Best horror movies of the twenty first century,homemade emergency kit for car contents,how to prepare for graduate employment test for financial sector,movies that came out in the 21st century 7th - And More

Since its inception, Mondo has produced hundreds of posters, posters that have touched on virtually every genre under the sun. This is by no means a complete collection - this page'd be five times as long if we included everything - but what follows are probably our favorite Mondo horror prints.
A lifelong film enthusiast, Scott Wampler is a man of constant sorrow and online film blogger from Austin, TX. There is no escaping the fact that Don’t Go in the House is a harsh, brutal and somewhat undignified viewing experience. Although Don’t Go in the House is not the cheeriest viewing experience, Ellison does sneak some black humour into the proceedings. This entry was posted in Recently Reviewed, Shock Horror on August 17, 2015 by Martin Shelley. As a tribute to the ghoulish EC comics of the 1950s, British director Freddie Francis brought us this eerie 70s movie adaption of stories selected from the infamous Tales from the Crypt. Visually, Tales from the Crypt has a dark, grainy quality which conjures up the atmospheric, gothic style predominant in the original EC artwork.
The five stories are narrated to the viewers by the Crypt Keeper (played by Ralph Richardson). When Halloween III: Season of the Witch first hit the cinemas in 1982, many patrons probably  believed they were going to view a continuation of the Michael Myers saga, with his body resurrected from ashes scattered in the corridor of Haddonfield Memorial Hospital.
Although his position is clearly that of a medical doctor, the brawny, no-nonsense Atkins takes on an additional vocation here as private detective, whilst attempting to capture the villain behind the brutal murder of his patient. This entry was posted in Recently Reviewed, Zombie & Voodoo on June 16, 2015 by Martin Shelley.
A computer engineer by education, a telecom professional by vocation and a psychologist on vacations (and on weekends and weeknights), he has tried his hand and failed miserably at poetry, entrepreneurship. The Killing of Jacob Marr is pretty good a€“ pretty good story, dialogue, production, gore, and scares. Slasher films involving twenty-somethings or teens in a cabin in the woods has been SO done, as all horror fans know.
The Killing of Jacob Marr begins with scenes of a young boy following the path of a meteorite that leads to a strange round stone. 20 years later, a group of kids are going on a grand vacation to an isolated cabin in the woods, and when they shop up it seems that the cabin is completely stocked with clothes and food, implying that there is another group booked at the same cabin at the same time.
Before long the group realizes that nobody is coming, that their tires are slashed and they cana€™t leave themselves, and that there is something lurking in the darkness that threatens their own lives.
Some of the most positive qualities of The Killing of Jacob Marr are the production quality, and the reality of the dialogue that transpires throughout the film.
This talk about the strength of the dialogue does not mean that the characters are necessarily likeable a€“ there is one in particular, the girlfriend of one of the group of friends, who is pretty snotty and carries an expression that shea€™s in the vicinity of a dairy farm all of the time. Regardless of distribution methods, The Killing of Jacob Marr is a pretty good film, enjoyable and interestinga€¦ though not of the sort that will knock your socks off.
It’s time to take a look at the onscreen villains who have disturbed our sleep for years.
One thing every reader should note before launching into this piece is that determining the best and worst of the bunch felt absolutely impossible, and though we've made a valiant attempt at listing these ghouls in respectable order, exact placement is certainly arguable. 44 The Gill Man (Creature from the Black Lagoon):Perhaps the most low-key monster of yesteryear to find a place on this list, there was always something about The Creature that creeped me out terribly. 02 Freddy Krueger (Nightmare on Elm Street): Who needs pure menace when you can infuse a bit of comedy and pull a laugh from the petrifying?
Raised by wolves until he was in his mid-40's, he was later reunited with his father, Christopher Lloyd, and frequently confuses real life with the 1987 Howie Mandel vehicle "Walk Like a Man". Its unflinching exploration of the long-term mental derangement resulting from sadistic child abuse leaves the viewers reeling in a dark, ugly world. Written and directed by Joseph Ellison, on initial release the movie received such a scathing critique from repulsed viewers, Ellison was virtually ostracized from the horror industry. This mainly evolves when Donny’s co-worker Bobby makes futile attempts to befriend him, seemingly oblivious to his demented psyche. It features a myriad of creepy characters, many of whose malevolence acts as a catalyst for the terror that unfolds.
Francis has also selected a captivating string of tales, all of which are decidedly unnerving in their own way. He is an enigmatic figure, draped in brown robes who resides in catacombs deep beneath the City of London.
Thankfully, Carpenter was adamant he would join the project only if the boogeyman remained sizzled up and as a result the movie focuses on an entirely different brand of Halloween horror. Tom Skerritt, John Hurt, Sigourney Weaver , Yaphet Kotto, Harry Dean Stanton , Veronica Cartwright and Ian Holm made ??up the crew of the commercial ship Nostromo.
They say it is the scariest movie ever, and certainly must have to be that viewers would come to its release. Radical bang that adapted for film the adventures of Henry Lee Lucas, one of the bloodiest murderers in all time series. The scariest holiday of the year is even more so since the Master Carpenter introduced us to Michael Myers (Tony Moran, Will Sandin and Nick Castle at different times in the film), who escaped from the mental institution in which a child had been held to wreak havoc in Haddonfield, Illinois. The majestic Canadian teacher proposed a romantic drama disguised horror remake of the classic 1958 short story from George Langelaan. The extraterrestrial stone unfortunately influenced the boy who found it to murder his parents.
Because of the late hour they decide to stay the night in the cabin and wait for the potential other occupants to show upa€¦ but they never do.
In spite of the fact that this is a micro-budget Indie, a non-interested party walked into the living room while the film was playing and commented that I had obviously forgone the viewing of the Indie previously mentioned and instead opted for a studio productiona€¦ Thata€™s some good feedback for filmmaker Brad Rego.
If this is her character, so be ita€¦ but even the most bitchy and crabby holier0than-thous in the world cana€™t typically hold onto this condescending look of displeasure all the time the way this girl does. With so many inferior Indie films releasing on DVD at the local Walmart, the biggest question regarding this film is a€?why hasna€™t it seen any kind of meaningful release?a€? A bit of surface-level research reveals that the film indeed has a distribution contract with Entertainment 7, but for reasons unknown the jump from a€?getting a deala€? to a€?seeing a releasea€? has not been made. Aficionados of Indie horror will enjoy the different take on the a€?Cabin in the Woodsa€? meme, and find themselves actually interested in how the film turns out while not being disgusted by the stupid things everyone says. We do not sell or trade email addresses in any way, and they are not used for advertising purposes. You’re preparing to read about a multitude of different kinds of villains, and sometimes drawing comparisons feels like apples to oranges.
If they leaned on intelligent thought and complex plot circuitry, well, they’d suck, outright.
We haven’t seen all too many genuinely good Pumpkinhead productions, but the first couple flicks are fun creepy affairs.
The initial picture immediately gained a serious level of notoriety due its unforeseen and jarring final sequence (please watch it if you haven’t already), and I can completely understand the spectacle.
The story, although riddled with a few holes, was awfully entertaining, and served as a darker approach to the Saw concept (the flick was actually written as a piece of the Saw storyline, but studio execs opted to travel a different route, thank the higher powers that be. I am not one of those people: this is an outright awesome flick that entertains from minute one to final credits. From his look, to his silent, ominous ways, this is a character to remember, and if you’re as twisted as me, hold close to your heart. He dwells deep in the rural regions of New Orleans, stalks any to trespass on his territory, absolutely mutilates their bodies, seems virtually unstoppable, and is even played by none other than Kane Hodder, the most famous man to ever sport Jason’s hockey mask. Therefore, I have no desire to hang out with Pennywise the clown, an alien creature who dons a face full of clean clown makeup and a mouth full of razor sharp teeth.
The first flick introduced us to a concept that probably should have been explored long, long ago, but wasn’t, and the immediate follow-up is highly enjoyable.
They’re a lot of fun, make no mistake, but raising a child is one colossal challenge. Both of the original Predator films kick ass, despite the dramatic setting shift, the first Alien vs. Her target was of course careless camp counselors, but she didn’t have a problem mixing it up and hacking her way through anyone threatening to impede on her mission for vengeance. The term is also synonymous with the name Annie Wilkes, Misery’s obsessed villainess.
Scream is a clever film that never shies away from poking a bit of fun at itself, and the franchise’s focal hazard, Ghostface is a frightening creation tailor made to appeal to a younger breed of horror hounds.
The Jack Torrance that Stanley Kubrick and Jack Nicholson introduced us to in 1980 doesn’t quite deserve that level of recognition. I’m not big on the sadomasochism idea, but boy does Barker know how to make it work, like a cursed charm.
That said, they share a fairly similar background, and they’re both as paralyzing as can possibly be imagined. What’s even more amazing is that the sleek beasts to terrorize the Nostromo make a return in what could easily be considered the finest sequel ever to grace the world of horror, Aliens. How about one that has no qualms spying on women before slaughtering them with a nice sharp steak knife? Think about those massive swells as the weather spins out of control… the absolute desolation of miles of nothing but water. People seem to love the hockey mask donning hulk, and the machete has become synonymous with nightmarish treks through the woods. Although Wes Craven’s original A Nightmare on Elm Street was played straight, with the one-liners nearly non-existent, subsequent Nightmare efforts really leaned on the quips. And who among you has the bankroll to buy me one of those Olly Moss Evil Dead prints (I will not rest until one of those makes my wall)?
Our anti-hero Donny Kohler (Dan Grimaldi) is a lonely oddball who is so lacking in social decorum, he fails to provide assistance when one of his factory co-workers accidently sets themselves on fire. In fact, he only ever made one further movie entitled Joey, which addressed such an innocuous subject matter, it could almost be considered an apology for his former culpability. When Bobby eventually manages to drag the reluctant Donny out on a double-date, an episode occurs in the local nightclub which is equally terrible and farcical in its aberration.


Just as in the original comics, the ramifications which occur are underpinned by a strong moral framework and it is unusual for somebody to experience a misfortune they did not in some sense provoke. Another stand-out is Poetic Justice, which follows the misfortune of kindly old garbage man Arthur Grimsdyke (Peter Cushing), whose love of children and animals ultimately drives him to suicide. Atkins robust, 80s machoism is an ideal counterpart to the dignified and courteous Cochran, who hides his evil intent behind a gentlemanly manner. But something came aboard with them to delight the viewer with one of the most stunning and iconic of the modern genre films. So successful, in fact, it seems that people do not even perceived as a genre film, such was its popular acceptance - ??cost twenty million dollars and grossed more than ten times more - and industrial - he burst the Oscar ® for his year , taking the five main categories -.
Great exercise of atmospheric tension punctuated by shocking mutants and scattered artisanal FX by Rob Bottin - necessarily claimable in-time digital apogee we live - the countdown lived by a group of scientists isolated in the polar desert not lost one iota with subsequent viewings. Bitter, filthy, dirty, repulsive and alien to any concession to the viewer, to be the annals as one of the peaks of the film for his documentary psychopaths tremendous accuracy - Michael Rooker and Tom Towles, embedded forever in the darker side of Brain - fans and technical mastery of their staging.
Legend title with psycho of legend, a scream queen legend (Jamie Lee Curtis), a hero of legend (Donald Pleasence) and a soundtrack of legend. The great Joe Spinell lived happily paired with a beautiful mannequin, but the temptation of murdering and robbing the beautiful women of flesh and blood who lived in New York - Caroline Munro, especially - was too big. The tactic that Brad Rego decided to take in The Killing of Jacob Marr is to give some insight to the history of a particular cabin in the woods, and make sure that the dialogue and interaction leading up to the murderous rampage actually make sense and have some basis in a reality that the audience can relate to. The dialogue and script is very strong as well, not necessarily because ita€™s so damn brilliant or captivating, per se, but because the words uttered and sentences used sound like things that an actual person might actually say in a similar circumstance. Maybe shea€™s a method actor, and actually did spend a bunch of time at a dairy farm to prepare for her role. This is obviously frustrating for the filmmakers, who have decided that in the meantime they would sell the film on their own and see if they can get some buzz. Radford is a nasty bastard with or without his awkward half skeletal mask, and that giant corkscrew contraption he uses to remove sizeable chunks of flesh from his victims is not only unique, it’s pretty damn cool. Fortunately for fans, Robert Hall is a self-aware filmmaker who didn’t set out to tell an amazing tale, he set out to create a wicked villain with one of the coolest facial accessories ever seen.
A stellar cast, clever script and awesome special effects make this an endearing gem that stands as one of the finest vampire installments of the 1980’s. Sam is wonderful, Trick ‘R Treat is wonderful, and the idea of a sequel has me salivating. When the transformation occurs however, this is one mean SOB who sets goals and sees them through, unless that goal happens to be the demise of Charley Brewster, the world’s most resilient dork.
The visual beauty of this ’58 Plymouth Fury is intoxicating, as Arnie Cunningham learned for himself in what proved to be a fatal case of love at first sight. Willing to alter his physical appearance and travel from family to family in his quest, murder just seems to be a single step in his process. Clark created a monster utilizing little more than a nice POV and a multitude of spine tingling voices.
Pennywise is a manipulative bastard that oozes fear from every makeup clogged (how does it escape with such ease I wonder) pore. And no, I don’t even consider the Stephen Sommers reboot and subsequent sequels true Mummy movies. Thank the heavens this freak only feeds every two decades or so, because when he shows up, he leaves with a piece of his victims, quite literally, and quite often a piece detrimental to survival. The true franchise shocker however is the fifth flick to tote the moniker Final Destination. Predator flick proved to be a lot of fun that hearkened back to old Universal crossover pictures and even the Robert Rodriguez produced reboot, Predators proved to be a stunningly bad ass production.
What helped to make the original Friday the 13th so special was the mystery that still lived within the film: who was killing all the kids with reckless abandon, and why? This Stephen King story is frightening for all the right reasons and the bulk of those scares are delivered by the not-quite-right-upstairs Wilkes. The phone calls provide a personality, and the contorted visage makes for a dreaded memory. Chucky has always had a joke to deliver, and while his size alone seems to be a bit of a joke in itself, this killer’s successful spree is one to take note.
Pandora’s Box holds many a mystery, and apparently extreme mutilation and torture is a part of that mystery.
What’s always made Leatherface so damn frightening is the simple fact that this is a man, capable of being killed, yet obviously far more adept at doing the killing.
The fact that he’s been assembled from bits and pieces from a slew of cadavers definitely goes a long way in making his appearance all the more unnerving. Norman Bates always seemed a quirky fellow, but he also seemed about as harmless as they come, and that’s exactly what made him so damn terrifying. That said there have been too many killer werewolf films to list here, although I’d recommend Fred F. That said, zombies are more popular than ever in modern pop culture, and for good reason: there are a wealth of top notch flicks centered on the attack of the undead seeing release these days.
While I feel that decision aided in making Freddy more endearing than frightening, it’s unquestionably left him a legend of cinema. It is clear from the onset that there is something very odd here, as Donny gapes in fascination at the flaming man. Despite the critics opinion though, Don’t Go in the House is an intriguing journey into certain psychotic manifestations generated through childhood trauma. Despite the fact that the majority of the cast are made up of locals whose acting could be considered at best, second rate; there is no question that Grimaldi steals the show. It also serves as a horrific representation of the long term, traumatic consequences of sadistic child abuse. In the first story …And All Through the House, Joan Collins plays the conniving Mrs Clayton who murders her husband on Christmas Eve by beating him over the head with a fire poker.
This is the consequence of two snobbish neighbours, Edward and James Elliott (David Markham and Robin Phillips) and their cruel behaviour towards him. Richardson portrays the Keeper as a judicious, discerning being, which is in sharp contrast to the wise-cracking ghoul featured in the EC comics.
Or is he just celebrating the existence of evil because of some Celtic wizadry which occured in his homeland thousands of years ago? The town of Santa Mira is wonderfully creepy with it’s ramshackle motel, unexplained curfew and eyes prying from every window. Seca, terrifying, with a spectacular staging, incredible scenery and effects - Oscar ® for HR Giger, Carlo Rambaldi, Brian Johnson, Nick Allder and Dennis Ayling, artisans of a creature absolutely essential - a - distressing great soundtrack Jerry Goldsmith - intuited and suffocating tension and good. The soundtrack of Ennio Morricone , the photograph of Dean Cundey and the home address of Carpenter continue making the cold will pass through the screen, a survival horror that even makes the final sequence contribution desolate feeling of peace coleguil decadently enjoyable.
A totally crazy adventure, ultraviolent, with a group of boys and girls led by Bruce Campbell - enormous at this point, what about Ash that has not been said already immersed in the purulent - horror of a cottage converted into playground some demons released via unconscious reading the Necronomicon. As if that were not enough dodgy homicidal threat posed plump, sweaty and oedipal Spinell - - also the script, the film sported a filthy address Lustig - responsible for another classic, “Maniac Cop” (1988) and its sequels - a throbbing electronic soundtrack Animal Jay Chattaway and a special effects Tom Savini mustachioed, which was reserved for himself one of the most brutal deaths of film history - and what climax!
A complete and utter thousand times recommended, full also of useful information - “wonder and eat Brundlefly »-.
This may sound like a no-brainer, but unfortunately realistic and believable dialogue is more rare than it should be. This strange meta flick serves as a throwback to yesteryear while cementing a pathway for the future. He also aimed to give viewers some top notch, creative gore, and he certainly succeeded: both films offer some really wild graphic shots that outshine the majority of death scenes in similar works. This one definitely offered forth a climax that caught viewers on the jaw and left them staggering. One of the major stars of the film is David (Kiefer Sutherland), the leader of a vampire biker gang and a monster looking to recruit new blood. Perhaps it is better that I don’t over-analyze things and just respect the Miner and his mask for what they are: kick ass, top notch additions to the genre! Chris Sarandon brought amazing presence to this character in 1985, and somehow, Colin Farrell managed to do just the same in Craig Gillespie’s shaky sequel (which would have been pretty awesome had they enabled Evil Ed to breathe, and eliminated the overtly cartoonish CGI) that hit the market last year. The original captured that sensation without fault, the remake was as flat as an overcooked pancake. If you’re a target of Blake, and he finds a fault in your tidy system, he simply kills you off, shaves his beard, tosses in some contact lenses and moves on to the next family, remorse not included.
This disfigured freak of nature is a perfect Saturday night watch and as the Hatchet series continues to march forward, Crowley continues to gain popularity. Unfortunately for Shigeharu Aoyama, he too thought the concept cool, and what he got was Asami Yamazaki: one outrageously sick, sadistic woman who favors torture over romance.
Those are watered down action flicks that place emphasis on cheesy CGI rather than a potentially horrific presence. Damien is an evil little bastard, and knowing exactly what he is, it comes as no surprise that he’s more than happy to ensure bodies pile in his wake.
This is one beast that turns heads, and in the grand scheme of contemporary monsters the Predator definitely joins the rank of the greatest to be seen. Obviously, we now have our answers, but the intrigue of the original was without question a special thing.
Stick to the rules established and cemented in law and you may avoid a confrontation with a man like Max Cady, uber bad ass villain of both Cape Fear flicks. I think anyone who’s working to create something positive to offer the masses wants fans, hell, we need fans, but fans of this nature are a completely different story. This already iconic killer has taken center stage in four films, and while the third is a steaming pile of feces, the other three installments make for damn good fun. Often creative, often temperamental, you just never know exactly what to expect from this little bastard. Grotesque, robotic, unbelievably intelligent: Pinhead is the last kind of villain you want to run into. When this giant SOB staggers in frame, he commands attention, and that’s all there is to it!


From the elongated head, to the twisted tale and fatal plasma, this is a mind numbing freak from the outer regions who’s earned a rightful place on this list. Well, Clive Barker and Bernard Rose bring that urban legend to the screen (note that Barker’s source work differs drastically from what is seen on film) in fashion unrivaled.
Alfred Hitchcock brought a very unorthodox villain to the screen in 1960 and over 50 years later, that villain is still considered one of the most outlandish and memorable antagonists to ever be introduced to the masses. Toss a solid 25 foot freak of nature with a set of chompers capable of snapping a femur like a toothpick in the mix and you’ve got a very tangible nightmare on your hands.
Jason), and the refusal to make any shifts to his personality (at this point) has really helped to establish a reliable villain.
Bela Lugosi made a major impact when he initially portrayed this monster way back in 1931, but a few others have brought a startling appeal to the character created by Bram Stoker.
As we quickly learn though, combustion is one of his hobbies and this is a result of the abuse he suffered at the hands of his mother when he was growing up. With his furtive twitches, pathological disinhibition and gut-wrenching psychotic episodes – Grimaldi drags the viewers effortlessly into his deranged, hallucinogenic unreality. Cushing plays Grimsdyke with such gentle amiability, his resulting grief is almost unbearable to watch and we find ourselves poised with bated breath for the two men’s inevitable downfall.
Despite this, his character has little purpose other than acting as a framing device for the stories, and the hidden twist when it is eventually revealed, is hardly revolutionary. At no point does Wallace attempt to answer these questions, which means the audience has to work pretty hard to suspend their disbelieve. And Weaver in lingerie battle to the delight of little yet accustomed to such delicacies large screen generation. Cronenberg recommend everything, everything, everything, so I urge you to dive into his films in that other story .
I favor the initial Laid to Rest over the sequel, but realistically, you’re getting just about the same package from both productions.
I tend to liken the vibe of this film to The Exorcist in that it builds to a jaw dropping conclusion, but takes its sweet time in doing so.
Just the same, Clark made it work, and he made it a highly successful experiment in fright to boot. See, the doc, a disfigured gent, is without wife, and he blames that on the work of what he perceives as incompetent physicians.
Annie’s out of her mind enough to kidnap, torture (love the hobbling) and die for her object of fixation. Nothing will ever quite compare to the original Scream, but the immediate sequel certainly made a valiant attempt at surfacing as the series’ star.
We know this guy is going to fly off the hinges, and judging by that eerie spaced-out stare and quirky smirk on his face showcased in the opening portions of the film, one can only ponder: how long until the killing begins? His awesome facial piercings have also helped to make him quite the iconic piece of imagery as well. Remakes don’t typically surpass the quality of their predecessors, but Carpenter defied the odds and created one of the greatest motion pictures ever released. His legacy will live on long after I’m gone, and in this business, longevity is a rare trait.
Steven Spielberg’s 1975 shocker changed the way people view water some 37 years ago, and the dread heaped upon the public back then still looms.
When you throw a Friday the 13th film in the disc player, you pretty much know exactly what you’re going to get. The original Nightmare stands as the best of the franchise, but A Nightmare on Elm Street 3, A Nightmare on Elm Street 4, Wes Craven’s New Nightmare and Freddy vs. In actual fact, the movie should serve as a stark reminder of the dreadful consequences of unimpeded child cruelity. Shortly afterwards Clayton learns that there is a homicidal maniac on the loose who is dressed in a Santa Claus costume. Another disturbing and somewhat twisted tale is Blind Alleys, which features the mean-spirited and greedy Major William Rogers (Nigel Patrick) who is in charge of a home for the blind. Nevertheless, the Crypt Keeper is given so little screen time and the framing device so short, this doesn’t really detract from viewer engagement.
The doctor had recently visited the factory with his young floozy Ellie (Stacey Nelkin) to help her investigate the death of her father, who was slaughtered in his hospital bed whilst under the care of Doctor Challis. Originally it had been Carpenter’s intention for the production team to produce a franchise of Halloween movies with each one telling a radically different story. This is the official series, but has so many daughters bastards that make up its own subgenre. Followed by lots of official sequels and imitations bulk, Rob Zombie was responsible for restarting the series in 2007 with one remake  very drinkable and a sequel simply colossal and schizoid; in fact, so colossal and schizoid who asked not to take charge of the third , please.
I’m still hoping we see a grand cinematic rendition of this film, as the original 1990 television miniseries is quite the dated production.
I love The Shining, and Torrance is a personal favorite of mine, but I’m still not convinced Nicholson (as awesome as he is) was the right casting call. While I’m not insane about the majority of the sequels (Farewell to the Flesh is an enjoyable watch for what it is), I am insane for this villain. A monster with menacing motives is one thing to mull over in the mind, a monster who aims to kill you simply to claim a meal is a completely different issue that still frightens me.
Though he is largely ridiculed at work by his macho co-workers, there are still those such as Bobby (Robert Osth) who tries to befriend Donny, believing him to be a timid but benevolent soul.
Furthermore, barring one particularly brutal torture scene, Don’t Go in the House is somewhat tame compared to more recent shock horror movies. He gorges on roast lamb and fine wines whilst the residents starve in freezing dormitories.
Overall the casting in Tales from the Crypt  is astounding, with favourites such as Joan Collins, Peter Cushing and Patrick MacGee lending real credibility to their roles. The demonstration features a boy in a pulsating pumpkin mask collapsing in front of a flashing television screen, whilst an army of poisonous insects and snakes scurry from his ears.
Dean Cundy, who was director of photography in Halloween, uses plenty of still shots to capture the creepy desolation of this Northern Californian town.
Unfortunately though, this idea didn’t ever come to fruition and so Halloween III stands alone as an innovative and macabre glimpse into the dark heart of Samhain.
We leave it to Patrick Lussier , a much more docile type and with much less talent, is not to be. The Stepfather makes for stellar psychological horror, and Blake (and O’Quinn) is the one deserving of thanks.
How about devise gnarly ways in which he can off those he blames for his wife’s death? Thank you Stephen King and thank you Rob Reiner: without you two the world would have been deprived of one of the most captivating personalities to ever crawl into the realm of pop culture. I believe Jack Torrance could have been twice as frightening had the proper feet filled the shoes. They’re all fairly well crafted films, they all introduce new Cenobites, and they all proffer a wealth of nauseatingly graphic violence.
Carpenter had the courage to showcase an all-male ensemble, and that daring maneuver really helps push this one into flawless territory. Check out Friday the 13th Part 2, 4, 6, the aforementioned FVJ and the supremely underrated 2009 reboot for quality camper killing. The story develops into this wickedly unsettling cat-and-mouse scenario, urging you to double-check whether you really did lock the doors and windows on a cold, winter night. When one of the men eventually dies from hypothermia, the stony-faced George Carter (Patrick McGee) leads the residents into a secret rebellion.
Even without these contributors though, the rich, magnetic tales would suffice to keep the viewers’ attention firmly on the screen. As his traumatized parents dash for the door, they are swamped and bitten by the poisonous creepy crawlies. There are also a couple of edgy chase scenes which play homage to the claustrophobic terror felt in Halloween I & II. Perhaps predictably though, it was only a few years later that Michael Myers was resurrected to continue his dreary killing spree in Haddonfield.
I think that says a lot given how disturbing the character is with Nicholson in the driver’s seat. Their plan involves the use of two locked rooms, a maze of alleys, a heap of razor blades and Major Roger’s ferocious German Shepherd dog. In fact, it is difficult not to view Tales from the Crypt without experiencing a wave of nostalgia for those childhood sleepovers where everybody would sit up telling ghost stories, way past the midnight hour. These are accompanied by a pulse-twitching electronic score which, once again, is the creation of the John Carpenter and Alan Howarth musical team. The eruption of this advert on televisions throughout the town serves as an alarming harbinger of approaching doom. Screenwriter Milton Subotsky releases some pent-up energy here with this frightening tale exploring the upshot of unimpeded wish fulfillment. It’s a fine balance, that when coupled with the amazing set pieces from each film make for true cult classics. Vincent Price is an undeniable legend, and this role definitely helped establish his cinematic status.
If you’ve never had the pleasure of watching either film, I suggest you seek them both out immediately.



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