31 More Days of Horror: Christine (1983)

With great deft, director John Carpenter creates yet another classic horror film in Christine. He effortlessly builds a monster in an inanimate object. And what begins as a nerdy senior who buys his first car, a real beater, becomes a tale of obsession and fear.

Key to the film is Christine, the 1958 Plymouth Fury.  I haven’t experienced this much fear of an auto since seeing Spielberg's Duel earlier in the year. Surprisingly, the special effects used on Christine are slick, but oddly believable. Vengeful and jealous, Christine will stop at nothing to keep Arnie for herself, methodically eliminating those who would dare to hurt Arnie. Keith Gordan as Arnie is quite convincing. His evolution from nerd to cocky punk is brilliantly played with cold assuredness. John Stockwell as his best friend Dennis is perfect foil. Their dialogue inside Christine is a highpoint in the film. Dennis is petrified by fear for himself and his friend. Arnie gripped by madness seems unaffected.

Creating an atmosphere of terror and suspense, Carpenter plays the deaths well. The assault on Mooch is spine-tingling, but it’s the demise of Buddy that I remember most vividly—Christine on fire, gunning for buddy. *shivers* Arnie’s viciousness peaks alongside his car. The exchange with his father correlates beautifully with Christine’s plotting.

Who is brave enough to separate this man and machine? The final stand between the bewitched and the boy couldn’t be more intense.

Christine is a simple masterpiece thanks to Carpenter’s unfailing direction. He succeeds beautifully in blending modest effects, dialogue, and story into a haunting tale. Oh, not to be overlooked is the ever present, but almost subliminal scoring that never fails to deliver that extra frightening touch. They don’t make movies like this anymore.

31 More Days of Horror: John Carpenter's The Fog (1980)

Anything that opens with an Edgar Allen Poe quote has potential, but with director John Carpenter at the helm The Fog is so much more. Carpenter has created a creepy atmospheric ghost story in The Fog. Understated and eerie, the silhouetted revenge seeking century-old shipwreck victims turned villains provide efficient scares without the gore.

Opening with crusty old fisherman telling a ghost story to riveted children gathered around the campfire, Carpenter sets his audience up for the scare. A piece of driftwood surfaces and a glowing fog moving against the wind sets the tone.

A solid including Hal Holbrook, Janet Leigh, Jamie Lee Curtis and Adrienne Barbeau provide certain realism as residents of Antonio Bay. The town is preparing to celebrate their 100th birthday. Unbeknownst to township, the fog plans to drop in. Stevie Wayne (Barbeau) is the primary voice of our film as the local DJ. Each of the villagers adds a particular element of surprise, distain, and/or horror that is believable as they become prey for the watery phantoms.

Carpenter is content to build the tension slowly with wide shots of unpopulated expanse. As the fog envelopes the small hamlet, the chilling score ebbs and flows furthering the chill. The seaweed shrouded monsters success lies in the sounds and actions emitting, not the look. Carpenter is smart. You never actually see them. Rather you hear the distinct rap on the door and the particular squish of wet footsteps. The unfurling fog plays a character as well. Watching it swell around people, places, and things, the fog has uncanny finger-like tendrils that reach into the night. The suspense is unwavering and its release can’t come soon enough.

From the moment we discover the first body, The Fog is set to scare. With the addition of the cursed driftwood, we know something bigger it at hand. Though a humble and often forgotten production, John Carpenter’s The Fog is a truly terrifying masterpiece.

As I see it, this film alongside Halloween and The Thing will become an integral part—Carpenter’s trifecta—that is a must see around this time of year.

31 More Days of Horror: Session 9 (2001)

An asbestos removing crew is called into the Danvers State Mental Hospital. Phil (David Caruso) and Gordon lead a small team to remove the material a week. Unfortunately for them, Danvers State has some terrible secrets lurking. As Hank (Josh Lucas) begins removal downstairs, would-be lawyer Mike discovers a treasure trove of documents and interviews with former patients. Shared fascination with patient #444 leads every man unnerved.

Session 9 is a slow-burning, genuinely creepy psychologial thriller. It’s wonderfully atmospheric—set in a decaying, haunted building that once housed society’s rejects.  Writer/director Brad Anderson's uncompromising touch makes this one smart.

We don’t know everything about these blue collar workers, but from moment the job begins, we suspect something’s not right. What, we can’t quite pin down. But as the week progresses, each man begins to suffer the effects of Danvers State.  The derilict building is alive. An unexplainable tension that threatens to drive everyone—including the viewer—to the brink of insanity. And that’s only the beginning.

Two pivotal scenes evoke bone-chilling horror. Hank discovers old silver coins in the corner of one of the lower corridors. Knocking out the brick, coins, rings, bracelets, dentures, and glass eyes come pouring out. He doesn’t figure out he’s discovered the backside of the crematorium. In the other, Jeff is being chased by palpable darkness.

I hestitate to say more as the film’s success is in what you don’t see coming. As Mike’s obsession with patient #444 becomes more apparent and the cognizant viewer recognizes the parallels, the damage is complete and Anderson sets the stage for a truly disturbing climax.

Session 9 is an original, haunting film that you won’t be able to get out of your head. It’s ambiguitity requires the audience to think and maintain awareness because your life depends on it. There is no monster to be found in the dark, decaying corridors of Danvers State. But something is there and with every ‘OS’ moment, we get closer to it.

31 More Days of Horror: Drag Me to Hell (2009)

Set in modern day—I know, scary enough, the story follows the results of an up-and-coming loan officer Christine (Alison Lohman) who turns down an extension request made by a creepy Gypsy woman. An altercation in the parking garage convinces Alison that she has been cursed. A consultation with a psychic confirms it. Christine has three days. With the help of her boyfriend (insufferable Justin Long) and the psychic, Christine will try to keep her soul from being dragged to hell.

If you’ll check your common sense at the door, Drag Me to Hell is a solid scare. The main trouble with this one is Sam Raimi. He can build an effective thrill, a top-notch scare, a mind-boggling protagonist—but he always seems to temper it an overdosing portion of cheese. As a director Raimi consistently frustrates me because he builds the horror perfectly then kills it with humor.

The haunting of Christine is wonderfully creepy. The special effects are crazy good—the gypsy in particular. Whether it’s something tangible like a fly or the spirit realm, Raimi delivers the goods, but not the plot. Grab the popcorn and get set to scream!

As I mentioned yesterday, Drag Me to Hell is based on the 1957 classic Night of the Demon. While it’s not necessary to have seen the B&W version to enjoy this—Raimi spells it out—I do think a certain edge is maintained if you’ve seen the original. Regardless Drag Me to Hell is just the movie you want to see this time of year.

31 More Days of Horror: Night of the Demon (1957)

Curse of the Demon and its better British counterpart, Night of the Demon is a classic bit of horror. It’s the story of a crazed cult leader/magician who curses a psychology professor—and the inspiration for this year’s Drag Me to Hell. Dr. Holden (Dana Andrews), gentleman scholar and man of science dismisses the whack job and continues the investigation of the magician’s cult. An unwarranted slip of parchment is the death knell.

Unlike most horror films, director Jacques Tourneur exposes the demon almost immediately. Given the period, the demon is remarkably well presented. The director then spends the remainder of his time advancing the darkness keeping our stoic protagonist and the viewers on edge as we investigate the supernatural. We’ve seen the demon and it is scary, but it’s the other creeping events that really thrill.

The B&W production plays head games with the viewers. Long dark corridors are filled with lurking shadows. The wind seems colder and the night is longer than ever before. Alongside intelligent dialogue and characterization, the series of eerie events culminate for a thrilling end. A malevolent score further cements the fright.

The cult leader and his crazy mom help in one of the tersest scenes. At the request of Dr. Holden, a séance is held. Calling back Dr. Holden’s dead colleague leads to a bone-chilling accusation. See the film for this sequence alone.

Beautifully atmospheric, Night of the Demon simply asks it’s viewers to discern reality from imagination. But with the tempest at hand, that task is easier said than done.

Let Love Rule!

Experiencing a concert at the legendary Ryman Auditorium is like a religious event. The historic intimate setting allows for revival of sorts especially in the company of fellow concert goers. With Lenny Kravitz and his band filling the hallowed room with raucous refrains, you couldn’t help but be spirit filled.

A ho-hum opening set from some odd Canadian Muslim, the slim rock god saunter on stage. Rousing the crowd to its feet was easy; keeping them there was second nature as Kravitz way-laid into each crunching chord. His afro’d lead guitarist channeled freaking Jimi Hendrix—it was transcendental really.

Lenny’s focus for the night was love. Love for Nashville, his fans, his band, and the 20th anniversary of Let Love Rule. In return, the audience loved him back singing and swaying along with nearly every word. The concert was one non-stop jam session with long random guitar, horn, organ, or drum tangents between classics like Fly Away and Mr. Cab Driver.
It was a simply gorgeous evening!

31 More Days of Horror: Splinter (2008)

Seth (Paulo Costanzo) and Polly (Jill Wager) have planned this trip for weeks--anniversary sex under the stars. But when they become hostages of an escape convict Dennis (Shea Whigham) and his girl Lacey (Rachel Kerbs), the couple aren't sure they will survive the ride. After hitting a bump in the road that causes a flat tire, the foursome finds themselves prey of a bloodthirsty parasite. Trapped inside an abandoned gas station, the couples are forced to come together to outsmart the vicious splinter attacks from an unknown predator.

Splinter is a well executed indie horror movie that delivers. The movie knows exactly what its doing. The plot is simple: horny kids attacked. It's what director Toby Wilkins does with the screenplay that is so good.

Wilkins quickly amps up a mediocre beginning into a terse, claustrophobic standoff between victims and prey. Flickering sequences of gory demises and simple cinematography keep the film nicely paced.  The solid cast of no names provide human interest. But Splinter stays on target, disposing of them succinctly. Sure the film takes a few liberties, but the scare is so riveting you won't notice until after the credits roll.

Just how successful is Splinter? This viewer started on the sofa, but after the first vicious attack, spent the remainder of the film pacing back and forth.

31 More Days of Horror: Cube (1997)

If prime numbers scare you, then you best sit this one out. Otherwise you'll want to see this one for the horrific deaths. Saw-like in its execution, but esoteric in its origin, Cube will frustrate the modern cinema-goer, but will delight the existentialist. Six people are trapped in a maze of interlocking cubes with no apparent way out.

Low budget and quite visceral, Cube is an effective examination of madness and murder. The viewer is essentially dropped in with the characters. There are no explanations, no clues, no method before madness takes over. Though we quickly establish that some cubes are diabolical booby-traps, there is no release for our tension. As the group explores, peril is imminent. We just never know when.

The death sequences are quick, but top-notch. Often it’s the paranoia-inducing setting amid the claustrophobic cube that is more frightening. The human experiment is fascinating.  As personalities conflict, the group's evolution and ultimate demise is apparent, but its subtlety is chilling.

Numerophobes beware! Solving the Cube requires the genius in the group to factor prime numbers.  But even is math isn't your strong suit, for the longsuffering, the reward is well-worth the torture.

31 More Days of Horror: Grindhouse: Planet Terror (2007)

I’ve heard a few people this film called many things. ‘Awesome’ and ‘instant classic’ come to mind. Allow me to call it something too. I’m leaning toward ‘ridiculous’ or ‘insulting’. Writer/director Robert Rodriguez channels his inner Quentin Tarantino to create a self-aggrandizing homage film.

Everything about this biohazard zombie film is intentional—the crappy dialogue, the B-movie look, the melodrama, the bloody splatter and gore—it’s all supposed to be an awesome artsy send-up to the 1970s horror gems. Planet Terror is one unintentional disappointment. The film is neither entertaining nor inspired. It’s just a God-awful mess.

Incessant blood spurting is only the tip of this revolting iceberg that includes heads exploding like water balloons, random events that include some type of dismemberment—it’s all death spiral of stupidity. The film has an air of obnoxiousness that deflates any attempts at humor. The gritty nature should work for the film but instead further emphasizes the inadequacies of production.

Rodriguez and is ilk must enjoying beating off to this bullsh!t as I can’t see that Planet Terror serves any other purpose. Bruce Willis—I’m calling you out. Much like Samuel L Jackson in Snakes on a Plane—your role here is enough to make me boycott every film you’ll ever do again. It’s disgusting that you try to add some validity to this mess. Shame on you!!

In order to be successful a film of this nature must have purpose and not run scatter-shod. It is all too apparent that Rodriguez had no plan of action or rather he threw it to the wind. Regardless, the end product is torturous rubbish that I wish never to have witnessed. To think this insipid mess-terpiece actually has a market offends me and should be considered an affront to the true masters of the form. Planet Terror is a nasty hack job that should be avoided at all costs. With no redeeming qualities—none—zombie aficionados owe it to themselves NOT to see this movie.

31 More Days of Horror: Creepshow (1982)

Simply the best horror anthology, I though I’d reviewed this gem of a collection before. With the collaboration of director George A. Romero and writer Stephen King, Creepshow is a perfect balance of campy and creep. The cast is to die for and with Tom Savini applying his trademark gore; the film is a real classic!

The Crate with Hal Holbrook will have you rethinking warning signs. A crate is discovered under the stairs in the base of the university. It contains a hungry monster that Prof. Northrup has decided to use on his badgering wife Wilma. The strongest of the five stories, it is certainly the most memorable with monster gore.  The dream sequences of Holbrook imagining his shrewish wife's death are hysterical.

Jordy Verrill (Stephen King) is a self-described lunkhead who makes contact with a meteorite. The evolution of the story is a more funny that horrific. It’s the special effects that are the real treat.

On Father’s Day a murdered man returns to from the grave to strike back as his good-for-nothing, greedy relatives. The patriarch might have been a beast while alive; but he's come back as a monster!  Dependent on make-up and lighting, this gem is more a must see for a young Ed Harris and his dance moves.

My favorite stars Leslie Nielson as a diabolical husband who buries his cheating wife and her lover (Ted Danson) in the sand up to their necks and walks away. He assumes that the tide will take them down. You know what they say about assuming… This one is perfectly nuanced, claustrophobic, and dark.

And finally, the creature feature that centers on cockroaches. As someone with a great fear (thanks X-Files) of these little buggers, this one freaks me out!! A Scrooge-esque business man Upson Pratt lives in a bubble. The purpose of his newly designed uber –clean, highly sanitized, futuristic apartment is to prevent the creepy-crawlies from getting in. Epic fail! And the cockroaches come after him in a bad way. The climax here is a heebie-jeebies inducing nightmare!!

Each story is book ended by a boy who loves comic books, but whose stressed-out dad is a total douche. Jumping off the page and onto film, Creepshow is a perfect mash-up of gore, humor, creep and thrills. A real classic!!

31 More Days of Horror: Invasion of the Body Snatchers (1956)

The inspiration for many films including two of its own remakes, the original B&W version still stands the test of time. Invasion of the Body Snatchers holds it’s own against modern horror thanks to masterful direction and the perfect build of paranoia.

Dr. Miles Bennell (Kevin McCarthy) is skeptical when he returns to his small town practice to find many of his patients complaining of the same story. A loved one is acting oddly, almost as if they have been replaced. A man of science, Dr. Bennell immediately dismisses the events, but before long strange things occur that don’t add up.

Dr. Bennell and the viewer begin to question everything. Who can we trust? Director Don Siegel delivers a tense, succinct classic that makes great use of minimalist elements. There’s no obvious demon. Instead we have a hunch. Acting on that hunch, the quest for truth will result in one of two things: insanity or death.

The casting is simply top-notch. Believability it key. The overall composition of the production is beautiful. Siegel makes great us of shadow to exhaust emotion. The score is another key element. Its ability to summon chills and drive the story subconsciously is the mark of a job well done.

A subversive attack on 1950s McCarthyism?  Maybe. I supposed you could project a number of social commentaries, but that takes all the fun out of it. Enjoy Invasion of the Body Snatchers for what it is—a thrilling scare.

31 More Days of Horror: Cujo (1983)

Centered on man’s best friend becoming a rabid demon, Cujo doesn’t require much of its audience because the believability is there. Here an untold gritty intensity is found in the mundane that will haunt you.

The Chamber’s family pet, Cujo, is a lovable St. Bernard. But an unfortunate romp in the fields results in Cujo being bitten. The dog’s health begins to deteriorate slowly. In the meantime, we the viewer get to learn about the soon to become prey.

Donna Trenton (Dee Wallace), wife of Vic and mother to Tad, is a typical housewife. Raising young Tad and combating the monsters in the closet are the highlights of her routine. But Donna is having an affair with Vic’s friend Steve. Vic takes it hard, but is determined to move forward.

As the movie simmers, we learn about the neighbors and their secrets. We explore more of Donna’s indiscretions. Essentially director Lewis Teague is asking us to judge them as he sets them up to pay for their sins. As Cujo becomes more disoriented and irritated, we have made our choices and are ready for penitence.

Cujo is a well-crafted traumatic experience. Ultimately, it’s the idea of it all that makes it so hard-hitting. But Teague makes the tension and claustrophobia real. Well-realized characters—especially Donna—furthers the fear wonderfully. Her emotionally-draining performance is chilling.

The final stand in the Pinto is nail-biting. The heat of the sun is bearing down up mother and son. Kudos to Teague! We know Cujo is waiting to strike, but do they chance dehydration or the dog? It’s a valid conundrum. Again the realism is terrifying.

Cujo is a solid thriller—one of King’s better adaptations, but it doesn’t get the billing of Misery. Sad, but I think it’s easily explained. With this film, you have to invest some time upfront for the nasty payoff. If you’re willing to do that, you’re guaranteed a terrifying good time.

31 More Days of Horror: From Hell (2001)

From Hell, the eerie atmospheric adaptation of a graphic novel might not qualify as a true hack and slash. However, the source material—Jack the Ripper—and the hunt for him is oozing with potential.  Under the director of the Hughes brothers, this viscious gory drama is bloody spectacular.  Furthering the goodness is  Johnny Depp as the opium-addicted Scotland Yard inspector.

Key to the film’s success is a fascination with Jack the Ripper. Victorian London is painstakingly recreated, gorgeously so and it becomes a playground for a man to prey on prostitutes. As Mary Kelly’s (Heather Graham) friends/co-workers are found dead, horribly disfigured, often disemboweled, the hunt for the killer becomes bogged down as Inspector Abberline’s theory may lead straight to the royal family.

The Hughes brothers effectively build tension and fear through the seedy streets of London. The cinematography creates amazing depth and shadows.  London was a creepy place in the 19th Century.  As the heinous murder mystery unfolds—supported by a top-notch score—the viewer can’t seem to grasp the horror. Much of the violence takes place off screen, but your imagination conjures gruesome images that will haunt for days. The throat slashing comes to mind.

From Hell is a great horror flick in the same vein of Silence of the Lambs or se7en. With its conspiracy theories, top-notch cast that includes Robbie Coltrane and Ian Holmes, and bloody violent images, its fine addition to any horror queue.

31 More Days of Horror: Child's Play (1988)

Chucky doesn’t get enough respect in my book. If you’re like me, you can remember the very first time and the way that creepy little ankle biter murdered with glee. Good Guy Doll, my @$$.

The opening sequence with a killer (Brad Dourif) transferring his soul into the doll is succinct enough. Mom buys doll despite not really being able to afford it because her son Andy wants one SO BAD!! Then the horror begins.

Right from the start, with the babysitter being stalked in the apartment and ultimately pushed out the window that overall-ed kid scares the begeezus out of me. Still does. Andy is the only one that realizes his doll is alive.

Kudos to director Tom Holland for making a smart movie. Sure, Chucky is a doll, but he’s also a cunning little sh!t and Holland toys with us. Most of the film, we the viewer, see little things that creep us out. The sequence with Andy’s mom and the batteries—I’ll never forget. She walks over to the table, discovers Chucky doesn’t have batteries in him. Look out! That sinister smile—that cackle—Chucky’s murderous rampage has already begun.

Child’s Play is a straightforward flick whose wheels threaten to fall off at any moment. Though we have some dicey bits, ultimately, the film balances solid scares with humor (intentional or not). See this; but don’t bother with the sequels.

31 More Days of Horror: The Invisible Man (1933)

Some movies transcend their genre to become classics. The Invisible Man is one of them. Though its age is deceptive, this B&W film continues to thrill thanks to phenomenal source work from H.G. Wells.

An experiment gone awry causes scientist Jack Griffin (Claude Rains) to become invisible. Desperate for a cure, he tries to hide out in the small village of Ipping. Between the drugs side effects and the nosy locals, his invisible hand is forced and he flips out.

It’s the performance by Claude Rains that ultimately makes this movie the force it is. His maniacal laughter, his voice dripping with distain, his slow turn to insanity is crazy good. "We'll start with a reign of terror. Murders of little men and murders of big men - just to show that we make no distinction."

Surprising most viewers, I think, is the film’s special effects. Rest assured they are quite solid. Griffin is most creepy when bandaged, but his transition to and from invisibility is top-notch. You never actually see Rains until the very end—it’s his vocal performance that causes the shivers.

The Invisible Man is a perfect balance of horror and fun. The film’s resident shrieker is certainly a put-off, but the dialogue—the film’s true star—is darkly vicious, but often darkly humorous as well. Please don’t let the film’s age dissuade you from watching it any time of the year.

31 More Days of Horror: The Birds (1963)

You know the idea of it is scary as heck—birds running amok in Bodega Bay. And with Alfred Hitchcock’s demented direction and unparalleled touch The Birds is as effective now as ever.

The film begins unassumingly—much like a romantic comedy of the day. San Francisco socialite Melanie (Tippi Hedren) crosses paths with handsome bachelor attorney Mitch (Rod Taylor) and follows him back to his hometown. The wholesome village of Bodega Bay soon experiences a seemingly freak avian assault. Locals comment on the random events, but the tide has already turned into a vicious fowl uprising.

Simple in its delivery, but brutally riveting The Birds is a masterpiece of horror for many reasons. We'll look at two.

1. No score.  Most viewers don’t notice it. There is no background music to speak of resulting in a truly horrific intensity when the birds assault.
2. Editing. Again, Hitchcock shows his brilliance. Right out of the gate you are entranced by his subtle techniques. See the pet shop scene at the beginning. It’s merely a clue to what is to come.

I love how Hitchcock builds the tension with no release. You’d have to be living in a cave not to know about this movie, so you expect—going into it—the birds to attack. But you get to stew. The viewer is pushed to edge before the mayhem is unleashed.

The scene that gets me time and time again is the school yard. That sequence of quick shots floors me every time. The chill up your spine, the shortness of breath, the goosebumps—God, I love it!

The Birds is easily my favorite Hitchcock film. So much more than a creature feature, this film is worthy of an examination. See this masterpiece. You won’t be disappointed.

31 More Days of Horror: Willard (2003)

Hypnotic opening credits are just the beginning to this atmospheric and moody creature feature. Willard Stiles (Crispin Glover) is a shy, but psychotic soul whose only friends are rats. When Socrates is murdered, Willard seeks revenge on The Man.

Deceptively simple, Willard doesn't rely on gore to score. Instead we are introduced to an introvert who has discovered a rat infestation and turns it into a true friendship with beady-eyed buggers. In seeming thanks for his friendship, Socrates and Ben are willing to do his bidding.

One element makes this movie: Crispin Glover. With untold emotionality, Glover is perfectly creepy. Those steely eyes, that sadistic gleam, those twitches, that hunch--it chills the soul.  His evolution from sick boy to masterful freak is a brilliant play.

Willard's revenge is ultimately directed at his cruel boss, Mr. Martin (R. Lee Emery). Martin berates and dehumanizes Willard at every turn. Embolden by Willard's lack of defense {Glover's slow simmer is palpable} Martin continues to bully until Willard is forced to turn to Ben. Ben {the rat, mind you} views this opportunity to cement his role in Willard's life and exacts his pound of flesh from Mr. Martin on Willard's behalf.

Every other element is a compliment to Glover. The modest production is dark and aged. Macabre, if you will. Willard is just a bizarre, cultish film with an ending to die for. It's revolting and fascinating all at the same time. Ultimately, the film works on two levels: as a black comedy or an allegory--you decide. Either way, you won't be disappointed.

31 More Days of Horror: George A. Romero's Day of the Dead (1985)

It's no secret.  Zombies are my favorite.  Vampires pale in comparison; they are distant second.  What is it that makes zombies so deliciously wonderfully?  I think it's George Romero's fault.  Last year, I reviewed my favorite Romero film.  Here's another one.

Writer/director George A. Romero pulls the morality card in Day of the Dead. Surviving in an underground bunker is a remnant of society, cleanly split between scientists and soldiers. The scientists are desperately trying to find a solution for a country overrun by the undead. The soldiers want them all dead. Everyone is on edge, infighting threatens to kill them all.  Then the zombies invade.

Romero's take a different angle with this one and it works beautifully.  He effectively builds the terror throughout the bunker with its claustrophobic feel and fringe scientists.  Throw in the zombies and off we go.  The pace is monotonous; it builds a sense of morbid paranoia within the viewer's own psyche.

 The beer-swilling, crazed, bullying soldiers that seem to get more thrills terrorizing the civilians are just the beginning. The scientist--the only normal one bunch in the bunch--isn't. There is just enough creep--the whirly-bird pilot, crazy-eyed scientist and Bub--to make the film worthwhile.

Day of the Dead contains a perfect gore to scare ratio that is both campy and disgusting. The exploration of the morality of zombie deaths comes to the cusp of annoyance, but the humanizing of Bub is an emotional angle that I didn't see coming. Thankfully, the zombie-fueled mayhem begins just in time.

Just like his others, Romero's Day of the Dead successfully stands on its own merit.

31 More Days of Horror: Platoon of the Dead (2009)

Well, it was bound to happen. I wouldn’t have thought it would happen so perfectly though. Midway through an otherwise exceptional horror-fest; I get a real dud.  For the love of all things horror; watch ANYTHING ELSE but this! Watch The Notebook! Watch The Mist! Watch Hannah Montana! Just DON’T watch this.


Platoon of the Dead has got to be the result of a long night that included a bong and some beer. The entire film is one tiresome hack job. The sad thing is I think the creators tried to make a legit zombie movie. They failed (and I venture just like everything else) miserably. Platoon of the Dead isn't even 'so bad, it's funny'. It's just bad; please save yourself and DON'T watch this!!

31 More Days of Horror: The Signal (2007)

When a signal sent out across phones, televisions, and radios cause the citizens of Terminus to become crazed, murderous freaks—look out! We see humanity explode into hate-filled rage in three gory transmissions told through three distinct perspectives.

A faithless wife tries to reach her lover who gave her a kick-a$$ mix tape the previous night. In the meantime, she crosses paths with her ex-husband. Violent, yet humorous narratives overlap to create perfect 21st Century paranoia.

Transmission 1 explores the initial outbreak of ‘the crazy’ and its immediate effects on our trio. Transmission 2 is where everything amps up. With brutality and black humor, Transmission 2 finds gruesome maniacs wreaking havoc in the city, but we focus on the husband--raging with jealousy--and his weapon of choice: a fire extinguisher. Transmission 3 is our climax where good and evil co-mingle. The viewer is not longer able to distinguish the reality from the hallucination.

Despite the seemingly disjointed stories, I trust my readers are smart. The second act contains wildly different undertones and although each transmission has a certain feel, there is on unifying theme… Gore is king!

The Signal doesn’t disappoint with juicy, bloody, gruesomeness. The freaky splatter is insane. But this low budget gem is smart, terse, and perfectly disturbing; its modern unpredictable horror worth watching.

31 More Days of Horror: The Blair Witch Project (1999)

The hype has past; film-goers have moved on. Now is the time to see The Blair Witch Project. The film is simple in its execution, therein lays its success. The film reminds us of that which is scariest—what we don’t see.

One very driven film student, Heather, drags two buddies along to document the story of the Blair Witch; who according to legend is behind the countless murders and disappearances spanning decades. Grab your gear. Let’s go camping!

The amateurish nature of the film is its best feature. Shaky-cam! Surprisingly, it’s not annoying, but enhancing. With this film, you must listen—not see. Listen to wind blow, the leaves crunch, and the faint noises in the background. The occasional revelation further cements that something is out there, but what? It’s an intangible malevolent being that scares you sh*tless.

Our trio isn’t stupid, just goofy. But as the situation quickly gets out of hand, they are clearly ill-equipped and the death spiral begins. Turning on one another, bickering, it’s not until Josh’s teeth are discovered that the group reunites.

Nothing prepares you for the final stand. And as you yell the cardinal rule {don’t go in there!}at the helpless duo, the film ends. Nice.

31 More Days of Horror: John Carpenter's The Thing (1982)

Twelve men, amid Antarctic isolation, must combat each other as trust gives way to fear in John Carpenter’s The Thing. A centuries old shape-shifting alien is loose on the scientific compound and everyone is suspect. Banding a makeshift truce, the researchers are led by MacReady (Kurt Russell) in an attempt to force the thing to reveal itself.

Amazingly effective elements come together to make this movie pitch-perfect. Carpenter’s build of dread and claustrophobia is so visceral—so disturbing. More than helping matters is Ennio Morricone's spooky soundtrack with that shiver-inducing bass line. The special effects are startlingly gory and bloody. Though the Thing is never viewed as an ‘entity’, the constant mutation is realistically unsettling.

Casting is yet another perfect feature. Kurt Russell is brilliant. It’s his no-nonsense attitude from beginning--Cheating b*tch!--to end--F*ck you, too!--that’s just the right touch of everyman. Juicy supporting roles that include Wilford Brimley, Thomas Waites, and Keith David are not full of character development per se, but make for scream-inducing kills.


John Carpenter’s The Thing feeds on the most human of emotions: fear. How he builds that--I can't quite figure out. He balances the gross with the shadow seamlessly, unnerving his viewers almost subconsciously. The suspense, the isolation never relents.

There are too many scenes to revisit, but my favorite sequence is MacReady’s blood tests. With the other scientists tied up, he tests each sample of blood with a red hot wire. The alien blood jumping from the Petri dish—still curdles my own—then leads into Window’s brutal demise and that uber-creepy spider thing.

Deserving of every accolade The Thing is one of Carpenter’s best. Intensely atmospheric, the film is crazy good horror.

31 More Days of Horror: Jennifer's Body (2009)

Jennifer (Megan Fox) has a nice one. And her little body stands out in the little hamlet of Devil’s Kettle. With her BFF Needy (Amanda Seigfried), the two share an unspoken bond. After an unusual run-in with a Satan-worshipping emo band (gloriously led by Adam Brody), Jennifer comes home with an insatiable appetite for her coeds.

Jennifer’s Body, the latest offering from Diablo Cody, is a slang-filled campy romp that’s more satire than horror.

Megan Fox can’t act; lucky for us no one asked her to. Playing her voluptuous self, Fox is right on target. She’s perfectly vicious when needed and otherwise obnoxious when not. Amanda Seigfried is every normal girl who ever wanted to be Megan. It’s Adam Brody that steals the show in the few scenes we find him. Each one is perfectly over-the-top. His guy-lined emo Nicolai (He was nearly too close to Brandon Flowers for comfort) is the perfect caricature of every pseudo-Pete Wentz that ever walked.

The scares and gore are few. Cody’s screenplay is ultimately the film’s undoing. Smart, funny dialogue—complete with newly coined Cody-speak—takes away from any tension director Karyn Kusama tries for. Thankfully the English language will not be raped by Cody-speak this time. So idiot euphemisms for ‘salty’, ‘lime green jello’ and ‘lesbigay’ will die with the adult audience.

Jennifer’s Body is a PG-13 flick with an R rating. Clichéd in spots, wickedly funny in others, the film is a mixed, albeit entertaining, bag. Borrow the DVD for a cheap thrill.

31 More Days of Horror: George A. Romero's Diary of the Dead (2007)

Since American Zombie isn't 'scary' per se, you get this one too.  Diary of the Dead centers around a group of college students set out to make a horror movie for their senior thesis and discover real-life zombies while filming. That's all there is to it.

George A. Romero's knack for re-inventing his own genre is remarkable. This time around he uses the latest trend out of Hollywood, first hand camera (i.e., Cloverfield) to create a startling tale of horror and voyeurism. Elements blend seamlessly. The gruesome and the macabre are blended with the camp and drama. With guerrilla-like tactics, Romero spins a tale of survival and disinformation.

The virtual no name cast, the lack of sound, the film within the documentary-- there is a palatable skin-crawling urgency. Romero employs the tried and true to assault the senses with clever, bloody goodness as this idiot boy insists on making this diary of the dead.

His social commentary is heavy-handed if you choose to overthink it. Fans of the legendary film-maker will overlook it easily. If you want to know: he turns society's current obsession with viral media into a forum for self-examination. The running commentary from various media outlets quickly becomes an inside joke.

Let's get back to the gore.  The hospital gives the best moments despite being pedictable.  It doesn't stop you (or me) from jumping to the ceiling every time.  Equally fun is the weird Amish farmer and the last stand in rich boy's house.  Yummy!

Now... if only we could get Survival of the Dead already!!

31 More Days of Horror: BONUS: American Zombie (2007)

Fair and balanced coverage is what you’ll find here in American Zombie. Documentary filmmaker Grace Lee and guerilla filmmaker John Soloman team up for ‘a day in the life’ of local zombies in L.A. Through the film we learn {among other things} that there are three levels of zombies: feral, low and high functioning.

Rotting flesh aside, the undead showcased here are not much different from you and me. They have hopes and dreams. Joel, founder of ZAG (Zombie Advocacy Group) fights for equal rights. Ivan is an aspiring writer and convenience store clerk. Judy is a vegan looking for true love with a human and Lisa, an artist, using holistic fusion therapy to combat her desire for her own funeral.

Introducing their viewership to a unique subculture, examining their sub-human existence, cultivating sympathy and respect for our undead populace, the filmmakers—one compassionate soul, the other a sensationalist—balance each other’s agenda to create solid propaganda.

American Zombie suffers from a love-hate complex. The filmmakers try to do too much and ultimately, they don't know where to go with the film. It's slow to build its agenda and is too quick to end. But still, it is worth a look. Humans will look upon with disgust. The undead will be please there story is finally told in an approachable manner. The film culminates at the zombie festival Live Dead—a three day celebration of revenant living. Grace and John are the only known living invitees.

This documentary is a must see for anyone seeking common ground between the living and the dead. Embrace your fellow zombie—just not too closely.

31 More Days of Horror: Shock Waves (1977)

During WWII, there was rumored to be a Nazi Death Corp. This unstoppable SS unit was the result of scientific experimentation. Though these monster troopers were never found or captured, the rumor lives on somewhere…

If you’re fortunate enough to have seen Shock Waves, a 70s camp classic, then you know the creep factor is top-notch. There’s something in the way these zombie like soldiers pop out of the water that makes your skin crawl. Though not crazed zombies, the uniformed freaks are eerily haunting. The melodramatic score really helps too.

Peter Cushing (Grand Moff Tarkin) stars in this out-of-print horror gem. As a reclusive Nazi Commander, Cushing is equal parts terror and sad. As their ‘keeper’, the commander warns the shipwrecked vacationers to leave the desolate island immediately. To stay means death. Ah, yes! The resort-ers throw caution to the wind and explore the island while in great peril.

Night doesn’t have to fall before these zombies come out of the water. All you have to do is splash. And these zombies—well, they aren’t really zombies. They’re not brain-obsessed creatures. These crazed goggle-wearing soldiers are the plotting, strong and silent type that just want to kill you—nothing more.

Shock Waves is low on gore and high on atmosphere. Cushing and John Carradine are real treats. Brooke Adams (Invasion of the Body Snatchers, 1978) spends most of her time in a smokin’ hot yellow bikini and Luke Halpin isn’t bad either. For 70s low-budget horror, this one can’t be beat.

31 More Days of Horror: Teeth (2006)

A nice dollop of cheese is served alongside this morbidly interesting tale of vagina dentate. Campy and shocking, Teeth is centered on an ancient myth that is bound to make every viewer uncomfortable.

Dawn (Jess Weixler) is a virtuous high-school student whose abstinence isn’t 100% voluntary. Enter Tobey who causes Dawn to have ‘impure’ thoughts. After a swim, Tobey’s libido gets the best of him and the real reason for Dawn’s abstinence becomes apparent. Her vagina is lined with shark-like incisors that engage whenever she’s ‘mistreated’ causing her offender’s appendage to become detached.

Overcoming the initial shock and after rediscovering her body (through Google-esque means, no less), Dawn begins to use this evolutionary anomaly to her advantage. At that, the film morphs from into a revenge flick as Dawn plots against her incestuous big brother (Nip/Tuck’s John Hensley) and any other who dare enter her pants without permission.

Teeth is filled with absurd moments and graphic imagery. Writer/director Michael Lichenstein skims the surface of the vagina dentate myth, but thoroughly delivers the castration angle. The dialogue is oddly funny; the events are often surreal. Strangely enough the balance of black humor to penile abuse works. The film never seems to cross that torture porn/exploitive line.

Part horror, part comedy and altogether weird, Teeth is an interesting piece for gore fans.

31 More Days of Horror: Theater of Blood (1973)

Following a review of Zombieland with a movie like this--I'll probably lose half my audience.  I have sung the praises of Vincent Price for years.  I continue to do so with this one.

Denied recognition for his work, thespian Edward Lionheart (Vincent Price) is driven mad with rage and commits suicide. Years later, the harshest critics of his work are being killed. The victims are found dead in scenes derived from Shakespeare’s plays. His daughter, Edwina (Diana Rigg) is the prime suspect, but what if it’s not her?

Theater of Blood is a fine example of Price's flourish.  The actor stand alone with untold expression.  Though his films have become the standard for camp, look closer and you'll see brilliance. As Lionheart executes each critic with mounting gore and debauchery, Price shines.   Spouting the words of the Bard, Price is equal parts ham and villain.

The film is deliciously morbid with inspired, splattery deaths.  Headless corpses, fried by curlers, baked in a pie--who knew Shakespeare could be so cruel?! 

Theater of Blood asks its audience to have a rudimentary knowledge of Shakespeare in order to relish the impending deaths of the critics.  Alas, I do not.  But I think any horror fan with an appreciation of the masters can easily relish the opening sequence here for the chill it delivers.

31 More Days of Horror: Zombieland (2009)

In a world overrun by zombies there survives a rare bunch of strangers. Columbus (Jesse Eisenberg) is a neurotic young man who lives by a set of rules to survive. Joining forces with half-cocked Tallahassee (Woody Harrelson) to fight their way to the coast, the two meet up with Little Rock (Abigail Breslin) and Wichita (Emma stone) to destroy countless undead and make it to an abandoned amusement park.

Zombieland is an unexpected horror romp with attitude. Elements combine to execute a hysterically gory good time.

Endearing characters are just the beginning. Woody Harrelson and Jesse Eisenberg make a great odd couple. With rules for survival that emphasize the need for cardio and not being a hero, Columbus is a flighty kid wanting to make it back home to Ohio. Eisenberg plays neurotic well. Harrelson is a real treat as the Twinkie-obsessed Tallahassee and ultimately steals the show with his zombie-stomping swagger. Love interest Wichita, Emma Stone doesn’t really have to do anything but look pretty. In that, she is successful. Abigail Breslin has grown and delivers well.

Though not scare-filled, Zombieland is graphically gory. The gore—almost chunky and spew-tastic—is in your face and deliciously gooey. The running ‘double tap’ rule throughout the film is equal parts safety and fun. These zombies are hardcore and watching their annihilation at the hands of banjo-wielding Tallahassee is killer.

Not to be overlooked is the screenplay. The plot—it doesn’t take a genius. It’s essentially wary loners teaming up for survival’s sake. It’s where director Ruben Fleischer take it. Road trip! The group makes their way cross-country to the last known safe-place with a few bumps along the way. The dialogue is infinitely quotable. The stop-off at an A-lister’s home in the 90210 is unforgettable!

It's the details that catapult Zombieland to cult status alongside Shaun of the Dead and Romero’s Night of the Living Dead. From the opening credits to Metallica’s ‘For Whom the Bell Tolls’ to Columbus' rules to the very last splatter, this is zed fun. Don’t wait for the DVD. Go now and stay past the credits!

31 More Days of Horror: Children of the Corn (1984)

Based on the short story from Stephen King, Children of the Corn is weirdly creepy. Or not. Kids lurking in the corn fields preying on adults with crazy farm implements. The film is dated, but the scares are there--if you let them.

As the fornicators arrive in town (Linda Hamilton and Peter Horton) and clip a boy trying to escape the corn-worshiping weirdos, the film amps up. Isolated in the Midwest, among rows of glaring cornstalks--well, that's enough for me. Knowing there's an ankle-biter lurking with a scythe makes it worse. That's effective creep.

 The religion angle is weak, I think. The children are a wee melodramatic. The score as well. Still the bleak little town is oddly charming and soul-less. Malachi is ho-hum vicious. And what's with Mike Tee-Vee?!
One of the best scenes is the hand making it's way to the meat slicer. Sandwich, anyone? 'He Who Walks Behind the Rows' gets it down in a deliciously cheesy way.

Sadly, the film pales in comparison to the short story which contains a far more brutal ending. This film is crap by modern standards. Children of the Corn is only an effective scare if you let the nostalgia take control.

31 More Days of Horror: Undead or Alive (2007)

Nothing beats Shaun of the Dead; but this film is a good try.  Chris Kattan, yes, Chris Kattan stars as one-half of an odd duo who plan to rob a crooked sheriff.  Unfortunately for Luke and Elmer (James Denton) leaving town is the easy part.  It seems the townfolk have come down with the White Man's Curse.  A run-in with an Indian warrior princess quickly us the history and a name for the plague: Geronimonsters.  The fugitives must now survive the heinous disease sweeping the wild west.

Undead or Alive is a hysterically gory trip into the sunset.  Sagebrush and blood go hand in hand.  Though written and directed by a former South Park scribe, nothing prepares you for this offbeat gem.  The dialogue is well-written--equally funny and sharp.  The special effects are thoughtful with different stages of zombiness.  The soundtrack is killer.

Any self-respect zed-head owes it to themselves to see this one.  Undead or Alive is a crazy good treat!!

31 More Days of Horror: [REC] (2007)

Fear knows no language boundaries. Case in point, the Spanish film [REC] . Angela is a television reporter. Along with her cameraman, Pablo, the two are covering the local firefighters for a piece. Answering a call for help at an apartment building, residents, firemen, reporter, and fireman are quarantined by the local CDC. Trapped in the building with an ever-increasing number of rabid zombies, Pablo keeps the camera on capturing brutal deaths, palpable fear, and freaky events.

[REC] is a highly effective horror film that draws obvious inspiration from predecessors. What makes it good is the fresh packaging. The 'shaky-cam' employed is smart without being annoying. Pablo is a professional and captures untold images clearly. Angela's investigative sense is authentic without being nosy. Mano, one of the firefighters plays to hero solidly.

Despite being subtitled, the film is a top-notch scare. The 'reading' doesn't interfere as tension builds and aggressive action ensues. The progression is brutal on the senses.

31 More Days of Horror: From a Whisper to a Scream (1987)

The set-up for this horror anthology is priceless.  Historian Julian White (Vincent Price) shares gruesome tales with a skeptical reporter on the eve of his neice's execution.  The stories are top-notch.

Necrophilia makes for a weird tale.  Spurned by an attractive co-worker, Stanley Burnside seeks revenge a la murder.  To make is weirder, consumation with her corpse produces a demon child.

Mortally wounded scum-bag Jesse Hardwick is dumped in the swamp to die, but is returned to health by reclusive old-time Felder Evans.  Jesse figures out that Felder has to the answer to immortality, he resorts to violence.  Every element works here--the best of the four stories, but not my favorite.

Carnival freak Steven (Ron Brooks) pays the ultimate price when he chooses to leave the freakshow for his girlfriend, Amaryllis.  Snake Lady (Rosalind Cash) won't allow it.  What ensues is a gore-tastic masterpiece!

Last, but certainly not least is a gem that makes Children of the Corn look like Barney's Playhouse.  A few Civil War soldiers stumble into Oldfield, Tennessee to find venegance-seeking cannibalistic kids that give new meaning to 'Run for your Lives!'

In these four short shories, you'll easily go from a whisper to a scream!

31 More Days of Horror: The Haunting (1963)

Most likely, you've seen this movie in some form.  There are two versions of House on Haunted Hill.  Liam Neeson starred in an OK version alongside Owen Wilson and Catherine Zeta-Jones.  If you've seen any of those then this B&W version starring Julie Harris and Russ Tamblyn is a must see.

Typical of films of this nature, it's the direction that builds the creep factor.  Director Robert Wise (see also: The Day The Earth Stood Still) executes frame after frame of lurking shadows to build tension that drives the viewer to near insanity.

Moody and atmospheric, it's Julie Harris as Eleanor Lance that delights.  Her slow spiral into madness is subtle and perfectly nuanced.  Eleanor is of fragile mind thus her invitation by Dr. Markway (Richard Johnson).  Having survived the only recorded poltergeist experience, Markway hopes to use Eleanor to learn from the Hill House.  But Eleanor might not make the weekend.

The Hill House is perfectly macabre.  Gothic before Goth was cool, the set is eeriely detailed with strange statues, hinges, mirrors, and wallpaper.  Oh God!  The wallpaper!!  The ultimate creep-out is a few wonderfully composed seconds with a door knob.
Wise builds the history of Hill House through Dr. Markway's narrations so the viewer has a heighten sense of awareness, but ultimately leaves you, the viewer to frighten yourself.  To really enjoy The Haunting, you must ask yourself one question.  How good is your imagination?