#Salem’s Lot (1979)

Directed by Tobe Hooper

#85
0

I was lucky enough to be the child of parents that didn’t really police what I watched (within reason… ish). Some of my warmest memories are of my mother and I going to our local video store (The Video Station) and spending an hour or more picking a bunch of movies to take home (and also renting a giant VCR as we didn’t own one). I still remember the distinct smell of that place, which I naturally associated with happiness. I spent all of my time in the Horror section, which was surprisingly large for a small town family-owned video shop, and offered films from all over the world.

At some point I discovered that they sold a large catalog of the films their distributor offered. Each film included a synopsis, year, rating, genres, director, and occasionally a one-sentence review. The catalog was $12, a pretty steep fee considering we were actually quite poor. My mother noticed that I always returned to it to look up movies and surprised me one day with my very own copy.

I read it like a book and circled every film I wanted to see, then would dog-ear the pages with circled films. On our trips to The Video Station I would bring the catalog with me and use it as a reference to pick my movies for the day. Salem’s Lot was one of those films, yet they never had the video in stock. It was always rented out.

I know I had already seen it on television, but I was much younger and could remember just one scene: the kitchen scene. I would have been just six-years-old when it originally aired in 1979 and probably hadn’t yet developed a taste for Horror, but that one scene undoubtedly played an integral role in my love of the genre.

I didn’t choose to feature that scene because so many people have suggested the scene that I did feature (I’ll bet you can guess which scene it is). I’d love to hear what you think! Drop a comment below or comment on YouTube if you’d like.

— B

My rating: 8/10

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#Hush… Hush, Sweet Charlotte (1964)

Directed by Robert Aldritch

#84
0

I used to suffer from terrible growing pains in my legs when I was young. My mother’s answer to every ailment was a warm wash rag and some Horse Liniment, an aggressively medicinal-smelling ointment meant for horses (it stiiiiinnnggs). On one particular night I was struggling with terrible pain and my mother was slathering the liniment around my knees. She asked what would make me feel better. I immediately replied, “I wanna watch TV in Joy’s room!”

Joy, my sister, was staying at a friend’s house. Her room was all gauzy and ethereal, and I secretly coveted it. This was the early ’80s, and we had just gotten cable installed for the first time. In those days, the USA Network had a block they called USA Saturday Nightmares, which was a three-hour block that showed a movie from eight to ten, and at ten o’clock they would show two half-hour horror TV series. Twilight Zone, Alfred Hitchcock Hour, etc. I watched every single weekend. This night’s film happened to be Hush… Hush, Sweet Charlotte.

The wind was howling outside, so I opened her windows to let the white, semi-transparent drapes dramatically flutter around me (her bed was situated under two large windows). Then I nestled into her unusually high, puffy bed, covered myself in several layers of blankets and a comforter, and watched my story.

I remember just two things: the white gown with blood on it, and the head rolling down the stairs. I also remember that I was rendered defenseless and afraid after the movie and was too afraid to run to my room (her room was on the opposite side of the house from everyone else’s, and my Dad had a nasty habit of waiting in the darkness for a very long time just to scare the shit out of us). So I fell asleep in her room, realizing I’d completely forgotten about the pain while I was watching the film. That’s a great film!

— B

My rating: 7/10

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#Eyes Without a Face (1960)

Directed by Georges Franju

#83
0

I first saw the uncut version of this film on Halloween night at Chicago’s Music Box theater in 2003. This was in fact its first run in the U.S., 43 years after its original release. That was a particularly magical night. I was sitting in one of my favorite theaters in the world, watching my favorite genre in one of my favorite months of the year. I was perfectly primed for this film without even realizing it.

As with most any pre-60s Horror film, the scares don’t really pack the same punch as they would originally have, but there are some iconic moments here, and I’d be willing to bet that the film is much better than you expect it to be.

There is one particularly infamous scene that (as so many films now lay claim to) apparently caused a lot of fainting and had the censors up in arms. Somehow, some way, director Georges Franju was able to get it past the censors and into theaters. I can imagine some of this stuff would have been quite shocking in 1960. Apparently Franju doesn’t consider it Horror, but rather a “tale of anguish.”

I’d love to hear what you think…

— B

My rating: 8/10

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#Prince Of Darkness (1987)

Directed by John Carpenter

#82
0

This is one of those seminal films that really helped forge the Horror fan that I am today. Particularly, well-directed Horror. This film has so many striking visuals that stand the test of time. Apparently Alice Cooper has tried several times to convince director John Carpenter to film a sequel, stating he “… wants to see more than just the anti-God’s hand but the whole thing.” I really appreciate that we only ever catch glimpses — the silhouette from a distance, the hand coming out of the mirror. We’ve seen “the big reveal” fall flat on its face so many times in Horror films.

And can we talk about Susan Blanchard’s bloody, peeling face for a moment? That image haunted and disturbed me as a child, yet I couldn’t tear my eyes away. To this day I still find it to be so very… unnerving. The juxtaposition of the blood against the pure blond hair is what pushes it over the edge for me.

Like so many of John Carpenter’s films, Prince Of Darkness didn’t perform well in theaters, but had a second life with home video and has since grown a large cult following. It’s apparently one of his personal favorites from his catalog, and I can understand why.

— B

My rating: 9/10

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#The Exorcism Of Emily Rose (2005)

Directed by Scott Derrickson

#81
0

I saw this film in the middle of a tour with my old band. By this point in the tour we were somewhere in Virginia and had played to a string of empty rooms and were looking for the first distraction we could find. A nearby theater was playing this film and one other. We picked this one knowing it was going to be awful — maybe even bad enough to be funny.

It wasn’t funny, fortunately, but in fact a great take on the genre, focusing primarily on the legal drama and not the exorcism itself, which somehow actually works to underscore the exorcism segments. And while I feel the exorcism story line goes a bit off the rails and cliche as it draws on, lead actress Jennifer Carpenter is an absolute BEAST and a blast to watch. Story goes that all of the crazy positions and poses you see her in are really her and not effects, and that she would practice for hours alone in a room with mirrored walls.

The film was also apparently riddled with “strange occurrences” where several actors and crew members reported unexplainable things happening to them on and off set.

For me, this is the best exorcism film to have come around in some time. Most exorcism films end up being a parody of themselves and rely on many of the same tropes (and I just cannot forgive the ridiculous digital effects on the voices).

The Exorcism Of Emily Rose doesn’t necessarily break any new ground, but it is a viable and enjoyable film in a sea of so, so many terrible ones.

— B

My rating: 7/10

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#The Ritual (2017)

Directed by David Bruckner

#80
0

Director David Bruckner made headlines in the film world when he released his first film, The Signal (2007), which was made on a paltry $50,000 budget. A few years later he would be invited to film a segment for the first entry in the V/H/S (2012) series. Now four films into that series, his segment, titled Amateur Night, is still universally considered one of the best segments of the bunch.

With The Ritual, we once again see him making magic with an incredibly meager budget, this time topping about $1,000,000. That’s a remarkable feat, especially considering the quality of the final product. This film features above-par acting from every cast member, great direction, is visually stunning with some pretty convincing set design, and lots of effectively eerie shots of the forest that gives it a foreboding life of its own. Strong recommend.

— B

My rating: 8/10

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#Sisters (1972)

Directed by Brian De Palma

#79
0

Split screen mania! Ketchup blood! Only a young, wide-eyed director would have the gumption to use split screen so liberally. I mean, you’re literally filming twice the amount of footage, and orchestrating everything to line up just so must be terribly challenging. I gave “split screen” a search in Google Images and a screenshot from this film was the fifth image.

I remember watching Sisters many years ago and feeling like the twist ended up not being the twist I was hoping for, and I felt the same way after a recent repeat viewing. In fact, I don’t think the ending really works, and even Jennifer Salt (one of the lead actresses) admitted in an interview that she herself had no idea what it was supposed to mean.

Either way, it’s a really fun ride that’s nice to look at, and the score by Bernard Herrmann — Alfred Hitchcock’s composer of choice — is characteristically chilling and moody. I think De Palma must have been giddy beyond measure to work with Herrmann, as the final cut of the film places the score front-end-center at every opportunity.

— B

My rating: 7/10

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#Antichrist (2009)

Directed by Lars von Trier

#78
0

I became an instant fan of Lars von Trier’s when I discovered his early film Europa (1991). Shortly after watching that film, Breaking the Waves (1996) was released and created a frenzy around him and star Emily Watson (making her theatrical film debut), who went on to be nominated for an Academy Award for Best Actress in a Leading Role. Breaking the Waves is a near-perfect film for me, but as with most of his projects, Trier made headlines with controversial statements like, “I was determined to write a story that was so far-fetched and so full of clichés that no one could take it seriously, but of course the audience liked it. All you have to do is come up with something really stupid, and it will become a great success.”

I’ve learned not to pay too close attention to anything he says about his own films. But when I heard that he was making a Horror film, and that he wrote and directed it while hospitalized for depression, and that it stars Willem Dafoe and Charlotte Gainsbourg, I found myself once again reading interviews with Trier to learn more. I was seeing comments like, “I watched a documentary where the forests were portrayed as a place of great pain and suffering as the different species tried to kill and eat each other. I was fascinated by the contrast between this and the view of nature as a romantic and peaceful place. At the same time that we hang it on our walls over the fireplace or whatever, it represents pure Hell.” I was intrigued.

Antichrist is far from a perfect film. In some ways I wonder if it should ever have left Trier’s brain (which could be said about many of his films). I think Trier’s films are made up of so many incredible and unique parts that sometimes don’t always fit perfectly together, but those parts are so good that it’s usually easily forgiven.

Antichrist is a deeply personal and original vision. It doesn’t always work, and sometimes it’s difficult to know if you’re expected to be horrified or to laugh (chaos reigns…), but because so many of the parts are so astoundingly beautiful and original, I feel it’s definitely worth a viewing. Be warned, though. There is good reason I blocked out most of the picture in the clip I chose.

— B

My rating: 8/10

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#Kill List (2011)

Directed by Ben Wheatley

#77
0

Director Ben Wheatley is a tough one to nail down. You truly have no idea what to expect when viewing his films. They often bend genre rules and take you in a direction you would never have expected, and he doesn’t tend to stick to one genre. In interviews he states that Kill List is most definitely a Horror film (which is great as more often than not Horror directors deny the genre label because they’re afraid of being pigeonholed), but it doesn’t really feel like Horror. Until it does.

— B

My rating: 8/10

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#They Look Like People (2015)

Directed by Perry Blackshear

#76
0

I wish I could remember how I stumbled upon They Look Like People, but I’m so glad I did. It’s a subtle, understated psychological thriller that relies entirely on good writing, good performances, and the viewer’s imagination. There is very little in the way of special effects, save for some truly inspired sound design, but director Perry Blackshear does a wonderful job of facilitating the viewer in filling in those blanks ourselves. Is Wyatt crazy? Or has he really seen something he wasn’t supposed to see?

— B

My rating: 7/10

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#Martyrs (2008)

Directed by Pascal Laugier

#75
0

This one’s another one for the completist horror fan. It’s not a bad film by any means. It’s actually pretty great, and quite terrifying. It’s just… very bleak, with nothing much to wash it down with. Director Pascal Laugier has gotten a lot of guff for this film over the years, including from the two lead actresses. He even went so far as to open the DVD presentation of Martyrs with an apology to its viewers. Laugier wants you to know that he’s sorry for what he has committed to film. He shouldn’t be sorry. He created what’s become an important film in the New French Extremity movement, and those are some great films to be associated with.

— B

My rating: 7/10

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#Blow Out (1981)

Directed by Brian De Palma

#74
0

Taking a slightly different approach here and sharing a great scene from a thriller that isn’t necessarily a horror scene, but rather a parody of one. The ghost of Hitchcock is more present than ever here in Brian De Palma’s Blow Out, and it’s glorious.

— B

My rating: 8/10

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#The Woman In Black (1989)

Directed by Herbert Wise

#73
0

Suggested by Reddit user _Scott_Blacula_

An undeniable classic. This film languished for years in a legal battle between the three crew members (!) that owned the rights, which may have inadvertently helped the film reach cult status. For some time the only way to see The Woman In Black was to seek it out on Usenet and download it illegally, and even then the only copies available were low-quality rips pulled from old VHS tapes (which may have added to the mystique).

THIS is how you make a great horror film with no budget and no violence. Just good writing, great performances, great direction, and a little bit of face paint.

Interesting tidbit: Adrian Rawlins, who stars in the original, went on to play Harry Potter’s father in the Harry Potter series. Daniel Radcliffe, who plays Harry Potter, went on to play the lead in the 2017 The Woman In Black remake (which you should probably just skip).

— B

My rating: 10/10

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#Irreversible (2002)

Directed by Gaspar Noé

#72
0

Note for those of you that are familiar with this film: No, I didn’t choose that scene. I just couldn’t. I’ve only watched it once, and even then in 15–30 second increments with sanity breaks. Outside of real-life violence (which I can’t stand witnessing) that scene was probably the hardest of any scene from any film for me to get through. Hell, apparently the actress herself hasn’t ever watched the scene all the way through.

Note for the rest of you: For the first time in Best Horror Scenes history, I’m actually going to recommend you don’t watch this scene unless you’re completely prepared and in a place where nobody else can see your screen. It’s extraordinarily disturbing, the camera work is nauseating and disorienting, the violence is very realistic, and there are a lot of flashes of real S&M.

For those that are not familiar with this film (if you’re here it’s hard for me to imagine you haven’t at least heard of it — it’s truly infamous): Irreversible is incredibly difficult watch, and definitely not for everyone. Director Gaspar Noé makes sure of that at every turn. Firstly, it’s filmed in reverse. The film begins with the final act, and each segment you watch actually happened after the segment that follows it (yes, he was inspired by Memento, but the concept is taken to a whole new level here). Secondly, the camera often appears to be hanging from a spring. It dips and spins and twirls and swings and wobbles like a dying moth, all the while catching flashes of incredibly disturbing imagery (including a shot of the director himself masturbating). Lastly, Irreversible features what is, in my experience, quite possibly one of the most talked about scenes in “horror” film history (while this isn’t really considered traditional horror, it is fucking horrifying like no other film you’ll ever see). If you can make it through that scene without looking away, you may want to consider professional help.

Director Gaspar Noé is either the most nihilistic filmmaker of all time, or an epic, long-running joke on the film world. He makes a point of being controversial and subversive (just look at the title sequence for Enter the Void alone). Of making the viewer work just as hard as he has to make it to the end of his films. But regardless of how you feel about him — and people tend to feel very strongly one way or the other — you cannot deny the fact that this film is one of the most horrifying and disturbing ever (legally) released.

— B

My rating: 9/10

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#Coma (1978)

Directed by Michael Crichton

#71
0

You know that thing where you want to revisit a favorite from childhood, but you’re a little hesitant because you don’t know how it’ll hold up and you don’t want to sully the fond memories? While Coma is a pretty lightweight little thriller that smacks hard of 1978 in virtually every way, it’s still a really compelling story with some pretty unforgettable imagery and heart-pounding sequences. File under: good movies for plane rides so nearby passengers don’t have to see decapitated heads or disembodied hands murdering scantily-clad teens.

— B

My rating: 7/10

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#Terrified (2017)

Directed by Demián Rugna

#70
0

This film came as a total surprise. After falling down the “Viewers Also Watched” rabbit hole on Apple TV one night, I found it probably 20 levels deep. It’s since become more popular, but at the time had no marketing or exposure. I went in not expecting much at all, but instead didn’t just like the film, I loved it. It’s thoroughly enjoyable, and genuinely creepy with several truly unnerving scenes. A fresh take on the genre, and follows no well-worn path.

Note: If you can (as a general rule, of course), see if you can find the non-dubbed version of the film. Also: There is nothing creepier than a dead kid, and this film features possibly the creepiest of them all.

— B

My rating: 8/10

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#Snowtown (2011)

Directed by Justin Kurzel

#69
0

I remember finishing Snowtown the first time and feeling kind of upset and dirty. Very similar to the way I felt when, as a teenager, I watched Faces Of Death alone. It was a morbid, giddy fascination that led me to watching that film, but once it was over I knew I’d seen something I shouldn’t have and wished I could erase it from my memory.

Snowtown feels very real from the start. There are only two professional actors in the bunch (Daniel Henshall and Richard Green), yet instead of quickly trying to mold the first-time actors into something they aren’t, Daniel and Richard followed their lead and modified their own respective styles to match the tone. What results is what feels like a shockingly authentic record of events. You feel less like a person watching a documentary (as they are generally carefully edited and presented to tell a story) and more like a witness. I think it’s due to this that we are able to let go and develop a level of trust very early on in the film that is unmatched in most films.

— B

My rating: 8/10

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#Hounds Of Love (2016)

Directed by Ben Young

#68
0

Ben Young delivers an exceptional first feature with Hounds Of Love, a disturbing little film featuring stellar performances by all with beautiful cinematography and direction. Emma Booth, who plays Evelyn White, is particularly inspired and… unhinged. I believe every moment of her unraveling, and it’s difficult to watch. She’s so good in fact that you find yourself almost rooting for her in one moment and completely repelled by her in the next.

Hounds Of Love isn’t breaking any new ground here, but due to the quality of the final product and a couple of truly harrowing scenes, I’d say it’s worth a watch.

— B

My rating: 7/10

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#Klute (1971)

Directed by Alan J. Pakula

#67
0

I realize it’s a controversial statement, but here goes: this film is perfect. This is a film firing on all cylinders. Jane Fonda is a force of nature. The scene I chose is remarkable for so many reasons, but her performance is one to be studied. Apparently, she planned to play scared for the scene, but when she heard the tape recording of the call girl about to be murdered and the fear in her voice, she unexpectedly started crying. By this point in the film you’ve likely already grown to care for Fonda’s character, Bree. To watch her break down like this, knowing something is about to happen, is absolutely gut-wrenching. Strong recommend.

— B

My rating: 10/10

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#Tesis (1996)

Directed by Alejandro Amenábar

#66
0

Director Alejandro Amenábar, who would later direct The Others (2001), started writing Tesis before graduating from film school. The final product definitely feels like it came from a director with more experience under their belt. This is a nice little thriller that feels maybe a bit dated today, but still holds up nonetheless.

— B

My rating: 7/10

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#Mute Witness (1995)

Directed by Anthony Waller

#65
0

The first 34 minutes of Mute Witness are some of the most suspenseful I’ve experienced in any film, and the first 5 minutes some of the funniest. It features an inspired 15-minute cat-and-mouse chase through a labyrinthian film studio after Billy, a mute make-up artist, stumbles upon a snuff film being shot in the studio after hours. The chase features several perfectly timed near misses that must have been incredibly difficult to nail.

An interesting tidbit: Anthony Waller, the director, had a moment of serendipity when he bumped into Sir Alec Guinness a full three years before filming on Mute Witness began. He took a chance and asked if Alec would be willing to shoot a cameo for his next film. To his surprise, Guinness said he’d be delighted and that he would do it for free. Guinness was booked for the next eighteen months, so Waller suggested they shoot the scene the following morning in an underground car park. Guinness readily agreed and, true to his word, took no payment.

It would be Sir Alec Guinness’s final film.

— B

My rating: 8/10

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#Midsommar (2019)

Directed by Ari Aster

#64
0

The 2010s was such an incredible decade for first-time directors in the horror genre. Jennifer Kent with The Babadook (2014); David Robert Mitchell with It Follows (2014); Robert Eggers with The Witch (2015); S. Craig Zahler with Bone Tomahawk (2015); Severin Fiala and Veronika Franz with Goodnight Mommy (2015); and Ari Aster with Hereditary (2018). Somehow shaking the sophomore slump that so many creative people are cursed with, these filmmakers were able to rally and release something just as good as (and sometimes better than) their first outing.

With Midsommar, Ari Aster tossed most of the horror tropes we’ve grown so tired of out the window (he was never really a subscriber anyway). Midsommar takes place primarily in the bright light of day, and all murders occur offscreen. We only get to see the aftermath, and it isn’t pretty. He starts the film with an illustration that, if studied closely, reveals the entire story he’s about to tell. The visual tone of the film is very bright and washed-out, which makes the moments of violence all the more shocking and disturbing. Blood has never looked so… bloody. Once again, Ari has filled his film with an assortment of easter eggs and subliminal clues, none of which are required to enjoy the film but make the experience all the more engrossing.

I can’t explain why, but while Hereditary was definitely the bleaker film, I walked away from Midsommar feeling… ickier. I really believe this is due in large part to the stark contrast between the visual style of the film and the violence. When something terrible does happen, the camera doesn’t shy away. There are no quick, apologetic shots of gore. When the man leaps from the cliff and lands on his feet, we get a clear, personal, up-close view of the aftermath, and boy is that a striking visual.

Like so many others, I cannot wait to see what else Ari Aster has to share with us.

— B

My rating: 9/10

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#Let the Right One In (2008)

Directed by Tomas Alfredson

#63
0

What can I say about this film? It’s as close to perfect as any film I’ve seen, from any genre. The relationship between Eli and Oskar is so beautiful, so pure. So many of us can relate to Oskar’s story. To watch it unfold feels personal and painful, possibly because it taps into so many of our own experiences from childhood, when we felt powerless, alone, and misunderstood.

Oskar and Eli meet at the perfect moment. Both have been alienated by their circumstances, and both desperately desire connection and love. The fact that Eli happens to be a vampire is somewhat moot (until the end of the film, of course). It’s what happens because she’s a vampire that is so important to their connection.

The book that the film was based is also quite good, and, as is typically the case, goes much deeper into each characters’ backstory. We learn so much more about Eli’s origins (e.g. Eli is actually a boy that was castrated, which the film hints at in one particular scene), as well as many other characters (such as Håkan, Eli’s caretaker, who was a pedophile that created a sort of symbiotic relationship with Eli where he would find blood for her and she would… ?).

I can’t tell you how many times I’ve seen this film (and forced others to watch it with me), and save for the cat attack scene (which some say was intentionally humorous, but feels like too much of a momentary shift in tone to me), it’s just as beautiful and impactful today as the day it was released. Strong recommend.

— B

My rating: 10/10

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#The Void (2016)

Directed by Jeremy Gillespie and Steven Kostanski

#62
0

This is such a scrappy little film. The directors partially crowd-funded the project because if you wait for funding to come through, it’s already nearly time to start filming. They wanted to start work on the creatures as soon as possible, and were able to raise enough to do so via an Indiegogo campaign. All effects were practical, and the film was made on a shoestring budget. Yet somehow the final product feels surprisingly polished.

In the end it was worth it. The creatures are truly the stuff of nightmares. One in particular who walks upside-down on its hands and feet in staccato movements (a gimmick we’ve seen a million times in possession films, but… you’ll see in the clip). Well, the one repeatedly ramming the spike through it’s barely-there skull is also pretty inspired.

— B

My rating: 8/10

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#The Strangers (2008)

Directed by Bryan Bertino

#61
0

It seems I’m in the minority in my love for this film. Something just works for me. The handheld camera work. The simple disguises. Their deadpan and mumbled delivery. Their uncanny ability to be anywhere and everywhere instantly. I remember having a tough time with the ending originally, but now I can’t imagine it any other way.

— B

My rating: 8/10

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#The House of the Devil (2009)

Directed by Ti West

#60
0

For my 60th installment, I’m covering one of my favorite horror films. For many, this film is too much of a slow-burn. Common adjectives running through IMDB user reviews include “borefest,” “waste of my precious time,” “dull and full of anachronism.” I will acknowledge that this film moves at a much more leisurely pace than your average horror film. But wouldn’t you say that many films in this genre suffer from the opposite problem? Often jumping straight into the action with little to no concern for character development or story.

In stark contrast to many of the other films in this collection, this film relies very little on gore and violence. It does eventually make an appearance, but not without first taking special care to guide us there and bring us closer to the characters along the way, making it all the more impactful once it does finally kick in.

The majority of the film is carried entirely by MOOOOOOOD (all-caps, bolding, and extra “Os” intentional). Shot on 16mm and labored over obsessively, this film looks and feels incredible. The quality of the image and the cinematography are both well above par for the genre. It somehow manages to avoid all of the conventional tropes of a period piece — particularly one set in the ’80s — and instead feels like an honest love letter to the decade and the many familiar stylistic flourishes it’s so inspired by.

— B

My rating: 9/10

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#Exhibit A (2013)

Directed by Dom Rotheroe

#59
0

Simultaneously one of the best and most terrifying found footage films I’ve seen. Very disturbing and convincing.

— B

My rating: 8/10

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#Goodnight Mommy (2014)

Directed by Severin Fiala, Veronika Franz

#58
0
My rating: 8/10

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#Green Room (2015)

Directed by Jeremy Saulnier

#57
0

Having seen and fallen completely in love with Jeremy Saulnier’s previous film, Blue Ruin (2013),

— B

My rating: 9/10

No Comments

#The Vanishing (1988)

Directed by George Sluizer

#56
0
My rating: 8/10

No Comments

#The Omen (1976)

Directed by Richard Donner

#55
0
My rating: 8/10

No Comments

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#Les Diaboliques (1955)

Directed by Henri-Georges Clouzot

#54
0
My rating: 10/10

No Comments

#The Shining (1980)

Directed by Stanley Kubrick

#53
0
My rating: 10/10

No Comments

#Jaws (1975)

Directed by Steven Spielberg

#52
0
My rating: 10/10

No Comments

#Pet Sematary (1989)

Directed by Mary Lambert

#51
0
My rating: 7/10

No Comments

#Psycho (1960)

Directed by Alfred Hitchcock

#50
0
My rating: 10/10

No Comments

#Suspiria (1977)

Directed by Dario Argento

#49
0

Suggested by Nicholas Shaw

My rating: 9/10

No Comments

#The Eyes of My Mother (2016)

Directed by Nicolas Pesce

#48
0

Suggested by Alexa Chermak

My rating: 7/10

No Comments

#The Texas Chainsaw Massacre (1974)

Directed by Tobe Hooper

#47
0
My rating: 10/10

No Comments

#Sinister (2012)

Directed by Scott Derrickson

#46
0
My rating: 8/10

No Comments

#The Blair Witch Project (1999)

Directed by Daniel Myrick, Eduardo Sánchez

#45
0
My rating: 7/10

No Comments

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#mother! (2017)

Directed by Darren Aronofsky

#44
0
My rating: 8/10

No Comments

#The Descent (2005)

Directed by Neil Marshall

#43
0
My rating: 9/10

No Comments

#Poltergeist (1982)

Directed by Tobe Hooper

#42
0
My rating: 9/10

No Comments

#Misery (1990)

Directed by Rob Reiner

#41
0
My rating: 9/10

No Comments

#The Brood (1979)

Directed by David Cronenberg

#40
0
My rating: 8/10

No Comments

#28 Days Later (2002)

Directed by Danny Boyle

#39
0
My rating: 9/10

No Comments

#Hereditary (2018)

Directed by Ari Aster

#38
0
My rating: 10/10

No Comments

#Session 9 (2001)

Directed by Brad Anderson

#37
0
My rating: 9/10

No Comments

#Still of the Night (1982)

Directed by Robert Benson

#36
0
My rating: 7/10

No Comments

#Don’t Look Now (1973)

Directed by Nicolas Roeg

#35
0
My rating: 10/10

No Comments

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#The Silence of the Lambs (1991)

Directed by Jonathan Demme

#34
0
My rating: 10/10

No Comments

#Marathon Man (1976)

Directed by John Schlesinger

#33
0
My rating: 10/10

No Comments

#Hellraiser (1987)

Directed by Clive Barker

#32
0
My rating: 7/10

No Comments

#The Witch (2015)

Directed by Robert Eggers

#31
0
My rating: 10/10

No Comments

#Deliverance (1972)

Directed by John Boorman

#30
0
My rating: 9/10

No Comments

#Signs (2002)

Directed by M. Night Shyamalan

#29
0
My rating: 7/10

No Comments

#Se7en (1995)

Directed by David Fincher

#28
0
My rating: 10/10

No Comments

#The Thing (1982)

Directed by John Carpenter

#27
0
My rating: 10/10

No Comments

#Bone Tomahawk (2015)

Directed by S. Craig Zahler

#26
0
My rating: 8/10

No Comments

#Annihilation (2018)

Directed by Alex Garland

#25
0
My rating: 8/10

No Comments

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#A Nightmare On Elm Street (1984)

Directed by Wes Craven

#24
0
My rating: 9/10

No Comments

#Inside (2007)

Directed by Alexandre Bustillo and Julien Maury

#23
0
My rating: 8/10

No Comments

#It Follows (2014)

Directed by David Robert Mitchell

#22
0
My rating: 9/10

No Comments

#Jacob’s Ladder (1990)

Directed by Adrian Lyne

#21
0
My rating: 10/10

No Comments

#Zodiac (2007)

Directed by David Fincher

#20
0
My rating: 9/10

No Comments

#The Poughkeepsie Tapes (2007)

Directed by John Erick Dowdle

#19
0

Okay, so this found-footage/mockumentary film is really pretty terrible, which seems to be the case with most films that have a good bit of hype and cult following before they’re even released (or in the case of this film, illegally downloaded). The recipe here contains two ingredients: “documentary” footage (cutaways of crime scenes, evidence, interviews, etc.), and the “real” footage left by the serial killer. The former is awful. Just… awful. Truly terrible acting. Dialogue presumably penned by a teen boy. The works. The archive footage, however, is really something. Many of the vignettes are quite terrifying, and surprisingly well-acted.

It’s hard to understand how they ended up with two parts so disparate in quality, but if you’ve got a bit of spare time and feel like fast-forwarding through the bad bits, it’s worth checking out (if you can find it).

— B

My rating: 5/10

No Comments

#[REC] (2007)

Directed by Jaume Balagueró and Paco Plaza

#18
0
My rating: 8/10

No Comments

#The Orphanage (2007)

Directed by J.A. Bayona

#17
0
My rating: 9/10

No Comments

#Lake Mungo (2008)

Directed by Joel Anderson

#16
0
My rating: 7/10

No Comments

#Under the Skin (2013)

Directed by Jonathan Glazer

#15
0
My rating: 10/10

No Comments

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#Mulholland Drive (2001)

Directed by David Lynch

#14
0
My rating: 9/10

No Comments

#The Bird With the Crystal Plumage (1970)

Directed by Dario Argento

#13
0
My rating: 8/10

No Comments

#The Signalman (1976)

Directed by Lawrence Gordon Clark

#12
0
My rating: 7/10

No Comments

#The Fog (1980)

Directed by John Carpenter

#11
0
My rating: 9/10

No Comments

#Henry: Portrait of a Serial Killer (1989)

Directed by John McNaughton

#10
0
My rating: 9/10

No Comments

#Invasion of the Body Snatchers (1979)

Directed by Philip Kaufman

#9
0
My rating: 9/10

No Comments

#When a Stranger Calls (1979)

Directed by Fred Walton

#8
0
My rating: 6/10

No Comments

#Audition (1999)

Directed by Takashi Miike

#7
0
My rating: 8/10

No Comments

#Wait Until Dark (1967)

Directed by Terence Young

#6
0
My rating: 10/10

No Comments

#Exorcist III (1990)

Directed by William Peter Blatty

#5
0
My rating: 7/10

No Comments

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#The Eclipse (2009)

Directed by Conor McPherson

#4
0
My rating: 7/10

No Comments

#Insidious (2011)

Directed by James Wan

#3
0
My rating: 8/10

No Comments

#The Tenant (1976)

Directed by Roman Polanski

#2
0
My rating: 10/10

No Comments

#Black Christmas (1974)

Directed by Bob Clark

#1
0
My rating: 10/10

No Comments