Top 20 Horror Movies - #7) An American Werewolf in London (1981)

One of the things that I'm doing this month as I celebrate Halloween here in the Land of Way is taking the time to rank my Top 20 Horror Movies and my Top 20 Horror Novels.

Note:
I want to be clear that I'm basing these choices on my own humble opinion.  I'm not trying to rank these movies in accordance with their place in pop culture, but I'm offering up my take on the best horror films that I have ever watched and enjoyed.  There are some familiar candidates that I consider to be great pictures that didn't make the cut because there wasn't room, and there are some films that are widely regarded as great pictures that didn't make the cut because I feel that they are overrated.  There are also a few instances where it was difficult to determine whether or not a movie belonged to the horror genre (I said "no" to Aliens but "yes" to Jaws), and it may also be worth noting that this is largely a modern list (as long as you're okay with my classification of modern as anything after 1960) that only features one lonely creature from the so-called "Classic Monsters" films produced by Universal Studios.

Thus far, the list includes:

#20) The Fly (1986) 
#19) The Howling (1981)
#18) Night of the Living Dead (1968)
#17) Alien (1979) 
#16) Invasion of the Body Snatchers (1978)
#15) Suspiria (1977) 
#14) Phantasm (1979)
#13) Evil Dead 2 (1985)
#12) Creature from the Black Lagoon (1954) 
#11) The Descent (2005)
#10) Fright Night (1985)
#9) Halloween (1978)
#8) Return of the Living Dead (1985) 

And now for that other werewolf tale from 1981, the best film that particular sub-genre has given us.

  
Top 20 Horror Movies - #7) An American Werewolf in London (1981)

The finest werewolf movie ever filmed is quite the absurdity.  Director John Landis takes several familiar staples from this particular sub-genre and employs them to tremendous effect, yet he also runs wild with the concept.  Thus, there are big laughs, horrifying nightmare sequences, and dead friends who still drop by from time to time to hang out and encourage our main character to kill himself.  The transformation sequence is the stuff of legend, and the soundtrack that Landis put together (every song refers to the moon) is positively delightful.  The cast, led by David Naughton and Griffin Dunne as a pair of American backpackers, is splendid, and the script is lively and inventive.  Like the other movies to make my list that include a bit of humor, the film never becomes a parody, and the chuckles are offset by some chilling material that greatly benefits from stellar effects work and an obvious affection for gore.  The movie does a great job of developing a sinister mood that is frequently interrupted by gruesome hijinks and those devilish nightmares.  The end result is a special picture that is truly unique.  While offering up a sound and gripping yarn about the tragic curse of the werewolf, An American Werewolf in London takes lots and lots of left turns along the way, keeping the audience on their toes.  It's a joy to behold and calling it the finest werewolf movie ever filmed seems like a bit of an understatement.  No other film of this ilk has ever come close to challenging An American Werewolf in London for that title, and it's hard to believe that such a film will ever be produced.  This wild and hairy ride is a delirious smorgasbord of delights that should thrill any red-blooded fan of the horror genre. 

An American Werewolf in London is definitely not a movie that adheres to any sort of formula.

All these years after this one-of-a-kind frightfest hit the scne, it still boasts the best effects ever seen in a movie about werewolves.

Short Attention Span Review: An American Werewolf in London (1981)

I'm keeping with my "horror movies from the 80s" theme for this latest Short Attention Span Review, and it concerns the finest werewolf movie of them all.  Yes, we're talking about An American Werewolf in London.  Yes, we're talking about a genuine classic, a horror movie for the ages.  Engaging, frightening, humorous, dramatic, and utterly unique, I don't think I can heap enough praise on this John Landis masterpiece in my review.  I strongly believe that only The Howling (also released in 1981) could challenge this one for werewolf movie supremacy, and as much as I like that horror gem from Joe Dante, I think An American Werewolf in London easily takes the crown.  The performances are stellar, with David Naughton somehow offering up a gripping star turn that is rather puzzling when you consider that he never managed to do anything half as good afterward.  Griffin Dunne nearly steals the show as Naughton's undead best pal and Jenny Agutter is equally impressive as the female lead.  There are wealth of supporting roles that all add to the overall success of the picture, but perhaps the biggest star of the show is the epic special effects work courtesy of Rick Baker.  Seriously, the effects are so gnarly that this movie captured the first ever Academy Award for Best Make-Up and it boasts a transformation sequence that has yet to be topped thirty-four years later.  In addition to the legendary effects work, we have a tragic love story, a wonderful soundtrack, a main character who is haunted by his undead victims and a series of gruesome (and absurd) nightmares, a wealth of subversive humor, and lots and lots of bloody carnage.  The opening reel is sheer perfection and the movie never misses a beat, rocketing toward an orgy of violence and dismay that gives way to a tender closing.  An American Werewolf in London isn't just the best werewolf movie I've ever seen, it's also one of the best damn horror films ever made. 

Final Grade: A+

Everyone needs a best friend--unless they're dead and they
keep showing up and demanding that you kill yourself.

Short Attention Span Review: Silver Bullet (1985)

By now, you guys should recognize that I love the horror genre.  I do consider myself a bit of an authority when it comes to things that go bump in the night, and I'm certain that many will agree with me when I say that there haven't been a lot of good werewolf movies or stellar horror movies based on literary icon Stephen King's work.  Now, there have been a couple of classic werewolf movies (here's looking at you, An American Werewolf in London and The Howling), but there have been a lot of terrible were-movies.  And while some of King's books or stories have resulted in top-notch films, most seem to be inspired by his more dramatic offerings and not the scare-fare that made him famous.  Now, Silver Bullet is no classic, and it isn't one of the best adaptations of King's prose. but it is a fun movie and it surely counts as one of King's solid adaptations.  The story is ripe with the kind of nostalgia that King mastered long, long ago, and it has a worthy cast highlighted by Gary Busey in what I consider to be his best role.  The effects are frequently maligned, but I think they're serviceable at the very least, and despite its age Silver Bullet still provides viewers with a few quality jolts.  The score is one of the highlights, and as is so often the case with King's work, the setting itself (a small town named Tarker's Mills) is also extremely memorable.  It lends itself well to the horror genre; often, the further removed we feel from a picture like this, the harder it is to dig in and enjoy the thrill ride.  That isn't a problem this time out, as most of us have probably lived in or visited a quaint little place like Tarker's Mills at some point in our lives.  All this aside, perhaps the greatest strength of this cool fright flick is the fact that the real hero is a paralytic boy.  This is the type of unique development that takes standard genre fare and elevates it, creating suspense and tension that can't be generated with a typical main character.  Corey Haim was really good as Marty Coslaw, the handicapped youth in question, and his relationship with his sister (Megan Follows as Jane Coslaw) and his crazy uncle (the Busey) ground the picture.  The underrated Everett McGill shines as the cursed Reverend Lowe, bringing his trademark menace to a rich part.  Yes, all the usual King trappings are there: the intriguing characters, the cozy setting, and a nifty plot woven around a terrifying force of evil that must be stopped.  As is often the case, the story that ensues works like a charm.  In closing, Silver Bullet may not hit the bullseye, but it's a far cry from a misfire.  In other words, "Hey Man, Nice Shot." 

Final Grade: B

Let's face it, everyone needs an Uncle Red.