Horror Film
Horror Film
Horror Film
Horror films are movies that strive to elicit fear, horror and terror responses from
viewers. In horror film plots, evil forces, events, or characters, sometimes of supernatural
origin, intrude into the everyday world. Horror movies usually include a central villain.
Early horror films often drew inspiration from characters and stories from classic
literature, such as Dracula, Frankenstein, The Mummy, The Wolf Man, Phantom of the
Opera and Dr. Jekyll and Mr. Hyde. Later horror films, in contrast, often drew inspiration
from the insecurities of life after World War II, giving rise to the three distinct, but
related, sub-genres: the horror-of-personality film, the horror-of-Armageddon film, and
the horror-of-the-demonic film. The last sub-genre may be seen as a modernized
transition from the earliest horror films, expanding on their emphasis on supernatural
agents that bring horror to the world.[1]
Horror films have been criticized for their graphic violence and dismissed as low budget
B-movies and exploitation films. Nonetheless, all the major studios and many respected
directors, including Alfred Hitchcock, Roman Polanski, Stanley Kubrick, Francis Ford
Coppola, and George Romero have made forays into the genre. Serious critics have
analyzed horror films through the prisms of genre theory and the auteur theory. Some
horror films incorporate elements of other genres such as science fiction, fantasy,
mockumentary, black comedy, and thrillers.
Contents
[hide]
• 1 History
o 1.1 1890s-1920s
o 1.2 1930s-1940s
o 1.3 1950s-1960s
o 1.4 1970s
o 1.5 1980s
o 1.6 1990s
o 1.7 2000s
• 2 References
• 3 See also
• 4 External links
[edit] History
[edit] 1890s-1920s
The horror film genre is nearly as old as film itself.[2] The first depictions of supernatural
events appear in several of the silent shorts created by film pioneers such as Georges
Méliès in the late 1890s, the most notable being his 1896 Le Manoir du diable (aka "The
House of the Devil") which is sometimes credited as being the first horror film[2]. Another
of his horror projects was 1898's La Caverne maudite (aka "The Cave of the Demons",
literally "the accursed cave"). [2] Japan made early forays into the horror genre with Bake
Jizo and Shinin no Sosei, both made in 1898.[3] In 1910, Edison Studios produced the first
film version of Frankenstein, thought lost for many years, film collector Alois Felix
Dettlaff Sr. found a copy and had a 1993 rerelease.[4]
The early 20th century brought more milestones for the horror genre including the first
monster to appear in a full-length horror film, Quasimodo, the hunchback of Notre-Dame
who had appeared in Victor Hugo's novel, "Notre-Dame de Paris" (published in 1831).
Films featuring Quasimodo included Alice Guy's Esmeralda (1906), The Hunchback
(1909), The Love of a Hunchback (1910) and Notre-Dame de Paris (1911). [5]
Many of the earliest feature length 'horror films' were created by German film makers in
1910s and 1920s, during the era of German Expressionist films. Many of these films
would significantly influence later Hollywood films. Paul Wegener's The Golem (1915)
was seminal; in 1920 Robert Wiene's The Cabinet of Dr. Caligari, with its Expressionist
style, would influence film-makers from Orson Welles to Tim Burton and many more for
decades. The era also produced the first vampire-themed feature, F. W. Murnau's
Nosferatu (1922), an unauthorized adaptation of Bram Stoker's Dracula. [6]
Early Hollywood dramas dabbled in horror themes, including versions of The Hunchback
of Notre Dame (1923) and The Monster (1925) (both starring Lon Chaney, Sr., the first
American horror movie star). His most famous role, however, was in The Phantom of the
Opera (1925), perhaps the true predecessor of Universal's famous horror series. [7]
[edit] 1930s-1940s
It was in the early 1930s that American film producers, particularly Universal Pictures
Co. Inc., popularized the horror film, bringing to the screen a series of successful Gothic
features including Dracula (1931), and The Mummy (1932), some of which blended
science fiction films with Gothic horror, such as James Whale's Frankenstein (1931) and
The Invisible Man (1933). Tod Browning, director of Dracula, also made the extremely
controversial Freaks based on Spurs by Ted Robbins. Browning's film about a band of
circus freaks was so controversial the studio burned about 30 minutes and disowned it.
These films, while designed to thrill, also incorporated more serious elements, and were
influenced by the German expressionist films of the 1920s. Some actors began to build
entire careers in such films, most notably Boris Karloff and Bela Lugosi. The iconic
make-up designs were then created by Universal Studios, Jack Pierce.
In 1931, Fritz Lang released his epic thriller M, which chillingly told the story of a serial
killer of children, played by Peter Lorre.
Other studios of the day had less spectacular success, but Rouben Mamoulian's Dr. Jekyll
and Mr. Hyde (Paramount, 1931) and Michael Curtiz's Mystery of the Wax Museum
(Warner Brothers, 1933) were both important horror films.
Universal's horror films continued into the 1940s with The Wolf Man 1941, not the first
werewolf film, but certainly the most influential. Throughout the decade Universal also
continued to produce more sequels in the Frankenstein series, as well as a number of
films teaming up several of their monsters. Also in that decade, Val Lewton would
produce atmospheric B-pictures for RKO Pictures, including Cat People (1942), I
Walked with a Zombie (1943) and The Body Snatcher (1945).
The first horror film produced by an Indian film industry was Mahal, a 1949 Hindi film.
It was a supernatural thriller and the earliest known film dealing with the theme of
reincarnation.
[edit] 1950s-1960s
With the dramatic advances in technology that occurred in the 1950s, the tone of horror
films shifted away from the gothic towards concerns more relevant to the late-Century
audience. The horror film was seen to sever into three sub-genres: the horror-of-
personality film, the horror-of-the-demonic film.[8] A stream of low-budget productions
featured humanity overcoming threats from "outside": alien invasions and deadly
mutations to people, plants, and insects, most notably in films imported from Japan,
where society had had a first taste of nuclear power. In some cases, when Hollywood co-
opted the popularity of the horror film, the directors and producers found ample
opportunity for audience exploitation, with gimmicks such as 3-D and "Percepto"
(producer William Castle's pseudo-electric-shock technique used for 1959's The Tingler).
The more sensitive directors of horror films of this period, including The Thing from
Another World (1951; attributed on screen to Christian Nyby but widely considered to be
the work of Howard Hawks) and Don Siegel's Invasion of the Body Snatchers (1956)
managed to channel the paranoia of the Cold War into atmospheric creepiness without
resorting to direct exploitation of the events of the day. Filmmakers would continue to
merge elements of science fiction and horror over the following decades. [9] One of the
most notable films of the era was 1957's The Incredible Shrinking Man, from Richard
Matheson's existentialist novel. While more of a "science-fiction" story, the film
conveyed the fears of living in the "Atomic Age" and the terror of social alienation.
Original poster for The Thing from Another World.
The late 1950s and early 1960s saw the rise of production companies focused on
producing horror films, including the British company Hammer Film Productions.
Hammer enjoyed huge international success from full-blooded technicolor films
involving classic horror characters, often starring Peter Cushing and Christopher Lee,
such as The Curse of Frankenstein (1957), Dracula (1958), and The Mummy (1959) and
many sequels. Hammer, and director Terence Fisher, are widely acknowledged as
pioneers of the modern horror movie. Other companies contributed to a boom in horror
film production in Britain in the 1960s and '70s, including Tigon-British and Amicus, the
latter best known for their anthology films like Dr Terror's House of Horrors (1965).
American International Pictures (AIP) also made a series of Edgar Allan Poe–themed
films produced by Roger Corman and starring Vincent Price. These sometimes
controversial productions paved the way for more explicit violence in both horror and
mainstream films. Teaming with Tigon British Film Productions, AIP would make what
is perhaps the most brutal horror film of the late 1960s: Michael Reeves' Witchfinder
General (film). Released in 1968, it was oddly retitled for American audiences as The
Conqueror Worm, most likely in an attempt to capitalize upon the success of AIP's earlier
Poe-themed offerings. But the tale of witch hunter Matthew Hopkins (played by an
uncharacteristically humorless Vincent Price) was more sadistic than supernatural — a
reflection of a decade defined by changing tastes in horror.
In Alfred Hitchcock's Psycho (1960), for example, the object of horror certainly doesn't
appear as monstrous or a supernatural other, but rather as a normal human being.[8] The
horror has a human explanation, steeped in Freudian psychology and repressed sexual
desires. Other seminal examples include Peeping Tom (Michael Powell, 1960),
Homicidal (William Castle, 1961), What Ever Happened to Baby Jane (Robert Aldrich,
1962), Hush, Hush, Sweet Charlotte (Robert Aldrich, 1964), Pretty Poison (Noel Black,
1968), and The Collector (William Wyler, 1965). Films of the horror-of-personality sub-
genre continue to appear through the turn of the century, with 1991's The Silence of the
Lambs a noteworthy example. Some of these films further blur the distinction between
horror film and crime or thriller genre.
Ghosts and monsters still remained popular, but many films that still relied on
supernatural monsters expressed a horror of the demonic. The Innocents (Jack Clayton,
1961) and The Haunting (Robert Wise, 1963) were two such horror-of-the-demonic films
from the early 1960s, with high production values and gothic atmosphere. Perhaps the
most recognizable milestone of the sub-genre remains Rosemary's Baby (Roman
Polanski, 1968), in which the devil is made flesh.
Hitchcock's The Birds (1963) had a more modern backdrop; it was a prime example of a
menace stemming from nature gone mad and one of the first American examples of the
horror-of-Armageddon sub-genre. One of the most influential horror films of the late
1960s was George Romero's Night of the Living Dead (1968). This horror-of-
Armageddon film about zombies was later deemed "culturally, historically or
aesthetically significant" enough to be preserved by the United States National Film
Registry. Blending psychological insights with gore, it moved the genre even further
away from the gothic horror trends of earlier eras and brought horror into everyday life.
[10]
Low-budget gore-shock films from the likes of Herschell Gordon Lewis also appeared.
Examples included 1963's Blood Feast (a devil-cult story) and 1964's Two Thousand
Maniacs (a ghost town run by the shades of Southerners), which featured splattering
blood and bodily dismemberment.
[edit] 1970s
With the demise of the Production Code of America in 1964, and the financial successes
of the low-budget gore films churned out in the ensuing years, plus an increasing public
fascination with the occult, the genre was able to be reshaped by a series of intense, often
gory horror movies with sexual overtones, made as "A-movies" (as opposed to "B-
movies").[citation needed] Some of these films were made by respected auteurs. [11] [12] The
critical and popular success of Rosemary's Baby (1968) prompted the 1970s occult
explosion, which included the box office smash The Exorcist (1973) (directed by William
Friedkin and written by William Peter Blatty, who also wrote the novel), and scores of
other horror films in which the Devil became the supernatural evil, often by impregnating
women or possessing children. "Evil children" and reincarnation became popular subjects
(as in Robert Wise's 1977 film Audrey Rose, which dealt with a man who claims his
daughter is the reincarnation of another dead person). Alice, Sweet Alice (1976), is
another Catholic themed horror slasher about a little girl's murder and her sister being the
prime suspect. Another popular Satanic horror movie was The Omen (1976), where a man
realizes his five year old adopted son is the Antichrist. Being by doctrine invincible to
solely human intervention, Satan-villained films also cemented the relationship between
horror film, postmodern style and a dystopian worldview. Another notable example is
The Sentinel, which is not to be confused with the Michael Douglas/Kiefer Sutherland
film of the same name, as a fashion model discovers her new brownstone residence may
actually be a portal to Hell. The movie is most notable for having a mix of seasoned
actors like Ava Gardner, Burgess Meredith and Eli Wallach alongside future stars
Christopher Walken and Jeff Goldblum.
The ideas of the 1960s began to influence horror films, as the youth involved in the
counterculture began exploring the medium. Wes Craven's The Last House on the Left
(1972) and Tobe Hooper's The Texas Chain Saw Massacre (1974) both recalled the
horrors of the Vietnam war and pushed boundaries to the edge; George Romero satirised
the consumer society in his 1978 zombie sequel, Dawn of the Dead; Canadian director
David Cronenberg updated the "mad scientist" movie subgenre by exploring
contemporary fears about technology and society, and reinventing "body horror", starting
with Shivers (1975). [13]
Also in the 1970s, horror author Stephen King, a child of the 1960s, first arrived on the
film scene. Many of his books were adapted for the screen, beginning with Brian
DePalma's adaptation of King's first published novel, Carrie (1976), which went on to be
nominated for Academy Awards—although it has often been noted that its appeal was
more for its psychological exploration as for its capacity to scare. John Carpenter, who
had previously directed the stoner comedy Dark Star (1974) and the Howard Hawks-
inspired action film Assault on Precinct 13 (1976), created the hit Halloween (1978),
kick-starting the modern "slasher film". This subgenre would be mined by dozens of
increasingly violent movies throughout the subsequent decades, and Halloween has also
become one of the most successful independent films ever made. Other notable '70s
slasher films include Bob Clark's Black Christmas (1974), which was released before
Halloween, and was another start of the sub-genre.
In 1975, Steven Spielberg began his ascension to fame with Jaws, a film notable for not
only its expertly crafted horror elements but also for its success at the box office. The
film kicked off a wave of killer animal stories such as Orca, and Up From The Depths.
The 1978 comedy film Piranha, directed by Joe Dante, is a spoof of such films. Jaws is
often credited as being one of the first films to use traditionally B-movie elements such as
horror and mild gore in a big-budget Hollywood film.
1979's Alien combined the naturalistic acting and graphic violence of the 1970s with the
monster movie plots of earlier decades, and re-acquainted horror with science fiction. It
spawned a long-lasting franchise, and countless imitators.
At the same time, there was an explosion of horror films in Europe, particularly from the
hands of Italian filmmakers like Mario Bava, Dario Argento and Lucio Fulci, and Spanish
filmmakers like Jacinto Molina (aka Paul Naschy) and Jess Franco, which were dubbed
into English and filled drive-in theaters that could not necessarily afford the expensive
rental contracts of the major producers. These films were influenced by the success of
Hammer in the 1960s and early '70s, and generally featured traditional horror subjects -
e.g. vampires, werewolves, psycho-killers, demons, zombies - but treated them with a
distinctive European style that included copious gore and sexuality (of which mainstream
American producers overall were still a little skittish). Notable national outputs were the
"giallo" films from Italy and the Jean Rollin romantic/erotic films from France. [14]
[edit] 1980s
The 1980s were marked by the growing popularity of horror movie sequels.[citation needed]
1982's Poltergeist (directed by Tobe Hooper) was followed by two sequels and a
television series. The seemingly-endless sequels to Halloween, Friday the 13th (1980),
and Wes Craven's successful supernatural slasher A Nightmare on Elm Street (1984) were
the popular face of horror films in the 1980s, a trend reviled by most critics.[citation needed]
Another popular horror film of the '80s, Stephen King and George A. Romero's
Creepshow, spawned two generally-considered 'lesser' sequels in 1987 and 1990
respectively, Creepshow 2 and Tales from the Darkside: The Movie (aka. Creepshow 3) as
did The Evil Dead (1981).
As the cinema box office returns for serious, gory modern horror began to dwindle[citation
needed]
(as exemplified by John Carpenter's The Thing in 1982), the genre found a new
audience in the growing home video market, although the new generation of films was
less sombre in tone.[citation needed] Motel Hell (1980) was among the first 1980s films to
campily mock the dark conventions of the previous decade.[citation needed] David Cronenberg's
graphic and gory remake of The Fly, was released in 1986, about a few weeks from the
James Cameron film Aliens, Stuart Gordon's Re-Animator, and Lloyd Kaufman's The
Toxic Avenger (all 1985), soon followed. In Evil Dead II (1987), Sam Raimi's explicitly
slapstick sequel to the relatively sober The Evil Dead (1981), the laughs were often
generated by the gore, defining the archetypal splatter comedy.[citation needed] New Zealand
director Peter Jackson followed in Raimi's footsteps with the ultra-gory micro-budget
feature Bad Taste (1987). The same year, from Germany's Jörg Buttgereit, came
Nekromantik, a disturbing film about the life and death of a necrophiliac.
Horror films continued to cause controversy: in the United Kingdom, the growth in home
video led to growing public awareness of horror films of the types described above, and
concern about the ease of availability of such material to children.[citation needed] Many films
were dubbed "video nasties" and banned (notably foreign films such as The
Anthropophagus Beast, A Blade in the Dark, The New York Ripper and Tenebre[citation
needed]
but US and Canadian films like Madman, Nightmares in a Damaged Brain, Don't
Go in the House & Maniac).[citation needed] In the USA, Silent Night, Deadly Night, a very
controversial film from 1984, failed at theatres and was eventually withdrawn from
distribution due to its subject matter: a killer Santa Claus.[citation needed]
[edit] 1990s
In the first half of the 1990s, the genre continued many of the themes from the 1980s.
Sequels from the Child's Play and Leprechaun series enjoyed some commercial success.
The slasher films A Nightmare on Elm Street, Friday the 13th, and Halloween all saw
sequels in the 1990s, most of which met with varied amounts of success at the box office,
but all were panned by fans and critics, with the exception of Wes Craven's New
Nightmare.
New Nightmare, with In the Mouth of Madness, The Dark Half, and Candyman, were part
of a mini-movement of self-reflective horror films. Each film touched upon the
relationship between fictional horror and real-world horror. Candyman, for example,
examined the link between an invented urban legend and the realistic horror of the racism
that produced its villain. In the Mouth of Madness took a more literal approach, as its
protagonist actually hopped from the real world into a novel created by the madman he
was hired to track down. This reflective style became more overt and ironic with the
arrival of Scream.
In 1994's Interview with the Vampire, the "Theatre de Vampires" (and the film itself, to
some degree) envoked the Grand Guignol style, perhaps to further remove the undead
performers from humanity, morality and class. The horror movie soon continued its
search for new and effective frights. In 1985's novel The Vampire Lestat by author Anne
Rice (who penned Interview...'s screenplay and the 1976 novel of the same name)
suggests that its antihero Lestat inspired and nurtured the Grand Guignol style and
theatre.
Two main problems pushed horror backward during this period: firstly, the horror genre
wore itself out with the proliferation of nonstop slasher and gore films in the eighties.
Secondly, the adolescent audience which feasted on the blood and morbidity of the
previous decade grew up, and the replacement audience for films of an imaginative
nature were being captured instead by the explosion of science-fiction and fantasy,
courtesy of the special effects possibilities with computer-generated imagery. [16]
To re-connect with its audience, horror became more self-mockingly ironic and outright
parodic, especially in the latter half of the 1990s. Peter Jackson's Braindead (1992)
(known as Dead Alive in the USA) took the splatter film to ridiculous excesses for comic
effect. Francis Ford Coppola's Bram Stoker's Dracula (1992), featured an ensemble cast
and the style of a different era, harking back to the sumptuous look of 1960s Hammer
Horror, and a plot focusing just as closely on the romance elements of the Dracula tale as
on the horror aspects. Wes Craven's Scream (written by Kevin Williamson) movies,
starting in 1996, featured teenagers who were fully aware of, and often made reference
to, the history of horror movies, and mixed ironic humour with the shocks. Along with I
Know What You Did Last Summer (written by Kevin Williamson as well) and Urban
Legend, they re-ignited the dormant slasher film genre.
Among the popular English-language horror films of the late 1990s, only 1999's surprise
independent hit The Blair Witch Project attempted straight-ahead scares. But even then,
the horror was accomplished in the context of a mockumentary, or mock-documentary.
Other films such as M. Night Shyamalan's The Sixth Sense (1999) also concentrated more
on unnerving and unsettling themes than on gore. Japanese horror films, such as Hideo
Nakata's Ringu in 1998, also found success internationally with a similar formula.
[edit] 2000s
Poster art for Saw (2004), an enormously popular low-budget horror film that sparked a
wave of horror films with a greater emphasis on torture and gore.
The start of the 2000s saw a quiet period for the genre. The re-release of a restored
version of The Exorcist in September 2000 was successful despite the film having been
available on home video for years. Franchise films such as Freddy Vs. Jason also made a
stand in theaters. Final Destination (2000) marked a successful revival of clever, teen-
centered horror, and spawned two sequels with a third sequel coming out in {2009}.
Some notable trends have marked horror films in the 2000s. A French horror film
Brotherhood of the Wolf became the second-highest-grossing French-language film in the
United States in the last two decades. The Others (2001) was a successful horror film of
that year. That film was the first horror in the decade to rely on psychology to scare
audiences, rather than gore. A minimalist approach which was equal parts Val Lewton's
theory of "less is more" (usually employing low-budget techniques seen on 1999's The
Blair Witch Project) has been evident, particularly in the emergence of Asian horror
movies which have been remade into successful Americanized versions, such as The
Ring (2002), and The Grudge (2004), as well as unsuccessful Americanized version, such
as One Missed Call (2008), The Eye (2008), and Shutter (2008)
There has been a minor return to the zombie genre in horror movies made after 2000. The
Resident Evil video game franchise was adapted into a film released in March 2002. Two
sequels have followed. The British film 28 Days Later (2002) featured an update on the
genre with a new style of aggressive zombie. The film later spawned a sequel: 28 Weeks
Later. An updated remake of Dawn of the Dead (2004) soon appeared as well as Land of
the Dead (2005) and the comedy-horror Shaun of the Dead (2004). More recently the
popular video game franchise Silent Hill (2006) was made into a feature film, based on an
original story.
A larger trend is a return to the extreme, graphic violence that characterized much of the
type of low-budget, exploitation horror from the Seventies and the post-Vietnam years.
Films like Audition (1999), Wrong Turn (2003), House of 1000 Corpses (2003), The
Devil's Rejects and the Australian film Wolf Creek (2005), took their cues from The Last
House on the Left (1972), The Texas Chain Saw Massacre (1974), and The Hills Have
Eyes (1977). The latter two have also been remade: The Texas Chainsaw Massacre in
2003, and The Hills Have Eyes in 2006 both followed by a prequel in the same year and a
sequel in the following year. An extension of this trend was the emergence of a type of
horror with emphasis on depictions of torture, suffering and violent deaths, (variously
referred to as "horror porn", "torture porn", Splatterporn, and even "gore-nography") with
films such as FeardotCom, Turistas, Captivity, and most recently Untraceable, WΔZ,
Saw, Hostel, "E tu vivrai nel terrore - L'Intruso, "Restroom, Pathology and their
respective sequels in particular being frequently singled out as examples of emergence of
this sub-genre.
Remakes of late 1970s horror movies became routine in the 2000s. In addition to 2004's
remake of Dawn of the Dead and 2003's remake of The Texas Chainsaw Massacre, in
2007 Rob Zombie wrote and directed a remake of John Carpenter's Halloween. The film
focused more on Michael's backstory than the original did, devoting the first half of the
film to Michael's childhood. It was critically panned by most,[17][18] but was a success in
its theatrical run. Production of re-makes looks set to continue in 2008 and beyond, with
Quarantine (a remake of REC), Friday the 13th,[19] A Nightmare on Elm Street, Scanners,
Hellraiser, The Birds, Child's Play and even Attack of the Killer Tomatoes being remade.
[edit] References
1. ^ Derry, Charles (1977). Dark Dreams: A Psychological History of the Modern
Horror Film. Macfarland.
2. ^ a b c The True Origin of the Horror Film
3. ^ Seek Japan :: J-Horror: An Alternative Guide
4. ^ Edison's Frankenstein
5. ^ The Hunchback of Notre Dame (1939)- Moria The Science Fiction, Fantasy &
Horror Review
6. ^ http://silentmoviemonsters.tripod.com/germanexpressionism.html
7. ^ Horror Films
8. ^ a b Charles Derry, Dark Dreams: A Psychological History of the Modern Horror
Film; A S Barnes & Co, 1977.
9. ^ http://www.findarticles.com/p/articles/mi_m0412/is_1_29/ai_73036226
10. ^ National Film Registry: 1989-2007
11. ^ Horror Films
12. ^ Halloween (1978)
13. ^ like your films with a little more aaargggh!!!??? acmi presents the horror for
halloween
14. ^ Bright Lights Film Journal | European Sex and Horror Films
15. ^ GreenCine | Hong Kong Horror Comedies
16. ^ Horror Films in the 1980s
17. ^ Halloween - Rotten Tomatoes. Rotten Tomatoes. Retrieved 2007-09-07
18. ^ Halloween (2007): Reviews. Metacritic. Retrieved 2007-09-07
19. ^ "Friday the 13th: The Remake". Retrieved on 2008-05-26.
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Horror cinema
List of horror films
Pre 1920
1920s
1930s
1940s
1950s
1960s
1970s
1980s
1990s
2000s
This list is incomplete; you can help by expanding it.
Horror cinema
List of horror films
Pre 1920
1920s
1930s
1940s
1950s
1960s
1970s
1980s
1990s
2000s
This list is incomplete; you can help by expanding it.
[edit] Forthcoming
Title Director Cast Country Release Date
2008
Rider Strong, Noah
Cabin Fever 2:
Ti West Segan, Alexander
Spring Fever
Isaiah Thomas
Feast 2: Sloppy
John Gulager Jenny Wade
Seconds
Half to Death Antti Jokinen
Ju-on: The Takashi
Grudge 3 Shimizu
The Kentucky
Brad Dourif, Scarlett
Fried Horror C.L. Gregory
Pomers, Jazsmin Lewis
Show
Daniel Franzese, Eric
Robert
Killer Pad Jungmann, Shane
Englund
McRae
Robert Englund,
Reginald La
Land of Canaan Julianne Michelle, Tara
France
Reid
No Man's Land:
The Rise of Dave Payne Michael Muhney
Reeker
Álvaro de Eliza Dushku, Mike
Open Graves
Armiñán Vogel
Pearblossom Ron Carlson
John E. Columbus Short, Jay
Quarantine Dowdle, Drew Hernandez, Johnathon
Dowdle Schaech
Return to
Robert Hiltzik
Sleepaway Camp
Julie Benz, Meagan
Saw V David Hackl
Good, Shawnee Smith
2009
Michael Rick Yune, Rachel
Alone In The
Roesch, Peter Specter, Lance 2009
Dark II
Scheerer Henriksen
Bloodrayne 3:
Uwe Boll
Warhammer
Shauna Macdonald,
Natalie Jackson
The Descent 2 Jon Harris
Mendoza, Krysten
Cummings
Final Destination David R. Ellis Bobby Campo, Shantel U.S.: August 14th,
4 VanSanten, Haley 2009, Australia:
Webb, Nick Zano,
October 1st, 2009
Krista Allen
Derek Mears, Jared
Friday the 13th Marcus Nispel Padalecki, Amanda
Righetti
Shawnee Smith, Marina
The Grudge 3 Toby Wilkins Sirtis, Johanna E. Direct-to-video
Braddy
My Bloody Jensen Ackles, Jaime
Patrick Lussier
Valentine King, Kerr Smith
Megan Fox, Amanda
Jennifer's Body Karyn Kusama Seyfried, Johnny
Simmons
Michael
Trick 'r Treat
Dougherty
Underworld: Rise Patrick Michael Sheen, Bill
of the Lycans Tatopoulos Nighy, Rhona Mitra
Horror cinema
List of horror films
Pre 1920
1920s
1930s
1940s
1950s
1960s
1970s
1980s
1990s
2000s
This list is incomplete; you can help by expanding it.
Horror cinema
List of horror films
Pre 1920
1920s
1930s
1940s
1950s
1960s
1970s
1980s
1990s
2000s
This list is incomplete; you can help by expanding it.
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