Film

The 10 Greatest Modern Horror Movies

Halloween is fast approaching. Here are our Top 10 Picks for fright films guaranteed to disturb your sleep and shiver your spine.

In an arena as thoroughly subjective as the scary movie, how does one even begin to come up with a list of the artform’s very best? In the hierarchy of horror, things change so rapidly (and frequently) that, at any given moment, one category of creepy such as the Devil films of the ‘70s will give way to an entirely new fear fad like the slasher films of the ‘80s. This means that, as the genre shifts, trends taper off and subcategories flourish, one man’s terror quickly becomes one filmmaker’s trash. It’s the same with opinions on what is and is not petrifying. Dread is indeed a personal propensity, difficult to discuss in terms of absolutes and universals. Yet whenever fans get together and share their experiences with the cinema they love the most, conversations typically turn toward the defining films that began their affair with fear in the first place. Though they may not always agree, it is clear that there are certain films that stand out amongst the throng, that argue for their place as not only good grue, but expert cinema as well.

Again, there are certain caveats to this non-definitive Decalogue that should keep the obsessed and the angry in check, hopefully avoiding most call-outs and complaints to a minimum. Several sensational films from the myriad that many would consider crucial just missed the cut. They include current offerings like Shaun of the Dead and Hostel, as well as deserving efforts from decades past like The Howling, Hellraiser, Prince of Darkness, and Peter Jackson’s Brain Dead. In addition, classics from the Golden Age -- films featuring the likes of Frankenstein, Dracula and the Wolfman -- were also discounted, given their already important place in the overall history of horror. Some will still argue that favorite films are missing or seated too far down the roll. They will dismiss any compendium that does not contain their own idea of fear. While no one claims its 100% authoritative, one thing is for sure, all 10 titles here will shiver you down to the very marrow in your bones, beginning with a truly movie bit of macabre...

 
# 10 - Dellmorte Dellamore
Cemetery Man aka Dellmorte Dellamore is a most unusual horror film. It is a movie so brazen and beautiful that it argues for its acceptance as art. It easily outpaces dozens of derivative efforts from the era (1993), making them the crude, comic creations they really are. Anyone coming to this movie hoping to continue their fascination with flesh-eating corpses will have to get their Romero/Fulci fill elsewhere. In the hands of the amazing Michele Soavi, this is moviemaking as poetry, cinema as stunning visual feast. It's one of the best films about the end of life ever crafted, not so much terrifying as horrific in its insights.

 
# 9 - Let the Right One In
With its bursts of horrific violence and stark, matter of fact mannerism, Let the Right One In instantly becomes one of the few outright foreign fright film classics. It uses routine to unholy ends, and takes the standard coming of age and turns it right on its pointy, perplexed and paranormal little head. Rare is the movie that can take the trials and tribulations of peer pressure and personal awareness and make it into something both celebratory and sinister. But thanks to the efforts of Thomas Alfredson and his collaboration with source novelist John Lindqvist, we wind up with a compelling companion to every story of overlooked and alienated youth ever told.

 
# 8 - Halloween
John Carpenter was not setting out to start a trend. As a huge fan of both Hitchcock and Argento, the filmmaker wanted to fashion a tribute to the suspense epics he adored as a young film student. The result was the beginning of the late ‘70s/early ‘80s slasher age for genre cinema, and the rebirth of the yearly calendar call of ‘Trick or Treat’ into a night of unspeakable evil. While both this fine first feature and its creator have fallen on hackneyed hard times of late (the numerous lame sequels haven’t helped the frequently floundering franchise) no one can deny the precision and potency of Carpenter’s original vision.

 
# 7 - Dawn of the Dead (1978)
The master of the modern zombie film finds yet another novel way of mixing scares with social commentary as he investigates America’s growing consumerism while upping the atrocity ante. This time, everyone’s favorite suburban cathedral, the shopping mall, is transformed into the setting for a strange lesson in situational sociology. It’s a battle between the haves (the survivors), the have nots (the roaming biker gang), and the flesh-craving caretakers of a land slowly subsumed by both sides inability to work together. Add in Tom Savini’s autopsy-level make-up work and you have one of the most memorable visions of internalized Apocalypse ever created.

 
# 6 - A Nightmare on Elm Street (1984)
Reading the terrifying tea leaves of early ‘80s society -- Regan in the White House, children cherished as biological trophies by ever-wayward parents, his favorite genre overrun by slice and dice silliness -- horror hero Wes Craven reintroduced the monster back into the monster movie. Using a newspaper account of a boy who was “killed” by his dreams, the man responsible for Last House on the Left created a creepy cult symbol in Freddy Krueger -- killer of kids both in reality and in the far more vulnerable world of their dreams. Though later reduced to a cloying comedian, this is Mr. Finger Knives coming out -- and its unforgettably frightening.

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This book offers a poignant and jarring reminder not just of the resilience of the human spirit, but also of its ability to seek solace in the materiality of one's present.

Marcelino Truong launched his autobiographical account of growing up in Saigon during the Vietnam War with the acclaimed graphic novel Such a Lovely Little War: Saigon 1961-63, originally published in French in 2012 and in English translation in 2016. That book concluded with his family's permanent relocation to London, England, as the chaos and bloodshed back home intensified.

Now Truong continues the tale with Saigon Calling: London 1963-75 (originally published in French in 2015), which follows the experiences of his family after they seek refuge in Europe. It offers a poignant illustration of what life was like for a family of refugees from the war, and from the perspective of young children (granted, Truong's family were a privileged and upper class set of refugees, well-connected with South Vietnamese and European elites). While relatives and friends struggle to survive amid the bombs and street warfare of Vietnam, the displaced narrator and his siblings find their attention consumed by the latest fashion and music trends in London. The book offers a poignant and jarring reminder not just of the resilience of the human spirit, but also of its ability to seek solace in the materiality of one's present.

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In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Editor's Note: Originally published 30 July 2014.

10. “Bedlam in Belgium”
(Flick of the Switch, 1983)

This is a massively underrated barnstormer from the boys off the much-maligned (unfairly, I think) Flick of the Switch. The album was missing Mutt Lange, but the Youngs did have his very capable engineer, Tony Platt, as co-producer in the studio at Compass Point in the Bahamas. Tony’s a real pro. I think he did a perfectly fine job on this album, which also features the slamming “Nervous Shakedown”.

But what I find most interesting about “Bedlam in Belgium” is that it’s based on a fracas that broke out on stage in Kontich, Belgium, in 1977, involving Bon Scott, the rest of the band, and the local authorities. AC/DC had violated a noise curfew and things got hairy.

Yet Brian Johnson, more than half a decade later, wrote the lyrics with such insight; almost as if he was the one getting walloped by the Belgian police: He gave me a crack in the back with his gun / Hurt me so bad I could feel the blood run. Cracking lyrics, Bon-esque. Unfortunately for Brian, he was removed from lyric-writing duties from The Razors Edge (1990) onwards. All songs up to and including 2008’s Black Ice are Young/Young compositions.

Who’ll be writing the songs on the new album AC/DC has been working on in Vancouver? AC/DC fans can’t wait to hear them. Nor can I.

 
9. “Spellbound”
(For Those About to Rock We Salute You, 1981)

"Spellbound" really stands as a lasting monument to the genius of Mutt Lange, a man whose finely tuned ear and attention to detail filed the rough edges of Vanda & Young–era AC/DC and turned this commercially underperforming band for Atlantic Records into one of the biggest in the world. On “Spellbound” AC/DC sounds truly majestic. Lange just amplifies their natural power an extra notch. It’s crisp sounding, laden with dynamics and just awesome when Angus launches into his solo.

“Spellbound” is the closer on For Those About to Rock We Salute You, the last album Lange did with AC/DC, so chronologically it’s a significant song; it marks the end of an important era. For Those About to Rock was an unhappy experience for a lot of people. There was a lot of blood being spilled behind the scenes. It went to number one in the US but commercially was a massive disappointment after the performance of Back in Black. Much of the blame lies at the feet of Atlantic Records, then under Doug Morris, who made the decision to exhume an album they’d shelved in 1976, Dirty Deeds Done Dirt Cheap, and release it in-between Back in Black and For Those About to Rock.

In the book Phil Carson, who signed AC/DC to Atlantic, calls it “one of the most crass decisions ever made by a record-company executive” and believes it undermined sales of For Those About to Rock.


 
8. “Down Payment Blues”
(Powerage, 1978)

This is one of the best songs off Powerage -- perhaps the high point of Bon Scott as a lyricist -- but also significant for its connection to “Back in Black”. There are key lines in it: Sitting in my Cadillac / Listening to my radio / Suzy baby get on in / Tell me where she wanna go / I'm living in a nightmare / She's looking like a wet dream / I got myself a Cadillac / But I can't afford the gasoline.

Bon loved writing about Cadillacs. He mentions them in “Rocker” off the Australian version of TNT and the international release of Dirty Deeds Done Dirt Cheap: Got slicked black hair / Skin tight jeans / Cadillac car and a teenage dream.

Then you get to “Back in Black”. Bon’s dead but the lyrics have this spooky connection to “Down Payment Blues”: Back in the back / Of a Cadillac / Number one with a bullet, I’m a power pack.

Why was Brian singing about riding around in Cadillacs? He’d just joined AC/DC, wasn’t earning a lot and was on his best behavior. Bon had a reason to be singing about money. He was writing all the songs and just had a breakthrough album with Highway to Hell. Which begs the question: Could Bon also have written or part written the lyrics to “Back in Black”?

Bon’s late mother Isa said in 2006: “The last time we saw him was Christmas ’79, two months before he died. [Bon] told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire.”

 
7. “You Shook Me All Night Long”
(Back in Black, 1980)

Everyone knows and loves this song; it’s played everywhere. Shania Twain and Celine Dion have covered it. It’s one of AC/DC’s standbys. But who wrote it?

Former Mötley Crüe manager Doug Thaler is convinced Bon Scott, who’d passed away before the album was recorded, being replaced by Brian Johnson, wrote the lyrics. In fact he told me, “You can bet your life that Bon Scott wrote the lyrics to ‘You Shook Me All Night Long’.” That’s a pretty strong statement from a guy who used to be AC/DC’s American booking agent and knew the band intimately. I look into this claim in some depth in the book and draw my own conclusions.

I’m convinced Bon wrote it. In my opinion only Bon would have written a line like “She told me to come but I was already there.” Brian never matched the verve or wit of Bon in his lyrics and it’s why I think so much of AC/DC’s mid-'80s output suffers even when the guitar work of the Youngs was as good as it ever was.

But what’s also really interesting about this song in light of the recent hullabaloo over Taurus and Led Zeppelin is how much the opening guitar riff sounds similar to Head East’s “Never Been Any Reason”. I didn’t know a hell of a lot about Head East before I started working on this book, but came across “Never Been Any Reason” in the process of doing my research and was blown away when I heard it for the first time. AC/DC opened for Head East in Milwaukee in 1977. So the two bands crossed paths.

 
6. “Rock ’N’ Roll Damnation”
(Powerage, 1978)

It’s hard to get my head around the fact Mick Wall, the British rock writer and author of AC/DC: Hell Ain’t a Bad Place to Be, called this “a two-bit piece of head-bopping guff.” Not sure what track he was listening to when he wrote that -- maybe he was having a bad day -- but for me it’s one of the last of AC/DC’s classic boogie tracks and probably the best.

Mark Evans loves it almost as much as he loves “Highway to Hell". It has everything you want in an AC/DC song plus shakers, tambourines and handclaps, a real Motown touch that George Young and Harry Vanda brought to bear on the recording. They did something similar with the John Paul Young hit “Love Is in the Air”. Percussion was an underlying feature of many early AC/DC songs. This one really grooves. I never get tired of hearing it.

“Rock ’n’ Roll Damnation” was AC/DC’s first hit in the UK charts and a lot of the credit has to go to Michael Klenfner, best known as the fat guy with the moustache who stops Jake and Elwood backstage in the final reel of The Blues Brothers and offers them a recording contract. He was senior vice-president at Atlantic at the time, and insisted the band go back and record a radio-worthy single after they delivered the first cut of Powerage to New York.

Michael was a real champion of AC/DC behind the scenes at Atlantic, and never got the recognition he was due while he was still alive (he passed away in 2009). He ended up having a falling out with Atlantic president Jerry Greenberg over the choice of producer for Highway to Hell and got fired. But it was Klenfner who arguably did more for the band than anyone else while they were at Atlantic. His story deserves to be known by the fans.

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The World of Captain Beefheart: An Interview with Gary Lucas and Nona Hendryx

Gary Lucas and Nona Hendryx (photo © Michael DelSol courtesy of Howlin' Wuelf Media)

Guitarist and band leader Gary Lucas and veteran vocalist Nona Hendryx pay tribute to one of rock's originals in this interview with PopMatters.

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Despite the uninspired packaging in this complete series set, Friday Night Lights remains an outstanding TV show; one of the best in the current golden age of television.

There are few series that have earned such universal acclaim as Friday Night Lights (2006-2011). This show unreservedly deserves the praise -- and the well-earned Emmy. Ostensibly about a high school football team in Dillon, Texas—headed by a brand new coach—the series is more about community than sports. Though there's certainly plenty of football-related storylines, the heart of the show is the Taylor family, their personal relationships, and the relationships of those around them.

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