Top 20 Horror Movies - #9) Halloween (1978)

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) 

My favorite director finally hits the scene with the perfect film for the spooky season, Halloween.   

Top 20 Horror Movies - #9) Halloween (1978)

Simple but highly effective, John Carpenter's Halloween is a fantastic film that remains at the forefront of the slasher sub-genre.  This smash hit produced on a shoestring budget heralded the emergence of one of the genre's most celebrated directors and also signified the arrival of Jamie Lee Curtis, scream queen extraordinaire.  In addition to putting a spotlight on Carpenter's talent as a director and Jamie Lee's acting chops, Halloween gave us the perfect boogeyman in Michael Myers and laid the groundwork for one of the genre's most frightening franchises.  Donald Pleasance is also in the mix, and he shines in one of his signature roles as Dr. Loomis, the determined but panic-stricken shrink who couldn't keep Michael locked away and is thereby determined to shoot him dead.  Good luck with that.  The mood and the atmosphere are incredible; in addition to creating a wealth of suspense and dread with ample foreshadowing that makes the most of Michael's unnerving presence, Halloween also perfectly captures the essence of the spooky season.  The kills are shocking, the tension is almost unbearable at times, and I think this film benefits from one of the best endings the genre has produced.  It may not be all that complex and the deliberate pace and the lack of gore may disappoint some horror fans, but Halloween does everything right.  It's a classic film from a gifted director and it should be mandatory viewing for any respectable horror fan as the end of October draws nigh.

Carpenter scored big with this tense chiller that put Jamie Lee Curtis on the map.

How did it all go so wrong?  Little Mikey seemed like such a nice kid.

Raw Meat (1973)

 I had been meaning to watch this one for a while.  I bought it last year with every intention of watching it somewhere around Halloween, but I fell behind on my horror movie viewing during the wicked season and Raw Meat dipped beneath my radar.  Anyway, I was in the mood for something gruesome this weekend, so I finally sat down to scope this 70s oddity out.  Was it any good?   It was.  It was also pretty damn disgusting, but it was definitely a quality film.

Equal parts repulsive, suspenseful, and comical, Raw Meat concerns a couple (David Ladd and Sharon Gurney) who find themselves drawn into a sinister web of murder and terror after a strange encounter in a subway station.  They turn to Donald Pleasence as Inspector Calhoun for help, and he takes the case very seriously--while mocking everyone in sight, be they friend or foe.  Pleasence was the best thing about the picture, eagerly gobbling up the scenery and taking his role to such extremes that his efforts here make his work as Loomis in the Halloween series seem positively tame.  In particular, I found the scene where he and his second-in-command get positively smashed at a local bar to be an absolute riot.  This was a welcome distraction, as neither  of our leads--Ladd or Gurney--is ever half as interesting as the zany 70s clothes that they sport throughout the movie.

The direction comes courtesy of Gary Sherman, who is also responsible for the unforgettable cult classic Vice Squad.  His work here, on this earlier venture, is more leisurely and also a bit more precise.  One gratuitous tracking shot that lovingly explores all the corpses in various stages of decay that litter our bad guy's lair is perfectly smooth, incredibly vivid, and seems to go on forever.  This utterly gross and entirely masterful display of prowess proves that a classical approach can yield results that are just as disgusting as unhinged gore maestro Lucio Fulci's most depraved work.  Sherman's pacing here is also spot-on, and there's definitely one major scare in the picture that should have anyone with a pulse jumping out of their seat.  The director also gets some serious credit for crafting a picture that feels very, very British despite the fact that he's an American.  Speaking of which, I recommend turning on the subtitles.  The accents are so thick, and some of Pleasence's best bits are delivered with such ferocity, that much of the dialogue will be all but indecipherable otherwise. 

The score by Wil Malone and Jeremy Rose was perfect for this grim vessel, a subdued ode to doom with a sinister electronic vibe that somehow meshed perfectly with the dank and decrepit undergound setting.  The subways and the various tunnels and stations that appear throughout Raw Meat were used to great effect, giving the picture a potent atmosphere.  The make-up was thoroughly convincing and will surely turn your stomach at several key points.  All the necessary components were in place and everyone hit their marks; the only qualms I could offer up would pertain to the gore and the downer vibe, but that should be par for the course for a horror film about cannibalism beneath the streets of London.  Raw Meat was revolting, it was creepy, and it wisely put Donald Pleasence on center stage with a meaty part to devour.  Despite the disgusting nature of the movie and the downtrodden atmosphere, Pleasence made me laugh repeatedly, and I have to say that I enjoyed Raw Meat.

A very British horror flick directed by an American,
Raw Meat is known as Death Line overseas.

The Halloween Theme

For those who know me, my love for John Carpenter's work is no secret.  For those who are just getting to know me, well, what else can I say?  I'm a huge fan of Carpenter, and many of his films would surely rank among my favorites.  One of the most impressive aspects of Carpenter's legacy is his ability to score a picture, and most of his classics come with a classic theme attached.  That is certainly true of one of his finest films, the timeless Halloween, and that theme is a true masterpiece.

So, I'm sitting upstairs, perched behind the computer.  I'm writing, but you already knew that.  The blinds are open and I have a wonderful view of a meadow where horses roam.  It's a nice day, and to be completely honest there isn't much more that a writer could ask for.  I have my iTunes on, as always, and I have it set to shuffle.  All is well.  For whatever reason, iTunes seems to have a thing for funk today, and that's fine by me. 

Then iTunes throws a swerve my way.  That's right: Halloween hits.  Suddenly, I can't help but look out the window to see if Michael is crossing the meadow.  And I realize that I'm making a serious Dr. Loomis face that would make Donald Pleasance proud.  You could have shot that scene and printed it for the next Halloween picture.  Seriously.

I find it amusing that a piece of music is so potent that it could transform a beautiful view of a nice day into a tense portrait of unseen menace.  Yeah, a tense portrait of unseen menace.  That's positively absurd, but I'm pretty sure that John Saul would use it. 

Anyhow, sharing is caring, or so they say.