Top 100 Horror Movies

Like many other classic films, this one doesn't bother confining itself to just one genre. Romero exploits the metaphoric possibilities of a world taken over by a zombie plague for all they're worth and has something to say about the American buying public and the ills of the often misguided, wholly cosumerist society that we inhabit. If this kind of material doesn't interest you, then the good news is that this movie also works wonderfully as an apocalyptic adventure, with plenty of action, gore and horror, plus comedy elements ranging from silly slapstick gags to sly satire. Sure some of the supporting acting could have been better. It's a low budget so what can you expect? Still, the four leads do a good enough job instilling their characters with a certain nobility, which makes them instantly likable. Elements of the film are dated, but the central theme is not. In many ways it's more relevant today than it was when released when you look at how "mall culture" dominates and the measure of a man is based on how much junk you can accumulate.

One of the most atmospheric, visually stunning silent horror films I've ever seen (rivaled only by Haxan). The movie takes some liberties with the tale (not that I really care...) but it absolutely nails the gloomy, nightmarish Gothic tone of a Poe story. Unlike many other silent genre films, the camerawork is outstanding and inventive. The look is one of inky black as opposed to washed out grey. There are very few point-and-shoot medium shot set-ups. Instead we get lots of pans, close-ups, wide shots and creative camera angles throughout. The actor who plays Roderick Usher is outstanding, the crumbling castle setting is eerie as can be, the sets are striking and there are plenty of abstract, surrealistic touches. Any fan of Gothic horror or Poe must see this!

Edward Woodward (later star of "The Equalizer" TV series) is a devoutly religious police inspector who travels to the small island of Summerisle to investigate the disappearance of a young girl. There's a cover up to the girls whereabouts by the entire community and he finds himself equally appalled by their free-living lifestyle...simple pleasures which include drinkin', singin', swingin' sex...and pagan human sacrifice. The title refers to a giant wooden idol necessary for climactic May Day ceremony.

THE WICKER MAN opens fairly slowly (and some complain it has too many musical numbers), but after the first pub scene it becomes suspenseful, creepy (without a stitch of violence) and brilliantly atmospheric, creating a seemingly authentic (and unusual) society not dependent on standard moral or religious codes. It's safe to say that the strong and unflinching religious subject matter this film carries may anger some viewers but it's also ironic that this same close-minded worldview is perfectly reflected in the bullheaded lead character, and also helps to seal his fate. Not that the pagans in this film aren't equally unwavering in their beliefs, but the "power of in numbers" philosophy rings true here. Imagine a small place in this world NOT adversely affected by standard organized religion and you get the gist of Summerisle.

If you want gore, you won't find any here. If you can't go into this film with an open mind, you simply won't appreciate what it has to offer. And if you are looking for a standard horror film you may be disappointed (or you may be like me and be pleasantly surprised). The ending is simultaneously chilling and oddly amusing. Both Woodward and Christopher Lee (with great hair) as Lord Summerisle are excellent in their roles.

Three criminals pull off a robbery, kill several people during a police shoot out in a parking garage and then take a female hostage. Wanting to ditch their car, they kidnap a second hostage, a surprisingly calm man with a young, sickly son, and force him to drive take them to safety. This crime drama marked a change of pace (and a change of tone) for Mario Bava, best known for his super stylish gothic horror films, which concentrated as much on atmosphere, color composition and camera angles and they did on the story. This is a more stark, contemporary film that takes place in broad daylight and mostly within the cramped comfines of a car. The good news is that it's an excellent, sadistic thriller and loaded with suspense and tension. The performances are believable and the script pulls you in immediately, after which there's almost no let-up. Recommended.

Three top European directors take on the works of Edgar Allan Poe in what is one of my favorite anthology horrors, right up there with DEAD OF NIGHT (1945) and BLACK SABBATH (1963).

Roger Vadim's "Metzengerstein" is incredibly beautiful. It was shot around great-looking, crumbling oceanfront castles and is remarkably photographed, costumed and scored, it's just a shame the core plotting is so weak. The evil Baroness Frederique (Jane Fonda, the directors wife at the time) is an insatiable tyrant who presides over orgies and sadistic, dehumanizing games. When she destroys a pure soul, her distant cousin Wilhelm (Peter Fonda), horses and fire play a key role in her demise.

"William Wilson," by Louis Malle, is an entertaining reworking of the old doppelganger theme starring Alain Delon as a pure lout AND his better half, a exact copy who drives him crazy by putting a halt to his evil impulses. Odd story structure here and Brigitte Bardot (in a black wig) is good support during a fateful card game. And then comes the really good stuff.

"Toby Dammit" (released separately as "Never Bet the Devil Your Head"), a brilliant and sometimes very chilling piece of enigmatic filmmaking from Federico Fellini. Terence Stamp is a marvel of facial expressions as boozy, obnoxious British movie star Toby Dammit, who falls apart at the seems upon arriving in Italy to start production on a Western reworking of the story of Christ. Instead he becomes imprisoned in his own personal hell. In every possible technical department, this segment is a triumph and the creepy finale (borrowing a key image from Mario Bava's KILL, BABY, KILL!) has lost absolutely none of its impact.

The score by Nino Rota and cinematography by Giuseppe Rotunno deserve special recognition, as well. The version I saw (titled TALES OF MYSTERY AND IMAGINATION) is subtitled, but a dubbed version also exists featuring narration by Vincent Price.