Spaceballs (1987) (Movie Review)

 Throughout the 1970’s and 80’s, writer, producer, occasional actor, and director Mel Brooks was a comedy legend, and pioneered some of the genera’s biggest classics, including “The Producers”, “Young Frankenstein” and “Blazing Saddles”. 

My personal favorite of his works, and one of my all-time favorite comedies is his 1987 satire “Spaceballs”. Despite receiving mixed reviews upon release, “Spaceballs” has survived through the decades as a cult classic, and is one of the most popular titles under Mel Brook’s filmography. The film is a straight forward lampoon of the “Star Wars” franchise, with all the characters representing goofy variations of the ensemble from the iconic series. In many respects, it’s become a cliché to spoof the “Star Wars” franchise, as there have been a number of parodies over the decades, and even in the late 1980’s, there was a fatigue of “Star Wars” spoofs. However, “Spaceballs” to me, remains the all-time best spoof of the iconic franchise, as it goes one-step beyond a straight forward parody, and creates its own unique world, with its own collection of memorable characters. In fact, the film made such an impact that some viewers were introduced to “Star Wars” by watching “Spaceballs” first. One of my fondest memories of introducing “Star Wars” to one of my best friends was his statement after-words that … “Yeah, it was a good movie, but it felt like a rip-off of Spaceballs” ... clearly unaware that the former came before the ladder. So, let’s take a look back at one of the most famous Sci-Fi/ comedies ever made.

 Here's the set-up, the evil Spaceball empire has squandered all its air, and now has a shortage of oxygen. Thus, the greedy Spaceball leaders aim to steal all the air from a nearby planet, using their Princess as leverage to obtain the planets oxygen. With the help of a local space-pirate named Lone Star, the Princess escapes, and a goofy space adventure is underway, with the villainess Spaceball empire on the heels of our renegade hero’s. What I love most about this movie are that it’s obvious stand-in’s for both the characters and formula of “Star Wars” all seem to take on a life of their own, and never once come off like tired imitations. Instead of a one-note replica of the evil Emperor from the “Star Wars” series, Mel Brooks plays a goofy president with a distinct look, and personality that’s all his own. Even his Yoda stand-in called Yogurt has his own distinct character quirks, which make him feel different. Luke Skywalker and Han Solo are merged into one central lead hero named Lone Star, which allows us to recognize the familiar, while viewing him as a different entity all together. He’s played by Bill Pullman, and it’s the role I’ve always associated most with the actor.

 The Chewbacca stand-in could have easily just been a dumb sasquatch look-alike that makes even goofier sounds, but instead it’s a unique half-man half-dog character named Barf, brought to life by the distinct charm and charisma of the late comedian John Candy. 

The signature gold-robot in this film curiously is a female, with Joan Rivers as voice and Lorene Yarnell delivering a solid physical performance in the suit. Making this a female character makes her a double tribute to both the original C-3PO, and also the golden robot Meg from the 1927 Sci-Fi classic “Metropolis”. The slimy slug Jabba the Hutt from “Return of the Jedi” get’s an obvious, yet amusing make-over as Pizza the Hutt, and it subsequently makes for a terrific cameo by the late Dom DeLuise. I also have this movie to thank for introducing me to Michael Winslow, who plays a Radar Technician. He’s a talent whose vocals can create his own distinct sounds, or imitate other sounds perfectly, and he saved Mel Brooks a lot of money by providing a number of sounds in the film. Also, while the Spaceballs are modeled after the Stormtroopers, I like that the suit colors are reversed from their presentation in the Star Wars movies, as the technicians are now dressed in white, while the soldiers adorn black armor. I also loved that Grand Moff Tarkin, who was a main villain in the first “Star Wars”, actually got a goofy stand-in. For his character, it comes in the form of an incompetent officer named Colonel Sandurz, and played with great charisma from George Wyner.

 Also, I can’t forget Dick Van Patten as King Roland, who’s the only main lead that wasn’t based on a preexisting “Star Wars” character. Other recognizable “Star Wars” alumni including the Jawa’s, and Millennium Falcon likewise have their silly counterpoints in this film … actually, the Falcon itself makes a brief appearance in one shot at a gas station. On a side note, I always loved that the main hero-ship comes in the form of a flying RV, which alone gave it a lot of personality. Let’s finally talk about the Princess Leia stand-in named Princess Vespa, and played by a beautiful young Daphne Zuniga. From the bun hair, to her snippy attitude, Vespa is an affectionate, and funny spoof of the classic princess, but with her own charms and likability, which makes her stand apart. Honestly, I’d call Princess Vespa one of my favorite movie Princesses in her own right, even if she’s not on the same high-bar as the original Leia. Vespa’s more of a stick in the mud, and her personality is that of a child that aged but never grew up, making her a fun off-set to all the other princesses out there. Also, I never get tired of this gag in which her signature Leia hair-buns are head-phones. 

 Don’t worry … I saved the best character for last, and subsequently, he’s one of my all-time favorite movie villains. While Darth Vader from the original “Star Wars” franchise is obviously one of cinema’s most iconic bad guys, his comedic counterpart named Dark Helmet means just as much to me, but for different reasons. 

Rather than just being an obvious parody of Darth Vader, Dark Helmet manages to create his own unique identify, largely in part of Rick Moranis, who’s fantastic in the role, and improvised many of his own lines. Instead of an intimidating strategist, he’s a pathetic dweeb, but he isn't completely devoid of intelligence either, which is credible for a comedic villain. Dark Helmet is more "childish" with his personality ... making it all the more amusing that he likes to play with dolls in his spare time. Personally, of all the popular funny villains out there, no-one entertains me more than this guy. The reason he works so well is because everyone in the movie still treats him like he’s Darth Vader. Everyone is still terrified of him, he has a giant empire at his command, yet he’s clueless in how to run it. For my money, there’s nothing funnier than a powerful, all controlling villain who’s a complete looser. He has over a dozen quotable lines, Rick Moranis is exploding with charisma, energy, and he’s the biggest driving force that always brings me back to this movie.

 Ever sense I was a little kid, I’ve adored comedies, but “Spaceballs” was the movie that made me love 4^th wall related hummer, and how a comedic artist can get creative in a variety of ways for a movie to bring self-awareness to the audience watching the film. We have characters stepping-out of bounds with the set, there’s physical interaction with the camera, accidently turning the movie off, characters acknowledging a lengthy scene-transition-dissolve, and even the stunt-doubles accidently get captured during an action scene. 

One of my favorite gag’s follows after a lengthy scene of forced exposition, in which a character turns to the camera and says … “Everybody got that!” Another great joke is the “Instant Castes”, which also worked as my personal introduction to all of Mel Brooks classic comedy movie titles. Also, I love visual gags that make the environment feel in the vain of a live-action cartoon. Jokes like the “jammed radar” are highly clever, and unforgettable. I also find some of the more subtle in-jokes to be the biggest knee-slappers … like our hero being found in the “Ford Galaxy”. One joke that’s especially relevant today is the films stab at “merchandising”, and how that always seems like the main selling point for movies these days. Another comedic detail I always loved were the bumper stickers on the spaceships, which are amusing as a concept, but they also work as a means of introducing us to what the characters are like before we meet them.      

 If I was to nit-pick at some details, there are some inconsistences in the rules of the films set universe. The most obvious example is that our villain’s main goal is stealing oxygen from a planet, as a means to replenish their own air supply … and yet … there’s a scene in which the character Barf walks down a ladder into the cold vacuum of space … and is breathing just fine, without the need of a suit or oxygen tank. 

Another detail that bugs me in general is when comedies verbally address exactly what their spoofing. Gratefully, there isn’t too much of it in this film, but there are still those select moments that I feel spoil some good jokes. For example, there’s a lengthy spoof aimed at the transporter pads from “Star Trek”, and while it builds to a fantastic punchline … “no more beaming, this time I’m going to walk” … it’s unfortunately also spoiled by Mel Brooks verbally acknowledging the show he’s spoofing. With that said, I do love that this movie occasionally spoofs other films and media outside of Star Wars. There’s an admittedly predictable, yet still welcome nod to “Planet of the Apes”. I especially love all the little winks to “The Wizard of Oz”, including the famous group in the tunnel shot, which just happened to be the first thing I ever saw from this film. I distinctly remember catching the scene on TV as a kid and thinking ... "What the heck is this, some kind of OZ in Space". Perhaps the most loving spoof scene of the whole film is the chest-burst creature from “Alien”, with the late John Hurt reprising his signature role from the 1979 classic, and saying … “Oh No, Not Again”.

 Another thing I have to mention is the rousing music score composed by John Morris. As expected, the movie begins with an opening crawl in the vein of “Star Wars”, along with a hilarious caption stating: “If you can read this, you don’t need glasses.” However, this opening gets me hyped like I’m watching a real “Star Wars” movie, largely thanks to this score. While the notes and melody are different from the classic John Williams score, it still cares the same sense of triumphant excitement. Actually, a lot of the movie gets me excited like any real “Star Wars” movie. There’s an escape from a prison, which leads into an exciting laser-shootout, and even with a comedic presentation, it’s still a lot of fun. There’s also a memorable scene spoofing lightspeed, in which a ship goes “ludicrously fast”, result in a moment that’s both funny and one that again plays to my love of the franchise. Even the big, goofy lightsaber duel between Lone Star and Dark Helmet is a lot of fun, as it’s both an entertaining action sequence, as well as chalk full of funny gags.

 I know most fans put “Spaceballs” underneath the comedy classics of Mel Brooks peak era, but for me … this movie is special. 

It may not be the absolute funniest movie ever made, but it is still pretty damn funny, and it easily stands as one of my favorite comedies of all time. Actually, I’d honestly take it a step further, and place “Spaceballs” among my personal favorite movies. Rather than being one obvious joke aimed at “Star Wars”, there’s so much charm that comes from everything presented in this film. The characters are memorable, the visual jokes are a complete riot, and it’s the perfect blend of my two favorite categories, that of Sci-Fi and comedy. The film is simply a joy to watch, especially with the films goofy ensemble of villains stealing the show. All these years later, this film still makes me laugh, and the characters make it even more fun to keep coming back for more. All in all, it’s an absolute joy from beginning to end, and it will always have a secure spot among my favorite comedies.

Thanks for reading my review of the 1987 comedy classic “Spaceballs” … and continue to enjoy the movies you Love!      

 

 

Frozen 2 (2019) (Movie Review)

  The 2013 animated Disney hit “Frozen” needs no introduction, as it was a rare decade picture to receive universal attention, and wide-spread marketing. As for me, I found it a refreshing experience, as well as welcome reminder that Disney can still make great classic movies that can appeal to both kids and adults. Years later, I still like the movie, and enjoy watching now and then, but I must say … to much of a good thing can spoil fast. Like many others, I got irritated by how many times we heard the songs, how the merch was everywhere, and that the studio just refused to let this hit die … so throw in multiple short films, spin-offs, and most recently … a theatrical animated sequel. While Disney is no stranger to sequels, this is a rare case in which one got the theatrical treatment. I can’t say I was hyped for the film, but I also knew I wanted to hear the new songs, see the quality animation on display, and reunite with its lovable cast of characters. I figured if the film could at least do those elements right, I wouldn’t be too disappointed … and truthfully, I got exactly what I expected … an okay sequel with terrific new songs and pleasing visuals, but not a whole lot else.   

  Sense a sequel was unavoidable, I always imagined a follow-up to “Frozen” revolving around the younger sister Anna, who may be developing mysterious elemental powers of her own, which would set her off on a journey of discovery, with her older sister Elsa insistent on watching over her. Then at the end, the older sister would have to find the courage to let her little sister go and make a life for herself. Oddly enough, we get the complete opposite of what I was expecting in this sequel. Instead it’s Queen Elsa being called to adventure by a mysterious voice, which sets her on a journey to discover treacherous secrets of the Kingdoms past, and calm the angry elemental sprits who are threatening her home. Along the way, little sister Anna is determined to be there to protect her older sister … even though she doesn’t have any ice powers … and Else could probably take care of herself. In the end, it’s actually little sister Anna who has to let her older sister go, and make a new life for herself outside the Kingdome. As a result, … I literally have polar opposite feelings for our leads.

  On the one hand, I find Elsa’s story more intriguing and layered, but I don’t find her a very engaging screen presence. Anna by contrast is one of the most delightful animated characters to ever come from Disney, as well as the one I want to watch on screen … but she’s barely given a story of her own, at least until the very end, in which she needs to make a choice that will save the Kingdome. I suppose the two girls are meant to complement each-other this way … one with the story and the other with the screen appeal, and their relation is obviously at the heart of the film. Unfortunately, they get split-up at one point, and I find myself irritated as nether work by-themselves. It’s especially bothersome because both girls worked terrific on their own in the first movie, each with an engaging story and both chalk full of personality. Also, make sure the other main characters from the first are present in this film, and that’s about it. I actually loved the relation between Anna and mountain-man Kristoff, as I felt they had genuine chemistry, and their romance was given just the right amount of attention. In this movie however, it’s all condensed into a really annoying joke of one guy trying to propose, and the girl just freaking-out over nothing. It honestly got so annoying that I didn’t even want to see them together.        

  Okay, let’s talk positives … the soundtrack … absolutely fantastic! The big number that was in all the marketing, as well as received an Oscar nomination for best original song was Elsa’s “Into the Unknown”, and … yup … it’s a great musical number … enough said. The opening lullaby titled “All is found” is another really great number, which relies on soothing atmosphere and mood to leave an impression. Anna’s song called “The Next Right Thing” is another emotional highlight, with great lyrics, a somber theme, and yet, it works to build encouragement in younger viewers who may be overcoming their own obstacles. Even Kristoff’s 80’s style musical number titled “Lost in the Woods” is a lot of fun for just how over the top, overly stylized, and goofy it is. 

My favorite song, as well as favorite sequence in the whole film is Elsa’s other solo number titled “Show Yourself!”. Despite being an imitation of the iconic “Let it Go” number, this is still a great scene, with dazzling visuals, emotional character animation, and a tempo that’s equal parts catchy and triumphant. Being honest, I find myself liking this song number even more than the actual “Let it Go”. All around, I feel this is a case in which the sum of the movie’s parts are better than the whole … and in my opinion, this song selection is far better than the movie surrounding it. Whereas I loved the songs from the first, I felt that they were also at eye-level with the film’s other qualities. By contrast, when I think of “Frozen 2”, all I remember is how much I love these songs, and how they stand out among everything else in the film. Not only do they sound great, and look fantastic, but I also feel the most emotion and passion from these musical numbers. I honestly get the impression that the righters created these terrific songs first, and then created a plot to bridge them together.

   Actually, a good half of the film comes off like great story ideas mixed with filler to pad the runtime to theatrical length. As a result, the experience just doesn’t flow with the same subtle direction as the first. There are still cool ideas present, and I do like that it expands the mythos and lore of the setting. We have all these new elemental spirits, monsters, and a cute little fire lizard who … honestly makes me think of Rapunzel's little lizard side-kick, but I’ll take it. Even the animation is arguably better then the first, although I personally preferred the look and feel of the original “Frozen” over this one. There was just something special to how that first movie made winter look so magical and colorful, whereas the atom scenery in the sequel is fine, but it just doesn’t feel as magical … despite literally having more magical elements on display. Also, I felt the ending spoiled a perfect opportunity to mature the Disney formula. Without going into to-much detail, the climax builds-up to this one big decision that will save the day, but also have noticeable repercussions. I was actually getting really excited … but then it wimps-out and gives us a resolve with no sacrifice or lose, and … boy, I felt this film was going to a new level a mature storytelling, but instead we get an anti-climax.    

   Overall, 2019 was a great year for animated sequels, with both “How to Train Your Dragon: The Hidden World”, and the Oscar winning animated picture “Toy Story 4” being highly satisfying conclusions to top-tier animation franchises. It was almost by default that “Frozen 2” would be the least good of the years animated sequels, but sometimes it’s okay to just be … well ... an okay sequel. I certainly wouldn’t put “Frozen 2” on the same high bar of its predecessor, as the narrative was a little rocky, with an overabundance of new plot details, and it sadly didn’t flow like an experience the same way the first did. Heck, it wasn’t even nominated for best animated picture, unlike the two previously mentioned animated sequels. Even it’s one nomination for best original song was lost to Lady Gaga’s “Shallow”, from “A Star is Born”. Never the less, “Frozen 2” was still a fun little animated venture, with solid musical numbers, gorgeous visuals, and an expanded mythos. Of course, it was also a welcome reunion with these wonderful characters, namely our two leading ladies, who’s emotional ties absolutely carry the film through its average plot narrative. Not a perfect sequel, but just good enough to make it worthwhile.

Thanks for reading my review of the 2019 animated sequel “Frozen 2” … and continue to enjoy the movies you Love!   

 

50 Classic Horror Movies Ranked

Call me a coinsurer for classic genera films, and for nearly a decade and a half, an easy way for me to single out popular movies was through a 2005 published book titled “501 Must See Movies”. Just about every movie genera in the vain of Action, Comedy, Romance, Sci-Fi and so forth are rounded-up into one section, and usually with fifty films per category. 

For the “Must See” Horror movie selection, it arranges 50 different horror classics, which span from the 1920’s through the early 2000’s. I’ve actually watched all 50 of them, and to close out this October … I’m going to rank each film from personal least favorite to absolute favorite. Now, fifty is a lot, so I’m going to keep the comments very short. Also, I’m not ranking these films based on either quality or cultural impact … their arranged simply by my personal feelings for them. Lastly, every one of these films earned the right to be called a classic, and I don’t hate a single one. The film’s that happen to rank lower are simply the ones I thought were worth a single viewing, and that’s it. The middle films I don't exactly love, but am always open to re-watching. The higher ratted films I make a tradition of watching around October, and finally, the movies consisting of the top 10 ... I love and can watch all year round. With all that said, here are 50 Classic, “Must See” branded horror movies ranked by my own personal feelings on them.

 

#50 Eraserhead (1977) 

An artistic vision and serial quality can make a film unique, but it doesn’t automatically make for an enjoyable watch either, especially when the final product just comes off as unpleasant, and even a little dull. Certainly not awful, but I won't care to repeat a second viewing for this one.

#49 Audition (2000) 

Luring you in with a touching romance, only to pull the rug out into shocking horror was an ambitious approach, and it would have worked for me ... if only the first-half wasn’t so slow-moving, and the second-half so unbearable to watch.

 

#48 Angel Heart (1987) 

What begins as a slow-burning, crime mystery, culminates into an uncomfortable, Satanic experience ... with one of the bloodiest sex-scenes ever put to film.

 

#47 Nosferatu, A Symphony of Terror (1922) 

There’s nothing wrong with the original vampire classic that launched the genera, but despite being a staple for it’s time, I just don't find it as enticing as other silent-chillers of it's time, or the majority of spooky hits that followed.

 

#46 Don't Look Now (1973) 

Despite an ambitious premise, memorable visuals, and a brilliant twist ending, it’s just not paced or structured in a way that either engaged or thrilled me, plus throw in an unreasonably long sex-scene, and I’m left asking ... "Why am I watching this".

 

#45 Freaks (1932) 

A meaningful entry in the horror cannon that looks at real people, and asks ethical questions like “what does it mean to be human” … so it’s certainly got merit … it’s just not a very pleasant experience to sit through.

 

#44 Rosemary's Baby (1968) 

Despite it’s unnerving premise, it takes till the ending to finally shock with it’s chilling reveal, making the film feel like a set-up for a movie that never happens. Never the less, the film presents the relatable drama of a mother going through parenthood, and this movie features one of the most disturbing nightmare sequences ever put to film.

 

#43 The Wicker Man (1973) 

A slow burning experience that for me ... only benefits from the presence of Christopher Lee as the villain, and obviously the movies famous, disturbing ending.

 

#42 The Phantom of the Opera (1925) 

Old silent movies are challenging to watch, but there’s still plenty to admire from what the film accomplished for it’s time, and without question, Lon Chaney’s physical performance, and goulash makeup keep this film considerably more engaging then most others of the genera.

 

#41 Manhunter (1986) 

Despite living in the shadows of it’s more famous follow-up, "Manhunter" still makes for a dark, and suspenseful crime thriller in it’s own right … just not the most memorable for me.

 

#40 Deliverance (1972) 

An upbeat musical duel sets the stage for a journey down the river with many dark twists and turns, some keeping you on edge, while other aspects of the film ... namely a sequence that rims with "grape" ... are downright unbearable to watch.

 

#39 Peeping Tom (1960) 

"Peeping Tom" takes a bold approach by looking into the mind of a killer from a sympathetic point of view, resulting in a commendable, and mature picture … even if it’s admittedly short on exciting thrills.

 

#38 The Texas Chainsaw Massacre (1974) 

A disturbing look at what real-life Psychopaths could be like, and yet, while the film is admirable for it’s lack of gore, and exciting chases … I just can’t say it gave me too much else either.

 

#37 The Blair Witch Project (1999) 

A claustrophobic setting, and disturbed lead performance make this mock-doc an effective simulation to experience once … but it’s also a double-edged sword … as one viewing is all a "simulation" can really effect me with. 

 

#36 The Omen (1976) 

"The Omen" has a chilling premise, effectively slow-built suspense, and one hell of a terrifying music score by the late Jerry Goldsmith, but despite all it’s merit, I feel the sum of it's parts are more effective then the whole. 

 

#35 An American Werewolf in London (1981) 

Aw-inspiring make-up effects, dark comedy, and creative dream sequences aside ... this modern Werewolf flick has great set-up, but for me, doesn’t really deliver with the payoff.

 

#34 Child's Play (1988) 

While never as terrifying as it’s premise would suggest, as well as burdened by too much exposition, "Child’s Play" never the less has it’s place as a horror staple, largely thanks to Brad Dourif’s unhinged performance as the maniacal doll.

 

#33 Friday the 13th (1980) 

Graphic kills, one-note story, and irrelevant characters due very little for me, but keeping the killer off screen elevates the mystery, which builds to an effective payoff, and one of the greatest endings in horror history ... in which two-iconic villains are introduced in chilling fashion.

 

#32 Scream (1996) 

Self-aware and fun, although "Scream" tends to devolve into the very basic film it’s satirizing, making for a mixed, albeit passable experience.

 

#31 Carrie (1976) 

Bounded by two brilliant performances from it’s two leading ladies, and with an intense focus on the horror of how one innocent can be cruelly treated, "Carrie" almost dose it’s job too well, to the point where it’s difficult to watch … but certainly worth viewing.

 

#30 What Ever Happened to Baby Jane? (1962)

"What Ever Happened to Baby Jane?" is a claustrophobic, tense, and character driven thriller … perhaps a little indulgent at times … but an outstanding lead villain performance go's a long way in making this a classic.

 

#29 The Thing (1982) 

This staple of both Horror and Sci-Fi is boasted by increased tension, both form a unique monster, and an uncomfortable situation in which no-one can trust one-another. Throw in some astonishing … and grotesque … practical effects, and this becomes a rare remake that’s every bit as classic, if not more so then the original.

 

#28 Les Diaboliques (1955)

In this French horror classic, we see the original template for a chilling murder mystery, descents into hysteria, an effective twist ending … and clearly a huge influence on the movies of Alfred Hitchcock.

 

#27 The Silence of the Lambs (1991) 

Grim and brutally real-life horror is presented in this Oscar Winning Classic, but it's really the stellar performances by Anthony Hopkins and Jodie Foster that have kept this film in our minds ... or at least mine.

 

#26 Tremors (1990) 

A delightful throwback to 1950's monster movies, with memorable creatures, a respectfully un-conventional premise, and enough B-Movie charms to make this ... no masterpiece ... but a genuinely fun time.

 

#25 The Fog (1962) 

While certainly not top-tear horror by John Carpenter standards, it’s still a chilling experience, with effective atmosphere, a reserved sense of comedy, and the concept of spooky entitles in the mist is a fun idea in general.

 

#24 Dead of Night (1945) 

The first truly classic horror anthology, as well as a for-runner for grim twist endings, and one that remains an influence years later … as well as a reminder as to why living dummy's are reliably creepy.

 

#23 Night of the Living Dead (1968)

The for-runner of the zombie sub-genera, “Night of the Living Dead” hasn’t lost it’s bight, and continues to inspire both horror fans, and independent filmmakers alike.

 

#22 The Birds (1963) 

It may seem like a silly, B-Movie concept on the surface … but this is Hitchcock, and he specializes in quality … thus, his direction, build-up, Oscar-Winning effects, and execution, make this one-note premise one of the greatest of 60’s horror cinema.

 

#21 28 Days Later ... (2002) 

Political allegories and breakneck zombie action come together in the last of the truly classic Zombie movies, and one of the most significant early 2000’s horror films.

 

#20 The Exorcist (1973)

While the foul content goes too far in some scenes, "The Exorcist" remains a game-changer in cinema, and when you look past all the over-the-top possessed girl moments, the film compensates with compelling themes, subtle unnerving moments, rich character ties, a chilling atmosphere, stunning practical effects, and despite it’s many duplicators … it’s powerful impact has never once been close to being replicated.

 

#19 The Bride of Frankenstein (1935) 

One of the greats of the original B&W classics, and one that still holds up generations later, as a technically superior, and more emotionally resonate experience then even it’s iconic original.

 

#18 Dawn of the Dead (1978) 

The chilling horror elements of the original are replaced with more carnage, and mayhem … as well as lovable characters, a fantastic setting, social satire, and even a reserved sense of "fun" … making for one of the most enjoyable, yet still disturbing entries in the zombie genera.

 

#17 Village of the Damned (1960) 

Briskly passed, full of atmospheric dread and mystery, “Village of the Damned” is the minor classic that deserves to be placed among the greats, and is the … ah-hem … “Poster Child”, for scary children in cinema.

 

#16 Dracula (1958) 

Christopher Lee shines brighter than any Dracula on film, as do talented costars Peter Cushing and Michael Gough, along with stealer period settings, and richly gothic atmosphere, which marks this as one of cinemas definitive vampire classics.

 

#15 The Others (2001) 

Emotional performances, effective slow-built tension, disturbed twist ending, and the courage to give audiences chills with very little on screen land “The Others” as both a memorable, and respectful early 2000’s horror film.

 

#14 Ringu (1998) 

This foreign thriller is largely innovative, and unnerving with it’s methods of combining Supernatural terror, along with engaging character drama, and the anxiety of modern technology.

#13 Gremlins (1984) 

A unique Christmas/Horror hybrid for the kids ... and so much more ... as it's also a loving send-up to both the monster movie genera, and Loony Toon antics, making it a rare case of different things coming together to create something special in it's own right.

#12 A Nightmare on Elm Street (1984) 

A highly original and scary concept, with the unforgettable presence of Freddy Krueger, making this a twisted, atmospheric, and enjoyably shocking experience. 

#11 Misery (1990) 

With James Caan as the victimed author, and Kathy Bates as the psychotic fan, "Misery" elevates its small premise into a deeply, and genuinely suspenseful experience.

 

#10 King Kong (1933) 

With a timeless story of beauty and beast, ground breaking visuals, and innovative filmmaking … “King Kong” maybe nearing 100 years, but it’s still an engaging experience, and one of the great motion picture classics.

 

#9 The Haunting (1963) 

A frightening Ghost Story with no visible haunts, yet elevates a chilling atmosphere, and works just as effectively as an eerie character study.

 

#8 Jaws (1975) 

On the surface … it’s a movie about a killer shark … yet beneath all the shocks and suspense is a brilliantly layered screenplay, a directors creative talents in full force, and above all else, a brilliant cast of memorable characters that go beyond disposable shark-bate.

 

#7 The Shining (1980) 

Jack Nicolsins larger then life performance, mixed with Stanley Kubricks odd, but effective directing, and writing style, make "The Shining" a unique kind of horror that's every bit as confusing as it is scary.

 

#6 Evil Dead 2 (1987) 

Unapologetically over the top, bounded by no rules, packed with stylized camera work, slimy action, eerie atmosphere, and a bad-ass lead, all add-up to one of the most entertaining offerings of the horror genera.

 

#5 Psycho (1960) 

The classic that changed the genera, made horror respectful, and proved that fear can come from layered character stories, with disturbing twists, and raise's the chilling question of what goes on behind closed doors.

 

#4 Halloween (1978) 

Using subtle atmosphere, a creepy music score, chilling sounds, and effectively built-up suspense as it’s tools over excessive blood-shed and gore, “Halloween” remains a staple of the genera, as well as a disturbing examination of evil taking root in an ordinary person.

 

#3 The Sixth Sense (1999) 

Emotional, inventive, inspiring, and terrifying on very human levels, "The Sixth Sense" masterfully combines scares, with the works of a great motion picture classic.

 

#2 The Mummy (1999) 

Combining scares and monsters with a classy Indiana Jones style adventure makes "The Mummy" a refreshing, original, exciting, and all-around fun experience, with memorable characters, and some first-rate visuals.

 

#1 Poltergeist (1982) 

"Poltergeist" is a surprisingly smart ghost story, with intriguing concepts, impressive effects, a tight script, and even if you don't find it that scary ... the imagery and shock moments still have a way of sticking with us as some of the best of what a haunted house movie can offer. It's unmistakably a modern horror classic ... and my personal favorite. 

 

Thanks for reading my post, and as always …

HAPPY HALLOWEEN!