Top 20 Horror Movies - #20) The Fly (1986)

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.  Today, I'm cranking things up with the first entry in my Top 20 Horror Movies. 

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.

Top 20 Horror Movies - #20) The Fly (1986)

The first entry on my list is one of three remakes to be included.  This one is surely the wildest departure from the original, as this somber tale bears little or no resemblance to the cheeky Vincent Price vehicle from 1958.  This 1986 version of the The Fly is directed by David Cronenberg, one of the most visionary directors of them all.  Cronenberg's intense and often perverse work has largely originated within either the horror genre or the science fiction genre, and I think this deliberate terror yarn stands as his grandest achievement.  It's also the best work that Jeff Goldblum has ever done, and his total immersion into the part of Seth Brundle, a daring and strangely charismatic scientist, is amazing to behold.  Throw in some fabulous effects work and an eerie score by Howard Shore and you have the makings of a classic.   This version of The Fly is a slow burn that works magnificently.  The first two acts are largely about meeting the characters and witnessing a failed experiment and the subsequent transformation as Goldblum's wacky but lovable scientist becomes one of the most grotesque monsters ever put on film.  These portions of the film are ripe with suspense and dread, while the third and final act is where most of the gruesome action takes place.  The film is potent; the combination of disturbing visuals and difficult content make it every bit as emotional and dramatic as it is frightening.  Yes, this version of The Fly is everything that I'm looking for in a great horror film, and viewing it remains a riveting experience that I highly recommend.

Jeff Goldblum's work in Cronenberg's remake of The Fly is absolutely amazing.

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.

Evil Dead (remake)

When I heard there was an Evil Dead remake in the works, I was skeptical at best.  When I found out that there would be no Ash in the picture, I couldn't imagine it working.  Even after the theatrical release, I wasn't interested--despite my good friend Tony D's assurances that it was an awesome reboot.  I shouldn't have doubted him.

The Evil Dead remake may represent the most fun I've had with a horror film in years.  It was a gory thrill ride that was disturbing, repulsive, dark, demented, and 100% entertaining.  The direction was spot-on, the acting was on-point, the effects were glorious, and the sense of impending doom was a perfect recreation of the sinister tone and the grisly atmosphere of Raimi's original.  In fact, I think it's fair to say that, Ash or no Ash, this remake topped the original.  To be fair, the makers of this film had Sam and Bruce in their corner, and they had the original and every other meaningful horror film from the last 30 years to reflect on.  Yet many remakes of films with similar legacies fall flat, and I thought this was a smashing success.

Finally, I think the lack of Ash was appropriate.  After all, who else could play that role?  It's a part for the The Chin, and a part for The Chin alone.  If you're looking for a good time drenched in blood, look no further than the Evil Dead remake, a rip-roaring massacre that is incredibly well-made.