by Steve Habrat
One of the most famous directors working within the horror genre is without question Italian filmmaker Dario Argento. Starting out as a film critic, Argento moved on to developing the story for Sergio Leone’s 1968 spaghetti western Once Upon a Time in the West before finally settling behind the camera in 1970 to create his own “giallo” thrillers and horror films. It’s safe to say that he had quite the career before 1977. After delivering a handful of well-received and expertly crafted horror outings (1970’s The Bird with the Crystal Plumage, 1971’s The Cat o’ Nine Tails, and 1975’s Deep Red), Argento released Suspiria, which has gone on to become the most popular film of his directorial career. Considered by many (including me) to be one of the scariest motion pictures of all time, Suspiria is best described as a glammed up horror film drenched in neon lighting and set to one of the most unforgettable scores in movie history. It’s extravagant beyond belief as it transports the viewer into a surreal funhouse of witches and demons waiting to cast their ghastly spells on anyone who stumbles upon their secrets. While spots of Suspiria are beginning to show their age, the film still stands as a terrifying work of genius, featuring a number of death scenes and demonic surprises that remain beautiful and brutal in all of their flamboyant fury.
Suspiria begins with American ballet dancer Suzy Bannion (played by Jessica Harper) touching down in Germany to study at a prestigious dance academy in Freiburg. After arriving very late at night, Suzy is turned away from the school doors by a mysterious woman on the intercom. Before hopping back in her taxi, a young blonde girl bursts through the door, shouts a message to someone standing just inside the door, and then bolts off into the night. Perplexed, Suzy makes her way into town to check into a hotel for the night. The next day, Suzy arrives back at the school to meet with vice directress Madame Blanc (played by Joan Bennet) and head instructor Miss Tanner (played by Alida Valli). Madame Blanc and Miss Tanner take Suzy around to meet some of the students and figure out living arrangements. After several attempts to get Suzy to live at the school, Madame Blanc and Miss Tanner agree to let Suzy live off campus with a student named Olga (played by Barbara Magnolfi). The next day, Suzy has a bizarre run-in with the school cook, who appears to cast a spell on Suzy that causes her to fall ill. After fainting the middle of her class, Madame Blanc and Miss Tanner move Suzy’s belongings into the school and insist that she stay in a dormitory under their care. After several more strange occurrences, Suzy and her new friend, Sara (played by Stefania Casini), begin to suspect that the school may be a front for a coven of witches.
Argento opens Suspiria on an extremely intense note, with a surreal double murder at the hands of a hairy demon that always remains just off screen (a smart move on Argento’s part). After the demon brutally stabs one girl to death to the point where the audience catches a glimpse of her still-beating heart, she is then dropped through a stained-glass skylight and left to hang in the middle of the grand lobby. Her horrified friend, who has been frantically banging on doors in an attempt to get her seemingly non-existent neighbors to help, happens to be underneath the skylight when the shards of glass plunge to the ground, leaving her a sliced up mess. We’ve stepped into a nightmare world complimented by demonic “la-la-la’s,” chiming lullaby bells, and hair-raising shrieks of “WITCH” by the progressive Italian rock group Goblin. The architecture and the lighting schemes are all embellished, with harsh splashes of red and blue illuminating the screen like Satan’s lava lamp. It’s a surprisingly pretty smear of color and horror that warns us that we have left the comforts of the real world far, far behind. Despite being in the middle of a massive apartment complex, there is no one around to save these girls from this rampaging force signified by Goblin’s chilling electronic score. You’d think that all this commotion would draw the attention of someone, but we’re on our own in this glowing witchcraft realm. This is only the beginning, as Argento plans to keep us feeling hopeless for the entire duration of the film.
Argento guides the dreamlike horror from the baroque apartment complex to the glittery walls the ballet dance school. With its exterior painted up in bright red and decorated with gold gargoyles, the school possesses a menacing look in broad daylight—it’s a satanic castle dripping with blood and crawling with demons. Inside, the walls are either glittery blues or glowing reds, with slanting windows, a gold staircase railing that seems to be melting on the heads of our characters, and some of the ugliest wall art you may ever see. It’s a world where maggots suddenly rain from the ceiling, disembodied raspy breathing can be heard behind a curtain, and random rooms packed with razor wire patiently wait to claim their next victim. You have to marvel at the amazing set design, even if it is an interior decorators worst nightmare. The surreal supernatural atmosphere also roars to life within these halls, the camera taking the POV of a creeping force that is brought to life through Goblin’s alien score. When an unseen tormentor with a straight razor terrorizes one character through the school halls, no student dares peak their head out of their dormitory to see if their help is needed. Is the whole school in on this? Is this attack a dream? Argento gives no clear explanation other than there are forces beyond our understanding at work here and sudden death lurks just around the glowing red corner. And somehow, that makes the events all the scarier.
With the set design and vivid lighting schemes stealing most of the thunder, you almost have to see Suspiria twice to pay attention to the near perfect performances. Jessica Harper is delicate and subtle as our curious heroine who notices that something is amiss about her new school. She wanders cautiously through the halls and dodges the wandering teachers keeping an eye out for anyone who dares snoop around. Bennet puts on a caring face as Madame Blanc, the vice headmistress who seems to overflow with motherly concern for her students. Alida Valli wears a frozen forced grin as the stern instructor Miss Tanner, a woman who undoubtedly has a nasty side just waiting to emerge at the right time. Stefania Casini is full of theories and suspicion about the rumored directress that is supposedly away from the school. Flavio Bucci turns in a sympathetic performance as Daniel, the blind pianist who is booted from the school after his seeing-eye dog is accused of attacking Madame Blanc’s young nephew. Well-known genre star Udo Kier also turns up in a small role as Dr. Frank Mandel, who provides Suzy with a bit of unnerving background knowledge about her new school.
With such a stunning opening that packs blood-curdling gore and scares, you’d think that Argento wouldn’t be able to top his magnificent commencement, but he does every single step of the way. Halfway through the film, you will gasp in horror as one character is attacked in a wide-open square, and the climax of the film will have you watching through your fingers as Suzy pushes deep into the bowels of the school to confront a coven of witches. With the suspense turned up as high as it will go, Argento then springs not one, but two monsters on us that will certainly have your knees knocking together. As far as flaws go, the most glaring would have to be the dubbing that was added in post-production. There is one moment near the end where the dialogue shoots high for evil, but it doesn’t have the impact that it should. Overall, other than the spotty dubbing in a few places, Suspiria is a shining example of demonic horror done by a man who knows how to simultaneously make you cringe in pain and shriek in horror. The Goblin score sticks in your brain like a splinter and you won’t be able to peel your eyes off the flowing string of shimmering images that are presented to you. Suspiria casts a wicked spell that will haunt you for weeks.
Suspiria is available on DVD.
by Steve Habrat
It didn’t take long for Alexandre Aja’s The Hill’s Have Eyes remake to win me over. All it took was that brutal opening sequence and the spirited, stock footage atomic blast credits to convince me that I was in for one hell of a punishing ride. This zippy, bloody remake based on Wes Craven’s 1977 original has certainly been one of the more polarizing reboots to come out of Hollywood. The gritty original film is beloved for its simplicity but its status as a horror classic remains debatable. In fact, I think this is one of the few instances where I would have to go with the remake over the original film. Certainly not a film for the faint of heart, I would go so far as to say that Aja’s interpretation of this radiated nightmare is one of the strongest, most unforgiving, and confident mainstream horror films of recent memory. I adore the fact that this film refuses to play nice and just coast on autopilot as loud blasts of music startle us rather than scare us. I love that it dares give the viewer a heart attack as it drops a helpless infant into a savage world where deformed mutants attempt to chop it up and eat it. I hold my breath as our desperate liberal pacifist hero tiptoes around a forgotten atomic bomb test village as the savage cannibals growl and snicker from unseen vantage points. And how about that score from Tomandandy, all atomic alerts and static moans as characters are slaughtered in the most horrific ways imaginable. This, my friends, is a horror film that isn’t afraid to get right in the viewers face and stay there.
The Hills Have Eyes introduces us to Ethel Carter (Played by Kathleen Quinlan) and her husband, “Big” Bob Carter (Played by Ted Levine), who are on their way from Cleveland, Ohio to San Diego, California for their wedding anniversary. Behind them, they are dragging a trailer filled with their cranky teenage daughter Brenda (Played by Emile de Ravin), respectful son Bobby (Played by Dan Byrd), eldest daughter Lynn (Played by Vinessa Shaw), Lynn’s liberal husband Doug Bukowski (Played by Aaron Stanford), their newborn daughter Catherine, and a pair of feisty German Shepherds. After stopping off at a dilapidated gas station in the middle of the New Mexico desert, the greasy gas station attendant recommends a scenic short cut for the family to take. “Big” Bob decides to take the recommended short cut but after traveling a few miles down the beaten path, the family’s tires are punctured by a spike belt. Stranded out in the middle of nowhere with a totaled car, the family begins trying to figure out a way to make it back to the main road and get help. As night falls in the New Mexico hills, the Carter’s begin to realize that they are not alone and that someone is watching them.
After the arresting opening sequence, Aja allows us to really get to know the Carter family in all their dysfunctional glory. They appear to be the typical American family that bickers, fights, but comes together over dinner. Aja lingers on them a long time before he unleashes his nuclear band of mutants that hide out in a dusty atomic test village. When he finally does launch into the carnage, he doesn’t ease us into it. He grabs us by the hair and tosses us in with such ferocity that we almost need a minute to recover. He knocks off three characters half way through and then to make things worse, we have a kidnapped newborn child to worry about. This first attack on the Carter’s has to ranks as one of the most terrifying sequences in a horror film, as one character is burned to death outside, a graphic rape and torture is occurring inside the trailer. This sequence will bring you to your knees as you watch from the cracked fingers covering your eyes. The sequence really leaves a bruise because we care for these characters and we are forced to watch as they are senselessly slaughtered right in front of our eyes. The film has been accused of descending into “torture porn” but I disagree with this argument. “Torture porn” films like Saw really failed to engage me emotionally like The Hills Have Eyes did. Saw was just disgusting where The Hills Have Eyes is scaring, traumatizing, and disturbing while also churning your stomach.
The one flaw that I can find with The Hills Have Eyes is some of the dialogue at the beginning of the film is poorly written. It was far from natural as characters ramble on with obviously scripted conversations. Luckily, we have some talented actors and actresses in front of the camera who can sell the lame dialogue. Levine ad-libbed all of his dialogue and its all the better for it. He is just fantastic as the gun-totting Republican who loves to tease his liberal son-in-law. Quinlan is believable as the loving mother who stews and frets over her children as they tease her with one dirty joke after another. Byrd and de Ravin are nicely cast as teenage hellions who argue with one another over little things that don’t warrant an argument. In the second half of the film, they really come together to stay alive and keep each other from succumbing to inconsolable grief. Shaw is sort of forgettable as Lynn but it is sweet the way she tries to keep Doug’s spirit up even as Bob relentlessly teases him. Stanford is probably the best next to Levine, especially in the second half of the film. Watching him transform from a non-confrontational wimp into a shotgun packing man on a mission is absolutely jaw dropping.
Elevated by strong pacing and a stunning explosion of violence, The Hills Have Eyes certain gets under your skin and fast. The action is complimented by a marvelous score by Tomandandy, who build suspense with a chugging atomic alert when the mutants are about to strike and make Ennio Morricone proud as soaring trumpets punctuate the final showdown. By the end, it almost sounds like Aja borrowed the score from a forgotten spaghetti western. The make-up and special effects on the mutants is also fairly impressive but the less you know about them, the better they are. I will say that I would have liked to see a bit more development out of them but they are pretty spooky as they are. I liked that Aja doesn’t ever reveal how many mutants are lurking out in the desert, which adds another chilling layer to the film. What ultimately makes The Hills Have Eyes into a ferocious winner is its willingness to be as unpredictable as possible. Aja refuses to work from a familiar formula and his addition of the atomic test village at the end allows the film to stand apart from Craven’s original film. Overall, The Hills Have Eyes is an intelligent horror film that isn’t afraid to leave the viewer rattled to their core. If Hollywood insists on remakes, they should all be as good as this.
The Hills Have Eyes is available on Blu-ray and DVD.
Here is a little information on Goregirl:
Canadian broad who has had a lifelong obsession with horror films. Perpetually working on a screenplay, avid collector of soundtracks, belt buckles and wigs. You can find me on WordPress: http://goregirl.wordpress.com/, YouTube: http://www.youtube.com/user/goregirlsdungeon or follow me on Twitter: @ggsdungeon.
Goregirl’s Top Five Scariest Italian Horror Films
Nothing can whip me into an excited frenzy like finding an Italian horror and/or thriller I haven’t seen. I have hungrily devoured Italian horror titles like a rabid Ms. Pac-Man. It is getting more difficult these days to find films I haven’t seen. I am particularly fond of the Giallo of the 1970s. The word Giallo is Italian for “yellow”, which refers to the common coloring of cheap pulp fiction novels. The term “Giallo” is used to describe Italian literature and film that contains elements of crime, mystery, horror, thrillers or eroticism. I never miss an opportunity to talk about Italian horror! Italian horror generally speaking tends to be plot heavy with copious twists and red herrings and while the mood can be positively electric I don’t think I would classify most of these as “scary”. Coming up with five was more difficult than I anticipated. I wanted to insure five Italian directors were represented so I allowed myself just one title per director. After much inner debate I chose the following five horror films hailing from Italy that provide not just thrills but also chills…
THE BEYOND (1981)
Directed By Lucio Fulci
I could easily have filled this entire top five with Lucio Fulci films! His brilliant entries Don’t Torture A Duckling, Zombi 2, A Lizard in a Woman’s Skin and The Psychic all deserve high praise. I chose Lucio Fulci’s The Beyond. In my opinion The Beyond is Fulci’s scariest, creepiest and goriest effort. The premise of The Beyond sees one of the seven gateways to hell being breached. This gateway lies beneath a hotel the main character inherits. Crazy shit happens, some of it’s illogical but every last bit is a fascinating, visual treat. People are nailed to walls, eaten by tarantulas, melted by acid, and of course there is classic Fulci eye trauma! And there are zombies! Beautiful, rotted wonderfully vial zombies! Don’t worry about a perfect logical narrative; just let the nightmare wash over you! The Beyond is classic Fulci at his gory best, but I can not recommend more highly checking out any of the aforementioned Fulci flicks!
BLACK SUNDAY (1960)
Directed By Mario Bava
Mario Bava is another favourite director whom I struggled to choose just one film for. Certainly his fantastic anthology Black Sabbath, the brilliant Kill Baby Kill!, the masterful The Girl Who Knew Too Much or his magnificent Blood and Black Lace would have all been great choices. I went with what is perhaps Bava’s best known film; Black Sunday. The stunning Barbara Steele takes on dual roles as Princess Asa Vajda and Katia Vajda. It is a wonderful richly gothic tale of a witch put to death by her own brother who returns 200 years later to seek revenge on her descendants. “The Mask of Satan” (which also happens to be one of its alternate titles) once pulled from the face of our witch makes for some grotesque visuals! Black Sunday was one of my dad’s favourite films and it absolutely terrified me as a child. While Black Sunday doesn’t quite have the same effect on me after 20ish viewings I think it is still one of Bava’s creepiest and most beautiful films.
Directed By Sergio Martino
No list of Italian films is complete without an entry from Sergio Martino. Anyone with even a casual interest in Italian horror probably knows the names Lucio Fulci, Mario Bava and Dario Argento but the lesser known Sergio Martino made several epic entries through the seventies. My favourite film by Martino is definitely The Strange Vice of Mrs. Wardh starring the gorgeous and sexy Edwige Fenech; Your Vice is a Locked Room and Only I have the Key and The Case of the Scorpion’s Tail wouldn’t be far behind. I love these films but I would be hard pressed to say any of these are “scary”. Martino’s most frightening entry is Torso. College students are being murdered and the only clue to the killer’s identity is a scarf. A group of lovely ladies take refuge in the Italian countryside only to find themselves the killer’s target. The good old balaclava; headwear of thieves and serial killers alike! Torso has a balaclaved baddie, amazing scenery, plenty of skin and some impressive brutality! The final chase scene between the surviving female and the murderer is intense and exciting. Torso is gritty, sexy, suspenseful, violent and it has a great soundtrack to boot.
Directed By Dario Argento
What can I say about the great Dario Argento? The man knew how to construct a violent and visually stunning film. Argento’s Deep Red, Tenebre and Suspiria have long been personal favourites. Deep Red will always be my number one but for the “scary” category I would have to go with Suspiria. Suspiria takes place in a prestigious dance school where shenanigans of a supernatural nature are afoot. There is a feeling of unease established from the moment new student Suzy Bannion arrives at the school that doesn’t let up until the final credits. Its beauty is quite remarkable but is only one of its impressive qualities. Suspiria is claustrophobic, intense, suspenseful, thrilling and features some very impressive murder sequences! Suspiria is like an adult fairy tale and its impressive setting and props add a whimsical and yet terrifying sense of dread. Its brilliant soundtrack courtesy of Goblin is one of the best horror film soundtracks ever created! Performances are excellent across the board from Jessica Harper who plays Suzy, Stefania Casini who plays her friend Sara and great turns from classic actresses Alida Valli as Miss Tanner and Joan Bennett as Madame Blanc. Suspiria is part of Argento’s “three mothers trilogy” and I can not recommend enough also checking out Inferno, his second of the trilogy. Suspiria is a beautiful nightmare.
Directed By Lamberto Bava
Lamberto Bava is the son of the great Mario Bava. While I enjoyed Lamberto Bava’s Macabro, A Knife in the Dark, and Delirium, in my opinion Demons is definitely Bava’s masterpiece. There have not been many effects-intensive creature creations from Italy so for that reason alone this film is special. There are however a lot of other reasons Demons is special. The premise is a simple one; a group of people are given passes to a screening of a horror film and become trapped inside the theatre with a bunch of demons. Demons is very high-energy, it doesn’t let up for a second. The gore is plentiful; the effects are outrageous and occasionally gag-worthy. Most importantly, Demons has some really freaking cool looking demons! The transformations are fantastic; polished nails being pushed out in favor of nifty new gnarly claws, teeth pushed out to upgrade to some nice big pointy ones. It is a beautiful thing! Demons definitely has its campy qualities but it only adds to its charms. Demons insane finale involving a dirt bike, a sword and a helicopter falling through the roof is not to be missed! If you enjoy Demons, there is also a sequel you can sink your teeth into. Demons 2 isn’t as good as the original, but it certainly has its moments! Demons is an orgasmic, goretastic joy!
by Steve Habrat
If you’ve gotten sick of playing Call of Duty: Nazi Zombies and you’ve worn out your copy of the Norwegian freak out Dead Snow, you are probably looking for a Nazi zombie fix and FAST. Fear not, my dear readers, for I have the movie for you and that movie is 1977’s Shock Waves, a deeply unnerving and hallucinatory vision that has traces of Lucio Fulci’s island terror in its veins and the cynical outlook of a George Romero zombie flick in its rotting brain. What Shock Wave lacks in blood and guts (there is barely any to be found here), it more than makes up for in unsettling mood and some thoroughly ghastly ghouls. Largely forgotten by many and relatively unknown by most, Shock Waves is a true gem of the horror genre— one that I seriously cannot believe did not leave a bigger mark on the zombie genre. With its premise, you’d expect a serious camp fest that glides by on tons of gooey entrails and spurting arteries but director Ken Wiederhorn would rather slowly wrap you up in a damp and slimy grip that will curl your toes.
Shock Waves picks up aboard a commercial pleasure yacht, where a small handful of tourists soak up the sun and bicker with each other. Aboard the boat is The Captain (Played by John Carradine), first mate Chuck (Played by Don Stout), boat chef Dobbs (Played by Luke Halpin), tourist Keith (Played by Fred Buch), pretty Rose (Played by Brooke Adams), and testy married couple Norman (Played by Jack Davidson) and Beverly (Played by D.J. Sidney). After an eerie orange haze consumes the afternoon sky, the boat’s navigation system is sent on the fritz and then quits working. That very evening, the boat nearly collides with a ghostly ship that suddenly disappears into the darkness. The next morning, The Captain is missing from the ship and it is discovered that the boat is taking on water. The rest of the passengers on the boat head for a scenic tropical island where they find a deserted hotel that is inhabited by a skinny old SS Commander (Played by Peter Cushing) who demands that they leave the island. The terrified group soon finds themselves stalked by mute and decaying Nazi “Death Corps” zombies who sport wicked pairs of goggles and have risen from the ruins of a mysterious wrecked ship that strangely appears just off the beach.
Quietly intense with dreamy hallucinatory images that at times feel strangely like mirages, Shock Waves quickly takes hold of you then slowly tightens its grip. Director Wiederhorn allows his camera to act almost voyeuristic as it creeps through the trees to spy on the zombies that pop up from the murky water. They are presented as paranormal specters that are silhouetted by the blinding sun reflecting off the water. At times, we see them from an extreme distance, marching in formation and turning to barely acknowledge their gaunt commander as he pleads with them to stop their meaningless slaughter. It was these scenes that made me fall in love with Shock Waves, the film just subtle enough while every once in a while, getting right in our faces so we can see its soggy decay. We never see any scenes of mass carnage, the zombies preferring to drown their victims instead of gnawing at their flesh and sucking on their entrails. That fact that the film remains eerily tranquil throughout, never getting frantic or hurrying is what really makes this film such an effective little adventure.
For a film with such a B-movie premise, the actors all do a fantastic job being believable. Peter Cushing is at his menacing best as a scarred monster that regrets his work within the Third Reich. Carradine is perfect for the cranky old fart of a Captain who refuses to believe that passengers saw a ghost ship sail by in the night. I wish we would have gotten more of him and I would have loved to see his reactions to all the supernatural spooks that manifest. Stout plays the typical strong silent type hero Chuck who is always saving Rose from certain death. He is the thin layer of glue that attempts to hold the crumbling group together. Adams, who is mostly asked to prance around in a yellow bikini, is nice eye candy and the climax allows her to play crazy (I won’t say anymore on that). Jack Davidson playing an over-opinionated car salesman who likes to tell the Captain how to do his job is another standout. You’ll be rooting for him to come face-to-face with the undead terrors.
Shock Waves, which was made in 1977, before Fulci’s Zombie and Romero’s Dawn of the Dead, is efficient with its hell-in-a-tropical-setting approach which it fuses with Romero’s beloved idea that our unwillingness to work together will be our downfall. A scene in which our small group is forced to put their backs against the wall is nice and claustrophobic, a scene that ends in a frenzied outburst and threats made from one group member to the other. The scene plays out much like the climax of Romero’s Night of the Living Dead, survivor pitted against survivor. Also notable is the way that Wiederhorn plays with the alien tropical island to give us the creeps. Much like Fulci’s Zombie, there is this heavy feel of supernatural forces at play, a trait that is expressed in the sudden moans of spacey electronics on the soundtrack. In fact, the film would play nicely in a zombie double feature with Night of the Living Dead, Dawn of the Dead, or Zombie. Sounds like something I may have to try myself.
I really can’t praise Shock Waves enough even though there are a few minor imperfections to be found throughout its hour and twenty-five minute runtime. Most of these blunders can be overlooked and really are not worth mentioning here. With strong direction (Those underwater shots are stupendous!), surprisingly strong acting from everyone involved, unforgettable cinematography (those grainy zombie silhouettes will stay with me for the rest of my days) and some tingling moments of sheer terror (a Nazi zombie standing a little too still behind a closing door while a blinded victim is oblivious to its presence), Shock Waves builds itself into a sopping wet funhouse of aquatic devils leaping up from shallow waters to drag our protagonists into a watery hell. For fans of the zombie genre, Shock Waves is a true must, one that, if you have never seen it, is a macabre surprise and one that will scare the living hell right out of you.
Shock Waves is available on DVD.
by Steve Habrat
Here we are, boys and ghouls! We have made it to my top 10 scariest movies of all time. I hope I have introduced you to a few horror movies you haven’t seen or heard of and tackled a few of your favorites as well. So without further ado, these are my top 10 favorite horror films that have curdled my blood, given me goose bumps, made me a little uneasy to turn out my bedside lamp at night, and made me consider shutting the films off.
10.) The Evil Dead (1981)
The ultimate sleepover horror flick! With a budget barely over $375,000 and a handful of no name actors, first time director Sam Raimi tore onto the directorial scene with The Evil Dead, a gruesome little supernatural horror film that follows a group of teens as the travel to a cabin in the woods for a weekend of drinking a few beers and hooking up. Once secluded in the cabin, they stumble upon a book called, naturally, The Book of the Dead, and they, of course, read from it. The book just so happens to release an ancient force that possess all who stand in its way, turning the teens into bloodthirsty, demonic zombies. Stopping to consider the budget, the special effects here are a true marvel, even if they are dated and the sound effects will give your goose bumps more goose bumps. While Evil Dead II: Dead by Dawn and Army of Darkness descended into campville one of the most amazing parts of The Evil Dead is the fact that it refuses to offer any comedic relief. The most grueling aspect of the film is that by the end, our hero Ash has to face the terror all by his lonesome. Absolutely unyielding once it gets moving and savagely in-your-face, The Evil Dead will without question fry your nerves.
9.) Suspira (1977)
Italian director Dario Argento created perhaps one of the most visually striking horror films to date. Suspira is scary decked out in bright neon colors. Following a young American woman who is accepted to a prestigious ballet school in Europe where it may or may not be under the control of witches is the real deal. The film begins with easily one of the most intense murder sequences ever filmed and it should almost be criminal with how well Argento builds tension and suspense within it. While mostly scaring you through supernatural occurrences and basically becoming a mystery film, Suspira leaves its mark with images that sear in well-lit rooms. Nothing ever happens in the dark in this film, and usually its what we do not see that is the scariest. And to deny the fact that this film is a breath of fresh air to the horror genre would be utterly absurd. The best advice I can give is just wait until the end of the film. You will be left pinned to your seat.
8.) Psycho (1960)
When it comes to unforgettable movie monsters, give me Norman Bates over Freddy or Jason any day. Everyone is familiar with what is perhaps the most famous and scariest of all of Alfred Hitchcock’s films, this film literally could be the closest to perfect that any motion picture will get. The score is unforgettable. It breaks the rules by killing off its main star in the first forty minutes. It keeps you guessing until the very end. It WILL terrify you by its sudden outbursts of brutal violence. And seriously, who is not familiar with the shower sequence? Still not convinced? See it simply for Anthony Perkin’s performance as mama’s boy Norman Bates. I guarantee he will find his way into your nightmares. Remarkably, the film lacks all the crows’ feet of aging as it still manages to be one of the scariest horror of personality films to date. While it was needlessly remade in 1998 to disappoint results, the original is a true classic in literally every way. Psycho breaks all the rules of horror, and leaves the viewer disoriented and wowed all at once.
7.) Straw Dogs (1971)
Never heard of Sam Peckinpah’s 1971 home invasion film Straw Dogs? Well, you have now and you have no excuse not to see it. As an added bonus, it stars Dustin Hoffman! I noticed that on many of your favorite horror films that you have sent me, you listed the 2008 film The Strangers. While The Strangers is creepy, Straw Dogs is flat out gritty, unrepentant viciousness. A nerdy math professor and his wife move out to the British countryside where they are looking to enjoy a simple life of peace and quite. Their pursuit of happiness falls short when the couple becomes the victims to bullying by the locals. The bullying soon boils up to a vicious rape and an attack on the couple’s home that leads to one hell of a nail-bitting standoff. Many consider it a thriller, but this is flat out horror in my book. The film becomes an exploration of the violence in all of us. Yes, even the ones we least expect. We never see the violence coming from the mild mannered math teacher. Even worse, it leaves us with the unshakeable notion that this horrendous violence lurks in all of us. Another great quality of the film is the fact that it will spark conversations after viewing it. What would you do in that situation? Would you allow yourself to be the victim or would you stand up and fight for what is yours? Sound simple? Straw Dogs is far from simple. It will etch itself into your mind.
6.) Nosferatu the Vampyre (1979)
Nosferatu is on here twice?!?! Sort of. Nosferatu indeed deserves its place among the greats but Werner Herzog’s Nosferatu the Vampyre is without question the greatest vampire movie of all time. It drives a silver dagger right through the heart of all the vampire flicks out there (Take that Twilight!). Part remake, part valentine to F.W. Murnau, part Dracula; this is an undeniably sweeping horror film. Who would have believed that a slow motion image of a bat could make the hair on your arms stand up? Elegant and astonishing beautiful, one could recommend the film on the cinemamatogrphy alone. This interpretation of Nosferatu abandons the name Count Orlok and instead is Count Dracula. The appearance of Count Dracula is almost identical to Count Orlok but the rest plays out like Dracula. The film features what could be one of the most mesmerizing performances ever caught on film with Klaus Kinski’s interpretation of Count Dracula. He is at once heart breaking and threatening. The film’s apocalyptic images are spellbinding. The score is the stuff that nightmares are made of. The acting is top notch. The scares are slight and real. This is the scariest vampire movie ever and one of the most underrated horror movies ever made.
5.) The Texas Chainsaw Massacre (1974)
The glaring problem with the 2003 remake of this disturbing 1974 classic is that the 2003 remake was more concerned with being a sleek experience rather than a gritty and realistic slasher flick. The original Texas Chainsaw Massacre does a fantastic job making you feel the Texas heat, as this movie is an absolute scorcher. On top of that, the film uses surprisingly little gore and still manages to gross you out to the point of you seriously considering becoming a vegan. What makes the film so traumatic is the fact that it does not only contain one monster, it has several. There is basically no escape from the dreaded, chainsaw wielding Leatherface and his merry band of cannibals. The film also throws another monkey wrench into the equation: one of the main characters is in a wheelchair. Yikes! The final chase of the film seems like it was ripped right out of an old newsreel and it has such a realistic tone that the atmosphere actually overrides the horrific murders. I recently read a quote from Stephen King about his favorite horror films and I have to admit that I heavily agree with him. He says “One thing that seems clear to me, looking back at the ten or a dozen films that truly scared me, is that most really good horror films are low-budget affairs with special effects cooked up in someone’s basement or garage.” If this quote applies to any horror film, it would be Tobe Hooper’s The Texas Chainsaw Massacre. Amen, Mr. King!
4.) The Shining (1980)
As far as supernatural horror movies are concerned, Stanley Kubrick’s version of the Stephen King book The Shining is the first and last word in haunted house movies. Combining hallucinatory images, a mind-bending story, and a horror of personality all into one Frankenstein’s monster of a film. Kubrick tops it all of with a big bloody bow. Jack Nicholson is at his bat-shit crazy best as Jack Torrence, a seemingly normal writer who, along with his family, are employed as the winter caretakers at the secluded Overlook Hotel. With the hotel cutoff from customers, the ghosts start coming out to play. They posses Jack’s young son Danny (REDRUM!). They torment Jack to the point where he grabs an axe and goes on a killing spree. If you have not seen this, see it just on the grounds of Jack Nicholson’s outstanding portrayal of a man slipping into homicidal madness. It is probably one of the most epic horror movies I’ve ever seen, and one of the most visually jarring. I really do not think there is anything creepier than twin girls standing in the center of a long hallway and inviting Danny to “come play with” them. The Shining leaves the viewer to figure it all out at the end. But damn does it end with some blood soaked fireworks.
3.) Dawn of the Dead (1978)
George Romero’s follow up to his 1968 zombie freak out wears the king’s crown in the land of zombie movies. This one has it all, folks. It’s dismal, gory beyond anything you could ever imagine, intelligent, shocking, and freaky as all hell. Picking up right where Night of the Living Dead left off, we are thrust into a world of chaos. I will warn you that the first half hour or so of the film is so overwhelming; you may need to take an intermission after it just to gather yourself. Romero is launching an all out assault on the viewer, testing them to see how much they are able to take. But he hasn’t even gotten going yet. Hell, the opening is actually tame compared to the gut-wrenching climax. Romero does lighten the mood a little in places because the film would be unbearable if he never did. The plot centers on four survivors who flee from war-torn Pittsburgh to an indoor shopping mall to escape the panic that has seized hold of America. This panic, of course, comes in the wake of the dead returning to life and eating the flesh of the living. They live like kings and queens in the land of consumerism, which also leads to their ultimate downfall. Greed takes hold and soon the army of zombies gathering outside is the least of their concerns. Featuring some of the most heart stopping violence to ever be thought up and some truly tense moments, Dawn of the Dead may actually cause you to have a heart attack or, at the very least, a panic attack.
2.) Hellraiser (1987)
If demonic horror scares you, then you are going to want to stay far, far away from Clive Baker’s Hellraiser. What sights the soul ripping Cenobites have to show you. What ghastly sights indeed. Bursting at the seams with some of the most unsettling images that any horror film has to offer, Hellraiser simply has it all. It has monsters for the monster crowd. It shows glimmers of the slasher genre. It satisfies the gore hounds thirst for blood. It offers up a wickedly original storyline. Following a man who ends up possessing a box that can expose you to the greatest pleasures imaginable is a pretty unnerving experience. There’s a dead guy in the attic that an unfaithful wife has to provide with male bodies so he can regenerate. There are four time traveling demons that rip apart their victims with chains. A daughter is desperately trying to unravel her father’s death. Did I mention it has lots and lots of monsters? The best part of seeing the first film in the Hellraiser series is that you get to see the Cenobites, who could very well be some of the creepiest antagonists that have ever haunted a horror film. They slink through the shadows and send icy chills up your spine. When Pinhead, or “Lead Cenobite” proclaims that they are “Angels to some and demons to others”, he is not kidding. Are they the four horsemen of the apocalypse, given the films left-field apocalyptic ending? Could be. Undeniably vicious and oddly hypnotic, the film will scare the living daylights out of you and replace those daylights with the darkness of Hell.
1.) Henry: Portrait of a Serial Killer (1986)
During the class that I took on the horror genre in college, we discussed that the scariest movies of all are the ones that posse an unwavering realism. I seriously think that Henry: Portrait of a Serial Killer is the embodiment of this argument. Raw, powerful, disturbing, and a searing knock out, this is without question the most terrifying film I have ever seen. You will be locking your doors and possibly adding another lock for extra good measure. The plot of the film centers on Henry who is soft-spoken exterminator who also happens to be a serial killer. Henry happens to be staying with his friend Otis, who is currently on probation and works at a gas station and also sells pot on the side. Otis has also allowed his sister Becky, who is a stripper looking for a new start in Chicago, to shack up with the two bachleors. Soon, Otis learns of Henry’s grotesque hobby and quickly decides he wants in. Henry takes him under his devil wings and the two descend into the night to prey on innocent victims. The uncanny, fly-on-the-wall vérité approach elevates the film to the territory of the unbearable. Every explosive murder is chillingly real. Every line of sadistic dialogue is muttered in a disconnected tone. The film also chills you to the bone because there is never a character to truly root for, a character to take comfort in. The closest we get to a hero is Becky, but mostly because we fear for her safety. We know she is incapable of stopping the maniacs. While the violence will shock you, and trust me it is some absolutely grisly stuff, the fear of the violence and unpredictability of it all will wear away and you will be left with the fear that this could actually happen. There are actually people out there who could be capable of doing this, and I could be next if I just so happen to be in the wrong place at the wrong time. Henry: Portrait of a Serial Killer is a masterpiece of the horror genre and it will leave you thinking about it for weeks.
I hope all of our readers out there have enjoyed our 31 days of Halloween special- Anti-Film School’s Halloween Horror Movie Spooktacular- and will come back next year for more horror, thrills, and chills. I have personally had a blast doing this as Halloween is my favorite holiday and has been since I was in a diaper. Enjoy the next few days of horror movie posts and the review our readers chose. Have a terrifying Halloween, boys and ghouls! I know I will.
by Steve Habrat
Over the course of the next few days, I will be listing off the 25 films that have scared the hell out of me. This is not a definitive list of the scariest films ever made but rather recommendations of films that I think will spook you. Feel free to comment on this and let me know which films scare you. Let the terror begin!
25.) The Phantom of the Opera (1925)
In the opening moments of this silent film chiller, a man explores the underground tunnels of a Paris opera house. He is alone in the dark and armed with nothing but a lantern. The camera remains stationary in front of him so we only get to see his reactions. Keep in mind there is absolutely no sound. All of a sudden, he sees someone or something. Not anything or anyone he recognizes. We the audience are not permitted to catch a glimpse. Judging by his reaction, I do not think we want to. This is the magic of the crown jewel of the Universal Movie Monsters heap. We are not assisted by the luxury of sound effects. Our brain fills in the horrors for us and sometimes that can be the most effective way to send an icy chill down your spine. While many of you probably are familiar with Lon Chaney’s legendary hellish phantom and you do not even realize it, he plays the phantom like he may never have had the chance to star in anything ever again. And it also features a breathtaking sequence in color (gasp!). This is a truly unforgettable epic that mesmerizes and horrifies.
24.) The Hills Have Eyes (2006)
Many have expressed their disapproval at this remake of the 1977 Wes Craven classic of the same title. But in a rare case, French director Alexandre Aja actually improves upon it. And it refuses to play nice. Vile, upsetting, disgusting and downright repulsive, it hits the ground running and barrels at you without slowing down. The opening sequence and credits are enough to give you nightmares for a week and all it consists of is a few scientists in HAZMAT suits testing radiation who meet a grisly end. This is followed closely by lots of stock footage of atomic bomb tests. Following a family who ends up getting trapped in the hills of New Mexico and who begin getting terrorized by colony of mutant miners who were subjected to radiation from bombs set of by the US government may not sound all the brutal, but trust me, do not enter lightly. It’s an unapologetic and unflinching little movie. About half way through the film explodes like a ticking time bomb and it’s incredible to me that this avoided an NC-17 rating. Oh, and I should tell you that the family has a newborn baby with them. And the mutants kidnap the child and plan on eating it. Start covering your eyes and chewing off your fingernails now. Not for the faint of heart.
23.) Inland Empire (2006)
What’s it about? I couldn’t tell you. What’s the underlying message? Beats me. What’s the point? The point is that it scares the living hell out of you and it’s impossible to know why. David Lynch’s three-hour grainy epic that appears to be about a remake of a film that was cursed blurs the lines of what is real and what is a nightmare. Half way through you will give up trying to follow it but you will not be able to avoid it’s icy glare. The trailer alone will have goose bumps running up and down your arms. What elevates it is Lynch’s use of surreal imagery. There truthfully should not be anything particularly scary about it, but there is. Through his use of close ups, every single character takes on the look of a deformed specter that is staring right into your soul. And wait for one particular image of a deformed face that, in my opinion, is one of the most disturbing images I have ever seen on film. I understand that the film may frustrate you on what is actually happening and what isn’t, but I can assure you that that is exactly what Lynch is going for. To drive you mad.
22.) The Mothman Prophecies (2002)
Have you ever had someone tell you about his or her encounter with something paranormal? I would guess that while they are telling the story, your imagination was busy bringing their story to life. The story was creepy because you were not there but you believe this person is telling you the truth. Plus, your imagination has filled in what took place. Long after they have told you the story, it still plays in your brain like it was your own experience. That is kind of what The Mothman Prophecies is like. And it’s based on true events that happened in the late 60s. Through the strong performances by Richard Gere, Debra Messing, and Laura Linney, they make you feel every ounce of their confusion, frustration, horror, and weariness that is brought on from the events take place throughout the film. Centering on the sightings of an otherworldly winged creature with “two red eyes” in Point Pleasant, West Virginia, the film has an unshakeable sense of doom woven throughout. We are constantly left with some strange account that leaves us gripping our seats or a notion that something truly horrifying is lurking just around the corner. Pay close attention to the details in this one. It’s what doesn’t jump right out at you that is actually the creepiest. The Mothman is everywhere even if we never really get a good glimpse. But it’s like your reaction to your friend’s paranormal experience, you do not know, but you can imagine.
21.) Repulsion (1965)
Going mad has never been this unsettling. Roman Polanski’s portrait of a young woman (played by the gorgeous Catherine Denuve) who is seemingly losing her mind after her mother goes away for a weekend is all the more surreal because we cannot pin point the reason why. She is so normal! Turning an apartment into a claustrophobic living nightmare, the film makes exceptional use of space. Polanski makes the audience actually feel the walls closing in. And when someone knocks on her door, talk about tense! What truly makes Repulsion work is that it is a patient horror film. One that is all the more unsettling because this could be happening a few doors down in your apartment complex or just a few houses down. And to such a lovely woman at that! It’s a shame that Polanski’s other horror film, Rosemary’s Baby, overshadows that gem. Through it’s gritty scope and enclosed spaces, after seeing it you may want to evaluate your own sanity, go stand in an open field for a couple of hours, and you’ll never want to eat vegetables again.
Drop by tomorrow for more of the films that have scared the shit out of me. You know you’re intrigued and the terror has hypnotized you. And feel free to let us know what horror films scare you. Also, if you have not voted in our tiebreaker poll yet, Click Here to do so.