icons like ‘Alien’ and murderous movies such as ‘The Silence of the Lambs’. TH, Buy, rent or watch 'The Night of the Hunter', Schools out forever There’s much fun to be had with French filmmaker Clouzot’s boarding school-set puzzler from 1955, a suspenseful comic tease with added frights. Thanks for subscribing! Something is stalking on your screen, primed to to kill all your free time: The big, boo-tiful list of Rotten Tomatoes’ 200 Best Horror Movies of All Time! Director Whale tried to duck out of making a follow-up to his 1931 hit ‘Frankenstein’, but the studio turned the screws and Whale caved, declaring that if he must make another film, it would be a real ‘hoot’. CC, Cast: Ellen Burstyn, Linda Blair, Jason Miller, Max von Sydow. But forget all the masked wannabes and knife-wielding suburban loonies that came after, and marvel at the streamlined power of Carpenter’s film: the gliding camera, the concealing shadows, the single-minded presence of masked villain Michael Myers, as perfect a killer as the shark in ‘Jaws’. Consciously attempting to place his film apart from the operatic antics of Hammer, director Jack Clayton created a masterwork of restraint, from Deborah Kerr’s lip-biting lead performance to the film’s groundbreaking but subtly employed electronic score. AK, Cast: Timothy Balme, Diana Peñalver, Elizabeth Moody. At night the pair go to bed. and recent additions like ‘A Quiet Place’, which just wrapped its sequel. Even now it feels wrong to reveal the twist on which the film is built, so we won’t. The jolts on offer are up there with the best of them, and lesser filmmakers are still trying to mimic the chilling last shot. By solving the puzzle, Frank enters the world of exquisite cruelty presided over by Pinhead (Bradley) and his fellow Cenobites – glamorous sadists with a penchant for ripped flesh and transcendent pain. ‘Vampyr’, he declared, was ‘one of the worst films’ he’d ever seen, but added grudgingly that director Carl Dreyer could always be relied upon to be ‘different’. This is mature psychological horror, built on intelligence and an alluring, solid foundation of old-fashioned craft. Torrance is not tortured by ghosts but by inadequacy and alcoholism. The landlord scolds Andrew for leaving his post at the gas station and to stop playing with his food. What makes ‘Freaks’ a horror film is its disturbing, macabre ending, as the ‘freaks’ chase Cleo and her strong-man lover through the forest – though of course the real horror here is the cruelty of the so-called ‘normals’. But let’s not overlook Dan O’Bannon’s script, which builds character without assigning age, race or even gender – plus one of the finest casts ever assembled. CC, Buy, rent or watch 'The Silence of the Lambs', Roman á clefWhat is it about Polanski and confined spaces? Later the masked people from the farm are seen gathered at a table, where two main dishes are presented: Nora and Ashley prepared like roast pigs with apples in their mouths. Arguably the most irksome spooky-child movie in existence, ‘The Innocents’ was adapted by no less a light than Truman Capote from Henry James’s novella ‘The Turn of the Screw’, about a governess hired to educate two aristocratic brats who might be hiding a dark, supernatural secret. ‘The Telephone’ seethes with twisted eroticism, as a Parisian prostitute (Mercier) is terrified by threatening phone calls from her vengeful ex-pimp. ‘Phantasm’ is the film that kickstarted it all, combining inventive DIY horror with a berserk plot involving homicidal space midgets, heroic ice-cream men, flying spheres which drill into the brain and of course the terrifying ‘Tall Man’. Tossing the items aside, she relieves herself only a couple of feet from where a human skull is seen hidden in the tall grass. But that’s not the case for the film’s progressive race and gender politics, or its slam-bang editing, or its show-stopping violence: as the dead girl rises up to feed on her helpless mother, it’s still possible to feel the world shift a little on its axis. The wind forces open the curtained window. Time Out’s panel of experts voted it so. And a shiver cascades down your spine. That synopsis should offer some insight into the kind of boiling Freudian gumbo Browning serves up. ‘Jaws’ broke box office records, but the production had been such a disaster the crew renamed it ‘Flaws’. Cohen deserves to be mentioned alongside Carpenter and Craven in the horror canon – and this might be his masterpiece, though ‘It’s Alive’, ‘Q: The Winged Serpent’ and ‘The Stuff’ all run it close. NF, Untempered SteeleFor students of horror, 1960 is remembered as the year of ‘Peeping Tom’ and ‘Psycho’. There are the classics, too (what is horror without ‘Invasion of the Body Snatchers?) What a tragedy it would have been to lose this deliciously ghoulish comedy of manners. How we picture Frankenstein’s monster is defined by make-up legend Jack Pierce’s handiwork: those neck-bolts, the flat head, the sunken eyes. One of the commune people, an unmasked slow-minded man named Andrew, attempts to console her, though he speaks to her like a pet, only for the woman to lash out at him call him sick. Michael Myers and his stab-happy ways feel particularly chilling, with director David Gordon opting to build tension over cheap thrills. A word of warning, though: the unnecessary sequels are best avoided. It stars Nicolas de Gunzburg (a Russian aristocrat who bankrolled the film, appearing under the alias Julian West) as an occult-obsessed young man who visits a French village haunted by a vampire. Monge But something nightmarish lurks beneath the surface, as a dour Presbyterian policeman (Woodward) arrives to investigate a 12-year-old girl’s disappearance. Andrew is placed under the supervision of one of the farmhands and has him feed the caged men their meals. Nora wanting to find a bathroom goes to check the back and finds the remains of a camp where she finds a discarded wallet and cellphone. ‘The Birds’ sees pernicious flocks of birds follow a metropolitan, San Franciscan blonde (Tippi Hedren) to a sleepy coastal town, and it’s these winged creatures that terrify as Hedren fights to resist being pecked to death. He is not alone, together in a barn with other men, he watches in horror as the masked men come in and begin bashing two of the captive men with a hammer from the tops of their cage after securing them with a control pole like animals. Coming to a church, the two rest and notice the faces of Jesus and his followers replaced with the faces of farm animals.

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