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
2024 / Ireland / 98m / Col / Supernatural | IMDb
Carolyn Bracken, Gwilym Lee, Steve Wall, Joe Rooney, Tadhg Murphy, Caroline Menton, Johnny French, Ivan de Wergifosse, Shane Whisker, Joshua Campbell
“”Oddity” is genuinely and consistently unsettling. Instead of relying on cheap jump scares, McCarthy goes for mood—a much harder thing to pull off, but he does exactly that. “Oddity” has a cold, unpredictable aesthetic that makes it equally riveting and tense. The economy of characters and storytelling allow McCarthy to deliver in terms of craft, turning viewers into residents in a remote Irish home in the middle of the night, a place where the skeletons in the closet might be literally deadly.” – Brian Tallerico, RogerEbert.com
2019 / UK / 108m / Col / Psychological | IMDb
Richard Armitage, Riley Keough, Alicia Silverstone, Jaeden Martell, Lia McHugh, Rebecca Faulkenberry, Danny Keough, Katelyn Wells, Lola Reid
“Austrian writer-directors Severin Fiala and Veronika Franz, who also made 2014’s deeply creepy “Goodnight Mommy,” serve up a disturbing story where shock factor plays an outsized role… “The Lodge” is first and foremost a mood piece. Religion, sin and repentance are major themes, and the film grows more disquieting as the situation inside the cabin becomes increasingly dire. If “The Lodge” doesn’t answer all the questions it poses, that’s okay. Its strength lies in its ability to stir a reaction, and that feeling lasts longer than its explanations. It’s a trip you won’t forget.” – Adam Graham, Detroit News Film Critic
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
2017 / UK / 98m / Col / Supernatural | IMDb
Andy Nyman, Martin Freeman, Paul Whitehouse, Alex Lawther, Paul Warren, Kobna Holdbrook-Smith, Nicholas Burns, Louise Atkins, Lesley Harcourt, Amy Doyle
“Horror has a long legacy of stories of people who think they know all there is to know about the supernatural, and learn about their ignorance the hard way. “Ghost Stories” doesn’t reinvent the wheel in any way, but it owes a debt to films that modern genre filmmakers might have forgotten. In that sense, it feels both old and new at the same time. And, perhaps most importantly, it’s honestly scary in ways most indie horror doesn’t even try to be. It’s the sound of a creaking door, footsteps when no one else is home, the sudden drop of temperature in the center of a room—these are ghost story elements that will always be timeless, and it’s so refreshing to see a modern horror movie that knows how to use them as well as “Ghost Stories.”” – Brian Tallerico, RogerEbert.com
2022 / USA / 105m / Col / Slasher | IMDb
Mia Goth, Jenna Ortega, Brittany Snow, Kid Cudi, Martin Henderson, Owen Campbell, Stephen Ure, James Gaylyn, Simon Prast, Geoff Dolan
“It is a film that kills both in its comedic sensibility and gruesome inclinations. At my screening, you could both feel the audience release all their pent-up energy and hear them exclaim in joy at these moments. It all reveals how West is completely in control, both narratively and formally, as he wrenches the maximum amount of payoff out of every single moment he can. From the way the headlights of a car change color in an extended violent outburst to a more reserved subsequent scene where a character remains asleep, everything is impeccably attuned to create maximum impact. It makes for one of the most fully realized pieces of horror cinema in recent memory that never sets a wrong foot even as its characters do nothing but. It is a dynamic, deadly work of filmmaking that achieves all its lofty ambitions and then some to become an absolute masterwork.” – Chase Hutchinson, Collider
Genres: Slasher, Hixploitation, Sexploitation, Black Comedy, Southern Gothic
1963 / UK / 93m / Col / Science Fiction | IMDb
Howard Keel, Nicole Maurey, Janette Scott, Kieron Moore, Mervyn Johns, Ewan Roberts, Alison Leggatt, Geoffrey Matthews, Janina Faye, Gilgi Hauser
“The Day of the Triffids depicts a world-wide meteor storm, a train wreck, a plane crash, military bases aflame, vast metropolitan centers devoid of life (in scenes that seem to forecast images in films such as Day of the Dead [1985] and 28 Days Later [2002]) and also makes the threat of walking. man-eating plants palpable…and by the climax, totally believable. That’s no small accomplishment, and the sense you get watching this film is that everybody – from director and actors to the special effects artists – truly committed to the project. They stretched their miniscule budget as far as it could possibly go, deploying ingenuity to fill the gaps.” – John Kenneth Muir, Reflections on Cult Movies and Classic TV
1936 / USA / 78m / BW / Science Fiction | IMDb
Lionel Barrymore, Maureen O’Sullivan, Frank Lawton, Rafaela Ottiano, Robert Greig, Lucy Beaumont, Henry B. Walthall, Grace Ford, Pedro de Cordoba, Arthur Hohl
“It’s no classic like Freaks, but it’s distinctly fun, with appropriately melodramatic performances by a delightful cast. The secret “toy” factory in the toyshop is minimalist for conveying weird scientific equipment but it’s a nice set even so, & the FX for shrunken animals & people are likewise kept simple but very appealing. So if you’re in the “mood” for experiencing & appreciating period horror it’s authentically scary stuff. A viewer who can’t quite relate to it in the spirit of its era will yet enjoy it, but probably find it a mite comical, which is still enjoyable.” – Paghat the Ratgirl, Weird Wild Realm
2015 / New Zealand / 86m / Col / Supernatural | IMDb
Milo Cawthorne, James Blake, Kimberley Crossman, Sam Berkley, Daniel Cresswell, Delaney Tabron, Stephen Ure, Colin Moy, Jodie Rimmer, Nick Hoskins-Smith
“In a world that had been plagued by generic Hollywood horror, the films that are being released now wear their limited appeal as a badge of honor. Certainly, Deathgasm is not a film that will captivate a broad market, it’s far too gory and far too deep within a music subculture many people don’t know much about. Horror buffs will enjoy it, but those who get the most out of it will likely be metalheads, gorehounds, or both. It’s because it plays to a small audience that the film feels confident in its’ direction and makes no attempt to water itself down.” – Valeriy Kolyadych, PopMatters
1982 / USA / 95m / Col / Slasher | IMDb
Dana Kimmell, Paul Kratka, Tracie Savage, Jeffrey Rogers, Catherine Parks, Larry Zerner, David Katims, Rachel Howard, Richard Brooker, Nick Savage
“This is the movie where the series first fully realized its true DNA as a slasher with atmosphere fantastical enough that siding with the masked maniac was okay. More importantly, it was wiling to add fun to its frights. If at all possible, see the film in 3-D at a revival screening with a live audience and what the film accomplishes will be thoroughly evident. With Jason’s character and behavior relatively settled at this point, and with the familiar mask finally adorning his face, “Friday the 13th” was free to be more comfortable in its identity and surer of its stride as the saga continued to develop. There is definitely a sense of déjà vu with the third chapter, in both the kills and in several mundane moments. But entrenched in its own formula, there is enough blood, enough brutality, enough comedy, and enough “Friday the 13th” to make “Part III” one of the most memorable installments, and the first real benchmark for everything that fans would come to expect from the series.” – Ian Sedensky, Culture Crypt
1987 / USA / 119m / Col / Thriller | IMDb
Michael Douglas, Glenn Close, Anne Archer, Ellen Hamilton Latzen, Stuart Pankin, Ellen Foley, Fred Gwynne, Meg Mundy, Tom Brennan, Lois Smith
“Years hence, it will be possible to pinpoint the exact moment that produced ‘Fatal Attraction,’ Adrian Lyne’s new romantic thriller, and the precise circumstances that made it a hit. It arrived at the tail end of the having-it-all age, just before the impact of AIDS on movie morality was really felt. At the same time, it was a powerful cautionary tale. And it played skillfully upon a growing societal emphasis on marriage and family, shrewdly offering something for everyone: the desperation of an unmarried career woman, the recklessness of a supposedly satisfied husband, the worries of a betrayed wife. What’s more, it was made with the slick, seductive professionalism that was a hallmark of the day.” – Janet Maslin, New York Times
1983 / Canada / 89m / Col / Slasher | IMDb
John Vernon, Samantha Eggar, Linda Thorson, Anne Ditchburn, Lynne Griffin, Sandee Currie, Lesleh Donaldson, Deborah Burgess, Michael Wincott, Maury Chaykin
“In lieu of a straightforward plot pitting dopey teens against a psychopath picking them off one at a time, “Curtains” has an entirely adult cast and a layered narrative that embraces its eccentricities. The central goal is not to merely slice through the ensemble—though this does happen, as well—but to explore the seedier cutthroat politics of moviemaking and the desperation that often comes when reality does not match up to one’s aspirations. Beyond that, the film features a truly disconcerting killer cloaked in an old hag’s mask, and a round-up of outstanding horror setpieces, two in particular saturated with an eerie mood and theatrical ingenuity.” – Dustin Putnam, The Movie Boy
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
1974 / USA / 91m / Col / Zombie | IMDb
Marki Bey, Robert Quarry, Don Pedro Colley, Betty Anne Rees, Richard Lawson, Zara Cully, Charles Robinson, Larry Don Johnson, Rick Hagood, Ed Geldart
“Sugar Hill is a compulsively watchable movie; while there’s none of the gore or tits that mark other great exploitation films of the era (and which could have easily fit in here), the general oddness of the proceedings more than makes up for it. The voodoo zombies also feel fresh in our walking dead saturated culture. Most of all I love the idea of Marki Bey’s one at bat being such a fun and diverting movie, filled with surprisingly family-friendly meanness.” – Devin Faraci, Badass Digest
2011 / USA / 92m / Col / Supernatural | IMDb
Nicholas D’Agosto, Emma Bell, Miles Fisher, Ellen Wroe, Jacqueline MacInnes Wood, P.J. Byrne, Arlen Escarpeta, David Koechner, Courtney B. Vance, Tony Todd
“Fans of this franchise know precisely what to expect, and the film delivers it with wit and flair. The Final Destination movies are like inspired Kentucky Fried Movie sketches, but also like deadpan satires of a particular sub-genre they invented in the first place… This being a 3D movie, there are loads of sharp objects flying directly out of the screen. A group of youthful interns are employed at a drab office, presided over by a managerial nerd, adjoining a factory shopfloor. (So to the list of American institutions indirectly influenced by Ricky Gervais we can now add the Final Destination movies.)” – Peter Bradshaw, The Guardian
2008 / USA / 98m / Col / Splatter | IMDb
Bradley Cooper, Leslie Bibb, Brooke Shields, Vinnie Jones, Roger Bart, Tony Curran, Barbara Eve Harris, Peter Jacobson, Stephanie Mace, Ted Raimi
“As a horror picture plain and simple (though Midnight Meat Train is too convoluted to be called simple), there’s certainly no reason to complain here. The film delivers the goods in terms of graphic, bloody and quite brutal horror. This is one of the bloodier films in recent memory, and yet it is never goes into the area of torture porn. The film doesn’t linger over pain for its own sake and isn’t in the least sadistic in the manner of so much that passes for horror these days. Oh, it’s nasty enough—make no mistake. This is not a film for the squeamish, and I can easily imagine people who would be offended by its in your face bloodiness. I can also imagine a good many viewers who would be turned off by its occasional outbursts of dark-hued splattery comedy, especially the fate of the Jurgis character. Put bluntly, if bloody horror and the occasional flying eyeball aren’t your flagon of grue, this isn’t your movie.” – Ken Hanke, Mountain Xpress
1961 / USA / 87m / Col / Slasher | IMDb
Glenn Corbett, Patricia Breslin, Eugenie Leontovich, Alan Bunce, Richard Rust, James Westerfield, Gilbert Green, Joan Marshall
“Despite its obvious flaws, however, Homicidal comes across today as a reasonably enjoyable cult film, primarily because all its ludicrous elements add up to such silly fun. Plus, though the primary plot twist is far too easy to guess, the hidden secret behind this twist comes as a genuine surprise. If you forget that Homicidal was ever meant as a serious rival to Hitchcock’s masterpiece, you’ll probably get a kick out of its enjoyably campy approach to sibling rivalry, gender, loyalty, and murder.” – Film Fanatic
2010 / USA / 88m / Col / Natural Horror | IMDb
Richard Dreyfuss, Ving Rhames, Elisabeth Shue, Christopher Lloyd, Eli Roth, Jerry O’Connell, Steven R. McQueen, Jessica Szohr, Kelly Brook, Riley Steele
“Sometimes a title can tell you everything you need to know. Such is the case with Piranha 3D, a film in which prehistoric piranhas fly out of the screen at your face. If that sounds like a good time at the movies then run to the cinema immediately. Filled with recognisable faces, packed with excessive blood and gore and jokes as corny as they are hilarious, Piranha 3D is, if nothing else, the most honest and unpretentious piece of filmmaking of 2010… Aja has found a wonderful mix of horror and laughs and even manages some scenes of tension that’ll have you gripping your armrest. Piranha 3D is a pure, unadulterated fun.” – Glenn Dunks, Trespass Magazine
2016 / USA / 86m / Col / Natural Horror | IMDb
Blake Lively, Óscar Jaenada, Angelo Josue Lozano Corzo, Joseph Salas, Brett Cullen, Sedona Legge, Pablo Calva, Diego Espejel, Janelle Bailey, Ava Dean
“As good as Blake Lively is as the stranded surfer, the real star of The Shallows is Jaume Collet-Serra. The Spanish director is firing on cylinders using slow motion to build tension, misdirection to keep the audience on the edge of its seat, and still maintaining a sense of fun to harrowing ordeal on display. Opening with some GoPro footage of a shark attack, The Shallows opens like one of the more ominous episodes of Breaking Bad – you know something bad is going to happen it’s just a matter of how it happens. Knowing that the audience is curious as to how these events unfold, Collet-Serra frequently employs misdirection before unleashing the more horrific elements to incredibly effective results. It’s a constant cycle of building tension and releasing it ever so slightly before compounding the tension to an even greater degree.” – Sean Mulvihill, FanboyNation
1949 / India / 165m / BW / Supernatural | IMDb
Ashok Kumar, Madhubala, M. Kumar, Vijayalaxmi, Kanu Roy, S. Nazir, Eruch Tarapore, Sheela Naik, Leela Pandey, Neelam
“Mahal marked the beginning of a new era for Bollywood films and showcases a marriage of Western filmmaking sensibilities with Hindi religious beliefs. Amrohi elevates gothic storytelling with Bollywood’s trademark music and dance numbers, making the story all the more complex and melodramatic. Mahal is a perfect introduction to the world of Bollywood horror, and overall an integral part of film history.” – Mary Beth McAndrews, Nightmare on Film Street
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
2022 / USA / 100m / Col / Experimental | IMDb
Lucas Paul, Dali Rose Tetreault, Ross Paul, Jaime Hill
“It’s certainly a film that demands your concentration, a movie that works best if you know nothing about it going in and are willing to get lost in something with strange, unsettling visual language. But it’s also the kind of thing that would work best if somehow a viewer could just stumble upon it in the middle of the night on some obscure cable channel, unsure of what they’re watching but increasingly terrified as they do so, like they’re watching something they shouldn’t see. Ball attempts to recreate that feeling when you wake up at like 2:46 AM and it seems like something is just … wrong. We all know it. We’ve all felt it. And the best parts of “Skinamarink” convey that unsettled space between nightmare and reality that feels legitimately dangerous.” – Brian Tallerico, RogerEbert.com
Genres: Analog Horror, Experimental, Supernatural Horror, Psychological Horror, Surrealism, Structural Film, Slow Cinema, Haunted House, Chamber Film
2012 / USA / 81m / Col / Splatter | IMDb
AnnaLynne McCord, Roger Bart, Ariel Winter, Traci Lords, Matthew Gray Gubler, Jeremy Sumpter, Matthew Fahey, Sidney Franklin, Molly McCook, Natalie Dreyfuss
“Excision is a film in metaphoric overload, where Pauline’s every waking moment is consumed by images and thoughts pertaining to sex, blood and conflict. McCord, a mens-mag favourite whose resume to date gave no indication she was capable of crafting such a wondrously disturbed character, conveys the inner-collision of Pauline’s sympathetic reality and psychotic extremes with equal measure profundity and black, black humour. Her final on-screen moments are nightmarishly impactful. The young director’s trope dissection is cut entirely from the chick flick/teen outcast cloth, but without the airs and graces of the kind that the late John Hughes might have employed; had David Cronenberg and Dario Argento co-directed Sixteen Candles it might have looked a bit like Excision. But Bates’ piercing originality and keen eye for framing and ear for dialogue sets it own precedents, standing tall on the stooped shoulders of Pauline and her teen-dream bloodlust.” – Simon Foster, Screen-Space
2018 / USA / 110m / Col / War | IMDb
Jovan Adepo, Wyatt Russell, Mathilde Ollivier, Pilou Asbæk, John Magaro, Iain De Caestecker, Jacob Anderson, Dominic Applewhite, Gianny Taufer, Joseph Quinn
“A very atmopsheric, surprisingly unpredictable, and quite visually gritty, yet slickly-crafted Nazi war drama with creepy zombie twist, “Overlord” infuses those two genres successfully enough to deliver one helluva fun ride full of thrills, turns, shoot-em-up action, and overload of gore splatter, and although it falls a bit short on pure frights, this utterly entertaining blood-fest manages to work well on dramatic level instead, mainly thanks to the strong turns by the well-interacting cast.” – George Beremov, CineMarvellous!
1978 / USA / 83m / Col / Comedy | IMDb
David Miller, George Wilson, Sharon Taylor, J. Stephen Peace, Ernie Meyers, Eric Christmas, Ron Shapiro, Al Sklar, Jerrold Anderson, Don Birch
“In some ways there’s very little that can be said about this totally gonzo effort that the title doesn’t already disclose. This is guerilla filmmaking at its most basic, to the point that a horrifying helicopter crash inadvertently caught on film during the shoot was simply folded into the plot because — well, horrifying helicopter crash. Anyone looking for finely reasoned plot points or even a baseline level of verbal humor in this film is probably going to want to keep looking, but when taken on its own decidedly lo-fi terms, there’s nothing quite like seeing an army of sentient tomatoes attacking helpless humans.” – Jeffrey Kauffman, Blu-ray.com
2021 / Thailand / 130m / Col / Found Footage | IMDb
Narilya Gulmongkolpech, Sawanee Utoomma, Sirani Yankittikan, Yasaka Chaisorn, Boonsong Nakphoo, Arunee Wattana, Thanutphon Boonsang, Pakapol Srirongmuang, Akkaradech Rattanawong, Chatchawat Sanveang
“Despite its generic title, The Medium not only understands how to maximize the striking power of the found footage style, but its pacing, balance, and grounded execution make it one of the most terrifying films of the year. It’s a film that works on the surface as a slow-burning story of possession but also manages to embed a thematic religious layering that deepens the experience in some fascinating ways.” – Matt Reifschneider, Blood Brothers
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
2023 / Australia / 93m / Col / Supernatural | IMDb
David Dastmalchian, Laura Gordon, Ian Bliss, Fayssal Bazzi, Ingrid Torelli, Rhys Auteri, Georgina Haig, Josh Quong Tart, Steve Mouzakis, Paula Arundell
“While none of it reaches the traumatising, ghoulish levels of Jimmy Fallon’s fake laugh that haunts our current TV screens, the Cairnes’ already strong direction becomes even more effective once the film begins to add panic into the mix. The ramp-up of tension and body horror jolts that happen during the actual show are impressively visualised and they don’t rely on cheap tricks even if sceptics would like to believe so. Despite some unintended irregularities that happened during my screening experience (which might fit the ”uncovered tapes” aura), the resourcefulness concerning both the practical—such as Marie Princi and Russell Sharp’s makeup work—and digital visual effects is noticeable and admirable.” – S.J., After Misery
Genres: Supernatural Horror, Analog Horror, Chamber Film, Satire, Black Comedy, Found Footage Horror, Halloween, Mockumentary, Psychological Horror, Period Drama, Surrealism, Body Horror, Folk Horror, Postmodernism
1993 / USA / 91m / Col / Anthology | IMDb
John Carpenter, Tom Arnold, Tobe Hooper, Robert Carradine, Alex Datcher, Peter Jason, Molly Cheek, Wes Craven, Sam Raimi, David Naughton
“Broadcast on Showtime in 1993 as a one-off horror anthology film, Body Bags bears more than a passing resemblance to HBO’s EC Comics-inspired Tales from the Crypt, not only for its reliance on a cast cannily salted with seasoned heavyweights eager to play against type, but also for its unabashed depictions of splattery violence. Body Bags is also notable for bringing together two of modern horror’s best-known names, John Carpenter and Tobe Hooper, as co-directors… That Body Bags largely succeeds, despite the perceptible lack of novel material, can be attributed to the strength of the assembled performances as well as the filmmakers’ attention to the dynamics of visual storytelling.” – Budd Wilkins, Slant Magazine
1973 / UK / 85m / Col / Zombie | IMDb
Nicky Henson, Mary Larkin, Ann Michelle, Roy Holder, Denis Gilmore, Miles Greenwood, Peter Whitting, Rocky Taylor, Robert Hardy, Patrick Holt
“It remains an iconic, idiosyncratic anomaly in a creepshow category overrun by reanimated bodies and rotting monsters. Sure, fright fans like their zombies hobbled and hungry, patrolling the countryside for available brains. All the members of The Living Dead want to do is cause trouble and “blow some squares’ minds”. While it may have been intended as nothing more than double feature filler, a 90 minute companion piece to something more substantial, it actually wound up doing what few horror films can – it set itself apart from the rest of the paranormal pack. Cinematic scares are often predictable at best. While it avoids many of the basic bone rattling moves, Psychomania is still one memorable fright flick.” – Bill Gibron, Pop Matters
2006 / USA / 180m / Col / Surrealism | IMDb
Laura Dern, Jeremy Irons, Justin Theroux, Karolina Gruszka, Jan Hencz, Krzysztof Majchrzak, Grace Zabriskie, Ian Abercrombie, Karen Baird, Bellina Logan
“Because watching movies is a bizarre business, and a movie creates its own world, in some ways more persuasively cogent and real than the reality surrounding it, Lynch positions himself in the no man’s land between these two realities and furnishes it with a landscape and topography all his own… It is mad and chaotic and exasperating and often makes no sense: but actually not quite as confusing as has been reported. Even the most garbled of moments fit approximately into the vague scheme of things, and those that don’t – those worrying rabbits – are, I guess, just part of the collateral damage occasioned by Lynch’s assault on the ordinary world. How boring the cinema would be without David Lynch, and for a long, long moment, how dull reality always seems after a Lynch movie has finished.” – Peter Bradshaw, Guardian
Genres: Surrealism, Psychological Horror, Mystery, Psychological Thriller, Experimental, Postmodernism, Psychological Drama, Hyperlink Cinema, Postmodernism, Analog Horror, Supernatural Horror
1958 / USA / 69m / BW / Science Fiction | IMDb
Marshall Thompson, Shirley Patterson, Kim Spalding, Ann Doran, Dabbs Greer, Paul Langton, Robert Bice, Richard Benedict, Richard Hervey, Thom Carney
“”IT, The Terror from Beyond” is a fun B picture that only Ed Cahn could have delivered back then. It has cheap scares, a foreboding atmosphere and loads of close calls and action. It is a genuine slice of pulp pie that satisfies and entertains. It has tension that is masterfully provided by Cahn, the story and the actors. It is intelligent and has like-able characters who deliver some quick and sometimes sophomoric dialog that fits the proceedings nicely. The film sports some dated but respectively nice looking special effects and Chan makes good use of shadows which do not let us see IT in it’s entirety for many of the confrontation scenes.” – Victor De Leon, Horror News
1964 / Italy / 87m / Col / Gothic | IMDb
Barbara Steele, Georges Rivière, Margrete Robsahm, Arturo Dominici, Silvano Tranquilli, Sylvia Sorrente, Giovanni Cianfriglia, John Peters, Merry Powers
“One of Barbara Steele’s most impressive vehicles, and one of the cornerstones of the classic Euro Horror Renaissance (1956-66), Castle of Blood is perhaps the best film by the erratic, prolific Antonio Margheriti. A very nifty ghost turn involving a perpetual cycle of sex and murder among a quintet of libidinous ghosts, the story brings in vampiric ideas as well. Edgar Allan Poe makes an appearance as a character, which is all well considering that the story attribution to him is a complete falsification.” – Glenn Erickson, DVDTalk
1924 / Germany / 65m / BW / Anthology | IMDb
Emil Jannings, Conrad Veidt, Werner Krauss, William Dieterle, Olga Belajeff, John Gottowt, Georg John, Ernst Legal
“Don’t let the lack of horror chops deter you from this; after all, it is close enough, plus it has an early treatment of the Jack the Ripper story that’s been mined dozens of times for the genre. Plus, the technical display is quite astonishing; this was a huge production for the age, and it shows in the elaborate set design, especially in that first segment. Taking us from Arab streets to lavish palaces to dingy, humble abodes, Leni masterfully transports us through a fancifully realized land that recalls the whimsy of the Arabian Nights tales. Toss in some dazzling color tinting and you’re basically treated to an Expressionist feast.” – Brett Gallman, Oh, the Horror!
2001 / France / 142m / Col / Werewolf | IMDb
Samuel Le Bihan, Vincent Cassel, Émilie Dequenne, Monica Bellucci, Jérémie Renier, Mark Dacascos, Jean Yanne, Jean-François Stévenin, Jacques Perrin, Johan Leysen
“Christophe Gans’ “Brotherhood of the Wolf” takes a colossal leap at that opportunity, melding all sorts of different genres, visual styles, scripting techniques, plot gimmicks, characterizations and story arcs like it were collecting souvenirs on a tourist’s excursion through the northern hemisphere. What’s quite remarkable about the result, at least other than the basic effort to use every element it can in 140 minutes, is how well the movie is made without seeming overly worked or lazy in the process. This isn’t a product that requires time to adapt to all the techniques tossed into the court, either, because it masters a balanced pattern almost as swiftly as the characters sail through their dialogue. It’s a stylish, smart, edgy, exciting and profoundly involving trek though familiar folklore, often better than the masses have been told and even more appealing after repeat viewings.” – David Keyes, Cinemaphile
2019 / USA / 108m / Col / Supernatural | IMDb
Zoe Margaret Colletti, Michael Garza, Gabriel Rush, Austin Abrams, Dean Norris, Gil Bellows, Austin Zajur, Natalie Ganzhorn, Lorraine Toussaint, Kathleen Pollard
“Not only the perfect primer for horror neophytes but efficiently delivers sufficient shudders to satisfy even the most demanding genre buffs out there. It might not boast the big-idea mojo of many of the horror movies it quarries, but what’s genuinely refreshing here is how cohesively the scary stories are interwoven into the main narrative of the film and how effectively illustrator Stephen Gammell’s unique, grotesque visual signature is brought to life. But even more importantly than all of that, the film is an always-welcome reminder of just how potent literature is in our lives.” – Howard Gorman, NME
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
2012 / Ireland / 94m / Col / Monster | IMDb
Richard Coyle, Ruth Bradley, Russell Tovey, Lalor Roddy, David Pearse, Bronagh Gallagher, Pascal Scott, Clelia Murphy, Louis Dempsey, Micheál O’Gruagain
“Richard Coyle and Ruth Bradley deliver charming, likeable performances and make a terrific onscreen duo, sparking genuine chemistry together: Bradley, in particular is extremely funny, especially when her (teetotal) character is required to get drunk. There’s also colourful support from Tovey, Roddy and David Pearse and Bronagh Gallagher as the landlord and landlady of the island’s only pub… In addition, Wright keeps things moving at a decent pace and the film is stunningly shot throughout, with cinematographer Trevor Forrest making terrific use of the island locations: an early shot of Ciaran and Lisa arriving on the beach just after sun-up is breathtakingly beautiful.” – Matthew Turner, ViewLondon
1943 / USA / 69m / BW / Vampire | IMDb
Bela Lugosi, Frieda Inescort, Nina Foch, Miles Mander, Roland Varno, Matt Willis
“The Return of the Vampire is an interesting, WWII-set take on the overdone vampire genre that gets point[s] for having a female Van Helsing character… The script, written by Randall Faye, Griffin Jay, and Kurt Neumann, doesn’t just explore the boundaries of the genre through the female protagonist; they introduce and hone a supernatural world living just below the surface of our real one. The war is raging in London, with the dropping of bombs literally unearthing the vampiric plague that could decimate the world; in essence, the war and vampirism are the same. It could be too on-the-nose, but I thought it was intriguing that the script doesn’t lie to the audience.” – Kristen Lopez, Journeys in Classic Film
1970 / UK / 95m / Col / Science Fiction | IMDb
Vincent Price, Christopher Lee, Peter Cushing, Judy Huxtable, Alfred Marks, Michael Gothard, Anthony Newlands, Peter Sallis, David Lodge, Uta Levka
“It doesn’t really matter that much of it is nonsense, since it moves at a brisk pace and there are all those grand performances. The music is rather interesting, from the funky opening theme to the generic chase music, to the Amen Corner’s extended jams in the Busted Pot, to the climax where the variety of tunes come together with a bewildering swiftness (the triply scene with Kontratz walking through a series of TV screens is very well done). If stoned plot development and structure are not an impediment , the Scream and Scream again is worthy of the highest accolades.” – Wendell McKay, The Shrieking Sixties: British Horror Films 1960 – 1969
2022 / Mexico / 97m / Col / Body Horror | IMDb
Natalia Solián, Alfonso Dosal, Mayra Batalla, Mercedes Hernández, Sonia Couoh, Aida López, Anahí Allué, Martha Claudia Moreno, Emilram Cossío, Norma Reyna
“”Huesera” falls into the subcategory of pregnancy-as-body-horror, combined with a haunted-house element that sees Val plagued by a demonic spirit that announces its presence with the cracking and snapping of bones. “Huesera” doesn’t necessarily re-invent either of those subgenres. But it does present them in a vessel that’s so artfully crafted, and filled with details that bring the characters and their relationships to such vivid life, that it accomplishes a lofty goal for genre cinema: Taking a familiar formula and turning it into a personal statement.” – Katie Rife, RogerEbert.com
Genres: Body Horror, Psychological Horror, Supernatural Horror, LGBTQ, Family Drama
1977 / USA / 94m / Col / Science Fiction | IMDb
Julie Christie, Fritz Weaver, Gerrit Graham, Berry Kroeger, Lisa Lu, Larry J. Blake, John O’Leary, Alfred Dennis, Davis Roberts, Patricia Wilson
“Ultimately, this is the film’s greatest strength—that while he seems to hybridize Kubrick, Polanski, and Keaton in an initially obvious manner, Cammell eventually combines these influences into an idiosyncratic and oddly equivocal morality tale. Demon Seed recasts HAL as the ultimate, network bugaboo, revisits Rosemary’s insemination for its biological, and not its occult, unpleasantness, and re-erects an electric house that is not fraught with faulty, schlemiel-baiting technology, but is instead menacingly and incontrovertibly perfect. In this way, it is a great help that Cammell’s film (due in no small part to the Dean Koontz novel upon which it was based) remains quite relevant, and far more so now than when originally released.” – Leo Goldsmith, Not Coming To a Theater Near You
1990 / USA / 84m / Col / Slasher | IMDb
Alex Vincent, Jenny Agutter, Gerrit Graham, Christine Elise, Brad Dourif, Grace Zabriskie, Peter Haskell, Beth Grant, Greg Germann, Raymond Singer
“An inevitable sequel that’s not as good as its progenitor, but better than most movies with the numbers 2 through 8 in their titles… “2” actually gets clever at the end, when Andy (Alex Vincent) and sidekick Kyle (Christine Elise) battle Chucky in the Good Guys factory amid moving conveyor belts, hydraulic presses and molding units. As surreal as it is suspenseful, the climax may be a little too sophisticated for the genre, but it manages to lower its expectations at the last minute.” – Richard Harrington, Washington Post
Genres: Slasher, Supernatural Horror, Black Comedy, Puppetry, Evil Doll
2007 / USA / 111m / Col / Home Invasion | IMDb
Naomi Watts, Tim Roth, Michael Pitt, Brady Corbet, Devon Gearhart, Boyd Gaines, Siobhan Fallon, Robert LuPone, Susi Haneke, Linda Moran
“This transposed Funny Games registers more strongly than the original as a film about privileged white people… Next to their Austrian equivalents, Corbet and Pitt seem less outwardly presentable, more outlandish and fey… While both iterations of Funny Games are schematic to a fault, their anti-illusionism opens up a Pandora’s box of unanswered questions. Haneke scolds us for our bloodlust, yet leaves us wondering how the suffering of a fictional character can carry any weight at all. As onscreen narrators employed to articulate these puzzles, Peter and Paul could be cousins to the Joker in The Dark Knight or Javier Bardem’s smiling assassin in No Country For Old Men.” – Jake Wilson, The Age
1993 / Italy / 106m / Col / Giallo | IMDb
Christopher Rydell, Asia Argento, Piper Laurie, Frederic Forrest, Laura Johnson, Dominique Serrand, James Russo, Ira Belgrade, Brad Dourif, Hope Alexander-Willis
“Dario Argento’s first American feature, was almost uniformly ignored or disparaged as “Americanised,” ie, cleaned up and “dumbed down.” Another adjective, unutterable but couched there in the silence, was “feminised.” The maestro had suddenly gone soft on women… The film’s issues are the stuff of female gothic and 1990s “trauma culture”: anorexia/bulimia nervosa, dysfunctional mother-daughter relationships, oppressive medical institutions, malpractice cover-ups, recovered memories, incest and false memory syndrome. The pop psychology usually left by Argento to subtext or used to wrap an already baroque finale, Trauma foregrounds and then develops in its case-study of a suicidal anorexic and a mother traumatised by the loss of her infant son.” – Linda Badley, Kinoeye
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
2013 / USA / 100m / Col / Cannibal | IMDb
Lorenza Izzo, Ariel Levy, Daryl Sabara, Kirby Bliss Blanton, Magda Apanowicz, Sky Ferreira, Nicolás Martínez, Aaron Burns, Ignacia Allamand, Ramón Llao
“”The Green Inferno” should be taken only as seriously as the midnight grindhouse flicks inspiring it. The movie is neither campy nor outright comical, but it is wholeheartedly intended to be delightedly demented entertainment, not a documentary commentary on hot-button topics of female genital mutilation or rainforest preservation. One can either be offended/repulsed by imagery of tribal villagers salting severed limbs and boiling a human head with an apple in its mouth or chuckle amusedly at the absurdity of it all. Those falling in the former camp should know better than to watch an Eli Roth cannibal movie in the first place.” – Ian Sedensky, Culture Crypt
2008 / USA / 89m / Col / Zombie | IMDb
Jennifer Carpenter, Steve Harris, Jay Hernandez, Johnathon Schaech, Columbus Short, Andrew Fiscella, Rade Serbedzija, Greg Germann, Bernard White, Dania Ramirez
“Spotlights constantly flashing into the building’s windows from buzzing helicopters, police sirens wailing outside, and blaring bullhorn announcements create an relentless feeling of discomfort. The constant drone nearly irritates. And a lack of light — the electricity is cut to the building — coupled with the hand-held camera’s narrow field-of-vision give us an extreme sense of claustrophobia. Despite its lack of originality, the film’s script is actually quite tight and plays a huge part in the effectiveness of the film. The writers managed to avoid the oft-traversed pitfalls that slap the viewer back to reality with situations that don’t seem real… or with people who don’t behave as we’d expect. Here we’re totally convinced and find ourselves completely absorbed in the tragic situation at hand. Especially in a post-911 world, it’s not unrealistic to think we could find ourselves abandoned by authority. Now more than ever, we realize that every man for himself can be the difference between life and death.” – Frank Wilkins, Reel Talk
2011 / USA / 99m / Col / Psychological | IMDb
Gretchen Lodge, Johnny Lewis, Alexandra Holden, Field Blauvelt, Camilla Zaidee Bennett, Kevin Murray, Katie Foster, Doug Roberts, Bus Howard, Josh Jones
“Since scaring the living daylights out of audiences with Blair Witch, writer-director Eduardo Sanchez has rather been left behind in the found-footage stakes thanks to the likes of Cloverfield and Paranormal Activity. Here he returns to the concept (as Molly gets increasingly frazzled she captures it all on a camcorder) with a truly disturbing sequence of events that rely on a rumbling sound design and the occasional big bang to keep audiences teetering on the brink… We could have probably done without the libidinous preacher and the running time could do with a trim, but this succeeds thanks to Lodge’s extraordinary central performance, a terrifyingly mesmerising study of a woman in diabolic torment” – Tim Evans, Sky Movies
1982 / USA / 104m / Col / Haunted House | IMDb
James Olson, Burt Young, Rutanya Alda, Jack Magner, Andrew Prine, Diane Franklin, Moses Gunn, Ted Ross, Erika Katz, Brent Katz
“[Director] Damiani forgoes any authentic connection to the actual DeFeo case and opts for a very loose fictional retelling more suitable for grindhouse theaters. That’s not a complaint, but a compliment. Continuity and originality be damned, Amityville II: The Possession is so off the rails crazy that it’s fun. Bolstered by great effects and a higher budget, this sequel is not only better than the first film, but it’s the best in the series.” – Meagan Navarro, Bloody Disgusting
1933 / Germany / 122m / BW / Crime | IMDb
Rudolf Klein-Rogge, Gustav Diessl, Rudolf Schündler, Oskar Höcker, Theo Lingen, Camilla Spira, Paul Henckels, Otto Wernicke, Theodor Loos, Hadrian Maria Netto
“What is perhaps most striking about Das Testament des Dr Mabuse is its scale and sophistication. Not only does it qualify as a masterpiece on artistic grounds (some of its imagery is the stuff of film legend), but it is by far and away the most ambitious dramatic thriller of its time, thanks to some extraordinary action sequences (which incudes one of cinema’s most imaginative car chases). Lang uses sound almost as effectively as he uses image to tell his story and create an unsettling mood of paranoia and anticipation.” – James Travers, French Film Site
1959 / UK / 87m / Col / Mystery | IMDb
Peter Cushing, André Morell, Christopher Lee, Marla Landi, David Oxley, Francis De Wolff, Miles Malleson, Ewen Solon, John Le Mesurier, Helen Goss
“Fisher, at the peak of his career, used Conan Doyle’s plot to establish a stylish dialectic between Holmes’ nominally rational Victorian milieu and the dark, fabulous cruelty behind the Baskerville legend. This opposition is expressed within the first ten minutes, when he moves from the ‘legend’ with its strong connotations of the Hellfire Club (the nobleman tormenting a young girl with demonic satisfaction) to the rational eccentricities of Baker Street. Holmes is indeed the perfect Fisher hero, the Renaissance scholar with strong mystical undertones, and Cushing gives one of his very best performances, ably supported by Morell (who does not make the usual mistake of overplaying Watson). Lee is in equally good form as the Baskerville heir, and Jack Asher’s muted Technicolor photography is superb.” – Derek Adams, Time Out
1935 / China / 113m / BW / Drama | IMDb
Menghe Gu, Ping Hu, Shan Jin, Chau-shui Yee, Wenzhu Zhou
“Besides having a great story, Song at Midnight is also a visual treat. Ma-Xu was a not only a fan of Tod Browning’s Universal monster films, he was also an admirer of German universal_style_thumbexpressionism, most notably the works of Fritz Lang and Robert Wiene. Ma-Xu put together a film heavy with gothic atmosphere and haunting images. Ma-Xu sets the mood from the very beginning, by introducing the audience to the cobweb infested theater at night, and having a mysterious man lurking in the shadows. From that point on the scene is set and what follows truly comes from an artistic mind.” – Kimberly J.M. Wilson, 1001 Movies You Must See Before You Die
1986 / Mexico / 90m / Col / Drama | IMDb
Ana Patricia Rojo, Elsa María Gutiérrez, Leonor Llausás, Carmen Stein, María Santander, Ernesto Schwartz, Rocío Lazcano, Blanca Lidia Muñoz, Sergio Bustamante
“The most notorious feature in “Veneno para las hadas” is certainly the fact that director Carlos Enrique Taboada shots his film entirely from the children’s point of view… This style, while certainly a bit gimmicky, allows a greater emphasis on the two main characters, and actually reflects the reality of their lives in relation with the adult world… The cinematography, by Lupe García, is kind of average but Taboada manages to put it to a very good use in creating haunting Gothic images that once again show a strong influence from Italian filmmakers. In this twisted ode to childhood, Taboada succeeds in crafting a fairy tale for adults that’s all the more disturbing in its bleak realism.” – J. Luis Rivera, W-Cinema
1980 / Canada / 97m / Col / Slasher | IMDb
Ben Johnson, Jamie Lee Curtis, Hart Bochner, David Copperfield, Derek McKinnon, Sandee Currie, Timothy Webber, Anthony Sherwood, Howard Busgang, Steve Michaels
“And damn me, but I left Terror Train feeling not just satiated as one will after watching a slasher film, full but slightly queasy and aware of the imminent fact of indigestion, as after the final bite of a Big Mac with large fries; I was engaged, and delighted. It’s such a snazzy way to end what was already an irreproachably decent flick that it’s even easy to overlook that Terror Train has effectively no gore to speak of and blandly-staged killings: amazingly, when you have compelling, entertaining filmmaking on your side, you don’t need to do anything tawdry to keep things interesting.” – Tim Brayton, Antagony & Ecstasy
1972 / Spain / 100m / Col / Vampire | IMDb
Simón Andreu, Maribel Martín, Alexandra Bastedo, Dean Selmier, Ángel Lombarte, Montserrat Julió, Maria-Rosa Rodriguez
“Like DAUGHTERS OF DARKNESS and Jean Rollin’s erotic vampire thrillers of the same period, Vincent Aranda’s BLOOD SPATTERED BRIDE contains nudity and gore amidst the usual gothic European surroundings. However, this film does not wallow in endless softcore lesbian lovemaking scenes, but rather exploits the kinship between the two female antagonists with stylized class… Although sluggish in pacing, the film still succeeds and is a favorite amongst Euro horror buffs. Most of the meat is in the third act, but the discovery of the vampire Mircalla – buried in the beach sand, breathing through a snorkel and having her bare breasts dug out – is unforgettable.” – George R. Reis, DVD Drive-In
1981 / Italy / 93m / Col / Cannibal | IMDb
Giovanni Lombardo Radice, Lorraine De Selle, Danilo Mattei, Zora Kerova, Walter Lucchini, Fiamma Maglione, Robert Kerman, John Bartha, Venantino Venantini
“Cannibal Ferox is a popcorn cannibal flick, if such a thing can exist. Sure, Lenzi throws in the “we’re the savages” type dialogue that cannibal films seemingly all have, but the focus of the film is the gore and nothing else. A lot of dialogue is cheesy in the good way and there are a handful of familiar Italian horror faces to reminisce about and try to decipher just what the hell you’d seen them in before. The score and music in the film is great fun as well and fits the tone of the film perfectly.” – Brett H., Oh, The Horror
2008 / Japan / 110m / Col / Splatter | IMDb
Eihi Shiina, Itsuji Itao, Yukihide Benny, Jiji Bû, Ikuko Sawada, Cay Izumi, Mame Yamada, Ayano Yamamoto, Akane Akanezawa, Kotoha Hiroyama
“Comic book gore and a plot exploited to provide maximum fighting time, Tokyo Gore Police succeeds in its bid to push the few boundaries it sets for itself to the limit. Namely trying to think of the most ghastly mix of organic and mechanic bodies, then have them destroyed with a bucket load of blood after they’ve killed a dozen expendable police officers. One for splatter-fest fans, it hits the spot magnificently if you can handle the onslaught. Think The Evil Dead on a rampage through Tokyo and you’re getting close.” – Mike Barnard, Future Movies
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
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
2020 / USA / 102m / Col / Comedy | IMDb
Vince Vaughn, Kathryn Newton, Misha Osherovich, Emily Holder, Nicholas Stargel, Kelly Lamor Wilson, Mitchell Hoog, Dana Drori, Katie Finneran, Alonzo Ward
“Simplicity is the secret to “Freaky’s” success. Should you ever need a textbook example of fluid film structure, particularly for a crowd-pleasing comedic thriller, this is it. Director Christopher Landon and co-writer Michael Kennedy’s snappy script barely has an ounce of fat to slow it down or give it an unattractive bulge. Every element introduced directly services story. Side characters deceptively appear disposable in singular scenes only to bound back a second time to pay off gags you didn’t see set up. “Freaky” stays speedy with inventively gory kills staged with whiplash-inducing momentum to make them feel outrageously fantastical. Amidst a wealth of self-aware slasher savagery, the movie makes time for emotional moments that are surprisingly sweet without dampening action. Whether it’s being sassy, silly, stabby, or even sentimental, the breeziness behind “Freaky” makes the movie’s mixture an easy treat to swallow.” – Ian Sedensky, Culture Crypt
1988 / USA / 93m / Col / Slasher | IMDb
Lisa Wilcox, Andras Jones, Danny Hassel, Rodney Eastman, Tuesday Knight, Ken Sagoes, Brooke Bundy, Nicholas Mele, Toy Newkirk, Brooke Theiss
“Though patently silly, the film is certainly gory enough to offer some halfway decent chills, even if the deaths themselves seem relatively un-scary and low-risk. (Besides, how many surviving characters are likely to make it through the next movie?) But with an overstuffed frame and a relentless soundtrack featuring The Fat Boys, Billy Idol, and — you guessed it — Tuesday Knight herself, does the film really need to add genuine fear to the sensory overload?” – Leo Goldsmith, Not Coming to a Theater Near You
2024 / USA / 100m / Col / Psychological | IMDb
Justice Smith, Brigette Lundy-Paine, Ian Foreman, Helena Howard, Lindsey Jordan, Danielle Deadwyler, Fred Durst, Conner O’Malley, Emma Portner, Madaline Riley
“Far too often, when filmmakers graduate up the ledger, they become conservative, safe, and careerist; it feels like they’re making the current film solely with the mindset of remaining at the budgetary level they’ve just attained. With “I Saw the TV Glow,” the director’s glossy follow-up to their resourcefully executed “We’re All Going to the World’s Fair,” Schoenbrun films like a director who doesn’t want to live in regret of the shot they didn’t get, the risk not taken, the leap that never left the ground. The earworm original soundtrack, exciting practical effects, intoxicating photography, and risky editing—blending together conscious and imagined worlds—are the big, adventurous swings of an undaunted filmmaker.” – Robert Daniels, RogerEbert.com
Genres: Techno-Horror, Psychological Drama, Queer Cinema, Coming-of-Age, Teen Movie, Surrealism
2013 / USA / 116m / Col / Zombie | IMDb
Brad Pitt, Mireille Enos, Daniella Kertesz, James Badge Dale, Ludi Boeken, Matthew Fox, Fana Mokoena, David Morse, Elyes Gabel, Peter Capaldi
“Gone are the slowly stumbling zombies of earlier generations, replaced by a frantic horde who dive, tackle and bite like a snarling biblical horde of rats, a mass of bodies that wail and gnash teeth, thrashing insatiably in search of human flesh. And although plenty are slaughtered by Pitt and company, the gory details are spared, Foster wisely playing this as thriller rather than splatter. With all the action, there’s little time for character development or heart, but Pitt holds his own as an hero with a mission to save the world. And given what he goes through, it’s just as well he’s more indestructible than the average zombie.” – Simon Weaving, Screenwize
2000 / USA / 116m / Col / Slasher | IMDb
Liev Schreiber, Beth Toussaint, Roger Jackson, Kelly Rutherford, Neve Campbell, Courteney Cox, Julie Janney, Richmond Arquette, Patrick Dempsey, Lynn McRee
“Whereas any old second sequel to a slasher franchise would be more than showing its age by now, “Scream 3” is that rare case in which it is not merely here to cash in on the big bucks, but was all along planned as a trilogy. One could possibly question if this is actually true, or just an excuse by the filmmakers once the original struck pay-dirt, but “Scream 3” does a fabulous job of wrapping things up and filling in the missing pieces, all the while delivering what fans have grown accustomed to: scares, snappy dialogue, believable characters, and some sort of unique spin on the otherwise cliched formula. While “Scream 2” was the most straightforward of the series, in terms of its violence and occasionally messy plot developments, “Scream 3,” like its 1996 precursor, is a multilayered funhouse of chills that does a more than sufficient job of keeping the surprising twists coming.” – Dustin Putnam, The Movie Boy
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
2000 / USA / 88m / Col / Comedy | IMDb
Carmen Electra, Dave Sheridan, Frank B. Moore, Giacomo Baessato, Kyle Graham, Leanne Santos, Mark McConchie, Karen Kruper, Anna Faris, Jon Abrahams
“A raucous, satirical attack on slasher movies, teenage horror movies and “The Matrix.” I saw the movie, I laughed, I took notes, and now I am at a loss to write the review. All of the usual critical categories and strategies collapse in the face of a film like this… The bottom line in reviewing a movie like this is, does it work? Is it funny? Yes, it is. Not funny with the shocking impact of “Airplane!,” which had the advantage of breaking new ground. But also not a tired wheeze like some of the lesser and later Leslie Nielsen films. To get your money’s worth, you need to be familiar with the various teenage horror franchises, and if you are, “Scary Movie” delivers the goods.” – Roger Ebert, rogerebert.com
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
1995 / Russia / 95m / Col / Thriller | IMDb
Marina Zudina, Fay Ripley, Evan Richards, Oleg Yankovskiy, Igor Volkov, Sergei Karlenkov, Alec Guinness, Aleksandr Pyatkov, Nikolai Pastukhov, Aleksandr Bureyev
“Mute Witness has a keen sense of geography, and the camera movement is choreographed against the positions of the actors to sustain a remarkable cinematic tension. Sudina has a keen sense of her character, too, playing Billy as determined but terrified, smart but vulnerable. Her performance, along with Waller’s sure, straightforward direction, render some of the script’s more obvious implausibilities irrelevant in favor of sharp audience identification with Billy. And when the veracity of what she saw is called into question — was the ‘murder’ she witnessed really just a clever special effect? — the audience, too, is forced to reconsider its own experience of the murder on screen.” – Bryant Frazer, Deep Focus
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
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
1979 / France / 80m / Col / Vampire | IMDb
Franca Maï, Brigitte Lahaie, Jean-Marie Lemaire, Fanny Magier, Muriel Montossé, Sophie Noël, Evelyne Thomas, Agnès Bert, Cyril Val, Myriam Watteau
“The story breaks down more or less into a series of surreal erotic episodes, with Rollin lingering over his trademark dreamy lesbian love scenes and plenty of nudity from the gorgeous Lahaie. However, as in Rollin’s best films no matter how off-kilter and strange the imagery, the plot proves surprisingly coherent when approached on its own terms as a waking dream. Rollin takes a cultured, elegant approach to sexploitation-horror with the emphasis on the poetic and magical aspects. He milks the dreamlike atmosphere provided by that fantastically evocative, mist-shrouded chateau, for all its worth and conjures other indelible images from close-ups on blood-stained lips to Lahaie’s big scythe-wielding moment. Arguably the finest hardcore porn star-turned straight actress, the future novelist/talk show host is mesmerising here.” – Andrew Pragasam, The Spinning Image
1991 / Germany / 104m / Col / Exploitation | IMDb
Monika M., Mark Reeder, Lena Braun, Jörg Buttgereit, Carola Ewers, Astrid Ewerts, Florian Koerner von Gustorf, Käthe Kruse, Eva-Maria Kurz, Bernd Daktari Lorenz
“So while much of the dense narrative concentrates on mood and plot, Buttgereit certainly delivers on the gorehound’s expectations in the last reel for the sequence in which Monika literally swaps her boyfriend’s head for that of Rob’s. This outrageous scene easily surpasses Daktari Lorenz’s ‘climax’ in part one. And aside from the corpses and the blood and the grim atmospherics, Nekromantik 2, like its predecessor, so offers a touch of humour here and there, including the romance between Monika and Mark, and Mark’s work which sees him improvising sound effects and dubbing p*rn very badly into German.” – Horror News
2012 / USA / 84m / Col / Found Footage | IMDb
Nansi Aluka, Christopher Denham, Stephen Kunken, Frank Deal, Kether Donohue, Kristen Connolly, Will Rogers, Kimberly Campbell, Beckett Clayton-Luce, Dave Hager
“Where Levinson really shows his experience is in choosing not to make a ghost story, the subgenre’s most tired cliché; secondly, he’s managed to construct a film from fake Skype, home video and news footage to create something that feels believable… It’s cleverly put together, the threat nicely revealed via various footage and is never over exaggerated to such an extent that it loses touch with reality. There are a few gross-out moments that will definitely make your skin crawl. However the multiple sources and multiple viewpoints mean there is minimal character development. The ending is a bit of an anticlimax but in many ways that also makes it feel more authentic.” – Henry Northmore, The List
1991 / USA / 89m / Col / Slasher | IMDb
Robert Englund, Lisa Zane, Shon Greenblatt, Lezlie Deane, Ricky Dean Logan, Breckin Meyer, Yaphet Kotto, Tom Arnold, Roseanne Barr, Elinor Donahue
“The Nightmare movies have also, to this point, refused to take themselves too seriously, walking a line between absurd and creepy and placing a toe (or ten) on either side every once in a while. This movie goes whole hog into a tone that bordered on slapstick in more than one scene. Freddy is also back to his old self, quipping with his victims and vogueing as though he is, on some level, aware of the film audience. Even with much more history and backstory than we’ve gotten so far, this movie manages to stay squarely in the kind of territory that Nightmare does best.” – Sophie Day, Bloody Good Horror
2009 / Belgium / 90m / Col / Psychological | IMDb
Cassandra Forêt, Charlotte Eugène Guibeaud, Marie Bos, Bianca Maria D’Amato, Harry Cleven, Jean-Michel Vovk, Bernard Marbaix, Thomas Bonzani, François Cognard, Delphine Brual
“This is basic movie Freud, elegantly mounted. The soundtrack (footsteps, dripping taps, creaking doors, banging shutters) is ominously exaggerated. The close-ups are extreme. Colours change melodramatically to fit the shifting moods. The music is borrowed from old horror films. The dialogue is at first sparse, then non-existent. Luis Buñuel (sliced eyeballs, insects crawling out of bodies), Mario Bava and Dario Argento are affectionately alluded to. Viewers are left to create their own narratives or absorb the events into their own dreams and nightmares. This is art-house horror, a pure cinema for connoisseurs, a return to late-19th-century decadence.” – Philip French, The Guardian
2011 / USA / 91m / BW / Body Horror | IMDb
Laurence R. Harvey, Ashlynn Yennie, Maddi Black, Kandace Caine, Dominic Borrelli, Lucas Hansen, Lee Nicholas Harris, Dan Burman, Daniel Jude Gennis
“If you are a true fan of horror then you will appreciate what Six is doing. If you are not you may ask why put yourself through the grinder and watch something as uncomfortable and disturbing as this? Well the answer for a horror fan is that there’s something deeply satisfying about going to the dark side, to looking as what can lurk inside a person and discover that the most terrifying thing is the darkness that can lie within the human soul. It’s also a carefully constructed work of art that makes us think about how we view violence, about how we have been lulled into numbness by horror films that sanitize violence and make it palatable so that you can walk out of a Hollywood horror film and only talk about where to go to dinner. Six wants to jolt you in order to remind you that violence in films should offend you, should upset you.” – Beth Accomando, KPBS
1977 / USA / 100m / Col / Slasher | IMDb
Hal Holbrook, Lawrence Dane, Robin Gammell, Ken James, Gary Reineke, Murray Westgate, Jack Creley, Michael Zenon
“Rituals is truly a defining slasher film. Although much less known than its brothers, cousins and further mutations as a result of inbreeding, it certainly isn’t due to lack of quality. Slasher enthusiasts celebrate celluloid masochism; they thrive on cinematic pain for pleasure. Without a doubt the subgenre is full of fun and there are all kinds of treasures to find, but it is an area of horror where stereotypes aren’t merely accepted, but are encouraged. It’s for this reason that films like Humongous or The Forest are incredibly well known for such obscurities. The amazing cover/poster art and quirky taglines didn’t hurt, either. Unlike the typical slasher film, Rituals doesn’t go out of its way to thrill the audience with a cheap kill or tit flash; it will have you writhing on the edge of your seat with suspense.” – Brett H., Oh, The Horror
1974 / UK / 97m / Col / Anthology | IMDb
Ian Bannen, Ian Carmichael, Peter Cushing, Diana Dors, Margaret Leighton, Donald Pleasence, Nyree Dawn Porter, David Warner, Angela Pleasence, Ian Ogilvy
“The first of this film’s strengths is that it takes itself seriously. The stories could easily lend themselves to parody or black comedy, but Connor and his screenwriters never fall for that temptation. With the exception of “The Elemental,” which does have one broad, comic character, the stories in this film are presented as straightforward ghost stories. This presentation lends the film a foreboding quality that inculcates a sense of unease that pervades all of the stories. We never get the feeling that the cast or the filmmakers feel that they are above this kind of film, and this adds a sense of believability to the stories.” – Eric Miller, Classic-Horror
1990 / USA / 96m / Col / Zombie | IMDb
Jeffrey Combs, Bruce Abbott, Claude Earl Jones, Fabiana Udenio, David Gale, Kathleen Kinmont, Mel Stewart, Irene Cagen, Michael Strasser, Mary Sheldon
“Bride of Re-Animator is among the most gleefully disgusting films of all time, a splatterfest leavened by liberal doses of macabre good humour (“My god, they’re using tools!”) that, in sort of an odd way, speaks to the inappropriateness of the whole enterprise. Moments of mordant hilarity aside, what works in the picture works extremely well (namely the old-school special effects, and Combs), and if Bride of Re-Animator lacks the intimate cohesion of the first film despite its desire to resurrect a feeling of doomed love, it at least isn’t coy about ladling out the goodies.” – Walter Chaw, Film Freak Central
1944 / USA / 114m / BW / Psychological | IMDb
Charles Boyer, Ingrid Bergman, Joseph Cotten, Dame May Whitty, Angela Lansbury, Barbara Everest, Emil Rameau, Edmund Breon, Halliwell Hobbes, Tom Stevenson
“Beautifully filmed in a gloomy, atmospheric black-and-white, Gaslight exhibits all the classic visual elements of ’40s film noir. The attention to detail is more obvious than in many modern films. The benighted streets of London are cloaked with fog, and the large, lonely house where most of the action transpires is filled with shadows and strange noises. The paranoid, claustrophobic world of Paula’s confinement is effectively conveyed. Even though we, as viewers, know that her insanity is contrived, we can feel the walls of the trap closing in as the situation grows progressively more hopeless… although “tame” by today’s standards (and even by those of Hitchcock’s Psycho), Gaslight is chilling enough to engross even a jaded modern audience.” – James Berardinelli, ReelViews
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
2016 / UK / 88m / Col / Black Comedy | IMDb
Alice Lowe, Dan Renton Skinner, Jo Hartley, Tom Davis, Leila Hoffman, Kate Dickie, Kayvan Novak, Mike Wozniak, Tom Meeten, Marc Bessant
“The star of the show is Lowe, who is able to convey fragility, confusion and downright craziness, while being eight months pregnant in real-life. In addition to incorporating an ominous visual style to her direction that complements her wry screenplay, her performance as Ruth conveys an evident conscious clash. Her imaginary conversations with her unborn daughter shows a darker side to her psyche, but she is unable to resist the urge to kill. It hints that she is compelled by the remaining part of the love she lost, and so driven by her need for him that it blinds all sense and meaning.” – Katie Smith-Wong, Flick Feast
1994 / USA / 361m / Col / Supernatural | IMDb
Gary Sinise, Molly Ringwald, Jamey Sheridan, Ruby Dee, Miguel Ferrer, Corin Nemec, Matt Frewer, Adam Storke, Ray Walston, Rob Lowe
“It doesn’t have anything like the usual steady, predictable rhythms of a miniseries-its scenes are of uneven lengths, and sometimes important characters disappear for hours at a time. The unexpected structure of the film-sort of an artful jumble-helps build suspense, because you realize very quickly that this movie doesn’t behave like other TV shows; anything can happen at any time. Garris also takes more care with the look of his film than most TV-movie directors-surely this is one of the prettiest scary movies ever made-and some entire scenes unfold without dialogue, a great rarity in television land.” – Ken Tucker, Entertainment Weekly
2018 / USA / 94m / Col / Thriller | IMDb
Madeline Brewer, Patch Darragh, Melora Walters, Devin Druid, Imani Hakim, Michael Dempsey, Flora Diaz, Samantha Robinson, Jessica Parker Kennedy, Quei Tann
“Cinematographer Katelin Arizmendi fills the frame with a lush neon palate that is at once sexy and ominous. Sturdy assured direction from Daniel Goldhaber ensures that Cam will be a perfect mixture of style and substance, a hypnotic nightmare unfolding in a neon glow. Here’s a film that is seductive visually and stimulating intellectually, building its layers to further your unease. In what has shaped up to be a great year for horror, Cam stands near the top of the year’s best. It’s an engrossing, audacious work of horror filmmaking that pulls you in and keeps you captivated.” – Sean Mulvihill, FanboyNation
2014 / USA / 95m / Col / Werewolf | IMDb
Nick Damici, Ethan Embry, Lance Guest, Erin Cummings, Rutanya Alda, Tom Noonan, Tina Louise, Caitlin O’Heaney, Karen Lynn Gorney, Al Sapienza
“Late Phases is a tale of hardcore werewolf violence, a tangible father/son relationship, redemption, and a whole lotta heart. It’s funny, brash, and exciting, but knows when to pull back and let the emotion sink in. Simply put, it’s a masterpiece of the werewolf genre because of what it accomplishes on top of the scares, which is deliver a truly emotional, heartfelt story of a father and son. I don’t mean to make it sound all mushy though – Late Phases delivers solid horror thrills and amazing wolf transformations that are bloody, flesh-tearing wonders of practical effects.” – Patrick Cooper, Bloody Disgusting
2007 / USA / 116m / Col / Musical | IMDb
Johnny Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall, Sacha Baron Cohen, Jamie Campbell Bower, Laura Michelle Kelly, Jayne Wisener, Ed Sanders, Gracie May
“In lesser films, songs can prove to be an alienation device by emphasising the constructed artifice of the film, foregrounding the performance aspect and losing the audience’s belief in the onscreen events. Here, they fit in seamlessly as part of the cohesive and bold direction from Burton. The calibre of acting is uniformly sublime from the veteran thespians to the younger performers. Depp and Bonham Carter complement each other well as the devious couple, their sunken eyes often saying more than several pages of script. Similarly, Burton’s expressionistic landscapes also convey a great deal, with the rare flashes of bright colour serving a narrative function by transporting us into the warmer memories of Barker/Todd. They also highlight the brutal barber’s potential for compassion and good, eroded by the injustices of humanity.” – Ben Rawson-Jones, Digital Spy
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
2018 / South Korea / 95m / Col / Found Footage | IMDb
Seung-Wook Lee, Ye-Won Mun, Ah-yeon Oh, Ji-Hyun Park, Sung-Hoon Park, Ha-Joon Wi
“Director Jung Bum-sik relies on the power of suggestion, the sounds of silence and the less-is-more kind of filmmaking to great effect rather than the use of jump scares, blood and gore or even actual violence. He does crib from films like The Blair Witch Project, particularly with scenes set in the dark forest, but they are still quite effective in their own right. Overall, Gonjiam: Haunted Asylum is an above-average entry in the found-footage genre. With genuine scares, a fitting cast and a strong adherence to verisimilitude from Bum-sik’s direction, it’s a haunting experience that’s bound to spook a few frights out of the audience.” – Harris Dang, easternKicks
2024 / United States / 132m / Col / Vampire | IMDb
Lily-Rose Depp, Nicholas Hoult, Bill Skarsgård, Aaron Taylor-Johnson, Willem Dafoe, Emma Corrin, Ralph Ineson, Simon McBurney, Adéla Hesová, Milena Konstantinova
“There’s not a single facet of Nosferatu that doesn’t impress for the sheer artistry on display. Night scenes aren’t simply well-lit; they’re re-envisioned as monochromatic nightmares, evocative of black and white gothic horror classics. Craig Lathrop’s exquisite production design whisks audiences on a tactile journey filled with dread-inducing decrepit castles, a city torn asunder by plague, gypsy camps, and beyond. Robin Carolan’s triumphant score, combined with Damian Volpe’s unsettling sound design, only furthers the immersive gothic spell. As beautiful as the costuming, set pieces, and dreamy cinematography can be, complete with quiet long takes and ethereal camera work, it’s equally matched by the horror on display. Violent deaths, an excess of blood, and necrophilia ensue in great abundance.” – Meagan Navarro, Bloody Disgusting
1998 / USA / 86m / Col / Found Footage | IMDb
David Beard, Jim Seward, Stefan Avalos, Lance Weiler, Rein Clabbers, Michele Pulaski, Tom Brunt, Mark Rublee, A.D. Roso, Dale Worstall
“Honestly, this film is a lot of fun. It’s a small cast and a very low budget (around $12,000 reportedly) but there’s a pleasing amount of professionalism all round. None of the actors come off as anything less than genuine. This is particularly surprising as many of the interviewees were just ordinary folk off the street. Also, the film holds the honour of being the first professional release that was completely edited on a desktop computer using consumer software… The fictitious documentary maker David Leigh perhaps gives a little bit of flat performance when he’s on camera compared to the rest of the cast but other than that the documentary is well paced and genuinely intriguing.” – Jack Thursby, Collected Cinema
2013 / USA / 106m / Col / Haunted House | IMDb
Patrick Wilson, Rose Byrne, Ty Simpkins, Lin Shaye, Barbara Hershey, Steve Coulter, Leigh Whannell, Angus Sampson, Andrew Astor, Hank Harris
“The story is told with suggestion more than with effects, and director James Wan’s mastery of sound, both soft and loud, not to mention its timing, is once again superb. Most of the effects are practical, which lends a verisimilitude to them that makes them all the scarier for the odd sort of familiarity they evoke… When the supernatural does show itself, it’s not with blaring music and jump cuts designed to make us jump. It’s just sitting there, minding its own business in a quiet corner, all the more terrifying for not being noticed, and for making us wonder what it’s going to do next. Yet nothing is more terrifying than the image of Josh, framed in a doorway, sunlight glowing behind him, streaming around him, and yet leaving him a looming darkness in the midst of it.” – Andrea Chase, Killer Movie Reviews
1988 / USA / 95m / Col / Comedy | IMDb
Zach Galligan, Jennifer Bassey, Joe Baker, Deborah Foreman, Michelle Johnson, David Warner, Eric Brown, Clare Carey, Buckley Norris, Dana Ashbrook
“Waxwork is like a warped cross between a slasher film, featuring a group of 80s caricatures being picked off one-by-one in a strange place, and a loving homage to the classic horrors of old. Never scary in the slightest and filled with so much camp, it would make a drag queen blush, Waxwork defines the 80s comedy-horror to a tee… Nothing really makes much sense but then the film feels like a dozen films all rolled together anyway so just sit back and enjoy Waxwork, a great slice of 80s comedy-horror with a large side-order of ‘fun’ slapped into it. It’s an enjoyable cult film which is sadly hampered from total greatness by a weak plot and disappointing finale.” – Andrew Smith, Popcorn Pictures
2010 / USA / 87m / Col / Found Footage | IMDb
Patrick Fabian, Ashley Bell, Iris Bahr, Louis Herthum, Caleb Landry Jones, Tony Bentley, John Wright Jr., Shanna Forrestall, Justin Shafer, Carol Sutton
“The movie’s first forty-five minutes acts as a legitimately witty satire of religious fundamentalists and the now-totally-lame concept of exorcisms (“the spirit of Christ compels you … yawn”). When the stakes are raised in the final act, the audience has been utterly disarmed. And instead of winking at us and promising that it will be all right, they trust that we want to feel terror.” – Simon Miraudo, Quickflix
1970 / UK / 99m / Col / Mystery | IMDb
Pamela Franklin, Michele Dotrice, Sandor Elès, John Nettleton, Clare Kelly, Hana Maria Pravda, John Franklyn, Claude Bertrand, Jean Carmet
“Half of the film’s beauty stems from is very ability on the part of both writer and director to allow the viewer to come to these conclusions themselves: nothing is explicit, and everything is ambiguous. Thus, unlike some, equally great films which more or less make the killer’s identity known from the start by leaving EXTREMELY obvious clues (Deadly Strangers, Assault, I Start Counting, Scream And Die! and Schizo all spring to mind) lying around, Clemens, Fuest and Nation really do provide us with a brainteaser, in which ANY one of the principal protagonists could be the culprit if one gives time to stop and consider it. These subtleties are further underscored by the dialogue, which is still central to the plot but sparser than one would find in many films of the period, allowing the scenery- or rather the characters’ perception of it- to tell the tale.” – Drewe Shimon, Brit Movie
1967 / UK / 86m / Col / Science Fiction | IMDb
Boris Karloff, Catherine Lacey, Elizabeth Ercy, Ian Ogilvy, Victor Henry, Sally Sheridan, Alf Joint, Meier Tzelniker, Gerald Campion, Susan George
“”How long do you think all this can last?” asks a bored Mike at a swinging 60s happening. And this throwaway line becomes the central thread of Michael Reeves’s stunning second film The Sorcerers, the movie that would pave the way for his masterpiece Witchfinder General in 1968. While on the surface offering a seemingly carefree world of mind altering drugs, free love and promiscuous sex, Reeves instead probes deeper and suggests a darker side where moral laxity leads not to joy, but to destruction. For the characters who abandon responsibility, death is waiting.” – Tom Fallows, Classic-Horror
2011 / USA / 111m / Col / Slasher | IMDb
Lucy Hale, Roger Jackson, Shenae Grimes, Dane Farwell, Anna Paquin, Kristen Bell, Aimee Teegarden, Britt Robertson, Neve Campbell, Alison Brie
“It was the interplay between genre-fueled expectation and smart storytelling that created a number of memorable set-pieces (as well as twists) in the original trilogy. However, there’s no doubt that Scream 2 and (especially) Scream 3 failed to live up to the bar set by the original… Scream 4 is without a doubt a much better film than the prior Scream sequels – offering plenty of scares, suspicion, as well as light-hearted commentary about the state of the horror genre. More than any of the previous Scream installments, this film is unapologetic about meta-references and horror-film expectations – turning audience anticipation upside down once again. There are plenty of plot holes and a number of bland performances but for the most part the actors and filmmakers deliver an enticing and intentionally cheesy diversion from the current genre staples” – Ben Kendrick, ScreenRant
1991 / USA / 108m / Col / Mystery | IMDb
John Terry, Jane Sibbett, Chris Sarandon, Robert Romanus, Laurie Briscoe, Ken Camroux, Patrick P. Pon, Bernard Cuffling, J.B. Bivens, Robert Sidley
“The Resurrected did leave me with a bit of a bitter sweet feeling. Sweet because the movie is a ton of fun. It has the genre charm that was found in a bunch of horror movies from the late 80’s and early 90’s. There are some really great practical effects used throughout. One in particular is of what I believe to be the resurrected remains of a person who has dissolved into some weird looking creature. It’s hard to explain with words, but The Resurrected does a great job explaining it visually. The bitter part is that this is O’Bannon’s second, and ultimately last film as a director. That’s a real shame because much like he did in Return of the Living Dead, O’Bannon shows he has a great style and feel behind the camera.” – Chris Coffel, Bloody Disgusting
1958 / USA / 77m / BW / Thriller | IMDb
Richard Boone, Theodore Bikel, Peggy Maurer, Howard Smith, Herbert Anderson, Robert Osterloh
“I Bury the Living is an inexpensive, stark picture, but it succeeds through its dark style and its unbending, relentless pursuit of the oddly imaginative, yet simple premise. The entire action of the movie takes place in only a few rooms and in a small portion of the cemetery. This combined with the fact that the majority of the scenes of tension take place in the small, dingy caretaker’s office intensify the picture’s claustrophobic, paranoid, almost surreal edge.” – Josh Hickman, Film Threat
1993 / Australia / 81m / Col / Body Horror | IMDb
Gerard Kennedy, Andrew Daddo, Ian Smith, Regina Gaigalas, Vincent Gil, Neil Foley, Anthea Davis, Matthew Newton, Lesley Baker, Amy Grove-Rogers
“The trouble is that, by doing his thing so well, director Philip Brophy has left audiences unsure if his film is a spoof – but you only have to pay attention to its innovative camerawork, perfectly arranged lighting and seamless continuity to realise that there’s a lot of talent behind it. Whilst it would be entertaining either way, it’s clearly more than just a halfhearted slice of exploitation movie-making – it’s a hilarious tribute to the best-loved cliches of the genre, and the affection and understanding that have gone into it mean it has real spirit, energy and character.” – Jennie Kermode, Eye For Film