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- 04/13/12--19:44: _Time Out's Best Hor...
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- 04/13/12--19:44: Time Out's Best Horror Films of All Time
- 04/13/12--19:51: Madonna's £54,000 ($85,587) facials
- 04/13/12--19:57: Jessus Christain in the New York Times Style Magazine
- 04/13/12--20:37: Wyclef Jean - Justice (If You’re 17)
- 04/13/12--20:45: 'Do You Hear the People Sing' in the new Les Miserables movie?
- 04/13/12--21:34: Who Wore It Better? Celeb Style Showdown
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- 04/13/12--22:26: Elizabeth Olsen: Madewell Denim Road Trip!
- 04/13/12--22:28: Fringe 4x19 "Letters of Transit" Promo
- 04/13/12--22:29: Angelina spotted wearing engagement ring
- 04/13/12--22:32: ★ Hilary & Miley Pilates Post ★
- 04/13/12--23:19: New Images + Poster from Take This Waltz
- 04/14/12--00:28: Kristin Cavallari Baby Bumping in Hollywood
- 04/14/12--15:24: Celebs at some event
- 04/14/12--15:26: Tom Hiddleston continues to cancel every other man here.
- 04/14/12--15:48: Kim Novak Regrets Leaving Hollywood
- 04/14/12--16:01: Jeremy Renner and Scarlett being cute while talking Avenger stuff.
50. Vampyr (1932)
Dir Carl Theodor Dreyer (Julian West, Jan Hieronimko, Sybille Schmitz)
49. The Beyond (1981)
Dir Lucio Fulci (Katherine MacColl, David Warbeck)
48. Kwaidan (1964)
Dir Masaki Kobayashi (Tatsuya Nakadai, Rentarô Mikuni, Michiyo Aratama)
47. Les Diaboliques (1955)
Dir Henri-Georges Clouzot (Véra Clouzot, Simone Signoret)
46. The Devils (1971)
Dir Ken Russell (Oliver Reed, Vanessa Redgrave)
45. Deep Red (1975)
Dir Dario Argento (David Hemmings, Daria Nicolodi)
44. Hour of the Wolf (1967)
Dir Ingmar Bergman (Max von Sydow, Liv Ullmann)
43. The Tenant (1976)
Dir Roman Polanski (Roman Polanski, Isabelle Adjani)
42. Peeping Tom (1960)
Dir Michael Powell (Karlheinz Böhm, Moira Shearer, Anna Massey)
41. The Evil Dead (1981)
Dir Sam Raimi (Bruce Campbell, Ellen Sandweiss)
40. Carnival of Souls (1962)
Dir Herk Harvey (Candace Hilligoss, Frances Feist, Sidney Berger)
39. The Descent (2005)
Dir Neil Marshall (Shauna Macdonald, MyAnna Buring, Natalie Mendoza)
38. Possession (1981) (YASSSSSSSS)
Dir Andrzej Zulawski (Isabelle Adjani, Sam Neill, Heinz Bennent)
37. Invasion of the Body Snatchers (1956)
Dir Don Siegel (Kevin McCarthy, Dana Wynter)
36. The Blair Witch Project (1999)
Dir Daniel Myrick, Eduardo Sánchez (Heather Donahue, Michael C. Williams, Joshua Leonard)
35. Dead of Night (1945)
Dirs Alberto Cavalcanti, Charles Crichton, Basil Dearden, Robert Hamer (Michael Redgrave, Googie Withers, Ralph Michael)
34. Eyes Without a Face (1959)
Dir Georges Franju (Edith Scob, Pierre Brasseur, Alida Valli, Juliette Mayniel)
33. A Nightmare on Elm Street (1984)
Dir Wes Craven (Heather Langenkamp, Robert Englund, John Saxon)
32. Cannibal Holocaust (1979)
Dir Ruggero Deodato (Francesca Ciardi, Perry Pirkanen)
31. Martyrs (2008)
Dir Pascal Laugier (Mylene Jampanoi, Morjana Alaoiu)
30. Frankenstein (1931)
Dir James Whale (Colin Clive, Boris Karloff, Mae Clarke)
29. Cat People (1942)
Dir Jacques Tourneur (Simone Simon, Kent Smith)
28. Let the Right One In (2008)
Dir Tomas Alfredson (Kåre Hedebrant, Lina Leandersson)
27. Videodrome (1982)
Dir David Cronenberg (James Woods, Sonja Smits, Debbie Harry)
26. Bride of Frankenstein (1935)
Dir (James Whale (Boris Karloff, Colin Clive, Elsa Lanchester, Ernest Thesiger)
25. The Changeling (1979)
Dir Peter Medak (George C. Scott, Trish Van Devere, Melvyn Douglas)
Old fashioned in the best sense of the phrase, Medak’s oft-neglected supernatural thriller uses pure cinematic technique to scare the hell out of us. The magisterial Scott plays a well known composer who, following the death of his wife and son in a road accident, takes up a teaching job in Seattle and moves into an eerie, haunted Victorian house. Even the most hackneyed scenes, such as a séance in which a scribbling medium attempts to contact the unquiet spirit of the murdered boy, are staged with consummate skill and emotional conviction. Guillermo del Toro maintains that the best ghost stories all have an undertow of melancholy. That’s certainly true here.
24. The Birds (1963)
Dir Alfred Hitchcock (Tippi Hedren, Rod Taylor)
Along with ‘Psycho’, this loose spin on a Daphne du Maurier novella marked Hitchcock’s main foray into horror territory. ‘The Birds’ sees pernicious flocks of birds follow a metropolitan, San Franciscan blonde (Tippi Hedren) to a sleepy coastal town, and it’s these winged creatures that terrify as Hedren fights to resist being pecked to death. Hitchcock often scares by suggestion as crows appear on telegraph wires and the noise of them becomes increasingly intense – but he also shows full-on, unsettling aerial attacks, and the special effects for these scenes still endure. Psychologically, ‘The Birds’ is perhaps not Hitchcock’s most fully realised film, but it’s certainly one of his most open as we are left to wonder why, exactly, Hedren’s fledgling romance with Rod Taylor and his claustrophobic relationship with his mum (Jessica Tandy) inspire such avian terror. Just imagine those birds in 3D.
23. The Fly (1986)
Dir David Cronenberg (Jeff Goldblum, Geena Davis)
David Cronenberg’s delirious reimagining of that old story of a scientist whose experiments with teleportation lead to a nasty genetic mixup, ‘The Fly’ isn’t just one of the very finest horror movies, it’s also one of cinema’s great tragic romances. Charming, tentative and beautifully written, the initial relationship between leads Jeff Goldblum and Geena Davis harks back to the screwball romances of old, which only makes Goldblum’s ensuing physical and mental degradation all the more horrifying to behold. In Cronenberg’s hands, this genetic disease becomes a forceful metaphor for everything bad you can imagine, from cancer, Aids and ageing to lost love and inexplicable heartbreak. Beautiful, sickening, exhilarating, savage, inspiring and inspired, ‘The Fly’ is humanist cinema at its most non-human, and a master filmmaker’s finest hour.
22. Nosferatu: Eine Symphonie des Grauens (1922)
Dir FW Murnau (Max Schreck, Greta Schröder)
The film that made it all happen, Murnau’s loose, unofficial adaptation of Stoker’s ‘Dracula’ may not have been the first horror movie (that honour probably goes to George Meliés’s ‘Le Manoir du Diable’) but it’s certainly the most influential. So many keynotes of the genre emerge fully formed here: the use of light and shadow, threat and tension, beauty and ugliness, a man in grotesque make-up threatening an innocent girl. And what’s remarkable is that it remains a deeply unsettling piece of work: Schreck’s contorted performance, not to mention that hideous, batlike make-up, may be the film’s most iconic image, but the plague-of-rats scene is deeply unnerving too – we can only imagine how it must have seemed to audiences emerging from the First World War.
21. Freaks (1932)
Dir Tod Browning (Olga Baclanova, Harry Earles)
A horror film? Try a tender, humane tale of love and betrayal. Director Tod Browning had himself run away from school to join the circus. And in ‘Freaks’ he assembled a cast of ‘sideshow freaks’ (they’re also fine actors) to tell the story of beautiful trapeze artist Cleo (Baclanova) who marries midget Hans (Earles) for his money and poisons him. Browning sketches life on the road with tremendous affection and humour: take the man who marries one Siamese twin but can’t stand her sister (‘I’m not having my wife lying in bed half the day with your hangover!’). What makes ‘Freaks’ a horror film is its disturbing, macabre ending, as the ‘freaks’ chase Cleo and her strong-man lover through the forest – though of course the real horror here is the cruelty of the so-called ‘normals’. ‘Freaks’ was banned in the UK for 30 years until the mid ‘60s.
20. The Omen (1976)
Dir Richard Donner (Gregory Peck, Lee Remick)
Films about Satan and his minions remain popular for a number of reasons, but a key one must be the fact that, when depicting the infinite power of the Devil, filmmakers can get away with just about anything. ‘The Omen’ is chock full of creepy business: the weird nanny and her rottweiler sidekick, the zoo animals behaving erratically, the young lad on his tricycle bumping his mother over the banister, the church lightning rod spearing the priest where he stands, and of course cinema’s most iconic beheading scene, shown from multiple angles in juicily slow motion. Like many classics of the genre, Donner’s first feature wasn’t especially well received by critics at the time, but it’s remained a mainstay on late-night TV and ‘best of horror’ lists.
19. Evil Dead II (1987)
Dir Sam Raimi (Bruce Campbell, Sarah Berry)
In which Bruce Campbell reveals himself to be the Fangoria generation’s answer to Buster Keaton. ‘The Evil Dead’ had humour but it was still, at heart, a video nasty: that tree-rape scene tended to kill the chuckles. But in ‘Evil Dead 2’, the fact that Raimi and Campbell had begun their career alternating between horror shorts and Three Stooges knockoffs paid massive dividends: this is without doubt the most successful blend of horror and comedy, and a classic in either field. The breakthrough moment comes midway, as Campbell’s own hand is possessed by an evil spirit, leading to some of the most jawdropping slapstick imaginable (and a peerless Hemingway gag). But Raimi never forgets to keep the blood flowing: limbs fly, eyeballs explode, and you don’t even want to know what goes on in that woodshed.
18. Audition (1999)
Dir Takashi Miike (Ryo Ishibashi, Eihi Shiina, Jun Kunimura)
The best Japanese horror film of the modern era, Eli Roth, Rob Zombie and John Landis have all confessed to being freaked out by ‘Audition’. Encouraged by his teenage son and best friend, a film producer stages a fake casting session, interviewing beautiful young woman for the imaginary role of his new wife. Smitten with the modest, mysterious Asami (Eihi Shiina), he later discovers that she is a disturbed victim of childhood abuse, with some serious trust issues. The textured relationships are subtly convincing, as the film builds inexorably towards its unbearably painful climax, which involves skilfully deployed acupuncture needles (‘Kiri, kiri, kiri, kiri’) and a limb-sawing wire. An astonishing achievement, particularly as it succeeds in preserving a degree of empathy for its beautiful but sadistic femme fatale.
17. The Haunting (1963)
Dir Robert Wise (Julie Harris, Claire Bloom, Richard Johnson)
‘The Haunting’ is the quintessential haunted house movie: Martin Scorsese even rated it his number one scariest film. Anthropologist Dr Markway (Richard Johnson) is investigating paranormal activity at a tombstone of a gothic pile in New England. The house was born bad, so the story goes – the wife of its first owner dropped dead moments before setting foot in it. The doctor has brought along two young psychic women, boho free-spirit Theo (who has one of the choicest wardrobes ever, designed by Mary Quant) and repressed Nell, who is the main attraction as far as the ghosts are concerned. Director Robert Wise executes a masterpiece of the power of suggestion. We never see a ghost, but the face of the devil Wise’s camera makes out in the ornate carving of a wooden door is more scary than anything make-up or effect could rustle up.
16. An American Werewolf in London (1981)
Dir John Landis (David Naughton, Jenny Agutter, Griffin Dunne)
What’s always been most striking about John Landis’s lycanthropic thriller is the brilliant way it veers from comedy to gruesome terror and back again, in the blink of an eye. Figure in the services of make-up supremo Rick Baker, some of the most inventive shocks imaginable (those zombie Nazis!) and a dynamite selection of moon-related FM radio classics (not to mention Jenny Agutter’s face), and there’s no wonder it placed so high on this list. Horror parody was always going to be a doozy for Landis, given that he’d previously made such classic funnies as ‘The Kentucky Fried Movie’, ‘Animal House’ and ‘The Blues Brothers’ – but there’s no doubt that ‘American Werewolf’ is his crowning achievement.
15. Carrie (1976)
Dir Brian De Palma (Sissy Spacek, Piper Laurie, Amy Irving)
She wasn’t the favourite to play ‘creepy Carrie’, but it’s impossible to imagine anyone other than Sissy Spacek (looking like she’s stepped into the ‘70s from another time altogether) in the role. Stephen King got the idea for the novel, his first, in the girls’ locker room of a college where he was working as a caretaker. Teenage girls can be pure evil and it’s in a locker room that we meet Carrie, who’s just had her first period and is being told to ‘plug it up!’ by the mean girls. Carrie’s secret is that she has telekinetic powers, which are about to wreak an apocalypse at the school prom. As for the pig’s blood scene, it doesn’t matter how many times you watch it, you’re willing that bucket not to drop. Spacek gamely offered to be covered in real pig’s blood, but in the end was drenched with a mix of syrup and food colouring.
14. The Innocents (1961)
Dir Jack Clayton (Deborah Kerr, Michael Redgrave, Pamela Franklin)
It has been pipped to the honour of best British horror (only just, mind) by ‘Don’t Look Now’. But ‘The Innocents’ has still got friends in high places. Martin Scorsese called it ‘beautifully crafted and acted, immaculately shot…and very scary.’ The story is adapted from Henry James’s 1898 novella ‘The Turn of the Screw’. Deborah Kerr plays governess Miss Giddens, employed to look after the orphaned niece and nephew of a wealthy man (Michael Redgrave). The children behave like little angels. But why has Miles been expelled from boarding school for being a bad influence? Miss Giddens becomes convinces that the children are possessed by the spirits of dead lovers, the former governess, Miss Jessel (Clytie Jessop), and ex valet Quint (Peter Wyngarde). Are they? Or are these the fantasies of a never-been-kissed governess? Films rarely pull off the ambiguous ending anything like as satisfyingly. Little wonder Truffaut called it ‘the best English film’ after Hitchcock left for America.
13. Night of the Living Dead (1968)
Dir George A Romero (Duane Jones, Judith O’Dea, Marilyn Eastman)
Modern horror cinema started here. Romero’s low-budget nightmare movie blazed a trail for all those to follow, including Wes Craven (‘The Last House on the Left’), David Cronenberg (‘Shivers’), Tobe Hooper (‘The Texas Chainsaw Massacre’) and Sam Raimi (‘The Evil Dead’). With its radically subversive approach to generic conventions, uncompromisingly nihilistic social vision and Vietnam War-inspired political anger, this groundbreaking zombie movie broke the rules and trampled on taboos. Holed up in an isolated farmhouse, Barbara and a small group of fellow survivors are besieged by an ever-swelling tide of shambling undead flesheaters, whose dietary habits are portrayed in gory, visceral detail. Romero later expanded his apocalyptic world view with ‘Dawn’, ‘Day’ and ‘Land of the Dead’; but these sequels never matched the gut-wrenching, nerve-shredding intensity of this game-changing début.
12. Don't Look Now (1973)
Dir Nicolas Roeg (Donald Sutherland, Julie Christie)
It’s the flirtation with the supernatural and, of course, that startling ending (when the mysterious little figure in the red coat finally – outrageously – shows its true face) that have propelled Nicolas Roeg’s ghostly, beautifully photographed and tenderly acted adaptation of Daphne du Maurier’s short story to a place so high on this list. But however much Roeg leans on signs and suggestions of occult behaviour, the real horror of his film is the deeply felt horror of grief and how it warps our perceptions of the world. It’s there from the very beginning when Donald Sutherland discovers his young daughter drowned in a lake in his garden, and it’s there as Sutherland and his wife (Julie Christie) travel to Venice and try to keep even a loose grip on life and their relationship. Disturbing and brilliant.
11. Jaws (1975)
Dir Steven Spielberg (Roy Scheider, Robert Shaw, Richard Dreyfuss)
It starts like any other let’s-get-it-on teen movie, at a late night beach party. Boy meets girl. They slink off to skinny dip. She runs ahead, throwing off her clothes, splashing into the water... only to be pulled under screaming. Welcome to the tourist island of Amity. ‘Jaws’ broke box office records, but the production had been such a disaster the crew renamed it ‘Flaws’. The shark looked fake, the effects were terrible. Spielberg made a virtue out of necessity in the edit, switching the focus to the actors’ reactions: most chillingly after the shark strikes on a crowded beach. Parents have scooped up their children, all but one mother, a look of blind terror on her face. For some cinema lovers, the biggest horror story of all is that with his game-changing big hit, Spielberg inadvertently invented the popcorn blockbuster.
10. Dawn of the Dead (1978)
Dir George A Romero (Ken Foree, Gaylen Ross, David Emge)
Now that’s he’s become a one-man zombie factory (with steeply diminishing returns), it’s hard to remember that George Romero was, at first, dubious about the idea of making a sequel to his 1969 game-changer ‘Night of the Living Dead’. But with his most personal project (and, perhaps, his masterpiece), ‘Martin’ (see No. 87), failing miserably at the box office, Romero decided to bite the bullet – and reinvigorated his career in the process. Though ‘Night’ changed the face of horror, this is the film he’ll be remembered for: the wildest, most deliriously exciting zombie flick of them all, and the movie which pretty much defines the concept of socially aware, politically astute horror cinema. Its influence has been felt in every zombie film since (and even on TV in ‘The Walking Dead’), and it remains a near-flawless piece of fist-pumping ultraviolence.
9. Suspiria (1976)
Dir Dario Argento (Jessica Harper, Stefania Casini, Flavio Bucci)
Its violent set-pieces staged with baroque extremity and heightened further by Goblin’s clamorous prog rock score, ‘Suspiria’ influenced directors from John Carpenter through to Darren Aronofsky, whose ‘Black Swan’ explicitly references Argento’s first fully fledged horror film. American dance student Harper’s arrival at a German ballet school coincides with a shocking double murder. Amid a hothouse atmosphere of adolescent hysteria, hints of occultism give way to the revelation that the school’s tutors are part of an ancient witch’s coven. By using colour filters and forced lighting, the Mario Bava-influenced Argento pushed the artificiality of the old fashioned Technicolor stock to extremes, creating a cinema of pure visual and aural sensation.
8. Halloween (1978)
Dir John Carpenter (Donald Pleasence, Jamie Lee Curtis)
John Carpenter doesn’t put a foot wrong in this seminal hack ’n’ slasher. From the opening scene of young psycho-in-the-making Michael Myers greeting his parents with bloodied knife in hand to his inevitable return to wreak more havoc a decade later, ‘Halloween’ ticks every box. The opening sequence is a masterclass in how to unsettle nerves. Utilising the then new Steadycam system, Carpenter was able to give us a perspective from the killer’s point of view. To say it ups the creepiness to new heights is an understatement – it’s watch-from-behind-the-sofa terrifying. But Carpenter didn’t stop there: making full use of his musical talents, he also wrote the main theme, an ‘Exorcist’-style piano ditty that sets the teeth on edge. For me, this is unquestionably the most visceral, terrifying and tense film in this poll.
7. Rosemary's Baby (1968)
Dir Roman Polanski (Mia Farrow, John Cassavetes, Ruth Gordon)
It’s hard enough moving into a flat and trying to start a family without having to wrestle with the enveloping suspicion that your new neighbours might be satanists dead-set on parenting a demon child via you. This is the intelligent, subtle face of horror, as Polanski limits the specifics to a minimum and keeps us guessing as to how much is going on merely in the mind of Mia Farrow’s character as she comes to believe she’s been impregnated by a creepy bunch of well-to-do Manhattanites with a connection to the occult. There are some more explicit key scenes – a potential nighttime rape and a chilling climax – that serve to get right under our skin without making the whole premise seem ridiculous. Farrow and Cassavetes’s performances as a couple disintegrating serve Polanski well in his attempt to make the potential alienation of everyday family life feel horrific, and the faux-naive score, evoking lullabies, makes the whole affair feel doubly creepy in the most heady way possible.
6. The Thing (1982)
Dir John Carpenter (Kurt Russell, Wilford Brimley)
Time travel has many enticing possibilities, but one of the most enjoyable would be to travel back to 1982 and tell John Carpenter that his new movie would someday score sixth place in a list of the 100 best horror movies – even beating his own iconic ‘Halloween’. Like many future horror classics, ‘The Thing’ was hated on first release, dismissed as an ‘Alien’ clone more interested in pushing the boundaries of SFX than in character or tension. It was a disastrous flop, and threatened Carpenter’s once unassailable reputation as the king of the new horror. It’s hard to imagine now: with the benefit of hindsight (and, more importantly, repeat viewings), ‘The Thing’ has emerged as one of our most potent modern terrors, combining the icy-cold chill of suspicion and uncertainty with those magnificently imaginative, pre-CG effects blowouts.
5. Alien (1979)
Dir Ridley Scott (Sigourney Weaver, John Hurt, Ian Holm)
‘Nothing happens for 45 minutes,’ a studio boss sniped to Ridley Scott about ‘Alien’, failing monumentally to get that its opening is menacing as hell. Aboard the commercial spaceship Nostromo, the crew answers a distress signal from a nearby planet. That it’s so natural – they drink coffee, bitch about overtime – only adds to the suspense. Of course, we’re all waiting for the ‘chestburster’, who makes his entrance at around the one-hour mark. Scott filmed the scene in one take, not telling his cast exactly what to expect as John Hurt thrashed about on the table, convulsing in spasms, about to give birth to HR Giger’s infant alien creation. ‘Alien’ had been pitched to the studio as ‘“Jaws” in Space’. Later writer Dan O’Bannon openly admitted, ‘I didn’t steal “Alien” from anybody. I stole it from everybody!’. Horror films have been paying ‘Alien’ the same compliment ever since.
4. Psycho (1960)
Dir Alfred Hitchcock (Anthony Perkins, Janet Leigh)
Alfred Hitchcock was a restless innovator, and ‘Psycho’ gnawed at the edges of taste and decency by being way ahead of its time: the combination of the film’s independent, criminal and sexually forthright young blonde (Leigh), its slasher scenes and its lone male perpetrator (Perkins), crazed and motivated by a disturbing family background, gave the film a modernity that sets it apart from most of Hitchcock’s films both before and after. ‘Psycho’ deserves a place so high on this list for its influence alone: its legendary shower scene still shocks, but at the time such brutal bloodletting, albeit suggested via the trickery of Hitchcock’s camera and editing and the power of Bernard Herrmann’s score, was groundbreaking and immediately copied. ‘Psycho’ kickstarted a shift in the appetite of mainstream audiences for experiencing the extreme and inspired other filmmakers to exploit gore with less high-minded motivations ever since.
3. The Texas Chain Saw Massacre (1974)
Dir Tobe Hooper (Gunnar Hansen, Marilyn Burns)
There are horror films which bend the boundaries of the genre, which deal with the psychological, the suggested or the subtly thematic – and then there are the sheer, in-your-face, terrifying horrors which threaten to drain your body of sweat and lock your jaw shut forever. This is one of the latter. There have been sequels and remakes and plenty of pretenders looking to steal the film’s terrifying demonisation of those strange folk who live in the woods with a link to the local abattoir, but this is where it began. Its methods are basic: innocent kids (a guy in a wheelchair! A blonde girl!), a creepy house in the forest, nighttime chases through the trees, the sound of the chainsaw, the killer’s mask… This is high-energy peril, right up until the frenzied final scene on the road as dawn arrives. Simple and sick.
2. The Shining (1980)
Dir Stanley Kubrick (Jack Nicholson, Shelley Duvall)
The scariest moments in ‘The Shining’ are so iconic they’ve become in-jokes: Jack Nicholson leering psychotically from posters on the walls of student bedrooms everywhere... ‘Here’s Johnny’. Even so, Stanley Kubrick’s masterpiece of execution and claustrophobia still retains the power to frighten audiences out of their wits. Nicholson is Jack Torrance, a writer working as a caretaker at the isolated Overlook Hotel in the Colorado mountains over winter. Stephen King, on whose novel the film was based, was famously unimpressed. The problem, he said, was that ghost-sceptic Kubrick was ‘a man who thinks too much and feels too little’. He resented Kubrick for stripping out the supernatural elements of his story. Torrance is not tortured by ghosts but by inadequacy and alcoholism. And for many, it’s as a study of insanity and failure that makes ‘The Shining’ so chilling.
1. The Exorcist (1973)
Dir William Friedkin (Ellen Burstyn, Linda Blair, Jason Miller, Max von Sydow)
By the ’70s, horror had divided into two camps: on one hand, there were the ‘real life’ terrors of ‘Psycho’ and ‘Night of the Living Dead’, films that brought horror into the realm of the everyday, making it all the more shocking. On the other, there were the more outrageous dream-horrors popular in Europe, the work of Hammer Studios in the UK and Mario Bava and Dario Argento in Italy, films that prized artistry, oddity and explicit gore over narrative logic. The first film to attempt to bring the two together was ‘Rosemary’s Baby’, but Polanski’s heart clearly belonged to the surreal. The first to achieve that blend with absolute certainty was ‘The Exorcist’ – which perhaps explains its position as the unassailable winner of this poll.
In cutting from the clanging bazaars of Iraq to the quiet streets of Georgetown, in blending dizzying dream sequences with starkly believable human drama, Friedkin created a horror movie like no other – both brutal and beautiful, artful and exploitative, exploring wacked-out religious concepts with the clinical precision of an agnostic scientist. And make no mistake: whatever its creator may say, ‘The Exorcist’ is most definitely a horror film: though it may be filled with rigorously examined ideas and wonderfully observed character moments, its primary concern is with shocking, scaring and, yes, horrifying its audience out of their wits – does mainstream cinema contain a more upsetting image than the crucifix scene? That it still succeeds, almost four decades later, is testament to Friedkin’s remarkable vision.
What are some of your favorite horror films? Anything they left off?
The secret to Madonna's youthful skin? Intraceuticals facials, which need to be administered by a special machine. The singer has reportedly bought six, costing £9,000 each.
"I am what I am. And I don't like the idea of someone putting you to sleep then taking knives to you," Madonna once said about cosmetic surgery. What about someone taking a spray gun to you?
The remarkably unlined star, 53, is a fan of Intraceuticals Rejuvenate Daily Serum (£192.95, intraceuticals.com/uk) and its facials, which apparently give the Botox effect without Botox. The facials need to be administered by a special machine - or, in Madonna's case, special machines, plural; she bought six of them at around £9,000 each, meaning she has spent £54,000 in total. Now we know why she has that body, as well as that face.
beauty/skincare post? yes/yes!
“Take him and cut him out in little stars!” Jessica Chastain fairly shouts, re-enacting her interpretation of Juliet’s famous monologue, the bold gambit that got her admitted to the Juilliard School a decade ago. “Most people do it so precious and sweet, a girl just married, but she is going to be a woman, and ‘he shall die’ means orgasm! It was crazy. I was on the ground by the end of the audition. When I finished, the admissions panel was like, Who is this little redheaded girl coming in here?”
It’s a beautiful warm winter evening, and Chastain is performing for an audience of one on the Santa Monica boardwalk. The Pacific is gleaming under a ridiculously lurid CinemaScope sky; in the distance the Ferris wheel glitters; next to Chastain is her little white three-legged dog, Chaplin, out for his early evening perambulation.
Chastain claims no one ever recognizes her when she strolls around her seaside neighborhood, which is pretty surprising if it’s true: in 2011 she appeared in six films, garnering 30 nominations and 16 awards — among them a National Society of Film Critics award for Best Supporting Actress for “The Tree of Life,” “The Help” and “Take Shelter”; and BAFTA and Academy Award nominations for “The Help.” The release of so many movies in such a short time, along with at least as many forthcoming projects, she says, was accidental and a little embarrassing: “I actually made them over several years.” Which doesn’t mean she isn’t thrilled.
“It’s a strange moment when your dreams become your reality,” she says. “What does it mean? Yesterday I had my portrait taken for the Academy. The photographer told me he shot Rita Hayworth! For the rest of my life, I am ‘the Oscar-nominated Jessica
The Oscar-nominated Jessica Chastain now occupies that strange, glorious country reserved for the newly famous. But unlike any number of her contemporaries, she has ascended to this delicious height without tabloid-worthy histrionics. (“I’m not as interesting as my movies,” she murmurs.) Instead, her stock in trade is histrionics in the traditional sense of the word: Chastain enthralls her public solely through her eclectic roster of dramatic performances. She is that rare sensation: the virtual unknown turned mega-star who can actually act.
Nonetheless, her claim that no one pegs her as a star turns out not to be false modesty. Hanging out near the ocean for two hours, we are interrupted only twice: once by a guy who wants to pet Chaplin, the other time by a friend of Chastain’s from Juilliard — “I didn’t know you were in town!” she cries. “Come stay at my house!”
But there isn’t much time for homey idylls these days. Chastain’s morning started with a fitting for the red carpets, followed by a screening of “The Wettest County” (she stars opposite Tom Hardy and Shia LaBeouf in the Depression-era saga), then a voice-over session for “Madagascar 3,” in which she is Gia the jaguar, a feline circus trapeze artist. And in the next day or so she is off to India to shoot a thriller with Kathryn Bigelow.
This range — whiskey bootlegger to cartoon cat to military analyst — explains Tate Taylor, who directed Chastain in “The Help,” is why everyone is clamoring to work with her. She is skilled but also extraordinarily malleable: “a chameleon in the true sense of the word,” Taylor says. Chastain credits her alma mater. “I trained in repertory theater,” she says. “We did commedia dell’arte one day, the next day Eugene O’Neill.” It prepared her, for example, to learn German (along with the Israeli self-defense technique Krav Maga) for “The Debt,” even though she had never even seen a foreign film when she arrived at Juilliard.
What unites such far-flung performances is the emotional realness, the subtle rawness that Chastain brings to her role. (Well, maybe not the cat, but then again, we shall see.) Taylor says that when she read for the part of the vulnerable, curvaceous back-country woman Celia Foote, she was the only one who auditioned who “got Celia’s pain and was not just playing the Jessica Rabbit aspect of the character. On the page, on the surface, Celia is just a bombshell, but Jessica got her.”
Chastain was raised in Northern California. “Growing up, a big expense was a fashion magazine,” she says. “I got $100 for clothes at the beginning of the year, and I had to be very careful about what pieces would last — I bought thrift and vintage.” Chastain was a romantic girl without a lot of friends. “I was awkward. I looked like a boy when I was 8 years old — lanky with short red hair. You know that book ‘Ramona the Pest’? I felt like that.”
When she first started making real money, she treated herself to a pair of antique earrings in London; lately she has indulged in a Viktor & Rolf blazer and three custom-made hats from a Parisian atelier. She claims to have little time for shopping but confesses that she had to build a closet in her garage to hold her new acquisitions. On the day we meet at her favorite coffee shop, she is wearing what she characterizes as her typical dog-walking outfit: a thick gray Chloé cardigan, Adriano Goldschmied skinny jeans, black lace-up House of Harlow flats — “I’m not a flip-flop girl” — Dolce & Gabbana sunglasses and a man’s vintage gray fedora because, she says, “I like a quirky, old-fashioned look.”
This throwback quality is what sets Chastain apart: that she is impervious to the contemporary trappings of celebrity yet also capable of wearing clothes beautifully, in a way that looks both classic and modern. At the Oscars her black and gold Alexander McQueen gown struck a forcefully contemporary note, while her hair fell softly in a manner more reminiscent of Rita Hayworth than the bed-heads around her. “The red carpet takes a while to get used to,” she confides. “The photographers, the yelling aspect of it. But I get to wear something very beautiful.” For the Cannes premiere of “The Tree of Life,” her first red carpet, Zac Posen made her a dress, which she kept. “I cleaned it and stored it for a daughter someday,” she says. “And I had the best accessories with it — Sean Penn on one hand and Brad Pitt on the other. I have an emotional response to clothes. I love to be able to wear a Givenchy gown.”
But Chastain is not overly protective of her image as a starlet. She is fine, for example, with appearing nude — “My job as an actor is not to be vain” — as well as with gaining weight. “When we were making ‘The Help’ in Mississippi, we drank moonshine and had huge dance parties. I ate a lot of fried food. I had to gain 15 pounds for the role.” Unlike many in her cohort, she is not a huge exerciser. “I’m not the girl who goes to spinning class. I do yoga once in a while. I used to think about dieting, but I’m vegan now, so it’s not really a problem.”
The sudden onslaught of critical and commercial acclaim has, however, caused Chastain to safeguard that rarest commodity in public life: silence. She swears that as soon as she is able to take a break she is heading to Hawaii with her family and leaving her cellphone at home. She insists that even when she’s in L.A. she keeps her distance from what she calls “new Hollywood.”
Her ambitions lie elsewhere, in not just looking the part of an Old Hollywood star but also in creating a career worthy of one. Sitting on a bench outside the down-market, neon-lit nail salon where she gets manicures, Chastain says her favorite movies are Chaplin’s 1921 “The Kid” (thus the dog’s name), which she describes as “devastating, the lightness and this sense of play,” and “Terms of Endearment,” the first serious movie she saw, with her mom and grandma, sitting on the living room couch. She even cites Greer Garson in “ ‘Random Harvest,’ that loony old weeper,” as an influence. The most contemporary actress she mentions is Isabelle Huppert. “You can feel her emotions on her skin — she’s a great beauty and a great intellect.” (She has such perfect taste OMG)
The desire to be that kind of actress has put Chastain into a perpetual state of longing to try something new. She would like work with Lars von Trier and Darren Aronofsky and, she confesses, to do “a mystical horror film! Doing the same thing over and over again is just boring.” Does this ennui extend to playing the same role every night in the theater? “Oh, no! I love being on stage. There’s an energy-sharing in the room, with the audience, and you’re responsible for that energy. You can feel when they’re bored — the coughing, the unwrapping. That’s what makes it terrifying!”
Chastain is clearly relishing the prospect of that impending terror, when she takes on the role of Catherine Sloper in “The Heiress,” scheduled to open on Broadway in the fall. Chastain is excited about living in Manhattan again, maybe even in the Washington Square area, where the tragic Jamesian heroine waits in vain. Or maybe in another neighborhood, she allows, just as long as it’s near a subway stop. Jessica, are you kidding? You’re planning to take the subway to the theater? “Well, maybe not after the show, but definitely yes!” she insists. “I still have my MetroCard in my wallet.”
She looks so stunning, although ew Jessica, stay away from that flop Aronofsky, you can do so much better.
On the song, aptly titled Justice (If You’re 17), Wyclef recounted the events leading up to the slain teen’s death and mourns, “he could have been the next president…he could have been the next astronaut…if you 17 watch out for the neighborhood watcher…man I feel for you if you’re 17.”
source 1 2
Yes we do!
There has been a leak of a 'distant' audio of the famed song that the ABC gang to take to the streets and sing. It is unclear how the schematics of the song have been changed for the film (normally Enjolras begins, then Marius, then another student--name escapes me), but from the tone of it, it sounds amazing! :)
[Sorry, can't get the video to embed!]
BUT CLICK THE SOURCE AT THE BOTTOM OF THE POST! :D
With all the accuracy to the book and to the stage show, we only wish that a certain Lord was this careful with his own film adaptation in 2004. Probably ripping up newspapers in jealously. How delightful!
Kylie Minoque or Emmy Rossum in Yves Saint Laurant
Camilla Belle or Chloe Moretz in Yves Saint Laurant
Manuela Velasco or Olivia Wilde in Carolina Herrera
Cate Blanchett or Yoona in Louis Vuitton
Jamie King or Michelle Yeoh in Christian Dior
Rooney Mara, Diana Agron or Reese Witherspoon in Louis Vuitton
Carmen Electra or Emmy Rossum in Ted Baker
Tinsley Mortimer, Leelee Sobieski, Kate Beckinsale, Sienna Miller, Lucy Liu, Katie Holmes or Amber Heard in
Shailene Woodley or Zhang Jingchu in Valentino
Viola Davis or Kourtney Kardashian in Raoul
Kirsten Dunst or Tory Burch in Rodarte
Kate Beckinsale or Veronica Echegui in Gucci
Jessica Chastain or Abbey Clancy in Louis Vuitton
Lea Sedoux or Lindsey Lohan in Prada
Emilia Clarke or Zoe Kravitz in Chanel
Mila Kunis or Kate Upton in Lavin
Rooney Mara or Kate Mara in Miu Miu
Rebecca Hall or Emma Roberts in Yves Saint Laurant
J.Lo or Brooklyn Decker in Michael Kors
Penelope Cruz or Bonnie Wright in Dolce & Gabbana
Kicking off the weekend with some heavy duty PDA, Vanessa Hudgens and Austin Butler were spotted locking lips during the first day of the Coachella Music & Arts Festival in Indio, CA on Friday (April 13).
let the weekend of celebs donned in their hipster bests begin <3
* Ice Age-esque Unova region!
* New GLs and gyms! (Poison and Water thus far)
* Dat underwater crystal tunnel!
* Ye Olde Pokémonaé are back, including Eevee, Mareep, Riolu, Tyranitar, Metagross, Absol.
* Not for the 3DS but you can clearly see that the graphics will be more epic on the 3DS!
I need this ASAP; I've been playing Black with my faves (Gastrodon, Cloyster, Drifblim, Emboar, Volcarona, Roserade) and it makes me happy to have old Pokémon in new Pokéland!
Elizabeth Olsen flashes a smile in front of Madewell‘s Airstream van on Thursday (April 12) in NYC.
The 23-year-old actress helped kick off the 14-city “Madewell Denim Road Trip,” which features stylists on hand to help pick out the style that’s right for you, as well as a “braid bar” where you can get your hair done.
As an added bonus, there will also be a Denim Dash scavenger hunt where fans can score free jean cards or enter a sweepstakes to win five years of free denim!
Rita Ora: 'Jay-Z thinks I could be as big as Rihanna' Signed to Shawn Carter's label, and with a debut single written by Drake, Rita Ora is going places
Rita Ora dives on to a sofa, flashing glittery fingernails decorated with £50 notes. On a normal day you'd notice these straight away, or if not you'd definitely notice the hair – a haywire mass of peroxide blonde. But today your attention is diverted by what she describes as her "Technicolored Wotsit-looking jumpsuit".
Some people work hard at being a popstar, but it comes annoyingly naturally to this 21 year old. Were we not banned by the Guardian's Department of Bad Puns, we'd say she had a real Ora about her. She's certainly as upbeat as they come, and with good reason. Her guest vocals on DJ Fresh's Hot Right Now became the first ever drum'n'bass number one back in February and she's now gearing up to release her debut solo album after signing to Jay Z's Roc Nation label. Looking at the collaborators she's worked with already – Drake, Chase and Status, Stargate – you can see why some people have her pegged as The Next Rihanna (TM).
"I don't think there will be a next Rihanna," she says. "But I think [Jay Z] definitely sees me as someone who could be as big as Rihanna. She's a superstar now but they first knew her as a small-island girl – and they want to repeat that success."
Ora feels a kinship with Rihanna – both have become pop stars from unlikely places, but instead of Barbados Ora life started in Kosovo, although her family moved to London when she was a baby. Her first musical loves were Spiceworld and Celine Dion – earlier today she bought a vintage T-shirt with Dion's face on – before she graduated to reggae from her local Notting Hill shop (Bounty Killer, Sizzla, Beanie Man) along with "artists who were not afraid": Hendrix, Bowie and Gaga.
She has had a few dabbles with pop stardom. These involve guesting on Craig David records and appearing on Andrew Lloyd Webber's Eurovision: Your Country Needs You! in 2009 (she pulled out, realising it wasn't for her) but she's not embarrassed by any of this. Instead she seems to absorb everything that comes in her path with a breezy confidence, as if waking up and recording a song written by Drake – which she did for her debut UK single RIP – was as natural as, say, making a cup of tea.
She does admit to being starstruck when meeting Jay Z for the first time. She had no prior warning so was unable to "prepare to have the heart attack before I had the heart attack. I shook his hand and my belly felt like it was about to throw up." Even chilling with Shawn Carter, however, came naturally after a couple of hours: "It was like I knew him for years. He's so welcoming and humble and genuinely helpful and caring when it comes to music."
Her self-assuredness no doubt comes in part from attending the Sylvia Young theatre school – whose alumni include Amy Winehouse and Dionne Bromfield. "There were so many people in the building that all wanted the same dream," she says. "It was a building of energy filled with hunger."
This sounds to me like a recipe for everyone hating each other but she shrieks "No!" and says: "There were so many different vocational subjects that everyone could do a different thing. There were people who loved musical theatre, for instance, but I never really had that [adopts stage-y voice]"Laaaaaaaaa!"
I wonder what it was like for Ora to work with Drake – in one interview she talks about having had a crush on him.
"Oh yeah, used to! Not that I still do!" she blushes, before saying somewhat unconvincingly: "I just was a fan of his music. And he sings songs that make women feel good about themselves."
Feel good about themselves? Aren't lots of his songs about empty sex, cheating and guilt?
"Oh, you don't understand," she replies. "Women love an honest man. An honest man that isn''t afraid to say "men get hurt too". And a lot of men don't admit that."
Is that an honesty she's trying to replicate in her music?
She says so, definitely. She describes RIP – a synthy, dubstep-flavoured banger – as "such a woman anthem, it sent out a message to say: 'You're hot, tell your man that you're hot.'"
As for How We Do (Party) – a drinking anthem aimed at the US market – she has said it covers that moment when you "wake up in the morning and want to take another whisky shot."
"When did I say that?" she says, looking confused.
Er, it's in your official biog!
"Oh!" she says, and her big eyes go bigger. "Well, I'm just talking about how to get over a hangover!" She looks worried. "I don't drink every morning!"
I wonder if the reference to Tanqueray gin was a nod to Winehouse, who referenced the brand in You Know I'm No Good. But Ora's response – "That's just a specific whisky" – suggests that the honesty in her songs is perhaps more of a musical one. Not that this matters. Grand personal statements are hardly necessary for breaking the pop market at this stage. What matters is big hooks, smart style and an arresting personality – three bases that Ora has more than covered.
i hope you are all bow'ing rn because you will be eventually
♡ i dedicate this post to the number #1 rita ora stan rihanna ♡
Look, it's Desmond! <3
It's the kind of bling worth waiting for.
Robert Procop, who collaborated with Angelina Jolie on "The Style of Jolie" jewelry line, designed her engagement ring – with a lot of help from her new fiancé Brad Pitt.
"Brad had a specific vision for this ring, which he realized over a year-long collaboration with Robert," says the jeweler in a statement. "He wanted every aspect of it to be perfect, so Robert was able to locate a diamond of the finest quality and cut it to an exact custom size and shape to suite Angelina's hand.
"Brad was always heavily involved, overseeing every aspect of the creative design evolution," the statement continues. "The side diamonds are specially cut to encircle her finger. Each diamond is of the highest gem quality."
Jolie was spotted wearing the ring Wednesday at a private viewing at the Los Angeles County Museum of Art's Chinese Galleries, according to The Hollywood Reporter, who first reported on the ring.
Jolie attended the event with Pitt and their son Pax.
Rumors that Jolie, 36, and Pitt, 48, were planning to marry intensified earlier this year when Pitt told CBS News that they were "getting a lot of pressure from the kids."
Miley out at Pilates class April 12th
Hilary leaving a night pilates class in West Hollywood April 12th
It's been a long time coming, but this summer finally sees the theatrical release of Canadian actress-writer-director Sarah Polley's sophomore effort behind the camera, with the romantic drama "Take This Waltz." There's no lack of star power featured in Polley's film, with Michelle Williams and Seth Rogen leading the cast. Now a new poster and a couple of new images have been unveiled to help the film find an audience.
"Take This Waltz" centers a young couple (Williams, Rogen) who struggle with monogamy and fidelity, as the former is torn between her husband and a new man. Up and comer Luke Kirby co-stars as the dude who catches Williams' eye with comedienne Sarah Silverman also on board in a provocative role as Rogen's sister."Take This Waltz" will screen at the Tribeca Film Festival before landing in theaters on June 19th. If you needed any more convincing, look no further than the film's promising trailer.
need this nao!!
Kristin Cavallari goes shopping at Staples April 13th
Gwyneth Paltrow, Zooey Deschanel & More Hit The 'My Valentine' Premiere
The problem with going to a party thrown by Paul McCartney is that all the A-listers are going to show up wearing threads designed by his daughter, Stella McCartney.
Sir Paul premiered his new video "My Valentine," which stars Johnny Depp and Natalie Portman, last night, and as it turns out, tons of people opted for looks from Stella's spring 2012 collection -- awwwwwkward.
Holla Back Girl
Liberty Ross. HEWDAFUQ???
Nancy Shevell & Paul McCartney
Portrait by Richard Grassie:
i can't handle his beauty, y'all
Source: 1, 2, 3.
That Grape Juice interviews Roc Nation's newest star Rita Ora.
Actress Kim Novak told an audience at the TCM Classic Film Festival Friday that she has bipolar disorder, and sometimes regrets her decision to leave Hollywood in the late 1960s at the height of her fame.
The star of such films as "Vertigo," "Pal Joey" and "Picnic," Novak was teary-eyed and emotional when she told Turner Classic Movies host Robert Osborne before an audience of about 300 people at the Avalon in Hollywood that she suffered from mental illness while making those films.
"I'm bipolar ... but there's medicine you can take for this now," Novak said. "I was not diagnosed until much later. I go through more of the depression than the mania part."
Novak, 79, is in Los Angeles to have her handprints and footprints enshrined in the forecourt at Grauman's Chinese Theatre on Saturday, a sign of the recognition she said she hungered for throughout her life.
Though she was once a top box-office draw, Novak was never nominated for an Oscar, and struggled against notions of what kind of roles she should play as an attractive blond in Hollywood.
"I couldn't play a beach girl," Novak said. "I needed something complicated because I was complicated."
She was branded as difficult, Novak said, in part because she rejected attempts by studio executives to define and control her. At one point, they wanted her to take the name "Kit Marlowe" and wear her makeup like Joan Crawford did; at another, they prohibited her friendship with Sammy Davis Jr., saying it was too provocative.
Columbia Pictures President "Harry Cohn said, 'you can't see him,' " Novak said, of Davis. "It really bothered me that people would mind our being friends. I guess I was not a person of the times."
Novak said her father suffered from depression, and her difficult childhood in Chicago prepared her, in a way, for Hollywood.
"I was used to having conflict in the home, so having conflict on a set ... felt normal," she said.
But she ultimately found the emotional pressures of the industry too much to bear, and moved to Big Sur to paint. She has acted sporadically since then, but her career never regained its early momentum.
"I don't think I was ever cut out to have a Hollywood life," Novak said. "Did I do the right thing, leaving? Did I walk out when I shouldn't have? That's when I get sad."
Now Novak lives in Oregon with her husband, an equine veterinarian, and their five horses. She said she plans to hold an exhibition of her paintings for the first time next year, and will devote the proceeds of any sales to mental health philanthropies.
TCM recorded the conversation with Novak, and will broadcast it in the coming months.
find out who's the mole in the avengers and which of the boys threw popcorn at scarlett's head at the LA's premiere showing of the movie, dat bastard...