The Coffee Table
A Spanish couple buy a hideous coffee table, and then the worst thing imaginable happens in the first act.
486 entries, from the 1931 Universal cycle to last year. Curated, not exhaustive: a short shelf of things worth knowing about beats a long one nobody can navigate.
23 films
A Spanish couple buy a hideous coffee table, and then the worst thing imaginable happens in the first act.
Cannibals who look like they were recruited outside the catering truck. Almost impressively bad.
Paul Naschy in the Himalayas. On the list almost certainly because somebody read the title and stopped.
Franco at his most indifferent. Ninety minutes of jungle and a monster with bulging eyes.
Vietnam veterans come home with a bite that spreads. A better idea than the film delivers.
Bava given complete freedom, and the film is a dream nobody can escape, including the producer.
A chainsaw killer on a Boston campus, made by Spaniards, and it is gloriously incoherent.
Almost no cannibalism. A slaughterhouse worker, a body count and Franco-era Spanish class rage.
Bruno Mattei splicing stock documentary footage into a zombie film and hoping nobody notices.
Bava's first-person portrait of a killer who murders brides to recover a childhood memory. Genuinely strange.
Spanish, a bullied teenager, and a moral problem she is left holding alone.
Opens with eight minutes of real famine footage, then asks its title question literally.
Zombies caused by an agricultural radiation device, shot in the Lake District. Much better than it sounds.
A Madrid teenager holds a séance during a solar eclipse and brings something home. Loosely based on a real police file.
Stuart Gordon adapting The Shadow over Innsmouth, relocated to a rotting Spanish fishing town.
The concierge of a Barcelona apartment block cannot bear that a tenant is happy, so he makes sure she is not.
The sequel picks up minutes after the first, sends a SWAT team into the sealed building, and reframes the whole outbreak.
Del Toro's other Spanish Civil War film, and he has called it the companion to Pan's Labyrinth.
A Barcelona apartment block, a news crew, and eighty minutes with no let-up.
Produced by del Toro, and it is a film about a mother rather than a house.
A vertical prison and a descending table of food. The metaphor is a brick and the film is effective anyway.
Almodóvar's only horror film, and it is a revenge story disguised as a mad-scientist melodrama.
A twist that survives a second viewing, which is rarer than it sounds.