31 Days of Horror: Halloween (1978)

It's funny, but I can honestly say when I first saw John Carpenter's Halloween, I was disappointed. Maybe it was the hype; maybe it was the setting--whatever it was, I can now say that with each subsequent viewing I continue to discover subtle nuances that really creep me out.

Everyone knows the plot; I won't rehash it here. Instead, let us examine two key elements that makes this Halloween the classic it is.

• Pure evil. There's no better explanation. There is no why or how behind Michael Meyers. He is simply evil. The idea of sheer madness is chilling enough. Michael just wants to kill, especially Laurie. Why? We don't know. That is haunting. Such randomness is inconceivable for our logic-based existence. That alone is frightening.
• Subtlety. Carpenter is masterful at every level. He replaces blood and gore with shadow and sound. He crafts each frame with purpose and detail--sometimes the viewer's in on it; sometimes not. Each moment is more menacing than the next. The film may be low budget, but the scares a highly satisfying. Much is made of the mask and the minimalist score {both decidedly perfect}, but ever notice the lighting? Or the the body language of our protagonist? The plot is deceptively simple, but intensely creepy.

John Carpenter's Halloween joins the likes of Psycho and Night of the Living Dead as some of the most influential films of the genre. Films like Halloween never get old or boring; they becomes part of our collective conscience--they live and become the rule by which cine-piles judge all others. This film lives and breaths like no other, and it is beautiful.

31 Days of Horror: The Omen (1976)

The tricycle, strains of 'Ave Satani', the name, that kid. To this day, I don't understand how anyone could name their kid Damien--I know of two as I blog. Sorry kids, all I can think of is this eerie film from Richard Donner.

This literal spawn of Satan played by Harvey Stephens is one creepy bastard. The Omen is beautifully atmospheric. I love how this film unfolds. It's the perfect storm of direction, writing, cinematography, setting, and score.

Gregory Peck is exceptional to watch as the father of said spawn, he is terse, unapologetic until the truth is exposed. The escalating horror is written all over his face. But let's talk about the gem of a boy Stephens--where is he now?! As the little Anti-Christ, his glance sends chills up my spine. He plays so innocent, but speaks volumes with slight action. It's remarkable. Lee Remick plays the tragically duped wife nicely.

Between the nanny and that damn tricycle, The Omen is more than enough to scare me. Donner keeps the film tight and moody. The Gothic feel is cold and bespeaks the underlying evil. I've read "extreme dread" as a description for this film--that is so true. Yeah, don't forget the priest's demise. The score by Jerry Goldsmith seals the deal.

As I see it, The Omen ranks alongside Rosemary's Baby as benchmarks for the creepy genre. I love never seeing anything tangible--that's when the ultimate fear takes over.

31 Days of Horror: The Ghost and Mr. Chicken (1966)

Didn't expect this one, did you?

The Ghost and Mr. Chicken doesn't offer intense scares or gory delights. No, The Ghost and Mr. Chicken is pure small-town Americana brought to you by Don Knotts.

Flighty Luther Heggs (Knotts) aims to be a reporter for his small town newspaper, the Rachel Courier Express. When the editor offers the break of a life time, Luther's in... until his finds out he has to spend the night at the Simmons mansion. 20 years ago, the home was the site of a now famous murder-suicide. As the anniversary draws near and the family heir, Nick Simmons returns to destroy the mansion, this is Luther's only chance. What ensues is the stuff of good movies.

The Ghost and Mr. Chicken hinges on Don Knotts and his trademark physical comedy. His nervous disposition, eye movements and propensity for chest-enhancing is goofy, but so much fun to watch. The dialogue and Knott's delivery is a riot.

The sincerity of the entire cast, the beautiful production, and the crazy ominous soundtrack help create a wonderful film. The Ghost and Mr. Chicken is a family-oriented movie with a few stringed scares and plenty of laughs.

31 Days of Horror: The Evil Dead (1981)

Inventive writer/director Sam Raimi does it right with The Evil Dead. Set in the backwoods of Tennessee {probably near my house}, five college students head to this hills to spend the weekend. Oopsy! They discover a book, the Morturom Demonto {HELL-o Death!!} and inadvertently release unspeakable evil that unleashes intense, graphic, bloody sequences of death.

Raimi crafts hell in The Evil Dead. Demented and brutal, the film is a nonstop gory treat. Much as been made of Raimi's low budget here, but the movie is perfect. Raimi creates a gripping atmosphere of unseen demented evil that is unrelenting. He is masterful behind the lens; no frame is wasted. Additionally, the score is pitch-perfect.

Scene after scene delivers a sickening feeling--there are entirely too many to share {nor could I live with myself for sharing} . The pencil through the ankle is more than cringe-worthy. Impalements, dismembering, possessions, tree assault, hysteria... The Evil Dead violates all sense of decency. Still, for the genre, this is classic.

The cast is par for B-movie acting. Legendary Bruce Campbell doesn't disappoint. As Ash, he is neither annoyingly heroic or stupid. And his final scene here is amazing.

For me, The Evil Dead still requires a bit of courage--I don't ever seem to watch is alone. Not for the weak of stomach, The Evil Dead is an excellent blend of gruesome elements {don't forget the score} that create the perfect scare.

31 Days of Horror: Se7en (1995)

As the serial killers go, you'd be hard pressed to find one as grim and disturbing as Se7en from director David Fincher.

Se7en has a deranged creativity about it and with such a stellar cast that includes Brad Pitt and Morgan Freeman, Fincher weaves the tale of a killer who's MO is that of the seven deadly sins. The film has an intriguing morbidity to it. Although you never actually see the killings, the aftermath is soul-sucking.

The film is gritty, cryptic and has a atmosphere as apocalyptic as it is creepy. Greed, sloth, gluttony, wrath, pride, envy and lust take on new meaning thanks to a killer utterly out of his mind. His lack of mental capacity, yet his Revelations-spouting tendencies makes the killer hopelessly menacing. This serial killer reaches new levels when he shaves off his fingertips to avoid leaving prints. That's simply messed-up.

The intense development simmers in this well written screenplay. Pitt and Freeman play the conflict nicely and deliver solid, focused performances. Kevin Spacey's turn is mind-blowing and demented. Visually, the film is flawless--the scratching opening credits are just a taste of things to come.

Se7en upped the ante in the genre. The concentrated bleakness and nihilism is overwhelming; however, you can't help be fascinated and repulsed as the story unfolds. As sick as gets, you are compelled to watch. Intense and emotionally-wrenching, Se7en lingers in mind long after the movie ends.

31 Days of Horror: Friday the 13th (1980)

As we come into the final stretch of the season {have you noticed the local 'Stuff-Marts' have already pushed the Chinese Christmas crap to the front?!}, I can finally unfold some of the cream of the crop. Don't get me wrong, each of the gems deserve a viewing {some deserve ownership}, but these are probably the ones that get the most play this time of year and rightly so.

For me, Friday the 13th evokes images like you wouldn't believe. I think my annual trips to summer camps, even now as a counselor, wouldn't be nearly as much fun with this one. There's always one night that we {the counselors} are allowed to scare the begeezus out of our young victims. No--usually it's just each other. Although my camp is nothing like Crystal Lake, can you really go camping without thinking 'this could be it'?

Jason Voorhees is one bad boogieman. Though his killing grounds are limited, it's idea that his knife-wielding self is 'out there' watching, waiting, striking. The harsh tone of the film starts quickly and sets the pace. The jinxed summer camp is just the setting for horrible deaths; it's the delivery that kills.

Friday the 13th is quite simple if you think about it. The young cast is par for the genre. The plot is spotty at times, but who cares?! It's the horrible, graphic, bloody, harsh, cold dispatching of camp counselors in woods on a stormy evening. It's a psychopath picking off horny teenagers in unexpected violent ways.

Upping the ante, is Pamela Voorhees. Jason's mother comes out of nowhere adding a mind-f^ck moment you can't believe.

Voorhees owns Krueger as far as I'm concerned. Friday the 13th is the bar for slasher flicks. It remains horror genius even after all these years.

31 Days of Horror: A Nightmare on Elm Street (1984)

Here's some horror classic for you. A Nightmare on Elm Street may seem dated now {it does to me}, Wes Craven was onto something at the time. Freddy Krueger became the stuff of nightmares and kick*$$ Halloween costumes.

Psychopath Freddy Krueger was burned alive years ago by an angry mob of parents. Then known as the Springwood Slasher, Freddy preyed on children viciously killing them with razor blades attached to his fingers. Fast forward a few years, and a couple of teens are having horrible nightmares of their own all of the same burning man with razor blades.

A Nightmare on Elm Street is a pitch-perfect fright. Writer/director Wes Craven mixes a delicious blend of gore, fear, plot and imagination to create a new take on the slasher flick. Playing on tangible fear, Krueger with his admittedly corny one-liners, manages a high body count.

The young cast plays well. Johnny Depp aside, it's Heather Langencamp as Nancy that really pulls the plot together. With Robert Englund, the two engage in a tension-filled game of cat-and-mouse. Their onscreen chemistry is amazing.

Craven paces the film exceptionally well, unfolding the story right on time. The effects are ridiculous now, but when taken in context, they're great. Glen's (Depp) death through the blood soaked bed is crazy insane. But Tina's demise is one of the film's strongest sequences. The elements in each frame are just perfectly executed.

The film is a true visceral and chilling experience. Easily deserving of it's classic status, A Nightmare on Elm Street, in essence, dares you to go to sleep.

31 Days of Horror: Jeepers Creepers 2 (2003)

Unlike it's predecessor, Jeepers Creepers 2 delivers the scares despite unfolding a typical horror story plot.

The Creeper maintains his mystique in the second film and has evolved to be a darker, more logical predator. He smells fear; preys on it, which is scary enough. It's his ability to move and appear practically out of nowhere that heightens the fear. The Creeper returns every 23 years to feed on humans--this time he's hanging out, literally, as a scarecrow to prey on this Midwestern town. Unfortunately for the championship basketball team, their bus is about to breakdown. Mmm, dinner time.

Jeepers Creepers 2 has a much darker feel than the {sadly lacking} original starring Justin Long. He returns here for a moment. What makes this movie better is the overall menacing atmosphere. The Creeper is kept behind the camera this time around making for a better bite--left to our imagination, the viewer can impose their own fears. His evolution is nicely done.

This is horror for general audiences. Our victims do stupid things, i.e., deserve to die and horribly they do. Jeepers Creepers 2 is a wicked improvement that is equally fun and frightening.

31 Days of Horror: The Tingler (1959)

Fear is an amazing thing. Fear portrayed in 1959 movie classic is called The Tingler. Starring Vincent Price as coroner/scientist Dr. Warren Chapin who discovers that a creature lives inside everyone, feeding on our fear, and controlled by our scream.

This, dear people, is B-movie surrealism--a classic in every form of the word. Price teams with William Castle (House on Haunted Hill) to bring this B&W camp-tastic treat to life.

For what it is, The Tingler is perfect. Using a mute woman to experiment on, Price is seedy, yet diabolical. He's so fun to watch as Dr. Chapin. Barbara (Judith Evelyn) is terrorized to death. Those sequences are trippy with a tinge of color and touch of creep. I love how inventive productions of this nature had to be.

Look, The Tingler is low-budget and hammy, but still provides the necessary scare. Who knows if it's still in print--my copy is VHS.

31 Days of Horror: 28 Weeks Later (2007)

Carrying over from yesterday's post, let's examine the second film. Both are equally horrific and apocalyptic in nature...

28 Weeks Later finds us without Danny Boyle. 28 Weeks Later finds the remnant of the infected being rounded up and a possible cure being completed. 28 Weeks Later and thanks to unilateral forces, London is being re-inhabited. 28 Weeks Later finds us with a high gore factor and an intense chain of events.

It's not often you find a sequel to be complimentary. 28 Weeks Later is a solid follow-up continuing in the same vein despite a new writer/director. Gone is the minimalist aesthetic, remaining is core story, the foreboding soundtrack, a few survivors and a new gory outbreak.

28 Weeks Later grabs you by the throat and doesn't let go. The horror rises to a new level now that the Infected have evolved. Danger isn't random anymore. The hunt, in addition to the virus, creates this eerie, tension filled story that's bound not to end well. Frantic camera movement creates another level of despair; the night vision sequence is hair-raising, but it's the opening sequence through the countryside that is the ultimate nightmare. The helicopter adds a touch of gory camp.

This film has one speed--breakneck--any viewer willing to join in, is guaranteed a delicious modernized zed-fest.

Chicago 10 (2007)

"When the people fear their government, there is tyranny; when the government fears the people, there is liberty." Thomas Jefferson

It never ceases to amaze me to what length governments will go to squash/deride/intimidate anyone who might openly dissent. The spin is both cunning and horrific. To think that our government--any administration--go and would go to any lengths is indeed frightening.

Chicago 10 is a documentary examining the trial of eight anti-war rabble-rousers after the demonstrations during the 1968 Democratic National Convention in Chicago that resulted in violence and mayhem. While there is no actual footage of the trial of the U.S. Government versus Abbie Hoffman, Thomas Foran, Bobby Seale, David Dellinger, Leonard Weinglass, William Kunstler, Rennie Davis, and Jerry Rubin.

The film is bold, engaging, and downright mind-boggling at times, especially when viewed through today's perspective. The combination of archival footage, animation, court transcripts and the modern day soundtrack creates quite a show.

Chicago 10 is an insightful reflection on a very real different time and place.

"All tyranny needs to gain a foothold is for people of good conscience to remain silent." - Thomas Jefferson

31 Days of Horror: 28 Days Later (2003)

Director Danny Boyle and writer Alex Garland (currently scribing Halo) started it all with an idea. A communicable virus that infects it's host with a vicious rage. The infected become rabid--like zombies on crack--they stop at nothing.

28 Days Later is a creative take on the zombie genre. From the desolate opening sequence to the foreboding, time-ticking score, the film is a masterpiece. Boyle breeds isolation and panic simultaneously with sweeping shots of emptiness. The rage virus becomes an incurable evil through the lens of the camera. In contrast, those shots are rabid--quick, in your face shots.

The movie is fascinating and frightening in the same breath. The gore is wonderfully rendered; as are the settings our few survivors must traverse. Our cast includes newcomer Cillian Murphy and character great Brendan Gleeson. The unknowns are spot-on in their delivery.

The aesthetic of 28 Days Later is minimal, but dramatic. The film transcends the typical feeling of the genre. "Thinking man's horror" is how I once described it. Boyle takes a risk in not marketing to general audience and boy, does he deliver. Stripped of everything that keeps us human, Boyle evokes 'Lord of the Flies'--a scary thought in and of itself.

Tense and disturbing, but brilliantly executed, 28 Days Later is a modern, elegant take on my favorite horror genre.

31 Days of Horror: Blade (1998)

Vampires and gore does not a horror movie make; but given that Blade's stylishly played hand has etched itself in my memory {and quite frankly did scare the living begeezus back in '98}, it makes my days of horror.

Let's get one thing clear. I enjoy vampire movies {and count Interview with a Vampire and Bram Stoker's Dracula among my favourites.} I do not like Wesley Snipes. To think I {almost} didn't see this movie because of him. Actually, I saw this move by proxy--someone else picked it; enough conversation.

From it's opening sequence with the techno club pulsating beneath the butcher shop for obvious reasons, Blade has one thing going--vampires are modern and sexy cool. Blade (Snipes) is an embittered half-man, half-vampire sworn to killing the species. His arch-nemesis Deacon Frost (Stephen Dorff) wants to bring about a vampire apocalypse. With the help of a Zen-master played by Kris Kristofferson, good fights evil.

Snipes is palatable here, not much in the acting arena, but with ample physicality. It's Dorff and his vampiric minions that steal the show. The embodiment of evil they creep and seduce. Think The Matrix simplified.

Though the film has more style than substance, Blade does thrill and provides adequate tension and scares. The production is highly stylized. No surprise considering director Stephen Norrington's other film, The League of Extraordinary Gentlemen. The movie doesn't stop with action and violent sequences that entice and engage.

Blade is a decent addition to the vampire genre {probably more-so the comic book one}. What elevates this good versus evil story to worthy viewing status are the visually beautiful opening and final scenes that go down equally graphic and horrifying.

30 Days of Horror: George A Romero's Night of the Living Dead (1968)

Is there really any better movie than Night of the Living Dead? Seriously?! Night of the Living Dead is everything you want in a horror movie. The original B&W classic is a simple idea perfectly executed.

Gore aficionado, writer/director George A. Romero is innovative and masterful here. From the start with Barbara and her brother visiting their mother's grave, the two are attacked by horde of zombie. The fright begins and never let's up.

So what makes Night of the Living Dead so great? Let's break it down:

• B&W cinematography ~ Screw Technicolor! What Romero does, playing up the negative spaces with grace. The unfolding cinematography without choppy edits raises the bar. He successfully builds a isolated, claustrophobic feel that terrorizes as much as the zombies.
• Effects/Gore ~ The splattering, limb gnawing, impalement, fire--it's all effective and horrifying.
• Human elements ~ First the collective strangers in the farmhouse--they have to come together for survival, but at the same time there are all these sub-sets of people. Whether divided by race, age, or an unknown suspicion, it plays on the audience's fear--acceptance.
• Social commentary ~ Night of the Living Dead works on two levels. One is simple full-on horror. But you could also take it in context of the 60s decade and Romero would seem to address political issues of the day head-on as well.
• Farmhouse ~ It becomes a character unto itself--as a barricade between the living and the dead, but it also becomes a crutch for our characters
• Cast, both dead and alive ~ Sure, they are virtual no-names. A definitive plus; however, there are genuine performances from them all. These zombies set the bar by which all others are measured. Perfection.
• Sound/Score ~ Even watching Night of the Living Dead with the sound turned off is hair-raising. The ominous score adds another haunting touch, but notice how Romero slowly removes forms of communication from the picture furthering the isolation.

Finally, the ending. Night of the Living Dead leaves you breathless from start to finish Fear and tension mounting, climaxing to an unfolding of one of the greatest mind f^cks you've ever seen--one that begs a rewind, again and again.

Night of the Living Dead is THE movie to see for any self-professing cinephile or horror fan. A low budget masterpiece, this is the movie that started it all.

31 Days of Horror: Rosemary's Baby (1968)

As psycho-supernatural thrillers go, Rosemary's Baby is tops thanks to a creepy performance by Ruth Gordon and an ethereal one by Mia Farrow. Farrow is really the one to watch. Her degradation through the 2+ hours is remarkable. This cute hopeful darling becomes a waif-like crack user thanks to the spawn of Satan.

Rosemary Woodhouse (Farrow), newlywed and wanting children has just moved into a new apartment in the infamous Bramford building. The Bramford has an unusual history of residents: cannibal killers, Satanist and witches or so says their friend Hutch (Maurice Evans) Still, the young couple thinks Manhattan is the place to be what with Guy's (John Cassvetes) promising TV career. Her neighbors, Roman and Minnie Casevet are a bit too nosy for her liking, but Guy thinks they're harmless. When Rosemary auspiciously becomes pregnant, Rosemary's health takes a turn for the worst. Surrounded by decidedly strange neighbors and odd occurrences, Rosemary's mental and physical health is in great danger.

Roman Polanski {love/hate} directs a perfectly nuanced film with great taste, beautiful detail and solid cast. Ruth Gordon annoys me; but damn, what a freak! Along with Sidney Blackmer, the two play eerie neighbors from hell. Gordon puts in an Oscar-winning performance, I believe.

Farrow makes this movie. She builds paranoia perfectly, slowly, allowing each unusual event to heighten the tension and fear. Polanski further the effect with an angelic focus on Farrow. Everything is light and airy with Rosemary around. In contrast, is the entire cast. Each character has a trail of evil and darkness. The symbolic play of light and dark is amazing.

As Rosemary becomes more and more isolated, the suspense builds. The execution is spot-on. The fear isn't tangible; but there's a consistent 'somethings-not-right' foreboding that just chills to the core. Therein lies the fun. You will watch with an expectation of things jumping out or the baby popping out of the stomach a la Aliens. No, Polanski is too good for that.

Rosemary's Baby is slow burn. It doesn't set out to scare as much as make you squirm. Even now, this movie is the ultimate creep-out.

31 Days of Horror: House on Haunted Hill (1959) (1999)

In the 1959 original of House on Haunted Hill, Vincent Price starred as an eccentric and wealthy cad who invites six strangers over for a party of lifetime offering $10,000 to whomever survives the night. The B&W film is horror classic. Beautifully rendered by director William Castle and Vincent Price, the film is still terrifying and creepy to this day.

The 1999 remake starring Geoffrey Rush as the Price-esque millionaire, Steven Price is surprisingly effective. He plays perfectly to the camp of Price right down to the mustache. Famke Janssen plays his evil wife, Evelyn. Taye Diggs, Ali Larter, Peter Gallagher and Chris Kattan are among the guests. Thankfully, we don't linger on character development--we know enough--and quickly the chills begin.

While this film deviates somewhat, the thrills are equally creepy. The home, this time, was once the Vannacutt Psychiatric Institute for the Criminally Insane and was the scene of a horrible massacre by the mental patients that included the death of Dr. Vannacutt (Jeffery Combs). Price, offers one me-llion dollars each to the survivors.

The atmosphere of the home is perfectly diabolical with enough creep and substance to keep the viewer engaged. Price's homemade plans blend seamlessly with the murderous ones of the house. Inventive deaths and odd-ball gore keep the suspense building. The score adds a surprising taut layer as well.

Though clocking in at about 90 minutes, the film looses steam toward the end with the conclusion not quite as sustaining as I'd hope. {Stay past the credits for a touch more.}

House on Haunted Hill--whether the classic or the campy tribute--is spooky good.

31 Days of Horror: Le Parfum - Histoire d'un Meurtrier (2006)

Here's a beautifully creepy one for you. Perfume: The Story of a Murderer here in the US is an equally artful and terrorizing film centered around smell

Dustin Hoffman and Alan Rickman bookend a phenomenal film with unknown {to me} Ben Whishaw as our demented serial killer. As Jean-Baptiste, he is a shudder-inducing, spine-tingling creep.

Perfume has a etherial, almost erotic, aesthetic created under the direction of Tom Tykwer. Visually arresting, the film balances gore and morbidity {that pushes the viewer's sensibilities} with a gentle and artful touch. I think Tykwer is intentionally enigmatic--it's hard to quantify, but the film works beautifully.

Our killer is a victim of circumstance and the film builds pity for him, but as his innocence gives way to madness, Perfume takes on a wholly different tone which is documented nicely. I love how the sense of smell becomes palpable, something touchable, albeit weirdly touchable. Jean-Bautiste is pitch perfect.

18th Century Europe is rich with a menacing touch of Gotham City. Strange. Additionally, the black humour is almost inappropriate, but it works.

Le Parfum - Histoire d'un Meurtrier is surreal and down right odd. Still the film provides delicious gore with a haunting story that's perfect this time of year.

31 Days of Horror: Mimic (1997)

Mimic is a greatly underrated horror flick from esteemed director Guillermo del Toro. Dank, dark, and creepy as hell , Mimic is terrifying thanks in part to the Judas Breed and del Toro's excellent execution of an original concept. Only he could be so bold.

Susan Tyler (Mira Sorvino) is an entomologist that has engineered an insect that kills the dreaded, disease carrying cockroach. Although engineered for a short life span, it looks like this man-made species has evolved and not in a good way. Now able to mimic {get it?!} human form, this uberbug preys on mankind.

Yes, is sounds lame. Let me tell you why it's not. del Toro creates an atmosphere like no other. Under his direction, the subway of New York City becomes a wretched hive of the Judas Breed {get it?!}. The film is darkly lit, so you have to watch it in near darkness to visualize anything, furthering that skin-crawling creepy as hell feel.

del Toro is masterful with special effects and design, both are wonderfully dimensional, as is the use of sound here. His propensity for symbolism and his portrayal of innocence are true to form. The working angle of the clicking spoons is riveting and truly terrifying. The film is intelligent and grotesque.

Mimic maybe considered akin to B-movie classics and that's unfortunate. I think it fell prey to inability to market such an unusual beast. Give a viewing and just see.

31 Days of Horror: Scream (1996)

Scream--it's not just a mask; it a horror original. 10+ years since it's release, Scream is a top-notch, audacious and campy romp that celebrates the genre.

The story of psycho-serial killer that returns to prey on the local {and mainly teenage} population of a quiet town almost a year after murdering Sydney's (Neve Campbell) mother. A group of 'meddling kids' and a 'hard-nosed' tabloid reporter (nicely played by Courtney Cox) decides to dig around in hopes of solving the case.

Scream is deceptively simple in structure. In essence, the film makes fun of itself, but still manages an edge of seriousness and fear that delights. The sheer randomness of the killings--every one's suspect, including the suspects--it's great. Graphic, horrible deaths loom and the viewer is riveted by the horror of it all. It's not that you don't see it coming, you just don't have time to scream.

The cast is fun and provided good performances. Campbell, Cox, Drew Barrymore, Skeet Ulrich, Matthew Lilliard, Cox, Rose McGowan, and Jamie Kennedy get amazing material to work with. Cliches are embraced, explored, and then employed. As the killer hacks and slashes in an effectively brutal manner, listening to this bunch deduce basic horror film do's and don't's and then fall for them is equally hysterical and gory.

Barrymore's short-lived {oops, did I give it away?!} performance is great. Campbell, our heroine is little ahem, emotional, but she is a solid main character. Jamie Kennedy as Randy get some of the best lines.

Wes Craven crafts an original concepts and kills it. Suspenseful and engaging, Scream is a dead-on slasher thanks to Craven's direction. His is tongue-in-cheek, yet restrained delivery as he builds to a tense conclusion is simple perfection.

Scream is {no puns here} pure popcorn; it's a brilliantly executed {sorry} horror film that delivers time and time again.

Nick and Norah's Infinite Playlist (2008)

Nick and Norah's Infinite Playlist celebrates nerdiness, mix-tapes, love, and all those quirky things that make life grand {and utterly painful}. It's a fun film that enjoys the moment even when it doesn't make sense {and I mean REALLY doesn't make sense}.

I think the demographic for this one is extremely limited, but the solid ensemble cast led by indie 'it' boy of the moment, Michael Cera, actually makes this film watchable. As Nick, Cera mopes his way through the entire 90 minutes even when happy. Norah played by Kat Denning is uniquely beautiful--hope to see more of her. Nick's queer friends Thom (Aaron Yoo) and Dev (Rafi Gavron) get the some of the best comedic and sweet dialogue.

Nick and Norah's Infinite Playlist also consists of some great indie bands of now. We Are Scientists, Vampire Weekend, and Natalie Portman ex Devandra Banhart cameos. Nestled alongside is Dusty Springfield--go figure. Kids, these days.

Nick and Norah Infinite Playlist is cute in a MySpace-y-OMG kinda way. Fun, but forgettable.

31 Days of Horror: The Shining (1980)

Stanley Kubrick's The Shining is a polarizing film. I think you either love it or hate it. Consider me in the latter. While I don't find it particularly scary {why it makes the top of 'horror' lists is beyond me}, The Shining is a beautiful piece to behold thanks to gorgeous cinematography and a remarkable performance by a young Jack Nicholson.

Again, the visual elements are remarkable. Kubrick's Steadycam creates a myriad of settings both eerie and arresting. From the winding road and the Gold Room to the wintry labyrinth, The Shining is beautifully constructed. The Outlook Hotel is stunning and Kubrick creates a complete character out of it, giving the building a haunting influence over the caretakers.

Nicholson is amazing as Jack Torrence, an aspiring writer, husband and father who succumbs to the hotel's whispers. Kubrick masterfully descends Torrence into slow insanity. Shelly Duvall is very weak here, I think. *cringes, waits for stones to fall* She is annoyance incarnate. Little Danny played by Danny Lloyd is one creepy little kid.

Using author Stephen King's source material, Kubrick weaves an undoubtedly wicked story. Fear and apprehension build from the opening moments. You feel that something's not quite right and from that moment you, the viewer, are riveted.

The film consists of many unforgettable scenes, but I'll touch on two. Jack's visit to room 237 where he meets the beautiful wife of the former caretaker Delbert Grady. As she decays in Jack's arms, there is such gut-wrenching repulsion. I love how Kubrick breed fear in the three-wheeler sequences with Danny--such simplicity.

The Shining isn't without its glaring faults. Like of many of Kubrick's film, there is a sense of randomness for me and I think many horror fans find this film deceptively plain. Look beneath the surface--you'll find nuances of fear, but as I see it, The Shining is hardly nightmare-inducing.

31 Days of Horror: Red Dragon (2002)

Brett Ratner brings yet another Thomas Harris novel to creepy life. "Meet Hannibal Lecter for the first time" is the tagline and while Dr. Lecter is certainly memorable, it is Ralph Fiennes as Francis Dolarhyde that really shines.

In Red Dragon, retired FBI Agent Will Graham (Ed Norton) must seek the aid of Dr. Lecter in order to apprehend a serial killer known as the 'Tooth Fairy' who kills every full moon. A word of caution, the last time Agent Graham worked with Dr. Lecter he barely survived.

Ratner keeps three main story lines afloat here with the help of a stellar cast (new and returning) and solid screenplay. Also on board, Danny Elfman with a gorgeous score. But let's not get ahead of ourselves. The pure evil played here by Fiennes is the skin-crawling, demented kind. Francis Dolarhyde is unassuming enough, but beneath that meek exterior is an insane demonic rage. Fiennes is spellbinding.

Red Dragon is more brutal and graphic that Silence of the Lambs or Hannibal {which I prefer didn't exist}. Ratner delves deep to flesh out horrible psychological damage in our evil. Visually arresting, Ratner layers the stories beautifully building to a damning conclusion.

Emily Watson takes a beautiful turn as Reba, Dolarhyde's love interest. This storyline is equally horrifying and suspense filled. Reba changes Dolarhyde--you sense remorse and are torn by his unspeakable acts that are a direct result of ... *sorry, no spoilers allowed!!*

Red Dragon is a well crafted brutal thriller that gives it's audience more than a high body count. Skip Hannibal and see this.

31 Days of Horror: Dellamorte Dellamore (1994)

Here's a real treat for you. Imagine George A. Romero directed spaghetti westerns. You'd get this. Dellamorte Dellamore or Cemetery Man is an Italian made zombie film that horrifies and entertains.

Rupert Everett is Francesco Dellamorte, a guardian of a cemetery in a little town in Italy. Corpses rise from the grave on the seventh day for reasons the audience is never sure why. Dellamorte must destroy them. Along with his and monosyllabic helper Naghi, Dellamorte takes a philosophical approach to his fate.

Everett is remarkable in such a darkly weird role. From the moment he steps out of the shower to answer the phone and kill a zombie with a gun shot, you realize there's more to this zed film. That is just the beginning of conversations with death, exploding heads, twisted love and madness.

Top-notch camera work and nicely constructed gore build on the solid foundation provided by the brilliantly written and directed screenplay. This is an eccentric, but quite effective film, Dellamorte Dellamore is part campy gore/part art house. Italian director Michele Soavi has created something fresh, macabre and surreal.

Dellamorte Dellamore may be a cinematic oddity, but it is one worth exploring.

Annie Hall (1977)

They make medication for people like Dianne Keaton and Woody Allen.

31 Days of Horror: The Silence of the Lambs (1991)

For me, there are films that I hold to be the rule by which I measure other movies. Silence of the Lambs is one of those by which I measure. This movie fascinates me like no other.

Johnathan Demme picks the story up without creating a history for our characters. In essence, Demme is asking for trust--why do we do that--when the opening sequences reflect a newbie FBI agent played by Jodie Foster with a terrible accent?

'Buffalo Bill' is genuinely creepy with his serial killing ways. The guys is skinning woman--to make a suit!! It's a solid storyline, but Hannibal Lecter and Clarice Starling's chemistry is what is so riveting. Like predator and prey, cat and mouse, master and apprentice, Dr. Lecter (stunning Anthony Hopkins) and Agent Starling engage in a battle of the minds. Through the interviews, Demme allows us to know each character and their respective ticks.

Dr. Lecter, an insane genius, is evil but not in the Michael Myers way. He is smart evil--diabolical evil, a master manipulator. Sir Anthony Hopkins is stunning in his performance. From the gleam of his eye to the tone of his voice, Hopkins can make your skin crawl. Although is hardly in the film, it is his Hannibal Lecter that is most memorable.

Jodie Foster is a surprising fit as Starling. The vulnerability and inexperience of Starling is well-played.

Ted Levine as Buffalo Bill is equally as disturbing as Lecter. The warning lights go off as soon as he opens the door. His creepy dance in the basement is truly demented.

Demme heights the tension with focus on settings and details. The pacing is perfect as he builds to memorable scenes including the peeled off face, the dead policeman/angel and Starling's one-handed grope through darkness. Further adding to atmosphere is composer Howard Shore with his exquisite soundtrack. Also of note, Dr. Lecter would be nothing without brilliant source material from author Thomas Harris.

The Silence of the Lambs is absolutely brilliant in its delivery. Beautifully wrought characters that ooze evil, eloquent dialogue, unspeakable crimes and chemistry between our leads are reasons enough to revisit Dr. Lecter.

31 Days of Horror: Jaws (1975)

Jaws may not be the first movie to cross your mind when you think 'horror'. Why not? Steven Spielberg's classic contains all the essentials: gore, tension, fear, victims, and villain. What makes it masterful is how Spielberg takes Peter Benchley's novel and creates a taunt film.

Amity Island is a nice, quiet beach community whose population swells in the summer. The Island depends on tourism for its survival. When an unlucky skinny-dipper is attacked and killed by a shark, it's enough to make Martin Brody (Roy Scheider), the new police chief, shut the reverie down. Not so fast says Mayor Larry Vaughn (Murray Hamilton) and the local officials. It's not until the creatures kills again and again, that Brody... you know the story...

Jaws is a rip-roaring time with great character development. From the shark itself to the crazy trio that goes after it, Spielberg crafts a terrorizing story. Quint (Robert Shaw) is the enigmatic, weather-beaten, crazed {possibly evil} shark hunter. Brody (Schieder) is a perfect everyman riddled with guilt over a cover-up--he doesn't want to be hero, but when put to the test, always delivers. Richard Dreyfuss as the oceanography/scientist Matt Hooper, is solid and thankfully provides periodic comic release. These three are so good in their roles it's deceptively simple.

From the moment we hear John Williams' brilliant score and see the water lap over the camera, the tension builds. Whether by choice or accident, the audience never 'sees' the shark. Instead, he is represented by objects or a lone dorsal fin. Buying in is almost too easy thanks to Spielberg and Williams. Not seeing the creature amplifies the fear.

It's obvious Spielberg knew where he was going with the story. No frame is unspent; no dialogue is wasted. This is the stuff of solid nightmares and irrational fears of water. The slow build to the final showdown between men and beast is one heart-pounding moment after another.

Jaws is a movie that transcends genres. Deserving of every accolade, Jaws is visionary story-telling that never fails to frighten.

31 Days of Horror: Psycho (1960)

Alfred Hitchcock was a masterful director. Psycho is certainly one of his defining pictures and a horror classic in its own right.

Marion Crain (Janet Leigh), fed up with the hand that life has dealt her, seizes the opportunity to abscond with $40,000 and start a new life with her lover, Sam. Only 24 hours into a 'life of crime' Marion finds out that it's not just all it's cracked up to be. A series of events during the long drive to California has left the poor girl's nerves short. Capping it off is a torrential rain storm that leads her to an derelict motel in the middle of nowhere. Before long, stealing 40 grand is the least of her problems.

Psycho is much more than the shower scene. Under Hitchcock's direction, the film elements take on a terror like no other. The first viewing is always the most memorable because the film is so unassuming-so simple. Sure, we all 'know' what happens {how can you not, in this day and age}, but it is in Hitchcock's delivery that we find brilliance.

Janet Leigh and Anthony Perkin (Bates) are pitch perfect. Perkins plays out Norman with such nonchalance, right down to the facial tics. Leigh is a nuanced charmer--beautifully mundane. When she meets her demise halfway through, you are equally terrified and sad, such a creature dies a horrible death.

The B&W aspect enhances the film amid all the 'Technicolor' of today. Hitchcock uses it to his advantage. Notice also how he manipulates camera angles and shadows to belie Bates' madness and Crain's deception. I love how he also plays out Bates' mother. And the score can't be overlooked--equally Gothic and haunting, it's a masterful compliment.

Decades later, Pyscho still charms. Without big-budget special effects or whizz-bang technical production, Psycho is flawlessly executed.

31 Days of Horror: The Masque of the Red Death (1962)

What?! Expecting another King adaptation?!

Let's be honest. The chances of you watching this movie are slim. While I like to think you, the reader, give some credence to my reviews, you won't watch this film. Too bad for you.

Without going into a dissertation on why Vincent Price is one of the best actors to grace the screen, let me tell you why The Masque of the Red Death is a classic must see.

The spelling alone should intrigue you--no, seriously, it should. Vincent Price gives a masterful performance as Prince Prospero. As villagers take refuge in Propero's castle, the diabolical prince 'invites' refugees to a masked ball only to indulge in very lethal games.

Prospero can not accept that a world filled with so much pain and evil is governed by a loving God. Cold and calculating, Price embodies satanic cruelty as he lords about smugly inflicting pain on the innocent.

Director Roger Corman achieves a pitch-perfect atmosphere of eccentricity and macabre. He builds complexity with subtle symbolism. The stunning use of color speaks for itself. Corman add layer of layer of richness to Price's bold performance. It's beautiful to behold.

This movie continues to fascinate me year after year. Building to a riveting conclusion, The Masque of the Red Death is well executed horror that you just don't find any more.

"Forgive them? If my hound bites my hand after I have fed and caressed him, should I allow him to go undisciplined?"

31 Days of Horror: Saw (2004)

Where to begin. Back in 2004, general audiences {myself included} had never seen anything like it. Saw pushes the envelope in many ways; it is an original. An efficiently crafted movie, Saw takes the viewing public places we didn't want to go. It pushes the characters {and the viewers} to face seemingly simple dilemmas with catastrophic results.

From the opening moments, you are gripped by intrigue and apprehension. Anyone who wakes up chained in an decidedly disgusting bathroom would be. Adam (Leigh Whannell) and Dr. Gordon (Cary Elwes) are abducted by a serial killer known as 'Jigsaw' and find themselves as players in his demented game.

At the risk of sounding like a broken record--how many times have I said something works on different levels?-- Saw examines fear in a fresh, captivating manner.

We have an ingenious killer who takes all the time in the world to plot the demise of his victims. An unknown killer represented by a debauched puppet. A killer that communicates with clues {obvious ones, in retrospect}. This killer brings a sick compassion to the table, allowing each victim a choice. This killer shows each victim the enemy and clearly it is us.

Elwes and Whannell are surprisingly effective in the dank prison. As each tries to rise to the occasion--out thinking or plotting--it's like a demented episode of Survivor.

I'm losing focus. Saw maintains a gritty aesthetic that serves a two-fold purpose. It highlights the raw emotion felt by characters and viewers alike, but it also becomes a character in itself. It's ridiculously simple, if you think about it.

Everything about Saw keeps us puzzled to the end. Sure Saw is riddled with gore and self-inflicted violence, but it also takes on a psychological tone that really delivers with it's ever-turning plot lines.

I've rambled on to ultimately say this: Saw is remarkable for what it is not. It doesn't settle. It treats the audience with respect--it asks more out of the viewer than most and refuses to give an inch while we cringe and groan on the edge of our seat.

The Skulls (2000)

No, it's not a horror film. It's not even a remotely thrilling one. The Skulls is rated PG-13. Even so, this film is average average. If you averaged average average, wouldn't The Skulls be below average?!

Wish I could blame it all on Paul Walker. The guy is walking average, as I see it. Have you looked at his body of work--it screams average.

The Skulls is an attempt at a thriller centered about an Ivy League secret society. Joshua Jackson is Luke McNamara, an {Yes, I rented this one because of him. Sorry.} over-achieving and poor student that sees the elite society as his ticket to Harvard Law. What he doesn't bargain on are the ramification of his membership.

It works in theory, but not onscreen. The Skulls is lame. I'm giving Jackson the benefit of the doubt {but only because of Fringe {Tuesday nights on FOX}}. I am not, however, giving it to Craig T. Nelson or Gil Grissom, er, William Peterson {with a horrid accent, to boot}.

The one saving grace, is it seems director Rob Cohen (Dragonheart, Stealth) knows writer Josh Pogue's screenplay is crap, so he rushes through it. Trust me, The Skulls is better left in the closet.

31 Days of Horror: Misery (1990)

One word conjures up images in my head that make me shudder. Just the thought of this adaptation of Steven King's novel sends chills up my spine. Starring James Caan as famous novelist Paul Sheldon who has an unfortunate run-in with his 'number one' {psycho} fan as played brilliantly by Kathy Bates.

Bates as Annie and the pain she inflicts on Caan is what creates the terrifying atmosphere in Misery. The quick setup with Sheldon crashing into a snowbank and being rescued by nurse Annie belies the agony about to occur. When Annie freaks over the death of her beloved fictional character, she nearly beats Sheldon to a pulp. Instead, she decides to let Sheldon atone for his book, but writing a new one in which Misery Chastain is resurrected.

Director Rob Reiner fashions Misery as a slow burn from the moment Sheldon {and the audience} realizes Annie has no intention of letting him leave. Annie is alternately sweet and diabolical. Reiner couldn't have cast better. Caan easily develops sympathy from the viewer--how could he not?! It's Kathy Bates that really gets the opportunity to shine. As Annie, Bates simmers a split personality--the scary part is you never know which one is going to show up. It's horrifying.

Under Reiner's direction the house become a playground of torture. The film's pacing is dead-on. The tension between Sheldon and Annie is nearly unbearable. As the viewer, you want Sheldon to escape, but you also recognize that with each unsuccessful attempt brings another lever of misery.

The hobbling scene is easily the pain-filled highlight and the most excoriating moment of the film. Simplistic in nature, the scene practically carries the weight of the entire film.

Misery is unforgettable terror.

Dear Wendy (2005)

My enjoyment of the seemingly obsure led me to this selection. Dear Wendy is a provocative and engaging character study. Beautiful composition by writer/director Thomas Vinteberg {new to me} creates a fresh bittersweet tale.

Dick Dandelion (Jamie Bell) is a social outcast in any Smalltown, USA. When he disocvers that the toy gun he purchased for an idiot friend is actually a small handgun, Dick finds himself strangly drawn to it despite his fervent pacifist views. When he finds a fellow sympathizer in Stevie (Mark Webber), the two delve into the history and nuances of their respective weapons. Before long it becomes an obsession and, after recruiting a few more misfits from town (Chris Owen, Alison Pill, Michael Angarano), The Dandies--a pacifist gun club--is born.

The group is ruled by a strict code of conduct that each member eagerly obeys and fervently respects. Each of these social rejects are the direct result of their circumstances and as they find acceptance and confidence with the Dandies, each member {and their silent partner} loom large. With the power of their knowledge and their choice to wield is responsibly, the Dandies maintain the ritualistic existence until the world comes crashing in with the arrival of Sebastian (Danso Gordon).

The ensemble cast is remarkably strong. A young Jamie Bell leads the way as Dick and provides narration for our story. Bell plays the character for sympathy and never loses sight of what makes Dick vulnerable. Mark Webber is equally captivating. Brother Huey and Freddie (Owen and Angarano respectively) and Susan (Alison Pill) each add a quirk or theme that rounds out our study.

Dear Wendy is beautifully outrageous and equally graphic. Director Vinterberg weaves tight cinematography with light and dark that plays well against the human condition provided by the remarkable screenplay. His use of The Zombies laden soundtrack adds a strangely morose touch.

Dear Wendy is, I hesitate, like a modern day Western. Perhaps it's more a reworking of a western film. Building to a climax that guarantees a reaction--a climax that is brilliant {a study in perfection}, Dear Wendy is oddly pitch perfect.

31 Days of Horror: Cabin Fever (2002)

Continuing in the same vein of yesterday's post, director Eli Roth is capable of well-constructed horror as seen in Cabin Fever. The film terrifies on different planes. There are quirky moments like the random bunny-suited man in the woods and true horror in the shower, but I'm getting ahead of myself.

Five recent grads leave the city behind to get away from test scores and life's pressures. Their plans include beer and sex in a remote mountain cabin until an unfortunate series of events after a run-in with local-yocal. All hell breaks loose when one friend contracts a flesh eating disease. Now they must survive it and each other.

Cabin Fever is a perfect storm of camp and gore. Out of the gate, Roth sets the tone with the emphasis on the characters. We quickly determine the hierarchy of the group, who's the stoner, the athlete, etc.--actually, it's more like Victim #1 and Victim #2. Roth doesn't bother with psycho-babble or twists, his aim is to scare and he delivers.

The cast is surprisingly strong. But it's the unusual and seemingly random scenes that really get me. Here's everyone around the table enjoying pancakes... 'oh, I'm off to the shower'... *screams* OH MY GOD!!! MY SKIN IS COMING OFF!!! It's random terror at its best!!

Cabin Fever also succeeds because of what you don't see. Surely, I'm not the only one who things a remote cabin in the woods is frightening in itself. Add a flesh eating virus--YOU CAN'T SEE!!, some freaky country bumpkins, a touch of infighting--oh yeah, it's all coming out now. Oh, the B-movie touches don't hurt either. Roth gets it right with Cabin Fever.

31 Days of Horror: Hostel (2005)

Three young men backpacking their way across Europe find themselves in a quaint Slovakian town with many sex-crazed local women. After checking into a local hostel, the boys are surrounded by eager and all too friendly girls. It's not until his friends disappear, that Paxton (Jay Hernandez) begins to ask questions and discovers a murder-for-profit organization settled within the city limits.

Hostel is essentially torture porn for the masses. Charging away with gruesome, random events, the movie's potential is squandered with a less than stellar plot, sub par acting and a storyline that tortures it's own audience.

Director Eli Roth jumbles essential elements of film-making and randomly inserts them for this messterpiece. Sure, the scenes of torture are intense, but Roth fails to back them up with enough development to make us care. Part teen sex comedy, part horror and all crap.

Still as hack&slash goes, Hostel is memorable. Scene after stylish scene assaults your memory with cheap, gratuitous, juicy thrills. Those with one iota of brain will do as I did..."what kind of crazy bastard thinks this stuff up?!"

As I see it, Hostel is an original concept, very poorly executed. There is nothing here but hard and fast thrills. For some, that will suffice. For me, it crossed a line and ceases to be entertainment.

Monty Python's The Meaning of Life (1983)

You either love or hate Monty Python's brand of humour. I don't think there is any middle of the road for the likes of John Cleese, Michael Palin, and Eric Idle. The Meaning of Life is no different.

Monty Python's The Meaning of Life is unabashedly raunchy and offensive. The original kings of insult comedy, Cleese, Palin, Idle, Graham Chapman, Terry Jones and Terry Gilliam take great liberties to offend everyone and everything. From the opening stabs at Roman Catholics to the closing strains of death, The Meaning of Life has you covered.

Through a series of sketches, the comedy team take on the various stages of life and maximizes them for the best laughs. These laughs, however, are often sight gags complimented with dry British humour.

The Meaning of Life is best suited for those who are well rounded in the genre of British comedy. Fans of Are You Being Served? or the more recent Little Britain should give it a go. If you're not a fan, you will find The Meaning of Life utterly pointless.

31 Days of Horror: Carrie (1976)

Only the second day in and I'm already having trouble choosing which movies to review.

Carrie (Sissy Spacek) is a social outcast. The poor, neglected girl suffers at the hands of society. She is neither beautiful or smart enough at school. Tormented by her mother (Piper Laurie), Carrie suffers in silence, but boils with rage inside. A series of events culminate at prom night. Carrie, when pushed to the breaking point--God save you, because Carrie unleashes hell.

Carrie is an outstanding adaptation of Steven King's novel. True to form, the movie doesn't stray much save for a few artistic difference towards the end--for the better, I think.

Contributing to Carrie's success is director Brian De Palma. He slowly builds sympathy for Carrie in his audience. This poor mousy {don't think there is a better descriptor} girl is the brunt of such cruelty that you can't help but wish for revenge for her. But when all hell literally breaks loose, you're frightened and ashamed that you 'loved' and pitied the same girl mere moments ago. His techniques blend seamlessly with dynamic storytelling and a spine-tingling score. Each scene is brilliantly executed.

Sissy Spacek gives a solid, humanizing performance. She realistically embodies the agony of a teenage girl. Not to be overlooked is Laurie Piper as a religious nutjob-doesn't-even-begin-to-cover-it of a mother. The movie is simultaneously mesmerizing and appalling.

Carrie might be old school horror now, but it never fails to frighten. Compared to today's horror films, I think the film moves slower; but you can't beat the character development here.

31 Days of Horror: The Bad Seed (1956)

Autumn is here; as the leaves fall and the air turns crisp, let's turn to some of my favorite terrifying titles. Maybe you'll discover {or rediscover} a gem. Check back tomorrow for another gruesome must-see!

As I see it, The Bad Seed is an underrated B&W title that examines pure evil {much like Michael Myers}. Rhoda Penmark (Patty McCormack) is an adorable, grade-schooler that everyone adores. Unfortunately for everyone, Rhoda is also the spawn of some whacked-out genetics. No one suspects a thing as little Rhoda picks off her victims...except the simple janitor, LeRoy (Henry Jones). It's only when Rhoda's schoolmate dies suspiciously, that her mother, Christine (Nancy Kelly), begins to suspect her own daughter. For her, it just might be too late.

Thanks to a pitch perfect screenplay The Bad Seed is more than an effectual psychological thriller. Consider the limited set and the dialogue dependant story. Daringly different for its time period, this movie can still send chills up the spine. The way Rhoda flits from precocious to cold-blooded will have you sick to your stomach. LeRoy's taunting of Rhoda throughout the film gives another element to keep you on edge.

Whether or not The Bad Seed can be truly classified as horror is up for debate. While not gruesome or torturous by nature, any angelic creature with Beelzebub's soul is certainly scary.