DVDpedia : GQ DVD Library : Genre : H

Summary: They're Coming For 30 days every winter, the isolated town of Barrow, Alaska is plunged into a state of complete darkness. It’s a bitter time when most of the inhabitants head south. This winter, a mysterious group of strangers appears: bloodthirsty vampires ready to take advantage of the uninterrupted darkness to feed on the residents remaining in town. Barrow’s Sheriff Eben (Josh Hartnett), his estranged wife, Stella (Melissa George) and an ever-shrinking group of survivors must do anything they can to last until daylight. Based on the acclaimed graphic novel by Steve Niles.

Summary: 30 Days of Night: Blood Trails is based on the New Orleans storyline from the original graphic novel by Steve Niles. Blood Trails follows George, a young addict who makes a living seeking covert information for Judith, the weary but wise New Orleans vampire hunter. Ready for change, George plans to score one final job so he can leave town, but finds the road to salvation quickly crumbling when his contacts start turning up dead. Now George must dodge vampires while navigating the harsh underbelly of New Orleans to get his last payday and make it out alive.

Summary: During the 60s and 70s, Britain’s Amicus Studios were one of the world’s leading producers of low-budget horror movies Boasting spine chilling suspense, lurid titles, graphic violence, stellar casts and slick production values. The six titles presented here for the First Time on DVD in Australia are Completely Uncut and in Special Collector’s Editions. Titles include: The City of the Dead, Dr Terrors House of Horrors, The House That Dripped Blood, Asylum, and Now The Screaming Starts, The Beast Must Die (4:3)!

Summary: This is a very, very underrated horror movie. One of the best "haunted house" movies ever made, in my opinion. When watching this movie, you have to keep in mind that it was made 25 years ago, before CGI effects and the like. With what was available at the time, this is a very creepy movie. This film didn't rely so much on effects as it did atmosphere. Watch the movie with the controvesy over the accuracy out of mind, and just sink into it and listen to the sounds, the music, and look at the sets and appreciate it for what it is. This is a great scary movie if you watch it as just that, a movie, and don't worry about if it really happened or not. The performances (with the exception of Rod Steiger hamming it up in every frame he is in) are excellent, the set design is awesome, the house is creepily beautiful, and the music is some of the most haunting that you'll hear. Plus, the puking Nun is a hoot! The grossest, most violent sounding vomit I have heard! Anyway, the widescreen print is gorgeous and so very appreciated by me, who has waited for years to have it in widescreen. Would have liked an updated sound, but I'll take what I can get! Love the movie, love the house, love it all!

Summary: Here's a sick little movie for you--a creepy-funny shocker that's become a semi-cult classic since its release in 1982. It's a cheesy, low-budget horror flick about a small-town geek who arrives in New York City's Times Square carrying his mutant, telepathic twin brother in a big basket (hence the movie's title, get it?). They were once Siamese twins, and now they're seeking gory revenge against the doctors who surgically separated them against their will! Talk about brotherly love! The "normal" sibling has to keep his brother well- fed, and the basket-dweller's appetite runs the gamut from hamburgers to hookers. There's plenty of lowlife "meat" to be found in the seedy motel where the brothers live. Not exactly mainstream fare, as you might already have guessed, but director Frank Henenlotter handles the gruesomeness with resourceful ingenuity. The movie even gathered enough horror-buff momentum to spawn two lesser sequels in 1990 and 1992, which is all the proof you need to add this dubious trilogy to the gross-out hall of fame. "--Jeff Shannon"

Summary: Basket case 2 is not as seriouse and as gory as the intense original. It takes a more humerouse veiw of the events. The leading characters show their lighter side as they are taken in by an elderly lady who looks after freaks. I found this quite a funny film with some very dark humour, its definately a one to want if your a fan of the original, but it is quite a short movie and that is its only downfall. I would definately buy it.

Summary: Basket Case 3 is very strange, and it is not like usual movies! i enjoyed this movie because it is unlike any other film! it is very original and unless you have seen BC 1 or 2 then you wont have or probably will never see anything quite like this again!! hmmm where have i seen the ending before!!

Summary: This was a fun movie and an even better DVD. Wesley Snipes stars as Blade, a day-walking vampire. Snipes also produced the film. Stephen Dorf plays a cold-blooded vampire named Deacon Frost. His plans are for total and complete destruction of the humans. Blade has a very cool look to it and it starts off with a bang. Blade enters a underground vampire nightclub and all hell breaks loose as he kills vampires right and left. As for the DVD, it has a killer anamorphic widescreen picture matted at 2:35.1 and the Dolby Digital 5.1 track is of reference quality. When Traci Lords(playing a vampire) enters the club with an unsuspecting guest the music from the club pounds out deep .1 lfe effects and has some serious surround presence when the bloodbath begins; the blood from the sprinklers comes from everywhere. I saw this movie at my local theater and it was presented in DTS and it was unbelievable. The DTS track brought out nuances in the rear channels and has real aggressive discrete channels.(possiblly an oxymoron) I might have to pick up the DTS laserdisc to see if it can match the theatrical presentation in which I saw it. Anyway, this is a cool movie and an even better DVD with a ton of extras and even a 5.1 channel theatrical preview like Lost in Space's. Highly recommended for both picture and sound quality.

Summary: ...you don't often see those two together, great, and re-make, this is the exception. I've watched this movie a long time ago, and just recently purchased it to add to my collection. It is way better than I had remembered it. The effects are great, it is more graphic than I had remembered it. The movie picks up right from the beginning and never gets dull. Excellent flick, interesting story, great effects = great time. A must own for your collection, at a great price.

Summary: Francis Ford Coppola's 1992 "Bram Stoker's Dracula" is a feverishly inventive movie that often overwhelms its own narrative flow, yet proves irresistible to watch. In the high-definition transfer on this two-disc "Collector's Edition", Coppola's baroque, operatic set design, costumes, and cinematography look as lavish as they did on the film's first release. The director's grab-bag of visual effects are still bold and unabashed, if often over-the-top, and the actors still appear caught up in a certain hysterical pitch that feels a little forced but can be a lot of fun to watch. Gary Oldman's imaginative performance as the titular vampire carries the weight of Coppola's vision of Count Dracula as a tragic-romantic hero with Christ-like overtones. Keanu Reeves still looks a little lost in the pivotal role of Jonathan Harker, the London clerk who finds himself a prisoner in a Transylvanian castle while a 400-year-old vampire makes a play for his fiancée back home (Winona Ryder). Anthony Hopkins is fearless as a daft Von Helsing, and Sadie Frost is very good as the doomed Lucy.
The second disc in this set includes several good documentaries, including a featurette on the making of the film, involving past and present interviews with the principal artists involved. (Coppola and screenwriter James V. Hart speak persuasively about their commitment to bringing Stoker's vision to the screen, rather than another revision.) Another documentary, "In-Camera: The Naïve Visual Effects of 'Dracula,'" is a fascinating overview of Coppola's sometimes-frustrated effort to get the timeless special effects he was seeking. There are also quite a few deleted scenes among the special features, the best of which is an alternative cut to the film's bloody ending. "--Tom Keogh"

Summary: The mad Dr. Herbert West, the tormented Dr. Dan Cain, and the beheaded Dr. Carl Hill return in this terrifying sequel to "Re-Animator", the most deliriously outrageous horror movie of the decade. It's been eight months since the Miskatonic Massacre stained the halls with blood - and Dr. West and Dr. Cain's experiments have taken a bizarre turn. Now they have gone beyond re-animating the dead...into the realm of creating new life. The legs of a hooker and the womb of a virgin are joined to the heart of Dr. Cain's dead girlfriend - and the bride is unleashed upon her mate in a climax of sensual horror. Special Features include: Audio commentaries. Deleted scenes. Never-before-seen behind the scenes footage. Detailed coverage of the make-up effects. Never before seen photographs. Jeffrey Combs, Bruce Abbott, David Gale

Summary: Arguably the best and most personal of director David Cronenberg's early films, "The Brood" is an extremely unsettling horror film about familial disintegration and emotional trauma taken to a monstrous extreme. Art Hindle ("Black Christmas") stars as a man embroiled in a bitter custody struggle with his estranged wife (Samantha Eggar), who is undergoing therapy at psychiatrist Oliver Reed's controversial institute. Reed's treatment causes his patients to give form to their inner conflicts, and Eggar--whose psyche is at the boiling point from childhood abuse as well as the custody trial--creates a horde of homicidal humanoid children who enact bloody revenge on anyone who has threatened their "mother." Cronenberg's first feature with name actors and composer Howard Shore has its share of gruesome moments, but the film's subtext--how emotional violence impacts a family--is its most chilling aspect. "--Paul Gaita"

Summary: I am somewhat of a Brian DePalma fan and saw an edited version of the director's "Carrie" on CBS Network-television in 1978. I recently saw an uncut version of this film. "Carrie" is one of the greatest horror films and tragedies in movie history.Socially awkward high school student Carrie White(Sissy Spacek) uses telekinetic powers to get back at her vicious classmates and religiously fanatical mother(Piper Laurie)."Carrie" rivals "Dressed To Kill" as Brian DePalma's greatest thriller. This movie is the ultimate revenge fantasy for anyone who was picked on during their school days. Both Sissy Spacek and Piper Laurie should have won Oscars for their magnificent performances. Spacek gives an unforgettable performance. Laurie is almost charismatic as the domineering and crazed Margaret White. This character offered the perfect comeback role for Laurie after her fifteen-year absence from the big screen. Nancy Allen's malicious Chris qualifies as one of the greatest villainous characters in movie history. DePalma made "Carrie" when he still knew how to make great movies. In recent years, DePalma has not only forgotten how to scare and shock viewers, but he has even forgotten how to make his audience feel genuine emotions. DePalma forces viewers to empathize with the pain and anguish of Carrie White. "Carrie" is a tragedy as well as a horror film. Perhaps no other film director has more realistically depicted adolescent cruelty than DePalma did in "Carrie." The shock conclusion will jolt viewers right out of their seats.DePalma's "Carrie" is very well-recommended.

Summary: She can't (and won't) drive 55.... Stephen King's novel about the twisted love affair between a boy and his car gets transferred to the screen, courtesy of suspense master John Carpenter. Although lacking some of the more outré supernatural elements of the source material, this high-octane cinematic tune-up more than delivers the goods, horror-wise (Christine's midnight rampages will never be forgotten)--as well as being a sly exposé of the random cruelties within the high-school pecking order. Keith Gordon (who has gone on to become a stellar director in his own right, with films such as "A Midnight Clear" and "Mother Night" to his credit) gives a wonderfully controlled central performance. Carpenter's atmospheric original score is backed up by a well-chosen collection of rock classics, including George Thorogood's "Bad to the Bone" (the titular character's all-too-apt theme song). "--Andrew Wright"

Summary: This 1983 adaptation of the Stephen King horror novel is the anti-"Beethoven", the story of a rabid St. Bernard that terrorizes a community, tears up a few folks, and goes after a woman and her son. Once the point has been made that big, lovable Cujo has been bitten by a rabid bat, there isn't much more to say. The film is essentially a linear progression of doggy violence, though director Lewis Teague ("The Jewel of the Nile")--building on King's implication that we all know what it's like to be afraid of a big, scary pooch--succeeds at making the fear almost primitive for an audience. "--Tom Keogh"

Summary: From Alex Proyas, the acclaimed Australian director of The Cros and I Robot a film that takes you to the heart of a terrifying world and leaves you there.... John Murdoch (Rufus Sewell) awakens in the bath of a strange hotel to discover that he is wanted for a series of brutalmurders. He has no recollection of the killings; in fact, he has no memory of anything. A phone call warns him that men are coming to get him. He escapes into the city and plunges headlong into a labyrinth of twisted truths, hideous crimes and heart-stopping pursuits. Murdoch is at the centre of a terrifying nightmare and on a mind-altering journey in the place where everything incontrolled - even your memories.

Summary: "Dawn of the Dead" is the only movie that I have seen in recent years which genuinely frightened me. My brother and I rented it on a Friday and started it late at night. We decided to watch the rest of it the next day. But, I won't forget watching the first part: the fear that thousands of zombies are going to rush out of somewhere and outnumber the heroes. Or that a ton of zombies will leap out from around a corner. The story concerns two SWAT cops, a TV news producer, and her boyfriend -- the TV station's news helicopter pilot -- getting out of Philadelphia when dead bodies turn into zombies and start killing the living. This film is atmospheric and claustrophobic. And Romero's idea of using a shopping mall as the setting of the core of the story was a true stroke of genius -- where better to confront the human condition of materialism, selfishness, and a whole ton of nasty zombies? The film was made in the late 1970's for a slim $1.5 million. But, it was put to good use -- showing that Romero knew how to stretch a dollar, making it go a long way. My only complaint about the movie is the gore, which is actually what the film is most famous for. These scenes come at the beginning and end of the film. (The end is where the zombies feasting on live humans kicks into SERIOUS overload) These scenes show too much and go on far too long, but I guess Romero wanted to show just how threatening the zombies could really be. Too bad he's not doing that "Resident Evil" movie. But, that's okay. Stick with this film. It's the real thing (no pun intended).

Summary: This sequel to " Dawn of the Dead" is the final in the Living dead trilogy, it's a 1985 Horror thriller that bombed with audiences and critics but was a hit on video. It's basically about the last surviving humans who struggle in a underground Bunker to control the Zombies or try to escape while one of them is a trader and wants to feed them to the Ghouls.Truly gory and graphic Horror movie that is soo underrated but a must see for those who like Dawn and Horror, but this is not for the faint of heart cause it will make you loose your lunch, Next year there is also gonna a special Edition DVD with Behind the Scenes, Trailers, and Commentary so " Dawn" fans get this movie when it comes out next year.Similar movies recommeded: Re-Animator, Dawn of the Dead, From Dusk Till Dawn, The Evil Dead, Lucio Fulci's Zombie, Return of the Living Dead ( 1985 original), Dead Alive, John Carpenter's The Thing, Saving Private Ryan, Resident Evil, C.H.U.D., Lucio Fulci's The Beyond, City of the Living Dead, House by the Cemetery, The Stuff, Lifeforce, Akira, Evil Dead II, The Toxic Avenger, Texas Chainsaw Massacre part 2 with Dennis Hopper, Basket Case, Scanners, Nightmare City, Total Recall, Event Horizon, Alien, Dario Argento's Phenomena, and Bio-Zombie.

Summary: These movies make me smile. Its the kind of movie you can put on, crack some beers, and laugh hysterically with your friends and even your squeemish girlfriend. The makeup is awesome and theres no denying that. The return of the black pimp with the handlebars playing the role of the body builder is awesome. Its perfect to just put on at your halloween party or when youre bored one morning. That may seem insulting to say that, but lets face it, thats what these cornball horror movies are meant for at heart. Admit it ;)

Summary: Claustrophobia and bloody mayhem collide in the high-adrenaline horror flick "The Descent". Six women (including one who lost her husband and child the year before, and one who harbors a bitter secret) spelunk in an unexplored cavern system that turns out to harbor mysterious, predatory creatures. That sums up the story, but--as with writer-director Neil Marshall's previous low-concept movie, "Dog Soldiers"--the plot doesn't begin to describe the riveting, stomach-lurching thrills this movie provides. The script affords the relatively unknown cast (led by Shauna Macdonald and Natalie Mendoza, both excellent) just enough room to make their characters distinct and genuine, so that when they're dropped into utmost peril our empathy is engaged as much as our fear. The dynamic direction and editing make the cavern a palpable, physical presence, even before the creepy beasts crawl out of their nooks. This is not a movie for everyone; it is extremely gruesome and will induce panic attacks in anyone with even a mild fear of closed spaces. But for anyone seeking something smarter, faster, and more wrenching than static torture-fests like "Saw" or "Hostel", "The Descent" will draw you into its unsettling ooze. "--Bret Fetzer"

Summary: LUST destroyed his life. PASSION led him to murder. GREED left him a beaten man. FEAR pushed him to the edge of insanity. All because he wouldn't listen when they said Don't Mess With My Sister! Steven, a meek accountant-in-training, is living contentedly with his wife Clara and working for her brothers, managing the books at their junkyard. All of this changes when the belly dancer they hire for Steve's birthday turns out to be Anke, one of his classmates. Suddenly smitten, Steven begins to pursue Anke, who falls for him when he protects her from a overly-lecherous customer. News travels fast in a close-knit neighborhood, however, and soon Clara and her brothers find out about the illicit relationship. Pushed to the edge, Steven will have to decide between his marriage with Clara and his love for Anke.

Summary: This is the TV movie that put Steven Spielberg on the map, shortly before he made "The Sugarland Express". Working from a script by Richard Matheson, the film stars Dennis Weaver as a mild-mannered traveling salesman who unintentionally angers the driver of a semi truck. Suddenly, the truck is not only riding his tail but trying to run him off the road. No matter what he does (pulling over, stopping at a diner, calling the cops), he can't get rid of it. Spielberg makes the wise decision of never showing the driver, even as he cranks the voltage on the film's suspense elements. As a result, the truck itself takes on an air of satanic menace--even a personality of sorts--as it seems to hunt its human prey. Spielberg made a lot out of a little, suggesting just how skilled a storyteller he would become. "--Marshall Fine"

Summary: The residents of a rural mining town discover that an unfortunate chemical spill has caused hundreds of little spiders to mutate overnight to the size of SUVs. It's then up to mining engineer Chris McCormack and Sheriff Sam Parker to mobilize an eclectic group of townspeople, including the Sheriff's young son, Mike, her daughter, Ashley, and paranoid radio announcer Harlan, into battle against the bloodthirsty eight-legged beasts.

Summary: I bought one of these a little time ago online, and I'm glad I did. If you find one of these babies, do not miss the opportunity to buy, because they're getting really rare to find. It is a Limited Edition of 5000 copies only. It's a metal box, really cool to display in your collection... Opening the metal box, you find a 50-pages booklet, that explains everything about the Evil Dead II Makeup/FX... There is a mini-Evil Dead II UK Poster and a mini-ad of the second Evil Dead game (Hail To The King). And, obviously, the DVD. The sound is great if you can support the 5.1 Surround Sound. You can choose between Widescreen and Full Screen. It can be captioned in English. The movie itself is a mix of horror and comedy. Ash comes back to the cabin and (again) ressurects a demon... It's rated R because of violence, lots of blood and gore, some language, but not much... Let's take a look at the DVD Extras:- Audio Commentary: One of the greatest ever. Sam Raimi (director), Bruce Campbell (main actor, Ash), Scott Spiegel (Co-Writer) and Greg Nicotero (Make-Up Effect Artist) are together, so, lots of information. Be sure not to miss this commentary, funny and informative.- The Gore The Merrier: It's the Evil Dead II Making-Of plus a little 2-minutes-or-so funny movie... It's mainly talking about the Makeup and FX...- Hail to the King Game Preview: A little trailer, featuring scenes from the second Evil Dead game (the first was actually an unknown one for Commodore64) There are also Still Galleries, Talent Bios, Theatrical Trailer, Scene Selection and cool animated menus... If your DVD isn't adaptated for Region 1, don't worry, this one is Region O, worldwide. Overall this Limited Edition Tin is totally recommended for Evil Dead Fans and also Horror Fans. If you find one of this babies, be sure to buy it, because it's a Limited Edition. I ain't selling mine, definetly!

Summary: Director Sam Raimi’s first feature film is a true classic in every sense of the word. Originally released in 1982, The Evil Dead tells the tale of a group of friends who go to a cabin in the woods and find an unspeakable evil lurking in the forest. They find the Necronomicon, The Book of The Dead, and the taped translation of the text. Once the tape is played, the evil is released. One by one, the teens are turned into deadites (zombies). With only one remaining – Ash (Bruce Campbell) – it is up to him to survive the night and battle The Evil Dead.

Summary: Director William Friedkin was a hot ticket in Hollywood after the success of The French Connection, and he turned heads (in more ways than one) when he decided to make The Exorcist as his follow-up film. Adapted by William Peter Blatty from his controversial bestseller, this shocking 1973 thriller set an intense and often-copied milestone for screen terror with its unflinching depiction of a young girl (Linda Blair) who is possessed by an evil spirit. Jason Miller and Max von Sydow are perfectly cast as the priests who risk their sanity and their lives to administer the rites of demonic exorcism, and Ellen Burstyn plays Blair's mother, who can only stand by in horror as her daughter's body is wracked by satanic disfiguration. One of the most frightening films ever made with a soundtrack that's guaranteed to curl your blood, The Exorcist was mysteriously plagued by troubles during production, and the years have not diminished its capacity to disturb even the most stoical viewers. Don't say you weren't warned! --Jeff Shannon

Summary: Presumably, this is what happened. The execs at Warner Bros. back in 1977 decided that they had a "can't-miss" on their hands: a sequel to the blockbuster *The Exorcist*, featuring the return of Linda Blair (now all grown-up and exceedingly buxom), to be directed by a director of note, John Boorman. Thus, the execs just sort of let things develop on their own, figuring that such a sure-fire hit didn't require any looking-after. Basically, they let Boorman go crazy. My question is: why were they surprised at the result? Hadn't any of them seen his *Zardoz*, for Pete's sake? Instead of the expected rehash of the possessed girl throwing up on everybody, Boorman unleashed an art-film on an unsuspecting public . . . and the rest is history. Regularly cited on any "Worst Movies of All Time" list, *The Exorcist II: The Heretic* has, in the meantime, garnered a devoted fan-club (check the other reviews here if you doubt me), of which I'm proud to belong. First of all, let it be said that this movie is a true sequel to the first. Time has passed, and the main character has grown up. Correspondingly, different set of issues now confronts her. In other words, it's not the "rehash" that I cited earlier, which all too often plagues movies that call themselves "sequels". This progression is undeniably refreshing. Even more refreshing is the inventiveness, bordering on sheer insanity, that Boorman and screenwriter William Goodhart bring to the hackneyed material set forth by the first film. Boorman gives us surreal landscapes pieced out of location shots and back-lots surrounded by trippy mattes; Goodhart eschews pretty much the entire Christian theology, going instead for a cosmic war between an ethereal, unknowable Good and Evil. Unknowable, but not unnamed: the demon in question that has been pestering Regan all this time is called "Pazuzu". Pazuzu, no longer Satan's henchman as in the first film, is here just one of possibly dozens of powerful, nasty spirit-gods. Manifesting himself as a locust, his plan is basically to infect the whole world, much as a bad grasshopper can infect a whole colony. Therefore, he makes a point of picking on those who seem particularly resistant to his evil strain: people like Regan, and another African boy who will later grow up to become a half-naked James Earl Jones dressed in a Mardi Gras locust costume. But this is a hint to stop. One either accepts the film's imaginative logic, or one demands the conventional entertainment provided by films like the first *Exorcist*. Knowing which camp you belong to will help you in your decision whether or not to bother with this film. Over and beyond its dizzy intellectualism, the movie also dares to make fun of the fans of the first movie. Perfect example: when asked why she sees a psychiatrist, Regan explains that "I was possessed by a demon, but I'm okay now." And having a clearly hungover Richard Burton walk around stiffly, calling out for "Pazuzu", reminds us of how silly ALL tales of the supernatural can be. If nothing else, the movie is a bracing tonic for those who take this genre too seriously. And -- sorry, Faithful -- but the plot particulars in this movie are no more ridiculous than those in the first *Exorcist*: possessed by a minion of Satan; possessed by a big grasshopper . . . what's the diff?

Summary: Own all three terrifying Final Destination films in one gift set!

Summary: David Cronenberg's 1986 remake of the science fiction classic about a scientist who accidentally swaps body parts with a fly is both smart and terrifying: an allegory for the awful processes of slow death and a monster movie with a tragic spin. Jeff Goldblum gives a masterful performance as a sweet, nerdy scientist whose romance with a writer (Geena Davis) makes him more fully alive. Next thing you know, a tiny oversight in an experiment causes him to transmogrify, gradually, into something more like an insect than a human. This is Cronenberg ("Scanners", "Videodrome") country, so expect "The Fly" to be a gross-out, but in the way that disease corrupts the body and can make a loved one unrecognizable on every level. This is one of Cronenberg's best films, and certainly one of the important movies of the 1980s. "--Tom Keogh"

Summary: The FlyDavid Cronenberg's 1986 remake of the science fiction classic about a scientist who accidentally swaps body parts with a fly is both smart and terrifying: an allegory for the awful processes of slow death and a monster movie with a tragic spin. Jeff Goldblum gives a masterful performance as a sweet, nerdy scientist whose romance with a writer (Geena Davis) makes him more fully alive. Next thing you know, a tiny oversight in an experiment causes him to transmogrify, gradually, into something more like an insect than a human. This is Cronenberg (Scanners, Videodrome) country, so expect The Fly to be a gross-out, but in the way that disease corrupts the body and can make a loved one unrecognizable on every level. This is one of Cronenberg's best films, and certainly one of the important movies of the 1980s. --Tom Keogh The Fly IIChris Walas, the effects whiz who turned Jeff Goldblum into the gooey, grotesque Brundle-Fly in David Cronenberg's The Fly, makes his directorial debut in this equally icky sequel. Eric Stoltz is Brundle's genetically diseased offspring, a boy genius brought up in an experimental laboratory by a nefarious foster father eager to see what his inevitable metamorphosis will bring. No surprise here: like father, like son. Daphne Zuniga is his sweet young girlfriend, and John Getz reprises his role from the first film as a bitter alcoholic with a very bad fake beard. This cut- rate "Son of the Fly" knockoff pales next to Cronenberg's classic, degenerating into a gory revenge flick. Walas strains under a limited budget, and many of the more elaborate creatures (a monstrously mutated dog, the skeletal fly monster leaping about the warehouse-like lab) are rather shabby. The makeup is suitably gooey, slathered in ooze and pus, and the mayhem-filled finale is a nasty but impressive over-the-top frenzy of blood and gore climaxing in the nastiest piece of poetic justice since Freaks. The opening birth scene (with a look-alike subbing for mom Geena Davis) is an homage to Larry Cohen's It's Alive. --Sean Axmaker

Summary: After years of wondering why this great horror classic was not available until now is revealed! We nowdays take for granted that every movie will be available on DVD and unrated. So why did it take so long for this film to be released? The studio misplaced the cut scenes! In fact director Stuart Gordon was originally told that they were thrown away. Luckily for us in 2005 someone found them! Now we all get to see one of the most original horror films of all time the way it was supposed to be seen.

If you have not seen this film, there is no real way of describing it properly. You just have to see it. It's thrilling, well acted, and gory as hell. You'll be talking about it for days with your friends. Plus at a good price, you just have no excuse owning it. A great addition for your horror collection if you already love Gordon's Re-Animator films and his take on Lovecraft stories.

Summary: "Evil Mexican Vampire Strippers" -- sounds very cheesy, no? Well, as a matter of fact, "From Dusk Till Dawn" is. It's also weirdly entertaining in a gory, cheesy, bizarre vampire-laden way, with over-the-top vampires, crossbow-wielding teens, and ministers kicking butt alongside killer bank robbers. The Gecko brothers are a pair of robbers on the run from the cops: Seth (George Clooney), a murdering thug with a few scruples left, and Ritchie (Quentin Tarantino) a murdering rapist psycho thug who has none. After destroying a roadside liquor, Ritchie "accidently" rapes and murders their hostage (no details are shown), and they take an ex-minister Jacob Fuller (Harvey Keitel) and his teenage kids hostage. Soon they ramble over the Mexican border in the minister's RV, to a strip club called... well, I probably can't say what it's called on amazon.com. But when a bar-brawl turns ugly, a snake-charming stripper (a cameo by Salma Hayek) suddenly turns into a not-so-pretty vampire. And Seth, his ex-hostages,This is a B-movie in every sense, and there's something appealingly cheesy about it. It's a bit predictable -- you know as certain moments approach that so-and-so is going to turn around and be a vampire, you know that Jacob is going to regain his faith... but who cares? If you're looking for amazing plot twists, this is not the movie to watch. The first half is a seedy, gritty hostage situation; the second half is an unashamed flying-body-parts-wallow-in-the-black-gore-fest. These vampires are not in the gorgeous stylish Anne Rice mold -- they are, pardon the pun, ugly as sin. The dialogue is mostly snappy except for the occasional line like "Welcome to slavery." The sets are impressively run-down, seedy and dusty, and the torchlit tunnel didn't even make me laugh at all. (Although as a woman, I would have preferred less stripping -- I fast-forwarded through that part. Or was Rodriegez making a comment on stripper clubs by filling them with evil vampires?) And it takes a good director to not make me laugh at vampire heads bursting into flame as a kid flings holy water balloons at them, or the "disco ball" scene near the end.Weirdly, Clooney actually makes us care about Seth; he has virtually no redeeming characteristics until the vampires start up. Then we get to see a certain change of heart in him now that he's seen that, including the surreal but effective scene where he lectures Jacob on God, heaven, hell, and why he now believes in them (now there's irony for you!). Ritchie has no such luck scriptwise; this psychotic creep was more appealing as a vampire than as a human. Keitel also manages a poignant moment, such as the scene where he insists that his kids kill him if and when he transforms into a vampire. "From Dusk Till Dawn" is a cult film in the best sense of it: Either you'll love it, or you'll hate it. It's a stupid vampire flick in every sense of the word, which is why (except for the stripping) I guiltily enjoyed it. (Not for the weak of stomach)

Summary: Number 8 in the "Halloween" line maintains connections to John Carpenter's original. "Resurrection" picks up the thread of "Halloween: H2O", with poor Laurie Strode (Jamie Lee Curtis) now in a psychiatric hospital and determined to shut down homicidal Michael Myers once and for all. After this prologue, the story shifts to the old Myers house, where a TV reality show has enticed six teenagers to spend a single night in the spooky home. Needless to say, things are spoiled when Michael barges in: "I "so" did not sign up for this," sighs the young heroine, when the bloodletting begins. The mayhem is being broadcast live on the Internet, which makes the film a bit like "Rear Window" with Instant Messaging. The interesting premise is routinely handled, but that's enough to make this one of the better sequels in the series. Maybe they finally finished off Michael in this one, wink wink. "--Robert Horton"

Summary: This collection released by Warner Brothers brings together the three films that established Hammer as the leading purveyors of gothic horror. It is perhaps difficult to appreciate now, but the major innovation that Hammer brought to these tired gothic tales was filming them in colour. In just the same way that Universal used the innovative German expressionist techniques of lighting and set design, Hammer chose the opposite route and celebrated the excesses and transgressions of the gothic strain. They brought to the horror genre a physical and sensual style of filmmaking which covered up the very regressive attitudes to gender and class that bubbled beneath the surface.

This collection works very well because of the continuity of personnel that became a trademark of Hammer. These three films are connected by cast, director, art designer, composer, producer and cinematographer - which gives these three films the feel of a trilogy. Of the three films "Dracula" stands up to modern scrutiny the best, its energy and dynamism remain undiminished. But to fully appreciate the aesthetic merits of "Dracula" one must acknowledge "Curse of Frankenstein" which preceded it. This was Hammer's most daring production up to that point, and much of Hammer's conventions of style and theme were established here. However to modern audiences the film does seem somewhat overly talky, and the makeup for the creature, whilst impressive, lacks the impact of Universals. "The Mummy" falls in the middle ground between the two, but possesses an epic rich grandeur of sets the other two lack, "The Mummy" is a gorgeous looking film. But like "Curse of Frankenstein" suffers from some pacing problems.

Warner's have chosen well here and must be commended for their selection, other Hammer box sets have a disappointing randomness. But little seems to have been done in terms of picture and sound restoration, and aside from trailers for all films, there are no further special features. All in all quite disappointing treatment for such important horror films. But the box itself is well designed, and the price (at least when it was first released) represented good value for money.

Summary: Hammer Films - The Best in British Horror

This collectors 3 DVD digipack boxset also includes a deluxe 12 page booklet complete with annecdotes and publicity stills and posters. WHAT THE PRESS HAVE SAID ABOUT THIS BOXSET

"...three of the studio's lesser seen, but no less reputable, shockers from the early '70s". REGION 4 ISSUE 42

The Vampire Circus

The Vampire Circus is one of Hammer’s more interesting attempts to inject new blood into its house style.

In a twelve-minute prologue, angry villagers stake to death Count Mitterhaus (Robert Tayman), who swears his revenge on the townsfolk. The story proper starts fifteen years later when the exotic Circus of the Night arrives in town to avenge the Count. The troupe’s shape-shifting performers unleash their uninhibited bloodlust on the town’s plague-ridden residents.

First time director Robert Young shows promise, particularly in the shape-shifting sequences and several bloody impalements. The film is also notable for its bleak view of humanity. It presents all the characters as ‘clowns’ by day and ‘animals’ by night.

STARRING: Adrienne Cori, Thorley Waters, Dave Prowse, Laurence Payne, John Moulder Brown, Anthony Corlan, Elizabeth Seal
DIRECTED BY: Robert Young
PRODUCED BY: Wilbur Stark
SCREENPLAY: Judson Kinberg

WHAT THE PRESS HAVE SAID:
“…Graphically gory in the Hammer tradition..” 3 stars John Stanley – Creature Features
“…an elegant and visually absorbing revenge tragedy – only two of the many principal characters survive its gory unfolding – the film succeeds admirably on all levels…” Marcus Hearn and Alan Barnes – THE HAMMER STORY

DVD DETAILS
PAL, Colour, Region 4, Aspect Ratio – 16:9, Total Running Time: 84 mins, 1971

Hands of the Ripper

A psychiatrist (Eric Porter) treats a young woman (Angharad Rees) following the murder of her aunt. He shuns the notion that she is possessed, but she continues to kill while under his care.

Using hypnosis, he discovers that glittering lights and gestures of affection set the girl off into dangerous trances during which she re-enacts an incident she witnessed in childhood – the murder of her mother by her father, Jack the Ripper!

STARRING: Eric Porter, Angharad Rees, Jane Merrow, Keith Bell, Derek Godfrey, Dora Bryan, Majorie Rhodes
DIRECTED BY: Peter Sadsy
PRODUCED BY: Aida Young
SCREENPLAY: L W Davidson (based on a short story by Edward Spencer Shew)

WHAT THE PRESS HAVE SAID: “…one of the modern cinema’s most intelligent and fascinating, if not definitive, Ripper films.” John McCarty – The Modern Horror Film
“…Gory Hammer horror with well done scenes.” - John Walker – HALLIWELL’S FILM GUIDE
“…Ripping good…..” 3 stars John Stanley – Creature Features
“…One of Sadsy’s best films….” James O’Neil – TERROR ON TAPE

DVD DETAILS
PAL, Colour, Region 4, Aspect Ratio – 16:9 Total Running Time: 85 mins, 1971,

TWINS OF EVIL

The final installment in the “The Karnstein Trilogy”, Twins of Evil represents Hammer’s most sexually explicit work. Inspired by J. Sheridan le Fanu’s 19th century novella, Carmilla, and penned by Barbarella scriptwriter Tudor Gates, the films take advantage of an easing of censorship restrictions to exploit a voyeuristic interest in lesbian sex.

Twins of Evil is both a fun ride and one of Hammer’s most notably anti-religious films. Peter Cushing plays a sadistic and murderous witch-hunter Gustav Weil, whose puritan ways push one of his beautiful twin nieces (Mary and Madeleine Collinson) into sexual rebellion and vampirism.

WHAT THE PRESS HAVE SAID:
“….Lush production, strong direction and a spirited cast…one of the company’s most entertaining ‘70s films….” James O’Neil – TERROR ON TAPE
“…a tightly plotted tragedy…and heavily influenced by pictures such as Matthew Hopkins Witchfinder General, it has an intensity and sense of purpose rare in horror.” Marcus Hearn & Alan Barnes – THE HAMMER STORY

STARRING: Peter Cushing, Dennis Price, Mary and Madeleine Collinson, Damien Thomas, David Warbeck, Isobel Black, Kathleen Byron.
DIRECTED BY: John Hough
PRODUCED BY: Harry Fine, Michael Style
SCREENPLAY: Tudor Gates (based on characters created by Sheridan Le Fanu)

DVD DETAILS
PAL, Colour, Region 4,Aspect Ratio – 16:9, Total Running Time: 83 mins , Trailer

Summary: When Hamilton High's Prom Queen of 1957, Mary Lou Maloney is killed by her jilted boyfriend, she comes back for revenge 30 years later. Bill Nordham is now the principle of Hamilton High and his son is about to attend the prom with Vicki Carpenter. However, she is possessed by Mary Lou Maloney after opening a trunk in the school's basement. Now Bill must face the horror he left behind in 1957.

Summary: Fans of Wes Craven's more recent major studio work (the "Scream" series) may be put off by the low-budget griminess of his sophomore feature, "The Hills Have Eyes", but the director's longtime supporters and aficionados of '70s horror will be riveted by this unsettling culture clash fable. Originally titled "Blood Relations", Hills strands a suburban family (which includes "E.T."'s Dee Wallace Stone and future documentarian Robert Houston) in the desert and pits them against a clan of inbred cannibals. The resourceful killer brood quickly decimates the outsiders' numbers, forcing the survivors to fight back with equally savage means. Like Craven's debut, "Last House on the Left", "Hills" is a relentlessly tense film which demolishes numerous societal taboos (fratricide and infant kidnapping, for starters), but it also delivers a powerful subtext about family and the fine line between civilization and animal behavior amidst the mayhem. Highly recommended for Craven completists and fans of no-holds-barred horror. "--Paul Gaita"

Summary: Everyone's favorite desert-dwelling mutant cannibals return in this gruesome sequel to the classic drive-in shocker! Years after the original massacre which pitted a suburban family against a band of cave dwellers, traumatized survivors lead a team of dirt bikers back into the wild for a bus expedition. After their vehicle breaks down, the travelers must fend for their lives when the hungry savages (led by spooky Michael Berryman) emerge from the hills in search of dinner! Directed by horror maestro Wes Craven (Scream, A Nightmare on Elm Street), this brutal chiller features shocking highlights from the original film (including the now legendary canine flashback) and an eerie score by "Friday the 13th's" Henry Manfredini. Vicious, delirious, and outrageous!

Summary: Aficionados of movie monsters will find things in "The Host" that they have been waiting to see all their lives: a monster lazily unfurling itself from the girders beneath a bridge, for instance, or a view from a moving elevated train that frames the monster as it gallops lustily across a park filled with scattering locals. If the realization of a creature were all this movie had going for it, director Bong Joon-ho would have enough to be proud of, but "The Host" offers more food for thought, and plenty of food for the monster. Bong creates both a deeply eccentric comedy about family and a cheeky gloss on political currents. The monster is created when a U.S. military doctor (Scott Wilson in an unnerving cameo) orders a South Korean soldier to discard chemicals into the Han River in Seoul. Sure enough, a toxic monster is born, as we see in an opening reel that is surely the most exhilarating monster intro in years. Our central figure--of the human variety, that is--is played by Song Kang-ho (who also starred in Bong's "Memories of Murder"), as a hilariously lazy slob who must fight to discover what happened to his daughter after she was snatched up by the creature. Along the way, the film makes some pointed cracks at the ease with which governments can exploit public fear for their own purposes, and there's some satire aimed at U.S. intervention in global affairs. The film has some serious lulls, and would have been a tighter, crazier head-rush if it were 90 minutes long instead of two hours. But in general this is a much smarter Godzilla movie than Godzilla movies ever were. "--Robert Horton"

Summary: A graduate of Roger Corman's school of low-budget ingenuity, Joe Dante gained enough momentum with 1978's Piranha to rise to the challenge of The Howling, and he brought along Piranha screenwriter John Sayles to cowrite this instant werewolf classic. Makeup wizard Rob Bottin was recruited to create what was then the wildest onscreen transformation ever seen. With Gary Brandner's novel The Howling as a starting point, Sayles and Dante conceived a werewolf colony on the California coast, posing as a self-help haven led by a seemingly benevolent doctor (Patrick Macnee), and populated by a variety of "patients," from sexy, leather-clad sirens (among them Elisabeth Brooks) to an old coot (John Carradine) who's quite literally long in the tooth. When a TV reporter (Dee Wallace) arrives at the colony to recover from a recent trauma, the resident lycanthropes prepare for a howlin' good time. Dante handles it all with equal measures of humor, sex, gore, and horror, pulling out all the stops when the ravenous Eddie (Dante favorite Robert Picardo, later known as the Doctor on Star Trek: Voyager) transforms into a towering, bloodthirsty werewolf. (Bottin's mentor Rick Baker would soon raise the makeup ante with An American Werewolf in London.) As usual, in-jokes abound, from characters named after werewolf-movie directors, amusing cameos (Corman, Sayles, Forrest J. Ackerman), and hammy inserts of wolfish cartoons and Allen Ginsberg's "Howl." It's best appreciated now as a quintessential example of early-'80s horror, with low-budget limitations evident throughout, but The Howling remains a giddy genre milestone. --Jeff Shannon

Summary: The most controversial revenge film ever made! Banned for 17 years by the Australian Office of Film and Literature Classification, the original, uncut version of I Spit On Your Grave has long been called too ugly, too violent and too terrifying to watch. Others have called it a powerful and superb cinema. Judge for yourself. This woman has just cut, chopped, broken and burned five men beyond recognition... but no jury in America would ever convict her! The film follows Jennifer, a writer who is working on a new novel and needs to get out of the city to finish it. She hires a river side apartment to finish her novel, attracting the attention of a number of male locals. They catch Jenifer one day and strip her naked for the Village Idiot (Matthew), to rape her, he can't or won't and so one of the others does it for him. Jennifer is raped a further two times, her novel is destroyed also, she then begins to seek revenge on the men who raped her.

Summary: Insomnia, director Chris Nolan's second full length feature, doesn't have the same gut-wrenching and mind-bending plot twists that his feature length debut, Memento, had, but does an excellent job telling an original and gripping detective mystery.The pleasure of Insomnia is to be found in its rich cinematography, beautiful landscapes, and excellent performances. The movie is one of the most visually compelling pieces of filmmaking I have seen in years, creating surreal juxtapositions with the vast, harsh Alaskan landscape and with close-up shots of crime scene evidence. The amazing visual landscapes (both large and small) are used effectively by director Nolan to emphasize the films themes of isolation and overpowerment, of losing oneself within ones environment and in ones choices.Insomnia's plot will disappoint those looking for a new Memento, in that it does not have the sort of turns of action and motivation that Memento does. Insomnia works well without elaborate plot twists, however, it's mood benefits from a certain lack of ambiguity of action, although the ending is perhaps a little to predictable and cliched. Insomnia would have benefited, however, from more ambiguity of motivation - while the acting is top notch, especially on the part of Robin Williams, the connections between the characters actions and their motivations and decisions is too closely drawn by the script.Overall Insomnia is an excellent movie, and a good entry into the detective/suspense movie cannon. It suffers slightly from a couple of bad edits (in a movie filled with amazing editing and shooting) and from its desire to clearly spell out the principle characters motivations, but these minor flaws are more than redeemed by the director's excellent camerawork and sense of pacing, a strong script, and very solid acting performances. Insomnia is a must see movie, and a welcome change from the "blockbuster" summer movie scene of 2002.

Summary: In the vastly overrated 1998 book "Easy Riders, Raging Bulls", author Peter Biskind puts the blame for Hollywood's blockbuster mentality at least partially on Steven Spielberg's box-office success with this adaptation of Peter Benchley's bestselling novel. But you can't blame Spielberg for making a terrific movie, which "Jaws" definitely is. The story of a Long Island town whose summer tourist business is suddenly threatened by great-white-shark attacks on humans bypasses the potboiler trappings of Benchley's book and goes straight for the jugular with beautifully crafted, crowd-pleasing sequences of action and suspense supported by a trio of terrific performances by Roy Scheider (as the local sheriff), Richard Dreyfuss (as a shark specialist), and particularly Robert Shaw (as the old fisherman who offers to hunt the shark down). The sequences on Shaw's boat--as the three of them realize that in fact the shark is hunting "them"--are what entertaining moviemaking is all about. "--Marshall Fine"

Summary: Amanda's deathbed request to her son, John, was for him to destroy all the lab notes etc. from her last experiment. She also blurts out he had a brother. At the funeral John meets Melissa, who claims to be his mothers biggest fan. Together with some of John's friends they go to Amanda's house, but none are prepared for what they find there.

Summary: Bolstered by the success of "28 Days Later", "Shaun of the Dead", the "Resident Evil" movies and the hit remake of his own "Dawn of the Dead", George A. Romero returns to the horror subgenre he invented with "Land of the Dead". The fourth installment in Romero's zombie cycle (and the first since 1985's "Day of the Dead") presents a logical progression of events since 1968's horror classic "Night of the Living Dead": Zombies (also known as "stenches" for their rotting odor) are the dominant population, and they've begun to show signs of undead intelligence and gathering power. The wealthiest survivors live comfortably in a luxury high-rise within a barricaded safe zone, ignoring the horrors of the outside world while armed scavengers stage raids in the zombie-zone to gather much-needed food and supplies. Simon Baker and John Leguizamo play mercenaries-for-hire; Dennis Hopper is their nefarious boss; and horror favorite Asia Argento (daughter of "Suspiria" director Dario Argento) plays a former hooker recruited into Baker's scavenger squad. While none of this seems particularly fresh or inspired, "Land of the Dead" benefits from hints of the social satire that made Romero's earlier zombie films so memorable. Not so much funny as gruesomely peculiar, Romero's plot isn't as inventive as it could've been, but as a big-scale B-movie, "Land of the Dead" delivers a handful of shocks and horror-celebrity cameos (including gore-masters Tom Savini and Greg Nicotero) that should keep horror buffs happy until the next zombie opus comes along. "--Jeff Shannon"

Summary: "Motel Hell" is a gruesome but somewhat tongue-in-cheek bit of rural schlock along the lines of 1974's "Deranged", although slicker and less effective. Former Western star Rory Calhoun plays Farmer Vincent, a country hotel keeper (free samples of jerky at the front desk) whose line of smoked meats turns his customers into unwitting cannibals. The movie's got some genuinely creeped-out ideas (a backyard garden of victims, buried up to their necks?), but the execution is pedestrian and the humor pretty square. Onetime cultural icon Wolfman Jack has a few scenes as a TV preacher, for no apparent reason. "--Robert Horton"

Summary: The Forces of Light and Darkness have co-existed in a delicate balance for hundreds of years...until now. Even as the Night Watch polices the Dark Others - among them vampires, witches and shape-shifters - a chain of mysterious events triggers a dreaded, age old prophecy: One of the gifted ones will come to switch sides, shattering the balance and unleashing an apocalyptic war unlike any the world has ever known!

Summary: A Nightmare on Elm Street - Remastered:
In the early 1980's, a psychopath named Freddy Krueger - known as the Springwood Slasher - murdered several children with a glove outfitted with straight razor blades attached to the fingers. When a foolish decision by a judge sets him free, Krueger is burned alive in the boiler room where he worked by an angry mob of the parents whose children he terrorized & murdered. Years after his death, the children whose parents were responsible for Krueger's death - including Nancy Thompson, daughter of the police officer who arrested Krueger - are experiencing terrifying nightmares involving a burned man wearing a glove with razor blades on the fingers. The ghost of Freddy Krueger is haunting their dreams, and when Nancy's best friend Tina dies in her sleep violently during a dream confrontation with Krueger, Nancy realizes she must find a way to stop the evil psychopath's reign of terror - or never sleep again… A Nightmare on Elm Street 2 - Freddy's Revenge:
The Grady family, including their teenage son Jesse, moves into a house on Elm Street which has been vacant for some time. Hardly surprising, since it was the same house in which the first Nightmare on Elm Street took place. Ron starts having strange nightmares and finds that Freddy Kruger is using him to commit terrible deeds. It is up to his girlfriend to find some way of stopping Freddy. A Nightmare On Elm Street 3 - Dream Warriors:
The third Nightmare continues Freddy's story with the sole survivor of the first movie, Nancy Thompson. Nancy has just accepted a position as a research scientist at a pschiatric institution near the fated house on Elm Street and is working with a group of children who all share nightmares of Freddy. She discovers that one of the children (Kristen) has a special gift which may help them destroy Freddy forever.

Summary: When an Middle-Age Politcian (Gregory Peck), who discover that his Wife (Lee Remick) give birth to thier Son has Died. When the Head Priest convinces him to keep it a Secert from his wife and he adopts a Infant Baby to keep his wife Happy. Five Years Later, On Damien`s (Harvey Stephens) Birthday, A nanny (Holly Palance) kills herself on that day, Since that Day alot of Strange Things has Happen, things are not that normal, the Parents of Damien are unaware of the Child`s Satanic Origins.Directed by Richard Donner (Superman, The Goonies, Ladyhawke) made his Standout Suspense-Thriller with This. Written by David Seltzed (The 13th Angel) has wrote, one of the best Scary films ever with a Terrific film Score by Jerry Goldsmith (who did win an Oscar for his Score). DVD has an clean anamorphic Widescreen (2.35:1) transfer and an Digitally Remastered newly mixed Stereo Sound and also on it`s Original Mono Soundtrack. DVD Extras are:An running Commentary Track, which is often Funny and Informive by Director:Donner and Editor:Staurt Baird. A 46 Minute Documentary with the Filmmakers. A 6 minutes featurette on the Strange Going-On of Making of the Film and Original Theatrical Tralier. This a Strong film, that is Absolutely Riventing. Followed by Three Sequels. Panavision. Grade:A.

Summary: I have to admit that I'm a big fan of the original film: 'The Omen' (1976). It is quite psychological and centred on the unravelling of the perfect, controlled lives of the central couple. It also touches on the hypocrisy of the apparently solid, strong central character Robert Thorn (played by Gregory Peck). As such it doesn't depend on gore or flashy effects. Many of the performances, like the Satanic Nanny, are understated but filled with menace.



This pentology is not just about the first film, however, it is pretty much exhaustive. Not only does it have the first, second and third film but the remake of the first and made for TV film, 'The Awakening'. If that is not enough you get alternate endings, a featurette on the Omen Curse, the omen music and alternative commentaries (amongst much more). If you are not an expert on 'The Omen' after watching all this then something is wrong with you.



I learned a lot by viewing the bundle. I didn't realise how comparatively small the budget was on the first movie (two and a half million US$) and how the money made had helped to finance George Lucas! The Curse or Coincidence featurette was quite scary. Sometimes I wonder if evil is just an absence of good or a positive (if that's the right word!) force in its own right. Planes getting struck by lightning, accidents during filming - it's all pretty creepy and thought provoking.



The price seems a lot to fork out but really when you consider how much material is here you are getting a pretty good deal.

Summary: What a combo! Tobe Hooper, the director of "The Texas Chainsaw Massacre", teamed up with family-oriented producer Steven Spielberg to make "Poltergeist". The film is about a haunted suburban tract home in a development very much like the Arizona one in which Spielberg was raised. (Because it came out the same summer as Spielberg's "E.T.", it was tempting to see both movies as representing Spielberg's ambivalent feelings about childhood in suburbia. One was a fantasy, the other a nightmare.) Spielberg also cowrote the screenplay, which taps into primal, childlike fears of monsters under the bed, monsters in the closet, sinister clown faces, and all manner of things that go bump in the night. At first, some of the odd happenings in the house are kind of funny and amusing, but they grow gradually creepier until the film climaxes in a terrifying special-effects extravaganza when 5-year-old Carole Anne (Heather O'Rourke) is kidnapped by the spooks and held hostage in another dimension. Though not nearly as frightening as Hooper's magnum opus, or the original "A Nightmare on Elm Street", which came along two years later, "Poltergeist" is one of the smartest and most entertaining horror pictures of its time. "--Jim Emerson"

Summary: While 'ghostwriting' an autobiography for Hollywood star Preston Gilbert, Mickey King ends up investigating a murder...

Summary: Stuart Gordon's adaptation of H.P. Lovecraft's "Herbert West: Re-Animator" puts a "Night of the Living Dead" spin on the classic "Frankenstein" story. Jeffrey Combs furrows his brow and bugs his eyes as the preternaturally intense Herbert West, a maverick medical student whose gory, gooey experiments cause bloody corpses and body parts to jerk to life. Bruce Abbot is the studious roommate drawn into his extracurricular experiments, which soon involve the dean's daughter (the frequently naked Barbara Crampton) and the college's cadaverous, calculating star professor (David Gale), who literally loses his head over a battle for West's discovery. In this world, that's only a minor setback. Charged with sick gallows humor and a ghoulish gallery of undead beasties, "Re-Animator", like "Evil Dead II", is one of the most inspired and inventive--and funniest--horror films of the 1980s. Combs, Abbot, and Gale reunite for the almost-as-entertaining sequel "Bride of Re-Animator". "--Sean Axmaker"

Summary: Directed by Tobe Hooper (who would go on to helm "Poltergeist"), "Salem's Lot" is a better-than-adequate condensing of Stephen King's classic horror novel. It's made all the more effective when you consider this is material originally shown on network television. David Soul ("Starsky and Hutch") plays Ben Mears, a writer who returns to his hometown to write a novel about the local haunted house, and ends up dating Susan Norton (Bonnie Bedelia, future star of "Heart Like a Wheel"). Then evil James Mason comes to town, and pretty soon 70s character actors like Fred Willard, Geoffery Lewis and Elisha Cook, Jr. are dropping dead due to... mysterious circumstances. Okay, enough phony suspense. It's a vampire movie. Vampires... in modern-day Maine. And it works better than it has a right to. Soul's not exactly tortured enough, and Lance Kerwin's a little too old to play a monster-obsessed youth, but the supporting cast, which includes Ed Flanders ("St. Elsewhere"), Lew Ayres (Paul, from the classic 1930 "All Quiet on the Western Front"), Kenneth McMillan ("Ragtime," and "Dune") and George Dzundza (everything else) more than make up for it. They're sincere, and that counts for a lot. James Mason makes a perfectly urbane villain; he's suave and dangerous, and much smarter than his undead master, who's something of a disappointment in the chills department when finally revealed. This disk contains the entire miniseries, which manages to maintain a level of suitable creepiness, despite some dated sexual innuendo and a some "made-for-tv" scenes that aren't quite as menacing as they could be. Still, a few sequences are effectively chilling, and it's well worth your time, especially around Halloween.

Summary: David Cronenberg's 1981 horror film is a darkly paranoid story of a homeless man (Stephen Lack) mistakenly believed to be insane, when in fact he can't turn off the sound of other people's thoughts in his telepathic mind. Helped by a doctor (Patrick McGoohan) and enlisted in a program of "scanners"--telepaths who also can will heads to explode--he becomes involved in a battle against nefarious forces. A number of critics consider this to be Cronenberg's first great film, and indeed it has a serious vision of destiny that rivals some of the important German expressionist works from the silent cinema. Lack is very good as the odd hero, and McGoohan is effectively eccentric and chilly as the scientist who saves him from the street, only to thrust him into a terrible struggle. "--Tom Keogh"

Summary: Eight years before he scored a phenomenal hit with "Scream", horror master Wes Craven made a worthy effort to "legitimize" horror with this chilling supernatural thriller, based on the best-selling book by Wade Davis. More ambitious than most horror films, this one allowed Craven to generate compelling plausibility with the fact-based story of a Harvard researcher (Bill Pullman) who travels to Haiti to procure a secret voodoo powder that places people into a state of simulated death. His investigation into the hidden world of black magic grows increasingly dangerous until he's caught in a living nightmare--a potentially deadly predicament that inspired the film's advertising tag line: "Don't bury me... I'm not dead!" Craven pays particular attention to authentic details of Haitian society and the role voodoo plays in Haitian culture, and the film gains additional atmosphere from location shooting in Haiti and the Dominican Republic. Craven would, of course, continue to thrive by making more "conventional" horror films including "Scream", but this remains a fascinating departure for one of the genre's most celebrated directors. "- -Jeff Shannon"

Summary: British horror/comedy Shaun of the Dead is a scream in all senses of the word. Brain-hungry zombies shamble through the streets of London, but all unambitious electronics salesman Shaun (Simon Pegg) cares about is his girlfriend Liz (Kate Ashfield), who just dumped him. With the help of his slacker roommate Ed (Nick Frost), Shaun fights his way across town to rescue Liz, but the petty concerns of life keep getting in the way: When they're trying to use vinyl records to decapitate a pair of zombies, Shaun and Ed bicker about which bands deserve preservation--New Order they keep, but Sade becomes a lethal frisbee. Many zombie movies are comedies by accident, but Shaun of the Dead is deliberately and brilliantly funny, while still delivering a few delicious jolts of fear. Also featuring the stealthy comic presence of Bill Nighy (Love Actually) and some familar faces from The Office. --Bret Fetzer

Summary: It's tough to believe that Stanley Kubrick received a Worst Director Razzie nomination for "The Shining." While "The Shining" may not be given the classic status of some of his other films like "Dr. Strangelove" and "2001", it's actually the least polarizing of this highly-praised and atypical filmmaker's work.This atmospheric thriller is sure to creep you out with its pacing, eery editing and cinematography (those tracking shots are highly effective), and Jack Nicholson's powerful performance as Jack Torrance. Horror films often tend to divide audiences into genre fans who follow the gore and those who laugh in the face of so-called scares, insisting their own resiliancy to cheap thrills and lamebrain plotting.Fortunately, "The Shining" doesn't make you take sides, because its chills come from plotting and character study as much as they do from odd sights that will make you jump. It may stray from Stephen King's book and not all of it may make sense, but "The Shining" has so much going for it that you won't mind. It's a gripping and satisfying film experience, and in my opinion, one of the best films of the '80s.This Warner DVD re-release is definitely the version to get. The fullframe presentation comes at the wishes of Kubrick and the video and audio offer significant improvement over the drab initial release. (Unfortunately, the original Mono audio track has been dropped altogether in favor of an effective 5.1 remix. They could have included both with no problem.)In the way of extras, there is an engaging half-hour on-set documentary, filmed by Kubrick's daughter Vivian. It provides a candid experience of the film's creation, and interviews with some of the actors. In addition, this DVD re-release includes an audio commentary on the documentary (sort of a "making-of the making-of") by Vivian Kubrick. There's also the spooky trailer, which shows how a movie preview can perfectly pique one's interest in a film, without spoiling (or even saying) much.

Summary: After returning from a wedding reception, a couple staying in an isolated vacation house receive a knock on the door in the mid-hours of the night. What ensues is a violent invasion by three strangers, their faces hidden behind masks. The couple find themselves in a violent struggle, in which they go beyond what either of them thought capable in order to survive.

Summary: Director John Carpenter and special makeup effects master Rob Bottin teamed up for this 1982 remake of the 1951 science fiction classic The Thing from Another World, and the result is a mixed blessing. It's got moments of highly effective terror and spine-tingling suspense, but it's mostly a showcase for some of the goriest and most horrifically grotesque makeup effects ever created for a movie. With such highlights as a dog that splits open and blossoms into something indescribably gruesome, this is the kind of movie for die-hard horror fans and anyone who slows down to stare at fatal traffic accidents. On those terms, however, it's hard not to be impressed by the movie's wild and wacky freak show. It all begins when scientists at an arctic research station discover an alien spacecraft under the thick ice, and thaw out the alien body found aboard. What they don't know is that the alien can assume any human form, and before long the scientists can't tell who's real and who's a deadly alien threat. Kurt Russell leads the battle against the terrifying intruder, and the supporting cast includes Richard Masur, Richard Dysart, Donald Moffat, and Wilford Brimley. They're all playing standard characters who are neglected by the mechanistic screenplay (based on the classic sci-fi story "Who Goes There?" by John W. Campbell), but Carpenter's emphasis is clearly on the gross-out effects and escalating tension. If you've got the stomach for it (and let's face it, there's a big audience for eerie gore), this is a thrill ride you won't want to miss. --Jeff Shannon

Summary: Spontaneous Combustion:
A couple become human guinea pigs for a top-secret experiment exposing them to massive amounts of atomic radiation. Their son grows up with a rage that causes people to explode into flames. Where will it end? Eaten Alive:
Hailed as director Tobe Hooper's lost masterpiece, a hotel owner feeds his guests, including a reformed hooker, an unlucky family, and the hooker's father and sister, to his pet crocodile in this gory flesh fest! The American Nightmare:
A celebration of films from horror's golden age of fright! Disfigured knife-wielding murderers. Buxom teens fleeing for their lives through dark woods. Hordes of the undead limping along deserted streets. These iconic horror images were born in the groundbreaking films of horror maestros Wes Craven, John Carpenter, George A. Romero, David Cronenberg, John Landis, and Tobe Hooper.

Summary: Flesh eating Zombie Carnage! Prepare yourself for the ultimate in blood-soaked, flesh eating terror! Collected together for the first time, these infamous zombie classics contain some of the most horrific scenes ever realised on celluloid! These depraved shockers are now available for the first time in all of their eye-gouging, throat-ripping, gut-munching glory, UNCUT, UNCENSORED and in WIDESCREEN. Zombie Flesh Eaters (1979)
Burial Ground: The Nights Of Terror (1980)
Zombie Holocaust (1980)

Summary: Love it or loathe it, David Cronenberg's 1983 horror film Videodrome is a movie to be reckoned with. Inviting extremes of response from disdain (critic Roger Ebert called it "one of the least entertaining films ever made") to academic euphoria, it's the kind of film that is simultaneously sickening and seemingly devoid of humanity, but also blessed with provocative ideas and a compelling subtext of social commentary. Giving yet another powerful and disturbing performance, James Woods stars as the operator of a low-budget cable-TV station who accidentally intercepts a mysterious cable transmission that features the apparent torture and death of women in its programming. He traces the show to its source and discovers a mysterious plot to broadcast a subliminally influential signal into the homes of millions, masterminded by a quasi-religious character named Brian O'Blivion and his overly reverent daughter. Meanwhile Woods is falling under the spell, becoming a victim of video, and losing his grip--both physically and psychologically--on the distinction between reality and television. A potent treatise on the effects of total immersion into our mass-media culture, Videodrome is also (to the delight of Cronenberg's loyal fans) a showcase for obsessions manifested in the tangible world of the flesh. It's a hallucinogenic world in which a television set seems to breathe with a life of its own, and where the body itself can become a VCR repository for disturbing imagery. Featuring bizarre makeup effects by Rick Baker and a daring performance by Deborah Harry (of Blondie fame) as Wood's sadomasochistic girlfriend, Videodrome is pure Cronenberg--unsettling, intelligent, and decidedly not for every taste. --Jeff Shannon

Summary: Please Note: As a franchise organisation, titles and prices may vary between the physical stores and this website.

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Summary: Hammer House of Horror is one of the best horror series ever broadcast on television. With the master of horror, Peter Cushing, as the star, its finesse was assured from the start. Grotesque and sinister, many episodes curdle the blood. This is not for the faint hearted. From Satanic nightmares to houses literally bleeding to death, Hammer House of Horror has it all and presents us with a vivid picture of real fear. Your worst nightmares come true in each episode. Screen siren Diana Dors complements Peter Cushing’s demonic demonstrations in the scariest series you are ever likely to see. Hold on to your hearts for this series is bound to make you scream. This collection is presented in full colour. Episodes List: The House That Bled To Death
The Silent Scream
The Two Faces Of Evil
The Mark Of Satan
Witching Time
Visitor From The Grave
Rude Awakening
Charlie Boy
Children Of The Full Moon
The Thirteenth Renunion
The Carpathian Eagle
Guardian Of The Abyss
Growing Pains

Summary: Classic terror tales from the Godfather of Italian Horror Cinema! A cinemtaic master who dazzled audiences with his vivid visual style, Mario Bava set the standard for the Italian horror genre with the classic Black Sunday (1960), a film that defined the gothic thriller, and the supernatural shocker Black Sabbath (1963), starring Boris Karloff. Later, Hatchet for a Honeymoon (1969) established the template for the 'stalk 'n' slash' horror genre. Bava's baroque visual style continues to educate, impress and heavily influence horror filmmakers to this day (his 'pupils' include Dario Argento (Suspiria) and Tim Burton (Sleepy Hollow). This collection contains four signature titles from Bava, in addition to the documentary Mario Bava:Maestro of Horror, a 60min chronicle of Bava's illustrious career including interviews from directors Tim Burton and John carpenter (Halloween) Movies Include:
Black Sunday (1960)
Black Sabbath (1963)
Hatchet for a Honeymoon (1969)
Shock (1977)
Mario Bava: Maestro of Macabre (2000) (60 min documentary)

First time collected on DVD! UNCUT and new WIDESCREEN transfers