Hellbender
Made by one family during lockdown for almost nothing, and it looks better than films with fifty times the budget.
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.
21 films
Made by one family during lockdown for almost nothing, and it looks better than films with fifty times the budget.
Cursed cave dwellers from 12,000 BC eating people in modern Los Angeles. Incoherent throughout.
A grieving mother and an occultist doing a months-long ritual properly. The tedium is deliberate.
Mexican nunsploitation with an actual argument, and everybody in it screams for eighty minutes.
Something is dug up in a field and the village children form a cult. One third of the unholy trinity.
Shot on 35mm to look exactly like 1969, written and designed by one person, and very funny.
A Macedonian witch story told as a Malick film, and it is about what it is to be a person.
Christopher Lee as the hero for once, and the best script Hammer ever filmed.
Peter Cushing as a witch-hunter who is worse than the vampires, and the Collinson twins were Playboy's first.
Vincent Price with the camp switched off, torturing people in English summer sunshine.
The runic parchment, the smoke on the railway line, and a monster the producer added against the director's wishes.
The Suspiria sequel. Less coherent, more beautiful, and has the best underwater sequence Argento shot.
Bava could not afford colour and made the best-looking gothic ever shot. Barbara Steele's face did the rest.
Ken Russell's best film, cut in every territory it has ever played, and still not properly released.
A 1922 essay film about witch trials that is still more radical than most documentaries.
The only horror film made in the Soviet Union, and the last twenty minutes are extraordinary.
Not a remake so much as an argument with the original. Colder, longer, and about postwar German guilt.
Barely a plot and possibly the most beautiful horror film ever shot.
Most of the dialogue comes from court records, then it commits fully to the supernatural.
A film about grief that turns out to be a film about a cult. Toni Collette should have won everything.
Seventeen children leave their houses at 2.17am. Cregger structures it as overlapping chapters and it pays off.