MURDERERS! Terror In Black and White (Part Two)

MULTIPLE MANIACS ARE ON THE LOOSE IN THIS DIABOLICAL INSTALLMENT OF “TERROR IN BLACK AND WHITE”

Sometimes the scariest monsters aren’t invaders from another planet or creatures stitched together by a mad scientist; they’re other people. You know, seemingly ordinary folks like you and me…except for one big difference: their need to kill. This installment of TERROR IN BLACK AND WHITE brings you face to face with three suspense classics from an era long before Investigation Discovery brought murder into our homes 24/7.  You’ll meet a bedridden woman who wishes she had cut the cord, a truly twisted sister and the ultimate momma’s boy. Lock your doors…it’s going to be a bloody night.

SORRY, WRONG NUMBER (1948) 

DIRECTED BY: Anatole Litvak SCREENPLAY BY: Lucille Fletcher (based on her 1943 radio play of the same name) STARRING: Barbara Stanwyck, Burt Lancaster, Ann Richards, Wendell Corey and Ed Begley ORIGINAL US RELEASE: September 1, 1948 by Paramount Pictures.

In SORRY, WRONG NUMBER Stanwyck plays Leona Stevenson, the daughter of a wealthy drug company magnate. She’s a spoiled brat who could have been a woman of substance were it not for lifelong health issues that eventually rendered her bedridden. In reality, she’s a major hypochondriac and her illness is really psychosomatic. It’s a smart plot device that works on two levels. Leona Stevenson is the kind of flawed heroine that defines classic film noir. She might be a damsel in distress but she’s no sweet princess. Keeping her confined to the bedroom also allows the central mystery to build to an unsettling climax.

Leona relies on the telephone. It’s her connection to the world outside the four walls of her bedroom. In a cruel twist, crossed lines send Leona down a dark and dangerous rabbit hole. She inadvertently overhears part of a conversation between two men and realizes they are planning a murder.

With only a snippet of their plot revealed, Leona’s attempts to enlist the aid of the phone company and police fall flat. They need more information to go on. Her husband (Burt Lancaster) is out of town and the help is off for the night so Leona decides to go it alone and figure out who the would-be killers are targeting. Her solo sleuthing is juxtaposed with flashbacks that fill in her own life story and lead to one terrifying conclusion: Leona is the intended victim.

Barbara Stanwyck received her fourth and final Academy Award nomination as best actress for her portrayal of Leona Stevenson. It’s testimony to her considerable talent that she’s able to engender sympathy for a complex character many of us wouldn’t be pals with in real life. This taught, well-made film might not scream “scary movie” but, it is an effective suspense drama.

SCREAM SCENE

• The final moments of the film explain the title and bring things to a chilling close. Without spoiling the finale for first timers, suffice it to say if you hate Hollywood endings, this nail-biter will leave you both satisfied and shattered.

FREAKY FACTS

• SORRY, WRONG NUMBER was originally a popular half hour radio drama. To expand the story into a feature-length film, Lucille Fletcher added the flashbacks that flesh out Leona’s messy backstory. One thing that didn’t change in adaptation process: the wicked ending.
• The role of Leona Stevenson was originated by Agnes Moorehead in the radio play. Television audiences everywhere know Moorhead as Endora, Samantha’s acid-tongued mother on BEWITCHED.
• Stanwyck was a staunch Conservative and founding member of the Motion Picture Alliance for the Preservation of American Ideals (also know as the MPA). The group was dedicated to sniffing out Communists who were supposedly infiltrating the entertainment business.  Her contemporaries in the organization included Ronald Reagan, Gary Cooper, Ayn Rand, Cecil B. DeMille, Clark Gable, John Wayne, Ginger Rogers, Hedda Hopper and Walt Disney. The MPA was a key player in one of the darkest chapters of film history: the 1947 House Un-American Activities Committee (HUAC) hearings and the resulting Hollywood blacklist.

CLICK HERE to buy SORRY, WRONG NUMBER on DVD. As of this writing, there is still no announced date for a Blu-ray release of this title.

WHATEVER HAPPENED TO BABY JANE? (1962) 

DIRECTED BY: Robert Aldrich SCREENPLAY BY: Lukas Heller (based on the 1960 novel of the same name by Henry Farrell) STARRING: Bette Davis, Joan Crawford, Victor Buono and Maidie Norman ORIGINAL US RELEASE: October 31, 1962 by Warner Bros. Pictures.

Ever wonder what might happen if a former child sensation like Shirley Temple went way, WAY off the deep end as an adult? Look no further than WHATEVER HAPPENED TO BABY JANE? for a fictional dramatization of that very scenario.

Bette Davis plays “Baby Jane” Hudson, a faded star who was once the toast of the Vaudeville stage. As she gets older, her career flounders while that of sister Blanche (Crawford) takes off. This reversal of fortune sets off a powder keg once Jane turns to alcohol to dull the pain of her jealousy and lost fame. One night, after driving home from a party together, it appears as though Jane seizes the moment and runs down an unsuspecting Blanche. Clearly, hell hath no fury like a drunken has-been scorned…or does it?

Years later, the sisters are both forgotten relics, living together in a dilapidated Hollywood mansion. The “accident” paralyzed Blanche from the waist down, confining her to a wheelchair. Even worse for wear is Jane, who has not aged gracefully (mentally or physically). Teetering on the edge of sanity, she passes the time with her favorite hobby: subjecting Blanche to an increasingly “creative” battery of physical abuse and psychological torture. By the time this bleak and twisted tale careens to it’s tragic conclusion (including the reveal of what really happened the night Blanche was injured) there’s a path of death and destruction in Jane’s wake that can only be described as operatic.

WHATEVER HAPPENED TO BABY JANE? is no sunny walk in the park. Clocking in at 133 minutes, it’s a lengthy and relentlessly downbeat exercise in familial terror. While that combo platter might turn off some viewers, fans of macabre magnificence will have plenty of tasty tidbits to chew on. Both Joan Crawford and Bette Davis throw themselves into their respective roles, with the latter simultaneously channeling the esprit de corps of at least a dozen different nightmare drag queens. Her “last dance” on the shores of Malibu is a sight to behold.

SCREAM SCENE

• Engaged in a battle of bizarre one-upmanship with herself, Jane really knows how to hit her sister where it hurts. She’s already served Blanche’s pet parakeet to her (on a bed of sliced tomato, no less) so when dinner is on at Casa Hudson, you know it’s not going to be pretty…especially after Jane lets Blanche know she found rats in the basement. Bon appétit!

FREAKY FACTS

• If the on-screen rivalry between Bette Davis and Joan Crawford seems a little too real, it’s because the two actors despised each other off screen. Tales of the pair locking horns during the shoot are legendary.
• The battle royale between the pair continued long after production wrapped, especially when Davis received an Academy Award nomination  for best actress and her co-star did not. Though it was Anne Bancroft who eventually won (for her portrayal of Anne Sullivan in THE MIRACLE WORKER), Crawford went the extra mile to ensure Davis would feel the sting of loss.  Bancroft was otherwise engaged and could not attend the Oscar ceremony that year. Crawford had already contacted her in advance and offered to accept the award on her behalf should she be declared the winner. The look of smug satisfaction on her face when she sashays on stage to pick up Bancroft’s trophy is priceless.
• Both Davis and Crawford were the subjects of unflattering “tell-all” books written by their daughters.

CLICK HERE to buy WHATEVER HAPPENED TO BABY JANE? on Blu-ray.

PSYCHO (1960) 

DIRECTED BY: Alfred Hitchcock SCREENPLAY BY: Joseph Stefano (based on the 1959 novel of the same name by Robert Bloch) STARRING: Anthony Perkins, Janet Leigh, Vera Miles, John Gavin and Martin Balsam ORIGINAL US RELEASE: September 8, 1960 by Paramount Pictures.

Even if you’re among the holdouts who haven’t seen PSYCHO, you probably know the basic plot of Alfred Hitchcock’s horror masterpiece. In a moment of moral turpitude, Marion Crane (Leigh) steals a wad of cash from her employer and flees town. While driving on a stretch of lonely highway, a sudden downpour sends her off the wrong exit. She ends up at the Bates Motel where there are plenty of vacancies. In fact, she’s the only guest. Her host, young Norman Bates (Perkins), chats her up before Crane decides to call it a night and take what will become the single most famous shower in movie history.

PSYCHO is the rare cinematic icon that has stood the test of time while also living up to every bit of the praise heaped upon it by fans and critics alike. It’s a towering achievement made all the more impressive because, from a production standpoint at least, it’s a relatively bare bones affair. What makes the film work so well is an almost perfect storm of casting, writing and direction. Janet Leigh and Anthony Perkins are at the top of their respective games here, aided in no small part by Joseph Stefano’s top-notch screenplay. Hitchcock turns the limits of a small budget and tight production schedule into a symphony of brilliant camera angles and masterful shot sequences. The shower scene might get all the buzz, but it’s surrounded by celluloid of equally masterful design.

SCREAM SCENE

• As I noted here in part one of the 2013 feature “Scariest Movie Moments,” the scene that always makes me jump isn’t Marion Crane’s untimely demise. It comes later in PSYCHO, when Milton Arbogast (Balsam), a private detective hired by Crane’s former boss, makes the mistake of venturing into the Bates mansion and comes face to face with “Mother.” The sequence is exquisitely shot and, unlike the shower scene, there’s no warning of the bloodletting to come. Before you know what’s happening, the detective is slashed across the face and “Mother” has claimed another victim.

FREAKY FACTS

• The characters of Norman Bates and Leatherface from TEXAS CHAINSAW MASSACRE share a common origin. Both were both inspired, in part, by real-life murderer and grave robber Ed Gein.
• Janet Leigh is on record admitting to a lifelong fear of showers after seeing her infamous death scene in the final cut of PSYCHO.
• The sound of “Mother’s” blade penetrating flesh in PSYCHO comes courtesy of a Foley artist stabbing casaba melons with a knife.
• PSYCHO was shot in 30 days for less than one million dollars using a crew consisting mostly of television professionals. To this day it remained one of the most profitable films ever made.
• Though initial reviews were decidedly mixed (due in large part to the dark tone of the film and its unprecedented shock value), audiences couldn’t get enough. PSYCHO was a huge hit at the box-office and quickly became a global sensation.

CLICK HERE to buy PSYCHO on Blu-ray.

CLICK HERE for “Monsters! Terror In Black and White (Part One)”

MONSTERS! Terror In Black and White (Part One)

CLASSIC SILVER SCREEN MONSTERS ARE ON THE LOOSE IN THIS INSTALLMENT OF “TERROR IN BLACK AND WHITE”

When fans of classic black and white horror films are asked what they love most about the genre, monsters are usually at the top the list. Iconic creatures like Dracula, the Mummy, Frankenstein’s monster and the Wolf Man come to mind immediately. It seems only fitting, then, that this opening installment of TERROR IN BLACK AND WHITE is dedicated to three of our favorite creepy creatures. We’re about to unleash one pissed off alien, an aquatic beastie with a thing for the ladies and the original Bridezilla. Don’t say we didn’t warn you!

THE THING (FROM ANOTHER WORLD)

DIRECTED BY: Christian Nyby SCREENPLAY BY: Charles Lederer (based on the 1938 short story “Who Goes There?” by John W. Campbell, Jr.) STARRING: Kenneth Tobey, Margaret Sheridan, Douglas Spencer, Robert O. Cornthwaite and James Arness ORIGINAL US RELEASE: April 27, 1951 by RKO Radio Pictures.

Something has fallen from the sky and ditched in the vast, frozen wasteland at the North Pole. With the help of dashing US Air Force Captain Patrick Hendry (Tobey) and his fellow crew members, a team of scientists from a nearby research facility ventures out to investigate. At the crash site, it quickly becomes apparent that what they’ve found is not from Earth.

In addition to the wreckage, they locate a second object buried nearby. Upon closer inspection, the men realize they’ve stumbled upon the body of an alien creature thrown from the spacecraft. In the name of scientific discovery, they bring the thing back to their camp, still frozen in a block of ice. Oh yeah, he (or it) is also about eight feet tall. So, our alien “visitor” is really big, stranded on a faraway planet and probably not too happy about it. Boy, would it suck if someone accidentally thawed the ice and revived the monster. Guess what happens next?

There’s a reason THE THING endures as a sci-fi and horror classic: it’s a fantastic film. Beautifully shot and exceptionally well cast, it brought an A-list pedigree to a genre that was awash in low budget cheapies. Unlike many “creature features” of the day, THE THING was made for adults and took a more measured and intelligent approach to post-War paranoia about nuclear war and science run amok. It holds up well to this day and pairs nicely with John Carpenter’s excellent 1982 re-make. CLICK HERE to read more about that film and others in our “Scariest Movie Moments” feature from the RONTHINK archive.

SCREAM SCENE 

• The iconic moment when the team of scientists and Air Force crew members spread out to form the shape of the crashed craft. When they end up in a perfect circle, it’s a chilling and effective visual. 

FREAKY FACTS 

• James Arness was still a relatively unknown bit player when he was cast as the murderous monster from outer space. Less than five years later, he would become a huge star, playing Matt Dillon on GUNSMOKE from 1955 to 1975.
• Though Christian Nyby gets the director’s credit, rumors have swirled for years that it was really Howard Hawks calling the shots. All the classic Hawks touches are certainly there: overlapping rapid-fire dialogue, a strong sense of camaraderie among male characters and the “Hawksian woman.” Margaret Sheridan might be the only female in the cast but she’s no shrieking violet. Pay special attention to her scenes with Tobey; they crackle with a level of overt sexuality that was definitely not the norm for films of the early 1950s.

CLICK HERE to buy THE THING on DVD. As of this writing, there is still no announced date for a Blu-ray release of this title.

CREATURE FROM THE BLACK LAGOON (1954)

DIRECTED BY: Jack Arnold SCREENPLAY BY: Harry Essex and Arthur A. Ross STARRING: Richard Carlson, Julia Adams, Richard Denning, Whit Bissell, Antonio Moreno, Nestor Paiva, Ricou Browning (uncredited) and Ben Chapman (uncredited) ORIGINAL US RELEASE: February 12, 1954 by Universal International Pictures.

Deep in the wilds of the Amazon lies the Black Lagoon, a dark and mysterious place from which no visitor has ever returned. What better setting could there be for a horror movie about an ill-fated scientific expedition and a creature that picks off cast members one by one?

In the mid-50s, most big screen beasties were marauders from outer space or the byproduct of something radioactive here on earth. Taking a dramatic detour from the pop-culture paranoia of that period, THE CREATURE FROM THE BLACK LAGOON turned to evolution for its title monster. Tacit endorsement of Darwinism and a focus on the science behind the scary stuff made this title a true outlier when it was released. Also unique: humans are the interlopers who draw first blood. This creature is as misunderstood as it is manic.

The Gill Man, as The Creature is more affectionately known, is one of the classic Universal Monsters. While separated by fifteen or more years from titles like DRACULA, FRANKENSTEIN, THE WOLF MAN and THE  MUMMY, this moody and atmospheric film is a genre favorite. CREATURE FROM THE BLACK LAGOON might not get the same respect as its creepy compadres, but it remains one of my favorite black and white fright fests.

SCREAM SCENE

• When Kay (Julie Adams) goes for a dip in the Black Lagoon and is totally unaware that she’s not alone. The Creature is swimming underwater just below her and she’s almost within reach of his webbed fingers.

FREAKY FACTS

• The look of the now famous Gill Man costume also marks a sad chapter in cinematic sexism. Though credited to noted make-up artist Bud Westmore (at his insistence), the bulk of the development and design of The Creature was actually the work of former Disney animator Milicent Patrick. Universal publicized Patrick as “The Beauty Who Created the Beast” and sent her on tour to promote THE CREATURE FROM THE BLACK LAGOON. That didn’t sit well with Westmore, who went into overdrive trashing Patrick to studio execs. His hissy fit eventually worked and she was sent packing. Westmore successfully swept her contribution to the film under the rug and stole the credit for himself. CLICK HERE for an excellent article on the life and career of the mysterious Milicent Patrick.
• The movie was originally filmed in 3-D but most audiences didn’t get a chance to see it that way. By 1954, 3-D was a fast-fading fad. Like Alfred Hitchcock’s DIAL M FOR MURDER (released the same year), CREATURE FROM THE BLACK LAGOON saw its widest distribution in the traditional flat, 2-D format.
• The Creature was actually played by two different actors. Ben Chapman wore the rubber suit on land and Ricou Browning handled things in and under the water. Both actors were not credited on screen for their work in the film.

CLICK HERE to buy CREATURE FROM THE BLACK LAGOON on Blu-ray. Both 3-D and 2-D versions of the film are included in this package.

THE BRIDE OF FRANKENSTEIN (1935)

DIRECTED BY: James Whale SCREENPLAY BY: William Hurlbut (adapted by Hurlbut and John Balderston) STARRING: Elsa Lanchester, Boris Karloff, Colin Clive, Valerie Hobson, Ernest Thesiger, Gavin Gordon, Douglas Walton and Una O’Connor  ORIGINAL US RELEASE: April 22, 1935 by Universal Pictures.

Picture it: England…a long time ago. It’s a dark and stormy night; the perfect setting for a tale of monsters, mayhem and madness. Mary Shelley (Elsa Lanchester) regales Lord Byron (Gavin Gordon) and Percy Shelley (Douglas Walton) with the further tales of Henry Frankenstein (Colin Clive) and his diabolical craft projects. In this chapter: The Monster (Boris Karloff) demands a mate and Dr. Frankenstein delivers.

THE BRIDE OF FRANKENSTEIN towers above all other classic monster titles from Universal Studios. In fact, the film has transcended the horror genre entirely and is regarded as one of the finest movies of all time by many critics and historians. It is that rare sequel that surpasses the original by just about every measure.

While some ding DRACULA, FRANKENSTEIN and THE MUMMY for slow pacing and dated cinematic style, THE BRIDE OF FRANKENSTEIN has stood the test of time. The big, iconic set pieces still pack a punch and the campy humor that simmers just below the surface adds a welcome dash of levity to the macabre mise en scène. By any measure, it’s a gorgeous production and director James Whale’s master work.

SCREAM SCENE

• The scene where The Bride (Elsa Lanchester, doing double duty) is brought to life is probably one of the best known in the entirety of the horror genre. When Henry declares his creation alive, the moment is electric (no pun intended). Alas, it is but a fleeting triumph. The Bride rejects the advances of The Monster with a scream that still stings as hard as it did in 1935.

FREAKY FACTS

• Due to the whims of Hayes Code officials here at home and censors in countries around the world, THE BRIDE OF FRANKENSTEIN was subjected to a host of nips and tucks prior to its release. The biggest offenses were images of overt sensuality, murders deemed too violent for the day and comparisons between the stitch wizardry of Henry Frankenstein and the creative prowess of God.
• James Whale let his gay flag fly in THE BRIDE OF FRANKENSTEIN. From The Bride’s infamously fabulous shock-do to over-the-top performances by Una O’Connor and Ernest Thesiger, this was as out and about as a movie could get in the otherwise repressive cinematic landscape of the mid-30s. For a more intimate look at the life of James Whale, check out director Bill Condon’s excellent 1998 feature GODS AND MONSTERS starring Ian McKellen (as Whale) and Brendan Fraser.

CLICK HERE to buy THE BRIDE OF FRANKENSTEIN on Blu-ray.

CLICK HERE for “Murderers! Terror In Black and White (Part Two)”

Scary TV: Big Screams On the Small Screen

Last Halloween, we unearthed a special three part series that revealed our picks for the “Scariest Movie Moments.” If you’re still looking for the perfect fright film to watch during the witching hour, it’s a can’t miss guide. From well-known classics to gore obscure, there’s something for horror fans of every stripe.

 

While big screen titles are still the lifeblood of the genre, TV series and made for television movies have a long tradition of bringing tales of terror into our living rooms. To that end, we’ve narrowed down hours of network programming into a short list that includes some of our all-time favorite television specials and series episodes. Each of these thirteen selections is also a stand-out example of small screen scary. Turn the lights on and enjoy.

 

NOTE: Titles available for streaming on Netflix, Hulu Plus and/or Amazon Instant Video are noted as such. Clicking on any image below will take you to the Amazon product page for the DVD and/or Blu-ray release of that title.

 

BUFFY THE VAMPIRE SLAYER

“Hush” (S4, E10) is one of the best episodes of the series. It’s also the scariest, thanks to a quartet of truly evil baddies known as “The Gentleman.” They steal the voices of their victims to prevent them from screaming. Adding to the creep factor, The bulk of the episode has no spoken dialogue. Stream: Netflix, Hulu Plus and Amazon Instant.

 

 

 

GREY’S ANATOMY

“Sanctuary” and “Death and All His Friends” (S6, E23 & E24). The sixth season of the sudsy ABC drama wrapped with a dark and shocking finale. A shooter turns Seattle Grace into a bloodbath over two excruciatingly tense hours. It’s a dead-serious outing that trades the usual melodrama for uncompromising brutality. Stream: Amazon Instant.

 

 

 

HARPER’S ISLAND

This CBS summer series is a gory whodunit. At least one character is offed in every episode, often in brutally creative ways. Adding to the tension, the identity of the killer isn’t revealed until the finale. Though the entire run is grim and scary, a harrowing battle to the death makes “Gasp” (E12) the episode that sticks with you. Stream: Netflix and Amazon Instant.

 

 

INVASION

This creepy, well crafted ABC series (cancelled after one season) is equal parts family drama, sci-fi thriller and gothic horror. It’s a slow burn storyline draws you in and keeps you guessing. Things get full-tilt disturbing in “Round Up” (E21), a series highlight. You can pick up the complete series on DVD for under $10 on Amazon. Stream: Amazon Instant.

 

 

 

KOLCHAK: THE NIGHT STALKER

Darren McGavin is spot-on as Carl Kolchak, a tabloid reporter with a knack for working a crime beat populated by vampires, ghosts, demons and ghouls. Two stand-alone movies and the first batch of weekly episodes are standouts. The series aired for a single season. “The Zombie” (E2) gets the nod for scariest installment. Stream: Netflix and Amazon Instant.

 

 

 

LITTLE HOUSE ON THE PRAIRIE

“Sylvia” (S7, E17 & E18) was a jarring departure from the norm for this long-running hit. This heavy two-parter had it all: body image crisis, gender politics, the rape of a young girl, her subsequent pregnancy and the fallout from all of that. You want more? The attacker stalks his victim wearing a freaky porcelain mask. Yikes! Stream: Amazon Instant.

 

 

 

SALEM’S LOT

This 1979 mini-series is still one of the best adaptations of a Stephen King novel. It’s an atmospheric and genuinely chilling tale of a small town on the verge of being taken over by a nasty looking vampire. James Mason, oozing sinister evil, heads a first rate cast. Be sure to get your hands on the full-length cut. A heavily edited version was also released but it’s a mess.

 

 

 

TRILOGY OF TERROR

This 1975 ABC horror anthology would have faded into obscurity were it not for “Amelia,” the third and final segment of an otherwise forgettable movie. 70’s B-movie queen Karen Black is trapped with a Zuni fetish doll that has suddenly come to life. The little bastard is pissed and he’s out for blood. It’s a balls-to-the wall battle royale that ends with a nifty little twist.

 

 

 

THE TWILIGHT ZONE

“Living Doll” (S5, E6). There are dozens of episodes from this classic series that make your blood run cold. What separates our scary pick from all the rest?  Meet Talky Tina, the toy from hell. In reality, this is a rather sad story about a family in crisis. The addition of an increasingly hostile doll adds a delightfully freaky twist. Stream: Netflix, Hulu Plus and Amazon Instant.

 

 

 

TWIN PEAKS

“Lonely Souls” (S2, E7). This was the episode that finally revealed “who killed Laura Palmer” while also treating us to some of the most frightening images ever seen in primetime. Take, for example, that handsome guy to the left. He’s Killer Bob, an unforgettable villain and the stuff of nightmares. Stream: Netflix, Hulu Plus and Amazon Instant.

 

 

 

THE WALKING DEAD

“Days Gone Bye” (S1, E1) kicked off the exceptional first season of this AMC hit. It’s a bone-chilling exercise in visceral horror that offers us a front row seat to a world gone mad. When a show zombifies a little kid, you know it’s not going to pull any punches. Full of iconic, unforgettable moments. One of the best drama pilots in TV history. Stream: Netflix and Amazon Instant.

 

 

THE X-FILES

“Squeeze” (S1, E3) introduced us to genetic mutant Eugene Victor Tooms, a frightening fellow with a taste for fresh human livers and the ability to squeeze into the narrowest of spaces. Doug Hutchison plays Tooms to terrifying perfection. He makes a return visit later in the season (EP 21, “Tooms”) but this first outing is vintage X-FILES. Stream: Netflix, Hulu Plus and Amazon Instant.

 

 

 

THE X-FILES

“Home” (S4, E2) is easily the most disturbing and controversial episode of the entire series. It’s also scary as hell. Though the plot is heavy on perversion and inbreeding, snappy dialogue and flourishes of gallows humor elevate the proceedings. Extra points for turning a Johnny Mathis song into a harbinger of death. Stream: Netflix, Hulu Plus and Amazon Instant.

 

 

So, what do you think? Did we hit most of the highlights or is one of your scary TV favorites missing from the list? Let us know. If you’re reading this on the post page, you should see the new Facebook comments area below. If not, CLICK HERE to go to the actual post page and scroll to the bottom of the article.

THE ARCHIVE: A Trilogy Of Halloween Terror!

Welcome to the new RONTHINK.

While we put the final touches on our redesign, we thought it would be the perfect time to launch a new feature: The Archive. Well, technically, it’s the concept that’s new. As the name implies, at least some of the content will indeed come from deep in our back pages. That doesn’t mean we’re going spray digital Febreze on a parade of old clunkers and send them back out to whore for more clicks.

The Archive will re-imagine content in creative, compelling and entertaining ways. That could mean themed packages, “what were we thinking?” moments, follow-up pieces inspired by fan favorites or curated collections of reviews and opinion pieces enhanced with new material and fresh perspective. Rather than generating content that lives and dies in an online moment, we’re hoping to build something that keeps good conversations alive, celebrates those “best of” moments and, frankly, holds our feet to the fire when we screw up.

As part of our re-design, you can also expect to see a major infusion of new reader services, multi-media integrations, presentation enhancements and consumer-focused content that could save you time and money. In fact, this debut run of The Archive also features our first-ever interactive photoplay. Fear not! We hate annoying online slide shows and click-bait stunts as much as you do. We’ll leave shameless content rehashing and cheap PPC ploys to BuzzFeed and Upworthy.

Now, take a break from real world horrors and dust off your Halloween spirit. Click on any image in the preview slide show below to jump to that full installment of “Scariest Movie Moments” or use the scare-cons at the bottom of the post. Don't know what you are looking at? Just click on the i in the navigation bar to pull up more information about each image.

 

  

THE ARCHIVE: SCARIEST MOVIE MOMENTS (PART 3)

CLICK HERE FOR PART 1 OF “THE SCARIEST MOVIE MOMENTS”

CLICK HERE FOR PART 2 OF “THE SCARIEST MOVIE MOMENTS”

It’s time to put the third and final nail in our Halloween horror coffin. For our freak finale, we’re veering off the well-lit road and venturing onto the moors to take you places you’ve probably never been before. It’s a look at the most terrifying scenes from midnight movies, cult favorites and creepy imports. Be afraid…be very afraid!

NOTE: This post contains plot details and, in some cases, spoilers. In each installment of this three part series, films are listed alphabetically. Rather than cluttering the post with tons of video players, a link to a clip of each scariest movie moment is included. Some of these clips are particularly graphic. You have been warned.

CITY OF THE LIVING DEAD (1980)

SCARIEST MOMENT: GUT UPCHUCK WITH BRAIN SQUEEZE CHASER

NOTE: This film was released theatrically in the US as THE GATES OF HELL (1983).

No tour of the annals of “Gore Obscure” would be complete without including films from Italian horror masters Lucio Fulci and Dario Argento. Let’s put a proverbial pin in Argento for a bit while we tackle CITY OF THE LIVING DEAD, a “what the hell did I just see” freak show from Fulci. While THE BEYOND gets all the fanboy love, this little darling made for a far more unsettling experience.

The plot is really just a means to an end but, in a nutshell, the gates of hell have been opened and zombies with super powers (yes, super powers) start killing people in some very horrible ways. A reporter (played by Christopher George) rescues a psychic who has been buried alive (don’t ask) and the two must close the portal to Hades or the dead will be in charge for good.

I rented this movie back in the days of VHS and the one scene that still flips me out involves a date gone horribly wrong. What starts as an innocent bit of kissy kissy between a young couple in a parked car ends up going way south thanks to one of the amped up undead. Using zombified psychic powers, he causes the female half of the duo to toss ALL of her cookies. Intestines, stomach…you name it, it comes up. Just when you think it can’t get worse, she uses her boyfriend’s head as a stress ball. I kid you not.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase the movie from Amazon.

LADY IN WHITE (1988)

SCARIEST MOMENT: HE KNOWS YOU KNOW HE’S A MURDERER

Had I not been the manager of a video store in the late 1980’s, I probably would never have heard of this film. Made on a shoestring budget and seen by very few people outside of the director’s circle of friends and family, LADY IN WHITE is a darn good little ghost story. It is well worth your time if you can get your hands on a copy.

Told as one long flashback, the action starts on Halloween, 1962 in the small town of Willowpoint Falls. Little Frankie Scarlatti (Lukas Haas) is the victim of a prank and ends up locked in a school cloak room overnight. Before the sun rises, he will see the ghostly re-enactment of a little girl being murdered and survive an attempt on his own life by the same killer. The rest of the film follows a dual track: piecing together a puzzle from the past (the ghost story) and figuring out the identity of a notorious child murderer.

I love when a film or TV show can take an iconic song and make it really creepy. THE X-FILES did it with the Johnny Mathis classic “Wonderful, Wonderful” in the terrifying “Home” episode. In LADY IN WHITE, it’s the Bing Crosby standard “Did You Ever See A Dream Walking?” The song is a key element in the storyline and the moment it is used to reveal the identity of the killer is easily the scariest scene in the film.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase the movie from Amazon.

MIMIC (1997)

SCARIEST MOMENT: THE KIDS ARE NOT ALRIGHT

Let’s begin back-to-back bug-fests with the dark, dank and violent 1997 horror/sci-fi opus MIMIC from director Guillermo del Toro. Though it came and went pretty quickly at the local multiplex, this is one of those films that got a well-deserved second chance on home video. I liked the theatrical cut but, in 2011, del Toro released a slightly longer and even better realized “director’s cut” on Blu-ray.

The excellent cast includes Mira Sorvino, Jeremy Northam, Josh Brolin, Charles S, Dutton and F. Murray Abraham. Sorvino plays an entomologist who genetically engineers a super insect designed specifically to eradicate cockroaches that are carrying a deadly disease. The “Judas Breed” isn’t supposed to be able to reproduce but, of course, we know how that turns out. Not only can these buggies have babies, they soon develop an uncanny ability to mimic (and chomp on) humans.

There’s a ton of good scares in this atmospheric thriller but the most shocking sequence sees two young boys become dinner for a very hungry mansect. The unwritten rule that kids usually survive in these films is tossed out the window by del Toro. The result is effective, brutal and truly disturbing

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase this movie from Amazon.

THE MIST (2007)

SCARIEST MOMENT: A TRIP TO THE DRUGSTORE OF DEATH

You might have noticed a lack of Stephen King adaptations in this series of posts. Aside from the fact that most of them kinda suck, THE SHINING has never given me a cine-gasm and I look at CARRIE as more of a classic tragedy than a horror film. In fact, we would be King-free had someone not recently given me a heads-up regarding THE MIST, a box-office dud directed by Frank Darabont.

Darabont, the guy responsible for the stellar first season of THE WALKING DEAD, took a so-so King novella and turned it into a gripping combo of a “big, scary monsters running amok” thriller and a doozy of a parable about the fragile nature of civil society. It’s one of those movies where humans can be just as horrifying as the things that are trying to eat them. Be warned: if bugs freak you out, there are some very large and very deadly insects front and center throughout the second half of the film.

The bulk of the action takes place in a supermarket where a cross section of townsfolk are holed up while fighting to survive an onslaught of progressively larger (and meaner) beasties. There’s a ton of character development (rare for the genre) and Marcia Gay Harden plays a religious zealot who you can’t wait to see die a horrible death. She’s creepy, but the scariest moment, by far, is a trip to the pharmacy next door. What starts as a mission of mercy to get some much needed medication quickly becomes a living nightmare when the creepy crawlies turn the place into a Hometown Buffet.

It is worth noting that THE MIST has one of the most cruelly ironic and profoundly sad endings I’ve seen in a long time. It’s not predictable but it will hit you like a gut punch.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase the movie from Amazon.

EL ORFANATO (2007)

SCARIEST MOMENT: THE MEDIUM AND THE MESSAGE

EL ORFANATO (THE ORPHANAGE) was easily one of the best films of 2007. Yes, it’s subtitled but get over your issues because this is a gothic horror masterpiece that Hitchcock himself would love. There’s a reason it shows up on just about every “best of” list right before Halloween. It’s that good…and scary to boot.

Brilliantly directed by Guillermo del Toro protégé Juan Antonio Bayona (who also helmed the excellent 2012 Indian Ocean Tsunami epic THE IMPOSSIBLE), EL ORFANATO is a movie that creeps under your skin and keeps you squirming throughout. It’s not gory or violent but it is exceptionally well crafted. Bayona does masterful things with lighting, sound effects and editing. When he wants you to jump, you jump.

Ostensibly the story of a woman who buys the orphanage she grew up in (along with the ghosts that may or may not inhabit it), this dark and tragic tale also manages to touch upon topics as diverse and profound as love, loss, marriage and HIV. The film belongs to lead Belén Rueda. Her journey on the razor edge between sanity and insanity is a marvel to behold. It also makes the harrowing ending of the film even more deeply resonant. EL ORFANATO is a movie that sticks in your craw long after you leave the theater.

There’s more than a few jolts to get through and a little imp named Tomas (pictured above) will become the stuff of your nightmares, but the most memorable scene by far is known as "the regression." It’s a dazzling bit of editing trickery and spot-on sound cues. Bayona does amazing things with very little dialogue and some well placed monitor cameras that track a visiting medium and her contact with the other side. Chilling stuff.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase this movie on Amazon.

PHANTASM (1979)

SCARIEST MOMENT: RAZOR BALL AND THE TALL MAN

Let me preface this entry by noting that PHANTASM is not a great film. It’s ultra-low budget and the cast runs the gamut from South Florida dinner theater quality to something only slightly better than the acting in a corporate safety video. With all that said, it is a midnight movie freak fest unlike anything you’ll ever see. More importantly, it has the “Tall Man” (Angus Scrimm), one of the most creep-tastic horror movie bad guys ever.

There is a plot, but going into detail is pointless because once I start talking about dwarf zombies, portals to other planets and a trio of heroes that includes an ice cream man, you might begin to question my taste and my sanity. Heck, I’m doing both as I write this.

If you know anything about PHANTASM, it probably involves the aforementioned “Tall Man” and a flying metal sphere equipped with sharp blades and a handy drill bit. All of that and more can be seen in my choice for the scariest moment in the film: a hoot of a chase through a mausoleum. Dead guy…party of one.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase this movie from Amazon.

REC (2007)

SCARIEST MOMENT: THE ENDING TO END ALL ENDINGS

2007 was a good year for groundbreaking Spanish horror films. On the high end, we’ve already taken a peek at EL ORFANATO. At the other end of the spectrum, the place where things get really dark and visceral, we have REC. It takes the “found footage” genre, flips it on it’s head and then beats the bloody pulp out of it. Unlike the wildly overrated (and crappy) PARANORMAL ACTIVITY, this little monster is a damn good movie. It isn’t “just because” mindless gore. Speaking of, REC got an American make-over in 2008. That film, QUARANTINE, was a piece of poo.

REC is largely confined to one claustrophobic setting: an apartment building where an infection seems to be taking over the residents one by one. All of the action is seen through the camera of a fictional documentary TV series. It’s a wrong place/wrong time nightmare that gets progressively more unnerving as it builds to a shattering climax.

Just when you think you have this thing pegged, the story veers in an unexpected direction. The reveal of exactly what is causing people to turn into violent maniacs is unexpected and it leads to what I think is the single most “holy shit” final act of any horror film I’ve seen in years. It’s just over three minutes of pure terror. I get the willies every time I watch the scene.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase the movie from Amazon.

SUSPIRIA (1977)

SCARIEST MOMENT: LOOK BEFORE YOU LEAP…INTO RAZOR WIRE

The first time I saw SUSPIRIA was in 2011 at the Hollywood Forever Cemetery. Yes, among many “only in LA” things is seeing movies projected on the side of a building in a grave yard. Oddly enough, the setting was the least bizarre thing about this twisty mind-bender from Dario Argento.

You should know up front that SUSPIRIA is one of those movies you will either love or send me a nasty note for recommending to you. It’s a glorious and gorgeous celebration of gratuitous gore and astounding production design. The score, courtesy of Italian rock band Goblin, adds an additional layer of creepy. Never has a film been so repellant and so beautiful, often in the same maggot or manic filled moment.

Set in a fancy German ballet school (yes, you read that correctly), the all-over-the-map plot swirls around an American student named Suzy (played by doe-eyed Jessica Harper) and a coven of pissy witches who never met a nubile ballerina (or teacher) they didn’t want to kill. As the two grandes dames in charge, the full-tilt scenery chewing of vets Alida Valli and Joan Bennett (her final big-screen film) is itself worth the price of admission.

Argento is known for orchestrating on-screen deaths of near operatic proportions and none fits that bill better than the terrifying demise of Suzy’s friend Sarah (Stefania Casini). After being chased by an unseen baddie, the poor girl doesn’t look before she leaps. What she thinks is an escape route is actually a one-way trip into a room full of razor wire. You’ll wish that was the end of the scene…it isn’t. Be happy the clip I link to isn’t in HD.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase the movie from Amazon.

WHEN A STRANGER CALLS (1979)

SCARIEST MOMENT: KILLER SLEEPOVER

WHEN A STRANGER CALLS was re-made in 2006 and, like most re-makes, it sucked. Skip it and jump in your wayback machine. The 1979 original has one of the scariest opening 20 minutes of any film on this list but, it’s the scream-inducing finale that I’m going to celebrate.

What starts as a classic “baby-sitter in peril” story, morphs into a hunter/hunted chase film and ends with a kick ass bang. Carol Kane plays the sitter, terrorized by a manic who taunts her with phone calls and the refrain “have you checked the children?” The police eventually trace the calls: they’re coming from inside the house! The children have been dead for hours The cops show up in time to save Kane and nab the killer (a strong turn by actor Tony Beckley, who died shortly after completing his work on the film).

The middle section of WHEN A STRANGER CALLS takes place after the psychopath escapes from an asylum. Unbeknownst to him, he is being pursued by John Clifford (Charles Durning), a retired police officer turned private investigator. The killer eventually figures things out. He gives Clifford the slip and disappears...temporarily.

Re-enter Kane, now grown with a family of her own. The murderous nutter resurfaces so he can finally finish her off. The finale, in Kane’s bedroom, is a shocker. You think her husband is in the bed next to her…surprise! Unbeknownst to Kane, he’s knocked out in the closet and she’s getting cozy with a madman. The moment he turns over and reveals himself is one of the few times I remember an entire audience screaming in unison.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase the movie from Amazon.

That, dear readers, brings the curtain down on our three part look at some of the scariest movie moments. Before you retire to your bedroom (or crypt), enjoy one final dose of terror. It’s the full trailer for my favorite movie on this list: EL ORFANATO. Tomas is waiting for you...

THE ARCHIVE: SCARIEST MOVIE MOMENTS (PART 2)

CLICK HERE FOR PART 1 OF “THE SCARIEST MOVIE MOMENTS”

CLICK HERE FOR PART 3 OF “THE SCARIEST MOVIE MOMENTS”

Invading aliens, angry monsters, vengeful spirits and nature gone berserk. A chance encounter with any one of these terrors is probably going to ruin an otherwise lovely day. Keep watching the skies as we dive into part two of “Scariest Movie Moments.”

NOTE: This post contains plot details and, in some cases, spoilers. In each installment of this three part series, films are listed alphabetically. Rather than cluttering the post with tons of video players, a link to a clip of each scariest movie moment is included. Some of these clips are particularly graphic. You have been warned.

ALIEN (1979)

SCARIEST MOMENT: DINNER WITH A SIDE OF CHEST BURSTER

When I saw ALIEN back in 1979, I was just shy of my 13th birthday. With my dad in tow (again), we strolled into the movie theatre blithely unaware of what we were about to experience. R-rating aside, there was no internet or social media spoilers in those days. I hadn’t yet read any coverage of the film in Starlog and the now classic trailer deliberately left just about everything to the imagination. That first screening of the Ridley Scott classic scared the bejeezus out of me.

Everything about ALIEN was new and it took audiences completely by surprise. Suddenly, the “lived in look” of outer space (pioneered in STAR WARS) had become a nightmare world. It was gritty, ugly and every character on screen was in a state of constant danger. Scott took all of the trappings of a classic gothic horror movie, dropped them into a far flung corner of the universe and created one of the best science fiction films ever made.

Picking the scariest scene in ALIEN is a tough one. I flirted with that doozy of an ending in the escape shuttle and the intense sequence that ends with the death of Captain Dallas (Tom Skerritt) but settled on the iconic “chest burster” demise of Kane (John Hurt). Out of nowhere, a perfectly mundane crew dinner turns into a blood bath. The scene is brightly lit and there is no music. Didn’t matter. When that metal mouthed nasty tears through Kane’s midsection, I jumped and  lost half a bag of peanut M&Ms. It’s the moment in the film when you know the stakes are real and there is no turning back.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase the movie from Amazon.

THE BIRDS (1963)

SCARIEST MOMENT: DEAD-EYE DAN

Alfred Hitchcock followed the box-office sensation PSYCHO with THE BIRDS, his last truly great film. It’s as much a traditional horror movie as it as another attempt by Hitchcock to upend a tired genre. He pulls the whole thing off in grand style. THE BIRDS has no traditional musical score and ends on a downbeat, wholly ambiguous note. The entire plot turns on nature run amok but never offers a clear explanation for the full-tilt flip out by anything with feathers and wings.

Even more delicious, just about every one of Hitchcock’s female-focused hang ups is on prominent display. Mommy issues? There’s Lydia (Jessica Tandy), the brittle and clingy mother. Bizarre bias against brunettes? Husky-voiced Annie Hayworth (Suzanne Pleshette) has you covered. Fascination with unattainable, icy blondes? Watch a flock freak out poor Melanie Daniels (Tippi Hedren).

For me, the scariest moment in THE BIRDS is the one that always pops into my head first: the discovery of Dan Fawcett’s body by Lydia. Those brief, jump cut shots of his pecked out eyes stay with you for life. The lack of any musical cues and Tandy’s spot-on reaction of silent shock makes the entire scene viscerally terrifying. It seems almost real…which is exactly as Hitch wanted it.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase the movie from Amazon.

CLOVERFIELD (2008)

SCARIEST MOMENT: SUBWAY TUNNEL FROM HELL

I love CLOVERFIELD. From the brilliant pre=release marketing to the spectacularly shot production itself, it’s a wild and scary ride that packs a punch. The film breathed much needed creative life into the “found footage” genre; which had been beaten close to death in the years since THE BLAIR WITH PROJECT.

From a production perspective, there are more than a few similarities with THE BIRDS. Because everything we are seeing is supposedly video from a camcorder, there is no traditional musical score. CLOVERFIELD doesn’t have a particularly upbeat ending (one of the final deaths almost took “scariest moment” here) and we are never given a definitive reason for the monster arriving on the scene.. These atypical, non-Hollywood flourishes made the entire film much more effective and frightening.

The scariest moment happens after the huge monster has made its presence known. Four of the main characters are on the run and make the mistake of ducking into a subway station. What follows is a claustrophobic and chaotic trek through darkened tunnels that ends with a terrifying attack by a nasty horde of “parasite” beasties. They are vicious and relentless. When scores of fleeing rats aren’t the problem, you know things are pretty bad. This is also about the time you realize you probably shouldn’t get too attached to anyone on screen.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase the movie from Amazon.

THE FOG (1980)

SCARIEST MOMENT: LAST VOYAGE OF THE SEAGRASS

My sister and I first saw THE FOG at a drive-in. It was on a double bill with PHANTASM (which will be featured in the final installment of this series). To this day, it remains one of my all-time favorite B-horror films. I also like to pretend the dreadful 2005 re-make was just a bad dream.

High on atmospherics and very low on budget, director John Carpenter still managed to craft a tight little ghost story and stock it full of chills and “bump in the night” jolts. The top-shelf cast includes the first on-screen pairing of mother/daughter Janet Leigh and Jamie Lee Curtis, along with Hal Holbrook, John Houseman, Tom Atkins and (my favorite) Adrienne Barbeau.

THE FOG is set in the quaint seaside hamlet of Antonio Bay on the eve of the town’s centennial celebration. The basic plot involves a group of ticked off ghosts on a mission to avenge their deaths at the hands of six duplicitous town founders. Our first sighting of these spectral sailors happens on board The Seagrass, a small fishing trawler. The three man crew never makes it back to port. They are skewered and gutted in a spooky scene that sets the stage for the action that follows. There’s very little gore in this particular sequence but effective use of sound and lighting make it a scary standout nonetheless.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase the movie from Amazon.

POLTERGEIST (1982)

SCARIEST MOMENT: TAKEN DOWN BY THE KILLER CLOWN

NO, Steven Spielberg did not direct POLTERGEIST. That urban legend has been laid to rest by Tobe Hooper, the guy who did helm the modern horror classic. You can decide for yourself if you believe there is any truth to the “Poltergeist Curse.” (which I think is a bunch of hooey). None of that matters because this is a damn good fright film and it holds up remarkably well.

Sure, there are scares a plenty and the “…it is The Beast” line (courtesy of Tangina, played to perfection by Zelda Rubenstein) still sends chills down my spine but you can’t talk about POLTERGEIST and not have someone confess to still being creeped out by the infamous clown scene. It plucks just about every childhood nightmare nerve in your body (and any fear of clowns you carry with you into adulthood). The minute you see that evil looking stuffed doll, you know the thing is going to cause problems…you just don’t know when.

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase the movie from Amazon.

THE THING (1982)

SCARIEST MOMENT: REALLY BAD BLOOD

John Carpenter directed this superb remake of an equally fine classic. Both THE THING and THE THING FROM ANOTHER WORLD, the 1951 black and white original directed by Christian Nyby (or Howard Hawks, depending on who you talk to), are based on the novella “Who Goes There?” by John W. Campbell, Jr. Though initially a critical and box office dud, thanks in large part to a bleak ending and the massive attention being heaped on ET: THE EXTRATERRESTRIAL (which had opened two weeks prior), Carpenter’s film became a cult favorite. and has since received a positive reassessment by critics.

While the Nyby/Hawks version is a straightforward “creature on the loose” tale, Carpenter ratchets up the terror (and paranoia) by hewing more closely to the central conceit of the source material: the alien “thing” can assimilate and duplicate any life form it comes in contact with. One by one, the crew of an Arctic expedition becomes monster meat…literally. The groundbreaking, pre-CGI make-up effects were created by a then 23-year-old Rob Bottin. Kids, everything you see on screen was created by hand without the aid of digital pixels.

There’s a ton of over-the-top gore in THE THING but the scene that always gets me is the blood test. Leading the battle for survival is helicopter pilot RJ MacReady (Kurt Russell). After witnessing several spectacular deaths, he reasons correctly that any part of this alien life form will fight back when threatened…even a small blood sample. The scene oozes with  mounting tension, classic misdirection and “holy shit” brutality. For the love of god, MacReady, light that damn flamethrower!

CLICK HERE to watch this scariest moment.

CLICK HERE to purchase the movie from Amazon.

The third and final chapter in this trio of terror is coming soon. While you’re waiting, step into my parlor and allow Mr. Hitchcock to sell you some of his most precious birds.