Halloween is as pure and undiluted as its title. In the small town of Haddonfield, Illinois, a teenage baby sitter tries to survive a Halloween night of relentless... read more

Halloween is as pure and undiluted as its title. In the small town of Haddonfield, Illinois, a teenage baby sitter tries to survive a Halloween night of relentless terror, during which a knife-wielding maniac goes after the town's hormonally charged youths. Director John Carpenter takes this simple situation and orchestrates a superbly mounted symphony of horrors. It's a movie much scarier for its dark spaces and ominous camera movements than for its explicit bloodletting (which is actually minimal). Composed by Carpenter himself, the movie's freaky music sets the tone; and his script (cowritten with Debra Hill) is laced with references to other horror pictures, especially Psycho. The baby sitter is played by Jamie Lee Curtis, the real-life daughter of Psycho victim Janet Leigh; and the obsessed policeman played by Donald Pleasence is named Sam Loomis, after John Gavin's character in Psycho. In the end, though, Halloween stands on its own as an uncannily frightening experience--it's one of those movies that had audiences literally jumping out of their seats and shouting at the screen. ("No! Don't drop that knife!") Produced on a low budget, the picture turned a monster profit, and spawned many sequels, none of which approached the 1978 original. Curtis returned for two more installments: 1981's dismal Halloween II, which picked up the story the day after the unfortunate events, and 1998's occasionally gripping Halloween H20, which proved the former baby sitter was still haunted after 20 years. --Robert Horton (hide)

Freddy Krueger returns to deliver a whole new breed of terror in his most fiendishly perverse frightfest yet! Unable to overpower the Dream Master who vanquished him in... read more

Freddy Krueger returns to deliver a whole new breed of terror in his most fiendishly perverse frightfest yet!

Unable to overpower the Dream Master who vanquished him in A Nightmare of Elm Street 4, Freddy (Robert Englund) haunts the innocent dreams of her unborn child and preys upon her friends with sheer horror. Will the child be saved from becoming Freddy's newest weapon or will the maniac again resurrect his legacy of evil?

For this eye-popping installment, director Stephen Hopkins (Lost in Space, Predator 2) enlisted make-up wizard David Miller (The Terminator), original creator of Freddy's hideous visage. The result: a face that not even a mother could love, and terror beyond your wildest nightmares!

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Five discs gather the first eight movies in the Friday the 13th series, plus a batch of behind-the-scenes featurettes. You can track the rise, fall, and endless resurrections... read more

Five discs gather the first eight movies in the Friday the 13th series, plus a batch of behind-the-scenes featurettes. You can track the rise, fall, and endless resurrections of Jason Voorhees, from the original 1980 film to Jason's self-kidding trip to the Big Apple. Horror fans eat up packages such as this, but there's something odd about the deluxe treatment for a series that spotlighted atrocious acting, pitiful production values, and inane storytelling.

You'll spot a few future "name" actors in various installments: Kevin Bacon is morbidly dispatched in the first one. But in general, the dominant focus is how to kill horny teenagers, most of whom have gathered at Camp Crystal Lake in the misguided belief that the curse of the impossible-to-kill Jason has worn off. The first movie has a certain raw, crummy ability to shock, Part 2 is a dismal retread, and Part 3 actually features interesting use of 3-D, which doesn't translate to its flat DVD version. The fourth is boldly subtitled The Final Chapter, and we all know where that went, but it does have Crispin Glover doing a funky dance. A New Beginning and Jason Lives continue Jason's bad mood, maybe because the hockey mask doesn't fit right. The seventh chapter, The New Blood, stakes Jason against a worthy opponent (Crystal Lake's answer to telekinetic Carrie), but the result is the same. Part 8's subtitle, Jason Takes Manhattan, is wittier than the movie itself, as Jason menaces an unlucky cruise ship of high-schoolers bound for New York--where Mr. J fits right in.

Some of the films come with commentaries from directors or cast members, including heralded Jason performer Kane Hodder. Brief documentaries (ranging from five to 15 minutes) cover separate installments with amusing anecdotes, including interviews with Sean S. Cunningham, Tom Savini, and various actors. In another doc, actors speak of the fraternity of young actors who've been slaughtered by Jason over the years. A deleted-scenes section is skimpy and not very interesting, while the tricks of special-effects gore merit a film to themselves. It's a customer-savvy DVD box, even if the effect of watching a bunch of this stuff together is a little dispiriting. --Robert Horton (hide)

Director William Friedkin was a hot ticket in Hollywood after the success of The French Connection, and he turned heads (in more ways than one) when he decided... read more

Director William Friedkin was a hot ticket in Hollywood after the success of The French Connection, and he turned heads (in more ways than one) when he decided to make The Exorcist as his follow-up film. Adapted by William Peter Blatty from his controversial bestseller, this shocking 1973 thriller set an intense and often-copied milestone for screen terror with its unflinching depiction of a young girl (Linda Blair) who is possessed by an evil spirit. Jason Miller and Max von Sydow are perfectly cast as the priests who risk their sanity and their lives to administer the rites of demonic exorcism. Ellen Burstyn plays Blair's mother, who can only stand by in horror as her daughter's body is wracked by Satanic disfiguration. One of the most frightening films ever made, The Exorcist was mysteriously plagued by trouble during production, and the years since have not diminished its capacity to disturb even the most stoic viewers. The film is presented in letterbox format on digital video disc, with a remastered soundtrack that's guaranteed to curdle your blood. The 25th-anniversary Special Edition DVD of The Exorcist is packed with bonus features, including a 74-minute documentary titled The Fear of God: The Making of The Exorcist, which includes interviews with cast and crew, audio commentary by William Friedkin and author William Peter Blatty, a special introduction by Friedkin, theatrical trailers and TV spots, and DVD-exclusive coverage of the film's storyboards and production design. --Jeff Shannon (hide)

With the smash hit Scream, novice screenwriter Kevin Williamson and veteran horror director Wes Craven (A Nightmare on Elm Street) revived the moldering corpse of the teen horror... read more

With the smash hit Scream, novice screenwriter Kevin Williamson and veteran horror director Wes Craven (A Nightmare on Elm Street) revived the moldering corpse of the teen horror picture, both creatively and commercially, by playfully acknowledging the exhausted clichés and then turning them inside out. Scream is a postmodern slasher movie, a horror film that cleverly deconstructs horror films, then reassembles the dead tissue, and (like Frankenstein's monster) creates new life. When a serial killer starts hacking up their fellow teens, the media-savvy youngsters of Scream realize that the smartest way of sticking around for the sequel is to avoid the terminal behaviors that inevitably doom supporting players in the movies. They've seen all the movies, and the rules of the genre are like second nature to them. One of the scariest/funniest setups features a kid watching John Carpenter's seminal Halloween on video. As Jamie Lee Curtis is shadowed by Michael Meyers and the kid on the couch yells at her to turn around, Craven reverses his camera and we see that the kid should be taking his own advice. The fresh-faced young cast (including Drew Barrymore, Neve Campbell, Skeet Ulrich, Courtney Cox, and David Arquette) is fun to watch, and their tart dialogue is sprinkled with enough archly self-conscious pop-culture references to make Quentin Tarantino blush. --Jim Emerson (hide)

The 2003 version of The Texas Chainsaw Massacre adheres to the pure and simple slasher movie formula: Introduce a gaggle of sexy young people, make vague gestures to... read more

The 2003 version of The Texas Chainsaw Massacre adheres to the pure and simple slasher movie formula: Introduce a gaggle of sexy young people, make vague gestures to distinguish them--Jessica Biel (Summer Catch) wants to get married and doesn't like pot, so she's our moral compass--then start hacking them to pieces one by one. The visual palette includes grimy crucified dolls, fly-specked pig carcasses, body parts floating in murky jars, a tobacco-chewing redneck sheriff, and many slender beams of sunlight cutting through dank, dusty interiors. The camera lovingly photographs Biel's tank-topped bosom and sculpted abs as she's running in terror from a bloated, chainsaw-wielding, human-skin-wearing maniac. This remake lacks the macabre comedy of the original; it's all about the nauseating sensation of waiting for something to jump out of the dark. Also featuring Eric Balfour (Six Feet Under) and R. Lee Ermey (Full Metal Jacket, Mail Call). --Bret Fetzer (hide)

Stanley Kubrick's The Shining is less an adaptation of Stephen King's bestselling horror novel than a complete reimagining of it from the inside out. In King's book, the... read more

Stanley Kubrick's The Shining is less an adaptation of Stephen King's bestselling horror novel than a complete reimagining of it from the inside out. In King's book, the Overlook Hotel is a haunted place that takes possession of its off-season caretaker and provokes him to murderous rage against his wife and young son. Kubrick's movie is an existential Road Runner cartoon (his steadicam scurrying through the hotel's labyrinthine hallways), in which the cavernously empty spaces inside the Overlook mirror the emptiness in the soul of the blocked writer, who's settled in for a long winter's hibernation. As many have pointed out, King's protagonist goes mad, but Kubrick's Jack Torrance (Jack Nicholson) is Looney Tunes from the moment we meet him--all arching eyebrows and mischievous grin. (Both Nicholson and Shelley Duvall reach new levels of hysteria in their performances, driven to extremes by the director's fanatical demands for take after take after take.) The Shining is terrifying--but not in the way fans of the novel might expect. When it was redone as a TV miniseries (reportedly because of King's dissatisfaction with the Kubrick film), the famous topiary-animal attack (which was deemed impossible to film in 1980) was there--but the deeper horror was lost. Kubrick's The Shining gets under your skin and chills your bones; it stays with you, inhabits you, haunts you. And there's no place to hide... --Jim Emerson (hide)

Saw opens with a gruesome scenario: Two men are chained to the walls of a grimy bathroom with a bloody corpse lying on the floor between them. Tape... read more

Saw opens with a gruesome scenario: Two men are chained to the walls of a grimy bathroom with a bloody corpse lying on the floor between them. Tape recordings tell them that one of the men has to kill the other, or his wife and child will die. The corpse is holding a gun in one hand, but it's out of reach...but whoever has locked these two up has thoughtfully provided a hacksaw that can't cut through the heavy chain, but might cut through a little flesh and bone. From there, Saw jumps back and forth as the two men slowly unravel how they know each other and that their tormentor is one of those all-knowing, all-capable serial killers (it goes without saying that Saw is hugely influenced by Seven and the movies of Dario Argento), a fellow known as Jigsaw who disguises his voice and lets a creepy puppet (lifted almost directly from the eccentric animations of the Brothers Quay) be his visual representative. But imitation isn't inherently bad; what puts Saw ahead of its horror compatriots is a gleeful enthusiasm that a dozen sequels to Halloween couldn't muster. Saw has problems--it's clumsily overwritten (every detail of what's going on, no matter how visually evident, will be explained by the characters); most of the situations are static and implausible; and though the cast includes talented veterans like Cary Elwes (The Princess Bride) and Danny Glover (Lethal Weapon), the acting has the depth of a puddle. The rapid pace and frequently frenzied camerawork keep things in motion and while the philosophical underpinnings of Jigsaw won't challenge Hegel or Schopenhauer, they do offer more food for thought than most contemporary horror. Discriminating fans of the genre who like their gore with a glimmer of an idea will embrace Saw.

The Uncut Edition differs only slightly from the theatrical release; it reinserts a little more gore that was cut to get an R rating and tightens up the editing (the uncut version is actually a teensy bit shorter than the theatrical release). The extras are plentiful (if a bit thin): Two audio commentaries (one by director James Wan, screenwriter/actor Leigh Whannel, and Elwes), one by the producers--thankfully, no one takes themselves too seriously. Also included are a trio of typically self-congratulatory making-of featurettes ("He was amazing to work with" etc.), an animated storyboard of a sequence they couldn't afford to shoot, a DVD-ROM game in which you can construct your own puppet, a couple of self-mocking Easter Eggs, and lots of promotional stuff for Saw II. There's a very curious faux-news show purporting to be an investigation of the "real" Jigsaw, which uses clips from the movie as if they were documentary footage--it's hard to say whether this is a misguided attempt to make the movie seem creepier or a bit of flimsy humor. Most fans will find the regular DVD release satisfactory; this special edition is largely for hardcore enthusiasts. --Bret Fetzer (hide)

Disturbing images and a few good shocks don't stop The Ring from being a hash of half-baked ideas. It's the kind of frightfest you'll watch to set a... read more

Disturbing images and a few good shocks don't stop The Ring from being a hash of half-baked ideas. It's the kind of frightfest you'll watch to set a chilling mood or spook your susceptible friends, but when you try to sort it out, this well-mounted American remake (of the 1998 Japanese hit Ringu, based on Koji Suzuki's popular novel) collapses into a heap of incoherent parts. The negligible plot follows a Seattle reporter (Naomi Watts) as she investigates the death of her niece, the victim of a mysterious videotape that, according to vague urban legend, causes the viewer's death seven days later. (Fear Dot Com borrowed the same idea while avoiding this film's lofty pretensions.) The reporter, her son, and her estranged boyfriend view the tape, and the film's countdown structure follows them into deepening layers of terror--all quite effective until the movie attempts to explain itself. At that you're better off shutting down your brain and letting the creepy visuals take over. --Jeff Shannon (hide)

The Wayans Brothers return with another horror-flick parody, this one taking shots at The Exorcist, Hannibal, and House on Haunted Hill, along with non-horror fare like Charlie's Angels.... read more

The Wayans Brothers return with another horror-flick parody, this one taking shots at The Exorcist, Hannibal, and House on Haunted Hill, along with non-horror fare like Charlie's Angels. In addition to gags (and I do mean gag) about innumerable bodily functions, there are slyer jabs at Thomas Jefferson and Raging Bull. As in Scary Movie, the strongest humor comes from making fun of the inane behavior of characters in horror movies. Assisting Shawn and Marlon Wayans are Anna Faris, Kathleen Robertson (in the Carmen Electra role, providing the T&A), and David Cross, as well as Tori Spelling, Chris Elliott, James Woods (as an exorcist with bowel trouble), Andy Richter, and poor Tim Curry, who probably never thought his career would come to this. --Bret Fetzer (hide)

George Romero's classic 1968 zombie-fest (shot in black and white) offers some disturbing images, even decades later. In a Pittsburgh suburb people are being stalked by zombies ravenous... read more

George Romero's classic 1968 zombie-fest (shot in black and white) offers some disturbing images, even decades later. In a Pittsburgh suburb people are being stalked by zombies ravenous for human flesh. In a house whose occupant has already been slain, two separate groups of people unite and board themselves in, hoping to fend off the advancing ghouls. Through radio and TV reports they learn that radiation from outer space is thought to be responsible for the wave of zombie attacks all over the eastern United States. Once the humans are trapped, Romero shifts the focus to the internal feuding between them as they decide how to handle their dreadful situation. What unfolds is an examination of human nature, and of the fear and selfishness that keep many citizens from getting involved in the world's problems. Appropriately, both the zombies and the authorities who later hunt them are equally soulless. This film could also be read as a criticism of white males--it is not merely a coincidence that the film's two most rational, constructive characters are a woman and a black man. It is also no coincidence that the sequel takes place in a mall infested by the undead--a perfect analogy for consumer culture. --Bryan Reeseman (hide)

At last--a great American movie available on video for the first time in its original aspect ratio. For all the slasher pictures that have ripped off Psycho (and... read more

At last--a great American movie available on video for the first time in its original aspect ratio. For all the slasher pictures that have ripped off Psycho (and particularly its classic set piece, the "shower scene"), nothing has ever matched the impact of the real thing. More than just a first-rate shocker full of thrills and suspense, Psycho is also an engrossing character study in which director Alfred Hitchcock skillfully seduces you into identifying with the main characters--then pulls the rug (or the bathmat) out from under you. Anthony Perkins is unforgettable as Norman Bates, the mama's boy proprietor of the Bates Motel; and so is Janet Leigh as Marion Crane, who makes an impulsive decision and becomes a fugitive from the law, hiding out at Norman's roadside inn for one fateful night. Psycho gets the masterpiece treatment it deserves on DVD, with extras including newsreel footage surrounding the making and release of the movie; an archive of production stills; the special trailer in which Hitchcock (acting as one of the original Universal Studio tour guides) himself leads viewers around the Bates place; credit designer Saul Bass's original "shower scene" story boards; posters and advertising materials for the movie's William Castle-like publicity campaign (No One Will Be Seated After the Feature Begins!); and a 90-minute documentary on the making of the film! What more could any movie fan possibly want? --Jim Emerson (hide)

It's not the scary hit that The Ring was in 2002, but The Grudge makes a similarly convincing case for American remakes of popular Japanese horror films. Barely... read more

It's not the scary hit that The Ring was in 2002, but The Grudge makes a similarly convincing case for American remakes of popular Japanese horror films. Barely a year passed between the release of Takashi Shimizu's creepy ghost story Ju-On: The Grudge and the production of this American remake, set in Tokyo and starring Sarah Michelle Gellar in her first post-Buffy horror film. About the only significant difference between the two films is the importing of a mostly-American cast (including Bill Pullman, Clea DuVall and Grace Zabriskie), but The Grudge was reconfigured (by screenwriter Stephen Susco) to allow Shimizu to refine and improve the spookiest highlights of his earlier version, which enjoyed previous incarnations as a short film and two made-for-Japanese-video features. Surprising box-office analysts with a $40 million opening weekend, The Grudge may disappoint hard-core horror fans because it lacks gore and graphic violence, but as a creepy tale about a very haunted house, it's guaranteed to send a few chills up your spine. --Jeff Shannon (hide)

After The Exorcist sparked a lengthy trend of supernatural thrillers, this 1976 horror film scored a hit with critics and audiences for mixing gothic horror and mystery into... read more

After The Exorcist sparked a lengthy trend of supernatural thrillers, this 1976 horror film scored a hit with critics and audiences for mixing gothic horror and mystery into its plot about a young boy suspected of being the personification of the anti-Christ. (No doubt it's a favorite of shock-rocker Marilyn Manson.) Directed by Richard Donner (best known for his Superman and Lethal Weapon films), The Omen gained a lot of credibility from the casting of Gregory Peck and Lee Remick as a distinguished American couple living in England, whose young son Damien bears "the mark of the beast." Mysterious deaths and unexplained incidents draw the attention of a photographer (David Warner), whose investigation leads to the young boy--and also to the photographer's shocking decapitation (in a scene that has since been inducted into the horror hall of fame). At a time when graphic gore had yet to dominate the horror genre, this film used its violence discreetly and to great effect, and the mood of dread and potential death is masterfully maintained. It's all a bit hokey, with a lot of biblical portent and sensational fury, but few would deny it's highly entertaining. Jerry Goldsmith's Oscar-winning score works wonders to enhance the movie's creepy atmosphere. --Jeff Shannon (hide)