THE SPECIES FRANCHISE (1995-2007)

Despite mixed to negative critical reviews, Species became a box office smash in the summer of 1995, grossing $113 million worldwide and ultimately leading to a theatrical sequel (Species II) as well as two direct-to-video sequels. Dennis Feldman wrote the script on spec after his initial treatment, "The Message," which approached the concept as a police procedural, attracted no attention from the studios. The extraterrestrial design was eventually assigned to H. R. Giger, responsible for the distinctive look of the Alien franchise, and his vision was brought to cinematic life through practical models designed by collaborator Steve Johnson and computer-generated imagery by Richard Edlund’s Boss Film Studios. But it was the high concept of “sexy, oft-naked female alien” that propelled the movie and its sequels, proving exploitation-film fundamentals just as reliable as ever.

THE A-LIST OF HORROR FILMS AND MONSTER MOVIES... SO FAR

In 2006, over the course of a few weeks and with the help of fellow fiends online and off, I put together what I felt was a list of essential horror films, a “Horror Primer,” if you will, that I hoped would be useful to newcomers to the genre. These films, ranging from the early silent years to the turn of the 21st century, provided what I felt was a path, one that would lead horror fans through a variety of subgenres and influential figures that had shaped the course of onscreen fright. I was also quick to note that these were in no way meant to represent “THE BEST HORROR FILMS OF ALL TIME,” but merely the ones that had made a significant impact on the genre in some fashion.

That list, substantiated by 101 accompanying essays from horror fans around the globe, eventually found its way into print form in late 2007, under the amazing colossal title, HORROR 101: The A-List of Horror Films and Monster Movies, Vol. 1. (Midnight Marquee Press). I served as editor for the project, giving birth to my Dr. AC alter ego in the process.

THE FINAL DESTINATION SERIES (2000-2011)

Spawned at the turn of the century with little fanfare or major star power, this horror franchise from New Line Cinema cranked out five installments over the course of a dozen years, with Death itself the successor to such classic movie murderers as Freddy, Jason, or Michael. With a fantastic (and repeatable) formula of having individuals escape their pre-destined demise only to be subsequently knocked off on a one-by-one basis, it reinvigorated the body count movie, spinning the rudder away from the relatively bloodless ’90s by re-embracing the gore of yore to the tune of over $700 million worldwide.

The NIGHTMARE ON ELM STREET series

SING ALONG WITH ME, EVERYONE: A-ONE-AND-A-TWO…


Nightmare on Elm Street, A (1984) (5th viewing) d. Craven, Wes (USA) 91min
Horror Hall-of Famer Wes Craven created this hugely successful fright flick, which spawned multiple sequels, launched New Line Cinema, and introduced the moniker of “Freddy Krueger” into pop culture consciousness. Attractive (if acting-talent-challenged) Heather Langenkamp plays a teenager plagued by dreams of a horribly scarred figure wearing a distinctive red-striped sweater, battered fedora, and a glove with knives attached to the fingers. Robert Englund, in the role he would forever be identified with, creates an original and frightening villain in Freddy, an executed child-murdering psychopath who has found the means to keep up his gruesome work by entering his prospective victim’s dreams. Not yet the wisecrack-spouting centerpiece of future installments, Englund’s minimal appearances pack a darkly effective punch. As Langenkamp and company (including Johnny Depp, in his feature film debut) struggle to stay awake, Krueger’s sinister history is gradually revealed, along with the small town’s dark and horrifying secret. There is certainly much to applaud in the film’s fiercely innovative concept, nightmare imagery, and gory special effects; but the line between Craven’s real world and dream counterpart becomes so blurred in the end, there is no logic remaining except dream logic. Consequently, it often feels like the viewer is being cheated of a legitimate story for the sake of some “really cool kills,” (many of which are admittedly memorable, particularly one in which a character is swallowed and regurgitated by their own bed). This aspect, along with stiff performances and a really weak ending, lands Nightmare on a slightly lower rung than other modern horror classics.