My Favorite Horror Anthologies


  1. LittleMissBloodAndGuts
  2. Pamela

Not yet in the Flixster Database yet: Red Lips: Bloodlust (1996); I, Vampire: Trilogy of Blood (2006); Black Sabbath (1963); Twice Told Tales (1963); Edgar Allen Poe's The Black Cat (1966); Jack The Ripper (TV 1958)

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  LittleMissBloodAndGuts's Rating My Rating
1
The Black Cat 1934,  Unrated)
2
The Black Cat 1941,  PG)
3
Flesh And Fantasy 1943,  Unrated)
4
The Raven 1935,  Unrated)
5
The Raven 1963,  G)
6
Chamber of Horrors 1940,  Unrated)
7
Dead of Night 1945,  R)
8
Tales of Terror 1962,  Unrated)
9
Twice Told Tales 1963,  Unrated)
10
Dr. Terror's House of Horrors (The Blood Suckers) 1965,  Unrated)
11
Torture Garden 1968,  Unrated)
12
Histoires extraordinaires (Spirits of the Dead) 1969,  R)
13
Night Gallery 1969,  PG)
14
The House That Dripped Blood 1971,  PG)
15
Asylum 1972,  PG)
16
Tales from the Crypt 1972,  PG)
17
The Vault of Horror (Tales from the Crypt, Part II) 1973,  PG)
18
Tales That Witness Madness 1973,  R)
19
Don't Be Afraid of the Dark (Nightmare) 1973,  Unrated)
Don't Be Afraid of the Dark (Nightmare)
DON'T BE AFRAID OF THE DARK (1973 and 2010)
WRITTEN BY: Guillermo del Toro and Matthew Robbins (2010), from, the 1973 script by Nigel McKeand
DIRECTED BY: John Newland (1973); Troy Nixey (2010)
FEATURING: Kim Darby, Tamara De Treaux, William Demarest, Pedro Armendariz Jr., Robert Cleaves (1973)
Bailee Madison, Guy Pearce, Katie Holmes, Jack Thompson, Garry

DON'T BE AFRAID OF THE DARK (1973 and 2010)
WRITTEN BY: Guillermo del Toro and Matthew Robbins (2010), from, the 1973 script by Nigel McKeand
DIRECTED BY: John Newland (1973); Troy Nixey (2010)
FEATURING: Kim Darby, Tamara De Treaux, William Demarest, Pedro Armendariz Jr., Robert Cleaves (1973)
Bailee Madison, Guy Pearce, Katie Holmes, Jack Thompson, Garry McDonald, Alan Dale, Julia Blake (2010)
GENRE: HORROR
TAGS: mystery, haunted house, demons
RATING (2010 version): 5 PINTS OF BLOOD
RATING (1973 version): 8 PINTS OF BLOOD

PLOT: Upon the breaking of a seal in a long disused basement, tiny devils escape and seek to murder the house occupants.

COMMENTS: If you're looking for scary movies to watch on Halloween, the Screaming Room has two for you this week which fit the bill very nicely! Guillermo del Torro (CRONOS [1993]; MIMIC [1997]; SPLICE [2009]) has written an update of DON'T BE AFRAID OF THE DARK, a 1970's horror movie which achieved cult status. It's well-produced, bold, loud, visually spectacular, and worth seeing, although it loses some of the essence of what made the original so good. For purists, the first version is also available, newly digitally remastered. The two films nicely compliment each other.

The late 1960's and early 1970's brought a number of high quality, made for TV network horror pictures, especially those produced for ABC Movie Of The Week. Considering they were made for television and aired during family hour, these efforts are original and imaginative. What's more, they're actually scary. The movies had a lot of atmosphere, the characters died awfully, and the stories didn't always have the happy endings so requisite today.

Examples include films such as PICTURE MOMMY DEAD (1966), DAUGHTER OF THE MIND (1969), HOW AWFUL ABOUT ALLEN (1970), SEE NO EVIL (1971), THE STONE TAPE ( 1972), THE EYES OF CHARLES SAND (1972), ALL THE KIND STRANGERS (1974), and DON'T GO TO SLEEP (1982). Asserting what a profound impression it made on him, filmmaker Guillermo del Torro felt compelled to reinterpret the 1973 TV movie DON'T BE AFRAID OF THE DARK. .
In the original, DON'T BE AFRAID OF THE DARK, Kim Darby (Mattie in the first TRUE GRIT [1969]) plays yuppie homemaker Sally Farnham, who's plagued by demons she unwittingly unleashes from an ash pit underneath a sealed-up basement fireplace. With major plot elements repeated a year later in The Exorcist, and makeup characterizations which reappeared in the PUPPET MASTER films, DON'T BE AFRAID OF THE DARK provides chills and Freudian undertones unexpected in a family hour TV movie of the time period.

As the goblins' maliciousness becomes increasingly aggressive, Sally's behavior grows correspondingly erratic; her friends and power-attorney husband are convinced she's gone mad. The little ones want Sally body and soul. After assaulting a naked Sally in the shower with a straight razor, they ineptly kill her decorator by mistake, leaving Sally as the suspect. When her distracted husband leaves town on business, Sally's left alone with her demons -literally. She finds herself in a bind when the demented Lilliputians tie her up Gulliver style, and drag her short-skirted, quivering, moaning form to the cellar for God-knows-what.

Artfully filmed in shadow and light, the premise works better than you might think. It's one that must be handled skillfully lest it become funny for the wrong reasons, with a silliness akin to the Evil Monkey hiding in Chris Griffin's closet in the animated TV sitcom, Family Guy. Writer Nigel McKeand (in whose McKnight-Hill style Victorian home DON'T BE AFRAID OF THE DARK was filmed) and director John Newland pull it off almost as frighteningly as Stephen Spielberg executed a nearly identical premise a year earlier in the chilling and shocking 1972 made-for-television, SOMETHING EVIL.

In the 2010 DON'T BE AFRAID OF THE DARK, as would be expected in anything authored by Guillermo del Torro, the elements are enhanced and grotesquely larger than life. The manor is huge and Gothic, the small amount of violence is bloody, and the pit under the basement fireplace becomes a bottomless chasm to hell. The film begins with a backstory which is only alluded to in the original. Sadly, del Torro drops the ball later in the film by trying to explain too much with his characteristic love of mixing myth with "history." The haunted mansion's original patriarch is enslaved to the goblins, and our first encounter with him has him yanking out his maid's molars and feeding them to subterranean demons as an offering.

Despite it's R rating (there's no nudity), DON'T BE AFRAID OF THE DARK (2010) is a kid's movie. In this new version, Sally Hurst (Bailee Madison) is a taciturn, pouting little girl who moves to a mammoth country estate with her recently divorced dad (Guy Pearce) and his new girlfriend (Katie Holmes). Imposing sets and dreamlike cinematography are right out of a demented Alice's Adventures In Wonderland. This child's eye view technique is typical of del Torro. The optical footprint of DON'T BE AFRAID is what most distinguishes it. It's overdone, but visually spectacular in exactly the sort of way you would expect a big budget haunted house yarn for kids to be.

There's artistic use of visual continuity. The elaborate latticework of Sally's headboard compliments the brass screens of the air vents and the artfully carved antique benches on the manor's grounds. With camera angles such as one in which Sally finds herself standing in a ring of toadstools, and another in which her face is framed by a tangle of vines, the implication is clear: Sally is webbed in.

Like the perpetually foreboding and gloomy skies overheard, the mansion's cathedral-sized interiors are almost always cast in shadow. Akin to catacombs, duct work entwines its way through the walls. Creaking and groaning like a giant bellows with its myriad of ornamental grated heat ducts leading to an abysmal, possessed basement incinerator, the very edifice itself seems complicit in what is to transpire.

And what transpires is that Sally is either very naughty, or has the IQ of a stringbean, because after the demons in the sealed-up basement incinerator whisper some very nasty, sick things to her in their hoarse croaks, she of course unbolts the damn thing and lets them out. Slowly, sardonically, all hell breaks loose in the Hurst household.

Sally's phantasms embark on a malevolent series of destructive endeavors, for which Sally gets the blame, widening an already tense divide between Sally and her elders. As a result, Sally perversely attempts to bond with the goblins out of frustration. The plan backfires, and a child psychologist makes the scene as the situation spirals horribly out of control. The little entities really want to kill Sally. She's trapped in the mansion with them, and nobody will believe her. Sally will have to scheme her own salvation.

You'll see some stock conventions in this 2010 version which will remind you of frivolous, campy movies which were likely inspired by the 1973 original: Greminlins, Ghoulies, Beasties, The Puppet Master franchise, etc. The plethora of films about tiny hellraisers in our collective memory tames the fright factor in Guillermo del Torro's version. That's a shame because there's nothing lighthearted about the DON'T BE AFRAID movies. They're deathly serious and the premise works.

In the re-make, thanks to 21st century technology, the demons are impressive and scary, They get a lot more camera time than in the original. Sometimes less is more however. The goblin chill factor in the second film contrasts with the way the original cultivated our fear. In that one we caught for the most part, only fleeting glances out of the corners of our eyes, of the darting poltergeists. The known is never as frightening as the unknown.

Which version of this story is the best? Both have their merits. The 2010 release has a contemporary feel and it's family-friendly. It's a big-screen extravaganza. The 1973 DON'T BE AFRAID is more intimate and is aimed at grown-ups. Despite the impressive special effects in the remake, the 1973 film's economy of sensation makes it the more sophisticated effort.

In the 2010 film, Del Torro does a clever job of expounding upon the plot elements and story essence of its predecessor, making it bolder and more colorful. While this second DON'T BE AFRAID is solidly in the horror genre, with lots of loud, malevolent action, the first film is more subtle, features some genuine chills, and achieves its horror agenda by building an atmosphere of slowly mounting dread. The 1973 DON'T BE AFRAID OF THE DARK has just been digitally remastered on DVD.

Both DON'T BE AFRAID movies make a good Halloween package, but if you're trying to decide between one or the other, here's a final thought: When the studios redo a solid film, they often rearrange some of the details, such as who does what, and what happens to whom. This keeps the updated version from being a predictable duplicate. It also tends to weaken the story. The writers usually got it right the first time.
20
Trilogy of Terror 1975,  R)
21
Dead of Night 1977,  R)
Dead of Night
Three excellent, thoughtful and creepy vignettes. A real gem!
22
The Uncanny 1978,  Unrated)
23
The Monster Club 1980,  Unrated)
24
Creepshow 1982,  R)
25
Nightmares 1983,  R)
Nightmares
Some decent horror tales. Nothing like Edward Bloch would write, but a respectable lineup nevertheless.
26
Twilight Zone: The Movie 1983,  PG)
27
Stephen King's Cat's Eye 1985,  PG-13)
28
Deadtime Stories (Freaky Fairytales) 1986,  R)
29
Creepshow 2 1987,  R)
30
Bad Dreams 1988,  R)
Bad Dreams
An unusual and offbeat creep-out. One of the more imaginative horror films of the decade.
31
After Midnight 1989,  R)
32
Tales from the Darkside: The Movie 1990,  R)
33
Grim Prairie Tales: Hit the Trail... to Terror (Hellbent) 2000,  R)
34
Campfire Tales (1991) 1991,  R)
35
Body Bags 1993,  R)
36
Tales from the Hood 1995,  R)
37
Campfire Tales 1998,  R)
38
Tales from the Madhouse 2000,  Unrated)
39
Cradle of Fear 2000,  Unrated)
Cradle of Fear
Some silly Goth fare, but a very gruesome horror film with some ultra-violent SFX makeup scenes that are over the top. A contemporary presentation of good old fashioned gross out conventions.
40
Dark Stories: Tales from Beyond the Grave 2001,  R)
41
Saam gaang (3 Extremes II) (Three Extremes 2) 2003,  R)
42
Tales from the Cryptkeeper - Stacks of Fear 2004,  Unrated)
43
Street Tales of Terror 2004,  R)
44
Tales From the Crapper 2004,  Unrated)
Tales From the Crapper
A highly edifying, literate and intelligent survey of pop culture and the entertainment industry,. beautifully filmed using the latest technological breakthrough in cinematic technology -"BonerVision."

All seriousness aside, it's crude, crass, tasteless. idiotic...and utterly hilarious. A cross between Kentucky Fired Movie and Momdo Trasho. Contains a lot of nose-thumbing at Hollywood. Fun to see a filmmaker brazenly tell Tinseltown to go F*** itself.
45
Tales From Beyond 2004,  Unrated)
46
Adam West's Tales From Beyond 2006,  Unrated)
47
Creepshow III 2006,  R)
48
From Beyond the Grave 1973,  PG)
49
Destination Nightmare 1958,  Unrated)
50
Gallery of Horrors 1992,  Unrated)
51
From a Whisper to a Scream 1987,  R)
52
Obras maestras del terror (Short Stories of Terror) 1960,  Unrated)
53
Trilogy of Terror II 1996,  R)
54
The Acid House 1998,  Unrated)
The Acid House
THE ACID HOUSE (Scotland, 1998) WRITTEN BY: Irving Welsh, based on his book of short stories by the same title DIRECTED BY: Paul McGuigan FEATURING: Stephen McCole, Maurice RoŽves, Garry Sweeney, Jenny McCrindle, Iain Andrew, Irvine Welsh, Kevin McKidd, Gary McCormick, Michelle Gomez, Ewen Bremner, Jemma Redgrave GENRE: FANTASY/DRAMA/HORROR/BLACK COMEDY TAGS: occult, 100% weird! RATING: 5 PINTS OF BLOOD PLOT: A grotesque, genre-bending trio of tawdry, disturbing stories about squalor, decay, excess, perversion, stupidity, and altered states. COMMENTS: The Acid House is funny, grim, unsettling, revolting, and ... well it's a lot of fun if you like this sort of thing! This sort of thing being surreal, underground British Isles films. The Acid House immediately reminded me of Pat McCabe and Neil Jordan's bizarre Irish effort, The Butcher Boy (1987), and the somewhat less eerie, but equally strange, Disco Pigs (2001). Like The Butcher Boy, The Acid House explores the seamy side of, in this case, Scottish rather than Irish workingclass culture. It follows demented characters who pursue debased agendas under circumstances which are at once supernatural and decidedly sleazy Irvine Welsh (Trainspotting) dramatizes three plots from his raunchy book of short stories, The Acid House. Given Welsh's imagination and penchant for depraved characters, decadent circumstances, and just plain rotten motives and outcomes, the result is a creepy movie with totally grotesque content. In the first story, "The Granton Star Cause," Boab (McCole) is a loser who puts as little effort into making love to his girlfriend as he does into his rugby performance. Expelled from the team, dumped by said girlfriend, and kicked out of the house by his parents, Boab seeks solace in the bottom of a pint glass at the local pub. There he meets God, in human form, who informs Boab that he created Man in his own image. God then informs Boab that he (God) is lazy and pathetic, and that since Boab shares these traits, he hates Boab for reminding him of his own worst characteristics. To express his hatred for Boab, as well as his own self-loathing, God dooms Boab by turning him into a common housefly. Now an airborne insect, Boab puts a literal twist to the expression, "a fly on the wall." Spying on his family and friends' sleazy private lives, Boab discovers the depth of their secret perversions, before exacting revenge upon several tormentors. The second story in The Acid House is non-supernatural, but just as disturbing. In "The Soft Touch," the village doofus, Johnny (McKidd), marries the town whore, Catriona (Gomez), with predictable results. Yet Johnny accepts responsibility and attempts to be good father and husband, while his new bride continues doing what she does best. A bad situation worsens when Catriona involves herself with the couple's insane upstairs neighbor Larry (McCormick), who begins systematically to dismantle Johnny's life. Too soft to take decisive action, Johnny becomes a helpless victim until the nutty neighbor turns the tables on Catriona. In the third segment, the film's namesake, "The Acid House," coco, a mindless hooligan on an LSD trip (Bremner) and Jenny (Redgrave), a middleclass pregnant woman giving birth ), are simultaneously struck by lightening. Coco, who is on an LSD trip at the time, switches bodies with the newborn infant. Visiting Coco's adult body in the hospital later, Coco's friends chalk up his new level of infantilism to Coco finally frying his brain with too many drugs. Meanwhile, Coco, as a grotesque infant, delights in breastfeeding and not so subtly manipulating his new "mother" into indulging his atavistic desires. The Acid House is outrageous, over the top, and offensive. The Acid House will never be accused of being too clever or subtle. In fact, from a literary standpoint, Welsh's treatment of his subject matter is akin to administering a CPR heart massage with a sledge hammer ... and vomiting in the patient's mouth while administering artificial respiration. Despite the supernatural premise of two of the three stories, the horror in The Acid House is not the traditional ghosts and goblins type. Rather, it stems from a deep dread of entrapment, from awful bodily metamorphosis, and from an exploration of the abysmal depths of the debased human condition. Overall, I'm going to give The Acid House just an average rating of five pints of blood, but don't be misled. The Acid House is a must-view for all fans of campy, disgusting occult.
55
Trick 'r Treat 2007,  R)
56
Scary or Die 2012,  R)

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  1. BenRogers84
    BenRogers84 posted 2 years ago

    A couple other good ones I didn't see on here are "Terror Tract" from 2000 and "The Willies" from 1991 which are pretty cheesy but in a good way.