than just a tribute to the classic gothic horror films of the 1960s and 70s, it is a genuine competitor with them – Naschy fills the film with some amazing imagery and atmosphere that has rarely been matched. While the script lifts many ideas from Werewolf Shadow, it is different enough to be interesting and more successful than some of the other “original” horror films on which he worked.” – Timothy Young, Mondo Esoterica

La marca del Hombre-lobo

43. (+26) La marca del Hombre-lobo

Enrique López Eguiluz

1968 / Spain / 88m / Col / Werewolf | IMDb
Paul Naschy, Dyanik Zurakowska, Manuel Manzaneque, Aurora de Alba, Julián Ugarte, José Nieto, Carlos Casaravilla, Ángel Menéndez, Antonio Jiménez Escribano

“The look of this movie is striking, and even lacking the nudity and gore of the later films in the Daninsky cycle, this still generates a marvelous ambiance of menace. The filmmakers make good use of the locations, which are richly decorated by the prop department, and they cover for any deficiencies with a striking use of colored lighting. The whole thing plays as if Terence Fisher and Mario Bava had had their genes spliced and their mutant progeny had turned its attention on the Universal-style monster rally… Even given the movie’s reliance on werewolf action–a given in any Naschy werewolf picture–there’s an otherness to this movie that eludes most of Naschy’s other films and turns the “blender” quality of its construction into a kind of dream logic.” – Christianne Benedict, Krell Laboratories

L'assassino è costretto ad uccidere ancora

44. (-15) L’assassino è costretto ad uccidere ancora

Luigi Cozzi

1975 / Italy / 86m / Col / Giallo | IMDb
George Hilton, Antoine Saint-John, Femi Benussi, Cristina Galbó, Eduardo Fajardo, Tere Velázquez, Alessio Orano, Dario Griachi, Luigi Antonio Guerra, Carla Mancini

“Cozzi brings an experimental edge to the film with his off-kilter visual style and repeatedly cross-cuts between parallel actions, contrasting a murder with a party, a frenetic chase sequence with a slow-burning police interrogation, a passionate sex scene with an horrific rape. The cat-and-mouse finale is all the more interesting because Cozzi forgoes the usual Dario Argento suspense mechanisms and instead mounts the action as believably awkward, ugly and slow. Luciana Schiratti’s art direction combines well with the photography by Riccardo Pallotini to conjure one of the best looking giallo films while outstanding ensemble performances make the most out of the suspenseful script.” – Andrew Pragasam, The Spinning Image

Ganja & Hess

45. (-43) 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


46. (-25) Mo

Chih-Hung Kuei

1983 / Hong Kong / 105m / Col / Martial Arts | IMDb
Somjai Boomsong, Tien-Chu Chin, Phillip Ko, You-hsing Lai, Wai Lam, Hak Shun Leung, Chih Tai Lin, Xiaoyen Lin, Chun Liu, Han-yuan Ma

“The Boxer’s Omen is a hell of an experience and it should really be right up there with the likes of Evil Dead 2, Hausu, Phantasm, Suspiria, and anything Jodorowsky made, but it’s still relatively obscure. Director Kuei Chih-Hung’s filmography is made up mostly of crime-thrillers, but his 70s/80s work consists of sick horrors like brutal Snakesploitation shocker The Killer Snakes (1975), Corpse Mania (1981) and Bewitched (1981), which I was surprised to find that The Boxer’s Omen was actually a sequel to. There is a strong visual flair throughout the movie, especially during the more magical scenes that enhance the surrealism and make you believe in what you’re seeing — even if what you’re seeing is clearly a cheap rubber spider biting into somebody’s face.” – Chris Purdie, Mondo Exploito

La semana del asesino

47. (-13) La semana del asesino

Eloy de la Iglesia

1973 / Spain / 90m / Col / Cannibal | IMDb
Vicente Parra, Emma Cohen, Eusebio Poncela, Charly Bravo, Fernando Sánchez Polack, Goyo Lebrero, Vicky Lagos, Ismael Merlo, Rafael Hernández, José Franco

“Eloy de la Iglesia’s film has very little in common with Umberto Lenzi’s jungle excursions, or even one of Jason Vorhees’ stalk and slash trips to Crystal Lake, and is more comparable to John McNaughton’s Henry: Portrait of a Serial Killer. Though Marcos’ decent into madness isn’t as easy to believe as Hitchcock and Polanski’s better creations, the film still has an uncanny ability to deeply disturb. Though the plot isn’t terribly intricate… and the camera work could charitably be referred to as ‘minimalist’, the filthy set design, buyable performances, and greasy atmosphere grindhouse their way under the skin and stay there pretty effectively.” – Gabriel Powers, DVDActive

Gou yeung yi sang

48. (+27) Gou yeung yi sang

Danny Lee & Hin Sing ‘Billy’ Tang

1992 / Hong Kong / 89m / Col / Thriller | IMDb
Danny Lee, Simon Yam, Kent Cheng, Pik Yu Chung, Si Man Hui, Eric Kei, Emily Kwan, Hoi-Shan Lai, King-Kong Lam, Siu-Ming Lau

“The direction is assured, the photography quite stylish, and the performances, for the most part, are pretty solid (Simon Yam Tat-wah’s edgy portrayal of Lam is delirious – equally terrifying and hilarious), so why am I so hesitant to recommend Dr. Lamb? For starters, its taboo combination of graphic sex and violence is sure to upset all but the most jaded of viewers, and its inclusion of campy humor into the grisly proceedings will most likely alienate the arthouse crowd who embraced the not entirely dissimilar Henry: Portrait of a Serial Killer. Ultimately, it’s the exploitation crowd who will flock to Dr. Lamb, and they won’t be disappointed, for it does deliver a number of jolting, effective, and totally outrageous set pieces” – Joey O’Bryan, Austin Chronicle


49. (-4) Thirst

Rod Hardy

1979 / Australia / 93m / Col / Vampire | IMDb
Chantal Contouri, Shirley Cameron, Max Phipps, Henry Silva, Rod Mullinar, David Hemmings, Rosie Sturgess, Robert Thompson, Walter Pym, Amanda Muggleton

“All of this is a hoot, even though I’m not convinced it’s totally meant to be since the film is fairly straight-laced and features that satiric bent that never quite bares its fangs, perhaps because Kate herself isn’t exactly part of the helpless working class, what with her posh apartment and cozy job. It’s not like she’s a farm girl out there with the dingoes and kangaroos. As a result, Thirst is divided against itself as a film that seems to have muddled political ambitions but also just wants to indulge in feverish, giallo-like hysteria (David Hemmings is even around as one of the cultists). Aesthetically, the film is similarly schizoid in its attempt to have its blood cow and eat it too, as it attempts to merge a clinical, modern day approach with more traditionally gothic imagery, so you’ve got blood farms smashing up against unholy rituals where the newly initiated tear into a human victim to the delight of their fellow vampires in the audience.” – Brett Gallman, Oh, the Horror

Death Weekend

50. (+92) Death Weekend

William Fruet

1976 / Canada / 87m / Col / Rape and Revenge | IMDb
Brenda Vaccaro, Don Stroud, Chuck Shamata, Richard Ayres, Kyle Edwards, Don Granberry, Ed McNamara, Michael Kirby, Richard Donat, Denver Mattson

“Death Weekend is a solid home invasion movie that utilizes all the classic tropes and falls into all the same traps that you’ve come to know and love. Home invasion movies always seem to have opportunities where the hostages can just, I don’t know, make a phone call, perhaps to the local authorities. But then I guess there’d be no movie… Still, director William Fruet (and producer Ivan Reitman!) created something entertaining and fun, albeit with just a minimal amount of sleaze. It doesn’t have any big surprises or twists, but a guy does get lit on fire. That’s always a good time.” – Annie Choi, Bleeding Skull

Next of Kin

51. (-25) Next of Kin

Tony Williams

1982 / Australia / 89m / Col / Thriller | IMDb
Jacki Kerin, John Jarratt, Alex Scott, Gerda Nicolson, Charles McCallum, Bernadette Gibson, Robert Ratti, Tommy Dysart, Debra Lawrance, Simon Thorpe

“All of the best horror films have an element of ambiguity. And that is not a generalized sweeping statement, look at any list of great horror films and you will always find the true greats such as The Haunting or The Innocents in the top 10. What makes Next of Kin different and, dare I say, so very intriguing, is how very sane our hero appears to be… Depending on how well you deal with being kept in the dark, this could be an uncovered masterpiece or a forgettable exercise of undeniably impressive direction. Irritation with the ending rises in direct proportion of how invested you are in the film as a whole, which really is a most unfortunate ultimatum.” – Stephen Hill,

The Burning Moon

52. (+84) The Burning Moon

Olaf Ittenbach

1992 / Germany / 86m / Col / Splatter | IMDb
Beate Neumeyer, Bernd Muggenthaler, Ellen Fischer, Alfons Sigllechner, Barbara Woderschek, Helmut Neumeyer, Andrea Arbter, Herbert Holzapfel, Thomas Deby, Karl-Heinz Nebbe

“There are moments in The Burning Moon (such as when you watch a man get ruthlessly bludgeoned to death) that convince you that you’re watching pure misanthropy committed to VHS tape. Moments like this (and there are hordes of others) are responsible for giving Olaf Ittenbach’s shot-on-video opus its infamous, blood-caked reputation; that it comes from Germany–home to other such nefarious, snuffy fare such as Nekromantik–only shades its reputation even more. However, other moments (such as a lunatic’s fantasy about frolicking through fields with a dog) feel like such calculated, absurd brilliance that you can’t help but somehow be entertained by a movie that often makes you question how much of the production budget was dedicated to fuelling its director’s coke habit.” – Brett Gallman, Oh, the Horror!


53. (+33) Raat

Ram Gopal Varma

1992 / India / 128m / Col / Supernatural | IMDb
Revathy, Rohini Hattangadi, Om Puri, Anant Nag, Sushant, Jaya Mathur, Master Atit, Tej Sapru, C.V.L., Nirmalamma

“Chances are you haven’t heard of Raat or seen it in your video stores. Whatever the case may be, this indianized version of “The Exorcist” is a slick, well-acted horror flick, a genre you don´t get to see very much in India… The film is reminiscent of many films like Kaun, Aks and even English films like Stir of Echoes and The Sixth Sense… Raat may not be flawless but has enough style, performance power and tight directed sequences for one not to forget. The deadly camerawork and background music make it a must own for fans of the genre and those that have followed up on Ram Gopal Varma’s works.” – Akshay Shah, Planet Bollywood

Yôkai hantâ: Hiruko

54. (-1) Yôkai hantâ: Hiruko

Shin’ya Tsukamoto

1991 / Japan / 89m / Col / Comedy | IMDb
Kenji Sawada, Masaki Kudou, Hideo Murota, Naoto Takenaka, Megumi Ueno, Bang-ho Cho, Ken Mitsuishi, Imari Tsuji, Kimiko Yo

“Hiruko is not a perfect film but it is an awful lot of fun, a surprisingly effective popcorn film from a man known best for his grim visions of humanity. Hieda sports the director’s trademark fishing hat throughout the film and is clearly a stand in for Tsukamoto to live out all of his childhood fantasies. It’s got pretty much everything you could want: likeable lead characters, bizarre secondary roles, a wealth of splat-stick humor, one of the more bizarre movie monsters you’ll ever come across, fountains of blood, surprisingly effective special effects and a legitimate dose of fear and suspense.” – Todd Brown, Screen Anarchy

Santa Claws

55. (new) Santa Claws

John Russo

1996 / USA / 83m / Col / Slasher | IMDb
Debbie Rochon, Grant Cramer, John Mowod, Dawn Michelucci, Savannah Calhoun, Marilyn Eastman, Julie Wallace Deklavon, Christopher Boyle, Terri Lewandowski, Ed Lewandowski

“John A. Russo has written and directed one of the best ‘whack-job stalker’ movies that I have seen. This movie is fairly gory but has more nudity than a Larry Flynt hot tub party, which is the films biggest saving grace. A light hearted Christmas soundtrack being played while our killer does his dirty work while wearing a Santa Clause suit is a great added touch. This one will be enjoyed by fans of horror, fans of humor and fans of naked chicks alike. Did someone say stocking stuffer?” – The Cryptkeeper,

To All a Goodnight

56. (+84) To All a Goodnight

David Hess

1980 / USA / 90m / Col / Slasher | IMDb
Jennifer Runyon, Forrest Swanson, Linda Gentile, William Lauer, Judith Bridges, Kiva Lawrence, West Buchanan, Sam Shamshak, Angela Bath, Denise Stearns

“Famously incompetent on many technical levels, To All a Goodnight will never be cited as anyone’s idea of good cinema; however, it’s loaded to the gills with that naive charm found in so many slasher films before the ground rules had really been set. Eccentric dialogue, bizarre hairstyles, a surplus of varied kill scenes, a baffling cameo by porn legend Harry Reems as an airplane pilot (a role you’d see Robert Kerman doing had this been an Italian film), and wildly random lighting and day-for-night shifts make it a great party film if you’re with the right crowd, and any killer Santa film by definition has to be tons of fun around Christmas time.” – Nathaniel Thompson, Mondo Digital

Vaastu Shastra

57. (new) Vaastu Shastra

Sourabh Usha Narang

2004 / India / 106m / Col / Supernatural | IMDb
Vicky Ahuja, J.D. Chakravarthi, Ahsaas Channa, Peeya Rai Chowdhary, Zakir Hussain, Rasika Joshi, Purab Kohli, Bansaree Madhani, Meghna Malik, Rafiqa

“This is a severely scary film, and certainly not for the faint of heart. First time director Sourabh Usha Narang has skillfully manipulated sound and cinematography to great effect, and sincerely ensured a large part of his audience sleep with the lights on… Most of the productions originating from Ram Gopal Varma’s Factory these days are slickly made and cleverly edited, but this substantially raises the bar. From bizarre transitions to surreal angles, the cinematography is ingenuous, and complemented by some inspired editing. There are several shots where characters converse while the camera lingers elsewhere, triggering off a flood of ‘oh, then this must mean…’ thoughts in your then-hyperactive subconscious.” – Raja Sen,

Ranpo jigoku

58. (+16) Ranpo jigoku

Akio Jissoji & Atsushi Kaneko & Hisayasu Sato & Suguru Takeuchi

2005 / USA / 134m / Col / Anthology | IMDb
Tadanobu Asano, Yûko Daike, Chisako Hara, Masami Horiuchi, Mikako Ichikawa, Hanae Kan, Ryûhei Matsuda, Kaiji Moriyama, Tomoya Nakamura, Hiroki Narimiya

“Rampo’s short stories, like those of Edgar Allan Poe, the American mystery writer from whom he took his non-de-plume, lend themselves incredibly well to cinematic treatment in that they are driven by imagery rather than plot… All the best then that the omnibus movie Rampo Noir sees two of Japanese cinema’s most extreme and visually expressive cinematic reprobates [Akio Jissôji and Hisayasu Satô] reintegrated into the fold, as well as welcoming in two newcomers to the movie world who have cut their teeth in their own respective fields within the image industry… Rampo Noir is a reminder of many of the things that attracted many of us to Japanese exploitation cinema in the first place: its unabashed eroticism, its remarkable visual inventiveness, and its willingness to plunge into the dark realms that so many other movies fail to explore.” – Jasper Sharp, Midnight Eye

Cult of the Cobra

59. (+24) Cult of the Cobra

Francis D. Lyon

1955 / USA / 82m / BW / Supernatural | IMDb
Faith Domergue, Richard Long, Marshall Thompson, Kathleen Hughes, William Reynolds, Jack Kelly, Myrna Hansen, David Janssen, Leonard Strong, James Dobson

“There’s something extremely haunting about this story of a group of young American soldiers who have survived the horrors of war and yet, when the clouds of strife are lifted, find themselves stalked and cut-down on home turf by a mysterious, evil and (naturally) foreign killer… The cast and the vaguely derivative (but compelling) screenplay work overtime. Russell Metty, the cinematographer, especially delivers the goods. Metty, who shot most of Douglas Sirk’s great melodramas and, lest we forget, Orson Welles’s “Touch Of Evil”, contributes marvelous lighting and some really effective cobra point of view shots.” – Greg Klymkiw, Daily Film Dose

The Bat

60. (new) The Bat

Roland West

1926 / USA / 86m / BW / Mystery | IMDb
George Beranger, Charles Herzinger, Emily Fitzroy, Louise Fazenda, Arthur Housman, Robert McKim, Jack Pickford, Jewel Carmen, Sôjin Kamiyama, Tullio Carminati

“[Director] West is most often brought up today as a possible culprit in the suspicious 1935 death of Thelma Todd. However, in the twenties, he was considered a top director who could fill a theater. The Bat is the movie that made that reputation and it is also considered the prototype for Old Dark House movies… What West did was bring in the atmospheric shadows and sets of the stylish German cinema and combine them with the chills and humor. I should note that West claimed sole credit for these German touches, declaring that he was making this sort of thing before [the Ufa production company] ever existed. I find that less than believable, to say the least… It’s worth seeing for its historical importance and to enjoy the antics of Emily Fitzroy, Louise Fazenda and Arthur Housman.” – Fritzi Kramer, Movies Silently

El espanto surge de la tumba

61. (+23) 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

Blood of Dracula

62. (new) Blood of Dracula

Herbert L. Strock

1957 / USA / 69m / BW / Vampire | IMDb
Sandra Harrison, Louise Lewis, Gail Ganley, Jerry Blaine, Heather Ames, Malcolm Atterbury, Mary Adams, Thomas Browne Henry, Don Devlin, Jean Dean


63. (+82) Aswang

Wrye Martin & Barry Poltermann

1994 / USA / 82m / Col / Vampire | IMDb
Norman Moses, Tina Ona Paukstelis, John Kishline, Flora Coker, Victor Delorenzo, Mildred Nierras, Jamie Jacobs Anderson, Daniel Demarco, John Garekis, Lee Worrell

“It’s a fun movie, but it’s nothing really original or innovative. Borrowing liberally from “The Shining”, “The Evil Dead”, “Texas Chainsaw Massacre” and “Psycho”, and adding a pinch of Filipino horror to the mix, it’s still pretty odd, mostly due to the subject matter, but also due to the strain of very black humor on display, with a few moments (mamma hanging from a window by her very long tongue) garnering chuckles, proving that the people behind this at least know how to have fun. There’s also some nice gore, a few genuinely suspenseful moments, a good enough score by Ken Brahmstedt (dig the weird electronic effects), an interesting subplot, and a fitting, bleak conclusion.” – Joseph Howell, Talk of Horrors

The Return of Count Yorga

64. (+68) The Return of Count Yorga

Bob Kelljan

1971 / USA / 97m / Col / Vampire | IMDb
Robert Quarry, Mariette Hartley, Roger Perry, George Macready, Walter Brooke, Philip Frame, Yvonne Wilder, Tom Toner, Rudy De Luca, Edward Walsh

“The Return of Count Yorga isn’t really a sequel but a re-working of the original film on a higher budget and with better production values. It thus has a more polished look and a touch more wit… Whether The Return of Count Yorga is a better film than Count Yorga, Vampire really is a matter of personal taste. In my youth I do remember enjoying it more, for its slicker production values, for its small but memorable moments of humour, and for that Manson-like attack on the house, which stayed with me for some years and still plays every bit as well as I remember.” – Slarek, Cine Outsider

Luther the Geek

65. (+81) Luther the Geek

Carlton J. Albright

1990 / USA / 80m / Col / Splatter | IMDb
Edward Terry, Joan Roth, Stacy Haiduk, Thomas Mills, Jerry Clarke, Tom Brittingham, Carlton Williams, ‘Chicken’ Klabunde, Gil Rogers, Karen Maurise

“A geek, as defined in “Luther the Geek,” is a disturbed carnival sideshow performer who bites the heads off snakes and chickens, usually for a reward that helps to calm urges of alcoholism and drug addiction… [the film] plays around with the nightmarish vocation, transporting a Depression-era celebration of the macabre to a slightly more modern setting, with writer/director Carlton J. Albright creating a slasher-type event with a truly disturbing murderer. It’s a weird movie, but one that owns its strangeness through a commitment to character and unusual encounters between the (clucking) hunter and his understandably confused prey.” – Brian Orndorf,

Frankenstein - 1970

66. (new) Frankenstein – 1970

Howard W. Koch

1958 / USA / 83m / BW / Science Fiction | IMDb
Boris Karloff, Tom Duggan, Jana Lund, Don ‘Red’ Barry, Charlotte Austin, Irwin Berke, Rudolph Anders, Norbert Schiller, John Dennis, Mike Lane

Der Golem

67. (-20) Der Golem

Henrik Galeen & Paul Wegener

1915 / Germany / 60m / BW / Supernatural | IMDb
Paul Wegener, Henrik Galeen, Lyda Salmonova, Rudolf Blümner, Robert A. Dietrich, Carl Ebert, Jakob Tiedtke

“Wegener’s first version of The Golem was released in January 1915… The story was updated to the present day, when an antique dealer (Rudolf Bluemner) resurrects the Golem and it falls in love with his daughter Jessica (Salmonova). Spurned by Jessica, the monster goes on a rampage but is destroyed when the life-giving amulet is torn from its chest and it falls from a high tower. How it compares to the 1920 version we can only guess, as there are barely four minutes of the earlier film in existence today. The Golem was a great success in Germany, and was released America under the title The Monster of Fate. We can assume that Fate wasn’t on the Monster’s side as the USA declared war on Germany the same week and the film sank into oblivion.” – Bob the Caretaker, The Devil’s Manor

Def by Temptation

68. (+35) Def by Temptation

James Bond III

1990 / USA / 95m / Col / Supernatural | IMDb
James Bond III, Kadeem Hardison, Bill Nunn, Samuel L. Jackson, Minnie Gentry, Rony Clanton, Steven Van Cleef, John Canada Terrell, Guy Davis, Cynthia Bond

“Def by Temptation combines the vampire and demon succubus mythologies, an all-black cast, and some solid performances… The seams of the film’s tiny budget and bargain-basement special effects show, but Def by Temptation is effective and fun and benefits greatly from Spike Lee cinematographer Ernest Dickerson’s direction of photography… The film’s original title, Temptation, was nonsensically punched up by Troma with some misused 1990 hip-hop slang… but what can you do? Bond III, a former child actor, appears to have been scarred by his sole directorial effort. Though the movie made a small profit, Bond has neither acted in nor directed any film since.” – Dr. Mystery, Decapitated Zombie Vampire Bloodbath

The Terror

69. (new) The Terror

Roy Del Ruth

1928 / USA / 85m / BW / Mystery | IMDb
May McAvoy, Louise Fazenda, Edward Everett Horton, Alec B. Francis, Matthew Betz, Holmes Herbert, Otto Hoffman, Joseph W. Girard, John Miljan, Frank Austin

“The first talkie horror film was also the second ‘all-talking’ motion picture from Warner Bros — director Roy Del Ruth’s The Terror (1928), a stage-bound adaptation of Edgar Wallace’s play regarding a haunted house terrorized by a homicidal asylum escapee. The film’s many ads capitalized on the new feature of sound (creaking doors, howling wind, organ music), heard with the Vitaphone sound-on-disc process: “It will thrill you! Grip you! Set you into tremors of awe. HEAR this creepy tale of mystery – the baffling story of a detective’s great triumph. With voices and shadows that will rack your nerves and make you like it. Come, hear them talk in this Vitaphone production of the play that has gripped London for over 3 years.”” – Tim Dirks, AMC FilmSite

The Avenging Conscience: or 'Thou Shalt Not Kill'

70. (new) The Avenging Conscience: or ‘Thou Shalt Not Kill’

D.W. Griffith

1914 / USA / 78m / BW / Drama | IMDb
Henry B. Walthall, Spottiswoode Aitken, Blanche Sweet, George Siegmann, Ralph Lewis, Mae Marsh, Robert Harron, George Beranger

“The film, released in the U.K. with the alternative title Thou Shalt Not Kill and sometimes billed as “The First Great American Horror Film,” was Griffith’s first and only horror film, which was truly a shame given his immense and incredible detail to atmosphere and tone. Griffith juxtaposed images against each other to produce meaning… He builds upon the atmosphere of the film with clever juxtapositions of murderous insects, a few choice words, and an occasional reference to “The Tell-Tale Heart” or “Annabel Lee” (early in the film, we see the nephew as he reads the former), all with the intent to heighten the panicked feeling that something awful is about to happen, something that our protagonist will live to regret.” – Chris Lyons, Analog Revolution


71. (new) Seizure

Oliver Stone

1974 / Canada / 94m / Col / Thriller | IMDb
Jonathan Frid, Martine Beswick, Joseph Sirola, Christina Pickles, Hervé Villechaize, Anne Meacham, Roger De Koven, Troy Donahue, Mary Woronov, Richard Cox

“As a number of noted American filmmakers had roots in low budget genre productions (look at the Roger Corman school for numerous examples), it’s not surprising that young New York-born Vietnam vet Oliver Stone’s maiden directorial effort would be in horror… It was obvious that Stone and company were trying to make something a bit smarter than the average monster or slasher film, resulting in an oddball and at times crude piece of filmmaking with far out editing techniques… Produced independently and shot entirely on location in what must have been a very cold Ontario, Canada, SEIZURE’s casting is what makes it easily approachable and easy to watch, even when it comes off like an hallucinatory-induced episode of “Night Gallery”.” – George R. Reis, DVD Drive-In

Phantom of the Rue Morgue

72. (new) Phantom of the Rue Morgue

Roy Del Ruth

1954 / USA / 83m / Col / Thriller | IMDb
Karl Malden, Claude Dauphin, Patricia Medina, Steve Forrest, Allyn Ann McLerie, Anthony Caruso, Veola Vonn, Dolores Dorn, Merv Griffin, Paul Richards

Terror Is a Man

73. (new) Terror Is a Man

Gerardo de Leon

1959 / Philippines / 89m / BW / Science Fiction | IMDb
Francis Lederer, Greta Thyssen, Richard Derr, Oscar Kesse, Lilia Duran, Peyton Keesee, Flory Carlos

From Hell It Came

74. (new) From Hell It Came

Dan Milner

1957 / USA / 73m / BW / Science Fiction | IMDb
Tod Andrews, Tina Carver, Linda Watkins, John McNamara, Gregg Palmer, Robert Swan, Baynes Barron, Suzanne Ridgeway, Mark Sheeler, Lee Rhodes

“A runner-up for Most Ridiculous Movie Monster in Harry and Michael Medved’s legendary 1980 book The Golden Turkey Awards: The Worst Achievements in Hollywood History, low-budget ‘50s creature designer Paul Blaisdell’s infamous (uncredited, for some reason) creation most certainly deserved such an honor. It’s bulky, goofy, and extremely awkward to look at… Toss in a heap of desperate Hollywood extras as “natives”… continuity gaps/plot holes galore, some of the worst acting this side of a ‘50s TV soap opera, and ‒ of course ‒ the very same special defects that have only gone to make From Hell It Came so legendary, and you have yourselves one of the most enjoyably bad movies ever made.” – Luigi Bastardo, Cinema Sentries

The Boneyard

75. (-24) The Boneyard

James Cummins

1991 / USA / 98m / Col / Zombie | IMDb
Ed Nelson, Deborah Rose, Norman Fell, James Eustermann, Denise Young, Willie Stratford Jr., Phyllis Diller, Robert Yun Ju Ahn, Rick Brophy, Sallie Middleton Kaltreider

“The Boneyard has its share of guilty pleasures, though never quite equals the sum of its better, more inventive parts… James Cummins’ helming is capable enough, the orchestral score atmospheric, and although the special effects are pretty poor, the characters are genuinely quirky and the plotting has some eclectic turns that put one in mind of Peter Jackson’s Braindead — not too many movies can boast zombies, splatter, Phyllis Diller, a fat psychic, and a gigantic zombie poodle – for which this is worth the price alone. Don’t take The Boneyard seriously, don’t think about it too closely, just sit back, crack open a beer, dig in and enjoy.” – Doc Obrero, Sex Gore Mutants

The Maze

76. (-20) The Maze

William Cameron Menzies

1953 / USA / 80m / BW / Gothic | IMDb
Richard Carlson, Veronica Hurst, Katherine Emery, Michael Pate, John Dodsworth, Hillary Brooke, Stanley Fraser, Lilian Bond, Owen McGiveney, Robin Hughes

“Like many of the films from the golden age of 3-D, The Maze doesn’t rely on its 3-D effects to tell its story. In fact, it’s just as effective of a story when watched in two dimensions as it is in three. The Maze was directed by William Cameron Menzies (whose claim to fame was his stunning use of color as the production designer for Gone with the Wind, but he also directed the legendary Invaders from Mars), and his use of the technology is more textural and layering than gimmicky… The castle is a perfect setting for a horror film, with its long hallways, arching doorways and sweeping staircases, and the environment only adds to the excitement.” – James Jay Edwards, FilmFracture

Night Must Fall

77. (new) Night Must Fall

Karel Reisz

1964 / UK / 101m / BW / Psychological | IMDb
Albert Finney, Mona Washbourne, Susan Hampshire, Sheila Hancock, Michael Medwin, Joe Gladwin, Martin Wyldeck, John Gill

“The psychological thriller, about a murderous psychopath who descends upon a country estate, began life in 1935 as a stage play by Emlyn Williams… Perhaps the thing that was most repulsive to audiences who saw this horrifying opening after Tom Jones is that Finney bounces around with an enthusiasm similar to that character, but with all the warmth drained away. It was as if Jones had turned on them, all his happy wrinkles pressed into cold, emotionless flesh. Finney has Danny speak like a deranged ventriloquist’s dummy, using his familiar staccato delivery to horrifying effect. He seems possessed, and the scary thing about it is that just about everyone around him thinks it’s hilarious.” – Kendahl Cruver, A Classic Movie Blog

The Mad Ghoul

78. (new) The Mad Ghoul

James P. Hogan

1943 / USA / 65m / BW / Science Fiction | IMDb
Turhan Bey, Evelyn Ankers, David Bruce, George Zucco, Charles McGraw, Robert Armstrong, Milburn Stone, Rose Hobart, Andrew Tombes, Addison Richards

“This is a pretty neat little horror picture that’s raised several notches by the presence of George Zucco as the openly lecherous mad scientist who turns David Bruce into the title monster—as much for a shot at leading lady Evelyn Ankers (he wants to teach her how to read “the book of life”) as for the good of science. The results are actually pretty grisly for its era—and the Mad Ghoul looks alarmingly like a George Romero zombie… An unnamed British critic is said to have reviewed the film by noting, “To be a ghoul would be disconcerting enough. To be a mad ghoul must be the height of personal embarassment.”” – Ken Hanke, Mountain Xpress

Jack Be Nimble

79. (new) Jack Be Nimble

Garth Maxwell

1993 / USA / 95m / Col / Thriller | IMDb
Alexis Arquette, Sarah Smuts-Kennedy, Bruno Lawrence, Tony Barry, Elizabeth Hawthorne, Brenda Simmons, Gilbert Goldie, Patricia Phillips, Paul Minifie, Sam Smith

“Gripping and unforgettable cult Australian gothic horror movie. It’s the dark story of a boy and his sister, abandoned by their distraught psychic mother and philandering father… Features an unforgettable silent set of four malignant sisters, a fascinating and unusual psychic romance, hypnosis-violence, intense performances by everyone involved (especially by Alexis Arquette who is given a lot to do), and the emotions and cruelty build to a crisis, leading to a strange finale indeed. A cult favorite.” – The Worldwide Celluloid Massacre


80. (new) Haunts

Herb Freed

1977 / USA / 97m / Col / Slasher | IMDb
May Britt, Cameron Mitchell, Aldo Ray, William Gray Espy, Ben Hammer, E.J. André, Kendall Jackson, Susan Nohr, Robert Hippard, Don Dolan

The Clairvoyant

81. (+60) The Clairvoyant

Maurice Elvey

1934 / UK / 81m / BW / Psychological | IMDb
Claude Rains, Fay Wray, Mary Clare, Ben Field, Jane Baxter, Athole Stewart, C. Denier Warren

“In his posthumous memoir, screenwriter Charles Bennett claimed that the script was actually based on a series of strange experiences he had following World War 1. According to Bennett, he grew increasingly superstitious when the war ended and his imagination started working overtime. He began believing he could cause terrible things to happen just by being in the same room with someone after bearing witnesses to multiple tragedies that he felt personally responsible for… The personal nature of the script bolsters the film’s interesting pedigree making it a unique curio that fans of classic horror and suspense should appreciate.” – Kimberly Lindbergs, TCM’s Movie Morlocks

Mo tai

82. (+68) Mo tai

Hung-Chuen Lau

1983 / Hong Kong / 84m / Col / Exploitation | IMDb
Eddie Chan, Yung-chang Chin, Pak-Kwong Ho, Dan Lau, Sai-gang Lau, San Leung, Pui-pui Liu, Hsiu-ling Lu, Sha-fei Ouyang, Mung-Kwong Tsui

“For the remainder, I’ll just give the highlights. The demon is now inside Boby, which eventually gets transferred to Kwo Wei, who immediately takes on the generic automaton gaze and deliberate walk. There’s dog attacks, there’s dog eating, there’s maid raping, there’s near drowning, there transsexual masturbation, there’s worm eating, there’s a dude being crushed by a room (yes, I mean exactly that) and yes, there’s more slimy demon-sex. A lot of this is done with the accompaniment of some wicked 1980s video game-esque sound effects that make you nostalgic for that Atari system. There are also a couple of signature Hong-Kong-ish battle scenes that don’t make any logical sense, but are really great to watch.” – Zombie-A-GoGo

The Bat Whispers

83. (+65) The Bat Whispers

Roland West

1930 / USA / 83m / BW / Mystery | IMDb
Chance Ward, Richard Tucker, Wilson Benge, DeWitt Jennings, Sidney D’Albrook, S.E. Jennings, Grayce Hampton, Maude Eburne, Spencer Charters, Una Merkel

“Roland West’s talkie remake of his own 1926 silent film The Bat is by far the best movie adaptation of the stock spoof horror play set in a creepy mansion where masked menace lurks. It’s also a superior mystery chiller in its own right. Sure, it’s a dusty antique by today’s standards, but the impressively surreal imagery is highly unusual for the period and well worth a look. Using remarkable special effects and miniature sets, the fluid camera darts about as much as the titular caped criminal for a fun combination of screams and laughs.” – Alan Jones, Radio Times

La maison ensorcelée

84. (new) La maison ensorcelée

Segundo de Chomón

1908 / France / 6m / BW / Haunted House | IMDb

“Spanish Gothic cinema starts with the films of the pioneering Segundo de Chomón, a figure comparable to that of Georges Méliès from the point of view of his cinematic output (allegedly over 500 short, silent trick films)… Chomón’s early films are interesting because, while they do not aim to scare, rather to amuse and sometimes to incite laughter, they are evidence that the visual language of the Gothic was well-known to Spanish filmmakers even before German expressionism… De Chomón’s phantasmagorias are a product are a product of cultural assimilation and cinematic adaptation of a literary language that was well-established by the late-nineteenth century and which found a workable model in collaborations between national and international film companies.” – Xavier Aldana Reyes, Spanish Gothic: National Identity, Collaboration and Cultural Adaptation

The Monster Maker

85. (new) The Monster Maker

Sam Newfield

1944 / USA / 62m / BW / Science Fiction | IMDb
J. Carrol Naish, Ralph Morgan, Tala Birell, Wanda McKay, Terry Frost, Glenn Strange, Alexander Pollard, Sam Flint, Ace the Wonder Dog

“In 1944, legendary B-movie director Sam Newfield (known primarily for quick-made westerns such as The Terror of Tiny Town) introduced the world to Dr. Igor Markoff in The Monster Maker. Often overshadowed by more popular movie madmen, Dr. Markoff is every bit as diabolical and devious as his contemporaries… [The film] also marks the first credited musical score by the most prolific B-movie composer of all time, Albert Glasser. Glasser’s score adds a ton of depth to the film without making it sound like it’s taking itself too seriously… Despite the obvious flaws that make The Monster Maker look like it was made quickly and cheaply, it is an entertaining film. The story is original, the actors are skilled and the film is as well made as a low-budget B-movie can be. And there’s a guy in a gorilla suit.” – James Jay Edwards, FilmFracture

Zombies on Broadway

86. (new) Zombies on Broadway

Gordon Douglas

1945 / USA / 69m / BW / Zombie | IMDb
Wally Brown, Alan Carney, Bela Lugosi, Anne Jeffreys, Sheldon Leonard, Frank Jenks, Russell Hopton, Joseph Vitale, Ian Wolfe, Louis Jean Heydt

Uncle Silas

87. (+2) Uncle Silas

Charles Frank

1947 / UK / 103m / BW / Mystery | IMDb
Jean Simmons, Katina Paxinou, Derrick De Marney, Derek Bond, Sophie Stewart, Esmond Knight, Reginald Tate, Manning Whiley, Marjorie Rhodes, John Laurie

“It’s not a horror movie, but by tapping in to its strong Gothic roots, and by shooting several of the scenes with a gloomy and forbidding atmosphere, it has the feel of a horror movie on occasion; there are spooky cobweb-filled passages and a frightening face in the window just for starters. It also has fine performances from all, with special mention going to Katina Paxinou, whose hard-drinking French governess character is unsettlingly creepy. It takes a while to get rolling, and some of the pacing is awkward, but it builds up to a truly satisfying climax.” – Dave Sindelar, Fantastic Movie Musings and Ramblings

Theatre of Death

88. (new) Theatre of Death

Samuel Gallu

1967 / UK / 91m / Col / Mystery | IMDb
Christopher Lee, Julian Glover, Lelia Goldoni, Jenny Till, Evelyn Laye, Ivor Dean, Joseph Fürst, Betty Woolfe, Leslie Handford, Fraser Kerr

Hasta el viento tiene miedo

89. (-24) Hasta el viento tiene miedo

Carlos Enrique Taboada

1968 / Mexico / 88m / Col / Mystery | IMDb
Marga López, Maricruz Olivier, Alicia Bonet, Norma Lazareno, Renata Seydel, Elizabeth Dupeyrón, Rita Sabre Marroquín, Irma Castillón, Rafael Llamas

“Shown on Mexican television every Halloween and Dia de Los Muertos… it is also widely considered the best Mexican film of the horror genre. Mexican movie studios did produce a number of horror movies during the 1950’s-1960’s (Mexican Cinema’s Golden Age), but they were largely mediocre movies featuring masked wrestlers. What sets Hasta el Viento Tiene Miedo apart from the latter is Taboada’s introduction of 19th century literary gothic motifs in a contemporary setting… Hasta el Viento Tiene Miedo is the first in a horror trilogy by Taboada and while Veneno Para las Hadas (Poison for the Fairies) received awards and was more critically acclaimed it’s the former that remains his most popular film.” – Cinema Nostalgia

The Fall of the House of Usher

90. (new) The Fall of the House of Usher

Ivan Barnett

1949 / UK / 70m / BW / Psychological | IMDb
Gwen Watford, Kay Tendeter, Irving Steen, Vernon Charles, Connie Goodwin, Gavin Lee, Keith Lorraine, Lucy Pavey, Tony Powell-Bristow, Robert Wolard

Weird Woman

91. (+4) Weird Woman

Reginald Le Borg

1944 / USA / 63m / BW / Mystery | IMDb
Lon Chaney Jr., Anne Gwynne, Evelyn Ankers, Ralph Morgan, Elisabeth Risdon, Lois Collier, Harry Hayden, Elizabeth Russell, Phil Brown, Kay Harding

“A borderline horror-esque hour of Lon Chaney Jr being harrassed and looking troubled, as all the Inner Sanctum films were. This one was scripted by Brenda Weisberg from the novel Conjure Wife by Fritz Leiber, and if that sounds familiar, well, perhaps you’ve read it, or perhaps you’ve seen the more famous British adaptation called Night of the Eagle from the 1960s. Which is best? Well, the British film probably, but that’s not to say the American version is without interest. It does tend to eschew the supernatural explanation after spending almost all of the running time relying on it for thrills, but is fairly enjoyable nonetheless.” – Graeme Clark, The Spinning Image


92. (new) Pulgasari

Sang-ok Shin

1985 / North Korea / 95m / Col / Monster | IMDb
Chang Son Hui, Ham Gi Sop, Jong-uk Ri, Gwon Ri, Gyong-ae Yu, Hye-chol Ro, Sang-hun Tae, Gi-chon Kim, In-chol Ri, Riyonun Ri

“Would you believe that Kim Jong-il, the “Great Leader” of North Korea… once had a director from another country kidnapped and held prisoner in North Korea for years in order to make a make a Marxist propaganda film in the guise of a giant monster movie?… it’s kind of hard to really rate Pulgasari because it’s not all that good yet it most definitely carries with it a sense of morbid fascination, especially if you know the backstory. It’s still definitely worth seeking out although as more of a curiosity than anything else. The circumstances behind the film make it almost a must see for geo-political junkies as conclusive evidence of just how nuts the Great Leader of North Korea is and the giant monster aspect makes it worth a look for fans of the genre like myself.” – Foywonder, Dread Central

The Hideous Sun Demon

93. (new) The Hideous Sun Demon

Robert Clarke & Tom Boutross

1959 / USA / 74m / BW / Science Fiction | IMDb
Robert Clarke, Patricia Manning, Nan Peterson, Patrick Whyte, Fred La Porta, Peter Similuk, William White, Robert Garry, Donna King, Xandra Conkling

Homunculus, 1. Teil

94. (new) Homunculus, 1. Teil

Otto Rippert

1916 / Germany / 69m / BW / Science Fiction | IMDb
Olaf Fønss, Ernst Ludwig, Adolf Paul, Albert Paul, Lore Rückert, Max Ruhbeck, Lia Borré, Friedrich Kühne, Theodor Loos, Mechthildis Thein

“A huge success upon its release, this German 1916 6-part epic film series follows the exploits of the soulless supervillain Homunculus, a creature created by science, as he wows to find love or destroy humanity. Robert Reinert’s multi-layered script draws on Frankenstein and Faust, as well as Freud, Nietzsche and Marx to create both a treatise on the human condition as well as a comment on WWI. While scarcely shown outside Germany before 1920, it turned lead actor Olaf Fønss into a matinée idol and even influenced fashion… [Fønss’ cape and hat costume] became popular with the urban dandy in Germany.” – Janne Wass, Scifist

Black Moon

95. (new) Black Moon

Roy William Neill

1934 / USA / 68m / BW / Thriller | IMDb
Jack Holt, Fay Wray, Dorothy Burgess, Cora Sue Collins, Arnold Korff, Clarence Muse, Eleanor Wesselhoeft, Madame Sul-Te-Wan, Laurence Criner, Lumsden Hare

“Dorothy Burgess excels in the role of Nita, with her ominous looks and wild-eyed dancing. Neill and cinematographer Joseph August bring a great sense of dread to the proceedings, and the shadowy camerawork is film noirish in its execution (pardon the pun). BLACK MOON isn’t particularly scary, but has enough good moments to qualify as horror. It’s an obscure title that’s rarely seen today, and is worth going out of your way to find, especially for Golden Age horror completests.” – Gary Loggins, Cracked Rear Viewer

Il castello dei morti vivi

96. (new) Il castello dei morti vivi

Warren Kiefer

1964 / Italy / 90m / BW / Gothic | IMDb
Christopher Lee, Gaia Germani, Philippe Leroy, Mirko Valentin, Donald Sutherland, Renato Terra, Antonio De Martino, Luciano Pigozzi, Ennio Antonelli, Jacques Stany

Fear Chamber

97. (new) Fear Chamber

Jack Hill & Juan Ibáñez

1968 / USA / 88m / Col / Science Fiction | IMDb
Boris Karloff, Julissa, Carlos East, Isela Vega, Yerye Beirute, Eva Muller, Santanón, Pamela Rosas, Fuensanta, Sandra Chávez

“Fear Chamber was on one of Karloff’s last films. It’s one of four Mexican cheapies he was contracted to shoot but due to his frailness he had all his scenes shot in California in a few weeks. He died in 1969 but this film was not released until 1972. He’s bed ridden, in a wheelchair or behind a desk in nearly every scene. Despite all this he’s still easily the most charismatic actor in the whole film… At its heart it’s a fun movie that takes itself a bit too seriously near the end. There’s only so much heartfelt technobabble you can throw out to try and wrap up your story. Not that it really has much of an end. So if you like your weak veneer of science-fiction over a little bloodletting and sleaze this might be the perfect movie for you.” – Glitter Godzilla, Outpost Zeta


98. (new) Joyû-rei

Hideo Nakata

1996 / Japan / 75m / Col / Supernatural | IMDb
Yûrei Yanagi, Yasuyo Shirashima, Kei Ishibashi, Ren Ohsugi, Takanori Kikuchi, SABU, Reita Serizawa, Akira Hibino, Hirofumi Kobayashi, Dan Li

The Devil Commands

99. (-32) The Devil Commands

Edward Dmytryk

1941 / USA / 65m / BW / Supernatural | IMDb
Boris Karloff, Richard Fiske, Amanda Duff, Anne Revere, Cy Schindell, Dorothy Adams, Walter Baldwin, Kenneth MacDonald, Shirley Warde

“With its mix of sci-fi and horror elements, THE DEVIL COMMANDS is a unique little film. Karloff is great as usual, showing us a kind man who gradually becomes a physical wreck, driven to madness by the time it’s all over. Although the film lacks great character support, Revere is still quite intense, and at least we get to see the deadpan acting of Kenneth MacDonald (yup,from all those “Three Stooges” shorts) as a sheriff very suspicious of Blair. With a sitting circle of dead people in large metal helmets, and electrical special effects overhead, the sci-fi aspects are visually impressive, and Dmytryk uses shadowy lighting to hide the limited sets and build gloomy atmosphere.” – George R. Reis, DVD Drive-In

La main du diable

100. (-60) 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

The Flesh Eaters

101. (-43) The Flesh Eaters

Jack Curtis

1964 / USA / 87m / Col / Exploitation | IMDb
Martin Kosleck, Byron Sanders, Barbara Wilkin, Rita Morley, Ray Tudor, Christopher Drake, Darby Nelson, Rita Floyd, Warren Houston, Barbara Wilson

“The Flesh Eaters is exactly why people subject themselves to bad sci-fi films… This is a camp film of the highest order. A pilot, an alcoholic actress, and her personal assistant become stranded on an island with a mysterious Udo Kier-like scientist. All hope of escape seems lost however, when they discover that the waters around them are home to some ‘strange glowing things’ that like to feed on human flesh. Featuring some of the sharpest Z-grade dialogue this side of Ed Wood Jr. and an utterly absurd “suspense sequence” about traversing a two-foot span of rocks that simply has to be seen to be believed, this is the epitome of a bad drive-in picture. Simply put, I laughed from beginning to end, and loved every damn second of it.” – Adam Lemke,

Der Fluch der grünen Augen

102. (new) Der Fluch der grünen Augen

Ákos Ráthonyi

1964 / West Germany / 27m / BW / Vampire | IMDb
Adrian Hoven, Erika Remberg, Carl Möhner, Wolfgang Preiss, Karin Field, Emmerich Schrenk, John Kitzmiller, Laci Cigoj, Vida Juvan, Stane Sever

“This interesting West German vampire movie was released in its native country in 1964 as The Curse of the Green Eyes, and in the UK as Cave of the Living Dead… The movie is surprisingly light-hearted at times, not unlike the tone of Rialto’s krimi films of the era, but it also manages to be fairly atmospheric, making good use of the dark streets and its small-town setting. And it invents some intriguing bits of vampire lore of its own — for example, a vampire attack always causes a localized power outage, which effects not only homes and businesses, but automobiles and flashlights as well.” – Michael Popham, The Horror Incorporated Project

El esqueleto de la señora Morales

103. (new) El esqueleto de la señora Morales

Rogelio A. González

1960 / Mexico / 92m / Col / Black Comedy | IMDb
Arturo de Córdova, Amparo Rivelles, Elda Peralta, Guillermo Orea, Rosenda Monteros, Luis Aragón, Mercedes Pascual, Antonio Bravo, Angelines Fernández, Armando Arriola

Ye ban ge sheng

104. (-68) Ye ban ge sheng

Weibang Ma-Xu

1937 / China / 113m / BW / Drama | IMDb
Menghe Gu, Ping Hu, Shan Jin, Chau-shui Yee, Wenzhu Zhou

“Besides having a great story, Song at Midnight is also a visual treat. Ma-Xu was a not only a fan of Tod Browning’s Universal monster films, he was also an admirer of German universal_style_thumbexpressionism, most notably the works of Fritz Lang and Robert Wiene. Ma-Xu put together a film heavy with gothic atmosphere and haunting images. Ma-Xu sets the mood from the very beginning, by introducing the audience to the cobweb infested theater at night, and having a mysterious man lurking in the shadows. From that point on the scene is set and what follows truly comes from an artistic mind.” – Kimberly J.M. Wilson, 1001 Movies You Must See Before You Die

The Monster and the Girl

105. (+42) The Monster and the Girl

Stuart Heisler

1941 / USA / 65m / BW / Science Fiction | IMDb
Ellen Drew, Robert Paige, Paul Lukas, Joseph Calleia, Onslow Stevens, George Zucco, Rod Cameron, Phillip Terry, Marc Lawrence, Gerald Mohr

“The Monster and the Girl is definitely one of the strangest pictures ever made. And when one hears what the plot is, one expects it to be one of the worst films ever made. Surprisingly, Monster turns out to be a fairly effective and entertaining little “B” flick – and not one that gets by just on camp value… Stuart Heisler’s direction is lively and totally committed; his work gives no sign that he is not approaching this story with total seriousness, and he’s aided by good atmospheric contributions from Victor Milner.” – Craig Butler, AllMovie

The Flying Serpent

106. (new) The Flying Serpent

Sam Newfield

1946 / USA / 59m / BW / Mystery | IMDb
George Zucco, Ralph Lewis, Hope Kramer, Eddie Acuff, Wheaton Chambers, James Metcalf, Henry Hall, Milton Kibbee, Budd Buster, Terry Frost

The Devil Bat was a big hit for PRC and The Flying Serpent more or less follows the same basic outline. Unlike that flick, The Flying Serpent is relatively low on chills and chuckles and takes itself very seriously. The special effects aren’t bad for the time (and budget), although you can see the marionette strings that holds the monster up sometimes. Zucco is OK in the lead but he’s no Bela Lugosi, whose wonderfully hammy performance made Devil Bat the classic that it is. He does seem pretty convincing while giving Quetzalcoatl his little pep talks though. I have a soft spot in my heart for these Poverty Row horror movies from the 40’s… The serpent attack scenes were a lot of fun and the scant 58 minute running time flew by.” – Mitch Lovell, The Video Vacuum

La notte dei diavoli

107. (-29) La notte dei diavoli

Giorgio Ferroni

1972 / Italy / 91m / Col / Vampire | IMDb
Gianni Garko, Agostina Belli, Roberto Maldera, Cinzia De Carolis, Teresa Gimpera, Bill Vanders, Umberto Raho, Luis Suárez, Sabrina Tamborra, Rosita Torosh

“Based on the same story that formed the basis of the last segment of Mario Bava’s Black Sabbath: Tolstoy’s “The Wurdulak”… The Night of the Devils may not be quite as visually captivating as Bava’s take on the material, but it’s still a powerfully creepy tale, and director Ferroni gives the story a very unique style. The pacing is a bit on the slow side, but that’s not necessarily a complaint; this is a textbook slow burn punctuated by moments of shocking violence and unsettling imagery.” – Jason Coffman, Film Monthly


108. (new) Sweatshop

Stacy Davidson

2009 / USA / 90m / Col / Slasher | IMDb
Ashley Kay, Melanie Donihoo, Peyton Wetzel, Danielle Jones, Julin, Brent Himes, Krystal Freeman, Naika Malveaux, Vincent Guerrero, ViVi Sterling

“With Sweatshop, the carpet definitely matches the drapes in that the cinematography, scenery, actors and their outfits all make sense and work hand in hand to create a fully immersive, cohesive mini-universe. The run down warehouse looks as if untouched for years, containing all manor of implements on which a character might accidentally impale themselves on. To play off this “lesser” impending doom, the film is kept dark and dusty with non-obvious light sources and a high contrast finish. From room to room, this changes to gel with the feel of the scene. Again, these shifts make perfect sense to the tone of the moment and are extremely welcome.” – Nomad, Dread Central

Más negro que la noche

109. (new) Más negro que la noche

Carlos Enrique Taboada

1975 / Mexico / 96m / Col / Haunted House | IMDb
Claudia Islas, Susana Dosamantes, Helena Rojo, Lucía Méndez, Julián Pastor, Alicia Palacios, Pedro Armendáriz Jr., Tamara Garina, Enrique Pontón

Necronomicon - Geträumte Sünden

110. (-1) Necronomicon – Geträumte Sünden

Jesús Franco

1967 / West Germany / 84m / Col / Surrealism | IMDb
Janine Reynaud, Jack Taylor, Adrian Hoven, Howard Vernon, Nathalie Nort, Michel Lemoine, Pier A. Caminnecci, Américo Coimbra, Lina De Wolf, Eva Brauner

“Elegantly photographed, intelligently edited, and filled with mesmerising performances, “Succubus” gives us a taste of just what Franco is capable of when blessed with a professional crew and cast — the direction is superlative; the script (co-written by Franco with the film’s producer [who also acts in the film], Pier A. Caminnecci), is a complex amalgamation of surreal scenarios suffused with allusions to classic literature and Franco’s favourite film-makers (everyone from Kafka to Frankenstein). The musical score ranges from cocktail lounge jazz to classical — often blended seamlessly. It’s ahead of its time, predating Mario Bava’s equally classy “Lisa and The Devil” (1973), and even looking ahead to contemporary works such as David Lynch’s “Mulholland Drive” (2002).” – Blackgloves, Horrorview

The Colossus of New York

111. (new) The Colossus of New York

Eugène Lourié

1958 / USA / 70m / BW / Science Fiction | IMDb
John Baragrey, Mala Powers, Otto Kruger, Robert Hutton, Ross Martin, Charles Herbert

“The director is the talented Eugène Lourié, a world-class art director and special effects consultant who directed Ray Harryhausen’s breakthrough picture as well as the impressive Technicolor giant monster film Gorgo… Produced on a small scale, The Colossus of New York is an effective monster film whose immediate appeal seems limited to children. To compensate for the lack of depth and complexity in the storyline, director Lourié imparts a fairytale-like graphic simplicity to its fairly innovative monster, an eight-foot cyborg with more than a few similarities to the sci-fi masterpiece RoboCop made thirty years later.” – Glenn Erickson, DVD Talk

The Four Skulls of Jonathan Drake

112. (new) The Four Skulls of Jonathan Drake

Edward L. Cahn

1959 / USA / 70m / BW / Supernatural | IMDb
Eduard Franz, Valerie French, Grant Richards, Henry Daniell, Lumsden Hare, Frank Gerstle, Paul Wexler, Howard Wendell, Paul Cavanagh

A Warning to the Curious

113. (-110) A Warning to the Curious

Lawrence Gordon Clark

1972 / UK / 50m / Col / Mystery | IMDb
Peter Vaughan, Clive Swift, Julian Herrington, John Kearney, David Cargill, George Benson, Roger Milner, Gilly Fraser, David Pugh, Cyril Appleton

“A perfectly-realized ghost story with no bells and whistles, no gore, no needless filler and no special effects. Instead this offers up excellent direction, fine performances, a low-key, otherworldly score punctuated by frantic violins and stark, low-budget 16mm photography that manages to brilliantly draw the eerie supernatural elements of the story out of the everyday world.” – The Bloody Pit of Horror

Zhong gui

114. (+9) Zhong gui

Chuan Yang

1983 / Hong Kong / 85m / Col / Supernatural | IMDb
Norman Chu, Phillip Ko, Maria Jo, Yung Wang, Mi Tien, Kar-Man Wai, Hsin Nan Hung, Man-Biu Bak, Ling-Chi Fu, Erik Chan Ka Kei

“The crowning ghoulish jewel in the recent wave of Shaw Brothers horror releases is undoubtedly the notorious, long sought after Seeding of a Ghost… Without wishing to spoil too many of the gruesome surprises in store, it’s fair to say that Seeding of a Ghost pretty much has it all, from grave robbing, corpse kissing, worm vomiting, and brain eating through to the decidedly inappropriate use of an oversized matchstick. However, such delights pale in comparison to the frankly insane final bloodbath, which is worth the price of admission on its own, and which is a guaranteed eye opener even for the most jaded fan of the black magic subgenre.” – Andrew Heskins,

Ladrón de cadáveres

115. (new) Ladrón de cadáveres

Fernando Méndez

1957 / Mexico / 80m / BW / Science Fiction | IMDb
Columba Domínguez, Crox Alvarado, Wolf Ruvinskis, Carlos Riquelme, Arturo Martínez, Eduardo Alcaraz, Guillermo Hernández, Yerye Beirute, Alberto Catalá, Lee Morgan

Gou hun jiang tou

116. (new) Gou hun jiang tou

Meng Hua Ho

1976 / Hong Kong / 89m / Col / Zombie | IMDb
Lung Ti, Ni Tien, Lily Li, Feng Lin, Wei Tu Lin, Terry Liu, Lieh Lo, Tzu-yun Mai, Chih-Li Ou, Cheng-cheng Wang

“Instead of continuing on with the same characters and telling more of their story, Black Magic 2 treats the black magic itself as the “character” worth exploring further in the sequel. Of course, the audience reaps the benefits, as this sequel is nastier, nuttier and a whole lot funner to watch. And since the twisted ways of Southeast Asian black magic are our main focus, it makes sense that the evil black magic practitioner (played wonderfully by Lo Lieh) is essentially the star of the film… It’s highly entertaining and it takes story risks that pay off incredibly well, resulting in a sequel that is better than the original film in nearly every way.” – Will Kouf, Silver Emulsion


117. (new) Prey

Norman J. Warren

1978 / UK / 78m / Col / Science Fiction | IMDb
Barry Stokes, Sally Faulkner, Glory Annen, Sandy Chinney, Eddie Stacey, Jerry Crampton

The League of Gentlemen Christmas Special

118. (new) The League of Gentlemen Christmas Special

Steve Bendelack

2000 / UK / 60m / Col / Anthology | IMDb
Jeremy Dyson, Mark Gatiss, David Arnold, Frances Cox, Rusty Goffe, Ian Griffiths, Freddie Jones, Jon Key, Andrew Melville, Gerald Staddon

“Coming between the excellent second series and the less impressive third of the television series, the Christmas special was the League at the very peak of their powers. It sits outside the main continuity of the series and is none the worse for that. Popular characters like Tubbs and Edward are sidelined in favour of lesser characters, allowing some of the huge supporting cast of weirdoes and grotesques to take centre stage. From the outset it sets out its stall, undermining the more serious elements of the story with fabulous lowbrow silliness… the League undercut every expectation the audience may have had of what a Christmas special should be.” – Kevin Lyons, EOFFTV

El fantasma del convento

119. (new) El fantasma del convento

Fernando de Fuentes

1934 / Mexico / 85m / BW / Haunted House | IMDb
Enrique del Campo, Marta Roel, Carlos Villatoro, Paco Martínez, Victorio Blanco, Francisco Lugo, Beltrán de Heredia, Agustín González, José Ignacio Rocha

Purana Mandir

120. (new) Purana Mandir

Shyam Ramsay & Tulsi Ramsay

1984 / India / 175m / Col / Supernatural | IMDb
Mohnish Bahl, Arti Gupta, Puneet Issar, Sadashiv Amrapurkar, Ajay Agarwal, Sadhana Khote, Satish Shah, Trilok Kapoor, Dr. Satish Chopra, Rajendra Nath

“It’s fun, fast-paced (whenever it kicks into gear) and even exciting in spots. Many of the horror sequences are also pretty stellar. They’re not only edited, lit, photographed and scored in a rather inventive, off-kilter fashion, but the special effects makeup is pretty good and many of the locations used, as well as the art direction and use of both colorful lighting and lots of fog, ensure they’re also extremely atmospheric. There’s plenty of blood and gore, the design of the hairy demon creature is great and echoes of numerous American, British, Italian and Hong Kong horror movies are felt throughout.” – Justin McKinney, The Bloody Pit of Horror

The Frozen Dead

121. (new) The Frozen Dead

Herbert J. Leder

1966 / UK / 95m / BW / Science Fiction | IMDb
Dana Andrews, Anna Palk, Philip Gilbert, Kathleen Breck, Karel Stepanek, Basil Henson, Alan Tilvern, Anne Tirard, Edward Fox, Oliver MacGreevy

“By 1966 a few soft-core exploitation producers had begun to produce crude and offensive movies about sexual torture in concentration camps… Although it isn’t sexually explicit, the Warner Brothers-released The Frozen Dead pushed the borders of rotten taste. The studio thought so much of it that it was released in the U.S. in B&W prints. We didn’t see it in color until it showed up on local television a decade later… Murky moral back-issues aside, The Frozen Dead is a likeable hoot with a number of graces (its jolly disregard for good taste) and flaws (clumsily written characters). And if I’m not mistaken, the film neglects to account for one major Nazi character, who simply disappears in the last reel.” – Glenn Erickson, DVD Savant


122. (new) Entrance

Dallas Richard Hallam & Patrick Horvath

2012 / USA / 83m / Col / Slasher | IMDb
Suziey Block, Karen Baird, Farley Burge, Karen Gorham, Joshua Grote, Florence Hartigan, Bennett Jones, Liesel Kopp, Jonathan Margolis, Patrick McPheron

“Common criticisms call [this] quiet thriller “boring,” label it as meaningless “mumblegore,” or lament that “nothing happens” for the first hour. None of those observations are necessarily inaccurate, though they reductively dismiss the mood directors Dallas Hallam and Patrick Horvath manufacture by teasing all of those terms… Even detractors laud the film’s finale, with some saying to skip straight to the slashing while running right past an uneventfully long lead-in. The reality is, the single take terror of those last twenty minutes packs its punch precisely because the buildup of vague danger boils almost imperceptibly beneath rope-a-dope monotony… it is a small-scale “slice of life” slow burner wringing oppressive dread out of an ordinary existence.” – Ian Sedensky, Culture Crypt

The Lady and the Monster

123. (new) The Lady and the Monster

George Sherman

1944 / USA / 86m / BW / Science Fiction | IMDb
Vera Ralston, Richard Arlen, Erich von Stroheim, Helen Vinson, Mary Nash, Sidney Blackmer, Janet Martin, William Henry, Charles Cane, Juanita Quigley

“The first film adaptation of Kurt Siodmak’s influential novel Donovan’s Brain features, for the first time on screen, a disembodied brain asserting its influence on people around it. Well shot and directed for second-tier studio Republic in a gothic noir style, and good acting from Erich von Stroheim and Richard Arlen. Unfortunately the script doesn’t live up to its source material and the film contains ghastly wooden acting from Czechoslovakian ice-skater-turned-studio-boss’-girlfriend Eva Hruba Ralston in her first feature role… There are some very nice pans and tracking shots of the lab, experimental low-angle shots and of course the wonderfully expressionistic lighting of the DP Alton creates a very claustrophobic and moody atmosphere.” – Janne Wass, Scifist

The Undying Monster

124. (new) The Undying Monster

John Brahm

1942 / USA / 63m / BW / Werewolf | IMDb
James Ellison, Heather Angel, John Howard, Bramwell Fletcher, Heather Thatcher, Aubrey Mather, Halliwell Hobbes

The Undying Monster feels like Fox taking a stab at the Universal Horror world with a dash of Sherlock Holmes. The entire film takes place on beautiful sets with gorgeous cinematography from Lucien Ballard… The story is quite compelling, though it’s likely aided to the quick runtime. At just 62 minutes this one just flies by. The important thing is that it does mange to be very entertaining throughout. It’s a monster film and mystery rolled into one and succeeds on both fronts for the most part. They mystery aspect works much better as little hints are dropped throughout and we see Curtis and Christy piece the evidence together one by one. The monster side is good, but we just don’t get much of it.” – Chris Coffel, Bloody Disgusting

Dance of the Damned

125. (new) Dance of the Damned

Katt Shea

1989 / USA / 82m / Col / Vampire | IMDb
Starr Andreeff, Cyril O’Reilly, Debbie Nassar, Maria Ford, Athena Worthy, Tom Ruben, Chuck Rhee, J. Bartell, Paisley Yankolovich, Eric Coplin

“In many respects this might have been a play rather than a film, which is one of its strengths and whilst starting with a level of exploitation quickly finds its feet as an excellent drama… this is not a film for those looking for pure horror, as it really isn’t, this is an intelligent film that explores humanity and despair. It is one that you will have to really search out but is well worth the effort and shows just how good a low budget film can be if the correct script and actors are used.” – A. Boylan, Taliesin Meets The Vampires

Man Made Monster

126. (-54) Man Made Monster

George Waggner

1941 / USA / 59m / BW / Science Fiction | IMDb
Lionel Atwill, Lon Chaney Jr., Anne Nagel, Frank Albertson, Samuel S. Hinds, William B. Davidson, Ben Taggart, Constance Bergen, Ivan Miller, Chester Gan

“Man Made Monster was one of two collaborations between Lon Chaney, Jr. and director/writer (and sometime producer) George Waggner to reach theaters during 1941 — the other was The Wolf Man, and together the two movies revealed a winning combination. Where most directors would be hampered by Chaney’s limited acting range, Waggner manages to play to the star’s greatest strength — his earnestness — and effectively glossed over his limitations, and evoked audience sympathy for the actor and the character that he plays. That’s essential in a film as fast-paced as this one, and it’s one of the major reasons why Man Made Monster has endured in popularity across the decades” – Bruce Eder, AllMovie

Play for Today: Robin Redbreast

127. (+16) Play for Today: Robin Redbreast

James MacTaggart

1970 / UK / 76m / Col / Thriller | IMDb
Anna Cropper, Amanda Walker, Julian Holloway, Freda Bamford, Bernard Hepton, Andy Bradford, Cyril Cross, Robin Wentworth

“Robin Redbreast is a damnably chilling affair. Norah is an intriguing character, one who plays against type and smashes taboos with almost every action. From pre-marital sex, to smoking when pregnant, she portrays the anguished femininity of a post hippie fallout. Cropper is remarkable; strong and confident, yet vulnerable and helpless at the same time. Much in the same way as The Wicker Man is an elaborate game, littered with clues; Robin Redbreast is equally filled with oblique moments of partial exposition. Norah is provided with several sly nods as to what the residents have in store for her, but she misses almost every one.” – Colin McCracken, Diabolique Magazine

Lo spettro

128. (new) Lo spettro

Riccardo Freda

1963 / Italy / 97m / Col / Gothic | IMDb
Barbara Steele, Peter Baldwin, Elio Jotta, Harriet Medin, Carol Bennet, Carlo Kechler, Umberto Raho, Reginald Price Anderson

“From the opening séance to the fulfilling ending, there ends up being a very attractive mental journey, dense with macabre elements, to a destination that could only be described as maniacal insanity, just before the film closes out with a religious representative reminding us that the devil is a very real person… Steele is in her prime and at her best in THE GHOST as Margaret Hichcock, which only adds to Freda’s masterpiece, because in addition to this scene stealing murderess, the film still also pushes a lot of the right buttons. Music, ambiance, and visual style are all ace and totally unique to this specific era of horror filming and couldn’t possibly be recreated and exhibited in the same manner today.” – Giovanni Susina, At the Mansion of Madness

El libro de piedra

129. (new) El libro de piedra

Carlos Enrique Taboada

1969 / Mexico / 99m / Col / Thriller | IMDb
Marga López, Joaquín Cordero, Norma Lazareno, Aldo Monti, Lucy Buj, Rafael Llamas, Ada Carrasco, Lilia Castillo, Manuel Dondé, Jorge Mateos

“The Book of Stone carries the echoes of an MR James story with its premise of ancient evil and suggested rather than depicted horror… Bit by bit the story unravels, piling on one little disturbing incident after another, till it places itself firmly in the realm of the supernatural. [The statue] ‘Hugo’ is revealed to have a sinister history and will resist all attempts made to uproot him from his pedestal. Even here, there is far more reliance on the play of light and shadow (cinematographer Ignacio Torres), and juxtaposition of circumstance than any elaborate flashy effect.” – Suresh S, Un-kvlt Site

Muñecos infernales

130. (-18) Muñecos infernales

Benito Alazraki

1961 / Mexico / 81m / BW / Mystery | IMDb
Elvira Quintana, Ramón Gay, Roberto G. Rivera, Quintín Bulnes, Nora Veryán, Luis Aragón, Alfonso Arnold, Jorge Mondragón, Salvador Lozano, Margarita Villegas

“The diminutive death-dealers carve an astonishingly creepy presence here; and are among the most unforgettable of the Mexi-horror canon. Played by either midgets or small children, the performers all wear what look like wax masks. These facial appliances never move when they breathe, so there’s a realism that adds to the eeriness of these calculating doll monsters creeping towards their victims with poisonous needles ready to pierce your flesh… Aside from some goofy moments here and there, Alazraki’s picture does a surprisingly good job of building suspense; and delivering frighteningly spooky creatures in the form of the macabre countenance of the killer dolls. If you haven’t seen it, fans of the genre are in for a treat” – Brian Bankston, Cool Ass Cinema

Santo en El tesoro de Drácula

131. (new) Santo en El tesoro de Drácula

René Cardona

1969 / Mexico / 81m / Col / Vampire | IMDb
Santo, Aldo Monti, Noelia Noel, Roberto G. Rivera, Carlos Agostí, Alberto Rojas, Pili González, Jorge Mondragón, Gina Morett, Fernando Mendoza


132. (new) It!

Herbert J. Leder

1967 / UK / 96m / Col / Science Fiction | IMDb
Roddy McDowall, Jill Haworth, Paul Maxwell, Aubrey Richards, Ernest Clark, Oliver Johnston, Noel Trevarthen, Ian McCulloch, Richard Goolden, Dorothy Frere

“The main character of It! is Arthur Pimm, a put-upon assistant curator obsessed with his dead mother. Pimm seems to be a predecessor to characters like Willard; he’s emotionally fragile, psychologically disturbed, and in love with a girl way out of his league… silly from start to finish, but the movie has that certain old-school Saturday afternoon charm that will win over old monster fans. Roddy McDowall… helps the proceedings along with a terrific melodramatic performance as the feeble Arthur Pimm. The final showdown between Pimm and his golem makes absolutely no logical sense at all, but it brings in the military and a nuclear weapon, so who cares?” – Justin Felix, DVD Talk

BBC Sunday-Night Theatre: Nineteen Eighty-Four

133. (new) BBC Sunday-Night Theatre: Nineteen Eighty-Four

Rudolph Cartier

1954 / UK / 120m / BW / Science Fiction | IMDb
Peter Cushing, André Morell, Yvonne Mitchell, Donald Pleasence, Arnold Diamond, Campbell Gray, Hilda Fenemore, Pamela Grant, Keith Davis, Janet Barrow

“[Technical] limitations become almost invisible as you watch and you can simply appreciate the quality of the writing and performance (both very high) and the ingenuity and imagination shown by Cartier in his staging, with seamless cutting between the live studio scenes and effective filmed inserts and transitions shot in areas of London still in ruins from the war… Made just five years after the book’s publication, the Cartier-Kneale version has an immediacy which is actually helped by its live television origins, while the feature now seems more compromised and dated, although the restrictions of television elided much of the torture O’Brien subjects Smith to. It seems odd now that the slightly weakened final act was one of the chief causes of viewer outrage at the time” – Kenneth George Godwin, Rough Cut

The Signalman

134. (-115) The Signalman

Lawrence Gordon Clark

1976 / UK / 37m / 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


135. (new) Mom

Patrick Rand

1991 / USA / 95m / Col / Comedy | IMDb
Mark Thomas Miller, Jeanne Bates, Brion James, Mary Beth McDonough, Art Evans, Stella Stevens, Claudia Christian, Maray Ayres, Christopher Doyle, Tim Trella

“Had it not been for the morbid and dour ending, this might have been a pretty sweet piece of horror comedy. The idea of the nice sweet granny turning into a flesh eating monster is fantastic, and the interplay between her and her son made for some pretty funny scenes… If you’re into 80s/90s low-budget horror, this has the feel you’re looking for, just not finish. Further on that theme of 80s/90s low-budget, Mom had me feeling nostalgic. It really has that video store find vibe to it, the 6th or 7th grade sleepover party pick-up, best enjoyed with some junk food and soda.” – Matt, Direct to Video Connoisseur

Il mostro di Venezia

136. (new) Il mostro di Venezia

Dino Tavella

1965 / Italy / 83m / Col / Giallo | IMDb
Maureen Brown, Luigi Martocci, Alcide Gazzotto, Alba Brotto, E. Caruso, Viki Castillo, Carlo Russo, Paola Vaccari, Maria Rosa Vizzina, Gaetano Dell’Era

“Aficionados of Italian horror cinema will note that Monster of Venice marks a turning point in the genre. What once was a collection of films devoted to putrefying Gothicism began to swing towards modernity. The use of rock music and a bizarrely jazz-oriented score meld modernism with the gothic, which is embodied in the vast labyrinth of the killer’s catacombs. Aficionado or not, this is spectacular junk, and any attempt to intellectualize it as a genre film can only serve to rob it of its camp value.” – Nate Meyers, Digitally Obsessed

The Haunted House of Horror

137. (new) The Haunted House of Horror

Michael Armstrong

1969 / UK / 92m / Col / Haunted House | IMDb
Frankie Avalon, Jill Haworth, Dennis Price, Mark Wynter, George Sewell, Gina Warwick, Richard O’Sullivan, Carol Dilworth, Julian Barnes, Veronica Doran


138. (new) Abby

William Girdler

1974 / UK / 89m / Col / Supernatural | IMDb
William Marshall, Terry Carter, Austin Stoker, Carol Speed, Juanita Moore, Charles Kissinger, Elliott Moffitt, Nathan Cook, Nancy Lee Owens, William P. Bradford

“This film undoubtedly rides the coattails of The Exorcist… [but] there is some new, intriguing ground broken by setting the possession not only in a minister’s family, but also in a black family — given the prominent role that religion plays within the African-American community. Still, the big draw is seeing a prim and proper church lady grope and drop the MF bomb on unsuspecting parishioners, and in that respect, Abby delivers. It’s also genuinely creepy at times, thanks to the thunderous audio filled with guttural groans and demonic voices. It’s solid entertainment that deserves a wider audience” –

The Face of Marble

139. (new) The Face of Marble

William Beaudine

1946 / USA / 72m / BW / Science Fiction | IMDb
John Carradine, Claudia Drake, Robert Shayne, Maris Wrixon, Willie Best, Thomas E. Jackson, Rosa Rey, Neal Burns, Donald Kerr, Allan Ray

The Face of Marble has the look of a classic Universal or Hammer horror film. It’s dark, gritty and very spooky. The locations are perfect for a film of its type, from the sprawling gothic beach home where most of the action takes place to the Frankenstein-esque laboratory where the scientists do their thing… All of the visual aspects of the film come together to give it an unforgettable mood that, with the lights turned off, could raise a few goose-bumps in even the most desensitized horror fan. William Beaudrine’s work runs the gamut from utterly ridiculous crossover films to family-oriented television, but The Face of Marble is probably his most genuinely scary film. Plot holes and unanswered questions aside, the tight little film about science and superstition will not disappoint anyone who invests a little over an hour into watching.” – James Jay Edwards, FilmFracture

El jorobado de la Morgue

140. (-49) El jorobado de la Morgue

Javier Aguirre

1973 / Spain / 87m / Col / Gothic | IMDb
Paul Naschy, Rosanna Yanni, Víctor Alcázar, María Elena Arpón, Manuel de Blas, Antonio Pica, Kino Pueyo, Adolfo Thous, Ángel Menéndez, Fernando Sotuela

“Far gorier than you might expect, The Hunchback Of The Morgue isn’t really breaking any new ground and it borrows heavily from the Hammer and Universal films that came before it, but it’s still a lot of fun and plenty atmospheric. Aguirre’s direction is strong as he keeps the movie going at a very brisk pace but manages to do so without sacrificing important character development bits which make Gotho [the hunchback] a very sympathetic lead. Naschy does quite well in the part, keeping in character and not often straying from the ‘hunchback stance’ that he manages to maintain quite convincingly throughout the film. The script, co-written by Naschy as Jacinto Molina, is lean and to the point but it manages to give us a few characters to care about aside from Gotho” – Ian Jane, Rock! Shock! Pop!

Dead Man's Eyes

141. (new) Dead Man’s Eyes

Reginald Le Borg

1944 / USA / 64m / BW / Thriller | IMDb
Lon Chaney Jr., Acquanetta, Jean Parker, Paul Kelly, Thomas Gomez, Jonathan Hale, Edward Fielding, George Meeker, Pierre Watkin, Eddie Dunn


142. (new) Headless

Arthur Cullipher

2015 / USA / 85m / Col / Slasher | IMDb
Shane Beasley, Kelsey Carlisle, Ellie Church, Dave Parker, Kaden Miller, Jennifer Lee, Haley Madison, Brian Williams, Matt Keeley, Emily Solt McGee

Headless is based on characters/situations created by Todd Rigney from his book Found which Scott Schirmer directed the movie of the same name. Headless was a project realized when the short movie within a movie was received well and the special effects creators of Found (Arthur Cullipher, Shane Beasley etc.) wanted to do a gory throwback to the 70’s/80’s slasher movie. They publicly funded Headless and made quite possibly one of the nastiest and goriest serial killer films in noted history… The graphic up-close mutilations are well done and the terror and torture the killer puts his female victims through is mesmerizing.” – Richard Taylor, Severed Cinema

Violent Midnight

143. (new) Violent Midnight

Richard Hilliard

1963 / USA / 90m / Col / Thriller | IMDb
Lee Philips, Shepperd Strudwick, Jean Hale, Lorraine Rogers, Dick Van Patten, Sheila Forbes, James Farentino, Kaye Elhardt, Sylvia Miles, Day Tuttle

“HALLOWEEN (1978) and the slashers that followed didn’t appear out of the blue. The subgenre has had a long history of cross pollination, and VIOLENT MIDNIGHT is a good example of the marriage between exploitation and horror thrillers that would bear gooey fruit twenty years later… The murder of Dolores is, if you’ll excuse the pun, particularly well executed. The shots of the killer’s army boots stalking the prey are eerily similar to those used in Joseph Zito’s later THE PROWLER (1981). Plus the black gloves, fedora and rain mack all later became staples of the giallo… Worth a look for those interested in how the subgenre morphed into the stalk-and-slashers of the early 80s.” – J. A. Kerswell, Hysteria Lives!

Simon, King of the Witches

144. (new) Simon, King of the Witches

Bruce Kessler

1971 / USA / 99m / Col / Witchcraft | IMDb
Allyson Ames, Sharon Berryhill, Jerry Brooke, Norman Burton, Angus Duncan, Michael C. Ford, Ray Galvin, Richard Ford Grayling, John Hart, Art Hern

“As gloriously early ’70s and post-Woodstock as you can get, this moody, darkly comic fantasy about white magic in Los Angeles was widely marketed as a horror film but turns out to be something a lot weirder and more interesting… A memorable character study of sorts set in a realm not often depicted on film, this could have been a much more significant cult film had audiences gotten a better idea of what to expect. It still has its fans, of course, which is inevitable for a counterculture piece loaded with goodies like Andy Warhol Factory icon Ultra Violet leading a nude wiccan ceremony or a psychedelic freak out of a climax that gets closer to trippy Saul Bass territory than you’d expect.” – Nathaniel Thompson, Mondo Digital

Dark Intruder

145. (new) Dark Intruder

Harvey Hart

1965 / USA / 59m / BW / Mystery | IMDb
Leslie Nielsen, Peter Mark Richman, Judi Meredith, Gilbert Green, Charles Bolender, Werner Klemperer, Vaughn Taylor, Peter Brocco, Bill Quinn, Ken Hooker

Dark Intruder is lean and thrillingly mean at a spare 58 minutes (reflecting its origins as a TV pilot for a series that was to be called “The Black Cloak”). The title sequence strikes just the right note with suitably haunting music and effective graphics of menacing eyes peering out from a thick blanket of fog… Veteran TV director Harvey Hart maintains a quick, deft pace, and adds a number of unusual angle shots to keep the viewers’ interest… Alternately amusing and chilling, Dark Intruder is several orders of magnitude better than the TV fare of its day, and a worthy part of Leslie Nielsen’s bountiful acting legacy.” – Brian Schuck, Films From Beyond the Time Barrier

The Child

146. (-86) The Child

Robert Voskanian

1977 / USA / 82m / Col / Zombie | IMDb
Laurel Barnett, Rosalie Cole, Frank Janson, Richard Hanners, Ruth Ballan, Slosson Bing Jong, Rod Medigovich, Wendell Hudiburg, Chris Tieken, Ralph Lucas

“The movie is a peculiar combination of horror themes, a mash-up of many styles and ideas. What starts looking like a standard supernaturally possessed child film evolves into a non-traditional zombie film… Director Robert Voskanian’s and writer Ralph Lucas’ portfolios are much thinner than that of executive producer Novak and this could be the reason for the strange direction the story takes and some of the apparent filmmaking anomalies seemingly intentionally present in this movie. These quirks are what make the film stand out and enrich it with an element of quaint rather than having detrimental repercussions.” – Pazuzu Iscariot, Horror Extreme

Mad Doctor of Blood Island

147. (new) Mad Doctor of Blood Island

Gerardo de Leon & Eddie Romero

1968 / Philippines / 85m / Col / Exploitation | IMDb
John Ashley, Angelique Pettyjohn, Ronald Remy, Alicia Alonzo, Ronaldo Valdez, Tita Muñoz, Tony Edmunds, Alfonso Carvajal, Bruno Punzalan, Edward D. Murphy

Deadbeat at Dawn

148. (new) Deadbeat at Dawn

Jim Van Bebber

1988 / USA / 80m / Col / Exploitation | IMDb
Paul Harper, Jim Van Bebber, Megan Murphy, Ric Walker, Marc Pitman, Maureen Allisse, Tom Burns, Steve King, Dave Parker, Bill Stover

“DEADBEAT AT DAWN is “go for broke” film-making of the highest order; and features the director/star continually (and impressively) putting his body on the line to make a film that would stand the test of time. Twenty-five years later, it isn’t just a delicious slice of 80s cheese – though it’s certainly that – but remains a violent, brutal low-budget masterpiece by a truly visionary director… This is independent, punk film-making of the highest order, and has been justifiably lauded as a landmark 80s cult film. Low-budget cinema could use a lot more Jim Van Bebbers.” – Doug Tilley, Daily Grindhouse

La maldición de la Llorona

149. (-121) La maldición de la Llorona

Rafael Baledón

1963 / Mexico / 74m / Col / Supernatural | IMDb
Rosa Arenas, Abel Salazar, Rita Macedo, Carlos López Moctezuma, Enrique Lucero, Mario Sevilla, Julissa, Roy Fletcher, Arturo Corona

“The film lasts a mere eighty minutes and, with the possible exception of a fight scene between two men that feels more at home in one of the popular lucha libre films of the time, not a moment is wasted. Though there is nothing original at all about it (in addition to its murderous title character, it has a crippled manservant and a madman in the attic), the film is so tightly constructed, the narrative moved along so propulsively, and the experience of watching it so consistently and thrillingly strange, that it rises above the also-rans to become a minor classic of its genre.” – Matt Bailey, Not Coming to a Theater Near You

A Night to Dismember

150. (new) A Night to Dismember

Doris Wishman

1983 / USA / 69m / Col / Slasher | IMDb
Samantha Fox, Diane Cummins, Saul Meth, Miriam Meth, William Szarka, Chris Smith, Dee Cummins, Larry Hunter, Mary Lomay, Rita Rogers

“What would you do if you had a completed film “in the can,” so to speak, but a disgruntled lab worker at the processing facility where it was being developed set fire to the place and destroyed 40% of your movie, leaving you with just over an hour of usable footage, all from various unrelated segments of your flick?… Well, that’s what happened to B-movie auteur Doris Wishman in 1982… I’m not going to claim that Wishman accidentally found greatness with the end product here, that dire circumstances proved to be an act of serendipity that resulted in an unheralded horror masterpiece. There’s a reason A Night to Dismember isn’t regarded as a slasher classic — it’s just not very good. But it certainly should be seen by any true B-movie aficionado. The fact that it even exists is a testament to Doris Wishman’s sheer determination and/or desperation — probably both.” – Ryan C., Trash Film Guru