Short Attention Span Review - Ready or Not (2019)

Short Attention Span Review - Ready or Not (2019)

A lot of people hyped this one up, but the premise and the ad campaign didn't exactly rock my world. When I sat down to watch it this weekend, it started out fine, but I still wasn't sure that it would make good on all that noise.  And then it just started to click for me.  In a big way.  I cringed, I gasped.  I laughed out loud.  Not like when you type "lol," but like when you really do laugh out loud.  Anyway, the movie just seemed to get better and better, and unlike many pictures that gain such momentum, it absolutely nailed the end.  By the time the credits had rolled, I felt pretty sure that I had just enjoyed a new classic.  This is one of those ventures that holds massive appeal for me: a quirky and subversive vessel ripe with humor and gore.  Ready or Not is a great example of how to balance morbid guffaws with unexpected splashes of blood and guts.  There are tense moments, surprises, gratuitous displays of audacious mayhem, sly chuckles, big laughs, and even bigger laughs.  The script is a delicious oddity, the direction is sound despite a few offputting choices where the color palette is concerned, and the talent makes the most of the material.  This is the kind of film where it is so damn hard to pick a favorite.  Samara Weaving was a revelation as the spirited and tough heroine with a fondness for foul language--and great taste in shoes.  Adam Brody may have played the best drunk brother in the history of the cinema, and I guess that's a dubious honor, but it's an honor nonetheless.  Andie MacDowell paired warmth and an icy chill to perfection, while Nicky Guadagni put on a master class in creepy and intense.  And then there's Henry Czerny, who unraveled in glorious fashion, veering from practical and steady to outraged, incredulous, and hilariously unhinged.  Most importantly, the movie was just so damn entertaining.  It was a perfect example of the motion picture as a thrill ride, and I can't recommend this one highly enough.  Yes, I'm late to that party, but maybe I'm merely fashionably late.  Either way, Ready or Not is a blast, and I hope to find it playing on my television often.

Final Grade: A+

Ready or Not is a bloody good time at the movies.  Bravo!

Powerful Pages - Pet Sematary by Stephen King (1983)

Powerful Pages - Pet Sematary by Stephen King (1983)

I started reading Stephen King novels when I was 8 years old.  When I started on this voyage, it seemed like I would never run out of books from the maestro to devour.  But, inevitably, at some point, I approached the finish line.  I put Pet Sematary aside because I always wanted to have one last vintage yarn from Uncle Stevie to dig into.  Decades passed.  And the time came.  I just had to give it a go.  First off, I'm sure glad that I finally took the plunge; Pet Sematary is a demented masterpiece, and it is as entertaining as it is unspeakable.  Secondly, this was probably a good one to set aside, for it is as dark and haunting as anything King has written.  It is maybe as dark and haunting as anything I've ever read, and that puts it right up there with The Exorcist* and Lord of the Flies**.  Pet Sematary is all kinds of heavy, and it puts the characters (a really likable family and a friendly neighbor of the highest degree) through all kinds of awful shit.  And the whole time, you sense the storm brewing, and somehow knowing that these people will suffer in abhorrent ways makes them that much more endearing.  I guess that makes Pet Sematary as much of a tragedy as it is a horror novel, and it does operate on a grand scale that it isn't altogether common within the genre.  King dares to grapple with some of the most difficult questions we all face in this life, and his answers here are as brutal as they are blunt.  At the same time, the prose is warm and inviting, and the book itself unwinds like a tale spun by that remarkable neighbor, good old Jud Crandall, a kindly soul with a gift for piquing our interest.  This story is intriguing from the onset, and as the stakes rise and the tension mounts, it becomes savagely addictive.  I turned pages and begged the main character to change course with considerable tenacity, though I knew to expect the very worse at every turn.  And toward that end, King delivered.  Oh man.  He delivered in spades.

*Surprise!  The scariest movie of all time sprang forth from a novel that is equally intense and frightening.  Indeed, the book has additional depth and takes the startling premise even further.

**Fuck William Golding.  Fuck Lord of the Flies.  Simon's death may be the most traumatic aspect of my high school education, and that little episode in my life had trauma to spare.  Also: fantastic book, hell of a writer.  Highly recommended!

Final Grade: A+

Short Attention Span Review - Curse of Chucky (2013)

Short Attention Span Review - Curse of Chucky (2013)

We're getting a new Chucky movie, and by that, I mean a reboot, not a continuation of the series as we know it.  I share Jennifer Tilly's thoughts on the matter, and lest you're unaware: we're not too keen on the idea.  Honestly, between 2013's Curse of Chucky and 2017's Cult of Chucky (and talks of a tie-in series from the man behind this franchise, Don Mancini), I see no need to do something new and different here.  Now, I enjoy these movies, but I'm not necessarily what I would consider a diehard fan.  Still, as a guy who digs horror, this does feel like hallowed ground for a few reasons.  First off, they're revamping Chucky himself.  That's a terrible fucking idea.  Secondly, they're looking for an "A-list talent" to try and fill Brad Dourif's shoes where the voice of everyone's favorite sadistic doll from hell is concerned.  The phrase "good luck with that" comes to mind.  Anyway, I'm going to push my little tangent here aside (sorry, but not really sorry at all) and review this 2013 chiller for you.  It is not a reboot at all, but something of a restart, taking the story in a new direction without severing any ties to the pictures that came before.  The tone is a fairly significant departure, with this being more of a sinister and spooky tale largely devoid of the zealous lunacy that we saw in the last few entries.  In that regard, it is a lot closer to Tom Holland's killer venture that started the ball rolling, though I would argue that Curse of Chucky is even more subdued, and plays a little more like an old school shocker.  It slowly builds to a crescendo, and even though we all come to this particular party knowing just what to expect, Curse of Chucky takes its time getting to the good stuff.  After all, the family at the center of the tale doesn't know that the doll young Alice is so taken with is a supernatural vessel for one vicious son of a bitch's tainted soul.  Mancini surely understands the lay of the land, and he handles Chucky's malicious exploits with great skill; the design and effects are on point, and the character's behavior is just what fans are hoping for.  Mancini's greatest feat may be pairing Brad Dourif's unbelievable performance with the ominous nature of the piece.  Brad isn't the only Dourif who shines in this outing, as his daughter Fiona excels as our lead.  Her part is both complex and endearing, and Mancini encourages us to really invest in this strong-willed heroine as he puts the screws to her in a big way.  While I won't rate this as the best of the lot, it is a welcome addition to a legacy that remains potent better than three decades after Chucky hit the scene--a legacy that need not be refashioned for current audiences when all the necessary parties are still fully capable of delivering the goods.

Final Grade: B-

Non-Spoiler Alert: Chucky is still one mean little bastard.

Short Attention Span Review: Tourist Trap (1979)

Short Attention Span Review: Tourist Trap (1979)

This is one of those older horror films with a woefully misleading PG rating.  Seriously, I have no idea what the MPAA was thinking.  It isn't all that gory, true, but it is bloody, and the movie is very dark and very intense, with at least one deeply traumatizing death scene.  It is also sadistic and incredibly creepy, and anyone who is bothered by mannequins should steer clear of this ghoulish sleeper from 1979.  The premise is kooky and there are a few flaws in the execution, but it is easy to forgive any shortcomings in light of the dreadful atmosphere and the eerie tone of Tourist Trap.  Chuck Connors did a fine job anchoring the piece, and he got a big assist from a young cast of unknowns that included the gorgeous Tanya Roberts and established Jocelyn Jones as a legitimate talent.  The direction from David Schmoeller and the effects work serve as the backbone of the ghastly affair, and the picture gets a boost from the malicious tone that keeps the viewer riveted for the duration of the show.  This is more in the vein of The Texas Chainsaw Massacre than a slasher flick, but the supernatural element really sets it apart.  All things considered, Tourist Trap is wildly unique and decidedly grim, and it is a shame that it doesn't enjoy the fanfare it rightfully deserves.  While it has a modest cult following, it is quite the low-budget powerhouse, generating big scares and growing stranger and more frightful with every minute that passes.  An unnerving script, fine direction, some quality performances, and a nerve-jangling descent into terror?  You know this one is a hit in my book.

Final Grade: B

Tourist Trap is a real oddity, and it is creepy as hell.  People who are unnerved by mannequins will be scarred for life after a single viewing.

Short Attention Span Review: The People Under the Stairs (1991)

Short Attention Span Review: The People Under the Stairs (1991)

Wes Craven was one of the biggest voices in horror for those of us fortunate enough to be fright fans in the 80s and 90s, and he kept on trucking until his demise in 2015.  The People Under the Stairs is his ode to that creepy house in the neighborhood that everyone speaks of in hushed tones, and it is one of his most energetic and offbeat pictures.  There are so many strange things happening in this particular house of horrors that the ghastly people under the stairs for whom the tale is named are merely bit players in a gleefully gory chiller.  It takes about ten minutes for Craven to establish the scenario and the next ninety minutes are devoted to some of the most outlandish and grisly carnage he ever captured on film.  While the supernatural elements that graced most of his spooky movies are absent from this shocker, it is no less frightening and perverse, and may even be a bit freakier than his typical fare.  This is largely due to our main heavies, a devious pair of sinister outcasts played to the hilt by Everett McGill and Wendy Robie.  Initially this demented couple register as more than a little quirky, but as the story progresses they go from kooky to sinister, and in the third act they graduate to vile, vicious, and unmistakably evil.  They do so with guns blazing, but neither performer crosses the thin line into parody, and they are the chief architects of this film's unique legacy.  However, young star Brandon Quintin Adams is also a great find, and both A.J. Langer and Sean Whalen aid him into providing the protagonists of this frightfest with a lot of heart, innocence, and courage.  These heroic adolescents are a far cry from the horny teenagers who so often occupied those roles in horror flicks from this era, and that is another big victory for The People Under the Stairs.  Maybe it runs just a bit too long, and maybe the ending goes off the rails a little here and there, but there can be no doubt that this is a wild ride from one of the genre's brightest minds.  Any horror fan should enjoy a trip to this house where strange terrors lurk behind every corner, but do leave your expectations at the door.  Craven surely broke new ground when he crafted this bloodthirsty oddity with a heart of gold.

Final Grade: B

As it turns out, the titular people under the stairs aren't the biggest threats in Wes Craven's subversive house of horrors.

Powerful Pages - Batman: Gothic by Grant Morrison and Klaus Janson (1990)

Powerful Pages - Batman: Gothic by Grant Morrison and Klaus Janson (1990)

When it comes to dark and brooding, Batman sets the bar.  With this particularly grim tale, writer Grant Morrison ups the ante with a major influx of twisted horror, while Klaus Janson offers some of his best work, using shadows and angles to supreme effect.  The tale benefits from a ghastly original villain who is a bit more sinister than any of the caped crusader's typical foes, and this fiend proves to be far more formidable as well.  Of particular note were a handful of eerie dream sequences that were quite literally the stuff of nightmares and several expertly choreographed confrontations.  This was a top-notch affair from top to bottom, with impeccable plotting and an inventive yarn with numerous twists and turns pairing nicely with sensational artwork and brilliant lettering.  While I've never seen it placed among top-tier outings featuring Gotham's dogged defender, I found it to be one of his most memorable storylines.  Perhaps this is because most fanboys are more comfortable with a gentler tone and a familiar adversary.  One thing is certain, those who enjoy horror comics may find Batman: Gothic to be right up their alley.  While I have always enjoyed the touch of the macabre that is woven into the very fabric of Batman's legacy, this may be the first graphic novel featuring the character I have encountered where a touch of the macabre just wasn't enough for the artists toiling behind the curtain.  Batman: Gothic is a horror story through and through, and it is plotted and illustrated to sinister perfection.

Final Grade: A

Short Attention Span Review: Hereditary (2018)

Short Attention Span Review: Hereditary (2018)

WARNING:  Spoiler Alert (I don't normally do spoilers in my reviews, but I'm trying to spare you)

Man, the hype for this one had me salivating.  I avoided all marketing materials and reviews as I wanted to go into Hereditary with no idea of just what to expect.  Still, I had heard so much praise that I couldn't help but be all kinds of excited when I finally set down in the theater to scope out a new horror movie that was supposed to scare me senseless.  Well, homies, let me cut right to the chase: when it comes to Hereditary, the hype train derailed.  I don't understand.  I wanted something in the vein of It Follows, The Babadook, The Witch, or even The Ritual via Netflix, as I do believe we are currently enjoying a nice period for well-crafted and deeply unsettling horror films.  I got a shitshow instead.  Look, in fairness, this has to be a case of quality ingredients joining together as part of a terrible recipe.  If you were to prepare a list of ten things a horror film needs to be special, I would say that this picture has seven or eight of those things, and yet the end result is garbage.  This motion picture boasts a magnificent score, impeccable performances, great sets, an unmistakable sense of dread, and there is a tale at the heart of the movie that could yield something both unspeakable and exquisite.  However, a feeble script, an uneven pace, some incredibly stupid characters* and some severe logic gaps in the plot turn the whole thing into a vapid mess.  Hey, why the fuck did Gabriel Byrne hang around for this nonsense?  Better yet, why did he burst into flames in the last reel?  Anyone?  I've got nothing.  And then there's the ending.  Boy, oh boy.  Talk about shitting the bed.  There was a moment when I thought the picture might redeem itself somewhat by sticking the landing.  This produced some severe tension in the audience, but then a series of miscues transformed what may have initially been nervous giggles into full-on laughter.  The packed house I saw this with was quite literally roaring with laughter as the clumsy conclusion went big in pursuit of genuine terror and produced a Monty Python-esque study of possession.

*Example: I shit you not, the main character is given a candle and a parchment containing a spell written in a strange language that she cannot comprehend, and she is instructed to go home, light the candle, and read said parchment.  Despite the fact that this batshit crazy advice is coming from a character who is clearly batshit crazy, our protagonist is all in without a second thought.


Final Grade: Shit Sandwich

Here, Toni Collette, who is a brilliant actess, offers up a startling rendition of my feelings on spending ten bucks and two hours of my life with Hereditary.

Short Attention Span Review - Annabelle: Creation (2017)

Short Attention Span Review - Annabelle: Creation (2017)

How rare is this?  A prequel to a spinoff emerges as a superior film?  No shit?  No shit, peeps.  I liked Annabelle, though it was far from a revelation.  I expected a similar approach this outing for the creepiest doll since Chucky, but Annabelle: Creation aimed higher.  Quite a bit higher, in fact.    It felt a lot more like The Conjuring in terms of scope and impact.  Expertly crafted, thoroughly unnerving, and jam-packed with big scares, I'm ready to classify this as one of the better horror films I have partaken of in recent memory.  From the somber opening, the dread is palpable, and this is one of those fright flicks that only gets harder to endure as it somehow gets everything right.  Good performances, nifty effects, a riveting plot courtesy of a powerful script, an ominous score--it's all there, friends.  There's no time for humor and no need for cheap jolts.  This gruesome conjuring (forgive me) is creepy as hell from start to finish and offers up a few dark surprises along the way.  Bonus points: the inevitable tie-in to Annabelle is executed perfectly.  Highly recommended!

Final Grade: A

Look out!  This one has some serious bite, folks.

 

Short Attention Span Review: Annabelle (2014)

Short Attention Span Review: Annabelle (2014)

Annabelle is a basic bitch, truth be told, but that doesn't render her ineffective.  In fact, I found a lot to like in this simplistic throwback.  A bit classical in its approach, Annabelle doesn't arrive with any grand aspirations.  This one didn't aim to reinvent the wheel, and there were no attempts to ratchet up the tension with a hyper-kinetic array of malevolent jolts.  No, we're dealing with a straight-forward and measured endeavor here.  In that regard, Annabelle reminded me a lot of the claustrophobic character-driven spookshows of yesteryear.  Throw in a tough female lead and some quality effects work, and you're in for a good time at the movies.  Intriguing and creepy in equal doses, this unassuming addition to The Conjuring family won't take you anywhere you haven't been before.  Yet, if you're a fan of the genre, you will get to revisit the old neighborhood in an efficient and moderately unnerving trip into terror.  That's good enough for me.

Final Grade: B-

When things got out of hand, Annabelle's owners reached out to this priest, and he had the situation under control for approximately 90 seconds.

 

Short Attention Span Review: It Follows (2014)

Short Attention Span Review: It Follows (2014)

As I write this review, I can't help but wonder: when was the last time I watched a totally original horror film?  I've seen a lot of good horror films over the years, but I may have to go all the way back to my discovery of giallo in the very heart of my adolescence for a similar revelation.  It Follows is quite unlike anything I've ever seen--and it's scary as hell.  Now, I know I'm a little late to the party here, but if you're like me and you've been sleeping on this one in spite of they hype, well, wake up!  The hype is warranted.  Creepy from the start, there's a wicked dreamlike vibe woven throughout that is decidedly unnerving.  Fortunately, the stakes remain high, and this imaginative flair never causes the picture to become too whimsical to be taken seriously.  It Follows is a dead serious live wire that aims to give the audience a major jolt.  The score is damn near iconic, the performances are captivating, and the direction from writer and director David Robert Mitchell is precise and inventive in equal measures.  Few things excite me as much as the discovery of a great horror film, and this is probably the best one I've seen since The Descent.  Cool, terrifying, and fresh as hell--I may be so late that I almost missed the party, but I'm so glad I found time to enjoy this one.  It Follows represents a wealth of imagination and a superb effort courtesy of everyone involved.

Final Grade: A

It Follows is built upon a kooky premise that can transform mundane shit like this old lady walking down the hallway into a terrible nightmare.

Short Attention Span Review: The Witch (2015)

Short Attention Span Review: The Witch (2015)

Disclaimer: Witches give me the willies.  Keep that in mind as you read this review, for The Witch is most certainly the type of film that will captivate many while others will not be entranced in the slightest.  The period setting is perfectly captured and will enrich the experience for some, while others will find such detail to be tedious and the authentic puritan dialogue will be equally hit and miss.  The ominous score and the mounting dread should be impossible to ignore for any reasonable viewer, though the shape of the tale and the eventual outcome will leave many totally unsatisfied.  As for me, I'm not ashamed to admit that The Witch scared the shit out of me, and I found the conclusion to be nothing short of horrific.  The primal depiction of witchcraft and the subtlety with which evil poisons the proceedings slowly ensnared me, and by the time the credits rolled I couldn't help but feel that I had become trapped in a nightmare of the highest order.  In many ways, The Witch is a tough watch, and there is little reward for the audience in the absence of comic relief, thrills, or hope.  Writer and director Robert Eggers is clearly a force to be reckoned with, and Anya Taylor-Joy stands out in a tight ensemble piece where everyone delivers the goods.  Chilling, provocative yet reserved, and utterly unique, The Witch pulls off a rare feat in that it is both incredibly understated and incredibly frightening. 

Final Grade: A+

An intense and captivating picture that surely falls within the "love it or leave it" spectrum, The Witch scared the piss out of me.

Short Attention Span Review - Curse of the Demon (1957)

Atmospheric and tense, this notable chiller with a potent noir vibe is a delightful picture that remains engrossing.  Dana Andrews does a nice job as a skeptical leading man who has come to England to expose a satanic cult leader as a fraud.  Unfortunately, this endeavor goes awry when our wooden hero is cursed by the charismatic but twisted Doctor Karswell, who is expertly played here by Niall MacGinnis.  MacGinnis steals the show and his performance would surely stand as the biggest strength of Curse of the Demon if not for Jacques Tourneur's splendid direction.  The paranoia and the suspense that he generates throughout this twisted shocker are palpable, and despite a few hokey shots* of the titular menace, Tourneur's film is still a spooky outing that boasts several imaginative and frightening sequences.  The parchment that dances in the wind and the grand finale are perhaps my favorite elements of this beloved cult classic, but there are other sequences of merit generously sprinkled throughout the picture.  While it is treasured by many horror fans, it probably doesn't get the love that it deserves, and with that in mind I'm here to heartily recommend this creative tale of terror from 1957 to my readers.

*Allegedly, the shots of the demon were added by the producer against Tourneur's wishes.  Tourneur reportedly wanted to allow the audience to imagine the fearsome fiend instead of showing it, and the overall tone of the picture lends this theory credence.    

Final Grade: B

There are a few laughable shots in the mix, but much of the imagery presented in Curse of the Demon is still rather creepy.

Top 20 Horror Novels - #1) Dracula by Bram Stoker (from 1897)

Not only am I ranking my Top 20 Horror Movies for you this October, but I'm doing likewise with the scary books that I hold near and dear.  As with the movies that I'm discussing in that Top 20, I'm not attempting to rank these novels based on their place in pop culture, but rather their place in my heart.  Isn't that sweet?  Seriously, there are some fine books that didn't make the cut here because there just wasn't room, and there are definitely some well-regarded books that didn't make the cut because I don't really like them.  That also means there are some personal favorites of mine on this list that you may not have heard of.  If that's the case, I promise that I'll reward your trust with a gnarly tale if you give one of them a spin.  Finally, I may have shortchanged some of the titans in the genre (hey there, Stephen King) as I didn't want to overload this list with titles by the same author, though Uncle Stevie did manage to score three direct hits on my list.

The list thus far:

#20) Amok by George Fox (from 1980) 
#19) Manstopper by Douglas Borton (from 1988)
#18) Intensity by Dean Koontz (from 1995)
#17) The Terror by Dan Simmons (from 2007) 
#16) The Snake by John Godey (from 1978)
#15) Son of the Endless Night by John Farris (from 1985)
#14) Rockinghorse by William W. Johnstone (from 1986) 
#13) Vampire$ by John Steakley (from 1990)
#12) Falling Angel by William Hjortsberg (from 1978)
#11) Christine by Stephen King (from 1983)
#10) The Manitou by Graham Masterton (from 1975)
#9) At the Mountains of Madness by H.P. Lovecraft (from 1936)
#8) All Heads Turn When the Hunt Goes By by John Farris (from 1977)
#7) Hell House by Richard Matheson (from 1971)
#6) The Exorcist by William Peter Blatty (from 1971)
#5) I Am Legend by Richard Matheson (from 1954)
#4) The Stand by Stephen King (from 1978)
#3) Jaws by Peter Benchley (from 1974)
#2) 'Salem's Lot by Stephen King (from 1975) 

Top 20 Horror Novels - #1) Dracula by Bram Stoker (from 1897)

First off, let's be clear: the story that is told in Dracula is a stellar combination of fright, romance, and adventure that has stood the test of time, inspiring plays and movies that are nearly as famous as Stoker's groundbreaking novel.  The character at the heart of the tale, the fiendish Count with a thirst for blood, is woven into the very fabric of the horror genre, and in the realm of fiction, he has proven immortal.  Yet I think what's often missing from praise for this thrilling book is commentary that underscores just how impressive Bram Stoker's writing is.  The style he chose for Dracula is epistolary, meaning this classic is composed of various journal entries, letters, and newspaper clippings.  The notion of telling a grand tale in such a fashion is daunting to say the very least, yet Stoker absolutely slayed it.  Various voices come into play and an engrossing plot unfolds with style.  Dracula is a fantastic yarn that is granted plausibility by the approach the author adopted, but he didn't sacrifice any momentum or flair by telling this invigorating story with a series of articles.  His ability to spin a yarn that is both haunting and seductive, much like the titular menace who remains at the forefront of the vampire sub-genre, remains a pleasure to behold.  Better than a century after he was set loose on our world, Dracula still reigns supreme in the realm of horror literature.  Those who have read this bold and enticing tale of terror will undoubtedly share my enthusiasm for Stoker's defining work, and those who haven't should pick up a copy and start their trek into the dark heart of Transylvania.

Top 20 Horror Movies - #1) The Exorcist (1973)

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) 
#7) An American Werewolf in London (1981)
#6) Deep Red (1975)
#5) The Shining (1980) 
#4) Dawn of the Dead (1978)
#3) The Thing (1982)
#2) Jaws (1975) 

I had a hard time putting this list together, but determining which movie belonged at the top of the charts was rather easy.  There can be no doubt that The Exorcist is the crown jewel of horror cinema.

Top 20 Horror Movies - #1) The Exorcist (1973)

Believe the hype.  The Exorcist is the most frightening movie ever made.  William Friedkin did a flawless job of bringing William Peter Blatty's novel to the screen.  His efforts were greatly enhanced by legendary effects work from the great Dick Smith and a fantastic cast that nailed the difficult material.  Ellen Burstyn is unbelievably good and it is her work here that truly defines the experience, though Linda Blair, Jason Miller, and the one and only Max Von Sydow (who plays the title role) all brought their A-game to the table.  The score is haunting, the script is razor-sharp, and most importantly, Friedkin (a superb director with a considerable legacy who still doesn't get the love he so richly deserves) was at his very best when he made the greatest horror movie of them all.  The subject matter is extremely disturbing and equally frightening, largely due to Burstyn's bravura performance as she plays the character that viewers relate to throughout the picture.  The Exorcist is as daring as it is horrifying; I am positive that you couldn't make this movie in this day and age without significant alterations to some of the more explicit portions of this grim journey into demonic possession and despair.  I treasure both this film and the book it was based upon, but I’ve only read the book a couple of times and I’ve only watched the movie four times.  When I’m looking for a horror film to watch, I frequently grab this Blu-Ray only to pause long enough to wonder if I really want to spend another night with Reagan and Father Karras.  If you have never experienced The Exorcist, there could be no better time than Halloween to do so.  Please don’t invite me over, however, because I’m not ready for another descent into the devil’s domain just yet.

Note: The original theatrical release is awesome but I prefer the updated version from 2001.  The "spider walk" is one of my favorite scenes in the movie.

Friedkin used every trick at his disposal to bring William Peter Blatty's terrifying novel to life in spectacular fashion.

They say it's the scariest movie ever made, and this time they are right.

Top 20 Horror Novels - #2) 'Salem's Lot by Stephen King (from 1975)

Not only am I ranking my Top 20 Horror Movies for you this October, but I'm doing likewise with the scary books that I hold near and dear.  As with the movies that I'm discussing in that Top 20, I'm not attempting to rank these novels based on their place in pop culture, but rather their place in my heart.  Isn't that sweet?  Seriously, there are some fine books that didn't make the cut here because there just wasn't room, and there are definitely some well-regarded books that didn't make the cut because I don't really like them.  That also means there are some personal favorites of mine on this list that you may not have heard of.  If that's the case, I promise that I'll reward your trust with a gnarly tale if you give one of them a spin.  Finally, I may have shortchanged some of the titans in the genre (hey there, Stephen King) as I didn't want to overload this list with titles by the same author, though Uncle Stevie did manage to score three direct hits on my list.

The list thus far:

#20) Amok by George Fox (from 1980) 
#19) Manstopper by Douglas Borton (from 1988)
#18) Intensity by Dean Koontz (from 1995)
#17) The Terror by Dan Simmons (from 2007) 
#16) The Snake by John Godey (from 1978)
#15) Son of the Endless Night by John Farris (from 1985)
#14) Rockinghorse by William W. Johnstone (from 1986) 
#13) Vampire$ by John Steakley (from 1990)
#12) Falling Angel by William Hjortsberg (from 1978)
#11) Christine by Stephen King (from 1983)
#10) The Manitou by Graham Masterton (from 1975)
#9) At the Mountains of Madness by H.P. Lovecraft (from 1936)
#8) All Heads Turn When the Hunt Goes By by John Farris (from 1977)
#7) Hell House by Richard Matheson (from 1971)
#6) The Exorcist by William Peter Blatty (from 1971)
#5) I Am Legend by Richard Matheson (from 1954)
#4) The Stand by Stephen King (from 1978)
#3) Jaws by Peter Benchley (from 1974)

Top 20 Horror Novels - #2) 'Salem's Lot by Stephen King (from 1975)

'Salem’s Lot was Stephen King’s second published novel, and even the master himself has gone on record as stating that it is his favorite.  Ben Mears is a fabulous hero, maybe the finest protagonist aside from Roland that King’s fertile mind has given birth to, and the town of Jerusalem’s Lot is so well-defined and utterly fascinating that it becomes a character in and of itself.  As this masterpiece unfolds, we come to know and love both the characters and the setting for this dark epic.  By the time the tale draws to a close, nearly all of the players and the town itself have suffered a grisly fate.  This is just my kind of book: King takes his time with the story, building a strong foundation before unleashing hell in a frantic third act that takes no prisoners.  No one is safe in ‘Salem’s Lot, and the action is both brutal and realistic, giving the supernatural yarn an air of authenticity.  The basic premise is rooted in the absurd, yet this feels like a poignant character study of the highest order.  If I’m gushing, that’s probably because I truly love this book.  I read it every year, typically in the fall, and it only seems to grow larger and more wonderful each time I return to 'Salem's Lot.  It's the type of book that I would recommend to those who don’t really care for stories about things that go bump in the night as well as those who cherish the horror genre as much as I do.  I have often said that King’s work is typically equal parts blood-curdling terror and thoughtful meditation on American culture.  This 1975 smash hit is no exception, and I believe it stands as the maestro’s finest hour. 

Top 20 Horror Movies - #5) The Shining (1980)

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) 
#7) An American Werewolf in London (1981)
#6) Deep Red (1975)

And now, ladies and gentlemen, here's Jack!  Don't worry, he's not here to hurt you.  He just wants to bash your brains in. 

Top 20 Horror Movies - #5) The Shining (1980)

More akin to a different vision of Stephen King's terrifying book than a faithful adaptation of that titan's work, this Stanley Kubrick venture is definitely one of the most striking horror films of them all.  Jack Nicholson is front and center throughout, and he wrings every drop of entertainment out of an iconic part.  True, Nicholson's Jack Torrance lacks the depth and the warmth that makes his literary counterpart's sinister downfall a tragic affair.  Yet his take on the character yields one of the most sensational villains in the history of the cinema, as Jack's work in The Shining is both horrifying and a joy to behold.  It is most certainly a performance for the ages, and thought it towers over the motion picture itself, Kubrick's peerless direction and Shelley Duvall's emotionally charged acting are also superb assets that are integral to the success of this beloved classic.  While some may chafe at the way Kubrick disregards many aspects of the source material, the movie has an irresistible appeal and it is clearly a horror film of the highest order.  The technical merits of The Shining are beyond reproach, and while there can be no doubt that Stanely Kubrick was both immensely talented and incredibly prolific, I think that this terrifying journey into insanity and violence is his most remarkable film.  Furthermore, though his career is littered with fabulous star turns, this is probably my favorite example of Jack's magnificent talent as well.  The Shining is both legitimately creepy and totally fascinating, and it greatly benefits from the presence of a gifted cast and one of the finest directors in the history of the cinema.

Shelley Duvall had a great time working with Stanley Kubrick on The Shining.

Nicholson exudes both charisma and menace as he chews scenery and positively owns the screen.

Top 20 Horror Novels - #5) I Am Legend by Richard Matheson (from 1954)

Not only am I ranking my Top 20 Horror Movies for you this October, but I'm doing likewise with the scary books that I hold near and dear.  As with the movies that I'm discussing in that Top 20, I'm not attempting to rank these novels based on their place in pop culture, but rather their place in my heart.  Isn't that sweet?  Seriously, there are some fine books that didn't make the cut here because there just wasn't room, and there are definitely some well-regarded books that didn't make the cut because I don't really like them.  That also means there are some personal favorites of mine on this list that you may not have heard of.  If that's the case, I promise that I'll reward your trust with a gnarly tale if you give one of them a spin.  Finally, I may have shortchanged some of the titans in the genre (hey there, Stephen King) as I didn't want to overload this list with titles by the same author, though Uncle Stevie did manage to score three direct hits on my list.

The list thus far:

#20) Amok by George Fox (from 1980) 
#19) Manstopper by Douglas Borton (from 1988)
#18) Intensity by Dean Koontz (from 1995)
#17) The Terror by Dan Simmons (from 2007) 
#16) The Snake by John Godey (from 1978)
#15) Son of the Endless Night by John Farris (from 1985)
#14) Rockinghorse by William W. Johnstone (from 1986) 
#13) Vampire$ by John Steakley (from 1990)
#12) Falling Angel by William Hjortsberg (from 1978)
#11) Christine by Stephen King (from 1983)
#10) The Manitou by Graham Masterton (from 1975)
#9) At the Mountains of Madness by H.P. Lovecraft (from 1936)
#8) All Heads Turn When the Hunt Goes By by John Farris (from 1977)
#7) Hell House by Richard Matheson (from 1971)
#6) The Exorcist by William Peter Blatty (from 1971)

Top 20 Horror Novels - #5) I Am Legend by Richard Matheson (from 1954)

A case study in isolation and loneliness and a genre epic all rolled into one, this book packs a mean punch.  Matheson has an incredible body of work, but this 1954 epic is his best offering.  The tale concerns the last living man's woeful struggle to survive in a world that has been overrun by vampires.  Haunting and insightful, Robert Neville’s gripping saga culminates with one of the most compelling endings in the history of storytelling. That’s high praise indeed, and it may explain why Hollywood has put this tale on film several times now without embracing the bravery and the finesse that bringing the conclusion to life would require.  The clarity and the pace that define this work serve to provide readers with a stirring adventure that unfolds quickly.  Matheson has always believed in shipping the freight, and I Am Legend is a fine example of his ability to paint a vivid picture without any unnecessary brushstrokes. Much like the other books I’ve featured on this list, I would highly recommend this title to any reader, regardless of their feelings on the horror genre. I Am Legend is a legendary book (forgive me) and that climax will stick with you forever.

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.

Top 20 Horror Novels - #7) Hell House by Richard Matheson (from 1971)

Not only am I ranking my Top 20 Horror Movies for you this October, but I'm doing likewise with the scary books that I hold near and dear.  As with the movies that I'm discussing in that Top 20, I'm not attempting to rank these novels based on their place in pop culture, but rather their place in my heart.  Isn't that sweet?  Seriously, there are some fine books that didn't make the cut here because there just wasn't room, and there are definitely some well-regarded books that didn't make the cut because I don't really like them.  That also means there are some personal favorites of mine on this list that you may not have heard of.  If that's the case, I promise that I'll reward your trust with a gnarly tale if you give one of them a spin.  Finally, I may have shortchanged some of the titans in the genre (hey there, Stephen King) as I didn't want to overload this list with titles by the same author, though Uncle Stevie did manage to score three direct hits on my list.

The list thus far:

#20) Amok by George Fox (from 1980) 
#19) Manstopper by Douglas Borton (from 1988)
#18) Intensity by Dean Koontz (from 1995)
#17) The Terror by Dan Simmons (from 2007) 
#16) The Snake by John Godey (from 1978)
#15) Son of the Endless Night by John Farris (from 1985)
#14) Rockinghorse by William W. Johnstone (from 1986) 
#13) Vampire$ by John Steakley (from 1990)
#12) Falling Angel by William Hjortsberg (from 1978)
#11) Christine by Stephen King (from 1983)
#10) The Manitou by Graham Masterton (from 1975)
#9) At the Mountains of Madness by H.P. Lovecraft (from 1936)
#8) All Heads Turn When the Hunt Goes By by John Farris (from 1977)
 

Top 20 Horror Novels - #7) Hell House by Richard Matheson (from 1971)

Obviously, my pick for the haunted house novel to end all haunted house novels (sorry, Shirley Jackson) was bound to make my list.  Richard Matheson was an imaginative author with a knack for for grounding his supernatural yarns to such an extent that his work seemed far more plausible than typical horror fare.  His strong characterizations, his clear voice, and his creativity also made his books incredibly worthwhile, and Hell House was surely one of his best efforts.  It has a rather straightforward premise: a physicist, his wife, and a pair of mediums are hired by a dying millionaire who yearns to know if there is life after death.  To find the answer, he sends them into an infamous haunted house where untold perversions and atrocities have unfolded over the years.  Indeed, one of the mediums is the only survivor of a failed expedition into the same house some thirty years prior.  The house has a sinister ability to subtly influence those who enter, essentially allowing them to destroy themselves--with a little push here or there for good measure.  Both a riveting tale of terror and and an intriguing mystery concerning the origins of the evil lurking within the imposing Belasco House, Matheson's novel is a thrilling read.  Hell House is a sound exercise in generating tension and wringing unimaginable fear out of a dim and foreboding setting that is both a locale and a character in and of itself.  Readers will be hooked from the very start, and the conclusion is utterly fantastic.  In my humble opinion, Hell House is a towering achievement in the realm of literary horror.

Top 20 Horror Novels - #8) All Heads Turn When the Hunt Goes By by John Farris (from 1977)

Not only am I ranking my Top 20 Horror Movies for you this October, but I'm doing likewise with the scary books that I hold near and dear.  As with the movies that I'm discussing in that Top 20, I'm not attempting to rank these novels based on their place in pop culture, but rather their place in my heart.  Isn't that sweet?  Seriously, there are some fine books that didn't make the cut here because there just wasn't room, and there are definitely some well-regarded books that didn't make the cut because I don't really like them.  That also means there are some personal favorites of mine on this list that you may not have heard of.  If that's the case, I promise that I'll reward your trust with a gnarly tale if you give one of them a spin.  Finally, I may have shortchanged some of the titans in the genre (hey there, Stephen King) as I didn't want to overload this list with titles by the same author, though Uncle Stevie did manage to score three direct hits on my list.

The list thus far:

#20) Amok by George Fox (from 1980) 
#19) Manstopper by Douglas Borton (from 1988)
#18) Intensity by Dean Koontz (from 1995)
#17) The Terror by Dan Simmons (from 2007) 
#16) The Snake by John Godey (from 1978)
#15) Son of the Endless Night by John Farris (from 1985)
#14) Rockinghorse by William W. Johnstone (from 1986) 
#13) Vampire$ by John Steakley (from 1990)
#12) Falling Angel by William Hjortsberg (from 1978)
#11) Christine by Stephen King (from 1983)
#10) The Manitou by Graham Masterton (from 1975)
#9) At the Mountains of Madness by H.P. Lovecraft (from 1936)

Top 20 Horror Novels - #8) All Heads Turn When the Hunt Goes By by John Farris (from 1977)

Incredibly strange, incredibly perverse, and incredibly terrifying, All Heads Turn When the Hunt Goes By is my favorite horror novel from John Farris.  I raved about this vastly underrated author when I discussed Son of the Endless Night, but I think it bears repeating: no one is as daring and as twisted as this marvelous talent who delights in yanking the rug out from under his readers.  Shocking twists, startling revelations, and intense depictions of stark and relentless horror are the norm in his novels.  Few of his works are as potent as this bizarre yet inviting saga that is elevated by the author's gift for sensational plotting and his sterling prose.  The opening details the worst wedding of all time and stands as one of the most frightening sequences that Farris has ever written, and things only get darker and stranger as this tale progresses.  A proud southern family is undone by sinister forces with a terrible need for vengeance in this wild and jarring ride.  Voodoo, snakes, and madness are at the forefront throughout, and there is a strong sexual element to the novel that surely pushes the envelope.  Intriguing characters, dangerous situations, and a wealth of demonic carnage keep things lively even as the book grows wilder and more bizarre with every page that is turned.  Indeed, while there are a great many who cherish this tale as much as yours truly, there are also a great many who found the novel too perplexing or too sensational--or both!  I can't recommend All Heads Turn When the Hunt Goes By highly enough, nor can I say enough about John Farris, an extremely talented author who never fails to deliver the goods.