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“The actual world is so shitty that horror is the perfect genre to express the most honest and concrete things … More than ever, horror should embody the absolute escape from the lies of official society. The genre has a great opportunity to be really countercultural again after years of having been softened by the cynical postmodernism of our times.” --- Pascal Laugier

lists - Horrorphile

2nd Annual HORRORPHILE - HALL OF INFAMY - 2009

June 22nd 2009 02:45
2nd Annual Horrorphile Hall Of Infamy 2009

1. The Exorcist
(USA, 1973) Directed by William Friedkin
2. The Thing
(USA, 1982) Directed by John Carpenter
3. The Shining
(USA, 1980) Directed by Stanley Kubrick
4. Alien
(USA, 1979) Directed by Ridley Scott
5. The Texas Chain Saw Massacre
(USA, 1974) Directed by Tobe Hooper
6. Ringu
(Japan, 1998) Directed by Hideo Nakata
7. Rosemary’s Baby
(USA, 1968) Directed by Roman Polanski
8. A Nightmare on Elm Street
(USA, 1984) Directed by Wes Craven
9. Wolf Creek
(Australia, 2005) Directed by Greg Mclean
10. Ginger Snaps
(Canada, 2000) Directed by John Fawcett
11. An American Werewolf in London
(USA, 1981) Directed by John Landis
12. Halloween
(USA, 1978) Directed by John Carpenter
13. Se7en
(USA, 1995) Directed by David Fincher

Severed Head Nods

Greatest Special Effects Makeup:
The Thing (Rob Bottin)

Favourite villians/killers:
Demons/witches

Gorehound vs. Terrorfreak:
Terrorfreak


The Hall of Infamy remains essentially the same, with a few movies shuffled around (mostly in the top five). The Exorcist edges out on top, The Texas Chain Saw Massacre shoots up the list, and Alien falls from the top position. No new entries.

Very happy to see Rob Bottin take out top honours for his astounding work on John Carpenter’s masterpiece The Thing, and a special nod to Rick Baker for An American Werewolf in London which was a close second.

Seems black magic and diabolical forces are the order of the night with demons and witches being voted favourite horror villains.

And the fear wins out over the blood as “terrorfreak” beat “gorehound” severed hands down.

I’ll be brutally honest; I was very disappointed by the lack of enthusiasm this year. I have a lot of subscribers, and I anticipated a much bigger response. Hopefully next year there will be more interest in voting. Or perhaps I need to re-think the way the Hall of Infamy works. Let me brood on it.

Thanks to those of you that did take the time to vote!
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Pleasure of Nightmares 2nd ANNUAL HALL OF INFAMY & Severed Head Nods - LAST WEEKEND TO VOTE!

May 21st 2009 00:12
Horrorphile 2nd Annual Hall of Infamy - art by Steven Stahlberg
The time has come again to find out which nightmare movies are your favourites. Last year’s inaugural list was decided from a list of 69 titles I compiled and then voted for by my readers. Five selections could be be voted for, and my rule of thumb determined the final list: thirteen movies made up the 1st Annual Hall of Infamy.

For the 2nd Annual Hall of Infamy the voting system has been adjusted slightly. The existing Hall of Infamy titles automatically receive 10 points each. You can vote - via comment - for any movie you like, including any in the Hall of Infamy, giving your top selection 5 points, your next 4 points, then 3, 2 and 1. When I tally up the votes any movies with tied points it will be my prerogative to decide which title wins the tie.

In conjunction with the Hall of Infamy I have devised three “awards” known as the Severed Head Nod. The selection with the most votes wins the award aka Nod.

The first Severed Head Nod is an old school acknowledgement: Greatest Special Effects Makeup. You can single out one sequence in a movie, or the effects work throughout, as long as the special effects makeup was not achieved through CGI. If the movie uses a combination I will make final judgment.

The second Severed Head Nod is a contest between villains and killers. Keep in mind that “Monster” includes Mother Nature’s nasties, malevolent aliens and any Lovecraftian beasties, “Ghosts” includes haunted houses and poltergeist, “Demon/Witch” includes diabolical possession, and “Boogeyman” includes psychopaths and serial killers. So, which one of the following gets your vote? Vampire vs. Werewolf vs. Zombie vs. Monster vs. Demon/Witch vs. Ghost vs. Boogeyman.

Finally it’s a battle between blood and fear. Are you more excited by visceral intensity or by atmospheric suspense? Which gets your vote for the Gorehound vs. Terrorfreak Severed Head Nod?

Here is the current Hall of Infamy as voted in 2008:

1. Alien (USA, 1979) Directed by Ridley Scott
2. The Exorcist (USA, 1973) Directed by William Friedkin
3. The Thing (USA, 1982) Directed by John Carpenter
4. Ringu (Japan, 1998) Directed by Hideo Nakata
5. Rosemary’s Baby (USA, 1968) Directed by Roman Polanski
6. A Nightmare on Elm Street (USA, 1984) Directed by Wes Craven
7. Wolf Creek (Australia, 2005) Directed by Greg Mclean
8. The Shining (USA, 1980) Directed by Stanley Kubrick
9. Ginger Snaps (Canada, 2000) Directed by John Fawcett
10. An American Werewolf in London (USA, 1981) Directed by John Landis
11. The Texas Chain Saw Massacre (USA, 1974) Directed by Tobe Hooper
12. Halloween (USA, 1978) Directed by John Carpenter
13. Se7en (USA, 1995) Directed by David Fincher

Ten American movies, one Japanese, one Australian, and one Canadian. Curiously no European movies, where’s the love?

Two werewolf movies, no vampire movies, no zombie movies. The lycanthropes rule the night it seems, will they continue to do so?

One movie from the 60s, four from the 70s, four from the 80s, two from the 90s, and two from the noughties. Nice to see the Scarlet Age of Modern Horror represented well, will those decades reign supreme again?

Two movies directed by John Carpenter. He the man it seems. Can he hold onto the kudos?

The voting lines are now open and will remain open for the next three weeks. I will announce the new Hall Of Infamy and the three Severed Head Nods on Monday June 15.

Remember the voting system: five selections for the Hall of Infamy; your top movie gets 5 points, your fifth selection gets 1 point.

Don’t forget to make your selection for the three Severed Head Nods either!


NB: I am open to any suggestions for next year’s Hall of Infamy & Severed Head Nods criteria.

Hall of Infamy banner art by Steven Stahlberg
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SIX MOVIE ADAPTATIONS I'D LIKE TO SEE

May 5th 2009 02:04
Almuric by Robert E. Howard cover art
Rather than remaking classic movies, what about adaptations of novels that haven’t yet been done? There are dozens of brilliant novels aching to be filmed. Of course whether or not they’d turn out to be decent movies is an entirely different matter, dependent on too many variables to mention. But let’s daydream for a moment, shall we?

These six novels had a profound effect on me. I’ll list them in the rough order I read them, which, coincidentally, happens to be the rough order in which they were written. A couple of them I’m sure have come very close to being filmed, but for some reason or another the circumstances haven’t been right; usually creative differences between producers, directors and screenwriters, or the funding simply fell through.

These six novels aren’t traditional horror novels, but they harness a palpable nightmarish quality, illicit a dark and foreboding tone, and/or feature frequent scenes of atrocity or a graphic visceral nature. I’ve included my choice for director, and the occasional choice of lead actor.

Almuric by Robert E. Howard
Almuric by Robert E. Howard original paperback cover
The creator of Conan the Barbarian, Howard’s interplanetary epic of sword and sorcery is a savage tale that bristles with violence and raw power, laced with an exotic sensuality, and compounded by a primal desire for heroism. Originally it featured as a magazine serialization in Weird Tales back in 1939, and wasn’t published in novel form until the mid-60s (rumour has it that one Otto Binder ghost-wrote Howard’s original draft and even added the final saccharine chapter). In a short prologue the main character Esau Cairn is described as a freak, “a man whose physical body and mental bent leaned back to the primordial.” The prologue tells how Cairn, after short-lived careers in football and boxing, is manipulated by a corrupt political boss and driven to murderous rage (an emotion he harbours with a short fuse). On the run from certain execution he arrives at the laboratory of a scientist (who is narrating the prologue) working on a Great Secret who offers Cairn the chance of a one-way flight through space. Cairn agrees and is transported to “the wild, primitive, and strange planet named Almuric.” It is there that a naked Cairn begins his own narrative of surviving a mysterious, demon-haunted hell-world.
Zack Snyder would do an excellent job directing.

The Painted Bird by Jerzy Kosinski
The Painted Bird by Jerzy Kosinski cover
Semi-autobiographical, this astounding tale of survival during WWII is Kosinski’s most famous novel, a picaresque exploration of terror and savagery, the corruption of innocence, and the redeeming power of love. Written in first person the story describes how a six-year-old boy was sent by his parents to the shelter of a distant Eastern European village to shield him from the horrors of the Holocaust. But there is no safety anywhere and the boy’s sanity is threatened, as he is constantly hounded and tortured, running a gauntlet odyssey that takes him through the macabre extremes of the human soul. The Painted Bird has no dialogue yet it etches a vivid nightmare landscape and a striking portrait of distorted humanity. This was Kosinski’s first novel and was published in 1966. Although I’m a huge fan of other Kosinski novels, such as Cockpit and The Devil Tree, it is The Painted Bird that would make the best nightmare movie.
Another Pole with a vivid imagination who experienced the horror of war, Roman Polanski, should direct.

The Wasp Factory by Iain Banks
The Wasp Factory by Iain Banks cover
Why this hasn’t been filmed is beyond me; it is incredibly cinematic, but then most Iain Banks books are. Someone must own the rights and is sitting on them. This was Banks first novel, published in 1984, and is arguably his best (I haven’t read any of his sf, which is apparently brilliant), although several later novels come close (Complicity, Espedair Street, The Crow Road). Frank, a precocious teenager, lives a secretive and very dark existence; “Two years after I killed Blyth I murdered my young brother Paul … and then a year after that I did for my young cousin Esmerelda, more or less on a whim.” Frank is obsessed with death. He’s a control freak as well. And there is something very, very strange in his world. The grotesque beauty of his nightmare realm steadily spreads to engulf him. Banks delivers one of the finest, most horrifying twists that I’ve ever read. The novel is filled with brilliant passages of outlandish imagery.
David Lynch would be the man to helm this.

Glamorama by Brett Easton Ellis
Glamorama unreleased movie poster
This extraordinary novel, published in 1998, of decadence, illusion, delusion and insanity went into pre-production a couple of years ago with Roger Avary at the helm (a poster mock-up was even designed). I think he would’ve done a pretty decent job of it, even though I have numerous reservations over his handling of Ellis’s The Rules of Attraction (however the montage sequence of Kim Pardue as jet-setting Victor is brilliant). Fate has dealt Avary a nasty blow: in January last year he crashed the car he was driving, seriously injuring his wife and killing his Italian buddy. Supposedly he was drunk at the time. He was charged with manslaughter, but I’m not sure of the outcome. Apparently Neil Gaiman has stated on his blog that Avary rarely drinks. Avary was at one point going to direct a feature based on Gaiman’s seminal Sandman graphic novels. Glamorama describes the descent taken by part-time NYC model and socialite Victor Ward into a darkly glamorous world of deception and terror. As the narrative progresses (from Victor’s perspective) his reality begins to fracture and disintegrate; confetti starts to fall and everything he touches feels like ice. Horrendous violence rears its ugly head and the intoxication of desire cuts deeper and deeper. Avary did manage to film a short, Glitterati, in 2004, which was intended to be a kind of Glamorama prelude. Avary holds the lifetime rights to the novel, but there is no longer a listing on imdb.com. Fingers crossed.

House of Leaves by Mark Z. Danielewski
House of Leaves by Danielewski page example
Brett Easton Ellis describes this utterly unique book as “A phenomenal debut. Thrillingly alive, sublimely creepy, distressingly scary, breathtakingly intelligent – it renders most other fiction meaningless.” It’s all that and more. Written in a non-linear style, much of its content is unfilmable, simply because of the stylistic way it is written; descriptive passages are often printed in a surrealist fashion (if that makes much sense). House of Leaves, published in 2000, is pure literature, yet it conjures some of the most astonishing imagery that demands to be filmed. Imagine Stephen King and J. G. Ballard on acid, trapped in a haunted house, and you might get an inkling of the dense atmosphere. The weighty book is created as if the events really took place; described in separate, yet converging realms; a troubled tattooist finds a notebook by a reclusive old man. It is the heavily annotated story of a photojournalist’s account of what happened to his family after they moved into a new house. The story unfolds from stained napkins, loosed sheets, video footage, interviews, and pages and pages of notes. Paranoia and madness grip the characters as diabolical forces begin to xenomorph and re-arrange reality. This is the stuff the darkest of nightmares are made of.
Darren Aronofsky would be the perfect choice to tackle such difficult material.

Altered Carbon by Richard Morgan
Altered Carbon by Richard Morgan cover art
William Gibson’s landmark novel Neuromancer has never seen the light of the celluloid day. It’s a shame, most of the great concepts and ideas in that 1984 novel have since been plundered for other movies. Now along comes another debut novel, published 2002, that takes the cyberpunk bull by the horns and rides that beast into bold new territory. Altered Carbon is literally the most amazing sf novel I’ve ever read. The sheer weight of hardware and software innovation Morgan has conjured is like that of a black hole; fathomless and monumental. The novel explodes with fantastic concepts and ideas, action and intrigue, violence and sensuality. This is a future that is frighteningly realistic, yet startlingly futuristic. I don’t normally read crime stories, but Altered Carbon bends the genre into something utterly compelling. This is a hard-boiled detective tale re-sleeved (to use one of the novel’s most ingenious concepts) as a powerful tech-noir thriller set in the 26th Century. Hugely entertaining, it jumps off the page, slaps you in the face and shouts “With a big budget, in the right director’s hands, I’d make a stunning movie!”
This should be directed by David Cronenberg or Martin Scorsese or David Fincher, I can't decide.

STOP PRESS! As I go to post I discover that a movie of Altered Carbon has been languishing in pre-production hell for quite a while, with Hollywood heavyweight Joel (The Matrix) Silver as producer, and three screenwriters attached (John Pogue, Joshua Marston and Albert Torres), but no director and no cast. Will it ever see the green light of day?
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WILLIAM FRIEDKIN's thirteen MUST-SEE horror movies

March 5th 2009 01:43
I found an interesting list on Entertainment Weekly from October of last year compiled by acclaimed original movie brat William Friedkin who made The Exorcist (1973) and the hugely under-rated and rarely seen Sorcerer (1977, a remake of cult French nerve-shredder The Wages of Fear), as well as the exceptional crime thrillers The French Connection and To Live and Die in L.A. (1985, which I plan to review in the future, along with Sorcerer when I find a decent edition on DVD).
Profondo Rosso aka Deep Red
Friedkin was asked to select thirteen must-see horror movies and make a statement on each. A few choice picks, and a few I haven’t seen, but I was most taken by Friedkin’s acknowledgment and praise of Dario Argento, who shares with Friedkin (and his fellow movie brat Brian DePalma) a love of pure cinema storytelling (ie a strong visual style, often relying just on sound and image). Argento was the only director on the list who had two movies.

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What MOVIE would you REMAKE?

February 12th 2009 06:20
As the steady stream of remakes/re-envisionings, reboots/retakes, re-jigs ... re-whatever, begin to overwhelm the movie market I decided to play Devil’s advocate and pose the question: What movie would you like to see remade and which director would you have at the helm? Keep in mind I’m referring to the “nightmare” criteria I base my blog on.

4D Man movie poster
Here are five movies that were released more than twenty-five years ago, which is decent enough gap between versions. These five movies were all relatively low-budget and were considered trashy at the time, and are generally considered trashy now. A couple of these are downright terrible


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FACES of HORROR

February 2nd 2009 01:50
An American Werewolf in London nightmare
I decided to put together a gallery of some of the most recognisable and most affecting faces from horror movies. With the exception of Max Schreck as Graf Orlock in F.W. Murnau’s Nosferatu (1922), all the figures presented are from the modern horror era. I was tempted to put Boris Karlof in amongst them, but to be honest, as seminal as his bolted-neck, square head is, he’s strangely endearing in a mutant teddy-bear kind of way.

Hannibal Lecter and muzzle
I’ve listed them in chronological order, so there’s no this face is more horrifying than that. It’s simply a list of thirteen faces that have come to define the genre. One can argue that several of these mugs have become over-exposed, and so their shock effect has been softened. And one can argue that several of these are not about the actual face, but what exactly is behind the mask …? The mask becomes the face which enhances the mystery which intensifies the dread


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Horrorphile's BLOODY BEST of 2008

December 29th 2008 04:01
Let the Right One In
It’s been a very full-on last few weeks. No rest for the wicked. I’m a professional DJ so the silly season is the busiest time of the year for me, with the three most important sets over the next three days. It was my 40th birthday the weekend before last and the theme was film noir. A lot of speakeasy fun was had. Then there was the Christmas festivities, and now the New Year’s shindigs.

Apologies to my loyal readers for the lack of posts over this period, but I’ll be gettin’ back in the horror swing in the new year


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Horrorphile's 13 GORIEST MOVIES EVER MADE

December 1st 2008 23:44
Day of the Dead title card
I had to follow up my previous post – 13 Scariest Movies Ever Made – with this one. It just wouldn’t be right if I didn’t. However when it comes down to it, compiling this list is a lot more difficult. I thought it would be easy. But the ugly truth of the matter is there are a lot more graphically violent movies than there are intensely scary ones. To be precise; the kinds of movies that meet my criteria for “scariest” are fewer than the ones that meet my criteria for “goriest”.

Braindead 1991 baby carnage
Splitting headache courtesy of zombie baby
Firstly I had to eliminate the ones that are full of bloody carnage, but the blood doesn’t look real (i.e. Romero’s Dawn of the Dead and Argento’s Suspiria). That gets rid of quite a few. Then I had to disregard the ones that try to gross the audience out with dismemberment and disembowelment, but the guts look like plastic tubing and the severed limbs look like papier-mâché. That’s another bunch dealt to


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Horrorphile's 13 SCARIEST MOVIES EVER MADE

November 28th 2008 00:54
Alien movie poster
Over at The Blog of Lists fellow Orble blogger Chris Champion has painstakingly put together The Big List of Scary Movies compiled from 29 existing lists and two polls, all posted online, to see which flicks came out on top as the very best scariest movies ever made. Not surprisingly The Exorcist was most popular.

I’m not surprised because The Exorcist is a very well made movie that exudes a genuine atmosphere of terror and is executed with intelligence and panache. But - and I’ll go out on a limb here – I think The Exorcist is over-rated as being the scariest movie ever made


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Who's your pick for FINAL GIRL?

July 25th 2008 02:52
Final Girl graphic art
The Final Girl is a staple of slasher flicks. She’s the last young woman standing. The girl who’s purity, or more specifically, her spunky chutzpah has managed to keep her at arm’s length from the psychopath’s blade. She’ll no doubt be heavily traumatized, and probably sporting numerous cuts and bruises, but she’s alive, and she may have even kicked some boogeyman butt.

Back in the day before the term Final Girl was coined she was known as a Scream Queen. One of the most famous was Jamie Lee Curtis; boy did she have a set of lungs on her! Ahem! Halloween (1978), The Fog (1980), Terror Train (1980), Prom Night (1980), and Halloween II (1981), cemented her in modern horror’s hall of screaming fame


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1st Annual - HORRORPHILE HALL OF INFAMY - 2008

June 13th 2008 02:11
Pleasure of Nightmares 1st Annual Hall of Infamy

The votes have been tallied. The results are in. Here’s the 1st Annual Pleasure of Nightmares Hall of Infamy!

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STRANGE DARK DREAMS

April 16th 2008 05:23
The Holy Mountain
Pulling inspiration from John Doe’s superb review of David Lynch’s seminal Blue Velvet, and stirred on by the excellent analysis of Alejandro Jodorowsky’s infamous El Topo by The All Seeing Eye, I found myself swimming in the turbulent and troubling deep waters of cinema’s darker, weirder moments. What were the strangest?

There were only two directors groping and pulling me down into that whirlpool and into the abyss; Jodorowsky and Lynch


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13 SEMINAL HORROR MOVIES ... and 3 CONCRETE REASONS WHY

February 13th 2008 23:45
Nosferatu 1922 Max Schrek
Any published list of what are supposedly the “best” or “most influential” or “essential viewing” movies is always going to be open to conjecture, likely to cause argument, or be challenged by someone else’s opinion. But that’s what makes it interesting.

I’m currently reading a brilliant book called Ten Bad Dates With De Niro – A Book of Alternative Movie Lists. With the book in mind I decided to compile yet another list of my own, a variation on an often repeated theme; horror movies that I keep coming back to, because they’re so damn effective for one reason or another


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What are some EXPLOITATION-HORROR movie essentials?

January 31st 2008 05:13
trick or treat
Keeping on the grindhouse tip, I’ve made a list of thirteen essential elements (liable to cause argument) that would feature nicely within the context of a sleazy, nasty, horror movie. I had dirty, reprehensible, misanthropic fun here.

So if you had to pick four of these to feature in a movie that you’d like to see, which ones would you pick? And then give your piece of midnight movie filth a title


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Horrorphile's BLOODY BEST of 2007

January 17th 2008 23:25
28 Weeks Later poster art
Nudged and winked at by John Doe’s top films of 2007 I thought it best if I offered my opinion on the bloody best of last year. Not that there’s a wealth of movies to choose from, slim pickings really, but a couple of doozies.

I’ve decided I should narrow the top bunch down to horror horrors, excluding a few of those movies that I’ve reviewed that wouldn’t be described as horrors per se by the majority, but which I’ve labeled either a post-modern horror or a kind of horror hybrid


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THOU SHALT NOT PLUNDER ... But plunder they do!

November 20th 2007 06:54
movie queue back in the day
In the wake of watching Rob Zombie demystify and, in a roundabout kind of way, ruin the original Halloween conceit with his pedestrian and dreadfully ill-concieved re-envisioning/re-imagining/r e-fucking-make (disregarding the numerous dreadful Halloween sequels, Halloween II and III notwithstanding), I decided to savour the vitriol and make a series of movie lists.

Cult Classics That Should Never Have Been Remade (But Were or Will Be, Damn Them!)
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Who's your FAVOURITE KILLER?

September 26th 2007 04:39
Christopher Lee as Count Dracula
It might seem like an odd, vaguely distasteful question, but I know all the horrorphiles will embrace the question with homicidal hands and a fevered mind.

You’ve seen enough horror movies to know that about 99.9% of them feature some kind of murderer, or at least a menacing force capable of killing. Or at the very least an atmosphere of such dread and fear that you could possibly die of fright


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13 HORRIFIC MOMENTS in HORROR

September 24th 2007 02:01
Alien John Hurt
A friend of mine had the coup of interviewing director Eli Roth for a publication he writes for and he generously sent me through the list of Roth’s favourite goriest moments in horror, pre-publication. Of course I can’t share this information with you as it breaks journalist protocol, yadda yadda, but it did provide inspiration for me.

So I’ve concocted my own list. I was tempted to spread the list across the whole of cinema, but decided to keep it in the family. The question I then asked myself was: am I making a list of the most violent moments in horror, or the goriest moments in horror, or the bloodiest moments in horror? There are differences


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HAPPY 'BLOODY' BIRTHDAY HORRORPHILE!

August 16th 2007 01:04
Bloody Birthday
That’s right, it’s been exactly one year since I delivered my first Pleasure of Nightmares post on Orble. Wow, how time flies when you’re having fun!

I must say it’s been an intriguing ride so far … I’ve been elated and depressed at different times. However I’ve very much appreciated the opportunity Orble has provided me. The five days a week writing discipline has been immeasurable for me as a freelance writer, and I trust it will be another stepping stone to my inevitable Great Success


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BODY COUNT: Friday the 13th - The rise and guffaw of JASON VOORHEES

July 13th 2007 02:03
Jason Voorhees
It’s only fitting. I’ve already reviewed the first Friday the 13th movie which came out nearly 30 years ago … Eeeek! I’m starting to feel very old and crusty. Rather than throw up a review of Part 2 (which actually could have been the best in the series if it hadn’t been so badly butchered by American censors before it was released), I decided to impart a summary of the entire series (yes, all eleven of the bastards), with a focus on the BODY COUNT statistics and a severed nod toward the silliness which the series quickly descended into.

I rate each movie out of five stars


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