Get an instant library of some of the greatest horror classics ever to come out of Hollywood on twelve double-sided DVDs. Never has such a comprehensive collection of great classic horror films been assembled in one exciting package, all for an amazingly low price!
Dr. Jekyll & Mr. Hyde starring John Barrymore
Blue Beard starring John Carradine
The Corpse Vanishes starring Bela Lugosi
Night of the Living Dead starring Judith O’Dea
Doomed to Die starring Boris Karloff
The Phantom of the Opera starring Lon Chaney, Sr.
The Indestructible Man starring Lon Chaney, Jr.
The Hunchback of Notre Dame Lon Chaney, Sr.
Nosferatu starring Max Schreck
Swamp Women starring Mike Connors
The World Gone Mad starring Pat O’Brien
The Little Shop of Horrors starring Jack Nicholson
Tormented starring Richard Carlson
The Monster Walks starring Rex Lease
Monster from a Prehistoric Planet starring Tamio Kawaji
The Gorilla starring The Ritz Brothers
A Shriek in the Night starring Ginger Rogers
Bloodlust starring Robert Reed
The Amazing Mr. X starring Turhan Bay
Last Woman on Earth starring Robert Towne
The Bat starring Vincent Price
Though never a landmark in the slasher subgenre, the Canadian-made My Bloody Valentine (1981) was a favorite among gorehounds for its plentiful scenes of bloodshed; the 2009 remake sticks closely to the original in this respect, and ups the gross factor by rendering many of them in impressive 3-D. The core plot, penned by Todd Farmer and Zane Smith, remains essentially the same–a series of gruesome murders appears to be linked to a terrible mine accident from two decades ago–but just as with the original, it’s largely just a framework on which to string the carnage set pieces, which are splattery enough to please even the most jaded Saw or Hostel fanatic. The Real-D effects deliver the required degree of heart-stopping jumps without the usual eye strain, and if one can snicker away old standbys like a tree branch crashing through a windshield, one has to admire the chutzpah of presenting actress Betsey Rue’s pursuit of a wayward bed partner while fully naked and toting a shotgun in full and vibrant 3-D, moments before the pickaxe-wielding killer descends upon her. Rue’s scenery-chewing performance is the best of the twenty-something cast, which is led by Supernatural‘s Jensen Ackles and Jaime King; character actors Kevin Tighe and Tom Atkins deliver their moments like the old pros they are. Though by no means a new horror classic, My Bloody Valentine 3-D sets the gross-out bar for all future slasher remakes to surpass. – Paul Gaita
If you thought a bigger budget and an A-list producer (Michael Bay) would go to Jason’s head, well, forget it. The indestructible villain of so many bottom-of-the-barrel shockers isn’t about to change his shtick, and the 2009 Friday the 13th proves it. This, the umpteenth sequel (nope, it’s not a remake of the origin story) to the original 1980 movie, gives us a clever prologue that manages to fit an entire Jason Voorhees killing spree in a brisk and bloody 20 minutes. Jumping ahead six weeks, the film introduces a carload of clueless teens headed for a weekend at a lakeside cabin, plus a lone motorcyclist (Jared Padalecki) in search of his missing sister (Amanda Righetti). When the “lakeside” happens to refer to Crystal Lake, of course, there can be only one outcome. Cue the hockey mask, and pass the machete. Bay and director Marcus Nispel, who collaborated on the Texas Chainsaw Massacre remake, are surprisingly indifferent to changing up the formula this time, although there’s more care taken in building up a few characters, and for once the comic relief (mostly supplied by Aaron Yoo and Arlen Escarpeta) is pretty funny. You might even regret the slaughter of a couple of these young folk, which is an unusual feeling in Friday-watching. The film’s Jason is quite the athletic fellow, and he’s assembled an elaborate underground corpse-hiding lair in the vicinity of Crystal Lake. How he’s been able to live down there for 30 years (if the film’s own timeline is to be believed) and had enough unwitting campers pass by to keep himself entertained is anybody’s guess. But if they keep coming, he’ll keep slashing. –Robert Horton
The extended Killer Cut is 106 minutes compared to 97 for the theatrical cut, and it’s hard to imagine choosing to watch the theatrical cut if you have a choice. In addition to some more of Amanda Righetti and of Jason, the extra nine minutes is mostly more gore in the gory scenes and more sex in the sexy scenes. If you’re squeamish you might not want those things, but if you’re that squeamish you probably don’t want to watch Friday the 13th in the first place, right? The longer cut will give you more of the stuff that you probably watch this movie for. There’s also an 11-minute featurette on the new movie and three deleted scenes (a different version of Jason getting his mask, the police response to the phone call, and a revised climax). –David Horiuchi
Clive Barker has unleashed a nightmare like no other; a deliciously depraved vision of hell on earth that changed the face of horror forever. Andrew Robinson, Clare Higgins, Ashley Laurence, and Doug Bradley — as the iconic “Pinhead” star in this extreme saga of leave after death, pleasure beyond pain, an ancient puzzle box and the legion of Cenobites that feed upon human suffering. Now for the first time ever Hell Comes to Blu Ray.
Winner of 2009 Reaper Award for Best Re-mastering.
In the trinity of modern horror films, there’s the father (Michael Myers of Halloween), the son (Jason of Friday the 13th fame, a knockoff), and the unholy spirit, Freddy Krueger of the Nightmare on Elm Street films. The spectral man who haunted the nightmares of unsuspecting teenagers with deadly consequences, Freddy (as played by Robert Englund) was a truly frightening bogeyman and icon for the ’80s. Unlike the hockey-masked Jason, who dispatched horny teenagers with mechanical and monotonous ease (he never talked, never took off his mask), Freddy was a truly creative and diabolical villain, with a sadistic and blackly funny personality. The hallmarks of the Nightmare on Elm Street series were imaginatively gruesome suspense pieces, set in the overactive imaginations of the teen victims. The first film of the series, Wes Craven’s truly intelligent and scary film, was so hugely successful it begat not one, not two, but six more sequels, each pretty much diluting the originality and horror of its predecesor. (Horror fans will fondly remember Drew Barrymore’s assertion in Scream that the first Nightmare film was great but all the rest sucked.) Still, there’s fun to be had in the remaining films in the series, seeing as a number of aspiring filmmakers cut their teeth on the continuing saga of Freddy. Frank Darabont (The Shawshank Redemption) and Chuck Russell (The Mask) worked on the third installment, Dream Warriors (starring a young Patricia Arquette), and Renny Harlin (Die Hard 2) came to prominence with the ingeniously macabre fourth film, The Dream Master, coscripted by Brian Helgeland (L.A. Confidential). Craven and original star Heather Langenkamp did return for the last film, New Nightmare, which presaged the tongue-in-cheek postmodernism of the Scream films and resharpened Freddy’s ability to scare. –Mark Englehart
Are you ready to get down with the sickness? Movie logic dictates that you shouldn’t remake a classic, but Zack Snyder’s Dawn of the Dead defies that logic and comes up a winner. You could argue that George A. Romero’s 1978 original was sacred ground for horror buffs, but it was a low-budget classic, and Snyder’s action-packed upgrade benefits from the same manic pacing that energized Romero’s continuing zombie saga. Romero’s indictment of mega-mall commercialism is lost (it’s arguably outmoded anyway), so Snyder and screenwriter James Gunn compensate with the same setting–in this case, a Milwaukee shopping mall under siege by cannibalistic zombies in the wake of a devastating viral outbreak–a well-chosen cast (led by Sarah Polley, Ving Rhames, Jake Weber, and Mekhi Phifer), some outrageously morbid humor, and a no-frills plot that keeps tension high and blood splattering by the bucketful. Horror buffs will catch plenty of tributes to Romero’s film (including cameos by three of its cast members, including gore-makeup wizard Tom Savini), and shocking images are abundant enough to qualify this Dawn as an excellent zombie-flick double-feature with 28 Days Later, its de facto British counterpart. –Jeff Shannon
From legendary frightmaster Stephen King and 3-time Oscar-nominated director Frank Darabont* (The Shawshank Redemption, The Green Mile) comes “one of the scariest King films since Stanley Kubrick’s The Shining” (Tasha Robinson, The Onion A.V. Club). After a mysterious mist envelopes a small New England town, a group of locals trapped in a supermarket must battle a siege of otherworldly creatures…and the fears that threaten to tear them apart. Starring Thomas Jane (The Punisher) and Oscar winner* Marcia Gay Harden (Mystic River) in one of the year’s most talked-about performances, The Mist is riveting, with “tension like an ever-tightening clamp” (Colin Covert, Minneapolis Star Tribune).
If you’re expecting bandaged-wrapped corpses and a lurching Boris Karloff-type villain, then you’ve come to the wrong movie. But if outrageous effects, a hunky hero, and some hearty laughs are what you’re looking for, the 1999 version of The Mummy is spectacularly good fun. Yes, the critics called it “hokey,” “cheesy,” and “pallid.” Well, the critics are unjust. Granted, the plot tends to stray, the acting is a bit of a stretch, and the characters occasionally slip into cliché, but who cares? When that action gets going, hold tight–those two hours just fly by.
The premise of the movie isn’t that far off from the original. Egyptologist and general mess Evelyn (Rachel Weisz) discovers a map to the lost city of Hamunaptra, and so she hires rogue Rick O’Connell (Brendan Fraser) to lead her there. Once there, Evelyn accidentally unlocks the tomb of Imhotep (Arnold Vosloo), a man who had been buried alive a couple of millennia ago with flesh-eating bugs as punishment for sleeping with the pharaoh’s girlfriend. The ancient mummy is revived, and he is determined to bring his old love back to life, which of course means much mayhem (including the unleashing of the 10 plagues) and human sacrifice. Despite the rather gory premise, this movie is fairly tame in terms of violence; most of the magic and surprise come from the special effects, which are glorious to watch, although Imhotep, before being fully reconstituted, is, as one explorer puts it, rather “juicy.” Keep in mind this film is as much comedy as it is adventure–those looking for a straightforward horror pic will be disappointed. But for those who want good old-fashioned eye-candy kind of fun, The Mummy ranks as one of choicest flicks of 1999. –Jenny Brown
Horror-meister John Carpenter (Halloween, Escape from New York) teams Kurt Russell’s outstanding performance with incredible visuals to build this chilling version of the classic The Thing. In the winter of 1982, a twelve-man research team at a remote Antarctic research station discovers an alien buried in the snow for over 100,000 years. Soon unfrozen, the form-changing alien wreaks havoc, creates terror and becomes one of them.