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Tag Archive: The Ring


There’s something about Mary, a new horror film coming this fall, that screams out John Carpenter.  It has that seaside feel of Carpenter’s The Fog, complete with a haunted seafaring vessel and moody cinematography.  It also has that trapped-in-an-evil-car vibe of Carpenter’s adaptation of Stephen King’s Christine.  It’s about an old boat with a past, found and restored, and haunted–all Christine elements.  Who doesn’t want more Carpenter movies, or second best, a Carpenter homage?  Mary is a new horror film that boasts its contrast with the average why-not-run-from-the-haunted-house movie by staging its ghost story on a boat: “The thing about boats is there’s nowhere to run.”  A nice double feature with The Lighthouse, perhaps?  The first trailer for the movie also conjures a little Jaws, The Ring, and Dead Calm.

Academy Award-winning actor Gary Oldman (The Dark Knight Rises, Harry Potter and the Prisoner of Azkaban, RoboCop, The Fifth Element) and Emily Mortimer (Mary Poppins Returns, The Kid, The Ghost and the Darkness) star in the indie film, which is directed by cinematographer Michael Goi (Chilling Adventures of Sabrina, Swamp Thing, American Horror Story), with a cast including Jennifer Esposito, straight off her supporting role in The Boys, plus Manuel Garcia-Rulfo (The Magnificent Seven, Murder on the Orient Express), Natalie Jean (Gotham), Michael Landes (Final Destination 2, Lois & Clark: The New Adventures of Superman), Stefanie Scott (Chuck, Jem and the Holograms), and Owen Teague (IT, Black Mirror).

The solid leading and supporting cast and some nicely creepy cinematography and scares in the trailer make this look like a good Halloween pick.  And the eerie music is supplied by frequent horror movie–and Avengers movie series–composers The Newton Brothers.  Here’s the trailer for Mary:

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All my life, I’ve been waiting for someone and when I find her, she’s… she’s a fish.

With 13 nominations and expected to lead in overall wins in tonight’s Academy Awards ceremony, The Shape of Water is the film of the hour, and the popularity of the sea creature lore is at a peak right now.  Taking advantage of the interest in seafaring lore and gilled creatures, the Freeform channel (formerly ABC Family) is airing new trailers this weekend for its own new mermaid/merman series, Siren.  It’s not Splash or The Little Mermaid.  It looks like it may have more of the feel of The Creature from the Black Lagoon at least initially more so than The Shape of Water.  No, the new series Siren looks more like a thriller or horror series than a romance, something mixing Stephen King’s Haven with John Carpenter’s The Fog and The Thing, and the British space vampire cult classic, Lifeforce.  

Eline Powell (Game of Thrones, King Arthur: Legend of the Sword) plays Ryn, a mysterious girl who arrives in the Pacific Northwest coastal town of Bristol Cove, a town that boasts its local lore–a town once known for its mermaids.  Aylya Marzolf plays a mermaid leader, and Sedale Threatt, Jr. a warrior merman.  From its several preview trailers, Siren has a great, creepy look.  Art direction is by The Predator and The Returned’s Peter Mihaichuk.  Costumes were designed by Pirates of the Caribbean and The Exorcist’s Lorraine Carson and iZombie and The Flash’s Maria Livingstone.

Based on a story by Eric Wald and Dean White (originally to be called The Deep), marketing for Siren is evoking all the aforementioned films and TV shows in its key imagery–even the back of a man in a parka straight out of The Thing, a strange killer young woman as seen in Lifeforce and The Ring, a trapped creature being studied in an aquarium as in The Creature from the Black Lagoon and The Shape of Water.  And it features that familiar coastal town seen in Jaws, Haven, and The Fog.

Check out these several previews for Freeform’s Siren:

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Breslin Haunter

Review by Elizabeth C. Bunce

It’s no secret I’m a big fan of ghost stories, and I’ve lamented before how hard they are to find among all the slasher horror gore fest flicks that pass for scary fare these days.  So I’m always excited to stumble across a new one on film.  One such recent discovery is Vincenzo Natali’s quiet Canadian production Haunter, starring Abigail Breslin (Maggie, Ender’s Game, Signs), Peter Outerbridge (Orphan Black, Nikita), Michelle Nolden (RED, Lost Girl, Everwood, Nero Wolfe), and veteran TV fixture Stephen McHattie (Adam-12, Kojak, The Twilight Zone, The X-Files, Quantum Leap, Deep Space Nine, Enterprise, Haven, Watchmen, 300, A History of Violence).

It’s 1984, and Lisa Johnson (Breslin) feels stuck in a rut:  Every day is just like the next.  Just like the next, and she’s the only one in her family of four who’s noticed.  The same Walkie-Talkie wakeup call from little brother Robbie (Peter DaCunha), the same pancake breakfast, the same friendly quarrel with Mom (Nolden) over the same load of laundry.  (“I did the laundry yesterday.  You just don’t remember that I did.”)  Wearily she trudges though clarinet practice, Dad fixing the car in the garage, a conversation about a birthday celebration that never comes, and the same episode of Murder She Wrote.  Until one morning, she’s startled Awake by a creepy noise in the laundry room, and discovers that her house, and her family, are at the heart of a long history of dark secrets.  And another girl—another family—needs Lisa’s help, if she’s ever to escape the time loop.

Haunter-Abigail-Breslin

Many parts of Haunter will feel familiar, maybe even derivative—but that’s OK.  In some parts it feels like a remake of The Others, and there are echoes of The Ring and every knockoff of Groundhog Day you’ve ever seen.  (See one of our early takes on time loops at borg.com here).  But it works, and it works well.  Lisa’s world is tightly focused and claustrophobic, and her navigation of several parallel timestreams is seamless and gripping.  Director Natali, known for his work on projects including Orphan Black, The Returned, Hannibal, and The Strain, has richly layered the film with finely wrought symbolism, from the leitmotifs of Prokofiev’s “Peter and the Wolf” playing throughout, to Lisa’s Souxie and the Banshees concert T, to the dark fairytale iconography Lisa must wade through to learn the truth.

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Bates Motel

That’s right, Halloween is almost here.  This year we’ve been able to obtain an interview with one of the best horror writers around.  Who will it be?  Check back here on Halloween for a special borg.com interview.

For many, this week means tracking down spooky shows on Netflix, cable, or in the theaters.  Back in 2011 the four borg.com writers posted each of their top favorite Halloween flicks.  Since 2011 new films that fit the genre continue to be made, like The Woman in Black reviewed here last year, but there was also a few to skip, like Johnny Depp in Dark Shadows and John Cusack in The RavenThis year we were impressed by the totally fun and totally watchable Abraham Lincoln, Vampire Hunter, and the over-the-top but fun Hansel & Gretel: Witch Hunters.  There are plenty of opportunities to get your fix of dark, spooky, creepy, or just plain scary movies.

ALVH-217 - Abraham Lincoln (Benjamin Walker) and his vampire-battling mentor Henry Sturgis (Dominic Cooper) plan their next move during a fateful battle with the undead.

One film available on Netflix we haven’t reviewed yet here at borg.com is 2009’s Orphan, which should appeal to fans of The Others and Skeleton KeyOrphan stars Bates Motel’s Vera Farmiga and Skeleton Key’s Peter Sarsgaard as a couple adopting a third child into their family, played by the brilliant young actress Isabelle Furhman.  It also features Warehouse 13’s CCH Pounder and Genelle Williams–both as nuns.  Orphan is excellently creepy and an all-around good thriller worth checking out.  And speaking of Vera Farmiga, if you haven’t been watching Bates Motel, you should.  It’s a great creepy spin-off of Hitchcock’s Psycho, and Season 1 is available now on DVD and Blu-ray from Amazon.com.

Orphan movie - creepy little girl

Here is the link to our Halloween movie series from 2011 where you can view all of our recommendations.  Some of the staples of Halloween horror did not make our lists, like Friday the 13th, Halloween, Saw, Scream, The Omen, Rosemary’s Baby, Poltergeist, Nightmare on Elm Street, or Amityville Horror.   Jaws got our joint highest ranking, making three of our lists, and The Shining, The Exorcist, The Exorcist 3, Watcher in the Woods, The Ring, and Paranormal Activity seem to rise above the rest, showing up on two lists.  Seaside locales were the favorite location for scares, with Jaws, Rebecca, The Birds, The Ring, The Fog (both the original and remake) all taking place there, and creepy little girls are the favorite subject of–count ‘em–NINE of our haunts (The Ring, The Exorcist, Let Me In, Paranormal Activity 3, Watcher in the Woods, The Sixth Sense, The Shining, Turn of the Screw, and The Others). And we can now add Orphan and The Woman in Black to that creepy assembly.  (We Are What We Are was due out this year–another creepy little girl story, but it’s only been released in the UK so far).  For us the supernatural won out over monsters, saws and axes.  Four movies were by John Carpenter, three by Alfred Hitchcock.  The oldest movie was Rebecca from 1940, the newest came out in 2011, Paranormal Activity 3And look, we’ve got another one of those available now, too.

Happy Halloween watching, and don’t forget to come back to see what we have in store Thursday!

C.J. Bunce
Editor
borg.com

By Art Schmidt

People are funny.  Different things mean different things to us all: songs, pictures, movies, books.  Art.  It’s all interpreted by the individual, but even more so by the place in life that the individual is in at the time the art is experienced.  People cling to old songs like gold; a song from high school not only sounds good, but refreshes the happy memories associated with the song in the listener’s mind.  A one-hit wonder band from the mid-eighties may have written the best song you’ve ever heard, but no one else even remembers who they were.

Fans of the original Star Wars Trilogy of the 70s were appalled when Lucas made his infamous modifications to the film, especially the scene in the Tatooine bar in Episode IV where Han Solo shoots Greedo.  ‘Artistic license,’ said Lucas.  ‘Blasphemy,’ the fans screamed.  ‘My movie,’ Lucas retorted.  ‘Our childhood!’, the fans wailed.

Halloween always brings out the focus on all things macabre, and will generate ‘Top 10’ lists as long as kids dress up as Darth Vader and adults go to costume parties as politicians (there’s a moral lesson in there somewhere, BTW.  I am sure of it).  Every Top 10 list is different, and that’s the way it should be.  We all experience things in our own way, our own time, and through our own filters.  So rather than attempt to list an absolute ‘Top’ 10, predestined for failure, I have listed my own personal favorites.  Doubtless others will have vastly different opinions, and some of the things I found terrifying may have barely elicited a small gasp from others.

And that’s ok.

My personal list is not in order of preference or fondness but rather experience, from my earliest memory to the present day.  Obviously, my early years contain the larger amount of my personal favorites; the younger we are the more accepting we are of the impossible and the more susceptible to suggestion, therefore media designed to have a strong emotional impact will generally be felt more so by the young.  After all, you can only read a Stephen King novel for the first time, or watch Jaws without knowing what’s going to happen once.

Which of course leads me to one of the stories on most people’s lists…

Jaws (Movie)

The movie that changed movies, the blockbuster that defined blockbusters, the summer event movie on which the term ‘summer event movie’ was coined.  When it came out it was truly a phenomenon, one most people who did not experience it can never truly appreciate.  My parents were no less caught up in the feeding frenzy of the movie’s release than anyone else.  At the time it was rated a solid PG (there was no PG-13), so taking elementary school children to see it was not a big deal.  After all, most Disney movies of the time were rated PG, weren’t they?  So along with a large contingent of my aunts and uncles, I was taken to see the movie that would strip me of all my eight-year old innocence and leave me strangely wanting more.

My mother shrugged off the initial shock of the opening scene; it was just an attention-getter, right?  Then the child being eaten off of his inflatable raft started her worrying about me.  When the head popped out of the boat, my mom literally threw her box of popcorn all over the row of people behind us; she apologized profusely while my dad laughed his head off.  My eyes were glued to the screen, what I could see of it between my tiny fingers.  By the time the ORCA launched to sea with its two unprepared passengers and doomed captain, my parents had forgotten I was there; everyone was entranced by the story.  By the time the greatest and most re-used horror movie joke of all time came, (“You’re gonna need a bigger boat.”), the entire audience needed that release of nervous laughter.

Viewed today, Jaws is much more an adventure movie than a horror film.  Contrasted against the majority of horror films, the comedy of Jaws is heart-felt and sophisticated rather than flippant; the characters are dense and alive rather than stereotypical caricatures; the story is fun and adventurous rather than weighted and dark.  And for all those reasons (thank you Mr. Spielberg!) Jaws remains my earliest, most heartfelt and yes, one of my favorite ‘horror’ movies of all time.

Trilogy of Terror – Part 3 “Amelia” (Made for TV Movie)

It was a classic horror story setup: a babysitter, a dark night, a quiet house, a child in front of a television, a killer on the loose. Except, in this case, the babysitter was our next-door neighbor, the house was mine, the kid was me and the ‘killer’ was a little doll on television.  My parents were out, my sister was asleep and the babysitter let me watch whatever I wanted.  Which in the mid-seventies meant a horrifyingly narrow selection of channels, none of which had the potential for cable profanity or pay-per-view violence.

However, on that fateful night, as I sat in front of the television a bright-eyed eight year-old, I watched a movie that I honestly believe to this day physically altered my DNA.  Trilogy of Terror was a made for television movie containing three short stories, all starring Karen Black in varying and un-related roles.  The first two I can honestly say I have no memory of whatsoever.  I’ve since read about them in IMDB and Wikipedia, but I can’t picture any of it in my head.

The third story, however, I remember in vivid detail.

A woman buys a gift for her boyfriend; a Zuni fetish doll with a gold chain around its neck and a warning.  If the chain comes off, the doll will come to life.  Of course, the chain came off, the doll came to life, and the ensuing fight for survival within the small apartment left me breathless and terrified.  The angry patter of tiny feet throughout the apartment, the monster unseen by the viewer, was brilliant.  I put all of my G.I. Joe action figures and army men in my closet, inside a shoebox, then put a small chair in front of my closet door, but I still didn’t sleep a wink that night.  The image of Karen Black crouching down in a dark corner bearing the doll’s sharp teeth still makes me shudder.

Sure, it was kitschy. But it was also scary as hell.

The Shining (Novel & Movie)

I read my first Stephen King novel in the summer of 1979, a paperback of The Stand.  It was long and brutal and opened up my adolescent mind to all sort of things I had never heard or dreamed of before.  It was good, but it didn’t really scare me.  There were people and events in it that were big and apocalyptic and scary, and I got all of that, but they didn’t creep me out or make me want to hide under my bed.  My second King novel, Salem’s Lot, was also good but didn’t really scare me, either.  Then I read Carrie, which creeped me out, and then I read The Shining, and I was blown away.  The slow burn of the Jack Torrance character from out-of-work recovering alcoholic to raging failure seeking vengeance on the world is a thing of beauty and horror.

All of King’s powers as a storyteller of horror and tragedy come to bear in The Shining.  The huge hotel, empty of people but full of their tragedies, claws its way out of every page, and the Torrances in the novel are among King’s more well-conceived and believable characters.

As far as the movie goes, well, I have to admit that I’m not a big Stanley Kubrick fan.  I respect 2001: A Space Odyssey for its vision, but I don’t particularly care for the movie itself.  A Clockwork Orange wasn’t my cup of tea, and Eyes Wide Shut made me want to shut my own.  But The Shining was nearly as brilliant as the book, despite the changes to the plot and devices and the difference in feel from King’s book to Kubrick’s film.  As a horror movie, it stands firmly on its own.  The movie captured perfectly not only the demise of the man inside Jack Torrance but also the eerie hotel, the crazy loneliness of the long, cold winter, and the strain on the family that the hotel creates.  Despite decades of stand-out horror films ever since, from Paranormal Activity to Scream, for my dollar The Shining is still among the best horror movies ever made.  It’s not the best (IMO), however, as that title belongs to another film from the Seventies…

The Exorcist (Movie)

I’m not one for slasher movies, or serial killer movies, or vengeful spirit movies.  The first Friday the 13th wasn’t bad, nor was the first Nightmare on Elm Street, but all that followed were tired re-treads of the same old idea: a supernatural killer that you can’t stop who wants to kill you and all of your friends.  Lots of blood, lots of deaths, lots of shock.  Lots of yawning, IMO.

Then there’s The Exorcist, the horrifying movie from William Friedken that set the bar, that made you think, that grabbed you by your heart and made you really, emotionally believe in Hell.  Statistics (and opinions) vary, but The Exorcist was arguably the first movie after Gone with the Wind to gross over $100 million in its initial box office run, and its psychological impact is still rarely matched even in modern times.  You have to experience it to believe it.

I know that for me, as a struggling young man with questions about everything, it shook my faith in my beliefs about the larger world around me.  That’s the thing about well-crafted characters and dialogue; once you buy in to those people and their world, you buy into their problems and their actions, and then you are affected by what affects them, whether on the surface you find it particularly believable or not.  I used to tell people, when they asked, that The Exorcist was my favorite movie of all time.  After years and years of odd looks, I began replying Reservoir Dogs, The Empire Strikes Back, or, more recently, The Lord of the Rings.  All three of which are in my Top 5.

But I always smile when I think of the chills I got from watching adorable little Regan MacNeil in all of her pea soup-spewing, head-spinning glory.

DOOM & DOOM 3 (Video Games)

When DOOM originally came out in the early 90s it created a sensation throughout the entire video game industry for its unprecedented software engine, evolutionary 3D rendering, and take-no-prisoners play style.  It was derided by parental groups for its depiction of blood and carnage, and use of the word ‘demon’ to describe most of the player’s enemies and for the fact that you could play in the previously unheard of mode of ‘Deathmatch’, which virtually every other first-person shooter has implemented since.

Of course, all of these advances in rendering technology and gameplay chutzpah overshadowed one of DOOM’s best qualities: a game that was truly scary as hell.  Forerunners in the ‘horror’ video game department were admirable, most notably the ‘Alone in the Dark’ and ‘Resident Evil’ series.  But whereas Alone relied heavily on psychological horror and RE on stock horror movie themes, DOOM delivered something new.

The lighting was dark, shot through with spotlights and spinning emergency lights right out of Alien; the monsters popped up out of nowhere and chomped on your character with gleeful abandon; and nothing, I mean NOTHING compared to being extremely hurt, low on ammunition, and hiding in a dark corner with hungry alien/demons prowling around just a few feet away.  Playing at night with low-lighting and headphones on, DOOM is more an experience than just a game.

A rash of copy-cats and money-making follow-ups came flowing forth, all adding their own little bits to the new genre and making advances in lighting, sound, and graphics engine technology.  None could knock the original from its perch, however.  Then, in 2004 the makers of DOOM came out with DOOM3, a completely re-vamped gaming engine with even scarier-looking monsters and genuine leap-out-of-your seat moments than any other game in the medium.  The story was nothing special, and the game-play was not ground-breaking enough for the die-hards, but the game sure kept me jumping and looking frantically around my bedroom whenever I played it.

The Exorcist III (Movie)

Little seen, under-appreciated, and largely panned by critics and audiences who had given up after the absolutely terrible trash of The Exorcist II: The Heretic, I loved this movie.  It’s doubtful that anyone else will even consider it on any Top-Anything list, but it worked for me.

It ignores the second installment of the Exorcist movies completely and places itself as a sequel to the original classic.  George C. Scott plays a detective who was friends with Father Damien Karras of the original movie, and is currently investigating a series of murders in Georgetown where The Exorcist took place.  The film draws from the original, having been written and directed by William Peter Blatty, author of the original Exorcist novel.  Despite the studio-mandated addition of an exorcism near the end of the movie, where none existed in the screenplay or Blatty’s novel Legion on which the movie was based, and despite the complex plot of demonic revenge against both the catholic church and an abusive father, there are scenes in the film that horrify, and the reconciliation between old friends, one dead and one alive, is a satisfying end to the movie.

There are scarier movies out there, however much I loved this one, and one of the best that came out around ten years later was…

The Ring (Movie)

As previously mentioned, I don’t particularly like revenge spirit movies, but The Ring was so much more than that.  It was a mystery movie as well, as the mother races against the clock to save not only herself but her son from the supernatural killer that no one can stop.  Much like The Exorcist, the fact that the spirit was a little girl made it all the scarier.

The video tape within the movie is a neat twist as well, creepy on its own and adding to the subtle nuance of the movie’s overall disturbing nature.  It doesn’t come right out and scare most of the time, though those moments are there, too.  But the little things all add up; the short film, the father’s ranch, the fly coming out of the film, the horse’s reaction to our heroine.  The movie is more disturbing than out-right scary, which just makes it all the more horrifying.

The Road (Novel)

Cormac McCarthy’s The Road was unexpected recommendation from a friend, not something I knew much about or was really jazzed about reading.  And it hit me square in the gut.  The Pulitzer Prize winning book is a lonely, desolate tale of a nameless father and son struggling to survive in a savage, hopeless post-apocalyptic world.  I identified myself so strongly with the father character that when he would make a bad decision I felt personally guilty.  I saw in the son my own son, completely dependent upon his father to provide him food, shelter, and protection from the horrible people crawling the ashen landscape.

That novel stuck with me for months after I read it in a way that no book ever has.  Movies are visual and visceral, images stick with us for years or even our whole lives, but books generally do not have that affect.  I have always heard people talk about being ‘haunted’ by something; a movie, a book, a chance encounter.  Having been a horror fan since birth, I always thought of the expression in the literal sense, and largely dismissed those notions as silly and melodramatic.

After The Road, however, I understood what that really meant.

McCarthy spun a tale at once so deceptively simple and unbelievably complex, so innocent and so wicked, so hopeless and yet so rooted in the need for hope, that it’s mesmerizing.  Some parts made me physically squirm, and not in the good-to-be-scared way.  Nor did I want to finish it because it was exciting or thrilling; actually, there are long portions of the novel where not much at all happens, and then when something does it’s kind of… plain.  Simple, even.

When I first saw No Country for Old Men, based upon another McCarthy novel of the same name, I spent the first half of the movie trying to figure out why there wasn’t more action in it.  Once I settled back to the understanding that the guns were just metaphors, and the movie itself wasn’t about money, or greed, or even good and evil, I was able to focus on the dialogue.  Re-watching it, I now appreciate all of the interplay between the characters; the slow, steady, knowing march of Anton Chigur and the moral decay of western civilization that he represents; the lament of the older lawmen who just can’t understand that the people they have sworn to protect have abused that security by evolving into the very things that the lawmen held at bay.  “The rising tide,” one of them called it. “The dismal tide.”

The savagery and violence of the novel The Road, when it does appear, does so in the same vein.  It’s not the focus of the story, it’s just part of life, not actions but rather the consequences of actions or inactions.  For good or ill, it has its place.  To be fair, I have to say that my wife read The Road and she didn’t particularly care for it.

But then, she’s not a father struggling to protect his innocent child against the dismal tide.

Paranormal Activity (Movie)

I pride myself on being able to predict where movies are going, what’s going to happen to the characters, which ‘type’ of story it is and how it will end, and what details are provided that play into the movie later on.  And for Paranormal Activity, this was mostly the case.  The low budget and low quality of The Blair Witch Project left me wanting; wanting something better from that type of movie.  I was disappointed in that effort to say the least, so when the buzz started up about Paranormal I was frankly not interested.  Recent offerings in the horror genre like the Saw series, Hostel and the recent slew of vampire movies left me wondering if there was anything that would really scare me again.

I sat through the first three quarters of this movie and was only slightly impressed.  It was a neat take on the haunted story, had some clever ideas, and the night-time recordings of the goings on in the couple’s bedroom was ingenious and carried a few frights with it.

However, it was the last ten minutes of the movie that landed it on my personal Top 10 list.  The end of the movie kept me guessing, and when the loud footsteps climb the stairway the last time… and what follows… made me leap off of my seat for the first time in years.  If you haven’t seen it, and want to be scared, you should definitely give it a try.

By Elizabeth C. Bunce

To be honest, this was a challenging list for me.  On the one hand, there is nothing I love better than a really great ghost story, so you’d think I’d be able to rattle off a list of ‘em just like that.  But that’s the thing—the really great ones, the ones that well and truly conjure up that perfectly spooky atmosphere and transport me wholly to the Hallowe’en, ahem, spirit… well, they’re pretty rare, actually.  I’m a little bit critical; I acknowledge that.  But that’s another reason to love these lists: I’m always on the lookout for the next The Others or Watcher in the Woods.

For me, atmosphere is everything.  Strike the right spooky ambience in a film, and you can overcome any number of shortcomings—including the total lack of an actual ghost in the story.  So here’s an assemblage of ten films that get the mood right, at least, making them excellent viewing when the lights are off and the late October wind howls outside.  In no particular order…

1.  Harry Potter and the Prisoner of Azkaban (2004)
Ok, I hear you.  A Harry Potter movie on a Hallowe’en list?  Well, bear with me here.  Everything franchise-related aside, Azkaban has everything you’d want in a Devil’s Night creep-fest: the redesigned, gothic Hogwarts; the ghostly manifestations of the dementors haunting the castle and campus; the homicidal maniac on the loose; and oh, yes, the werewolf!  The film also drips with backstory and dark secrets, another element paramount to a great spook story.  And did I mention the werewolf?

2.  The Others (2001)
This one is creepy almost without trying.  Nicole Kidman plays the harried and pathologically overprotective mother of two light-sensitive children, occupying a remote English manor house in the days following World War II.  Though the scares here are primarily psychological, skin-crawling elements abound (what is up with those creepy kids? And those servants! Egad!), and the story has one of the best twist endings you’re likely to find.  So pull the blinds, get away from the windows, and watch for the seriously unsettling appearance of The Ninth Doctor, Christopher Eccleston, as Kidman’s estranged (or something) husband.  I can almost guarantee you’ll want to watch this one again, straight through from the beginning, when it’s over.

3.  Watcher in the Woods (1980)
For me, this film is the archetype of everything I want in a ghost story (erm, absent the actual ghost, I mean).  This 1980 Disney offering was based on a young adult novel by Florence Engel Randall, but this is a rare case of the film eclipsing (no pun intended!) its source novel.  It follows a pair of young American sisters who are renting a haunted English manor house for the summer, and who awaken the property’s chilling secret—and its chilling landlady, Mrs. Ayelsworth (Bette Davis).  Many years ago, Ayelsworth’s daughter disappeared from the estate, in a secret ritual her now-grown friends have sworn to keep silent.  But the past won’t be buried, and the apparent ghost of Karen Ayelsworth tries desperately to communicate with our heroines.  The setting here is pitch perfect, from the foreboding house to a murky lake, to the chapel ruins with ravens stirring through the dead leaves.  I loved this movie as a child, and it’s lost almost none of its wonder, atmosphere, and suspense. (Extended DVD scenes notwithstanding.)

4.  Rebecca (1940)
This 1940 Best Picture Oscar winner is a faithful rendition of the Daphne du Maurier novel by the same name. Du Maurier’s writing, Alfred Hitchcock’s direction, and George Barnes’s Academy Award-winning cinematography are so skillful and subtle that you will swear you’ve seen the ghost of Rebecca de Winter haunting Manderley yourself—though she makes no actual appearance in the film.  While the entire cast (particularly stars Joan Fontaine and Laurence Olivier,) turned in top-notch performances, the disturbing heart of the film is the unforgettable performance by Star Trek alumna Dame Judith Anderson as the first Mrs. de Winter’s devoted lady’s maid, Mrs. Danvers—the archetype for every creepy British servant to come.  This is psychological horror at its best; an exploration of how our own memories are the most frightening ghosts to put to rest.

5.  Skeleton Key (2005)
I’ll admit that I didn’t enjoy this film as much as I wanted to, but the fact that someone in our house bought the DVD, and our TV is mysteriously tuned to this movie every time it airs on late-night cable, should count for something.  Set in rural Louisiana, Skeleton Key drips with Southern Gothic creep-factor: Spanish moss, an old plantation dank with rot, an aging Southern belle, evocative voodoo set-dressing, and the unmistakeable tinge of old racism.  Add a smart heroine in over her head in something she doesn’t understand, plus a satisfying twist ending, and you’ve got a solid haunter with staying power.

6.  The Sixth Sense (1999)
M. Night Shamaylan’s career has been so utterly panned by now that it’s hard to remember that we all loved The Sixth Sense, and couldn’t stop talking about one of the best Gotchas! in horror film history.  Debate all you like, but this measured, thoughtful story of a boy with a problem, and the child psychologist who goes to unparalleled lengths to help him, is a mastery of mood, pacing, and misdirection.  You can watch it as a straightforward drama, and it’s a perfectly solid film.  The characters are skillfully drawn and acted with sincerity and subtlety, and you feel for the plight every single one of them is going through: the haunted boy, the caring therapist who can’t understand that his marriage is over, the lonely wife, and the desperate mother struggling to understand her troubled son.  But it’s in the moments we peek inside the child’s terrifying world that the horror of this story comes home, and whether or not you see dead people (or saw the ending from a mile away), you know you were a little skittish walking into your kitchen alone.

7.  The Ring (2002)
In the immortal words of Bravo’s Hundred Scariest Movie Moments, “There’s nothing creepier than a decrepit eight-year-old.” And while the combined lists on borg.com seem to bear that out, this is the decrepit eight-year-old you definitely don’t want to see climbing out of your TV late at night.  It’s not immediately obvious why this adaptation of the classic Japanese thriller is so frightening—is it the disturbing iconography in the underground video?  The ghoulish backstory?  The jarring cinematography and special effects?—but it all adds up to seriously unsettling viewing.  Bolstered by a strong mystery, a determined and believable lead, and the chilling ordinariness of her investigation, the contrasting horror seems all the more convincing, no matter how far-fetched a haunted videotape may sound.  Trust me: you’ll be glad you ditched your VCR.

8.  The Turn of the Screw (1999)
Henry James’s dark, “are they or aren’t they?” tale of two haunted siblings and the devoted governess desperate to protect them has been baffling audiences for 123 years, but that hasn’t stopped people from making movies out of it.  1961’s The Innocents, penned by no less a scribe than Truman Capote, is considered a modern classic, but this 1999 BBC version starring the brilliantly-cast Jodhi May in all her sloe-eyed anxiety captures all the frightening bewilderment of the original.  It’s never entirely clear what’s bothering the children in her care.  It could be ghosts, it could be pedophiles, or it could be the overactive imagination of the governess herself—but it’s from that uncertainty that the horror emerges.  With no true resolution to the tale—no laying to rest of the ghosts, no cozy denouement now that the danger has passed—The Turn of the Screw is ultimately unsatisfying, leaving you vaguely uncomfortable yet somehow wishing for more.

9. The Fog (2005)
At first glance, there really wasn’t an obvious reason to remake John Carpenter’s classic tale of a seaside town getting a belated and ghostly comeuppance.  But unlike ill-considered remakes before and since, The Fog loses nothing in translation—and even manages to surpass the original.  One of the most vital elements of a ghost story is arguably its backstory—the chilling past that rises to menace the present—and this 2005 adaptation gets it absolutely right.  The story of a town’s ill-gotten fortune at the cost of a doomed ship of lepers comes alive (or undead, at least) in rich period details, elaborate sets and costumes, and a powerful enriched storyline, all of which combine to create a pretty much perfect ghost story.

10.  Dead Again (1991)
This may seem an odd choice for a Hallowe’en list, but this 1991 Kenneth Branagh/Emma Thompson film deftly blends film noir, gothic romance, and the paranormal in a gripping, genre-bending mystery thick with atmosphere and suspense.  In two parallel storylines, Dead Again explores a post-war Los Angeles murder mystery that continues to haunt two people into the modern age.  Playing dual roles, both Branagh and Thompson excel, first as doomed lovers Roman and Margaret von Strauss, and as their modern counterparts, trying to unravel the secret of how that epic romance ended in a gruesome murder.  With its edgy, atmospheric soundtrack racing to a shocking twist ending, Dead Again is another film that will have you hitting the “replay” button on your remote as soon as the end titles roll.