Horror films in alphabetical order
 

I've decided to do something a bit different with this one. I'm gna list all the horror films i've seen in alphetical order.

The top 10 or so of each letter.

Be patient with me this might take awhile.

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1. The alligator

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I first saw this flick about 5 years ago and was absolutely blown away by it. The monster movie was nothing new, though and could have been easily dismissed as a Jaws imitation, but thankfully it has become a cult classic in its own right. John Sayles' sharp script, Craig Hundley's chilling soundtrack and a side-splitting performance from Henry Silva as sweet talker Col. Brock are just some of the wonders of this film. "Alligator" also benefits form being as hilarious as it is suspenseful with one particular involving a kid's party, the alligator in the pool and a prank gone horribly wrong. As far as I know, this was the first monster movie to the have the now cliqued ending of the baby monster being born before the credits roll.

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2. Antichrist

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Lars Von Trier is a director who's always been going his own ways, and this can definitely be seen in this movie. Antichrist is a movie that doesn't hold anything back when it comes to gore, and the stuff that you see in the film won't leave your mind the next couple of days. But the movie itself is much more than that... The movie is beautifully shot, the story and setting extremely uncomfortable and the acting is fantastic. The movie is sometime painful to watch, not in a "Saw" or "Hostel" kind of way, but when you leave the theater you feel genuinely uncomfortable, and that is one of the reasons why i liked this movie. It's a movie like nothing i've experienced and I'm glad that we have directors like Lars Von Trier that dares to make a film like this. It's nothing like the mainstream movies that are being made nowadays, and it makes your mind race when you leave the theater, something very few movies does. You aren't served with facts, as with any other movies, but are left to interpret and think for yourself. It's a bizarre movie and not one for the faint of heart, but if you dare to be provoked and see a movie like nothing you've ever seen, then go see Antichrist.

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3. Antikorper (antibodies)

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"Antikörper" is a tremendously entertaining, gripping and chilling serial killer movie directed by relative newcomer Christian Alvart. From the superb, edge-of-the-seat introduction and the inventive use of credits, the film is imaginative, brave and unpredictable.

While there are shades of "Silence of the Lambs" in this film (interestingly, there's even a throw-away comment about Hannibal Lecter as if the director was aware of the similarities in storyline and decided to confront this matter head-on), "Antikörper" is a much more realistic, character-driven piece. André Hennicke is genuinely frightening as the paedophile serial killer, Engel, who embarks on psychological mind games with the likable, country-based policeman, Wotan Wilke Möhring. Möhring's portrayal of a man who is driven to the edge of his wits is brilliant stuff and riveting viewing.

The film is undoubtedly a roller-coaster ride of emotions. There are some uncomfortable scenes (Engel makes Lecter look like Father Christmas in comparison) but they rely on the viewer's imagination rather than in-your-face gore. There are also some brief but realistic sex scenes that drive the plot along rather than serve as mere titillation. The film's strength is in its intelligence. This is not your average serial killer movie by a long way. It raises interesting moral questions such as "Just how good is a 'good man?'" I was surprised to see Norman Reedus appear in a small role in this film. Why Reedus was brought in for such a small part is puzzling but it was good to see this distinctive American actor nonetheless.

A highly recommended movie and one I'm glad to have stumbled across by accident. This is one of those film you may never have heard of but which you'll be very glad you watched.

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4. Arang

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Arang is one of a long line of Asian horror films that borrow from past successes, in terms of the scares, it's nothing you haven't seen already. This isn't to say the film isn't suspenseful, but it is indicative of most K-Horror, in that it utilizes atmospherics and scary sounds to build tension. There are a few genuinely scary parts (under the desk) but for the most part it's your standard K-horror fare.

But, where Arang differs from past Asian horror is the way the film focuses more on the Detectives working the case than on lives of the actual murder victims. In fact, the victims receive very little screen time and because of this the film resembles a detective story more than a horror story. Asian Horror hounds may find this a little disappointing, but this is the main reason why I liked Arang so much. Because while the horror elements are re-treads of familiar territory, the detective element is engaging and fun.

Another reason to like Arang would be the amazing score, featuring mournful sounding piano, creepy atmospheric synths, and the creepiest ring-tone since One Missed Call, Jung Dong In's score was a highlight of the film (Someone seriously needs to start producing these soundtracks) and makes the film a much more enjoyable watch.

The cinematography was also excellent, and I was blown away by some of the shots in the film, especially those including the beach and a lighthouse. There is also a shot done with CGI towards the end of the film that is outright beautiful. In my book, the film deserves a viewing for that scene alone.

All in all, Arang is a very entertaining piece, while it is bogged down in the typical K-Horror clichés, it's detective story, score, and creative plot twist (Not contrived) helps raise the film above the level of other K-horror copycats, and makes it a fun film. Also considering that it's Ahn Sang Hoon's debut film, I will definitely keep an eye out for his work in the future.

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5. Audition

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Art-house horror flicks are not a very common genre (few come to mind except 'Don't Look Now') but Takashi Miike's film 'Audition' is a welcome addition to the canon. Beautifully shot and orchestrated, it is both a subtle personal drama and one of the most genuinely horrifying things I have seen. The early stages of this film resemble a work by Claude Sautet, only seen through a Japanese sensibility, about the relationship between an older man and a beautiful young woman, but there's something slightly discomforting both in the man's definition of the perfect partner, and in the person he finds who fulfills it. The story slides into first a mystery, and then a full blown horror story, the power of which comes from following a very simple golden rule: namely, make the audience care about the characters first: one small needle can be very very scary if you think that it's for real. And by keeping the meaning ambiguous (unlike, say, 'The Shining', with its self-defeating collapse into hyperbolic mania), the film also retains its impact after the initial shock.

This sense of ambiguity is also crucial to the film's claims to be something more than simply an unorthodox gore-fest. 'Audition' constructs, and then deconstructs, a certain vision of the world and the "horror" scenes are only part of this. The result is utterly beguiling, and one can even see similarities with Conrad's 'Heart of Darkness' in 'Audition's' portrayal of a man's complicit relationship with hell.

In some ways, this is not a universal film and I could not imagine it working in English: can you envisage any Western actress speaking the Eihi Shiina's lines with a straight face?. Whether that's because the film is saying something profound about Japanese culture, or whether the fact that it appears to do so can finesse the issue for foreign audiences, I'm not sure. Dramatically, 'Audition' is, despite its climax, not the best film ever made. But atmospherically speaking, it's a masterpiece.

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6. Amityville horror

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The Amityville Horror is one of the first haunted house/possession stories. It's not a brilliant film but I think it is good enough to be regarded as a horror classic. It has a few creepy moments but most of the scares are quite hokey and dated.

Most people would have heard of the "true" story of the Amityville house that was supposedly cursed and caused the previous occupants to move. Well, this is what this movie is about. The Lutz family move in to the house that holds a very interesting and horrific past. Soon after they move in there are many strange occurrences and George (James Brolin) starts to lose it.

The Amityville Horror, although not spectacular film-making, is a fairly good horror movie. I think what really stands out is the cinematography, which is fantastic. The house really looks creepy and the director uses that to his advantage. The acting is a little poor, but it's not too horrible to watch. There are a few genuinely creepy scenes but the movie does lack a few things to make it a truly great 70's horror film.

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7. American Mary

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One of the most original horror films of recent years American Mary is a darkly comic gore- fest about revenge and back-street body modification.

Mary (Katherine Isabelle) is a promising and dedicated medical student who, like all students at one point or another in their studies, falls foul of financial difficulty. Lured into the world of body modification by the handsome prices offered by weirdos with a desire to make themselves more unique, Mary finds a way to continue her studies whilst earning some pretty good money. Wrongly assumed to have become a prostitute by her creepy professor she is invited to a sleazy surgeons party unaware that he has ulterior motives that make her new found profession start to take over her life.

American Mary is one of few horror films that's focus is on the female character's strength. Mary goes from being a hardworking model student to a psychotic body modification surgeon in a seedy strip club where she originally auditioned to work. The transformation from quiet student to headstrong surgical dominatrix after being violated is both empowering and contradictory of the traditional representation of women in horror. Katherine Isabelle is as charismatic as she is beautiful and she completely owns the character. She maintains an air of mystery which makes you constantly question her intentions towards the people she meets and her performance will keep you on your toes.

Darkly comedic and completely twisted American Mary is one damn good reason for women in the media to be more prevalent in the horror genre; there's no fluff in this film, no cliché crap and very little predictability. It has no eye-roll moments of exploitation and Isabelle's performance is empowering for women as well as easy on the eye for the men; a good balance that excludes neither gender from the audience like so many horror films do. The Soska sisters show their love for the horror genre and its brutality but also its more sexy side (which is weird considering all the blood, but there we go!) and American Mary is clearly a labour of love and not just some uncared for cliché torture porn that's been churned out as a money maker. The settings are seedy and dark and the sleazy underbelly of society is well portrayed but in an almost desirable fashion that enables us to see how easy it is for Mary to get sucked in to this world where money comes easily if you're willing to leave your comfort zone.

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8. April fools day

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One of the more fondly remembered horror entries of the '80's is this unique gem that's much more clever and amusing than the average slasher film.

Young woman invites her beloved college friends to her island home for a weekend of fun, but everything goes wrong. A freak accident occurs, mysterious things appear in the guests rooms, our hostess starts acting strangely, and bodies are starting to pile up!

With its clever combination of Agatha Christie-type mystery, teen horror film conventions, and quirky humor - it's not hard to understand why this film has developed a bit of a fan base. Even viewers who don't like horror films may find themselves enjoying this witty and twisted little venture. Director Walton does well in giving the film an air of mystery and spookiness. All the more adding to the atmosphere is the lovely music score of Charles Bernstein. The film is nicely shot in beautiful British Columbia.

The true highlight of this film though is its above-average cast. While there are really no known actors in the cast, they all deliver great performances and bring their characters to a wonderfully likable light! Deborah Foreman, in probably her best performance, is great as hostess Muffy. Ken Olandt and Amy Steel are great as a couple trying to solve the mystery of it all. Clayton Rohner and Thomas F. Wilson are a joy as two joke-happy friends. Jay Baker, Leah Pinsent, and Deborah Goodrich are equally good in their supporting roles.

I've never seen the movie The Amityville Horror, but about 15 years ago, I lived about ten minutes away from the actual house. Just out of curiosity, I'll have to see the movie someday.

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Wow ☺ does it look like it does in the movie? Like it's got a face?

Btw ate my pictures showing up?

I've never seen the movie so I can't compare the two houses, and the houses on that street were renumbered years ago to stop people from annoying the local residents, but from the outside, it looks just like any other normal house. Nothing unusual about it.

And yes, your pictures are showing up. :up:

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9. Autopsy

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"Autopsy" is a really strange movie that takes pretty obvious elements from other movies but still manages to have some identify. The movie starts with some bad clichés, like a car full of kids having a crash and standing around the scene like in "I know what you did last summer", but then the movie turns and they get taken to a creepy hospital with some strange docs and nurses where they get counted down in a "Crazy doc needs living patients in sick experiments to keep is beloved wife alive" plot. The movie is carried from the strange suspense of an abandoned hospital with crazy lit endless floors (the visuals are pretty different from your average horror/slasher movie) and the crazy hospital staff that mixes utter weirdness with black humor and some rather disturbing elements. Its often hard to tell if "Autopsy" takes itself serious because it stumbles from comedic strangeness to extreme violence and grossness in a second. Scenes like the head bashing remind of Irreversible in their rawness and there was really times I wonder "WTF was that supposed to mean" up to the strange ending. To keep it short... "Autopsy" has many things going for it in the shock and visual department as well in strange characters. Problem is that these elements appear very disjointed in the plot and are pretty much leading nowhere. The movie is often described as a comedy which made me expect something like "Brain Dead" but where "Braindead" clearly doesn't take itself serious "Autopsy" comes across dead serious more often than it makes you smile (and you won't smile if your humor is not pitch-black, believe me), so don't expect a comedy here.

10. An american werewolf in London

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While backpacking through Europe, two friends, David Kessler (David Naughton) and Jack Goodman (Griffin Dunne), find themselves out on England's moors, despite advice to avoid them. When a wild animal attacks them, one of them dies, and the other just might be turning into a monster.

Director John Landis' "pet project"--he had to sit on the script for 10 years before he had enough clout from other films for this one to be greenlighted--is an excellent, seamless melding of comedy and horror, with a surprising amount of brutality and one of the most wonderfully dark, abrupt conclusions ever made.

John Irving once said that he loves to put comedy and tragedy in close conjunction because each can make the other more effective. That's just the effect that the combination has in An American Werewolf In London. Both the comedy and the horror in the film are fully committed to, unlike many attempts to merge the two. If "the whole is greater than the sum of its parts" is ever true, this is an example. The comic bits wouldn't be nearly as delightful if they didn't supervene on the disturbing, and the horror wouldn't have near the impact if they didn't arrive in the context where you half-expect the next moment to be just as lighthearted and amusing. Both the initial "animal attack" and the apocalyptic ending are perfect examples of this.

Aside from that exquisite unusualness, An American Werewolf In London has many other superb characteristics. The cast is perfect. Naughton, who also starred in the seriously underrated Desire, The Vampire (aka I, Desire) (1982), carries the film with ease. The cinematography is excellent. The shots of the countryside (actually filmed in Wales) are actually both beautiful and very eerie at the same time. The make-up effects are awesome, and the transformation effects are unsurpassed. The music, which is primarily a number of different "moon" related pop songs, is also perfect, partially because of the bizarre contrasts in mood that the music creates, which echoes the comedy/tragedy juxtaposition. Unlike many other films, every scene in this one is a something I'd like to spend years exploring. The settings, the characters, the scenarios are all so fascinating

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Ok that's the first ten. Tomorrow I'll post 10 more from letter a 😆

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I'm glad there's another American Mary fan!! I adore that film, I think it's the best performance Ms. Isabelle has delivered, even though Ginger Snaps is probably the better film. She's hugely underrated and underused.

I also like it's take on the rape and revenge genre, to me, this is one of the best films to handle that because it does so with an appropriate amount of sensitivity, unlike "Last House on the Left" or "I Spit on Your Grave" which spill into being a bit gratuitous and extremely exploitative. I think that has a lot to do with it being made envisioned and created exclusively by women, hopefully the Soskas contribution will inspire more women to go behind the cameras in horror!

I love the concept of the thread, though! Your write ups are terrific! :)

I'm not a horror movie fan, but even I have to admit that An American Werewolf In London is a good movie. It's a bit too graphic for me at times, but it has enough humor in it to be a fun movie with a good story.

I saw it many years ago, and the thing that I remembered most at the time was that when he calls home to talk to his parents, he calls a phone number in my local area code (516).

On a side note, I met David Naughton at a convention a few years ago, and he's a very nice guy. (I even have an autographed can of Dr. Pepper to prove it. ;) )

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11. Absentia

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This somber yet deeply unsettling film managed to give me the willies even in the less-than-ideal Horrorhound Weekend screening.

Not soon after a pregnant woman (Katie Parker) declares her missing husband (Morgan Peter Brown) legally dead, she begins to having terrifying visions that hint that maybe she spoke too quickly. Writer/director Flanagan pulls off an incredible feat with this film. He manages to reinvent the ghost story, then takes it to an unexpected, even creepier place.

Don't be fooled by the show-burn pacing, because the almost-suffocating tension had me squirming in my seat, forgetting to breathe.

It's been almost a year since I've seen ABSENTIA. What haunts me most is not the disturbing visuals or even the deeply unsettling story line. It's the mood. When I simply think about the title, I hear in my head its stark, two-note funeral organ score and my chest wells up with emotions not usually incurred by watching a horror movie: grief, loss and perhaps the most terrifying of all…the dread of inevitability.

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12. Are you scared?

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This movie lacks much in the way of character development or cohesive plot but delivers on blood and gore! The acting is in the most part woeful. Alethea Kutcher in the character of Kelly is the exception to this rule and reminded me of Ripley in Alien and was the redeeming feature of this movie. It will be interesting to see if she starts appearing in other things as she seemed in a different class to the rest of the cast......

All in all enjoyable in a shallow instant way Don't expect too much in the way of Direction but the tension does build nicely and there are some wickedly conceived moments!

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13. Alien

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What makes Alien so great is the constant feel of uneasiness. Right from the beginning you have a feeling that something is wrong. The crew is not particularly friendly towards each other, and you truly feel all the in-group tension. The ship itself is a huge worn out industrial-style maze of halls and corridors, and it feels more like a prison than a place to live. It is as if not only the alien but also the ship itself is against the humans. The Alien itself is the scariest monster in history because it is a ruthless, soul-less parasite completely devoid of any human or civilized traits. The design of the monster is a stroke of genius. Sure it has a humanoid form, but it has no facial traits or anything else which could give away emotions or intentions. Its actions reveals no weaknesses nor civilized intelligence. The Alien is more or less the opposite of everything human and civilized, plus the creature is more well-adapted to the inhumane interior of the ship than the humans who build it. To sum up, you then have a setting where the humans are caught in a web of in-group tensions, an inhospitable ship and the perfect killer which thrives in the ships intestines. You almost get the feel that the humans are the ones who are alienated to each other and to their own ship.

Ridley Scott tells the story with a perfectly synchronized blend of visuals and sounds.

The actors do a superb job, portraying their characters in a subtle but very realistic way. The seven man crew is not a bunch of Hollywood heroes. They are ordinary people with strengths and weaknesses, likes and dislikes. In this way they all seem so fragile when confronted with the enemy.

As mentioned the ship is very claustrophobic and Ridley Scott adds to the eeriness by using camera movement, lights and shadows in an effective way. The living quarters are bright and should be comfortable to the crew, but there is something sterile about it all. The rest of the ship is basically a huge basement.

The music by Jerry Goldsmith underlines the eeriness so well, and the movie wouldn't have worked without his score. Combined with the sounds of the ship it all adds to the uneasiness.

This is not a story about heroic people who boldly teams up against evil. It's a story about ordinary people facing true fear, which is the fear without a face. The fear we can't understand and can't negotiate with, because its only goal is to survive on the expense of us. It's a story where some people bravely fight back whilst others are destroyed by the terror. It's a story where people a killed in a completely random way. There is no higher-order justice behind who gets to live and who dies. All seven characters are just part of a race where the fittest - not necessarily the most righteous - will prevail, and all seven characters start the race on an equal footing. None of them are true heroes, and none of them are true villains.

All the above makes Alien so great as a horror movie. The terror isn't just the Alien itself, it's the entire atmosphere which gets so effectively under your skin, that you just can't shrug it off after the end credits like you can with so many other Hollywood horror movies. The title "Alien" doesn't just refer to the monster, it is the theme of the movie and it is the feeling you have during and after the movie.

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14. Alone

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The use of all possible creepy elements such as wooden doors that make noises, swing and an overall horrific location. Interestingly, Bhushan Patel manages to infuse a good amount of suspense in the film and stretches it to the very climax even though one starts getting the hints quite early on. The visual effects are quite decent and it seems Patel is getting the hang of it with every film

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15. The apparition

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"The Apparition" was actually a nice change of pace for an otherwise stale genre of ghost movies that most recently have been flooded by a heap of super fake 'found footage' movies that we are spoon-fed to believe is actually real. But then "The Apparition" comes along and manages to lift up the genre from an otherwise downward spiral.

The story in "The Apparition" is not overly scary, as per se, but it does move ahead at a brisk pace, and it does leave you wondering what is going on and wanting to see more. Unfortunately, there weren't any scare moments in the movie, and that was a shame, because a couple of scares and 'edge-of-the-seat' moments would have been nice.

However, the movie does provide you with just the right amount of suspense, thrills and ghostly phenomena to keep it interesting. And it turning out to be a poltergeist phenomena just makes it all the more interesting.

As for the acting in the movie, well then people did good enough jobs with their given characters and roles, although no one really managed to stand out from the crowd. That being said, don't get me wrong, because they weren't amateurs.

I enjoyed "The Apparition" for what it was, a good-hearted attempt at returning to the good old atmosphere that they had in "Poltergeist". However, "The Apparition" was just lacking all the ghosts, spooks and disturbing images. Sure, "The Apparition" is not "Poltergeist", nor is it "Thirteen Ghosts", but it still does provide good entertainment

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16. Audrey rose

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"Audrey Rose" is a strange little tale of reincarnation. The story centers around a Janice (Marsha Mason) and Bill (John Beck) Templeton, a New York city couple who have a wonderful daughter named Ivy. Their lives are fairly normal, that is until a stranger (Anthony Hopkins) begins to stalk Ivy, claiming that within her body is the reincarnated spirit of his daughter, Audrey Rose, who burned to death in a horrible car accident. Of course, the Templetons think this stranger, named Elliot, is a madman. But when Ivy begins having horrible nightmares, running through her room, and banging on her bedroom window with her fists, they begin to wonder if Elliot's claims may just be true...

From the director of the horror classic, "The Haunting", Robert Wise, comes this bizarre but spooky little tale of reincarnation. The story is based on Frank DeFelitta's novel of the same name, and the plot is interesting. Reincarnation was a topic that hadn't really been addressed at the time, but while this film is constructed all around the basic idea of reincarnation, many people have mistaken it for some sort of "Exorcist" rip-off, mainly because of the fact that it displays horrible events plaguing a young girl. It's an intelligent premise and a well-written plot, but the problem with the film is that it is quite plodding and almost too slow for it's own good.

Don't get me wrong, I don't have a problem with slow-going stories, but I think most people can agree that the pacing here is a little tedious at times. On the plus side, there are some genuinely frightening hysteria sequences involving the young Ivy, along with the awful car crash death in the beginning that is the basis of the film. As far as the acting goes, it was all good - some of the hysteria scenes were obviously overacted, but aside from that it wasn't bad. Marsha Mason conveys a very emotional, frantic mother, while John Beck isn't given much to work with. The brilliant Anthony Hopkins plays Elliot (in one of his earlier roles, before "The Silence Of The Lambs" fame that he earned later in his career) quite well, which isn't surprising because he's always good. And Susan Swift (who much later appeared in a "Halloween" sequel), plays the tormented Ivy. I'm surprised we didn't see more of her as an actress, she seems to have had the potential.

To sum things up, "Audrey Rose" is a decent horror movie. The storyline is excellent, but unfortunately the pacing here breaks a lot of tension. On the plus side, there are some frightening scenes and a few memorable sequences, plus the story is intelligent and original. While it's a decent horror movie, it's not the kind of movie you can sit down and watch if you're in a tired mood, because it will likely bore you. Go into it with an open mind, but don't expect anything in terms of "The Haunting" or Wise's other films.

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17. Alice, sweet Alice

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Terrifically good sleeper horror from director Alfred Sole rises to a level much higher than it's low-budget appearance.

Is young Alice the masked murderer that's targeting her family?

Communion, better known as Alice Sweet Alice, is an engulfing and sharply-made shocker that seems to have been lost over the years. The story is a splendidly twisted murder mystery that boasts a good amount of suspense and some well-rounded characters. Sole directs this movie with some true skill and style, with lots of inventive cinematography and making great use of the rustic filming locations of Paterson, New Jersey. He also uses the imagery of the killer's mask and the catholic symbols in a creepily effective manner. There's plenty of good shocks to be had in this film as well, in fact the horrific stairwell-knifing is powerful to Hitchcockian proportions. This film is so well-made that it's a wonder Sole hasn't gone on to become better known in the cinematic world. The elegant music score is also a great addition to this thriller.

Cast-wise the film is great as well. Paula Sheppard (who was 19 years old at the time) plays her bratty 12 year old character very convincingly. Linda Miller is strong as Sheppard's understandably distraught mother. Mildred Clinton is excellent as the stern house keeper. Niles McMaster is good as Sheppard's estranged father, as is Jane Lowry as the hateful aunt. Rudolph Willrich is also memorable as father Tom. Look for young Brook Shields as Alice's little sister.

Communion is a striking and haunting little thriller that deserves a wider audience. For horror and thriller fans a like, it's a great find!

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18. Apt pupil

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The only thing more frightening that having the Holocaust as part of our world's long history is to know that are human minds capable of creating and sustaining such an oppression. The real horror of Bryan Singer's adaptation of Stephen King's novella "Apt Pupil" lies in that we have this knowledge. We know that Adolf Hitler possessed the powers of immense manipulation and charisma. This has been so ingrained into our heads that I remember as a child knowing that Hitler was charismatic before I really knew what the term meant. This film is an exploration into the mind of a person who conceivably has many of the same manipulative characteristics. In the progression of the film, we slowly learn why.

Before any images actually come on screen, we hear the voice of someone asking if the Holocaust occurred as a result of economic or social cultural reasons. Or was it in fact, human nature? We then realize that the monologue is being given by a school teacher in a social studies class. The principle character, Todd Bowden (Brad Renfro), a member of this class and is fascinated with studying the Holocaust. He spends much time in the library reading books and newspaper articles on the subject. Just as the opening credits finish, the camera zooms in slowly to the eyes of a concentration camp leader. This is the first of many extreme close-up shots of eyes. This distance motif is incredibly effective. The eyes are the window to a man's soul and the psyche that "Apt Pupil" explores.

One rainy night, while Todd is riding the bus, he sees a mysterious man, who he realizes is Kurt Dussander (Ian McKellan), a Nazi war criminal and concentration camp leader who managed to escape from Germany years before. This is when we really begin to see Todd's disturbed mind. He is the kind of person who is so meticulous that he finds fourteen finger print matches of Dussander and builds a file that will be sent to the Israeli government if he doesn't agree to tell stories about the Holocaust that "they are too afraid to tell in school". It is now clear that Todd is not so fascinated with the Holocaust because he's racist (the film makes no reference to him being racist). He admires the power, dedication and will behind the driving force of the Holocaust. He mimics this power in his blackmailing of Dussander.

The scenes with Dussander explaining in explicit detail the acts that he performed in concentration camps are quite disturbing in themselves, but what is more disturbing is that Todd seems more detached than Kurt. Most of us would cringe in disgust if we were to sit and listen to the stories that Kurt tells. We get the impression that Todd is thrilled with the fact that he is able to control this man and make him relive his past.

In the film's most harrowing scene, Todd brings Kurt an officer's uniform, similar to what he would have worn during the War years, and makes him march. Up until this point, we are led to believe that perhaps Kurt has had some time to develop remorse over the years for his haneous acts of brutality, but when Todd begins commanding him, Kurt fades to the same state of mind of his Nazi persona from the past and we see the man capable of ordering concentration camp personnel to gas hundreds of Jews. The scene is truly chilling and stands out as the most memorable in the film.

"Apt Pupil" is occasionally slow, but never boring. I, for one could not take my eyes off the screen for a second. The power struggles between Todd and Kurt are always intense. The sequence of events leads up to a horrifying scene with Todd and his guidance counselor (David Schwimmer). Here, we learn of the lengths that Todd will take his manipulation. "You can't do that," the guidance counselor says. "You have no idea what I am capable of doing," replies Todd. This line of dialogue is very effective. We know from having seen the rest of the film that Todd is capable of quite a lot. While not as powerful or intense as Stephen King's novella, the film "Apt Pupil" gives us a creepy insight to the corruption of power and manipulation.

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19. Art of the devil

http://gabanet.net/word/wp-content/u...-the-devil.jpg

It seems that Thailand is trying to jump head-first into the horror scene that has long been dominated in Asia by the Japanese. They have a long way to go to surpass some of the more notable "underground" horror films from Japan - but with some solid entries, and some more interesting looking films on the way - the Thai's may yet make their mark on Asia's horror scene...

ART OF THE DEVIL is about a girl who gets pregnant by a rich businessman and then blackmails him for money after he offers to pay her off to keep quiet about the child. When he refuses to pay up any longer, the girl seeks the help of a sorcerer to seek revenge on the businessman and his family...

Very reminiscent of some of the early 80's HK gore films in terms of black-magic subject matter, and eel-puking revenge - ART OF THE DEVIL isn't exactly a unique film. Hong Kong directors have been making these types of films since the early 80's, but ART OF THE DEVIL does it with better production values and with a more coherent and interesting storyline.

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20. Altered states

http://cdn2.artofthetitle.com/assets...g?k=0151da81d5

This is William Hurt's debut, and there's much to praise about it. Firstly, outstanding performance. The kind that lasts an impression and is thought of every time "William Hurt" is pronounced out loud. The film, in a nutshell could be summed up as a man's obsessive quest for the "truth". Truth about life, and the universe, why we're here, who created us? These are the core questions Ken Russel - more fairly, the original author Paddy Chayefsky - asks. All of that, is assisted by insane hallucinatory and downright horrifying visual sequences and music, which when combined, literally gave me goosebumps when I saw it all on screen. They take you on a surreal 'trip' and are a way for the viewer to experience what Hurt's character undergoes when he is in the isolation chamber. On another note, the pacing is a little slow in the first act, but sudden outbursts of surreal visual sequences get you back up in form

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That's all the letter A finished will start on B later 😁

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I have quite a few I have watched beginning with B so you'll all have to be patient while I continue later

Did you know that young Alice was 19 years old when she played that part?

It is a great movie, too. I nominated it in the Slasher thread, which was the best movie Hall of Fame thread this board has ever had. I would have nominated Halloween, which has been my favorite movie, since I was 16 years of age, but someone beat me to it. Yep, that was 30 years ago. Apparently I love it.

I also truly like Alligator (which is a great killer creature movie), An American Werewolf in London (which is corny, but cool), April Fool's Day (which is a holiday favorite), The Amityville Horror (which is good, but I can't stand Margot Kidder), Alien (which is great, but I'm a bigger fan of the sequel), and Audry Rose (which was truly freaky to me). I don't believe I've seen anything else that's on your list. Out of the films I've not seen, what would you guys recommend? Keep in mind that I hate today's remakes. In general, I hate newer films, and I hate gore. Especially when that's all the movie's got going for it.

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I think this is a great idea for a thread. :up: When I get the time I'll give it a proper read.

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Thank you honey kid 😊 please do read it when you get a chance.

Destiny: no I didn't know she was 19 when she played that part.

Audition is a great one to watch and possibly the apparition is another one you might enjoy.

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Here we go again

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1. B.T.K

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Kane Hodder stars in a film version of the story of the BTK killer. He was a loving family man by day and a serial killer by night. His rampage went on for decades. the film is a twisted descent into the mind of the killer as we watch him do horrible things one minute and the be kind and loving the next. As these sort of "based on a true story" films go the film is pretty good and disturbing enough to make you wonder why any one would want to be locked in the mind of a killer for even 90 minutes. The film works because of Hodder who is great both a family man and psychopath, making it difficult to watch the scenes with his family because we know whats lurking underneath.

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2. Ba'al: The Storm God

http://www.imfdb.org/images/thumb/1/...aal-poster.jpg

Occasionally we select a film from the rental shelves because we were intrigued with the jacket cover. In school we often study and learn of ancient Gods from around the world. The title of this movie is " Ba'al " so I was intrigued. From it's inception, the story begins to fracture like a thin layer of ice. Beginning with a trip to the Alaska wilderness, we meet Carol (Stefanie Von Pfetten) and her companion, Dr. Lee Helm (Jeremy London) who have come to visit an eminent archaeologist, Dr. Owen Standford (Scott Hylands) who has discovered one of four ancient amulets. Although the find is dangerous, the mad doctor becomes obsessed with their combined power as it will activate the wrath and power of the ancient Sumarian god. The film then has our heroes gallivanting around the globe, chased by an assortment of characters like the F.B.I., Commander Kittrick (Michael Kopsa) of the Canadian government and the director of the museum. One need not see the entire movie to notice all the inaccuracies within the film. Granted the mistakes are obvious, the movie does get a couple points, like the impressive special effects and the near resemblance of the hero to Brandon Frasier. The conclusion is, although it's a badly constructed movie, it's entertaining enough to warrant a look-see.

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3. Baba yaga

https://encrypted-tbn2.gstatic.com/i...tdSlCWjlE1VbJw

This film might disappoint horror fans, or it may delight them. But it should thrill fans of Fellini, Roeg, Goddard and other artists who pushed the limits of cinema. Italian director Corrado Farina weaves a stunning tapestry of imagery, dexterously jumping from crisp pop design to bled-dry Goth color to full blown experimental cinema. Story involves a stylish fashion photographer who attracts the attention of a beautiful witch. In the title role, Carroll Baker looks like the star of a haute Goth wet dream. As intense and free-form as the imagery and editing get, the story structure is solid and the film is entertaining. If you love intelligent artsy horror films like Roeg's "Don't Look Now" you should definitely check this out.

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4. Babysitter wanted


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Angie Albright has just moved away from her mother's home and is adjusting to the big wide world of college life. Needing some spare cash (and a bed, thanks to her roommate letting an ex-roommate take the previous one), she responds to a "babysitter wanted" advert. The couple needing a babysitter stay in, pretty much, the middle of nowhere and before you can say "nice young girl alone and in peril" Angie is in their farmhouse on a Friday night being troubled by phone calls and sure that she can detect the presence of someone waiting outside. Her troubles are only just beginning . . . . . .

Starting with a decent build-up, this movie will please many horror fans. It's been mentioned in almost every other review (and here is no exception) that things start to look decidedly like a rip-off of "When A Stranger Calls" at one point but never fear - this is only one part of a film that then twists and turns away from your expectations and still produces a few surprises while maintaining the air of familiarity inherent in the scenario.

I was most reminded of Tobe Hooper's remake of "The Toolbox Murders" in the way that this movie makes use of space, viewpoints and momentary hiding places for everyone. This horror comes with a sense of expectancy, a conformity AND playing with/twisting of the rules, a general air of fun despite the, at times, bloody content.

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5. Backcountry

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I found this movie to be along the lines of a movie called Frozen (a must watch for those that like suspense and thrill)except this one takes place in the woods instead of a ski resort. I love watching a movie where you forget you're watching a movie!I thought the filming was well done and the actors were very believable. The raw emotion and detail in the scenes made me sit and watch and forget to breathe. There were a few unbelievable moments that made me wonder about a scene, like why she did not get her bear mace out sooner and keep spraying. I will have to watch the movie The Edge, it sounds like one I would really like also. This is a really great thriller survival movie!

6. Backtrack

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Peter (Adrien Bordy) is a psychologist who is either being haunted or having a mental breakdown, he's seeing people who isn't there and constantly harassed by them. Hoping to attain some manner of peace he travels back to his past. Adrien Brody is a master of the art, he can convey the dread of the character, be it from body language or actual pleading word.

For the movie to work, audience must be inclined to invest on his ordeal, and it surely succeeds in that. There's a hefty amount of seclusion as the movie follows Peter in his lonely endeavor. The rest of the cast play their parts commendably, Sam Neill and Robin McLeavy help in setting the tone as characters Peter encounters. They add to the mystery aspect on early and latter parts, respectively.

The set-up is one of the more alluring horror starts in recent days. Its perpetual raining and view of trains leaving the station are astoundingly good. However, the opening vistas fare better in graphic department than the rest. It also tends to falter around the last act since it might not be as equally captivating as the opening act. Few of the horror apparitions work better on the expectation of entity rather than the showing itself.

The mix between horror and mystery is a nice invite, it may hit a few bumps on latter half, yet the precise acting from the lead and cool atmosphere are worth the trip.

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7. Bad milo

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Bad Milo is another great example of what is right in horror comedy the last few years! Its a perfect blend of bad one liners, potty humor, heart and gore. Who would have thought that a film that teaches us about Anus Mythology, could be so awesome?! And I can't believe I am saying this about something that is borne out of a mans ass, but damn Milo is adorable. I swear by the end of the film you're going to want a Milo all of your own, poor misunderstood lil guy!

Duncan is an average good guy, living the average good guy life. He has a decent job, a good woman, and what looks like a okay life. He struggles with some tummy trouble, mom offers remedies, doctors try to help, and eventually he ends up unhappily in therapy where we can get to root of his problems. Pretty quickly this film pulls you in with a great opening scene, and then it keeps pace through the entire film, rotating between great blood soaked moments and humor sometimes mixing the two perfectly in such a disgustingly delicious way that you may feel both grossed out and ashamed for laughing at such wretchedness. You will also find yourself shocked by how much you want to hug this little ass borne, doe eyed, killing machine, i swear I even got teary at one point for the lil fellow! It was awful!, but it goes to show the amount of emotion that is in this film, not what you would expect from a story like this one.

If you haven't watched this film yet definitely add it to the list, it is a gem! The cast is made up of comedy veterans who bring this film to a whole new level of funny, and the gore is very effective with some scenes really looking incredibly good.

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8. Bad moon

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A movie called Bad Moon has to be a werewolf flick, and in fact director Eric Red has crafted a very good one from writer Wayne Smith's book about a Gerhman shepherd and the werewolf who infiltrates his family...er, Pack. Red trims the Pack down to a single Mom (Marielle Hemingway) and her young son (Mason Gamble), but otherwise retains most of the original story. Thor, apparently played by a dog named Primo, is still the hero of the story, though Red (perhaps wisely) doesn't really attempt to duplicate Smith's original feat of telling most of the tale from the dog's point of view. Even so, Thor is central to the plot and Red does a good job of orchestrating the movie's unfolding events so that even if the humans have to carry most of the dramatic weight, Thor's presence and involvement are always underscored. The overall quality of a modern werewolf film depends in large part upon how well the creature comes to life, and in this regard Bad Moon does not disappoint. The werewolf is both frightening and realistic looking, and while it's a bit more wolf-like than the more humanoid creature described in the source novel, it's a terrific piece of FX work. Actor Michael Pare does a good job with the ambiguous role of Uncle Ted, who like most werewolves doesn't really want to be a monster and tries to protect his sister and nephew from himself as long as possible. Naturally, Ted's efforts are for naught, and in the end it all comes down to a fight to the finish between the seemingly invincible werewolf and the loyal Thor. At times Red's script does falter a bit and the film probably never reaches the level of Dog Soldiers or The Wolf Man, but all the same it's a very entertaining creature feature with some great cinematography, a neat monster, and a touching protagonist who is more human than most people I know

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9. The blob

https://upload.wikimedia.org/wikiped...lob_poster.jpg

A meteorite falls in the country of a small town, bringing a jelly creature. An old farmer is attacked by the alien in his hand, and the youths Steve Andrews (Steve McQueen) and his girlfriend Jane Martin (Aneta Corsaut) take him to Dr. T. Hallen (Steven Chase). The local doctor treats carefully the blister, and asks Steve to investigate the location where they found the old man. When Steve returns, he sees the blob killing the doctor. Steve and Jane try to warn the police and the dwellers, but nobody believe on them, while the blob engulfs many people, getting bigger and bigger.

"The Blob" is a cult and classic sci-fi. It is a low budget movie, with many ham actors and actresses (with the exception of Steve McQueen), awful effects, but also delightful and very, but very funny. This is the first time that I see this classic (I had seen the 1988 remake with Kevin Dillon), and I really recommend it to fans of Steve McQueen and sci-fi B-movies from the 50s

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10. Body bags

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John Carpenter presents "Body Bags", in which it reads true as he plays very-well looking coroner (well he might not be as what he seems) late at night fooling around in a morgue, while spitting out macabre jokes (visual and verbal) and then introducing us to three buoyant little stories. They range from horrific, humorous and simply bizarre with a "Tales from the Crypt" spin to them. In this low-budget TV production Carpenter would direct the first two; "The Gas Station" and "Hair", but the third story "The Eye" would be fronted by director Tobe Hopper. Carpenter and Hooper wouldn't be the only recognizable names, as the cast line-up is rather mouth-watering. You got Stacy Keach, David Warner, Mark Hamill, David Naughton, Robert Carradine, Deborah Harry, Twiggy, George Buck Flower, Charles Napier, John Agar, Roger Corman and a minor cameo from Tom Arnold. Also some horror participants have tiny parts; Sam Ramini, Wes Craven, Tobe Hooper and make-up/special effects maestro Gregory Nicotero.

The first story; "The Gas Station" starring Alex Datcher, Robert Carrdine and David Naughton is probably my favourite of the lot. It's the most straight-forward, but effectively atmospheric (very well photographed with its encroaching angles) and suspenseful, which sees a lady on her first day of the job looking over an isolated gas station late one-night night, where she becomes a target of a satanic serial killer. Quite high-tempo with its grounded cat-and-mouse layout. You really do feel the growing unease displayed by Datcher's character and the tension that unfolds from its eerily forlorn backdrop, but this exercise into familiarity just works. Some fruity characters also helps, and it's not without its parodying humour either to balance it out.

"Hair" the second story, starts off with a natural fear before becoming quite an offbeat and quirky entry which sees Stacy Keach being plagued by the fear of losing his hair. After trying everything to combat it, he seeks treatment from a specialist doctor. It works --- lovely long hair, but at what cost. Keach is a blast in the lead and he shares terrific on-screen chemistry with the likes of Sheena Easton, David Warner and a colourful Debbie Harry. Witty dialogues and a nice sense of wicked cruelty in a revelation that's just plain crazy.

Finally we end off with Hooper's "The Eye". A brooding supernatural tale that has Mark Hamill an up-and coming baseball player in a terrible car accident, where he loses his right eye. However a doctor offers him the chance to get that sight back in an eye transplant but there's no guarantee it will work. However it does, but soon he's plagued by headaches and visions --- dark and disturbing ones. This one takes on a more serious approach compared with the previous outings with an excellently confident Mark Hamill with good support by Twiggy. The story might be predictable, but it's well-paced where the inflicted transformation of our edgy central character is suitably pitched. Some ghastly shocks moments show up too.

Joining it up is the enjoyably warped wrap-around segment with Carpenter (where Rick Baker did the make-up for) and this sees the cameo turns of Hooper and Arnold at the end. The dialogues might be what you most remember, but some of the decors on show in this segment are amusingly executed.

As a whole it's a complete package with the stories perfectly complementing each other. They might not be spectacular, but I liked the three.

Good, fun comic horror anthology opus by Carpenter and co.

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11. Bunshinsaba

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Bunshinsaba is not a name that will roll off of your tongues. Comes in the wake of other far eastern horror movies, and generally follows similar traits to them. Story surrounds the horrific "suicides" of girls at a school in a Korean village, whilst bringing back memories of dark chapters in the communities past.

As is the norm for Korean movies, probably the best in the world at the moment, the film is set in beautiful scenery whilst the direction and acting is surprisingly great also taking in the age of a number of the actors. Really puts to shame the teen horror films from the US

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12. Black water

https://encrypted-tbn2.gstatic.com/i..._e1679cTGhZjCw

This movie was on the shelf at the movie store I used to rent all my movies from, and since I had seen a handful of very corny horror flicks there I had really low expectations for this one. Well, I put it in, and almost immediately I was sucked right in.

While watching, I got deeper and deeper into the story and pretty soon I was staring in complete interest. This movie is surprisingly spectacular and I loved every second. The story is about a boat ride down a river in Australia. It seems safe enough until their boat is ambushed by a croc who's ready for some food. When I looked at the back of the case I thought that this movie was going to have crappy visual effects like in Lake Placid 2 and a lot of others, but when I first saw the crocodile it looked amazingly real! Don't laugh when I say this, for I am being serious, but this is one of the most creepiest films I've ever seen. It really knew how to build up nail-biting tension and suspense with it's intense situation, I mean, think about it; You're stuck, in a tree, nowhere to run, nowhere to hide with a hungry predator in the depths of the water below. You can not tell me that doesn't freak you out just a little. It even managed to give me a few chills down my arms, like when Adam was taken by the croc and Grace and Lee are left baffled. I jumped at two scenes, also.

This is a very appealing movie, to me. There were maybe one or two parts where I found myself slightly uninterested but other than that, I would say this is my favorite animal attack film that I have seen and is an excellent film overall. It was a job well done by all the staff and I commend it for being so suspenseful and impression making

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13. The Blair Witch Project

https://upload.wikimedia.org/wikiped...ch_Project.jpg

This film is not a feature film. For a start, it is not feature length, also, it is not shot on film. More importantly, it does not have what feature films have these days: star actors, special effects, exotic locations, explosions. Instead, seeing B.W.P. is seeing something else that a cinema can be: a place where people can share an intimate experience created by a few people on a tight budget. I would be glad of its success if only for that reason.

The first section of the film appears at first to be amateurish and slow. In fact, it is very deft, and very efficient at what it does. It tells the audience everything it needs to know about the characters and situation, and nothing more. Also, it gets the audience into the habit of viewing the film's format: alternating between black and white (very grainy and poorly focussed) film, and the washed out colours of shaky pixilated video. The film makers managed to set up a rationale for why the film is so cheaply made. Three people hike into the woods for a few days to shoot a documentary, with borrowed equipment, and are in the habit of videoing everything for the hell of it. They cannot carry tripods, steadicams, dollies, large lighting rigs, or the like, so everything we see is lit either by raw daylight, or by a single light fixed to the camera, which illuminates just what is within a few feet of the lens. The film creates its own excuse to be cheap. This is intelligent.

The acting and script are both excellent. The well-cast actors are presumably playing pretty-much themselves, and are convincingly naturalistic, and neither too likeable or too dislikeable. The slow route into hysteria is well documented. Rather than simply having a character say "We're lost!", we see many scenes which show the trio getting more and more hopelessly lost, and more annoyed with each other for this. By the time they are thoroughly lost, the audience shares the despair.

My friend and I, after seeing it, both felt a little sick. I put this down to my having been tense for a hour, he put it down more to motion sickness. The jerky, badly-framed camerawork is hard on the eye and stomach, but I applaud the director for its uncompromising use. Similarly, no compromise is made with the dialogue. Some of it is very quiet and must be listened for, some is technical jargon, which is left realisticly unexplained.

One of the great strengths and weaknesses of the film is the editing. It is good in that it does much to heighten the tension, with many key moments lasting just a little too long for comfort. Each time the characters find something nasty, the viewer is made to want the editor to cut soon to the next scene, and the fact that he doesn't adds to the sense of being trapped, as the characters are. The problem with this, though, is that one is left wondering about the motives of the fictional editor. In truth, of course, the film is edited to create these effects, and to entertain, but the film's rationale is that these are the rushes of a documentary put together posthumously by someone other than the film's original creator. Why, then, would an editor piecing together such footage, edit for dramatic effect rather than for clarity? Why would he keep cutting back and forth from the video footage to the film footage, when neither shows any more information than the other?

The film is stark. After one simple caption at the start, all that follows is the "rushes". I wonder if the film might not have been improved with an introductory section which documented how the rushes were found and edited. A programme was made for television which did this. Perhaps a portion of this might have been added to the film, making it more complete, and more believable (and proper feature length).

While I applaud the fact that young original film-makers have managed to create a mainstream hit out of a simple idea, well-handled. I dread the possible avalanche of inferior copies which may come.

Most horror films these days are created not for the audience, but for the makers. The departments of special effects, make-up, model-making, animation and so forth all try hard to show potential future employers what they can do. The result is that nothing is left for the audience to do, since everything can be seen and heard, and the viewer's imagination can be switched off. Today, it is possible to see pigs fly on the screen, and so film-makers show off and show us a formation of Tamworths, which is something which will look impressive in the trailer. To show us less is to make our minds fill in the gaps. This way, we create our own terrors, perfectly fitted to ourselves. The ghastly face I see in my head, is the ghastly head which I find scary. The ghastly face I am shown may be one I can cope with quite easily. If I see a believable character screaming in hysterical fear at something I cannot see, my own brain creates demons for my night's dreams, demons far more mighty than anything CGI graphics or a latex mask could portray.

This film will stay in your thoughts for some while.

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14. Burnt offerings

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If you are looking for blood, gore, or loud jump scares, you might want to look elsewhere. Rather than resorting to cheap tactics, this film focuses heavily on atmosphere, suspense, and tension. There is enough suspense in this film for three movies. There isn't a boring moment in this entire film. I was so captivated by this film, that the first time I watched it, I actually felt as if I lived in the mansion among the characters. Almost never does a film come along in which I forget I'm even watching a movie and can't separate it from reality. This movie did just that. It's story sounds like your run-of-the-mill haunted house film when you simply read the summary, but when you actually watch the film, it is a unique experience never to be forgotten. It is highly similar to The Shining. Both films are sophisticated, chilling horror films that require the viewer to think. Because of that, they are both wonderful.

It is no coincidence that this movie is from the mastermind behind Dark Shadows. Dan Curtis masters suspense and terror in a way very few can. The musical score by Robert Cobert contributes to the unsettling mood of the film perfectly. It is one of my favorite scores of all time. The acting is incredible. Karen Black, Oliver Reed, Bette Davis, and Lee Montgomery all have great chemistry as a family and are all wonderful in their respective performances. The characters are all likable. I don't usually like happy endings in horror movies, but this is a case where I wanted the characters to live because I liked them so much. But sadly, that was not meant to happen. Overall, this film has everything I could want in a horror film and I am glad to be a fan of it.

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15. The beyond

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The story is a disturbing mix of elements. In the first minutes during the execution of Schweick , it is clear what kind of tale is L'aldilá. Vengeance beyond the grave, an apocalypse that is unavoidable. Common people trapped in the middle. One of the merits of Sarchetti's script is the character of Katriona Maccoll a real down to earth human being, his partner is a curious but good man. Both of them tried to do things right, but in the end that won't help . The brutality of violence is another great detail, is unexpected, extreme and very, very graphic. And as the final touch, the climatic ending. The assonant music has its logic, this is disturbing terror, it wouldn't be the same with new-age, reggae, or a ballad.

Lucio Fulci was an unique director. With L'aldilá he tried to create an 'artaudian' study of horror. He achieved that. He used less than 90 minutes to mix ominous menaces that are beyond this world waiting their time for return and extremely gory horror. The unavoidable tragedy strikes in the form of hungry zombies. He was a demanding director, he never let that their actors underestimate their roles. His use of zoom-effects are a trademark, the zoom in used in a completely original way. Let's say the zoom is the hand of someone that keep your eyes open in an awful or transcendental sequence, Fulci forces you to pay attention when he wants your attention. Delightful. Nowadays audiences are very comfortable watching horror movies. They expect to see some scares and then laugh with the jokes of some stupid teens avid of rave music and easy sex. Fulci in that aspect was an author beyond his time. He tried to shock people, scare them, revolve their stomachs, those were his methods to gain the public but he NEVER underestimated the audiences, he gave his 100% and made cult classics.

Note for Fulci newcomers: The more interesting works of this director are in the period of middle 70's to 1985. If you see two or three of his movies in this period and you dislike them then don't bother anymore because you will never like his style.

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16. The birds

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This is one of Hitchcock's most well-known movies. Along with Psycho, it's the movie that most people identify with him. Many pages have been written about it and surely there will be more. I know that the superb technical aspects of the movie have been discussed a lot, so I'll try to focus on something I noticed yesterday when I watched it.

It's scarier when there are no birds on screen. The tension, the silence, the uncertainty, the mystery. That's what suspense is about.

I was amazed of how carefully Hitchcock builds the suspense in this movie. You watch the birds standing there, and they do not move, they are just waiting. Even when you think they are dumb something tells you they are thinking. They are analyzing your moves.

This was possible with the aid of a top-notch screenplay, and great performances of the actors. This was probably the most difficult film for Hitchcock, specially for the technical aspects that were involved, but when you watch it, it really was worth the pain.

The main plot is well-known: Melanie Daniels(Tippi Hedren),a young girl goes to Bodega Bay looking for Mitch Brenner(Rod Taylor),a handsome man she met in San Francisco, when suddenly, the birds start attacking humans by no reason. Pretty straight forward, and by this date very outdated, but Hitchcock adds his magic and the script spices this with the very complex relationships between the characters.

The complex relationship between Mitch and his mother Lydia(played by Jessica Tandy), and the conflict that she has with Melanie is very interesting and brings back memories from Psycho. Also, Melanie's relationship with her own mother and the bond that she creates with Lydia and Mitch's 11 years old sister Cathy(Veronica Cartwright) is fascinating.

The scene when the four of them are trapped inside the house with the birds waiting outside is classic; not only is, as I wrote above, a perfect example of the use of suspense, it is an awesome study of the characters and how their relation grows. I think that this particular movie was main inspiration for George A. Romero's claustrophobic climax in his landmark film "Night of the Living Dead"(1968).

The technical aspects may be the focus of many studies, but the characters deserve to be praised, even the support cast with a few lines develop a personality of their own. The restaurant scene is Hitchcock at his best with witty dialogs that are both humorous and creepy. Very good ensemble.

Re: Horror films in alphabetical order
 

17. The bad seed

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What we have here is a fantastic classic horror film, which benefits from great performances from all concerned and a plot not typical of serial killer films. The film doesn't adhere to convention and builds its story around an idea that was frightening for the time - and still is to this day. The murderer in this film is as evil as any other; the only difference being that here the killings are committed by a decidedly amoral child. The film presents a good portrait of its star, as it presents its ideas very much from a child's point of view. The young girl doesn't see what she's doing as wrong as she is always given a reason to pass on the blame for wrongdoings, and this always comes across in a plausible way. The plot surrounding the atrocities is even more interesting than the central idea, as we follow the torment inflicted on the girl's mother. The situation that Christine Penmark finds herself in is the stuff of nightmares; just what can you do if you find that your eight year old child has committed murder? The Bad Seed makes excellent use of this dilemma, and the fact that it's incredibly easy to buy into the plot ensures that The Bad Seed prevails as an potently chilling film.

The film is based on a stage play by Maxwell Anderson, and this comes across often as the film takes place in just a few settings and the whole thing is very stagy. This is, however, to its benefit; as the locations make the whole piece more claustrophobic, and the fact that we don't see the murders themselves benefits the film immensely as it allows the audience to spend more time considering the implications; which are what the film is actually about. The main reason why this film works so well is down to a great performance by talented child actor Patricia McCormack. McCormack presents a portrayal that finds exactly the right pitch between the sweet and innocent youngster that she appears; and the dark persona that lies just beneath her exterior. Nancy Kelly similarly gives a defining performance as her tortured mother, and excellently puts across a torrent of emotion. The acting is typically melodramatic, but all the cast somehow manage to keep their acting down to earth. Every scene in the movie is perfectly pitched and nothing is wasted as we are continually taught more about the characters and their situations. The climax to the film is fabulously poetic, despite being implemented on the producer's orders and overall, I really don't see much wrong with this film. Highly recommended!

Re: Horror films in alphabetical order
 

18. Basket case

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It's rare to see a horror film that is actually "good", featuring an original premise and decent acting/plot. Some films should have been "classics" because they feature both, but are mocked years later for their horrible special effects (think about it - most "classic horror films" feature human or human-like villains e.g. slasher flicks and "Rosemary's Baby"). Well, Basket Case is no exception.

The premise is one of the most original, then and probably still now. Duane carries his brother Belial around in a basket, and the two are trying to find and murder the doctors who separated them. It reminds one of "Freaks", with the deformed Belial and his brother Duane as anti-heros of sorts, getting revenge on the "normal" people that treated them so cruelly. A flashback to Duane's and Belial's separation and events in the film actually made me feel sorry for both (Duane because Belial won't let him have any time or romance for himself, and Belial because everyone is deathly afraid of him but his brother).

For a low budget '80s flick, Belial actually looks really good for the most part; though the first few deaths in the movie where he remains invisible are still more effective. When Belial jumps at some people it looks sort of funny, but when he is stationary (must've been a better puppet), he looks either frightened or damned frightening. Belial also makes some thankfully short appearances as a decent stop-motion animation.

Re: Horror films in alphabetical order
 

19. Bad dreams

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Bad Dreams is a fun late 80's horror film that feels a lot like The third part of A Nightmare on Elm St. Like that movie, Bad Dreams takes place in a hospital setting. The story goes that a girl named Cynthia was the sole survivor of a mass suicide in a cult community named "Unity Fields". She ends up in a coma for thirteen years, but when she awakes, several of her fellow patients at the psychiatric hospital start dying. It appears like they are committing suicide, but could it be murder?

The film is a lot like A Nightmare on Elm St 3, which also stared Jennifer Rubin. There is a burned man seemingly going after the patients, the doctors believe the people are killing themselves are refuse to think otherwise. Although it is similar, Bad Dreams is a decent horror flick with some gruesome moments.

The hospital setting in a horror film is always fun to me. You would think it's safe, but it almost never is. The acting is pretty good in this as well. There is also a nice little twist to the story as well.

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20. Black Christmas

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It's not often that you find a film in the thriller/horror genre that has something "new" to say, so it's even more exciting to find that one of the original films in the "slasher" genre is actually still one of the freshest, most unique and utterly entertaining of them all. This is the kind of movie you can't wait to tell your friends about, knowing full well they've probably never seen it, but they've heard of it.

Everything about this film is stellar. The acting, to steal the words of a great reviewer who loves this movie, is flawless. The direction is confident and assured. What is Bob Clark's story? How did he go from making quirky, ground-breaking horror to...well..."Baby Geniuses 2?" His black-humored wit is on display in all his movies, and here too. Margot Kidder and Marian Waldman shine as foul-mouthed alcohol abusers. Particularly Kidder--it's hard to believe she did this at the BEGINNING of her career, she's that assured...and fun to watch. Olivia Hussey is alluring as the lead, Jessica, and her beauty, as well as her speaking voice are a welcome presence.

The plot might seem clichéd now, until you understand that it was all the movies that came AFTER that were the clichés--even "He Knows Your Alone," which seemed so vital at the time, can't compare. "Black Christmas" is a FILM, and goes beyond the conventions of a cheap slasher. The key is the ending--only a director with an artistic sensibility would have fought for it (no spoilers here). Suffice to say, in all the slashers I've watched I've never seen the equal. It's a tricky business to sum up a mystery in a plot, and few can maintain the element of surprise, intelligence or creativity required. You will NOT see the ending coming here, and though the end is a surprise, it works well.

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21. The brood

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David Cronenberg's "The Brood" is both frightening and shocking. A tale of psychological horror guaranteed to make even the most jaded horror fan recoil in disbelief. The plot in a nutshell - In the care of an eccentric therapist (Oliver Reed), a woman (Samantha Eggar) undergoes an experimental form of anger management; while parallel to her treatment are a serious of bizarre and questionable murders. At the heart of the story is her husband (Art Hindle), who is in desperate search of the truth behind the strange goings on. The film is especially visually appealing; with perfectly framed scenes, cold & stark cinematography, and classy looking 70's costume design. The special effects though minimal throughout the film, are both amazing and disturbing. Cronenberg masterfully stages the murders in a thrillingly suspenseful and brutally violent manner, effectively balancing the terror between what is seen and not seen. It is questionable if filmmakers in today's world would be bold enough to make this film. The eerie musical score by (now veteran) Howard Shore creates an extra degree of tension to the unfolding events. The performances are all convincing, and definitely above par for a horror movie. With a shocking final twist; this movie is not to be missed, a highly recommended

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22. Black Sabbath

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Originally titled I TRE VOLTI DELLA PAURA (THREE FACES OF FEAR), this horror anthology made it to the U.S. with a new title to remind viewers of how good Bava's BLACK Sunday (1960) was. It also gained an excellent Les Baxter soundtrack and Boris Karloff as a host, though the tales were reversed in order and the strong lesbian subtext of one segment and some violence were omitted, but that's good ole' American censorship for you (both have since been restored, anyway). In any case, this anthology is a classic of its kind.

"Drop of Water" (based on a story by Checkov) is a chilling tale of a nurse (Jacqueline Pierreux) who gets her just desserts after stealing a diamond ring from the hideous-looking corpse of a psychic. "The Telephone" (based on a story by F.G.Snyder) was the least satisfying of the bunch for me personally, yet is still above average. In it, a lascivious, unstable and bisexual young beauty (Michele Mercier) receives threatening phone calls that seem to be coming from a man who has a personal vendetta against her. Final tale is "The Wurdalak," which was based on a Tolstoy. Boris Karloff stars as Gorca, a man turned into a vampire by the curse of Wurdalak, which makes him attack and kill only those he loves (namely his extended family, including child). It's astonishing to look at and very suspenseful. All three are colorfully, creatively done, drenched in Bava's trademark rich atmosphere and bring something a little different to the table. "Drop" (last in the Italian version) has the most chilling central image, "Wurdulak" (middle in the Italian version) has the boldest color palette and most vivid art direction and "Telephone" (first in the Italian version) is a very early giallo. Horror regulars Mark Damon (from Corman's HOUSE OF USHER), Massimo Righi and Harriet White Medin (usually typecast as a stern housekeeper in Italian horror films) co-star in this one

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23. Brain dead

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Brain Dead is a very hard movie to describe because of its constant twists and turns. This movie truly turns you in circles and can be very confusing upon first viewing. Still, this is a really good film with good acting from Pill Pullman and Bill Paxton. The whole concept of the film is based on whether this is a dream or reality and the rest is left to the viewer. The ending is rather sudden but very appropriate and dramatic. This is definitely the type of film you sit through the credits at the end in bewilderment. Truly a surprise, especially considering the fact that this is a Concord produced film and most of their movies are mediocre at best. I highly recommend this movie to anyone who is into the David Lynch style of film-making. This is definitely a true mind-bender.

Re: Horror films in alphabetical order
 

24. Bram stokers Dracula

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This is the best rendition of Dracula ever captured on film. Gary Oldman's dark and sensual personae outshines any other vampire who ever dare put on a cape. To me Gary Oldman is the most talented and underrated actor ever. He becomes who he is playing, however in this role... Dracula became him... Oldman set the bar so high it is untouchable even to Bela Lugosi. Winona Ryder's delicateness suited the role of Mina/Elisabeta nicely and Keanu Reeves played the unsuspecting and naive Jonathan with satisfaction. However the whole movie comes together because of Gary Oldman's intoxicating essence. He draws the viewers into his darkness and passion and guides them through until the end. This film is drastically romantic and hauntingly captivating- just like a real Dracula movie should be. The cinematography deserved Oldman's phenomenal performance and perfectly created a true vampire realm. Francis Ford Coppola is brilliant. This is the spirit of the vampire.

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25. Bloody reunion

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This was one hell of a reunion! What is supposed to be a celebration for a dying teacher turns out to be far more sinister, bloody, violent, and painful. A group of adults return to reunite with their school teacher and we discover that each member of her class have grown with boulder-sized chips on their shoulders, their lives deeply effected by her mistreatment of them. The teacher's husband hung himself after she gave birth to a male child with a hideously deformed face. Keeping him in her basement, several of the school kids(..appropriately those gathered at the reunion)often mock him, while one younger boy is kind to him..the film sets up that this particular child(..who was actually criticized by the teacher for talking to her son!)is perhaps the young adult who begins sadistically attacking the characters of the reunion, one by one, surprising them when they are preoccupied, finishing them off in the basement where the deformed kid was kept away from the outside world. The film shows the deteriorating mindset of those who have gathered with their teacher, their emotional outbursts, confronting her on how she has misshapen their lives for the worse. Shortly afterward, however, most of them meet a grisly fate.

I will say that BLOODY REUNION isn't your typical slasher..this is a film with something to say. It is chock full with anger, pint-up animosity, buried hostility that is surfacing(..and had built over the years), and the reunion provides an opportunity to aggressively seek answers for the torment that has lingered due to the improper upbringing by a teacher who was supposed to nurture her students, not belittle and criticize them. The film has a whopper of a twist which many might compare loosely to HIGH TENSION, but BLOODY REUNION does it in a very effective way that works rather well and isn't riddled with plot holes. Almost completely told from the point of view of Jung-won(Seong-won Jang), sadly slumped over the bedside of her mentor, to a detective attempting to piece together the sequence of events that led to the slaughter, the school teacher's indictment is brought to light over the course of the film. It is far from a pretty picture. The teacher is made to look as if she held a disregard for the poor, often ridiculed those with weaknesses(..one's nonathletic ability, another's weight issues), and even possibly molested her attractive male student(..which has turned him into a pill-popping wreck). At a very sickly state where she's confined to a wheel chair and can not control her bowels, the teacher is at her most vulnerable and weakest. Her punishment, the bad karma which is returning the favor, should be enough, but these former students, fueled by years of self-loathing, social rejects with buried contempt for the very one they sought approval(..always wanting to please her), have a chance to unleash the vitriolic rage held inside for far too long. The violence can get pretty unsettling as one is a victim of a vicious razor blade attack(..after bound to a chair, he's fed broken razors and water to wash them down!), one's eyelids are stapled, another is pummeled with a bat(..before the final crushing blows, we watch as ants enter his orifices and bleeding wounds..yuck!), with eyes gouged, and a neck stabbed, blood squirting from the hole. The teacher's life is threatened multiple times when students approach her with violent intent, but each time she is spared in the nick of time. The very fact that they have such hate for her and are dying so horribly is enough punishment..because she realizes that she's the real mastermind behind everything.

Now, I will not reveal the twist, but before the bellyachers lay claim that it makes the film a waste of time..I beg to differ. The teacher is still responsible for those under her care, and their obligations to those under her is of great importance. The mentor and role model, the teacher can shape minds, and motivate her students to be the best they can be. It can work both ways, and even if what we witness may not totally be accurate, the same negative feelings still exist and the behavior of an adult towards a student she has distaste for can ultimately bring about such dire consequences. This is a slasher with a potent punch. Care given to the characters and the twist isn't something merely thrown in there to foil the viewer, but comes from a dark place. Slasher fans definitely should give this one a shot..it's a winner.

Re: Horror films in alphabetical order
 

26. Battle royale

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I couldn't believe my eyes. Out of all of the horror/survival films I have ever seen, this is definitely on top of the list. I don't just mean that in terms of foreign films, I mean in terms of film. I was immersed into this crazy scenario that may seem absolutely ridiculous at first, but once you look at it, it almost turns into a not so outlandish thought.

The story is laid out like this: Japan has is going down the proverbial crapper. Unemployment is at an all time high and kids everywhere are boycotting school. The country is in chaos. The government decides to pass a law that is basically aimed at scaring the country into order. The Law is called the BR Act. Heres the crazy part. A class is selected by impartial lottery (and the grades seem totally random, as indicated by the shot of the 1st or 2nd grader in the opening sequence) and sent to an undisclosed, evacuated location. The classmates then have 3 days to kill each other off until there is only one student left. This year, it is a class of 9th graders (keep in mind that Japanese kids go to school year round. in our school years, these kids would be seniors). They are sent to an island, given weapons, and fight to survive.

The cast in this film is chock full of Japanese Stars. Kitano Takeshi (Kitano) plays the teacher that basically plays the ringleader. If you have watched spike TV, you have seen him before. This is the actor that plays as "Vic Ramono" on MXC. The rest of the cast is comprised of Japanese teen pop idols. Most notably, the gorgeous Chiaki Kuriyama (Chigusa). You probably know her too. She was Gogo Yubari in Kill Bill Vol 1. Ando Masanobu (Kiriyama) plays the most menacing villain I have ever seen.

Asside from the classic Japanese blood sprays and the amount of ammo some of the guns put out, there is great attention to detail in this film. From what I have read, since the author (Kinji Fukasaku) of the original book directed the film, everything is kept true to the book as close as possible. Every time a student dies, their names appear on the screen in the order they died. Inside the main building, there is huge system of screens that show who is dead and what not. Anyway, that screen is exact on the names as well as the 'danger zone' map. I had to look twice to realize that. That is damn good editing right there.

The characters in the film, though Japanese, can be related right back to the kids you knew in high school. I joke around with my friends all of the time saying, "Oh thats so and so" and, "oh man, that is definitely so and so." This brings so much depth into the film. It is simply amazing to watch how everything plays out. This is like Darwinism in the 21st century. I watch this film just saying, "this is what would happen." That is what the entire film is based on, the crazy idea of 'this could happen.' The whole tag line of the movie is, "could you kill your best friend?" The question is so spooky, I don't even know if I could answer it. It taps into something so deep that you really have to think about it.

This film does have some comical moments. It is just too damn funny to watch Takeshi Kitano sit on a couch and eat cookies while at the same time watching his former pupils kill each other. There is just everything in this movie. There are those love stories that you saw all too often in school as well as those feuds between certain cliques and egos.

If you want a superb psychological thriller, this is the movie. This film sent shock waves across Japan when it burst onto the scene. Intelligent writing, great acting, beautiful locations, and decent effects bring this film together. Its Lord of the Flies with High School Kids. Its just great.

Re: Horror films in alphabetical order
 

27. The butterfly effect

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A great deal of science fiction works of art have tried to approach these meaningful questions throughout the years, all presenting many philosophical ideas and notions as to how one man can change his own fate, for better or for worse. In this surprisingly good sci-fi adventure from 2004, directors Eric Bress and J. Mackye Gruber (who are also behind the screenplay of Final Destination 2) raise all these questions once again, but use a different angle this time around. Time travel is not the issue here. Instead, our lead protagonist, Evan Treborn (portrayed by Hollywood prankster Ashton Kutcher – but more on that later) leads his whole life up until his early 20's without knowing he has a rare medical condition that seemingly helps him shut away traumatic incidents that occurred throughout his childhood and adolescence years. All he remembers from these various occasions are bizarre blackouts. But when a blast from his past comes back into his life only to leave it ever so tragically (Kayleigh Miller, portrayed by the lovely Amy Smart who we've since seen in films such as Just Friends and Crank), Evan learns that he can return to those important lost moments in his life and re-inhabit his younger body, thus changing the present and future. However, with every shift in the past comes an alternate present that may seem better at first, but is in fact a far harsher reality than the original one Evan has left.

What truly touched me about this film was the essence in which it captured the troublesome youth of my generation, that was born in the 1980's, grew up in the 1990's, and is ever since trying to adapt to the ever changing reality in which we all live in. Here, one man tries to alter all this, and his own personal journey is parallel in many ways to the journey many young people go through nowadays. Part of capturing this Generation X notion is the pop-culture presented throughout the film. When you see the young actors and actress fall in love, fight, and grow up real fast, it all happens amidst references to films of the period (Se7en, etc.), outfits, 1980's technology and other devices that fill you up with an overwhelming feeling of nostalgia and sentiment, as if you were there yourself, living these events and going through all these horrible/wonderful events

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28. The burbs

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This film is not so much about the plot(which is admittedly thin and which the critics are too concerned with) as it is about the characters who become entangled within it. Included in this terrific cast are Tom Hanks, who plays the skeptical neighbor of the new family on the block (a bunch of oddballs who never leave the house); Rick Ducommun, who plays the gluttonous friend of Hanks, who is convinced that the new neighbors are brain sucking murderers; Bruce Dern, the ex-soldier who hasn't quite left his miilitary roots behind him; and last, but not least, Corey Feldman, who plays the dopey teenage neighbor who basically watches the events of the movie unfold from the comfort of his front porch. These characters are so well-acted and so downright wacky that you just have to believe there is a neighborhood somewhere with people like this. The chemistry between everyone of the characters is simply impressive, and much of the humor of the film can be found in the often ludicrous way the director portrays their interactions.

I urge anyone who has seen this film before to watch it again, this time paying little attention to the story and focusing on the superbly acted characters.

Re: Horror films in alphabetical order
 

There we go all the letter b is out there 😀

Re: Horror films in alphabetical order
 

I'll wait till people have caught up to post more 😊

I haven't seen the remake of The Blob, but I saw the original many years ago, and I thought it was a pretty good movie. (That's a good review from someone who hates horror movies. :D )

I remember when The Blair Witch Project was in the theaters, Hubby and I went to see it with another couple because they said that it was supposed to be one the scariest movies ever made. Hubby kept falling asleep because (he said) it was so boring, and I kept waking him, telling him to give it chance. (I was sure it would get better.)

I was wrong. It didn't get better. :(

In fact, I even apologized to Hubby after the movie ended for not letting him take a nice, long nap.

The 'Burbs is a horror movie? I haven't seen it, but I thought it was a comedy. :confused:

Re: Horror films in alphabetical order
 

I will start the letter C as soon as I can 😊 hope your enjoying my thread

Re: Horror films in alphabetical order
 

Ok here goes letter C

Re: Horror films in alphabetical order
 

1. The ordeal (calvaire)

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Belgium might not be one of the world's premier film-making nations, but they sure know how to make a good bizarre exploitation flick with the power to get under your skin! Calvaire might not be a film to please the mainstream horror fan, but for those like me who are into the darker, more extreme side of cinema; this film is a treat indeed. Director Fabrice Du Welz has packed his film with a plethora of bizarre sexual acts; which is best illustrated by the fact that the hinted bestiality isn't all that shocking in comparison to some of the other character's delights. The film works from a very simple premise that has been seen in many other films, but it's what comes after that is important. We centre on Marc Stevens; a singer that is unfortunate enough to break down in the middle of a forest during winter. He takes up residence in a near-by farm house owned by a slightly odd old man, who apparently used to have a comedy act. What Marc doesn't bank on is the insanity of his host, which comes out in the form of an ordeal in which Marc is tortured, beaten and humiliated in just about the strangest ways possible...

The biggest standout of this production is director Fabrice Du Welz, who gives the film credibility in spite of its subject matter with some inventive usage of the camera which succeeds both in creating a dark and ominous atmosphere, as well as generating a surreal tidal wave of disorientation. The way that the camera swirls round the deranged characters at a 'family' scene, for example, helps to give the film a nasty tint that excellently compliments the subject material. It has to be said that, at times, the bizarre sexual practices get a little out of hand, and it's hard to really take seriously; although in a way this helps to further implement the stark and surreal atmosphere, which in turn helps the film to achieve its aim of shocking its audience. The acting isn't a strong point, however, as some of the central performances are more than a little flat; although this isn't a massive problem as exploitation cinema has never been known for great performances, and the set of actors do succeed in getting the film's point across. Overall, this is certainly one of the weirdest films to be released in the last few years and comes highly recommended to fans of cult cinema!

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2. Candyman

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Being a horror movie buff, I have no idea how this little gem escaped me the first time around. I'd heard a lot about it, read about it, etc but wrote it off as "probably stupid" like most of the other horror movies I had so wanted to see. So, it wasn't until many years after the movie's release that I finally saw it. And boy am I glad I did!

Surprisingly, the acting is fabulous...especially for a horror movie. Each character portrayed fantastically so as to add to the movie, rather than detract. No one really went over the top or became TOO dramatic. Overall, each character was portrayed realistically.

As for the plot: absolutely wonderful premise playing on the Bloody Mary urban legend. Surprisingly, the movie delivers on aspects of believabilty. Of course we don't *really* expect Candyman to pop out of a mirror, but how many of us have started the "Bloody Mary" chant only to stop at the very last one, not daring to continue? Our fears lie behind what COULD happen and the possibility that maybe..just maybe it's all real. Candyman plays on that fear and takes us even further over the edge.

The movie rids itself of the typical cliches (white, undefeatable stalker chasing half naked twits) and allows itself to be an entirely enjoyable, CEREBRAL horror movie. At first we wonder if the Candyman is perhaps just a person pretending to be him, then we start to question Helen's own sanity...wondering perhaps if SHE isn't the "real Candyman". Eventually, the movie leads us to an ending that answers our questions but doesn't shove those answers down our throat. Candyman also does what very few horror movies are capable of: it succeeded in having a strong ending rather than fizzling out during the last 10-15 minutes.

The setting and atmosphere are top notch. Using Chicago and Cabrini Green as its stage was perfect...bringing into play racial issues without going over the top or getting "in your face" to the point of losing its focus. The music in Candyman adds a mysterious mood that matches the dark, dismal atmosphere of the lone apartments in Cabrini Green.

All in all on my horror movie scale, I give Candyman a 10. To me, it was purely artistic and absolutely enjoyable. I HIGHLY recommend this to anyone even slightly interested in horror movies.

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3. Carrie

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Perhaps one of the only genuinely good Stephen King adaptations, ‘Carrie' follows the tragic tale of Carrie White (Sissy Spacek), a young girl who is continually made to suffer at the hands of her bullying classmates and not helped by her overbearing, religious mother Margaret (Piper Laurie). Carrie, however, is not like regular teenagers as she has been blessed(?) with telekinetic powers and as the inner rage grows within Carrie so, it seems, do these potentially lethal abilities.

Brian De Palma directed this amazingly stylish adaptation of Stephen King's first novel which is arguably the best Stephen King adaptation ever to be made. Sissy Spacek's performance is one of the greatest to ever grace a horror film. Somehow managing to perfectly embody the typical school life of the usual high school outcasts, Spacek was able to bring to everyone the appalling life that so many teenagers are forced to tolerate. From the opening scenes where Carrie is utterly humiliated at the hands of her classmates after Carrie's hysterical reaction to her first menstruation, to the painfully wretched ending it becomes nigh on impossible not to sympathise with Spacek's character. Spacek was quite rightly Oscar-nominated for this performance. Spacek's performance was enhanced by fellow Oscar-nominee Piper Laurie in the role of the religious-nut Margaret White. In some ways the naivety shown towards Carrie and what is happening to her is amusing but at the same time it is terrifying to think that any mother could allow her daughter to go though such a generally horrendous life. Piper Laurie was able to make this all too abhorrent character her own with a thoroughly convincing and unsettling performance.

De Palma cleverly directs this movie. Instead of immediately introducing us to Carrie's powers he focuses on the torment (and the tormentors) of Carrie first. This allows the viewer to feel for Carrie and will her towards revenge while ensuring that she is not made into a one-dimensional killer. The movie is very well paced and is presented in a brutally clear fashion. De Palma refrains from using any visual effects with the exception of the infamous `Prom Night' scene which was incredibly well crafted and immersed the viewer in this horrifying display of rage. The final twenty minutes of Carrie are some of the most intense and gripping moments to have been portrayed in horror cinema. These scenes without a doubt helped to build one of the most artistic and and incredible climaxes in all of film.

‘Carrie' is not for those who just want to see people sliced up or prefer fast-paced horror as it is presented as a heart-breaking drama with a horrifying twist. The magnificent cast (which features John Travolta in an early role) was also graced with fantastic performances from Betty Buckley as the kindly gym teacher and Nancy Allen as Chris, the deplorable ring leader of this atrocious bullying. In my opinion ‘Carrie' is unquestionably worth a look for horror fans. 'Carrie' is very well directed, with a superb screenplay from Larry Cohen and featuring two of the greatest performances in horror

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Battle Royale is one of my favourite films ever. Largely for the reasons you stated, it was eerily resonant, every character was a reflection of someone you'll almost certainly know, which made it all the more harrowing. The soundtrack is immense, and the acting is terrific, as is the dialogue, action, and script. I loved Ko Shibasaki as Mitsuko, and like Chiaki, she was offered a significant role in Kill Bill because of this film.

One thing though, the author of the book, Koushun Takami, had nothing to do with the film. It diverges from the book a bit, and it adds a silly sub plot between Noriko and Kitano that wasn't present in the book. A part from that, it's a more or less faithful adaptation. The book is even better though, and the manga is terrific, too!

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4. Carved: The Slit-Mouthed Woman

http://cdn2-b.examiner.com/sites/def...?itok=inQKjtxu

Children tell the story of the slit-mouthed woman, a killer with a deformed face, surgical mask and very long scissors ready to slice up the kids while asking "Am I pretty?". As rumors of the woman spread, the panic in town grows and the rumors become true -- remarkably so, as they seem to come from nowhere. What is the origin of this killer?

Something about Asian horror is both appealing and distressing. I can't pinpoint it. The films are different enough from American films to give a special feel to the viewer for when we've had enough of the classic slasher. Yet, no matter how different one Asian film is from another, they seem to all co-exist in the same universe. This film is no exception: while not relying on the same techniques as "Pulse" or "The Grudge" or even "The Ring", there's a sense that we haven't left those worlds too far behind.

Like many Asian horror films, there is a sense of the supernatural here. American horror often tries to explain its stories in a reasonable way (even when the villains are of an other-worldly nature). Asian horror is less likely to do so. Here is another example of that. As the film progresses, we learn more about the slit-mouthed woman, but we never really understand how or why she does what she does.

I enjoyed the rumors element. I think this was very clever and if the film were longer, I wish they'd have gone into this more and made the plot and background deeper. At one point, a child is asked where the slit-mouthed woman lives and she responds in a house with a red roof on the hill. Despite having no reason to know this (she never saw the house or even the woman), the rumor invariably turn out to be true. I found this very interesting.

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5. Children of the corn

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A young couple find themselves stranded in the middle of a deserted town with a religious cult waiting to strike in Children of the Corn. It begins with all the adults in town getting slaughtered by a group of Kids/teens led by cult leader Isaac. Fast forward three years and we meet Burt and Vicki, young couple travelling through Nebraska. They end up running over a little boy who was trying to leave the clutches of the religious cult. Eventually they hit Gatlin, a deserted small town filled the the murderous young people. They come across two little kids who defy the religious cult at every turn, and they all try to escape the evil force known as "He who walks behind the Rows".

Children of the Corn is one of my "guilty pleasure" horror flicks. It's not the best movie out there and doesn't have the greatest plot, but there's something about it that is really good. I love the adventure that Vicki and Burt go through in this. The driving around the open roads and then when they get to the empty town of Gatlin. The "children" chasing Burt around Gatlin yelling "outlander!" was really effective as well. I like the atmosphere of it.

The actors are all pretty good too. Peter Horton and Linda Hamilton are wonderful as the lead characters Burt and Vicki. John Franklin plays evil Isaac well, and all of the child actors are good too. Children of the Corn has spawned several sequels and a remake, but from what I've seen none surpass the original.

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6. Cronos

https://horrorpediadotcom.files.word.../cronos_01.jpg

Guillermo Del Toro's stylish and original take on the vampire legend is one of the most strangely overlooked and underrated films of the 1990's. It's films like this that make me want to watch films - films that are fresh, unpredictable and so rich in symbolism that it has leaves lots of room for discussion. Del Toro was little more than an amateur director at the time this made, but in spite of that he's more than given the professionals a run for their money. Every scene is adeptly filmed, and the way that Del Toro makes contrasts between locations and the two central families is a pleasure to observe. The way that the film switches language from English to Spanish and back again is indicative of the fact that this is a rich tapestry of contradictions and one that makes intelligent comments on many subjects, from obvious ones such as addiction, to more concealed ones, such as a commentary on family; stemming from the way that the roles of child and parent become reversed when our hero becomes afflicted with the vampire-like curse.

For the story, Del Toro has taken the classic vampire theme and mixed it with essences of mechanics and the human lust of being able to live forever. The story follows Jesús Gris, an antique dealer that lives with his granddaughter Aurora and wife Mercedes. One day, our hero happens upon a mechanical scarab that latches itself onto his palm, causing him to bleed. Jesús slowly gets addicted to the mystical scarab, but there's someone else that wants it and will stop at nothing to get it. The mythology of the scarab is told in a great opening sequence that sets the viewer up for an intriguing and original horror story. The film retains the intrigue that it sets up in it's intro for the duration, and Del Toro ensures that his audience is always left guessing and wanting to see what comes next. The film works due to interesting characters that the audience is able to feel for, and is constantly interesting by the way that Del Toro handles the contrasts that the story presents.

On the whole, this is a fabulous horror story that takes an existing legend and makes it it's own. This is exactly the sort of film that cinema needs more of; and it's not one that film fans will want to miss. Highly recommended viewing

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7. Creepshow

https://encrypted-tbn2.gstatic.com/i...chCzVCwnP-8z5w

"Creepshow" is a unique, funny, and creepy horror anthology from Stephen King and George A. Romero. The film centers around five stories - consisting of a murderous revenge tale of a father on fathers day ; a redneck (played by Stephen King himself) who begins growing a green substance on his body after coming in contact with a meteor ; a man who buries his wife and her lover up to their heads on the beach as the tide begins to come in ; a strange monster that lives in a crate that was discovered beneath a stairway ; and a Scrooge-like businessman who lives in a purely sanitized apartment that can't get rid of pesky cockroaches.

Each of the stories displayed in this movie are a little bit corny to a certain extent, but they are still well done and are quite amusing. There is a very good cast, including Ed Harris, Leslie Nielsen, Ted Danson, Adrienne Barbeau, and E.G. Marshall, whom all give good performances in the movie. The whole movie is tied in with the classic E.C. comics from the 1950s, each story as if it were from a comic book. I thought that whole comic aspect was pretty unique, and I liked the stories in the film ("The Crate" is by far the best of them all, the one with Leslie Nielsen is my runner up for second place).

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8. Child's play

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I've seen this brilliant horror movie over twenty times so far and it is still great."Child's Play" is wonderfully original-a great concept(the soul of a serial killer in the puppet)and villain(Chucky!)are perhaps the keys to it all.Plenty of shocks and scares,pretty good acting and lots of violence.The direction and editing are so tight and carefully done.Now I can see why this movie was such a huge success in 1988.Managing to be both frightening and classy,this is a nerve-wracking experience.I actually found "Child's Play" to be a very scary film.I did not find it too gory,but what gore there is it was done to heighten intensity levels to the extreme.All in all,I wholeheartedly recommend it to any open-minded viewer,who likes to watch horror movies.The hammer in the head scene still gives me goosebumps.

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9. Cujo

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We all know Cujo is a giant St. Bernard that has to kill because he is rabid. The film works as a horror film because of that concept, but this film and the story writer behind it believe that paybacks are a bitch. Retribution is always around the corner and when it is your time, you don't know if it is going to from a guy in a hockey mask, a massive great white shark,a 58 red and white Plymouth Fury, some idiot with long finger knives or a lovable Saint Bernard. Whatever it is though, sin always accounted for. Cujo subscribes to that theory.

Everyone that dies in this film, with the exception of maybe one, does so because they are not very likable people to begin with. They are all tainted and when Cujo gets a hold of them, we are almost glad that he wants their blood. But it is the climax of the film that is the most intriguing. Because here we have a woman who has gotten rid of her sin. But she now has to face the music not for what she is doing, but for what she has done. And if you read the book, you will see that it sticks to that theory and message much more than the film does. It is understood that Cujo has to have a happy Hollywood ending, and that is fine, but the book tells a much more clear yet paradoxically convoluted tale of a boy, his dog, and how sin is never really forgiven.

What is also great about Cujo is how it shows the dog coming unravelled. We see the transformation from lovable suck of a family dog, to vicious killing machine that has an insatiable need for blood. We see his nose get more wet, we see how certain noises bother him more and we see how much saliva this dog has stored up in his nasty mouth.

Cujo is a good movie. It is scary, especially the last half hour and it actually has a point. It also does a fairly good job of bringing King's vision to life. It is not easy to do that, after all King has a very vivid imagination. But Cujo comes close. Very close

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10. Critters

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While the `B' movie horror flick typically bore and enrage me, this proved to be one of those rare exceptions. I must have watched this movie six times, and every time, I was freaked out by the little critters who couldn't appease their undying need for sustenance. This was quite a cool film to watch, especially when the creatures are finally killed off (which you will have experience for yourself). This is my idea of good mindless fun, which is exactly what I expected from this film.

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11. Cure

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This movie has a simple premise and a simple story that is nevertheless explored in an incredibly delicate and talented way. Kiyoshi Kurosawa is an extremely talented individual and perhaps the only writer/director who is able to simultaneously scare and mentally challenge me at the same time (note that very few are capable of doing one or the other). Although the writing is very good (story and dialogue), Kurosawa's real strength is his ability to represent visually the progressive denouement of his story. He rather subtly show you and let your imagination and intellect figure it out for you than to spell out bluntly what the straightforward storyline should be. It does not, however, get to the point of chaotic untidiness or pointlessness, for he is able to guide you slowly along the way (I would then say that he is slightly easier to follow than David Lynch is, but then again who is not). He uses here a strikingly effective technique where he shows you a room from one angle and later lets you discover that room more and more as the movie advances. His camera shots are always well planned and he is thus able to draw you in the movie bit by bit-quite an eerie sensation.

The acting is generally good and believable. The camera-work is a stand out.

There are many scenes where you will be able to appreciate this superior artistic and technical quality. The music is good and tenseful, but it is sparse and what is used instead is a contrast of minimalist and grossly amplified everyday sounds that vibrate through the movie. When there is no sound, you often find yourself holding your breath. This is not used strictly as a ploy, but rather creates a mood and further pulls you in the general atmosphere of the movie. Most of all, again, the directing is top notch. The pace which is slow enough for you to have the time to both think and be afraid is not slow enough that it gets boring, although you should not expect a North American expeditious run through the film. Everything is there, but it comes to you in slow, meticulously chosen dosage. Only, at the end can you truly see the masterpiece that has been drawn stroke by stroke in front of you.

One of the reason this movie actually works is that it is designed to play with your mind and trigger fear and reaction based not only on emotion, but on reason. People are dying, but everything is calm, rational. The tone and story are pretty much realistic and, at the end of the experience, you may feel beyond your volitional control that you are actually convinced of the "strange" things in the movie. Hopefully this feeling will subside..

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Thanks all for now folks post more tomorrow 😀

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12. Cello

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Cello is yet another supernatural piece to come out of South Korea, who has been trying to catch up with the Japanese for the longest time. The film tries to be different from its predecessors by attempting to be more of a story-driven flick rather than relying simply on the same old Ringu and Grudge scare-tactics, yet it still fails into separating itself from the genre and instead creates a mess of the story; eventually leading to an all-too-predictable twist towards the end. Although, the story is interesting, especially when more details are revealed, it seems to play out more as a Soap Drama with small supernatural elements thrown in.

The premise follows a mother who discovers that her mute and slow-witted elder daughter takes a liking to a cello at a store window. Naturally since the mother once played the cello becomes keen to the idea of her daughter showing interest in it; at least until the lives around her begin to fall apart -- her sister seemingly goes crazy after her BF dumps her; the eldest daughter becomes obsessed with the cello and more violent towards her younger sister; and even the mother herself starts to go crazy when details of her sordid past are slowly revealing themselves, questioning her sanity, especially when people start dying. All thanks to that pesky cello.

The movie proves to be an interesting watch, but it does drag on in parts since it's mostly story-driven. In fact, we really don't see a whole lot of ghost-action until more than half-way through. Even then it's not the least bit scary, especially if you've seen a number of Asian ghost-flicks in the past. Then when more details behind the truth of the cello and the mother are revealed, it starts to really pick up; eventually leading to the twists and turns to "shock" the viewers. Although, if you've watched films the past 10 years you probably would’ve already guessed the ending. Regardless, I give credit to it trying to be different than the usual mold by adding more plot than scares.

You’ve seen one South Korean horror flick, you've seen'em all. This really is no different, even if it does try to add more story than its predecessors. Despite it all, once more details are revealed towards the end, it does pick up, but by then does it even matter? Worth a check if you're a fan of SK horror

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13. Chaw

https://encrypted-tbn0.gstatic.com/i...py8JYg8GwCBvFA

Chaw turned out to be a disappointing creature feature to come out of South Korea. The movie is mostly just a comedy with minor horror and dramatic elements thrown in. Because of the constant shift in the tone of many of the scenes, you'll often find yourself questioning whether you're actually watching a horror flick, especially when you see very little of the boar the second half. Go in expecting a comedy and you may enjoy the movie, but if you go in expecting a solid creature feature, you'll be sorely disappointed

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14. Cannibal apocalypse

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I heard a lot of positive stuff on this film before seeing it, so I knew it would be good, but I didn't think I'd enjoy it as much as I did. It had a cool original story and a good amount of gore. The story is mainly about a Vietnam vet who is released from a small institution due to over-crowding and because they thought he was cured from being cannibalistic. Once he is released he tries to catch up with his old commander, but is shunned, because of an incident years ago when he was held prisoner - when the commander tried to help free them he was bitten on the arm.

After being turned down the vet roams the city streets and it doesn't take long before he starts to get those undeniable cannibalistic urges again. Similar to rabies, once a person is bite they get the "virus" and turn cannibal themselves. Not-soon-after people from the city are infected. What I really liked about this movie was the fact that it had cannibals in a big city. It's rare that you see that kind of thing, because usually cannibal movies take place in a wooded or secluded area. Moving it to a big city with many people makes it a lot more interesting. I just wished a zombie film would do the same.

The acting and directing is pretty good. You'd think that since it is a cannibal movie that it would be loaded with gore, but that's not entirely true. It does have some really cool gore scenes, but overall it doesn't have a lot of gore. I guess that's works for the better because the film would have been like most other cannibal movies. I think it really works out only having the gore in specific scenes. One of my fav. gore scenes would have to be when someone gets shot in the stomach with a shotgun and you see a huge hole where he was shot. Very sweet. I would have given the movie a higher-rating, but it did have a couple small plot-holes, but other than that it was a good movie.

Should please any cannibal-movie fan. Not overloaded with gore, but does have some nice gore scenes. Check this out if you can.

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15. Cut

http://i0.wp.com/www.slasherstudios....size=358%2C500

This was a fun film to watch. A lot more enjoyable than I thought it'd be and I'd say that it kicks a lot of these recent teen slashers in the nuts. The film starts off with this film crew making a new horror film. The guy that plays the killer in the film gets pissed at the director and ends up killing her off and then getting himself stabbed in the neck by the Molly Ringwald character. Fast forward about 15 years. A young director and her crew want to finish making the film, even though it's supposed to be cursed. They end up getting Molly Ringwald's character to be in the film one more time and before ya know it, the dead bodies start stacking' up.

I thought this film had a cool edge to it, with its mix of humor and nice death scenes. The killer's mask looked damn cool as well. The plot was pretty much done countless times before, but the concept of how the killer came about was somewhat original. What made the killer really cool and above a lot of the other killers is he had a bit more of a personality. That made it a lot more interesting, than the usual strong silent type, that we're all used to. It does lack in the scares department though. I think this film kinda pokes fun at some slashers, kinda like the way Scream did when it first came out. The death scenes were all pretty good. Didn't have any real gore, but all the blood made up for it. It didn't have any pointless nude or sex scenes. It was interesting from start to finish.

The only thing this film didn't have was (like I said before) the scares. Though, I don't think that's what they were going for anyway. If that were the case I'm sure the film would have been a lot worse and stereotyped as just another wasted teen slasher. I personally think this, aside from Cherry Falls, is one of the more influential and better slasher films to come out of the new decade. Say goodbye to all those Scream-wannabes. The acting was okay I suppose, but the directing was pretty well done. I heard this film was meant to be a trilogy, so expect two more sequels after this. I guess that's not all too bad. I wouldn't mind seeing more. Let’s just hope it stays a trilogy and not have another sequel pop up out of nowhere. If the movie had a better ending or more scares or tension, I would have given a higher rating.

A good slasher flick that kicks many other recent teen slashers in the nuts. I definitely recommend this movie.

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16. The canal

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Talking about old formulas, The Canal has everyone of them, it harkens back a lot to Sinister or the old Amityville films, however, is one case of a formula being perfectly executed. The film is creepy and scary, and the ending is so cruel! It's an Irish film by the way, always great to see some foreign countries doing horror right.

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17. The cabin in the woods

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This gloriously self-aware, teen genre-prodding slasher packs hard laughs alongside grisly violence. Co-written by Joss Whedon, The Cabin in the Woods stars a fresh-faced Chris Hemsworth as a burly jock vacationing with his friends in a remote cabin before things inevitably turn bloody. Hilarious, imaginative and boasting one of the best (only?) unicorn-inflicted deaths ever committed to film, this is a fresh take on modern horror

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18. The conjuring

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The worst thing one can do is tell you that a movie as frightening as this is based on true events. It just makes the whole experience of sitting through it uncomfortably real. The recreation of the ghastly things that one family went through when they moved to this haunted mansion will make you scream in horror. And for a long time, you'll be scared every time someone claps.

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19. The crow

https://upload.wikimedia.org/wikiped...-Crow_ver2.jpg

While i wouldn't call this one a horror film per se, The Crow is definitely a twisted revenge tale with some very dark moments. Based on a celebrated comic book, the movie's premise is a bit out there: a dead musician named Eric Draven is brought back from the dead by a supernatural crow so that he can avenge the rape and murder of his fiance. Draven sinks deeper into the seedy underworld of Detroit on Devil's Night, taking out the thugs that ended his life in gruesome ways.

It is a real artistic gem, too, full of gothic spirit and an awesome soundtrack to boot. Brandon Lee, who tragically died in an accident during filming, gives an inspired performance as Draven.

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20. Cube

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A group of strangers wake up in a seemingly endless maze of deadly traps. As they carefully and skeptically try to find their way out, each person learns that they possess a particular skill that landed them in the Cube.

Why you need to watch it: "It was Saw, before Saw was a thing."

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21. The changeling

http://thepeoplesmovies.com/wp-conte...Changeling.jpg

After he loses his family in an accident, a man rents out an old house. What he doesn't know is that he's sharing the space with the ghost of a murdered child who is feeding off of the man's sadness.

Why you need to watch it: "It is psychologically scary and genuinely frightening."

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22. The boy

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Let's face it, dolls and poltergeists have been overdone in the past decades. It's always the same plot. However, it has NEVER been done like this. At first, it was a bit predictable. Nanny comes in, encounters creepy family, goes with the flow, experiences some disturbing shizz, still goes with the flow because continuity. There were some jumps that were nicely executed and it certainly kept the viewer interested. But movies like this usually head in one direction... This one, on the other hand, brought in something refreshing. I can honestly say I never saw the twist coming. There were very subtle hints, if any. Overall, it was above average yet unnerving.

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That's c completed now 😊

The Changeling was more of a psychological thriller, rather than a horror movie, but it was a pretty good movie.

BTW, I think you listed The Boy in the wrong letter. ;)

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You were right I did. I listed it in c because I missed it out on B 😊

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Re: Horror films in alphabetical order
 

1. The diabolical

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The Diabolical is Alistair Legrand's debut feature, and right out of the gate he's made quite a memorable film. The strengths of the film lie in the look of the film and the writing. This low budget feature looks far better than it has any right to. In this era of found footage horror it is refreshing to see a debut that goes for a cinematic look as opposed to a thrown together shaky cam look. The story is very solid, though hard to speak of without going into spoiler heavy territory. Legrand has taken a standard ghost tale and added some fun twists to the third act that elevate The Diabolical well above its brethren. We'll leave it at that so as not to spoil the fun.

The movie is great for those that want a mix of horror with sci-fi and a focus on character. If you are looking for someone to get offed every 10 minutes this movie is not for you. This is not a slasher, or even a traditional ghost story. It takes its cues equally from ET as it does from Poltergeist. If you want great atmosphere, characters you feel for, and a plot that engages your mental faculties you will have a great time with the movie! Looking online it seems some folks have been a bit confused by elements of the plot, but if you are a viewer of any sophistication that should not be the case. You don't get a Psycho shrink laying it all out for you at the end, but the plot twists in the third act are clear if you're paying attention.

If this first feature is any indication, we have a lot to look forward to from Legrand! Here's hoping this unique take on the ghost story manages to find its audience.