Category Archives: Fright Club

A celebration of horror movies with updates on our monthly Fright Club film series at the Gateway Film Center.

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Fright Club: Dark Ages Horror

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Witches, starvation, ghouls, oppression, Church and governmental oppression—there’s a reason they call them the Dark Ages! Filmmaker George Popov (Hex, The Droving) joins us to discuss the best horror movies about the Dark Ages.

6. Black Death (2010)

What Christopher Smith (Severance) delivers with Black Death that few if any horror filmmakers tackling the same themes match is a clear eye as to the flaws and merits on both sides of the witch hunt.

Eddie Redmayne is an innocent and a believer; Sean Bean is no innocent, but he does believe. Both are part of a Christian army who get word of a village untouched by pestilence—a village where some say the dead have been raised.

What follows is a punishingly human drama about using religion to suit your own ends, about what evil we are and are not willing to accept, and about the end of innocence.

5. The Masque of the Red Death (1964)

The sixth of seven Roger Corman/Vincent Price Poe films—and maybe the best—sees Price in a role that delights in its own evil.

No Corman film has ever used color to such glorious extreme, a tactic absolutely in keeping with Poe’s text. The film works from a short story, padding with subplots (one from Poe, one from elsewhere) that work well within the story and generate a little emotional depth beneath the lurid color and debauchery.

Stay through to the end, whatever you do, but do give this one a chance.

4. Hex (2017)

Two soldiers separated from their companies during England’s Civil War chase each other into a deep forest. The rebel Thomas (William Young) is young, soft and open to the dark poetry and doom of witchcraft. He’s not long in the woods before he sees his true enemy is not the countryman behind him with his sword drawn.

Richard (Daniel Oldroyd) fights for King and Country, strident and single-minded, logic keeps him from believing until he has little choice.

There is more happening here than you realize, and it’s to the filmmakers’ credit that you only recognize the film’s purpose when they are ready for you to do so. The result is a satisfying tale with more power than just magic.

3. Army of Darkness (1992)

Easily the most fun you’ll have with a Dark Ages film, Army of Darkness is Sam Raimi’s third and silliest installment in his Evil Dead trilogy. In it, like a Connecticut Yankee, hero Ash (Bruce Campbell at his buffest) finds himself transported to dark times.

You know what he finds. Deadites.

Ash must woo the girl (and then maybe accidentally get her changed into a deadite, which will necessitate killing her), say the spell (which he may or may not entirely screw up, inadvertently raising an army of darkness), and save the day.

Endlessly quotable, utterly bananas, and just a thrill ride of Monty Python meets Three Stooges meets Ray Harryhausen fun, Army of Darkness is a treasure.

2. The Head Hunter (2018)

In a land of yore, the geography forbidding, a far off trumpet calls for the hardiest of warriors—those equipped to fight beasts.

Director Jordan Downey shows much and tells little in his nearly wordless medieval fantasy, The Head Hunter. The filmmaker parses out all the information you’ll need to follow this simple vengeance myth, but pay attention. Very little in this film is without meaning—no creepy image, no creak or slam.

In what is essentially a one man show, Christopher Rygh delivers a quiet, brooding performance for a quiet, brooding film. He cuts an impressive figure as the Vikingesque warrior at the center of this adventure and his work speaks of joyless endurance.

https://www.youtube.com/watch?v=5ZqtRbifT6Q

1.Hagazussa (2017)

Making a remarkably assured feature debut as director, Lukas Feigelfeld mesmerizes with his German Gothic poetry, Hagazussa: A Heathen’s Curse.

Settled somewhere in the 15th Century Alps, the film shadows lonely, ostracized women struggling against a period where plague, paranoia and superstition reigned.

It would be easy to mistake the story Feigelfeld (who also writes) develops as a take on horror’s common “is she crazy or is there malevolence afoot?” theme. But the filmmaker’s hallucinatory tone and Aleksandra Cwen’s grounded performance allow Hagazussa to straddle that line and perhaps introduce a third option—maybe both are true.

The film lends itself to a reading more lyrical than literal. Feigelfeld’s influences from Murnau to Lynch show themselves in his deliberate pacing and the sheer beauty of his delusional segments. He’s captured this moment in time, this draining and ugly paranoia that caused women such misery, with imagery that is perplexingly beautiful.

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Fright Club: Best Black Characters in Horror

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We didn’t want to let Black History Month slip by without recognizing the best Black characters in horror. Obviously, this is actually a countdown and podcast we could have done at any time, but any particular excuse to talk about William Marshall must be taken!

Regardless of the (far too often proven) cliche that the token Black character in any horror film is simply the first victim, there are many amazing characters and actors worth celebrating in this list. The all time kickass Pam Grier stars as a voodoo practitioner in Scream Blacula Scream (1973), Morgan Freeman brings his characteristic gravitas to the role of mentor cop and general smartypants in Seven (1995). Wesley Snipes combined vampire and badass in the Blade trilogy, as did Grace Jones in Vamp (1986) – and these are just a few of the candidates we will not be mentioning.

Nope, instead we present you with the five best Black characters in horror.

5. Selena (Naomi Harris), 28 Days Later (2002)

When it outbreak comes – and you know it will – what you want on your team is a pharmacist (someone with some medical training) who is not afraid to use a machete. Naomi Harris was the brains and the backbone of the ragtag group of survivors in 28 Days Later. Without her, Cillian Murphy wouldn’t have made it.

The great Danny Boyle, working from a script by Alex Garland (who wrote and directed the magnificent Ex Machina last year), upended a lot of expectations, giving us tenderness in the form of the great Brendan Gleeson, and a vulnerability in the newly-acquainted-with-the-apocalypse Murphy, but the brains and the bravery are Selena’s. That isn’t to say the realities of gender inequality disappear during the apocalypse – Nope! But this is a really uncommon character in a horror film: a strong, Black female survivor.

4. Peter (Ken Foree), Dawn of the Dead (1978)

When George Romero returned to his zombie apocalypse in 1978 – nearly a decade after he’d rewritten the zombie code with Night of the Living Dead – he upped the ante in terms of onscreen gore, but there were some pieces of the formula he wasn’t ready to let go of.

Two members of SWAT join their newsman buddy and his producer girlfriend, take off in a helicopter, land at a mall, and set up house while that whole zombie thing blows over. Ken Foree and Scott Reiniger as the buddies from SWAT create the most effective moments, whether character-driven tension or zombie-driven action. While the leads were flat and bland, Foree not only delivers the film’s strongest performance, but Peter is the most compelling character and the one you’re least willing to see go.

3. Candyman/Daniel Robitaille (Tony Todd), Candyman (1992)

Oh my God, that voice! Yes, Candyman is a bad dude, but isn’t he kind of dreamy?

Like a vampire, the villain of Cabrini Green needed to be both repellant and seductive for this storyline to work, and Todd more than managed both. With those bees in his mouth and that hook for a hand, he is effortlessly terrifying. But it’s Todd’s presence, his somehow soothing promise of pain and eternity, that makes the seduction of grad school researcher Helen (Virginia Madsen) realistic.

Clive Barker wrote the original story, and the racial tensions that run through the film are both intentional and required. Madsen’s raspy-voiced heroine offers a perfect counterpoint to Todd, both of them a blend of intelligent and sultry that make them more parallel than opposite.

Todd would go on to love again in the Candyman sequel Farewell to the Flesh, as well as star or co-star in countless other horror films, but it was the first time you hear that voice in this film that sealed his fate as an iconic horror villain.

2. Blacula/Mamuwalde (William Marshall), Blacula (1972)

Did someone mention awesome voices and onscreen presence? The great William Marshall is the picture of grace and elegance as Mamuwalde, the prince turned vampire.

The film is a cheaply made Blaxploitation classic, with all that entails. For every grimace-inducing moment (bats on strings, homophobic humor) there’s a moment of true genius, almost exclusively because of Marshall’s command of the screen and the character.

Though he’s often hampered by FX as well as writing, the character remained true throughout the film, even to his death. It’s the kind of moment that could be brushed aside, in a low budget flick with a lot of plot holes and silly make up. But there’s more to Blacula than meets the eye.

Blacula is a tragic antihero and it’s all but impossible to root against him. Marshall brought more dignity to the role of vampire than any actor has, and the strength and respectability he imbues in the character were not just revolutionary at the time, but were so pivotal to that particular character that he has become a legendary character in the genre.

1. Ben (Duane Jones), Night of the Living Dead (1968)

Over the years, much has been made of director George Romero’s assertion that Duane Jones’s casting in Night of the Living Dead had nothing to do with his color; Romero simply gave the role to the best actor.

Maybe so – and certainly Jones’s performance alone has a great deal to do with the success of the film – but casting a Black male lead in this particular film at this particular juncture in American history is among the main reasons the film remains relevant and important today.

Jones plays Ben, the level-headed survivor holed up in a Pennsylvania farmhouse trying to wait out the zombipocalypse. Ben is the clear cut leader of this group of survivors, caring for the shell-shocked young white woman (Judith O’Dea), working in tandem with the young couple also hiding out, and engaging in a needless and ugly power struggle with that dick Mr. Cooper.

Jones’s performance is, as Romero points out, easily the strongest in the ensemble, and that work alone would have made the role and the film memorable. But it’s the kick to the gut documentary-style ending that not only marks the film’s sociological period, it is a horrifying reminder of all that has not changed in the world.





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Fright Club: Best College Horror

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We’d like to thank Gordon Maples—blogger, horror fan and all around smarty pants—for joining us to count down the best college-themed horror movies. (We might talk about some of the worst, too.)

5. Night of the Creeps (1986)

B-movie heaven, writer/director Fred Dekker’s Night of the Creeps embraces—nay, bear hugs—what has come before. With the help of Tom Atkins (at the top of his game), this alien invasion/zombie/frat movie is a hoot.

This film about alien slugs that enter the human body, nest in the brain, and reanimate the corpse looks like a lot we’ve seen before (mainly Cronenberg’s Shivers) and a lot we’d see later (mainly James Gunn’s Slither). The fact that it can be so genre-referential and still become a touchstone for other filmmakers speaks volumes about Dekker’s grasp of the genre.

4. Pledge (2018)

On its surface, Pledge may appear to be little more than a competently made fraternity horror in the tradition of Skulls. It is a cautionary tale about hazing taken to its sadistic (if likely logical) extreme.

But director Daniel Robbins’s latest horror show, from a tight script by co-star Zack Weiner, digs into issues bigger than tribe mentality. Pledge is not just about how far you’d go to belong. It asks about compliance, cowardice, and the cost and definition of success.

Where Weiner’s savvy script and Robbins’s sly direction really excel is in digging into this predictable plot to find an ugly picture of American privilege.

3. Scream 2 (1997)

Just one year after director Wes Craven and writer Kevin Williamson struck gold with their meta-horror Scream, the survivors are off to college. Too bad the horror—and the rules—follow Sidney to campus.

The film picks up on its predecessor’s infatuation with genre tropes, this time trying to apply the rules of the sequel to what’s happening, giving characters the chance to figure their own plot out in an attempt to survive this sequel.

Fun return performances and excellent newcomers (Hello Laurie Metcalf! Good to see you Liev Schreiber and Timothy Olyphant!) keep this one fresh and fun.

2. Black Christmas (1974)

Sure, it’s another case of mysterious phone calls leading to grisly murders; sure it’s another one-by-one pick off of sorority stereotypes; sure, there’s a damaged child backstory; naturally John Saxon co-stars. Wait, what was different? Oh yeah, it did it first.

Released in 1974, the film predates most slashers by at least a half dozen years. It created the architecture. More importantly, the phone calls are actually quite unsettling.

Why the girls remain in the sorority house (if only they’d had an Official Red Ryder Carbine-Action Two-Hundred-Shot Range Model Air Rifle!), or why campus police are so baffled remains a mystery, but director Bob Clark was onto something with the phone calls, as evidenced by the number of films that ripped off this original convention.

1.Raw (2016)

A college freshman and vegetarian from a meat-free family, Justine (Garance Marillier) objects to the hazing ritual of eating a piece of raw meat. But once she submits to peer pressure and tastes that taboo, her appetite is awakened and it will take more and more dangerous, self-destructive acts to indulge her blood lust.

The film often feels like a cross between Trouble Every Day and Anatomy. The latter, a German film from 2000, follows a prudish med student dealing with carnage and peer pressure. In the former, France’s Claire Denis directs a troubling parable combining sexual desire and cannibalism.

Writer/director Julia Ducournau has her cagey way with the same themes that populate any coming-of-age story – pressure to conform, societal order and sexual hysteria. Here all take on a sly, macabre humor that’s both refreshing and unsettling.

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Fright Club: Best Jump Scares

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We spend a lot of time ripping on weak and lazy jump scares. But today we want to acknowledge that, when done well, jump scares can be an incredibly effective tool for a horror filmmaker.

Here are our 10 favorite jump scares from horror movies.

10. It Follows (2014): tall man at the door

This movie is a freak show of scares beginning to end, and the different images the demon takes throughout is forever terrifying and fascinating. But it was the tall man at the door that really got to us.

9. Les Diaboliques (1955): alive in the tub

First of all, this is a spoiler. But the film came out 65 years ago, so if you haven’t seen it by now (we even showed it once!), that’s on you, man. It’s a classic, and a classic scare.

8. The Ring (2002): I saw her face

Again, here is a film chocker block full of utterly fantastic creeps, all told a moment at a time. But it was that first one, when we see Samara’s first victim, that set the stage and made us jump out of our seats.

7. A Tale of Two Sisters (2003): under the sink

So much nuttiness, so many confusing ideas to keep track of, such a master class piece of atmosphere building in this film. You just are not expecting jump scares in this one. And yet, as one dinner party goes wrong…

6. Hereditary (2018): signpost

Tell us you saw this one coming and we will tell you that you are a liar.

5. Carrie (1976): Carrie White’s grave

Oh holy shit. You think Sue Snell has been through enough, what with missing out on prom and watching every friend she has die in a flaming blood bath. But you would think wrong.

4. Audition (1999): What’s in the bag?

Ring ring. Ring ring. The way Takashi Miike frames this scene, lovely Asami’s hair draped in front of her, her spine showing, that loud phone – you can’t take your eyes off her, waiting for her to rouse, to answer. You might not even notice that burlap sack…

3. Jaws (1975): Hey, it’s Bruce!

Jaws has two classic jump scares, and it was hard to pick. Remember when Hooper’s digging that tooth out of Ben Gardner’s boat and then, all the the sudden, a human head! Well, that would have been enough for most movies, but after waiting nearly 2/3 of the film to see that shark, Steven Spielberg introduces his lead with authority.

2. The Conjuring (2013): bureau

James Wan’s instant classic haunted house movie also boasts more than one strong contender for this list. That hand clapping scene, showcased in the trailer, was reason enough for us to buy our tickets. But the one that did the most damage starts with a sleep walker and ends with the best jump scare in the last twenty years.

https://www.youtube.com/watch?v=GOgC_YUyTYs

1. The Exorcist III: guy in the hall

There are so many utterly priceless moments in this underrated horror show: Patrick Ewing and Fabio as angels, Sam Jackson as a blind man, that terrifying confessional scene. But there is this one flash of white that is the reason everybody who sees this movie remembers it.

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Fright Club: Best of Troma

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Here it is—the topic to test the marriage. Luckily, so George did not have to watch every film on the list, we were able to snag a couple of experts. Phantom Dark Dave and Jen Dreadful join Fright Club to gush, ooze, splurt, spray and basically get sloppy with Troma.

5. Poultrygeist: Night of the Chicken Dead (2006)

Are you squeamish? If so, best of luck trying to make it through anything on this list. Poultrygeist is certainly not recommended.

Part Better Off Dead, part Night of the Living Dead, a whole lot of Poltergeist, Kaufman’s film picks apart horror tropes and fast food chains. The film will do nothing for your appetite.

4. Tromeo and Juliet (1996)

James Gunn is one of many cinematic giants who got started with Troma. Along with Troma co-founder Lloyd Kaufman and Shakespeare, Gunn penned a troma-tastic version of the Bard’s star-crossed romance. Truth be told, things work out a little better for Gunn’s cute couple.

Incest, cannibalism, homoeroticism, body fluids, poor food safety protocols and more delirious nastiness mark this as a bone-deep Troma effort, so don’t let the highbrow source material throw you.

3. The Toxic Avenger (1984)

Here’s the classic. No way we could put together a tribute to Troma without Toxie. The Eighties underdog flick feels tame compared to what came before and after, but Eighties Troma tended to be a little friendlier, almost mainstream.

Well, that might be an exaggeration, but Toxic Avenger offers an excellent first toe into the massive, polluted gene pool that is Troma.

2. Father’s Day (2011)

The creative team behind loving giallo spoof Editor started off making what could reasonably be considered a spoof of a Troma film that wound up being an actual Troma film because, let’s be honest, who could tell the difference?

Story schmory—the film sets up every conceivable way to offend, disgust and dismay and it has the best time doing it. You’ll know if this film is for you within two minutes. Chances are good you won’t make it through that opening scene, and even better that you be sickened before the end of the movie if you do stick it out. What they do is vile and hilarious.

1. Killer Condom (1996)

A Troma-distributed splatter/horror/comedy, Killer Condom is an enormous amount of fun. This is a German film—German actors delivering lines in German—but it’s set in NYC. You can tell because of the frequent shots of someone opening a New York Times newspaper machine.

Luigi Mackeroni (Udo Samel) is the grizzled NYC detective who longs for the good old days in Sicily. In German. He’s assigned to a crime scene in a seedy Time Square motel he knows too well, where it appears that women just keep biting off men’s penises.

Or do they?

This film is refreshingly gay, to start with, as nearly every major character in the film is a homosexual. The run-of-the-mill way this is handled is admirable, even when it is used for cheap laughs. (Babette, I’m looking at you).

It’s fun. It’s funny. It’s gory and wrong-headed and entertaining from start to finish. Who’d have guessed?

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Fright Club: Masks in Horror

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It is creepy when you can’t see someone’s face, unless it’s hidden behind one of those big horse masks, which forever tickle George. But whether the voice on the other side of that mask is asking if Tamra’s home or is telling you where to find your missing daughter, whether that mask is made of burlap, human flesh or the NHL standard fiberglass/Kevlar mix, murder is highly likely.

Here are our favorite masks in horror.

6. The Wicker Man (1973)

There are so many reasons to love this movie, but the fact that it started that incredibly effective trend in horror movies: the anonymity of the group mask.

It was done again and to magnificent effect in The Purge films, Strangers, and You’re Next. But what Robin Hardy does with it gooses the macabre, medieval nuttiness of his story. A bunny has rarely looked so menacing.

5. The Texas Chainsaw Massacre (1974)

What made Tobe Hooper’s 1974 classic the unnerving, even scarring, savage film that it was? The meat hook? The slam of that heavy metal door? The sound of the chainsaw?

There are so very many moments of terror, so many reasons to scream, you can almost overlook the fact that the main character, though he delivers no lines at all, is wearing somebody else’s face. In fact, depending on the scene (or his mood? his outfit?) he could be wearing any one of three different faces.

How messed up and genius is that?

4. Eyes without a Face (1960)

Director Georges Franju casts a spell with the haunting Christiane (Edith Scob). Graceful and lifeless, the mask hides Christiane’s flaws and her humanity. She is otherworldly.

Unlike the grotesque image often drawn by a mask in a horror film, Christiane’s smooth, colorless visage is as lovely and melancholy as it is terrifying.

3. Halloween (1979)

Thematically, it makes sense. Young Michael Myers is wearing a mask, looking through those little false eye holes, when he commits his first, soul-deadening murder. So when he comes home to pick up where he left off, naturally he’d need another costume.

But what John Carpenter created with his altered William Shatner mask was the prototypical boogeyman for all slashers to follow and for all retro horror after that. The soulless, colorless, unmoving face perfectly matched the lifeless killing machine, transforming Michael Myers into The Shape and changing the shape of horror as it did.

2. Friday the 13th, Part 3

First of all, the sack head Jason from Part 2 is so much creepier than the hockey mask Jason of Parts 3 – X and beyond. That burlap sack has been a terrifying look in horror movies (from The Town that Dreaded Sundown to Nightbreed to The Orphanage to Trick or Treat).

But it’s the hockey mask you remember. That’s the image that became iconic. Hell, it even made goalies seem cool. (Yes, they stole the idea from the old Martin Landau/Jack Palance/Donald Pleasance film Alone in the Dark, released earlier the same year), but still, who wore it better?

Jason did.

1. The Phantom of the Opera (1925)

The original Phantom’s mask may not be the coolest. In fact, his mask has evolved over the decades and iterations into something way, way cooler looking. But back in 1925, it was the mask and its removal that made this film a heart attack in the making.

Director Rupert Julian and star Lon Chaney used that mask and its removal to deliver one of cinemas first great scares.

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Fright Club: Shut-In Horror

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Misery loves company, yeah? So let’s hang out with some other folks whose stir-craziness leads to even worse decision making than our own. For the first time ever (to avoid a salt-in-the-wound effect), we are sticking strictly to movies you can stream right now—which means The Lodge didn’t make it, although we do really love that movie.

6. 10 Cloverfield Lane (2016)

More of a second cousin than a sequel to 2008’s Cloverfield, 10 Cloverfield Lane is a claustrophobic thriller. No found footage. No shaky camera. No perturbed kaiju.

Michelle (Mary Elizabeth Winstead) wakes from a car crash handcuffed to a pipe in a bunker. Howard (John Goodman, top-notch as usual), may simply be saving her from herself and the apocalypse outside. Good natured Emmett (John Gallagher Jr.) certainly thinks so.

First-time director Dan Trachtenberg ratchets up the tension as the film progresses, finding the creepiness in even the most mundane domestic activities, as an award-worthy performance from John Goodman reminds us monsters come in many forms.

*Cheapest on YouTube, Google Play, Vudu

5. Rammbock: Berlin Undead

Why does this film work?

Michael (Michael Fruith) arrives in Berlin to visit his recently-ex girlfriend. She’s not home. While he waits in her apartment, Berlin falls prey to the zombipocalypse.

It’s actually the rage virus, and it’s how well Rammbock plays like the Berlin equivalent of 28 Days Later or Quarantine that helps it excel.

Michael finds himself trapped inside his ex’s apartment building, scheming survival tricks with the plumber hiding out with him. The team work, strategy, human kindness and pathos all combine with really solid acting and more than a few well-choreographed action bits to help this film more than transcend familiar tropes.

You love these guys. You believe in them, and the idea that they won’t make it through this is dreadful. Director/co-writer Marvin Kren, blessed with a stellar cast, works your sympathies and your nerves.

*Amazon Prime, Google Play, Vudu, iTunes

4. What Ever Happened to Baby Jane? (1962)

Bette Davis and Joan Crawford? Yes, please!

The two then-aging (just barely, if we’re honest) starlets played aging starlets who were sisters. One (Davis’s Jane) had been a child star darling. The other (Crawford’s Blanche) didn’t steal the limelight from her sister until both were older, then Blanche was admired for her skill as an adult actress. Meanwhile, Jane descended into alcoholism and madness. She also seemed a bit lax on hygiene.

Blanche winds up wheelchair bound (How? Why? Is Jane to blame?!) and Jane’s envy and insanity get the better of her while they’re alone in their house.

Famously, the two celebrities did not get along on set or off. Whether true or rumor, the performances suggest a deep, authentic and frightening hatred borne of envy that fuels the escalating tension.

Davis is at her unhinged best in a performance that earned her an Oscar nomination. Crawford pales by comparison (as the part requires), but between the hateful chemistry and the story’s sometimes surprising turns, this is a movie that ages well, even if its characters did not.

*super cheap on Amazon Prime, YouTube, Google Play

3. It Comes at Night (2017)

Deep in the woods, Paul (Joel Edgerton, solid as always), Sarah (Carmen Ejogo) and their teenage son Travis (Kelvin Harrison, Jr.) have established a cautious existence in the face of a worldwide plague. They have boarded their windows, secured their doors, and enacted a very strict set of rules for survival.

At the top of that list: do not go out at night.

Writer/director Trey Edward Shults explores the confines of the house with a fluid camera and lush cinematography, slyly creating an effective sense of separation between the occupants and the dangers outside. But what are those dangers, and how much of the soul might one offer up to placate fear itself? In asking those unsettling questions, It Comes at Night becomes a truly chilling exploration of human frailty.

*Netflix

2. Housebound (2014)

Gerard Johnstone writes and directs, though his brightest accomplishment may be casting because Morgana O’Reilly’s unflinching performance holds every moment of nuttiness together with brilliance.

O’Reilly plays Kylie, a bit of a bad seed who’s been remanded to her mother’s custody for 8 months of house arrest after a recent spate of bad luck involving an ATM and a boyfriend who’s not too accurate with a sledge hammer.

Unfortunately, the old homestead, it seems, is haunted. Almost against her will, she, her hilariously chatty mum (Rima Te Wiata) and her deeply endearing probation officer (Glen-Paul Waru) try to puzzle out the murder mystery at the heart of the haunting. Lunacy follows.

Good horror comedies are hard to come by, but Johnstone manages the tonal shifts magnificently. You’re nervous, you’re scared, you’re laughing, you’re hiding your face, you’re screaming – sometimes all at once. And everything leads up to a third act that couldn’t deliver any better.

*free on Tubi; also on iTunes

1. The Shining (1980)

It’s isolated, it’s haunted, you’re trapped, but somehow nothing feels derivative and you’re never able to predict what happens next. It’s Stanley Kubrick’s masterpiece rendition of Stephen King’s The Shining.

A study in atmospheric tension, Kubrick’s vision of the Torrance family collapse at the Overlook Hotel is both visually and aurally meticulous. It opens with that stunning helicopter shot, following Jack Torrance’s little yellow Beetle up the mountainside, the ominous score announcing a foreboding that  the film never shakes.

The hypnotic, innocent sound of Danny Torrance’s Big Wheel against the weirdly phallic patterns of the hotel carpet tells so much – about the size of the place, about the monotony of the existence, about hidden perversity. The sound is so lulling that its abrupt ceasing becomes a signal of spookiness afoot.

*cheapest on YouTube, Google Play, Vudu, iTunes

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Fright Club: Bad Doctors in Horror

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As we salute the tireless work of our great doctors and health care workers during this uneasy time, Fright Club looks at our favorite “bad doctors” in horror!

5. Herbert West, Re-Animator (1985)

Stuart Gordon’s Re-Animator reinvigorated the Frankenstein storyline in a decade glutted with vampire films. Based, as so many fantasy/horror films are, on the work of H. P. Lovecraft, Re-Animator boasts a good mix of comedy and horror, some highly subversive ideas, and one really outstanding villain.

Jeffrey Combs, with his intense gaze and pout, his ability to mix comic timing with epic self righteousness without turning to caricature, carries the film beginning to end. His Dr. Herbert West has developed a day-glo serum that reanimates dead tissue, but a minor foul up with his experimentations – some might call it murder – sees him taking his studies to the New England medical school Miskatonic University. There he rents a room and basement laboratory from handsome med student Dan Caine (Bruce Abbott).

They’re not just evil scientists. They’re also really bad doctors.

Re-Animator is fresh. It’s funny and shocking, and though most performances are flat at best, those that are strong more than make up for it. First-time director Gordon’s effort is superb. He glories in the macabre fun of his scenes, pushing envelopes and dumping gallons of blood and gore. He balances anxiety with comedy, mines scenes for all they have to give, and takes you places you haven’t been.

4. Beverly and Elliot Mantle, Dead Ringers, (1988)

This film is about separation anxiety, with the effortlessly melancholy Jeremy Irons playing a set of gynecologist twins on a downward spiral. Writer/director David Cronenberg doesn’t consider this a horror film at all. Truth is, because the twin brothers facing emotional and mental collapse are gynecologists, Cronenberg is wrong.

Take, for instance, the scene with the middle aged woman in stirrups, camera on her face, which is distorted with discomfort. Irons’s back is to the screen, her bare foot to his left side. Clicking noises distract you as the doctor works away. We pan right to a tray displaying the now-clearly-unstable doctor’s set of hand-fashioned medical instruments. Yikes.

Irons is brilliant, bringing such flair and, eventually, childlike charm to the performances you feel almost grateful. The film’s pace is slow and its horror subtle, but the uncomfortable moments are peculiarly, artfully Cronenberg.

2. Dr. Heiter, The Human Centipede (First Sequence) (2009)

After a handful of middling Dutch comedies, Tom Six stumbled upon inspiration – 100% medically accurate inspiration. Yes, we mean the Human Centipede. Just the First Sequence makes the list, though.

For a lot of viewers, the Human Centipede films are needlessly gory and over-the-top with no real merit. But for some, Six is onto something. His first effort uses a very traditional horror storyline – two pretty American girls have a vehicular break down and find peril – and takes that plot in an unusual direction. But where most horror filmmakers would finish their work as the victims wake up and find themselves sewn together, mouth to anus, this is actually where Six almost begins.

Although the film mines something primal about being helpless in the hands of surgeons and doctors, it’s Dieter Laser and his committed, insane performance that elevates this film. That and your own unholy desire to see what happens to the newly conjoined tourists.

2. Dr. Genessier, Eyes Without a Face (1960)

The formula behind this film has been stolen and reformulated for dozens of lurid, low-brow exploitation films since 1960. In each, there is a mad doctor who sees his experiments as being of a higher order than the lowly lives they ruin; the doctor is assisted by a loyal, often non-traditionally attractive (some might say handsome) nurse; there are nubile young women who will soon be victimized, as well as a cellar full of the already victimized. But somehow, in this originator of that particular line of horror, the plot works seamlessly.

An awful lot of that success lies in the remarkable performances. Pierre Brasseur, as the stoic surgeon torn by guilt and weighed down by insecurities about his particular genius, brings a believable, subtle egomania to the part seldom seen in a mad scientist role.

Still, the power in the film is in the striking visuals that are the trademark of giant French filmmaker Georges Franju. His particular genius in this film gave us the elegantly haunting image of Dr. Genessier’s daughter Christiane (Edith Scob). Her graceful, waiflike presence haunts the entire film and elevates those final scenes to something wickedly sublime.

1. Hannibal Lecter, The Silence of the Lambs (1991)

Who else but Hannibal the Cannibal?

Anthony Hopkins’s eerie calm, his measured speaking, his superior grin give Lecter power. Everything about his performance reminds the viewer that this man is smarter than you and he’ll use that for dangerous ends. He’s toying with you. You’re a fly in his web – and what he will do to you hits at our most primal fear, because we are, after all, all part of a food chain.

Fright Club, Slider

Fright Club: Nobody Dies

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Leave it to our Correspondent from the Future, Cory Metcalfe, to come up with this killer topic. We rank the best horror films in which not one single person dies—not during the running time, anyway. And yet, they’re scary. Well, they range from funny to spooky to unsettling to terrifying, but these films prove that a good filmmaker can terrify you without pushing the knife all the way in.

5. Compliance (2012)

Compliance is an unsettling, frustrating and upsetting film about misdirected and misused obedience. It’s also one of the most impeccably made and provocative films of 2012 – a cautionary tale that’s so unnerving it’s easier just to disbelieve. But don’t.

Writer/director Craig Zobel – who began his career as co-creator of the brilliant comic website Homestar Runner (so good!) – takes a decidedly dark turn with this “based-on-true-events” tale. It’s a busy Friday night at a fast food joint and they’re short staffed. Then the police call and say a cashier has stolen some money from a customer’s purse.

A Milgram’s experiment come to life, the film spirals into nightmare as the alleged thief’s colleagues agree to commit increasingly horrific deeds in the name of complying with authority.



4. They Look Like People (2015)

Christian (Evan Dumouchel) is killing it. He’s benching 250 now, looks mussed but handsome as he excels at work, and he’s even gotten up the nerve to ask out his smokin’ hot boss. On his way home from work to change for that date he runs into his best friend from childhood, Wyatt (MacLeod Andrews), who’s looking a little worse for wear. Christian doesn’t care. With just a second’s reluctance, Christian invites him in – to his apartment, his date, and his life.

But there is something seriously wrong with Wyatt.

Writer/director Perry Blackshear’s film nimbly treads the same ground as the wonderful Frailty and the damn near perfect Take Shelter in that he uses sympathetic characters and realistic situations to blur the line between mental illness and the supernatural.

3. The Conjuring (2014)

James Wan’s classic haunted house tale delivered real scares from start to finish. Yes, this is an old fashioned ghost story, built from the ground up to push buttons of childhood terror. But don’t expect a long, slow burn. Director James Wan expertly balances suspense with quick, satisfying bursts of visual terror.

Wan understands the power of a flesh and blood villain in a way that other directors don’t seem to, eschewing CGI for practical effects and understanding that our physical danger is not always as terrifying as what could happen to our souls.

2. Freaks (1932)

Short and sweet, like most of its performers, Tod Browning’s controversial film Freaks is one of those movies you will never forget. Populated almost entirely by unusual actors – midgets, amputees, the physically deformed, and an honest to god set of conjoined twins (Daisy and Violet Hilton) – Freaks makes you wonder whether you should be watching it at all. This, of course, is an underlying tension in most horror films, but with Freaks, it’s right up front. Is what Browning does with the film empathetic or exploitative, or both? And, of course, am I a bad person for watching this film?

Well, that’s not for us to say. We suspect you may be a bad person, perhaps even a serial killer. Or maybe that’s Hope. What we can tell you for sure is that this film is unsettling, and the final, rainy act of vengeance is truly creepy to watch.

1. The Babadook (2014)

You’re exhausted – just bone-deep tired – and for the umpteenth night in a row your son refuses to sleep. He’s terrified, inconsolable. You check under the bed, you check in the closet, you read a book together – no luck. You let him choose the next book to read, and he hands you a pop-up you don’t recognize: The Babadook. Pretty soon, your son isn’t the only one afraid of what’s in the shadows.

Writer/director Jennifer Kent’s film is expertly written and beautifully acted, boasting unnerving performances from not only a stellar lead in Essie Davis, but also the alarmingly spot-on young Noah Wiseman. Davis’s lovely, loving Amelia is so recognizably wearied by her only child’s erratic, sometimes violent behavior that you cannot help but pity her, and sometimes fear for her, and other times fear her.

Much of what catapults The Babadook beyond similar “presence in my house” flicks is the allegorical nature of the story. There’s an almost subversive relevance to the familial tensions because of their naked honesty, and the fight with the shadowy monster as well as the film’s unusual resolution heighten tensions.

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Fright Club: Bad Date Horror

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I can see where you might believe that these are films in which bad dates occur. While that might be a fine, future podcast and list, the fact is that today we explore the worst horror movies to watch while you are on a date.

While horror movies can sometimes make for excellent date night choices, these, we predict, will turn the date sour. They are also highly likely to douse any romantic sparks. (And if they don’t, your date is a sociopath. Be warned.)

5. Audition (1999)

The prolific director Takashi Miike made more than 70 movies in his first 20 or so years in film. Among the best is Audition, a phenomenally creepy May/December romance gone very, very wrong.

Audition tells the story of a widower convinced by his TV producer friend to hold mock television auditions as a way of finding a suitable new mate. He is repaid for his deception.

Nearly unwatchable and yet too compelling to turn away from, Audition is a remarkable piece of genre filmmaking. The slow moving picture builds anticipation, then dread, then full-on horror.

By the time Audition hits its ghastly conclusion, Miike and his exquisitely terrifying antagonist (Eihi


4. Irreversible (2002)

French filmmaker/provocateur Gaspar Noe does not play well with his audience. Every film, no matter how brilliantly put together or gloriously filmed, is a feat in masochism to watch. Later efforts, like Enter the Void and Climax, spread the misery out for its full running time, but for Irreversible, he gave it to us in two horrifying scenes.

Filmed in reverse chronological order and featuring those two famously brutal sequences, Noe succeeds in both punishing his viewers and reminding them of life’s simple beauty. While the head bashing is tough viewing, the film centers on a rape scene that is all but impossible to watch.

Noe’s general MO is to punish you through sheer duration. The scenes last so long you feel like you cannot endure another minute, and this scene certainly does that. Not shot even momentarily for titillation, and boasting a devastatingly excellent performance from Monica Bellucci, it justifies its own horrific presence. There are other films with necessary and difficult rape scenes – Straw Dogs, I Spit on Your Grave, The Last House on the Left, Henry: Portrait of a Serial Killer – but none is harder to stomach than this.

There’s no denying the intelligence of the script, the aptitude of the director, or the absolute brilliance of Monica Bellucci in an incredibly demanding role.

3. Teeth (2007)

Of all the films built on the hysteria of impending womanhood, few are as specific as Teeth, a film in which a pubescent discovers a sharp set where teeth ought not be. This is a dark comedy and social satire that is uncomfortable to watch no matter your gender, although I imagine it may be a bit rougher on men.

Treading on the dread of coming-of-age and turning male-oriented horror clichés on ear, Teeth uses the metaphor implicit in vagina dentata—a myth originated to bespeak the fear of castration—to craft a parable about the dangers as well as the power of sexual awakening.

Written and directed by artist (and Ohioan!) Roy Lichtenstein’s son Mitchell, Teeth boasts an irreverent if symbol-heavy script with a strong and believable lead performance (Jess Weixler).

Weixler’s evolution from naïveté to shock to guilt to empowerment never ceases to captivate.

https://www.youtube.com/watch?v=J-qd-k0Vg7s

2. Antichrist (2009)

Lars von Trier’s foray into horror follows a couple down a deep and dark rabbit hole of grief. Von Trier’s films have often fixated on punishing viewers and female protagonists alike, but in this film the nameless woman (played fearlessly by Charlotte Gainsbourg) wields most of the punishment – whether upon her mate (Willem Dafoe) or herself.

Consumed by grief, a mother allows her husband—also grieving—to become her psychotherapist as they retreat to their isolated cabin deep in the woods where they will try to overcome the horror of losing their only child.

They won’t succeed.

Like dental scenes, gynecological horror draws a particular reaction. Whether it’s the abuse scene at the beginning of Proxy, nearly any scene in the brilliant French film Inside, or the final feast in Trouble Every Day, scenes of this ilk can be tough to watch. But to watch as Gainsbourg – who’s already inflicted some serious pain on Dafoe’s character – takes the scissors to herself is next to impossible.

https://www.youtube.com/watch?v=w4U5rdi9w-U


1. A Serbian Film (2010)

This is not a movie we would recommend to basically anyone. That’s not to say it’s a bad film – it’s well directed, acted, and written. It’s just that the co-writer/director Srdjan Spasojevic is trying to articulate the soul-deadening effects of surviving the depravity of war.

The title is no coincidence – the film is meant to reflect the reality of a nation so recently involved in among the most horrific, unimaginable acts of war. It’s as if Spasojevic is saying, after all that, what could still shock us?

Milos (Srdjan Todorovic) was a porn star before the war. He’s lured back for one lucrative “acting” effort, but there’s a reason it pays so well.

The entire film is an assault, but there is one scene in this one that catapults it to the top of this list, and you probably already know what that is. Milos (Srdjan Todorovic) finally realizes the depths of his new director’s evil when he sees his latest effort: newborn porn. There is no unseeing this.