Ten Best Horror Films - Page 2

Exactly.

Yeah, I realised that a while later and felt a bit silly.

Godammit. I am so tired of having to explain to my peers why Psycho is such a great movie.

twist 1505: we watched Psycho
soybomb43: how'd you like it?
twist 1505: i thought it wasnt scary at all
twist 1505: and then we watched part of underworld
soybomb43: and how was that
soybomb43: you're way wrong about Psycho, by the way
twist 1505: no im not
twist 1505: it wsant scary
twist 1505: it was creepy
twist 1505: but not scary
soybomb43: interesting distinction
soybomb43: what do you mean?
twist 1505: creepy is just, you get weirded out
twist 1505: scary is can't watch, totally freaked
soybomb43: being creeped out is a kind of scared
soybomb43: it's a kind of scared that takes much more talent
twist 1505: yea
soybomb43: and it's a kind of scared that grows every time you watch it
twist 1505: but it wasnt scary
twist 1505: like
twist 1505: i watched
twist 1505: and i wasn't afraid
soybomb43: you're missing the point completely
twist 1505: i doubt it
soybomb43: I don't blame you
soybomb43: I thought the same thing when I first saw it
soybomb43: it's very different than what modern audiences are used to
soybomb43: the same reason people don't find old vaudevill comedians hilarious
soybomb43: but it's a movie that you grow to appreciate more and more
soybomb43: once you know everything that happens
soybomb43: and stop worrying about the plot
soybomb43: you start to notice all this little shit about the way Norman is
soybomb43: and once you know exactly who he is and what he is later going to do
soybomb43: you start to wonder at what point he decides to murder her
soybomb43: cuz there's a shift after the scene in the room with the birds
soybomb43: a shift in his manner
soybomb43: somewhere along their conversation
soybomb43: he knows he is going to murder her
soybomb43: after a few times of watching it, you pick up on tiny details like that
soybomb43: and it's amazingly creepy
soybomb43: the shower scene, not shocking
soybomb43: that's just a fact
soybomb43: movies age
soybomb43: but the reason that movie is such an amazing film
soybomb43: is because
soybomb43: it is effectively creepy
soybomb43: it gets under your skin
soybomb43: the more you watch it
soybomb43: and pick up on the implications of incest
soybomb43: necrophilia
soybomb43: it's all subtext
soybomb43: which is what makes psycho killers scary in the first place
soybomb43: the fact that they appear to be normal
soybomb43: when it first came out
soybomb43: the first time people saw it they were freaked out
soybomb43: because they thought Marion was the main chracter
soybomb43: and it was very violent and transgressive for the time
soybomb43: the shock of the initial viewing is no longer present in the film
soybomb43: to modern audiences, who know the shower scene, who have seen MUCH MUCH MUCH more brutal violence
soybomb43: and all that
soybomb43: but the creepiness remains
soybomb43: at least, that's how I see it
twist 1505 signed off at 11:56:02 PM.

Sigh. Women. amirite? amirite?

I can't completely defend why some people, myself included, don't appreciate certain classic, obviously superior horror films, but I can understand it. Horror films, probably more than any other genre, can be completely affected and ultimately ruined by hype, expectations and the effects of other films, mainly how important gore has become a factor to your horror movie experience.

My formative, teenage years came during the late 80's/early 90's when horror was THE staple of teenage video viewing and slasher flicks with the more gore the merrier was all that mattered. Although films like Halloween and Friday the 13th were effective to me, I hated Texas Chainsaw Massacre when I was younger due to the legend it was built into before I saw it and it's, by that time's standards, lack of gore. It wasn't until my late twenties that I began to understand why TCM was such a brilliant movie and it was only in the last few years that I remembered the subtle moments that made Halloween so godlike. It had become such an old hat sort of thing to me that I didn't appreciate it anymore and I was wrong on that.

Horror isn't always a genre that's easy to put into rational, subjective boundries of greatness. It's a visceral experience and I'll give some leway on how people feel about it, as long as they aren't completely full of shit.

With that, my top ten as I feel now and not in order. No explanations right now. I'll add that later. Sorry, but I'm only including modern horror films here. As much as I love the classic Universal films and Hammer, it's a different breed or horror and it doesn't work on the same level. Argue as you wish.

1 - The Thing
2 - Evil Dead 2
3 - Audition
4 - Texas Chainsaw Massacre
5 - Halloween
6 - Near Dark
7 - Night of the Living Dead
8 - American Werewolf in London
9 - The Brood
10 - Alien

I'd love to be able to replace on of those films with Psycho, but I can't.

Honorable Mention - The Ring/Ringu (they both work on their own merits), Dawn of the Dead, Dead Alive, The Fly, Session Nine, Devil's Rejects, Susperia, Demons, Silence of the Lambs, Re-Animator, The Hills Have Eyes, Ginger Snaps, Psycho, Frailty

Movies, though well made, strangely never registered with me - The Shining, The Exorcist

I'm one of five people who loved - Cabin Fever, House of 1000 Corpses

Next most controversial stance - The Dawn of the Dead remake is about a billion times better than Land of the Dead. Gnash your teeth all you want, but I will not waver on that.

Begrudging respect to - Scream. You can't deny that the first one worked, even though the sequels blew and it singlehandedly ruined horror films for several years. Thanks God it's dead, but it was brilliant for a second.

You consider Near Dark horror? Horror like The Thing or Halloween?

The imdb claims that SILENT NIGHT, BLOODY NIGHT had its release in April 1974 (though I've seen many other sources list it as opening in 1973). BLACK CHRISTMAS was released in December 1974. I don't believe BLACK CHRISTMAS took specific story elements from the earlier film -- Roy Moore's script had been floating around for awhile (first as The Babysitter, then as Stop Me). But I do think Bob Clark saw SILENT NIGHT when it first came out, and borrowed much of Gershuny's tone and atmosphere when he made BLACK CHRISTMAS. Watch the two films back-to-back if you don't believe me. I think you'll notice that they feel very similar.

NEAR DARK has an interesting premise and a beautifully crafted first half (especially that long sequence in the bar). Then it turns into a by-the-numbers genre picture, with silly action bits and a forced happy ending that isn't at all consistent with the rules established. For me it was a huge disappointment, like all of Kathryn Bigelow's films with the exception of STRANGE DAYS.

AUDITION's fatal problem occurs in the third act, when it becomes (deliberately?) incoherent.

POLTERGEIST is yet another Spielberg movie with no balls. Decent special effects, certainly, but it didn't grab me in the slightest. And it's not like I'm a Tobe Hooper loyalist -- I think he would've done an even worse job.

What would have made Poltergeist a "movie with balls"?

The scene with the magic chairs always makes me smile.

Collier, isn't the third act of Audition where the real fun begins? I mean, prior to the scene with the "bag", it's pretty much a tame love story.

No, of course not. It's not frightening, but it is still technically a horror film and it's, flaws and all, one of my favorites. I think it's may be the best modern spin on the vampire mythology and the only one that truly crosses the span between showing vampires as the monsters they once were viewed exclusively as and the romanticized, lonely victims that Anne Rice and White Wolf have turned them into. The fabled bar scene alone elevates it above a good portion of modern horror, as does it's characterizations and some of the strongest acting from everyone involved. It holds a very strong place in my heart and one that's held up over years of repeated viewing, so I feel no shame in ranking it in my top ten of modern horror.

I will also defend Audition to the death and the criticism that it gets incoherent is one that I find ludicrous. Audition is, perhaps, the most deliberately paced and scripted film that Miike has ever done and the one where he reels it in for the sake of the story by far. As Chris said, the first two-thirds are fairly standard and tame, even though Miike's commentary on the pervasive lonliness of Japanese society and the evolution of women's roles in Japan (not to mention how vast the generational gap in that country can be) is very carefully layed out. It's brilliance lies in how Audition begins as a semmingly romantic comedy, then quickly descends into a jarring madness that you would never see coming if you didn't know what you were watching. I didn't find anything confusing about Audition at all and if there are a few things that seem off putting or full of questions, they are easily rectified by a subsequent viewing and some thought on what you've just watched.

All I can say is, if you found Audition incoherent, don't even bother trying to watch anything else Miike has done. Audition is actually as mainstream as Miike has ever done.

I think this applies to Romero's MARTIN, but not to NEAR DARK. The last part of the film -- when Pasdar wipes out the crew -- is a lot of mindless explosions and stuntwork. And don't even get me started on the ending.

That's true of the first two acts.

It is. That's why you don't need to explain it to me.

Then why don't you guide me through the "Oh no, she's really nuts!" montage near the close of the film, starting with the moment when Shigeharu discovers he's been drugged and falls to the carpet. Please enlighten me as to exactly what is meant to be real, Shigeharu's dream, Shigeharu's hallucination, Shigeharu's sixth sense, or a mix of both his and Asami's? How does he even know what Asami's apartment looks like? Or is the scene with the puke and the dog bowl not supposed to be from his point-of-view? What is it?

From my impression of the DVD commentary, not even Miike has a clear idea.

Irrelevant. I don't mind ambiguity if the boundaries of the story as it pertains to logic and character perspective are firmly established and the writer/director is consistent with them. If there's a lack of consistency, then it becomes incoherent.

Funny thing is, I really like AUDITION. I just think it's flawed.

Is that to say you were 10 years old the first time you saw THE EXORCIST? Wow, good for you, man. That would've put me in therapy for a few years.

I think the reason why it pops up on various lists of classic horror films is a matter of interpretation. Everyone responds to horror differently for different reasons. That's more about thematic elements or thinks like effects, like you're getting at.

Having said that, there is a reason why it should pop up on the list of the very best films, and that's because of how well it's made, from top to bottom. Friedkin's direction, the performances, the sound design, Blatty's script, Owen Roizman's photography, the use of Georgetown, all of these things combine to make THE EXORCIST the masterpiece it is. So you may not respond to it as viscerally as many others, but it's the real deal. IMHO, compared with the other stalwarts of the genre, it belongs in any and every discussion of the best horror films ever made.

Rather than make a new thread, I'll just post this here, it seems fitting...

Boston.com's 50 Scarriest movies


I am pretty happy with teh list, kinda agreew ith most of it, am meh about some, totally in agreement about Number 1!

I don't think there's anything to walk you through and really, you can mix and match those interpretations any way you want and it still works. I'm not sure why you're even thinking about any of it as inconsistent character perspective. It's nightmare imagery and Miike likes to throw in confusing scenes that are left open to interpretation.

Since it begins with Shieharu's passing out and ends with him waking up, I took it all as things going on in his mind. There's initially him waking up and everything is okay. Nothing has gone wrong. It's his mind attempting to deal with what's happening to him and will it away. He slowly begins to recount things that have happened and as the horrors that are happening begin to worm their way back into his conscious, his memories begin to become interspliced with what his reality has now become. They begin to tangle with the clues he should have picked up on and he imagines what has gone on in the past, what Asami has done and who she is. The explanations of her past may or may not be true, it's just what he's imagining now. As for how he knew what her apartment looked like or how she had a disfigured man in a sack eating puke for a dog bowl, he didn't. This part, I'll admit, isn't clear cut, but I don't think it matters. It's effective and it doesn't render the film incoherent. I think it's still just his rational mind piecing things together and combining with his nightmare world to create the image. Just, somehow, he's guessing completely right. It's a little off kilter, but not a deal breaker.

I'll admit, when the shift to this dream state first occurs, it's jarring and uit takes a bit before you get your barrings again. If the film had ended with these images, then your criticisms would hold up better. But when the conclusion is firmly rooted in reality, I'm just not getting why you think the entire third act is incoherent.

Maybe I'm the one interpreting it wrong, but That's what I was getting out of it. I haven't heard Miikes comments on the film, so if you're saying he doesn't really know what the fuck is going on, them maybe I am wrong. Or maybe I'm still right.

Despite some interesting selections, any list that includes "Blair Witch 2" and "Arachnophobia" is immediatly suspect. And War of the worlds, Willy Wonka, Videodrome and Altered States belong no where near this type of list.

I think they were more interested in getting a good mix of horror, pure gore to pure psychological terror, than getting movies most of us would consider scary.


I am sure there are people out there who were freaked out by the Oompa Lumpas.

I am confused by the inclusion of Blair Witch II as well, I mean the original irritates me to no end, but at least it was innovative and different.

War of the Worlds used to be very scary remember. My sister saw it as a child and then was convinced the light posts outside where really aliens out to get her. Like I said, I think they were going for a good mix of movies, so that everyone could identify with a movie that freaked them out somewhere in the list.


We're all freaked otu by something different, me? I am deeply affected by zombies. I watch Dawn of the Dead and have nightmares for days. While watching Night of the Living Dead I am constantly looking out the window and forming a battle plan. Hell, when I was a kid I was too scared to watch Thriller. Yes that's right, Thriller.

Otoh I thought Excorcist was overrated, but some people are really terrified at that movie and anything to do wtih demonic possesion.


And really, that's what makes The Thing so perfect for number one. It combines a bunch of elements from different types of horror: gore, alien menace, paranoia, claustrophobia, isolation, etc and turns it into this perfect horror film.

This House is Clean

Speaking of which, does anyone know how they accomplished this effect? It's a single unedited shot where Jobeth Williams pushes the chairs in around the dinner table, walks over to the sink, and looks back to find some wacky chair stacking. It's probably as simple as some union dudes marched onto the set while the camera panned away and removed the furniture, replacing it with the pre-stacked set. But I'm curious nonetheless.

"Poltergeist" is definitely a movie deserving of some special edition treatment.

Somebody who puts Freaks lower on the scare list than Book of Shadows needs to have their severed head examined.

That's correct, they did have a pre-stacked set of chairs. But I love that scene. So effective.

I like the neat homage to that scene in THE SIXTH SENSE when the mother leaves the kitchen to grab the laundry and comes back to find all the cupboards and drawers open.

I wasn't particularly impressed with it in terms of horror, but I recognized it as a well done movie. Though really, I found the story of the priest far more interesting. The only really creepy parts, imo, were in the hospital when they're running tests on Reagan. I believe something similar was done to my brother when he was a kid and it was stressful adn traumatic.


But as for the demon stuff, I wasn't very stressed by that.

What was it like seeing the film during its first run? Do you remember it vividly?

I'll bite. And I'm taking 13 with me since I don't post as often as I should and I'm cashing in:

Battle Royale (2002) Dir: Kinji Fukasaku
It's almost totally on face value that this picture works, and on the ironies which that face value throws up and the conflicts it creates that means it pulsates with subtext and emotion. The heartfelt plea by the father "You can do it" isn't cheesy. It's an aching plea for optimism in a child from an adult to save himself (in the classroom; in the game should he be picked; in life). It's aching. And the 'secret to the smile' at the end -- Fukasaku pulled Douglas Sirk into the ring with Verhoeven and created magic.

It contains all this and it's a genre film. That's grandness, right there.


The Blob (1988) Dir: Chuck Russell
A monster movie to rule a decade. The sterling efforts of Russell, Frank Darabont meld to create one of the single greatest deaths in the modern horror film involving a sink. As invigorating as Night Of The Creeps with more genuine verve and high concept audacity than any Emmerich pseudo-b-picture picture could dream of.


Curse Of The Demon (1957) Dir: Jacques Tourneur
Questionable appearance of the creature aside, this combines palm-dampening dread, fiendish plotting and a raft of superb character acting to produce a British picture every bit as chilling as The Wicker Man with the same gothic panache Tourneur effortlessly elicited for his Val Lewton pictures.


Candyman (1992) Dir: Bernard Rose
Terror by daylight is a menacing prospect for filmmakers (if not always the audience) but Bernard Rose takes off from his Paperhouse into the heady realms of the Barkerian mind fuck. And old fashioned spook story done with exquisite taste and intelligence


The Exorcist III (1990) Dir: William Peter Blatty
It's been said already, but the greatest cinematic shock since Cat People is but one facet of this deeply troubling, deftly written and compellingly performed follow-up that just seems less forced than the still superb original.


The Fly (1986) Dir: David Cronenberg
The best remake of all time. This has the upper hand on The Thing purely by virtue of it superb realisation as a tragically dramatic chamber piece as well as a stark horror film. The most perfect distillation of Cronenberg's passionate cause for the parasite and body politic to date.


Don't Look Now (1972) Dir: Nicholas Roeg
One of the saddest picture ever made. It oozes tragic fatalism and tremulous unease throughout every lovingly shot frame, from the wrenching opening through the emotionally charged love scenes and menacing, always enclosing Venice streets to the truly shocking climax.


The Fog (1980) Dir: John Carpenter
I find this his most purely visual picture and it makes so much more of an impact because if it. Cinematographer Dean Cundey was at the top of game here and it shows in every crepuscular frame and striking composition.


Inferno (1980) Dir: Dario Argento
The flickering light sequence composed to a stuttering Verdi is one of Argento's most unnerving. This is his most lovingly encapsulated vision of a fever dream, succumbing to neither the pure stylistic excess of Suspiria nor that awe-inspiring narrative trickery of Deep Red, his other two finest pictures. Keith Emerson's score seals it.


Jacob's Ladder (1990) Dir: Adrian Lyne
My personal favourite picture of all time, it's got everything: pathos, tragedy, comedy, romance, unnerving terror, terrific performances, dazzling imagination and a pure soul raging beneath the evocation of hell on earth.


Night Of The Hunter (1955) Dir: Charles Laughton
Shock Corridor DoP Stanley Cortez here makes Laughton's only directorial outing look like a delirious fairy tale sprung right off the page. Swimming with tremendously fantastical imagery straight from the kid'- eye-view of the traumatic situation unfolding, it trumps even Cape Fear's incarnation of pure, devilry and menace.


Waxwork (1988) Dir: Anthony Hickox
As witty, vibrant and outlandish as his father's Theater Of Blood, Hickox Jnr's debut is as pleasurable as B Movies get, packed to the gills with enough ideas for 10 pictures, great f/x gags, over-the-top performances and a lush look and sound that throws back to the great exploitation of Hammer, Tigon and Amicus. It beats anything Stephen Sommers has tried or perhaps thought of since.


The Changeling (1979) Dir: Peter Medak
Long before The Ring (though a long time after Onibaba and the great ghost pictures of the 60s, like Black Sabbath), Medak's picture melded scarifying sound and vision so simply that it made the dread evoked seem almost effortless. Even a limp and fiery climax can't dispel the impact of the attic room, the séance and that clanging bathtub.

Or if you really wanted to be thorough, you go beyond Bava's Blood & Black Lace to the original black gloved killer in Robert Siomak's The Spiral Staircase would be your port of call.

Videodrome is about a man on the hunt for the ultimate snuff film who gets absorbed into his own mind's twisted mutation of reality which acts in accordance with the nefarious technological virus transmitted in the program's signal. This causes him to insert technology into manifesting orafices and melds his skeletal structure into a deadly weapons.

Which part of it isn't horrific and therefore horror ?

It's as much horror as Society, The Dead Zone or the "set-on-a-space-ship-and-about-destructive-extraterristrials-just-like-'War-Of-The-Worlds'-Alien. Horror is about the uncanny. This/These has/have it in spades.

Nice to see someone mention Don't Look Now. However, I'm kind of surprised no one's listed The Innocents yet.

Nice to see someone mention THE CHANGELING as well. Nice work, Strax.

It's hard to add to these great lists, so I'm just gonna create a new one (who needs an extra thread?).

DARKMITE8's Top 13 Horror/Comedies (in no particular order and off the top of my head)... I love this genre:

1. Gremlins 1 & 2
2. Shaun of the Dead
3. Evil Dead Trilogy
4. Amer WW in London
5. Dead Alive
6. Slither
7. Young Frankenstein
8. Ghostbusters
9. Little Shop of Horrors (Frank Oz)
10. Beetlejuice
11. Frighteners
12. Nightmare B4 Xmas & Corpse Bride
13. Fred Dekker Double Feature: Night of the Creeps/Monster Squad

Brand new heavy-weight contender worth mentioning: Feast

Almost made the list: Freaked, The Fearless Vampire Killers or: Pardon Me, But Your Teeth Are In My Neck, Howling 1 & 3, Re-Animator & Bride of, Killer Klowns from Outer Space, Critters series (number 2 especially),

Special honorable mentions: Tremors series, Demon Knight, Arachnophobia and 8 Legged Freaks, Waxwork, The Rocky Horror Picture Show, Elvira's 2 flicks, Mad Mad Monster Party, Yokai Monsters series, House 1 & 2 (my fave), Ghoulies series, Terrorvision, Meet the Feebles & Bad Taste, Lost Skeleton of Cadavera, Leprechaun, Return of the Living Dead, Piranha, Attack of the Killer Tomatoes!, the Mr. Vampire series, the Munsters, the Addams Family, Undead, Buffy the Vamp Slayer (movie version), Bloody Mallory, Witches of Eastwick, Toxic Avenger, Ghost and Mr. Chicken and Private Eyes, Ghostbusters 2 (I know, I know)... and yes, Teen Wolf 1 (sue me) and 2 (you should really sue me)... and of course, Abbot & Costello meet everybody.

Faves that are borderline in/out of the genre: Clue (more a murder mystery than horror, I know), Scrooged (it's got ghosts in it...), Twilight Zone: the Movie (not as much comedy as others), BTILC (horror/comedy/fantasy/kung-fu/adventure), Viy AKA Spirit of Evil (I laughed), From Dusk Til Dawn, Fright Night, Bubba-Hotep, Lake Placid, Ginger Snaps & Dog Soldiers (have their funny moments), Cemetery Man, Sleepy Hollow, Mars Attacks (more scifi even if the source material was horrific), 1/2 of Godzilla's resume.

Horror films with funny main characters: Nightmare on Elm Street, Child's Play

Less said about these the better: Scary Movie series, Shriek If You Know What I Did Last Friday The 13th,Trans. 65000, Dracula Dead and Loving It (stick with Frank, Mel), Bordello of Blood, Modern Vampires

I'm definitely mixed on: Scream series (1 was the best) and Cursed, Casper (like the Burton-esque atmosphere, hate the plot), Amer WW in Paris

And just because I feel compelled to type them for no particular reason: Once Bitten, Love at 1st Bite, High Spirits, Haunted Honeymoon, Haunted Mansion, Frankenthumb, Idle Hands, My Mom's A Werewolf, My Best Friend's a Vampire, Vampire in Brooklyn, Nothing But Trouble, Innocent Blood

Special WTF??? Entry: Matthew Blackheart: Monster Smasher

Not even gonna bother mentioning: other Troma movies(and DTV nonsense like Gingerdead Man), Miike's stuff

Unintentionally horrific & unintentionally comedic: Van Helsing, Troll 2

Never saw: Save the Green Planet, Saturday the 14th, Cannibal! The Musical, Dead & Breakfast, Zombie Honeymoon, Hide and Creep, Boy Eats Girl, Snakes on a Plane

Can't wait to see: The Host, Black Sheep, Evil Aliens

Did I miss any worth mentioning?

EDIT: found this- http://en.wikipedia.org/wiki/List_of...y_horror_films

It was on the Boston.com list...

I saw that once, on an old black and white tv, in a dark room, and had to use headphones to hear it.


It was very creepy.

The problem with this list is that you have more interesting movies down in "honorable mention" and "almost made it."

They're my faves (that's why I labeled it DARKMITE8's), not necessarily indisputably the best... I've watched these flicks (with the exception of the newer Slither) a billion times. You might see them as safe (or uninteresting). I see them as comforting (like Star Wars or Raiders). Their subjectively timeless appeal is what got my vote. Scariness is subjective, but I would say that the insertion of comedy makes them even more personal choices as well.

You're just upset Teen Wolf 2 didn't make the cut, admit it.

Which would you choose?

Actually, I agree with quite a few of them -- but I would never favor something like James Gunn's SLITHER over Polanski and THE FEARLESS VAMPIRE KILLERS. One man's opinion, of course.

Don't know about my favorite horror-comedies, but here's a Top Ten for just plain horror:

1. THE BRIDE OF FRANKENSTEIN
2. PSYCHO
3. HERCULES IN THE HAUNTED WORLD
4. GANJA AND HESS
5. I DRINK YOUR BLOOD
6. BLACK CHRISTMAS
7. MARTIN
8. SHIVERS
9. NOSFERATU: PHANTOM DER NACHT
10. DEEP RED

Honorable Mention:

I WALKED WITH A ZOMBIE
REPULSION
KILL BABY KILL!
NIGHT OF THE LIVING/DAWN OF THE DEAD
LET SLEEPING CORPSES LIE (a.k.a. DON'T OPEN THE WINDOW)
BLOOD FOR DRACULA (Morrissey)
SILENT NIGHT, BLOODY NIGHT
APARTMENT ON THE 13TH FLOOR (a.k.a. CANNIBAL MAN)
SHOCK (Bava)
DEATHDREAM
THE TENANT
JUNGLE HOLOCAUST
DRILLER KILLER
TENEBRE
THE EVIL DEAD (first only)

The Blob eats that kid! that movie is sweet. And Kevin Dillon licks that cop's face! how can you not love that movie?

Agreed, scary has nothing to do with it.

Tuchet!

but now, back to Ghoulies 3. Can you beleive they went to college right in the middle of prank week? I mean jesus, who saw that coming? They drank all of that beer! damn.

It was a tough call... I could swap many out with my "Almost" list. Those alternates would be in my top 20 easy.

Count me in as a fan. Can you believe the director (Chuck Russell) is also responsible for the Mask and Scorpion King? How's that for weird variety?

You know, for the most part I'd agree with you. Right up until the part where the local priest looks at Regan and sees his dead mother....and the demon just looks at him and you can feel the crushing weight of guilt just blowing through most of his defenses. That was the truly frightening thing to me....the ability of the thing to *know*....and make use of...one's deepest weaknesses.

The rest of the movie was, to me, a textbook on how to set the scares up and pay them off. THAT little scene was just fucking evil.

But that's because his story was actually interesting!


Another nice scene, actually, was when Reagan's mom is in the kitchen and the power goes out, and there's a flash of lightening and you can see a face on the cabinet.

That was a nice touch.

just bumpn the awesomeness of this thread

Why?

ghoulies 3 is all ya need!

Awesomeness... not clear enough?

Now tell me this... All this talk of great horror movies and nary a mention of Verbinski's version of Ring. Yeah, it might be recent which puts it at an automatic disadvantage (why?) - but come on! There's barely a movie on this planet that ratchets the tension the way Ring does.