A neighbour returns with news of their son’s/husband’s death, and the two women dispair. For a few days. And then the new widow starts sneaking off in the night to get her rocks off with the neighbour.
Onibaba was strangely unsettling and it stayed with us for a long time after the credits rolled. From the animalistic lives of the two women in the beginning, to the demonic mask and the creepy ending, we were completely engaged.
We loved the contrasts of light and dark, the intense music, the non-sexualised nudity, the mask, the epic eyebrows, and the general disconcerting feel of the entire piece. This is one of those movies we would probably never have watched if it weren’t for the list, so thank you Edgar. We loved it!
Isabella, a model at a large fashion house, is brutally murdered and her body hidden in a closet. As the investigation gets on, it soon becomes apparent that a serial killer is on the loose. No gorgeous lady is safe!
Isabella’s diary, where she had detailed every vice and sin of everyone connected to the fashion house, soon surfaces, which is not popular among her friends and colleagues. As the diary is passed around from model to model, the killer starts going after each one in turn, disposing of them in various brutal (and lurid) ways.
This movie was tailor made for us (no pun intended). Serial killers and gorgeous dresses? Those are our top two areas of interest and expertise! As always in Bava movies, we loved the colours and the lighting. We were completely in love with the red mannequins and all the curtains, and the scene where they prepped for the show was pure perfection.
For giallo and/or horror fans, if you have the opportunity (and the inclination), we would recommend you watch both the English and the Italian versions. You’ll get two slightly different stories and it’s very fascinating!
Doctor James Xavier (Milland) is getting an eye exam in anticipation of doing some sort of experiment on himself. His mission, should he choose to accept it (which he probably will as he is the one who came up with it in the first place), is to attempt to expand the spectrum of human vision.
After a fatal test run on a monkey, he goes straight to a human test subject: himself. Which seems a bit presumptive given the fatality of the first test, but hubris has always been a great blinder. As are, it turns out, the eye drops he uses to change his own vision.
Sure, at first the main effect of the drops is a new ability to check people for diseases, broken bones, internal injuries and unflattering underwear, but Xavier soon grows addicted to the drops, and his vision changes for each new dose. How far is he willing to go?
X: The Man with the X-Ray Eyes is just the right amount of fun, silly, schlocky and overly dramatic to appeal to our sensibilities. Add to that a wonderful cameo by Dick Miller, eating as per usual, and Ray Milland as the eccentric genius and we’re completely sold.
X: The Man with the X-Ray Eyes reminded us quite a bit of The Invisible Man, although the main character is slightly less crazy. Slightly. We loved the circus act, the amazing dancing at the party, the creepy contacts, and the drama of it all. This may no longer be on the list, but we’re not ones to turn down a Roger Corman movie if we have an excuse for one. A good choice if you’re looking for something a bit silly for a lost weekend. (See what we did there?)
What we learned: The main character is called Dr Xavier and can see what others cannot, similarly to Professor Xavier from X-Men. This movie was released in September 1963, just like the first X-Men comic which featured Professor Xavier. Mind. Blown.
Eleanor “Nell” Lance (Harris) has been oppressed and mistreated all her life – both by her abusive mother and her overbearing sister. So when she gets a mystical invitation to spend a few days in Hill House as part of an experiment, she “steals” her own car and sets off.
The experiment, led by Dr John Markway (Johnson), is looking for proof of the supernatural and Hill House was chosen for its history of madness, murders and suicides and its reputation for being haunted. Dr Markway explains that Nell was invited due to an event in her childhood where rocks had rained on her house, possibly because of Nell’s latent telekinetic powers, something she herself fervently denies.
The other participants in this supernatural shindig include psychic Theodora (Bloom) and house owner’s nephew Luke (Tamblyn). Weird, fragile, abused Nell has lived too much in her own head and not enough out in the real world, and she struggles to form natural relationships with the rest of the group, especially Theodora who she seems to adore and detest in equal amounts.
Our guess is that for a large audience, Shirley Jackson’s classic horror story The Haunting of Hill House is possibly best known from the 2018 Netflix series, but do not be fooled. This is the real story and the adaptation closest to the original novel. (Ok, so the new version was scary and fun, but the ending was just all kinds of wrong. We’re still miffed.)
We loved the opening voice-over telling the backstory, and the aging of Abigail. We loved the clothes, the mirrors, the black and white, the Dudleys, and the pounding on the door the first night. We loved the characters, the sets and the ambivalence – are we dealing with supernatural events or mental illness?
The Haunting is everything we look for in a horror movie: intriguing characters, gorgeous and fascinating location, creepy atmosphere, chilling servants (never a good movie without them), good backstory, and an ambivalent explanation. Fantastic! Except Eleanor’s sister and brother-in law. They are just the worst…
After a (slightly hostile) meet-cute, Melanie Daniels (Hedren), a socialite and prankster so good she makes news headlines, is intrigued by attorney Mitch Brenner (Taylor). She decides to stalk him, and follows him back to his weekend hideaway outside the city.
Once there, Melanie ingratiates herself with Mitch’s ex and scores a dinner invite with his family where she learns that he is currently going through his Freudian phase – Melanie is the spit of his overbearing mother Lydia (Tandy).
We don’t really need to say anything else about The Birds, do we? It’s one of the most well known and popular horror films in history, and also frequently referenced in other works. And while not all the special effects have aged gracefully, it’s still a fun watch.
Like Psycho, The Birds starts in one genre and ends up in a whole different place than where it was originally going. And while the eponymous birds are ever present, we’re almost halfway through the movie before they start constituting a threat and we’re reminded that we are indeed watching a Hitchcock film.
We loved the very silly lovebirds-in-the-car-scene, Mrs Sholes the bird expert lady, the focus which was on everything but the birds until they attacked, the long siege without dialogue, and the fact that there is absolutely no explanation for the sudden viciousness of nature. Classic!
Black Sabbath consists of three separate stories, all tied together by host Boris Karloff, which are freely adapted from classic tales by Tolstoy, Maupassant and Chekhov. The order they appear in depends on which version of the movie you watch (there are at least two), so we will present them according to the version we watched.
The first story, “The Drop of Water,” is by Anton Chekhov. An elderly medium has died while in a trance during a seance, and when preparing her body for burial, nurse Helen Chester (Pierreux) steals a ring from the deceased. Big mistake.
Guy de Maupassant’s contribution is “The Telephone” (or is it? There is some debate as to whether Maupassant ever wrote anything like this). Rosy (Mercier) is at home in her apartment (another place we’re moving into as soon as the payment goes through) when she starts receiving strange phone calls from her former pimp. Instead of calling the police (who she probably doesn’t trust given her profession), she calls old friend Mary (Alfonsi) for help. Big mistake.
The third and final story, “The Wurdulak,” is credited to Aleksei Tolstoy (not Leo, mind you). In 19th century Russia, rider Vladimir D’Urfe (Damon) finds a backstabbed body on a horse. He brings him to the nearest house to find that the body belongs to a Turkish bandit believed to be a Wurdulak. A Wurdulak, the farmers explain, is a vampire who feeds on his or her loved ones.
The father of the family, Gorca (Karloff), has been in pursuit of the Wurdulak and has given strict orders not to let him in the house if he is gone for too long as he will have been turned. When he returns too late, with a significant personality change, the family naturally lock him out and take every precaution to stay safe while plotting how to kill him.
Just kidding! They let him in, let him play with his grandchild, follow his commands, go to bed without locking any doors and are then flabbergasted when it turns out he tries to drink their blood. Then again, this is a family who implicitly trusts an unknown Eastern European Count called Vlad while in the middle of a vampire crisis.
We’re suckers for horror anthologies and Mario Bava, so there’s really nothing here we didn’t love. The humour between segments is silly and fun, and the entire film is very aesthetically pleasing, as giallo movies tend to be. A lot of this also feels oddly modern, as if it could have been made today but by someone trying to make it look older (think Garth Marenghi’s Darkplace or “The Devil of Christmas” episode of Inside No. 9). We loved all the apartments (as stated, we’re moving into all of them), the colours, the creepy child and the ghost. Love, love, love this!
Jane (Davies) and Blanche (Crawford) are sisters, and as children Jane was a vaudeville star while Blanche lived in her sister’s shadow. Twenty years later, their roles have reversed, and Blanche has become a successful movie star while Jane has turned into an alcoholic, washed-up has-been.
Jane, resentful of her more successful sister, becomes obsessed with recapturing her glory days as a child star, and hires pianist Edwin Flagg (Buono) to help her revive her act. She cuts her sister completely off from the outside world by removing her telephone, and starves her by feeding her rats and dead pets.
Both main performances in What Ever Happened to Baby Jane? are spectacular, and that’s probably the main reason this film is so incredibly engaging. Bette Davies as Jane is deliciously deranged and demented, and is just a joy to watch.
Joan Crawford is (almost) equally engaging as the victimized Blanche, a more toned down and possibly more challenging role. However, we grew increasingly frustrated by her uselessness. Seriously, woman! You know your sister has completely lost it! And that is as hard as you’re prepared to fight???
Blanche is not the only frustratingly incompetent character in the movie – pretty much everyone, from neighbour Mrs Bates (Lee) who’s too polite to interfere, to maid Elvira Stitt (Norman) who underestimates Jane’s madness despite her knowledge of both sisters, fail to help Blanche and stop Jane due to being basically completely fucking useless.
Three friends accept a challenge to a drag race (though not the fun one with RuPaul) and their car ends up in the river. Only Mary Henry (Hilligoss) comes out of the water, but soon after the accident she starts to experience strange things.
Newly moved to Salt Lake City, Mary finds herself slightly obsessed with an abandoned pavilion formerly used as a carnival. Even worse, she is haunted by the creepiest neighbour in the state of Utah. Oh, and also by a ghostly visage which pops up in windows, visions and dreams. But the neighbour is almost creepier than the spectre.
While Stalky McCreeperson, real name John (Berger), next door continuously tries to get in her pants, Mary tries to stay sane and perform well at her job as an organist. But she is troubled by her hallucinations (or are they?) and some unusual episodes in which all sounds disappear and people seem unable to see her. What is really going on with our heroine?
Honestly, we went into this not expecting much. It’s part of a DVD box set we own with 50 horror films, and most of them are sub-par to say the least (with some notable exceptions). But we were pleasantly surprised by this atmospheric and unsettling cult classic.
We loved the intense lighting and the reflections during Mary’s drive to Utah; the truly distressing ghosts; the main character (Mary is actually quite independent and don’t need no man!); the music; the make-up; and the dancing ghouls.
Sadly, this was Herk Harvey’s only foray into the world of horror, although some of his other credits would suggest otherwise: “Dance, Little Children,” “To Touch a Child” and “Shake Hands with Danger” are all, unfortunately, enlightening and moralizing short films despite their evocative titles, and not the psychotic horror thrills we had envisioned. Our lack of research led to a very disappointing movie night indeed…
Spain, 1546. Mr Barnard (Kerr) comes from England to see where and how his beloved sister Elizabeth (Steele) died. He meets his brother-in-law Nicholas Medina (Price) and his sister Catherine (Anders) and is offered a strange and vague explanation of Elizabeth’s death.
Family doctor Leon (Carbone) later reveals to the grieving brother that his sister died of fright. Since more details are surely required after such a statement, Medina confesses that his bride had become obsessed with the inquisition era torture chamber in the cellar, and that she perished in an Iron Maiden.
But is this all there is to it? Barnard is still not satisfied, and as we delve deeper into the house’s secrets, we learn that Medina’s father killed his brother and wife in the chamber when his children were young. Young Nicholas witnessed the ordeal and was never the same again.
Pit and the Pendulum has everything we love: Gothic castles, secret passageways, hidden torture chambers, ghosts, murder, madness and torture. It is morbid, grotesque and lovely, and we completely adored Vincent Price as the confused, distressed widower. Barbara Steele’s eyes are as haunting as they were in Black Sunday, and she is the perfect Gothic heroine/villain (take your pick here). Personally, we are of course suckers for anything Poe (and Corman. And Price.), so we had no choice but to include this even though it is no longer on the list. It’s fantastic!
Somewhere in 18th century Spain, a beggar (Wordsworth) goes to a castle to ask for some food and/or money. But the marquis (Dawson) is a cruel man and a bully, and he imprisons the beggar and promptly forgets about him. Left in the dungeon for fifteen years, the poor man is forgotten about by all but the jailer and his mute daughter.
After those fifteen years, the daughter (Romain) refuses to be raped by the marquis, and he throws her in the dungeon with the beggar. Apparently, he has forgotten all about the girl’s kindness to him and rapes her himself, and then dies (karma’s a bitch!). The girl is sent back to the marquis so that he can have his way with her, but having been raped once already, she’s not about to let the bastard win, so she kills him and flees.
The runaway girl, now pregnant, is later found in the woods by Don Alfredo Corledo (Evans) and Teresa (Talfrey) who take her in and, when she dies in childbirth on Christmas Day, take on the responsibility of her newborn son.
Turns out though, unwanted children born on Christmas Day are cursed to be werewolves. Which makes us wonder why lycanthropy isn’t a bigger social problem than it currently seems to be. While young Leon (Reed) at first manages to keep his condition under control, once he grows up and faces adversity as well as love, he loses what little control he has and all hell breaks loose.
The Curse of the Werewolf was removed from the list after we’d already bought it, so as is tradition, we’re doing it anyway, dammit! And we’re glad we did. We loved the opening credits with the sad werewolf, the interesting explanation for the condition, and Leon’s partner in crime (not literally though) José.
In many ways, it’s more a drama than a horror, except the ending which is very Frankenstein. But we believe it works for fans of both genres. Well worth watching! Even though there are apparently at least 1000 films which are better than this one… Let’s call it number 1001 and recommend it anyway. Happy New Year!
What we learned: Don’t give birth to unwanted children on Christmas day. We know, it’s a bit late for 2018, but keep it in mind for next year.