#701-#800

The 1,000 Greatest Horror Films: #601-#700

The 1,000 Greatest Horror Films: Introduction | #1-#100 | #101-#200 | #201-#300 | #301-#400 | #401-#500 | #501-#600 | #601-#700 | #701-#800 | #801-#900 | #901-#1000 | Full List | Sources | The 21st Century’s Most Acclaimed Horror Films | Top 50 Directors

701. (-35) Ju-on

Takashi Shimizu

AKA: Ju-on: The Curse

2000 / Japan / 70m / Col / Supernatural | IMDb
Yûrei Yanagi, Yue, Ryôta Koyama, Hitomi Miwa, Asumi Miwa, Yumi Yoshiyuki, Kazushi Andô, Chiaki Kuriyama, Yoriko Dôguchi, Jun’ichi Kiuchi

“So this is where it all began. Sort of. In 1998, recommended by Kiyoshi Kurosawa to write and direct one or more of the segments for the Kansai TV horror film anthology “Gakko no Kaidan G”, Takashi Shimizu introduced Japanese audiences to Toshio and Kayako Saeki… If a film can cause a reaction without needing to rely on exposition or narrative, then you know that visually it’s doing something right. And Shimizu has the power to do that. There aren’t many directors that are able to create such a feeling through the use of lighting, composition and montage, I’d say Kiyoshi Kurosawa and Hideo Nakata are the only others who can do this effectively, but Shimizu is in the league of these greats. “Ju-on” is not the perfect horror film. It’s a little rough around the edges, but it’s the start of a style that Shimizu would perfect, and that’s something beautiful.” – Matthew Hardstaff, J-Film Pow-Wow

Genres:

702. (-30) Silver Bullet

Daniel Attias

1985 / USA / 95m / Col / Werewolf | IMDb
Gary Busey, Everett McGill, Corey Haim, Megan Follows, Robin Groves, Leon Russom, Terry O’Quinn, Bill Smitrovich, Joe Wright, Kent Broadhurst

“What Stephen King’s adaptation of “Cycle of the Werewolf” has going for it, beyond everything else, is heart. In many ways, “Silver Bullet” is a multi-faceted horror film that can appeal to fans of family dramas and murder mysteries. “Silver Bullet” is a tension soaked eighties horror film that demonstrates rich characterization and complex feelings with a villain who isn’t completely black and white when all is said and done. Even the worst afflictions can rot anyone who means well enough, and “Silver Bullet” shines a light on two characters with afflictions they can not battle who have potential to rot from the inside out. One individual has embraced the darkness, and the other insists on seeing the bright side of everything, even in the face of pain, misery, and pure evil staring him right in the face.” – Felix Vasquez Jr., Film Threat

Genres:

703. (-116) Black Sheep

Jonathan King

2006 / New Zealand / 87m / Col / Comedy | IMDb
Nathan Meister, Peter Feeney, Danielle Mason, Tammy Davis, Oliver Driver, Tandi Wright, Glenis Levestam, Nick Blake, Matthew Chamberlain, Nick Fenton

“Jonathan King’s Black Sheep, from New Zealand, has no doubt about the style of movie it is attempting to make: trash gothic. It duly makes it. A deadly chemical escapes from a South Island animal lab and turns sheep sociopathic. Never mind the silence of the lambs. Listen out for the bloodthirsty baa-ing of the man-eating ovines. The special effects are of the kind you could do at home with a bottle of ketchup and leg of mutton. The scream-ridden soundtrack is often drowned out by audience laughter. It is all good, camp fun.” – Nigel Andrews, Financial Times

Genres:

704. (-39) Pin

Sandor Stern

1988 / Canada / 103m / Col / Psychological | IMDb
David Hewlett, Cynthia Preston, Terry O’Quinn, Bronwen Mantel, John Pyper-Ferguson, Helene Udy, Patricia Collins, Steven Bednarski, Katie Shingler, Jacob Tierney

“Written and directed by Sandor Stern and adapted from the novel by Andrew Neiderman, Pin succeeds by treating its questionable premise with unflinching conviction. Stern’s direction, successfully building tension when required, is generally workmanlike – and this is what saves the film. A more sensationalistic treatment of the subject matter could easily have become ludicrous, but Stern’s entirely matter-of-fact approach makes the whole exercise oddly convincing.” – N. Emmett, Shadowgum

Genres:

705. (-60) Berberian Sound Studio

Peter Strickland

2012 / UK / 92m / Col / Psychological | IMDb
Toby Jones, Cosimo Fusco, Antonio Mancino, Fatma Mohamed, Salvatore LI Causi, Chiara D’Anna, Tonia Sotiropoulou, Eugenia Caruso, Susanna Cappellaro, Guido Adorni

“Berberian Sound Studio has something of early Lynch and Polanski, and the nasty, secretive studio is a little like the tortured Mark Lewis’s screening room in Powell’s Peeping Tom, but that gives no real idea of how boldly individual this film is. In fact, it takes more inspiration from the world of electronic and synth creations and the heyday of the BBC Radiophonic Workshop, and it is close in spirit to Kafka’s The Castle or to the Gothic literary tradition of Bram Stoker and Ann Radcliffe: a world of English innocents abroad in a sensual, mysterious landscape… With a face suggesting cherubic innocence, vulnerability and cruelty, Toby Jones gives the performance of his career, and Peter Strickland has emerged as a key British film-maker of his generation.” – Peter Bradshaw, The Guardian

Genres:

706. (-22) The Black Room

Roy William Neill

1935 / USA / 68m / BW / Gothic | IMDb
Boris Karloff, Marian Marsh, Robert Allen, Thurston Hall, Katherine DeMille, John Buckler, Henry Kolker, Colin Tapley, Torben Meyer

“This unassuming period thriller about fratricide, ancient familial prophecies, and lust for power remains an enjoyable treat for film fanatics, thanks primarily to the central performance by inimitable horror icon Boris Karloff. Karloff embodies the dual roles of both “good brother” (Anton) and “bad brother” (Gregor) with relish and nuance, immediately convincing us that they’re two different men — but his most impressive work comes once he’s playing Gregor-as-Anton, maintaining a simmering aura of calculated greed and sociopathic arrogance underneath a facade of noble charm. The screenplay is surprisingly tight and suspenseful — especially given that Anton is killed off fairly early — and the denouement offers a nifty resolution to the ancient prophecy. Atmospheric cinematography, creative direction, and appropriately baroque set designs add to the ambience of this compelling B-level flick.” – FilmFanatic

Genres:

707. (-33) Kyôfu kikei ningen: Edogawa Rampo zenshû

Teruo Ishii

AKA: Horrors of Malformed Men

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

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

Genres:

708. (-21) Mumsy, Nanny, Sonny & Girly

Freddie Francis

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

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

Genres:

709. (-23) Lady in a Cage

Walter Grauman

1964 / USA / 94m / Col / Home Invasion | IMDb
Olivia de Havilland, James Caan, Jennifer Billingsley, Rafael Campos, William Swan, Jeff Corey, Ann Sothern

“Usually lumped with the other ‘hag horror’ films after What Ever Happened to Baby Jane? by virtue of the presence of golden-age screen star Olivia de Havilland, Lady in a Cage is actually an upscale version of marginal movies like The Sadist – realistic accounts of everyday atrocious crimes in the modern world. Tricked up with blatant criticisms of contemporary society, Luther Davis and Walter Grauman’s film can’t escape an essential sickness: Like its low-grade drive-in competition, it is first and foremost an exercise in sordid exploitation.” – Glenn Erickson, DVDTalk

Genres:

710. (-19) Madman

Joe Giannone

1981 / USA / 88m / Col / Slasher | IMDb
Gaylen Ross, Tony Fish, Harriet Bass, Seth Jones, Jan Claire, Alexander Murphy Jr., Tom Candela, Carl Fredericks, Michael Sullivan, Paul Ehlers

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

Genres:

711. (-29) The House on Sorority Row

Mark Rosman

AKA: House of Evil

1982 / USA / 91m / Col / Slasher | IMDb
Kate McNeil, Eileen Davidson, Janis Ward, Robin Meloy, Harley Jane Kozak, Jodi Draigie, Ellen Dorsher, Lois Kelso Hunt, Christopher Lawrence, Michael Kuhn

“The score by Richard Band is victorious in setting the mood, deploying an orchestral warmth that carries the movie to a richly cinematic level, while [the] editing concentrates on smooth transitions and tension, building the picture into a legitimately effective chiller, even with a few pokey spots of exposition. Rosman takes cues from the suspense masters and infuses “The House on Sorority Row” with traditional stalking sequences and mysterious happenings, most tied to court jester imagery. The helmer also makes good use of the location, working through basements and bedrooms, while the pool area plays a critical part in the story. The feature is unexpectedly competent, providing refreshing attention to the stages of fear, while allowing for some college student stupidity to open up the viewing experience, with most of the male characters complete oafs, reinforcing the strong feminine viewpoint of the movie.” – Brian Orndorf, Blu-ray

Genres:

712. (-43) Juan de los muertos

Alejandro Brugués

AKA: Juan of the Dead

2011 / Spain / 92m / Col / Zombie | IMDb
Alexis Díaz de Villegas, Jorge Molina, Andros Perugorría, Andrea Duro, Jazz Vilá, Eliecer Ramírez, Blanca Rosa Blanco, Susana Pous, Antonio Dechent, Eslinda Núñez

“Cuba’s first zombie flick gives a twist of rum-soaked lime and shuffle-stepped tango to the social satire of George A Romero’s Dawn of the Dead, while also observing the post-modern metacinematic savvy of Edgar Wright’s Shaun of the Dead. For when Brugués is not using the revenant deceased as a prism through which to affectionately lampoon half a century of Cuban history, he is either pastiching everything from the shark-on-zombie action of Lucio Fulci’s Zombie Flesh Eaters to the priest who likes to ‘kick ass for the Lord’ in Peter Jackson’s Braindead, or having his characters pose such daftly crucial genre questions as why, when it comes to the post-millennial living dead, ‘some are fast and some are slow.'” – Anton Bitel, Little White Lies

Genres:

713. (-35) Wolfen

Michael Wadleigh

1981 / USA / 115m / Col / Werewolf | IMDb
Albert Finney, Diane Venora, Edward James Olmos, Gregory Hines, Tom Noonan, Dick O’Neill, Dehl Berti, Peter Michael Goetz, Sam Gray, Ralph Bell

“It plays primarily as horror, but as the mystery as to what is behind the killings unravels, thriller and fantasy elements begin to take over. It’s an uneven experience, but does have its rewards, and the quirky nature of it can probably be attributed to the previous directorial experience of counter-culture director Michael Wadley, whose previous work includes putting together the highly influential documentary, Woodstock. Although the goriness of the film isn’t excessive, mostly generated by graphic descriptions of the events, this does have the effect of making the movie a little more unnerving. There are a few shots of dismembered bodies and the like, but the more these are shown, the less convincing they become. In fact, that can be said of the film as a whole, which retains more interest as a mystery than after all the cards are shown, but by the time it all clicks together, enough thrills and chills have been had to make it a worthwhile viewing experience for those looking for that kind of entertainment.” – Vince Leo, Qwipster’s Movie Reviews

Genres:

714. (-33) Macabre

Kimo Stamboel & Timo Tjahjanto

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

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

Genres:

715. (-45) Hardware

Richard Stanley

AKA: M.A.R.K. 13

1990 / UK / 94m / Col / Post-Apocalyptic | IMDb
Carl McCoy, Iggy Pop, Dylan McDermott, John Lynch, Mark Northover, Stacey Travis, Paul McKenzie, Lemmy, William Hootkins, Mac McDonald

“With its post apocalyptic setting, robot gone mad, extreme gore and a cast that includes Iggy Pop – well, his voice, anyway – and Lemmy from Motorhead, it is easy to consider Richard Stanley’s Hardware to be essentially a lower budget, more intentionally punk take on The Terminator. This is essentially correct, though Stanley’s film would be a Terminator set in a world where the humans are hell-bent on destroying themselves and their planet while the robotic killing machines are just on the verge of turning on their creators and supposed masters… Though the body count is low there are several truly gruesome moments pulled of with an undeniable, and undeniably revolting, sense of style.” – Todd Brown, Twitch

Genres: Post-Apocalyptic, Cyberpunk, Dystopian, Horror, Techno-Horror, Splatter, Action, Tech-Noir

716. (-3) El vampiro

Fernando Méndez

AKA: The Vampire

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

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

Genres:

717. (new) Misterios de ultratumba

Fernando Méndez

AKA: The Black Pit of Dr. M

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

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

Genres:

718. (+114) Host

Rob Savage

2020 / UK / 57m / Col / Found Footage | IMDb
Haley Bishop, Jemma Moore, Emma Louise Webb, Radina Drandova, Caroline Ward, Alan Emrys, Patrick Ward, Edward Linard, Jinny Lofthouse, Seylan Baxter

“Host is a Zoom-inspired flick that, in less than an hour, gets more mileage than all The Conjuring movies combined. A circle of friends hire a psychic to conduct a séance online and spice things up in the midst of the COVID epidemic. Like in every group, there’s a skeptic all too happy to sabotage the ceremony — only instead of poking holes, this creates a virtual vessel that allows spirits to travel to the mortal plane. Host has no fat and makes great use of personal screens’ negative space and the social dynamics that unfold on Zoom. The jump scares are effective as is the incidental comedy.” – Jorge Ignacio Castillo, Planet S Magazine

Genres:

719. (-55) Resident Evil

Paul W.S. Anderson

2002 / UK / 100m / Col / Zombie | IMDb
Ryan McCluskey, Oscar Pearce, Indra Ové, Anna Bolt, Joseph May, Robert Tannion, Heike Makatsch, Jaymes Butler, Stephen Billington, Fiona Glascott

“This science-fiction cannibal zombie adventure does not dislodge George Romero as czar of the Living Dead but does implant Paul Anderson (Mortal Kombat, Event Horizon) as a possible franchise horror director. The story about genetics experimentation and corporations that think they are above the law offers a balanced blend of high-tech conspiracy and low-tech flesh munching… The gruesome action borrows Cube’s slice and dice laser and The Matrix’s combat special effects while bloodied Dobermans from Hell and rotting humans chomp at the gorgeously stone-faced Milla Jovovich (The Fifth Element), the ever-pouting Michelle Rodriguez (Girlfight) and their male entourage.” – Mark Halverson, Sacramento News & Review

Genres:

720. (-47) Splice

Vincenzo Natali

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

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

Genres:

721. (-32) Final Destination 2

David R. Ellis

2003 / USA / 90m / Col / Supernatural | IMDb
Ali Larter, A.J. Cook, Michael Landes, David Paetkau, James Kirk, Lynda Boyd, Keegan Connor Tracy, Jonathan Cherry, Terrence ‘T.C.’ Carson, Justina Machado

“While watching the original isn’t necessary to enjoy the sequel, it certainly contributes to a deeper appreciation of the pair of films overall. Part two doesn’t just repeat the premise and scenes of part one–it intricately links to its predecessor with impressive continuity and offers a legitimate reason for why death comes a-knockin’ once more. Characters and circumstances from the original end up having direct ties to the seemingly random characters of the sequel. In many ways, Final Destination 2 also patches up some of the weaker points of the original… but ends up replacing them with new shortcomings. Still, the central premise of a stalking death remains interesting, and there is enough eye-popping violence to keep the pace brisk.” – Andrew Manning, Radio Free Entertainment

Genres:

722. (-29) Mimic

Guillermo del Toro

1997 / USA / 105m / Col / Science Fiction | IMDb
Mira Sorvino, Jeremy Northam, Alexander Goodwin, Giancarlo Giannini, Charles S. Dutton, Josh Brolin, Alix Koromzay, F. Murray Abraham, James Costa, Javon Barnwell

“Told in the darkly dreamy style of a particularly grim fairy tale, the creepy, beautifully designed Mimic embraces the clichs of the big-bug story-scientific hubris and the inevitable revenge of nature-and makes them seem, if not fresh, then certainly as robustly vital as the oversized vermin that stalk its pervasive shadows. Mimic also has an unusually high yuck factor, involving all manner of sticky, slippery, squishy things, but to call it a gross-out movie would be, well, grossly inaccurate. Making his U.S. debut, Mexican director Guillermo Del Toro (Cronos) rejects the adrenaline-charged, roller-coaster ride approach that drives so many recent thrillers in favor of constructing a densely imagined nightmare of damp streets and nightmare alleys.” – Maitland McDonagh, Film Journal

Genres:

723. (-43) The Nightmare Before Christmas

Henry Selick

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

Genres:

724. (-57) Versus

Ryûhei Kitamura

2000 / Japan / 119m / Col / Zombie | IMDb
Tak Sakaguchi, Hideo Sakaki, Chieko Misaka, Kenji Matsuda, Yuichiro Arai, Minoru Matsumoto, Kazuhito Ohba, Takehiro Katayama, Ayumi Yoshihara, Shôichirô Masumoto

“All in all, “Versus” delivers on its one basic promise: action, and tons and tons of action. This movie has, for lack of a better word, style. It is obviously a low-budget film, since there are barely any special effects of the computer variety, but many of the old-fashion practicals and gallons and gallons of fake blood variety. It’s gore at its finest, and it’s quite fine, let me assure you. Gorefiends will pray their eyes don’t fail them during the viewing.” – Beyond Hollywood

Genres:

725. (-46) Thir13en Ghosts

Steve Beck

2001 / USA / 91m / Col / Haunted House | IMDb
Tony Shalhoub, Embeth Davidtz, Matthew Lillard, Shannon Elizabeth, Alec Roberts, JR Bourne, Rah Digga, F. Murray Abraham, Matthew Harrison, Jacob Rupp

“What we’re here for are the ghosts, the gore, and the cheesy thrills. Whatever else may be said about 13 Ghosts, it does deliver those. It also boasts gorgeous production design in the form of the centerpiece haunted house — a bizarre glass-walled structure that proves the old adage, “A house is not a home.” In this case, it isn’t even really a house, but a fantasticated machine “designed by the devil and powered by the dead.” The idea is more interesting than the execution, but at least it’s interesting… Subtle the film may not be, but it does know how to make the audience jump. It isn’t a good movie. It doesn’t pretend to be. It’s just a straightforward thrill ride for the Halloween season. Take it for that and you might have some fun with it.” – Ken Hanke, Mountain Xpress

Genres:

726. (-21) Would You Rather

David Guy Levy

2012 / USA / 93m / Col / Thriller | IMDb
Brittany Snow, Jeffrey Combs, Jonny Coyne, Lawrence Gilliard Jr., Enver Gjokaj, Sasha Grey, John Heard, Charlie Hofheimer, Eddie Steeples, June Squibb

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

Genres:

727. (-52) I Am Legend

Francis Lawrence

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

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

Genres:

728. (-20) Maniac

Franck Khalfoun

2012 / USA / 89m / Col / Slasher | IMDb
Nora Arnezeder, Brian Ames, America Olivo, Genevieve Alexandra, Liane Balaban, Jan Broberg, Aaron Colom, Joshua Delagarza, Alex Diaz, Megan Duffy

“With the accomplished Maxime Alexandre serving as cinematographer, and Raphael Hamburger providing a euro-trashy synth score, Maniac proves exploitative horror flicks need not seem hastily slapped together to unsettle and disturb. Maniac is technically impressive, which is more than can be said for most schlock of its ilk. If you’re watching Maniac to admire cinematic handiwork, to ponder our culpability in slasher flicks, or to compare Wood’s performance with the original’s Joe Spinell, I can safely recommend it.” – Simon Miraudo, Quickflix

Genres:

729. (+22) Suspiria

Luca Guadagnino

2018 / Italy / 152m / Col / Supernatural | IMDb
Dakota Johnson, Tilda Swinton, Doris Hick, Malgorzata Bela, Chloë Grace Moretz, Angela Winkler, Vanda Capriolo, Alek Wek, Jessica Batut, Elena Fokina

“Guadagnino fashions his own menagerie of nightmares, some of which would feel right at home in Argento’s own phantasmagoria: shots of girls creeping down halls, discovering secret passageways and other gruesome findings. Rather than recreate the original’s iconic murder sequences, he crafts his own indelible sequences of brutality, leaning on horrific imagery, Thom Yorke’s haunting (and, again, comparatively restrained) score, and an array of impressively diabolical gore effects. One girl’s body unnaturally contorts against itself, falling victim to the witches’ curse, leaving her in a lifeless, mangled heap; other victims aren’t so lucky, as they’re left rot in the school’s hidden passageways, their skin seemingly flayed off. Horrific, scattered bursts are but preludes to the blood-soaked crescendo, where exploding heads play like staccato grace notes of a twisted concerto.” – Brett Gallman, Oh, The Horror!

Genres:

730. (+33) It Chapter Two

Andy Muschietti

2019 / USA / 169m / Col / Supernatural | IMDb
Jessica Chastain, James McAvoy, Bill Hader, Isaiah Mustafa, Jay Ryan, James Ransone, Andy Bean, Bill Skarsgård, Jaeden Martell, Wyatt Oleff

“It lacks the structured tightness that the first film had in abundance where its contained environment reigned supreme. However, with so much crazy and ancient mysticism to cover (but never to the point where its integrity suffers), Muschietti’s direction maintains an enjoyable pace throughout. It does enough to hold itself together in its poignant moments, but serves the jump scares as well-timed defibrillator shocks to give you that necessary jolt to the system… It was always going to be a challenge to re-capture lightning in a bottle knowing the bases it had to cover. But it embraces all of its craziness (faults and all), and if you’ve come this far and willing to embrace its tonal shifts, the immense fun waiting to be experienced will be worth the wait.” – Kelechi Ehenulo, Confessions From A Geek Mind

Genres:

731. (-33) The Other

Robert Mulligan

1972 / USA / 108m / Col / Mystery | IMDb
Uta Hagen, Diana Muldaur, Chris Udvarnoky, Martin Udvarnoky, Norma Connolly, Victor French, Loretta Leversee, Lou Frizzell, Portia Nelson, Jenny Sullivan

“”The Other,” which is based on the novel by former actor Tom Tryon (you saw him as “The Cardinal”), has been criticized in some quarters because Mulligan made it too beautiful, they say, and too nostalgic. Not at all. His colors are rich and deep and dark, chocolatey browns and bloody reds; they aren’t beautiful but perverse and menacing. And the farm isn’t seen with a warm nostalgia, but with a remembrance that it is haunted. The movie isn’t scary in the usual horror-film way, but because Niles is such a creep – the kind of kid who would pull the wings off a fly and then claim the big boys made him (and get them in trouble, and go out looking for more flies). Kids like that will stop at nothing. – Roger Ebert, Chicago-Sun Times

Genres: Mystery, Psychological Horror, Thriller, New Hollywood, Psychological Drama, Gothic, Evil Children

732. (-22) Ghost Story

John Irvin

1981 / USA / 110m / Col / Haunted House | IMDb
Fred Astaire, Melvyn Douglas, Douglas Fairbanks Jr., John Houseman, Craig Wasson, Patricia Neal, Alice Krige, Jacqueline Brookes, Miguel Fernandes, Lance Holcomb

“Ghost Story plays its horror cards in all suits, from classical atmospheric chills (and as a note to Irvin’s love for detail, watch how the wind doesn’t begin to blow in the graveyard until Houseman says, “And the wind began to blow”) to Dick Smith’s excellent zombie make-up. It’s not gory, really, but some scenes, such as a body falling from a high-rise, shattering through a glass roof, and landing with a thud next to a pool, are more brutal than usual–Irvin graphically captures the tragedy and weight of the fall in a way that splattered body parts simply couldn’t do. The film’s real strength, though, lies in its ability to create ghostly thrills via deep characters who have a reason to be scared. And that, combined with all the other unique, superb elements, make this a must see for any genre fans or any serious fan of film.” – Brandt Sponseller, Classic-Horror

Genres:

733. (-38) Dark Water

Walter Salles

2005 / USA / 105m / Col / Supernatural | IMDb
Jennifer Connelly, John C. Reilly, Tim Roth, Dougray Scott, Pete Postlethwaite, Camryn Manheim, Ariel Gade, Perla Haney-Jardine, Debra Monk, Linda Emond

“Dark Water is slow-paced yet never boring, sober and serious, but certainly not drab. The settings, New York’s dilapidated Roosevelt Island and one startlingly huge apartment complex, are pitch-perfect: gothic, domineering, and quietly unpleasant. While the feather in Dark Water’s cap is Ms. Connelly’s fragile, sympathetic, mildly disconcerting performance, there’s more than enough actors’ accolades to go around: John C. Reilly offers a great turn as a sleazy landlord; Pete Postlethwaite is suitably gamey as a mysterious superintendent; Tim Roth plays (perfectly) against type as an oddly endearing lawyer; folks like Dougray Scott and Camryn Mannheim do great work in decidedly smaller roles.” – Scott Weinberg, DVDTalk.com

Genres:

734. (+81) Saint Maud

Rose Glass

2019 / UK / 84m / Col / Psychological | IMDb
Morfydd Clark, Jennifer Ehle, Lily Knight, Lily Frazer, Turlough Convery, Rosie Sansom, Marcus Hutton, Carl Prekopp, Noa Bodner, Takatsuna Mukai

“This brilliantly unsettling horror film sweeps in on a humdrum English coastal town with a fierce cargo of religious mania, psychological power games and the odd moment of nightmarish ickiness… Ehle is great as the worldly, weary Amanda, and in a just world, Clark would be winning awards for a remarkable piece of physical acting. It spans convulsions of divine ecstasy and a quiet unravelling as Maud shuffles through the gaudy seafront arcades and pubs of the town (unnamed but filmed in Scarborough) convinced of her higher purpose. You suspect you know where it’s all going to end up, but that drains it of precisely none of its guttural power.” – Philip De Semlyen, Time Out

Genres:

735. (-41) Joy Ride

John Dahl

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

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

Genres:

736. (-36) Dark Night of the Scarecrow

Frank De Felitta

1981 / USA / 96m / Col / Slasher | IMDb
Charles Durning, Robert F. Lyons, Claude Earl Jones, Lane Smith, Tonya Crowe, Larry Drake, Jocelyn Brando, Tom Taylor, Richard McKenzie, Ivy Jones

“For a small screen production, the movie manages a terrific autumn/Halloween atmosphere, using the dry, brittle cornfields and even a holiday costume party for mood. It also takes its time with its revenge plot; it keeps the same slow, tense pace throughout to allow time to digest each particular revenge killing and to watch the survivors sweat.” – Jeffrey M. Anderson, Combustible Celluloid

Genres:

737. (-38) Just Before Dawn

Jeff Lieberman

1981 / USA / 90m / Col / Slasher | IMDb
George Kennedy, Mike Kellin, Chris Lemmon, Gregg Henry, Deborah Benson, Ralph Seymour, Katie Powell, John Hunsaker, Charles Bartlett, Jamie Rose

“Just Before Dawn is a well above average backwoods slasher with several ingredients that set it apart. The film has a deliberate pacing, which is usually a death knell for this sort of movie, but rather than becoming dull the movie builds up well to the inevitable slaughters. The better than expected acting helps maintain interest, and there are some very well done eerie moments. The forest setting creates a claustrophobic feel and the killer’s wheezy laugh is also an effective tool to generate unease. The characters do some stupid things, which is commonplace in this genre, but they’re not so terribly stupid as to be implausible, which is virtually unheard of in this genre.” – Devon B., Digital Retribution

Genres:

738. (new) Turistas

John Stockwell

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

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

Genres:

739. (-43) Yeogo goedam II

Tae-Yong Kim & Kyu-dong Min

AKA: Memento Mori

1999 / South Korea / 98m / Col / Supernatural | IMDb
Gyu-ri Kim, Yeh-jin Park, Yeong-jin Lee, Jong-hak Baek, Min Han, Seung-Yeon Han, Jae-in Kim, Hyo-jin Kong, Hye-mi Lee, Seong-Eon Lim

“These days, films that depict gay characters are slowly becoming more commonplace, but when Memento Mori was released in its native country, it was a fairly big deal. Homosexuality was an extremely taboo topic even in 1999, so when such themes were prominently presented in a mainstream horror film, many eyebrows were raised. Luckily, the writing/directing team of Tae-yong Kim and Kyu-dong Min had the foresight to abandon all exploitative pretenses… The filmmakers handle the romantic aspect in all the right ways, coaxing out its most tragic qualities without overdoing the melodrama.” – A. J. Hakari, Passport Cinema

Genres:

740. (+1) Teeth

Mitchell Lichtenstein

2007 / USA / 94m / Col / Comedy | IMDb
Jess Weixler, John Hensley, Josh Pais, Hale Appleman, Lenny von Dohlen, Vivienne Benesch, Ashley Springer, Laila Liliana Garro, Nicole Swahn, Adam Wagner

“While “Carrie” is the obvious influence (with genital transmogrification instead of telekinesis, and the other sex doing the bulk of the bleeding), “Teeth” could be seen as a “Reefer Madness” for the New Chastity Generation. The camp sensibility, however, is fully self-aware, not unlike certain Todd Haynes’ movies: the Barbie-doll biopic “Superstar: The Karen Carpenter Story,” or the black-and-white venereal horror/sci-fi segment of “Poison.” Writer-director Lichtenstein, best known for his central part in Robert Altman’s 1983 film of David Rabe’s “Streamers,” straddles one line between earnestness and facetiousness and another between horror and satire, shifting and pivoting from one to the other. Most of the time his balance is just right.” – Jim Emerson, Chicago Sun-Times

Genres:

741. (-56) The Slumber Party Massacre

Amy Holden Jones

AKA: Sleepless Nights

1982 / USA / 77m / Col / Slasher | IMDb
Michelle Michaels, Robin Stille, Michael Villella, Debra De Liso, Andree Honore, Gina Smika Hunter, Jennifer Meyers, Joseph Alan Johnson, David Millbern, Jim Boyce

“Even if one wanted to ignore the obvious overtones, they’re left with a pretty rad little slasher with impressive gore and ass-kicking girls. I’m not sure why anyone would want to discard the interesting subtext, though—it’s much more fun to read it as a film by two women who were quick to call the slasher genre out on its bullshit. Their initial vision may have been somewhat thwarted, but the hints in the margins here result in a slasher film that’s actually more interesting now than it was when I first watched it as a kid (when I was interested in it for all the things Brown and Jones were trying to highlight, of course).” – Brett Gallman, Oh, The Horror

Genres:

742. (-10) Dead Silence

James Wan

2007 / USA / 89m / Col / Supernatural | IMDb
Ryan Kwanten, Amber Valletta, Donnie Wahlberg, Michael Fairman, Joan Heney, Bob Gunton, Laura Regan, Dmitry Chepovetsky, Judith Roberts, Keir Gilchrist

“So what makes Dead Silence more creepy and clever than the dozens of horror films that have preceded it in this decade? It comes directly from the talents of director James Wan and writer Leigh Whannell. The scenarios they set in motion combine logical storytelling with strong suspense filmmaking and keep us in the audience in a constant state of alert, sitting on the edge of our seat, unable to predict what is going to happen next. Wan and Whannell never retreat to the typical horror cliches to achieve their scares. There are no unnecessary shock cuts, no red herrings and no abuse of bombastic musical scoring to tell audiences when to be scared. Where so many modern horror films are utterly predictable, the Saw pictures, all written by Whannell with producer credits for Wan on Saw 2 and 3, and now Dead Silence avoid predictibility by employing great staging and scene setting. The audience is so busy covering their eyes in anticipation of the next scare, they simply don’t have time to predict what comes next.” – Sean Kernan, Smart-Popcorn

Genres: Supernatural Horror, Mystery, Gothic Horror, Evil Doll

743. (-17) Halloween H20: 20 Years Later

Steve Miner

1998 / USA / 86m / Col / Slasher | IMDb
Jamie Lee Curtis, Adam Arkin, Michelle Williams, Adam Hann-Byrd, Jodi Lyn O’Keefe, Janet Leigh, Josh Hartnett, LL Cool J, Joseph Gordon-Levitt, Branden Williams

“Scream scripter Kevin Williamson, a true-blue Halloween fan, revitalized the moribund stalk-and-slash genre with clever dialogue, self-referential irony and a healthy respect for horror traditions. Although he’s not credited as a screenwriter on H20 (he’s listed up with the co-executive producers), Williamson’s hand is all over it, from the sharp in-jokes to the fact that the about-to-be-terrorized teens are watching Scream 2 on TV before the real screaming starts. And it’s a blast… Director Steve Miner, who cut his teeth on Friday the 13th sequels, does a more than respectable job, supplying the requisite false scares (including a very effective sequence involving a mother, her little girl, and a highway rest-stop bathroom) and keeping the whole business moving at a brisk clip.” – Marc Savlov, Austin Chronicle

Genres:

744. (-42) Poltergeist II: The Other Side

Brian Gibson

1986 / USA / 91m / Col / Supernatural | IMDb
JoBeth Williams, Craig T. Nelson, Heather O’Rourke, Oliver Robins, Zelda Rubinstein, Will Sampson, Julian Beck, Geraldine Fitzgerald, John P. Whitecloud, Noble Craig

“If I’m being as objective as possible, I know that the movie just doesn’t measure up to the truly classic first film. There’s no doubt about that… But this doesn’t matter. Poltergeist II is fun, not just the usual, so-bad-it’s-good variety of horror film fun — though it is that, occasionally — but actual fun. You can’t help but enjoy how ridiculously far out it’s willing to go while still remaining completely straight-faced. What other film features a tequila worm monster, killer braces, a levitating chainsaw, and the wackiest failed doomsday prophet this side of Harold Camping?” – Casey Broadwater, Blu-ray.com

Genres:

745. (-42) Baby Blood

Alain Robak

AKA: The Evil Within

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

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

Genres:

746. (+12) The Fourth Kind

Olatunde Osunsanmi

2009 / USA / 98m / Col / Science Fiction | IMDb
Milla Jovovich, Will Patton, Hakeem Kae-Kazim, Corey Johnson, Enzo Cilenti, Elias Koteas, Eric Loren, Mia McKenna-Bruce, Raphaël Coleman, Daphne Alexander

“THE FOURTH KIND proves that a horror film doesn’t need splashy digital effects or pyrotechnics to be effective. On the contrary, to work, a film needs to establish a discombobulating sense of unease, the which happens here with a smartly low-key mood. Director and co-writer Olatunde Osunsame couples that with some very smart filmmaking techniques to bring into play something else, that most terrifying of sensations, utter powerlessness in the face of something relentless and unswayable. While the subject at hand is alien abductions, the title refers to the fourth level of interaction with alien visitors, it would work as effectively as a study of madness.” – Andrea Chase, Killer Movie Reviews

Genres:

747. (-50) P2

Franck Khalfoun

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

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

Genres:

748. (-42) Taxidermia

György Pálfi

2006 / Hungary / 91m / Col / Black Comedy | IMDb
Csaba Czene, Gergely Trócsányi, Marc Bischoff, István Gyuricza, Piroska Molnár, Gábor Máté, Géza Hegedüs D., Zoltán Koppány, Erwin Leder, Adél Stanczel

“Striking visuals attempt to match allegory; this is the stuff of Taxidermia. From the onset it’s quite clear that Taxidermia isn’t interested in being a typical horror film. The film blends elements of comedy, body horror, and political allegory into as unappealing of a package as possible. That is, however, the reason that Taxidermia is so appealing as a film. The images are often visceral to the extreme, repugnant in the way they depict the characters. People who see Taxidermia will probably never be able to look at competitive eating the same way again. Repugnance is the point of Taxidermia, or rather it is the point that is used to get to the root of the political issues that have plagued Hungary for years.” – Bill Thompson, Sound on Sight

Genres:

749. (-40) Lik wong

Ngai Choi Lam

AKA: Riki-Oh: The Story of Ricky

1991 / Hong Kong / 91m / Col / Martial Arts | IMDb
Siu-Wong Fan, Mei Sheng Fan, Ka-Kui Ho, Yukari ôshima, Chi-leung Chan, Tetsurô Tanba, Gloria Yip, Philip Kwok, Bill Lung Biu, Yiu-Sing Cheung

“A martial arts film like no other, with characters’ fists not just making full contact with their opponents’ bodies, but actually going through them. When one person in ‘The Story of Ricky’ threatens to turn another ‘into mincemeat’ or to cut them ‘into little pieces’, their words are meant all too literally… Based on a popular Japanese manga, and released in 1991, ‘The Story of Ricky’ has the honour of being the first totally sex-free Hong Kong film to receive a Category 3 rating (equivalent to the 18 certificate here). Apart from ‘Ichi the Killer’, it is the only live-action film ever to capture the anarchic, excessive, highly stylised violence of manga… a truly visceral film that will leave you feeling battered and bruised, but strangely liberated nonetheless.” – Anton Bitel, Movie Gazette

Genres:

750. (-10) Saw III

Darren Lynn Bousman

2006 / USA / 108m / Col / Splatter | IMDb
Tobin Bell, Shawnee Smith, Angus Macfadyen, Bahar Soomekh, Donnie Wahlberg, Dina Meyer, Leigh Whannell, Mpho Koaho, Barry Flatman, Lyriq Bent

“After helming the good, if somewhat generic Saw II, the second time is clearly the charm for [Darren Lynn Bousman]. He gets into the splatter spirit early and often. What’s particularly fulfilling, especially in light of all the wonderfully disgusting Jigsaw puzzle setpieces in the film, is how rounded and deep the narrative is. Almost all the characters, from serial killer in training Amanda (Shawnee Smith bringing it once again) to desperate, disconnected doctor Lynn go through some major mental changes during the course of the story, and Bousman allows the movie to meander to provide such a potent underscoring. Also, unlike other franchise films, Saw III actually makes an effort to incorporate elements we saw in the first two installments to keep the overall concepts linked and truly fascinating.” – Bill Gibron, DVD Verdict

Genres:

751. (-18) Sam gang 2

Fruit Chan & Takashi Miike & Chan-wook Park

AKA: Three… Extremes

2004 / Hong Kong, Japan, South Korea / 118m / Col / Anthology | IMDb
Bai Ling, Pauline Lau, Tony Leung Ka Fai, Meme Tian, Miriam Yeung Chin Wah, Sum-Yeung Wong, Kam-Mui Fung, Wai-Man Wu, Chak-Man Ho, Miki Yeung

“These short films collectively are an ambitious, well-conceived, beautifully presented example of what can be achieved when a director is allowed to present a completely original concept around a common theme, without censorship or meddling studio hands to muck things up. While most if not every frame presented shows an original and new spin on the term “horror”, these films present an elegance that surpasses one singular, often cheaply-perceived genre. Each director has his strength: for Fruit Chan, a strong narrative and a coherent and intriguing plotline; for Chan-Wook Park , a macabre new version of the classic guts and gore mystery; and for Takashi Miike, it’s a surprisingly sympathetic, subtle, and thoughtful philosophical work that is as heavy on the eyes as it is on the viewer’s emotions.” – Tyler Robbins, Snowblood Apple

Genres:

752. (-30) Le viol du vampire

Jean Rollin

AKA: The Rape of the Vampire

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

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

Genres:

753. (-42) Spalovac mrtvol

Juraj Herz

AKA: Cremator

1969 / Czechoslovakia / 95m / Col / Black Comedy | IMDb
Rudolf Hrusínský, Vlasta Chramostová, Jana Stehnová, Milos Vognic, Zora Bozinová, Ilja Prachar, Eduard Kohout, Jirí Menzel, Míla Myslíková, Vladimír Mensík

“Herz’s direction has an expressionist feel, shot in black and white with a striking use of shadow and marked gothic sensibility. The film is very much seen through Kopfrkingl’s eyes, and as such, the city is given the look of a tomb, with the crematorium resembling the grand temple of death which he imagines it to be. This does mean that the proceedings do at times slip into the realm of the surreal, though this is skilfully done and works well as a method of illustrating both the character and the country’s decent into madness, giving the atmosphere that of an inescapable nightmare. “The Cremator” is a unique example of modern gothic cinema, being both fantastic and grimly realistic.” – James Mudge, Beyond Hollywood

Genres:

754. (-30) Night of the Living Dead

Tom Savini

1990 / USA / 92m / Col / Zombie | IMDb
Tony Todd, Patricia Tallman, Tom Towles, McKee Anderson, William Butler, Katie Finneran, Bill Moseley, Heather Mazur, David W. Butler, Zachary Mott

“The idea of remaking the classic “Night of the Living Dead” would certainly seem like sacrilege to many fans. Yet the resulting movie stands on its own merits as a taut if slightly sterile horror film… Zombie films always suffer in critical terms. But what this boils down to, just as the original does, is a classic siege situation. Tempers fray, fear builds, the final stand-off looms and this movie exploits the form well, with some real tension building among some fine shock moments. Some purists will not condone this remake, but there’s little denying that this is a better horror film than most made in the 1990s.” – Almar Haflidason, BBC.com

Genres:

755. (-43) Paperhouse

Bernard Rose

1988 / UK / 92m / Col / Fantasy | IMDb
Charlotte Burke, Jane Bertish, Samantha Cahill, Glenne Headly, Sarah Newbold, Gary Bleasdale, Elliott Spiers, Gemma Jones, Steven O’Donnell, Ben Cross

“The film doesn’t turn into a message movie, and this stuff can be ignored by a less perceptive viewer. Or it can be explained by the way that Anna’s loneliness manifests itself in her dreams. Her father is, at one point, introduced in her dream by a guitar stinger more suitable for a slasher movie. At first that seems like a dated misstep, until we consider how each image is part of Anna’s skewed viewpoint. Her world, encapsulated by this large, creepy, mostly empty house, in the middle of a spacious field, is the suggestion that she hasn’t lived long enough to fill in the details. As a film, Paperhouse is about Anna’s discovery of something she didn’t quite understand before- her own mortality. And she spends the entire film learning about it piece by piece.” – Adam Lippe, Examiner.com

Genres:

756. (-39) Children Shouldn’t Play with Dead Things

Bob Clark

1972 / USA / 87m / Col / Zombie | IMDb
Alan Ormsby, Valerie Mamches, Jeff Gillen, Anya Ormsby, Paul Cronin, Jane Daly, Roy Engleman, Robert Philip, Bruce Solomon, Alecs Baird

“Many people have written this film off as, like I mentioned above, campy, but there’s something deliberate in the tone that the director crafted for this film. He loaded the script with silly lines and inside jokes that you would traditionally hear when in close quarters with a theatrical group such as this one, yet offsets that harmless scenario with the hauntingly macabre idea of a group of kids desecrating a cemetery and then walking off with one of it’s inhabitants to just goof off with it. I think the combination is both fun and demented and I enjoy those ingredients each and every time I view this film. The characters are so off the wall and have such different personalities that you just enjoy listening to the ridiculous things that come out of their mouths. There’s enough one liners and quotable lines in this one that it’s hard to get bored and that’s not including the hauntingly vibrant soundtrack.” – Jay Shatzer, The Lucid Nightmare

Genres:

757. (-43) The Keep

Michael Mann

1983 / USA / 96m / Col / Supernatural | IMDb
Scott Glenn, Alberta Watson, Jürgen Prochnow, Robert Prosky, Gabriel Byrne, Ian McKellen, William Morgan Sheppard, Royston Tickner, Michael Carter, Phillip Joseph

“The best way I can describe everything is this: The Keep isn’t a movie. The Keep is an experience. It’s impossible for anyone not to get taken in by the lush visuals and the fantastical score, and if you can ignore the choppy plot, you’re going to have a great time. While the novel was really more of a Gothic horror story (and the movie is to an extent), this is more of a fairy tale filled with the classic good versus evil scenario, a romance, engaging characters, and some exploding Nazi heads thrown in for good measure.” – James Oxyer, Obscure Cinema 101

Genres:

758. (-2) Beyond the Black Rainbow

Panos Cosmatos

2010 / Canada / 110m / Col / Surrealism | IMDb
Michael Rogers, Eva Bourne, Scott Hylands, Rondel Reynoldson, Marilyn Norry, Gerry South, Chris Gauthier, Sara Stockstad, Roy Campsall, Geoffrey Conder

“Very deliberate in its pacing, “Beyond the Black Rainbow” is the epitome of a slow burn. Some may be frustrated by the way Cosmatos edits each scene—indeed, since she’s still fighting a drugged haze, even Elena’s third-act attempt to escape never rises above a feet-dragging walk—but pulled together, there’s an entrancing poetry to it all. Jeremy Schmidt’s synthesizer theme music is outstanding, like John Carpenter by way of Goblin, while the cinematography by Norm Li outdoes itself, each shot taking on the appearance of a vibrant-colored painting as seen through the eyes of a hallucinating, time-traveling hippie from the 1960s whose just stepped foot into 1983 after a quick trip to 2075.” – Dustin Putnam, TheFrightFile

Genres:

759. (-9) Detention

Joseph Kahn

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

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

Genres:

760. (-77) Manhunter

Michael Mann

1986 / USA / 120m / Col / Crime | IMDb
William Petersen, Kim Greist, Joan Allen, Brian Cox, Dennis Farina, Tom Noonan, Stephen Lang, David Seaman, Benjamin Hendrickson, Michael Talbott

“Michael Mann’s vision of Thomas Harris’ novel is as close to the heart of the book as you could get. The complex plot is told from opposing views, based around Graham’s pivotal role. Although the killer does not appear until almost halfway into the movie, we experience his viewpoint through Graham’s intense investigation, leaving us with a disturbing feeling of voyeurism but also one of frustration as we sympathise with the police. Being caught in the middle in this way helps build tension and suspense throughout the film. William Peterson’s performance as the troubled Will Graham is central to a film in which all the actors are excellent, not least Brian Cox delivering a first and chilling screen incarnation of Hannibal Lecter.” – Ali Barclay, BBC

Genres:

761. (-17) The Fall of the House of Usher

James Sibley Watson & Melville Webber

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

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

Genres:

762. (-3) Severance

Christopher Smith

2006 / UK / 96m / Col / Slasher | IMDb
Toby Stephens, Claudie Blakley, Andy Nyman, Babou Ceesay, Tim McInnerny, Laura Harris, Danny Dyer, David Gilliam, Juli Drajkó, Judit Viktor

“A tidy mixture of old and new horror motifs, the British-German thriller “Severance” is sometimes scary, often silly and occasionally jaw-droppingly daring. While it initially invokes such German silent classics as “Nosferatu” and “The Cabinet of Dr. Caligari,” it quickly introduces a modern bogeyman: war criminals who were unleashed during the Soviet breakup… “Severance” can be taken as a political satire aimed at the military-industrial complex and its promoters, but despite its pretensions, it’s no “Lord of War.” At heart, it’s a sophisticated variation on “Friday the 13th,” a splatter film with a slightly more interesting collection of targets.” – John Hartl, Seattle Times

Genres:

763. (-45) Lady in White

Frank LaLoggia

1988 / USA / 113m / Col / Mystery | IMDb
Lukas Haas, Len Cariou, Alex Rocco, Katherine Helmond, Jason Presson, Renata Vanni, Angelo Bertolini, Joelle Jacobi, Jared Rushton, Gregory Levinson

“The overall mood of the movie changes from charming to alarming and back to charming as the story unfolds to its incendiary ending atop the cliffs by the white cottage. LaLoggia’s simple, old-time, approach using in-camera effects combined with basic process shots build his story in an economical but creative way. Like a good ghost story, simple elements combine to create an ethereal dread, making Lady in White a memorable movie.” – JM Cozzoli, Zombos’ Closet

Genres:

764. (+2) Rubber

Quentin Dupieux

2010 / France / 82m / Col / Comedy | IMDb
Stephen Spinella, Jack Plotnick, Wings Hauser, Roxane Mesquida, Ethan Cohn, Charley Koontz, Daniel Quinn, Devin Brochu, Hayley Holmes, Haley Ramm

“The experience inspires feelings of incredulousness, the stark “did that just happen” disbelief only provoked by works of art that dare to step boldly outside the mainstream. The sort of self-reflexive dialogue that comprises much of the production could easily register as smarmy, too cute self-absorptive schlock, but Dupieux and his actors ably tread the tenuous line between the fresh and the pretentious. Their philosophical musings about the nature of storytelling have a spontaneity to them that spurs charmed recognition rather than grating eye-rolls [..] Rubber is a deliberately out-there provocation and such works are geared to be despised. Yet if the WTF idea of a film centered on a psychotic tire fills your heart with joy, if you’ve long-harbored an affinity for the films of Jean-Luc Godard and other masters of this sort of insular fourth wall-shattering fare, you’ll be rewarded with one of the few recent movies to openly, brazenly play with narrative form while telling us something about ourselves.” – Robert Levin, Film School Rejects

Genres:

765. (-18) The Lords of Salem

Rob Zombie

2012 / USA / 101m / Col / Supernatural | IMDb
Sheri Moon Zombie, Bruce Davison, Jeff Daniel Phillips, Judy Geeson, Meg Foster, Patricia Quinn, Ken Foree, Dee Wallace, Maria Conchita Alonso, Richard Fancy

“Movies by Rob Zombie, the goth rocker turned cult filmmaker, aren’t for everybody. But he couldn’t care less. He makes movies exactly the way he wants to, with no thought of pleasing mainstream audiences. They can like it or lump it. His latest effort, “The Lords of Salem,” is true to form… [fans] will want to rush out to see this stylishly lensed work, which references Roman Polanski’s “Rosemary’s Baby” and Dario Argento’s “Suspiria,” Others are advised to look elsewhere for fun in the dark.” – V.A. Musetto, New York Post

Genres:

766. (-43) La noche de Walpurgis

León Klimovsky

AKA: The Werewolf Versus the Vampire Woman

1971 / Spain / 86m / Col / Werewolf | IMDb
Paul Naschy, Gaby Fuchs, Barbara Capell, Andrés Resino, Yelena Samarina, José Marco, Betsabé Ruiz, Barta Barri, Luis Gaspar, Ruperto Ares

“Klimovsky proves his mettle with the atmospherics; the film is sufficiently dream-like, with an effective use of slow-motion during the vampire and ghoul attacks. (The werewolf attacks, on the other hand, are quick and brutal.) The transformations, by necessity, must stick to the rules from the Jack Pierce era of monster makeup, and if the effects are by comparison crude, one must take the modest budget into account… Quite a lot of exposition is packed into the film’s 91 minutes, including some dialogue scenes that get a bit draggy (some of them were cut from the American release), but for the most part the film affectionately crams in as many monster movie tropes as it can, paying equal homage to Dracula – with Elvira and Genevieve enacting the roles of Mina and Lucy, respectively – as it does The Wolf Man.” – Jeff Kuykendall, Midnight Only

Genres:

767. (new) Haze

Shin’ya Tsukamoto

2005 / Japan / 49m / Col / Psychological | IMDb
Shin’ya Tsukamoto, Takahiro Murase, Takahiro Kandaka, Masato Tsujioka, Mao Saito, Kaori Fujii

“Story-wise, there isn’t much to discuss. A nameless man (Tsukamoto) finds himself trapped in a very narrow passageway with no visible means of escape… Since there’s no clearly-defined characters and no real story to speak of, Tsukamoto relies on his ability to generate palpable suspense to carry the audience through this bleak cinematic nightmare. Watching our hero push his body through such narrow passages frequently forced me to confront my own deep-rooted fears of confined spaces, which only served to intensify the experience. It’s enough to push even the mildest claustrophobics to the proverbial breaking point. Tsukamoto’s inspired and frequently gut-wrenching performance also factors greatly into the film’s overall success.” – Todd Rigney, BeyondHollywood.com

Genres:

768. (-48) Strait-Jacket

William Castle

1964 / USA / 93m / Col / Psychological | IMDb
Joan Crawford, Diane Baker, Leif Erickson, Howard St. John, John Anthony Hayes, Rochelle Hudson, George Kennedy, Edith Atwater, Mitchell Cox

“It’s tempting to enjoy Straight-Jacket for all the external reasons; there’s a compelling perversity in watching the movie and knowing that Joan Crawford’s real daughter wrote a book accusing her mother of being a monster that tried to ruin her life. It’s also enjoyable to know that William Castle was over the moon working with names like Robert Bloch and Joan Crawford, thinking that he was finally creating that elusive A-picture. But I love Straight-Jacket for just being what it is: a cooky 1960s shocker that makes absolutely no sense and is full of great moments. That alone would guarantee at least a few fingers. But having Joan Crawford, wig askew and gams on full display, in the center of it all easily elevates this one to FIVE FINGER-ed classic status.” – Tower Farm Reviews

Genres:

769. (-53) The Night Flier

Mark Pavia

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

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

Genres:

770. (-18) The Crazies

George A. Romero

AKA: Code Name: Trixie

1973 / USA / 103m / Col / Zombie | IMDb
Lane Carroll, Will MacMillan, Harold Wayne Jones, Lloyd Hollar, Lynn Lowry, Richard Liberty, Richard France, Harry Spillman, Will Disney, Edith Bell

“The underlying cynicism and despair about individual initiative and governmental intervention reflect the social insecurity of the period when The Crazies was released. The senseless prolongation of the war in Viet Nam and the decay of urban centers gnawed at the public mood, leading not to renewed social activism, but to the self-defeating narcissism that typified the latter years of the ‘70s. Romero’s horror films—like those of John Carpenter, Wes Craven, and David Cronenberg—illustrated a mood of entropy. The monsters these directors conjured may have been figments of their imagination, but they drew attention to very real horrors. And, at a time when SARS and terrorism exercises are daily news, the fabricated panic of The Crazies feels more than a little close to home.” – David Sanjek, Popmatters

Genres:

771. (+1) Daybreakers

Michael Spierig & Peter Spierig

2009 / Australia / 98m / Col / Vampire | IMDb
Harriet Minto-Day, Jay Laga’aia, Damien Garvey, Sahaj Dumpleton, Allan Todd, Gabriella Di Labio, Ben Siemer, Peter Welman, Ethan Hawke, Callum McLean

“Daybreakers is the pinnacle of fun, modern sci-fi horror actioners. Supported by a killer cast including Sam Neill and Willem Dafoe (in his seventh movie of the last year), the film creates a lush, dark universe in which the vampires won, humans lost, and now the world just might come to an end in a bloody orgy of self-destruction, quite literally tearing itself apart. Beautifully shot and masterfully crafted, it hits all the right notes, delivering what can best be described as a fun experience that doesn’t for a second cheat your brain out of the ride. This isn’t a “shut your brain off” action film. On the contrary, it is a great piece of speculative fiction with a lot to say about human nature and our disregard for the limits of our resources. All while rocking your face off with taut pacing, incredible action, and dark pathos.” – C. Robert Cargill, Film.com

Genres:

772. (new) Case 39

Christian Alvart

2009 / USA / 109m / Col / Psychological | IMDb
Renée Zellweger, Jodelle Ferland, Ian McShane, Bradley Cooper, Callum Keith Rennie, Adrian Lester, Kerry O’Malley, Cynthia Stevenson, Alexander Conti, Philip Cabrita

“Christian Alvart’s Case 39 is refreshingly free of bullshit. An amalgamation of the recent Orphan and Drag Me to Hell, this supernaturally tinged tale only goes skin-deep and is proud of it, wasting little time in establishing narrative basics and getting to the good stuff. In the pantheon of John Carpenter-esque genre goods, there’s nothing remarkable going on here (with the exception of an early showdown in a kitchen that features some of the tightest blocking and editing in any recent horror film), but for all of its familiarity, Case 39’s storytelling efficiency and game performances render the proceedings as delightfully glib fun.” – Rob Humanick, Slant Magazine

Genres: Horror, Psychological Thriller, Supernatural Horror, Mystery

773. (-28) The Conjuring 2

James Wan

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

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

Genres:

774. (-53) Dr. Phibes Rises Again

Robert Fuest

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

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

Genres:

775. (0) My Little Eye

Marc Evans

2002 / UK / 95m / Col / Found Footage | IMDb
Sean Cw Johnson, Kris Lemche, Stephen O’Reilly, Laura Regan, Jennifer Sky, Bradley Cooper, Nick Mennell

“Shooting on digital video and making full use of the premise, Evans cranks up the tension from the beginning with invasive camera angles, atonal music and the incessant soft whirring of the camera motors. He also plays with image quality, lighting, sound and even night vision photography, which makes the actors look like demons with green-glowing eyes! And amid the black humour and grisly surprises, there are echoes of other horror films–a glimpse of an axe here, a bullet there, a shower curtain, urban legends, ghost stories. The fresh-faced cast is terrific, almost too authentic as characters that never become stereotypes. They are everyday people, self-absorbed and self-righteous and pushed into very nasty corners. The whole thing has an improvised feel to it that makes it hard to suspend our belief; it really is like we’re voyeurs watching what we should not be seeing.” – Rich Cline, Shadows on the Wall

Genres:

776. (-15) Hush

Mike Flanagan

2016 / USA / 81m / Col / Home Invasion | IMDb
Kate Siegel, John Gallagher Jr., Michael Trucco, Samantha Sloyan, Emma Graves

“Beautiful in its narrative simplicity, observant in its human complexity, and vital in its stylistic precision, “Hush” is the kind of nerve-shredding thriller which lays waste to its viewers’ fingernails while leaving said audience literally perched on the edge of their seats. There are no needless subplots on hand to muddy the waters or lugubrious tangents to slow the pacing. Director Mike Flanagan is laser-focused on what he has set out to do, and achieve, and he does it magnificently.” – Dustin Putnam, TheFrightFile

Genres:

777. (+2) Rogue

Greg Mclean

2007 / Australia / 99m / Col / Natural Horror | IMDb
Radha Mitchell, Michael Vartan, Sam Worthington, Caroline Brazier, Stephen Curry, Celia Ireland, John Jarratt, Heather Mitchell, Geoff Morrell, Damien Richardson

“Rogue may keep its creature hidden for large stretches in order to generate tension through omnipresent suggestion, but its expertly orchestrated set pieces don’t skimp on the killer-croc goods, providing enough glimpses of the beast feasting on terrified humans to deliver requisite horror-premise payoffs. Mclean’s tight scripting rarely relies on stupid behavior to elicit scares and refuses to one-dimensionally condemn its characters for less-than-noble reactions to trauma, exhibiting shrewd, nonjudgmental consideration for the strains its stranded travelers are under. All the while, his evocative widescreen cinematography of the Australian landscape – part Terrance Malick-entrancing, part John Carpenter-creepy – lends the action a sense of encompassing ominousness, and in its reverence for the natural world, proves in tune with the director’s own respect for his characters, his B-movie genre, and his audience.” – Nick Schager, Lessons of Darkness

Genres:

778. (-51) The ‘Burbs

Joe Dante

1989 / USA / 101m / Col / Black Comedy | IMDb
Tom Hanks, Bruce Dern, Carrie Fisher, Rick Ducommun, Corey Feldman, Wendy Schaal, Henry Gibson, Brother Theodore, Courtney Gains, Gale Gordon

“The ‘Burbs may look, feel and seem like a simple movie, and the outset of things it is. It relies on out-of-the-box comedy methods like pratfalls and wacky dialogue delivery to help Dana Olsen’s well-conceived script, but it succeeds on the most basic level of taking ordinary people and putting them in an extra-ordinary situation. Just like a genre classic like Ghostbusters, The ‘Burbs is is laugh-out-loud hilarious because you can see something of yourself and the life around you in this series of very bizarre events.” – Luke Owen, Flickering Myth

Genres:

779. (+8) The Watcher in the Woods

John Hough

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

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

Genres:

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

Aldo Lado

AKA: Short Night of Glass Dolls

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

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

Genres:

781. (-10) Noroi

Kôji Shiraishi

AKA: Noroi: The Curse

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

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

Genres:

782. (-48) Schock

Mario Bava

AKA: Beyond the Door II

1977 / Italy / 95m / Col / Supernatural | IMDb
Daria Nicolodi, John Steiner, David Colin Jr., Ivan Rassimov

“Shock differs sharply from earlier Bava features as it is much more understated – there is no gothic setting, no baroque décor, and no elaborate costumes. Obviously saddled with a much more economical budget this time around, Bava chose to concentrate on creating a tense, claustrophobic environment within the confines of a family home – and succeeds admirably. He blends psychosomatic and paranormal themes into a nice ambiguous twist – it’s up to the viewer to decide whether the house is really haunted or entirely a creation of Dora’s tormented mind.” – Michelle R., Digital Retribution

Genres:

783. (new) Aftermath

Nacho Cerdà

1994 / Spain / 30m / Col / Splatter | IMDb
Pep Tosar, Jordi Tarrida, Ángel Tarris, Xevi Collellmir

“Aftermath is a deeper look into what disturbs Cerda. It is a clinical look at what happens after death but has not a stitch of spirituality to it, keeping its focus on the physical. It deletes the former question in the mind-body problem, leaving only a defenseless empty shell. Aftermath is a notorious film. Having garnered a reputation as “one of the most vile things to be ever put on film” from festival screenings and bootleg copies, it stands in clear contrast to the other two films. It is intense. It is unflinching. Yet, at its core it is subtle, hauntingly beautiful, and every bit as rich in detail and composition as any other great film has ever been.” – DW Bostaph Jr, Dread Central

Genres:

784. (-19) Aterrados

Demián Rugna

AKA: Terrified

2017 / Argentina / 87m / Col / Supernatural | IMDb
Maximiliano Ghione, Norberto Gonzalo, Elvira Onetto, George L. Lewis, Julieta Vallina, Demián Salomón, Agustín Rittano, Natalia Señorales, Matias Rascovschi, Lorenzo Langer

“Rugna delivers on the scares and justifies the title of his latest feature. Winner of Fantastic Fest’s Best Horror Film, Terrified knows exactly how to make your skin crawl. Simply put, that is the film’s primary focus as there is minimal explanation or backstory as to what causes the horrific events on screen to emerge. Rugna serves up raw, visceral entertainment with special effects serving as the cynosure of the film while bypassing character development and plot. Part love letter to its horror movie predecessors, part uniquely crafted spooky tale, Terrified is a gory and gruesome gem that solidifies its spooky real estate within the genre we all know and love.” – Marisa Mirabel, SlashFilm

Genres: Supernatural Horror, Haunted House, Cosmic Horror, Mystery

785. (+6) Sílení

Jan Svankmajer

AKA: Lunacy

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

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

Genres:

786. (-40) Requiem pour un vampire

Jean Rollin

AKA: Requiem for a Vampire

1972 / France / 95m / Col / Vampire | IMDb
Marie-Pierre Castel, Mireille Dargent, Philippe Gasté, Dominique, Louise Dhour, Michel Delesalle, Antoine Mosin, Agnès Petit, Olivier François, Dominique Toussaint

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

Genres:

787. (-97) La ragazza che sapeva troppo

Mario Bava

AKA: Evil Eye

1963 / Italy / 86m / Col / Giallo | IMDb
Letícia Román, John Saxon, Valentina Cortese, Titti Tomaino, Luigi Bonos, Milo Quesada, Robert Buchanan, Marta Melocco, Gustavo De Nardo, Lucia Modugno

“At any rate, it’s notoriously hard to define a giallo. It’s not a formula quite as much as a mood and a point of view, and if The Girl Who Knew Too Much is a bit breezier than many of its children, it still shares their casual acceptance of metaphysics as a component of medical science, cops who’ll believe anything but the hero’s eye-witness account, people doing everything they can to find a killer, and are then shocked when they run across the killer. In the next few weeks, I hope to dig up some of these trends when I can find them: in the meanwhile, let me conclude by proposing that The Girl Who Knew Too Much is a gialli like The Texas Chainsaw Massacre is a slasher: it created the genre, and the rules followed, and thus it’s hardly the germinating film’s fault if it occasionally ignores those rules.” – Tim Brayton, Antagony & Ecstasy

Genres:

788. (-59) The Legend of Sleepy Hollow

Clyde Geronimi & Jack Kinney

1949 / USA / 34m / Col / Family | IMDb
Bing Crosby

“The genius of the film comes from how innocent the film is when it first begins but gradually shows it’s darker side until we get to the climactic appearance of the Headless Horseman himself. I wouldn’t be surprised if this film scarred for life some kids who saw it the first time. For a Disney film that was produced in 1949 it definitely had a high-level of scare when put in the context that it was advertised as a kid’s film. If this film had been produced in this day and age I don’t think it would’ve made it out of the ratings board with a G-rating. They definitely don’t make animated films like this nowadays and that is a shame.” – Arleigh, Through The Shattered Lens

Genres:

789. (-7) Marebito

Takashi Shimizu

AKA: The Stranger from Afar

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

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

Genres:

790. (-71) Ghostwatch

Lesley Manning

1992 / UK / 91m / Col / Haunted House | IMDb
Michael Parkinson, Sarah Greene, Mike Smith, Craig Charles, Gillian Bevan, Brid Brennan, Michelle Wesson, Cherise Wesson, Chris Miller, Mike Aiton

“Set up as a live broadcast, in the same manner that so many ghost hunting shows are now, the movie was actually banned from being broadcast again, because of negative reaction from audiences. Like Orson Welles had done with War of the Worlds, director Lesley Manning and writer Stephen Volk did with Ghostwatch. People believed this was happening, and the film was even said to have caused PTSD in children. It’s not hard to see why. The film is still incredibly frightening, bolstered by the way the evil ghost, Pipes, randomly appears in very quick shots, and how the presenters in the show played themselves. It feels quite real, and obviously had a tremendous impact.” – Will Brownridge, The Film Reel

Genres:

791. (-66) The Kiss of the Vampire

Don Sharp

1963 / UK / 88m / Col / Vampire | IMDb
Clifford Evans, Edward de Souza, Noel Willman, Jennifer Daniel, Barry Warren, Brian Oulton, Noel Howlett, Jacquie Wallis, Peter Madden, Isobel Black

“But where Kiss works so well is in its restraint; holding back on the horrors in favour of subtlety- an unusual move for Hammer one might think, but one Sharp felt was right for the film and adjusted the screenplay accordingly. What was important was the story, the development of characters, the creation of mood, the building of tension – so that when the invitable shock/horror comes it is all the more effective. Less is certainly more in this case. And while, yes, the film is let down somewhat at the end by the unconvincing bat attack, what preceeds it more than makes up for this. Hind’s intelligent riff on the vampire theme, Sharp’s wonderful construction of pace, mood, scene and characterisation, some stand-out performances, and poetically beautiful score and design, make Kiss of the Vampire one of Hammer’s more off-beat but satisfying Gothics.” – MovieFanFare

Genres:

792. (new) Incubus

Leslie Stevens

1966 / USA / 78m / BW / Supernatural | IMDb
William Shatner, Allyson Ames, Eloise Hardt, Robert Fortier, Ann Atmar, Milos Milos

“After the demonic symbol opening titles and, you know, the freaking Esperanto [language the film is shot in], the film’s already a little goofy. For a while, it seems like it might not end up goofy. But it’s a story about a succubus who wants to condemn a clean soul so she can become a demon—she needs to show off to Satan, who’s a giant bat in a fog machine—it’d be hard for Incubus not to be goofy. Stevens’s script runs out of ideas fast. His direction doesn’t. While he does ignore Atmar a little too often, Stevens is otherwise high energy. It’s not always good direction, but Hall shoots most of it well so it at least looks great. And during the bumpier periods, Incubus gets by on the strange factor” – Andrew Wickliffe, The Stop Button

Genres:

793. (-33) Feast

John Gulager

2005 / USA / 95m / Col / Comedy | IMDb
Balthazar Getty, Henry Rollins, Navi Rawat, Judah Friedlander, Josh Zuckerman, Jason Mewes, Jenny Wade, Krista Allen, Clu Gulager, Anthony ‘Treach’ Criss

“We’re introduced to our buffet of victims in unique style, as each cast member is presented with accompanying text giving their nickname (“Hero,” “Grandma,” “Bozo”), occupation, and life expectancy. Such an obvious goof on horror movie cliché nets some laughs, but might lead you to think you’re in for another excruciating post-modern genre wankfest. Such concern is unwarranted, happily, and the audience finds out rather quickly that everything presented in the first five minutes was a diversion, and absolutely no character is safe… This is a superior horror film. It hits hard and fast, letting up only to inject some black humor and amp up the tension again before coming back for more. “Feast” is nasty, brutish, and short, just like Hobbes said all horror flicks should be.” – Pete Vonder Haar, Film Threat

Genres:

794. (-56) Blade

Stephen Norrington

1998 / USA / 120m / Col / Vampire | IMDb
Wesley Snipes, Stephen Dorff, Kris Kristofferson, N’Bushe Wright, Donal Logue, Udo Kier, Arly Jover, Traci Lords, Kevin Patrick Walls, Tim Guinee

“[Blade] is a movie that relishes high visual style. It uses the extreme camera angles, the bizarre costumes and sets, the exaggerated shadows, the confident cutting between long shots and extreme closeups. It slams ahead in pure visceral imagery… Wesley Snipes understands the material from the inside out and makes an effective Blade because he knows that the key ingredient in any interesting superhero is not omnipotence, but vulnerability… By embodying those feelings, Snipes as Blade gives the movie that edge of emotion without which it would simply be special effects.” – Roger Ebert, Chicago Sun-Times

Genres:

795. (new) 20 Million Miles to Earth

Nathan Juran

AKA: The Beast from Space

1957 / USA / 82m / BW / Science Fiction | IMDb
William Hopper, Joan Taylor, Frank Puglia, John Zaremba, Thomas Browne Henry, Tito Vuolo, Jan Arvan, Arthur Space, Bart Braverman

“I don’t know of any other artist in Hollywood who has ever dwarfed the rest of the film in such a way as Harryhausen did… the Ymir, the Venusian alien creature, is one of Harryhausen’s most interesting creations, not least because you can see elements of some of his more famous monsters in the mannerisms of the creature (I can see the cyclops from The 7th Voyage of Sinbad and the Kraken from Clash of the Titans to name but two). It’s these mannerisms and the way in which Harryhausen animates the creature, which makes it more like-like and believable than any of the human actors involved.” – Andrew Smith, Popcorn Pictures

Genres:

796. (-29) Warm Bodies

Jonathan Levine

2013 / USA / 98m / Col / Zombie | IMDb
Nicholas Hoult, Teresa Palmer, Analeigh Tipton, Rob Corddry, Dave Franco, John Malkovich, Cory Hardrict, Daniel Rindress-Kay, Vincent Leclerc

“Once you get past the zombie mythology issues, the script is cleverly written, and does make a lot of valid points on the lack of interconnectedness in today’s society. There is also that Romeo and Juliet parable (note the main characters names) that is wisely alluded to directly in a certain scene, rather than looming over, wanting to be noticed. Levine’s film even features notable cinematography, which is somewhat rare in a film of this ilk… the color saturates and fades as along with the film’s current emotional level. While this is an obvious choice, it certainly works here. Yes, this film has it’s issues, and a lot of its logic is hard to swallow, but its notable performances and direction strengthen its sweet, but not cloying, thesis.” – Caitlin Hughes, Film School Rejects

Genres:

797. (-21) Saw II

Darren Lynn Bousman

2005 / USA / 93m / Col / Splatter | IMDb
Tobin Bell, Shawnee Smith, Donnie Wahlberg, Erik Knudsen, Franky G, Glenn Plummer, Emmanuelle Vaugier, Beverley Mitchell, Tim Burd, Dina Meyer

“”Saw II” is pitch-black, ugly, and stomach-churning in spots, but those are precisely the characteristics director Darren Lynn Bousman was shooting for. And the ending, building one twist and revelation upon another, craftily comes full-circle with the original “Saw,” making a fresh viewing of that one worthwhile before seeing the sequel. Rough around the edges, but knowing how to ratchet up distinct feelings of tense giddiness and extreme apprehension, “Saw II” is an exploitation flick with style and skill to go along with its stream of red stuff.” – Dustin Putnam, The Movie Boy

Genres:

798. (-30) Los cronocrímenes

Nacho Vigalondo

AKA: Timecrimes

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

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

Genres:

799. (+20) Eaten Alive

Tobe Hooper

AKA: Death Trap

1976 / USA / 91m / Col / Slasher | IMDb
Neville Brand, Mel Ferrer, Carolyn Jones, Marilyn Burns, William Finley, Stuart Whitman, Roberta Collins, Kyle Richards, Robert Englund, Crystin Sinclaire

“Even though dated, [Eaten Alive] delivers everything you could want from a Video Nasty, and delivers it head on, in your face and makes no excuses. This is a film which only needs the most basic of plots simply to tie together the scenes of carnage. This is a film which relishes, and glorifies its violence and unsavoury characters, and this is a film which demands you take your head out of your ass and just enjoy horror for what it is. [Eaten Alive] is a horror intended to be enjoyed on face value, there is nothing deep or meaningful here, and you certainly will not need to use your brain. All you have to do is sit back and enjoy the madness, the insanity, the completely mad ride into the Starlight Hotel, its owner Judd and is beloved pet Croc out back.” – Matt Wavish, Horror Cult Films

Genres:

800. (-99) Messiah of Evil

Willard Huyck & Gloria Katz

AKA: Messiah of Evil

1973 / USA / 90m / Col / Supernatural | IMDb
Michael Greer, Marianna Hill, Joy Bang, Anitra Ford, Royal Dano, Elisha Cook Jr., Charles Dierkop, Bennie Robinson, Morgan Fisher, Emma Truckman

““Messiah of Evil” is the kind of movie that’s made from its flaws as much as its strengths. The incoherence of the screenplay is actually a prime example of great horror storytelling. On the surface, it pretends to explain all, but the “explanation” only succeeds in raising more questions. A great horror film leaves giant holes in the screen for us to project our own fears and does not reassure us in the end that all is well. At its most basic level, a good horror story is about uncertainty, and “Messiah of Evil” is one of the most uncertain movies ever made.” – Brian Holcomb, Beyond Hollywood

Genres: