✔️ = Recommend
𝙓 = Don’t Recommend
～ = Mixed
This month, I curated my own 31 Days of Halloween marathon. The criteria were simple: every film had to have spooky, horror-based elements. Not every film watched had to do with Halloween specifically. My focus was mostly on films I hadn’t seen, so a few favorites have been left off the list. A few rewatches were films I hadn’t revisited in many years, so does that really count? Without further ado, Evan Ehrenberg’s 31 Days of Halloween.
Dark Night of the Scarecrow [～]
I started the month with a sort-of atypical pick: a made-for-TV horror film. The film’s approach seemed solid, and scarecrows are pretty spooky, so why not try it out? Unfortunately, the film fell flat and was, at times, a slog. Dark Night of the Scarecrow is much less a scarecrow slasher film and more of a ghost film. The kills are few and far between, often happening off-screen; thus, the payoff is not exactly there. However, when Bubba is in the scarecrow costume, watching across the field, it’s genuinely eerie, even if it’s the only moment where I can say that. The film is fortunately saved by the performances, which, on the whole, are pretty good. Especially Charles Durning, who brings an authoritative, guilty presence to his character. Not the best start, but it could be much worse.
A Nightmare on Elm Street (Rewatch) [✔️]
How could I not watch A Nightmare on Elm Street this month? I mean, Freddy Krueger is the face of 1980s horror. That’s a strong accolade, since the decade was oversaturated with slashers. Nightmare is an impressive, timeless feature with a genius concept: What if you can’t sleep? Here, Freddy steals every scene with quotable lines such as “This…is God” and “I’m your boyfriend now, Nancy,” along with distinguished practical effects. The scene where Freddy molds his face in the wall over a sleepy Nancy Thompson is an all-time favorite. That effect in particular brings a level of awe that I often don’t feel with horror films. On a different note, the ending threw me off this time around. I must have forgotten how nonsensical and abrupt it is. Seriously, it makes no sense. It almost soured my feelings, but thankfully, the film has so much going for it that I’ll give it a pass.
You’re Next [✔️]
Another slasher, this time based in reality, with post-9/11 fears such as home invasions and random violence. Those fears were common in the horror genre this century. What makes You’re Next stand out from the crowd is the lead heroine. Erin is the exact character you want to root for. She’s capable, intelligent, and strong-willed. She lays traps, uses darkness to her advantage, and is often thinking five steps ahead of the killers. Director Adam Wingard doesn’t force it, either, or develop Erin into someone unbelievable. The story also has some fun twists, turns, bloody kills, and comedic elements, with a surprisingly well-developed cast of characters. However, much like the previous entry, the ending is just too bizarre and goofy. The abrupt tragedy with the police officer is almost eye-roll-worthy. Everything was going so well; it’s almost like Wingard forgot he had to end it.
A Nightmare on Elm Street 3: The Dream Warriors [～]
Often considered the second-best Nightmare film, A Nightmare on Elm Street 3: The Dream Warriors left me bitterly disappointed. Not that the film is downright bad, just lacking in what made the first film work so well. Freddy’s menace is somehow absent here. He’s a little funnier, a little more creative, but not as scary. The plot is eccentric, with the characters learning dream powers to fight the killer, yet he’s barely around. The film takes so long getting to the memorable parts. A paralyzed teenager learns to walk and become a wizard in the dream world. Why do I have to wait through an hour of dialogue to get to that? The last twenty-five minutes are almost an incredible payoff, but if I hadn’t been so bored, maybe I would have enjoyed it more.
Black Christmas (1974) [✔️]
Somehow, not the only Christmas-themed film this month. Black Christmas is pretty much a double-holiday experience. Sure, Christmas is in the name, the atmosphere is snowy, and the film is not shy about including a few carols. However, it’s also about a deranged serial killer who makes obscene phone calls, hides in the attic, and brutally murders sorority girls. The film is downright unnerving. The killer’s actions are almost entirely shown through POV shots, and when we do get a small glimpse of him, it’s terrifying. For example, the eyeball-in-the-door-hinge moment is one of the most effective scares I’ve seen in horror cinema. Black Christmas left me unsettled, so it’ll be great to watch with the family this December, haha.
The Addams Family [✔️]
Easily the friendliest watch this month. To call the film horror would be a stretch, but The Addams Family are simply Halloween. They are twisted and live in a gothic, decrepit house. A Frankenstein-esque creature is their butler. A disembodied hand lives with them. It’s all spooky Halloween fun and felt like the perfect time to visit for the first time.
The Slumber Party Massacre [𝙓]
Not really a fun film in any regard, especially with the campy, exploitative premise. Aside from the obvious commentary or plot development, The Slumber Party Massacre is just so damn stiff. The characters are hollow, with their actors forcefully delivering their lines. I read somewhere that people love the film because of the characters, but for me, I simply did not.
Killer Klowns From Outer Space [✔️]
Killer Klowns From Outer Space is an expertly paced joyride. No, the plot isn’t cohesive, and the characters don’t have much to them, but please, tell me you didn’t have a fun time. It’s straight and to the point and never goes too far outside of its best moments, which are quite frequent. The intricate special effects, the visual gags, the lines: it all works too well. Eighty-six minutes of clowns killing people with popcorn shotguns, hand puppets, alien ray pistols, boxing gloves, etc. The film is downright hilarious at times, and I would have loved to be in the room when they came up with this idea. Over the last few weeks, I found myself going back to scenes or just quoting lines. It moved me because the title promises absurdity and consistently delivers.
An American Werewolf in London [𝙓]
Wow, what a letdown. Firstly, the effects are the only saving grace for this film. They are very impressive, especially that first transformation sequence. Besides that, you follow a boring, uncharismatic lead who gets no arc. His female companion is just there to fill the cast out. His doctor, whom the film leads you to believe will have a significant role or will figure things out, does nothing. Some of my disappointment may be my fault, since I thought Griffin Dunne would be in the film more. I was wrong and punished for it.
The Hills Have Eyes (1977) [～]
A really bad set of characters trapped in a well-designed predicament. You’re stuck in the middle of nowhere, with no one to help you. The cannibals are pretty scary, but man, this movie just meanders and repeats itself. It felt like there was a solid payoff around the corner, but it never fully sticks the landing. Probably the most obvious moment is when the brother and sister are fighting the dad cannibal by the trailer. It was the first time the film developed strong momentum, but it ended up falling short. The ending is so abrupt, I had to just say, “Oh wow.” Not bad, but not great, just OK.
Halloween (1978) (Rewatch) [✔️]
Talk about another abrupt ending. I’m sensing a pattern here. Thankfully, it’s effective here. Director John Carpenter’s camera work is Halloween‘s greatest strength. Every shot is efficient, intended, and, when the tension reaches a boiling point, you are completely immersed. The film has maintained a strong legacy over the years, and for good reason. It’s a great, suspenseful horror film. Michael Myers’ random killing spree is much more effective than the deep psyche dive we get in the sequels, or other slashers for that matter.
The Return of the Living Dead [✔️]
A pure ’80s rollercoaster ride. That’s both a good thing and a bad thing. The concept is solid, the jokes are on point, the music kicks ass, but the characters fall short. They are not bad, just serviceable. It could have been the film’s downfall; however, The Return of the Living Dead brings enough to the table. Barely killable zombies eating a bunch of self-reflective punks. It’s pretty cool.
Alien [✔️]
I won’t say much. Not because I have nothing to say; I just don’t have anything new to say about Alien. It’s probably the most beloved horror sci-fi film ever. Simply put, this is one of the greatest-looking films ever made. Not only from a production standpoint but a directorial one as well. Every shot could be taken and hung in a frame.
Saw [𝙓]
Movies can give you headaches sometimes. Saw did that to me. I f**king hate the way the film is edited. The jump cuts and spazzed, sped-up sequences are unbearable. On top of the editing, you’re subjected to some of the worst dialogue you’ll ever have to hear. “This is the most fun I’ve had without lubricant!” Really? Are you kidding? I rolled my eyes so far into the back of my skull, I could see my brain.
The Hills Have Eyes (2006) [～]
Surprisingly, The Hills Have Eyes remake is on par with the original. The film is kind of in a weird place since the original isn’t that great anyway. I will say, Doug actually feels like a character, and his eventual revenge plot feels earned. The family is also more entertaining and genuine. The controversial rape scene is still here, and bleh, it’s too much and then keeps going. I get that the depravity is scary, but here it’s excessive.
The Fog [𝙓]
John Carpenter, Jamie Lee Curtis, and Tom Atkins. How could The Fog not be legendary? The film is just boring. Most of the runtime is given to developing the town itself, but it eventually goes nowhere. The atmosphere, which should be thick and powerful, is often underutilized. If the atmosphere is the most captivating factor, you must pace it well. Momentum is often lost in service of bare-minimum dialogue. That lack of momentum brought me to an ending where I was completely checked out.
Invasion of the Body Snatchers (1978) [✔️]
In almost perfect contrast to The Fog, Invasion of the Body Snatchers is a well-paced, momentous horror sci-fi thriller. Aliens have invaded the Earth and are controlling/cloning people for unknown reasons. It’s a simple premise, and it works. Donald Sutherland is a charismatic, people-champ protagonist. Every time he would discover something new about the invasion, I felt that I was right there with him. That’s probably why the ending feels so tragic. I had seen a still image of the ending in years past, but actually watching the scene was something different. That scream, the point, and the look on Nancy’s face will be etched in my mind forever.
Frankenstein (1931) [✔️]
It’s so bizarre watching a film from 1931. Not just because the effects, makeup, lighting, and story are impressive, but also because anyone associated with the film is no longer around. Frankenstein is a relic of time. The film’s sustained legacy is largely due to Boris Karloff’s Frankenstein’s Monster, whom he plays with innocence and fear. The scene where he throws the little girl into the pond is a prime example of his greatness. The confusion alone sells the Monster as a character, but more importantly, as a tragic figure.
Halloween III: The Season of the Witch [✔️]
Don’t believe the scrutiny. Halloween III is a lovely, absurd sci-fi horror film, one that matches a similar tone to the original and is ripe with atmosphere. The characterization is thin, and the film is sometimes off-paced, but so is the original. For example, Laurie Strode is not an exceptional lead character, and neither is Daniel Challis. They’re not BAD characters, just serviceable, and they help carry the film through their concepts (also, their actors being inherently charismatic is a plus). So why does Halloween III get undervalued and the original doesn’t? The narrative is so interesting that, even when the film is not at its best (particularly the rushed romance sub-plot), it’s still firing on all cylinders. The bad guy hatches a plan to kill millions of children, using chips from Stonehenge, via masks, to fulfill a centuries-old pagan Halloween tradition. That is simply incredible, in all of its impossibility. Then, after the insanity, we are given a total knockout ending. H3: Season of the Witch is a surprise, and I’m happy to see the film get a proper reevaluation in recent years.
Carrie (1976) [𝙓]
Carrie is almost a good film…almost. It’s a slow-burn, so it’s only fair for me to be a little patient. That being said, get to the d*mn point! The film meanders while fixating heavily on De Palma’s filmmaking techniques. Constant slow-mo sequences, split frames, and a dreamlike atmosphere muddle the film into mush for me. For example, when Sue gets into the dance, she notices a rope along the stage. We get not only a slow-mo tilting shot along the ENTIRE rope, interwoven with people dancing, but also another slow-mo tilting shot down the entire rope back to the stage. That was like 3 minutes of nothing. That’s only one example of stale, inert pacing. It just did not connect with me. The story is fine, though, and the acting was OK, to end on a kinder note.
Shaun of the Dead (Rewatch) [✔️]
Shaun of the Dead is a fun parody film. It’s also a clever parody film. The film has a surprisingly tight emotional core, along with likable, well-realized characters. Jokes constantly call back to one another or lead to later plot developments, and that’s pretty awesome. It felt like the film refused to become a gag fest or an overloaded mess. Everything had a purpose, which is something rare in comedy films. Simon Pegg and Nick Frost’s chemistry leads to one of the best friendships in modern cinema. They won’t stop playing video games together until death.
Pumpkinhead [𝙓]
Pumpkinhead is a well-produced creature feature. The atmosphere, set design, and, of course, the Pumpkinhead costume itself stand out. However, production design alone can’t save a movie for me. The rest of the film is hollow and frankly stupid. I can excuse bad decisions in movies sometimes, especially horror, but come on. His son is injured, yet he doesn’t take him to the hospital? The entire plot hinges on that decision. It is very important, but never addressed. It is just too stupid for me; I gave up.
Wes Craven’s New Nightmare [～]
I’m starting to think this franchise isn’t that great. Wes Craven’s New Nightmare has a unique premise. What if Freddy transcended the films and had been haunting Wes Craven for years? That is pretty dope! What we get is a slow, self-serious, by-the-numbers slasher film. The characters are pretty thin, and they introduce an annoying little kid. Take Danny from The Shining, strip him of any real significance, and make him scream a ton. I felt like the film should have done more to warrant such a cool idea.
Gremlins (Rewatch) [～]
Being disappointed by a film you loved as a kid is a different type of hurt. Gremlins is just OK. It’s slow and illogical. The puppetry is awesome, the kills are great, the gags are solid, but when the Gremlins are off-screen, it’s pretty hollow.
Creature from the Black Lagoon [✔️]
As a kid, I read a book called Teacher from the Black Lagoon. It was a good book, and Creature from the Black Lagoon is a good film. The underwater sequences are especially beautiful. If the film took place entirely underwater, it might have been even better. The second Universal monster film I’ve seen, and I’m starting to like them.
Dog Soldiers [～]
Dog Soldiers is an admirable effort, limited by budget constraints and weak story structure. The film is just predictable and repetitive, even when the concept is goofy, self-serious fun. At the end of the day, it’s a bunch of Scottish military men fighting a pack of deadly werewolves in an old farmhouse in the country. It’s worth the price of admission for that alone; just keep your expectations realistic.
Trick ‘r Treat (Rewatch) [✔️]
I’m gonna say it: Trick ‘r Treat is the perfect Halloween film. Of course, it’s spooky and seasonal, but it’s mixed with a strong core and a few great performances. Halloween itself is the glue here. Multiple stories are tied to the holiday, both in spirit and history. The film honors both the day’s origins and its modern-day traditions. While some plot lines are stronger than others, the film attaches the same amount of effort to each one. While the film has gotten more attention in recent memory, Trick ‘r Treat still feels underappreciated. I should have saved this one for Halloween night.
The Fly (1986) [✔️]
David Cronenberg has not started off strong for me. A History of Violence and Videodrome fell flat when I watched them, so my expectations for The Fly were set low. Thankfully, the film is a substantial offering. Body horror is an acquired taste, one I haven’t fully developed, but here it’s grandiose and grossly delectable. Watching Jeff Goldblum’s gradual transformation into a disgusting, tragic creature is engrossing. It’s nonsensical, but it knows you’re not really here for the story. You’re here to throw up.
The Wolf Man (1941) [✔️]
The Wolf Man may be my favorite of the original Universal monster films. The melancholic tragedy really hit me this time around, and werewolves are simply awesome. The film expands on werewolf lore, introducing mythology like the importance of silver, the full moon, and the gypsy tragedy. The film also just looks really good. The shot of his foot stuck in a bear trap is etched in my mind. Larry’s slow, uncontrollable descent is one of early film’s greatest rides. A lot of horror films are tragedies, and The Wolf Man is one of the best.
Dracula (1931) [～]
Easily my least favorite of the classic Universal monster films. Dracula is beautifully atmospheric, yet lacking in compelling characters, story structure, or thematic depth. The character of Dracula is inherently compelling. He’s charismatic, unpredictable, and at times, an unstoppable force. I appreciate the film for introducing him to the cinematic world in true form. I just wish it was a more enjoyable adventure.
The Amusement Park [✔️]
I ended the month on a strong, but uniquely depressing note. Romero’s ageism PSA is dreamlike and nightmarish. The obvious social commentary is both astounding and horrific. The film is a wandering tale through society’s misaligned value of the human experience. Every example of the mistreatment is unfortunately timeless, hitting you in the gut with each swing. I didn’t leave The Amusement Park frightened, but, as the narrator said, “You too will be old someday.” My body was shook to its core. To me, that is Halloween.
Thank you for making it through.
This month was filled with more disappointments than months past, but honestly, that is a good thing. I went outside my comfort zone into a genre that hasn’t spoken to me very much. Films like Killer Klowns From Outer Space and Halloween III surprised me with their wacky concepts. Critically praised films like Carrie and Dracula fell mostly flat. 31 horror films started to hurt after 20, so forgive me if I take a break, haha.