100 favorite horror films

"They never found his body, but they say his spirit lives in the forest. This forest. A maniac, a thing no longer human. They say he lives on whatever he can catch. Eats them raw, alive maybe. And every year he picks on a summer camp and seeks his revenge for the terrible things those kids did to him. Every year he kills. Right now he's out there. Watching. Waiting. So don't look; he'll see you. Don't breathe; he'll hear you. Don't move; you're dead!"


Slasher movies can be a really fun horror sub-genre and were a dime a dozen in the early 80's. The best and hardest one to find was The Burning, which is my favorite of them all because of its American campfire tale origins. I'm completely in love with folktales and this is one of the few that really plays that aspect up. The burning is also notable for ending up on Britain's notorious "Video Nasties" list, thanks to the great effects work by Tom Savini, who really outdoes himself here. Aside from that, The Burning sports a great set of characters who, while definitely archetypes, are some of the most likable that you'll ever find in a slasher film.

"If a vampire should bestrode / Close to the grave of a dead toad / Then the vampire life shall give / And suddenly, the toad shall live."


One of last gasps from the dying Hammer Studios turned out to be one of their best efforts in years. Captain Kronos mixes the Swashbuckling adventure genre with the gothic horror genre to great success. This is a very energetic film that really adds a new spin on the vampire lore that had almost become old hat at the time. Horst Janson is very charismatic and likable as the heroic lead and Caroline Munro is as stunning and charming as ever. My only complaint is that the planned Kronos sequels never came to fruition, as the possibility for adventures seemed virtually endless by this films conclusion. It's just as well though. This remains one of the most offbeat entries in Hammer's horror cycle.

"Ah, it looks like Mari's getting cards from half the civilized world. Mari Collingwood. Mari Collingwood. Mari Collingwood. You'd think she's the only kid to reach the age of 17. Of course she is probably the prettiest piece I've ever seen."


Wes Craven's first feature film is a movie that disturbs me on a number of levels. What I really like about the film is that it really plays as a cautionary tale, much like little Red Riding hood in a sense, about the corruption of innocence and how veering from the path can end up taking your life or robbing you of your dignity. In a lot of ways, Last House on the left is a Grim Fairy tale for the 20th century and one that is still sadly relevant today. Essentially, this is Wes Craven's take on Igmar Bergman's The Virgin Spring and remains one of those perfect early 70's independent films.

"I'm the monster again"

At first, I didn't quite know what to make of Jaromil Jireš Czech fantasy horror film, Valerie and her week of wonders. It's very light on narrative and much of it has to be read between the lines, making it a baffling and occasionally frustrating viewing experience. However, it can also be quite rewarding once one becomes accustomed to it. The film is a Freudian fairy tale that uses vampirism as a parallel for a young woman's coming of age, with the titular week of wonders referring to the beginning of the girl's first menstrual cycle. The entire film completely throws conventional narrative out the window and plays something like a dream. The fantastic offerings are perfectly complimented by Lubos Fiser's sublime musical score.

Young actress, Jaroslava Schallerová is completely enigmatic and compelling as Valerie and really embodies the vulnerability and innocence of a classic fairy tale character, while also showing the curiosity of a young woman at the cusp of adulthood. This is a truly bizarre, but beautiful film that can't be taken at face value. It's best to view it with a very open mind and to really appreciate it as more of a surrealistic art piece than to ponder too much over its narrative. This is a masterpiece that perfectly portrays both the wonders and horrors of adolescence and I would recommend it to anyone looking for something very different.

"Do you see this writing...? Do you know what it means...? Hospitality. And you can't piss on hospitality! I WON'T ALLOW IT!"


What can I say about this notoriously bad and hilarious movie that hasn't been said before? Making a film that is "so bad that it's good" is a slippery slope and is never done intentionally. Claudio Fragasso, who has helmed many wonderfully bad Italian horror films, completely outdoes himself here. With a cast that had the best of intentions, Troll 2 manages to be quite charming in a lot of ways. In all of their seriousness, everyone involved accidentally made one of the best and most delightful comedies of all time. Troll 2 is 95 minutes of pure and unbridled joy. Be sure to also watch the wonderful documentary, Best Worst movie.

"From the Ocean Depths They Strike ... To Terrorize ... To Mate ... And To Kill!"


Whether it be Nessie, The creature from the black lagoon, or Godzilla, I am obsessed with the idea of monsters from the deep. The earth's oceans and waterways seem just dark and mysterious enough that they could possibly be home to any number of terrifying and undiscovered creatures. Humanoids from the deep draws inspiration from H.P lovecraft's the Shadow over Innsmouth, A tale of humanoid fish creatures who mate with the human populace of a New England town.

Director Barbara Peters meant for this film to be a more serious, subtle creature movie, but under Roger Corman's exploitative supervision, many additions were added, including scenes depicting sex and graphic violence. Quite a bit of carnage ensues and the monster suits by Rob Bottin, while a bit goofy with their big brains and long arms, are also really amazing. They remind me of 1950's monsters that were given a slick 80's revision. Despite it's low budget, the film also manages to be quite atmospheric at times and is truly one of the quintessential 80's creature features.

"I almost wish I could hear that lonely cry one more time, just to be reassured that some mystery still remains in the wilderness."


I'm definitely a long time fan of cryptozoology and while I don't completely believe in the existence of such creatures, I love that we still have these tales and legends about them that persist into modern times. Bigfoot was a constant part of my upbringing and living in Florida, my father used to frighten me with tales of the "Skunk Ape" and other upright hairy creatures of the swamp. The best of the bigfoot movies is The Legend of Boggy Creek. The film is based on the legendary "Fouke Monster", a giant creature that plagued the swamps of Arkansas in the 1960's and 70's. While it's certainly not the best movie in the world, its documentary style was very original for the time and its especially appealing to me. With folk songs sung by the director, Charles Pierce, and a cast consisting of locals and eyewitnesses, this film has something of a sense of authenticity. Despite the cheesiness of some of its offerings, some of the scenes actually manage to be quite effective. I also find it admirable that Pierce chose to portray the bigfoot as a misunderstood animal rather than a monster.
This is a classic 1970's Drive-In film.

" I have seen the dark shadows moving in the woods and I have no doubt that whatever I have resurrected through this book is sure to come crawling... for me."


I'm going to start by saying that I'm not as big of a fan of The Evil Dead movies as the rest of the horror community seems to be. I just don't believe them to be the "be all end all" of the genre. That said, I like them just fine. The original film however, really does stands out for me. Not only is it an incredibly unrelenting and unnerving film watching experience, it's also a lesson on the power of inventiveness in low budget film making. More than anything, the original Evil Dead has served as something of a film school for me. Sadly, it's the more powerful and nasty original that seems to really get overlooked by fans of the series. In a sea of Slashers, Evil Dead was the movie that truly made us afraid to go into the woods again.

" I'm going to give you the brain of the wolfman so that all your waking hours will be spent in untold agony awaiting the full of the moon... which will change you into a werewolf."


As their Frankenstein series was beginning to wind down, Universal began to throw in other monsters and horror conventions in an attempt to stay fresh. While the monster movies had been reduced to "kiddie" fare at this point in the series, this one manages to throw in just about everything. Boris Karloff portrays a Mad scientist this time around, while Lon Chaney Jr. returns as the Wolf man. With appearances by genre favorites John Carradine as Dracula, J Carroll Naish as Karloff's Hunchback assistant, A beautiful gypsy girl portrayed by Elena Verdugo, and small roles for George Zucco and Lionel Atwill, this is the ultimate monster Rally. In closing, House of Frankenstein also adds even more to the Wolf man mythology, being to first movie that establishes that a Werewolf can only be killed with a silver bullet from a gun fired by someone who loves him. While this is a far cry from Universal's classic's of the 30's, this is a really fun monster movie that brings out my inner child to the fullest.

"Beyond Reason! Beyond Belief!"


While it may not be the most faithful adaptation of Joseph Sheridan Le Fanu's Carmilla, Roger Vadim's Blood and roses is a gorgeous film and a masterpiece of French cinema. Vadim's use of color is absolutely incredible and one can definitely see its influence on Italian horror films, particularly the works of Mario Bava. With a mixture of black and white and lush color cinematography, the film is wonderfully surreal. For instance, the dream sequences are some of the most stunning and accomplished that I have ever seen. Anette Vadim is also very stunning and pleasant as Camilla Karnstein and really seems to be very much of the Brigitte Bardot mold. Complaints could be made that she isn't very frightening, but I think that was really the point, that Carmella is portrayed as a more romantic and tragic figure.

"Where there is God, there is always a place for the cross. Even on this stone floor, just so. But Satan is evil, and where there is evil, there is no place for the cross."


This is one that's really slipped through the cracks over the years and there isn't much of an excuse for it, because it's in the public domain and readily available for free on the internet or on a variety of cheap, public domain collections that you can find in any number of Wal-Mart bargain bins. However, it's also for that reason that it's a real diamond in the rough.

The film is a take on the the classic Agatha Christie novel, Murder on the Orient Express and replaces the traditional killer with a creature of possible demonic origins and elements of John W Campbell' story, Who Goes there?, which was also the basis for the 1951 science fiction classic, the Thing from another world and its John Carpenter remake from 1982. It's readily available for free and with stars like Christopher Lee and Peter Cushing giving it in an element of class, I highly recommend it.

"Nasty Nanny is no good! Chop her up for fire wood! When she's dead, boil her head, make it into gingerbread!"


This is a delightfully demented British black comedy that is not to be missed. Coming off of a series of Hammer horror films, Director and cinematographer, Freddie Francis gives the film a true sense of macabre lunacy. I found myself on the edge of my seat and in total shock and awe, wondering where the zany plot could possibly go. The basic premise is that Girly, along with her brother Sonny, belong to a family of sorts ran by the matriarch, Mumsy and their doting Nanny. Despite being well into their teens, they play like children and lure homeless people in as playthings who must abide by a certain set of rules or face being killed off. It's a humorous and suspenseful tale that has the tendency to also be a tad bit disturbing at times.

"Bless me"? Do you know what God did for me? He threw an 18-wheeled truck at me and bounced me into nowhere for five years! When I woke up, my girl was gone, my job was gone, my legs are just about useless... Blessed me? God's been a real sport to me!"



I've always felt that The Dead Zone was one of the best, yet most often underlooked of the Stephen King Adaptations. Christopher Walken is incredibly good in the lead role as Johnny Smith, a man who has been given the gift of foresight after a horrible accident, at the cost of losing five years of his life in a coma. It's a completely soul shattering performance and one of the best of his career.

David Cronenberg fills the film with cold colors and constant overcast, a state of melancholy that permeates the entire film. For fans of Cronenberg's work, you'll find little of his usual flair for visceral body horror and instead find a work that shows restraint and versatility.

"How do you get people to protect themselves from something they don't believe in?"



I absolutely adore The Blob. This film breaks away from the standard B-movie formula and takes two of the exploitation genres that were so popular during the era, the juvenile delinquent film and the monster on the loose film, and blends them together. All of the characters are extremely likable and ground a film that would otherwise be completely ridiculous. The blob itself is a scarier monster than one would think. It has the appeal of zombies in a sense, in that it's a slow moving, but unstoppable mass that doesn't require rest and will stop at nothing to devour you alive.

Try not to get the catchy saxophone theme "Beware of the blob" by Burt Bacharach and the five Blobs stuck in your head.

"Things happen that have never been seen by human beings. The blood flows like vintage wine."


In the 60's and 70's, Paul Naschy, Aka Jacinto Molina Álvarez had risen to fame as Spain's answer to Lon Chaney. Naschy was inspired by the Universal monster movies to write and star in a series of gothic horror films featuring the character of Polish werewolf, Waldemar Daninsky. Cinematically, these films bear a strong resemblance to the Hammer horror films, but are much more sleazy and exploitative and filled with lots of gore, nudity, and very beautiful Spanish women.

This movie is my favorite of the series. Frequent series director, León Klimovsky really pulls out all of the stops in this one. The makeup on Naschy is some of the best in the series and Naschy continues his wonderful portrayal as El Hombre Lobo. Naschy may be the screen's most energetic and engaging wolf man and is a joy to watch every time that he is on screen. This is a fun, sleazy, old fashioned monster romp.

"I have just been fired because nobody wants to see vampire killers anymore, or vampires either. Apparently all they want to see are demented madmen running around in ski-masks, hacking up young virgins."



Fright Night is a satiric send up to classic vampire films of old that is filled with great and memorable characters and a true sense of fun. One of the biggest highlights is Roddy McDowall as the horror host, Peter Vincent, who gives the movie much of its heart. He represents a breed of horror that was dying off by the mid 80's, when class, subtlety, and lavish cinematography were giving way to over the top gore and cheap scares. There is a sadness and sweetness that McDowell gives to the character and while everyone else is certainly enjoyable, I would say that without him, there is no Fright Night.

"I have been hurt by others. And I will hurt them. I will make them suffer like I have suffered."


Every now and then, you run into a movie that defies all expectations and becomes something completely unforgettable. Such a film is James Landis' The Sadist. I stumbled upon this movie in a pack of cheap, public domain horror films and in turn, discovered a hidden gem from a bygone age. Taking cues from the killings by Charles Starkweather the decade prior, Arch Hall Jr. portrays killer on the run, Charles Tibbs. This entire film is set in the single location of a junkyard while Tibbs holds a group of people at gunpoint, spending the next 90 minutes toying with them and keeping the viewer completely on edge. Hall plays killer as wide eyed, Animalist, and jumpy, always hunched over like some kind of creature rather than a human being. His performance, along with the combination of the claustrophobic location, creates the sensation of being in the presence of a leering monster. Hall is completely compelling and in any other movie, could be seen as over the top, but here, it all manages to come together with very frightening results. The Sadist manages to be a masterpiece of low budget cinema and one that really isn't to be missed.

"I am a night bird. I am not much good in the daytime."


The Fearless Vampire killers was made as a parody of the vampire genre during the height of Hammer's Dracula series in the mid-60's. Despite being a parody, Roman Polanski crafts a film that is dripping with style. The sets and costumes are incredible and every shot is stunning. Even this early in his career, Polanski was surely a master of his craft, making this without a doubt, the most stylish horror comedy ever made. While I almost hate to admit it, polanski manages to visually outshine the very films that it is is parodying by leaps and miles. You won't find this amount of decadence in even the finest Hammer horrors.

"There is something wrong on this island and you're trying to keep it from me. If there is something wrong, then whatever it is, I think we should leave."


This is one of those films that's a bit hard to talk about without spoiling it. I will start by saying that It's easily one of the most disturbing movies that I have ever seen in my life. Director, Narciso Ibáñez Serrador had previously helmed the equally unsettling, The House that screamed, and between the two, gave a frightening alternative to the more schlocky horrors that regularly came from Spain in the years prior. This is a really shocking and distressing film that filled me with a genuine sense of dread and stuck with me for a very long time. It's rare for horror films to really sit with you but this one definitely manages to make a heavy impact.

"Brains!!!"


While I'm admittedly not the biggest zombie guy in the world (it's a genre that I'm tired of), there is no denying the fun factor of Dan O'Bannon's comedic Return of the living dead. This is an 80's classic, complete with a punk rock score, well written and hilarious characters and some of the greatest looking living dead that have ever been created. The dripping, vile Tarman, based on the old EC horror comics of the 50's, is the most fully realized and awesome looking zombie ever created. Every other zombie in film history is bland in comparison. Other zombies are created through use of puppets and animatronics; more zombie movies should be made like this. This is a delightful, hilarious, and over the top romp that no fan of 80's monster movies should miss.

"Transylvania, land of dark forests, dread mountains and black, unfathomed lakes. Still the home of magic and devilry as the nineteenth century draws to it's close. Count Dracula, monarch of all vampires, is dead, but his disciples live on, to spread the cult and corrupt the world."


Despite the absence of Christopher Lee as Count Dracula, this is one of the finest sequels in Hammer's horror library. I would actually go so far as to say that it's one of the best examples of Gothic horror that the genre has to offer. Peter Cushing returns as the heroic Abraham Van Helsing and as always, is a much welcomed and spectacular presence. David Peel portrays the handsome vampire lead, and in a more clichéd and lesser film, he would be a more romantic and sympathetic character, but fortunately, he ends up being quite cruel and appropriately villainous. Also of note is Yvonne Monlaur, who is entirely mesmerizing as the female lead, being completely captivating in every moment that she is on screen. Terrence Fisher returns as director and gives the film a sense of authority and class. Brides of Dracula doesn't simply follow genre conventions, it creates them.

Kwaidan is a collection of four stories based on classic Japanese folktales. It is simultaneously one of the most beautiful and haunting films that I've ever seen. Director Masaki Kobayashi expands each story into something of an epic and much time is spent on pacing and character development. I always appreciate when a filmmaker isn't afraid to hold a shot and Kobayashi spends much time dwelling on the gorgeous settings and atmosphere, bringing out the maximum amount of emotion. In viewing the film, one will find many conventions that have been swiped or drawn from it over the years. The greatest thing about watching foreign films, particularly the older ones, is how far removed they are from Western conventions. Japanese folklore has a completely different and refreshing viewpoint on their spirits and monsters. While this has been a very influential film, it's one that I definitely encourage more people to see. Kwaidan is a movie that will live with you forever.

"Where's my cake?"



On a technical level, Creepshow might be George Romero's most accomplished film. It so completely captures the look and feel of the old EC horror comics that inspired it. Most anthology horror films have a weak link, that one story that isn't as good as the others, but this one doesn't. Each story is amazing, thanks to Stephen King's humorous and witty script and love of the source material. If I had to pick a favorite of the bunch, it would be "The Crate", the tale of a large, disgusting, ape-like beast who lives in a forgotten crate under a stairwell in a local college. Tom Savini is mostly known for his ultra gory special effects but I think that the effects he did for this, especially this monster, were a nice change of pace and really showed off his range. I'm also a fan of Adrian Barbeau as Hal Holbrook's horrible and abusive wife.

The entire movie is stylized and over the top, making creepshow one of the most fun horror films ever made.

"My name is Francesco Dellamorte. Weird name, isn't it? Francis Of Death. Saint Francis Of Death. I often thought of having it changed. André Dellamorte would be nicer, for example."


This is the movie that got me into Italian horror cinema, starting a lifelong obsession with the likes of Mario Bava, Dario Argento, and Lucio Fulci.

It's a dark comedy about a Cemetery caretaker who believes that it's part of his job to kill the dead who rise nightly from the graves in his Cemetery. There is a lot of interesting subtext in the film and while I won't spoil the delight for anyone who hasn't seen it, it ranges between being very funny, romantic, and occasionally surreal.

It's certainly pretty to look at and makes full use of its old cemetery locations and sets. The Dialogue is quirky and fun and Rupert Everett brings a lot of wit to the role of Francesco Dellamorte. Only the first half of the movie is a zombie movie and a lot of complaints are made concerning the film's shift in tone. I believe that the shift adds to the uniqueness of the film and embraces its more episodic and comic book nature. It's very different than a lot of things you'll see, especially in the tired and played out zombie genre.

"We got us some good 'uns! Dogged if we don't!"



I'm completely in love with the seedy underbelly of 1960's cinema and no other film-makers were as consistent and entertaining as Herschel Gordon Lewis and David F Friedman. While I enjoy their "nudie-cutie" (Goldilocks and the three bares), "roughie" (Scum of the earth), and juvenile delinquent films (Blast off girls, Just for the hell of it), along with their other gore films like, Blood Feast (1963), It's Two-Thousand maniacs that is at the top of the list for me.

I'll go out and say that this movie is absolutely hilarious. As in most of Lewis' films, the gore is fairly cheap looking and over the top. The graphic murders are depicted in a silly, almost gameshow-like fashion. The country/folky theme song, sung by Lewis himself, really sets the tone for the film's over the top offerings. With the film's over the top nature and extreme sleaziness, this is a guilty pleasure that never ceases to put a smile on my face. Exploitation cinema at its finest.

"I refuse to say anything twice. Repetition is death... When you repeat something, you are reliving a moment, wasting it, severing it from the other end of your life. I believe only in new impressions, new stimuli, new life!"


A Bucket of blood is a black comedy that completely satirizes the yuppy, beatnik art culture that was taking the country by storm in the 1950's. In many ways, the film is still completely relevant, making fun of the type of art critics who can spend hours discussing the meaning of a red spot on a white canvas. Many of the characters are completely hilarious and really representative of those self absorbed, hack artists that you just love to hate.

I'm also a tremendous fan of actor, Dick Miller. With his New York accent and sharp whit, there is something immediately engaging and likable about him. Miller would become more famous to mainstream audiences with his appearances in the films of Joe Dante, often named after the very character that he portrays in this film, Walter Paisley.

"Why should you be afraid to die? Your soul has been dead for a long long time."


While Roger Corman may be more well known for his exploitation and drive in films for the past 50 years, he also directed a series of awe-inspiring Edgar Allan Poe adaptations in the 1960's. Vincent Price was the star of all but one of them (The Premature Burial) and gave some of the best performances of his career. One such film is The Masque of the Red Death. This is one of my favorites as the use of color seems to draw heavily from European cinema and continues a trend started with the very first adaptation, Fall of the House of Usher (1960). The color palette in this film is gorgeous and perfectly echoes several of the scenes described in the film's literary source. Vincent Price is also delightfully nasty as the villainous Prince Prospero, but can we expect any less from him?

"Laws can be wrong, and laws can be cruel, and the people who live only by the law are both wrong and cruel."


Based on the painting of the same name by Arnold Böcklin, Isle of the dead was part of a series of thought-provoking horror films produced by Val Lewton in the 1940's. The film is set on an island in Greece, likely based on the Greek island Pontikonis, which is said to be the basis for the painting. The film tackles themes of science, religion, and superstition as the main characters are quarantined on an island due to an outbreak of the plague, with talk of a Vrykolakas, a Slavic vampire in their midst. The feeling of death in the film is reinforced by the use of Sergei Rachmaninoff's tone poem, "Isle of the Dead". Like all of Lewton's films, the shocks are subtle and come from emotion and tension. This is a wonderful, chilling film that shouldn't be overlooked by fans of classic horror.

"Read the fine print. You may have just mortgaged your life!"


This is one of the films that really showcases Lucio Fulci's range and ability to convey mood, possibly even a degree of sentiment. The gloomy Massachusetts filming locations really support the Lovecraftian themes found within the story and set the tone quite nicely. Fans of Fulci's work will find the usual helpings of gore that are to be expected from the master filmmaker, but I find that the film is stylish and atmospheric enough that it would work just fine without it. House by the Cemetery is a striking film to begin with. The villain of the story, the Re-animated corpse of Doctor Freudstein is a very interesting creation and Fulci is wise to keep much of his origin as vague as possible. He really is a fantastic, Lovecraftian monster, who is worth the price of admission alone. House by the Cemetery is made complete by Walter Rizatti's score, which gives the film a mournful, sorrowful quality that is almost unusual in Fulci's work.

"You haven't changed, I see. You've always loved violence."



I've always felt that out of all of Mario Bava's films, this is the most overlooked and until I saw Lisa and the Devil (1973), it was my favorite of his work. While the film is fairly limited on plot, it's dripping with mood and style. It's an offbeat romance film that is filled with risque sexuality and sadomasochism. Under Bava's hand, it's a profound and colorful experience. Ubaldo Terzano's cinematography is very grand and along with Composer, Carlo Rustichelli's gorgeous "Windsor Concerto", it becomes a film that is absolutely sublime and a feast for the senses. For film connoisseurs and those who appreciate the medium as an art form, This is an alluring and must see film. Bava had proven time and time again that expressionism isn't just limited to black and white.

"Centuries have passed and the Almighty of medieval times no longer sits in his tenth sphere."


Benjamin Christensen's surreal Silent Documentary/ horror film about the history of witchcraft and Satanism is an unbelievable cinematic achievement. Even today, some of the images found within are completely horrifying and stay with you for a while after viewing. The film offers a very early psychological analysis on the following of Satan and even has the audacity (for 1920's standards) to question the church and their practices during the historical witch trials. Rather than having a central narrative, the film showcases several reenactments of various time periods in history when Witchcraft was most prevalent.

"I am ready to return, but understand, I shall use undreamed-of measures, to conquer the evil."


Coming from a British horror subgenre called Folk Horror, The Blood of Satan's claw is one of the most underseen classics of the genre. This is a frightening film; one of the best films about Satanism I have ever seen. What makes it so scary is that Satanism spreads like a disease and one becomes a part of it, whether they show interest or not. While viewing, one gets the sense that an envelope was constantly being pushed and I spent a lot of my first viewing in disbelief and shock. Linda Hayden portrays to leader of the devil's cult with a sense of glee and malevolence that really gets under ones skin. This is another horrific and classic film that is sadly overlooked.

"I met him, fifteen years ago; I was told there was nothing left; no reason, no conscience, no understanding; and even the most rudimentary sense of life or death, of good or evil, right or wrong. I met this six-year-old child, with this blank, pale, emotionless face, and the blackest eyes... the devil's eyes. I spent eight years trying to reach him, and then another seven trying to keep him locked up because I realized that what was living behind that boy's eyes was purely and simply... evil."


Halloween is a film that has nearly been ruined by its many sequels and remakes over the last three decades. It was conceived as a stand alone film and by expanding upon it, the intention has been lost. What made Michael Myers terrifying in the original film is that he was a personification of pure evil, without a motive or reason; He wasn't so much a character, but an idea. By giving him a motive and an explanation through the sequels and making him into a genuine character, filmmakers have taken away from him and betrayed what was set up in that first film. Michael Myers is the evil that befell this town by chance one Halloween night and chose the ghostly, formless mask of the "The Shape" because evil itself is shapeless. The mask is also a reflection of his own dead eyes and pail complexion as described by Loomis. There is no rhyme or reason to pure evil and any explanation for it, even in the slightest degree, humanizes it. Giving Michael Myers a motive; hunting down long lost family members or having cult ties, ruined the franchise that never should have been in the first place. There is only one Halloween and Carpenter's film is a classic with a bold, powerful statement that has allowed it to stand the test of time after all of these years as one of the truly scariest movies of all time.

"They're us, that's all, when there's no more room in hell."


I'm in the minority in that I actually enjoy Night of the Living dead over Dawn of the Dead. That said, Dawn of the dead is one of the most brilliant sequels ever conceived. Rather than stretching the original film's narrative, it focuses on a different location and focuses on the world created by the events of the original. What makes Dawn of the dead work is that the characters are extremely likable and have such genuine chemistry with one another. There is a sense of true comradery between them as they fight to survive during what looks like the end of the world and we root for them all the way. Dawn of the Dead's violence is also very stylized, like a comic book romp. Despite the film's apocalyptic themes, it's actually quite fun and energetic. My own personal tastes just lean toward the gloomier, more bleak original.

"Perhaps your hands will shake and he, too, will die under your knife. A few remaining minutes are all you have. Because when the acid reaches him, he will have a face like mine!"


With all of his elaborate traps, one can almost see the hand of Phibes on the modern "Torture porn" genre of horror films. However, what's missing from the modern dreck is the almost jovial sense of glee and camp that Vincent Price and company inject into this offering. Price actually spends much of the movie hiding his iconic and memorable voice and relies more on pantomime, making for a wonderful and often understated performance. The Abominable Dr. Phibes is a delightful and mesmerizing classic that would set the stage for Price's later outing in the even more zany, Theatre of Blood. Price's more darkly comedic roles always fill me with complete and uninhibited happiness.

"I'm not a demon! I'm a human being!"


Onibaba is a slow build and nothing even remotely supernatural happens until the film's final 25 minutes. However, it's that unnerving and sensational build-up that makes the film really powerful and surprisingly intense. With little of a musical score and long sustained shots of the Japanese grasslands, this is a really chilling film with stark imagery that would be influential on many other genre works, including The Exorcist. The main characters themselves are forced to do unspeakable acts just to stay alive and that provides the narrative through most of the film, while various themes from Japanese folklore find their way into the fold, leading to one of the most ghastly climaxes of any horror movie ever made.

"I'm twelve. But I've been twelve for a long time."


Leave it to a foreign film to be a breath of fresh air that the genre has been needing for years. Let the right one in is a subtle and atmospheric instant classic. Its deliberate pace and general quietness is very unsettling and a nice break from the loud, crass, and trite output that passes as horror today.

While I don't tend to care for vampires as being sympathetic, this film is just subtle enough to appeal to me. There is a sadness and loneliness to the Vampiric Elie and while her relationship with Oskar can be seen as something sweet, one can also take away a more sinister and bleak outcome from it. Not everything is spelled out and some answers are never quite given, but that's part of the appeal. So many films make the mistake of wasting time on the small details and over explanation of every thought or feeling that little is left for the audience to ponder. This is an evocative and unforgettable vampire film and in the wake of the pandering Twilight, it's nice to have a more intelligent and low-key alternative.

"It has been established that persons who have recently died have been returning to life and committing acts of murder. A widespread investigation of funeral homes, morgues, and hospitals has concluded that the unburied dead have been returning to life and seeking human victims. It's hard for us here to be reporting this to you, but it does seem to be a fact."


George A. Romero's Night of the living dead is easily one of the most heart-rending and harrowing horror movies of all time. More than almost any other zombie film that followed, one really gets the sensation of the dead slowly creeping up and overtaking the living. The fact that the entire film takes place in such a claustrophobic location, with the walls literally coming down on the characters as the living dead make an attempt to make their way in, really reinforces my belief. The scary thing about slow moving zombies is that like death itself, you can only run from it for so long; death is an inevitable and inescapable end for all of us. The black and white cinematography only adds to the film's melancholy atmosphere. In many ways, Night of the living dead is a perfect horror film. While Dawn of the dead may be more beloved, I find that the original film is still the most effective of them all.

"Judge for yourself its believability and then try to tell yourself, wherever you may be, it couldn't happen here."


The Night Stalker is perhaps the greatest made for television horror film of all time. With a witty and well conceived script by Richard Matheson and a charismatic star in Darren McGavin, it really has the production value of a theatrical film. The thing that I really like about it is that it's a believable story of what would happen if a vampire was murdering street walkers in Las Vegas in the early 70's and how the police and press would handle such a thing. It's mostly done in a subtle and believable way. Darren McGavin plays the humorous and clever reporter, Carl Kolchak as an extremely likable everyman and his narration adds a certain degree of authenticity. This is easily one of the greatest vampire movies ever made as well.

Lucio Fulci's Dawn of the Dead Cash-in, Zombi 2 is my favorite of the flesh eating zombie movies that came in the wake of Romero's films. Its best quality is that Fulci chooses to fully embrace the classic Voodoo origins of the zombie, rather than ignore it as many modern zombie films would. Taking place on an island in the Caribbean offers some extremely atmospheric, creepy, and gritty locations, which only add to the disturbing and horrific nature of the film's gory offerings. The gore in this film is far more visceral and grotesque than any that you would find in American horror films at the time, earning this film a well deserved place on the UK's Video Nasties list. The sight of the shambling living dead, in heavy and elaborate makeup, is most effective. What makes Fulci's film so special is its moody atmosphere, cinematography, and pacing; the gore is just the cherry (cobbler) on top.

"Jennifer Has A Few Million Close Friends. She's Going To Need Them All"


It surprises a lot of people when I mention that this is my favorite of Argento's work. While I do enjoy his other films, I find this one to be the most original as well as somewhat thoughtful. Argento's work tends to focus more on style than characterization, but between the young Jennifer Connelly and the always delightful and warm, Donald Pleasence, this one has greater characters to latch onto. The Swiss filming locations are completely gorgeous and give the film a greater sense of scope. Phenomena features one of my favorite goblin scores, a haunting and operatic tune that I find to be very lovely. In closing, Argento's film separates itself from most Giallo films in that there is an interesting supernatural element and the identity of the killer is truly shocking. You will never see the film's climax coming, that's for sure.

"In 1536, fleeing from the Inquisition, the alchemist Uberto Fulcanelli disembarked in Veracruz, Mexico. Appointed official watchmaker to the Viceroy, Fulcanelli was determined to perfect an invention which would provide him with the key to eternal life. He was to name it... the Cronos device. "


The directorial debut of the great Guillermo Del Toro is often overlooked by fans of his later work. Like all of Del Toro's films, this one doesn't stay strictly within the confines of a single genre. The film has that fairy tale nature and childlike sense of wonder that fills all of his work and is a completely different and original take on vampirism. At the heart of the supernatural story is the tale of a Grandfather and his grand daughter. Federico Luppi gives a very sweet and touching performance as the grandfather who has been blessed/cursed with eternal life, a secret shared with only his young granddaughter, who he has an incredible bond with. This is a poignant and magical film that needs to be seen by more horror fans.

"No matter by which name I am called, I am recognized as the most powerful in the hearts of all."


For years, Lemora was really hard to find and while it has become something of a cult classic, It's still sadly overlooked by much of the horror community at large. Director Richard Blackburn draws heavily from H.P Lovecraft, classic gothic horror tales, and fairy tales, and adds a striking Louisianna Bayou flavor, to craft a very unique take on vampirism. The film depicts two types of vampires-The nasty and frightening ghouls of the forest and the more refined, classical vampires. While the film can be seen as a coming of age type story, it's also a tale of choice and decision, whether to embrace evil or to fight against it, with the more savage vampires representing the corruption from an evil life. Also how we're all being preyed upon in one way or another from the moment that we're born.

"We know as little about the forces that move us and move the world around us as that empty ball does about the water that pushes it into the air, lets it fall, and catches it again."


Despite the sensational title, this is not a film about a literal leopard man. The leopard man is a terrifying movie and quite often an intense viewing experience that plays on the mind in a more subtle and psychological manner. It uses sound, shadow, and suggestion to imply the worst elements of horror imaginable, with unnerving results.

Filled with subtext and themes of inescapable fate and destiny, The Leopard man is thought provoking and spine tingling viewing. I really suggest all of Val Lewton's films, particularly the ones that he did with Jacques Tourneur.

" It only remains for me now to await the daylight hours where i will with God's help forever end this man's reign of terror."


Despite being based on the Stoker novel, Hammer took great lengths to distinguish their adaptation from the 1931 Bela Lugosi version. The film takes many of the novel's conventions and completely turns them on their head. Christopher Lee is an absolutely horrifying Count Dracula, portrayed here as a more viscous, blood thirsty monster. On the other side of the spectrum is the always superlative Peter Cushing as his rival, Professor Abraham Van Helsing. Terrence Fisher's direction instills the movie with vibrancy and style; the classic hammer horror tradition.

"I kick ass for the lord"


Peter Jackson's Braindead, AKA Dead-Alive, is one of the goriest and most over the top films ever made. The second half of the movie plays like a continuous geyser, with the screen being mostly red. However, the gory offerings are played almost like a gruesome take on the old WB Loony tunes and Merry Melodies gags and are completely hilarious. Underneath the gore is a set of compelling and fun characters, particularly Timothy Balme as the lead, Lionel, who is always looking after his horrible mother. The film is filled with a sharp wit and never once grows stale. Lional goes through a journey throughout the film and learns to find his own courage and assertiveness, and is literally reborn by the film's end. Braindead revels in its gory lunacy but doesn't make the mistake of checking its heart at the door.

"I can tell you something about this place. The boys around here call it "The Black Lagoon"; a paradise. Only they say nobody has ever come back to prove it."



Jack Arnold's Creature from the black lagoon is the perfect 1950's monster movie in every way. The gillman, drawing from Lovecraftian ideas, still remains one of the best designed and most beloved of all monsters. What makes him interesting is that he' a completely original creation who doesn't derive from a literary or folklore source like all of the rest. The underwater photography is mesmerizing and Ricou Browning adds a gentle grace to the creature underwater that gives him much of his charm. The cast is a collection of great Universal B-movie actors like Richard Denning, Whit Bissell, and Richard Carlson, with the lovely Julie Adams in her iconic white swimsuit completing the picture. Creature is a much cherished and fantastic addition to the monster pantheon and a quintessential part of any serious monster buff's collection.

"Yôkai hyaku monogatari" is the first in a trilogy of Japanese films centering around the Yokai spirit monsters from folklore. This is a true oddity, to say the least. While it's partially a beautiful tale of the supernatural in Japan, with a very distinct central narrative, it alo breaks away with other tales about various encounters with spirits. the movie takes a very surreal turn and is a very unnerving and dreamlike viewing. If you can find a copy, I very much recommend seeking out the entire trilogy. There really is no way to describe it; it has to be seen.

"Now my revenge is complete."


This is actually my favorite of the Hammer Dracula series. What I enjoy about the later entries is that they were now almost completely free of the novel's influence, which gave the writers much more leeway when writing Dracula's continued adventures. Lee continues his long stint as the bloodthirsty count, Now with the goal of revenge after a priest has performed an exorcism on his castle, preventing him from being able to get in again. The thing that really makes this one interesting is its defiance of religion. Dracula's servant in this film is a faithless priest and the film's protagonist is an atheist who is powerless to protect the love of his life from Dracula's grasp due to his disbelief; This makes for some of the best melodrama in any of the hammer films.

"Nobody... nobody trusts anybody now, and we're all very tired."


John Carpenter's The Thing is a remake of the excellent 1951 classic, The thing from Another World, and draws a much stronger basis from that film's source material, John W Campbell's Who Goes There?. Carpenter's film is an exercise in isolation and paranoia and really keeps you on the edge of your seat. The Monster effects by Rob Bottin are probably the greatest creature effects ever conceived of and not only blow the competition of the time away, but also completely destroys CGI. The film is filled with a likable cast led by Kurt Russel and some of my favorite character actors, including Keith David and Wilfred Brimley. This is a terrifying and awesome film that truly stands the test of time.