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The 1,000 Greatest Horror Films: #901-#1000

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

Lo strano vizio della signora Wardh

901. (-61) Lo strano vizio della signora Wardh

Sergio Martino

AKA: Blade of the Ripper

1971 / Italy / 98m / Col / Giallo | IMDb
George Hilton, Edwige Fenech, Conchita Airoldi, Manuel Gil, Carlo Alighiero, Ivan Rassimov, Alberto de Mendoza, Bruno Corazzari, Marella Corbi, Miguel del Castillo

“‘The Strange Vice of Mrs Wardh’ is not a beautiful film in the usual sense. There are no lavish shots of the breathtaking cities of Europe nor does one see any overt attempt to dazzle the viewer with aesthetic style. Instead, we are presented with a sleazy, bleak and repellent film brimming with atmosphere and brutality and from which one can take a vulgar sense of enjoyment. This is an example of repugnant beauty, the way in which a dark subject can be treated in such a manner that it becomes strangely absorbing. A few pacing problems aside, ‘The Strange Vice of Mrs Wardh’ is a strong all-around offering for those interested in a slow-burn, mature mystery-horror movie.” – Chris Austin, Cult Reviews



902. (-23) Revenge

Coralie Fargeat

2017 / France / 108m / Col / Rape and Revenge | IMDb
Matilda Anna Ingrid Lutz, Kevin Janssens, Vincent Colombe, Guillaume Bouchède

“Loud, brash, neon-colored and shot like a music video, the flick is unabashedly cool. Fargeat is not afraid of being slick or stylizing the action. Even the gallons of blood she utilizes are of the stickiest, gooiest, reddest variety. They cling to the actors’ bodies like latex skin-suits… Revenge is sexy, but the female gaze is steadily applied throughout. The rape itself is quick, and mostly off-screen — a deliberate departure. Male nudity is cleverly utilized; first, for power and strength, before Fargeat strips the veneer away and leaves her antagonist naked, injured and struggling to fight against her strong, marginally more clothed heroine.” – Joey Keogh, Vague Visages


Katakuri-ke no kôfuku

903. (-7) Katakuri-ke no kôfuku

Takashi Miike

AKA: The Happiness of the Katakuris

2001 / Japan / 113m / Col / Black Comedy | IMDb
Kenji Sawada, Keiko Matsuzaka, Shinji Takeda, Naomi Nishida, Kiyoshirô Imawano, Tetsurô Tanba, Naoto Takenaka, Tamaki Miyazaki, Takashi Matsuzaki

“Miike uses several cinematic resources to transport his viewers into a space of strange, and shifting realities. This fantasy-world mirrors the uncertainty and anxieties of its characters while signifying their buried strengths and untapped resources. The film is filled with strange pleasures, from a brief zombie sequence to a karaoke scene (complete with onscreen lyrics). That it has become a comfort movie for many of the lucky who have stumbled across it should come as no surprise, as its message of hope and resurrection in the midst of dire circumstances is one most should be able to appreciate.” – Matthew Pridham, Weird Fiction Review



904. (-29) Wolf

Mike Nichols

1994 / USA / 125m / Col / Werewolf | IMDb
Jack Nicholson, Michelle Pfeiffer, James Spader, Kate Nelligan, Richard Jenkins, Christopher Plummer, Eileen Atkins, David Hyde Pierce, Om Puri, Ron Rifkin

“In the business world Stewart is something of a bizarre jellyfish, but in full lycanthropic form, he is something of a surreal and absolutely menacing evil that Spader makes his own. “Wolf” is an underrated horror gem, one that works as social commentary and horror cinema, and it’s a great piece of nineties filmmaking. Filled with an understated intellect and using the werewolf movie formula as a commentary for aging and the battle of the males in a society obsessed with power and dominance, Mike Nichols “Wolf” is one of our favorites of the genre, and a guaranteed good time for anyone looking for a different kind of horror film.” – Felix Vasquez Jr., Cinema Crazed


Jeepers Creepers 2

905. (-27) Jeepers Creepers 2

Victor Salva

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

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


The Skeleton Key

906. (-38) The Skeleton Key

Iain Softley

2005 / USA / 104m / Col / Supernatural | IMDb
Kate Hudson, Gena Rowlands, John Hurt, Peter Sarsgaard, Joy Bryant, Maxine Barnett, Fahnlohnee R. Harris, Marion Zinser, Deneen Tyler, Ann Dalrymple

“The setting, the house, and the stories surrounding it invoke the mood the film feeds on, and the cinematography and sound use it well. The conclusion is smart and not a studio-directed decision, because all the evidence of it is onscreen from the first scene. Better yet, while the film ends satisfactorily, it also seeds the set up an equally interesting sequel if all the players agreed to return. The Skeleton Key may not be a slasher film with buckets of fake blood, but fans of Gore Verbinski’s remake of The Ring already understand what a creepy atmosphere, a good ghost story, and a great heroine can bring to a modern thriller.” – Grim D. Reaper, Movie Crypt


The Raven

907. (-31) The Raven

Roger Corman

1963 / USA / 86m / Col / Comedy | IMDb
Vincent Price, Peter Lorre, Boris Karloff, Hazel Court, Olive Sturgess, Jack Nicholson, Connie Wallace, William Baskin, Aaron Saxon

“It’s a breezy lark, funny without being brazenly hilarious, and feeling not at all like a Poe movie, though the contrast between Daniel Haller’s ubiquitous sets (and, once more that House of Usher fire footage) and the matinee silliness of the story is pretty damned appealing all on its own. The film manages to poke fun at the Poe movie formula without ever actually mocking it, a fine needle to thread; but Corman’s filmography is pockmarked by examples of self-lacerating light humor, though he is not customarily thought of in those terms. Anyway, it’s a charmingly off-kilter hybrid, not a comic masterpiece and not a Gothic classic, but hugely entertaining on its own very low-key terms.” – Tim Brayton, Antagony & Ecstasy


Hard Candy

908. (-24) Hard Candy

David Slade

2005 / USA / 104m / Col / Thriller | IMDb
Patrick Wilson, Ellen Page, Sandra Oh, Odessa Rae, G.J. Echternkamp

“Hard Candy works superbly as a character-driven piece, rather than one which has to resort to graphic violence and standard-issue thriller clichés to get its point across. What’s more, the did-he-or-didn’t-he? element is bound to divide audiences — Jeff comes across as a likeable guy, one who dispels the stereotypical image of the internet paedophile as sleazy and/or socially awkward — and it’s all too easy to end up feeling sorry for him in spite of his alleged crimes. Like many movies which focus on just a few characters and a handful of settings, this would make a great stageplay — but as a cinematic experience, it delivers the goods.” – Caroline Westbrook, Empire



909. (-29) J’accuse!

Abel Gance

AKA: I Accuse

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

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


Maniac Cop

910. (-33) Maniac Cop

William Lustig

1988 / USA / 85m / Col / Slasher | IMDb
Tom Atkins, Bruce Campbell, Laurene Landon, Richard Roundtree, William Smith, Robert Z’Dar, Sheree North, Nina Arvesen, Nick Barbaro, Lou Bonacki

“Maniac Cop is quite action packed for a slasher and relies more on guns and explosions than than slow death, torment and suspense. Cordell’s victims meet brutal demises but the slash far outweighs the stalk with numerous victims getting nowhere near the expected 15 minutes of fame allocated by popular sayings. Viewers are even treated to a car chase which is also a valuable lesson in physics proving that cars go much faster when the back end is allowed to travel twice as far as the front in the eighties. There is so much to love about Maniac Cop despite it being in the genre of 80s trash horror. Lustig and Cohen’s styles meld together brilliantly, Campbell and Atkins never fail to entertain but most importantly there is not a hint of pretentiousness. The film knows exactly what it is and doesn’t try to be anything more.” – Pazuzu Iscariot, Horror Extreme


4 mosche di velluto grigio

911. (-19) 4 mosche di velluto grigio

Dario Argento

AKA: Four Flies on Grey Velvet

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

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



912. (-31) Delicatessen

Marc Caro & Jean-Pierre Jeunet

1991 / France / 99m / Col / Black Comedy | IMDb
Pascal Benezech, Dominique Pinon, Marie-Laure Dougnac, Jean-Claude Dreyfus, Karin Viard, Ticky Holgado, Anne-Marie Pisani, Boban Janevski, Mikael Todde, Edith Ker

“Set to the cadence and meanderings of a truly odd household of inmates/tenants, Delicatessen cunningly unfolds a futuristic domain of perverse gadgets and their owners who, in turn, run amok in a macabre and highly melancholy manner. Brutal machinery and fragile humanity are forever at odds, with love and devotion the only chance for survival. But can the cannibal elite of the tenement repel the attack of the subversive troglodytes? The juxtaposition of themes becomes increasingly delirious… Sure to be heralded as a masterpiece of vision and not merely a cult film, Delicatessen is so laden with humor and madness, brutality and tenderness, viewers will be left dumbstruck by the sheer style of the adventure alone.” – Roger Hurlburt, South Florida Sun-Sentinel


The Vault of Horror

913. (-15) The Vault of Horror

Roy Ward Baker

AKA: Further Tales from the Crypt

1973 / UK / 87m / Col / Anthology | IMDb
Daniel Massey, Anna Massey, Mike Pratt, Erik Chitty, Jerold Wells, Terry-Thomas, Glynis Johns, Marianne Stone, John Forbes-Robertson, Curd Jürgens

“One of the last of Amicus’ portmanteau horror movies, The Vault of Horror was, like Tales from the Crypt before it, based on the popular but at the time controversial comics from William Gaines’ 1950s E.C. line. The originals were marked not simply by their gruesome traits, but by their black sense of humour as well, yet the glee with which they were presented was somewhat lacking when producer and writer Milton Subotsky brought his adaptations to the screen – in fact, they were a little dry. There’s nothing wrong with the stories themselves, as they all have decent set ups and fitting punchlines, it’s just that a more than a modicum of jokiness could have lifted them above the routine. As it is, they are more quietly amusing than all-out thrill rides.” – Graeme Clark, The Spinning Image


Una lucertola con la pelle di donna

914. (-28) Una lucertola con la pelle di donna

Lucio Fulci

AKA: A Lizard in a Woman’s Skin

1971 / Italy / 104m / Col / Giallo | IMDb
Florinda Bolkan, Stanley Baker, Jean Sorel, Silvia Monti, Alberto de Mendoza, Penny Brown, Mike Kennedy, Ely Galleani, George Rigaud, Ezio Marano

“By making the film grounded in physical actuality and more lingering, disgusting gore, Fulci and Kuveiller and the rest of the filmmakers were able to make the moments of drug or psychosis-induced fantasy pop that much more, and somehow, having just a little insanity ends up making the whole film feel more deranged than if it always occupied that heightened place. For as long as it works, A Lizard in a Woman’s Skin does as good a job of exploring what a mental breakdown might actually consist of as well as any giallo ever did, and given the genre’s huge enthusiasm for psychiatry, that’s one heck of an achievement.” – Tim Brayton, Antagony & Ecstasy


Happy Birthday to Me

915. (-33) Happy Birthday to Me

J. Lee Thompson

1981 / Canada / 111m / Col / Slasher | IMDb
Melissa Sue Anderson, Glenn Ford, Lawrence Dane, Sharon Acker, Frances Hyland, Tracey E. Bregman, Jack Blum, Matt Craven, Lenore Zann, David Eisner

“One of the strongest entries in the 80s splatter canon, Happy Birthday to Me is both quite simplistic and unusually sophisticated for a slasher. On the one hand, it’s clearly driven by the petulant, juvenile pangs of youth and will resonate with anyone who was ever jilted on their birthday by a group of friends (hopefully it doesn’t resonate too much because things will get awkward and bloody in a hurry). But on the other hand, this one sets itself apart from its contemporaries by spinning one hell of a yarn around this concept, as it’s lined with enough twists and turns that would even make giallo masters blush. In many ways, Happy Birthday to Me is a perfect stopgap between that genre and the standard issue American body count flick; it really can’t be claimed as either, which makes it all the more intriguing.” – Brett Gallman, Oh, The Horror


Et mourir de plaisir

916. (-49) Et mourir de plaisir

Roger Vadim

AKA: Blood and Roses

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

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


Jason Goes to Hell: The Final Friday

917. (-23) Jason Goes to Hell: The Final Friday

Adam Marcus

AKA: Friday the 13th IX

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

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


Bloody Birthday

918. (-10) Bloody Birthday

Ed Hunt

1981 / USA / 85m / Col / Slasher | IMDb
Lori Lethin, Melinda Cordell, Julie Brown, Joe Penny, Bert Kramer, K.C. Martel, Elizabeth Hoy, Billy Jayne, Andrew Freeman, Susan Strasberg

“Directed by Ed Hunt, you get the distinct impression that Bloody Birthday was stalking the same crowd that came out in droves for Halloween. Released just four years after Michael Myers broke loose, Hunt’s horror shares many of the same tropes, including Lethin’s final girl, the sexy being punishable by death and – in retrospect – a healthy dose of post-70s kitsch. Obviously, Bloody Birthday didn’t share the runaway success of John Carpenter’s classic but that doesn’t make it any less potent. Despite an undeniably flimsy back story for its killer kids, the way they conduct their bloody business is pretty memorable. The three terror tykes… are never short of an evil plan and turn out performances that implore you to hate them, adding to the film’s endurability for modern eyes.” – Simon Bland, HorrorTalk

Genres: Slasher, Evil Children


919. (+32) Images

Robert Altman

1972 / UK / 104m / Col / Psychological | IMDb
Susannah York, Rene Auberjonois, Marcel Bozzuffi, Hugh Millais, Cathryn Harrison, John Morley

“Altman’s direction is faultless; he ratchets up the tension, teasing details and weaving backstories into the narrative, whilst always keeping the audience on a knife edge. Vilmos Zsigmond’s cinematography is equally stunning, using the near-mythic Irish countryside to great effect and making the house a disorienting and labyrinthine prison for Cathryn. John Williams also delivers one of his most experimental scores although collaborator, Stomu Yamashta, may be the biggest influence on the Japanese influenced arrangements. Haunting, eerie, hallucinatory and exquisitely crafted; Images is a film that demands greater attention.” – Man With a Movie Blog


Mientras duermes

920. (-21) Mientras duermes

Jaume Balagueró

AKA: Sleep Tight

2011 / Spain / 102m / Col / Thriller | IMDb
Luis Tosar, Marta Etura, Alberto San Juan, Petra Martínez, Iris Almeida, Carlos Lasarte, Amparo Fernández, Roger Morilla, Pep Tosar, Margarita Rosed

“As the film’s character based plot wraps its well scripted hands around the viewer’s neck, the same noose closes in on César, as he dodges and uses his false smiles and quick thinking to avoid detection. Both eerily realistic and uncomfortable, the viewer can never be sure whether what they are watching borders on the absurd. But the movie loses all pretension that is found in more Americanised horrors, and avoids the temptation of over-scoring itself in an attempt to add drama, and instead lets the looks and silence in-between them to create the tension. This ensures a well rounded but by no means flat film, that will leave you squirming in, and on of the edge of, your seat.” – Ross Shapland, Shapstik on Screen


The Tell-Tale Heart

921. (new) The Tell-Tale Heart

Ted Parmelee

1953 / USA / 8m / Col / Gothic | IMDb
James Mason

“Surprisingly tense, this cartoon immediately achieves a gripping quality that most horror movies would gladly kill to attain. Its deft little script moves with startling immediacy throughout Poe’s narrative, reaching mad climax and sweaty calm with equal aplomb. Each measured minute of it seems both an exciting realization of Poe’s vision and a testament to the talents of the little-remembered UPA animation studios that produced it. Given its sheer singularity, it must have seemed doubly shocking to its contemporary audiences. Really, though, the film’s undeniable strength lies in its visual design. Chock full of surrealist imagery, the look of the movie feels like what would result when Salvador Dali had a nightmare. Undeniably painterly, but no less disturbing for it, the short still looks distinctive today. The unremittingly subjective camera angles place the audience directly in the mind of the killer, and the look of the short feels appropriately askew as a result, with angular character designs, and deep, inescapable shadows.” – Jeremy Heilman, Movie Martyr


La cabina

922. (new) La cabina

Antonio Mercero

AKA: The Telephone Box

1972 / Spain / 35m / Col / Black Comedy | IMDb
José Luis López Vázquez, Agustín González, Goyo Lebrero, Tito García, Carmen Martínez Sierra, Carmen Luján, María Vico, Felipe Martín Puertas, José Montijano, Blaki

“What La cabina manages to capture perfectly is the collective psychological blindness that emerges in totalitarian societies which allows most people to live a ‘normal’ life. While the crowd surrounding the phone box are initially sympathetic and concerned, once it becomes clear that they are powerless to help they quickly turn their backs in an attempt to ignore – or mock – the obvious elephant in the room, or ‘Man in the phone box’. In drawing out his reaction and that of the various characters who stumble across him, Mercero dances between light drama, comedy and Twilight Zone-esqu eeriness with such effortlessness that the impact of the ending is doubly horrific.” – Carl Swift, Black Lagoon



923. (-28) Begotten

E. Elias Merhige

1989 / USA / 72m / Col / Experimental | IMDb
Brian Salzberg, Donna Dempsey, Stephen Charles Barry, James Gandia, Daniel Harkins, Michael Phillips, Erik Slavin, Arthur Streeter, Adolfo Vargas, Garfield White

“Few motion pictures have the power to jolt an audience with the fury, imagination, and artistic violence of Begotten, a 1991 tour de force from Elias Merhige currently debuting on home video. This cryptic independent production is a film of eccentric brilliance, skillfully balancing the glorious and the grotesque in an unforgettable work of art. Perhaps the most striking aspect of Begotten is its cinematography. Filmmaker Merhige photographed his work on 16-mm black-and-white reversal film and then rephotographed the footage frame by frame on black-and-white negatives through density filters, a four-year labor that required 10 hours of work for each minute of the 78-minute film. The result is a visual work unlike any other – one that looks like an ancient ritual filmed on the scene thousands of years ago and only recently dusted off for viewing.” – Phil Hall, Wired

Genres: Experimental, Horror, Surrealism, Sadistic Horror, Slow Cinema, Religious Film, Splatter, Gothic

I Spit on Your Grave

924. (-20) I Spit on Your Grave

Steven R. Monroe

2010 / USA / 108m / Col / Rape and Revenge | IMDb
Sarah Butler, Jeff Branson, Andrew Howard, Daniel Franzese, Rodney Eastman, Chad Lindberg, Tracey Walter, Mollie Milligan, Saxon Sharbino, Amber Dawn Landrum

“Butler is excellent in the lead, striking the appropriate balance between vulnerable victim and kick-ass revenge merchant, so that both seem convincing… The script is a vast improvement over the original film: the characters are better written, their interactions are more believable, there’s much more suspense in the build-up and there’s a hint of class conflict (in the smalltown paranoia/suspicion of “city types”) that adds an extra level to the attack. Similarly, Monroe goes out of his way to ensure that, unlike in the original film, the horrific rape scene is not exploitative… obviously, it’s upsetting to watch, but it’s handled well and serves its purpose in setting up the motive for the violent revenge to come.” – Matthew Turner, ViewLondon


Jack Brooks: Monster Slayer

925. (-9) Jack Brooks: Monster Slayer

Jon Knautz

2007 / Canada / 85m / Col / Comedy | IMDb
Robert Englund, Trevor Matthews, Daniel Kash, David Fox, Dean Hawes, Rachel Skarsten, James A. Woods, Ashley Bryant, Stefanie Drummond, Chad Harber

“A midnight screening classic in the making, Jon Knautz’s film is a winning marriage of schlocky horror and comedy. It’s the story of Jack Brooks, a plumber with a short fuse who has been suffering from emotional rages since the grizzly death of his parents at a tender age… When Brooks is confronted with a monster attack at a night class (he’s trying to better himself), he makes the decision to fight back rather than run away and the result is a glorious 20-minute murderous rage of a finale full of zombie-like monsters, gushing geysers of bodily fluids and a monster who looks like a cross between Jabba the Hutt and paper mache.” – Marina Antunes, Row Three


Rear Window

926. (-35) Rear Window

Alfred Hitchcock

1954 / USA / 112m / Col / Thriller | IMDb
James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, Raymond Burr, Judith Evelyn, Ross Bagdasarian, Georgine Darcy, Sara Berner, Frank Cady

“It’s one of Alfred Hitchcock’s inspired audience-participation films: watching it, you feel titillated, horrified, and, ultimately, purged. The story is set mainly in a Greenwich Village apartment with a view into the rooms across the courtyard, but in Hitchcock’s hands this small space contains multitudes. Here, he pushed the subjective-camera technique—putting the audience into the minds of his characters—to new heights… It’s an astonishing visual and psychological coup. Hitchcock’s brilliant satire of cramped city life and his masterly evocation of urban voyeurism suddenly generate primal fear and profound insight.” – Michael Sragow, New Yorker


Fatal Attraction

927. (-22) Fatal Attraction

Adrian Lyne

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



928. (-26) Scarecrows

William Wesley

1988 / USA / 83m / Col / Supernatural | IMDb
Ted Vernon, Michael David Simms, Richard Vidan, Kristina Sanborn, Victoria Christian, David James Campbell, B.J. Turner, Dax Vernon, Tony Santory

“With this nasty, lean little thriller, director William Wesley demonstrates two things: scarecrows are freakin’ scary, and he’s not afraid to exploit it… there is something distinctly sinister in how scarecrows hang there watching you… they’re also usually perched in fields in the middle of nowhere, surrounded by nothing but corn, the occasional bird and an abandoned farmhouse in the distance. That’s where Wesley takes us, and in a hurry. Purposely slim on story, his Scarecrows is efficiently told and very well paced. It takes him a speedy six or seven minutes to establish the characters and their predicament, just enough time for the opening credits to finish up. After that, he spends the next 75 minutes or so getting down to the business of scaring the pants off of us. He succeeds enough times to make this movie worth recommending.” – Bryan Pope, DVD Verdict


Friday the 13th: A New Beginning

929. (-26) Friday the 13th: A New Beginning

Danny Steinmann

1985 / USA / 92m / Col / Slasher | IMDb
Melanie Kinnaman, John Shepherd, Shavar Ross, Richard Young, Marco St. John, Juliette Cummins, Carol Locatell, Vernon Washington, John Robert Dixon, Jerry Pavlon

“Setting the movie in and around a mental institute provides some freshness, plus an amusingly excessive early moment in which a twitchy inmate hacks up a fellow resident just for being fat and annoying. The “mystery” killer gets an array of sinister close-ups just in case we can’t guess for ourselves, and many characters are introduced for the purpose of having flares / meat cleavers / machetes shoved into their bodies. The deepest character development is to give one guy a stutter.” – Steven West, Horrorscreams


Return of the Living Dead III

930. (-9) Return of the Living Dead III

Brian Yuzna

AKA: Return of the Living Dead Part III

1993 / USA / 97m / Col / Zombie | IMDb
Kent McCord, James T. Callahan, Sarah Douglas, Melinda Clarke, Abigail Lenz, J. Trevor Edmond, Jill Andre, Michael Decker, Billy Kane, Mike Moroff

“While it isn’t as gleefully excessive as the previous year’s Dead Alive, Return of the Living Dead III is an incredible display of body horror and splatter. Yuzna’s always been a sort of poor-man’s Cronenberg, but he’s hit some incredible highs during his career, with this being one of them. Not content to merely create nondescript, shambling zombies, Yuzna embraces the franchise’s legacy of unique designs. Tarman might be absent, but he’s not completely missed, as Yuzna conjures up a fun array of creatures, including one that has an elongated spine after his head is almost severed from its body. The accompanying eviscerations, impalements, and, (of course) brai(iiiiii)n eating are messy and gooey, so it’s a great practical effects showcase.” – Brett Gallman, Oh, The Horror


Eight Legged Freaks

931. (-46) Eight Legged Freaks

Ellory Elkayem

2002 / USA / 99m / Col / Natural Horror | IMDb
David Arquette, Kari Wuhrer, Scott Terra, Scarlett Johansson, Doug E. Doug, Rick Overton, Leon Rippy, Matt Czuchry, Jay Arlen Jones, Eileen Ryan

“Decidedly goofy, Eight Legged Freaks is a modest horror comedy reminiscent of the campy B-movie creature flicks of yesteryear. Armed with cheesy humor and a tongue-in-cheek story, it offers light-hearted entertainment fit for a sci-fi monster movie marathon… Ultimately, Eight Legged Freaks is too polite to be a classic in its genre. But as horror comedies go, it’s breezy fun that recognizes its limitations and revels in its own absurdity. With that rare quality of self-awareness, it puts itself considerably above ill-conceived peers that take themselves too seriously.” – Andrew Manning, Radio Free Entertainment


Chopping Mall

932. (-32) Chopping Mall

Jim Wynorski

1986 / USA / 77m / Col / Science Fiction | IMDb
Kelli Maroney, Tony O’Dell, Russell Todd, Karrie Emerson, Barbara Crampton, Nick Segal, John Terlesky, Suzee Slater, Paul Bartel, Mary Woronov

“So even if Chopping Mall has horrible characters played by almost uniformly poor actors; it’s still made with a seriousness of purpose and a focus missing in most of its competition. The killbots themselves are a tiny miracle of low-budget production and design, legitimately menacing all the more because they don’t seem to be off in some sci-fi wonderland, and because the puppeteers (and Wynorski, who provided their deep monotone, weirdly amusing voices) put so much little touches into their movements, giving these featureless, emotionless machines more legitimate personality than any of the humans involved. It is a ridiculous film that is above ridicule, and a film that manages to gather up seemingly every current in 1980s genre cinema into one nimble package, in short, and despite a somewhat too-long Final Girl sequence, it does this all without ever dragging. It does not talk down to us, or assume that we are idiots – it knows that it is goofy, but it does not therefore mock itself or ask to be mocked.” – Tim Brayton, Antagony & Ecstasy



933. (-11) Snowtown

Justin Kurzel

2011 / Australia / 119m / Col / Crime | IMDb
Lucas Pittaway, Bob Adriaens, Louise Harris, Frank Cwiertniak, Matthew Howard, Marcus Howard, Anthony Groves, Richard Green, Aaron Viergever, Denis Davey

“It’s Australian director Justin Kurzel’s first feature, and on the basis of this, he’s not only remarkably assured at telling a story as economically as possible through images, but also knows how to conjure up an authentic sense of place — in this case, the working-class milieu of Adelaide, Australia’s northern suburbs—and come up with the right visual shorthand to vividly evoke mood and reveal character. Kurzel also seems to have a sure touch with actors, judging by the utterly natural performances he elicits from a mostly nonprofessional cast. All of this helps to make The Snowtown Murders an indubitably unnerving experience; as a horror film about an innocent teen who somehow becomes an accomplice to a band of serial killers, Kurzel’s film is grimly, viscerally effective.” – Kenji Fujishima, Slant Magazine


Tôkyô zankoku keisatsu

934. (-33) Tôkyô zankoku keisatsu

Yoshihiro Nishimura

AKA: Tokyo Gore Police

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



935. (-3) Absentia

Mike Flanagan

2011 / USA / 87m / Col / Mystery | IMDb
Katie Parker, Courtney Bell, Dave Levine, Morgan Peter Brown, Justin Gordon, James Flanagan, Scott Graham, Doug Jones, Ian Gregory, Connie Ventress

“Director Flanagan is a man who almost seems aware of what he is capable of doing and what he simply can not do on-screen and it shows in what is a very artistically self-aware indie gem that works as an enduring yet complex character study and a truly harrowing horror film. “Absentia” provides so many layers of subtle characterization, gentle exposition, and gripping back story that affords just enough depth for our protagonists to earn our sympathy without seeming as if we’re being manipulated in to caring for them. And that’s thanks to the absolutely mesmerizing performances from the entire cast, all of whom bear a strong importance to the end result of Mike Flanagan’s horror film that is utterly reliant on competent performances from a cast who has to sell not only the sheer terror of this situation that grows more and more maddening with each waking hour, but in the logical sense of loss and grief at the notion that they’re losing the battle to a force of evil they can barely comprehend let alone battle.” – Felix Vasquez Jr., Cinema Crazed


Dèmoni 2... l'incubo ritorna

936. (-22) Dèmoni 2… l’incubo ritorna

Lamberto Bava

AKA: Demons 2

1986 / Italy / 88m / Col / Possession | IMDb
David Edwin Knight, Nancy Brilli, Coralina Cataldi-Tassoni, Bobby Rhodes, Asia Argento, Virginia Bryant, Anita Bartolucci, Antonio Cantafora, Luisa Passega, Davide Marotta

“Lamberto Bava returns to gore territory in this bloody, but dimwitted sequel to his surprise 1986 video hit… Putting aside the simplistic plot, lousy dialogue, and atrocious acting, Demons 2 is watchable for one reason: the bloody mechanical and makeup effects by Sergio Stivaletti. Most of his dripping, drooling transformation sequences are first-rate with highlights including a nasty little boy who actually “births” a monster that resembles one of the title creatures from Gremlins. This Gremlin-demon is a lousy effect, but makes for a few intended laughs. This film marked the acting debut of the young Asia Argento” – Patrick Legare, AllMovie



937. (+39) Dementia

John Parker

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

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


The Penalty

938. (-45) The Penalty

Wallace Worsley

1920 / USA / 90m / BW / Crime | IMDb
Charles Clary, Doris Pawn, Jim Mason, Lon Chaney, Milton Ross, Ethel Grey Terry, Kenneth Harlan, Claire Adams

“As far as film villains go, you’d be hard pressed to find one more unique than Chaney’s Blizzard. Bitter, hate-filled and with machinations that take a simple crime thriller and turn it into a potentially gruesome tale about a man virtually consumed with thoughts of revenge and a lust for power. To that end, ‘The Penalty’ is surprisingly captivating – being that you’re never quite sure just how far the film will take things once Blizzard gains the upper hand. Addiitonally, Worsely’s clever, sometimes suggestive direction and the emotive cinematography by Dan Short combine to create a rather compelling, if somewhat overly symbolic feature that still manages to be an entertaining film by today’s standards. For those familiar with his later work that would make him a legend, ‘The Penalty’ stands as a remarkable accomplishment for Chaney’s imagination and skill as both an actor and special effects guru.” – Kevin Yeoman, High-Def Digest



939. (-20) Nightmare

Romano Scavolini

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

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


The Last House on the Left

940. (-33) The Last House on the Left

Dennis Iliadis

2009 / USA / 110m / Col / Rape and Revenge | IMDb
Garret Dillahunt, Michael Bowen, Josh Coxx, Riki Lindhome, Aaron Paul, Sara Paxton, Monica Potter, Tony Goldwyn, Martha MacIsaac, Spencer Treat Clark

“Craven’s original had a grungy no-budget tawdriness – the Benny Hill production values and incongruously bouncy music made it all the more disturbing. This time around, we’re braced for what’s coming, partly because director Dennis Iliadis escorts us down the altogether safer road of dark, rainy and ominous… The cast bring a level of reality to this that’s surprisingly impressive – both Goldwyn and Garret Dillahunt push their roles a couple of notches above protective dad and generic psycho, respectively. Where Iliadis botches things is with two moments of ridiculous excess, involving a garbage disposal and a microwave, which jut out of the scenario like shameless sops to the torture-porn dollar.” – Tim Robey, Daily Telegraph


The Poughkeepsie Tapes

941. (-18) The Poughkeepsie Tapes

John Erick Dowdle

2007 / USA / 81m / Col / Found Footage | IMDb
Stacy Chbosky, Ben Messmer, Samantha Robson, Ivar Brogger, Lou George, Amy Lyndon, Michael Lawson, Ron Harper, Kim Kenny, Iris Bahr

“It’s a mockumentary, minus the comedy and satire. It’s a mockumentary that houses a two-pronged attack of brutally accurate portrayals of torture, murder and dismemberment seamlessly interwoven with expert analysis and the thoughts and memories of those who were affected by the killers rampage, and those who were hunting him down. In fact, it’s not too far removed from what the Discovery channel and TLC show on a daily basis… The writing leaps off the screen, as the Dowdle brothers concoct a credible, highly intelligent, innovative killer and sets him loose in the “Anywhere, USA” suburbs of Poughkeepsie, New York.” – Alex Seda, Midnight Showing


Bat sin fan dim: Yan yuk cha siu bau

942. (-25) Bat sin fan dim: Yan yuk cha siu bau

Herman Yau

AKA: The Eight Immortals Restaurant: The Untold Story

1993 / Hong Kong / 96m / Col / Splatter | IMDb
Anthony Wong Chau-Sang, Danny Lee, Emily Kwan, Chun Hung Cheung, Si Man Hui, James Ha Jim-Si, Eric Kei, Joh-Fai Kwong, Dave Lam Jing, King-Kong Lam

“While labeled as one of the most shocking Asian horror films, The Untold Story is surprisingly not as graphically gory as one would expect with such title; the shock and the horror originate not from what’s seen, but from what takes place in off-screen. Directors Danny Lee and Herman Yau build up a disturbing atmosphere, very much in tone with the unbalance mind of Wong. Employing a stylish narrative, directors Yau and Lee cleverly orchestrate the grotesque details of the crimes in such a harrowing, powerful way that, no matter that the actual act takes place off-screen, the horrific effect is still felt.” – J Luis Rivera, W-Cinema


Child's Play 3

943. (-7) Child’s Play 3

Jack Bender

1991 / USA / 90m / Col / Slasher | IMDb
Justin Whalin, Perrey Reeves, Jeremy Sylvers, Travis Fine, Dean Jacobson, Brad Dourif, Peter Haskell, Dakin Matthews, Andrew Robinson, Burke Byrnes

“More than ever, the kills are played for a laugh at the sound of Chucky cackling. This one is much closer in tone to the sequel than to the original because the doll is fully shown and lit. He can still pull a shiver, but he’s getting harder to take seriously… If you accept to trade chills for fun, cheese and one-liners, Child’s Play 3 might meet most of your expectations. Sure, it’s the laziest in the trilogy, takes a couple of shortcuts when it needs to move its characters from one place to another, and the finale is implausibly rushed, but as long as you suspend disbelief, you should enjoy yourself. If animatronics don’t do it, the body count will.” – Steve Hutchison, Tales of Terror

Genres: Slasher, Supernatural Horror, Black Comedy, Puppetry, Evil Doll


944. (-47) Leprechaun

Mark Jones

1993 / USA / 92m / Col / Comedy | IMDb
Warwick Davis, Jennifer Aniston, Ken Olandt, Mark Holton, Robert Hy Gorman, Shay Duffin, John Sanderford, John Voldstad, Pamela Mant, William Newman

“Davis was said to have wanted this role as a bad guy after coming off a career drought, with a lead role in Willow as “the good guy.” It’s without a doubt, that the Leprechaun franchise would have never even been conceived or enjoyed as much without Davis in the lead role. He carries the movies, and every scene without him is lacking severely because the cast cannot carry the film. I would call Leprechaun an example of pure nineties cheese and also a movie I’m sure Jennifer Anniston would like to erase from her resume… There is some mild gore, Davis owns the role and has a couple of shining moments. This is definitely not a movie I’d show to kids. That little bastard is creepy looking and could haunt a little child’s dreams.” – Richard Taylor, Severed Cinema


The Neon Demon

945. (-16) The Neon Demon

Nicolas Winding Refn

2016 / USA / 118m / Col / Psychological | IMDb
Elle Fanning, Karl Glusman, Jena Malone, Bella Heathcote, Abbey Lee, Desmond Harrington, Christina Hendricks, Keanu Reeves, Charles Baker, Jamie Clayton

“For all its shimmery surface modernity, this story about the commodified consumption of youth is as old as the hills, a carefully choreographed carnival of voyeurism in which corruptible beauty is “the only thing” and every look comes with daggers. Motel rooms are stalked by beasts both real and metaphorical (Keanu Reeves giving good creep) and photographers are indistinguishable from serial killers (shades of Eyes of Laura Mars). But while Jesse may faint like Sleeping Beauty, with rose petals falling around her goldie locks, it’s her own image that grabs her by the throat. Mirrors are everywhere, to be stared into, scrawled upon, kissed and smashed. And the more Jesse looks, the more she sees nothing but herself…” – Mark Kermode, Guardian


Fright Night

946. (-28) Fright Night

Craig Gillespie

2011 / USA / 106m / Col / Vampire | IMDb
Anton Yelchin, Colin Farrell, Toni Collette, David Tennant, Imogen Poots, Christopher Mintz-Plasse, Dave Franco, Reid Ewing, Will Denton, Sandra Vergara

“Scripted by Buffy alum Marti Noxon and directed by Craig Gillespie (Lars and the Real Girl), the film is packed with obvious but effective metaphors, plenty of laughs, digs at post Twilight vampirism and a couple of genuine scares. Throw in a great cast delivering performances that range from steadily dramatic to hilarious and unexpected, and Fright Night is a funny, savvy and suspenseful horror-comedy with plenty of entertaining bite.” – Tom Clift, MovieDex



947. (-21) Prometheus

Ridley Scott

2012 / USA / 124m / Col / Science Fiction | IMDb
Noomi Rapace, Michael Fassbender, Charlize Theron, Idris Elba, Guy Pearce, Logan Marshall-Green, Sean Harris, Rafe Spall, Emun Elliott, Benedict Wong

“Prometheus is a strongly acted, superbly designed movie, an exciting and at times emetic experience. Some surprises might have been anticipated with a little thought, others not. It’s a weightier undertaking than Alien, an existential horror picture that didn’t attempt to raise the big religious, cosmological and teleological issues that are thrashed out here. Some may find it pretentious, and the title, suggestive of hubristic man confronting the gods, has the film flaunting its ambition. But the action moves so swiftly that for most of the time I wasn’t aware, as I usually am, of it being in 3D, and the final couple of minutes are as gut-wrenching as anything in the Alien cycle.” – Philip French, The Observer


Lake Placid

948. (-39) Lake Placid

Steve Miner

1999 / USA / 82m / Col / Natural Horror | IMDb
Bill Pullman, Bridget Fonda, Oliver Platt, Brendan Gleeson, Betty White, David Lewis, Tim Dixon, Natassia Malthe, Mariska Hargitay, Meredith Salenger

““Lake Placid” is smart enough to acknowledge that the monsters are usually the most interesting characters in monster movies, but – even better – it’s also smart enough to ensure that the people here are worthy of the monster. An usually witty creature feature, “Lake Placid” was a box-office flop: It was released when theatrical monster movies were out of fashion, and at a moment when old-school practical special effects were augmented but not yet replaced by computer-generated imagery. Thank goodness: It’s the obviously real physicality of the fake crocodile (created by Stan Winston’s studio) that gives this movie its heft, while the clever script by David E. Kelley – yes, the creator of “Doogie Howser” and “Ally McBeal” – gives it its bite.” – John Beifuss, Commercial Appeal


Hell Night

949. (-37) Hell Night

Tom DeSimone

1981 / USA / 101m / Col / Slasher | IMDb
Linda Blair, Vincent Van Patten, Peter Barton, Kevin Brophy, Jenny Neumann, Suki Goodwin, Jimmy Sturtevant, Hal Ralston, Carey Fox, Ron Gans

“Hell Night stays away from particularly explicit violence. Part of that, undoubtedly, was the culture: after the first rush of slasher films in 1980, the moral watchdogs started barking and most of the second-wave films in ’81 were toned down considerably (the quintessential example being, of course, Friday the 13th giving way to the comparatively chaste Friday the 13th, Part 2). Even by those reduced standards, though, Hell Night is a violence-averse film, so much so that I wonder if that’s part of why it doesn’t have more visibility among casual slasher fans. What it does have, though, is a fairly amazing degree of tension and atmosphere for a cheap genre quickie.” – Tim Brayton, Antagony & Ecstasy


Deep Blue Sea

950. (-37) Deep Blue Sea

Renny Harlin

1999 / USA / 105m / Col / Natural Horror | IMDb
Thomas Jane, Saffron Burrows, Samuel L. Jackson, Jacqueline McKenzie, Michael Rapaport, Stellan Skarsgård, LL Cool J, Aida Turturro, Cristos, Daniel Rey

““Deep Blue Sea” takes all the action cliches and introduces three big sharks to demolish them. Call it silly. Call it obvious — there’s nothing more obvious than a shark attack. But this is one of the few big-fish horror films that still has the power to surprise. Any one of a dozen movies out there shows actors chewing the scenery. “Deep Blue Sea” shows the scenery chewing the actors, and not just nibbling. In one particularly delightful shot, a shark starts chomping on a man, and another shark comes over and munches on him too… Jackson is the only marquee name, but the cast lacks for nothing in talent and appeal.” – Mick LaSalle, San Francisco Chronicle



951. (-17) Patrick

Richard Franklin

1978 / Australia / 112m / Col / Supernatural | IMDb
Susan Penhaligon, Robert Helpmann, Rod Mullinar, Bruce Barry, Julia Blake, Helen Hemingway, María Mercedes, Walter Pym, Frank Wilson, Carole-Ann Aylett

“Director Richard Franklin (Psycho II) eventually lets Patrick’s powers go haywire, but the first half of the film combines sinister atmosphere-building with a justified faith that an immobile killer is still an ever-present threat. The spitting is a shock every time—and when Patrick starts getting some feeling back in his lower regions, that’s plenty creepy too—but there’s tension every time Kathie or another hospital worker blithely works the monitors or adjusts the sheets around him. He’s like a coiled rattlesnake ready to strike, and taking a cue from the Italians, Franklin focuses heavily on Thompson’s baby blues, sensing not only life behind his eyes, but a kind of chilling, crystal-ball omniscience.” – Scott Tobias, The Dissolve


Body Bags

952. (-32) Body Bags

John Carpenter & Tobe Hooper & Larry Sulkis

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


Pitch Black

953. (-23) Pitch Black

David Twohy

2000 / USA / 109m / Col / Science Fiction | IMDb
Vin Diesel, Radha Mitchell, Cole Hauser, Keith David, Lewis Fitz-Gerald, Claudia Black, Rhiana Griffith, John Moore, Simon Burke, Les Chantery

“Weirdly cool, coolly weird, assembled with throwaway flair from cast-off sci-fi-thriller pistons and gears… Pitch Black is so jaunty, so limber, and so visually self-assured that art peeks through where crap has traditionally made its home… Rarely has the unknown looked so grubby and yet so beautiful; rarely have crash landings felt so visceral. Besides, the movie’s outlaw aesthetics liberate relatively unknown actors to make the most out of characters sketchier than guests on the Enterprise.” – Lisa Schwarzbaum, Entertainment Weekly


Kim Bok-nam salinsageonui jeonmal

954. (-16) Kim Bok-nam salinsageonui jeonmal

Chul-soo Jang

AKA: Bedevilled

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

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


Sette note in nero

955. (new) Sette note in nero

Lucio Fulci

AKA: The Psychic

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

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


Phase IV

956. (-9) Phase IV

Saul Bass

AKA: Phase Four

1974 / USA / 84m / Col / Science Fiction | IMDb
Michael Murphy, Nigel Davenport, Lynne Frederick, Alan Gifford, Robert Henderson, Helen Horton, David Healy

“Perhaps the most memorable aspect of the film is Bass’ intricate miniature photography, in which he gets us right up close to the ants in their habitat. This footage is stunning in its own right, a glimpse of the insect world on its own level, but Bass takes it further. Long scenes go by with no dialogue or narration, as we simply watch the ants go about their business. Inventive editing helps create the illusion of intelligence and cunning: intertwined shots of a worker ant and a queen play as a wordless (telepathic?) conversation, and our imaginations fill in their possible plans.” – David Cornelius, DVDTalk


Fritt vilt

957. (-18) Fritt vilt

Roar Uthaug

AKA: Cold Prey

2006 / Norway / 97m / Col / Slasher | IMDb
Ingrid Bolsø Berdal, Rolf Kristian Larsen, Tomas Alf Larsen, Endre Martin Midtstigen, Viktoria Winge, Rune Melby, Erik Skjeggedal, Tonie Lunde, Hallvard Holmen

“Roar Uthaug’s debut feature is a conventional but nicely handled slasher pic that makes good use of spectacular mountain range locations. Widescreen lensing format and above-average perfs add a touch of class to the tale of five snowboarders who take shelter in the wrong mysteriously abandoned (or is it?) ski lodge… Likeable characters are given more personality than the usual genre cannon fodder, and, while the basic premise is routine, pic orchestrates its scares with brute effectiveness. The only letdown is the killer himself, a generic “Halloween”-y faceless ghoul in goggles and heavy winter wear.” – Dennis Harvey, Variety


And Soon the Darkness

958. (-15) And Soon the Darkness

Robert Fuest

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


Dans ma peau

959. (0) Dans ma peau

Marina de Van

AKA: In My Skin

2002 / France / 93m / Col / Body Horror | IMDb
Marina de Van, Laurent Lucas, Léa Drucker, Thibault de Montalembert, Dominique Reymond, Bernard Alane, Marc Rioufol, François Lamotte, Adrien de Van, Alain Rimoux

“It’s mostly the suggestion of what Esther is doing to herself that worms its way into your mind and won’t leave you alone, and that’s what people were finding so uncomfortable that they couldn’t continue to watch the film. Being confronted with a sudden boundary between “me” and “my body” isn’t something many of us have dealt with, and our innate inclination for self-preservation tells us to run from the suggestion that such a thing is possible. That might make In My Skin the ultimate horror movie, one the proposes that, given the right stimulus, we ourselves could be our own worst mortal danger.” – MaryAnn Johanson, Flick Filosopher


Bijitâ Q

960. (-36) Bijitâ Q

Takashi Miike

AKA: Visitor Q

2001 / Japan / 84m / Col / Black Comedy | IMDb
Ken’ichi Endô, Shungiku Uchida, Kazushi Watanabe, Jun Mutô, Fujiko, Shôko Nakahara, Ikko Suzuki

“Despite this mayhem’s stunning, pornographic inappropriateness, Visitor Q eventually reveals itself to be both a sly critique of reality TV as well as a conservative statement about the decay of the Japanese family – and the necessity of traditional familial roles – during which each character reassumes his or her “proper” place in the household (father/provider, mother/nurturer, son and daughter/dutifully loyal offspring). But social commentary or not, any film brazen enough to interrupt a sex scene between a man and a dead woman with a joke about fecal matter is, to put it bluntly, the shit.” – Nick Schager, Lessons of Darkness


My Bloody Valentine

961. (-46) My Bloody Valentine

Patrick Lussier

2009 / USA / 101m / Col / Slasher | IMDb
Jensen Ackles, Jaime King, Kerr Smith, Betsy Rue, Edi Gathegi, Tom Atkins, Kevin Tighe, Megan Boone, Karen Baum, Joy de la Paz

“Most of the three-dimensional effects are precisely what you would expect, with everything from pickaxes to tree limbs to various body parts coming out of the screen. It’s undeniably hokey, but also giddily effective, turning what might otherwise be a routine slash-and-hack job into a ridiculously gory theme park ride (the fact that “3-D” is part of the film’s official title is a clue as to how important it is to its effectiveness). Director Patrick Lussier plays everything to the hilt, taking additional license with the third dimension to goose the audience with both old-school make-up special effects and digital trickery that, in the movie’s first true shock moment, puts an eyeball right in your lap.” – James Kendrick, QNetwork



962. (-6) Otesánek

Jan Svankmajer

AKA: Greedy Guts

2000 / Czech Republic / 132m / Col / Surrealism | IMDb
Veronika Zilková, Jan Hartl, Jaroslava Kretschmerová, Pavel Nový, Kristina Adamcová, Dagmar Stríbrná, Zdenek Kozák, Gustav Vondracek, Arnost Goldflam, Jitka Smutná

“Little Otik is a rich and deeply textured movie that could be understood in many ways. You could view it as Eraserhead re-imagined as a black comedy (who’s worse off: Henry, the abandoned single parent of a mutant baby, or Karel, who has a crazed wife to oppose his every attempt to fix the situation?) Although the film is obviously a black satire of “baby fever,” Otik and has voracious appetite could also be seen as an indictment of consumerism and consumption, an interpretation that’s bolstered by a running joke involving the ruthless commercials Alzbetka’s father is constantly watching on the television (“the rest are all poisonous rubbish…” a spokeswoman hypnotically intones during a spot for chocolates). But, at its core Otik is a fairy tale; a fairy tale that becomes self-aware of its own status as folklore when Alzbetka realizes that the mythological events of “Otesánek” are repeating themselves in the real world.” – 366 Weird Movies


Friday the 13th Part VIII: Jason Takes Manhattan

963. (-38) Friday the 13th Part VIII: Jason Takes Manhattan

Rob Hedden

1989 / USA / 100m / Col / Slasher | IMDb
Todd Caldecott, Tiffany Paulsen, Tim Mirkovich, Kane Hodder, Jensen Daggett, Barbara Bingham, Alex Diakun, Peter Mark Richman, Ace, Warren Munson

“Directed by Rob Hedden, Jason Takes Manhattan is the one installment that I have a love/hate relationship with. I hate that I love it because it’s probably one of the weakest installments in the entire franchise but yet, there are so many great moments too including the rooftop boxing match between Jason and Julius, Jason knocking over the thugs boombox, the scene in the diner with a future “Jason”, and sewer-face Jason at the end… Overall, as a horror fan, even the weakest of movies can still hold a place in my heart and Jason Takes Manhattan is definitely one of them. I mean, taking the serial killer and putting him on a boat isn’t the silliest thing you could do — you could always send him to space.” – Heather Wixson, Dread Central


Wai dor lei ah yat ho

964. (-18) Wai dor lei ah yat ho

Ho-Cheung Pang

AKA: Dream Home

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

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


The Love Witch

965. (-28) The Love Witch

Anna Biller

2016 / USA / 120m / Col / Witchcraft | IMDb
Samantha Robinson, Gian Keys, Laura Waddell, Jeffrey Vincent Parise, Jared Sanford, Robert Seeley, Jennifer Ingrum, Randy Evans, Clive Ashborn, Lily Holleman

“LA film-maker Anna Biller achieves an ecstasy of artificiality in this amazing retro fantasy horror, delivered with absolute conviction. It’s designed, produced, written, directed and generally auteured by Biller herself, and lit and photographed by M David Mullen – apparently without digital fabrication. The Love Witch goes beyond camp, beyond pastiche; it ignites the pulpy surfaces of its tale and produces a smoke of bad-dream sexiness and scariness. It’s a B-movie with A-grade potency. But you have to stay with it, you have to understand its absolute seriousness before getting the comedy and the satire of the transactional politics in sex.” – Peter Bradshaw, Guardian



966. (-16) Matango

Ishirô Honda

AKA: Curse of the Mushroom People

1963 / Japan / 89m / Col / Science Fiction | IMDb
Akira Kubo, Kumi Mizuno, Hiroshi Koizumi, Kenji Sahara, Hiroshi Tachikawa, Yoshio Tsuchiya, Miki Yashiro, Hideyo Amamoto, Takuzô Kumagai, Akio Kusama

“Honda portrays the way in which the rapid economic growth of Japan has resulted in a population divorced from these cultural and natural origins. The rigid mechanical efficiency of a modern society is revealed to be merely illusionary, as the hierarchy crumbles steadily the further this ship of fools is removed from it. Carried away by the forces of nature on a freak ocean tide, the film’s irreversible conclusion is that of evolution turning full circle; man becomes mushroom as he reverts back to the primordial sludge.” – Jasper Sharp, Midnight Eye



967. (-40) Baskin

Can Evrenol

2015 / Turkey / 97m / Col / Supernatural | IMDb
Mehmet Cerrahoglu, Görkem Kasal, Ergun Kuyucu, Muharrem Bayrak, Fatih Dokgöz, Sabahattin Yakut, Berat Efe Parlar, Sevket Süha Tezel, Seyithan Özdemir, Sevinc Kaya

“Baskin’s narrative flagrantly rejects coherence over an intoxicating collapse into sensory chaos, and time and space coils around itself Ouroboros-style with punishing results. Compounding the film’s brutality is its very real affinity for old-school gore, recalling the best (or, if you prefer, the worst) of Lucio Fulci in particular … In its own unique colour-drenched, frenzied and determinedly incomprehensible way, Baskin returns to the Freudian premise its opening nightmare suggests, but in a far more brutal, complex and meaningful way: it is a film about the simultaneous subversion, horror and glory of destroying patriarchy. Baskin at its heart both reveals and revels in the self-defeating, inescapable rituals of masculinity, and the visceral, inescapable horrors that can accompany them.” – Alexandra Heller-Nicholas, 4:3


The Ritual

968. (-40) The Ritual

David Bruckner

2017 / UK / 94m / Col / Supernatural | IMDb
Rafe Spall, Arsher Ali, Robert James-Collier, Sam Troughton, Paul Reid, Matthew Needham, Jacob James Beswick, Maria Erwolter, Hilary Reeves, Peter Liddell

The Signal director David Bruckner’s deft adaptation of Adam Nevill’s acclaimed novel is an effective serving of woodland terror laced with psychological depth and eerie creature-feature spectacle, and proves old-school horror can be upgraded in a chillingly relevant way. After the violent murder of their best friend, four mates go on a hike of remembrance in northern Sweden’s mountain terrain. Taking an ill-advised shortcut through dense forest, they stumble on a derelict cabin where their pagan nightmares truly begin. Commandeering imagery from The Wicker Man, Troll Hunter and the Blair Witch franchise, Bruckner pulls off merciless tension between the well-played-out bickering to get up an uncommonly spooky head of scream.” – Alan Jones, Radio Times


The Haunting

969. (-29) The Haunting

Jan de Bont

1999 / UK / 113m / Col / Haunted House | IMDb
Liam Neeson, Catherine Zeta-Jones, Owen Wilson, Lili Taylor, Bruce Dern, Marian Seldes, Alix Koromzay, Todd Field, Virginia Madsen, Michael Cavanaugh

“In “The Haunting,” the moviemakers succeed in something very difficult: creating a haunted house with real personality and terror. There probably aren’t very many times when you’ll actually feel like applauding a movie for its production design. But such an impulse may well seize you when you see the spectacular interior Hill House sets in director Jan De Bont’s big, splashy horror picture…. This new movie has the advantage of modern technology to realize any effect that Jackson could have imagined — and many more as well. The technology itself is amusing, especially when the house begins stalking its inhabitants or throwing tantrums.” – Michael Wilmington, Chicago Tribune


Deadly Blessing

970. (new) Deadly Blessing

Wes Craven

1981 / USA / 100m / Col / Supernatural | IMDb
Maren Jensen, Sharon Stone, Susan Buckner, Jeff East, Colleen Riley, Douglas Barr, Lisa Hartman, Lois Nettleton, Ernest Borgnine, Michael Berryman

“[Wes Craven’s] 1981 opus Deadly Blessing, makes good use of the clichés that hadn’t been so severely overused at the time of its release and he also includes a few authentic ingredients of his own, which mark an intriguing addition to the [slasher] formula… The experienced cast members do a good job here, especially Ernest Borgnine who is restrained when handling a potential ham-feast. Obviously someone saw enough in Sharon Stone’s somewhat amateur portrayal, which would begin her on the road to mega stardom. It’s worth noting that Lana is probably the most approachable and sympathetic character that she’s ever played.” – Luisito González, A SLASH Above


Wild Zero

971. (-36) Wild Zero

Tetsuro Takeuchi

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

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


La horde

972. (-20) La horde

Yannick Dahan & Benjamin Rocher

AKA: The Horde

2009 / Germany / 90m / Col / Zombie | IMDb
Claude Perron, Jean-Pierre Martins, Eriq Ebouaney, Aurélien Recoing, Doudou Masta, Antoine Oppenheim, Jo Prestia, Yves Pignot, Adam Pengsawang, Sébastien Peres

““La Horde” thankfully knows where its audience lies and its sole intent is to bring us as much gore and grue as possible while delivering on the action set pieces, and both counts are thankfully plentiful, which is why “La Horde” is one of the more memorable zombie romps I’ve seen in the past few years. It’s an action horror film with its head in the right place, and I loved it for that. For folks who can appreciate the modern take on the zombie culture, “La Horde” is an entertaining action horror film with thrills, chills, and gut munching that will whet the appetites of anyone looking for a good time. While it’s no masterpiece, it’s filled with tension and terror and a solid execution that will keep it on the good side of zombie enthusiasts all the way through.” – Felix Vasquez Jr., Cinema Crazed


An American Werewolf in Paris

973. (new) An American Werewolf in Paris

Anthony Waller

AKA: American Werewolf 2

1997 / UK / 105m / Col / Werewolf | IMDb
Tom Everett Scott, Julie Delpy, Vince Vieluf, Phil Buckman, Julie Bowen, Pierre Cosso, Thierry Lhermitte, Tom Novembre, Maria Machado, Maria Machado

“John Landis’ hip, gruesomely inventive American Werewolf in London made a pretty vivid impression on early-Eighties horror fans bored half-crazy by some of the tiredest hack & hurl garbage ever produced by the genre. British director Anthony Waller (Mute Witness), who was only 12 when the AWIL movie came out, obviously appreciated and internalized the unique elements that have kept Landis’ semi-classic of lycanthropic lore alive in the hearts of its fans. Almost inevitably, his sequel falls a blood-flecked whisker or three short of the model in terms of originality, but this is still a fast-paced, entertaining homage that recaptures a fair amount of the old lunatic energy and subversive humor.” – Russell Smith, Austin Chronicle



974. (-29) Stigmata

Rupert Wainwright

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

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


Kamera wo tomeruna!

975. (+23) Kamera wo tomeruna!

Shin’ichirô Ueda

AKA: One Cut of the Dead

2017 / Japan / 96m / Col / Comedy | IMDb
Takayuki Hamatsu, Yuzuki Akiyama, Harumi Shuhama, Kazuaki Nagaya, Hiroshi Ichihara, Mao, Sakina Asamori, Takuya Fujimura, Ayana Gôda, Manabu Hosoi

“ONE CUT OF THE DEAD is as much fun as any movie in memory while it’s playing out, and as a bonus, it elicits a different kind of admiration when it’s over. Thinking back, you realize what an insane logistical challenge it must have been for Ueda and co. to pull this off, and are amazed at how natural and easy they make it look. Similarly, everyone in the cast gives their parts their all (Hamatsu’s multifaceted turn is especially memorable, as is Harumi Shuhama, as a makeup artist who undergoes a transformation of her own), and yet their performances seem even more impressive upon reflection on the circumstances in which they were delivered. ONE CUT OF THE DEAD is such a marvelously good time, and made with such clockwork precision, that after you’ve seen it, it’s hard to decide whether to watch it again or seek out a documentary on how it was made.” – Michael Gingold, Rue Morgue



976. (-28) Mirrors

Alexandre Aja

2008 / USA / 110m / Col / Supernatural | IMDb
Kiefer Sutherland, Paula Patton, Cameron Boyce, Erica Gluck, Amy Smart, Mary Beth Peil, John Shrapnel, Jason Flemyng, Tim Ahern, Julian Glover

“Some credit for this stylish screamer goes to Sutherland, forming his doughy-handsome features into an emotional punchbag. More credit goes to Nemec, sowing a harvest of dark invention in the vast spaces. Sinister armies of singed mannequins, wild flourishes of art deco, huge cindery pillars, blackened floors and ceilings. Team Nemec actually built the set, then torched it. Then, with no daylight permitted by the story, cinematographer Maxime Alexandre somehow lit it. You cannot beat Hollywood when it sets its mind on honouring an average story with above-average production values.” – Nigel Andrews, Financial Times


Gui da gui

977. (-19) Gui da gui

Sammo Hung Kam-Bo

AKA: Close Encounters of the Spooky Kind

1980 / Hong Kong / 102m / Col / Martial Arts | IMDb
Sammo Hung Kam-Bo, Fat Chung, Lung Chan, Ha Huang, Po Tai, Ching-Ying Lam, Ma Wu, Siu-Ming To, Billy Chan, Suet-Mei Leung

“Cult classics don’t come as any more clear-cut than Encounter of the Spooky Kind, an off-beat kung fu-comedy-horror flick which is sort of like Enter the Dragon meets The Evil Dead. Responsible for kick-starting a whole slew of Hong Kong cinema in the 80s, Encounter of the Spooky Kind is a crazy ride right from the opening scene until the classic showdown at the end. Mixing comedy, horror and martial arts in equal measure, director and actor Sammo Hung crafts a wonderfully ludicrous tale of hopping vampires, black magic and possession… It’s hard to find a film which is as all-round fun and entertaining as Encounter of the Spooky Kind. If you have any sort of interest in any of the three major genres this film mixes together, then you should check this out.” – Andrew Smith, Popcorn Pictures



978. (-1) Antropophagus

Joe D’Amato

AKA: Man Beast

1980 / Italy / 90m / Col / Cannibal | IMDb
Tisa Farrow, Saverio Vallone, Serena Grandi, Margaret Mazzantini, Mark Bodin, Bob Larson, Rubina Rey, Simone Baker, Mark Logan, George Eastman

“The hapless bunch come face to face with “the monster” and all chaos ensues in one of the scariest, most atmospheric, jump out of your seat, Suspiria-ish movies you will ever see. The tension is very high as are the atmospherics in the setting, not to mention the suspense. The back-story builds up wonderfully as we make sense of it all and realize that this “monster” is, or at least used to be, all too human. This villain must truly be seen to be believed… he is very odd. I would be leaving an important aspect out if I did not mention the certain… ahem… underground notoriety of Anthropophagus. This film is known in some circles as the ultimate gross-out movie, primarily due to one scene involving the pregnant woman that I wont delve into here, as well as a couple of other extremely gory YIKES scenes. Yes, this is an extremely gory and sometimes shocking movie, but it also has a huge story and so much more.” – Ronnie Angel, Best Horror Movies


Saw IV

979. (-15) Saw IV

Darren Lynn Bousman

2007 / USA / 93m / Col / Splatter | IMDb
Tobin Bell, Costas Mandylor, Scott Patterson, Betsy Russell, Lyriq Bent, Athena Karkanis, Louis Ferreira, Simon Reynolds, Donnie Wahlberg, Angus Macfadyen

“Killing off its serial killer villain, Saw III left the franchise with a major headache; how to make a Saw movie without Jigsaw? The answer: don’t. Instead, flashbacks show us the making of Bell’s monster, a lost family, cancer and car wreck turning him into Jigsaw, the twenty-first century’s first bona fide horror icon… With two sequels already on his resume, helmer Darren Lynn Housman nails the series’ dank, yellowing aesthetic once again. He sticks us in a truly miserable world so lacking in human kindness it could be set in ’80s, pre-Giuliani, New York. It’s deeply unsettling; just like a horror movie should be. True, the labyrinthine plot makes little sense… but then Saw’s always been about sensation: an assault on the the stomach, not the brain.” – Jamie Russell, BBC



980. (-11) Mo

Chih-Hung Kuei

AKA: The Boxer’s Omen

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

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



981. (-50) Vampires

John Carpenter

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

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


Tales from the Darkside: The Movie

982. (-12) Tales from the Darkside: The Movie

John Harrison

1990 / USA / 93m / Col / Anthology | IMDb
Deborah Harry, Christian Slater, David Johansen, William Hickey, James Remar, Rae Dawn Chong, Matthew Lawrence, Robert Sedgwick, Steve Buscemi, Julianne Moore

“Director John Harrison doesn’t do too much wrong here, but he’s helped immensely by three decent stories, a fun wraparound, and a collection of great actors in the main roles […] There’s plenty of dark humour, there’s just enough gore to keep fans of the red stuff happy, and there are some enjoyable practical effects (some enjoyable for being good, and some enjoyable for being amusingly fake). It’s also perfectly paced, coming in at about 90 minutes, therefore preventing any one tale from outstaying its welcome.” – Kevin Matthews, For It Is Man’s Number


Night of the Demons 2

983. (-17) Night of the Demons 2

Brian Trenchard-Smith

AKA: Night of the Demons: Angela’s Revenge

1994 / USA / 96m / Col / Supernatural | IMDb
Cristi Harris, Darin Heames, Robert Jayne, Merle Kennedy, Amelia Kinkade, Rod McCary, Johnny Moran, Rick Peters, Jennifer Rhodes, Christine Taylor

“Whereas the original Night of the Demons offered a scenario straight out of The Evil Dead, the sequel takes some of its cues from the gonzo school of splatter comedy in the vein of Peter Jackson where the more the messier. The demons in this film are treated more accordingly to the rules of vampire lore, easily dispatched with holy water and melting down into puddles of goop… Your enjoyment of the film depends ultimately upon your nostalgic reserves for the adolescent T&A comedies and/or the equally puerile Video Nasties from the 1980s. Brian Trenchard-Smith doesn’t exactly come close to either Peter Jackson or Stuart Gordon in his disreputable hand, but he doesn’t stand in the way of the cheap thrills and is all the more respectable for it.” – John Bishop, Mind of Frames


The Void

984. (-27) The Void

Jeremy Gillespie & Steven Kostanski

2016 / Canada / 90m / Col / Body Horror | IMDb
Aaron Poole, Kenneth Welsh, Daniel Fathers, Kathleen Munroe, Ellen Wong, Mik Byskov, Art Hindle, Stephanie Belding, James Millington, Evan Stern

“This throwback to John Carpenter/Clive Barker horror films is completely insane, horribly acted, and totally great for anybody who likes their horror served up with a side of cheese… the style of the movie, which features schlocky special effects, and both over- and under- acting, makes the whole mess work in an effective horror revival sort of way. If you hate horror films full of blood and puss where skinless doctors are bellowing devilish incantations, this one isn’t for you. If you are a fan of the recent Stranger Things and the Carpenter fare of old, this one will satisfy you.” – Bob Grimm, Reno News and Review


Maximum Overdrive

985. (-23) Maximum Overdrive

Stephen King

1986 / USA / 98m / Col / Science Fiction | IMDb
Emilio Estevez, Pat Hingle, Laura Harrington, Yeardley Smith, John Short, Ellen McElduff, J.C. Quinn, Christopher Murney, Holter Graham, Frankie Faison

“Stephen King had big problems with filmmakers, who’d often “ruin” his great books/stories with all the terrible adaptations of his short stories and books coming out, so what does he do? Writes and directs his own, which got hailed as King’s worst film ever, though I think “Graveyard Shift” and “Mangler” were the worst ones. I really enjoyed this one however. It’s a real stinker if you are expecting good horror and a decent film, but otherwise, if you’re looking for a fun, ridiculous, campy b-movie to watch with the friends to crack up at, you’re sure to enjoy this one… the pace doesn’t move fast and the film runs out of steam in the last half hour, but otherwise, this is a great b-movie that provides a 98 minute laughfest.” – Andrew Borntreger,


Dance of the Dead

986. (-21) Dance of the Dead

Gregg Bishop

2008 / USA / 87m / Col / Zombie | IMDb
Jared Kusnitz, Greyson Chadwick, Chandler Darby, Carissa Capobianco, Randy McDowell, Michael Mammoliti, Mark Lynch, Justin Welborn, Mark Oliver

“It’s difficult if not damn near impossible to really pull off homage. You have to forgo the obvious and create a living breathing entity that can stand wholly on its own. If you don’t do that, you’ve cut off half of your audience before they ever see the first five minutes of your magnum opus. What writer Joe Ballarini and Director Gregg Bishop (THE OTHER SIDE) accomplish is the very nearly impossible—a fully functional film that delivers the laugh-a-minute but heartfelt humor of AMERICAN PIE with the furious gore of 28 DAYS LATER. The film never gives up it’s horror to service its comedy and in the same respect it waters down the laughs in order to up the tension.” – David Harley, Bloody Disgusting


It Comes at Night

987. (-14) It Comes at Night

Trey Edward Shults

2017 / USA / 91m / Col / Thriller | IMDb
Joel Edgerton, Christopher Abbott, Carmen Ejogo, Riley Keough, Kelvin Harrison Jr., Griffin Robert Faulkner, David Pendleton, Mikey, Chase Joliet, Mick O’Rourke

“Like many of the current crop of art horror films, director Trey Edward Shults’s film has a strong social subtext. Like most zombie movies, it’s about what happens when society fails and it’s every man and woman for themselves. But by removing the zombies from the equation, its solutions to the question become much more stark. What happens in a hypercapitalist society where everyone is heavily armed, resources are scarce, and cooperation is taboo? It looks something like Travis’ nightmares, which provide the spooky counterpoint to the brutal, bloody realism of the rest of the film. What is the frightening “it” that comes at night? It’s us.” – Chris McCoy, Memphis Flyer


The Last House on Dead End Street

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

Roger Watkins

1973 / USA / 78m / Col / Exploitation | IMDb
Roger Watkins, Ken Fisher, Bill Schlageter, Kathy Curtin, Pat Canestro, Steve Sweet, Edward E. Pixley, Nancy Vrooman, Suzie Neumeyer, Paul M. Jensen

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


Lovely Molly

989. (-29) Lovely Molly

Eduardo Sánchez

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


The Flesh and the Fiends

990. (-10) The Flesh and the Fiends

John Gilling

AKA: Mania

1960 / UK / 97m / BW / Gothic | IMDb
Peter Cushing, June Laverick, Donald Pleasence, George Rose, Renee Houston, Dermot Walsh, Billie Whitelaw, John Cairney, Melvyn Hayes, June Powell

“While many films from the sixties have quickly become dated thanks to modern filmmaking, this film actually seems to be just as fresh as if it were written only last year. Sure, there are some lengthy dialogue passages indicative of the era and a few of the performances have that acting feel common to most films prior to the seventies, but I can think of very few films from that period of time whose script could easily be re-submitted today to a major Hollywood studio and filmed for contemporary audiences just as it appeared on the page. Iím not sure if that has a little something to do with the fact that the film is filled with uncharacteristically large amounts of nudity and violence that were common only to grindhouse films of the time, but it is absolutely amazing how well this film still stands up over forty years later.” – The Deuce Grindhouse Cinema Database


The Abominable Snowman

991. (new) The Abominable Snowman

Val Guest

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

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


From Hell

992. (-24) From Hell

Albert Hughes & Allen Hughes

2001 / USA / 122m / Col / Thriller | IMDb
Johnny Depp, Heather Graham, Ian Holm, Robbie Coltrane, Ian Richardson, Jason Flemyng, Katrin Cartlidge, Terence Harvey, Susan Lynch, Paul Rhys

“The Hughes brothers take a lush, atmospheric approach to the tale, positing an engaging whodunit beneath a gorgeously realized London. They do a fine job realizing the tale’s romantic aspects – the fog-shrouded streets, the haunted moon, the Ripper with his bag and top hat – without overwhelming the mystery. Strong supporting performances from some fine British actors (topped by Robbie Coltrane as Abberline’s keeper/assistant) round out the lovely visuals. From Hell has a good eye for historical detail, contrasting nicely with story’s sensationalist aspects. The plot here is pure fantasy, and yet fits the facts… The brothers do an admirable job of balancing myth with fact, and keep their story neatly ensconced with the historical details of the case.” – Rob Vaux, Flipside Movie Emporium



993. (-39) Altered

Eduardo Sánchez

2006 / USA / 88m / Col / Science Fiction | IMDb
Adam Kaufman, Catherine Mangan, Brad William Henke, Michael C. Williams, Paul McCarthy-Boyington, Misty Rosas, James Gammon, Joe Unger, John William Wright

“Seven years since making a splash around the world with The Blair Witch Project, director Eduardo Sánchez is back for this interesting flick which reminds me quite a lot of Dreamcatcher only with more gore and icky bits… Acting is also a strong point here with a bunch of relative unknowns having to deal with the weakly written characters but managing to turn out strong, believable and occasionally comic and tragic performances… Altered deserved better when it was released. It looks like a full budget film, is more sharply written than 90% of horror crap that gets released in the cinema and has a nasty creative streak running through it” – Andrew Smith, Popcorn Pictures


Hellraiser III: Hell on Earth

994. (-50) Hellraiser III: Hell on Earth

Anthony Hickox

1992 / USA / 97m / Col / Supernatural | IMDb
Kevin Bernhardt, Lawrence Mortorff, Terry Farrell, Ken Carpenter, Sharon Ceccatti, Paula Marshall, Robert C. Treveiler, Christopher Frederick, Lawrence Kuppin, Sharon Percival

“Pinhead is clearly the star of “Hellraiser III: Hell on Earth,” but unlike many cult horror heroes, he’s clearly in service to the devil of a plot. Though Clive Barker is merely the executive producer this go-round, writer Peter Atkins has remained faithful to Barker’s themes and there’s nothing here to violate the narrative logic established in the film’s predecessors… It’s hardly a surprise that Bradley steals the film — Atkins provides him with some great dialogue, to which the classically trained actor does justice… Genre fans will appreciate the blood flow and the gore, and director Anthony Hickox keeps things moving so that there’s never a dull moment — or dull blade. Consider Hell raised.” – Richard Harrington, Washington Post


Rare Exports

995. (-20) Rare Exports

Jalmari Helander

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

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


Wind Chill

996. (-14) Wind Chill

Gregory Jacobs

2007 / UK / 91m / Col / Supernatural | IMDb
Emily Blunt, Ashton Holmes, Martin Donovan, Ned Bellamy, Ian A. Wallace, Donny James Lucas, Chelan Simmons, Darren Moore, Linden Banks, Caz Odin Darko

“The most effective part about Wind Chill is the whole atmosphere of the film functions as a living ghost. The ghosts that haunt the road they are stranded on are uniquely realized with makeup, oftentimes being effectively utilized. The result is eerie and unnerving, making Wind Chill a memorable ghost story and a spooky psychological holiday watch… Wind Chill was filmed around the same time as [Emily Blunt’s] breakout role in The Devil Wears Prada, and you can see the making of a star in her performance here.” – Jason McFiggins, Morbidly Beautiful



997. (-25) Dread

Anthony DiBlasi

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

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


Bordello of Blood

998. (-13) Bordello of Blood

Gilbert Adler

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

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


The Man Who Changed His Mind

999. (new) The Man Who Changed His Mind

Robert Stevenson

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

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


The Night Strangler

1000. (new) The Night Strangler

Dan Curtis

1973 / USA / 74m / Col / Mystery | IMDb
Darren McGavin, Jo Ann Pflug, Simon Oakland, Scott Brady, Wally Cox, Margaret Hamilton, John Carradine, Al Lewis, Nina Wayne, Virginia Peters

“A conventional retread of the first film, but with a change of scenery (which makes good use of atmosphere and sense of a real place) if a tad stronger in its cohesive story developments of the ironically rewarding formula, and McGavin is as lively as ever… Kolchak researches, follows clues, speak to witnesses and harasses the police force in telling them how to do their jobs before some sort of conspiracy cover-up ends it all. Things seem sombre and dark, although the ending isn’t downbeat like before, even opening things up for the television series to eventuate. Dan Curtis does a sturdy job in the director’s chair, illustrating touches of suspense, intrigue and atmosphere in a brisk manner. Nothing spectacular, but effective because of a clever screenplay and rich performances.” – Geoffrey Valentine, High Tea Dreams