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Here's Livemasion's 32-step program guide to having the finest cinematic Halloween one can have. It's not necessarily a list of the greatest horror films ever made (although many of them are). What we here at Livemansion seek to give you is that perfect Halloween atmosphere! It's set up to take you straight through October. It's for all tastes and all types, so see if you can run the gamut. Come prepared with snacks, balls of steel, something to hide your eyes with (a pillow, or your own hand in a pinch) and a barf bag for you or the person next to you.
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Pair it up with...
Halloween 2 (1981)
D: Rick Rosenthal
C: Donald Pleasance, Jamie Lee Curtis, Lance Guest
This adequate sequel brings you back smack dab where the first movie ended, and that is to be appreciated. Most of the action takes place in the hospital where Laurie Strode (Curtis) was taken. While it tends to drag along at points, and Michael seems to wander from his goal every now and then to have health service fun, the presence of Pleasance and Curtis, along with some tremendous shots, well lit scenes, and eerie hospital setting make for an enjoyable follow-up.
A perfect double feature for sitting at home on Hallows Eve. Enjoy!Note: If you have the urge to add to the list, or need an alternate for one of the films for whatever reason, try these honorable mentions: Phantasm (1979), Motel Hell (1980), Deranged (1974) |
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Halloween (1978)
D: John Carpenter
C: Jamie Lee Curtis, Donald Pleasance, Nancy Kyes, PJ Soles
Yay, we're here! You had no idea that the recommended Halloween viewing would be Halloween. I so had you.
It must be done, and again, needs no explanation. But to wrap it up, little Mikey Myers slaughters his sister on Halloween night in 1963, is carted away to an institution where he's looked after by Dr. Sam Loomis (Pleasance) to no avail, escapes, and heads home for the holidays. There he terrorizes poor Laurie Strode (Curtis) and friends, while Loomis frantically searches for him.
Carpenter squeezes every penny out of his low budget and wields this thing like a mighty cinematic sword or something. The music, which someone at every party can play on the piano, is perfect. Much like in Black Christmas, you can find Michael lurking somewhere in the background if you look close enough in many scenes. The film relies more on the fear of what's coming, and excellent use of Myers himself (daylight scenes of him work to great effect) than it does blood and gore.
Pleasance is passionate and even heartfelt as the good Doctor who knew the whole friggin’ time. And Curtis is shyly charming as the poor target of Myers unrelenting, yet very quiet, fury. |
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The Exorcist (1973)
D: William Friedkin
C: Ellen Burstyn, Jason Miller, Max Von Sydow, Lee J. Cobb, Linda Blair
Based on the novel by William Peter Blatty, the young daughter of a popular actress (Blair talks about her friend Captain Howdy, pees on the floor in front of guests, levitates, spins her head, and up chucks green stuff. Actually, that’s small-time!) Father Damien Karras (Miller) is brought in to check her out for exorcism potential... and she's good to go. They call in Father Merrin (Sydow), who's performed one before. But this ain’t your father's old demon. Well, actually... it is.
The Exorcist need not be explained, nor should I or anyone else have to recommend it for Halloween or any other time. Effective as all hell, it's the worst kind of evil. The kind you can't hit with a bat or shoot at, leaving us mortals helpless.
Outstanding performances by all, and as good a reason not to sleep as any. The Exorcist gets to you and opens up fears you didn't know you had. A mandatory Halloween exercise. |
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The Descent (2005)
D: Neil Marshall
C: Shauna MacDonald, Natalie Jackson Mendoza, Alex Reid, Saskia Mulder, MyAnna Buring, Nora-Jane Noone
One year after surviving the car crash that killed her husband and daughter, Sara (MacDonald), heads off on a spelunking adventure with 5 friends, led by the fearless Juno (Mendoza). When a rock fall traps them inside the cave, panic builds and the bickering starts. But that's the least of their problems...
This is one of those special movies that comes along every few decades. It’s like riding on a roller coaster blindfolded. The trip up with expectations and the impending drop, and then the drop into an unadulterated world of darkness and sincerely frightening mayhem. The Descent provides genuinely scary moments, "blow you away" moments that theatergoers haven't experienced in nearly three decades... if you were lucky. The building of the story, the relationships, the visceral yet private arc of Sara are set against an unadulterated world of darkness and sincerely frightening mayhem.
Easily one of the top 5 horror movies of all time, and something the genre needed badly, The Descent needs to be experienced. And can be over and over as it tends to lose nothing with multiple viewings. |
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The Thing (1982)
D: John Carpenter
C: Kurt Russell, Wilford Brimley, Keith David, T. K. Carter, David Clennon, Richard Dysart, Charles Hallahan, Peter Maloney, Richard Masur, Donald Moffat, Joel Polis, Thomas G. Waites
Claustrophobia? Paranoia? Get ready. John Carpenter's The Thing will provide all that, and so much more. A research team at an outpost in the Antarctic find themselves in a lopsided battle with something that has the ability to perfectly clone another living organism.
Driven by a constant feeling that the movie has its hand around your throat (and some pretty awesome F/X by Rob Bottin and company) The Thing is a powerhouse horror movie, and one of the all-time greatest. A remake that outdoes the original, this one has been copied by many, but it's still so, so fresh. Everyone in the film is strong and spot-on, and Russell as helicopter pilot Macready is a flawed hero that everyone can easily get behind. Monster/gore wise, prepare for everything. Heads will be lost... and then crawl away.
Put it on, get ready for the "test" scene, and live, love it, learn it. It's that good. |
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Suspiria (1977)
D: Dario Argento
C: Jessica Harper, Stefania Casini, Flavio Bucci, Miguel Bose, Barbara Magnolfi, Udo Kier
American ballet dancer Suzy Bannion (Harper) arrives in Frieberg, Germany to attend the prestigious Tans Academy. The moment she's there she realizes that something's not right. After witnessing bizarre behavior from her fellow students, followed by a series of gruesome murders (still there huh?) Suzy begins to check on the history of this wonderful academy only to find roots in the occult, complete with witches that make those from Oz look like flying monkeys.
Argento's use of colors here are outstanding, and the build-up of the film is tersely paced. The script, as with most all of Argento's work, veers off every now and then, but this is as fine a witch tale that's told.
Witches + horror = Halloween. Do it. |
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Carnival of Souls (1962)
Corridors of Evil
D: Herk Harvey
C: Candace Hilligoss, Frances Feist, Sidney Berger, Art Ellison, Sam Levitt
When Mary Henry (Hilligoss), the sole survivor of a car accident that sent 3 young women over a bridge, emerges from the river with no idea of how she escaped, it's time to put things in perspective. Looking to move on, she accepts a job as a church organist in Utah. During her drive, she experiences weird visions of a ghastly man staring at her through the windshield, and passes an abandoned carnival to which she feels quite drawn. Because who doesn't love a carnival? Ignoring invitations to come worship at the church she works at, Mary begins to see the ghastly man at an increasing rate, and finds that at times, she's invisible to the people on the street. With no idea of what the hell is going on or what to do, Mary soon realizes that her answers- and destiny- lie on that stretch of highway outside of town... at the carnival.
What more reason do you need to watch a movie come Halloween time than "abandoned carnival?" Chilling as all that and more, Carnival of Souls deserves your attention. A very quiet and dismal film, the grainy look off-kilter approach by all those around Mary make for a spine-chilling evening. |
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Black Christmas (1974)
D: Bob Clark
C: Olivia Hussey, John Saxon, Margot Kidder, Keir Dullea, Andrea Martin
I know. "A Christmas movie, what the hell are you doing?!"
Black Christmas "inspired" so many movies, parents of slasher-addicted children can hold it wholly responsible.
It's Christmas break and only a handful of sorority sisters are left in the house. One by one, there's going to be fewer and fewer as a seriously deranged psychopath has made himself a home in the attic of the house.
I know. You've seen it all before. Except this was first.
Halloween, When A Stranger Calls, House on Sorority Row, etc... all owe a great many thanks to Black Christmas. Some owe blatant rip-offs. NONE have done it better. The frenzied camera work, knowing that the killer is so close, the dreary Christmas feel, and genuine scares all make for a tense, and sensationally unnerving film. Black Christmas relies heavily on well set-up visuals and impending doom instead of gore or viscera. Kidder, as one of two house alcoholics (oh yes) is at her best. Saxon has some fun as a cop (oh yes) on the case, relieving some of the tension the films thrusts on the viewer.
Director Clark would go and turn on a dime with 1983's superb A Christmas Story, making Clark... kind of like a cinematic Santa. Wrong holiday. Right movie. Sets the perfect Halloween tone.
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The Legend of Hell House (1973)
D: John Hough
C: Roddy McDowall, Pamela Franklin, Clive Revill, Gayle Hunnicutt, Roland Culver
Written by the great Richard Matheson and based on his novel Hell House, four people with extrasensory abilities spend a weekend in a house to see what all the hubbub is about. Oh, they'll find out. You knew they would. You'll find out too when you put this spooky little tale on.
Strong performances here from all, particularly the always reliable McDowall. The Legend of Hell House taps into all the right nerves and offers up some nice surprises, relying more on atmospheric scares than slapping you in the face with gore. A great ghostly romp for an evening the whole family can enjoy! |
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High Tension (2003)
Haute Tension
Switchblade Romance
D: Alexandre Aja
C: Cecile De France, Maiwenn Le Bresco, Philipe Nahon
Alex (Bresco) invites Marie (France) to stay at her parents’ house in the countryside. Out in the country. Where there's like... no one around. Well, she didn't know.
A homicidal brute rings the doorbell in the wee hours of the morning and from there it spins into a graphic bloodbath, as Marie tries to rescue Alex from the clutches of the big, bad man.
This film has gotten a lot of grief for its Twist at The End, with at which point everyone seems to forget they just saw nearly 90 minutes of a beautifully shot, tensely paced, and well-acted movie. As the viewer, you're with Marie every step of the way, holding your breath, sitting on the edge of your seat, in whatever intimately grotesque setting Aja has put her- and YOU- in at that point. For all intents and purposes a slasher, but so much more than that. France is easy to root for a Marie, and Nahon is easy to be disgusted by as the maniac. Regardless of one’s feelings about the ending or the excessive use of gore, High Tension should not be denied the fact that it's a seriously well made film. |
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The Devil Rides Out (1968)
The Devil's Bride (USA)
D: Terence Fisher
C: Christopher Lee, Charles Gray, Nike Arrighi, Leon Greene, Patrick Mower, Rosalyn Landor
Duc De Richelieu (Lee) is very worried about his friend Simon's (Mower) bizarre behavior.
Well, he should be.
Because in three days Simon will lose his soul to the devil. And when two unsatisfying black masses are performed, it looks as though Richelieu’s own niece (Landor) is going to be the next sacrifice.
One of Hammer's finest films, this dynamic entry adapted from the novel by Richard Matheson, is expertly paced by Fisher, and powered through by Lee, Mower, and Gray in his finest role as the satanic cult leader. It's seriously a joy to watch this movie, and it's a perfect companion for the march towards Halloween. Do your civic duty and take the ride.
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The Beyond (1981)
L'aldilà
E Tu Vivrai Nel Terrore
D: Lucio Fulci
C: David Warbeck, Catriona MacColl, Cinzia Monreale, Antoine Saint-John
In 1927 Louisiana, an angry mob crucifies and quicklimes an artist believed to be a warlock in the basement of an old hotel. Half a century later, Liza (MacColl) inherits the hotel, unaware that it is one of the 7 gateways to hell (otherwise, she probably would have declined). From there, unsuspecting fodder have their eyes gouged out, heads melted in vats of acid, tongues eaten by tarantulas, and of course- are overwhelmed by an army of the undead.
Often regarded as the finest horror film of all time by seriously hardcore fans and Fulci worshippers, The Beyond is hampered by some poor acting, script wandering and the occasional pacing problem, yet it's still severely effective. There's no actual plot, just a series of events that leads to the final conclusion, and that's fine. The F/X by guru Giannetto de Rossi are more than serviceable, and the music is... well, if you've ever seen an Italian movie in the 80's, it's that.
Whether you hold it in the highest regard, or regard it as an outlet for gore, The Beyond is a Halloween highlight. |
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The Return of the Living Dead (1985)
D: Dan O'Bannon C: Clu Gulager, Don Calfa, James Karen, Thom Mathews, Miguel Nuñez
From the moment it starts and claims that the film is based on actual events, you gotta love ROTLD. Seconds after explaining that the movie Night of the Living Dead is based on a true story with the facts being changed around for legal purposes, senior medical supply house worker Frank (Karen) takes the new guy (Mathews) down to the basement to check out the metal canister with the corpse in it (apparently, corpse-in-a-can fell off the back of an army truck). When the two chuckleheads accidentally crack the thing open and release the gas that's inside, it sets off a series chain reaction that ultimately gets a graveyard full of bodies up-and-at-‘em.
A wonderful homage to Romero's films, the zombies in this have been dead for a long time, run, talk, think some things out, and eat brains. It goes beyond the standard horror fare with some pretty great characters, particularly Gulager as Burt, the owner of the warehouse who tries his damnedest to cover everything up, Karen as the over-the-top bumbling warehouse worker, Calfa as the Nazi-esque mortician who's services are employed, and Nuñez as Spider, a member of the group of punk rockers who chose the wrong graveyard to hang out in. When Gulager, Calfa, and Nuñez put their heads together, they're a whole lot of fun to watch. While The Return of the Living Dead does have a grand sense of humor, it's certainly not short on the gore, what with brains gleefully being removed from these poor bastard's heads and all that. The F/X range from decent to outstanding, with "Tarman" and the half-lady being the highlights. ROTLD also features the totally raddest soundtrack this side of the tracks, with kickass songs from The Cramps and The Damned, and it's almost all worth it for the music alone.
This film reeks of Halloween to me, and it's a must for all. |
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Zombie (1979)
Zombi 2
Zombie Flesh Eaters (UK)
D: Lucio Fulci
C: Tisa Farrow, Ian McCulloch, Richard Johnson, Olga Karlatos, Al Cliver, Auretta Gay
With the help of newspaper journalist Peter West (McCulloch), Anne Bowles goes searching for her missing father. With an idea of his last known whereabouts, they find Brian and Susan, a happy couple with a boat and a hankering to do some scuba diving. The four set off for their date with destiny- the island of Matool. But first Susan has to do some topless diving where she encounters some undead guy with flowing hair cruising around underwater! No fear, it's only the setup of a brawl for the ages- an impressive and fun zombie vs. tiger shark sequence.
After some boat trouble, our ship of fools end up at the home of Dr. Menard, an boozy medical man trying to solve the islands most recent problem- dead people getting up and eating non-dead people. When our clan arrives there, they don't find the good doctor, but rather his wife entertaining some of the island’s recent risers for dinner. The dinner bell rings from there on as our people, the doc, and other island fodder are in the fight for their lives.
One of the first true barf-bag epics, this blatant borrow from Romero's films is all about the gore and the island location (which does add a great deal to the look and feel of the film. We must put up with Farrow (Mia's sister) who dubbed or not has zero talent, and middling performances from everyone but Johnson (the only with really any ability), so that we can get to the goodies. And for those with the stomach for it, it's goodie central.
If you've not heard of some of the more pleasant Zombie highlights, for shame. Need some incentive? There's a freakin' shark vs. zombie fight for crying out loud. A hapless woman's eye meets the sharp end of a huge wooden splinter, and there's Ian McCulloch, the poor man's Roger Moore. Enough said. The film provides enough gruesome mayhem and atmosphere to make this a hell of an October night romp. Go to it. |
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Tombs of the Blind Dead (1974)
La Noche del Terror Ciego
D: Amando de Ossorio
C: Lone Fleming, Cesar Burner, Maria Elena Arpon, Jose Thelman, Rufino Ingles, Francisco Sanz
Roger, Betty, and Virginia (Burner, Fleming, Arpon) go on a nice little train ride. That is until Virginia decides to jump off the train and camp out in the village of Berzano. Sure, it's real quiet in the daytime… then darkness creeps in and those damn rowdy Templar Knights- here a 13th century Satan-worshipping club who were executed and had their eyes plucked out by crows, rise from their graves to hand out beatings and drink blood. This is followed by investigations, more rising from the dead, research, torching a dead woman, foolish doubters, and balls-to-the-walls murder and mayhem.
Aside from the actions of some very stupid people, this beauty should be seen, if nothing else, to watch the haunting Templars in action. While not as gory as some people assume or pretend it is, there are some delightfully nasty moments to accompany the wonderful locations and photography. A must to capture this October-fest, don't miss out.
Note: In hopes of cashing in on the Planet of the Apes movies, US distributors heavily cut the film and released in the US as Revenge from Planet Ape. The balls on some people... |
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Shock Waves (1977)
D: Ken Wiederhorn
C: Brooke Adams, Luke Halpin, Peter Cushing, John Carradine
The Toden Corps were a breed of super soldier zombies taken from the ranks of murderers and miscreants created for the Nazis during WWII. After finding that they could not be controlled in battle, they were shipped off to sea pending further instructions. But the war ended and the crew disappeared. A few decades later, a yachting party beaches itself on an island with a seemingly abandoned mansion, and a mysterious SS commander (Cushing). Just looking to get the hell out of there, they instead find themselves being hunted down by - oh yes! - the goggled, waterlogged Toden Corps crew! Good luck.
The oft-overlooked Shock Waves is a true gem. Extremely simple, yet effective by virtue of its location, grainy film stock, music, and most notably, daylight! Yes, most of the action takes place right out there in the light, and as we often feel more secure in the daytime, the sequences here add a great deal to the creep factor. Cushing's role is brief, but he's Peter Cushing. He contributes much in his limited time. The gore quotient is low as this one works more of a washed-out atmosphere. This hidden entry helps propel along that bleak Halloween feel we're going for. Check it out. Danke. |
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The Living Dead at the Manchester Morgue (1974)
Non Si Deve Profanare il Sonno Dei Morti
Let Sleeping Corpses Lie (USA)
Breakfast at the Manchester Morgue
Don't Open the Window (USA)
D: Jorge Grau
C: Ray Lovelock, Cristina Galbo, Arthur Kennedy
Insects can be such a hassle. But are they really worse then flesh-eating corpses? You can find out in The Living Dead at the Manchester Morgue as state officials try out a new experimental pest-control device that employs the use of subsonic waves to kill those pesky insects. Of course technology always has its pros and cons. The con here being that these subsonic waves create a nose so unique that it literally wakes the dead. Police are baffled with all the murders occurring and happily blame two bickering hippies (Galbo and Lovelock) who ended up together by chance. Our hero and heroine head off their own investigation, with an inspector (Oscar winner Kennedy) hot on their trail, and ravenous zombies on all their asses.
The first of the slow-moving, flesh-eating zombie movies to follow Romero's Night of the Living Dead, The Living Dead at the Manchester Morgue manages to break plenty of its own ground. Despite some sluggish parts thanks to run-on police investigation nonsense, LDMM provides some very enterprising F/X from Giannetto De Rossi (who would later go on to work Fulci's better entries) and magnificent UK locations featuring lush green fields, rolling hills. And what better place to send a red-eyed recently deceased vagabond zombie lumbering through? There are some bona-fide creepy moments thanks to a crack makeup team and gorgeous cinematography, as well as some gut-munching, intestine-yanking moments just to balance things out. Night of the Living Dead was first, and forever will be king, but The Living Dead at the Manchester Morgue kicked open the door for what would become some of society’s most beloved barf-bag epics. |
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WEEK OF THE WALKING DEAD!
Here we’ll take a week to enjoy some of the finer entries in the zombie genre as feed your need for human flesh.
Night of the Living Dead (1968)
D: George Romero
C: Duane Jones, Judith O’Dea, Karl Hardman, Marilyn Eastman, Keith Wayne, Judith Ridley, Kyra Schon, Russell Streiner
A movie that has set standard for thousands of films, this apocalyptic masterpiece knows no bounds. You know the deal. One day the recently deceased stop being dead and rise in search for human flesh. A handful of people hole up in a Pennsylvanian farmhouse to fight hordes of the undead, panic, and each other.
Not much needs be said about this. Made during the Vietnam “conflict,” Romero secreted away messages behind grainy black-and-white footage coupled with a haunting score that tapped easily into the fear of that era… and still manages to turn viewers’ blood cold today.
Must be viewed, over and over. No excuses.
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The Changeling (1980)
D: Peter Medak
C: George C. Scott, Trish Van Devere, Melvyn Douglas, Jean Marsh
After his wife and daughter are killed in a car accident, composer John Russell (Scott) relocates from New York to Seattle for a teaching job at his alma mater. Looking to find a quiet place to rest and work, Claire (Devere), from the Seattle Historical Preservation Society shows John a large, furnished estate in the countryside. With the solitude it should provide, John decides to take it and renovate it. Shortly thereafter, he begins having nightmares, and investigating a constant pounding noise in an upper room, he comes across an apparition of a young boy drowning in a tub. With the help of Claire, the two work together to unearth events from the house’s past, and discover what they have in common with his visions.
Another superior ghost story, The Changeling creates a very intimate, and very welcome unease for the viewer. With top-notch performances, particularly from powerhouse Scott, this is a must for that just fresh Halloween feeling. |
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Horror of Dracula (1958)
Dracula
D: Terence Fisher
C: Peter Cushing, Christopher Lee, Michael Gough, Melissa Stribling, Carol Marsh, John Van Eyssen
You know the story. Dracula is not a nice guy, he likes necks, loves blood, and Dr. Van Helsing likes to keep necks and blood out of Dracula’s way. Since you’ve seen it all before, and maybe you fancy your vampires in tights, I guess you’ll just have to see this because it is, after all, the finest vampire film ever made.
Hammer Studios knew how to make horror movies, and they knew how to make them classics. Far closer to the Stoker novel than Universal’s Lugosi version, this is the end all be all. Cushing makes Helsing a charming, easily root-able hero. Lee makes Dracula the ultimate badass, and he’s also the first one to give the famous fanged villain some sex appeal. Director Terence Fisher handles the film with fluid ease in what amounts to just another fantastic entry to his resume.
Forget all that other nonsense, get yourself some Hammer horror, and sink your teeth in! (Oh yes I did) |
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The Exorcist
Demoni
D: Lamberto Bava
C: Urbano Barberini, Natasha Hovey, Karl Zinny, Fiore Argento
Co-written and produced by Dario Argento, Demons takes place almost entirely within the “Metropol,” an enormous cathedral-esque Berlin cinema playing an invitation-only screening of a slasher film. Of course it’s no regular slasher. Or theater. Even the displays in the lobby aren’t normal, as one young woman would find out when she accidentally scratches herself on one… and slowly mutates into a drooling, snarling demonic creature. Attacking the other filmgoers and spreading the infection, we’re eventually left with a handful of survivors vs. these demons of the cinema.
As dumb as all that sounds (and it sounds pretty dumb) the demons themselves, and the very impressive F/X work will help you get past it. Both genuinely frightening and gory, this is a film the whole family can enjoy. And if that doesn’t totally sell it, just wait till you hear the rockin’ soundtrack. Mint! |
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The Haunting (1963)
D: Robert Wise
C: Richard Johnson, Claire Bloom, Russ Tamblyn, Julie Harris
The finest of the haunted house films, despite advances in f/x and all that other evil stuff, The Haunting still stands the test of time.
After the death of her mother, Eleanor Vance (Harris), Dr. Markway (Johnson), along with ESP expert Theodora (Bloom), and heir to the estate Luke Sanderson (Tamblyn), agree to spend a few nights in a house with a sinister past. Slowly, they discover that the yarns spun about the house may not have been as tall a tale as previously thought. With supernatural forces in every corner and shadow, chances are… no one is getting out.
Brilliant ghost story. What else needs to be said? The Haunting is haunting, Richard Johnson as the anthropologist is great, and this entry is the perfect step in right direction. |
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Raw Meat (1972)
Death Line
D: Gary Sherman
C: Donald Pleasance, Norman Rossington, David Ladd, Sharon Gurney, Hugh Armstrong, Christopher Lee
Patricia (Gurney) and her American boyfriend, Alex (Ladd), find a government official unconscious on the stairs of a London Underground station. When they return with an officer, the body has disappeared. Inspector Calhoun (Pleasance) takes case and discovers that there appears to be quite a deranged individual, a descendent of some tunnel workers who were trapped in a cave-in and abandoned, at the bottom of it. This guy, referred to as “The Man,” generally only ventures into the underground for “food.” “Food” being whatever poor schmuck he runs across. But when “The Man’s” “woman” dies on him, he must go in search for another companion. Before to long, Patricia and our “C.H.U.D.” meet up and spend some quality time together.
In the tragic way that film gods work, this movie has been long forgotten, and it’s a damn shame. This is a very gritty piece, with tight pacing, a sense of humor, and some very disturbing heart-felt moments. Pleasance is at the top of his game here as the sarcastic inspector, and the exchange between himself and Christopher Lee (in a cameo as a meddling agent) is priceless.
Originally titled Death Line, and released in the states as a re-edited (for worse, obviously) Raw Meat, make sure to find director Sherman’s original version for full effect. Do yourself a favor and view this hidden beauty. |
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The Sentinel (1977)
D: Michael Winner
C: Chris Sarandon, Cristina Raines, Martin Balsam, John Carradine, Jose Ferrer, Ava Gardner, Arthur Kennedy, Burgess Meredith, Eli Wallach, Christopher Walken, Beverly D’Angelo
New York fashion model Alison Parker (Raines) moves into an old brownstone, figures she got a good deal, and wouldn’t you know it – the blind priest who lives upstairs is guarding the doorway to Hell. If that’s not enough, she’s been chosen as his replacement.
Chock full of familiar faces and legitimate hospital ward inhabitants/sideshow freaks, The Sentinel does admittedly plod along at points, and Raines isn’t a particularly talented actor, but there’s enough atmosphere here to continue along creating that Halloween aura you’re aiming for. Packed with visually disturbing images and moments where you’ll actually ask “what the hell?” the movie should be seen, if for nothing else, to watch the old man run out from behind the door. Trust in me. |
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Invasion of the Body Snatchers (1978)
D: Philip Kaufman
C: Donald Sutherland, Brooke Adams, Jeff Goldblum, Veronica Cartwright, Leonard Nimoy
One of those few instances where a remake outdoes the original, this Invasion of the Body Snatchers cranks it up a notch. Biologist Elizabeth Driscoll (Adams) starts noticing that her boyfriend isn’t quite himself. He’s cold. He’s distant. He came from a pod. Turning to her best friend and Public Health inspector Matthew Bennell (Sutherland), the two enlist the help of celebrity psychologist Dr. Kibner (Nimoy) in hopes that he can bring some light on the matter. But all he’s got is relationship dribble. Soon, with the city overrun with claims that loved ones aren’t quite like themselves, the two friends, along with couple Jack and Nancy Bellicec (Goldblum and Cartwright) find themselves in a fight for their personalities as they realize their city is undergoing an alien transformation.
Expertly handled by director Kaufman, the buildup of this film supplies the viewer with an ever-growing dread. The chemistry between Sutherland and Adams allows you to easily take the ride with them in a movie that increasingly makes you colder as the characters become more desperate, and is always engaging. Accompanied by a perfectly haunting score, put it on for a two-hour bedtime story, and then see how much sleep you get. |
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Fright Night (1985)
D: Tom Holland
C: Chris Sarandon, Roddy McDowall, William Ragsdale, Amanda Bearse, Stephen Geoffreys
Charley Brewster (Ragsdale) loves himself some horror movies. Enjoys nothing more than sitting there watching the late night horror show with host, the fearless vampire killer, Peter Vincent (McDowall). But when Charley suspects that his neighbor Jerry Dandrige is a vampire, everyone blames his delusions on his cinematic tastes. With the evidence piling up in Charley’s favor, but no one else there to witness it (of course), he seeks out the help of his hero – and recently fired fearless vampire killer Peter Vincent. Lured in by money in hopes of convincing Charley that he’s way off base, Vincent accompanies him to the neighbor’s house to settle it once and for all. The problem of course, is that Dandrige is a vampire. And that bites.
A seriously rad romp to capture your Halloween atmosphere, Fright Night combines good ol' fashionaged horror homage with a sense of humor, excellent vampiric environments, severely fun performances from Sarandon and McDowall, and an 80’s soundtrack complete with “the white man’s overbite.”A very necessary October entry, check yourself out a vampire movie that doesn’t suck. |
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The Texas Chainsaw Massacre (1974)
D: Tobe Hooper
C: Marilyn Burns, Allen Danziger, Paul A. Partain, William Vail, Teri McMinn, Edwin Neal, Jim Siedow, Gunnar Hansen
Sally (Burns) has gotten word that the cemetery where her grandfather is buried has been vandalized. Like any good grandkid, she gathers up some friends, and her wheelchair-bound brother, and heads off to visit her grandpa’s old farmhouse. Only problem is that a family of homicidal screwballs whose slaughterhouse work extends past cattle, need to make more sausages.
This film, which has a drop of blood or two in it, and no more, is often pegged as being gory as all hell. And while that’s ridiculous, it’s very telling of the film. Created on such a small budget, director Hooper has created a masterpiece so gritty and unnerving, you leave thinking you’ve seen things you haven’t. Scenes, particularly at the “dinner table,” make one so intentionally comfortable, you may want to peel your skin off. What a wonderful thing! Gunnar Hansen’s Leatherface is genuinely frightening. Not as a big muscled oaf who can run through walls, but as an extremely simple-minded and eager to please big baby with a skin mask, a huge chainsaw, and wonderful dance moves.
This is a wonderfully crafted film, and it is in fact a work of art. Must be seen for Halloween. |
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The Howling (1981)
D: Joe Dante
C: Dee Wallace, Patrick Macnee, Dennis Dugan, Christopher Stone, Kevin McCarthy
After participating in a dangerous police operation that leaves her with selective amnesia, TV reporter Karen White (Wallace) admits herself to a rehabilitation center in which it’s inhabitants may not be what they seem. That’s because they’re werewolves.
Director Joe Dante has a way of infusing dark comedy with straight on horror in the best way. The film is groundbreaking, and while it often takes a backseat to An American Werewolf in London, it’s easily just as good. With great visuals, well-placed in-jokes, and brilliant F/X from Rob Bottin (The Thing) The Howling is a must for October pleasantries.
Yeah boooy, give this dog a bone. |
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Don't Look Now (1973)
D: Nicholas Roeg
C: Donald Sutherland, Julie Christie
John and Laura Baxter (Sutherland and Christie) relocate to Venice so that they may oversee the restoration of an old church, and help get past the tragic death of their daughter. But there’s no help here as the city finds itself bombarded with a series of unexplained murders, and the couple encounter a blind psychic and her eccentric sister who promise to contact the spirit of their deceased daughter. With John skeptical at first, he soon begins singing a different tune as he sees fleeting glimpses of someone in a little red coat all throughout town. A coat very similar to the one that belonged to his daughter.
Probably most well known (unfortunately) for the still quite intense sex scene, Don't Look Now plays out almost like a dream. With its locations, acting, pacing, flat out frenzied nightmarish moments to ones that glide along eerily...
Please look now. |
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Alien (1979)
D: Ridley Scott
C: Tom Skerrit, Sigourney Weaver, Veronica Cartwright, Yaphet Kotto, Harry Dean Stanton, Ian Holm, John Hurt
Even if you've never seen the movie, you've seen the movie. Although never quite like this.
The crew of the Nostromo is woken up out of hyper sleep to check out a distress signal from a nearby planet. Coming across a field of eggs/pods, someone get too close and ends up with a "face hugger" on their helmet. Unsure of how to remove the creature, it eventually comes off on it's own. Rejoice! Then sit down for a big meal...
The blame for countless cases of claustrophobia, Alien is jammed to the walls with everything a growing horror fan needs. A wonderful cast (Sigourney Weaver's Ripley cranks up what becomes a tour-de-force that will leave most men feeling bad about themselves), beautifully orchestrated tense moments, and by God thrills a minute! See it again, for the first time. |
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Psycho (1960)
D: Alfred Hitchcock
C: Anthony Perkins, Janet Leigh, Vera Miles, Martin Balsam
Norman Bates (Anthony Perkins) runs a motel called... The Bates Motel. He loves his mother and taxidermy. There's a shower scene and familiar music.
The movie need not be explained because it's seriously been seen even under the most remote of rock under which you may have been dwelling. It deserves all the credit it's ever been given, and then some. Perkins is outstanding as Bates, and Hitchcock knew how to manipulate an audience like a son of a bitch.
Put it on. Live it, love it, long for more. Then go wash up in the sink. |
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The Devil's Backbone (2001)
El Espinazo del Diablo
D: Guillermo del Toro
C: Eduardo Noriega, Maris Paredes, Federico Luppi, Inigo Garces, Fernando Tielve, Irene Visedo, Berta Ojea, Junio Valverde
Start off here with a quiet, gorgeous, and spooky as all freakin’ hell ghost story from cinematic genius del Toro (Mimic, Cronos, Pan's Labyrinth).
In a remote part of Spain during the Spanish Civil War, and a boy named Carlos (Tielve). Following his Republican war hero father's death, Carlos is unwillingly dropped off by his tutor at an orphanage. With the orphanage powers-that-be hiding a large cache of gold used to back the Republican Treasury, General Franco's attacks on the joint, and a large unexploded bomb just sitting in the middle of the courtyard, things couldn't really get any worse, right? Oh, but there's also visions of a mysterious apparition, and the strange stories about a child named Santi who went missing the day the bomb appeared near the orphanage.
With gorgeous visuals, poetic pace, fine performances that lend to very touching, and very eerie moments, and again, a spooky as all freakin’ hell movie. Put it on. Raise |
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