Categories
Reviews Top Horror

2025 Horror Anniversaries

The Witch (Directed by Robert Eggers, 2015) 

Robert Eggers has become a prodigy in contemporary gothic horror, creating films that ooze a rich, dramatic aura that presents historical, period-based tales of folklore and mythology. One film in particular that kickstarted his now cemented reputation as a historical-fiction director is The Witch (stylised as The VVitch). This 1630’s set horror follows a Puritan, New England family whose quiet life is turned upside down after being banished from a commune after a religious upset.

Even to the history experts, The Witch is said to be rather accurate, with Eggers ensuring that every detail was written with consultation from specialists on 17th-century agribusiness, ensuring that the film is as authentic to the subject material as possible, therefore aiding the integral presence that the film so flawlessly achieved. Every inch of screen time has this otherworldliness about it; a ghostliness that speaks to disturbed pastimes and the horrors that still haunt to the present day. Although The Witch is only celebrating its tenth birthday this year, its striking effect is set to tread the genre for a long time to come. 

​​

Hostel (Directed by Eli Roth, 2005) 

Although it has been a whopping twenty years since its release, Hostel still stirs quite a contentious reaction to this day. This Slavic-set film follows the brutal fates of three backpackers who are unknowingly lured into an underground organisation where members pay to torture unsuspecting victims. Upon its release, many audiences were shocked at the film’s graphic displays of violence and appalled that this is what mainstream horror had evolved into.

Indeed, there were a good handful of viewers who got stuck in with the mountains of bloodied gore, creating a boom of the ‘torture-porn’ subgenre that rocked the horror scene in the mid-2000, yet much of the public opinion was that Hostel was essentially heavy-violenced smut. Hostel thrives in its own griminess, whether that be the gritty storyline or the extensively grungy, brutalist vibe of the film’s various torture lairs. By today’s standards, Hostel is tame, but its rude arrival on the scene propels the film to be a contemporary classic. 

Seven (Directed by David Fincher, 1995) 

Seven might not be marketed as a horror film, yet the David Fincher directed ‘thriller’ is certainly horrific and based on a terrifying concept. Brad Pitt and Morgan Freeman star as the detective duo ‘Mills and Somerset’, desperately trying to solve a series of murders committed in a pattern following the seven deadly sins. As the film goes through the deaths conducted under the guise of the sins, ‘gluttony’, ‘greed’, ‘sloth’, ‘lust’ and ‘pride’, the viewers undergo a viciously cruel string of emotions, as we experience disgust and fright at the hands of the film’s evil killer ‘John Doe’ (Kevin Spacey).

However, nothing could prepare you for the final act, where the last two sins ‘envy’ and ‘wrath’ are acted out. Elevating the daunting narrative is the film’s sharp aesthetic which is just as visually dark and morbid as the film’s content. Fincher is said to have wanted to make Seven appear as a black and white film, but in colour; recreating the sleek shadowing of noir thrillers, with the added electric jolt that colour films can create. To say that Seven is entirely cruel and boldly immoral is an understatement, with this film still being as wickedly brilliant even thirty years later. 

Fright Night (Directed by Tom Holland, 1985) 

Tom Holland’s extensive career in the horror scene, directing the likes of Child’s Play (1988) and Thinner (1996) started forty years ago when he made his directorial debut with Fright Night, a film that follows a horror fanatic teen, Charley (William Ragsdale) who discovers that his neighbour, Jerry (Chris Sarandon) is a vampire in disguise. Determined to put a stop to the creature, Charley convinces TV vampire hunter Peter (Roddy McDowall) to join forces and destroy the blood-sucker once and for all. Fright Night has the nostalgic, charged energy of 1980s horror, where off-kilter humour mixes with a vibrant sense of terror, in turn forging an unforgettable viewing experience that makes for an excellent watch time after time. Essentially, it is a film that epitomises the offbeat, monstrous mayhem of classic horror, swinging a plethora of hooks and jabs of vampiric madness into the essence of the story, prompting a finished result that is still as electric today as it was forty years ago. 

Demons (Directed by Lamberto Bava, 1985)

Equipped with a form of strangeness, a slightly odd narrative flow that combines moments of outlandish gore with an almost sci-fi-like alien/zombie/demon creature arc is Lamberto Bava’s Demons. Bava, being the son of famed horror director Mario Bava (‘Black Sabbath’, ‘A Bay of Blood’), most definitely has the horror gene pumping through his veins, with Demons being a prime example of a horror film created out of a passion for the genre. The eclectic film takes place in a theatre, where a group of people are mysteriously invited to a screening, only to end up trapped in a true nightmare as green-drooling demons take over. The metafictional qualities are glaringly obvious; the cinema room becoming a literal labyrinth, the ‘film-within-a-film’ premise, the over-the-top, parody-like gore effects and so forth. This unique texture breaks the figurative fourth wall and infests the film with a punchy, refreshing tone that stands out and leaves a lasting impression. 

Jaws (Directed by Steven Spielberg, 1975) 

Jaws is synonymous with the descriptions of a ‘classic’ film. Quotes are plentiful, the theme tune is an integral jingle to this day which is more than likely already being hummed in reader’s minds, and most importantly Jaws is still as much scary fun now as it was half a century ago. Bar his work on TV movies and The Sugarland Express (1974), Jaws is what kickstarted Steven Spielberg’s household name status, with the film at one point even being the highest-grossing movie of all time.

Whilst it is worth discussing how the film has been infinitely cited as one of the greats and how the United States Library of Congress elected Jaws as being selected for preservation due to its landmark status and appeal, what is a more pressing matter is exactly how and why Jaws achieved its infamy. The film delivers some outwardly funny quips and pockets of dialogue, adding a flush dimensionality to the scares, and putting a bit of flesh on the film’s bones. More so than that, Jaws has genuine suspense attached to the horror. No matter the quantity of watches, the looming threat of chaos and destruction still has an almighty bite to it, entirely absorbing attention and captivating audiences at a seriously impressive rate. 

Deep Red (Directed by Dario Argento, 1975) 

Dario Argento’s work for horror cinema is nearly unmatched, with the director being the brains behind the likes of The Bird with the Crystal Plumage (1970), The Cat o’ Nine Tails (1971), Suspiria (1977), Tenebrae (1982), Phenomena (1985), and Deep Red. The film exercises a genuinely terrific compositional structure where the labyrinth of a plot is powered by the camera’s incessant need to be constantly moving, floating and dancing around as it captures the brutal antics that unravel before us.

The flexible nature of the action is further enhanced by its content, which has some truly alarming moments of panic and dread, particularly in regards to the smorgasbord of violent scenes, alongside the inclusion of an awfully creepy puppet. Deep Red acts as one of the giallo subgenre’s most definitive films, with the visual outcome of Argento’s work here being comparable to a visual opera, as the film stirs in elements of murder mystery with sleek stylisations and countless dramatic effects. 

The Skull (Directed by Freddie Francis, 1965) 

Joining Hammer Film Productions in the run of 1960s British horror was fellow Brit-based company, Amicus Productions, whose credits include The House That Dripped Blood (1971) and Tales from the Crypt (1972). One other film that kickstarted Amicus’ fairly successful run in cinema during the sixties and seventies was The Skull, a horror made in colour to challenge the competitive horror market. The film follows the hauntings, hallucinations and possessions that surround the stolen skull of the French libertine and controversial figure, Marquis de Sade. Starring both the iconic Peter Cushing and Christopher Lee is this rather zestful feature that boasts an applaudable assemblage of visionary cinematography that has not aged a day since its release sixty years ago. 

Les Diaboliques (Directed by Henri-Georges Clouzot, 1955)

Henri-Georges Clouzot’s French horror Les Diaboliques is coined as one of the true greats, obtaining a stellar reputation over the seventy years since its release, gaining Criterion Collection status and helping cement the tropes that have formed the horror genre. The film is also said to have helped inspire the basis for the legendary Hitchcockian thriller, Psycho (1960). The film follows a conspiracy to murder Michael Delasalle (Paul Meurisse), a cruel headmaster at a boarding school.

The mastermind pair behind the elaborate plan are Michael’s wife, Christina (Vera Clouzot), and his mistress Nicole (Simone Signoret), who merge to create the ‘perfect plan’, however, matters soon turn sour as their scheme unravels. Time has graced this film, with the various twists and turns becoming even finer over the years, as the clever narrative still holds such impact due to its melodramatic, nightmarish and solemn tone that is both haunting and alluring. 

Dead of Night (Directed by Alberto Cavalcanti, Charles Crichton, Basil Dearden and Robert Hamer, 1945)


The British horror Dead of Night has become a quintessential piece of cinema that holds gravity in the anthology portmanteau reign of films, the horror genre and the extensive selection from Blighties’ own film market. Dead of Night’s anthology structure captures five sequences, all rounded up by the framing story of a team of guests who join together at a rural country house, retelling their own horrific stories. The impressive line-up includes Sally Ann Howes, Googie Withers, Mervyn Johns and Michael Redgrave, who all bring their own special zing to each segment, taking heed of the elaborate lore, fables and legends from the individual stories.

Although Dead of Night will see its eightieth birthday in September of this year, the film is very much alive. There are countless memorable snippets that still stand out from the film, but one particularly notable example surrounds the seriously unnerving ventriloquist dummy that stars in one of the segments. The unhinged puppet is nothing less than sinister and more unsettling than many contemporary attempts at capturing possessed puppets.

PART TWO HERE…..

Want more top horror lists and reviews? Check out our blog here..

Categories
Reviews

Classic to modern: 10 Giallo films you need to see

1- The Girl Who Knew Too Much (Directed by Mario Bava, 1963)

Nora Davis (Letícia Román), an American tourist visiting Rome is viciously mugged and knocked unconscious, upon awakening she witnesses a brutal murder. Nora reports this to the local authorities, but no one believes her. After a cryptic phone call she fears she’ll be the killer’s next victim and sets out on a frenzied mission to find the murderer. 

Bava’s The Girl Who Knew Too Much is largely considered to be the first giallo film, this full-bodied tale extracts archetypal horror elements such as threat, an illusory killer, and brazen imagery. Bava furthered these already established cinematic elements through exercising an accelerating level of suspense that will be seen across future giallo cinema. The film also creates an ever rising tension through employing a stark cinematography that basks in chiaroscuro shadows and transports the viewer into a dream-like world where the visuals completely take over. It can be said that The Girl Who Knew Too Much was inspired by the master of suspense himself, Alfred Hitchcock. Films such as Psycho thrive on this mentioned mystery and the whole thrill of the ‘whodunnit’ story. Throughout the film we are taken on this journey of discovery with Nora, the viewer plays a part in her involvement with the case. Future giallo films continued to use this

aspect of witnesses aiding investigations in retaliation to their fears of being the next ‘victim’. Thus establishing the authorities to be a secondary character whose importance is noted, but never fully deserving of any credibility as the protagonist typically solves the case on their own. 

As it was early days not every key essence of the sub-genre was featured in The Girl Who Knew Too Much, but what was established is the essence of what makes giallo cinema so recognisable, the element of judicial interference and stark visuals. 

2- Blood and Black Lace (Directed by Mario Bava, 1964) 

Model’s at a fashion house in Rome are killed off one by one by a mysterious faceless killer with metal clawed gloves. 

It seems that The Girl Who Knew Too Much left a mark on Bava’s cinematic inspirations as Blood and Black Lace was made soon after his 1963 breakthrough. The film hones in on everything that defines giallo. There is not an element that isn’t ticked off from the genres checklist, with a vivacious colour palette, a covertly dressed killer (trench coat and gloves), and sensualised murder scenes. The film pushes the boundaries that were creatively established during 1960s filmmaking, such as clear plots and a linear narrative. Each scene is treated delicately, there isn’t a single moment that hasn’t been carefully curated. For example, each death is warmed with a rich, elegant lighting that dares you to carry on watching and embrace the beauty amongst harrowing images. The film is set in a fashion house, meaning that couture and chic stylisation are at the core of the mise-en-scene. Plenty of lavish silks and velvets feature in several kill scenes, prominently forcing this contrast between harm and sensuality. 

At the time the implementation of eroticised gore was definitely a sight for sore eyes, little did Bava know that this would be a key factor in giallo’s progression. 

3- The Bird with the Crystal Plumage (Directed by Dario Argento, 1972) 

American writer Sam Dalmas (Tony Musante) witnesses a murder attempt by a black gloved assailant in an art gallery. The killer is suspected to be a serial murder who is killing young women across the entire city. As a key witness Sam must help the police in their ongoing investigation before he becomes the next victim. 

Argento and giallo is a match made in heaven. There’s a reason as to why Argento is heavily tied to Italian horror, it’s his melodic combination of textured conventions and stylised symbolism that melts the barrier between horror and art. His early work of The Bird with the Crystal Plumage gets majorly overlooked within his filmography, but it is one of the richest films lurking within the entire genre. Bava may have given giallo its first lease of life, but Argento’s early work thickened one of the most important essences that would be seen in future giallo classics. This film revels in its own ludicrousness, the incoherent why’s, when’s and where’s of the murders are almost comically hazy, it wouldn’t be surprising if audiences even became irate at the films ‘big reveal’. Despite the ill-defined conclusion, it somehow works as a consequence of Argento’s fever dream bravado that takes the wheel throughout the film. The story (as does most giallo’s) works on coincidences and deceptions, moulding bizarre worlds that are supposed to take place in reality, but always seem disorienting. 

4- Dont Torture a Duckling (Directed by Lucio Fulci, 1972)

Chaos erupts within a small Italian town when it becomes clear that a child killer is on the loose. A reporter and the police must band together to find the culprit before it’s too late. 

Fulci within his own right is very much a key player within giallo cinema, Don’t Torture a Duckling is actually known to be an introductory film for many wanting to get into the genre. 

This film aided the bleakness and alienation of society that the genre thrives upon. The picturesque village may be pleasing to the eye, but beneath the surface is a corrupt town overflowing with perversion, paranoia, threatening attitudes, and simple-minded ignorance. 

Fucli dares the viewer not to applaud the braveness of the film’s themes. Sins, guilt, and repression are at the heart of the killer’s motives, which is primarily implanted through the heart of religion. This expression of sexuality within the village’s church is openly scrutinised by Fulci, in fact the town’s church is almost a central character, an antagonist. The notion of utilising religion as an ironic storytelling piece continues throughout 1970s giallo films, particularly in What Have You Done to Solange? 

5- What Have You Done to Solange? (Directed by Massimo Dallamano, 1972) 

Students at St. Mary’s Catholic School become the target of a sadistic serial killer. A teacher at the school becomes a suspect after his suspicious behaviour with the students arises, but the dots are not connecting, leaving the killer out on the loose. 

1960s and early 1970s cinema was rife with cult sub-genres melting with each other to form hybrid films such as What Have You Done to Solange?, gaining extra profit and merging various stylisations. The film masterfully creates surreal landscapes swarming with nightmarish thrills, jolting the viewer. Dallamano’s 1972 horror combines German Krimi cinema (City settings, cop thrillers, and revenge plots) with giallo to create one of the most underrated horrors to come from the 1970s. The catholic girls school setting delights itself in crude stereotypes, particularly that of exploitation amongst women. Whilst it’s not perfect, it is rivetingly entertaining by recruiting a shamelessly sexualised narrative, consisting of vicious kill scenes that Freud would have a field day analysing. Amongst all the hurrah of utilising taboo’s as a provoking tool, Dallamano does not forget the importance of the film’s visual flare. Each scene is painted with a quaint background of mundane terrains, but the dose of gruesome terror leaves a burning mark on the viewer, forcing an unforgettable reputation. 

6- Deep Red (Directed by Dario Argento, 1975) 

Musician Marcus Daly (David Hemmings) discovers the body of a murdered psychic medium. Leading Marcus and reporter Gianna Brezzi (Daria Nicolodi) to take it upon themselves to solve the case. 

Deep Red is known as one of Argento’s finest films, with the dizzying aesthetics, kaleidoscopic colour palettes, hazy perspectives, and impressive score securing a flourishing acclaim. Every scene creates an unfamiliar world where the tension grips onto the viewer and won’t let go, encouraging the audience to dismantle their expectations. Giallo continuously aims to startle, and Deep Red is one of the best examples for showing how and why horror is more than just quick scares and gore. Argento employs intricate camerawork that gives the result of a finely choreographed production. Rather than keep the camera still throughout the film, like a fly on the wall, Argento dances the lens around, emulating hectic and frenzied auras that make the panic of the kill scenes even more erratic and disturbing. Furthering this avoidance of stillness is the abrupt and shocking ending. Giallo may be known for its big reveals and double twists, but most of the time these revelations are so illogical and blasé that the viewer is left with more questions than answers, but Deep Red uses the infamous ‘red herring’ trope as a significant plot point in the investigation. Deep down the audience have known who the killer is all along and are told very much early on within the film. Sometimes the true horror doesn’t come from the unexpected, but what we already know. 

7-Tenebrae (Directed by Dario Argento, 1982) 

Successful author Peter Neal (Anthony Franciosa) receives a letter from a suspected serial killer claiming that Neal’s books have inspired them to go on a killing spree. Soon after Neal becomes involved in the investigation to catch the killer before it’s too late. 

As the 1980s began giallo cinema progressed and became fairly popular amongst mainstream audiences. The unholy trinity -Argento, Bava, and Fulci- had solidified a decent name for themselves as giallo masters, and with this popularity came a shift within the genre. There was a growing demand for slashers resulting in films such as Tenebrae becoming more operatic and less confined within small Italian landscapes as an attempt at branching out. Tenebrae is a key film in both eighties horror and giallo cinema thanks to the packed narrative that manifests into a convoluted extravaganza, encouraging the viewer to become lost within the mad world created. In fact the narrative is mostly of secondary importance, the story beats serves only a progression-based purpose for the kill scenes to shine, forgoing typical cause and effect. 

8- Amer (Directed by Hélène Cattet & Bruno Forzani, 2009) 

Amer follows Ana throughout her childhood, adolescence and womanhood. 

Amer is a haunting and mystifying neo-giallo told in three parts as we witness three key moments throughout various stages of Ana’s life. Amer acts as both a retelling and a homage to great giallo cinema. The visual format in which the film is told reads exactly like Suspiria and Tenebrae, with the film’s nods towards neon lighting and duality (both metaphorically and technically via the continuous use of split screen). But rather than copy directly, Cattet and Forzani use giallo films as a creative vessel for their own highly original work to pour through. The displaced narrative never meets a clear conclusion, in fact the film plays out in almost an entirely surrealistic tone, drowning any chance at linearity. 

9- Piercing (Directed by Nicolas Pesce, 2018)

Reed (Christopher Abbot), comes across as a normal family man with a loving wife and newborn baby waiting at home, but this is all a facade. Underneath the disguise he hides a dark desire to kill. 

Piercing is one of those films where the simple plot premise spirals out of control action by action. The enigmatic whirlwind of events do not allow the viewer to breathe at all, instead you are stuck on this disastrous rollercoaster alongside Reed as his night shifts from one mishap to the next. It is difficult to line this film up alongside notable giallo films as Piercing is entirely individualistic, but the spine of the film comes from the complex relationship between psychology, sex, and violence. Pesce aligns these three devices to interweave a tale ridden with interesting politics reminiscent of Argento and Bava’s work. 

10- Knife + Heart (Directed by Yann Gonzalez, 2018) 

Anne (Vanessa Paradis), is a filmmaker who specialises in gay pornography. Her life begins to crumble when her editor and partner Loïs breaks up with her. To win her back Anne hatches a plan to make one of the most riskiest film’s yet, but when a string of horrid murders occurs both the production and Anne’s life is threatened. 

Knife+Heart erupted onto the horror scene with a unique magnetism that dedicates itself to honouring giallo cinema. The overall tone is electrifying without being distractingly flamboyant, most of the film’s allure is actually drawn from the characters lack of satire. The viewer sympathises with Anne and her film crew, and although the giallo elements ensure that boredom does not become an issue, the film grounds itself through the cultural connotations.

Throughout giallo films the police are seen as rather incompetent, with the outsider being the one to solve the crime (à la The Girl Who Knew Too Much), Knife+Heart continues with this tradition but in a new light. The police appear to dismiss the murders and refuse to raise alarm in response to the victims being gay men, forcing Anne and her friend Archibald (Nicholas Maury) to hunt down the killer themselves. Pesce regenerates the giallo movement in a modern perspective through exploring an exploitative based storyline but through a rare melancholic disposition. 

Love Giallo? Check out our new merch here.