As any lover of horror will tell you, picking a short list of favorite monsters is no easy feat. The most classic movie monsters are those with an element of tragedy; the ones who evoke empathy as well as horror. While I love the classics and admire the craft required to create a sympathetic monster, I don’t know that I can call them my favorites. To be my favorite, a monster must be truly frightening, something that makes you want to hide under the bed, if only you could be sure that there wasn’t something much, much worse lurking, just out of sight, down there. To help narrow the field to these most terrifically terrifying fiends, I’ve drawn from five fears of children and childhood to give you my favorite monsters of horror.
1. Creepy Kids
By subverting the notion of children as harmless innocents, creepy kids make for extraordinary effective monsters. Whether made evil by external intervention, as in The Exorcist or Pet Cemetery, or simply born bad like little Rhoda Penmark in The Bad Seed, these children of horror are more perceptive than you, more devious, and without a single moral objection to your violent demise. Playing upon mankind’s perceived biological imperative to protect children, these monsters ruthlessly twist any act of mercy and care into a lethal mistake. The best of these (and my first favorite) is Samara from 2002’s The Ring. Rachel, our protagonist, sees poor Samara as a tragic figure, murdered by her own mother simply for being too different. Except no. She’s actually a sea monster rape-baby who gleefully wants to burn awful images into your mind until you die. She doesn’t “just want to be heard,” Rachel. She just wants to kill you.
Aidan: Is she still in the dark place?
Rachel: No. We set her free.
Aidan: You helped her?
Aidan: Why did you do that?
Rachel: What’s wrong, honey?
Aidan: You weren’t supposed to help her. Don’t you understand, Rachel? She never sleeps.
2. Scary Dolls
Psychologists recognize automatonophobia as the fear of anything falsely representing a sentient being, including robots, dolls, and ventriloquist dummies. Perhaps, like creepy kids and evil clowns, dolls make for terrifying monsters by representing the juxtaposition of the joyous things of childhood with the looming inevitability of death and decay. Scary dolls are like creepy kids, but littler, creepier, and therefore more likely to be tucked into hidden spaces, watching you. Watching and waiting…
Although horror offers plenty of scary dolls to chose from, including the disturbing Dolly from Dolly Dearest and sinister Hugo from Dead of Night, the eponymous dolls from 1987’s Dolls win in a multi-way tie for my favorite scary doll monster on sheer horrifying volume alone. Killed and imprisoned in toys to pay for their crimes, these dolls might be sympathetic if they weren’t so completely full of malevolent, unrepentant mischief, fully committed to killing you, even if it takes their tiny doll hands all night to do it.
3. The Monster in the Closet
That thing that’s lurking under the bed. Or possibly in the closet, or in the dark at the bottom of the basement stairs, where the light doesn’t quite reach. These monsters, easily dismissible in the light of day, gain a terrifying immediacy and presence in the dark, when you feel the sudden, irrational imperative to gauge the leap between the light switch and the relative safety of your bed.
Well represented by Lovecraft’s Night-Gaunts and The Whisperer in the Darkness, my favorite Monster in the Closet can be found in Stephen King’s short story The Boogeyman, which asked, “Did you look in the closet?” and left me unable to sleep alone for an entire summer. Since the latest short film version of the story hasn’t been released yet (and we don’t acknowledge the 1982 full length atrocity of an adaptation), I’ll use Drew Daywalt’s 2010 short There’s No Such Thing to illustrate my choice. Sleep tight, kittens.
4. Evil Clowns
Clowns were once considered gentle buffoons, the perfect choice to entertain crowds of children. Now we know better. As a society, we have recast clowns as monsters, lurid freaks and crazed killers, their painted-on smiles intense grins of maniacal joy. In The History and Psychology of Scary Clowns, Smithsonian Magazine notes that no less an authority than Andrew McConnell, English professor and coulrophobia historian, credits Charles Dickens with introducing the idea of the clown as a secret, sinister monster, “an off-duty clown…whose inebriation and ghastly, wasted body contrasted with his white face paint and clown costume.”
Whatever the reasons clowns make for fabulously frightening movie monsters, there are no shortage of candidates for a favorite. However, when it comes to childhood fears, the 1982 classic Poltergeist hits the nightmare trifecta of monster in the closet, something under the bed, and a scary clown that really, really, wanted to see you dead.
5. The Monster that Doesn’t Need an Explanation
As children, we fear many things that do not have a name. Some, horrifying abominations that defy definition, become no less repugnant as we age. These monsters push at the boundaries between dimensions, shrugging off all normal rules of physiology and rationality. The very alienness, the wrongness, of these creatures is exactly what makes them so completely terrifying. My favorite monster in this category needs little introduction and bears no explanation – the thing from John Carpenter’s 1982 classic The Thing. Sure, it was based on a novella and there was an attempt at an extraterrestrial back story, but there’s really no amount of explaining that can rationalize a whip-mouthed spider dog monster that wants to be inside you. Monstrous, abhorrent, and viciously single-minded, this monster simply is. Best start running now.
To check out more from Eva Halloween, click here to visit her spooky website, The Year of Halloween.
by Steve Habrat
If you are looking for seriously scary horror movie, look no further than John Carpenter’s independent 1978 slasher classic Halloween. If you want to be reduced to a quivering ball of flesh, this is the film that will do it. Trust me. Considered an “immortal classic” by critics and horror fans and celebrated as the most successful independent feature of all time, Halloween is the film that practically wrote the slasher rulebook and showed us all how teen terror was done. Spawning countless imitators, a slew of lackluster sequels, and two good but not great remakes, Carpenter delivers a film surging with a threatening atmosphere and a movie monster so iconic and terrifying, a small glimpse of Michael Myers makes most people slightly uncomfortable. While most of the terror is milked from the borderline supernatural antagonist, there is plenty of unease in that iconic theme, the one with the frantic and paranoid synths that announce the arrival of the boogeyman. And then there is Jamie Lee Curtis as the virgin heroine, the one who is always just narrowly making it away from the relentless evil prowling the shadows of suburbia. And how can I forget that terrifying last shot, the one that is followed by a series of shots of suburban homes sitting in silence as Carpenter visually suggests that this terror can happen in any home, on any street, and in any living room. I think you get the idea.
Halloween begins on October 31st, 1963, in Haddonfield, Illinois, with a young Michael Myers (Played by Will Sandin) returning from a night of trick r’ treating, grabbing a butcher knife, and the brutally murdering his older sister, Judith (Played by Sandy Johnson). Immediately after the murder, Michael’s parents arrive home and discover what he has done. The film then speeds a head to October 30th, 1978, with Dr. Samuel Loomis (Played by Donald Pleasance) making his way to Smith’s Grove Sanitarium with nurse Marion Chambers (Played by Nancy Stephens) to pick up Michael Myers and take him to a court hearing. Upon their arrival, they discover the patients of Smith’s Grove have broken out of their rooms and are wandering the grounds. In the confusion, Michael steals a car and speeds off towards Haddonfield. With Dr. Loomis is hot pursuit, Michael steals a pair of coveralls and a Halloween mask, arms himself with a butcher knife, and returns to his childhood home. Meanwhile, nerdy high school student Laurie Strode (Played by Jamie Lee Curtis) and her friends, Annie Brackett (Played by Nancy Kyes) and Lynda Van Der Klok (Played by P.J. Soles), gear up for a night of Halloween shenanigans with their boyfriends. As Michael prowls Haddonfield, he encounters Laurie and her friends and he proceeds to stalk them into the evening. As night falls, Dr. Loomis and Sheriff Leigh Brackett (Played by Charles Cyphers) race to track down Michael before he can claim several new victims.
In my humble opinion, Halloween unleashes the most terrifying psychopath killer ever to grace the screen next to The Texas Chain Saw Massacre’s Leatherface. Michael silently peeks out from bushes and appears outside of Laurie’s window only to disappear in the blink of an eye. He remains in the shadows, waiting for the proper moment to lash out at his teenage prey, which he enjoys toying with before they meet the end of his knife. After one death, Michael carries the body of the victim from the backyard around the side of the house and up the front porch steps. It’s an unsettling image made all the creepier through the otherworldly background noises lifted from the 1951 science fiction classic The Thing. Through the spacey sound effects, Carpenter hints that Michael may not be human at all but a supernatural force sent to disrupt the peaceful and sleepy order of suburbia. None of our characters are safe as the settle in with popcorn and beer to enjoy scary movies and hook up with their doomed boyfriends. If the otherworldly screeches and whistles aren’t enough, wait for the scene where Lynda’s boyfriend Bob leaves to grab a beer, only to bump into Michael lurking in the shadows. After horrifically killing him and then examining the body (wait until you see that head tilt), Michael fittingly disguises himself as a ghost wearing Bob’s glasses, enters the bedroom where Lynda is waiting, and then strangles her to death. A ghost going in for the kill, only to disappear into the dark like he was never there at all. That, my friends, is why Michael is scary as hell.
When Michael isn’t busy stealing the show, Curtis and Pleasance do a fantastic job with their little corners of Halloween. Curtis is the ultimate scream queen as the uptight Laurie, the poor, incorruptible soul who is the unfortunate target of pure evil. She is immensely likable and vaguely sympathetic, constantly making us wish she would just let loose a little bit with her friends (she sort of does in a scene where she shares a joint with Annie). When it comes time for her to flee from Michael, she smartly fights back when she can, even nabbing Michael’s knife at one point and jabbing it into his ribcage. And then we have Pleasance as the grim Dr. Loomis, who is constantly reminding us that Michael isn’t a man at all but evil on two legs. I dare you not to get chills when Loomis and Sheriff Brackett stumble upon a mutilated dog and Loomis murmurs, “he got hungry.” I seriously think that Pleasance gives the best performance in the film. You also can’t help but love Soles and Kyes as Laurie’s free spirited friends. Kyes is especially entertaining as the mouthy Annie, who is constantly pushing Laurie to ask out her crush.
With a creepy monster in place and superb acting from everyone involved, its up to Carpenter to deliver on the iconic scares and he sure is up to the task. The opening sequence of Halloween, in which Carpenter’s camera acts as the POV of young Michael as he makes his way up to his sister’s room, will have your arms covered in goose bumps. This scene appears to be one continuous shot but Carpenter actually expertly masks a number of cuts within the scene. It is a sequence that I’m sure Hitchcock would approve of. And how about that end chase? The one that has Laurie locked in a closet with Michael hacking his way in as Laurie frantically looks for something to arm herself with. Hell, Carpenter creeps us out in broad daylight as Laurie shuffles home from school, only to be silently pursued by the Shape. Halloween does have a number of minor flaws that really show as the years pass. Some of the dialogue is dated and if you look closely in one particular scene, you can even spot a few palm trees. And then there is that fact that Michael has been locked up since he was a young boy but yet he knows how to drive a car. And I still think that Tommy Doyle (Played by Brian Andrews) is sort of an annoying character as he constantly babbles on whines about the boogeyman. Don’t worry, you’ll be too freaked out to even notice these goofs. Overall, Carpenter’s Halloween is a massively influential horror film that refuses to be topped. It ranks as one of the scariest films I have ever seen and it is a triumph of independent cinema. If you are one of four people out there who have never seen Halloween, do yourself a favor and add it to your movie collection. Good luck getting Michael Myers out of your head.
Halloween is available on Blu-ray and DVD.
by John LaRue
When Steve asked me to count down the five films that scared me, I grinned like the Cheshire cat. It gave me a bonus opportunity to write about one of my earliest loves- horror films. As I sat down to compile the list, I realized that most of what scares me all ties back to childhood. Apparently, I was steeled for life as a horror-watching adult before my 7th birthday, because I watched nearly all of my selections in 1982 at age six. Is there anything scarier than what we see when we’re children, unprepared for the fantasy worlds given to us on a movie screen? The same naiveté that gives you Santa Claus also gives you ghosts, goblins, witches, vampires, and a whole host of other things that give kids nightmares. I’ve illustrated all of this the best way I know how- with an infographic detailing my list of five films that scare me, along with some fun facts about my personal quintet of terror.
John LaRue is owner and minister of information of tdylf.com. In his spare time, he is a baseball and Nazi zombie enthusiast, as well as a graphic designer. He lives in the provel cheese capital of the world- St. Louis, Missouri. Follow John on Twitter (@tdylf).
by Steve Habrat
In the stretch of films that John Carpenter made from 1978 to 1982, Escape From New York may be my least favorite of the films that also included Halloween, The Fog, and The Thing. It is these four films that are perhaps the most prolific films of his career (I should also throw in Assault of Precinct 13 and Big Trouble in Little China) and all have their own respectable cult following. Escape From New York is probably his most eccentric film in this stretch, one that broke the horror mold that he was falling into. Escape From New York ventures into science fiction and action territory (Carpenter explored science fiction with his debut film Dark Star in 1974) and the result is a fairly mixed bag of masculine 80’s clichés, inconsistent action sequences, and sputtering suspense. Still, I am willing to forgive in most of these areas but the one that really hurts is the lack of a suspenseful atmosphere that I feel Carpenter did so well. He would return to form, thankfully, in with his 1982 science-fiction chiller The Thing. There would be some magic found in Escape From New York, this first pairing of Carpenter and Kurt Russell, a match made in badass heaven.
Escape From New York invites us into a dystopian world where, in 1988, crime rose 400%, causing the U.S. government to construct a giant wall surrounding New York City that turns the greatest city in the world into a sprawling maximum-security prison. The year is 1997 and Air Force One has crashed into the dangerous streets of the prison, streets that are crawling with psychos and criminals. The President (Played by Donald Pleasance) was on his way to a three-way summit meeting between the U.S., China, and the Soviet Union for a discussion on nuclear fusion, a meeting he is desperately needed at. Police Commissioner Bob Hauk (Played by Lee Van Cleef) enlists the help of scowling ex-soldier turned criminal Snake Plissken (Played by Kurt Russell), who is facing a life sentence behind the city walls. Hauk tells Plissken that if he retrieves the President in twenty-four hours, he will pardon Plissken of his sentence. Plissken reluctantly agrees and travels into the grungy wasteland where he finds himself facing a relentless army of bloodthirsty criminals who all want him dead. Along the way, he runs into some old acquaintances and faces off against the sinister Duke (Played by Isaac Hayes), who plans to use the President as his key to freedom.
It’s almost impossible not to read Escape From New York as a faint satire of the crime that ran rampant in New York City in the 1970’s into the 1980’s. The 1980’s and early 1990’s saw some of the worst of the crime. Escape From New York saw itself released in 1981, right in the midst of the flurry of crime and right at the start of the Regan Presidency. Escape From New York has a heavy military and police presence within the film, masked soldiers prowling the tops of the prison and helicopters swooping in to shoot and kill any prisoner that looks like they are attempting an escape. When the film is mirroring the uncontrollable crime of New York City and Regan’s focus on military expansion, Escape From New York is witty, cynical and, yes, tense in some respects. You do feel uneasy because you don’t really know the terrors that lie beyond those walls and there is the paranoia of war right around the corner. Even the early scenes, where Carpenter keeps many of the psychos in the shadows are a bit unsettling, but then he turns the lights on and allows the sun to come up to chase all those demons out of the shadows and into the sewers.
Escape From New York does do a good job at creating a dystopian world that is admirable in the attention to detail. While watching it, I could completely see this grungy vision of New York City being completely plausible for the time in which it was released. Plissken is warned not to venture into the subways or into certain parts of the city by its wary prisoners, the one’s with hints of good within them. Shadowy silhouettes scamper through the streets, evocative of homeless street dwellers calling the grime caked darkness home. The effects are also quite impressive, especially when you keep in mind that the film was made for a whopping six million, which by today’s standards wouldn’t get you far at all. At times, it is a bit obvious that Carpenter is filming miniatures and a sequence involving a glider tumbling down the side of the World Trade Center looks a bit dated, but outside of that, the film has aged very well.
Escape From New York would not be the classic that it is considered if it didn’t have Kurt Russell in the lead as Snake Plissken. Plissken is almost always as cool as a cucumber, his voice just above a whisper as he tiptoes around the littered streets with an intimidating machine gun. Plissken practically becomes the definition of the strong silent type, even when he is thrown in a wrestling ring with a gigantic brawler who is looking to pull Plissken’s head from his body. It was this film that revealed the peanut butter and jelly pairing of John Carpenter and Kurt Russell, Carpenter dreaming up perfect one-liners for Russell to mumble before he aims a gun or throws a punch. The writing would really take shape in The Thing, the film that contains one of Russell’s greatest one-liners, but Russell sure gets to have some pokerfaced fun here (Hauk: “Plissken? Plissken, what are you doing?” Snake: “Playing with myself! I’m going in!”). Escape From New York also features a few other Carpenter alums, Pleasance as the half-hearted President and Adrienne Barbeau as the curvy and dangerous Maggie. Harry Dean Stanton, who would go on to appear in Carpenter’s 1983 film Christine, has some fun as the shifty Brain, who betrayed Plissken in the past.
Escape From New York leaves the viewer wanting more and not particularly in a good way. I wanted more development of Isaac Hayes’ Duke, a villain we mostly only hear about and when we see him, he never really strikes fear into our hearts. Lee Van Cleef’s Hauk just jogs around from behind computer screens to a helicopter and back again. Stanton and Barbeau both seem to be having some fun in Carpenter’s wasteland, Barbeau overjoyed to be reunited wit her The Fog director, but their characters aren’t really elaborated on, only there to keep Plissken on his toes. Escape From New York belongs to Russell and he is the one who will lure you back behind the walls of the New York City maximum-security prison for repeat viewers. The film is also notable for its satire and political commentary, touches that elevate the film above a mindless science fiction/action throwaway. I would have liked the story to develop a little more, for Plissken to explore a little more of New York City and bump in to a few more baddies. Yet there is enough bloody action to keep us occupied in our visit to this nightmare world and, for those who have never seen it, it is worth seeking the film out to be introduced to the man that is Snake Plissken. I guess that is enough for me to recommend the Escape From New York. If only it had that signature tense Carpenter atmosphere but I guess a guy can dream, right?
Escape From New York is available on Blu-ray and DVD.
Hello, boys and ghouls…
We are very close to beginning our Halloween Horror Movie Spooktacular here at Anti-Film School. Starting October 1st, Anti-Film School will be overrun by monsters of all sorts. We will have zombies, mummies, vampires, werewolves, swamp monsters, psycho killers, and more. No one will be safe. Here is what you can expect over the course of the month:
Starting October 1st through the 9th, Steve will be reviewing George Romero’s zombie films and the remakes of two of his films. He will also be reviewing one of his personal favorite zombie flicks that is not a George Romero movie. It will be a gory week, so make sure you don’t get any blood and guts on you while checking the reviews out!
Starting October 10th, Corinne will be visiting with the Universal Studios Movie Monsters. She will drop in on The Phantom of the Opera, Dracula, Frankenstein, Bride of Frankenstein, The Mummy, The Wolf-Man, and The Creature from the Black Lagoon. It’s going to get spooky!
Throughout the third week of October, Charles will be unleashing Norman Bates in Psycho and the sequels that followed the Hitchcock original. He will also be checking in to the refurbished Bates Motel in the Gus van Sant remake. Charles will be hanging out with the ghosts of Poltergiest and writing a study on shock rocker turned horror director Rob Zombie. Oh, the horror!
You can also expect reviews of vampire films that you may have not seen, reviews of the original John Carpenter film The Thing and the prequel that makes it’s way to theaters during the month, and a few other monsters that we like and dislike. Also, we are asking you to vote in our latest poll, which asks you which horror film you want us to review on Halloween day. This is your chance to interact with out site. Head over to the Category Cloud and click on the poll link. The first poll box that comes up is the one that we want your input in. Voting closes on the October 20th and anything cast after the said date will be ignored. We hope you are as excited about this event as we are. We hope you all make it a ghoulish hit. Who’s ready to get scary?
Note: Anti-Film School does not claim to own the images and clips from Universal Pictures’ 1931 film Frankenstein.
Today, Anti-Film School is announcing our upcoming October project. Starting October 1st, Anti-Film School will be taken over by horror movies and it will last all month! Expect new reviews and articles on horror films every day throughout October. Yup, all thirty-one days. You can expect reviews for the Universal Movie Monsters, George A. Romero’s Dead saga, a look back at John Carpenter’s The Thing in honor of the prequel, Vampire films (NOT Twilight), an article on Rob Zombie, and more! Here’s the really nifty part: You get to choose our final Halloween review! We want you to vote in our latest poll that asks you which horror movie classic you want to see reviewed on the 31st. We will launch the poll today and it will stay open until October 21st. If there is a movie that we do not include in the poll, a horror movie that you would like to see, leave a comment on the poll post or email Steve, Charles, or Corinne. We want the readers to get involved with the site so don’t be bashful! You will still be able to find reviews for new movies throughout the month, so rest assured those who dislike horror, we have you covered. We are really excited to do this project and we hope you guys enjoy it. Now start voting in the poll and tell your friends! Everyone has a favorite horror flick!