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Old 10-02-10, 01:22 AM   #132
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Re: The 6th Annual "October Horror Movie Challenge" (10/1 - 10/31) ***The List Thread

Red Title - Denotes first-ever viewing

31 Films Subset - Denotes film is that day's selection in the list of 31 films that will be discussed the day after each one's viewing.

Theme Night - Denotes film is an example of that day's theme, as listed in the Theme Night List of Sub-Genres.

Caution: Spoilers may follow!

Goal: 100, baby!


1. From Beyond (1986) - (31 Films Subset) - Stuart Gordon's follow-up to Re-Animator just doesn't do it for me. I didn't particularly like it the first time I saw it (on Vestron's VHS tape when it first came out in the mid-80s), and I liked it even less this time around. While the special effects work is effectively icky, the film's lack of a narrative thrust makes it eventually sink under its own weight. The second half of the film reminds me somewhat of shampoo directions: lather, rinse, repeat. And repeat. And repeat. And repeat. Turn on Resonator, see yucky things, get in danger, get out of danger with injuries. Turn on Resonator, see yucky things, get in danger, get out of danger with injuries. And again. And again. Blow up Resonator. Fade to credits. (And, by the way, where'd Barbara Crampton's character get the bomb?)

2. The Deadly Bees (1967) - (Theme Night) - Rather genteel British horror from Amicus that is the terror film equivalent of chicken soup. It's hard to get too excited over it, but it goes down easy and is comfort food for the horror fan's soul. The film starts great, with some perfectly awful/wonderful British pop from the period, but once the action moves to Seagull Island the pace slows down. This isn't a bad thing, really, but Freddie Francis's pedestrian direction never pulls the viewer into the film as much as I would have liked, and any true horror fan can figure out who the villain of the piece is fairly quickly. Still, it's hard to dislike.

3. Satan's Children (1975) - Now THIS one is more like it. A guy (whose stepfather and stepsister make his life awful) leaves home, only to be gang-raped by a biker and his friends and left for dead by the side of the road. As if that weren't bad enough, he's found by a group of Satanists and has the misfortune to fall in love with one of them. Florida-made film is rather astonishing in its own lowbrow way, and serves once again to prove Michael Weldon's assertion in The Psychotronic Encyclopedia of Film that Florida is "an unheralded center of grade Z filmmaking." Strangely compelling.


4. Sisters (1973) - (31 Films Subset) - Brian De Palma's first film to really showcase his Hitchcock fetish is still grand entertainment. In addition to paying homage to Rear Window, Psycho, and Rope, De Palma used Hitchcock's favorite composer, Bernard Herrmann, to connect all the dots. All of the performances are excellent; Charles Durning really stands out as a private detective, and the film reminds us that, before going full goose bozo, Margot Kidder was a pretty charismatic screen presence. As is often the case, De Palma ends the film in a cynical manner that is sure to infuriate those not familiar with his body of work.

5. Dead Alive (1992) - (Theme Night) - The film that finally got Peter Jackson noticed Stateside. Dead Alive still holds the record as the wettest horror film ever made, and it has the most varied assortment of zombie mayhem ever committed to celluloid. My favorite zombie: the light bulb girl. I could have done with a lot less of the zombie baby, but that's nitpicking. A hoot from start to finish.


6. The Monster of Camp Sunshine (1964) - Seventy-four minutes of my life that I'll never get back. If you must know, it's about a nudist colony gardener who drinks some stream water contaminated with a violence-inducing drug who then, for lack of an appropriate word, terrorizes a few nekkid women. An antivirus serum is then brought by a parachuting doctor while stock footage from various war films is cut in. Most of the cast and crew wisely hide behind pseudonyms (one of which, "Natalie Drest," is pretty funny). Obviously shot without audio, the whole film is poorly post-synched, and it even resorts to using intertitle cards, just like silent movies. At least those were amusing--my favorite said something to the effect of "Alas! He is defeated by the very violence which he engendered." Hope I didn't spoil anything for you, folks! Ugh.

7. The Cat and the Canary (1927) - (31 Films Subset) - The Cat and the Canary is my favorite silent horror film for many reasons, including the genuinely creepy mood set in the first shots of the film and the animated intertitles. I'm also terribly fond of the character of Mammy Pleasant, whose name is diametrically opposed to her demeanor. Too bad director Paul Leni died only two years after making this film, as I'm sure he would have been a major player in the horror boom of the 1930s. As it stands, this is still one of the top early horror films. It's no wonder it's been remade several times.

8. The Food of the Gods (1976) - (Theme Night) - Hilarious hokum from Bert I. Gordon, who had a thing for oversized (and undersized) people and animals. White gunk bubbles up from a rock and causes any immature animal that eats it to grow to ginormous proportions. Marjoe Gortner saves the day...or DOES he? While some of the effects are pretty good, especially considering the budget constraints that Gordon must have been working under, many are risible, particularly the giant rooster in the barn. The British Columbia scenery is awfully nice, however. My favorite bit: Ida Lupino's way of labeling jars of the stuff "F.O.T.G.". I'm going to peel the label off that jar of alfredo sauce in my pantry, relabel it F.O.T.G., and see if anyone notices.


9. Horror Hotel (1960) - (31 Films Subset) - Interesting witchcraft film, set in New England but made in Olde England. Only some variable American accents give it away, however. Definitely worth watching, with some interesting parallels to 1960's premiere horror film, Psycho.

10. Tales from the Crypt Presents Demon Knight (1995) - (Theme Night) - Fun horror film with religious overtones and a WAAAAAY over-the-top performance by Billy Zane. Astounding cast for such a trifle, directed by Spike Lee's early cameraman of choice Ernest Dickerson. Not a film that's going to leap to the top of your favorite movie list, but a solidly entertaining 92 minutes filled with lively camerawork and some impressive special effects. Worth a look.


11. Dead Snow (2009) - (31 Films Subset) - I'll admit it--I went into this one with quite a bit of trepidation. The DVD cover art made Dead Snow look like it was a direct-to-video title shot by troglodytes with cameras. I couldn't have been more wrong. Dead Snow is an engaging, gory, and frequently funny Norwegian take on the zombie genre, made by folks well-steeped in the genre. The camerawork is quite exceptional; at times the filmmakers actually out-Raimi Sam Raimi. Although you might be put off by all the drooling the fanboys have done over this film (as I was), this time they're actually pretty close to being right. On a side note, the Netflix streaming of this title looked absolutely great. I really, honestly, couldn't tell the difference between it and a DVD. I'm growing to love the streaming experience more and more.

12. Emanuelle and the Last Cannibals (1977) - (Theme Night) - Also known by its original Italian title of Emanuelle e Gli Ultimi Cannibali and its American grindhouse moniker, Trap Them and Kill Them, this weird hybrid of sex and cannibalism is about as stupid as they come. That doesn't necessarily detract from its entertainment value, however. The dubbing is absolutely atrocious, with the voiceover "artists" (and I use that term VERY loosely) trying to match the mouth movements of the onscreen actors by pausing at inappropriate times. If it were transcribed, it would look something like this: "We've got to...(long pause)...try to follow them and maybe we...(longer pause)...we can save Maggie." The first half of the film is pretty much devoted to softcore sex scenes between Laura Gemser and everybody she comes across. The second half of the film concentrates on the gore. As I think that Laura Gemser is one of the most beautiful women ever to be in front of a camera, I tended to like the first half of the film better than the second. The gore is sporadic, but fairly effective. Featuring a smoking monkey and the least-convincing Irish nun ever.


13. It's Alive (1974) - (31 Films Subset) (Theme Night) - I'm not a big fan of science fiction and fantasy, and the reason is this: my suspension of disbelief can only go so far. Once you get methane-breathing centaurs into the mix, I can't extend my disbelief any farther. It's too outside my frame of reference for me to be able to relate to it. And that's the feeling I have for It's Alive. Larry Cohen's tale of a mutant killer baby is just too far-fetched for me to be able to hang with it. There were certain themes in the film that I related to, such as a parent's love for his or her child, no matter how handicapped that child may be and how monstrous it may appear, or how all the chemicals and other toxins that have become a part of our diet can cause changes to the fabric of our DNA, but killer babies with fangs and claws and superhuman crawling speed? Nope. Can't go there. Still, I found It's Alive to be watchable, and it seems to be one of those films that would really play well with a large audience, but I can't rightly say that I liked it very much. I really wanted to, as I'm a fan of some of Cohen's other films, but I never was able to turn off my critical faculties long enough to just go with it.

14. Crawlspace (1972) - This made-for-TV movie from 1972 scratched an itch that I didn't realize needed scratching, and that itch was to see a 1970s TV movie. There's something about made-for-TV movies from the early 70s that really resonates with me. It may be the fact that I saw so many of them on their original airdates, and promos for them leading up to the airing really ratcheted up my anticipation for them. Crawlspace is one that I missed way back when, and I've only just now caught up to it. The cast is wonderful, with Arthur Kennedy taking a pretty big step downward from the likes of Lawrence of Arabia and Cheyenne Autumn to slum in a TV movie, but he's pitch-perfect in his part. It's always great to see Teresa Wright in anything, and Eugene Roche as the sheriff has a face familiar to anyone who grew up watching 70s-era television. Well-directed by John Newland (One Step Beyond) and sporting a memorable score by Jerry Goldsmith, Crawlspace definitely has that 70s TV movie vibe. It really hit the spot on this chilly October evening.


15. Octaman (1971) - (31 Films Subset) - If I had seen this when it was first released (and I was nine years old), this would probably be one of my favorites. As it stands, however, I saw this stinker for the first time tonight. One of the rules for a successful horror movie is that you don't show your monster too soon or too often, as everything that follows that first reveal is anticlimactic. Harry Essex, the writer, producer, and director of Octaman, had apparently not heard of that dictum at the time he shot this film, as the creature is revealed during the main credits. Essex then goes on to keep the monster on the screen in full view for at least half of the film's running time. I can only guess that he either loved the Octaman suit a whole lot, or he wanted to get his money's worth of monster suit up on the screen...or both. No matter his reasons, the Octaman is indeed on display throughout the entire film, and to make REALLY sure that we see the suit, Essex shoots the majority of the monster scenes IN BROAD DAYLIGHT. So, while the nine-year-old still inside me was pleased with the sheer amount of monster footage in the film, the adult in me ached for a little restraint, a little mystery. Two more quick notes: 1) Harry Essex is perhaps best known for writing Universal's duo of 3D genre pictures in the 50s, It Came from Outer Space and The Creature from the Black Lagoon. If you're able to stay awake during Octaman, you may notice that its plot follows that of The Creature from the Black Lagoon fairly closely, but with no harpoons or Julie Adams. 2) Having watched It's Alive only last night, I noticed that the mutant baby in that film and the Octaman both have very similar features (bulging, veiny forehead and big cat eyes). Turns out that Rick Baker designed both monsters. There's definitely a family resemblance going on there.

16. What's the Matter with Helen? (1971) - (Theme Night) - Fun film set in the 1930s about a pair of women who move to Hollywood and open a dancing school for children in order to start afresh after their sons commit a well-publicized murder. Debbie Reynolds and Shelley Winters star as the women, with excellent support work from Dennis Weaver and Agnes Moorehead. The film was written by Henry Farrell (who wrote the novel upon which What Ever Happened to Baby Jane? was based), and Helen is an interesting variation on Baby Jane. The always-fascinating Curtis Harrington directed Shelley Winters twice in a row in similar films (this one and Whoever Slew Auntie Roo?). Well worth seeking out on a slow weekend.


17. Salvage (2009) - (31 Films Subset) - I wasn't expecting much with this one, but it's one of the best films I've seen in a while. It starts slow, but it kicks in pretty hard after about 10 minutes and doesn't let up after that. If you haven't seen it, it's probably best to come to it as I did, without knowing anything about it. Put it in your Netflix queue. Thanks for picking it, Chad!

18. Calvaire (2004) - (Theme Night) - I've had Calvaire in my collection for a few months now, but this was the first time that I've watched it. After viewing it, I feel that it really could have stayed unwatched for several years and my life would not have been the poorer for it. I'm not saying that it's a particularly bad film; there's much to admire here. But what was the purpose of the whole thing? I didn't come away from the film enlightened, informed, persuaded, or even particularly entertained. It's as if The Texas Chain Saw Massacre had been scripted by Lars von Trier, directed by David Lynch and shot in Belgium. But that makes it sound better than it actually is. While the performances are good, Calvaire just piles strangeness upon strangeness, and after a while it just becomes ridiculous. But maybe that was the point. I don't know.


19. Rattlers (1976) - Generally speaking, whenever a movie starts with the Boxoffice International logo, I know that I can safely write it off immediately as being sub-par drive-in fodder. Rattlers was released by Boxoffice International, so I was resigned to slogging through a poorly-made nature-on-the-rampage tale. And...I've got to admit that Rattlers wasn't the stinkbomb that I thought it would be. If a film about mass rattlesnake attacks can possibly be called pleasant, then Rattlers is quite pleasant. It's very much a product of its time, with a whole lot of dialogue devoted to discussing equal workplace rights for women, and fashions and set dressings so ugly that they'll probably be in vogue again soon (check out the wallpaper at the nurse's station at the hospital!). Since Rattlers has the feel of a made-for-TV movie, but with no recognizable name actors, it was destined for the drive-ins. That's too bad, because this little film deserves to be better known. It's not perfect, but as far as snake movies go, this one unexpectedly lands at the top of the pile.

20. Black Rainbow (1989) - (31 Films Subset) - Rosanna Arquette stars as a medium who can supposedly see and speak to the dead, Jason Robards plays her alcoholic father/manager, and Tim Hulce is the newspaper reporter who takes an interest in her abilities once she begins foretelling people's deaths. Film starts off confusingly, and there are plot threads that end up going nowhere. The central conceit of the film is interesting, however, and because of this, Black Rainbow only really comes alive when Arquette is onstage doing her medium thing. I tried very hard to like this movie, but the variable performances by the leads, the excrutiatingly awful score, the muddled storyline, and some wonky 11th hour happenings all combined for a mostly unimpressive viewing experience.

21. I Spit on Your Grave (1978) - (Theme Night) - I first saw this when Wizard released it on VHS waaaay back in the day. I didn't much like it then, so I was keen to give it another whirl for the Challenge. Maybe my sensibilities had changed over the last 25+ years and I'd see greatness where I didn't before. After all, I've seen a lot of films in the last few decades, and surely some of them had changed my outlook enough so that I'd see this film through fresh eyes. So I watched it again, and...I'm still not very fond of it. I have the same problems with it now that I had then. First and foremost, while Camille Keaton is certainly a brave actress, "brave" does not, in this case, equate with "good." Secondly, the film's pacing is just wrong. I understand the need for deliberate pacing in a film--I've seen enough European art films to value a measured pace. But, to stretch a sentence construction, "deliberate" should not mean "lethargic." Sure, the film has some vile things happening in it, but that isn't what makes me dislike it. I dislike it because, after all is said and done, it's an amateurish film. On the positive side, I don't dislike it nearly as much as I used to, so I've got that going for me, which is nice.


22. City of the Living Dead (aka The Gates of Hell) (1980) - (31 Films Subset) (Theme Night) - Lucio Fulci's first horror film after the international success of Zombie (or Zombi 2, if you prefer) continues on the same path, with zombies lurking around the city of Dunwich. Thanks to the suicide of a priest, the doors of Hell have been opened in Dunwich, and it's up to a psychic, a newspaper reporter, and a psychiatrist to get them closed again. Although the film has great atmosphere, it falls pretty short in the logic department...and I have absolutely no idea what the ending of the film means. It's worth a look, especially if you're a fan of Italian gorefests, but Fulci's The Beyond, which elaborates on many of this film's themes, is a much more satisfying film.

23. Dracula Has Risen from the Grave (1969) - Hammer's third go-round with Christopher Lee as the Count was easily my favorite Hammer film as a kid, but as I've seen more of Hammer's output in the intervening years, it's slipped a few notches down the pole. It's still a pretty good Dracula film, and Lee has some choice moments (just watch the emotions that run across his face as he's about to attack Veronica Carlson for the first time), but there are inconsistencies with the Dracula mythos that bother me these days. For instance, how did Dracula just walk into Maria's room without being invited? Watching it on DVD for the first time, I was struck by Freddie Francis's overuse of colored filters as well. Everything shot in the basement of the bakery has this oddly-colored filter around the edges of the screen. It's fairly interesting at first, but it's in every single shot there. I also noticed that Dracula was often backlit with bold primary colors, which reminded me a bit of some of the shots in Suspiria. Obviously, Francis was experimenting with color as way to heighten the drama, and he was successful most of the time. The over-the-top ending seriously freaked me out as a kid.


24. The Blob (1988) - (31 Films Subset) - Chuck Russell's Thing-like take on the moldy oldie is an interesting update, but it's let down in the second half due to the very 80s insistence that the monster is a biological creation of the government and its reliance on action instead of horror. The first half of the film works beautifully, though. I remember seeing it when it first came out and not really liking it (but I didn't really hate it, either). I liked it a little better this time around, but it still doesn't exactly work for me. It certainly makes me miss the pre-CGI days, however. I was surprised to see that Frank Darabont co-scripted; perhaps he named Kevin Dillon's character Flagg after Randall Flagg in The Stand. I also suspect that the cook that gets sucked down the sink drain was inspired by a character in King's "The Raft" that met a similar fate. All in all, The Blob is worth a look on a slow night, but it probably won't land on anyone's top-ten list.

25. The House of the Devil (2009) - (Theme Night) - I've heard nothing but praise for this film that seemed to come out of nowhere, so naturally I approached it warily indeed. Because of this, I was very pleasantly surprised that the film was as good as it is (which is very good indeed). If you were to look up the term "slow buildup" in the dictionary, it should say at the end of the definition "see The House of the Devil." The pleasure in this film is not where you as a viewer end up, but instead it's the journey that you take to get there. The first 75 minutes or so of the film are methodically paced, and instead of boring the viewer, it works to rachet up the tension quite nicely. There's something to be said for horror films that take their time to build to shock scenes instead of throwing blood around willy-nilly. This buildup of tension in The House of the Devil reminded me of other films that take their time to set a mood...The Uninvited, The Woman in Black, Ghostwatch. The retro late 70s/early 80s horror film feel is an added plus. I defy any real fan of exploitation horror cinema not to smile when the title card appears on screen. I'm very much looking forward to Ti West's next film, The Innkeepers.


26. Sheitan (2006) - (31 Films Subset) (Theme Night) - Wow. Just wow. This film was nothing like I was expecting, and the second time this challenge that I've been completely bowled over by a film. First Dead Snow, and now Sheitan. I can only think of one person that I know that I can recommend this to; if I were to recommend it to ANYONE else they'd probably never trust my judgement again. So be it. As Sheitan is set in the French countryside, it reminded me a (very) little of High Tension--but the films are two very different birds altogether. If you haven't seen this one (and you're up for something completely different, as Monty Python would say), don't read anything about it beforehand. Just get on for a sensationally wonky ride. Loved it, loved it, loved it.

27. Frankenstein (1931) - There's not much to say about this one that hasn't been said before, and better. Creaky in spots (and there's too much of Henry Frankenstein's dad for my taste), but undeniably one of the cornerstones of American horror. The film is so ingrained into our culture that it's impossible for me to watch without thinking of all of the other films that it's inspired. Boris Karloff's performance is still a marvel after almost 80 years. If you haven't seen it in the past few years, pull it out on a cold, rainy night and rediscover it. It's already there on your shelf.


28. Hellbound: Hellraiser II (1988) - (31 Films Subset) (Theme Night) - Pretty useless sequel to Hellraiser is more of the same, but not nearly as much fun. So off we go, back to the land of the Cenobites, for more flesh-ripping and blood-letting. Even with all the blood and gore, pretty much a snooze-fest.

29. The Mummy's Ghost (1944) - I'm pretty sure that I'd never seen this film before, but as I can't really tell one 1940s mummy movie from another, I can't guarantee that this was a first viewing. I'm going to count it as one anyway, as I recalled absolutely no plot details. In some shots, Barton MacLane looks eerily like George W. Bush. Hero Robert Lowery wears pants that come up almost to his armpits. A major plot point has two separate Egyptologists (one of them actually from Egypt) having real trouble figuring out the hieroglyph for the number 9. I don't know...I think that one would be pretty easy to figure out. It's not like a fairly low number like "9" cropped up so rarely that it would confound two eminent scholars of Egyptian history. I mean, it's not like their stumbling block was the hieroglyph for "intestinal parasite." THAT I could see. And what is it that so draws mummies to swamps?


30. The Children (2008) - (31 Films Subset) (Theme Night) - Okay British horror film takes place at Christmas, when the kids at an extended family get-together come down with what at first appears to be a stomach virus...but it's a stomach virus with a body count. I guess because I spend most of my day around large numbers of children (as a public school district employee), I usually don't find killer kids movies to be too scary. I mean, kids are small, and they don't have sharp fangs or claws like dangerous animals. So even if dozens of children suddenly turned rabid, I don't think that it'd be that difficult to defend yourself against them or escape. In killer kids movies like this one, you usually have an adult who, instead of just running away, backs into a corner and sits. This would be somewhat akin to a victim in a slasher movie taking a marker and drawing dotted lines on his abdomen, showing the killer exactly where to cut. In the end, even though this movie has garnered some praise from certain circles, I found it to be pretty average. It's not bad, but it's nothing special, either.

31. The Texas Chainsaw Massacre 2 (1986) - I enjoyed this immensely when it first came out, but this is the first time since then that I've watched it in its entirety. This time around, it felt horribly draggy in the middle third (once Stretch literally drops in on the Sawyer family). It starts out great, and picks back up for the final act, but the middle feels like it's marking time. I was perturbed at some of the odd plot devices as well. I've worked at three different radio stations as an on-air personality, and never ONCE did I have to wait for a caller to hang up before I could end the call. I don't even know how that would work. So Stretch's pleading with the idiots who ended up being the film's first victims to hang up their phone bugs me to no end. Also, I certainly never HAD to record all calls to fulfill some sort of FCC regulations. In fact, the only time I ever recorded phone calls was when I had giveaways, and I only recorded those so that they could be played when I could find a good time to fit them in. We never put live listener calls on the air--there was too much of a chance of the caller using foul language and causing the station to be fined. But I digress--the good outweighs the bad in TCM2. Here are a few things I love about this movie: Bill Moseley's exaltant cry of "Humble Pie!" when raiding the record vault; Jim Siedow's very creative cursing; and, most especially, the scene when Stretch finds L.G. in the Sawyer family's underground lair. To me, that scene DEFINES "over the top." TCM2 turned out to be not quite as good as I remembered it, but it's still pretty unique, with amazing set design and some very choice moments.


32. Night of the Creeps (1986) - (31 Films Subset) (Theme Night) - Fun film about alien slugs that wreak havoc on Earth by reanimating the dead. Tom Atkins is great, Plan 9 from Outer Space is showing on a television, and there are a zombie cat and dog. This was another film that I didn't particularly care for when it first came out; now, I think that it's a hoot from start to (almost) finish. It really has that 80s vibe in spades. While watching it this time around, I didn't remember the film ending as it did. Turns out that Fred Dekker stuck a new ending on the film! (And I later found the original ending in the special features section, so I didn't get upset or think that I had lost my mind.)

33. The Black Cat (1941) - Fairly disposable film from the Universal fright factory in the 40s stars Basil Rathbone and Bela Lugosi. It features the standard plot about money-grubbing relatives stuck in a creepy old house waiting on a rich family member to die. I really couldn't have cared less about the whodunit angle of the script, but the atmosphere was nice, with an almost constantly raging thunderstorm, hidden passages, and a cat crematorium. Now the bad news, which can be summed up in two words: Hugh Herbert. I don't think that there's ever been a more annoying "comedian" in the history of mankind. Every time he appeared on screen, it was like the rug of enjoyment was yanked from under my feet. The Black Cat is certainly no classic, but if you can tolerate Hugh Herbert, it may provide you with some meager rewards.


34. Fear No Evil (1981) - (31 Films Subset) - I first saw this film as the top half of a double feature at the drive-in almost 30 years ago. For some reason or another, I've always had the impression that the film was pretty good. That impression vanished pretty quickly, however, as I watched the film today. The film now seems like it's two films that have been poorly grafted together. There's the one film, all about the archangels and their terrestrial battle against Lucifer, which carries some pretty interesting ideas and a great visual style. Then there's the other film, which details how the main character's high school classmates and family relate to him. It's pretty overwrought (especially the scenes involving Andrew's christening and his 18th birthday cake) and looks noticeably grimy. There's also a strange homoerotic subtext running through the movie--if, as someone once pointed out, A Nightmare on Elm Street 2: Freddie's Revenge is the gayest horror film ever made, then Fear No Evil runs it a close second. I remember Fangoria reporting that Avco Embassy (the film's distributor--it was a pick-up release) pumped in a pretty hefty chunk of change for all the optical work at the end, and they undoubtedly pumped in more bucks for the new wave soundtrack that they promoted pretty heavily in order to get the kids into the theater seats. It worked for me, and I guess for a lot of other folks as well, as the film went on to do respectably well at the box office. Unfortunately, the film just doesn't hold up, with the ending being, for me, a major disappointment. I really wanted to like this movie (again), but I just couldn't do it.

35. Uzumaki (2000) - (Theme Night) - Utterly bizarre J-horror film details a town's battle with spirals. Yup, spirals. Uzumaki reminded me a bit of Kairo (Pulse), another terminally weird Japanese horror movie that also didn't make a whole lot of sense, but I did end up liking Uzumaki better. It's certainly never boring, and the lead actress is pretty cute, but I doubt that it'll get much replay action at Casa Brown.

36. Evilspeak (1981) - I first caught this film in the early days of home video, and I remember kind of liking it. I enjoyed it a lot this viewing. Clint Howard plays Stanley Coopersmith, a picked-upon cadet at a military school. When he finds a secret room filled with Satanic objects in the basement of the school's chapel, he uses the hidden room to help him exact his revenge on his fellow cadets. The film follows the Carrie formula fairly closely, which may be why it works as well as it does. In one of those weird viewing coincidences, two of the three films I watched today (this one and Fear No Evil) both had life-sized crucifixes raining blood down on people. If you've never seen Evilspeak and don't have a Clint Howard phobia, you could watch far worse films than this one.


37. My Bloody Valentine (1981) - (31 Films Subset) (Theme Night) - Although I've seen bits and pieces of this film over the years, this was the first time I actually sat and watched the entire thing. It's a good, solid slasher flick, with more atmosphere than most (due to the mine setting). Eviscerated by the ratings board, it's now available with all the gory bits reinstated. I watched the original theatrical version, however, as I wanted to experience what filmgoers would have seen in 1981. I enjoyed it, although the Canadian accents that came out every so often ("about" sounding like "a boat," for example) took me out of the film a little bit. And why did almost every slasher film feel the need to have one character who was an obnoxious joker?

38. The Omen (1976) - Another one that I'd only seen bits and pieces of over the years. What I like about The Omen is that it takes its plot totally seriously and is directed in an admirably straightforward manner. Because of that, it stands as an exemplary entry in the big-budget religious scare films of the 70s, with an outstanding cast and an Oscar-winning score by Jerry Goldsmith. I plan to watch the sequels and the 2006 remake before the month's over.


39. Tourist Trap (1979) - (31 Films Subset) - Creepy little film from the early days of the Full Moon/Empire empire. A group of young people happen upon Slausen's Lost Oasis, a tourist trap in the middle of nowhere. There they find Chuck Connors and a gazillion mannequins. Film doesn't make a lick of sense, but it has some good atmosphere and a memorable score from the (almost) always reliable Pino Donnagio. While the script has more than its share of problems, Tourist Trap is still evidence that a low budget doesn't have to hamper the imaginations of filmmakers. Most surprising credit: Ron Underwood, director of Tremors and City Slickers, was the assistant director. I've always thought that this would make the perfect film for a sleepover party for 10-year-old girls--it's rated PG (contrary to what the DVD box states), doesn't have a lot of blood, and has those uber-creepy mannequins (who make a truly nightmarish noise). I'll bet that there wouldn't be a lot of sleep at a sleepover after THIS movie.

40. Pit and the Pendulum (1961) - (Theme Night) - Roger Corman's second Poe adaptation (in a long line of Poe adaptations) is still my favorite. Richard Matheson's script only uses the Poe story for the last 10 minutes or so, but what comes before the pendulum is still a doozy. It doesn't have quite enough Barbara Steele for my tastes, but it has plenty of Luana Anders, and that's fine by me, too. Vinnie subdues the hamminess pretty well, and nobody does bullheaded like John Kerr. Plenty of weird lighting and camera effects (including some pre-psychedelic opening and closing titles) add to the disequilibrium. The final shot is absolutely chilling.


41. Smash Cut (2009) - (31 Films Subset) (Theme Night) - Homage to the films of Herschell Gordon Lewis (and The Gore-Gore Girls in particular) is easily the worst film I've watched so far in the Challenge, and quite possibly the worst film I've seen in several years. In fact, I don't recall hating a film this much since I saw my least favorite film of all time, Rob Zombie's desecration of Halloween. It was such a grueling experience that I had to turn the TV off for the night after viewing it, afraid that the ill will that the film engendered in me would rub off on any film that followed it. That the director was able to coerce H. G. (and Michael Berryman and Ray Sager and David Hess) into being in the film can only speak of the need for money that these thespians so obviously had. By the looks of the film, they couldn't have walked away with very much cash after debasing themselves so badly. At first, Smash Cut elicited in me neither fright nor laughs, but by the end of the film I was feeling a definite sense of anger. It's one of those films that make me think that the filmmakers were having a better time making the film than any audience could ever have watching the final product. I can't come up with any adjectives to accurately describe the film, so these will have to do: stupid and loathsome.


42. Fright Night (1985) - (31 Films Subset) (Theme Night) - For some reason, I've never really warmed to Fright Night, and I can't really put my finger on why. It hits all the expected notes that a vampire film should, but maybe it just seems too...calculated to me. Watching it this time out, I was really struck by the sheer 80s-ness of the film, especially in the club scene, where Chris Sarandon and Amanda Bearse strut their stuff on the dance floor. Ending leaves room for a sequel, which eventually appeared--although it didn't take the second film in the direction that was hinted at in the first film. Fright Night isn't a bad film, but it's no classic, either.

43. Attack of the Giant Leeches (1959) - Adequate time filler from the Corman factory was obviously influenced in part by Baby Doll, which isn't necessarily a bad thing, especially when Yvette Vickers is in the Carroll Baker part. Quick running time also helps tremendously, as things don't have time to play out at a leisurely pace. The title creatures are better than average for this sort of film, and the swamp atmosphere is pretty well done. Too bad the Alpha disc that I watched has such a dark first half.

44. Below (2002) - Effective haunted submarine story really leaves it up to the viewer to decide whether the paranormal happenings are real or not. Great cast, good action sequences, incredible set design, and a mystery central to the plot all add up to make a good, solid film. Never as scary as I wanted it to be, Below is still an entertaining ride.


45. The Seventh Victim (1943) - (31 Films Subset) - Val Lewton's darkest, most pessimistic film is sort of like the cinematic equivalent of Billie Holiday's "Gloomy Sunday," in that it has about it an unrelenting feeling of doom. Even Hugh Beaumont, Ward Cleaver from TV's "Leave It to Beaver," seems weighed down by the oppressive atmosphere. And what a nihlistic ending! Although it's not my favorite Lewton film, it's probably the most effective of the bunch. Not the kind of film you need to watch if you're taking antidepressants.

46. Gallery of Horrors (1966) - (Theme Night) - Possibly the worst horror anthology film ever released, Gallery of Horrors (also known as Dr. Terror's Gallery of Horrors and Return from the Past) can be a lot of fun if you watch it with a bunch of wisecracking friends. Five tales of supposed terror (all featuring "surprise" endings) get funnier and funnier as the film progresses, with the last two in particular being real riots. It certainly doesn't help that the film was shot on about two smallish sets per story and that the camera seldom moves. For a fun drinking game, take a slug of your favorite adult beverage every time a shot from Roger Corman's Fall of the House of Usher is used. If you're not totally blasted by the end of the third story, you've got a cast-iron liver. To the film's credit, I truly didn't see the last "surprise ending" coming, and I actually let out a fairly loud whoop of pure stupid joy when it occurred.


47. Demons (1985) - (31 Films Subset) (Theme Night) - What happens when Italian filmmakers decide to throw The Evil Dead, The Terminator, and American Ninja into a big pot and stir? Why, this film, of course! There's not an original idea to be seen in Demons (it also takes cues from Black Sunday and Dawn of the Dead), but it's still a rip-roaring good time. Lots of blood and pus are on display as the Italian makeup guys finally learn about latex appliances. The bizarrely eclectic soundtrack features Accept, Motley Crue, and...Go West. Go figure. As the SNL beer parody jingle for Spud says, "Just put your brain on hold" and you'll have an excellent time.

48. Beyond Evil (1980) - I've had a soft spot for this big piece o' hooey ever since I caught it on VHS back in the day. The first time that I saw it, it hit me just right, and I still enjoy it a lot. It's not a very good film by any stretch of the imagination, but John Saxon's earnestness plus some old-fashioned chills still make it a fun watch. From director Herb Freed, who has since renounced filmmaking and become a rabbi.

49. The House of Seven Corpses (1974) - The first time I saw this film was on a local TV station on the Saturday night late movie. I was fairly young and impressionable, and it scared me quite a bit. The very next weekend, the same station showed Horror Express, which also creeped me out. The next week was Unknown World, which bored me into near catatonia. Then they repeated the same three films over the next three weeks. And again. They must have bought the smallest, cheapest movie package available. Still, because of the early TV exposure, I love The House of Seven Corpses (and Horror Express). The House of Seven Corpses is definitely low-budget, and it certainly has its flaws, but it also has an indefinable atmosphere about it that really, really works for me. It's somewhat akin in atmosphere to Children Shouldn't Play with Dead Things, which I also love dearly. Of all the films that I'd love to see get a special edition released, this would have to be at the top of the list. I'd love to know more about its inception, its critical reception, and why it went from theaters to TV so quickly. (A lot of people mistakenly believe that this was a made-for-TV film, but I've got an original release one sheet poster that proves them wrong.) It was the only feature directed by Paul Harrison, who spent most of his career writing for television. In fact, most of the cast and crew came from television. If I ever make it to Utah, I'm going to visit the former Governor's Mansion where this was shot. Lastly, I must note that, contrary to the title, Rob Zombie's film is NOT approximately 143 times better than this.


50. Ginger Snaps (2000) - (31 Films Subset) (Theme Night) - Clever werewolf movie about two oddball sisters, one of whom gets bitten by a werewolf. When I first saw this eight or so years ago, I was rather underwhelmed; however, I now find it to be a fine addition to the werewolf canon. Both leads are superb, the script is witty and poignant, and there are enough twists on the traditional werewolf mythos that I at times felt like I was seeing a werewolf film for the first time. Shares the same theme as The Company of Wolves, but, unlike that film, Ginger Snaps doesn't try to drench everything in symbolism to the point of obtuseness. The only letdowns, and they're minor ones, are that the film feels somewhat overlong and the creature design isn't up to snuff. Other than that, I'd rank it as the best werewolf film of the last twenty-five years.

51. Revenge of the Living Dead Girls (1987) - Wonky French film has three girls drinking milk contaminated with a poison from a local pesticide factory, dying, and coming back from the grave to kill everyone who had anything to do with their deaths (even including those unfortunate enough to be even related to those who were more directly responsible). The makeup jobs on the three vengeful zombies are pretty obviously masks, and the film's narrative is somewhat elliptical, to be kind. However, there's an alternate ending that, while it doesn't make a lot of sense, changes the audience's perceptions of what had gone on before. If you've got an hour and a half to burn and aren't too picky about logic or quality makeup effects, you might find this film interesting.

52. The Omen (2006) - Perfunctory remake of the 1976 film adds nothing of substance to the original. There are a couple of new dream sequences designed solely to jolt the audience awake, the death sequences have been slightly altered, and there's a lot more rain, but other than these minor changes, this film is essentially the same as the first. This remake even includes whole swatches of the original's screenplay with no changes whatsoever, and many of the shots are set up identically between the two films. It's not awful, but there are no real surprises if you've seen the first one. If you haven't seen the first one, I'm sure that you'll like this one just fine. Gregory Peck is sorely missed, but at least the remake sounds great in DTS.


53. Flowers in the Attic (1987) - (31 Films Subset) - What was up with this?!? Four children get locked in an upstairs room at "the grandmother"'s house after their father (who was also their great-uncle) dies. Their mother has a downstairs room in the house, and she checks in on them for a while, until she realizes that she'd be better off without them. She does, however, show the kids a hidden staircase that leads to the attic, where they spend a lot of time wondering why she never comes to visit them anymore. Strange, strange film that never really builds up to any kind of tension, even when (SPOILER ALERT!!) one of the kids dies from poisoned cookies that "the grandmother" has been leaving for them. Veiled references to incest abound, but they remain veiled due to the film's PG-13 rating. Best line: "Eat the cookie!" High camp value makes this more fun than it has any right to be.

54. Flesh for Frankenstein (aka Andy Warhol's Frankenstein) (1973) - (Theme Night) - Funny, disgusting take on the Frankenstein story starring Udo Kier as the mad doctor. Originally released in 3-D (using Arch Oboler's Space-Vision process), this must have really knocked audiences' socks off with all the bloody innards being thrust directly into the camera lens. Also starring Joe Dallesandro and that creepy little girl from practically every Italian horror movie of the 70s, Nicoletta Elmi.


55. Gojira (1954) - (31 Films Subset) (Theme Night) - I do love me some Godzilla, but I'm loathe to say that this is the first time I've seen the Japanese version of the original film. I lived in Japan for a year and a half about seven years ago, and I was lucky enough to have found a job in the town where Eiji Tsuburaya was born. Sukagawa is a smallish town about two hours north of Tokyo, and, while it was the hometown of the man who brought life to Godzilla, there wasn't much there to commemorate him. I heard that there used to be a giant fiberglass Godzilla egg in the mountains right outside of town as a kind of tribute, but by the time I lived there it had been taken down due to its attraction to vandals. In fact, the town seemed to be much more proud of Tsuburaya-san for creating Ultraman than for his role in the creation of Godzilla. (There is, however, a pretty nifty 7-foot sculpture of Ultraman that stands at the entrace to City Hall.) Luckily, one of the department stores in town had a pretty good selection of Toho monster toys that I spent a lot of time perusing. This first film is markedly different in tone than the Americanized version, and it does a pretty good job of laying bare the psychic scars that the atomic bombs left on the populace of Japan. It moves at a pretty good pace, and some of the special effects are still pretty impressive. There was a 50th-anniversary museum show that toured Japan in the summer of 2004, and I coerced a friend of mine to go see it with me. I bought a pretty cool T-shirt that features a schematic of the Oxygen Destroyer which I have yet to take out of its protective plastic bag. I also got my friend to talk a local shop owner into giving me the poster advertising the exhibit that had hung in the store window in the weeks leading up to the event. I had it framed, and it now hangs proudly in my living room.


56. The Devil's Backbone (2001) - (31 Films Subset) - Beautifully-shot ghost story from Guillermo del Toro won me over in its first few shots, when we're introduced to the new kid at the school, Carlos. The actor that plays Carlos has one of those faces that I immediately related to; he didn't seem like a kid acting in a movie, he seemed REAL. I guess because I related to the character so quickly, I was all in from the get-go. For me, the most interesting thing in the movie was how the ghost was shown. I was fascinated by the blood that kept flowing out of his wound into the air around him, but looking like what (I imagine) blood flowing from an underwater wound would look like. It sort of floated out and dispersed into thin air. The film's villain was completely despicable, which made it doubly satisfying when he got his comeuppance. A good, solid film that builds its scares around the living, not the dead.

57. The Orphanage (2007) - (Theme Night) - I enjoyed this one even more than The Devil's Backbone. I knew pretty much nothing about this film going into it, which made its surprises effective. The end came dangerously close to becoming too saccharine for my tastes, but the very last shot of the film redeemed it completely. I jumped several times, and got some SERIOUS gooseflesh twice--and I can't ask for more than that from a horror film. The second game of "Knock on the Wall" almost had me watching through my fingers, something I haven't done since, oh, junior high school. The Orphanage has zoomed onto my "favorite films of the Challenge" list. Loved it, loved it, loved it.


58. Splinter (2008) - (31 Films Subset) - A surprisingly effective little thriller, Splinter is one of those films that I would never have watched without some prodding. After all, at first glance it looks like every other movie on SyFy and/or Chiller. Luckily, it has a lot more going for it than I had supposed. Like The Devil's Backbone last night, I was immediately hooked by an actor; only in this case, it was by ALL of the cast. And I think that's what sets this film apart from others of its ilk--exceptionally fine acting from everyone involved. I'll be checking this one out again real soon.

59. Race with the Devil (1975) - (Theme Night) - What can I say about a film like this one? It's practically bulletproof, as it really has no other aspiration than to keep the viewer on the edge of his seat, and with all the stuntwork and scary snake stuff, it does just that. And what a archetypical 70s score! While the film is fun in one's living room, I imagine that it really comes alive on the big screen with an appreciative crowd. I missed this one when it came out, but some of my friends saw it and they were MIGHTY impressed. Of course, this is exactly the type of film that WILL impress 13-year-old boys. Fun fact brought up in the commentary track: Executive producer Paul Maslansky directed another 70s fave drive-in movie of mine, Sugar Hill (and her zombie hitmen!).


60. Dark Night of the Scarecrow (1981) - (31 Films Subset) - One of the better made-for-network TV fright films, from the waning days of the cycle. (Think about long has it been since one of the networks aired an original movie? Even theatrical films are obscenely scarce during prime-time on the networks.) Four men murder a mentally-challenged man whom they think has killed a young girl. As it turns out (and as the audience already knows), the man was trying to SAVE the girl, as she was his only friend. After a hearing where they are acquitted of murder, the four start dying in ways that make their deaths look accidental. We, the audience, know that the deaths are not accidental, but what we don't know is who is actually doing the killing. I'll admit that I was surprised (and pleased) to find out who the killer actually was. Perfect fare for this time of year.

61. Whispering Corridors (1998) - (Theme Night) - A lot of people seem to dearly love this film, but (as much as I LOVE Asian horror) it didn't quite resonate with me as I had hoped that it would. It's certainly not a bad film, but it is a little restrained and parts of it are pretty confusing. Still, it has some great atmosphere and an interesting premise. I'll have to watch it again soon to see if I can fill in some gaps in my understanding of the events of the film. Spawned a handful of sequels of which I've only seen one (Wishing Stairs, which I enjoyed more than this one).


62. The Monster Squad (1987) - (31 Films Subset) (Theme Night) - Fairly fun film is sort of like The Goonies crossed with Abbott and Costello Meet Frankenstein. It's enjoyable, but it's certainly not as good as I had hoped it would be. I don't know why I don't like it more, but the complete lack of depth to the characters may be one reason. I really like how the Wolfman reassembles himself after he's been blown up, however. It's an okay Saturday afternoon kind of film.

63. Blood and Black Lace (1964) - If I had to pick one film as Mario Bava's best (and I'm glad that I don't have to do that), I'd pick this one. The lighting, the cinematography, the score (I'm a sucker for some bongos on a soundtrack; see also Ed Wood), just about everything. Blood and Black Lace is one of those films that I simply HAVE to pull out and watch every few years. Essential viewing for any true film fan.

64. Universal Horror (1998) - This made-for-television documentary detailing Universal's so-called "Golden Age of Horror" was put together by Kevin Brownlow, a personal hero of mine for his reconstruction of Abel Gance's Napoleon and his essential multi-part documentary about silent cinema, Hollywood. Even though it's called Universal Horror, it does a pretty good job of covering MOST horror films of the 20s and 30s. Although he seems like a nice guy, a little David J. Skal goes a long way, and there's more than a little of him in this documentary. But there's also a good many of the actors who were in these classics (Gloria Stuart, Fay Wray, Rose Hobart) on hand, and it's a joy to see them talking about the making of these seminal films.


65. Child's Play (1988) - Okay, I'll confess...I find this movie to be a lot of fun. So sue me. I didn't use to like it very much, but then I saw Bride of Chucky and...well, something clicked. I don't think that it's a classic or anything, but it's an enjoyable 87 minutes that doesn't feel padded at all.

66. Paranormal Activity 2 (2010) - (31 Films Subset) - So-so sequel to the first film. I didn't get anywhere near the sense of dread from this one that I did from its predecessor, although I did visibly jump at least twice. I found it quite clever in its way of linking up to the first film, however. If you liked the first one, you'll probably like this one at least some; if you didn't find the first one scary, you'll be bored for ninety minutes.

67. It! The Terror from Beyond Space (1958) - (Theme Night) - For a 50s low-budget sci-fi film, this one's pretty decent.

68. The Beast that Killed Women (1965) - (Theme Night) - Pretty dire, but at least not as bad as its co-feature on the DVD, The Monster of Camp Sunshine. For me, the movie achieves new heights of surrealism about 27 minutes in, when the nude square-dancing starts up. It would have been a lot better, though, if all of the non-leads had not had any dialogue.


The Checklist is here:

The Expanded Checklist:

Watch one film from every decade of film history.
--- 1890 - (insert film title here)
--- 1900 -
--- 1910 -
-X- 1920 - The Cat and the Canary (1927)
-X- 1930 - Frankenstein (1931)
-X- 1940 - The Mummy's Ghost (1944)
-X- 1950 - Attack of the Giant Leeches (1959)
-X- 1960 - The Deadly Bees (1967)
-X- 1970 - Satan's Children (1975)
-X- 1980 - From Beyond (1986)
-X- 1990 - Dead Alive (1992)
-X- 2000 - Dead Snow (2009)
-X- 2010 - Paranormal Activity 2 (2010)

Watch a film for each rating:
-X- Unrated (pre-MPAA) - The Monster of Camp Sunshine (1964)
-X- G - Dracula Has Risen from the Grave (1969)
-X- PG - The Food of the Gods (1976)
-X- PG-13 - Flowers in the Attic (1987)
-X- R - Tales from the Crypt Presents Demon Knight (1995)
--- NC-17 -
-X- X (not porn; several horror films were rated X) - Flesh for Frankenstein (1974)
-X- Unrated (post-MPAA) - Dead Alive (1992)

Watch films in at least three formats (DVD, BD, HD DVD, Laserdisc, TV, online, UMD, theater, iPod, etc).
-X- First format: DVD - The Deadly Bees (1967)
-X- Second format: Netflix streaming - Dead Snow (2009)
-X- Third format: Blu-ray - The Omen (2006)

Watch a film starring:
-X- Basil Rathbone -or- Glenn Strange - The Black Cat (1941)
-X- John Saxon -or- Danny Trejo - Beyond Evil (1980)
--- Paul Naschy -or- Josť "Coffin Joe" Marins -
-X- Donald Pleasence -or- John Carradine - The Mummy's Ghost (1944)
-X- Clint Howard -or- Michael Berryman - Evilspeak (1981)
-X- Bill Moseley -or- Keith David - The Texas Chainsaw Massacre 2 (1986)
-X- Dick Miller -or- David Warner - Tales from the Crypt Presents Demon Knight (1995)
-X- Udo Kier -or- Barbara Steele - Pit and the Pendulum (1961)
-X- Tony Todd -or- Brad Dourif - Child's Play (1988)
--- Linnea Quigley -or- Debbie Rochon -

Watch films in at least two languages other than English.
-X- First language: Norwegian - Dead Snow (2009)
-X- Second language: Japanese - Uzumaki (2000)

Watch a film in each of the following subgenres/types:
-X- Vampire - Dracula Has Risen from the Grave (1969)
-X- Frankenstein - Frankenstein (1931)
-X- Werewolf - Ginger Snaps (2000)
-X- Mummy - The Mummy's Ghost (1944)
-X- Ghost/haunting - The Devil's Backbone (2001)
-X- Witchcraft/satanic/religious - Satan's Children (1975)
-X- Zombie - Dead Alive (1992)
-X- Slasher/psycho/homicidal maniac - My Bloody Valentine (1981)
-X- Monster/creature feature/Godzilla - Octaman (1971)
-X- Documentary - Universal Horror (1998)
--- Musical -
-X- Spoof/comedy - The Monster Squad (1987)
-X- Revenge - I Spit on Your Grave (1978)
-X- Killer/evil doll - Child's Play (1988)
-X- Killer/evil animal - The Beast that Killed Women (1965)
-X- Killer/evil child - The Children (2008)
-X- Giallo - Blood and Black Lace (1964)
-X- J horror - Uzumaki (2000)
--- MST3K/rifftrax/CT -
-X- film and its remake - The Omen (1976); The Omen (2006)
-X- based on a novel - Crawlspace (1972-TV), based on the novel by Herbert Lieberman
-X- directed by Fred Olen Ray or Frank Henenlotter or Ti West - The House of the Devil (2009)
-X- won an Academy Award - The Omen (1976) - Best Original Score
-X- silent film - The Cat and the Canary (1927)
-X- Criterion version film - Sisters (1973)
--- with commentary -
--- film and at least two of its sequels -
-X- anthology film - Gallery of Horrors (1966)
-X- appears on video nasties list - I Spit on Your Grave (1978)
--- hosted by Elvira -
-X- takes place on a holiday - My Bloody Valentine (1981)
-X- takes place in space - It! The Terror from Beyond Space (1958)
-X- takes place on or under the sea - Below (2002)
--- animated film -
--- called "Day of ..." -
-X- called "Night of ..." - Night of the Creeps (1986)
--- called "Return of ..." -
-X- called "Revenge of ..." - Revenge of the Living Dead Girls (1987)
-X- called "Attack of ..." - Attack of the Giant Leeches (1959)
-X- with the words "Living Dead" in the title - City of the Living Dead (1980)

Last edited by rbrown498; 10-31-10 at 12:08 AM. Reason: Added films
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