31

Love seeing the various contributions to the annual 31 Days of Horror meta, but there are two reasons why I can't do the same: Firstly, it's far too time consuming to review a film every day for an entire month. Secondly, I can't be arsed.

As a compromise, I've compiled a diverse selection of Horror films that I've enjoyed and deemed worthy of some shine on this blog. Thirty-one films appreciated by your host:

My Little Eye (Marc Evans, 2002)

Five young people apply to live in an isolated house together for six months whilst their every move is filmed by numerous cameras.

 

Spartan says: Much creepier and far darker than what I expected initially. The film manages to linger on in the mind long after the closing credits. Effectively captures the whole Big Brother zeitgeist which was popular at the time before adding its own spin on things. Sadly, it seems to be only remembered for being a very early role for Bradley Cooper.

Faceless (Jesús Franco, 1988)

When model Barbara Hallen disappears in France, her father's private detective traces her steps to a private plastic surgery clinic run by Dr. Flamand.

 

Spartan says: While no stranger in rehashing Eyes Without a Face (1960) numerous times, Franco's Faceless contains the perfect elements for connoisseurs of eurosleaze horror and the best George Michael song George Michael never sang.

Deadgirl (Marcel Sarmiento, Gadi Harel, 2008)

Two high school boys discover an imprisoned woman in an abandoned mental asylum who cannot die.

 

Spartan says: Interestingly, the low key disdain due to the film's controversial subject matter has manifested into rabid vitriol in a post #MeToo world. That's a shame, as beneath its obvious shock factor is an intriguing drama which sets itself apart from the zombie renaissance boom during the 2000s.

The Prey (Edwin Brown, 1983)

Three couples go on a camping trip in the woods of southern California during the summer, where a deformed man is stalking their camp.

 

Spartan says: Part backwoods slasher; part nature documentary. Every time I revisit this film, I'm half expecting Sir Richard Attenborough to narrate over it. It's hated by many slasher film aficionados, but I enjoy the remote setting, its towering antagonist and shocking ending.

Cold Fish (Sion Sono, 2010)

The lives of a bored suburban couple are changed forever when a seemingly nice old man gives their daughter a job at his fish store, and soon his gruesome hobbies are brought to light.

 

Spartan says: This film will teach you all about dead body disposal, if that's your desire. I enjoy seeing a weak protagonist being toughened up by a psychotic villain a la The Hitcher (1986), and Sono's gruesome effort does not disappoint. Supposedly based on a true story.

The Orchard End Murder (Christian Marnham, 1980)

In 1966, a woman has an enigmatic interaction with a stationmaster and his aide, setting off an intriguing chain of events that unfolds throughout the narrative.

 

Spartan says: A dream like curioisty accurately representating lazy, English summer days. The cricket match scenes feel way more natural than they do in Jerzy Skolimowski's The Shout (1978). Evokes that one off teleplay you would catch on Sunday nights on the BBC after Shoestring (1979).

Excision (Richard Bates Jr, 2012)

A disturbed, delusional high-school student with aspirations of a career in medicine goes to extremes to earn the approval of her controlling mother.

 

Spartan says: If you can get over the fact that a stunning AnnaLynne McCord looks obviously made-up to look ugly, this is a great body horror masquerading as a teen comedy. The supporting cast are particularly great; namely Traci Lords as the domineering mother.

The Curious Dr. Humpp (Emilio Vieyra, Jerald Intrator, 1969)

His sexual impotence turned him into a horrible monster!

 

Spartan says: This Argentinian softcore horror qualifies as one of the most entertaining back-from-the-pub movies discovered in recent years. Investigated other Latin American monster flicks from this era; none of them were remotely as good as this hilarious gem. So much fun to be had - even while sober.

Bloody Muscle Body Builder in Hell (Shinichi Fukazawa, 1995)

Trapped inside a haunted house, a body builder must save himself from a gruesome ghost hell-bent on revenge.

 

Spartan says: This lost splatterfest was only unearthed in 2017. At a trim sixty-two minutes run time, this obvious love letter to Sam Raimi's early work is accurately nicknamed as the Japanese Evil Dead. Highly recommended to any gore fans out there with an appreciation for practical effects.

The City of the Dead (John Llewellyn Moxey, 1960)

A young college student arrives in a sleepy Massachusetts town to research witchcraft; during her stay at an eerie inn, she discovers a startling secret about the town and its inhabitants.

 

Spartan says: Prior to the legendary Amicus Films, Milton Subotsky was producing gems like this largely ignored occult themed horror gem; albeit under its alternate US title - Horror Hotel. A wonderful gothic atmosphere that would have Mario Bava drooling.

Dark Waters (Mariano Baino, 1993)

A girl travels to an island, after the death of her father, to find out why the father funded a monastery on the island.

Spartan says: Not the Todd Haynes film! Perhaps the penultimate Italian horror deserving of classic status (last one is obviously Dellamorte Dellamore (1994), innit?). Sadly, even to this day, not too many folk know about this sterling Lovecraftian chiller. Beautiful looking film and blessed with a fantastic vibe throughout.

The Devil's Rain (Robert Fuest, 1975)

A satanist cult leader is burnt alive by the local church. He vows to come back to hunt down and enslave every descendant of his congregation, by the power of the book of blood contracts, in which they sold their souls to the devil.

Spartan says: All-star cast which includes the prolific Ernest Borgnine as the leader of a Satanic cult. An eerie and nihilistic film with an eye raising production history (celeb Satanist Anton LaVey and the mafia’s involvement). Should be experienced by both horror aficionados and poncey cinephiles.

Starry Eyes (Dennis Widmyer, Kevin Kölsch, 2014)

A hopeful young starlet uncovers the ominous origins of the Hollywood elite and enters into a deadly agreement in exchange for fame and fortune.

Spartan says: One for the conspiracy theorists invested in the sinister side of the entertainment industry. Alex Essoe is excellent playing the troubled lead character. Surprised she never became an A-list actress afterwards. Been thinking about this body horror again recently since seeing The Substance (2024). 

Evil Dead Trap (Toshiharu Ikeda, 1988)

A late night TV presenter receives a snuff tape, in which a woman is brutally killed. She decides to take a crew out to a location indicated in the tape, but only death and despair await them.

Spartan says: Bizarre mash-up of Dario Argento-esque giallo and David Cronenberg's body horror monstrosity. It shouldn't really work, but somehow it manages it. Eighties horror fans ought to get a kick out of it. Still not seen Evil Dead Trap's two other sequels, sadly.

Kiss of the Damned (Xan Cassavetes, 2012)

A beautiful, lonely vampire falls in love with a screenwriter and transforms him into one of the undead, but their budding romance is threatened by her vivacious, troublemaking sister.

 

Spartan says: Perhaps the one positive aspect in the wake of the Twilight franchise is at least we got this enjoyable throwback to Jean Rollin's vampire erotica films from the seventies. We're lucky we got Anna Mouglalis in this instead of Tilda Swinton as originally intended, too.

Hands of the Ripper (Peter Sasdy, 1971)

As a young child, Jack the Ripper's daughter witnesses him kill her mother. As a young woman, she carries on the murderous reign of her father. A psychiatrist tries to cure her with tragic consequences.

Spartan says: Often forgotten and ignored whenever the discussion of  late game Hammer films is brought up. Sasdy's effort is a criminally neglected entry from this era. Hands of the Ripper is a fine little psychological horror turned proto-slasher.

Behind the Mask: The Rise of Leslie Vernon (Scott Glossermon, 2006)

The next great killer and psychopath has given a documentary film crew exclusive access to his life as he plans his reign of terror over the quiet town of Glen Echo.

 

Spartan says: If you're a fan of the slasher genre and aware of all its obvious tropes and cliches, then it's fun seeing how these are all addressed in this superb mockumentary. Fun fact: Robert Englund wanted me to donate towards a potential sequel when I met him. Blame me for the lack of a sequel as I didn't bother chipping in for its fundraiser campaign.

 

Spider Baby (Jack Hill, 1967)

A caretaker devotes himself to three demented siblings after their father's death.

 

Spartan says: Perhaps Lon Chaney Jr's best film from the twilight era of his career. Spider Baby is a demented horror comedy which features a thoroughly unhinged performance by exploitation cinema veteran Sid Haig. Of course, it's mostly memorable for Jill Banner's iconic performance.

Malignant (James Wan, 2021)

Madison is paralyzed by shocking visions of grisly murders, and her torment worsens as she discovers that these waking dreams are in fact terrifying realities.

 

Spartan says: Wan going the Evil Dead Trap (1988) route by channelling vintage giallo with body horror has really grown on me as time goes by. It's comic book nonsense, but highly enjoyable, regardless. The film boasts an incredible police station massacre; trumping the ones from The Terminator (1984) and Maniac Cop 2 (1990), in my opinion.

The Night of the Werewolf (Paul Naschy, 1981)

An evil witch brings back to life the infamous Elizabeth Bathory, who was executed several hundred years previously for murdering young woman and bathing in their blood.

 

Spartan says: Superior remake of one of Naschy's previous films. Although released in the same year as other lycanthropic classics The Night of the Werewolf harkens to the gothic era of vintage Hammer with eighties levels of sex and violence. Ergo, it's an absolute winner. 

Human Lanterns (Chung Sun, 1982)

A psychotic craftsman pits two rival Kung-Fu masters against each other while designing special lanterns from a disturbing source.

 

Spartan says: The celebrated Shaw Brothers studio was no stranger to blending martial arts with horror, but Human Lanterns is tonally the darkest of the ones I've seen so far. There's an obvious The Texas Chainsaw Massacre (1974) influence exhibited in the film, which serves the horror audience as well as its primary martial arts core crowd.

The Dark Eyes of London (Walter Summers, 1930)

Insurance agent-physician collects on policies of men murdered by a disfigured resident of the home for the blind where he acts as doctor-on-call.

 

Spartan says: The first film to be rated "H", which meant "horrific for public exhibition". No surprise that Bela Lugosi is the evil villain in it. More a crime tale, but the scenes set inside a blind men's hostel, along with Wilfred Walter as Jake, the grotesque looking henchman, are genuinely horror in tone, making it worthwhile viewing.

The Loved Ones (Sean Byrne, 2009)

When Brent turns down his classmate Lola’s invitation to the prom, she concocts a wildly violent plan for revenge.

 

Spartan says: Part of the Australian horror wave that ruled in the noughties. Sadly, The Loved Ones is hardly mentioned in the same breath as its national brethren like Wolf Creek (2005) and Lake Mungo (2008). That's a shame as Robin McLeavy's Lola is one of the best villains of that era, and equally as psychotic as Mick Taylor.

Deadstream (Joseph Winter, Vanessa Winter, 2022)

A disgraced internet personality attempts to win back his followers by livestreaming one night alone in a haunted house. But when he accidentally pisses off a vengeful spirit, his big comeback event becomes a real-time fight for his life.

 

Spartan says: Said it before, and I'll say it again - Deadstream is the true spiritual successor to the Evil Dead franchise. This is how you update a beloved property (even unofficially) without sacrificing anything in the process; offering the same comedic humour and grimy low budget charm.

Cheerleader Camp (Joe Quinn, 1988)

A group of cheerleaders become the targets of an unknown killer at a remote summer camp.

 

Spartan says: AKA Bloody Pom Poms! This late eighties slasher set in a summer camp for cheerleaders (WTF?) surprisingly qualifies as a giallo. The film boasts a bunch of centrefold models, the legendary George 'Buck' Flowers, and Lucinda Dickey from the Breakin' films as a club mascot. Gory kills and a copious amount of T&A earn the film the Dada Debaser seal of approval.

All the Boys Love Mandy Lane (Jonathan Levine, 2006)

A group of high-schoolers invite Mandy Lane, an innocent, desirable girl, to a weekend party on a secluded ranch. While the festivities rage on, the number of revelers begins to drop mysteriously.

 

Spartan says: One of the better teenage psychopath movies to have cropped up in the wake of Scream (1996). Possibly, Amber Heard's best part before she (literally) shit the bed.

Kolobos (Daniel Liatowitsch, David Todd Ocvirk, 1999)

Five young individuals live in an isolated lodge, filming their daily activities, but the house is locked down, and they encounter a murderous serial killer.

 

Spartan says: A couple of film students managed to instil their love of Italian horror into a MTV reality show, and it turned out to be a surprisingly fun effort. Count me in as one of the few people on the planet who haven't slagged it off; including by its co-directors.

The Fearless Vampire Killers (Roman Polanski, 1967)

A noted professor and his dim-witted apprentice fall prey to their inquiring vampires, while on the trail of the ominous damsel in distress.

 

Spartan says: Sure, it's a horror comedy, but why do all the Polanski film stans never recognise it amongst the rest of his filmography? A stunning ye olde world style of horror; very much capturing Hammer's gorgeously, gothic production costumes and sets.

Who Can Kill a Child? (Chicho Ibáñez Serrador, 1976)

A couple of English tourists arrive at the island of Almanzora, off the Spanish Mediterranean coast, where they discover that there are no adults in a small fishing village, only some children who stare at them and smile mysteriously.

 

Spartan says: The greatest entry in the killer kiddie subgenre and probably my favourite Spanish film, ever. It's criminal how this film is so overlooked as it's superior to other films of its ilk like Bloody Birthday (1981) and The Children of the Corn (1984).

Graveyard Shift (Ralph S. Singleton, 1990)

In a very old textile mill with a serious rat infestation, deadly accidents start happening, but the corrupt foreman continues to put his workers in danger, until they discover a horrifying secret deep in the basement.

 

Spartan says: The other Stephen King adaptation released in the same year as the acclaimed Misery (1990). Graveyard Shift was murdered by the critics, but it holds a special place for me as I found the giant rat bat mutant incredibly cool; and still do.

 

Wild Beasts (Franco Prosperi, 1984)

The water supply for a large city zoo becomes contaminated with PCP, and the animals go crazy and get loose.

 

Spartan says: Nature-gone-wild horror films tend to go very wild, but Prosperi's film is utterly insane. One scene involves a herd of elephants rampaging an airport runway; forcing a packed plane to crash on its descent. Being an Italian horror with animals in it, you predictably know this isn't going to be a PETA friendly film. Wild Beasts would wind up being euroshock queen Lorraine De Selle's last film, regrettably. Gutted.

 

Blogger is a nightmare to format lists that include pics and text. Therefore, I didn't want to push my luck doing all this in chronological order and accidentally deleting everything; it's happened in the past, sadly.