The horror film is my second favorite film genre right behind sci-fi/fantasy. I don't need prompted into watching scary flicks only on Halloween, but since the holiday is upon us, here are some of my personal favorites that I highly recommend.
In no particular order of greatness, since they are all more than worthy. Notice that with the exception of one, the rest of my picks are twenty years old or older. That's because most of the horror coming out of the industry today is unmitigated crap with no soul, artistry or intelligence.
10.) Dawn of the Dead (2004)
I'm putting the remake on my list to show the world that not every single remake is a hunk of shit, (You hear me, makers of THE FOG?!) but also too, that the remakes of already perfect films needs to stop! (You hear me makers of "Texas Chainsaw Massacre!")
It's no lie that Romero's original is routinely hailed as a masterpiece, deservedly so, but the remake slaps you in the face just from low-expectations alone. On the surface it looks like yet another crass, money-grubbing scheme from the primitive screw heads unable to be create works of art themselves, but look a little deeper and the emotional and visceral relevancy will jump out at you like one of the undead. Intended or not, the fears and paranoia born from the post 9/11 era is here in full bloom. A cautionary tale that seems to be forgotten in real-life, the film shows us how not to act when there are more things at stake then one’s own survival. The film basically follows the plot of the original, at least up to the gathering in the mall, from there it takes its own stand and creates its own identity and wags its fingers at us for not listening.
A fine cast led by Sarah Poley and Ving Rhames, Dawn of the Dead is the first horror masterpiece of the new century. This film created a new mantra for me that applies to any film that follows; I contend that any film that begins with a Johnny Cash song, is a damn fine one.
9.) Brides of Dracula (1961)
Released during Hammer Films heyday, this film became the gold standard to which all others were measured. Sadly, most never came close to this films greatness. Peter Cushing returns in his signature role as Dr. Van Helsing to rid a village of evil vampresses. Excellent music, terrific atmosphere from long time Hammer Director Terence Fisher makes this a great study for anyone getting any wild ideas to make yet another Vampire flick.
8.) The Omen (1976)
Director Richard Donner said he was not interested in doing a horror film, but a mystery/suspense thriller. Semantics aside, The Omen stands tall and proud above all of the Satan-themed movies to emerge in The Exorcist wakes. One of, if not the last really good one. Gregory Peck, a long way from defending Boo Radley, plays Robert Thorn, a US Ambassador to England who has tried for years to give his wife a child. When his wife Kathy Thorn (Lee Remick) gives birth to a stillborn baby, he shields her from he devastating truth and substitutes an orphaned infant for their own.
The horror begins on Damien's fifth birthday when his nanny stages a dramatic suicide. Soon after, a priest who tries to warn Damien's father is killed in a freakish accident. As the death toll mounts, Robert realizes his son is the Antichrist and decides he must kill the boy to prevent him from fulfilling a cataclysmic prophecy.
Sounds rather contrived and preposterous on paper, but thanks to air-tight editing, swift direction, truthful performances from the actors and a highly memorable score from Jerry Goldsmith makes you look at that creepy little kid from down the street in a totally differently light. The creepy babysitter offing herself, ("Damien, it's all for you!") in the film's early moments still freaks me out.
7.) Bride of Frankenstein (1935)
Hailed as the first, best sequel, this acclaimed continuation of the tortured monster still tops the best of lists seventy years later.
Boris Karloff returns as the monster who now seeks a mate of his own. The overly ambitious Dr. Frankenstein heeds the call and creates an ill-fated bride for the creature. Directed by James Whales, the film brims with vitality and sadness. From one iconic shot to the next, the film never lets up as the monster is heaped with rejection and fear. Although fitting, it works more as a tragedy than a classy horror film, as the monster is rejected by the very one created just for him. Elsa Lanchester gives a memorable performance as the reluctant Bride. All of it topped off with a magnificent and haunting score. A real crime is that Karloff was never recognized by the Academy for his superior work as the tortured monster. This film in particular he gives a performance full of nuance, humor and compassion.
6.) An American Werewolf in London (1981)
A rare gem that works, Director John Landis took two vastly differently genres, horror and comedy and made the perfect marriage. Nothing terribly original scripting wise, but the comedy moments are ones to really laugh at, while the horror elements leave you amazed and (or) disgusted. The title is self-explanitory since the real star of the film is makeup artist, Rick Baker and his amazing transformation sequences. Working with what are now deemed "old-fashioned" tools, Baker uses prosthetics and bladder kits to give the effects a tangiable look. None of this fake, video game bullshit prevelant with CG tricks of today. Listen to the cool soundtrack, every song has "moon" in the title, "Moondance", "Blue Moon", "Bad Moon Rising."
5.) Halloween (1978)
One of the most successful independent films of all time, is also one of the most influential. With the exception of "The Texas Chainsaw Massacre", "Halloween" can take credit (or blame) for invention of a brand new genre of film; the slasher or maniac on the loose. Not many directors can lay claim to inventing a brand new category of film, but John Carpenter's cheap, suspenseful little B-movie is the gold standard to which all have followed. A template still used to this day, some twenty-five years later.
Shoot in a mere three weeks, the film was released with no premiere and the bare minimum of expectations. Word-of-mouth both by the public and critics made the film the highest grossing independent ever, a title it would hold until usurped by the awful "Blair Witch Project" in 1999.
Restraint is the key word as there is next to zero blood. We never see the killers face, except in shadows and never once does he utter a word. He merely stands, cocks his head and slowly walks. The finest examples of the distillation of pure evil. He is scary because he looks like everyone else. Unlike Jason, (and the Halloween sequels) he never kills for the sake of killing, only those who he sees stand in his way. John Carpenter's first foray into horror was also his biggest. His finest work is on display here as he makes use of those glorious wide shots. Hardly ever cutting, he lets the camera act as voyeur, inventing the POV shot that has now become synonymous with slasher movie clichés. He nails the small town milieu and the sense of dread we feel is creeping up on these group of kids. Among the group is the lovely Jamie Lee Curtis, in her film debuted. It's no wonder she became a star as her natural beauty is hard not to notice and her lungs anoint her "Scream Queen.”
In supporting role is genre stalwart, Donald Pleasance as Sam Loomis. Originally offered to Christopher Lee, (he would later regret turning the role down) Pleasance plays Loomis with a slow-burn of obsession. Myers is his white whale and by-god he will nab him!
A great ending in its day, (that great montage shots saying evil never really dies) producers and studios saw only dollar signs as they made one sequel after another. Halloween II being an acceptable closer, it only gets worse with part 4 on.
4.) The Thing (1982)
Hard to believe, but this Carpenter masterpiece was a box-office flop. Opening one week after "E.T.-The Extra Terrestrial", this gore-infected, machismo-laden shock fest didn't stand a chance against Spielberg's feel good opus. It would later make its' money back on video rentals and become the classic is so deserves. A remake of Howard Hawk's 1951, "The Thing", Carpenter took what worked in the original; the isolated location, the bickering characters and the menacing alien and carved his own frightening images. Kurt Russell, his third of five collaborations with the Director, plays MacCready as a no bullshit kinda guy that sees a problem and deals with it, no reluctant hero angst for this guy. However, the films standout performance is makeup artist Rob Botten and his creative alien transformations. Like Landis's own FX orgy per Baker; Botten challenges the viewer to look away with the various changes and switeroos between human, alien, dog and back again. The scene in the dog kennel is one of great artistry and disgust. Another great sequence has a character utter an oft quoted line for disbelief. When the head of an infected colleague grows legs like a spider and scurries off, Windows says "You've got to be fuckin' kidding me!" Ennio Morricone offers up yet another great score, this time full of dread and atmosphere.
3.) Alien (1979)
On what should have been a simple trip back to Earth, the Nostromo, a mining freighter, is automatically re-routed to a desolate planet in response to a mysterious SOS.
After the crew is awakened, they investigate the source of the SOS, and discover a derelict alien ship on the planet. One of the crew members is put into a coma by an alien creature while investigating the ship. But the alien parasite dies and the crew thinks all is well. However, the small ordeal was only a prelude for greater things to come...
A genre trendsetter, Alien was a surprise hit in the summer of 79. FOX, touting the science-fiction element in an attempt to capitalize on the box-office thunderclap created by "Star Wars," were taken aback by the films horror elements.
Like the Exorcist before it, Alien sent many movie-goers to the exit with the infamous chest-bursting scene. A marvelous shock that is evidenced by the look on the actors face for they are sincere in their reactions of shock.
A beautiful example of mood, Director Ridley Scott sets a deliberate pace that eases the viewer in the mire of things. We get to know these people, some we will like, others we will cheer their demise, but we will sympathize with them all once the carnage begins. Jerry Goldsmith delivers another evocative score as it immediately sets the tone., dark and oppressive.
The production design is equally impressive. The set is not just one photogenic prop, but practical, working gizmos that give off a realistic feel. Even though the film was shot thirty years ago, it never once comes off dated. The costumes eschew anything that may give off a goofy sci-fi feel. Realism is the key as Director Scott wants us to get immersed in this world, so he can slowly and deliberately rip it apart.
Acting by all the leads is outstanding. Sigourney Weaver, in her film debuted, has a lasting presence. Although not a glamorous actress, but her toughness and vulnerability make Ellen Ripley into a sci-fi icon. One fantastic and two so-so sequels followed, Alien still stands as the best horror art film ever made.
In an amusing trivial note, the film had a considerable amount of merchandise advertised upon release. Most notably the Alien itself, a ghastly creature that could crush its victims head with a flick of its teeth, all of this was printed on the side of the toy's box. Subsequently, the marketing department and those responsible were fired for selling toys to kids for a movie they were unable to see.
2.) The Exorcist (1973)
The first and so far only horror film to get any Academy award nominations, William Peter Blatty's tale of a little girl possessed by the Devil shocked the world in its terror and frankness. Director William Friedkin takes us on a journey of horror and hope. A journey that seems like it takes us to the depths of hell, returns us, beaten, frightened and sobered, but with a reassurance of hope and faith and those things we cannot control. A memorable film for its lasting impression of a twelve year-old Linda Blair shoving a crucifix in her vagina, the film was not to be taken lightly and many audience members ran out screaming.
Even though the film has been parodied ad museum, its power is still evident and beyond the horror film theatrics is a work of uncompromising art.
1.) The Texas Chainsaw Massacre (1974)
This horror masterpiece directed by Tobe Hooper is a low-budget gritty little number that grabs hold of you like a scared date or frightened child as it slowly builds to an unnerving and unflinching last act that to this day becomes almost unbearable to watch alone. A gritty, greasy, grimy, dirty slimy insane trip into humanities heart of darkness that revolutionized low-budget horror filmmaking as well as giving birth to its own sub- genre; the maniac on the loose.
The film begins as a Hansel & Gretel story set in the Texas backwoods. On a blistering hot summer afternoon five young friends, Sally, her brother Franklin, Kirk, Pam and Jerry, set out to check on family graves after hearing news reports on grave robbing. They stop at an old family locale to reminisce when they suddenly find themselves in the clutches of the murderous Leatherface and the rest of the crazed cannibal Sawyer clan. A relentless, sparse, excursion into the things we only read or hear about through hushed tones and those fascinated with the macabre. A testament to its genius is its misinformed reputation of being extremely gory, which is just not true. The filmmakers originally suggested the film be rated PG with its lack of blood, but the MPAA felt the title alone was too grisly for those under 17 so they slapped it with an R. Director Tobe Hooper shows the world he is a mad genius with an impressive debut, which sadly never surpassed Chainsaw. His work is neither flashy nor pretentious, but the cinema verte’ style feel lends a certain authority to it all, as if this shit is real. A look so convincing that to this day many still feel the events were true, which of course they were not. Although they were based on the exploits of Ed Gein, a Wisconsin farmer who was imprisoned in 1957 for murder, robbing graves and dressing up in women’s skins and making belts out of their nipples. Hooper got the idea for the movie after hearing relatives who lived in the Gein area relate tales of a ghoulish old coot playing with dead people. If you notice, the opening narration by actor John Laroquette, says the following events occurred in the summer of 1973, the time period when the film was shot.
Filmed on a meager $100,000, the films cheapness lend to its snuff-film vibe. The charnel house atmosphere lets us know that death is happening soon to these characters. There are no quick cuts or creative editing, just Hooper and his camera acting like some detached observer recording things only seen in nightmares. As horrific a picture Hooper paints, he refrains from going too far. Even though the “hook scene” is one of the most uncomfortable moments ever put to film, it lacks no money shot; no blood is visible and we never see the hook enter the woman’s back. Clever direction by Hooper and convincing performances by the actors, especially Gunnar Hansen as Leatherface make us squirm while our imaginations give us a good ole’ fashion creep out. Where our imaginations leave off, Marilyn Burn’s bravura performance as Sally Hardesty fills in the blanks. The best Scream Queen performance to date, suffered almost as much as her character by busting both knees, enduring unbearable heat inside the maniacs farmhouse, becoming nauseated by the smell of rotting animal carcasses that filled the sets, chased and poked in the face with branches along with countless scrapes, cuts and bruises. Her character suffers like no other damsel in distress in horror history. The entire last act is unprecedented as Burns constantly screams. The films intensity and appetite for terror is still amazing.
The film was banned in Ireland, Chile, and Sweden and on three separate occasions in Great Britain because of its raw, unyielding power. Only recently has it been allowed in the British video stores.
The rest of the cast is excellent with their natural and unassuming performances. The lone exception is Paul Partaine as Sally’s crippled brother, Franklin, is a whiny self-pitying ass who is usually met with cheers from the audience upon his demise. His method acting alienated Hooper and the rest of the crew. Edwin Neal as the Hitchhiker never fails to give me the creeps. Of course, Gunnar Hansen became a cult star and still stirs up fans today with his appearances at conventions with his horror icon performance that has yet to be surpassed. It would have been so easy to make the character straight evil and a lesser actor would have done exactly that, but Leatherface gets pathos.
The most influential horror film of the 70’s is for anyone appreciative of quality, smart, gonzo horror. It is not made for everyone, as its no bullshit approach is jarring and something of a bygone era. Inferior sequels and a lame-ass remake have diluted its creditability somewhat, but it still remains the granddaddy of them all. A classic in the true sense of the word and my favorite horror film of all time!
The Shining (1980)
The Fog (1980)
Psycho (1960) Re-Animator (1985)
The Mist (2007)
The Blob (1988)
Last House on the Left (2009)