Horror Classics

"In space, no one can hear you scream." A close encounter of the third kind becomes a Jaws-style nightmare when an alien invades a spacecraft in Ridley Scott's sci-fi horror classic. On the way home from a mission for the Company, the Nostromo's crew is woken up from hibernation by the ship's Mother computer to answer a distress signal from a nearby planet. Capt. Dallas' (Tom Skerritt) rescue team discovers a bizarre pod field, but things get even stranger when a face-hugging creature bursts out of a pod and attaches itself to Kane (John Hurt). Over the objections of Ripley (Sigourney Weaver), science officer Ash (Ian Holm) lets Kane back on the ship. The acid-blooded incubus detaches itself from an apparently recovered Kane, but an alien erupts from Kane's stomach and escapes. The alien starts stalking the humans, pitting Dallas and his crew (and cat) against a malevolent killing machine that also has a protector in the nefarious Company. ~ Lucia Bozzola, All Movie Guide

Based on Bram Stoker's classic 1897 novel, this film from Francis Ford Coppola and screenwriter James Victor Hart offers a full-blooded portrait of the immortal Transylvanian vampire. The major departure from Stoker is one of motivation as Count Dracula (Gary Oldman) is motivated more by romance than by bloodlust. He punctures the necks as a means of avenging the death of his wife in the 15th century, and when he comes to London, it is specifically to meet heroine Mina Harker (Winona Ryder), the living image of his late wife (Ryder plays a dual role, as do several of her costars). Anthony Hopkins is obsessed vampire hunter Van Helsing, while Keanu Reeves takes on the role of Jonathan Harker, and Tom Waits plays bug-eating Renfield. Bram Stoker's Dracula was the winner of three Academy Awards. ~ Hal Erickson, All Movie Guide

This auspicious feature debut from Sam Raimi -- shot on 16mm in the woods of Tennesse for around $350,000 -- secured the young director's cult status as a creative force to be reckoned with. The nominal plot involves five vacationing college kids -- Ash (Bruce Campbell), his girlfriend Linda (Betsy Baker), and their classmates Cheryl (Ellen Sandweiss), Scott (Hal Delrich) and Shelly (Sarah York) -- making an unplanned stopover in an abandoned mountain cabin surrounded by impenetrable woods. Before settling in for the night, they come across an ancient-looking occult tome filled with dense hieroglyphics and macabre illustrations, a dagger fashioned from human bones, and a reel-to-reel tape recorder. The taped message, dictated by a professor of archaeology, describes the contents of the Sumerian "Book of the Dead," filled with incantations used to bring otherworldly demons to life, giving them license to possess the living. The message goes on to explain that those possessed by these demons can only be stopped by total bodily dismemberment. When played among the group later that evening, the professor's recorded translations of the ritual chants traumatize the strangely prescient Shelly ... and simultaneously release an ominous presence from the depths of the forest. The evil spirits take to their dirty work with gusto, first assuming control of Shelly and transforming her into a cackling, murderous hag with superhuman strength; the others imprison her in the fruit cellar and chain the trapdoor shut. The spirits then begin to possess the other women, including Linda -- who immediately turns on Ash with a barrage of punches and sadistic taunts. Unable to bring himself to chop up his lover's corpse, Ash gives her a more customary burial in the woods -- which proves to be a big mistake. As the others succumb to demonic influence, Ash's horrific predicament becomes increasingly grim until, when all hope seems lost, he stumbles upon a final, desperate solution to the ghoulish onslaught ... well, maybe not. Despite the shoestring production values, Raimi has fashioned a tight, lightning-paced fever dream of a movie, filled with operatic overacting and outrageously gory effects that give the project a comic-book feel. Based on an earlier 8mm short titled Within the Woods, this feature version was fraught with distribution difficulties before finding its first audience overseas. After considerable word of mouth (and a glowing endorsement from horror author Stephen King), the film became a hit on home video, where it achieved further notoriety thanks to its highly-publicized banning in Britain amid the notorious "Video Nasties" censorship campaign. Raimi, along with producer Robert Tapert, writer Scott Spiegel and much of the same crew, cranked up the story's comic aspects several dozen notches for the rollicking semi-remake, Evil Dead 2: Dead by Dawn. ~ Cavett Binion, All Movie Guide

A team of scientists and explorers follow a trail of pilfered corpses to the Pacific-island domain of a hand-wringing mad doctor (Donald O'Brien) who performs bizarre, tortuous experiments on living and dead specimens in his jungle laboratory. After a drastic reduction in the size of the team thanks to the Doc and his zombie hordes, the survivors try for a desperate getaway -- but not before the cannibals capture, strip and body-paint the team's requisite buxom blonde (Alexandra Della Colli). A suitable "B"-side to Lucio Fulci's own island-themed gore epic Zombie, Francesco Martino's Dr. Butcher, M.D. (an abbreviation for "Medical Deviate" according to the lurid promotional materials) is actually a composite of two separate films. The pre-credits prologue is cobbled together from bits of an unreleased film entitled Tales That Tear Your Heart Out which were tacked on to Martino's cut, originally titled Queen of the Cannibals, by American distributor Aquarius Films. The end result is completely senseless, but fun for gore-hounds, who are treated to impromptu surgical tortures, zombie gut-munching and death-by-outboard-motor. ~ Cavett Binion, All Movie Guide

Several years after the events of A Nightmare on Elm Street, Jesse Walsh and his family moved into the home of Nancy Thompson, the only survivor of supernatural killer Freddie's reign of terror. Haunted by dreams of the disfigured child-killer, the lonely Jesse has trouble sleeping, falls asleep often in school and quarrels with his picture-perfect family. Lisa, his prospective girlfriend, discovers Nancy's diary in Jesse's closet, and slowly he learns of his predecessor's ordeal. When his sadistic gym teacher catches Jesse blowing off steam at a leather bar, he attempts to exact punishment of an unsavory nature. Freddie intervenes, savagely murdering the coach in the school shower room, and Jesse must flee the crime scene naked, terrified that he's going insane. His parents become convinced he's on drugs, but Jesse knows that Freddie is trying to possess him. Bereft of sleep, alienated, and frightened of what he might do to his sister or Lisa -- especially if he responds to her sexual advances -- the youth attempts to sequester himself in his friend Ron's bedroom; Freddie emerges though, killing Ron and sending Jesse on the lam. Mayhem erupts when Freddie/Jesse crashes Lisa's pool party, leading to a showdown at the abandoned factory where the madman first preyed on the children of Springwood. ~ Brian J. Dillard, All Movie Guide

Crash landing on a barren penal-colony planet with an unwelcomed visitor in tow, Ripley (Sigourney Weaver) contends with a group of hardened convicts while using nothing but her wits to battle a terrifying new breed of alien. The sole survivor of her crashed escape pod, Ripley is rescued from the craft by the remaining inhabitants of Fiorina 161, a group of rapists and murders who chose to repent for their sins in deep space after the penal colony was officially decommissioned. When remaining warden Andrews (Brian Glover) announces Ripley's presence to the inmates, their spiritual leader, Dillon (Charles S. Dutton), begins to fear that her presence will stir up trouble. As a result, Ripley is placed in the care of prison doctor Clemens (Charles Dance), and restricted to the infirmary until a rescue ship arrives. But Ripley isn't the only new visitor on Fiorina 161; an alien stowaway survived the crash as well, and it has planted its seed in a feral dog. Before long, a new breed of alien has burst from the dog's chest, a stealthy hunter that moves on all fours and can navigate the darkened prison corridors virtually undetected. When the inmates start to disappear, the remaining survivors must fight for their lives without weapons to defend themselves. The only person who knows the alien well enough to beat it is Ripley, and while her plan to corner and kill the creature just might work, a horrifying discovery reveals that her fight is far from over. ~ Jason Buchanan, All Movie Guide

The third in director Sam Raimi's stylish, comic book-like horror trilogy that began with The Evil Dead (1982), this tongue-in-cheek sequel offers equal parts sword-and-sorcery-style action, gore, and comedy. Bruce Campbell returns as the one-armed Ash, now a supermarket employee ("Shop Smart...Shop S-Mart") who is transported by the powers of a mysterious book back in time with his Oldsmobile '88 to the 14th century medieval era. Armed only with a shotgun, his high school chemistry textbook, and a chainsaw that mounts where his missing appendage once resided, the square-jawed, brutally competent Ash quickly establishes himself as a besieged kingdom's best hope against an "army of darkness" currently plaguing the land. Since the skeleton warriors have been resurrected with the aid of the Necronomicon (the same tome that can send Ash back to his own time) he agrees to face the enemy in battle. Ash also finds romance of a sort along the way with a beautiful damsel in distress, Sheila (Embeth Davidtz), and contends with his own doppelganger after mangling an important incantation. ~ Karl Williams, All Movie Guide

Although this Canadian production saw its widest U.S. cable TV distribution in the early '80s (primarily under the title Stranger in the House) to capitalize on the phenomenal success of Halloween and its offspring, this effective suspense-thriller actually predates John Carpenter's film by four years. The story involves a dangerous psychopath hiding out in the attic of a sorority house who torments a small group of pretty young sisters (including Olivia Hussey and Margot Kidder) who are staying behind over Christmas break. His tactics range from making obscene phone calls from their house-mother's phone, to stalking the terrified boarders with sharp objects and murderous intent. Director Bob Clark, who mistook dreariness for tension in his previous horror effort Children Shouldn't Play With Dead Things! (1972), here demonstrates a tight, aggressive style that generates some very original shocks -- particularly the surprise ending -- which clearly influenced dozens of similarly-themed slasher films to follow. ~ Cavett Binion, All Movie Guide

This classic horror movie based on Stephen King's first novel stars Sissy Spacek as Carrie White, a shy, diffident teenager who is the butt of practical jokes at her small-town high school. Her blind panic at her first menstruation, a result of ignorance and religious guilt drummed into her by her fanatical mother, Margaret (Piper Laurie), only causes her classmates' vicious cruelty to escalate, despite the attentions of her overly solicitous gym teacher (Betty Buckley). Finally, when the venomous Chris Hargenson (Nancy Allen) engineers a reprehensible prank at the school prom, Carrie lashes out in a horrifying display of her heretofore minor telekinetic powers. Many films had featured school bullies, but Carrie was one of the first to focus on the special brand of cruelty unique to teenage girls. Carrie's world is presented as a snake pit, where the well-to-do female students all have fangs -- even the reticent Sue Snell (Amy Irving) -- and all the males are blind pawns, sexually twisted around the fingers of Chris and her evil cronies. The talented supporting cast includes John Travolta, P.J. Soles, and William Katt. One of the genre's true classics, the film was followed by a sequel in 1999, as well as by a famously unsuccessful Broadway musical adaptation that starred Betty Buckley, the movie's gym teacher, as Margaret White. ~ Robert Firsching, All Movie Guide

Child's Play seems to have been concocted by a parent who went berserk after standing in line for hours on end to purchase a Cabbage Patch doll in the early 1980s. The film opens with serial killer Brad Dourif taking refuge in a doll factory. Dourif is killed by the cops, but not before he has invoked a voodoo curse which transfers his soul into one of the dolls. That particular doll, nicknamed Chuckie, is unwittingly purchased by Catherine Hicks for her son Alex Vincent. Several murders occur shortly thereafter; all evidence points to Alex, who insists that his cherub-faced doll is responsible. Detective Chris Sarandon, the man responsible for Dourif's death, doesn't swallow Alex's story, but he agrees to investigate because he's sweet on Alex's mom. The slasher-flick ending of Child's Play would seem to have settled Chuckie's hash for good and all, but guess again--the film spawned numerous sequels. ~ Hal Erickson, All Movie Guide

Several years have passed since the events of the previous film, and yet again the makers of Good Guys dolls -- a line which included the homicidal Chucky -- decide to reinstate their product line. Unfortunately, some of the materials used are still imbued with the evil spirit of serial killer Charles Lee Ray (voice of Brad Dourif), whose soul once inhabited the Chucky doll... and who returns to action in a spanking new Good Guy body. Determined at first to finish the job he started by swapping bodies with young Andy (Justin Whalin) -- who is now a teenager in military school -- Chucky decides to change tactics, setting his sights on a much younger boy. When Andy becomes aware of the situation, he is compelled to put a stop to Chucky's Satanic antics once and for all. The signs of a creatively-depleted horror franchise are evident (they had already shown themselves in the previous installment), but there is still enough juice left for the spooky climax, which borrows a riff from Tobe Hooper's The Funhouse. ~ Cavett Binion, All Movie Guide

Two of the most venerable names in the horror field, author Stephen King and director George A. Romero, present this anthology of original twisted tales inspired by the E.C. horror comics of the 50's and 60's (themselves a more direct basis for the popular Tales from the Crypt TV series). The five stories are framed within the pages of a comic book which a boy's insensitive father has thrown in the garbage. The first tale, "Father's Day," features a zombie patriarch returning to claim his Father's Day cake; "The Lonesome Death of Jordy Verrill" stars King himself as a slack-jawed yokel whose discovery of a radioactive meteorite turns him into a walking weed; "Something to Tide You Over" presents a deadly-serious Leslie Nielsen as a cuckolded husband who plans an elaborate seaside revenge; "The Crate" unleashes its ferocious man-eating contents on the enemies of a meek college professor; and "They're Creeping Up On You" pits obsessively-clean billionaire E.G. Marshall against a swarm of cockroaches in his sterile penthouse. The chapters are uniformly creative, filmed in garish comic-book colors, and Tom Savini's makeup effects are quite memorable (particularly the monster from "The Crate"), though the campy treatment does become exhausting after two hours' runtime. The final segment is the most impressive, thanks to Marshall's over-the-top performance, though the planned scope of the cockroach invasion was drastically reduced (no doubt due to budget constraints). ~ Cavett Binion, All Movie Guide

The debut feature from Italian filmmaker Mariano Baino, Dark Waters is a gruesome horror flick about a young woman named Elizabeth with a terrifying secret. In search of answers about her mysterious childhood experiences, Elizabeth falls in with a creepy group of nuns who seem to know everything about her and take her captive. Winner of the Vincent Price Award at the Rome Fantafestival, the film has also been released as Dead Waters. ~ Matthew Tobey, All Movie Guide