Best Horror Films . Now i do respect the titles he choose i feel that he completly ignored all of the remade or newer films. Now i understand they are remakes and are not origional beacuse they ripped the idea off of a older movie, however, that dose not necessarily make them inferior. I actually think that many of the remakes outdo the original. Ok, ok i lied not many only a few lol. Best Vampire Movie: Now i love the old dracula, especially Bela’s, however, my favorite vampire movie is From Dusk Till Dawn. ![]() That movie is nothing but pure fun that has no boundries. One of the best and origional parts of the entire movie is the fact that for the entire first half of the movie one dose not even know they are watching a vampire film. ![]() The first half of the movie is just character interactions and development and they future some perfect acting roles, especially George Clooney. As soon as the vampires are introduced it is all out war and vampire ass kicking. Tom Savini, Clooney, Tarantino, Juilette Lewis, and many others just fight an onslaught of vampires. It is a perfect movie. Best Frankinstine movie: Honestly i have not seen many Frankinstine movies, i seen the origional, bride of frankinstine, and many little kid movies or other movies with frankinstine like creatures and my favorite of them is defenatly the origional. Granted i will make it a point to watch the others beacuse i feel there are defenatly better ones. I mainly choose the origional beacuse there is just so much memorable scenes in it and me and my friends constantly quote that movie. Its great. Best Werewolf movie: Well it is hard for me to say personally beacuse many of the werewolf movies are just terrible. I love the origional wolfman, however, i do wish there was a transformation scene and i wish the werewolf actually mutilated his victims like a werewolf would actually do, instead of just strangling them. I do like strangling them in a way beacuse it forces the victim to staire into the evil, death like eyes of the wolf man so it creates suspense and true horror. Now i like the remake but i felt the origonal was better, i thought american werewolf in london was ok, but i do agree with James and i would call it a werewolf sub genre beacuse i felt it was more comedy than horror. ![]() The Best Horror Movies to Watch on YouTube for Free. Read this and other movie news, reviews, and more at Movies.com. The exploration of fear is central to the horror genre. All horror books explore and provide a kind of commentary on different kinds of horror, and there are many out. Disney Descendants D2 Movie Dolls Two-Pack Wave 1 Case - Hasbro - Disney Descendants - Dolls - Bring home awesome dolls from Disney's Descendants 2! Join the fun. Halloween is here, which means it's time to haunt your hard drive with the best horror games you can play on PC. Whether you like your terror with a pinch of jump. Everybody likes horror movies, but not everybody has the time to really delve into them and explore the genre. There are just too many, and unless you’re actively. I would probably have to give the best werewolf movie to The Howling. I just found that movie so entertaining and it defenatly filled my desire to see the wolf just tare people to shreds. Best Mummy movie: This is the prime example of a remake of a Mummy movie just being so great. I defenatly Choose the remake of the Mummy (1. Frasier) to be the best of the Mummy films. As much as i liked the origional i felt that this movie had everything, great acting, great story, great filming, it had those comedy moments, from almost every character, that balanced the tension of the film out and made it what it is, a masterpiece. I was actully highly impressed with Brendon’s preformance in this movie beacuse most of the time, especially now of days, i think he is a terrible actor beacuse he dose not have that balance he is just total goofball. Best Zombie Film: I would defenatly have to say the remake to Dawn of the Dead. Let’s take a look at the biggest and best horror movies of 2013. The scary list features the usual mix of remakes ( To become a member Click: membership link here. Eager to watch most frightening and gory horror movies, videos or really scary content online? Below is the list of top 22 sites that contains horror thriller movies. Internet Movie Database users vote for the all-time top fifty horror movies. Also lists the ten worst films. I loved the Origional Dawn of the Dead but i thought the remake took everything i loved about the orgional and enhanced it ten fold. The acting was amazing, the story was the same as Dawn of the Dead but of course it ripped off the original, however, there were many diffrent scenes from the original to make the remake as unique as it can be. One of the main reasons i choose this as number one zombie film is beacuse it has one of the scariest zombies in movie history, i do not know the actresses name so if somone else knows please leave a coment if anyone else knows. The story of Buzz Aldrin, the second astronaut to walk on the moon, and the problems he had after his return to Earth, including the breakup of his marriage, a. ![]() ![]() The part i speak of is when the heavy set old lady comes into the mall with a bite wound, her vains are completly visable and they are surrounding the entire bite, her eyes roll to the back of her head and she dies, however, within seconds she comes back and charges at full force and i mean AT FULL FORCE, she is absolutly terrifying and easily one of the scariest zombies ever! Other than that i love how this movie has a very dark ending and a very realistic one at that beacuse lets face it, if a massive zombie outbreak orrured there would be no hope. Best Alien Film: Easy, John Carpenter’s “The Thing” This movie is Gold, sure most of the time the alien has duplicated human cells to make it seem as if it was human, so it looks and sounds exactly like one, but that dose not matter. This alien is defenatly not human, with some of the best special effects ever in a movie, alien delivers what ever horror movie person would die for to see in an alien movie. This is insainly suspenceful, it keeps one at the edge of their seat waiting to see who is alien and who is not, it is a unique movie, even though based of a thing from another world, what John Carpenter dose is take that concept and make his own idea out of the entire thing. Take my word for it, it is the best alien movie EVER!!!!!!! Honorable Mentions: There are defenatly other movies i left out that diserves to have a word put out for them. For a werewolf movie, i say cursed is very good. Many people crap on this Wes Craven movie and i do not understand why, somone help me by explaining why it sucks, i loved it and it is the last good modern day werewolf movie i have seen. For a zombie movie i have two mentions, those being Zombi, the Italian Zombie Film that is concidered the indirect sequel to George Romero’s Dawn of the Dead. I do not want to spoil anything of the movie Zombi so i am gonna put my word out and hope that people believe me and go take a look at the film beacuse it is amazing. I put ” The Dead” on the list beacuse until this movie, there has been absolute shit for good zombie movies, lets face it for many many years we have had not a single good zombie film, excluding dawn of the dead remake. I did not care for 2. However, the Dead is an amazing movie that has returned to the original style of George Romero’s zombie films, it is very much like night of the living dead and dawn of the dead. It features the slow movie steryotipical zombies but the setting of the movie is in the middle of Africa, which is where i think this film benefitted most, the acting was ok but the setting and story was great. The story is very simplistic and it is best that way it involves two character with two seperate simple stories, i will not reveal but they do cross paths. The setting is great beacuse most of the movie takes place at night and throughout the movie there is barley any safe zone, many people say the movie drags on, hwoever, this is not ture beacuse there is not a moment in the movie one can feel safe beacuse as soon as the safe feeling is established you see a zombie in the back ground approaching and as that happens everyone knows more follow, especially at night in an open area. Believe me this movie is an amazing mondern zombie film. The 2. 5 scariest opening scenes in horror- movie history. Club. At least a half- hour passes in Psycho before Marion Crane takes that fateful shower. Even more running time elapses before John Hurt gets some very nasty chest pains in Alien. And the best fright flick of the new millennium is half over before anything remotely frightening occurs. Plenty of great horror movies, in other words, take their time getting to the good stuff. But there’s still something exciting about a scary movie that’s scary from the very start—one that opens with a big shock, sets a perfect tone immediately, or begins ratcheting up the suspense from the first frames. When it comes to the spooky stuff, sometimes it’s good to get right down to hair- raising business. With Halloween right around the corner, and Horrors Weeks in full swing, The A. V. Club is counting down the scariest, creepiest, and most nerve- shredding opening scenes in horror- movie history. The films range in release date from 1. The films range in quality as well, because even a terrible horror movie can start exceptionally strong. Steel your nerves and secure your popcorn, because these are The A. V Club’s 2. 5 scariest opening scenes in horror- movie history: Even in his giallo movies, suspense was never really Lucio Fulci’s thing. The Italian director was more into gross- out gore, and there’s plenty of that in the opening scene of The Beyond. Serving as a prologue to the film’s main plot, the scene rewinds to 1. Seven Doors Hotel, so named because it contains one of the seven portals to hell. That’s not a great advertising strategy, and neither is the sight of watching the mob beat its victim—whether he’s innocent is up for debate—with iron chains, nail him to a stone wall, and throw quicklime on him so he starts dissolving before our eyes into a fizzy goop. It’s repulsive, excessive, and oddly titillating, just like the rest the film. The Blackcoat’s Daughter (2. More than a year after it premiered in Toronto under the title February, director Oz Perkins’ supremely creepy directorial debut still hasn’t crept into theaters. Horror buffs will have to wait until next year, when A2. Answering a ringing telephone on the far end of a long hallway, prep- school student Kat (Kiernan Shipka) receives bad news (the voice on the line is an unholy croak), before having visions of an ominous snowbank, a demolished car, and a man in a long, black overcoat. The dream is over as quickly as it began, but the suffocating dread seems to follow Kat into her waking life, suffusing the entire movie—an exercise in sustained unease that recalls everything from Suspiria to The Shining—with the atmosphere of a nightmare that never ends. But then the eye blinks and changes color, letting you know immediately something’s amiss. That disconnected moment leads into a classic “alone in the house” scenario, and director Nicholas Mc. Carthy is practically Spielbergian in his narrative cleverness. A pot of boiling water creates an almost unnoticeable transition from day to night; the camera follows two conversations (one by phone, one by computer) through the cramped quarters, efficiently establishing geography; and then a great use of “There’s someone behind you” leads into. The actor vanishing silently into a darkened room ends up being far more chilling than any jump scare, and the whole sequence sets up a film that marks Mc. Carthy as one of the more promising young horror directors working today. On paper, the opening of The Conjuring is pure boilerplate (a creepy doll that seems to move when people aren’t around) bracketed with excess information (paranormal investigators listen to the story of the creepy doll and explain what they think is behind it). But Wan plays hauntings like a conductor plays an orchestra. He starts the conversation on a black screen, before cutting into an extreme close- up of a creepy doll’s eye, which he pulls back from slowly. When Wan turns to the humans menaced by this doll, he uses his lighting scheme to conceal faces, corners of rooms, and the doll itself. The interview setup offers no safety, because the first shot establishes that the doll is still sitting right there with them. Even Wan’s exposition has a visceral tension. Cube (1. 99. 7)Without a word of dialogue, Vincenzo Natali’s Cube establishes the entire, diabolical game of its conceit in just under three minutes. A man in a prisoner’s jumpsuit awakens, confused, inside a massive, cube- shaped room with four hatches. Testing each, he finds they all lead to other cube- shaped rooms, all bathed in different colors. He chooses one, seemingly at random, and, in the blink of an eye, tiny lines appear across his face. As the blood begins to trickle, his body separates into cubes of its own, slowly crumbling to the floor like a diced potato. Meanwhile, a now- bloody booby trap swings back into view, folding into the ceiling to await its next victim. Like the other characters (who will have to do a much better job of navigating), the audience may not understand the why of what’s going on—but already has everything it needs to know. But its opening scene is an inspired bit of horror filmmaking, as director Jonathan Liebesman pivots from a hokey opening- credits explanation of the film’s central mythos to a terrific bedtime haunting. The success lies in the timing of the reveals, as well as the unexpected incorporation of the mom, given that parents are usually the ones to show up and scream after the fact. And the camera pulls back at the end to reveal the monster floating, above the door, in a great and chilling tease for the movie to come. But a tight budget primarily limited Day Of The Dead to one sparsely decorated underground bunker. The best representation of what the director had in mind can be seen in the movie’s pulse- pounding first five minutes. It begins with Dr. Sarah Bowman (Lori Cardille) imagining herself staring at a pretty picture in an otherwise featureless room, before a dozen writhing zombie arms burst through the wall. Then the doc wakes up on a helicopter heading to an abandoned Florida city, on a search for human survivors of the zombie apocalypse. The trash- strewn streets gradually fill with the shambling undead, revealing the full horrifying scope of the plague and making Bowman’s nightmares come to life. Day Of The Dead may not have been the gore- soaked Gone With The Wind that its creator intended, but for a few minutes at least, Romero staged his own ghoul- infested version of the Battle Of Atlanta. The Hitcher (1. 98. A critical and commercial failure in its initial release, The Hitcher has earned a well- deserved cult following. In the indelible opening stretch, a young man (C. Thomas Howell) picks up an enigmatic hitchhiker (Rutger Hauer) on a rainy night in the middle of nowhere. It’s the stuff campfire scares are made of, but The Hitcher turns into something more fundamentally unsettled, combining Hauer’s magnetism, the mystery of roadside landscapes, and the intimacy of a car interior into a source of both mounting discomfort and seduction. As in Blade Runner, Hauer makes a great psychopath by playing to the camera: He fascinates, allowing The Hitcher to create a situation that no viewer would ever want to find themselves in, but which they can’t stop watching. Great horror can trick its audience into not being able to look away. Carrie (1. 97. 6)As much as Carrie is a movie about an outcast who uses her telekinetic powers for revenge, it’s also a movie about teenage girls. That’s how it starts: with an overhead shot of girls in gym class playing volleyball, the camera craning down to find Carrie (Sissy Spacek) standing nervously in the back row, about to screw up a crucial play. When director Brian De Palma cuts to slow- motion locker- room voyeurism, the camera eventually finds Carrie again, her shower reverie broken as a close- up reveals, to her horror, blood making its way down her legs. Her delayed first period sends her into a panic, to which her classmates respond by pelting her with tampons, laughing and chanting “plug it up!” as she pleads for help. This scene contains only a single supernatural moment, when Carrie’s stress pops an overhead lightbulb. No one pays much mind. Instead, the opening traffics in different, more relatable anxieties: social misery, loneliness, cruel mockery, and an empathetic fear for Carrie herself, who seems so unequipped to navigate this nasty world. The much- imitated opening, in which a 1. Barbara Steele) curses her executioners, still disturbs. Director- cinematographer Mario Bava’s style is exclusively visual (the acting here is nothing to write home about), hearkening back to expressionist silent film and 1. Universal horror; his lush, textured black- and- white images relish and even fetishize the torture and torchlight. Black Sunday doesn’t just show the repulsive, but treats it as though it were self- evidently beautiful: blood spurting from a spike, flesh glistening under a brand, a gargoyle mask being fitted over a young woman’s face. Countless stylized Italian horror and giallo movies followed in Black Sunday’s creaking footsteps, but the first time is still one of the best. Them (2. 00. 6)While anticipation of the inevitable—what’s around that corner, what’s behind the door—can goose adrenaline and ratchet up tension, it’s easy to tip over into predictability. Them, a film in which probably 9. From the moment the mother disappears from in front of the car, the audience is given the daughter’s perspective, close- ups of her face continually intercut with her point of view, frantically scanning the surroundings, without a chance to worry about anything beyond the immediate. When the taunts begin, the hook has already been set—with a last scare that still surprises. When A Stranger Calls (1. The nerve- jangling first 2. When A Stranger Calls began life as a 1. The Sitter,” by writer- director Fred Walton and co- writer- producer Steve Feke, who’d go on to make the feature- length version.
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