Dir - Alberto Cavalcanti/Charles Crichton/Basil Dearden/Robert Hamer
"Room for one more sir"
Quite the fan of anthology horror films am I and 1945’s Dead of Night is one of the very first as well as certainly the earliest to have maintained such a well-respected profile over the years. The template set up here is the same that has been used countless times since. Several strangers meet at a single location for whatever reason, each one telling a strange and peculiar story, ultimately leading to a usually gruesome finale including everyone involved. Dead of Night does best with two of its tales in particular, the haunted mirror and of course the ventriloquist one, (are dummies that come to life ever NOT creepy?). Yet the linking “I’ve dreamed all this before” story works great as well, especially in the fevered climax. There is even some silliness in the golfing ghost segment to lighten the mood. This stuff never gets old for me as I love the Amicus anthology films of the late 60s/early 70s, (a few of which pop up on this list, naturally), and this gem in the sub-genre is well worth your time I would say. Especially if you are afraid of ventriloquist dummies.
79. REPULSION (1965)
Dir - Roman Polanski
Rabbit for dinner
The first in Roman Polanski’s “apartment trilogy” and the French/Polish director’s first English speaking film, Repulsion is arguably the premier psychological horror movie. The, (very), troubled psyche of one heterophobic Carole Ledoux, (Catherine Deneuve), unfolds as she retreats herself into her apartment with increasingly shocking, bizarre, and nightmarish imagery thrown at us along the way. Hands and cracks appear to come out of the walls, a phone rings off the hook, rooms are suddenly five times larger than they are supposed to be, and the toll of the bell triggers some very unwanted hanky-panky which just taps the surface of what is in store here. It is all a surreal mind-bender, handled exquisitely and with a shoe-string budget by Polanski. It is as much a triumph for Deneuve as well, as the French Altesse Royale of Babedome nails the detached and reclusive mental breakdown thing beautifully. It is somewhat of a shame that Polanksi and Deneuve would never work together again as they complement each other so perfectly here, but no matter really as both would continue to make many memorable films throughout each of their own careers.
78. MESSIAH OF EVIL (1974)
Dir - Willar Huyck/Gloria Katz
"What do you do with them?"
Messiah of Evil’s dreamlike, surreal storytelling coupled with its almost Mario Bava-esque color schemes and set designs make it one of the stranger American 70s independent horror films out there. It certainly walks a line all its own and just as many of its flaws can be seen as weaknesses in the grand scheme of things, (as is commonly the case with such art house gems as this). There are also some tasty and unnervingly tense “coming to get ya” moments that rank as the very best the genre has ever produced, (you will not be able to enjoy a movie theater or go to a grocery store quite the same way again). As a humorous side-note, director Willard Huyck was a member of the American Zoetrope which featured Francis Ford Coppola and George Lucas. He also directed (wait for it)…Howard the Duck! Seriously though, this is better.
77. SHOCK (1977)
Dir - Mario Bava
"Mom, I have to kill you"
Mario Bava, the “Grandfather of Italian horror”, made his last film Shock while severely ill, actually forcing a good deal of the direction to fall on the shoulders of his son Lamberto Bava, who also co-wrote the script. Whereas Lamberto would go on to make some of the worst horror films in history, (Demons in on another planet of utter awfulness), the great Mario Bava had many a classic under his belt. Though not as definitive as much of the man’s work, Shock still ranks as my favorite Mario Bava film and certainly the only worthwhile outing his unfortunately lackluster son was ever involved in. It helps that the lovely Miss-unofficial-Argento Daria Nicolodi gives her, (easily), best performance in the lead as an ex-mental patient who may-or-may-not be going crazy as her son and her house seem to be possessed by some familiar wickedness. Like a lot of European horror movies, Shock is badly dubbed, (at least the version I have), and it also features very possibly the ugliest penis-child in film history, almost distractingly so. I have had no problem looking past these “flaws” though and seriously enjoy when the head-trippy, spook-show elements kick into full gear. It is a surprisingly excellent way for Bava to end his career.
76. KAIRO (2001)
Dir - Kiyoshi Kurosawa
Who doesn't want to meet a ghost?
I had the unfortunate experience of seeing the American remake Pulse several years before Kairo, the Japanese original. I actually did not do my homework and had no idea it was a remake at all at the time. So the fault lies squarely on my shoulders as even the pixie-licous Kristen Bell could not save said remake from slumping into the very nadir of Hollywood horseshit. Alas though, sweet vindication came once I finally got around to checking out the original. I have now actually seen most of director Kiyoshi Kurosawa’s work in the horror genre and it is all excellent. He is very much a master of creating a low-key, ultra-creepy mood where the scares creep up on you and in most cases even occur in broad daylight. Kairo’s silent and bleak Japan proves to be a perfect setting for this tale of human detachment. I also very much recommend checking out Kurosawa’s Séance and Cure, two more horror films that get the job done nicely.
75. DRACULA'S DAUGHTER (1936)
Dir - Lambert Hillyer
She has got her father's teeth
The often overlooked Universal monster sequel Dracula’s Daughter is mostly remembered for its notorious lesbian implication scene and though easily the film’s finest and most unsettling moment, there is plenty more to recommend here. Particularly Gloria Holden’s loathsome performance as the eternally dammed title character who uses the name Countess Marya Zaleska to avoid being linked to her rather notorious old man. There is some atmospheric doom and gloom to go around as well as some comedic banter that usually went along with these proceedings. Also, Edward Van Sloan is back again as the Count/Countess’ arch nemesis Von Helsing. Not only Lugosi, but even Karloff and Colin Clive were inexplicably asked/rumored to make an appearance here, as was the great James Whale to direct. Still, I very much appreciate the lack of A-listers since the film stands alone as a rather hidden gem and darker entry into the Universal horror catalog. It is also notable for being directed by Lambert Hillyer, the man who helmed the very first Batman screen adaptation in the form of the 1943 serial by Columbia Pictures. “Bat”man? Dracula? Coincidence? Yes actually, that is exactly what it is.
74. THE BEYOND (1981)
Dir - Lucio Fulci
Open the gates...
Next to the great Dario Argento, Lucio Fulci was the premier Italian horror filmmaker that hit his stride in the 70s and early 80s. Many, (including me), would site 1981’s The Beyond as his master work, though Zombi is also memorable for containing cinema’s one and only zombie vs. shark fight. The Beyond is far less silly and is not only chalk full of eye-wincing gore, but also has a surreal, logic-defying storyline. This is all part of what makes Italian horror what it is and when done well, it can be a most satisfying cinematic experience. There are some wonderfully creepy scenes here such as a blind girl suddenly appearing on a barren road, that same girl getting quietly surrounded by walking corpse/ghost things, and a most unpleasant, (and time consuming), death-by-spider feast. Speaking of slow moving, by the films finale, try and look past the most molasses leaking zombies and gratuitous waste of bullets, (stop NOT shooting them in the fucking head you dolt!), that you are ever likely to see. I simply try and look at it as complementing the already bizarre experience which serves me just fine.
73. ANGEL HEART (1987)
Dir - Alan Parker
Johnny's my favorite
This one slipped under my radar for many years, for reasons I cannot fathom. So you could imagine my delight when I “discovered” that there was a well-respected horror movie out there starring both Robert De Niro AND Mickey Rourke. This tale of trippy voodoo and a deal gone wrong, (which is set mostly in the deep New Orleans south), scores heavily due to an enticing mystery and of course a stellar performance from Rourke. This was before he jacked-up his face, so all you ladies can still enjoy the eye-candy. There are several realizations throughout the film that one is just waiting for somebody to make. De Niro’s character lays his cards rather blatantly on the table from the get go, per example. Yet the whole thing remains intriguing until the emotionally powerful and creepy end. As an extra bonus for any Cosby Show fans, Miss Ex-Lenny Kravitz herself Lisa Bonnet gets all hot and bothered for a rather infamous sex scene a ways into the film as well. Enjoy my friends.
72. THE ENTITY (1982)
Dir - Sidney J. Furie
The guests that will not leave
Yet another one of those “based on a true story” outings, The Entity is a surprisingly powerful spook-fest, containing none of the eyebrow raising goofiness of something like The Amityville Horror for example. This one takes a rather serious look at a single mother who quickly begins losing her sanity as a whole lot of evil starts having its sinister way with her. Barbara Hershey’s performance has much to do with the film’s excellence and there is certainly some heavy stuff addressed throughout. Wisely though, it never forgets that it is a horror movie, as the paranormal fury is unrelenting and often times even difficult to watch. A lot of “science vs. the supernatural” stuff can quickly get grating in horror movies and though the film makes that a very key point from early on, I was not annoyed as all the character’s motivations are sound and it all goes to benefit the end result. Another really good early 80s American horror film and as an extra bit of interest, Martin Scorsese was fond enough of it to place it on his very own “11 scariest horror films” list. See, even Marty is a list nerd!
71. CANDYMAN (1992)
Dir - Bernard Rose
Be his victim
Blame it on straight-up ignorance, but I always neglected this early 90s gem, randomly assuming it was more akin to say Dr. Giggles or something. I was happy to learn that, low and behold, it is actually a real movie and a damn good bit of horror filmmaking. Very good choice here that the title character does not show his face until well into the film, leaving plenty of time to ground the real world horror of inner city gang violence into play. This is why when the Candyman does finally unleash his supernatural wrath upon the world, it hits so much harder. Virginia Madsen does a bang-up job as the graduate student who gets sucked into this urban legend nightmare and Tony Todd, (who also kicked ass in Tom Savini’s Night of the Living Dead remake two years previously), makes the title character both sympathetic and utterly diabolic. Though I was not 100% pleased with the whole bonfire climax, I did dig the film’s very final moments. I really have no interest in checking out the rest of the Candyman trilogy any time soon as I feel everything was wrapped up and in a nice, bloody package here.
Quite the fan of anthology horror films am I and 1945’s Dead of Night is one of the very first as well as certainly the earliest to have maintained such a well-respected profile over the years. The template set up here is the same that has been used countless times since. Several strangers meet at a single location for whatever reason, each one telling a strange and peculiar story, ultimately leading to a usually gruesome finale including everyone involved. Dead of Night does best with two of its tales in particular, the haunted mirror and of course the ventriloquist one, (are dummies that come to life ever NOT creepy?). Yet the linking “I’ve dreamed all this before” story works great as well, especially in the fevered climax. There is even some silliness in the golfing ghost segment to lighten the mood. This stuff never gets old for me as I love the Amicus anthology films of the late 60s/early 70s, (a few of which pop up on this list, naturally), and this gem in the sub-genre is well worth your time I would say. Especially if you are afraid of ventriloquist dummies.
Dir - Roman Polanski
Rabbit for dinner
The first in Roman Polanski’s “apartment trilogy” and the French/Polish director’s first English speaking film, Repulsion is arguably the premier psychological horror movie. The, (very), troubled psyche of one heterophobic Carole Ledoux, (Catherine Deneuve), unfolds as she retreats herself into her apartment with increasingly shocking, bizarre, and nightmarish imagery thrown at us along the way. Hands and cracks appear to come out of the walls, a phone rings off the hook, rooms are suddenly five times larger than they are supposed to be, and the toll of the bell triggers some very unwanted hanky-panky which just taps the surface of what is in store here. It is all a surreal mind-bender, handled exquisitely and with a shoe-string budget by Polanski. It is as much a triumph for Deneuve as well, as the French Altesse Royale of Babedome nails the detached and reclusive mental breakdown thing beautifully. It is somewhat of a shame that Polanksi and Deneuve would never work together again as they complement each other so perfectly here, but no matter really as both would continue to make many memorable films throughout each of their own careers.
Dir - Willar Huyck/Gloria Katz
"What do you do with them?"
Messiah of Evil’s dreamlike, surreal storytelling coupled with its almost Mario Bava-esque color schemes and set designs make it one of the stranger American 70s independent horror films out there. It certainly walks a line all its own and just as many of its flaws can be seen as weaknesses in the grand scheme of things, (as is commonly the case with such art house gems as this). There are also some tasty and unnervingly tense “coming to get ya” moments that rank as the very best the genre has ever produced, (you will not be able to enjoy a movie theater or go to a grocery store quite the same way again). As a humorous side-note, director Willard Huyck was a member of the American Zoetrope which featured Francis Ford Coppola and George Lucas. He also directed (wait for it)…Howard the Duck! Seriously though, this is better.
Dir - Mario Bava
"Mom, I have to kill you"
Mario Bava, the “Grandfather of Italian horror”, made his last film Shock while severely ill, actually forcing a good deal of the direction to fall on the shoulders of his son Lamberto Bava, who also co-wrote the script. Whereas Lamberto would go on to make some of the worst horror films in history, (Demons in on another planet of utter awfulness), the great Mario Bava had many a classic under his belt. Though not as definitive as much of the man’s work, Shock still ranks as my favorite Mario Bava film and certainly the only worthwhile outing his unfortunately lackluster son was ever involved in. It helps that the lovely Miss-unofficial-Argento Daria Nicolodi gives her, (easily), best performance in the lead as an ex-mental patient who may-or-may-not be going crazy as her son and her house seem to be possessed by some familiar wickedness. Like a lot of European horror movies, Shock is badly dubbed, (at least the version I have), and it also features very possibly the ugliest penis-child in film history, almost distractingly so. I have had no problem looking past these “flaws” though and seriously enjoy when the head-trippy, spook-show elements kick into full gear. It is a surprisingly excellent way for Bava to end his career.
Dir - Kiyoshi Kurosawa
Who doesn't want to meet a ghost?
I had the unfortunate experience of seeing the American remake Pulse several years before Kairo, the Japanese original. I actually did not do my homework and had no idea it was a remake at all at the time. So the fault lies squarely on my shoulders as even the pixie-licous Kristen Bell could not save said remake from slumping into the very nadir of Hollywood horseshit. Alas though, sweet vindication came once I finally got around to checking out the original. I have now actually seen most of director Kiyoshi Kurosawa’s work in the horror genre and it is all excellent. He is very much a master of creating a low-key, ultra-creepy mood where the scares creep up on you and in most cases even occur in broad daylight. Kairo’s silent and bleak Japan proves to be a perfect setting for this tale of human detachment. I also very much recommend checking out Kurosawa’s Séance and Cure, two more horror films that get the job done nicely.
Dir - Lambert Hillyer
She has got her father's teeth
The often overlooked Universal monster sequel Dracula’s Daughter is mostly remembered for its notorious lesbian implication scene and though easily the film’s finest and most unsettling moment, there is plenty more to recommend here. Particularly Gloria Holden’s loathsome performance as the eternally dammed title character who uses the name Countess Marya Zaleska to avoid being linked to her rather notorious old man. There is some atmospheric doom and gloom to go around as well as some comedic banter that usually went along with these proceedings. Also, Edward Van Sloan is back again as the Count/Countess’ arch nemesis Von Helsing. Not only Lugosi, but even Karloff and Colin Clive were inexplicably asked/rumored to make an appearance here, as was the great James Whale to direct. Still, I very much appreciate the lack of A-listers since the film stands alone as a rather hidden gem and darker entry into the Universal horror catalog. It is also notable for being directed by Lambert Hillyer, the man who helmed the very first Batman screen adaptation in the form of the 1943 serial by Columbia Pictures. “Bat”man? Dracula? Coincidence? Yes actually, that is exactly what it is.
Dir - Lucio Fulci
Open the gates...
Next to the great Dario Argento, Lucio Fulci was the premier Italian horror filmmaker that hit his stride in the 70s and early 80s. Many, (including me), would site 1981’s The Beyond as his master work, though Zombi is also memorable for containing cinema’s one and only zombie vs. shark fight. The Beyond is far less silly and is not only chalk full of eye-wincing gore, but also has a surreal, logic-defying storyline. This is all part of what makes Italian horror what it is and when done well, it can be a most satisfying cinematic experience. There are some wonderfully creepy scenes here such as a blind girl suddenly appearing on a barren road, that same girl getting quietly surrounded by walking corpse/ghost things, and a most unpleasant, (and time consuming), death-by-spider feast. Speaking of slow moving, by the films finale, try and look past the most molasses leaking zombies and gratuitous waste of bullets, (stop NOT shooting them in the fucking head you dolt!), that you are ever likely to see. I simply try and look at it as complementing the already bizarre experience which serves me just fine.
Dir - Alan Parker
Johnny's my favorite
This one slipped under my radar for many years, for reasons I cannot fathom. So you could imagine my delight when I “discovered” that there was a well-respected horror movie out there starring both Robert De Niro AND Mickey Rourke. This tale of trippy voodoo and a deal gone wrong, (which is set mostly in the deep New Orleans south), scores heavily due to an enticing mystery and of course a stellar performance from Rourke. This was before he jacked-up his face, so all you ladies can still enjoy the eye-candy. There are several realizations throughout the film that one is just waiting for somebody to make. De Niro’s character lays his cards rather blatantly on the table from the get go, per example. Yet the whole thing remains intriguing until the emotionally powerful and creepy end. As an extra bonus for any Cosby Show fans, Miss Ex-Lenny Kravitz herself Lisa Bonnet gets all hot and bothered for a rather infamous sex scene a ways into the film as well. Enjoy my friends.
Dir - Sidney J. Furie
The guests that will not leave
Yet another one of those “based on a true story” outings, The Entity is a surprisingly powerful spook-fest, containing none of the eyebrow raising goofiness of something like The Amityville Horror for example. This one takes a rather serious look at a single mother who quickly begins losing her sanity as a whole lot of evil starts having its sinister way with her. Barbara Hershey’s performance has much to do with the film’s excellence and there is certainly some heavy stuff addressed throughout. Wisely though, it never forgets that it is a horror movie, as the paranormal fury is unrelenting and often times even difficult to watch. A lot of “science vs. the supernatural” stuff can quickly get grating in horror movies and though the film makes that a very key point from early on, I was not annoyed as all the character’s motivations are sound and it all goes to benefit the end result. Another really good early 80s American horror film and as an extra bit of interest, Martin Scorsese was fond enough of it to place it on his very own “11 scariest horror films” list. See, even Marty is a list nerd!
Dir - Bernard Rose
Be his victim
Blame it on straight-up ignorance, but I always neglected this early 90s gem, randomly assuming it was more akin to say Dr. Giggles or something. I was happy to learn that, low and behold, it is actually a real movie and a damn good bit of horror filmmaking. Very good choice here that the title character does not show his face until well into the film, leaving plenty of time to ground the real world horror of inner city gang violence into play. This is why when the Candyman does finally unleash his supernatural wrath upon the world, it hits so much harder. Virginia Madsen does a bang-up job as the graduate student who gets sucked into this urban legend nightmare and Tony Todd, (who also kicked ass in Tom Savini’s Night of the Living Dead remake two years previously), makes the title character both sympathetic and utterly diabolic. Though I was not 100% pleased with the whole bonfire climax, I did dig the film’s very final moments. I really have no interest in checking out the rest of the Candyman trilogy any time soon as I feel everything was wrapped up and in a nice, bloody package here.
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