http://shoottheprojectionist.blogspot.com/2007/10/official-nominees-for-31-flicks-that.html
31 HORROR FILMS
In preferential order
1.The Uninvited (2003; Su-yeon Lee)
2.Wolf Creek (2005; Greg Mclean)
3.Jeepers Creepers (2001; Victore Salva)
4.The Reflecting Skin (1990; Philip Ridley)
5.The Locals (2003; Greg Page)
6.Nosferatu (1979; Werner Herzog)
7.In the Mouth of Madness (1995; John Carpenter)
8.Deep Red (1975; Dario Argento)
9.Pet Semetary (1989; Mary Lambert)
10.Scream (1996; Wes Craven)
11.The Evil Dead (1981; Sam Raimi)
12.Nightmare on Elm St. 3: Dream Warriors (1987; Chuck Russell)
13.Les Diaboliques (1955; Henri-Georges Clouzot)
14.Peeping Tom (1960; Michael Powell)
15.Funny Games (1997; Michael Haneke)
16.Eraserhead (1977; David Lynch)
17.The Vanishing (Spoorloos) (1988; George Sluizer)
18.Ju-On: The Grudge (2003; Takashi Shimizu)
19.The Texas Chainsaw Massacre (1974; Tobe Hooper)
20.Daughters of Darkness (1971; Harry Kumel)
21.The Brood (1979; David Cronenberg)
22.Candyman (1992; Bernard Rose)
23.Cube (1997; Vincenzo Natali)
24.Fright Night (1985; Tom Holland)
25.Pulse (Kairo) (2001; Kiyoshi Kurosawa)
26.Don’t Look Now (1973; Nicolas Roeg)
27.Black Christmas (1974: Bob Clark)
28.Picnic at Hanging Rock (1975; Peter Weir)
29.Aliens (1986; James Cameron)
30.Ginger Snaps (2000; John Fawcett)
31.The Others (2001; Alejandro Amenebar)
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These are the nominated films which I have seen:
In alphabetical order
32.28 Days Later (2002; Danny Boyle)
33.Alien (1979; Ridley Scott)
34.American Psycho (2000; Mary Harron)
35.An American Werewolf in London (1981; John Landis)
36.Audition (1999; Takashi Miike)
37.The Beyond (1981; Lucio Fulci)
38.The Birds (1963; Alfred Hitchcock)
39.The Blair Witch Project (1999; Daniel Myrick & Eduardo Sanchez)
40.The Cabinet of Dr. Caligari (1920; Robert Weine)
41.Cat People (1942; Jacques Tourneur)
42.Creepshow (1982; George Romero)
43.Cronos (1993; Guillermo del Toro)
44.Dawn of the Dead (2004; Zack Snyder)
45.The Descent (2005; Neil Marshall)
46.Evil Dead II: Dead By Dawn (1987)
47.The Exorcist (1973; William Friedkin)
48.The Exorcist III (1990; William Peter Blatty)
49.The Eye (aka Gin gwai) (2002; Pang Bros.)
50.Eyes Without a Face (aka Les Yuex sans visage) (1960; Georges Franju)
51.The Fly (1986; David Cronenberg)
52.The Fog (1980; John Carpenter)
53.Frailty (2001; Bill Paxton)
54.Friday the 13th (1980; Sean S. Cunningham)
55.Halloween (1978; John Carpenter)
56.The Haunting (1963; Robert Wise)
57.Haute Tension (2003; Alexandre Aja)
58.Henry: Portrait of a Serial Killer (1986; John McNaughton)
59.Inferno (1980; Dario Argento)
60.Jacob’s Ladder (1990; Adrian Lyne)
61.Kaidan (Kwaidan) (1964; Masaki Kobayashi)
62.Kill, Baby…Kill! (1966; Mario Bava)
63.Last House on the Left (1972; Wes Craven)
64.Lost Highway (1997; David Lynch)
65.The Mothman Prophecies (2002; Mark Pellington)
66.Mulholland Dr. (2001; David Lynch)
67.My Bloody Valentine (1981; George Mihalka)
68.New Nightmare (1994; Wes Craven)
69.A Nightmare on Elm St. (1984; Wes Craven)
70.Nosferatu (1922; F.W. Murnau)
71.The Omen (1976; Richard Donner)
72.Poltergeist (1982; Tobe Hooper)
73.Possession (1981; Andrzej Zulawski)
74.Prince of Darkness (1987; John Carpenter)
75.Psycho (1960; Alfred Hitchcock)
76.Re-Animator (1985; Stuart Gordon)
77.Repulsion (1965; Roman Polanski)
78.The Return of the Living Dead (1985; Dan O’Bannon)
79.The Ring (2002; Gore Verbinski)
80.Ringu (1998; Hideo Nakata)
81.Saw (2004; James Wan)
82.Scanners (1981; David Cronenberg)
83.Seven (1995; David Fincher)
84.The Shining (1980; Stanley Kubrick)
85.Signs (2002; M. Night Shyamalan)
86.The Silence of the Lambs (1991; Jonathon Demme)
87.Sisters (1973; Brian de Palma)
88.Sixth Sense (1999; M. Night Shyamalan)
89.Slither (2006; James Gunn)
90.Suspiria (1977; Dario Argento)
91.A Tale of Two Sisters (2003; Ji-woon Kim)
92.The Tenant (1976; Roman Polanski)
93.The Thing (1982; John Carpenter)
94.Twin Peaks: Fire Walk With Me (1992; David Lynch)
95.Vampyr, the Strange Adventure of David Gray (1932; Carl Theodor Dreyer)
96.Videodrome (1983; David Cronenberg)
97.The Village (2004; M. Night Shyamalan)
98.Wait Until Dark (1967; Terence Young)
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The followings are the nominated films which I haven’t seen or I’m not sure if I have seen it or not.
1.Alice Sweet Alice (1976; Alfred Sole)
2.All the Colors of the Dark (1972; Sergio Martino)
3.Black Sabbath (1963; Mario Bava & Salvatore Billitteri)
4.Black Sunday (aka Mask of Satan) (1960; Mario Bava)
5.Blood and Black Lace (1964; Mario Bava)
6.Blood on Satan’s Claw (1971; Piers Haggard)
7.Bride of Frankenstein (1935; James Whale)
8.The Brides of Dracula (1960; Terence Fisher)
9.Burnt Offerings (1976; Dan Curtis)
10.Carnival of Souls (1962; Herk Harvey)
11.Carrie (1976; Brian de Palma)
12.The Changeling (1980; Peter Medak)
13.Children Shouldn’t Play With Dead Things (1972; Bob Clark)
14.Creature from the Black Lagoon (1954; Jack Arnold)
15.Dawn of the Dead (1978; George Romero)
16.Day of the Dead (1985; George Romero)
17.Dead Alive (1992; Peter Jackson)
18.Dead of Night (aka Deathdream) (1974; Bob Clark)
19.Dead Ringers (1988; David Cronenberg)
20.Deathline (aka Raw Meat) (1972; Gary Sherman)
21.Dellamorte Dellamore (Cemetery Man) (1994; Michele Soavi)
22.Demons (Demoni) (1985; Lamberto Bava)
23.The Devils (1971; Ken Russell)
24.The Devil’s Backbone (2001; Guillermo del Toro)
25.The Devil’s Bride (aka The Devil Rides Out) (1968; Terence Fisher)
26.The Devil’s Rejects (2005; Rob Zombie)
27.Dracula (1931; Tod Browning)
28.Dr. Jekyll & His Women (1981; Walerian Borowczyk)
29.Event Horizon (1997; Paul W.S. Anderson)
30.Frankenstein (1931; James Whale)
31.Freaks (1932; Tod Browning)
32.Full Circle (aka The Haunting of Julia) (1977; Richard Loncraine)
33.Friday the 13th, part II (1981; Steve Miner)
34.Godzilla (aka Gojira) (1954; Ishiro Honda)
35.Gremlins (1984; Joe Dante)
36.Hellraiser (1987; Clive Barker)
37.The Hitcher (1986; Robert Harmon)
38.Horror Hotel (aka City of the Dead) (1960; John Llewellyn Moxey)
39.Horror of Dracula (1958; Terence Fisher)
40.Hour of the Wolf (1968; Ingmar Bergman)
41.House of Wax (1953; Andre de Toth)
42.House on Haunted Hill (1959; William Castle)
43.The Howling (1981; Joe Dante)
44.I Walked with a Zombie (1943; Jacques Tourneur)
45.The Innocents (1961; Jack Clayton)
46.Island of Lost Souls (1932; Erle C. Kenton)
http://ecx.images-amazon.com/images/I/51AN9QD1FHL._SS500_.jpg
47.Invasion of the Body Snatchers (1956; Don Siegel)
48.Invasion of the Body Snatchers (1978; Philip Kaufman)
49.Jaws (1975; Steven Spielberg)
50.King Kong (1933; Merian C. Cooper & Ernest B. Schoedsack)
51.The Last Man on Earth (1964; Ubaldo Ragona)
http://ecx.images-amazon.com/images/I/51HVF1KKFPL._SS500_.jpg
52.The Legend of Hell House (1973; John Hough)
http://ecx.images-amazon.com/images/I/51KV4EP0KPL._SS500_.jpg
53.Let’s Scare Jessica to Death (1971; John D. Hancock)
54.The Living Dead at Manchester Morgue (aka Let Sleeping Corpses Lie) (74; Jorge Grau)
55.Magic (1978; Richard Attenborough)
56.Martin (1977; George Romero)
57.Near Dark (1987; Kathryn Bigelow)
58.Night of the Demon (aka Curse of the Demon) (1957; Jacques Tourneur)
59.Night of the Hunter (1957; Charles Laughton)
60.Night of the Living Dead (1968; George Romero)
61.Night Tide (1961; Curtis Harrington)
http://ecx.images-amazon.com/images/I/51ZFAZH19ML._SS500_.jpg
62.Onibaba (1964; Kaneto Shindo)
63.People Under the Stairs (1991; Wes Craven)
64.Phantasm (1979; Don Coscarelli)
http://ecx.images-amazon.com/images/I/51g1HM7wWEL._SS500_.jpg
65.Pit and the Pendulum (1961; Roger Corman)
66.Quatermass and the Pit (aka Five Million Years to Earth) (1967; Roy Ward Baker)
67.Ravenous (1999; Antonia Bird)
68.Rosemary’s Baby (1968; Roman Polanski)
69.The Serpent and The Rainbow (1988; Wes Craven)
70.Session 9 (2001; Brad Anderson)
71.Shaun of the Dead (2004; Edgar Wright)
72.Shivers: They Came From Within (1975; David Cronenberg)
73.Sleepaway Camp (1983; Robert Hiltzik)
74.Targets (1968; Peter Bogdonavich)
http://ecx.images-amazon.com/images/I/51VR9SB4ZBL._SS500_.jpg
75.Them! (1954; Gordon Douglas)
http://ecx.images-amazon.com/images/I/51GRjJnF0WL._SS500_.jpg
76.The Thing from Another World (1951; Christian Nyby)
http://ecx.images-amazon.com/images/I/51MCTEY9D0L._SS500_.jpg
77.Tomb of Ligeia (1964; Roger Corman)
http://ecx.images-amazon.com/images/I/51SV1V838HL._SS500_.jpg
78.Tombs of the Blind Dead (1971; Amanda de Ossorio)
79.Uzumaki (2000; Higuchinsky)
80.Village of the Damned (1960; Wolf Rilla)
81.Whatever Happened to Baby Jane? (1962; Robert Aldrich)
82.When a Stranger Calls (1979; Fred Walton)
http://ecx.images-amazon.com/images/I/515AKS5GTCL._SS500_.jpg
83.The Wicker Man (1973; Robin Hardy)
84.Witchfinder General (1968; Michael Reeves)
85.The Wolf Man (1941; George Waggner)
8 comments:
If you haven't seen Bride Of Frankenstein, I'd highly recommend it. It's a camp black comedy which creates and subverts genre conventions at the same time, and it's full of homoerotic and blasphemous subtext.
From the films in the alphabetical section, Psycho is, for me anyway, one of my favourite films of all time, and certainly my favourite horror film. It's the first film that I analysed rather than simply watched, the first film that I wanted to review and search for film-mkaing techniques and layers of meaning. It was my equivalent of the life-changing film event that you describe in a recent posting.
--I haven’t seen any films by James Whale, nor the film GODS AND MONSTERS (1998, Bill Condon). Thanks for recommending me this film. Talking about Frankenstein, it reminds me that I want to see GOTHIC (1986, Ken Russell), which is about Mary Shelley, again. I saw GOTHIC when I was young, and didn’t understand many parts of it.
--The homoerotic in early cinema is very interesting. It makes me think about TABU (1931, F.W. Murnau, A) and BATTLESHIP POTEMKIN (1925, Sergei M. Eisenstein, A+), which were made by gay directors and seem to focus on the muscle of the actors in some scenes.
--As for Alfred Hitchcock, my most favorite film of his is THE LADY VANISHES (1938). Somehow I can identify with the heroine, and thus feel very much involved in this film.
As for Hitchcock’s film which scares me the most, it is FRENZY (1972). The murder of a woman during lunchtime scares me very much, because it is so unexpected. I had thought that kind of situation would be very safe—being in an office at noon--but it wasn’t. And the image of the corpse of that woman is too memorable for me. I wish I could forget this kind of image easily.
PSYCHO doesn’t scare me that much, because, unfortunately, I had read the novel by Robert Bloch and some articles about this film before I had a chance to see it. That means I always knew beforehand what would happen next in the film. I wish I were an audience in 1960 who knew nothing about PSYCHO before I went to see it. I think I would appreciate it much more in that situation.
Another life-changing event for me is when I watched the video of THE GARDEN (1990, Derek Jarman) in early 1995. I thought I found heaven. I never knew cinema could be as exhilarating as that. I thought this is the kind of cinema I had always wanted but had never known it really existed. But after I watched THE GARDEN, I still believed wrongly that the most interesting films could be rented from a video shop. So I think my going to see film at the Goethe Institute for the first time in late 1995 is more important event in my life.
I'd strongly recommend any Whale horror film, especially The Old Dark House and The Invisible Man. Gods & Monsters is great, too. There's also a nice documentary by Kevin Brownlow called Universal Horror.
Have you seen Eisenstein's sketches? They're very explicitly gay, much more so than Battleship Potemkin.
I also wish I could experience Psycho without any prior knowledge of it. The novel is much more violent than the film, with a very different characterisation of Norman Bates.
I like The Lady Vanishes, too, but my favourite early Hitchcock is The 39 Steps. There's a lovely sequence between a married couple in an isolated farmhouse, perfectly capturing the two characters even though there is hardly any dialogue between them.
The image of the dead woman in Frenzy is powerful, but generally (with a few exceptions: Rope, North By Northwest, The Birds) I prefer Hitchcock in black-and-white. Rebecca was an influence on Wisit's The Unseeable, I think (the housemaid character is based on Rebecca's Mrs Danvers).
The Jarman film I have seen have been very moving, especially Sebastiane and Blue, but I haven't seen The Garden. I quite like Jubilee, but only because it's so chaotic.
แวะมาทักทายครับ
อ่านแว๊บๆ นะไม่ได้อ่านหมด
แต่แนะนำให้หา carrie ฉบับ Ori มาดูครับ
ผมชอบมาก ๆ
หลายเรื่องที่ post มาผมชอบมาก ๆ เหมือนกันเพราะว่าตัวเองก็เป็นคอหนังสยองอยู่แล้ว
Hi Mat
--I haven’t seen the sketches of Eisenstein. Talking about early homoerotic films, I think my favorite one is THE BLOOD OF A POET (1930, Jean Cocteau).
--I also like PSYCHO II (1983, Richard Franklin, A) very much. I think it is better than what I expected from a normal sequel. I just noticed that PSYCHO II is written by Tom Holland, who also wrote THE INITIATION OF SARAH (1978, Robert Day, A+), a TV film I fell in love when I was a child. Tom Holland also directed FRIGHT NIGHT (1985, A+), CHILD’S PLAY (1988, B+), and THE TEMP (1993, A-). I think some of his films are very entertaining. However, I don’t like PSYCHO III (1986, Anthony Perkins, C+).
--I haven’t seen THE 39 STEPS, ROPE, NORTH BY NORTHWEST, and REBECCA. I have seen only a few films of Hitchcock, including:
1.THE LADY VANISES (1938, A+)
2.STRANGERS ON A TRAIN (1951, A+)
3.FRENZY (1972, A+)
4.THE BIRDS (1963, A+)
5.PSYCHO (1960, A+)
6.THE MAN WHO KNEW TOO MUCH (1956, A)
7.REAR WINDOW (1954, A)
8.MARNIE (1964, A)
9.VERTIGO (1958, A)
10.DIAL M FOR MURDER (1954, A)
11.THE MAN WHO KNEW TOO MUCH (1934, A-)
12.FAMILY PLOT (1976, A-)
13.TOPAZ (1969, A-)
14.TORN CURTAIN (1966, A-)
--I haven’t seen many B&W films by Hitchcock, but when I think about color films of Hitchcock, it reminds me of what my friend said. He said that there are some antagonism between the blonde and the brunette in Hitchcock films, such as in THE BIRDS and MARNIE, and the blonde usually wins. I don’t know if what my friend said is true or not. He also said that the rivalry between the blonde (Scarlett Johansson) and the brunette (Hilary Swank) in THE BLACK DAHLIA (2006, Brian de Palma, A) might be inspired by Hitchcock.
--I also like SEBASTIANE a lot, but I haven’t seen BLUE and JUBILEE.
--I usually spend my free time imagining about non-existent films. One of my imaginary films is a B-grade softcore film inspired by THE LADY VANISHES and L’AVVENTURA. In this film, a girl took a train and was befriended by an old nice lady who seemed to fear something. After the girl took a nap, she woke up and found that the old lady strangely disappeared. The girl didn’t care about the old lady at all, but when the girl noticed a sweet-natured handsome guy in the train, she suddenly pretended that she really cared about the old lady and asked the handsome guy for help. The girl told the guy about some fearful conspiracy theories which may involve in the vanishing of the old lady, and asked the guy to help her search the train. Then they found a secret spot in the train and have sex. The film has a happy ending. The girl left the train cheerfully and nobody knew in the end where the old lady was. The film might be titled NOBODY GIVES A DAMN ABOUT THE VANISHING LADY. :-)
ตอบคุณ sensitiveman
ยังไม่ได้ดู CARRIE เวอร์ชันต้นฉบับเลย แต่จำได้ว่าเคยอ่านในหนังสือ รู้สึกว่าจะมีฉากนึงที่ไบรอัน เดอ พัลม่าถ่ายทำโดยให้นางเอกเดินถอยหลัง แล้วเขาก็บันทึกภาพนั้นไว้ แล้วก็นำไปใส่ในหนังโดยย้อนหลังภาพที่ถ่ายไว้เพื่อให้ภาพที่ปรากฏในหนังดูเหมือนนางเอกเดินไปข้างหน้า แต่เดินไปข้างหน้าด้วยอาการที่ผิดปกติมนุษย์มากๆ
พูดถึง CARRIE แล้วก็ทำให้นึกขึ้นมาได้ว่าในทศวรรษ 1970-1980 มีหนังหลายเรื่องที่ดิฉันชอบมากที่ “นางเอกมีพลังจิต” ตัวอย่างเช่น
There are many films I love during the decades of 1970 and 1980 which involve girls with supernatural power. These are some of them:
(The synopses are from www.imdb.com )
1.FRIDAY THE 13TH PART VII: THE NEW BLOOD (1988, John Carl Buechler, B+)
2.THE INITIATION OF SARAH (1978, Robert Day, A+)
“A withdrawn young girl joins an unpopular sorority in college. It turns out she has psychic and telekinetic powers, and she uses them against a rival sorority.”
3.MIDNIGHT OFFERINGS (1981, Rod Holcomb, A+)
" Vivian has magic powers. She doesn't hesitate to save her boyfriend David from failing in school by murdering teachers. However, David has gotten tired of her and is putting his charm on a new girl in school, Robin. Robin discovers that she also has magic powers, and it comes to a mental struggle between the two women over David. "
4.MIND OVER MURDER (1979, Ivan Nagy, A+)
Synopsis from imdb.com
“A young woman begins to have nightmares where she believes that time stands still and she can see and hear future events. In her nightmares she keeps seeing an evil bald man. Her doctor can't figure out what is happening, but a government agent who hears about her visions tries to help her, as he is investigating a plane crash that appears to involve the bald man she keeps seeing”
5.PHENOMENA (1985, Dario Argento, A+)
" Someone is killing people in a Swiss village, and then a girl with insect empathy shows up and helps the local entomologist try to solve the mystery"
"Only a few" films by Hitchcock is actually rather a lot! I think you would really like Rebecca, and Rope has a gay subtext (it's based on Leopold and Loeb).
I love Blood Of A Poet, too. The Psycho sequels become less interesting with each additional film: Psycho 2 is quite good, but 3 and 4 are much less interesting. 4 was a made-for-TV movie, and is quite awful actually.
Some entire Brian DePalma films are directly inspired by Hitchcock (Obsession = Vertigo, Dressed To Kill = Psycho), and many of his films contain Hitchcock references, so the connection in The Black Dahlia seems logical.
Here are some of Eisenstein's sketches:
http://community.middlebury.edu/~moss/Eisenstein2.JPG
http://www.cinescene.com/dash/images/eisendraw.jpg
There are more examples (less explicit, more camp) in the excellent book Art By Film Directors.
http://andrejkoymasky.com/liv/fam/bioe1/eise1/eise1d.jpg
--Thanks for the link to the sketches of Eisenstein, Mat. These sketches remind me of TOM OF FINLAND.
--I’m not a real fan of Hitchcock, but I saw more than ten of his films just because they were shown on Channel 7 of Thailand about 13 years ago. It’s great that Channel 7 showed great films from time to time in the 1990’s, but sometimes they showed them late at night or in the early morning. They also showed some films by Andre Techine, Emir Kusturica, and Stanley Kwan. I don’t know if Channel 7 still shows some good films or not, because I rarely have time to watch TV nowadays.
--I just knew that TAXI DRIVER is partly inspired by PICKPOCKET. I haven’t seen PICKPOCKET yet, though I love Robert Bresson very much.
I knew about it from reading an article in Sight and Sound, in which Paul Schrader talked about PICKPOCKET. I knew about this article from a link in Girish Shambu’s blog.
Girish’s blog:
http://www.girishshambu.com/blog/2007/10/snow.html
Sight and Sound’s article on Robert Bresson:
http://www.bfi.org.uk/sightandsound/feature/49407
This is the quote from Paul Schader:
“I'd come from a very illogically driven religious background, a seminary, and then I'd fallen into the Los Angeles counterculture of 1968. I thought there was no middle ground - that where I came from and where I'd arrived were irrevocably separate. Yet when I watched this film, which was part of European art cinema but also from the world I'd come from, I realised those two worlds were not so far apart. I saw a meditation about a man and his room, about solitude and spirituality, and I recognised that there was a meeting place between past and present. I also realised that there might be a place for me in film-making: I'd thought I was a critic and that was where I belonged; I thought I couldn't make a film about a man and his room.
Three years later I wrote Taxi Driver, which is that film with a lot of anger in it. It's not meditative or transcendental, but it came from Pickpocket. So from one Bresson film came my book Transcendental Style in Film - Ozu, Bresson, Dreyer - and Taxi Driver itself, which arose from the incentive and justification to create that Pickpocket gave me.”
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