DAMNATION ALLEY (1977) movie review

Damnation Alley (1977) d. Smight, Jack (USA)

Roger Zelanzy’s post-nuclear Holocaust novel is turned into a hackneyed version of Stagecoach by scripters Alan Sharp and Lukas Heller. Civilization has been whipped out by atomic missiles knocking the earth off its axis, leaving the terrain littered with flesh-devouring cockroaches and giant scorpions.

TWINS OF EVIL (1971) movie review

Twins of Evil (1971) d. Hough, John (UK)

The third, and many would argue, the best of Hammer’s Karnstein trilogy, following The Vampire Lovers and Lust for a Vampire. Well-directed by Hough and scripted by Tudor Gates, the plot opposes a puritanical witch hunter (Peter Cushing, in one of his darkest roles) and the Satan-worshiping vampire Count Karnstein (Damien Thomas), battling over the fate of two gorgeous twins recently come to reside under Cushing’s roof (Playboy centerfolds Madeline and Mary Collinson).

DEATHDREAM (aka DEAD OF NIGHT) (1972) movie review

Deathdream (aka Dead of Night) (1972) d. Clark, Bob (Canada)

A skillful reworking of W. W. Jacobs' “The Monkey’s Paw” that manages to combine chills and social commentary with a surprisingly light touch. Richard Backus plays a Vietnam grunt slain in battle in the opening scenes, but who then shows up on the doorstep of his parents' (Lynn Carlin, John Marley) seemingly idyllic middle-class home. Initially overjoyed by his return, they soon begin to realize that their bouncing baby boy ain’t what he used to be, especially when he starts killing the family dog, offing the local doctor and decomposing before their eyes.

FREAKS (1932) movie review

Freaks (1932) d. Browning, Tod (USA)

Browning followed up his success with 1931's Dracula with this unique film focused on the microcosm of “oddity” circus performers under the traveling big top, based on Tod Robbins' short story "Spurs." The simple plot revolves around the beautiful, venomous trapeze artist Olga Baclanova toying with the affections of midget Harry Earles for his money while she dallies behind his back with resident strong man Henry Victor; but of equal interest is a peek into the backstage life of these extraordinary human permutations.

HATCHET (2006) movie review

Hatchet (2006) d. Green, Adam (USA)

Anyone who has encountered ever Green on the convention circuit or in his myriad interviews in various genre magazines, podcasts, etc. knows that he is a whirlwind of infectious enthusiasm and passion. Promising to bring back “old school American horror” with his tale set in the swamps of Louisiana, the young writer/director throws in the basic ingredients (couple genre star cameos, ample amount of bare breasts, double-digit body count, gore aplenty and a hideous homicidal maniac), stirs vigorously and hopes for the best.

THE INNOCENTS (1961) movie review

Innocents, The (1961) d. Clayton, Jack (UK)

Deborah Kerr is the prim governess assigned to a country estate to care for two children in this spellbinding screen version of Henry James’ The Turn of the Screw. Upon her arrival, in addition to having her hands full with her duties, she slowly begins to suspect that the spirits of the former valet and governess have begun to influence – or even possess – her youthful charges (Pamela Franklin and Martin Stephens). Can she exorcise their ghosts, or are they her own?

IT’S ALIVE (1974) movie review

It's Alive (1974) d. Cohen, Larry (USA)

“There’s only one thing wrong with the Davis baby...” Expectant couple John P. Ryan and Sharon Farrell end up with more on their hands than just dirty diapers in this low-budget shocker, which became an unexpected hit with drive-in audiences everywhere. From its jaw-dropping delivery room massacre to the absurdly moving climax in the Los Angeles sewers, this is the scary mutant baby flick to end ’em all.

ONIBABA (1964) movie review

Onibaba (1964) d. Shindo, Kaneto (Japan)

Shindo’s allegorical fable (which he also scripted), examining the fate of two widows in 16th century Japan, is a masterpiece of horror conjured from everyday life. Left to fend for themselves while the men are at war, a mother (Nobuko Otowa) and her daughter-in-law (Jitsuko Yoshimura) survive by ambushing wandering soldiers and selling their armor for food. When a lusty neighbor (Kei Sato) returns home with news that their son/husband has been slain in battle, a tension-filled triangle is formed – one rife with shifting alliances and rising passions.

FIDO (2006) movie review

Fido (2006) d. Currie, Andrew (Canada)

Director/co-writer Currie deserves full marks for attempting to do something new with the ubiquitous flesh-eating zombie, and while he fails to match the zom-com-rom bar set by Shaun of the Dead, his Technicolored vision of an alternate 1950s (think Douglas Sirk meets George Romero) provides more than a few laughs, with its undead heart in just the right place.

HAPPY HELL NIGHT (1992) movie review

Happy Hell Night (1992) d. Owens, Brian (Canada)

Obviously, no one sent the memo to screenwriters Michael Fitzpatrick, Brian Owens (who also directed) and Ron Petersen that the 80s were, in fact, over. A college hazing stunt unleashes a murderous supernatural killer from the local insane asylum (every university town should have one) and the body count is on.

THE LODGER (1944) movie review

Lodger, The (1944) d. Brahm, John (USA)

Shamefully neglected by classic horror fans due to its relative inaccessibility, this gorgeously shot and flawlessly acted spin on the Jack the Ripper legend finally became available in 2007 from 20th Century Fox. An atmosphere-drenched version of Marie Belloc-Lowndes’ novel, director Brahm takes Alfred Hitchcock’s 1926 silent version and does the unthinkable by actually improving upon the Master.

THE MASK (1961) movie review

Mask, The (aka Eyes from Hell) (1961) d. Roffman, Julian (Canada)

After his patient commits suicide, psychiatrist Paul Stevens attempts to uncover the hypnotic, strange powers the titular object has upon the wearer, and unsurprisingly falls under its spell himself. Commanded (frequently) to “Put on the mask!” (also the cue for viewers to don their 3D glasses), Stevens is transported in a hallucinatory realm of horror imagery, with snakes, firebolts and sexy, muslin-wearing females lurching toward him and the audience in blue-and-red tinted stereovision.

THE MONSTER OF PIEDRAS BLANCAS (1959) movie review

Monster of Piedras Blancas, The (1959) d. Berwick, Irvin (USA)

With screenwriter H. Haile Chace aking more than a few cues from a certain inhabitant from the Black Lagoon down the way, this amusing low-budget creature feature takes place in an oceanside village suddenly menaced by a scaly biped with a taste for human blood and lighthouse keeper John Harmon's sexy daughter Jeanne Carmen.

NIGHT TRAIN MURDERS (1975) movie review

Night Train Murders (aka Last Stop on the Night Train) (1975) d. Lado, Aldo (Italy)

Transplant Wes Craven’s The Last House on the Left onto a late night European passenger train, then bump up the sexual violence (no mean feat) and the result is this trashy, but undeniably powerful sleazefest from writer/director Aldo Lado. While traveling home from school for the holidays, nubile students Irene Miracle and Marina Berti are accosted by thugs Flavio Bucci and Gianfranco Di Grassi while Macha Meril's bored, thrillseeking high society lady plays ringmaster.

PEEPING TOM (1960) movie review

Peeping Tom (1960) d. Powell, Michael (UK)

Lovely apartment tenant Anna Massey strikes up a tentative romance with her landlord/neighbor Carl Boehm, a handsome but painfully shy cameraman, unaware of his murderous compulsions. Powell’s brilliant examination of voyeurism - and the innate human desire to look but not be seen looking - is a film about watching in a medium intended to be watched, not passively, but actively.

SEE NO EVIL (2006) movie review

See No Evil (2006) d. Dark, Gregory (USA)

Yes, it’s the “Kane the wrestler” horror flick (the first from the World Wrestling Entertainment, Inc. folks), and it’s pure horror junk food for all who are so inclined. Stupid, ridiculous characters? Check. Gore galore? Check. Complete absence of logic? Check and double-check. Screenwriter Dan Madigan's idea of co-ed convicts being given a work-release assignment of refurbishing an old hotel is a stretch to begin with, but then for them to be given basically free rein to wander about the premises, engage in amorous activities, etc. while their supervising officer mills about downstairs blows the central logic circuits.

BLOOD BEACH (1981) movie review

Blood Beach (1981) d. Bloom, Jeffrey (USA)

“Just when you thought it was safe to go back in the water, you can’t get to it!” You might want to find another locale to take that romantic midnight stroll after watching this low budget monster flick, which succeeds on its own rough graces more often than one might expect. When southern California beaches are being thinned out by a subterranean monster, it’s up to ill-tempered police captain John Saxon to curb the Coppertone creature’s cravings.

BLACK CHRISTMAS (1974) movie review

Black Christmas (1974) d. Clark, Bob (Canada)

Director Bob Clark’s effective (and underrated) holiday thriller pre-dates the slasher film craze and its influence is felt in Halloween, When a Stranger Calls, and countless others. The simple set-up involves a college sorority house and an (unseen) homicidal killer, heightened by some of the most chilling and unsettling obscene phone calls ever recorded. Utilizing extensive handheld camerawork, this is also among the first usage of the “heavy-breathing killer’s point-of-view” shots that would become a staple of the slasher oeuvre.

THE BLAIR WITCH PROJECT (1999) movie review

Blair Witch Project, The (1999) d. Myrick, Daniel/Sanchez, Eduardo (USA)

(I also invite everyone to check out our heated 2011 round table discussion over on Kitley's Krypt as part of the Cinematic Crossroads program.)

All you low-budget horror filmmakers out there take note: You can make an astonishingly original and frightening film for barely any money at all; it simply requires a fresh approach and more imagination than Karo syrup. Witness this groundbreaking and box office shattering sensation from first timers Daniel Myrick and Eduardo Sanchez, which takes the premise of a trio of student documentarians wandering around a forested area of Maryland and manifests a shining example of minimalist “theatre of the mind.”

THE DEAD ZONE (1983) movie review

Dead Zone, The (1983) d. Cronenberg, David (USA)

Driving home from his girlfriend’s house one rainy night, Christopher Walken crashes into a runaway jackknifed milk truck canister (certainly a genre first), ending up in a coma for the next five years. Upon awakening, he discovers that his sweetheart has married another man, but even more dramatically, he now possesses the ability to know people’s past, present or future simply by making physical contact with them.