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)

This splatter flick, along with John Carpenter's Halloween, helped spawn the great horror-movie movement of the '80s, not to mention eight sequels, many of which had nothing to... read more

This splatter flick, along with John Carpenter's Halloween, helped spawn the great horror-movie movement of the '80s, not to mention eight sequels, many of which had nothing to do with the films that preceded them. It also gave birth to Jason Voorhees, one of the three biggest horror-movie psychos of the modern era (the other two being Halloween's Michael Myers and A Nightmare on Elm Street's Freddy Krueger). Forever duplicated, the original Friday the 13th popularized a number of themes and techniques that today are now clichés: the increasingly gory murders, the remote forest location, the anonymous and nubile cast, the murderer as cult hero, and, of course, the moral that if you have sex, you will die, very painfully. Still, if you have to see a Friday the 13th movie, this is the one to check out. A group of eager (and horny) teenagers decide to reopen Camp Crystal Lake, which 20 years earlier was closed after the shocking and mysterious murders of two amorous camp counselors. You can take it from there, as the teens get picked off one by one, during a dark and stormy night; of course, their car won't start and there's no phone. The ending stole shamelessly from Brian De Palma's Carrie, but it still provides a slight if campy shock. Look for a young Kevin Bacon as the requisite stud--you can tell that's what he is because when the cast appears in swimsuits, he's wearing a Speedo--who's the beneficiary of the film's best murder sequence, an arrowhead to the throat. Right after having sex, of course. --Mark Englehart (hide)

Wes Craven's 1984 horror film is a better movie than it is generally credited for being. Forget the tawdry sequels; this highly original, almost surrealist work stars Robert... read more

Wes Craven's 1984 horror film is a better movie than it is generally credited for being. Forget the tawdry sequels; this highly original, almost surrealist work stars Robert Englund as a mutilated monster who kills teenagers during their dreams. Craven, who only directed one Elm Street sequel (Wes Craven's New Nightmare), takes the Hitchcockian step of layering in psychological explanations for the terror and then proving them all irrelevant in the face of mindless evil. The horror in the film is emotionally raw, in contrast to the overimaginative set pieces of most of the sequels that followed; and the final scene is as deeply unsettling as anything Luis Buñuel ever committed to film. --Tom Keogh (hide)

With its disturbing images and a few good shocks, The Ring is the kind of frightfest you'll watch to set a chilling mood or spook your susceptible friends,... read more

With its disturbing images and a few good shocks, The Ring is 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) becomes a batch 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 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 countdown structure follows the reporter, her son, and her estranged boyfriend 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)

"This movie is cursed!" exclaimed movie-magazine headlines regarding Exorcist: The Beginning, but those dire warnings turned out to be exaggerated. Considering a tumultuous production history that actually did... read more

"This movie is cursed!" exclaimed movie-magazine headlines regarding Exorcist: The Beginning, but those dire warnings turned out to be exaggerated. Considering a tumultuous production history that actually did seem cursed, Renny Harlin's much-maligned prequel to The Exorcist is a surprisingly competent, serious-minded shocker filled with the same anxious foreboding that made the 1973 original so phenomenally effective. The story lacks focus and feels cobbled together (perhaps the result of its tortured development, which included the untimely death of original director John Frankenheimer), but Stellan Skarsgård is well-cast as Father (now Mr.) Merrin, a lapsed Catholic priest summoned to East Africa in 1949 to retrieve a demonic idol. He discovers a buried church, a vast underground cavern, demonic possession, and a legacy of carnage that preys upon guilt-ridden memories from his parish in Nazi-occupied Holland. Harlin delivers the gross-out moments that Warner Brothers demanded, but otherwise shows remarkable restraint while cinematographer Vittorio Storaro delivers doom-laden visual atmosphere. It's not the classic many were hoping for--not even close--but it's still a win-win scenario for horror fans, since it's rumored the unreleased and "abandoned" version directed by Paul Schrader will be paired with this film for its DVD release. Comparisons will no doubt prove interesting. --Jeff Shannon (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)

Are you ready to get down with the sickness? Movie logic dictates that you shouldn't remake a classic, but Zack Snyder's Dawn of the Dead defies that logic... read more

Are you ready to get down with the sickness? Movie logic dictates that you shouldn't remake a classic, but Zack Snyder's Dawn of the Dead defies that logic and comes up a winner. You could argue that George A. Romero's 1978 original was sacred ground for horror buffs, but it was a low-budget classic, and Snyder's action-packed upgrade benefits from the same manic pacing that energized Romero's continuing zombie saga. Romero's indictment of mega-mall commercialism is lost (it's arguably outmoded anyway), so Snyder and screenwriter James Gunn compensate with the same setting--in this case, a Milwaukee shopping mall under siege by cannibalistic zombies in the wake of a devastating viral outbreak--a well-chosen cast (led by Sarah Polley, Ving Rhames, Jake Weber, and Mekhi Phifer), some outrageously morbid humor, and a no-frills plot that keeps tension high and blood splattering by the bucketful. Horror buffs will catch plenty of tributes to Romero's film (including cameos by three of its cast members, including gore-makeup wizard Tom Savini), and shocking images are abundant enough to qualify this Dawn as an excellent zombie-flick double-feature with 28 Days Later, its de facto British counterpart. --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)

Feature titles include: The Bride of Frankenstein, Frankenstein, The Ghost of Frankenstein, House of Frankenstein, Son of Frankenstein

Feature titles include: The Bride of Frankenstein, Frankenstein, The Ghost of Frankenstein, House of Frankenstein, Son of Frankenstein (hide)

Adam (Leigh Whannell) wakes up in a dank room across from Dr. Lawrence Gordon (Cary Elwes) and the body of a guy who has blown his own brains... read more

Adam (Leigh Whannell) wakes up in a dank room across from Dr. Lawrence Gordon (Cary Elwes) and the body of a guy who has blown his own brains out. Not a happy place, obviously, and it gets worse when both men realize that they've been chained and pitted against one another by an unseen but apparently omniscient maniac who's screwing with their psyches as payment for past sins. Director James Wan, who concocted this grimy distraction with screenwriter Whannell, has seen Seven and any number of other arty existential-psycho-cat-and-mouse thrillers, so he's provided Saw with a little flash, a little blood, and a lot of ways to distract you from the fact that it doesn't make a whole hell of a lot of sense. Wan and Whannell (who's not the most accomplished actor, either) pile on the plot twists, which after some initially novel ideas become increasingly juvenile. Elwes works hard but looks embarrassed, and the estimable Danny Glover suffers as the obsessed detective on the case. The denouement will probably surprise you, but it won't get you back the previous 98 minutes.--Steve Wiecking (hide)

Most horror movies establish an atmosphere of normalcy, which they gradually rupture with spooky or creepy or stomach-churning images. The Amityville Horror--a remake of the 1979 movie about... read more

Most horror movies establish an atmosphere of normalcy, which they gradually rupture with spooky or creepy or stomach-churning images. The Amityville Horror--a remake of the 1979 movie about a possessed house that torments the family that moves into it--tosses normalcy out the window in the first five minutes, unleashing a nonstop barrage of unsettling camera angles, decaying wood and stained wallpaper, half-glimpsed shadows in motion, fast edits of grotesque ghosts, and dozens of other horror-movie devices. Whether you like the movie will depend on whether you like feeling slightly nauseated and cut off from any semblance of reality--for many people, that's why they go to horror movies. Others won't be able to suspend disbelief that anyone but an actor would spend the time necessary to develop Ryan Reynold's insanely buff physique, prominently displayed as he runs around wearing nothing but a pair of loose-fitting pajama bottoms. In addition to Reynolds (Van Wilder, Blade: Trinity), the movie also features Philip Baker Hall (Magnolia) and Melissa George (Down With Love). --Bret Fetzer (hide)

This sensational, extremely influential, 1974 low-budget horror movie directed by Tobe Hooper (Poltergeist, Lifeforce, Salem's Lot), may be notorious for its title, but it's also a damn fine... read more

This sensational, extremely influential, 1974 low-budget horror movie directed by Tobe Hooper (Poltergeist, Lifeforce, Salem's Lot), may be notorious for its title, but it's also a damn fine piece of moviemaking. And it's blood-curdling scary, too. Loosely based on the true crimes of Ed Gein (also a partial inspiration for Psycho), the original Jeffrey Dahmer, Texas Chainsaw Massacre follows a group of teenagers who pick up a hitchhiker and wind up in a backwoods horror chamber where they're held captive, tortured, chopped up, and impaled on meat hooks by a demented cannibalistic family, including a character known as Leatherface who maniacally wields one helluva chainsaw. The movie's powerful sense of dread is heightened by its grainy, semi-documentary style--but it also has a wicked sense of humor (and not that camp, self-referential variety that became so tiresome in subsequent horror films of the '70s, '80s, and '90s). OK, in case you couldn't tell, it's "not for everyone." But as a landmark in the development of the horror/slasher genre, it ranks with Psycho, Halloween, and A Nightmare on Elm Street. --Jim Emerson (hide)

Numerous critics had already sharpened their knives even before Gus Van Sant's shot-for-shot color "re-creation" of the 1960 black-and-white Hitchcock classic was released, chiding the Good Will Hunting... read more

Numerous critics had already sharpened their knives even before Gus Van Sant's shot-for-shot color "re-creation" of the 1960 black-and-white Hitchcock classic was released, chiding the Good Will Hunting director for defiling hallowed ground. This intriguing cinematic curiosity, though, is hardly as sacrilegious as critics would lead you to believe. If anything, Van Sant doesn't take enough liberties with his almost slavish devotion to the material, now updated with modern references. At times, you wish Van Sant would cut loose with a little spontaneity, a little energy, a little something. Unfortunately, when he does venture outside Hitchcock's parameters, with inserted shots of storm clouds during the murder sequences, it's to little effect. Granted, he liberally splashes color throughout the film (especially in the case of the infamous shower scene), and this is a great-looking movie, but in his obsession with adding a new physical dimension to the film, there's little insight into these characters that Hitchcock hadn't already provided. Vince Vaughn, a robotic and giggly Norman, doesn't crawl under your skin the way boy-next-door Anthony Perkins did, and Anne Heche is admirable if not very sympathetic in the Janet Leigh role. Van Sant does score a minor coup, though, in his casting of the supporting roles: Julianne Moore provides a welcome shot of energy as Heche's irritable and curious sister, William H. Macy is a perfect small-time detective, Viggo Mortensen is studly enough to make you understand why Heche would want to run away with him, and James LeGros walks away with his one brief scene as a used car salesman. And Danny Elfman's gorgeous rerecording of Bernard Herrmann's score is a potent supporting character unto itself. Students and fans of the original film will get a kick out of the modern revisions, but don't expect anything of Hitchcockian caliber; watch it for the sum of its intriguing parts, but not the whole. --Mark Englehart (hide)