The Universal monster that started it all, Tod Browning’s gothically inspired Dracula still carries the creeps. Despite somewhat dated acting styles and special effects, ol’Drac still has it in him. Gothic towers, creaking coffins, creepy crypts and young ladies in diaphonous nightgowns … it’s all here!
The King of Vampires is introduced – properly – surrounded by spider webs and a run-down castle, wolves howling outside, and a blood-sucking grin on his face. As soon as he intones those immortal words “I am Dracula,” you know that poor Dwight Frye’s Renfield is in for it.
The reason why this film is so iconic can be summed up in two words: Bela Lugosi. Bringing his Hungarian charm to the Transylvanian Count, Lugosi made the role his own in a way that no one since has managed. His very difficulty with the English language, which creates a stilted delivery, only contributes to the otherworld nature of the Count. “There are far worse things awaiting man than death,” he tells the pretty young things of London, right before he wreaks havoc on their necks and souls. We know, Count, and there are few better things than Dracula.
The Night Of The Hunter is another one of those films that might be horror, might be thriller, and is all awesome. Charles Laughton’s sole directorial outing makes you wish that the actor had made more films.
Robert Mitchum is ‘Preacher’ Harry Powell, a supposed man of God who marries a widow (Shelley Winters) with two small children after her husband Ben (Peter Graves) is executed. All is not as it seems, however, for Powell is himself an ex-con after the $10,000 dollars that Ben stole and hid somewhere on the house’s grounds … oh, and Powell’s also a vicious murderer.
The horror cred for The Night of the Hunter comes from two sources: Charles Laughton’s bizarre, haunting mis en scene, and Robert Mitchum at his most terrifying. This guy is not just a crook looking for easy money; he’s a woman-hating murderer, obsessed with ‘purity’ and touting his supposed religious status as an excuse for any number of sins. His pursuit of the children, the only ones who know where the money is hidden, through the countryside is a masterclass in creepy suspense. Powell is indefatiguable, his voice haunting every step of the terrified kids.
If all that isn’t enough to convince you, how about this? Powell’s ‘wrestling’ hands, tattooed with LOVE and HATE across the knuckles, have been referenced in dozens of films ever since.
[h2]38) Behind The Mask: The Rise of Leslie Vernon[/h2]
If you let this vicious mockumentary somehow slip by you, please understand Scott Glosserman’s slasher-gem has been included on this list for a reason. That reason? Well, Behind The Mask is simply one of the most genius re-incarnations of horror explanation in the past decade, attacking conventional slasher horror norms through documentary-type exploits that give you an unprecedented look into the killer’s life.
Killer Leslie Vernon gives us a glimpse into the daily life of a serial murderer, what training is involved, and a psychotic look into the brutal mindset of horror’s biggest icons. Even the smallest details are picked up and satirically dealt with in Behind The Mask: The Rise of Leslie Vernon, presenting dark entertainment horror that fans gobble up with glee. And then a bloody brilliant third act happens after the jabs have been thrown and background work is established. Hell, I couldn’t get the Talking Head’s Psycho Killer out of my head for weeks thanks to Glosserman’s film….
A stellar entry into the New French Extremist horror movement, High Tension (or Switchblade Romance as it is known to this writer) conforms to the standards of that mode. That is, a lack of humanity, brutal violence and statements about the nature of our bodies. In other words, High Tension is a bloody, scary romp across the French countryside with no boundaries surrounding the fate of its characters.
Director Alexandre Aja twists those notions to extend far past mere fear for our bodies and into a terrifying cat-and-mouse road trip. The film follows two girls: Marie and Alex who travel to Alex’s parents’ house to study for the weekend. Obviously, bugger all study gets accomplished as an unwelcomed guest arrives at the homestead and starts murdering everyone. No, it’s not a vampire (thank the lord) – but a greasy, overall-wearing (and probably virginal) trucker.
Aja and his lead actress Cecile De France knock out of the park a truly scary set piece in the farm house as the killer stalks through each room. The unique component to the film’s emotional verve, however, is the overwhelming shock and sorrow felt by the audience after Alex’s family meet their fate, despite the little screen time they are allotted to develop their characters.
High Tension ticks all the boxes for a winning modern horror: it’s scary, it’s bloody and it’s got one hell of a twist that will require a drinking bender including industrial strength floor cleaner with your mates to figure out.
Enough of all the Suspiria chatter, Deep Red puts that ballet school to shame. I remember watching Suspira with attentive focus yet never really being pulled in, making me leary to continue down the Argento path. Then I watched Deep Red, and I was hooked and eager for more of the Italian filmmaker’s style. Melding always unique scores with hyper gore at the time, Argento created a masterpiece in Deep Red.
What gets me is the ridiculous scenario, as a jazz pianist plays detective to solve the murder of a psychic who picked up wavelengths from her killer who was watching her speak while hidden in a large crowd. It’s a mouthful and something special, but Argento really melds all the random elements together, creating some influential old-school horror awesomeness. Really, as far as classics go, Deep Red is something that should be remembered for a very, very long time.
For Sam Raimi and Bruce Campbell, this is where it all started. Evil Dead 2 may be their crowning achievement, but there’d be no trilogy without the original Evil Dead. With nothing but a hope and a dream Sam Raimi gathered money from investors and shot in a remote cabin setting deep in Tennessee, having no idea he was just about to create one of the quintessential cult films in all of history. Not bad for a kid starting out with his first movie, eh?
Tree rape. I’m not sure I really have to say anything else about what goes on in Raimi’s insane independent horror shocker, but it all starts with some well-timed tree-rape. Tremendously low-budget but still highly entetaining, Raimi used this film as a perfect launching point to expand upon in his sequel, but still managed to out-wit, out-entertain, and out-show many horror movie still produced today. I know this quote isn’t from Evil Dead itself (it’s from the third film in the series, Army of Darkness), but “Hail to the King, baby.”
Remember when the name M. Night Shamalyn used to be synonymous with promising film? No? Ok, good, because we don’t either. But once upon a time the now hack director actually used to make quality flicks and his breakout hit was a little film called The Sixth Sense.
Aside from inspiring countless clones, the effectively creepy and truly shocking film boasted one of the best twist endings, well, ever, a quote that went on to become one of the AFI’s top 100 movie quotes (I see dead people) and it also put Haley Joel Osment on the map (though he has now fallen off, any surprise?).
Influential and original, The Sixth Sense stands as a shining example of horror done well and will likely always be the only saving grace for Mr. Shamalyn, who is now the butt of almost every Hollywood joke. With six academy award nominations, including one for best picture, The Sixth Sense is a natural choice for any top horror films list
[h2]33) [REC][/h2]
Hands down the best “zombie” film in years. No doubt about it. Paco Plaza and Jaume Balagueró shocked the found footage genre with a horror film so engrossing and haunting, it became almost an instant classic. So many other zombie film directors have tried mastering the first person camera angle, but to this point, all pale in comparison to [REC].
What makes everything so cohesive are the smart choices both directors make, implementing the usage of fast-paced zombies that chase our cameraman around with some threatening pep in their step while avoiding cheap yet tempting one-off jump scares that could have been easily overused. Respect is paid to the audience by our directors, and it shows. Shocked and senseless after a bone-chilling third act, [REC] quickly ascended the ranks amongst some of horror’s greatest contributions.
The Cabin in the Woods is hands down the best horror I’ve seen in a decade, showcasing monumentally intelligent horror writing on the part of Joss Whedon and Drew Goddard. Unlike films that shamelessly market something blatantly untrue, I was thankfully taken aback by the utter shock of where The Cabin in the Woods took me. Goddard has directed something genre defining here, showing that phenomenal ideas still exist out there.
The funny part is, due to MGM’s past financial crisis, The Cabin in the Woods got shelved after being filmed in 2009. Yes, Chris Hemsworth is pre Thor at this point, but his skyrocketing popularity only helped the 2012 release date. With that, I have to thank Lionsgate for realizing the genius behind The Cabin in the Woods, and promptly dusting it off to blow our minds. Gremlins, zombies, and an Angry Molesting Tree…oh my!
It’s about 45 minutes into Takashi Miike’s Audition when we realise something is very wrong indeed. In its first act Audition sets out as a surrealistic romantic film where a man auditions women to be his bride following the death of his wife. A strange and fairly prurient premise, but one which is handled with levity and brightness and carries an encompassing sense that this will be a story of blossoming love. What the man doesn’t expect is that his newly chosen wife has some psychotic tendencies and in one shot we suddenly realise where we are going for the next hour.
Audition carries with it the reports of people fainting in the cinema due to some of its more extreme moments. These are to be believed. Miike has a particular way with violence that makes it both appalling and savagely comic. The scene which the film has now become renowned for, which contains the line: “and now the left foot” is an example of that. It is toe curling but Miike’s construction is impeccable and despite the intense, graphic violence occurring on screen it is difficult to tear your eyes away. Of the eons and eons of Japanese Extreme cinema, Audition ranks as the best and most inspiringly twisted.
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