Among the horror community, there are certain names that can go unnoticed. New directors and cult indies that simply do not get enough limelight. And there are others in which one ought to know regularly. If there was a quiz, you should know the names of Wes Craven, David Cronenberg, George A. Romero, Alfred Hitchcock, James Whale, Guillermo del Toro, Sam Raimi, and Tobe Hooper as the most easily recognizable of horror directors. Wes Craven gave us (among so much more) Freddy Krueger. Cronenberg gave us Videodrome (among his other visceral work). Romero created an entirely new monster subgenre, zombies. Hitchcock paved the way for most of everyone on this list, starting, I think, with Shadow of a Doubt (1943), but most people probably know him best for Psycho. James Whale, another original pavemaker, gave us Frankenstein. del Toro brought horror into the depths of imagination. Sam Raimi locked us away in the cabin in The Evil Dead. And Tobe Hooper chased us into the sunset with a chainsaw. All these names of known for certain achievements. And in all transparency, even while you’re reading this article, there are probably differing movies you remember or associate with each director best. One director, obviously unnamed in my little list here, if we dug deeper in the cesspool of horror fandom, we’d probably wallow in some pretty nasty disagreement on which of his movies he is best known for. Personally, as a fan of his work, our still yet unnamed director (can you guess?), I’d be amiss not to do a “favorites list” on this the day of his birth. To keep things not too lengthy, this will be limited to my top five favorites (which will NOT be easy) ending on THE movie I think he is best known by. So, hold on to your butts, from least to best, the following are my five favorite movies by none other than John Carpenter.
5. The Fog (1980)
If we’re talking personal favorites, The Fog would certainly go to the top of the pile. But if we’re talking which of Carpenter’s movies he is best known for, well…I have my doubts, even within the horror community, of those who associate Carpenter with The Fog. For starters, The Fog isn’t as over-the-top as some of his later projects. It is simple. Banal. And contained. Yet, in that simplicity, there is a wonderfully fantastic film built on classic gothic themes. A weather-beaten old fisherman tells an ancient tale of betrayal and death to fascinated children as they huddle together by their campfire. An eerie fog envelops Antonio Bay, and from the mist emerge dripping demonic phantoms of a century old shipwreck…seeking revenge.
4. Escape From New York (1981)
Now we’re getting into the nitty-gritty. However, much like The Fog, I’m unconvinced how well known Escape from New York is a John Carpenter flick. I think most would be able to tell you Kurt Russell is in it, but other than that…? Regardless, Escape From New York is definitely on my top five list for Carpenter pictures. Here, Carpenter introduces us to some rather complex characters without having to spend too much time on them. Instead, Carpenter focuses on the action as he bravely takes us into the future, a not so far fetched future where crime is out of control and New York City is converted into a maximum security prison. When the President’s plane crashes in old Gotham, the powers that be recruit tough as nails Snake Plissken, a one-eyed former war hero now turned outlaw, into bringing the President, and his cargo (nuke codes), out of this land of confusion.
3. Big Trouble in Little China (1986)
Without a doubt, not only do moviegoers in the horror community know and can easily associate Big Trouble in Little China with John Carpenter, but so can those who do not frequent horror movies, and that’s mostly because Big Trouble in Little China is not technically a horror movie. I think it could be labeled mostly as sci-fi fantasy and comedy action. And as ole Jack Burton says, this flick is one of the most quotable of all of Carpenter’s work. The film is an unexpected classic following a tough-talking, wisecracking truck driver named Jack Burton whose life on the road takes a sudden supernatural tailspin when his friend’s fiancee is kidnapped. Speeding to the rescue, Jack finds himself deep beneath San Francisco’s Chinatown, in a murky, creature-filled world ruled by Lo Pan, a 2000-year-old magician who mercilessly presides over an empire of spirits. Dodging demons and facing baffling terrors, Jack battles his way through Lo Pan’s dark domain in a full-throttle, action-riddled ride to rescue the girl.
2. Halloween (1978)
His one movie that sparked a franchise, I’d be really shocked to discover anyone who didn’t know this flick was one of John Carpenter’s. And I swear to all that is holy, if I ever asked someone, “Hey, have you seen Halloween?” And they told me, “Oh, you mean that Rob Zombie movie?” I’d slap them silly. Halloween is a classic to be sure. The score alone is probably more recognizable than the directorial name. And a movie that typically makes it onto everyone’s Halloween holiday movie lineups, a movie that started on a cold Halloween night in 1963 when six year old Michael Myers brutally murdered his 17-year-old sister, Judith. He was sentenced and locked away for 15 years. But on October 30, 1978, during the night before being transferred for a court hearing, a now 21-year-old Michael Myers steals a car and escapes Smith’s Grove. He returns home to his quiet hometown of Haddonfield, Illinois, where he searches for his sister.
1. The Thing (1982)
Was there really any surprise The Thing is my number one pick here? Yes, there could be some debate on whether The Thing is an easily associated film of Carpenter’s. And there are two sides to this coin. While I do admit, I have some serious doubts people outside of horror fandom would even recognize the movie title let alone the director, but within the horror fandom world, The Thing has become an inescapable cult classic of behemoth proportions. I do not think I’ve seen another movie that has gardened such a fanbase as The Thing. And for good reason, too. The Thing, besides The Fog, has one of the most simple sets imaginable, the kicker really being how isolated the characters are and how audiences can feel that itch of madness, being cooped up too long, stir crazy, etc. etc. The paranoia drips from the screen. And much like Escape from New York, we’re given rich complex characters without the need of some unnecessary backstory for any of them, even Kurt Russel’s characters MacReady is really only known by his actions. Nearly 35 years later, the practical effects in this movie are still considered high quality. If that doesn’t say something, I don’t know what will. The story is grounded and easy to follow. After the destruction of a Norwegian chopper that buzzes their base, the members of the US team fly to the Norwegian base hoping to find survivors, only to discover them all dead or missing. What they do find among the carnage are the remains of a strange creature burned and haphazardly buried in the ice. The Americans take their find back to their base and deduce that it is not human, not entirely, but an alien life form. Soon, it becomes apparent that the alien lifeform is not dead, and to make matters worse, it can take over and assimilate other life forms, including humans, spreading much like a virus does. Anyone at the base could be inhabited by the Thing, tensions soon escalate.
0. They Live (1988)
I’d be amiss not to include at least one honorable mention. Originally, I really wanted to include Carpenter’s They Live, starring late great Roddy Piper, on this list of top films. Call me lazy, but I didn’t want to spend all morning writing about which of Carpenter’s movies are the best or most recognizable as being his, I’d be here all day if I did that. I gave myself a five movie limit and stuck with it. That said, I think They Live, at least within the horror community, is a really recognizable Carpenter flick, and probably one of his most (sadly) relevant films to date. The action is def. cheesy, and the concept is bizarre, but the message is a real punch to the gut, one that I’m sure many a film student as spent dissecting and discussing.
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Thomas S. Flowers is the published author of several character driven stories of dark fiction. He resides in Houston, Texas, with his wife and daughter. He is published with The Sinister Horror Company’s horror anthology The Black Room Manuscripts. His debut novel, Reinheit, is published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein and Apocalypse Meow. His military/paranormal thriller series, The Subdue Series, both Dwelling and Emerging and Conceiving (coming soon), are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston Clear Lake with a BA in History. He blogs at machinemean[dot]org, where he does author interviews and reviews on a wide range of strange yet oddly related topics. You can keep up with Thomas and all his strange books by joining his author newsletter, at http://goo.gl/2CozdE.
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It has just occurred to me that I have never written a biographical piece on English-India born character actor William Henry Pratt, aka Boris Karloff. Never. Not once. Sure, I’ve had other writers on here talking about some of the movies he has been in, namely Frankenstein and Bride of Frankenstein and even The Mummy, but never, not once have I stepped up to plate. That ends here. For those who are betrothed to the dark and unusual of filmage, that this, horror movies, the name Boris Karloff is not unfamiliar, it is, in fact, legendary. And for good reason. Even tempered natured folks who do not ordinarily dabble in nightmare landscapes know, rudimentary, who Boris is, that is, the Monster, that Frankenstein monster that is. And they wouldn’t be wrong. That’s his role, after all, no skirting the issue or sipping from your craft beer or wine, dressed in some flannel button up with a shaggy beard, pretending as if he never endured the makeup. Just because you saw him in The Black Cat (1934) or Targets (1968) doesn’t negate his crowning achievement. He was the Monster. Don’t walk through the past with blinders on. He will always be the Monster. And here and now, I’d like to correct my above-mentioned misstep and celebrate his career (his work), as it is, highlighting briefly my top 5 favorite Boris Karloff movies.
5. House of Frankenstein (1944). I’m not entirely sold on House of Frank, particularly concerning the Dracula character and how easily he was dispatched; however, I cannot negate Boris’s role as Dr. Niemann, a mad scientist who has supposedly discovered Frankenstein’s secret to immortality and the creation of a new human race of perfectly made people. His role here, obviously, is not the Creature. And as a tip of the hat, I would say he was very dark in this movie, uncaring of dispatching anyone who got in his way.
4. How the Grinch Stole Christmas (1966). Say what you will, but I would feel horrible if I did not mention this classic film. Especially now that we’re shuffling towards the holiday season and Turkey Day tomorrow, I would be amiss to ignore one of my favorite Christmas movies. Even at the tender age of 79, Boris’s voice, his deep growls, and slight lisp is uncanny. His performance as the narrator is actually what draws me to the cartoon. If it had been anyone else, I’m not sure I’d enjoy it as much.
3. Bride of Frankenstein (1935). Seems like a total cop-out, but no, back to my above argument, we cannot ignore his masterpiece of horror cinematography. The Frankenstein monster was a role that was limited in dialogue, and so he had to manipulate audience reactions and emotions through gesture and skewed hardened facial expressions. Bride of Frankenstein showcases the evolution of the creature, from mute stumbler to an array of humanistic-like qualia. He was driven, not by fear, but by necessity, the most basic human desire, companionship, a mate.
2. The Black Cat (1934). One of my favorite Edgar Allan Poe adaptations in a string of Poe-inspired films, among such as The Raven (both 1935 and 1963), House of Usher, The Pit and the Pendulum, etc etc, The Black Cat wins the prize, for me at least. The story is adapted for the 1930s era and is based just after The Great War, which ended in 1918. Dr. Vitus Werdegast is on a quest for revenge against the man who took his beloved wife and daughter, an old friend and comrade in arms, Hjalmar Poelzig. Poelzig is harboring a few dark secrets, most of which he shares openly, all but for his insidious religion. Caught in the middle is a young American couple on their honeymoon. The Black Cat is not action oriented, but rather, filled with an overwhelming sense of dread and some of the best dialogue I’ve heard in a long time. If you’ve been holding out, you need to see this movie. This 82-year-old movie may shock you.
1. The Mummy (1932). Without a shadow of a doubt, unashamedly, The Mummy is my all time favorite movie starring Boris Karloff. Why? Sure, we know and love and celebrate him for his role as Frankenstein’s monster, however, for me, his total sum of charisma and stage performance is defined in his role as Ardath Bey, aka Imhotep, priest of Pharaoh Amenophis, mummified for attempting to resurrect his forbidden lover, the princess Ankh-es-en-amon. regarding the other Mummy movies, though Lon Chaney Jr. did his best with what he had to work with, they did not, however, capture the tragedy that is Imhotep. Is he the villain? Perhaps. He certainly has his own agenda in mind. But there’s more. He’s a romantic. Deeply so. All he wants is his beloved princess. Not power or gold or influence, nothing political. He manipulates those he must. And strikes down those who get in his way. Love is not all puppy dogs and rainbows, it’s brutal at its core. Violent even. A man desperate enough to do whatever he must so he can attain that which he desires the most. True love. And Karloff, he plays the role wonderfully.
And there you have it folks, my top 5 Boris Karloff movies. I’m sure you’ve got a few in mind. What are some of your favorite Boris Karloff movies? Comment below in the comment box to enter for your chance to win a signed copy of my latest book, Conceiving (Subdue Book 3), scheduled to release next week on November 29, 2016. Now available for preorder on Amazon (wink wink), you can get your copy here. And if you are curious about my other books, you can find them on the altar of Amazon by following this link here. As always, you can stay connected with me on Facebook, where I post reviews, new book info, and other horror related topics. Thanks for reading everyone!
When asked what my favorite scary movie is, the geek in me knows there are just too many gory and spooky films to choose from. There are bunches and bunches of awesome horror out there, but,for better or worse, John Carpenters The Thing is one of my all time favorite horror movies. There are few horror movies that I can watch over and over without ever getting bored. Some horror movies are seasonal, such as: Friday the 13th is typically reserved for Friday the 13th’s or anytime during the summer, Halloween is reserved for Halloween, Gremlins is during Christmas, and so on. There is something about The Thing that keeps me coming back. From the opening scene with the space craft crashing into the earths atmosphere, to the seemingly innocent snow dog running from a deranged Norge gunman, and the discovery of the still smoldering Norwegian base camp, the setup reels you in and doesn’t let go. As we watch these scenes progress, we’re given little nibbles of foreshadowing (death, isolation, and an otherworldly discovery in the Arctic tundra) and the ever present somber tone, beautifully captured in the movies main musical score (some of Carpenters best musical scores), all this sets the pace and mood till the final conclusion.
Released during the summer of 1982, Carpenters take on John W Campbell’s novella, “Who goes there?” faced steep competition from other sci-fi releases, including: E.T. and Blade Runner. The Thing held the #8 spot during the summer blockbuster season and garnered some rather harsh criticism for being overtly graphic and agonizingly slow. The Thing presented a message that just was publicly receptive at the time. As George Romero has commented on the film, it was an era when we had little trust for those around us and ourselves; however, The Thing has since grown in popularity (mostly with horror geeks) and through the decades has established an impressive cult following. What Carpenter once called his “biggest regret” has now been named amongest the best in science fiction and one of the scariest movies in horror. This proves again how inconsequential box office rating are compared to how good a horror movie really is. In my eyes, The Thing could have eaten that nerd E.T. and assimilated Rick Deckard; however, apparently The Thing was a creature before its time.
Instead of going through the movie, giving away key plot develops that you could be discovering for yourself, i’ll go through the parts of the movie that impressed me the most. The Thing, as I see it, is one of the best science fiction horror films ever to grace cinema. The only other contender is Dead Space, a game which is fundamentally similar to The Thing, but hasn’t yet been made into a live action movie…not yet at least…and since we’re on the subject, who could pull off a Dead Space film other than John the master of horror Carpenter? (I know its just an internet rumor, but wouldn’t it be amazing for him to direct Dead Space?) Anyhow, this is all beside the point. Lets get back to the subject at hand. As we discussed in the opening of this review, The Thing comes at us with the perfect setup, the small little bits of information, drawing you in, forcing you to beg the question: What the heck is going on here?!? The best part is how isolated the characters are in the story are. Nothing tops old man winter to make one feel all alone!
And isolation is a classic backdrop for any horror story. Separate you’re characters from the world and odd choices will ensue when conflict rises. The Arctic adds the feeling of vulnerability; in contrast, a swampy humid location would typically coop stories about madness. However, The Thing isn’t so much a story about madness; its more about paranoia. Cut off from outside help characters become forced to take matters in their own hands, making isolation (or closed environments) the best way to heighten the feel of terror.
As far as characters go, John Carpenter could not have picked a better actor to play anti-hero MacReady than Kurt Russel. Other than Escape from New York, Big Trouble in little China, and Star Gate, The Thing is one of my favorite movies with Kurt Russel at the helm. His portrayal as the ruffy, drunk camp pilot, with a keen leadership ability during a crises, was spot on and completely believable. The same could be said regarding the rest of the actors, including both Wilford Brimley and Keith David. Each and every character was perfectly portrayed without the cheesy need of explaining who does what. Unfortunately, many horror movies fail with simplicity. You do not need to explain every single detail; let the story explain who the characters are through their actions. Just a little something to consider whenever you write your next screenplay: less is more.
Reading through some of the old reviews, the one thing that had turned most critics off in the 80’s was the very thing that made this movie a legend, the use of traditional special effects. Oh, and don’t worry, i’m not going to go on a rant here regarding CGI and traditional, but let me just say, comparing the original 1982 with the recent prequel, Carpenter’s will always be better because of his employment of hand crafted monsters, instead of computer simulations. For me, traditional effects are able to gross me out more than CGI; and its all because of the real factor, knowing somewhere out there in some back lot studio garage, these painstakingly crafted Things are still there, waiting to be rediscovered and sold in some Hollywood auction. Call me a horror snob all you want, but can you honestly disagree that when the Norris-Thing’s head started spouting spider legs, the sound and image didn’t make you cringe? This memorable scene was an unforgettable moment in horror. Norris has a heart attack, or seems to, and poor doc Copper steps in to save his life, only to lose his…and his arms! The Norris-Thing’s transformation was the second best monster moment in the movie, topped only by the Blair-Thing at the end of the movie.
Despite what others critics have said, the effects do not overpower the story, nor are they over done. The story, etched in paranoia, is still very potent. Well into the second day, folks at the United States National Science Institute Station 4 rapidly become suspicious of each other. The Thing, as they discover, can assimilate any biological life it comes into contact with… “It could be anyone of us…” is a phrase said once or twice around camp. Eyes dart between old friends and anyone acting or doing anything out of the ordinary is called into question. Who is friend and who is foe? Who can I trust? As MacReady told Blair, “Trust is a hard thing to come by these days.”
Not knowing who can be trusted magnificently adds to the feeling of isolation. Who’s got your back if the only person you can trust is yourself? In this respect, Carpenter brought out a lot from Campbell’s original novella, “Who Goes There?” Beside the Norris and Blair-Thing’s, the Bennings-Thing, with its thunderous scream, echoing out into the winter storm, was one of the creepiest moments in The Thing, and an excellent moment of paranoia. The effects were minimal here, there wasn’t much of the monster to see. The scary part was that Bennings was the first –known– member of station 4 to become absorbed by the alien. And as Garry so eloquently pointed out, “Bennings was my friend….I’ve known him for ten years.”
Though this review is without a doubt positive, that doesn’t necessarily mean the movie isn’t without its imperfections. There were a few bumps in the story that threw me off. The biggest one was when MacReady and company discover, or assume, the Things plan to go back into hibernation as it waits for the spring rescue crew to arrive. To this, MacReady plans to “heat things up around here,” which I wasn’t sure if he meant to burn the Thing or to heat up the camp so that it couldn’t go into hibernation…see where i’m going? Their in the antarctic, the fire will eventually extinguish and the Thing will still be able to hibernate. However, if you’ve been following our heroes development through the movie, it wouldn’t be unreasonable to assume that MacReady isn’t really thinking straight, he’s sleep deprived and extremely paranoid. Endings can be the hardest part in a story to pull off without upsetting the audience. Everyone has an opinion. And though MacReady’s plan didn’t quite make sense to me, it was still an excellent and believable ending. They know their going to die, they just want to ensure the Thing dies with them.
The bottom line: The Thing is obviously a favorite. My review is glowing. The Thing is a favorite not only because of my love for the 1980’s or John Carpenter flicks, but because of its sheer intensity as a horror movie in general. Every aspect of this movie screams horror: a movie thriving on classic macabre motifs (isolation and paranoia) to deliver something uniquely chilling, which is: Who can we trust? If you are a true horror fan, of any caliber, you really need to watch this movie. Some folks may argue and say Halloween or Prince of Darkness was Carpenter’s best work; however, it is my humble opinion that The Thing was Carpenter’s best. The only hiccup in the story, for me at least — other folks may spend countless hours trying figure out and make sense of every single thing said, which is pointless — was MacReady’s plan at the end of the movie. However, sometimes these imperfections can actually make the story more believable and besides, isn’t the point of horror for its characters to make dumb decisions that do not always work out in the end and they have to do something different to save the day or fail doing so because of said dumb decision? Sure, The Thing wasn’t a box office success, but who cares? Since the 80’s, The Thing has become enshrined as one of the most important horror-sci-fi films with one of the longest lasting shelf life any film can hope to accomplish, which is to say, timeless. And regardless of what some critics are saying, The Thing was not a remake of the 1951 classic film The Thing from Another World. Carpenter’s take was actually more true to the original novella that spawned both movies. However, Carpenter being the classy guy that he is, payed tribute to Christian Nyby’s film with a few added easter eggs.
So, however you can, either buying it, renting it, borrowing it, or streaming it, watch this movie! You will NOT be disappointed.
The best part in being a horror fanatic is the large pool of horror a nerd like myself can dip his toes into. When asked, “whats your favorite scary movie?” how can I give but one answer. If the jerk from Scream called my cell, we’d be talking for hours. There are genre’s within genre’s in the horror genre. “Whats my favorite scary movie? Umm…which genre? There’s slashers, there are indies, there are supernatural stories, there are zombie flicks, there are monster B movies, there are comedy-horror movies, psychological thrillers, possession-demonic-religious horror movies, sci-fi horror, action-horror, Universal Studios monster movies, silent film era horror, splatter-grindhouse movies, vampire (not bloody Twilight), and last but not least, there are foreign horror movies. This is what makes being a horror aficionado so exciting; there are so many different avenues to take.
With all this being said regarding the enthusiastic world of horror, foreign horror has been weighing on my mind recently. To be honest, only within the last eight or so years has foreign horror been worth watching. This, of course, is my own opinion; you might have been watching foreign horror for decades and i’m just now jumping on the bus. But maybe not, maybe its true and no ones has really been paying much attention overseas, not until at least within the last 8-10 years or so. The last time foreign horror was so popular was when all there was was foreign horror, i.e. the silent film era with Metropolis and Nosferatu. But once directors started flooding over here from Europe during the span between 1920 through the 1940’s (most escaping Nazi Germany) American silent horror, like The Phantom of the Opera and other Lon Chaney films, started to flourish. Only until recently, at the dawn of the new millennium, have macabre seekers sought out, once again, tales of terror from abroad. But why?
Perhaps this new found enthusiasm has something to do with a desire for originality. Lets face it folks, American horror has been suffering for some time now regarding this issue. Reboots are nice when done sparingly, but it seems that’s all we have to offer anymore. Nothings original. No ones taking risks. And so, we’re pushing past what we’ve already seen and looking into new dark corners for fresh new stories. What really turned me on to foreign horror was the Ju-on series. Dang, just when you thought supernatural flicks have all but dried up, Ju-on gives new life…or death, depending on how you look at it. With simple traditional methods, Ju-on terrifies and keeps you wanting more. After watching this, I started to give other foreign films a fairer shake. If your interested in looking for a new avenue in horror, consider the following five movies:
If you’re going to start anywhere, start with the film series that hooked me into foreign horror. Released back in 2000 as a direct to video movie, director Takashi Shimizu takes audiences deep into a twisted story about an angry husband, his wife, son and family cat and their house. Shimizu ties several stories together, connecting each of them to the house and the family that once lived there. The graphics are subtle but effective. After watching the entire franchise, it feels like the entire island of Japan will one day be killed off by this ghost. If you’re starting out or haven’t seen it, give this movie a go, you will not be disappointed.
At some point, you’ll need to watch what began it all. Released in 1922, Nosferatu is one of the most celebrated movies in horror, and for good reason. Despite having anti-Semitic undertones (see German cinema between 1919-1945), Nosferatu is the pinnacle of German expressionist films. At the dawn of cinematic horror, Nosferatu plays with shadowy atmospherics to bring home the frights and some of the most creepiest hands you’ll ever see in a movie. This image of the count is so much better than Stoker’s vision. The only vampire movie that comes close to the coolness of Count Orlok is 30 Days of Night and….
3, Let the Right One In
The movie that won the Founders Award for Best Narrative Feature and many other acclaims, Let the Right One In was, as you might have guessed, an amazing movie. As another foreign vampire flick, the violence was actually rather spread out and subtle. I wont give away any of the plot, but my favorite scene has to be during the swimming pool act when young Oskar is being bullied during a late night swim. Leave it to the Swedes to do a modern vampire movie right. The recent American rendition of this film comes no where close to the sheer awesomeness of the original. If you’re not into Japanese supernatural flicks, give this more recent foreign horror film a go! You can watch it on Netflix instant streaming.
2. Dead Snow
I’m not a huge fan of spoof zombie flicks. Call me a snob if you will, but I prefer Romero styled undead. However, a friend talked me into watching this and since it was already on Netflix instant, I gave it a shot. Dead Snow actually turned out to be a lot of fun and despite its satire, there are a few scares to be found and plenty of gore to go around. The film centers around a group of stereotypical students having some naughty fun up in the mountains, the same mountains, unfortunately, where a bunch of Nazi zombies live. The premise of the film is based off the draugr from Scandinavian folklore concerning the undead greedily protecting its treasures (and probably, but not confirmed, still pissed of Norwegians wanting a little cinema payback for the Nazis invading their country during Operation Weserübung in 1940). If you’re looking for a good laugh and to watch teenagers, and Nazis alike, die in horrible ways, give Dead Snow a chance, you might not be disappointed.
1. The Devils Backbone
Back before Guillermo del Toro was mainstream, the Mexican born director produced some of the best in supernatural horror with vivid imagination. Released in 2001, during the onslaught of American reboots on beloved franchises, The Devils Backbone is an original story based on the classic haunting motif. As folks back home were getting hammered with hyper-violence in American cinema, del Toro used the less-is-more approach to win audiences. The Devils Backbone was my first Mexican-Spanish horror film and it wont be my last. Guillermo del Toro is a unique storyteller with the ability to create memorable horror. The movie was both elegant in its presentation and dreadful in its atmosphere. There is little doubt why this film made my number spot for best in foreign horror.
UPDATE (August 6, 2013):
Gotta love the edit option on these blog websites! Can’t believe I left off my horrible mention in best of foreign horror. And its a good one too! This particular movie didn’t make the numerical list because I never finished watching it, but at the same time, because of the fact I couldn’t finish watching, and also because I would never recommend in good company to ever watch this movie, The Human Centipede deserves some recognition. Why couldn’t I finish watching this movie? Well…it wasn’t the production value; the acting and camera shots were professional enough, The Human Centipede wasn’t B-movie-ish; I’ve watched and enjoyed many a B-movie without complaint. The real reason why I never finished this movie was because it was completely loathsome, and also perhaps because my first screening of the film was with my wife; we had both entertained the idea of watching it simple because of all the rumors we’ve heard regarding its…unique cinematography; its hardcoreness. And the rumors were true…oh so very true. We stopped right after the “surgery.” Leave it to the Dutch to come up with something so sickening! I’ve seen plenty of gore movies, I’ve screened my share of savage cinema, but there was just something about this movie, the degradation of the people in it made me cringe. There was something very real about this. So, in light of how nauseous this movie made me, The Human Centipede deserves horrible mention, but as I said before, I’m not recommending you watch it.