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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. 

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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…..

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Top Horror

Sun, Sea, and Slaughter: Top Ten Horror’s to Watch This Summer

1- Midsommar (Directed by Ari Aster, 2019) 

Pin on Wedding

Dani (Florence Pugh) travels to Sweden with her anthropology boyfriend (Jack Reynor) and his friends to celebrate the town’s annual Midsummer Festival. 

Ari Aster may have begun drawing heaps of attention thanks to his incredibly dark short film The Strange Thing About the Johnsons (2011), but it would be nearly a decade until he reached pivotal success with Hereditary (2018), and then the infamous Midsommar, which received praising reviews from both tough to please critics and cinema goers. The film takes its time to unravel, where the horror is delayed to focus the attention of Dani’s inner psyche and what it means to feel lost and lonely even though she is surrounded by people. Like its folk predecessors The Wicker Man (1973), and Penda’s Fen (1974), Midsommar is rooted both physically and metaphorically within nature and the allure of innocence that secretly hides ancient secrets. The anonymity that Midsommar possesses is one of the many reasons behind its success, with the harmonious town of Hälsingland creating a sense of safety. Akin to the earthy aesthetics that Aster creates, the film takes inspiration from the dark nature that lies within humanity, especially conflicting emotions of grief, desperation, and guilt. 

2- The Fear Street Trilogy (Directed by Leigh Janiak, 2021) 

Fear Street Trilogy Review: Dark, exhilarating, flawed but engaging tribute  to the slasher genre- Cinema express

The town of Shadyside is terrorised by an infamous evil that has been plaguing the town for centuries. 

R. L. Stine’s Goosebumps series just may be the igniter that started many horror fan’s love of the morbid and macabre. However, Goosebumps wasn’t Stine’s only creepy venture as his Fear Street novels also garnered plenty of success. And rightly so! In 2021, Netflix dropped the news that Leigh Janiak would be writing and directing an entire trilogy based on the Fear Street books, with every film being released one week after the after. The first entry acts as a solid introductory point where nostalgia is the keen focus all thanks to the slasher-like vibes that run throughout. The sequel goes back in time and utilises the cabin in the woods vibe that dominated 1980s horror, and last but not least the finale acts as an overarching binder that moulds together everything that Fear Street has been working towards, nestling the trilogies place as an absolute must-watch that has a bit of something for everyone. 

3- The Lost Boys (Directed by Joel Schumacher, 1987) 

The Lost Boys' and Its Radical Vision of Family, 30 Years Later - The  Atlantic

The lively, sunny town of Santa Carla may seem like a haven for the sweet life, but a gang of cruel vampires take over and cause utter mayhem. 

The Lost Boys is not an unfamiliar entry on this list for any horror fan, some might even say that Joel Schumacher’s vampire flick is one of the most notorious blood-sucking films to come from the 1980s. This praise may seem far fetched from a glance, but The Lost Boys is an unmissable thrilling descent into gory antics and wicked effects. The Santa Carla beach setting lays the path for a tale rife with coming-of-age bonding, beachside parties, and beyond entertaining vampire escapades. 

4- Summer of 84 (Directed by François Simard, Anouk Whissell and Yoann-Karl Whissell, 2018)

The Last Thing I See: 'Summer Of 84' (2018) Movie Review

Set in the summer of 1984, a group of teens suspect that their local police officer may be a serial killer. 

Summer of 84 perfectly wraps together what modern audiences loves about 1980s horror; it’s the whole aspect of adventure, and a sense of freedom that allows the characters to explore the land of the films narrative, almost akin to beloved throwback films such as The Goonies (1985) and Stand By Me (1986). Keeping up with this theme is Summer of 84’s heartfelt basis that lies at the bottom of the grisly horror, just like 2017’s IT remake, the film puts friendship at the heart of the journey, meaning that the threat of this murderer on the loose becomes so much more real and menacing, forcing the audience to actually care about what happens to the group. 

5- Jaws (Directed by Steven Spielberg, 1975)

Before 'Shark Week,' there was 'Jaws' | CNN

In a bid to stop a killer shark from ruining the tourist buzz in Amity Island, a group head out into the ocean to capture the deadly beast 

Summer and horror may seem like a world apart, with gruesome fates and sunny skies contrasting against one another. However, this clash wouldnt last for long thanks to Academy Award winning director Steven Spielberg combining slow burning terror with the creature feature to create one of cinema’s favoruite horrors. Set in the beach town of Amity Island is a story that made audiences scared to go out into the ocean for years, fearing that a great white will come along and snap them up. Besides the hysteria that Jaws caused (including the supposed reaction of neurosis in one audience member…), the film offers a tidal wave of good old fashioned fun to be had amidst all the jumpscares and impressive effects, making it one of the most quintessential summer films. 

6- Aquaslash (Directed by Renaud Gauthier, 2019) 

Aquaslash – The Pink Panther Snipes Again

Wet Valley Water Park becomes the centre for the graduation class of Valley Hills High to celebrate their upcoming futures. However, it’s not long until their gratuitous debaucheries are interrupted as a mad killer sets their sights on killing as many of the students as possible. 

Keeping in theme with the water-based frights is possibly one of horror’s most under-recognised entries in recent years– Aquaslash. Fresh from Fantasia’s Film Festival in 2019 is this Canadian gem that unearths a new-found fear for waterparks, with the film’s daring third act being grossly horrifying enough to even make professional fright-seekers wince and cover their eyes. In order to ensure audiences’ shocked reactions as the film’s conclusion hits, we’ll keep it brief, however, just know that this irreverent, outrageous film is sure to be a surprise. 

7- The Ruins (Directed by Carter Smith, 2008)

THE RUINS DIRECTOR WRAPS FILMING ON SWALLOWED - THE HORROR ENTERTAINMENT  MAGAZINE

Two couples go on a romantic vacation to Mexico, where they are invited on a trip to a Mayan temple where they find themselves entangled within the hungry vines of the Mayan jungle. 

The 2000s harboured a reputation as being rather contentious for a while, and whilst over the years this era has received plenty of praise for its slasher-inspired, teen-based, overly cheesy movies, many films from this period still remain fairly undetected by the masses. One of these entries include The Ruins, a sun-soaked, fable-filled, earthy horror that explores the vengeance of the  elements. The nature of the film itself allows for brave levels of hysteria and uncertainty of actions to thrive, but what makes the film become really elevated is the surprisingly graphic body horror, whose visuals remain etched in the viewer’s mind for long after watching. 

8- The Town That Dreaded Sundown (Directed by Charles B. Pierce, 1976)

 

The Town That Dreaded Sundown (1976) Review

A fictitious retelling of the 1946 Moonlight Murders, whose perpetrator stalks their prey at night killing them in the most horrific ways possible. 

The Town That Dreaded Sundown has remained somewhat timeless, which is a bold statement considering it has been forty-six years since its release. Yet, those decades have not been without controversy for Charles B. Pierce, in fact the film came across as so raw to the true story that a lawsuit was filed against the film’s marketing team, as well as Pierce being involved in a court trial after someone involved in the true case tried to sue him for privacy infringements. This highly heated hit has a foreboding atmosphere that fails to quit, as well as crafting  such a terror stricken aura that any form of security the viewer may have found is completely jolted, alarming the senses and creating a memorably horrific film. 

9- The Burning (Directed by Tom Maylam, 1981) 

The Burning 1981 – My Own Personal Hell

In upstate New York, Camp Blackfoot becomes the playground for a vengeful serial killer who is hellbent on creating a world of hell for the unlucky campers. 

Cabin, camps, and creepy caretakers were at the forefront of horror in the 1980s. One of the film’s that started this trend included Friday the 13th (1980), leading to many filmmakers drawing inspiration from the success of Sean S. Cunningham’s work, with movies such as Madman (1982), Sleepaway Camp (1983), Cheerleader Camp (1988), and later hits such as Cabin Fever (2002) all becoming staples in the summer horror realm. But one horror that didn’t just copy and paste the teen-summer-slasher was Tom Maylam’s The Burning. The general concept of a crazed killer targeting a group of unsuspecting victims is a classic method that is destined to provide a fun ride for the viewer, however, where The Burning really shines is within the special effects orchestrated by none other than the legend himself Tom Savini. Throughout, super gnarly gushing wounds and smashed heads feature, leaving no stone unturned when it comes to the gore factor. 

10- Turistas (Directed by John Stockwell, 2006) 

Turistas ( 2006 ) watch online in best quality

A group of vacationers travel to the Brazilian Coast where the bright nightlife and climate makes the trip seem like a dream, that is until they are unknowingly drugged and find themselves stranded in the middle of nowhere with no belongings left. They eventually travel to a supposed safe haven where imminent rescue is promised, however, they soon realise that it is all a deadly trap. 

Holidays are a chance to kick back and relax, leaving inhibitions at the door. But, at the back of everyone’s minds there is a lingering worry that being in an unfamiliar land where there are language and cultural barriers can lead to nightmarish consequences. Turistas is aware of exactly that, as it preys on very real worries, leading the viewer anxious to let their guard down abroad ever again. All of this paranoia would not be as effective if it wasn’t for the genuinely powerful performances from Melissa Geroge, Olivia Wilde, Josh Duhamel, and Beau Garrett, who all nail that paranicked fear, making Turistas so much more than a cheap thrill. 

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