If you enjoy real, fill your pants atmosphere in films – that creeping feeling of dread usually reserved for coming face to face with your own personal phobia, then watch this and prepare yourself – the final fifteen minutes may well be the most heart-stopping, chilling fifteen minutes you will ever witness.
Just a warning though; it is slow paced, even more so than Ringu, a complaint many people seem to have with these movies, and the first time I watched it I wasn’t sure if it was leading anywhere. My problem was that I was watching it and comparing it to Ringu in my mind. The last few scenes changed my mind. The next time I watched, my mind was clear, and it scared the wits out of me. The few scary moments before the final scenes are pretty good, employing classic ‘should I look behind me’? techniques much like the previous films, but before I get to the final scenes, I’ll explain everything else.
The film begins in modern day Japan – someone has heard a rumour about a videotape with a curse… then we flashback thirty years or so and meet the Evil Spirit Sadako… only to find she is a beautiful young woman, a talented actress though shy, and misunderstood. Sadako Yamamura is part of an acting school, and her first role is a few days away. She keeps to herself, but the attentions of Toyama infuriate the other girls, who can’t understand what he sees in her when he could have any of them. The girls get jealous, and a number of deaths occur mysteriously. The story also follows a journalist who has traced down Sadako – she is the widow of a man who died, also under mysterious circumstances at the hands of, she believes, Sadako’s estranged mother. Sadako’s mother was famed for her supposed supernatural abilities, and killed herself a short while ago. The journalist wants to find out the truth, and finds Sadako just before opening night. Paying one of the jealous girls to mess with the audio equipment, hoping to get a reaction from Sadako, the play begins to go wrong, and in a Carrie-like scene, everyone blames Sadako. Then the fun really begins…
Up to this point, the film is equal parts chilling, beautiful, and to a certain extent confusing. The acting has been very good from everyone, especially Yukie Nakama who drags out our sympathy. Toyama is the only person who trusts Sadako, and tries to defend her, eventually leading to one of the most tragic scenes I can recall seeing. Every scene is shot trying to balance beauty with the creation of fear, a wonderful irony considering Sadako’s own birth and life – she doesn’t want to hurt anyone, and is capable of great beauty, but all she seems to do is scare and kill.
I’ve probably hyped the film too much now, but the final scenes in the forest and Sadako’s old home are really that good. Terrifying, and directed brilliantly – watch for the way the forest suddenly changes colour from green and full of life, to that Sepia tinge used in the first films to show both the past and the afterlife. And watch in the background for a long haired figure in white floating past the trees. One of the most underrated horror movies of recent years, mainly because it can seem confusing at first glance, and because very few questions are actually answered. The point is, the questions are there to be asked, for us to work them out ourselves – we become like the journalists in each of the movies, drawing ourselves closer into the tragedy and threat of Sadako’s life until we cannot escape.
*Originally written in 2004, so apologies for the quality
The fear and utter dread continues in Part Two of the Ringu trilogy, set one week after the events of the first film. The girlfriend of Takayama tries to solve the mystery of his death by finding his ex-wife and son, and in doing so brings herself deeper into Sadako’s life than anyone previously had.
The movie is at times frustrating and confusing, at others ingenious, yet the scares remain intact. For the first time we get the sense of Sadako as a tragic figure, rather than a relentless spirit with the sole purpose of seeking revenge on everyone. She had been alive down that well for a long time, and seeing the world from her eyes helps us appreciate the build up of rage. While the tension is lessened, the sudden jolt scares are increased – terrifying moments including the well scene at the end, one involving a mirror, and a scene with a treacherous journalist. Again the acting is flawless, but the most interesting part for me was the fact that minor characters from the first film get the top billing here.
The film is let down by its confusing explanation of the curse and how to stop it, or harness it, but this is a minor flaw. When you feel your stomach turning inside out, your breath catching in your throat as Sadako floats past doors, you know you’re watching an excellent horror movie. And when you turn off the lights, and imagine those nail-less fingers stretching for your ankles, you know you won’t be able to sleep easily for a while.
Just when horror movies were slipping back towards mediocrity and worse, after the high of Scream and the many lows which followed, Hideo Nakata decided to bring Koji Suzuki’s hit novel to the big screen. The result is the most terrifying movie of the decade, and one of the most chilling movies of all time. Made on a tiny budget the film is relentlessly evil, the tension never gives in, and you will not forget it for the rest of your life. Stylish, borrowing from other films and surpassing them, Ringu is a demon reincarnated as a movie, its effect on us everlasting, ensuring we spread the word…
The film opens with a Scream-like scene and the tension is already high, our wrists put in a deathly grip from the outset. Two teenage girls are discussing a video one of them claims to have seen, saying it is the scariest thing she has ever see. Once you watch it the phone rings, and a voice tells you you will die in seven days. The girl though says she is joking. Then the TV switches itself on and she hears scratching noises. It has been seven days. We cut to a reporter, Reiko Asakawa who is doing a story about the video curse. She investigates some local deaths, including her niece and soon realises that all her niece’s friends are dead too, having watched a mysterious video. Leaving her son behind she goes in search of the video. Eventually she finds it, watches it and answers the ringing phone. Convinced she is going to die she contacts her ex-husband and tries to find a way to save herself. He is not convinced, and watches it as well. However, later that night their son Yoichi also watches, so they all try to solve the curse, uncovering the story of the Yamamuras, in particular – Sadako.
Aside from having one of the most frightening climaxes in movie history, one which the recent remake completely failed to resurrect, there is an eerie atmosphere throughout the film. There are many other moments which add to the atmosphere and build towards the infamous final scare. The last 15 minutes are extremely scary as Reiko and Ryuji search for Sadako and feature some of extremely nail-biting scenes. Everything in the film is designed to unsettle – the unearthly soundtrack reminiscent of Argento and Goblin’s works, the fixed and cornered camera angles so we can never see what is near, the grim surroundings, the complete lack of humour, the use of colour etc. The performances are all very good as well, Nanako Matsushima as Reiko swiftly moves from confident to frantic wreck, and exudes every possible emotion. Hiroyuki Sanada is extremely strong, slowly coming to realise the truth, conveying guilt over his son and remaining both mysterious and strong when his ex-wife gives up. His final scene is perfectly acted, heightening the overall effect. Rikiya Otaka as Yoichi manages to be creepy, but his role becomes more central in the second film. The rest of the cast are all immensely good. The inclusion of the timer is also highly effective, ensuring the tension rises as we know time is running out.
Of course the film has its flaws. Some people will be put off by the slow nature. Some people will feel the need to have every question answered, and Ringu leaves many unanswered – that is the point. If we were in this situation we would be looking for answers – anything to help us, to relieve the fear, something real to hold on to, but nothing is given. As we are left wondering, the film will stay with us, continuing to haunt us over time, ensuring we do not escape the ring. As it was adapted from a novel, certain inherent difficulties arise. In the novel it is a man who is the reporter, his wife is barely around, and his near-sadist friend takes up the Ryuji role, hoping to put some excitement into his life. In the book, beware all reflective surfaces. The curse is more of a disease than a ghost. Nakata takes the best elements, and makes the story his own. There will be some confusing moments, but the constant threat of something happening will mean you will continually be focused on the film.
The sense of isolation is strong, and there is a coldness surrounding the film. Many rooms are blank, places lack expression, and people speak in monotone, and avoid eye contact. Nakata explores Japanese culture and mythology, showing the intrusion of the West via moments which remind us of past films. There is more than one reference to The Terminator – the final shot, the dates, the relentless evil of Sadako, technology backfiring, and it recalls other films such as Videodrome, Eraserhead, Straw Dogs, and there is veiled thanks to Stephen King. (Translate the name of a certain familiar Stephen King town into Japanese). Nakata shows himself to be the new master of tension, and along with Miike, Kitano and others is proving that Japanese cinema is a force not to be taken lightly. I first saw this around 5 years ago, and it is still rewarding and scary today. The themes of abandonment, fear and guilt stay with the viewer, coming out more with each viewing, once the initial fear has gone. This is one horror movie everyone should see, vastly superior to the remake which opted for cheap scares, flashy camera-work and loud noises. This is subtle, both nightmarish and real, and uses one of the most effective themes of horror movies to the fullest – the inevitability of death. We are doomed and there is no escape, but that should not stop us fighting for each other and ourselves, no matter how invincible our enemy.
Greetings, Glancers! It’s been an age and a half since I did one of these Top Ten Tuesdays lists, and that is simply unacceptable. As it’s the season of ghouls and murder I’m going to throw my head into the ring and let you know my Top Ten favourite Horror Movies of all time. Now, I haven’t put a lot of thought into this – I’ve just gone back to my old, faithful, never updated since created Top 250 IMDB favourite movies list and picked the highest ranking horror films. The lowest ranking movie in this Top Ten comes in at 40th in my IMDB list – so you know how much I love horror when 10 movies appear in my top 40 favourite films of all time.
Yes, I’ve loved horror all my life, and I’ve always been the morbid kid. One of my first Primary School stories came back with a note from the teacher saying I had a keen interest in the macabre. I had no clue what that meant, or how to pronounce it. Most of my stories and the games I imagined up to play with my friends involved monsters and gruesome mayhem. And ninjas – it was the 80s after all. I’ve probably mentioned it before – how I was always drawn to the horror section of the VHS store – and I don’t really know where it comes from. I think some of us are just born the right kind of wrong. That’s a good thing too, otherwise we would have never had many wonderful works of fiction and film.
I’m not saying any or all of the below films are wonderful, or masterpieces, or anything like that – just that they represent a decent picture of what I love from the genre (however some of them are genuine masterpieces). I don’t think this list will be too different from any horror fan’s list but maybe there will be a few surprises. If I went back to my Top 250 there would be some definite changes, not just to the ordering but additions, removals, and not just from the horror genre. Enough warbling though. The below ten films are as good an introduction to Horror Movies as any, and they have provided me with a lifetime of entertainment and insight. Scares? Yeah, scares too.
10. Interview With The Vampire
This is probably the most controversial and least loved film on my list. I’m actually surprised I had it so high on my Top 250 too, but there you go. I do love the film, and it’s a great adaptation of one of my favourite books. The cast is top notch, it looks gorgeous, it’s sexy, bloody, and in Claudia we have one of my favourite tragic figures.
9. The Lost Boys
The ultimate MTV generation movie. One of the coolest movies ever too, but you had to be there around the time of release to see that, because watching today it looks either cheesy as hell or a product of another world. It’s vampires again, but rather than mopey, sorry figures, these guys are perma-teens of the cool kids club – sleeping all day, partying all night, pouting in leather and denim. Again there’s a great cast, everyone is ultra-hot, it’s hilarious, quotable, and endlessly entertaining.
8. Night Of The Living Dead
Probably the most important film on the list, this is where modern horror truly kicked off – Psycho started things rolling, but this brought realism where Psycho still felt like a movie. I’m going to go out on a limb and say this is the film where zombies feel most plausible and most scary. Other films use their zombies for sheer shocks and gore, Romero included, but here they are at their most chilling – we don’t know where they’ve come from, they look like our loved ones, and they just keep coming.
I’m going to assume everyone has seen this. It’s the ultimate gateway horror film, and one its best to see in your youth. Its scares range from jump-shocks, dread, tension, gore, but at its core it’s a story of man versus monster with universal characters and a simple, entertaining story.
Horror in the 90s was in a downward spiral – Scream almost single-handedly brought it back to relevance, making a tonne of money and getting praise from critics and fans new and old. As much as it nods, winks, and plays with tropes, it’s still an emotive story with a great heroine, tonnes of memorable dialogue and iconic scenes, and plenty of violence, laughs, and scares.
5. The Stand
I could get a lot of stick for this, but I don’t care – I love The Stand. It’s probably my favourite or second favourite book ever, and Mick Garris does it justice. Sure, some of the acting is painful in places and its age and budget are showing now, but the opening scenes and the following collapse of society were shamelessly stolen by The Walking Dead and yet are still effective. There are jump scares, there is violence, nihilism, hope, but it’s the ultimate battle of good versus evil. The soundtrack is also on regular rotation in my car/pocket. As much as I love it, I think an updated version could be epic.
4. The Thing
Now, these top four films – every one of them is a masterpiece – that can’t be disputed – and there isn’t much between how much I love, respect, and appreciate them. The Thing transcends horror – it’s one of the best movies of all time. It’s one of those movies I can’t really fault… the only thing I would say is, as great as the cast is, maybe we don’t spend enough time in the early moments with certain characters, and it can be difficult to differentiate between them. Regardless, it’s a perfect film.
3. Dawn Of The Dead
I can find fault with Dawn Of The Dead, and yet I love it just as much, if not more. The Thing is bad-ass, but Dawn Of The Dead was life-changing. I already loved horror, I already loved zombies, but this opened up a whole new world – it’s one of those movies that feels like something I would make or write. You know when you’re starting out as a writer or performer or artist – and I’m speaking to those of us who started young – as children – you get an idea and you begin tossing it around your juvenile mind, working out the plot and intricacies, and then one day you find out that someone else has already done it. They got there before you, and did it better than you ever could – suddenly you see your dream or nightmare on screen before you, but rather than being bitter, you love it. Someone else gets it. That’s Dawn Of The Dead, and it’s mind-blowing every time.
This one was also life-changing. I already love foreign movies, Japanese movies, but my experience of Asian Horror was fairly limited. When I first saw Ringu around 1999 I had never seen anything like it. It was modern, beautifully shot, paced to perfection, and holy heavens did it scare my soul away. I couldn’t buy it anywhere, but once it came to TV a year or two later I recorded it and must have watched it every day for a week, showing it to my brother, sister, friends, and loving it every time. I don’t think I’ve had a horror film which has made me do that before or since. Sure I have recommended films to people and have sat people down and forced them to watch some movies, but no movie felt so necessary – I had to see and feel their reactions and I had to be part of that world again. I love the sequels, I love the books, but this is where it started. I was picking up every single Asian horror film I could find after this.
1. A Nightmare On Elm Street
I don’t want to say this is where it all began – the first true horror film I remember seeing was Salem’s Lot – but really this is where it all began, and where it’s still at. Those VHS stores I mentioned – the Elm Street movie VHS covers were the ones which most caught my eye. Sometimes there would be a poster or cardboard cutout of Freddy there and I’d look at it cautiously, waiting for it to come to life. Who was this guy? What was that glove about? What happened his face, what was he doing? Somehow – credit to the wonderful powers of childhood imagination – somehow, though reading the backs of the videos, looking at the pictures, and splicing together rumours, by the time I was 6 or 7 I kind of had the whole thing worked out. I knew Krueger’s name, I knew the 1, 2, Freddy’s coming for you song, I knew that he got you in your sleep, and yet I didn’t see any movie until years later.
I somehow caught the last minute or so of the movie once, and that stayed in my head for years, even after I finally watched the whole thing. The same goes for snippets of other films in the series – something about the characters crept inside me on a personal level to the extent that I credit Krueger, Craven, and the series as being my true doorway to horror cinema. That idea of not being safe in your sleep is something chilling for all of us, but I think it’s something kids are especially susceptible too. We’re supposed to go to sleep, dream sweet dreams, and wake knowing we are safe and warm and loved. Craven turns that upside down and inside out, and goes further, exploring that idea that it’s the fault of the protector, the parent, that we are put in this mess. That idea is explored in many of his films – the mistakes of the parent coming back to haunt the child, but it’s perfected here. I still have a crush on Langenkamp, and while the film doesn’t remotely scare me any more, I can still put it on and love the imagination, the characters, the nostalgia, the story, and all of the more artistic and technical elements.
So there you have it, my very own favourite horror movies. What are your’s? Let us know in the comments! Before I go though, as a bonus, I have other genre crossover movies which some would consider horror or as having horror elements that I rate just as highly, if not higher than some of the above (in other words, they are not lower than 40 on my Top 250 list):
Firmly placed in the action genre – it’s essentially a chase movie – nevertheless The Terminator has a lot in common with the slasher genre. There’s a final girl, an unstoppable killer, tonnes of violence, and plenty of kills.
Unstoppable killer, violence kills, sort of a final girl, but a bunch of bad-ass marines kicking ass. Predator is a horror icon, even though this is more entrenched in the sci-fi genre.
Unstoppable killer, violence kills, a definite final girl, but a bunch of bad-ass marines kicking ass. The Alien is a horror icon, even though this is more entrenched in the sci-fi genre.
It’s questionable that anyone should include this in the Horror genre… but if it’s not, then what the hell is it? Drama, action, satire, and horror elements – kids forced to kill each other. Regardless, I still say it’s the best film of the 21st Century.
Is comic book adaptation its own genre? There are loose connections to horror here, with the unstoppable killer being the hero. The dark visuals and the origin plot are horror.
Assault On Precinct 13
Like many (most?) of Carpenter’s movies, this is a siege film. There isn’t anything supernatural, but it features hordes of faceless gang members attacking relentlessly – Night Of The Living Dead anyone? Also – ice cream.
It’s lighter and more family friendly than Jaws, but it’s still Spielbergian horror. Kids under threat from dinosaurs, huge unstoppable monsters, nowhere to run – good stuff.
Happy October everyone – Happy Halloween, Happy Horror Watching, and don’t forget to share your comments and memories!
A brief bit of history – Ringu is my second favourite horror movie of all time, and one which kicked off my love for J-Horror. Its sequel is problematic but a lot of fun, while its prequel is glorious and criminally underrated. I saw both the US remake and its sequel upon release – I hated The Ring at the time – a watered down, cheap jump-scare filled mess, while the sequel I thought was decent throwaway fun. There was no real need for another entry, but then again enough time has passed and enough new technology has arrived to allow for some interesting new spins to explore. Does Rings explore these?
Does it fuck. Rings is a mess. I can’t think of a single, remotely scary moment in the film – no tension, not even any jump scares, and Samara is again some ultra cheap CG mess who looks like she would slip and break her back sooner than crawl across the room to murder you. The film does offer interesting ideas, but either abandons them or messes them up in some convoluted fashion. The idea of being trapped on an airplane with someone about to succumb to the curse is sound – hell, that’s a movie in itself right there. This is messed up and rushed and filled with inexplicable moments – why do all the screens change, why does the plane crash etc? The idea of a group, almost cult set up surrounding the video – who both apparently worship and fear the video, while simultaneously creating a system for viewing and sharing the video to keep each other alive while not spreading the loop too wide – again a sound idea. This is abandoned fairly early and doesn’t get a lot of discussion – it’s basically a minor plot point irrelevant to everything else that comes afterwards. There may be other interesting ideas, but I can’t recall given that my mind is clouded by the other crap.
So the plot is that a guy is leaving his gal to go off to college. They’re very luvvy-duvvy. After a while the guy doesn’t return her calls so the gal goes looking for him. For some reason she has dreams which seems to involve Samara, before she knows anything about it. After some amateur sleuthing she realizes that people seem to be covering up her bloke’s recent whereabouts and there is a lot of talk about watching a video. The girl goes to a house with another girl who promises to find the guy if she watches ‘The Video’. The guys calls just in time to tell her not to watch so she hides and the other girl is killed. Soon we hear all about it, the girl watches the video anyway to save her man, then they both go to investigate the history of the video, which for some reason has decided to display new images.
So, we get a lot of unnecessary additional back story which doesn’t tell us anything new, and some sort of unexplained convoluted reasoning to explain how Samara wants to break free from the binds of the videotape, using the girl. How could she have foreknowledge of the girl? Did she smell her through the bathroom door and thought she was some sort of key? Why? What is special about this girl? It seems pretty obvious that one of the first things any viewer of the videotape in the last 10 years would do is upload it and send to their friends, yet that seems to be the big scheme and shock ending after all. Why? Why find the body, why find the man who got the mother pregnant, why anything? It’s just completely absurd.
Why make it another teen movie too? Ringu was powerful because it was about a mother, her son, her ex partner. There were kids in it too, but they were peripheral. I have no problem with teens being the focus, except when it is only there as a cynical cash grab. And yet with all this, I didn’t hate the movie. Maybe it’s because when I watched it I was dying with some stinking cold and was possibly hallucinating a better movie as I watched, or maybe I’m too lenient on movies, crap as they may be. Aside from Samara, it looked decent enough – standard bland stuff, and the performances were fine – nothing memorable, nothing bad. In the end it’s an entirely pointless exercise with zero scares, and a nonsensical story. I still say someone could make another good Ring movie, but I think it’s time we let it die.
Today I introduce the first in a self-indulgent new series nicked from a variety of other sites and blogs. According to my Stats page, most people come here for my music lists (although according to my daily search engine hits, most people come here to see ‘Sigourney Weaver nude’, ‘Scared Kids pics’, and ‘Sigourney Weaver nakdt’…). A lot of people have doing lists like ’25 awesome moments in cinema’ or ’25 favourite scenes from the movies) based off their own favourite films. So, not to left with my pants down, I’ve decided to avoid the Streaker Police and present some of my faves. I created my list of top 150 films on IMDB way back in ‘ought 3’. Although some of those films will likely have been usurped by others since then, I haven’t been arsed to ever change it. So it remains a snapshot of my awesome student self.
I’ve decided to expand the number from 25 to 50, because when I looked at some of the films just outside that arbitrary number, I was missing too many classics. I’ll probably throw in a few bonus moments for films not in my top 50 and some of the films (such as Star Wars Trilogy) are on IMDB as a single entity, so I may split those up. So really, it’s a bullshitty mess, and another way for me to talk about movies instead of going out and doing cool stuff like meeting friends and stalking Sigourney Weaver (seriously, every day that search option appears more times than is normal, and I don’t even know why). While most lists have focused on general terms or several different ‘types of moment’ within one list, I think I’ll spread the love and do a dedicated list for each type, ranging from favourite line of dialogue to favourite overall moment. Feel free to give your choices in the comments, or mock me for mine. My list will follow the order of my top 50 films, not necessarily my top 50 moments. Maybe at some point I’ll get round to doing something for TV and music, for those people who actually read this blog. So, without further Apu, I give you:
My 50 (or so) favourite lines of dialogue… FROM THE MOVIES!
1. Star Wars Trilogy. (1977-1983, Lucas, Kershner, Marquand). Well well, these 3 films combined have probably been quoted more by fans, geeks, people who have never even seen them, and by characters in other films, than any other film in the history of ever. Every central character has at least one great line (even some of the bit players get cool dialogue), and for a trilogy packed with central characters you can be sure there will be a moment of pop culture brilliance every few minutes. I’m sure you have your favourites.
A New Hope: Poor little Admiral Motti is frustrated that LORD Vader does not approve of their new BFG and that has not yet found the rebel fortress. In a public forum his complaints are perhaps valid, but he goes about things the wrong way, flatly accusing Vader of being an old fool. If you didn’t know by this stage in the film that Vader was evil, powerful, and fucking awesome, then after he utters his next line, you will. Making the slightest of motions with his hand, Vader performs a deadly choking trick on Motti, who soon regrets ever being born. Vader coldly, simply adds: I find your lack of faith disturbing.
The Empire Strikes Back: As The Empire tries to rebuild after suffering some huge blows in the first film, Skywalker finds himself training in the ways of The Force and being drawn to Vader. Meanwhile loveable rogue Han Solo has been trying his luck with the feisty Princess Leia. In true tragic form though, Solo is captured by the bad guys due to a bounty on his head. Rather than kill Solo, the bad guys wish to freeze him as a prize for the as yet unseen Jabba The Hutt. As Solo is led to his destiny, Leia finally reveals her feelings: ‘I love you’. Han, always striving for the coolest way to respond simply adds: ‘I know’. Does this make him a dick? Does it make him even more epic? Yes yes yes.
My joint favourite quote from Empire is the little exchange between Luke and Yoda where they discuss coming up against their foe. Luke, having spent at least one montage’s worth of training with everyone’s favourite space goblin is full of fire and optimism: ‘I’m not afraid’. Yoda brings him back to earth though with the immortal: ‘you will be… you will be.’
Return Of The Jedi: ‘It’s a trap!’ That is all.
2. The Terminator. (1984, Cameron): Also known as the Greatest Love Story Ever Told, The Terminator has it’s fair share of memorable one liners and dialogue. Everyone knows Arnie’s ‘I’ll be back’, but what about such other classics as ‘Get out’? When you’ve watched the film 50 million times, a few other nuggets of wisdom stand out. Even nothing characters become immortal. From ‘Hey buddy, did you just see a real bright light?’ to ‘Nice night for a walk’ to ‘Yo momma’ and even ‘You got a dead cat in there, or what?’
My favourite line changes from day-to-day, as it does for most of these films. While Sarah is still a little rough around the edges for most of the film, almost every word Reece utters kicks ass from ‘Pain can be controlled’ to ‘I didn’t build the fucking thing!’ to ‘Come with me if you want to live’. Although the entire exchange between Reece and Silberman is gold and has many classics, it’s Reece’s demented speech to Sarah about The Terminator which stands tall: ‘Listen, and understand. That terminator is out there. It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse, or fear. And it absolutely will not stop, ever, until you are dead’.
3. T2. (1991, Cameron). With T2, we have no Reece to rely on anymore, but now that Sarah is bad-ass,Arnie is a good guy, and John is around we have even more great one-liners. I could go on about some of the excellent exchanges involving Arnie ‘I need your clothes, your boots, and your motorcycle’…’Your foster parents are dead’… ‘What’s wrong with your eyes?’… ‘Why?’… ‘Uncle Bob?’ and so on, or some of the madness spouted by Sarah to Silverman, or even some of one-off comedy pieces, from ‘shut up, you worthless piece of shit’ to ‘Your foster parents are kinda dicks, huh?’ and ‘The Galleria?’
But no, my choice is the one line which for over a decade was the over-riding message of the film, which sadly (though inevitably?) became a lie as the movies progressed. It’s one of the two central themes stamped all over T2 (the other being ‘Because if a machine, a Terminator, can learn the value of human life, maybe we can too’) and while Sarah carves it into a table, John is the one to say it: ‘There’s no fate but what we make for ourselves’. Live by it, kids!
4. Predator. (1987, McTiernan): I’m gonna have me some fun with this one. Another Arnie classic, and another movie that I always get drawn into watching if I catch a snippet on TV. A lot of this is down to the action of course, but the dialogue ensures this isn’t just another by the numbers run and gun flick. Shane Black even features, but as an actor, not a writer. While most of the testosterone charged 80s action movies had their fair share of one liners (usually accompanying a death a la Bond), Predator is quotable for most daily situations: waiting for toilet to become available? ‘Son of a bitch is dug in like an Alabama tick’. Someone shows interest in what you’re having for lunch? ‘This stuff will make you a god damned sexual Tyrannosaurus, just like me’. Late for the train? ‘Get to da chopper!’ (particularly good to scream at the top of your lungs to no-one in particular as you race through the crowded station). Anything? ‘Come on… Come on! Do it! Do it!’ My favourite today though comes near the start of the movie as our crack team is trying to take out a group of expendables. Future not-President Jessie Ventura gets hurt and starts to bleed. Poncho tells Jessie he’s bleeding. Jessie replies ‘I ain’t got time to bleed’. I’ll let you think up some appropriate scenarios for usage.
5. Robocop. (1987, Verhoeven): It’s always been my opinion that Robocop is the most quotable film ever. I’m fairly certain I could get through a normal day, inlcuding navigating work, family, and friends, by only using Robocop dialogue. Hell, even the watered down TV versions have their own hilarious twists on the original dialogue- ‘you’re gonna be a baaad mother-crusher’ gets used at least once a week. So picking a favourite quote from Robocop would be like Ron Jeremy picking his favourite boob. On the rare occasion that I swear in public, there’s usually a Robocop twist- ‘Fuck you’ becomes (in Steve Minh’s voice) ‘oh.. (pause for shotgun cocking… ooh-er) fuck you!’ Even my Spac Review (link) of Robocop is simply a list of the best lines given the Spac treatment. So, while I’m not terrifying my daughter when she won’t sit still to get her nappy changed by saying ‘Come quietly or there will be…. trouble!’ or instigating divorce proceedings by telling my wife (invoking voice of Clarence) to ‘just gimme my fuckin phone call’ instead of asking where I put my cell phone, what do I think my current fave line is? ‘Tastes like babyfood’? No. ‘Stay out of trouble’? No. ‘Murphy, it’s you’? No. ‘NANANANANANANANANA!’? Close. Jeebus, I really don’t know. Let’s just wrap it up and say that today, my favourite Robocop line is ‘Can you flyyyy, Bobby?’
6. A Nightmare on Elm Street Part 1. (1984, Craven). Wes Craven has a way of being the coolest director, teacher, dad, for teenage audiences. Most of his early films are based around the mistakes of our parents and predecessors and focus on how the kids have to deal with the carnage and aftermath. There is a definite mistrust of the older generation and a cosy, accurate depiction of camaraderie between friends. As a young viewer to all things Freddy, this was a revelation- those whose job it is to protect us may be useless and just as dangerous as those whose job it is to hurt us. So, Nancy, one of the original and best Final Girls remains an inspiration as she turns to her friends, and finally herself to escape: ‘I’m into survival’.
7. Conan the Barbarian. (1982, Milius): Right wing maestro John Milius never seems to get the credit he deserves- writing such classics as Apocalypse Now, Dirty Harry, and under-appreciated flicks like Big Wednesday. Conan The Barbarian, in my tiny opinion, is shining moment both as a writer and director. There are right field leanings, obviously, but given the source material that sort of thing can be overlooked. Underneath the general carnage there are plenty of philosophical whispers and posturing, and many opposing ideas on power- how to gain it and how to keep it. The opening quote paraphrased from Nietzche – ‘That which does not kill us makes us stronger’ may be overused and as such weakened these days, but it has never been more appropriately attached as here. The opening massacre leads both to Conan’s growth and fate. While the big man doesn’t speak much himself, when he does it is to answer a riddle posed by another, or to scream while beheading someone.
Obviously there are great liners that everyone knows, from Conan’s ‘To crush your enemies, see them driven before you, and to hear the lamentation of their women’ to Valeria’s ‘All the gods, they cannot sever us. If I were dead and you were still fighting for life, I’d come back from the darkness. Back from the pit of hell to fight at your side’. However, Thulsa Doom gets the best lines (and name) and one of his best gets my vote: ‘Contemplate this on the tree of woe’. It’s not only the way that quote rolls beautifully off the tongue, but the way Jones delivers it with such disdain. Throughout the film he seems so bored with everything he sees, so passive with his power, and so pissed when he sees the strong failing to live up to his expectations.
8. Ringu. (1998, Nakata): The Japanese original Ring film is renowned for its scares, its atmosphere, its performances, and its climax. Off the top of my head I couldn’t think of any real zingers, although ‘Frolic in brine, goblins be thine’ has always haunted me ever since I first heard it.
9. Dumb and Dumber. (1994, Farrelly bros): Like most of my top 10, I quote from this one on a weekly basis, borrowing from main and small characters alike. Unfortunately in this part of the world, beverages rarely come grossly super-sized, so I don’t often get the chance to say ‘Big Gulps, huh? All right!’ but for general annoyance ‘We got no food, no jobs… our PETS’ HEADS ARE FALLING OFF!’ has served me well. ‘Let’s not’ (complete with Austrian accent) gets a solid hearing every so often, ‘suck me sideways’ is regular, as is ‘pretty bird!’ I’ll go for something a little different for Dumb and Dumber and pick, not a quote, but a sound. The most annoying sound in the world apparently. ‘EEEEEHHHHHHHHHH!’
10. Police Academy. (1984, Wilson): One of the original spawners of bad sequels, the original Police Academy remains a glorious snapshot of 80s madness. While there are the usual National Lampoon style visual gags and set pieces, these are offset by plenty of humourous pieces of dialogue. Mahoney gets the obvious dialogue, while Jones gets the laugh out loud noise moments, but there are tonnes of smaller, juvenile lines. ‘Your move, Mahomo’ for some reason always makes me giggle, but it is Lassard who gets the best lines. His many monologues and asides always bring laughter tears, my favourite being his podium speech. It’s not necessarily the quality of the dialogue (immature of course) but the delivery, with my highlight being ‘sliiiiiide!’
Come back soon for the next set of films and some more Booker Prize winning dialogue, and don’t forget to leave your favorites from the films mentioned above in the comments, and throw in favourites from films not mentioned!
Aah, Halloween- the most wonderful time of the year. When even those who wouldn’t usually subject themselves to all manner of terrors decide to watch the odd scary movie or 2. Unfortunately for me, this part of the Spac Hole which I currently inhabit does not indulge in the season as seriously and joyfully as other places, so I have always felt a little deprived. Sure, we had some parties, sure we threw fireworks at Gerry’s house, and yes we would watch whatever limited choice of movies were on over the few days but compared to other places (particularly you festive folks in the US) it just didn’t seem as much damn fun. In my mind, the whole month of October should be a vessel for Halloween activities, from dressing up to trick or treating, to watching scary movies and hiding under the beds of people you don’t know with a chainsaw.
To that end I have helpfully made a few lists of classic horror movies which sould chill you to the bone, and add to the singular atmosphere of this most evil time of the year. This list of 31 movies was created so that you can split the fun over the entire month (alternatively you could wait until closer to the day and have a few marathon sessions) and let yourself tremble ever so slightly in the supposed safety of your own home. Just be sure to lock your doors and windows, close the curtains, and tuck up the kids tightly in bed (checking underneath and in closets for me) before turning off the lights. Maybe check those locks once more, you can never be too sure or too safe. Oh, what’s that? That noise from outside? I wouldn’t worry, probably just the wind. By all means go out and check, but that would mean going into the basement to find batteries for your torch. Really, just relax and watch the film, your paranoia can’t hurt you. The thing outside, yeah- it could hurt you. But you locked the doors, right?
These don’t have to be watched in any particular order, but some would suit the big day (or night) better than others. This is not meant to be a list of the best or even my favourite horror movies (though I love them all) but rather I feel these offer something of the atmosphere of Halloween. Enjoy.
An American Werewolf in London: This one has it all- gore, jump scares, atmosphere, action, humour, and a great plot with likeable characters. WereWolves, like Vampires have taken a rather glossy beating recently. This proves that you can wrap up a love story with horror without being teeny, without being sparkly, without being demeaning to viewers with brains. Classic Halloween scene: The Nazi section.
A Nightmare on Elm Street: Wes Craven, Johnny Depp, Heather Langenkamp, John Saxon, and Robert Englund- lovely ingredients for a tasty Halloween Pie. This is the original and best, before the horrific character of Freddy (Here just Fred) became a snuggleable, bantering chum. What could be better for Halloween than scaring yourself so badly that you can’t sleep- knowing that something terrible may be waiting for you in your dreams. A story with more depth than it gets credit for, dealing with the Craven standard of ill-advised parenting and how the children have to cope with the mistakes of the elders, this is full of genius set pieces and bloody action. Classic Halloween Scene: Nancy gets a bloody post coital surprise- but not what you’d expect. And did they say she was 14??
Alien: Often described as Halloween in space, or a Haunted House in Space, Alien deals with our fears of isolation, of being trapped, of being in s situation way beyond our control and way above our heads. Remove the alien, remove the setting, and this could be any slasher movie from the time. However, that would be taking away the fun, the fear, the atmosphere, and the ingenuity. This is dark, claustrophobic stuff, and the perfect film for Halloween to make you look out the windows into pitch darkness and wonder if something is staring back. Classic Halloween Scene: Dallas goes hunting, but realizes too late that he is the prey.
The Blair Witch Project: Similar to Alien this deals with our fears of isolation and the un-experienced unknown, but spices things up with issues of abandonment, paranoia, and things that go bump in the woods. A classic survival tale for city folk poking their ill-prepared noses where they don’t belong, Blair Witch succeeded because of it’s innovative filming and marketing techniques. It still succeeds today amongst a rubbish tip of similar films because the plot is solid, the acting is real, the rising tension and fear played out between the characters feels exactly like how we would react, the growing dread is almost unrivalled, and the climax is absolutely chilling. Classic Halloween Scene: The search for Josh in the freakshow house at the end will get you tingling and gripping the seat every time.
Creepshow: Halloween isn’t just about traumatizing each other, it’s also about good old fashioned camp-fire tales to warm the heart and soul. This is cheesy at times, but never boring or irritating, it feels nostalgic both for children of the 80s and of the 50-60s. The tales are brief, well written and acted, the effects are still top-notch with an earthy feel, and the scares are tense and fun. Classic Halloween Scene: Trying to convince your abusive wife to enter a box where a monster lives has never looked so enjoyable.
Candyman: Both Cliver Barker and Tony Todd are vital ingredients in any scare-fest- put them together and you’d better have a few spare pairs of pants lying around. An intellegent, sexy, city based horror which merges old world supernatural fears with the modern world of big business, CSI policework, snooping journalists, and end of the century hairdos. Barker at his height was a fountain of invention, bringing a freshness to the genre which made everyone else’s ideas look like old creaky mummy movies. Candyman merges urban myths with ancient folklore, mysticism with science, gore and shocks with beauty and lyricism. Todd’s presence is as powerful as any of the classic monsters, while Madsen gives a refreshing twist on the final girl character. Classic Halloween Scene: Hook through the chest.
Carrie: One for the teens this, though it may have aged some due to being so authentically 70s, the scares and the themes of abuse, loneliness, bullying, and separation are no less relevant or universal today. The story is simple but pumped up by ideas of religion, extremism, and psychotic mummies (not those ones). The acting by the main players is superb, there is something bleak about the whole sordid business, and we manage both to sympathize with and be scared by Carrie. And wish we had her gift. De Palma twists the tension knobs until they break off, though some of the intrusive camera guff is laughable now. Classic Halloween Scene: Everything between the bucket dropping and the school burning.
Child’s Play: The evil doll is a well worn sub genre of horror, but one which has very few, if any, classics. Child’s Play is amongst the best, and the series is certainly the most notorious. Like many 80s horrors, the series was unfairly derided for it’s supposed impact on our youth with some people going so far as blaming it for some grisly murders. As with most of these series, the quality decreased as the sequels increased, but the original remains surprisingly effective given the silly subject matter. If you don’t know the story- multi murdering maniac transfers his soul into a popular doll moments before his death, doll is picked up by young boy, doll begins murderous rampage again until it realises that it needs to sacrifice the boy to become human again. There are sure to be some laughs, some screams of just kick him in the balls and throw hm out the window!’, but maybe a few jumps too. Classic Halloween Scene: Chucky terrorizes the baby-sitter and we all jump when the phone rings.
Dawn Of The Dead: There is something quite special which you may not know about Dawn. If you watch it at Dawn- depending on where you live etc, try to time it where the film will just be ending as the sunrises. Then go for a walk immediately. It’s likely there won’t be many people around. The ones you will see will probably be shambling. The bleak nature of the film rarely hits harder than in these moments and you will surely look around yourself and feel a stark aura fill your being. There are few things more terrifying than waking up to an otherwise beautiful day and not wanting to be any part of it. Classic Halloween Scene: So many to choose from, from funny, to scary, to bleak, but I’ll go for the truck parking section as we realize that paradise can quickly become hell, and a haven can suddenly become a tomb.
Day Of The Dead: Surely the most grim of all the DEAD films, this is perfect Halloween viewing, not only because of the exquisite gore and effects. Claustrophobia and paranoia again play a large part, and you can’t help wondering why all these psychopaths keep getting in the way of your enjoyable apocalypse. Most people would be happily looting and whiling away their days watching DVDs, playing games, reading books, getting drunk, but there always has to be a crazy doctor or maniacal military group to spoil your good times. Halloween is all about good times, stick this on to reap the benefits. Classic Scene: When the Zombies step on the lift and it begins moving downwards- you just know all hell is about to break loose.
Dracula (30s): A classic to chill the bones of all comers, this still has the ability to… worry those who haven’t seen it before. A film that’s almost a hundred years old- how could that possibly be scary? Well, there’s a reason why this is still considered the best version. Classic Halloween Scene: When Harker first meets The Count.
The Exorcist: Now we get into the truly demanding territory. A rarity in the genre, The Exorcist was a massive financial and critical hit upon release, pampered with awards and then…uh, banned. It may not be as hard-hitting these days, but it’s still rough, creepy stuff. Plus it is played extremely coldly, and without a hint of humour. This is as bleak as horror gets, and even the supposed happy ending leaves us with a bitter, fearful taste. Excellent performances, bewildering jump scares, and freaky moments all conspire to chill the soul and ensure you cuddle up to your beloved in bed. Classic Halloween Scene: Spider walk.
The Evil Dead: This was mostly played for scares over the played for laughs sequel, and while there is humour here, the main focus is on sudden frights and wonderful, innovative camera techniques. You’ll have fun watching this one as each character gets picked off, comes back, and gets picked off again. Classic Halloween Scene: Cheryl at the window, not in the cupboard.
Friday The 13th: One of the original slashers and one of the most successful, this one has plenty of ideas and violence, and staples of the sub genre which have now become clichés. It has dated, it is silly and quite tame, but it was made with love and ambition and freshness. The ending is shocking, the performances are ok, and there isn’t a hockey mask in sight. Classic Halloween Scene: Arrow through the neck- don’t have sex kids.
Final Destination: Another rarity- an inspired modern horror film with great ideas which blends humour and genuine frights. We have a series of characters who rather than getting picked off one by one in an uncaring fashion, are shown to be real kids with real lives, fears, and concerns- and then they are picked off one by one in increasingly exciting, tense, and innovative ways. A film which deals with our fear of death, of inevitability succeeds on every level. Classic Halloween Scene: During a heated discussion in his car, one reckless character refuses to accept that his life is pre-destined or that death is stalking his every move. To prove the point he parks his car on train tracks with his friends as the train hurtles towards them. He soon realizes he was wrong.
The Fog: One of the great campfire spook stories, The Fog is still sadly underrated. Carpenter creates a wonderful atmosphere here which suits the season perfectly- even better if you’re near the sea or if there is fog around. Classic Halloween Scene: The introduction with the wizened old sailor sets the tone for the rest of the show, and should set the tone for your night.
Hellraiser: Another British one now, offering something different from our American cousins. We have sex, violence, lots of gore, and some S&M themed fun. This is gritty in an Eastenders sort of way- you don’t really want to look or have anything to do with these characters. Classic Halloween Scene: When Kirsty first meets the Cenobites- what is the finger in the mouth about?
Halloween: What more can I say? This is the movie which should be watched every Halloween- not only is it a genuine classic of the genre and a kick-ass movie no matter which way you look at it, it drips with and evokes that special Seasonal feeling that few things do. Make this the highlight of your night. After you’ve cut some throats. Classic Halloween Scene: Young Laurie runs screaming down her street being chased by a murderous maniac. She clambers to the front door of a neighbour, knocks and begs for help. A light is turned on. Then switched off. Did they think it was just kids messing around? Were they too afraid to help? Welcome To America folks.
Invasion Of The Bodysnatchers (70s): Some us like to dress up at Halloween as ghosts, vampires, or our favourite horror movie characters. Some people go further and pretend to be the person that the costume depicts. This definitive version of Bodysnatchers takes the idea of hiding behind a costume to dramatic and terrifying extremes- what if person next to you on the bus, your neighbour, your friend, your wife, or child was no longer the person they once were? In fact, what if some alien creature had taken their body as host and was walking around as an imperfect mockery of that person’s life? What if this alien race had designs on all your friends and everyone you’ve ever known, and what if you were next? This chilling view of a world snatched away from under our noses is all about loss of identity and mistrust, and makes for unsettling Halloween viewing. Classic Halloween Scene: The final moments. I’ll say no more.
Night Of The Living Dead: A staple of midnight viewing, the surrounding darkness makes the black and white all the more stark and cold; There are no easy answers or happy endings here. If you are watching this with a group of people, ask yourself which ones you would trust in a life/death situation. If your cosy home was surrounded suddenly by thousands of undead, who amongst you would come out as leader? Would you sit back, would you make decisions, would you think only of yourself or would you think of the safety of the group? Either way, you’re bound to get a chewing. Classic Halloween Scene: They’re coming to get you, Barbara.
The Omen: So far we don’t trust our neighbours and friends, but what if you thought your son was the Antichrist? The Omen is an apocalyptic film in more than one way and is filled with strong performances, gripping and bloody deaths, and a memorable, frightening score. Music is often pivotal in horror movies, and as you clamber the stairs to bed after this, with infernal monks chanting obscenities in your head, that corner of darkness you can’t quite see clearly may fill with unspeakable evil more readily. Classic Halloween Scene: Damian decides to ride his bike.
Prince Of Darkness: I find this to be Carpenter’s most underrated film mostly because it is awesome and should be mentioned in the same breath as Halloween and The Thing. Sure the plot is messed up with it’s evil green satanic liquid taking over zombies and bums mixed with time-travelling dream messages and psych jargon, but seriously it is awesome. It has more effective jump scares than any of his other shows and there is a creeping sense of dread and atmosphere throughout. In many ways it is classic Carpenter- a group of different thrown together in a building who have to team together or fall apart and stand against an overpowering threatening external force. It is a siege movie, it is clever for the genre though at times it doesn’t know what genre it wants to be. I think that was part of the fun though- like Big Trouble In Little China it is more than just it’s labels instead transcending notions of what it should or shouldn’t be, and is well ahead of it’s time. Classic Halloween Scene: The final survivors holding up behind some furniture while one of the crazies admires himself in a mirror with a large blade.
Ring: Please please please watch the Japanese version, not the abomination that is the remake. Sure the remake has plenty of jump moments, but it also has a deer on a boat, Brian Cox in a bath, and a director who decides it would be clever to cut away from the movie’s most important scene for the sake of a car chase. The original has Nanako Matsushima and Hiroyuki Sanada and if that isn’t enough of a recommendation then please remove thine eyes from mine page post haste. Watch this deep into the night, possibly as the last film, then play the lovely game of phone your friend once they have left to terrify them. Unfortunately the ideas first seen here have been so over-used that these games have become diluted, but the film still has an unflinching power. Not a drop of blood is shed, there are no knives, guns, or people bursting in from behind doors with a loud noise- this is the best horror film of the nineties and goes against everything that decade threw at us. And it’s a damn good story with excellent performances. Classic Halloween Scene: Sadako. TV. Sleep tight.
Scream: The second best horror movie of the nineties is the stuff of parties. By know everyone should have seen it, but many of you will have forgotten it and how good it still is. Plenty of shocks, laughs, scares, and action as well as a script the quality of which horror movies rarely get. And my beloved Neve Campbell is in it. Few horror films provide this much entertainment whilst still being scary, funny, and clever. The nods to horror movies will keep the nerds amongst your bunch happy and you can shout out when you spot a reference. Classic Halloween Scene: The final house chase scene as Neve doesn’t know where to run or who to trust.
The Shining: It’s rare for most people to get snow at Halloween, even more rare to be completely snowed in and surrounded. Try replacing the notion of snow with rain or darkness- would you want to go wandering outside if it was completely dark or hammering down? Anyway, this is another film which plays on isolation, claustrophobia, and paranoia. It’s probably best not to watch this one as a cosy night in flick with your little family- you’ll start wondering what the hell is going through each other’s minds. This is a giant of the genre with heaps of atmosphere and plenty of unsettling moments which deserves to be menti0ned at any Horror Movie Marathon. Classic Halloween Scene: Danny was warned not to go in that room. Prepare to be scared when Daddy goes looking too.
Silence Of The Lambs: The critic’s choice. Don’t invite any critics to your party as they will moan, groan, bore your girlfriends, and likely drink all your wine. There should be wine. This is nasty stuff from start to end as poor Jodie Foster tries to solve a murder whilst hiding her own fears from the unlikely Terminator Anthony Hopkins. This is better suited to smaller group viewing as it isn’t exactly cheery, blood n guts fun but it does the job when you’re on your own. Classic Halloween Scene: Anything with Bill really.
The Thing: In many ways the ultimate John Carpenter film, the ultimate macho man fest, and the number 1 examination of the paranoia which creeps into people during periods of isolation. The effects here still blow me away and they are only part of a long list of quality to describe this film- look at the cast, the performances, the music, the scares, the cinematography, and the way Carpenter drags the tension out of every shot until we don’t know who has been infected and who hasn’t. Great action adds to the great scares, but the special effects and story are kings here. Classic Halloween Scene: When the survivors are tied to chairs and Mac goes through each one by one to test if any are not human. Genius.
The Texas Chainsaw Massacre: This one still hurts today- it’s just so damn grim, dirty, and repulsive as to make the horror timeless. Sure they scares may be cliché now and the gore is almost non-existent, but the low down atmosphere, the miniscule budget, and the amateur (but good) performances all conspire to make this uncomfortable watching. I’m sure that there are plenty of people out there who still think that there could be a family like this in their town, just as much as I’m sure that there probably are still families or people like this in the world- maybe not in your town, but possibly the next one over. And chainsaws are awfully easy to come by these days. Classic Halloween Scene: The entire dinner scene. Truly horrific, the use of sound and various camera techniques make this one of the most intense few minutes in any horror movie.
28 Days Later: A modern classic, and one of the few great British horror movies of the last few decades. Taking riffs from Romero and King this is a post apocalyptic survivalist’s wet nightmare. Empty streets, shops to loot, cars to steal- all great if it wasn’t for the hundreds of thousands of psychopaths charging towards you in search of your blood. This is the 21st century folks, and zombies ain’t got time to amble and stumble about- these are confident, successful, modern big business, stepping up to the plate, corporate bull-shitting zombies, and they won’t take closing a door in their face for an answer. If you can’t run fast, you’re screwed. And just to make things Mega Man 9 difficult- these fiends don’t even have to bite you to kill/convert you- one drop of their blood/saliva entering your body, through a gash, a scratch, a kiss, or a tear is enough it recruit you. And sheesh! They don’t even give you time to grieve for your fallen comrade- within seconds of getting exposed, your best friend will be diving for your jugular too. My advice- kill everyone you see and hide under a pile of coats till it all goes away. Classic Halloween Scene: An abandoned car sitting in the middle of an abandoned London- nothing to fear but technology.
The Wicker Man: Nothing to fear but religion. Look closely enough and all religions begin to look like cults; they all have a figurehead, the followers worship the figurehead unquestionably and offer prayers, thanks, songs, and sacrifices, there are certain rituals usually borne of centuries long since dusted, those involved are usually inviting to outsiders in person, but have a secret hatred, anger, or issue against them once backs are turned. So we have The Wicker Man, possibly the best British Horror Film of the whole sorry lot. Aah, the confusion of two worlds colliding as we watch a upstanding lawman and guardian of his own archaic faith fall victim ever so slowly to a cult even more decrepit than his own. He knows something terrible is amiss, but it isn’t until his toes turn to cinders that he realizes his fate was sealed the second his feet touched the land. Classic Halloween Scene: When we first see Mr Straw and realize our hero’s fate.
Paranormal Activity: Proof not only that horror movies still have the power to scare, entertain, and bring in the mega bucks, proof not only that a good story well executed can be more than a match for buckets of blood, but also proves that in this day and age of $200 million dollar movies that a small group with talent, an idea, and a few months worth of average salary can make a great movie. Romero did it in the 60s, Carpenter did it in the seventies, Raimi in the 80s, Myrick and Sanchez in the 90s, and now Oren Peli has continued the tradition. Using every trick in the book he has made a classic pastiche of the genre and a thrill ride akin to running naked through a field of land mines. The setting of the movie is perfect for Halloween viewing- primarily it is set in the home and most of the scares happen at night- the film invades you with a sense that you aren’t safe in your own house and makes you take a second or third glance at that cup that you swore you set on the table which now sits on the ground. Likely to lose its impact with subsequent viewings this is best served to people who haven’t seen it. The scares (while you sense them coming) are unexpected and rewarding and while the characters are painfully annoying, you’ll still soil your drawers. Classic Halloween Scene: NEVER leave your foot hanging out of bed.
Trick R Treat: Anthology movies have had their heyday- we had a succession of British hits in the 70s, then a slew of bloodier efforts in the 80s. Then for 20 years anthology fans didn’t have a lot to be excited about aside from a few cheap efforts (although Asia did produce some great ones at the turn of the century). Trick R Treat is good enough to kick start a revolution in the genre, or at least it would have been had it been released in any cinemas. Straight to DVD (yet with a decent budget and big name cast) Trick R Treat features four shorts linked by an over-arcing plot and is to Halloween what presents are to Christmas. This one is destined to be shown and loved every Halloween for years to come, possibly as a double header with Carpenter’s classic. Classic Halloween Scene: The creepy opener sets the tone for the movie and features everything we love about the season, dripping with atmosphere, and settling us in for a bumpy ride.
Please leave your comments and suggestions for films you think are best viewed at Halloween, and let us know which films terrified you when you were growing up at this time of year.
As a fan of the more extreme side of cinema, I ask you to join me, as I explore the history of Cinema's most extreme movies with all the sex, violence and symbolism intact. I'm here to reflect on the extreme movies that have come and gone to see what they mean, see what makes them so extreme, and of course, see if they're any good.