Chilling Horror Films You May Have Never Seen. Chilling horror films you may have never seen ! So if you’re feeling in the mood to snuggle under your covers with the lights off and the doors locked – here are 2. Note* These are not necessarily my favorite horror films, however they are some titles I would like to bring to your attention, and all come recommended by me. They will not be ranked – however the will be listed alphabetically. BABY BLUES (2. 00. A disturbing little film which shares many comparisons to Charles Laughton’s Night of the Hunter. How’s this for a twist on the horror genre – Postpartum depression. This short 8. 9 minute horror show takes place on a secluded family farm. Our mother is suffering from depression after the birth of her last child, her third. The film is her giving in and having a nervous breakdown – one like you have never seen before. From start to finish there is a sense of high tension, and it’s worth seeing for the performance by Coleen Porch as mom. This one is not neccesarily for the faint of heart, or big budget horror lover. This is a quick, violent trip into the mind of a crazed lunatic. CALVAIRE (2. 00. 4)A few days before Christmas a traveling entertainer Marc’s car breaks down on the way to a gig. Of course he is stuck on a back road in the middle of a swampy forest. He makes his way to a tiny inn to spend the night while his car is to be fixed the following day. The inn is run by the eccentric Mr. Bartel who connects with Marc, as he used to be a comedian. Of course the next day we know that “the man from town” is not coming to fix the car, and Marc is in for quite an ordeal. This horrific french film’s title actually translates to The Ordeal. Watch your most loved classic horror movies ever produced. The greatest thing about old horror movies is they are freely available to watch and get legally.And boy is this an ordeal to watch – and I mean that in a good way. Although the basic plot has been done numerous times, this flick takes many twists and turns you won’t see coming . It’s one of a few french horror films on the list. CARNIVAL OF SOULS (1. This 1. 96. 2 horror flick was a hit in drive- in movie theatres. I can only imagine this is the best place to see this film, however it still holds up over time and packs quite a creepy punch.
After a drag race gone wrong, Mary washes ashore escaping her flooded car. After this she tries to carry on with her life and is stalked by a mysterious phantom and turns up at the world’s creepiest circus. This is a cult film that actually is well made on a minuscule budget. Somehow this film has been overlooked in horror’s history, which is a true shame. THE CHANGELING (1. Horror Movies - Free to Watch and Download. This is a collection of old horror movies that you can watch and download at BnWMovies.com. These horror movies belong to. The 100 best horror films The best horror films and movies of all time, voted for by over 100 experts including Simon Pegg, Stephen King and Alice Cooper. Check out the list of top Bollywood Horror movies, only on Desimartini. Get full collection of top Hindi Horror films online. In Bloody-Disgusting’s second entry in our “100 Years in Horror” series, we take a look back at the horror films that grew out of some of the most pivotal eras. The Enchanted World of Danye Kaye: The Emperor's New Clothes is a 1972 television special based on Hans Christian Andersen's classic tale, The Emperor's New Clothes. This is a horror film that holds up insanely well over time. This one doesn’t rely on effects, gore, or any last minute twists. It is just a scary film that scared me as a kid and when I re- watched it last Halloween, it scared me as an adult. Scott stars as John Russell a composer who is dealing with the sudden death of his wife and son. To deal with the grief he rents an old mansion with plenty of room for him to write new music and get out his depression through his art. Little does he know, he is not alone. This mansion is shared by the ghost of a murdered young boy who has a plan for John Russell. This movie has a couple of scenes that actually make my blood go cold, it never disappoints in being truly scary. THE CHILDREN (2. 00. We have all seen movies about devil children (The Omen, Orphan, Villiage of the Damned, etc), but I assure you’ve never seen one as brutally scary as The Children. This UK horror never got a proper released in the US, which is a shame because its a true thrill- ride. It’s Christmas eve and a relaxing family vacation is about to take a turn for the worse. Suddenly the children seem to snap one by one and its an all out battle as the children turn on their parents in some of the most graphically “close your eyes and peek through your fingers” ways! I also believe this film has the best tag line ever: You brought them into the world. After watching Creep, I never wanted to take a subway again. Franka Potente stars as Kate. Kate is out on the London streets heading home from a party waiting to catch the last train. It’s very late and she is seemingly alone while she waits for the midnight train, but of course she’s not. She is being followed by a co- worker who has had one to many drinks and is stalking after Kate wanting to have his way with her. When he becomes violent, Kate descends into the labyrinthine tunnels to escape . This one really creeped my out. If you live in a city with a subway – watch this one at your house so you don’t have to take the train home. DEAD BIRDS (2. 00. Dead Birds is the story of a group of Confederate soldiers who have joined together to rob a bank. They make it out with the money and hole up inside an abandoned plantation to escape the towns police. As the night falls, and a storm brews, we learn that there are supernatural forces at play. This little known- of haunted house flick has moments of true scares and some very nice effects on a limited budget. It’s a different approach to the haunted- house genre which I also applaud. But after the horrible Exorcist 2: The Heretic I think most audiences and critics had given up. Part III is well worth your time. If you know anyone who has seen this film, I assure you they will tell you there is one scene where you literally jump out of your own skin! It does help to see the first film for some of this film to hit home, although its not necessary. The film surrounds Kinderman (played by George C. Scott) who is a detective on the case of the Gemini Killer. The victims in this case are connected to first film, and its not a shock because the film is directed by William Peter Blatty who wrote the book that the original was based on. This is a psychological horror film, no gory shock scenes like in the first. If you make it through this one, it packs quite a punch. I actually think its one of the scarier films on this list. FRONTIER(S) (2. 00. This french horror film is NOT for the weak stomached. If you don’t like your films wallowing in gore and gruesomeness, skip this one, because it really takes it to another level. Putting all of the blood and guts aside, it’s actually quite well- made. Taking place in France during the violent post- election riots, a gang of young thieves flee Paris to hole up in a secluded inn. What they don’t know, and we find out, is that the inn is run by a family of Neo- Natzi cannibals who have their own plans. This family run inn is lead by a deranged patriarch who is a former SS officer and Natzi war criminal. This is an effective and gruesome film that certainly is not for everyone – but if you can hack it, it’s worth your while. THE FUNHOUSE (1. 98. The Funhouse is one of my favorites of the 8. It never hit home like Halloween or Friday the 1. It all starts with a double date to the carnival for two young teenage couples. They dare one another to spend the night in the carnival’s funhouse, and of course they do it. Then they witness a brutal murder and are stalked for the rest of the picture by a crazed carny. It has all the trademarks of an 8. It’s directed by Tobe Hooper, who brought us Texas Chainsaw Massacre. There’s always been something creepy about the circus and this film takes all those things and wraps them up into one movie. GRACE (2. 00. 9)Madeline is faced with quite the dilemma, she has always wanted to be a mother more than anything, however during her pregnancy she is in a horrific traffic accident and the baby inside her has died. She makes the decision to carry the baby to turn nevertheless. In the accident she loses not only her baby but her husband as well. She continues with birth plans, which include hiring a midwife and preparing for the still birth. However, she is so determined to be a mother that something miraculous happens – the baby is born and it’s alive. The cute little girl is named Grace, and because this is a horror movie she is not your regular little girl. The film posts the question: How far would you go to have a baby? Well lets just say Madeline goes all the way! This is a creepy little Canadian horror flick featuring solid performances and a frightening story. GRAVE ENCOUNTERS (2. In the tradition of Paranormal Activity and The Blaire Witch Project, Grave Encounters brings new scares to the mockumentary horror genre. The first half plays out as a parody of those horrible “reality” shows such as Ghost Hunters where a group of “experts” travel to a haunted space and film nothing yet somehow get “REAL footage”. Well, this is what I wish would happen on one of those episodes. The “cast” of the television show Grave Encounters travel to the Collingwood Psychiatric Hospital to film it’s “ghosts”. Of course they have a fake psychic and have set up potential scenes to stand- in for the things that go bump in the night. Well lets just say that this would be the last episode of this show, as the ghost- hunters come face to face with the hospitals old inhabitants. To say this movie made me scream aloud would be an understatement. Sure, it goes a bit overboard by the time its over, but there are moments of sheer terror. This one is just out on dvd, so you too can see it. THE HOUSE OF THE DEVIL (2. Although filmed in 2. Its brilliantly shot and wonderfully acted, you will think you’ve found a hidden gem from the grindhouse era that just saw the light of day on dvd. On the eve of the solar eclipse, poor college student Samantha takes a babysitting job. There is a huge mansion, there is a creepy family, but there is no baby. She will be watching the house and looking after the elderly grandma who lives on the top floor. As the night goes on she realizes she is part of something far more sinister than babysitting. Mixing a little bit of everything from the horror genre this is an exciting and creepy little film. ILS (2. 00. 6)Ils (Them) is a french film in the tradition of The Strangers. A young attractive couple share a young country home, when they are terrorized by a group of hooded young thugs. B movie - Wikipedia. A B movie is a low- budget commercial movie, but one that is not an arthouse film. In its original usage, during the Golden Age of Hollywood, the term more precisely identified films intended for distribution as the less- publicized bottom half of a double feature. In its post–Golden Age usage, there is ambiguity on both sides of the definition: on the one hand, the primary interest of many inexpensive exploitation films is prurient; on the other, many B movies display a high degree of craft and aesthetic ingenuity. In either usage, most B movies represent a particular genre—the Western was a Golden Age B movie staple, while low- budget science- fiction and horror films became more popular in the 1. Early B movies were often part of series in which the star repeatedly played the same character. Almost always shorter than the top- billed films they were paired with, many had running times of 7. The term connoted a general perception that B movies were inferior to the more handsomely budgeted headliners; individual B films were often ignored by critics. Latter- day B movies still sometimes inspire multiple sequels, but series are less common. As the average running time of top- of- the- line films increased, so did that of B pictures. In its current usage, the term has somewhat contradictory connotations: it may signal an opinion that a certain movie is (a) a genre film with minimal artistic ambitions or (b) a lively, energetic film uninhibited by the constraints imposed on more expensive projects and unburdened by the conventions of putatively . The term is also now used loosely to refer to some higher- budgeted, mainstream films with exploitation- style content, usually in genres traditionally associated with the B movie. From their beginnings to the present day, B movies have provided opportunities both for those coming up in the profession and others whose careers are waning. Celebrated filmmakers such as Anthony Mann and Jonathan Demme learned their craft in B movies. They are where actors such as John Wayne and Jack Nicholson first became established, and they have provided work for former A movie actors, such as Vincent Price and Karen Black. Some actors, such as Bela Lugosi, Eddie Constantine and Pam Grier, worked in B movies for most of their careers. The term B actor is sometimes used to refer to a performer who finds work primarily or exclusively in B pictures. History. Soon, director Frank Capra's association with Columbia would help vault the studio toward Hollywood's major leagues. That average reflected both . These cheaper films (not yet called B movies) allowed the studios to derive maximum value from facilities and contracted staff in between a studio's more important productions, while also breaking in new personnel. Their movies, with relatively short running times, targeted theaters that had to economize on rental and operating costs, particularly small- town and urban neighborhood venues, or . Even smaller production houses, known as Poverty Row studios, made films whose costs might run as low as $3,0. Soon, director Bryan Foy's association with Vitaphone would help vault the studio toward Hollywood's major leagues. A new programming scheme developed that would soon become standard practice: a newsreel, a short and/or serial, and a cartoon, followed by a double feature. The second feature, which actually screened before the main event, cost the exhibitor less per minute than the equivalent running time in shorts. The low- budget picture of the 1. B movie, of Hollywood's Golden Age. All established B units to provide films for the expanding second- feature market. Block booking became standard practice: to get access to a studio's attractive A pictures, many theaters were obliged to rent the company's entire output for a season. With the B films rented at a flat fee (rather than the box office percentage basis of A films), rates could be set virtually guaranteeing the profitability of every B movie. The parallel practice of blind bidding largely freed the majors from worrying about their Bs' quality—even when booking in less than seasonal blocks, exhibitors had to buy most pictures sight unseen. The five largest studios—Metro- Goldwyn- Mayer, Paramount Pictures, Fox Film Corporation (2. Century Fox as of 1. Warner Bros., and RKO Radio Pictures (descendant of FBO)—also belonged to companies with sizable theater chains, further securing the bottom line. In no position to directly block book, they mostly sold regional distribution exclusivity to . In contrast to the Big Five majors, Universal and Columbia had few or no theaters, though they did have top- rank film distribution exchanges. Double features were not the rule at these prestigious venues. As described by historian Edward Jay Epstein, . At the larger local venues controlled by the majors, movies might turn over on a weekly basis. At the thousands of smaller, independent theaters, programs often changed two or three times a week. To meet the constant demand for new B product, the low end of Poverty Row turned out a stream of micro- budget movies rarely much more than sixty minutes long; these were known as . Millions of Americans went to their local theaters as a matter of course: for an A picture, along with the trailers, or screen previews, that presaged its arrival, . The leading studios made not only clear- cut A and B films, but also movies classifiable as . In 1. 93. 5, B movie production at Warner Bros. The unit was headed by Bryan Foy, known as the . Wurtzel was similarly in charge of more than twenty movies a year during the late 1. In 1. 93. 5, Monogram, Mascot, and several smaller studios merged to establish Republic Pictures. The former heads of Monogram soon sold off their Republic shares and set up a new Monogram production house. Less sturdy Poverty Row concerns—with a penchant for grand sobriquets like Conquest, Empire, Imperial, and Peerless—continued to churn out dirt- cheap quickies. Calculating in the three hundred or so films made annually by the many Poverty Row firms, approximately 7. Hollywood movies from the decade, more than four thousand pictures, are classifiable as Bs. The Weiss outfit had the Range Rider series, the American Rough Rider series, and the Morton of the Mounted . Fox's many B series, for instance, included Charlie Chan mysteries, Ritz Brothers comedies, and musicals with child star Jane Withers. As with serials, however, many series were intended to attract young people—a theater that twin- billed part- time might run a . In the words of one industry report, afternoon moviegoers, . The double feature, never universal, was still the prevailing exhibition model: in 1. Restrictions were also placed on the majors' ability to enforce blind bidding. Genre pictures made at very low cost remained the backbone of Poverty Row, with even Republic's and Monogram's budgets rarely climbing over $2. Many smaller Poverty Row firms folded as the eight majors, with their proprietary distribution exchanges, now commanded about 9. U. S. Selznick brought his bloated- budget spectacle Duel in the Sun to market with heavy nationwide promotion and wide release. The distribution strategy was a major success, despite what was widely perceived as the movie's poor quality. Films shot on B- level budgets were occasionally marketed as A pictures or emerged as sleeper hits: one of 1. Hitler's Children, an RKO thriller made for a fraction over $2. It earned more than $3 million in rentals, industry language for a distributor's share of gross box office receipts. Programmers, with their flexible exhibition role, were ambiguous by definition. As late as 1. 94. Around the same time, Republic launched a similar effort under the . Raw Deal (1. 94. 8), writes scholar Robert Smith, is . Lewton produced such moody, mysterious films as Cat People (1. I Walked with a Zombie (1. The Body Snatcher (1. Jacques Tourneur, Robert Wise, and others who would become renowned only later in their careers or entirely in retrospect. Though many of the best- known film noirs were A- level productions, most 1. In the decades since, these cheap entertainments, generally dismissed at the time, have become some of the most treasured products of Hollywood's Golden Age. Three majors beside RKO contributed a total of five more. Along with these eighteen unambiguous B noirs, an additional dozen or so noir programmers came out of Hollywood. RKO's representative output included the Mexican Spitfire and Lum and Abner comedy series, thrillers featuring the Saint and the Falcon, Westerns starring Tim Holt, and Tarzan movies with Johnny Weissmuller. Jean Hersholt played Dr. Christian in six films between 1. Christian (1. 94. Republic aspired to major- league respectability while making many cheap and modestly budgeted Westerns, but there was not much from the bigger studios that compared with Monogram ? The little studio had its own house auteur: with his own crew and relatively free rein, director Edgar G. With audiences draining away to television and studios scaling back production schedules, the classic double feature vanished from many American theaters during the 1. The major studios promoted the benefits of recycling, offering former headlining movies as second features in the place of traditional B films. After barely inching forward in the 1. U. S. By 1. 95. 3, the old Monogram brand had disappeared, the company having adopted the identity of its higher- end subsidiary, Allied Artists. The following year, Allied released Hollywood's last B series Westerns. Non- series B Westerns continued to appear for a few more years, but Republic Pictures, long associated with cheap sagebrush sagas, was out of the filmmaking business by decade's end. In other genres, Universal kept its Ma and Pa Kettle series going through 1. Allied Artists stuck with the Bowery Boys until 1. The age of the hour- long feature film was past; 7.
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