The Shining (Directed by Stanley Kubrick) 1980

Arguably the greatest horror film of all time in many critics and fans' eyes, and who am I to argue. 'The Shining' takes the premise of the 'haunted house' movie to new shocking levels of fright as Jack Nicholson stars as writer Jack Torrance who, along with his wife Wendy (Shelly Duvall) decides to take a job as an off-season caretaker at an ominously large hotel during a harsh winter. Along with their son, Danny, the family settle in to the Overlook Hotel not realising it is on fact built on the site of a Native American burial ground and that during the terrible winter months the hotel often becomes shut off from the outside world due to the severe snow.

This of course means that tormented author Jack is pretty much left to his typewriter and his thoughts whilst his son is left to wander to empty, icy corridors of the building and due to his ESP qualities starts to foresee tragic events at the hotel whilst encountering some seriously eerie apparitions, including two young girls of gaunt complexion and flowing blood. Jack too becomes tormented by the isolation of the setting and also starts to have bizarre encounters, and begins a slow descent into insanity where he attempts to murder his family.

'The Shining' I so much more than a horror film and even without its plethora of oddities which have become soaked into the walls of the hotel, the atmosphere alone of the setting is enough to give anyone goose bumps, and with Nicholson giving one of the performances of his life, this movie makes for quite chilling viewing with the movie featuring several scenes which have been considered 'classic' over the years.

Although Stephen King, who wrote the original novel, wasn't best pleased with Kubrick's interpretation of the tale, this is without doubt one of the great five horror movies to ever grace our screens, and whatever flaws it may have I condemn anyone who sits through such a film and isn't moved by its supernatural power.

Alien ( Directed by Ridley Scott) 1979

The ultimate in claustrophobic horror, Ridley Scott's menacing sci-fi chiller is up there with some of the best horror films, and like all the classics, contains a selection of scenes that will live long in the memory - chest-bursting beast anyone? The movie, which stars Sigourney Weaver, John Hurt, Ian Holm and Harry Dean Stanton among others, is set aboard a spaceship carrying a crew back to Earth, but they pick up a peculiar signal which seems to be emanating from some derelict craft which just so happens to be occupied by a hideous extra-terrestrial monster that begins to feast on the humans once they are aboard. And not only that, but it seems as if the being is breeding, as the crew stumble across numerous bizarre egg-like formations, resulting in a stalk n' slash episode for the thinking man. 'Alien' is just one of those films you have to watch, rather than hear about - I saw this as a kid in the early '80s and the stuffy passageways, sweaty shadows and ferocious aliens really gave me the creeps. The creatures of this epic were based on work by talented artist H.R. Giger, and despite spawning a number of sequels, including the impressive immediate follow up 'Aliens,' the original is far superior when it comes to out and out scares and horror, and boasts enough blood and jumps to effortlessly ooze itself into any horror film chart. As expected, the script is good, the plot excellent and the acting strong, but unlike so many other sci-fi monster movies, 'Alien' succeeds on atmosphere alone.

The Signalman (Directed by Lawrence Gordon Clark) 1976

Another festive chiller that stood hand in hand beside some of those creaky M.R. James television adaptations. 'The Signalman' is taken from the 19th century Charles Dickens short story and concerns a troubled signalman who looks after a remote segment of railway. The signalman is befriended by a rambler, and in him confides that he has been seeing a terrible figure by the tunnel entrance that shadows the railway. Initially the rambler scoffs at such spooks and ghouls, but senses that the signalman is clearly disturbed by the alleged apparition. Several terrible tragedies occur on the line near to where the wraith is seen, and its last appearance signals the end for the signalman too, as he is draw to the tunnel by the gaunt, waving figure only to be hit by a passing train.

When this was shown on television as part of the 'Ghost Story for Christmas' it marked a new event in the BBC calendar, such was its festive atmosphere amid those foggy moors and hills. Denholm Elliot is superb as the troubled signalman and this adaptation is wrought with tension and as darkness falls, and the rambler leaves, the signalman is left to his own devices and also the powers of the mind.

Like so many of these adaptations the horrors are subtle, but have all the antiquarian charm of the original tale, and will certainly make the viewer wary of those hidden places of the British countryside. 'The Signalman' was filmed at the Severn Valley Railway, that runs through Worcestershire and Shropshire, and is the perfect setting for this classic ghostly tale.

Carnival of Souls (Directed by Herk Hardevy) 1962

Arguably one of the creepiest films of all time, 'Carnival of Souls' relies on a strong sense of atmosphere and a degree of surrealism to succeed. We meet a trio of women who whilst driving are challenged to a race by a group of ne in another vehicle. The women decide to take up the offer but end up speeding over a bridge into a river. The lead role is played by Candace Hilligoss (she plays the role of Mary) who somehow survives the crash, although she surfaces from the murky depths some three hours after the accident. When Mary eventually returns to work strange things begin to occur, resulting in the appearance, as she is driving, of a peculiar pale-faced man (played by the director.) From here on Mary begins to investigate the area where the man has been seen and finds out there used to be a carnival situated on the spot, all the while Mary continues to suffer peculiar bouts involving losing her hearing and even becoming invisible to the rest of the world. Eventually this surreal movie leads us to a very eerie climax, and one can see why masterful director of the surreal, David Lynch, became so influenced by this true oddity of film-making. Hard to believe that this flick was shot for such a low budget and received rather poorly first time round, but the sheer atmosphere alone of this movie means that today it considered a cult classic. It's one of those films that doesn't really on any effects to get its message across, so I suggest you seek it out if you like your films a little weird.

The Fearless Vampire Killers (Directed by Roman Polanski) 1967

Also known as 'Dance of the Vampires,' this comedy horror is essential viewing if you're a fan of vampires and atmosphere. The movie, like many vampire films, is set in the dark heart of Transylvania where we meet Professor Abronsius and his sidekick Alfred who are stalking the night in the hunt for the bloodthirsty undead. Alfred, played by Polanski, is a rather bumbling apprentice, who, whilst staying at an old inn falls for a young lady named Sarah (played by Sharon Tate - who was married to Polanski) but the biggest concern for the Professor - apart from his own old age and aversion to the weather, is the bizarre behaviour of the locals who are keen to perform weird rituals to ward off the rumoured local evil spirits.

When Sarah is kidnapped by the local Count, Alfred and the Professor follow a trail through the snow-laden landscape in search of the culprit, which leads them to a dusty old castle where they, through invitation by the Count, stay the night, resulting a comedy of errors rather than terrors in this joyous romp that I first saw as a child and distinctly recall Alfred and the Professor sledging through the snow in coffins!

Jack McGowan is fantastic as the Professor and 'The Fearless....' goes down as one of my favourite vampire films of all time just due to the feel-good factor alone rather than the blood and gore which may feature in lesser quality films.

The Evil Dead (Directed by Sam Raimi) 1981

I guess no horror movie listing can be without Sam Raimi's cult classic. Such was the controversy about this film upon its arrival mainly due to the gory scenes, but first and foremost the scene involving the bizarre tree rape. In reality, 'The Evil Dead,' despite its scares and blood-shed, is very much comic horror, directed in zany fashion by Raimi is takes on the now standard premise of the group of young adults confined to a stuffy woodland cabin only to open up the gates of Hell by reciting some ancient book of the dead which brings from the cracks a whole host of chattering, salivating demons. The first would star a bunch of unknowns, including Bruce Campbell who would go on to become a cult hero, especially for his performances in the equally maniacal sequel and less demented third film. As it stands, 'The Evil Dead' is one of the best stalk n' slash/zombie/occult/ghost movies ever, combining graphic yet Technicolor effects with rather crazed acting, but all this adds up to a cauldron of fun and fear, all done on a low budget and yet to great effect, mainly due to the fact it was shot on a 16mm camera. College kids have never been so blood-soaked! 'The Evil Dead' was slapped on the 'nasties' list but has stood the test of time and as a result is quite an original if slightly cheesy flick that pretty much sums up its era.

Les Frisson De Vampires (Directed by Jean Rollin) 1971

As far as Gothic atmosphere goes, French director Jean Rollin is one of my favourites - an absolute master of the macabre and the king of evoking images of foggy graveyards, scantily-clad wenches and eerie ruins. 'Les Frisson...' (which translates as 'The Shiver of the Vampire') is a spooky lil' vampire tale concerning two newlyweds, Antoine and Isle, who, as part of their honeymoon visit two of Isle's cousins, only to reach their destination to find out that both women died the day previously. Isle is naturally devastated, but they still decide to visit the chateau where the two women lived and are shown to their rooms by two mysterious women. Isle, so upset by her loss, decides to visit the churchyard where her two cousins are buried although whilst sleeping alone that night she is accosted by a strange woman who appears from the grandfather clock and bites her neck. And this is just the start of the weirdness....like so many of Rollin's films 'Les Frisson...' has to be experienced for its high bouts of eerie strangeness and surrealism.

Antoine, no doubt concerned by the fact his wife is sleeping alone goes to seek her out but only stumbles upon a ritual sacrifice involving both of the allegedly dead cousins. And so we are thrown in at the deep end of this seriously odd vampire tale but in topically Rollin fashion it's extremely lavish and Gothic, full of misty churchyards, wide-eyed gorgeous females and psychedelic twinges. After a while you really don't care what it's going on, and whilst many of Rollin's films pan out like peculiar art movies, they are so gloriously creaky and creepy that the viewer really doesn't want to wake up from the odd dreams Rollin evokes. The imagery is what makes these films so special, and I'd recommend one slaps this on during a dark autumnal night - light a few black candles and sit in your coffin. Wonderfully dodgy from soundtrack to script.

Tombs of the Blind Dead (Directed by Amando de Ossorio) 1971

Over the last few years there has been a rather annoying trend in regards to zombie films. Sadly, a majority of these films are mere rip-offs of those George A. Romero classics, but over the past few decades there have been one or two gems that have risen from the bandwagon of flesh and really made their mark and 'Tombs of the Blind Dead' is one of those. This is Spanish horror at its finest, 'Tombs...' being the first of a handful in the series to explore the ancient order of the Knights Templar. We follow a couple on a train journey who along the way meet an old female friend who stirs up a few sexual, yet embarrassing memories for the young woman, whilst her boyfriend clearly fancies the new girl on board. However, out of embarrassment, the female of the couple jumps off the train and ends up in the wilds and finds herself spending the night in some old ruins where the Templars were interred. However, the corpses wake from their seemingly eternal slumber and begin to stalk her through the ruins - her only advantage being that the zombies can't see, but do of course have a sense of smell and alert hearing. This makes for a rather intriguing horror movie which is far better than it actually sounds. Eventually, her boyfriend and the other woman return to the ruins in order to find out exactly what happened to her and they too are hunted by the dusty dead.

When it comes to slow-moving suspense and creaky atmosphere, this really is a gem of a horror flick that should please fans of zombie films but offer them something completely different too. The other three movies in the series are, 'Return of the Blind Dead,' 'The Ghost Galleon,' and 'Night of the Seagulls,' which all follow a similar theme but which all reek of atmosphere. Great stuff. And believe me, there's nothing better than seeing a creepy zombie on horseback!

The Wicker Man (Directed by Robin Hardy) 1973

'The Wicker Man' is simply a great, atmospheric horror film, set on a remote Scottish island it follows the investigations of Police Sergeant Neil Howie (played brilliantly by Edward Woodward), who is looking into the mysterious disappearance of a young girl. Howie visits Summerisle only to be frowned upon by the locals, although rather quickly he finds himself amidst an island community who are pagans. Howie is rather disturbed, after all, he's a devout Christian who rather taken aback by the ways of life he now suddenly has to become accustomed to - but not only is he consumed by the esoteric ways, but also becomes intrigued by one Lord Summerisle (Christopher Lee), who is the head of the cult, and once Howie starts to accuse Lord Summerisle in regards to the disappearance of the young girl, things take on a turn for the worse as the police officer becomes an object of sacrifice.

'The Wicker Man' is a truly frightening film that has all the charm of a British summer and yet the suggestive horror which often hides within the nooks and crannies of Britain's folkloric avenues. And so, amidst a wicker effigy of burning flames, peculiar folk music and the vacant stares of the island community, Sergeant Howie goes up in smoke, quite literally, and confirms our suspicions that all is not right on that island.

This gem of a movie easily makes its way into the top ten horror films of all time, and those testosterone fuelled film freaks among us will no doubt cite the wonderfully erotic scene involving Britt Ekland as being the sole reason this film is so good!! However, 'The Wicker Man' is simply such a striking movie which reeks of atmosphere and mystery and long may it live in the memory. It's a film that simply has to be seen rather than the curious simply relying on any review as an insight.

The Blood On Satan's Claw (Directed by Piers Haggard) 1970

I guess there's nothing creepier than unearthing the bodily remains of Satan in a field! 'The Blood On Satan's Claw' sits perfectly alongside 'The Wicker Man' and to a lesser extent 'Witchfinder General' is a classy piece of folkloric horror, made all the more deliciously evil as it stars Linda Hayden, who, alongside a few other townsfolk, begin to sprout claws, weird patches of hair etc, after the shocking discovery. It seems that a number of locals are demonically possessed and it takes a judge, who has been reading up on the supernatural, to visit the infected village and bring the evil power to its knees.

There is something distinctly evil about this British spooker, bringing to mind the joys of the 'Hammer House of Horror' movies of the '70s. '...Satan's Claw' evokes images of hazy British summers and yet also suggests, just like 'The Wicker Man,' that all may not be right with such a remote village. I still find these types of movies incredibly eerie and the mere thought of digging up the remains of some vile demon which in order spawns a deadly outbreak of possession, is still quite unnerving. These are the sort of films that no-one will be able to remake because they are very much of a time and yet ahead of their time in their eerie glory.

When A Stranger Calls (Directed by Fred Walton) 1979

If ever a film succeeded on its first twenty or so minutes then it would be Fred Dalton's bone-chilling 'When A Stranger Calls.' Indeed, the opening films - based on an urban legend known as 'The Babysitter & The Man Upstairs' is a terrifying reminder that not all horrors lurk in the hands of monsters, but things which are far closer to home. Carol Kane stars as Jill Johnson, a babysitter for a doctor, who begins to receive a series of scary phone-calls from a weirdo who asks her to "check the children." Of course, Jill isn't bothered about the seemingly prank calls but when they continue - even after checking the children upstairs - she become rather spooked and so phones the police. The authorities tell Jill that if she can keep the caller on the line for long enough then they'll be able to trace the call which, ultimately to her horror, turns out to be coming from upstairs!! In horror Jill flees the house, the children murdered upstairs - and cue a murder investigation - the result being that an English sea merchant being arrested and sent to an asylum.

If this blog was to concern the best beginnings of films then 'When A Stranger Calls' would easily be in the top three, and despite the fact that the film soon becomes a rather tepid thriller, it still maintains a level of suspense as seven years later the killer escapes from the institution and eventually beings to stalk Johnson, who, whilst having dinner with her husband at a restaurant, gets a call from the deranged man who asks her whether she has "checked the children." This results in a creepy set of scenes which I won't give away in case you haven't seen the film, but 'When A Stranger...' is still a decent little chiller which is basically a remake of Walton's original short film, 'The Sitter.' In 1993 a sequel of sorts, 'When A Stranger Calls Back' was made, and wasn't a bad little movie and also stars Carol Kane.

Fright (Directed by Peter Collinson) 1971

This British tale of suspense may surprise a few people that it's been given an entry but 'Fright' is a wonderfully atmospheric lightweight slasher film that relies heavily on its mood. The film stars Susan George, Dennis Waterman, George Cole and Honor Blackman - Cole and Blackman being a couple who leave their young son in the capable hands of babysitter George, whilst they go for an evening meal. However, all alone in the old house George soon begins to become rather spooked, especially with some of the bumps in the night which, thankfully for her anyway, turn out be from boyfriend Chris (Waterman) who decides he wants to keep George company in the dead of night. The trouble is, the couple don't realise that the child's biological father - a chap named Brian - has just escaped from a mental institution and is on the prowl, outside, then in....resulting in a cat and mouse game that makes for quite spooky viewing. 'Fright' was certainly a pre-cursor to some of the more grisly slasher films that did the rounds shortly afterwards, but despite being bereft of blood, it plays out like a very tense thriller that typifies the grit and drama of British movies. Good stuff, a real gem.

The Stone Tape (Directed by Peter Sasdy) 1972

Nothing really beats the power of a British television ghost story. 'The Stone Tape' was a relatively complex festive chiller starring Jane Asher, Michael Bryant et al, and written by Nigel Kneale - the king of British suspense. The term 'stone tape' is often used by paranormal investigators to describe an alleged residual haunting, an anomaly which somehow embeds itself into an atmosphere only to be played back unintentionally by certain witnesses - i.e. a phantom coach and horses seen on a route it would have taken many years ago. In this spine-tingler - which combines atmospheric sci-fi and eerie ghost story - we meet a team of researchers, headed by Peter Brock (Bryant) who are part of an electronics company who are using an old Victorian mansion as their headquarters. When the team arrive at the creaky house they find that one of the rooms hasn't been refurbished by the builders amid rumours that strange things have been going on, leading the construction team to down tools. When the electronics team investigate they are suddenly intrigued by the sound of a woman running and then a terrible scream. Then, one of the team, a woman named Jill Greeley (Asher) experiences a ghostly encounter - a spectral woman running up a flight of stairs and then plummeting to her death.

It seems that what Jill has witnessed did in fact take place in the Victorian era, leading the researchers to become embroiled in the mystery of how this 'stone tape' has come about and the esoteric qualities behind its existence. 'The Stone Tape' is one of those atmospheric television movies that combines the cold unnature of 'Quatermass' with a more modern stirring of M.R. James. It's typical of its time but as gripping as it is dated. Again, the strong cast enables this 90 minute film to consume the viewer with its dank haunting and leads us to a chilling climax. There is something so authentic and creepy about 'The Stone Tape and like a majority of films and dramas of this era, they have yet to be bettered, but more appreciated by those who grew up with such realistic horrors.

Dark Intruder (Directed by Harvey Hart) 1965

Now here's an obscurity that might be new to a few of you horror fans. 'Dark Intruder' is a strange little TV movie starring Leslie Nielsen of all people, but it plays out like some late night anthology episode and runs for only an hour. Even so, this chilling and wonderfully atmospheric, fog-drenched movie has all the hallmarks of a mini-classic and is set in 1890 amid a series of bizarre murders in which victims are accosted by a peculiar cloaked being which leaves a weird statue by each victim. It's not long however before the police, and a supernatural expert are on the trail of the marauder which some believe to be some type of Sumerian demon.

'Dark Intruder' is filmed in black and white and as an incredibly misty atmosphere and reasonably intricate plot that reminds one of an H.P. Lovecraft story. We meet a priest who claims that the demon in question will commit seven murders, in accordance to the seven spokes of a wheel which can be found in an old shop, and comes accompanied by a hideous demonic figure. It's a shame that the series to which 'Dark Intruder' was to be a pilot for failed to materialise, because this short movie is far more atmospheric that films of far greater budget. Shadowy to say the least, 'Dark Intruder' is a ominous mix of the Jack the Ripper slayings and 'Trilogy of Terror.' A fantastic precursor to those 1970s TV movie chillers.

Dog Soldiers (Directed by Neil Marshall) 2002

'Dog Soldiers' is a rip-roaring British werewolf movie set in the Scottish highlands and stars Sean Pertwee as a Sergeant Wells, who, alongside Private Copper (Kevin McKidd) and a small team of British troops are dropped off in the wilds as part of a training mission against an SAS unit, only to discover the gory remains of their quarry. The only survivor from the SAS unit is a Captain Ryan (Liam Cunningham) who only seems to mumble insane words about the unseen assailants, however, soon the British troops are under attack from a group of bloodthirsty werewolves. The troops flee the scenes but are rescued by a zoologist named Megan (Emma Cleasby) who takes them to a remote farmhouse to hide. The trouble is however that the werewolves are soon on the scent and Megan isn't as innocent as once thought - cur a series of grisly murders, high-paced action, lashings of dark, typically British humour and - considering it's a fifteen certificate - buckets of gore. 'Dog Soldiers' is certainly one of the best werewolf movies this side of 'An American Werewolf...' and 'The Howling' and leads us to a stirring finale. 'Dog Soldiers' isn't a frightening horror film at all, but who said all good horror flicks have to be scary. A much talked about sequel has yet to materialise.

The Exorcist (Directed by William Friedkin) 1973

Arguably the most powerful, frightening and greatest horror film of all time - 'The Exorcist' is an unrivalled yet often imitated tale of supernatural possession. Directed by William Friedkin and adapted from William Peter Blatty's classic 1971 novel, 'The Exorcist' is one of only a handful of horror movies that lives long in the memory, mainly due to its chilling soundtrack taken from Mike Oldfield's 'Tubular Bells' and the hideous transformation of Regan McNeil (played by Linda Blair) who is taken over by a demon to such chilling effect. 'The Exorcist' is far more complex than all manner of today's extremely average possession tales, with Father Lankester Merrin, whilst in Northern Iraq, discovering an ancient amulet in the form of a terrible demon named Pazazu, which via the opening of an Ouija board sets up home in the soul and body of 12-year old McNeil who lives thousands of miles away in Washington D.C. From here on McNeil displays not only incredible strength but also a dark side resulting in her constantly swearing. All this of course is monitored in a hospital but after negative results it is believed that Regan is in fact possessed - and responsible for several accidents and murders.

To those who've not seen this shocker of a film it's quite to describe such is its icy atmosphere, but those who have succumbed to its darkness will often speak of several scenes which have become embedded into the annals of film. The rotating head, the green vomit, the rising from the bed and the horrid crucifix scene were so ahead of their time and still shocking to this day, amidst rumours of a curse on set and one or two peculiar subliminal screen flashes - 'The Exorcist' has gained a reputation that it most certainly deserves. Hard to believe that this movie wasn't shown on terrestrial television in the UK until 2001 and didn't get a proper home video release until 1999. Personally, 'The Exorcist' is way too powerful and frosty movie to sit through, and that's the reason I could never make it my number one of all time, but it's highly unlikely any other film will come close when it comes to a tale of demonic possession and hideous effects. The sequels were rather dire - especially 'The Heretic' and an unrelated Italian 'The Exorcist III' but the official third movie, entitled 'The Exorcist III' starring George C. Scott contained some frightening moments.

The Omen (Directed by Richard Donner) 1976

A rather obvious entry which as a movie slots nicely alongside the likes of 'The Exorcist' and 'The Amityville Horror,' when it comes to its occult atmosphere. 'The Omen' is a reasonably powerful US/British flick starring Gregory Peck and Lee Remick. Peck plays a US diplomat who becomes U.S. Ambassador of Great Britain but not before a series of terrible events plague the couple. Remick's new born baby, unbeknownst to her dies and so Peck, at the advice of the local chaplain, agrees to take a recently orphaned child to replace the son he lost - but choose not to tell Remick so as to keep her mentally stable. From hereon the couple, who name their child Damien Thorne are plagued by misfortune, including several deaths - those being the family nannies alongside several 'accidents' and fires. A local priest suggests to Peck that Damien could well be the antichrist to which Peck scoffs at, but several more tragedies later including his own, and his wife's death, result in Damien being taken into care by the US presidency as a way of gaining more power.

'The Omen' is a classic horror flick but not the sort of movie you'll be watching on a regular basis. Even so, with strong acting and several nasty scenes, the most memorable being the decapitation of Keith Jennings (played by David Warner) and the miscarriage of Remick caused by Damien.

Overtly Satanic in its theme 'The Omen' shocked audiences around the world and many fans believed that the actual movie was cursed due to several deaths including cast and crew members. 'The Omen' often appears in 'top 100' lists so it's no surprise that it appears here. It's a film I'd certainly recommend that you watch especially if you consider yourself a horror buff.

The Amityville Horror (Directed by Stuart Rosenberg) 1979

Based on reputedly true events which materialised in Jay Anson's 1977 book of the same title, 'The Amityville Horror' was quite a shock to the system back in the '70s with other movies such as 'The Exorcist' and 'The Omen' making big bucks. Although heavily flawed, 'The Amityville...' is still a great haunted house movie and concerns a couple who move into their new home only to be plagued by a series of uncanny events - including a horrid black goo oozing down the walls, flies infesting the place, red eyes appearing and other occult influences - driving the family to distraction. The couple find out that the house was once the setting for a murder and that it may also sit on an ancient burial ground - but whereas 'Poltergeist' is more flashy with its effects, 'The Amityville...' over time hasn't dated well, but one must remember that for it's time this was quitter a spooky movie that had audiences going home terrified. The cast is strong with appearances from Margot Kidder, Rod Steiger and James Brolin, and yet despite being a huge success at the cinema it was panned by critics.

Whatever your thoughts on these type of '70s and early '80s occult movies, one thing is for sure, they embedded themselves into our psyche which is more than can be said for a majority of modern horror films which are hyped to the rafters only to fail in all departments. Certain scenes and that big white house will always exist in our minds, and 'The Amityville...' just like 'The Omen' etc, were the kind of film you watched, but didn't want to return back to just in case those evil influences visited your home too! Such a film spawned a million imitators but this is one of those movies where you have to keep asking yourself, "Did it really happen?"

Poltergeist (Directed by Tobe Hooper) 1982

An essential entry especially if one grew up in the late '70s and early '80s with this sort of supernatural horror. The 'Poltergeist' trilogy, despite its rather flashy effects, was a decent enough batch of movies and typically Spielberg in its outlay and writing process. In reality it's a rather simple film concerning a family who move to a Californian suburb only to have their little girl abducted by the ghostly forces on the other side. Maybe the parents should have known something odd was going on when their daughter, Carol Anne, started conversing with the TV screen! As usual the supernatural weirdness becomes the subject for a team of parapsychologists and it just so happens the neighbourhood was in fact built on an ancient burial ground and the portal to this dimension is in fact situated in the closet of Carol Anne! Cue a number of heart-jumping scenes of typical paranormal drama and bumps in the night effects, resulting in what became one of the '80s most frightening episodes, winning 'Poltergeist' numerous awards.

'Poltergeist' is a fine movie that acts as a darker side to other paranormal Hollywood blockbusters such as 'E.T.' The film was given an even more sinister reputation when several of the cast members and crew were said to have died after an alleged curse was said to have been put on the film - although this is unfounded, despite the fact that some tragedies certainly befell a few of those involved, including the death of Heather O'Rourke who played Carol Anne. Either way, whatever you choose to believe, 'Poltergeist' is a special effects extravaganza which at times is a little too showy meaning that the scares are rather dramatic rather than atmospheric and suggestive, but it's still a film I hold dear to my heart and the two sequels, including the ghastly man in black, weren't bad either. However, it's the moment when Carol Anne claims that "They're here!" which lives long in the memory.

Hellraiser (Directed by Clive Barker) 1987

A truly original British horror movie from the man who at the time was being labelled as the saviour of horror, and indeed, for a time, Clive Barker was. 'Hellraiser' is a nasty horror movie that revolves around a chap named Frank who purchases an intriguing puzzle box from a market in Morocco completely unaware that by the time he's solved the object, he'd have opened the gates of Hell and his flesh would have been torn by steely hooks that worm from the box. And as if that wasn't bad enough, Frank's completion of the puzzle means that he is also due a visit from a group of grotesque beings, fronted by the sinister Pinhead, and so begins a series of evil events involving Frank's brother Larry who, along with his wife (who once had an affair with Frank), move into an empty house where Larry had grown up. Although Larry's daughter Kirsty doesn't want to move in with the couple, and chooses to get her own place, things take on a very sinister turn when Larry cuts his hand on a nail...the blood dripping to the floor, and being soaked up by the building, in turn feeding the gored remains of Frank's hidden corpse which, in all good time, comes back to life, but weirder still, Larry's wife, Julia, then stumbles upon the partly reanimated carcass of Frank in the attic, and as you do, decides to feed him blood in order to bring him back to his normal state!

'Hellraiser' is a truly dark and twisted film that gets stranger the more it runs, with Kirsty realising that Julia is taking men back to the house, possibly to have sex with them, but Kirsty's curiosity gets the better of her and she enters the house just in time to see Julia murdering someone for the benefit of Frank's regeneration process! In the commotion, Kirsty finds the puzzle box, runs from the house, takes the box with her, solves the puzzle and then ends up getting a visit from the Cenobites - the dreaded clan of eerie humanoids with Pinhead at the helm. From here on there are more twists and turns as one could imagine as Kirsty strikes up a deal with the Cenobites by promising to return Frank to their fiery Hell, only to realise that the walking corpse has now inhabited the skin of her father, Larry and posing as him!

Sure, it all sounds rather daft, but by watching 'Hellraiser' only then can you appreciate the pure genius of Barker and the overwhelming darkness of this hideous, hellish movie. An acquired taste for some, but hell, even the sequels were okay!

The Manitou (Directed by William Girdler) 1978

What a strange little film this is. Based on the book by Graham Masterton 'The Manitou' is a supernatural horror film which centres upon a woman named Karen, played by Susan Strasberg, who visits the hospital after finding a lump on her neck. Unsure if the lump is a malignant tumour she begins to go under a series of x-rays only to experience blinding pain throughout resulting in the surgeons believing that the lump could well harbour a living being - possibly as some type of foetus. Oddly, the tumour turns out to be the reincarnation of some Native American shaman seeking revenge on the white man. The idea of 'The Manitou' sounds pretty absurd, and you'd be correct in thinking so, but as a film it's typical of the late '70s, combining a dash of sci-fi effect with the outcome being that another Native American witchdoctor is called in to battle the now burgeoning long-haired midget that springs from the fleshy tumour. Bizarre to the extreme, and yet somehow part of my growing up, this lukewarm lump of flab is nowhere near as seedy or demented as 'Basket Case' but the fact that Burgess Meredith and Tony Curtis star may well give it some credibility...or not. I'm sure that horror purists may be questioning as to why I've included this film, and y'know what, I don't really know but give me this over 'Spiderman' and the likes any day. Very much a cult offering, it's one of those films that probably thought it could end up as popular as 'The Omen' etc, but fell flat on its face.

The Omega Man (Directed by Boris Sagal) 1971

Whilst not strictly a horror film, 'The Omega Man' takes the zombie idea to another level. Although I'm still uncomfortable with Charlton Heston in the role of U.S. Army Co Robert Neville, and also whilst the film differs greatly from Richard Matheson's wondrous work, this is still an engaging thriller. Those of you who are fans of 'Walking Dead,' and the classic zombie films, will find much to savour here although 'The Omega Man' is pretty much bereft of gore, but it places Neville as one of the only people left on the planet after serious biological warfare has literally wiped most of the population out. Apart from Neville all that remains in those city ghettos' and dark corners are an unhinged gang of albino mutants who prowl by night and sleep in the day. Dressed in dark hoods and of pasty complexion these miserable nocturnal dwellers spend their days seeking out Neville, who, has turned his apartment into a fortress to survive.

The main reason that Neville is a wanted man is because he has the cure for the plague, and has injected himself with it, whilst the mutants are simply out to destroy all of mankind and what it stands for. However, much to his relief Neville does find a group of survivors, but as so many zombie movies go, it becomes a matter of trust - but he learns to have faith in the living, especially a woman who saves him from the clutches of the hooded ones. It's now a matter of time however for Neville's cure to reach those youngsters who, due to their youth have become partly immune to the virus, but again trust issues arise, resulting in Neville becoming mortally wounded by the leader of the cult but, before his death hands his serum to the survivors.

As I say, it's a relatively harmless movie that lacks any real punch but it is a zombie movie with a difference and deserves its place even if it borders on being relegated to the second division.

The Driller Killer (Directed By Abel Ferrara) 1979

'The Driller Killer' - well, the title, just like 'Texas Chainsaw Massacre' kinda says it all...doesn't it? Well, not really. Any of you who know the work of Abel Ferrara should know that nothing this man does is easy on the eyes - after all, he does his own thing, and often in gruelling fashion, but 'The Driller Killer' was his first horror piece and caused such controversy that at the time of its release censors were foaming at the mouth and parents worldwide expected this to be another of those rumoured snuff films. I distinctly recall that this was a hard to get hold of movie, and years later I'm wondering what all the fuss was about, but at the same time I'm also angry as to how this was dismissed as just another slasher film. Sure, the killings - in graphic nature, are carried about by a guy wielding a drill, but like so many of Ferrara's movies there's most certainly a deeper aspect to the whole affair. So, step forward tortured artist Reno Miller - played by Ferrara - who is not only in debt with most of his bills, but also constantly agitated by the awful punk band rehearsing in the next apartment. Couple this with the fact that Reno is having a few relationship problems as well as issues with a gallery owner over a painting he is currently working on and it's enough to send a man crazy - especially as one is living in a grotty ghetto area of drugs and, sleaze and murder - and so eventually Reno snaps, and, armed with a power drill begins killing some of the local bums.

Although very much an independent film, Ferrara's drill flick has earned cult status and mostly positive reviews despite it's rather grimy feel and strong gore scenes. Naturally the movie caused a lot of controversy, named because of its gore scenes but also its mere name and the overtly gross cover and it was this film that quite literally brought about the Video Recordings Act of 1984 which started the 'video nastie' panic, in which films such as 'The Driller...' were banned. Sadly, as is often the case a number of those who dismissed the movie had never even seen it but I'm sure that deep down Mr Ferrara would have lapped up the controversy.

'The Driller Killer' isn't the snooze-fest everyone seems to imagine, and neither is it the dumb, formulaic slasher film either, in fact this film and its moods would only be a hint at some of Ferrara's les gory, yet equally controversial pieces such as 'Bad Lieutenant'.

Dawn of the Dead (Directed by George A. Romero) 1978

Those not affected by the atmospheric chills of 'Night of the Living Dead' may well have thought that 'Dawn...' which emerged a decade or so later, was going to be familiar fair, and yet it was from removed - especially in regards to the splatter. George A. Romero really upped the ante with this episode of the undead, only this time round instead of confining the survivors to a remote house he opted for the more glossy appeal of a shopping mall. The last place on Earth you'd expect a zombie movie to work, but boy does it work. As with 'Night...' we're told of some type of plague that has resulted in corpses coming back to life and feasting on the flesh and blood of the living, but what Romero has a talent for is character building, not being reliant on just having a few dummies being ripped to pieces for effect. The point is, Romero builds characters that you can actually feel for - some you like, some you hate, but it's such a vital cog in the wheel of what makes a very, very good horror movie.

'Dawn...' may lack atmosphere, but it makes up for that with gore - this being bright red blood of the highest order - that is sent all over the screen, the floor and over the walls as several zombies and humans meet their grisly deaths. Of course, a shopping centre is probably the ideal place for refuge considering the supplies of food etc but once the zombies are let in it's down to a case of getting to the top of the building and escaping. I'd have been very interested to have seen the proposed original ending for the film in which the two 'survivors' - Francine and Peter - commit suicide, but I'm guessing this would have given the whole film a rather bleak climax - but even so, despite escaping via helicopter, we just know that most of the planet by now is choc-a-bloc with zombies. If it wasn't for films such as 'Dawn of the Dead' there'd be no 'Walking Dead' of today. It's also fair to say that despite the overtly gory effects and occasional irritating character, 'Dawn...', just like 'Night...' hinted at real apocalyptic nightmares. And let's face it, you just can't beat a zombie film where the undead in question merely amble along - it almost tempts one to try their luck at dodgy the walking corpses just to get that extra bag of crisps and beer for dinner. 'Dawn...' was remade in 2004, and despite being adequate, it nowhere near matches the splattery class of this.

Salem's Lot (Directed by Tobe Hooper) 1979

This TV mini-series (released as one film) is based on the 1975 Stephen King book and remains one of the greatest horror films ever made. Despite its many flaws, it is a chilling vampire adaptation starring David Soul and features one of the best head vampires ever put to screen - alongside a frightful bunch of other pale-skinned bloodsuckers. The movie - whilst not as detailed or as graphic as King's book - still makes for a spook-fest in the sense that is combines a good old fashioned vampire idea with haunted house drama as we follow writer Ben Mears (Soul) returning to his home town only to find the place infested with creatures of the night, all too willing to contaminate others too.

'Salem's Lot' not only builds slowly but has all the suspense and drama of one of those 1970s Dan Curtis productions - and presents to us the Marston House, which looks like every other creaky haunted house - but what are the strange crates being delivered and who is the mysterious Richard Straker (James Mason) who is living there? Well, it just so happens that master vampire Kurt Barlow (Reggie Nalder) has returned and when townsfolk start disappearing and then reappearing as vampires, it's down to Mears and old friend Jason Burke to prevent the spread of evil. 'Salem's Lot' I one of those must-see movies that showcases a number of scares - including the young vampire tapping at the window of his brother - which have stayed with me for a long, long time. 'Salem's Lot' was the movie which provoked me to make a wooden crucifix for my bedroom window, so that says it all really. It's certainly one of the scariest films I saw in my youth, and despite lacking violence or gory lashings, it easily slips into my top 10 horrors, let alone top 100. Just watch it.

Rosemary's Killer (Directed by Joseph Zito) 1981

Also known as 'The Prowler,' this American slasher film is far from being on everyone's top 100 list, and yet once again it's another of those films I was brought up with. The film begins by presenting a show reel of news items regarding troops returning to Europe as part of the Second World War and a lady named Rosemary writing to her lover that, because of war, she can no longer wait for him. On June 28th 1945 Rosemary attends at Graduation dance with her new boyfriend, but someone, dressed in combat regalia is observing the couple and then murders them with a pitchfork. And so begins a series of unexplainable murders every Graduation, with the killer - always dressed in army gear - searching for his victims.

'Rosemary's Killer' is not the most inventive slasher film and occupies that same dark corner as films such as 'My Bloody Valentine' (not reviewed) in that it's a rather predictable and at times dull affair, but it does feature some of Tom Savini's best effects. Sadly a full minute of gore was cut from the Europe editions, including some of the original pitchfork effects - which is a shame, but whilst the murders and the killer in recognisable garb are effective, there are no big thrills or chills, but 'Rosemary's Killer' is rather formulaic like so many other similar stalk n' slash movies. Somehow though it occasionally rises above the mediocrity and has a certain charm and I often find myself going back to it. Very much of its time but the promotional poster is absolute killer!

The Lost Boys (Directed by Joel Schumacher) 1987

Right, slap bang in the middle of the dominance of heavy metal music, 'The Lost Boys' emerged - a vampire movie completely at the other end of the scale from 'Nosferatu' yet still as riveting. 'The Lost Boys' was a simple vampire tale, but one of fun more than horror. Featuring a strong cast, including Keifer Sutherland as the blonde vamp leader, 'The Lost Boys' tells the tale of a family and their move to Santa Carla, California only to become involved with a gang of vampire rockers. Corey Haim stars as the fatherless boy who, with mother (Dianne West) and brother (Jason Patric) move from Arizona to stay with their grandfather - but things take a turn for the worse when Sam's (Haim) brother Michael (Patric) falls for local girl Star (Jamie Gertz). Star just so happens to be part of a vampire gang, who begin to draw Michael into their deadly grip - but Sam, with the help of new found buddies the Frog brothers (played by Corey Feldman and Jamison Newlander) are on the ball, and eventually it's down to them - and with a little help from Grandpa - to rid Santa Monica of its fanged marauders.

Admittedly, 'The Lost Boys' is light on gore, but it makes up for that with the acting and humour, and is typical of an '80s film and yet still doesn't appear dated a few decades later. Interestingly, of all the good vampire films to have emerged over the years - such as 'Near Dark' - 'The Lost Boys' wins every time due to its feel-good factor and strong cast. There's nothing overtly dark about the movie, although I'm sure when this first hit the cinema it was rated an '18' - but if anything it seems to be aimed at the rebellious souls among us, especially those in the '80s who allegedly turned to the dark side by listening to heavy metal music and reading horror comics. Not a life changing film by any stretch of the imagination but one which you'll watch and feel all the better for it. One of THE essential vampire films.

Texas Chainsaw Massacre (Directed by Tobe Hooper) 1974

So here it is, probably my favourite horror film of all time - the one film that I can watch time and time again just for its atmosphere, let alone its shocks. Made on a low-budget in a blistering summer haze Tobe Hooper gathered together a troop of unknowns and unknowingly propelled them, and himself into the annals of film folklore. The plot was oh so simple, a group of friends decide to visit old haunts and stumble upon an old, seemingly abandoned farmstead. Along the way they pick up a rather demented hitchhiker who they eventually ditch but then meet again as it turns out he's one of the unhinged reprobates who occupy this fetid property - but he's the last of their worries, as those along for the journey - including wheelchair-bound Franklin, succumb to the horrors mainly perpetrated by some guy who wears human flesh as a mask.

When 'Texas Chainsaw Massacre' first hit the screens many recoiled in horror, whilst those never brave enough to view this seedy lil' movie simply believed in the rumours and hype that it was some type of gore-soaked snuff movie. There were others of course who believed it was simply a realistic horror film based on the killings of one Ed Gein, but whatever the truth, not many films have caused such controversy. 'Texas Chainsaw Massacre' is certainly one of the most terrifying films ever, but only if you understand that type of backwoods realism. I saw a re-release of this movie in the '90s and was shocked by a group of loathsome teenagers in the back row who were laughing at most of the scenes. They clearly thought that today's modern monsters were far more terrifying than being abducted by a bunch of retarded murderers who got kicks out of propping their victims up on meat hooks and sawing them up with a chainsaw. The simple fact is, 'Texas...' IS a terrifying movie in the same way 'Deliverance' is and 'Hills Have Eyes' is etc. It doesn't have to explore our fear of the unknown because the dread it produces can simply lurk around the next corner, whether in a deserted barn, or a run-down shack. More than just a slasher film, 'Texas...' introduces us to several maniacal characters - from Grandpa to the formidable Leatherface, and the opening scenes of him bashing his first victim over the head with a hammer lives long in the memory. Filmed at times like a docu-drama the film also succeeds because of its acting. The scary bad guys are believable, which instantly gives them an advantage over the viewer, and secondly, the victims, especially Sally Hardesty (played by Marilyn Burns) genuinely look as if they've been put through the mill with a real bunch of serial killers. One can never forget her expression as she leaps in that open-back van at the end and stares in horror at Leatherface dancing around in the road.

'Texas...' is a film that is almost flawless because of its achievements with such a low budget, and it was swept up by the censors during the initial 1984 video 'nastie' wave, but despite the controversy it, just like Leatherface keeps coming back. Sadly, all sequels and re-makes haven't been fit to lick the boots of the original let alone lace them, but for real, genuine horror 'Texas Chainsaw Massacre' reminds us that there are people out there, in those woods exactly like those disturbed characters that Sally and co' meet. Pulled apart by critics, examined, re-examined, analysed and re-analysed, through it all 'Texas...' is a simple horror film that came at the right time, and it will never be bettered.

Nosferatu (Directed by F.W. Murnau) 1922

People often ask me what my favourite horror film of all time is, and it's often an answer I can't give, but if I had to pick a small batch of films to place into that bracket then this silent movie would be one of them. Forget all other vampire films, and all of this 'True Blood' shite, 'Nosferatu: A Symphony of Horror' has to be one of the greatest and most atmospheric and original horror films ever made, and even more amazing when one considers its age. People often speak about Bela Lugosi as 'Dracula' but nothing comes close to Max Schreck's interpretation as the Count. Hard to believe that, according to rumour, Bram Stoker's heirs wanted this movie destroyed as they felt it was too much of a rip-off of Stoker's classic novel - but thankfully one print survived, and 'Nosferatu', just like the classic fictional book, remains unequalled.

I often place 'Nosferatu' alongside 'Vampyr' and 'The Cabinet of Dr Caligari' when it comes to three of the most surreal and atmospheric horror movies. Fans of today's ultra-violent movies will probably not understand the sheer spine-tingling quality of this film and its touches of genius - such as the shadow ascending the stairs, and its hand grasping the breast/heart of its potential victim. Although there are many changes here from Stoker's work, i.e. instead of Count Dracula, the fiend of this piece is better known as Count Orlok, 'Nosferatu' is still very much a separate entity which stands alone as a piece of crackly Gothic horror. If anything 'Nosferatu' is the closest movie interpretation we'll ever have when it comes to representing our idea of Count Dracula, such is the lithe menace of this bald-headed, big-browed entity. As 'vampire' films go this is far from being scary, in fact it offers romanticism and haunting depth and proves that not all great horror movies need resort to fright, but there is no greater bogeyman than Count Orlok. For those of you who don't like 'Nosferatu' then clearly you do not understand the concept of horror at all. From its setting to its lighting 'Nosferatu' is light years ahead of its time.

Trilogy of Terror (Directed by Dan Curtis) 1975

Dan Curtis really was the king of the terrifying made-for-TV movie. 'Trilogy of Terror' though, would've been quite unremarkable if it wasn't for the terrifying tale known as 'Amelia.' Basically, 'Trilogy....' as its name suggests, was three short movies, the other two being 'Julie' and 'Millicent & Therese' which were rather dull affairs - but as a child I distinctly recall watching 'Amelia' and watching the terror on the face of my mum as actress Karen Black (R.I.P.) who stars in all three tales, is terrorised in her apartment by a hideous Zuni fetish doll. This nasty little short film is typical of its time, being like so many made-for-TV dramas that sadly have never been replicated such was their atmosphere and horror.

'Amelia' is named after Karen Black's character who, whilst living in a high-rise apartment block, returns home from shopping one day to find a fetish doll perched on the table. The 'toy' intrigues Amelia due to its ghastly appearance, and comes with a small scroll which states that the aboriginal figure actually contains the spirit of a warrior. Amelia also notices that wrapped around the waist of the figure is a gold bracelet, but thinks nothing more of it as she has more pressing matters, that being her overbearing mother who she speaks to on the phone. Sadly for Amelia, the chain on the doll slips off releasing the hidden power and the figurine takes on a life of its own and armed with kitchen knife stalks the women through her apartment.

The plot may sound rather daft but for its time this episode affected a lot of people, especially as they would've watched this on late night TV. Worst of all I recall the chilling climax as Amelia, gored, cut and mutilated by the monster, eventually hurls the doll into the oven, and to this day I can still hear the screams of my mother as she yelled at the television, "Don't open the oven you silly cow..." but of course, Amelia does, and, cut to the final scene we are greeted by Amelia - possessed by the Zuni warrior. Great stuff.

So many of these type of horror anthology's made their way to us kids back in the '80s and they really do not make them like this anymore. Dan Curtis was a master of his craft, and Karen Black the perfect actress with her unusual looks at portraying weirdness and terror. I also recommend the episode 'Bobby' which featured as part of the 'Dead of Night' trilogy around the same time.

Night of the Living Dead (Directed by George A. Romero) 1968

I'm a huge zombie fan but George Romero's 1968 black and white classic still remains unbeaten as an undead fright-fest. Many zombie films came before and after this low-budget flick, but this really sets the stall out when it comes to lumbering, blood-thirsty corpses rising from the grave and taking over the world. Cue also those inner frustrations of the community struggling to survive, those being a small group of characters penned up in a Pennsylvanian rural farmhouse whilst the dead walk the planet.

This is no ordinary zombie film - and it begins life as a seemingly pleasant drive through the countryside involving Johnny and Barbra who are en route to a cemetery to pay their respects to a deceased relative. However, the journey takes on a terrible turn for the worst when the couple are harassed by a stumbling and rather pale gent' who just happens to be dead. Johnny comes off worse and is attacked by the ghoul, and is killed when he falls and smashes his head in, leaving Barbra fleeing in terror from the zombie. Barbra ends up at the farmhouse, and whilst she thinks she's safe in the company of the survivors, the inner friction and the fact that there's a rather creepy girl in the basement means that 'Night of the Living Dead' becomes a horrifying and claustrophobic movie that to this day causes the spine to shudder. Even amidst those haywire radio reports we never truly find out why the dead have chosen to walk the Earth, but there's something so reflective and downbeat about this movie that it plays out more than just a silly low-budget blood-fest. The ending, in which black hero Ben, gets shot by the authorities - who mistake him for a zombie and throw him on the pyre - seems to say a lot about society and the fact that critics, even to this day, continue to debate the merits and flaws of this film says a lot for its overwhelming power. 'Night of the Living Dead' is the sole reason we are so afraid of zombies, and the fact that zombie films are still so successful today is testimony to the fantastic direction of George A. Romero and his clan of skin-slurping dead 'uns. Romero would follow this movie with a brace of zombie classics, but neither of them - although reviewed, came close to this horror.

The Changeling (Directed by Peter Medak) 1980

Not to be confused with the more recent Angelina Jolie drama - this 1980 ghost story is another of those classic haunted house scenario's starring George C. Scott as a composer who moves to a big, old creaky Victorian house in Seattle after losing his wife and son to a terrible road accident. Scott, who plays John Russell, attempts to put his life back together but is soon aware that he's not home alone. The house is haunted by the unhappy soul of a young boy who was murdered, and to get Russell's attention he plays the usual array of haunted house tricks, i.e. shattering windows, bumps in the night, a ball bouncing down the stairs seemingly of its own accord etc. Thankfully Russell isn't frightened to the point of fleeing and so curious is he by the apparition that he delves into the mystery linking the murder to a wealthy family with links to the senator of the United States.

The ghost of the film seeks justice and draws in John Russell to solve the mystery, resulting in a reasonably complex plot and a half-decent climax. As ghost stories go, despite employing the usual scares 'The Changeling' is quite a spooky little number that now seems ahead of its time considering the amount of dreadful haunted house films doing the rounds these days. As expected, the acting is excellent, making 'The Changeling' perfect viewing for a Halloween night by the fire.

The Hills Have Eyes (Directed by Wes Craven) 1977

Another corker from director Wes craven, 'The Hills Have Eyes' easily slots itself alongside 'Texas Chainsaw Massacre' as one of the '70s most humid and disturbing exploitation films of all time. Starring the easily recognisable Michael Berryman, as part of a clan of desert dwelling primitive murders, 'The Hills...' revolves around a family who take to the desert of Nevada as part of a joyous road trip, only to break down en route in one of the most inhospitable and remote of environs. Even worse for the Carters however is the fact that the surrounding hills are inhabited by a bunch of cannibals who, with a sniff of the air, sense that their is some new flesh in town to violate, and violate they do, resulting in a series of nasty deaths, rape and the family turning to animal instinct in their quest to halt the terror.

'The Hills...' is one part 'Texas Chainsaw...' another part 'Deliverance' whilst tying in true-life tales of cannibalism (Sawney Bean) with a backdrop of hazy desert and rugged, barren hills. The acting is strong to the point that you actually feel for the family as they succumb to all manner of deaths perpetrated by this incestuous bunch of weirdo's - and the bad guys of this movie, just like in Hooper's 'Texas Chainsaw...' are the sort you really wouldn't want to meet in any movie, let real-life scenario. 'The Hills...' benefits from its atmosphere and scenery, hard to believe that it was originally going to be set amidst forest terrain, but the violence is certainly stronger than most commercially successful horror films, and it's no wonder the video was branded with an x-certificate. 'The Hills...' is certainly one of the best horror films ever made, and whilst its sequel was pretty poor the 2006 remake was surprisingly adequate. However, nothing beats the ghoulish terror of this hot n' sweaty original that to this day remains so influential - one only has to watch movies such as 'Wrong Turn' to see the effect that 'The Hills...' has had on the modern horror genre, and yet none of them are fit to lace the boots of this classic.

Maniac (Directed by William Lustig) 1980

Forget the appalling remake, William Lustig's original psychological slasher film is a classic gory shocker that digs its talons deep into the flesh, leaving a mark long after its finished. The film stars, and was written by Joe Spinell, who features as a rather mentally disturbed lunatic with a mother issue, the sort of....er...maniac who feels the need to prowl the sordid and seedy backstreets of the Big Apple in search of female friendship in order to remove their scalps to adorn his leering manikins. Worryingly Spinell brings this tale of a schizophrenic serial killer to life, and for that he has to be admired, because as movie killers go, Frank Zito is one of the more effective when it comes to realistic stalk n' slash.

I've often coupled this film with Ferrara's seedy 'The Driller Killer' simply because both films are underrated and both films wrongly perceived - neither just being simple slasher affairs. Admittedly, this is the sort of violent flick that will, and did cause controversy, and almost a minute of cuts meant the gore scenes were unrecognisable. Special effects are provided by gore master Tom Savini - best remembered in the movie for being part of the blood-spattered shotgun scene, and the blood-shed comes thick and fast amidst a back drop of smog-choked New York as Spinell roams the night in search of victims.

What is clear from 'Maniac' is that it is loosely based on real-life serial murders, such as the Son of Sam killings, and possibly the San Francisco Zodiac murders. 'Maniac' plays out like a dirty serial killer movie culminating in a weird, disturbing climax that left room for a possible sequel which sadly never manifested. 'Maniac' is at times gruelling and has the appeal of a New York subway on a Saturday night, but such is the low life quality of 'Maniac' that to this day it still remains as the perfect albeit fictional insight into the mind of a serial killer. Forget 'Silence of the Lambs,' this is the real bloody deal. The promotional poster says it all!

The Last House On The Left (Directed by Wes Craven) 1972

Hard to believe this was directed by the same man who brought us such overrated works as 'A Nightmare On Elm Street' and 'Scream.' 'The Last House On The Left' is a nasty piece of work when it comes to film-making - it being Craven's first film as director and one that leaves a horrible taste in the mouth after viewing. It's exploitation horror at its finest and has the feel of a horrid snuff movie inspired by the Manson murders and concerns two teenage girls who are planning to go to a concert together, but who end up in the clutches of a group of prison escapees, including the delightful Krug (whose name I'm sure would inspire Craven's Freddy Krueger character years later) who is played with venom by David Hess. From here on it's a roller-coaster ride of seediness, sex and slashing as the girls are subjected to all manner of sordid acts, resulting eventually in the death of one of them and a gory climax. It's hard to describe the dirty attitude of this film, but it's much preferred to the less adequate and equally controversial 'I Spit On Your Grave' but belongs in the same grotty pit. The acting is extremely realistic and the effects will have you at times turning away such is the depraved nature of things, and when accompanied by an almost contradictory soundtrack, 'The Last House...' plays out like a serial killer documentary at times.

It's no wonder 'The Last House...' caused such controversy during its release and ended up on the 'video nasties' list in 1982. Even today the film has suffered so many cuts that it's not really worth viewing, but despite its flaws and its bitter taste it is actually a good horror film that, like so many good horror films, spawned a terrible remake. Even so, whilst very much of its time one can see a quality amidst the horrible scenes and realise that this isn't just one of those films made to shock, but something with more depth but it's not the sort of flick you'll be slapping on during tea-time.