1992 / USA / 135m / Col / Mystery | IMDb
Sheryl Lee, Ray Wise, Mädchen Amick, Dana Ashbrook, Phoebe Augustine, David Bowie, Eric DaRe, Miguel Ferrer, Pamela Gidley, Heather Graham
“The film is alarmingly dark. It isn’t especially funny, or quirky, or even much in keeping with the spirit of the series. But in its own singular, deeply strange way, Fire Walk With Me is David Lynch’s masterpiece… Laura’s world is morally confused, and Lynch presents it as basically illegible: the only way he can show us the truth is by articulating it in code, shrouding it in fantasy and mystery and conspiratorial intrigue. It’s why the film seems, at times, like a puzzle. The contrasting halves of the film’s bifurcated narrative find two worlds crashing together, the first a plane of frustrated desire and inscrutable mystery, the second a void into which a young woman is swallowed up. The procedural elements of the first are fundamentally disconnected from the tragedy of the second, suggesting that, in the final estimation, we can’t really on institutions to protect us. They’re solving the wrong case.” – Calum Marsh, Village Voice
1980 / USA / 87m / Col / Slasher | IMDb
Joe Spinell, Caroline Munro, Abigail Clayton, Kelly Piper, Rita Montone, Tom Savini, Hyla Marrow, James L. Brewster, Linda Lee Walter, Tracie Evans
“Lustig’s film depicts this lunatic in a somewhat compassionate light, making sure to complement Zito’s grisly slayings with moments of schizophrenic introspection as he mumbles to himself about the childhood abuse that scarred his psyche. Spinell and C.A. Rosenberg’s script, however, stops short of trying to elicit outright sympathy, a wise decision given Zito’s bloody habit of stabbing whores in seedy motel rooms – an act that, like so many of his killings, has an overt sexual component – and shooting lovers at point blank range with a shotgun (leading to horror make-up expert Tom Savini’s infamous exploding head cameo). Spinell’s committed performance as the slovenly, misogynistic fiend has a frenzied intensity that only somewhat compensates for the implausible plot, which eventually involves Zito’s relationship with a way-out-of-his-league photographer. But as a grimy snapshot of early ‘80s Manhattan and an unapologetically twisted study in pathological murderousness, Maniac still exhibits a hideous pulse.” – Nick Schager, Lessons of Darkness
Genres: Horror, Splatter, Psychological Horror, Slasher
1958 / USA / 94m / BW / Science Fiction | IMDb
David Hedison, Patricia Owens, Vincent Price, Herbert Marshall, Kathleen Freeman, Betty Lou Gerson, Charles Herbert
“Because movies in the 50s couldn’t have the extravagant effects of movies in the 80s (let alone the massive CGI fantasy creation of today’s cinema), a film like this one had to rely on suspense, mystery and characters, keeping the big reveals and money shots to a minimum. It’s not that “The Fly” is a lickety-split, fast-moving character burn. Instead, it’s a mystery for the characters in the film. Oddly enough, the mystery is blown for pretty much anyone who saw this film once it left theaters. The human-fly hybrid moments are such a part of our popular culture now that there’s no surprise at all. Everyone knows what’s under Andre Delambre’s sheet. Everyone knows where we will finally see him in the end. The beauty of this film is that it manages to be entirely watchable and engaging even with this knowledge.” – Kevin Carr, 7M Pictures
Genres: Science Fiction, Body Horror, Mystery, Drama, Psychological Drama
1939 / USA / 99m / BW / Gothic | IMDb
Basil Rathbone, Boris Karloff, Bela Lugosi, Lionel Atwill, Josephine Hutchinson, Donnie Dunagan, Emma Dunn, Edgar Norton, Perry Ivins, Lawrence Grant
“Boris Karloff’s man-made monster is revived in the castle of Frankenstein to provide material for another adventure of the ogre. Basil Rathbone, son of the scientist-creator, returns from America to the family estate, becomes intrigued with the dormant ogre and revives him with idea of changing the brute nature within. There are secret passages and panels; surprise opening of doors; and well-timed sound effects to further create tense interest. For offering of its type, picture is well mounted, nicely directed, and includes cast of capable artists.” – Variety Staff, Variety
Genres: Gothic Horror, Science Fiction, Thriller
2009 / USA / 95m / Col / Supernatural | IMDb
Jocelin Donahue, Tom Noonan, Mary Woronov, Greta Gerwig, AJ Bowen, Dee Wallace, Heather Robb, Darryl Nau, Brenda Cooney, Danielle Noe
“Yet another of this year’s homage-facsimiles, The House of the Devil forgoes campy self-awareness in favor of reverential faithfulness—and in doing so, implicitly critiques contemporary horror cinema. With its cinematography combining unadorned realism and angular expressionism, and its title sequence emblazoned with yellow title cards and marked by synth music, freeze frames, and sudden zooms, Ti West’s latest mimics ’80s horror flicks with a straight face. Its rhythms, dialogue, and period detail are so finely attuned to the style of its chosen era that, were it not for a technical dexterity generally absent from its predecessors, the film might pass as an exhumed relic.” – Matt Noller, Slant Magazine
Genres: Horror, Supernatural Horror, Mystery, Mumblecore
1968 / Japan / 99m / BW / Jidaigeki | IMDb
Kichiemon Nakamura, Nobuko Otowa, Kei Satô, Rokko Toura, Kiwako Taichi, Taiji Tonoyama, Hideo Kanze, Eimei Esumi, Shôji ôki, Kentarô Kaji
“Shindô eventually buries viewers in the sprits’ ghastly abode, a suffocating set piece bathed in the shadows of bamboo reeds. Most films would be content to drop you in the middle of the forest, and this one does thrive on the basic, primal isolation of the situation (it also helps that there’s really only one other major location, so the audience truly does feel cut off). However, Kuroneko is especially atmospheric in its choice of locales, as the remote hut is an extension of its wraithlike inhabitants. The film’s most memorable shot seems like a simple establishing shot of the hut; however, one can see that it’s subtly gliding among the bamboo grove, as if it exists outside of space and time. A brief but vital scene, it perfectly captures the understated, unnerving creepiness of the film.” – Brett Gallman, Oh, The Horror
2002 / USA / 93m / Col / Psychological | IMDb
Angela Bettis, Jeremy Sisto, Anna Faris, James Duval, Nichole Hiltz, Kevin Gage, Merle Kennedy, Chandler Riley Hecht, Rachel David, Nora Zehetner
“”May” is a wonderful and powerful statement on the struggle for perfection and acceptance, and what lengths many of us will go through for it. Even the mentally unstable ones. A marvelous cinematic debut from director Lucky McKee, “May” is a tragic and gut wrenching look at a girl who would do anything to become the ideal person for the people in her life, and eventually unwound from the aftermath of imperfection and idealistic visions of our loved ones.” – Felix Vasquez Jr., Cinema Crazed
Genres: Psychological Horror, Psychological Drama, Body Horror, Black Comedy, Cringe Comedy
1997 / Japan / 111m / Col / Psychological | IMDb
Kôji Yakusho, Masato Hagiwara, Tsuyoshi Ujiki, Anna Nakagawa, Yoriko Dôguchi, Yukijirô Hotaru, Denden, Ren Ohsugi, Masahiro Toda, Misayo Haruki
“Writer/Director Kiyoshi Kurosawa is not a Japanese David Fincher, while Fincher makes “Seven” seem cool, Kurosawa makes “Cure” real. This is not an over-stylized film. We see the murders like a witness, with far away static shots. When the detective is investigating, we are his partner and we stay a few paces away just listening. The film’s score is nearly non-existent, the scenes are filled with ambient sound, the rumbling of the ocean or a dryer. “Cure” is a movie to get lost in. From the very beginning we’re thrown into something where we’re never quite sure what is going on. It is wonderful to feel misplaced, knowing that this will not end with a foreseeable plot twist. There is no clear-cut conclusion. The film is not wrapped up in a nice neat little package. Kurosawa shows us a glimpse into this strange world and then pulls away, leaving us to figure out the answers, answers that may never come.” – Ross Williams, Film Threat
2000 / USA / 98m / Col / Supernatural | IMDb
Devon Sawa, Ali Larter, Kerr Smith, Kristen Cloke, Daniel Roebuck, Roger Guenveur Smith, Chad Donella, Seann William Scott, Tony Todd, Amanda Detmer
“Wong’s old-school modus operandi is superficially reflected in the decision to name the movie’s characters after well-known horror filmmakers (ie Hitchcock, Lewton, Browning, etc), yet it’s the ease with which the director cultivates an atmosphere of suspense that ultimately sets Final Destination above its slasher brethren – with the surprisingly tense opening fifteen minutes certainly standing as a highlight within the proceedings. Sawa’s personable turn as the hero is matched by a uniformly effective supporting cast rife with familiar faces , which – when coupled with Wong’s thoroughly capable directorial choices – cements Final Destination’s place as an innovative (and unexpectedly influential) exercise in horror.” – David Nusair, Reel Film Reviews
Genres: Supernatural Horror, Thriller, Teen Movie, Black Comedy
1994 / USA / 123m / Col / Vampire | IMDb
Brad Pitt, Christian Slater, Virginia McCollam, John McConnell, Tom Cruise, Mike Seelig, Bellina Logan, Thandie Newton, Lyla Hay Owen, Lee E. Scharfstein
“For all its queasy scenes of rat-eating and throat-slashings, “Interview” isn’t a horror movie. It’s not meant to scare, because we’re asked to identify with the vampires, not their victims. The dramatic problem Jordan can’t quite surmount is that there isn’t a whole lot at stake. Can a murderer hold on to his scruples, or will he succumb to the emptiness of immortal vampire life? Yet I found myself admiring Jordan’s brave attempt to translate Rice’s kinky fatalism to the screen. This is not a movie that holds up under daytime logic. It’s about seduction, and either you succumb to its inky entrapments or you resist. When its mojo was working, I was happy to be had.” – David Ansen, Newsweek
Genres: Vampire, Drama, Southern Gothic, Gothic Horror, Period Drama
2004 / USA / 101m / Col / Zombie | IMDb
Sarah Polley, Ving Rhames, Jake Weber, Mekhi Phifer, Ty Burrell, Michael Kelly, Kevin Zegers, Michael Barry, Lindy Booth, Jayne Eastwood
“Like Romero’s pulpy progenitor, there’s a fair share of laughs, including a sequence where zombies are picked off from long distance based purely on their spurious resemblance to celebrities. Most of all, though, this is about zombie-crunching action, from the initial, tense opening – including a stunning pre-credits sequence in which we follow Polley through the beginnings of the unexplained plague – to a final kick-ass third in which our heroes load up with weaponry and souped-up trucks and head out to face the zombie holocaust. It’s here that the controversial decision to eschew the lumbering zombies of lore and go for fast-moving vicious bastards really pays off, generating a genuine sense of fear and revealing this for what it really is: a pared-down homage to Aliens.” – Empire Magazine
Genres: Zombie, Horror, Siege Film, Splatter, Post-Apocalyptic, Action, Survival
2012 / USA / 110m / Col / Supernatural | IMDb
Ethan Hawke, Juliet Rylance, Fred Dalton Thompson, James Ransone, Michael Hall D’Addario, Clare Foley, Rob Riley, Tavis Smiley, Janet Zappala, Victoria Leigh
“Put them all together and they make Sinister the horror film to beat this Halloween: scary and suspenseful without insulting our intelligence. The underlying concept proves sound, the development deftly avoids genre cliché, and the twist builds upon what came before instead of trying to blow our minds at any cost. It pulls threads from earlier horror movies like Ringu and The Shining, but remains beholden to none of them: creating an atmosphere that, while not completely original, remains resolutely its own. And good God, it actually comes from an original script. In an era (and a genre) littered with sequels, Sinister should be commended for standing by its ideas. It’s scary as fuck too: the only criteria that really matters for a movie like this.” – Rob Vaux, Mania
Genres: Supernatural Horror, Mystery, Haunted House, Found Footage Horror, Psychological Horror, Crime, Snuff Film, Analog Horror, Digital Horror
2010 / South Korea / 142m / Col / Thriller | IMDb
Byung-hun Lee, Min-sik Choi, In-seo Kim, Seung-ah Yoon, San-ha Oh, Chun Ho-jin, Bo-ra Nam, Kap-su Kim, Jin-ho Choi, Moo-Seong Choi
“I SAW THE DEVIL is a shockingly violent and stunningly accomplished tale of murder and revenge. The embodiment of pure evil, Kyung-chul is a dangerous psychopath who kills for pleasure. On a freezing, snowy night, his latest victim is the beautiful Juyeon, daughter of a retired police chief and pregnant fiancée of elite special agent Soo-hyun. Obsessed with revenge, Soo-hyun is determined to track down the murderer, even if doing so means becoming a monster himself. And when he finds Kyung-chul, turning him in to the authorities is the last thing on his mind, as the lines between good and evil fall away in this diabolically twisted game of cat and mouse.” – Gabriel Chong, Moviexclusive
Genres: Thriller, Crime, Vigilante, Sadistic Horror, Neo-Noir
1983 / UK / 97m / Col / Vampire | IMDb
Catherine Deneuve, David Bowie, Susan Sarandon, Cliff De Young, Beth Ehlers, Dan Hedaya, Rufus Collins, Suzanne Bertish, James Aubrey, Ann Magnuson
“It’s a largely sensual movie, in both senses of that word: it is about experiencing moments communicated through just about every means other than sensible character psychology. I can easily understand why somebody would find the movie accordingly hollow and annoying in its hip violence, but for horror to have this kind of impressionist impact, it must be doing something great, even if that something isn’t quite in line with the film’s intimations that it wants to be about human experiences of sex and longing (the “hunger” of the title”). It’s one of the most viscerally impressive horror movies of the ’80s, it plays the “tragic sexual vampire” card without defanging the monsters, and it’s consistently gorgeous – I can’t quite decide whether The Hunger is successful at being the exact film it sets out to be, but it is a very successful film of some sort, and that’s close enough.” – Tim Brayton, Antagony & Ecstasy
Genres: Vampire, Romance, Gothic, Erotica, Gothic Horror, LGBTQ
1960 / UK / 85m / Col / Vampire | IMDb
Peter Cushing, Martita Hunt, Yvonne Monlaur, Freda Jackson, David Peel, Miles Malleson, Henry Oscar, Mona Washbourne, Andree Melly, Victor Brooks
“Terence Fisher proves just as adept at action in this film as he was with atmosphere and space in the original, resulting in a tremendously exciting climax with just enough imagination to leave us unconcerned about how much it borrows from other sources. Besides that, Brides is not just the equal of Dracula as a triumph of craftsmanship; in at least one important way, it’s a major step up. Though the film is still lighter than the modern viewer would think proper, it offers a much deeper collection of musty shadows than the first film had, and a crazy motif of colorful detail lighting that makes no sense in a strictly motivational way (i.e. there’s no reason that bright green lights should pour out of the inn’s back rooms), but serves a much greater purpose in showing just how off-kilter and nightmarish this whole Gothic world really is.” – Tim Brayton, Antagony & Ecstasy
1961 / USA / 80m / Col / Gothic | IMDb
Vincent Price, John Kerr, Barbara Steele, Luana Anders, Antony Carbone, Patrick Westwood, Lynette Bernay, Larry Turner, Mary Menzies, Charles Victor
“If Pit and the Pendulum doesn’t manage to be quite as impressively atmospheric as its predecessor, it’s perhaps because the original story doesn’t have the same sense of universal corrosion as Poe’s work – and this is maybe for the best, given that Poe’s sense of a rotten world came from a rather dark place in his brain, and it speaks well of Matheson and Corman that they weren’t able to attain the same sense of hopelessness. Still, Pit and the Pendulum captures exactly its predecessor’s greatest achievement: it is every bit a B-movie, with all the directness and lack of pretense that implies, and yet it is treated with absolute care and gravity by people anxious to do right by Poe’s incontestably sincere approach to his tales of the weird and uncanny.” – Tim Brayton, Antagony & Ecstasy
Genres: Gothic Horror, Mystery, Medieval, Mystery, Psychological Horror
1984 / UK / 95m / Col / Werewolf | IMDb
Angela Lansbury, David Warner, Graham Crowden, Brian Glover, Kathryn Pogson, Stephen Rea, Tusse Silberg, Micha Bergese, Sarah Patterson, Georgia Slowe
“The movie is based on a novel and a screenplay by Angela Carter, who has taken Red Riding Hood as a starting-place for the stories, which are secretly about the fearsomeness of sexuality. She has shown us what those scary fairy tales are really telling us; she has filled in the lines and visualized the parts that the Brothers Grimm left out (and they did not leave out all that many parts). The movie has an uncanny, hypnotic force; we always know what is happening, but we rarely know why, or how it connects with anything else, or how we can escape from it, or why it seems to correspond so deeply with our guilts and fears. That is, of course, almost a definition of a nightmare.” – Roger Ebert, Chicago Sun-Times
1986 / USA / 85m / Col / Body Horror | IMDb
Jeffrey Combs, Barbara Crampton, Ted Sorel, Ken Foree, Carolyn Purdy-Gordon, Bunny Summers, Bruce McGuire, Del Russel, Dale Wyatt, Karen Christenfeld
“From Beyond is an updated adaptation of an old H. P. Lovecraft tale about those malignant creatures that share our world, unseen, existing in their fourth dimension just waiting to get back into ours. With the help of computer technology and something called a ”resonator,” Dr. Pretorious has provided the means by which these beings can return… The film’s most spectacular moments belong to the sebaceous cyst school of special effects, pioneered in ”Alien” and in the films of David Cronenberg: lumps, on or in various parts of the body, which swell up and then burst to reveal something oozily unspeakable within.” – Vincent Canby, New York Times
1927 / USA / 63m / BW / Drama | IMDb
Lon Chaney, Norman Kerry, Joan Crawford, Nick De Ruiz, John George, Frank Lanning
“Although it has strength and undoubtedly sustains the interest, “The Unknown,” the latest screen contribution from Tod Browning and Lon Chaney, is anything but a pleasant story. It is gruesome and at times shocking, and the principal character deteriorates from a more or less sympathetic individual to an arch-fiend. The narrative is a sort of mixture of Balzac and Guy de Maupassant with a faint suggestion of O. Henry plus Mr. Browning’s colorful side-show background.” – Mordaunt Hall, The New York Times
Genres: Romance, Melodrama, Horror
1979 / USA / 97m / Col / Thriller | IMDb
Carol Kane, Rutanya Alda, Carmen Argenziano, Kirsten Larkin, William Boyett, Charles Durning, Ron O’Neal, Heetu, Rachel Roberts, Tony Beckley
“The ultimately slow-moving film is book-ended by some truly classic horror movie moments, but if you’re expecting a teen-slasher, you’re better off call-waiting for the remake. When A Stranger Calls is dated — no *69 back then, nothing but pencils and erasers to do your homework with — but that’s in large part what makes it work so well as a “What would you do?” psychological thriller.” – Staci Layne Wilson, Horror.com
1980 / USA / 105m / Col / Psychological | IMDb
Michael Caine, Angie Dickinson, Nancy Allen, Keith Gordon, Dennis Franz, David Margulies, Ken Baker, Susanna Clemm, Brandon Maggart, Amalie Collier
“What really ups the ante in the effectiveness of “Dressed to Kill” are the long, purposefully drawn-out set-pieces. Director Brian De Palma is a wizard of mise en scene, building remarkable levels of suspense in the way that he sets up what is about to happen and then edits the material in an intoxicatingly slow fashion that allows for the viewers to be placed in the characters’ shoes, imagining all the while what they might do in a similar situation. A ten-minute museum sequence, free of dialogue, is brilliant, with Kate people-watching while making a list of items to pick up at the grocery store. When a dark, devastatingly good-looking man takes a seat next to her, she flirts with him without uttering a syllable. Their ensuing pursuance of each other through the maze of rooms in the museum is shot by late cinematographer Ralf Bode (2000’s “Boys and Girls”) with a fluid, dreamlike intrigue and a hint of danger, speaking to the desperation of Kate’s character.” – Dustin Putman, The Movie Boy
Genres: Psychological Thriller, Erotic Thriller, Mystery, Giallo, Slasher, New Hollywood
1985 / Italy / 88m / Col / Splatter | IMDb
Urbano Barberini, Natasha Hovey, Karl Zinny, Fiore Argento, Paola Cozzo, Fabiola Toledo, Nicoletta Elmi, Stelio Candelli, Nicole Tessier, Geretta Geretta
“Sure, when you break it down nothing about this movie (co-written by Dario Argento) makes a lick of sense, but none of that matters at all because Bava throws so much unmitigated carnage, and havoc, and blood, and rage, and sheer terror at the screen that it just becomes a minute flaw. In the midst of these clawed, mindless, merciless, cunning monsters mutilating and tearing their poor human victims to pieces one is either too excited or horrified at the madness ensuing on screen that you never once stop to think “Wait–where is the goddamn story?” It doesn’t matter at all. Lamberto Bava is one of the few directors who have gotten away with creating a horror film with zero plot because the special effects and tension and mayhem are so well played and so brilliantly crafted that it becomes utterly irrelevant. For a low budget movie from the eighties, the make up is phenomenal and these monsters look absolutely bloodcurdling as if transferred from our worst nightmares and fears.” – Felix Vasquez Jr., Cinema Crazed
Genres: Splatter, Supernatural Horror, Body Horror, Zombie
1959 / USA / 66m / BW / Black Comedy | IMDb
Dick Miller, Barboura Morris, Antony Carbone, Julian Burton, Ed Nelson, John Brinkley, John Herman Shaner, Judy Bamber, Myrtle Vail, Bert Convy
“This is undoubtedly one of the director’s best works. It’s beautifully shot in crisp black and white, and alongside the comedy it contains some truly chilling scenes. Everything is played absolutely straight so the horror is never diminished by knowing nods. Miller is superb in the central role, somehow managing to keep viewers rooting for him as he grows increasingly unhinged. Smart, playful and beautifully composed, this may not be the most famous of Corman’s works but it’s well worth rediscovering.” – Jennie Kermode, Eye For Film
Genres: Black Comedy, Satire, Horror, Horror Comedy, Slasher, Crime
1920 / Germany / 91m / BW / Fantasy | IMDb
Paul Wegener, Albert Steinrück, Lyda Salmonova, Ernst Deutsch, Hans Stürm, Max Kronert, Otto Gebühr, Dore Paetzold, Lothar Müthel, Greta Schröder
“Paul Wegener directs and stars in an enduring example of German Expressionist horror, based on an ancient Jewish myth. A mystical rabbi brings a monster to life in a bid to save Prague’s Jews from the Holy Roman Empire. Like FW Murnau’s Nosferatu, Robert Wiene’s The Cabinet Of Dr Caligari and Lang’s Metropolis, Wegener’s film is a vivid piece of darkly toned fantasy that exerted a powerful influence over both European cinema and Hollywood. James Whale’s 1931 Frankenstein is only the most obvious example of Der Golem’s visual and thematic legacy. Incorporating animation and eerie, coloured tints, Der Golem is striking to look at. ” – Jon Fortgang, Channel 4
Genres: German Expressionism, Fantasy, Horror, Medieval
2017 / USA / 135m / Col / Supernatural | IMDb
Jaeden Lieberher, Jeremy Ray Taylor, Sophia Lillis, Finn Wolfhard, Chosen Jacobs, Jack Dylan Grazer, Wyatt Oleff, Bill Skarsgård, Nicholas Hamilton, Jake Sim
“I’m no expert on Stephen King, and I leave it to other writers to weigh up this movie’s faithfulness to the canon from which it derives. But a look into the grief of children can only come across in a movie that’s been put together well, and this one has. Go expecting jump scares, and you will be rewarded handsomely. But you’ll also find a well-crafted meditation on the pain that communities refuse to see and the effect that pain has on the young and powerless. It is study in trauma to match the best of them.” – Josephine Livingstone, The New Republic
Genres: Supernatural Horror, Coming-of-Age, Psychological Horror, Cosmic Horror, Evil Clown
1978 / Australia / 97m / Col / Natural Horror | IMDb
John Hargreaves, Briony Behets, Mike McEwen, Roy Day, Michael Aitkens, Sue Kiss von Soly
“Under Eggleston’s moody direction, even the most minute of sounds is over-amplified to explosive volume and the voyeuristic camerawork tends to be from the ground up, as though from the point-of-view of lurking critters – so that the wilderness locations, for all their natural beauty, seem to brim with the tension of unbearable foreboding. Neither Hargreaves, nor Behets, shrink from the narcissistic unpleasantness of their characters, in what are bravely unflattering performances. Best of all is the ending, which, though shockingly abrupt, is, within the film’s elaborate nexus of motifs, totally, perfectly right, only to be topped by a final, fern-laden image that is haunting enough to do Andrei Tarkovsky proud.” – Anton Bitel, Eye For Film
2009 / Australia / 84m / Col / Black Comedy | IMDb
Xavier Samuel, Robin McLeavy, Victoria Thaine, Jessica McNamee, Richard Wilson, John Brumpton, Andrew S. Gilbert, Suzi Dougherty, Victoria Eagger
“An Australian horror picture in the tradition of New French Extremism, Sean Byrne’s The Loved Ones adheres to the principle that if you delve into full-tilt repulsiveness wholly enough, the rest will just sort of take care of itself. You could call it “torture porn,” as many critics have since it was released in its native Australia two years ago, but then this isn’t exactly Hostel either; its tone is too light, its manner too cavalier, to be bogged down by the kind of portentous posturing that made Eli Roth’s film reek of self-importance. Byrne, a first-time director, has a lot of fun with what is essentially rote slasher material, endowing it with the kind of blackly comic wit and levity that virtually guarantee its entry into the contemporary midnight-movie canon.” – Calum Marsh, Slant Magazine
Genres: Sadistic Horror, Black Comedy, Teen Movie, Ozploitation, Psychological Horror
1984 / USA / 79m / Col / Slasher | IMDb
Lilyan Chauvin, Gilmer McCormick, Toni Nero, Robert Brian Wilson, Britt Leach, Nancy Borgenicht, H.E.D. Redford, Danny Wagner, Linnea Quigley, Leo Geter
“Silent Night, Deadly Night is a really decent slasher movie that is more than just a “tab-a into slot-b” horror. It delves deep into the mind of our protagonist and it raises interesting questions about nature vs. nurture and how this can effect the mind of someone who is already troubled. Billy may be doing the killings, but the true villain of the film is Mother Superior who shows no compassion for Billy’s troubled past. Watching his parents get murdered by a guy dressed as Santa was certainly the catalyst for Billy’s troubled childhood, but it is Mother Superior’s teachings that he’s dishing out – just on a more violent scale. Because of this, Silent Night, Deadly Night is a lot different to the slasher movies that were out at the time as it focused more on the psyche of its killer as opposed to just putting a guy in a mask and giving him killing implements.” – Luke Owen, Luke Writes Stuff
Genres: Slasher, Christmas, Psychological Horror, Exploitation, Psychological Thriller
2019 / USA / 148m / Col / Folk | IMDb
Florence Pugh, Jack Reynor, Vilhelm Blomgren, William Jackson Harper, Will Poulter, Ellora Torchia, Archie Madekwe, Henrik Norlén, Gunnel Fred, Isabelle Grill
“”Midsommar” isn’t just a great horror movie, or proof that director Ari Aster is a budding auteur who likely has a bright future ahead of him. It is also one of the best movies ever made about living with mental illness… These are heady concepts for any film to tackle, but “Midsommar” is a masterpiece because it does so through a brilliantly executed folk horror premise (as Aster said in one interview, “it’s a breakup movie dressed in the clothes of a folk horror film.”) This is a conceptual, highly visceral experience, from the graphic gore — which the camera lingers on long enough to be unsettling but without ever feeling exploitative — to the creepy tone, which relies on seeming innocuous even as something ominous lurks beneath the surface.” – Matthew Rozsa, Salon.com
Genres: Folk Horror, Psychological Drama, Psychological Horror
1967 / USA / 81m / Col / Black Comedy | IMDb
Lon Chaney Jr., Carol Ohmart, Quinn K. Redeker, Beverly Washburn, Jill Banner, Sid Haig, Mary Mitchel, Karl Schanzer, Mantan Moreland
“Jack Hill’s Spider Baby, or the Maddest Story Ever Told (1968) is first and foremost an oddity. It’s exploitation schlock horror that revels in its own schlockiness, and seems perfectly aware that it’s—in normal terms—a bad movie. Aspects of it are crude to the point of being amateurish. The film is clunky enough that it looks like a bargain basement offering from about 10 years earlier (granted, it was made four years before it was released). Yet, either in spite or because of these things, Spider Baby has an irresistable charm. This, after all, is not only a movie in which Lon Chaney, Jr. gives the best performance (roll that around in your mind), but one for which he sings the title song.” – Ken Hanke, Mountain Xpress
Genres: Horror, Black Comedy, Gothic Horror, Cannibal, Southern Gothic, Hixploitation
1981 / Canada / 103m / Col / Science Fiction | IMDb
Jennifer O’Neill, Stephen Lack, Patrick McGoohan, Lawrence Dane, Michael Ironside, Robert A. Silverman, Lee Broker, Mavor Moore, Adam Ludwig, Murray Cruchley
“Part conspiracy thriller, part political tract, it is Cronenberg’s most coherent movie to date, drawing a dark (but bland) world in which corporate executives engineer human conception to produce ever more powerful mental samurai. And he punctuates it with spectacular set piece confrontations which really do dramatise the abstract, ingenious premise. As always, there’s a nagging feeling that the script is not quite perfectly realised on screen, but Patrick McGoohan’s bizarre cameo performance, and the extraordinary moral and sexual ambiguity of the final scanning contest, more than make up for it.” – Derek Adams, Time Out
Genres: Science Fiction, Thriller, Canuxploitation, Body Horror, Splatter, Psychological Thriller, Spy
1988 / USA / 95m / Col / Body Horror | IMDb
Kevin Dillon, Shawnee Smith, Donovan Leitch Jr., Jeffrey DeMunn, Candy Clark, Joe Seneca, Del Close, Paul McCrane, Sharon Spelman, Beau Billingslea
“Isolationism and false security are as much the targets of the ’88 model blob as hobos and horny jocks. For Russell and screenwriter Frank Darabont (whose The Majestic probably could’ve used an extended cameo by the flesh-eating distention), all are red herrings, and all meaning ascribed unto the attacks is strictly external to the creature itself, which only wants to eat people, and messily at that; the film belongs to the spectacular end of a special-effects era prior to the advent of CGI, and the half-campy, half-terrifying blob attacks are invariably lurid fun. Its attacks are rationalized through the corrupt filter of organized religion, though the blob is still a biological phenomenon, much like the disease that inspired so many activists to wear pink and take to the streets in protest over a needlessly politicized epidemic. Yes, the movie is more overt fun than the others of its ilk, but it tellingly ends with a holy man all too thrilled to deliver credit for the scourge directly to God’s doorstep.” – Eric Henderson, House Next Door
Genres: Body Horror, Science Fiction, Alien Invasion, Splatter, Teen Movie, Black Comedy, Giant Monster
1976 / USA / 98m / Col / Slasher | IMDb
Linda Miller, Mildred Clinton, Paula E. Sheppard, Niles McMaster, Jane Lowry, Rudolph Willrich, Michael Hardstark, Alphonso DeNoble, Gary Allen, Brooke Shields
“Alice, Sweet Alice conflates the angst of adolescent sexual development with the fury of Catholic retribution, suggesting at times an analog version of David Fincher’s Se7en. It’s a dangerous combo, and it’s all over the fierce confrontations between the film’s characters and director Alfred Sole’s surprisingly formalist compositions. Indeed, there isn’t a scene in the film that doesn’t suggest a face-off between man and God—by my count, there’s only a handful of shots that don’t have a cross or statue of Christ passing judgment from some wall or corner of a room. Possibly the closet American relation to an Italian giallo, the film is head-trippingly hilarious (Jane Lowry, as Aunt Annie, may be the nuttiest screamer in the history of cinema) and features some of the more disquieting set pieces you’ll ever see in a horror film.” – Ed Gonzalez, Slant Magazine
2011 / UK / 95m / Col / Thriller | IMDb
Neil Maskell, MyAnna Buring, Harry Simpson, Michael Smiley, Emma Fryer, Struan Rodger, Esme Folley, Ben Crompton, Gemma Lise Thornton, Robin Hill
“It often looks like a film by Lynne Ramsay or even Lucrecia Martel, composed in a dreamily unhurried arthouse-realist style that is concerned to capture texture, mood and moment. Perhaps inspired by Thomas Clay’s The Great Ecstasy of Robert Carmichael, Wheatley has set out to supersaturate ostensible normality with a flavour of evil. In many scenes he succeeds impressively. It’s not entirely clear if Kill List is more than the sum of its startlingly disparate parts, or if the ending lives up to the promise of something strange and new, but its confidence is beyond doubt.” – Peter Bradshaw, The Guardian
Genres: Thriller, Crime, Mystery, Psychological Horror, Folk Horror, Family Drama, Psychological Drama, Vigilante
1956 / USA / 129m / BW / Psychological | IMDb
Nancy Kelly, Patty McCormack, Henry Jones, Eileen Heckart, Evelyn Varden, William Hopper, Paul Fix, Jesse White, Gage Clarke, Joan Croydon
“The Bad Seed (1956) sets this thriller in the suburbs and explores the age-old questions of the effects of nurture and nature on behavior and how they relate to the criminal mind. Seed is based on Maxwell Anderson’s 1954 Broadway hit of the same name, and employs all , except one, of the play’s principal actors. The film received a few Oscar nominations, including a nod for the young Patty McCormack. Despite the amusing broad acting which garners the Camp classification that this film gets today, Seed tackles serious questions of behavior, heredity, childrearing and class warfare that can resonate with people in any era.” – Deborah Thomas, Examiner
Genres: Psychological Thriller, Melodrama, Family Drama, Psychological Drama
1987 / Germany / 75m / Col / Exploitation | IMDb
Bernd Daktari Lorenz, Beatrice Manowski, Harald Lundt, Colloseo Schulzendorf, Henri Boeck, Clemens Schwender, Jörg Buttgereit, Holger Suhr, Volker Hauptvogel
“Watching Nekromantik felt like being an accomplice to a crime. Guilty by association. The film has the same transgressive, sub-cultural feel as amateur porn or extremist political broadcast. Engineered purposefully to shock and challenge notions of taste and conformity, Buttgereit’s film feels political in itself. A provocation from the fringes to remind us the world is a volatile place, filled with unpleasant things. To deny the dark half of both our nature and all nature is to put oneself to sleep. Buttgereit’s film wakes you up, not with breakfast but with a direct, sharp slap.” – Peter Cox, The Lost Highway Hotel
2011 / USA / 95m / Col / Home Invasion | IMDb
Sharni Vinson, Nicholas Tucci, Wendy Glenn, AJ Bowen, Joe Swanberg, Margaret Laney, Amy Seimetz, Ti West, Rob Moran, Barbara Crampton
“Given its title, you can be forgiven for assuming that Adam Wingard’s home-invasion thriller will be just another blood-soaked body-count flick. But You’re Next is better than that… The relentless violence does get to be a bit much, but what juices this bare-bones premise and lifts it above the weekly slew of run-of-the-mill splatterfests is Wingard’s canny knack for leavening his characters’ gory demises with sick laughs and clever Rube Goldberg twists (razor-sharp piano wire hasn’t been used this well since 1999’s Audition). It’s like Ordinary People meets Scream… It’s so deliciously twisted, it will make you walk out of the theater feeling like you just endured a grueling, giddy workout.” – Chris Nashawaty, Entertainment Weekly
Genres: Slasher, Home Invasion, Splatter, Black Comedy, Sadistic Horror, Mumblecore, Siege Film, Family Drama
1997 / Japan / 81m / Col / Psychological | IMDb
Junko Iwao, Rica Matsumoto, Shinpachi Tsuji, Masaaki ôkura, Yôsuke Akimoto, Yoku Shioya, Hideyuki Hori, Emi Shinohara, Masashi Ebara, Kiyoyuki Yanada
“This striking picture… [pulls] off the rare trick of telling a story worth doing in live action while managing visual effects only possible in the cartoon medium… Though it’s a neat woman-in-peril thriller, this is most striking as a look into the life of a Japanese media sensation, used up at the end of her teens, and squashed into a tiny apartment with her goldfish and too many ghosts. The film even goes so far as to expose the bizarre streak of paedophilia in Japanese pop culture, whereby it’s all right for a doll-like girl child to be a fantasy object but a sexual woman is shockingly transgressive. Perfect Blue is scary, funny, poignant and thoughtful, but also delivers thriller set-pieces that rank with the best of De Palma or Argento” – Kim Newman, Empire
2006 / Spain / 118m / Col / Fantasy | IMDb
Ivana Baquero, Sergi López, Maribel Verdú, Doug Jones, Ariadna Gil, Álex Angulo, Manolo Solo, César Vea, Roger Casamajor, Ivan Massagué
“With its painterly palette and densely detailed production design, Pan’s Labyrinth evokes great works in any number of artistic mediums, from the paintings of Goya and Balthus to the films of Luis Bunuel and Dario Argento… It’s in its sophisticated politics that “Pan’s Labyrinth” qualifies as Del Toro’s most mature work; he depicts fascism not just as a failed political or philosophical system… but primarily as the failure of imagination. As Ofelia makes her quiet and courageous way through the faun’s to-do list — while the sentient world around her falls apart — her own imagination, her willingness to surrender to her own creative subconscious, becomes the means not just of escape but of survival.” – Ann Hornaday, The Washington Post
Genres: Fairy Tale, Drama, Portal Fantasy, Fantasy, Gothic, War, Horror, Magical Realism, Supernatural Horror, Tragedy
1980 / USA / 102m / Col / Science Fiction | IMDb
William Hurt, Blair Brown, Bob Balaban, Charles Haid, Thaao Penghlis, Miguel Godreau, Dori Brenner, Peter Brandon, Charles White-Eagle, Drew Barrymore
“The film’s real hook was—and is—the fantasy scenes, and these hold up remarkably well 30 years after the fact. There’s a true sense of wonder, awe and terror to them, and Russell—working with the biggest budget of his career—allowed his imagination to run wild. In fact, Altered States became a cult classic on this basis alone, being particularly cherished by the late-night stoner crowd, who had timed the film so they could sneak out for another toke or two during the dialogue scenes. While that’s amusing, it’s also rather unfortunate, because it obscures the fact that the film itself is pretty darn impressive on a number of other levels and has a cumulative emotional punch that’s quite unexpected.” – Ken Hanke, Mountain Xpress
1961 / UK / 93m / Col / Werewolf | IMDb
Clifford Evans, Oliver Reed, Yvonne Romain, Catherine Feller, Anthony Dawson, Josephine Llewellyn, Richard Wordsworth, Hira Talfrey, Justin Walters, John Gabriel
“Lon Chaney, Jr.’s Wolf Man may be cinema’s most famous lycanthrope, but there can be little doubt that this 1960 film from Hammer Productions is the best werewolf movie ever made. It features all of the studio’s classic virtues: beautiful sets, effective music, colorful photography, solid scripting, memorable performances, and a muscular directorial approach that relishes depicting horror for the maximum emotional impact.” – Steve Biodrowski, Cinemafantastique
Genres: Werewolf, Horror, Gothic Horror
2018 / USA / 90m / Col / Post-Apocalyptic | IMDb
Emily Blunt, John Krasinski, Millicent Simmonds, Noah Jupe, Cade Woodward, Leon Russom
“While it is mostly devoid of dialogue, it is a film rich in subtle textural detail. From the sand-strewn paths on which the family carefully tread to their simple white-light/red-light warning system, the visual tapestry of their everyday life is a constant reminder of how they cope with their predicament… despite its well-played jump scares, it operates at a deep emotional level. Aside from the fleeting appearance of an ill-fated elderly couple, there are no other human characters on screen; this apocalyptic tale is told entirely through the prism of a single family, one struggling to cope not only with actual monsters, but also with insidious personal demons of grief, blame and guilt.” – Nikki Baughan, Sight & Sound
Genres: Post-Apocalyptic, Horror, Thriller, Survival, Alien Invasion, Drama, Family Drama, Home Invasion
2008 / Australia / 87m / Col / Found Footage | IMDb
Rosie Traynor, David Pledger, Martin Sharpe, Talia Zucker, Tania Lentini, Cameron Strachan, Judith Roberts, Robin Cuming, Marcus Costello, Chloe Armstrong
“Anderson’s use of the documentary framework is an inspired choice, since it lends what we’re seeing an air of reality that helps build the tension to jangling point. It also gives him the opportunity to vary the look with the use of different types of film, including Super 8 and lots of still photography, smartly serving the story while keeping a grip on what was, presumably, a very tight budget. By staying true to the audience’s expectations of the documentary format, the sense of dread that settles over the family is also more readily conveyed than it might have been if we were watching something which looked more ‘fictional’. It’s not just the format that draws the viewer in, but also the manner in which the film is shot. Since much of what the family talk about relates to spooky images in pictures, Anderson’s camerawork draws you deeper and deeper into the frame with an increasing feeling of unease.” – Amber Wilkinson, Eye For Film
Genres: Mockumentary, Mystery, Horror, Found Footage Horror, Psychological Horror, Supernatural Horror, Family Drama
2001 / USA / 100m / Col / Psychological | IMDb
Bill Paxton, Matthew McConaughey, Powers Boothe, Matt O’Leary, Jeremy Sumpter, Luke Askew, Levi Kreis, Derk Cheetwood, Missy Crider, Alan Davidson
“A resoundingly old-fashioned and well crafted study of evil infecting an American family, “Frailty” moves from strength to strength on its deceptive narrative course. Though Brent Hanley’s script feels like it’s based on an account of white Anglo-Saxon serial killers run amok in middle America, it’s a genuine invention that has its cinematic roots in the rich soil plowed by such disparate works as Charles Laughton’s “Night of the Hunter” and Tobe Hooper’s “The Texas Chainsaw Massacre.” Pic’s dark-night-of-the-soul mood derives from the former, while the latter inspired the notion that the family that kills together stays together. Final effect is of a timeless work that could have been made at any point in the past 20 years.” – Robert Koehler, Variety
Genres: Psychological Thriller, Southern Gothic, Psychological Horror, Family Drama, Drama, Low Fantasy, Vigilante
1926 / Germany / 85m / BW / Fantasy | IMDb
Gösta Ekman, Emil Jannings, Camilla Horn, Frida Richard, William Dieterle, Yvette Guilbert, Eric Barclay, Hanna Ralph, Werner Fuetterer
“FAUST is an extremely stylish horror fantasy in the best tradition of German silent cinema, featuring brilliant photography, magnificent art direction, and magical special effects which still have the power to amaze. The opening sequence is a mesmerizing example of Murnau’s supreme visual artistry, showing the demonic Horsemen of the Apocalypse (War, Plague, Famine) riding through the sky, Mephisto confronting the angel in Heaven, and the gargantuan-sized Mephisto hovering over the city and casting a giant shadow over it as he spreads his wings. Every shot of Carl Hoffman’s chiaroscuro photography seems to be filled with smoke and fog, creating a breathtaking shadow play of light and shade, while the imaginative sets, with their slanted roofs and twisted steps, were all built in forced perspective (a Murnau trademark) to maximize each specific camera angle.”” – TV Guide’s Movie Guide
Genres: German Expressionism, Fantasy, Tragedy, Medieval, Gothic, Romance, Supernatural Horror, Trick Film, Melodrama, Religious Film, Epidemic
2006 / South Korea / 120m / Col / Monster | IMDb
Kang-ho Song, Hie-bong Byeon, Hae-il Park, Doona Bae, Ah-sung Ko, Dal-su Oh, Jae-eung Lee, Dong-ho Lee, Je-mun Yun, David Anselmo
“The mood shifts wildly between comedy, horror, serious drama, and action – but Bong always seems in control and by the end leaves one feeling satisfied (though not overstuffed) with the results as it’s both exciting and ballsy. Even our protagonists have an endearing everydayness about them which makes them easy to root for. In spite of its assorted lumpy bits, this is a far more successful monster movie than any creature feature Hollywood has churned out in a LONG time.” – Garth Franklin, Dark Horizons
Genres: Giant Monster, Drama, Black Comedy, Satire, Thriller, Family Drama, Natural Horror
2001 / USA / 147m / Col / Mystery | IMDb
Naomi Watts, Laura Harring, Ann Miller, Dan Hedaya, Justin Theroux, Brent Briscoe, Robert Forster, Katharine Towne, Lee Grant, Scott Coffey
“As difficult as Mulholland Drive may appear at first glance, every trajectory in this metaverse is the equivalent of dreams spiraling into REM sleep… [It] isn’t a movie about dreams, it is a dream (or, at least, until the blue box is opened) — a Hollywood horror story spun by a frustrated actress yet to cross into consciousness. Lynch’s narrative is carefully configured, painstakingly difficult to decipher, but boldly obvious should one embrace its dream logic… Mulholland Drive is a haunting, selfish masterpiece that literalizes the theory of surrealism as perpetual dream state.” – Ed Gonzalez, Slant Magazine
2013 / UK / 108m / Col / Science Fiction | IMDb
Scarlett Johansson, Jeremy McWilliams, Lynsey Taylor Mackay, Dougie McConnell, Kevin McAlinden, D. Meade, Andrew Gorman, Joe Szula, Krystof Hádek
“Glazer reportedly spent ten years developing Under the Skin, and some aspects of it are so immaculately realized that they seem eerily inevitable. The audio design immerses the listener, its layered soundscapes suggesting how overwhelmed the alien might feel on earth. Glazer disorients the viewer through his use of the Steadicam, exploiting its uncannily smooth movement to suggest, as Stanley Kubrick did in The Shining, the perspective of a superhuman voyeur. The most impressive effects come during the seduction sequences, as Glazer creates the blank, ever-shifting environment of a nightmare… Like its protagonist, Under the Skin effectively draws us in while managing to stay beyond our grasp.” – Ben Sachs, Chicago Reader
Genres: Psychological Drama, Science Fiction, Extraterrestrial, Psychological Horror, Surrealism, Slow Cinema, Cosmic Horror, Alien Invasion, Erotic Thriller
1967 / Soviet Union / 77m / Col / Supernatural | IMDb
Leonid Kuravlyov, Natalya Varley, Aleksey Glazyrin, Nikolay Kutuzov, Vadim Zakharchenko, Pyotr Vesklyarov, Vladimir Salnikov, Dmitriy Kapka, Stepan Shkurat, Georgiy Sochevko
“Running a tight 72 minutes, this film never overstays its welcome and wisely leaves the viewer wanting more. The second and third witch attacks are among Ptushko’s finest work, as the witch rides her coffin in circles through the air, monsters pour from the walls, giant hands erupt from the floor, and “Viy” himself makes an appearance for the grand finale. The rest of the film is a skillful example of the balance between wonder and dread, with religion playing a prominent role from the opening moments to the final, ironic closing lines.” – Mondo Digital
1982 / USA / 85m / Col / Slasher | IMDb
Christopher George, Lynda Day George, Frank Braña, Edmund Purdom, Ian Sera, Paul L. Smith, Jack Taylor, Gérard Tichy, May Heatherly, Hilda Fuchs
“Throughout the course of the narrative we’re given absurd red herrings, hammy acting, and bad dubbing all set to the tune of pure nihilistic gore and grue that involves the shadowy figure mutilating these women in the most horrific ways imaginable and stealing parts of their bodies. The mystery leads us down many roads and suspects where Simon plays with the audiences perceptions and allows them a guess or two with tricky camera shots and slight of hand, but by the time the climax rolls around it’s clear he’s just given up and is intent on making the most out of this insane scenario while making his stamp on the horror genre living in cult infamy. “Pieces” is such a fun little blood soaked gem, you’ll be surprised if you don’t see it again immediately after to catch its little nuances.” – Felix Vasquez Jr., Cinema Crazed
1954 / USA / 94m / BW / Natural Horror | IMDb
James Whitmore, Edmund Gwenn, Joan Weldon, James Arness, Onslow Stevens, Sean McClory, Chris Drake, Sandy Descher, Mary Alan Hokanson, Don Shelton
“By far the best of the ’50s cycle of ‘creature features’, Them! and its story of a nest of giant radioactive ants (the result of an atomic test in the New Mexico desert) retains a good part of its power today. All the prime ingredients of the total mobilisation movie are here: massed darkened troops move through the eerie storm drains of Los Angeles, biblical prophecy is intermixed with gloomy speculation about the effect of radioactivity. Almost semi-documentary in approach, the formula is handled with more subtlety than usual, and the special effects are frequently superb.” – Time Out
Genres: Science Fiction, Giant Monster, Natural Horror
1988 / USA / 92m / Col / Fantasy | IMDb
Alec Baldwin, Geena Davis, Annie McEnroe, Maurice Page, Hugo Stanger, Michael Keaton, Rachel Mittelman, Catherine O’Hara, J. Jay Saunders, Mark Ettlinger
“”Beetlejuice” is an extraspectral experience, a wonderfully wacko look at the hereafter’s relationship with the here and now. It’s a cartoon view of the afterlife landscape, where the living haunt the dead and death’s no escape from life’s little irritants – like waiting rooms and elevator music. Tim Burton, the Disney animator who directed “Pee-wee’s Big Adventure,” is the mind behind this stylish screwball blend of Capraesque fantasy, Marx Brothers anarchy and horror parody. And Michael Keaton is the juice that makes it go. He’s a stand-up zombie as the revolting free-lance bio-exorcist hired to help Geena Davis and Alec Baldwin, playing the Maitlands, a couple of flummoxed young newly deads… It’s strong on lines and situations, but absolutely, happily preposterous. And the moral is a fairy-tale bromide played for laughs: You can’t escape your problems.” – Rita Kempley, Washington Post
Genres: Fantasy, Comedy, Haunted House, Horror Comedy, Gothic, Black Comedy, Stop-Motion, Absurdist Comedy, Gothic Horror, Body Horror, Family Drama
1970 / Czechoslovakia / 77m / Col / Surrealism | IMDb
Jaroslava Schallerová, Helena Anýzová, Petr Kopriva, Jirí Prýmek, Jan Klusák, Libuse Komancová, Karel Engel, Alena Stojáková, Otto Hradecký, Martin Wielgus
“Jaromil Jires’s overripe 1970 exercise in Prague School surrealism. The 13-year-old title heroine, who’s just had her first period, traipses through a shifting landscape of sensuous, anticlerical, and vaguely medieval fantasy-horror enchantments that register more as a collection of dream adventures, spurred by guiltless and polysexual eroticism, than as a conventional narrative. Virtually every shot is a knockout—for comparable use of color, you’d have to turn to some of Vera Chytilova’s extravaganzas of the same period, such as Daisies and Fruit of Paradise. If you aren’t too anxious about decoding what all this means, you’re likely to be entranced.” – Jonathan Rosenbaum, Chicago Reader
1986 / USA / 120m / Col / Mystery | IMDb
Isabella Rossellini, Kyle MacLachlan, Dennis Hopper, Laura Dern, Hope Lange, Dean Stockwell, George Dickerson, Priscilla Pointer, Frances Bay, Jack Harvey
“The most brilliantly disturbing film ever to have its roots in small-town American life. Shocking, visionary, rapturously controlled, its images of innocence and a dark, bruising sexuality drop straight into our unconscious where they rest like depth charges. Lynch has become a master at giving form to what is not permitted – rage, revulsion, our darkest imaginings – and by making them tangible, lets us acknowledge them… “Blue Velvet” takes us behind the working-class American facade, beneath the Technicolor grass, literally underground to the churning turmoil of black, shiny beetles below.” – Sheila Benson, Los Angeles Times
1994 / USA / 112m / Col / Slasher | IMDb
Jeff Davis, Heather Langenkamp, Miko Hughes, Matt Winston, Rob LaBelle, David Newsom, Wes Craven, Marianne Maddalena, Gretchen Oehler, Tracy Middendorf
“Ten years after ‘A Nightmare on Elm Street’ first scared the daylights out of audiences, Wes Craven returns to his now classic horror premise and takes it to a new dimension. With equal debts to Pirandello and P. T. Barnum, Mr. Craven brings his prize creation, Freddy Krueger, out of the realm of Halloween masks and into the so-called real world. Realism is fundamental to the “Nightmare” series. Mr. Craven does not deal chiefly in phantasmagoric demons; he deals in terrifying extensions of everyday experience, the stuff of which true nightmares are made.” – Janet Maslin, The New York Times
1984 / USA / 92m / Col / Supernatural | IMDb
Peter Horton, Linda Hamilton, R.G. Armstrong, John Franklin, Courtney Gains, Robby Kiger, Anne Marie McEvoy, Julie Maddalena, Jonas Marlowe, John Philbin
“So Children of the Corn is goofy and campy, but it’s also awesome. The atmosphere is killer, evoked by some eerie shots of cornfields both in the daytime and at night – and it’s surprising how scary this is even when most of the film takes place during the day. The kids, while not GREAT actors, do get the job done and manage to come off as legitimately creepy rather than just silly. The main characters are both good, with real personalities and as an added bonus, they actually DO things rather than just letting things HAPPEN to them, which is a big problem a lot of horror movies have. By avoiding that pitfall, this movie has a lot of drive and momentum and remains consistently exciting all throughout its duration.” – Lawrence Griff, Doc Universe
Genres: Supernatural Horror, Folk Horror, Evil Children
1980 / Italy / 93m / Col / Zombie | IMDb
Christopher George, Catriona MacColl, Carlo De Mejo, Antonella Interlenghi, Giovanni Lombardo Radice, Daniela Doria, Fabrizio Jovine, Luca Venantini, Michele Soavi, Venantino Venantini
“With its fog-shrouded settings and doomy score by Fabio Frizzi (built on a heartbeat-aping bass throb, and more than a little reminiscent of the soundtrack of Dawn Of The Dead), this is a tremendously atmospheric film. And the gore setpieces are simply jaw-dropping – particularly the one where that dead priest’s baleful gaze causes a young woman to spew up all her internal organs (at length) – that’s one hell of a Paddington Bear hard stare. Watching actress Daniela Doria with her mouth jammed full of sheep guts, you understand how Fulci gained something of a reputation for having a sadistic attitude to his cast. Whilst not as outlandish as The Beyond, undoubtedly Fulci’s finest fever-dream, City Of The Living Dead is still startlingly crackers.” – Ian Berriman, SFX Magazine
1983 / Austria / 87m / Col / Crime | IMDb
Erwin Leder, Robert Hunger-Bühler, Silvia Rabenreither, Karin Springer, Edith Rosset, Josefine Lakatha, Rudolf Götz, Renate Kastelik, Hermann Groissenberger, Claudia Schinko
“Kargl’s genius here is to show everything in real time, with numerous close-ups and diegetic sound. Viewers get to experience none of the pleasure (whether guilty or gleefully acknowledged) that comes from watching stylized, aestheticized killing—replete with slow-motion camerawork, overlapping edits and a meticulously composed mise-en-scene. Instead, writer-cinematographer Zbigniew Rybczynski alternates close-up point-of-view shots of the victim and her attacker and some canted overhead shots besides, constantly altering our relationship to the action. We have no one to identify with, or rather, no one person with whom to identify, experiencing not only the old woman’s terror but the killer’s increasing excitement and determination as well.” – Steven Jay Schneider, CE Review
1984 / USA / 105m / Col / Comedy | IMDb
Bill Murray, Dan Aykroyd, Sigourney Weaver, Harold Ramis, Rick Moranis, Annie Potts, William Atherton, Ernie Hudson, David Margulies, Steven Tash
“What Reitman’s film did was blend genres in a way that was truly novel and is still tough to pull off. When I read about the series being rebooted, I always wince because I feel like someone will get the recipe wrong. It’ll either be too funny, or too serious. ‘Ghostbusters’ is the rare tentpole that’s hilarious throughout, but also has real stakes… Watching the film now, it can’t help but feel miraculous just to see how seamlessly all the elements blend together, and how on-point everyone from the actors to the special fx guys, to the set designers, composers, etc., were here… This pretty much made Murray the cult icon he is today, with him being the “cool-guy funny man” which is a tough gig to pull off.” – Chris Bumbray, JoBlo’s Movie Emporium
1997 / USA / 134m / Col / Mystery | IMDb
Bill Pullman, Patricia Arquette, John Roselius, Louis Eppolito, Jenna Maetlind, Michael Massee, Robert Blake, Henry Rollins, Michael Shamus Wiles, Mink Stole
“In a way, most of Lynch’s films have always been about fantasy, art or some other equivalent thereof wringing out truths of our human nature… What Lost Highway does is tie that theme directly to film noir, and cinema in general, revealing how the tropes and archetypes of the genre and the medium are interlinked with human truths like guilt, sexual frustration, love, heroism, etc… but Lost Highway‘s melding of elements from other genres like science-fiction, fantasy, psychological thrillers, and more make it beyond subversive and downright ahead of its time. And Lost Highway is only the first movie of Lynch’s to incorporate the cinematic language into his stories.” – Christopher Runyon, Movie Mezzanine
1981 / Canada / 90m / Col / Slasher | IMDb
Paul Kelman, Lori Hallier, Neil Affleck, Keith Knight, Alf Humphreys, Cynthia Dale, Helene Udy, Rob Stein, Thomas Kovacs, Terry Waterland
“My Bloody Valentine, especially in its restored state, definitely stands the test of time as one of the most entertaining 80s-era slashers. The death scenes are quite gruesome and ingenious; the miners are likeable; the obligatory “funny fat guy” (played by Keith Knight) is endearing; the young ladies are voluptuous (but sorry guys… no gratuitous nudity); and there’s the token “crazy old man” spouting warnings; properly solemn small-town law enforcement officers, and a few other other characters who are more than just cardboard cutouts. The dialogue is laugh-out-loud hilarious at times, and you’ve gotta love the dated tunes and far-out fashions.” – Staci Layne Wilson, Horror.com
Genres: Slasher, Canuxploitation, Splatter
2016 / France / 99m / Col / Cannibal | IMDb
Garance Marillier, Ella Rumpf, Rabah Nait Oufella, Laurent Lucas, Joana Preiss, Bouli Lanners, Marion Vernoux, Thomas Mustin, Marouan Iddoub, Jean-Louis Sbille
“This exhilarating French-Belgian debut from writer/director Julia Ducournau is a feast for ravenous cinephiles, an extreme yet intimate tale of identity crises that blends Cronenbergian body horror with humour and heartbreak as it sinks its teeth deep into the sins of the flesh… Directed with the same cross-genre dexterity as Kathryn Bigelow’s seminal vampire western Near Dark, Raw is a thrillingly confident and vigorously executed work. From the chilling opening shot of a car crash to the woozy, single-take sojourns through drunken student raves, Ducournau and cinematographer Ruben Impens lead us effortlessly into Justine’s underworld. A tethered horse on a treadmill canters in slow motion through Justine’s tortured dreams, while scratching fits and metamorphosing sweats are captured from within the claustrophobic confines of imprisoning bed-sheets.” – Mark Kermode, The Observer
Genres: Coming-of-Age, Cannibal, Body Horror, New French Extremity, Black Comedy, Family Drama, Psychological Drama
1986 / USA / 101m / Col / Slasher | IMDb
Dennis Hopper, Caroline Williams, Jim Siedow, Bill Moseley, Bill Johnson, Ken Evert, Harlan Jordan, Kirk Sisco, James N. Harrell, Lou Perryman
“”The Texas Chainsaw Massacre 2” is as potent a follow-up as one could expect from the series, unapologetically traveling in fresh directions while serving up audiences the gory goods. The cinematography by Richard Kooris is vibrant and alive, taking full advantage of the locations and making particularly effective use of the neon colors at the radio station and the rainbow-colored Christmas lights strung along the walls of the Sawyers’ underground hell. The soundtrack is also superb, with choice cuts from The Cramps, Oingo Boingo, Timbuk 3, Concrete Blonde, Lords of the New Church, and Stewart Copeland nicely complementing the action. When it comes to humor-laced horror that isn’t an outright spoof, there are few films that work quite as well (or with the same amount of bravado) as “The Texas Chainsaw Massacre 2.”” – Dustin Putnam, The Movie Boy
1972 / USA / 109m / Col / Thriller | IMDb
Jon Voight, Burt Reynolds, Ned Beatty, Ronny Cox, Ed Ramey, Billy Redden, Seamon Glass, Randall Deal, Bill McKinney, Herbert ‘Cowboy’ Coward
“‘Deliverance’ is a movie of contrasts, the primary one emphasizing the differences between modern Man, with his impulse to change things, and primal Nature, with its pristine beauty. Man chews up the landscape, as symbolized by the bulldozers and earth movers we see at the beginning, and spits it out. The four city slickers, eager to commune with what they view as the underlying structure of the universe, are ironic emblems of the modern world’s need to destroy for its own good. Despite their being a part of the root problem, they’re out to prove their understanding of the wild by taming a river, a river the state is about to dam up and spoil forever… At its most fundamental level ‘Deliverance’ is a story of survival, but it’s not just about surviving the hazards of the wilderness; it’s about surviving one’s own heart of darkness, about confronting one’s basest needs and accepting or rejecting them.” – John J. Puccio, Movie Metropolis
1945 / USA / 110m / BW / Gothic | IMDb
George Sanders, Hurd Hatfield, Donna Reed, Angela Lansbury, Peter Lawford, Lowell Gilmore, Richard Fraser, Douglas Walton, Morton Lowry, Miles Mander
“Albert Lewin’s direction is masterful. He uses shadow to crank up tension and atmosphere, without ever going over the top into out and out horror. The set design is brilliant, Dorian’s childhood school room, where he hides the painting, is wonderful. Lewin shot the film in black and white, save for a couple of Technicolor shots of the portrait. The portrait’s original beauty, when it is simply a painting of Dorian, and the later incarnation, as it takes on all of Dorian’s faults and turns the figure into a monster, are all breathtaking. The supporting cast is wonderful, George Sanders steals every scene he is in, rattling off Wilde’s rich and wry observations without stopping to breathe… The glaring mistake here is Hurd Hatfield in the title role… As Dorian commits murders and suicides begin swirling around him, Hatfield looks oblivious, not unfeeling or menacing.” – Charles Tatum, eFilmCritic Reviews
1987 / USA / 79m / Col / Comedy | IMDb
Andre Gower, Robby Kiger, Stephen Macht, Duncan Regehr, Tom Noonan, Brent Chalem, Ryan Lambert, Ashley Bank, Michael Faustino, Mary Ellen Trainor
“Although a heart felt tribute to the great movie monsters of filmland this little gem was especially appealing to an 80s kid because it dared to stick an affectionate middle- finger up at the stately Hammer Horror movies that were concurrently screened on our TVs ad nauseum. This movie opens with Van Helsing fucking up! It also depicts the classic character of the Wolf Man being kicked in the nuts! That singular boot to the balls kick starts the Squad’s ascendancy to a force to be reckoned with and also acted as the ultimate revenge for a legion of sleep deprived kids haunted by late night werewolf TV escapades.” – Dan Palmer, You’ve Got Red On You
1982 / USA / 98m / Col / Supernatural | IMDb
Tom Atkins, Stacey Nelkin, Dan O’Herlihy, Michael Currie, Ralph Strait, Jadeen Barbor, Brad Schacter, Garn Stephens, Nancy Kyes, Jonathan Terry
“Was it a cheat that Halloween III skipped out on more Michael Myers mayhem? Well, it certainly was annoying that the advertising didn’t let audiences know that little fact in the teasers and trailers. And a great many fans are still pissed about that to this very day… But, to be frank, people need to lighten up about this third entry because Season of the Witch is actually a pretty terrific little midnight movie, in keeping with John Carpenter’s other chillers of the era, specifically The Fog and The Thing. On many levels, the films kinda play like an eerie trilogy of haunting ghost stories, filled with monsters, mad men and vengeful ghouls… Season of the Witch has grown in popularity over the years as fans have healed from the initial sting and gave the film a second chance.” – R. L. Shaffer, IGN DVD
1983 / USA / 103m / Col / Thriller | IMDb
Christopher Walken, Brooke Adams, Tom Skerritt, Herbert Lom, Anthony Zerbe, Colleen Dewhurst, Martin Sheen, Nicholas Campbell, Sean Sullivan, Jackie Burroughs
“It makes for gripping supernatural drama, all the more notable because it wasn’t quite what any of the principals had done before or since. Walken rarely gets a chance to play Ordinary Guy like he does here, while Cronenberg’s penchant for the weird and obtuse is abandoned without losing the exquisite sensibilities that make him such a great filmmaker. Even King moved in a slightly different direction with this one, staying away from straight-up horror for one of the first times in its career. It kind of sneaks up on you. This is not a noisy film, and won’t attract the kind of spotlights that an evil Plymouth or rabid St. Bernard might. But it delves deeper than they do for its ideas, and travels much further as a result.” – Rob Vaux, Mania.com
Genres: Low Fantasy, Drama, Thriller, Psychological Thriller, Political Thriller, Psychological Drama
1932 / USA / 63m / BW / Thriller | IMDb
Joel McCrea, Fay Wray, Robert Armstrong, Leslie Banks, Noble Johnson, Steve Clemente, William B. Davidson, Oscar ‘Dutch’ Hendrian
“Count Zaroff remains obsessed with the hunt… “Kill, then love,” he tells Rainsford. “When you have known that, you have known ecstasy.” Once he has hunted down Bob, he will rape Eve. Rather than wait around to see who wins, Eve joins Bob, and as they flee and lose and finally survive, through every chase and twist, they of course fall in love. The irony is that the erotic horror verbalized by Zaroff, the primal male urge to obliterate an enemy and celebrate in bed, is implicitly, and by more civilized and formulaic means, achieved by Rainsford… a superbly paced, sexually charged, tightly constructed, no-holds-barred adventure film with moments of dark, Germanic horror that stick in the mind, a movie that moves.” – Bruce Kawin, Criterion Collection Notes
1976 / USA / 91m / Col / Thriller | IMDb
Tony Lo Bianco, Deborah Raffin, Sandy Dennis, Sylvia Sidney, Sam Levene, Robert Drivas, Mike Kellin, Richard Lynch, Sammy Williams, Jo Flores Chase
“A delirious mix of sci-fi, pseudo-religious fantasy and horror detective thriller, with Lo Bianco as the perfect existential anti-hero – a New York cop and closet Catholic, guiltily trapped between wife and mistress. His investigations into a bizarre spate of mass murders lead right to the top: Jesus Christ, no less, is provoking innocent citizens to go on a murderous rampage. God Told Me To overflows with such perverse and subversive notions that no amount of shoddy editing and substandard camerawork can conceal the film’s unusual qualities. Digging deep into the psyche of American manhood, it lays bare the guilt-ridden oppressions of a soulless society.” – SW, Time out
1982 / USA / 91m / Col / Splatter | IMDb
Kevin Van Hentenryck, Terri Susan Smith, Beverly Bonner, Robert Vogel, Diana Browne, Lloyd Pace, Bill Freeman, Joe Clarke, Ruth Neuman, Richard Pierce
“With so much of the movie occupying this kind of borderline-ethereal state of random violence, the interruptions of deep dark perversity are all the more shocking, because while we’ve been ready since the first moments for perversion, we’re expecting the robust nastiness of an exploitation film, not the thick dollops of incestuous body horror that the film plays with by the end. Make no mistake, the film is exploitation after a fashion – Duane visits a grind house in one scene, a neat meta-moment acknowledging that this grimy, tawdry film is in every inch of frame destined for the exploitation circuit – but even exploitation films rarely have this degree of crazed invention that borders on dangerousness. Henenlotter’s grotesquerie is something else entirely, and its singularity makes it far more valuable than any number of movies made at an ostensibly higher level of quality.” – Tim Brayton, Antagony & Ecstasy
1988 / USA / 94m / Col / Science Fiction | IMDb
Roddy Piper, Keith David, Meg Foster, George ‘Buck’ Flower, Peter Jason, Raymond St. Jacques, Jason Robards III, John Lawrence, Susan Barnes, Sy Richardson
“It’s an effective ploy, forcing us to confront certain basic facts about the state of the world around us without sounding preachy, and it articulates a decidedly working-class anger in response to social iniquity without sounding self-righteous. And it does all of this while retaining the surface appeal of its B-movie origins, frequently (and entertainingly) indulging in the seductive spectacle of ghouls and guns in combat—though always with ulterior motives.” – Calum Marsh, Slant Magazine
1988 / USA / 97m / Col / Supernatural | IMDb
Clare Higgins, Ashley Laurence, Kenneth Cranham, Imogen Boorman, Sean Chapman, William Hope, Doug Bradley, Barbie Wilde, Simon Bamford, Nicholas Vince
“‘Hellbound’ is a film of many excesses – beyond the blood, there’s the heightened sound of pain, some bizarre sexuality and a slew of sadistic effects. Barker’s original conception was intriguing: an ornate puzzle box serves as a passage into an underworld (the Outer Darkness) where the thin line between pleasure and pain is constantly being tested both by weak-willed humans who fall under the box’s power and its citizen Cenobites, ghastly demons who embody, in extremely visual ways, all their realized perversions… Even if you discount the cliche’s, there are enough bizarre and shocking effects here to satisfy all but the most demanding genre fans.” – Richard Harrington, Washington Post
2002 / Japan / 101m / Col / J-Horror | IMDb
Hitomi Kuroki, Rio Kanno, Mirei Oguchi, Asami Mizukawa, Fumiyo Kohinata, Yu Tokui, Isao Yatsu, Shigemitsu Ogi, Maiko Asano, Yukiko Ikari
“Nakata is a master of the uncanny, able to transform something as innocent as a little girl’s shoulder bag into an object to inspire terror. “Dark Water” positively oozes atmosphere, building up the tension slowly before allowing it to overflow into irrational shocks and strange epiphanies. Yet just beneath its surface horror this film conceals a deep reservoir of tragedy, addressing themes like family breakdown, isolation, abandonment, and – something of a taboo in Japan – the terrible legacy of mental illness. In the end, the keynote of “Dark Water” is not so much horror as an overwhelming sadness, in this masterpiece of tormented souls.” – Anton Bitel, Movie Gazette
Genres: J-Horror, Haunted House, Drama, Mystery, Psychological Horror, Family Drama, Melodrama, Psychological Thriller
1975 / USA / 72m / Col / Anthology | IMDb
Karen Black, Robert Burton, John Karlen, George Gaynes, Jim Storm, Gregory Harrison, Kathryn Reynolds, Tracy Curtis, Orin Cannon
“Short and to the point (the three stories are told in a scant seventy-two minutes), Trilogy of Terror wastes little time on clumsy exposition or subsidiary characters. Throughout the trilogy, Karen Black gets ample opportunity to demonstrate her range. Her four roles over the three episodes (in the middle entry, she plays twins) see her play prim and passionate, twins and terrified. It’s a real showcase for the actress, who is asked to carry the entire film. Her performance is to credit for most of the tension that the first two tales manage. In many scenes, she’s the only person on screen, whether she is having a phone conversation with an off-screen character or merely talking to herself at length. The slightly demented demeanor that Black brings to all of her roles pays major dividends here, whether she is playing a creepy seductress, engaging in a deadly mind game, or ensuring us, with a look of complete fear in her eyes, that the doll that is stalking her is truly alive.” – Jeremy Heilman, MovieMartyr
1975 / USA / 100m / Col / Musical | IMDb
Tim Curry, Susan Sarandon, Barry Bostwick, Richard O’Brien, Patricia Quinn, Nell Campbell, Jonathan Adams, Peter Hinwood, Meat Loaf, Charles Gray
“There had never been – and, since its release, never has been – a movie like The Rocky Horror Picture Show. In terms of both the successfully over-the-top mixture of horror, camp, rock’n’roll, science fiction, sexual transgression, and purposefully bad B-movie dialogue within the film itself and the even more over-the-top behavior it has inspired in audiences during midnight screenings for decades, it is absolutely unique in the annals of cinema… it has not only become the ultimate cult object, but has been selected by the Library of Congress for preservation in the USA National Film Registry for being “culturally, historically, or aesthetically significant.”” – James Kendrick, Q Network Film Desk
1972 / USA / 93m / Col / Psychological | IMDb
Margot Kidder, Jennifer Salt, Charles Durning, William Finley, Lisle Wilson, Barnard Hughes, Mary Davenport, Dolph Sweet
“Sisters becomes an energetic reference to the great scenes and themes of Hitchcock’s work. Beyond Psycho’s plot structure, we get Norman Bates’ motivation. Vertigo’s psychological premise (the obsessive seeker creates the object of obsession in its absence), a body hidden in an apartment (taken from Rope), a Bernard Herrmann score, and Rear Window’s crime solving via voyeurism also turn up here. Even if the abundance of such themes don’t manage to make Sisters better than the combined work of Hitchcock, they all integrate well into the tale that the director tells. Certainly, Sisters feels less constrained by the indebtedness caused by creating homage than De Palma’s later works like Dressed to Kill or Obsession. De Palma’s constantly winking eye and his juxtapositions of horror and humor keep us interested as the film slides into logical implausibility. Though the performances are solid, the director is clearly the star of this show.” – Jeremy Heilman, MovieMartyr
Genres: Psychological Thriller, New Hollywood, Psychological Horror, Horror, Mystery
2019 / USA / 116m / Col / Psychological | IMDb
Winston Duke, Elisabeth Moss, Tim Heidecker, Shahadi Wright Joseph, Evan Alex, Yahya Abdul-Mateen II, Anna Diop, Cali Sheldon, Noelle Sheldon, Madison Curry
“Peele develops a genuinely thrilling, heart-in-the-throat-scary horror picture. The archly creepy doubles – called “the Tethered,” after the manner in which they are existentially bound to their above-ground versions, like shadows – are a monster worthy of the Universal logo that precedes the film’s opening titles. Peele exhibits a mastery of his camera, of managing suspense, and of teasing (and rewarding) the intimation of violence. He’s also an exceptionally talented director of actors. Nyong’o’s physicality in her dual role as both herself and her Tether is revelatory.” – John Semley, Globe and Mail
Genres: Psychological Thriller, Slasher, Home Invasion, Mystery, Black Comedy, Psychological Horror, Satire
1996 / USA / 101m / Col / Witchcraft | IMDb
Robin Tunney, Fairuza Balk, Neve Campbell, Rachel True, Skeet Ulrich, Christine Taylor, Breckin Meyer, Nathaniel Marston, Cliff De Young, Assumpta Serna
“”The Craft” has a remarkable sense of style and it offers something for everyone with sharp performances, great special effects, and a unique horror story that ends on a truly twisted note. It’s a film that deserves much more attention than it gets in the span of the decade, as “The Craft” is a pure nineties gem that offers great imagery, strong special effects, and a story that will appeal to fantasy and horror buffs alike.” – Feliz Vasquez Jr., Cinema Crazed
1990 / USA / 102m / Col / Fantasy | IMDb
Craig Sheffer, Anne Bobby, David Cronenberg, Charles Haid, Hugh Quarshie, Hugh Ross, Doug Bradley, Catherine Chevalier, Malcolm Smith, Bob Sessions
“One can hardly be too upset when a film is exuberant and grandiose in the way Nightbreed is; after all, Barker’s fiction (like Stephen King’s, now that I think of it—no wonder Barker earned an endorsement from the master) often sends audiences hurtling down rabbit hole after rabbit hole—it’s not enough for Nightbreed to focus on a secret society of monsters and its prophecies, so it follows that there would also be a bloodthirsty butcher from a slasher flick hunting them down. That the two modes sometimes find difficulty jelling seems besides the point—the film might be exhausting, but it’s equally as breathtaking whenever Barker really lets loose and indulges the most unhinged parts of his macabre id, where men and monsters spill each other’s bloods among gothic ruins.” – Brett Gallman, Oh, the Horror!
1988 / USA / 86m / Col / Monster | IMDb
Lance Henriksen, Jeff East, John D’Aquino, Kimberly Ross, Joel Hoffman, Cynthia Bain, Kerry Remsen, Florence Schauffler, Brian Bremer, George ‘Buck’ Flower
“When Pennsylvanian country-dweller Ed Harley’s kid gets (accidentally) killed by a group of marauding young townies on motorbikes, the aggrieved father (Henriksen) seeks justice, or more precisely, vengeance. Aided by the mythically wizened old crone from Black Ridge (Schauffler), he invokes the rampaging form of Pumpkinhead, a 15-foot monstrosity who doesn’t believe in penal reform and with whom one does not mess lightly. From there on it’s stiff-city for the unfortunate kids, as well as some hellish rewards for Harley himself.” – MK, Time Out
1991 / USA / 128m / Col / Thriller | IMDb
Robert De Niro, Nick Nolte, Jessica Lange, Juliette Lewis, Joe Don Baker, Robert Mitchum, Gregory Peck, Martin Balsam, Illeana Douglas, Fred Dalton Thompson
“As originally directed by J. Lee Thompson, “Cape Fear” pitted the wholesome Bowdens against the unsavory Max, a convicted rapist intent on exacting revenge against Sam, who years earlier had testified against Max at his trial. Despite the sexy insolence of Robert Mitchum’s performance, that film’s struggle was essentially a one-note one between good and evil. Mr. Scorsese, not being prone to such oversimplifications, has done his best to muddy the waters… he has invested the Bowdens (now played by Nick Nolte and Jessica Lange) with a history of marital infidelity, turned their daughter into a rebellious nymphet, altered the circumstances of the rape trial and given Max’s vengeance a biblical dimension.” – Janet Maslin, New York Times
1996 / New Zealand / 110m / Col / Supernatural | IMDb
Michael J. Fox, Trini Alvarado, Peter Dobson, John Astin, Jeffrey Combs, Dee Wallace, Jake Busey, Chi McBride, Jim Fyfe, Troy Evans
“The Frighteners, which starts out like a screwball comedy with ecotoplasm, then deepens into a movie about redemption, is directed by Peter Jackson, best known for 1994’s marvelous Heavenly Creatures. But viewers who loved that film’s air of quiet menace may be put off by the cranked-up pace and volume of The Frighteners; this movie is much more like Jackson’s wacky 1992 horror film Dead Alive. Which is to say, the relentless Frighteners is overloaded with jokes… and unsettling special effects (the villain surges through walls, mirrors, and rugs with shocking speed). The Frighteners is also that rare horror film that actually gets better as it proceeds; this scare machine has a heart and a brain.” – Ken Tucker, Entertainment Weekly
1974 / Canada / 88m / Col / Zombie | IMDb
John Marley, Lynn Carlin, Richard Backus, Henderson Forsythe, Anya Ormsby, Jane Daly, Michael Mazes, Arthur Anderson, Arthur Bradley, David Gawlikowski
“Part of the reason that Deathdream has captivated audiences throughout the last thirty years is the understated and creepy way in which it unfolds. Although evident from the first few scenes, the film never explicitly reveals that Andy is actually dead until more than halfway through, adding a level of ambiguity to his sinister actions. This charges the film with a sense of mystery and encourages the audience to piece together the plot themselves. Although effective as a flat-out horror film, Deathdream was also one of the first films to be critical of the Vietnam War, focusing on the lingering effects of the conflict on soldiers returning to America. The stress disorders and drug addiction that many veterans experienced are alluded to, but more importantly, this film is filled with sense that the war has changed not only Andy, but the entire country. Ormsby’s screenplay portrays Andy as the ultimate corrupted innocent, a survivor (although not in the strictest sense of the word) of an experience that literally left him dead inside.” – Canuxploitation
Genres: Horror, Zombie, Canuxploitation, Vampire, Psychological Horror
1972 / UK / 92m / Col / Anthology | IMDb
Ralph Richardson, Geoffrey Bayldon, Joan Collins, Martin Boddey, Chloe Franks, Oliver MacGreevy, Ian Hendry, Susan Denny, Angela Grant, Peter Cushing
“Subotsky bought the movie rights for all the E. C. horror titles from their publisher, William M. Gaines, and “Tales from the Crypt” is the first film made from the material. It’s put together something like the comic books, with the old Crypt Keeper acting as host and narrator… The five stories all work on the principle that an evildoer should be punished ironically by his own misdeed… The direction is by Freddie Francis, who has something of a cult following among horror fans, and the visuals and decor have been planned in bright basic colors and gray, so they look something like comic panels. One further note: If Santa Claus knocks at your door tonight, don’t answer.” – Roger Ebert, Chicago Sun-Times
1981 / USA / 94m / Col / Zombie | IMDb
James Farentino, Melody Anderson, Jack Albertson, Dennis Redfield, Nancy Locke, Lisa Blount, Robert Englund, Bill Quinn, Michael Currie, Christopher Allport
“However, Dead and Buried isn’t great simply because it’s a little unique; instead, it works because it’s just a solidly entertaining film featuring good performances and a sense of spooky mystery that pervades the entire thing. A morbidity that’s both sort of grim and cheeky hangs in the air; the stark violence is off-set by the presence of the quirky mortician and other folksy, small town charms. There’s a sense that something is just a bit off from the moment a photographer is savagely set aflame by a mob that seemingly materializes from nowhere. The film hides its cards well as more, similarly bizarre events happen that allow you to begin connecting the dots; it plays its best, most twisted hand last, though.” – Brett Gallman, Oh, The Horror!
1984 / Australia / 95m / Col / Natural Horror | IMDb
Gregory Harrison, Arkie Whiteley, Bill Kerr, Chris Haywood, David Argue, Judy Morris, John Howard, John Ewart, Don Smith, Mervyn Drake
“Mulcahy also takes a page out of Spielberg’s playbook by keeping his monster on the edge of the frame, empowering the beast with a near-mythic quality, and it doesn’t hurt that when we are given a good look at the titular terror, the results are impressively authentic (courtesy of designer Bob McCarron). The slaughterhouse finale, with its crackling sparks and grime-covered machinery, delivers the final reel shocks and splatter we deserve without compromising any of the well-grounded work that has gone before.” – Horror 101 with Dr. AC
1993 / USA / 76m / Col / Musical | IMDb
Danny Elfman, Chris Sarandon, Catherine O’Hara, William Hickey, Glenn Shadix, Paul Reubens, Ken Page, Edward Ivory, Susan McBride, Debi Durst
“Only the deliciously demented imagination of Edward Scissorhands director Tim Burton could have come up with such a dark vision of the holiday season. Producing here, Burton called on the services of innovative animation director Henry Selick and composer Danny Elfman for this wonderfully weird fable. Packed with scary spooks, gags and dazzling décor, it enchants with every busy frame as spindly Jack Skellington, the mastermind behind Halloween, hijacks Christmas out of boredom, becoming a frightening Santa delivering nasty surprises instead of presents to terrified children. The film’s affectionate trashing of Christmas traditions is conceptually cunning and clever enough to please every generation, making it an unmissable treat that’s destined to become as great a yuletide favourite as The Wizard of Oz.” – Alan Jones, Radio Times
1927 / USA / 108m / BW / Mystery | IMDb
Laura La Plante, Creighton Hale, Forrest Stanley, Tully Marshall, Gertrude Astor, Flora Finch, Arthur Edmund Carewe, Martha Mattox, George Siegmann, Lucien Littlefield
“It’s a stylishly well-executed old-fashioned horror-suspense thriller that’s laced with a macabre humor, arty German expressionism, an uncommon architectural style and sets a strong mysterious mood. It was a forerunner of the Universal horror films of the 1930s, which copied many of its eerie effects such as clutching hands, disappearing bodies, a masked killer, secret passageways, and sliding panels. It came at the apex of the silents, when such films as Garbo in Love and De Mille’s The King of Kings also appeared. Critics at the time said it lifted the mystery genre into the realm of art. Though even creaky for that time, Leni plays it more for laughs than scares.” – Dennis Schwartz, Ozus’ World Movie Reviews
Genres: Mystery, Haunted House, Horror Comedy, Comedy, Gothic Horror, German Expressionism, Whodunit
1973 / UK / 104m / Col / Comedy | IMDb
Vincent Price, Diana Rigg, Ian Hendry, Harry Andrews, Coral Browne, Robert Coote, Jack Hawkins, Michael Hordern, Arthur Lowe, Robert Morley
“The magnum opus of Vincent Price’s film career, this stylish, witty comedy horror boasts an irresistible premise, an inspired ensemble cast, fabulous music and first-rate production values. In a part he was born to play, Price is classically trained actor Edward Lionheart, who murders theatre critics using famous death scenes from Shakespeare’s plays as payback for being dismissive of his talents. Aided by his faithful daughter Edwina (Diana Rigg) and a group of tramps, Lionheart plans each killing with elaborate inventiveness and cunning disguise. Price does a superior job portraying an inferior actor and mines every nuance of tragedy and comedy with triumphant brilliance and delicious gusto. The result is enormously enjoyable.” – Alan Jones, Radio Times
2002 / Hong Kong / 99m / Col / Supernatural | IMDb
Angelica Lee, Lawrence Chou, Jinda Duangtoy, Yut Lai So, Candy Lo, Edmund Chen, Yin Ping Ko, Florence Wu, Wisarup Annuar, Yuet Siu Wong
“The story winds up going to familiar places, with Mun and her doctor (Lawrence Chou) doing the obligatory investigation into the former owner of Mun’s new eyes. But while this is stuff we’ve seen before, the screenplay (written by the Pangs and Jo Jo Hui) goes the unexpected route and finds an emotional base to these later scenes. There’s a great sadness hanging in the air here, mixing with the horror in such a way that the frights never feel cheap. This movie understands that while ghosts may be here to scare the crap out of us, whatever happened to make them ghosts must add some sort of tragedy to their existence. This is a ghost story that cares about its ghosts as much as it cares for its living characters. By giving their movie such emotional weight, the Pangs have crafted a horror movie that’s more effectual than most because it reaches us on a more complete level. But don’t think it’s all emotion here – there are plenty of powerful shocks and nifty spook-outs to satisfy anyone looking for a strong horror treat.” – David Cornelius, eFilmCritict
2013 / USA / 91m / Col / Splatter | IMDb
Jane Levy, Shiloh Fernandez, Lou Taylor Pucci, Jessica Lucas, Elizabeth Blackmore, Phoenix Connolly, Jim McLarty, Sian Davis, Stephen Butterworth, Karl Willetts
“Evil Dead is relentless. Once it starts, it never lets up. It becomes a constant barrage of gory fun, and in the spirit of the original, Alvarez and his team use make-up and real-world special effects rather than relying solely on CGI. Another distinctive and key part of the original series were the off-kilter and exaggerated camera angles. Alvarez adopts the film language of Raimi’s films, adds more to the bag of tricks, and keeps the sardonic attitude without necessarily being slapstick.” – Eric Melin, Scene Stealers
Genres: Splatter, Supernatural Horror, Body Horror, Survival
1985 / Italy / 116m / Col / Supernatural | IMDb
Jennifer Connelly, Daria Nicolodi, Fiore Argento, Federica Mastroianni, Fiorenza Tessari, Dalila Di Lazzaro, Patrick Bauchau, Donald Pleasence, Alberto Cracco
“Phenomena’s paranormal obsessions are unlike anything you’ve ever seen—a retro-mystical tableaux of pulsating synthesizers and flying insects ready to do the bidding of their human master. When Jennifer is taunted by her fellow classmates, Biblical hordes of black bugs gather outside her school’s window. The girls cringe in fear as Jennifer whispers, “I love you all.” This is the extent of Jennifer’s love for all of God’s creatures. Argento frequently cuts to an insect’s point of view, splitting his frame into six or eight segments. However obvious these flourishes may seem, Argento once again showcases his obsession with the eye and elements of sight and sightlessness. In the end, Phenomena’s greatest weakness may be that it doesn’t demand active spectatorship as much as it seemingly muddles our expectations.” – Ed Gonzalez, Slant Magazine
2016 / South Korea / 156m / Col / Mystery | IMDb
Do-won Kwak, Jung-min Hwang, Jun Kunimura, Woo-hee Chun, Hwan-hee Kim, Jin Heo, So-yeon Jang, Han-Cheol Jo, Chang-gyu Kil, Do-Yoon Kim
“A tense blend of genres, The Wailing succeeds at combining a mood of deep unease with visceral gore, buddy cop comedy, and a hallucinogenic mix of horror tropes, and in this sense the film becomes a unique creation of its own, setting its terrible events against the gorgeous landscapes and mountains of South Korea. And although overlong and not without flaws, there is enough in The Wailing to warrant a viewing, and the subtle force of the film confirms Na Hong-jin’s reputation as a director to be reckoned with.” – Pamela Jahn, Electric Sheep
Genres: Mystery, Supernatural Horror, K-Horror, Thriller, Police Procedural, K-Horror, Folk Horror, Black Comedy
2009 / Denmark / 108m / Col / Psychological | IMDb
Willem Dafoe, Charlotte Gainsbourg, Storm Acheche Sahlstrøm
“Antichrist is a boldly personal film, tossing all von Trier’s ideas about faith, fear, and human nature into an unfettered phantasmagoria, full of repulsive visions and fierce scorn. It’s also the most lush-looking movie von Trier has made in about 20 years. Antichrist starts with a gorgeous black-and-white prologue—spiked, in typical von Trier perversity, with explicit sex and operatic tragedy—then moves to woodland sequences where the edges of the frame look subtly distorted… Cinema’s leading Brechtian wouldn’t seem like the best choice for a visceral examination of real emotional pain, but von Trier makes Antichrist about how aesthetic control can be as impotent as therapeutic control when it comes to dealing with nature at its wildest.” – Noel Murray, A.V. Club
Genres: Psychological Horror, Psychological Drama, Folk Horror, Surrealism, Sadistic Horror, Family Drama, Body Horror, Natural Horror, Chamber Film
1963 / USA / 67m / Col / Splatter | IMDb
William Kerwin, Mal Arnold, Connie Mason, Lyn Bolton, Scott H. Hall, Christy Foushee, Ashlyn Martin, Astrid Olson, Sandra Sinclair, Gene Courtier
“When asked in a 1982 interview if he’d ever been offended by a film, John Carpenter opined, “Yes, I have. There was a movie called ‘Blood Feast’…” This notorious item, the work of cult favorite and “Godfather of Gore” Herschell Gordon Lewis, was the first real American splatter film (of course, foreign movies ranging from 1960’s Jigoku to the Hammer films all the way back to Un Chien Andalou had been distributing plasma for years). As such, it enjoys an avid following that has nothing much to do with its quality ? or lack thereof; in fact, its fans treasure its very dearth of professionalism.” – Rob Gonsalves, eFilmCritic.com
2010 / USA / 89m / Col / Black Comedy | IMDb
Tyler Labine, Alan Tudyk, Katrina Bowden, Jesse Moss, Philip Granger, Brandon Jay McLaren, Christie Laing, Chelan Simmons, Travis Nelson, Alex Arsenault
“High-concept horror comedies that actually work are a rare breed, yet Tucker & Dale vs. Evil manages to continually make the comedy-of-errors shtick work. Props should go not only to Labine, but Tudyk as well, who bears the brunt of the comic violence heaped upon the clueless duo. Thankfully, the laughs are evened out with a heaping of gore that’ll please the horror hounds in the crowd. Amazingly, even the unbelievable romance between Allison and Dale comes off as rather sweet. In its own pleasantly blood-soaked way, Tucker & Dale vs. Evil delivers a whole lot more than just a one-joke concept, making it a very worthy watch for genre devotees.” – Jeremy Wheeler, TV Guide’s Movie Guide
Genres: Black Comedy, Buddy, Parody, Splatter, Horror, Horror Comedy, Hixploitation, Slapstick, Teen Movie, Romance
1981 / USA / 87m / Col / Slasher | IMDb
Amy Steel, John Furey, Adrienne King, Kirsten Baker, Stuart Charno, Warrington Gillette, Walt Gorney, Marta Kober, Tom McBride, Bill Randolph
“Friday the 13th Part 2 is every bit as crude, senseless, and blunt as they accuse it of being, and it’s not surprising that discerning filmgoers with higher aspirations than the slasher genre offers would find it somewhat unnerving to be in a roomful of kids who seem to revel in make-believe bloodlust. Friday the 13th Part 2 cannot be defended intellectually, yet, the film’s very simplicity and directness gives it a kind of folkloric power, albeit power that works only if you give yourself over to it. If you do, it not only allows you to find a queasy sense of pleasure in being unashamedly goosed and grossed out, but also to ignore just how utterly nonsensical the film’s ending actually is.” – James Kendrick, Q Network Film Desk
1978 / USA / 94m / Col / Natural Horror | IMDb
Bradford Dillman, Heather Menzies-Urich, Kevin McCarthy, Keenan Wynn, Dick Miller, Barbara Steele, Belinda Balaski, Melody Thomas Scott, Bruce Gordon, Barry Brown
“That’s it in a nutshell, and yes, the storyline is both random and goofier than shit. Yet, that’s all part of Piranha‘s charm. This flick is by no means good; in fact, for the most part it’s just a really blatant rip-off of Jaws, but wow is it fun. We’re talking turn your brain off entertainment at its finest, folks. Piranha delivers more than its fair share of laughs, intentional and otherwise, while keeping in tune with the campy boobs and blood flicks of its time. None of it really makes any sense, but it’s a safe bet that by the time these creatures start their nibbling, plot holes will be the last thing on your mind.” – Steve “Uncle Creepy” Barton, Dread Central
1923 / USA / 133m / BW / Drama | IMDb
Lon Chaney, Patsy Ruth Miller, Norman Kerry, Kate Lester, Winifred Bryson, Nigel De Brulier, Brandon Hurst, Ernest Torrence, Tully Marshall, Harry von Meter
“The storytelling is mix of the grandiose and the clumsy, with Chaney largely anchoring the film and the size and scope of the spectacle elevating production. The sets are magnificent, the biggest that Universal had built to date (the giant exterior of the cathedral and surrounding building remained standing for decades and were reused for Universal’s defining horror classics of the thirties)… Chaney’s make-up is spectacularly grotesque… But the make-up is only the surface. Chaney gave Quasimodo a dynamic physical life, scrambling down climbing ropes (he was at times doubled by a stunt man) or hanging from the bell rope like a big kid, and a childlike innocence that gave every emotion a purity and intensity that drove his loyalties.” – Sean Axmaker, Turner Classic Movies
Genres: Melodrama, Period Drama, Medieval, Tragedy, Horror, Romance