08/26/13 | Top Horrors

Lady in White (1988)

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In this supernatural nostalgia piece, a young boy tracks down a murderer with help from the ghosts of a slain little girl and her mother. In a voice-over, grown-up writer Frankie Scarlatti describes the disturbing events that intruded on his idyllic small-town boyhood. Locked in the school cloakroom by some other boys on Halloween 1962, young Frankie (Lukas Haas) encounters the ghost of Melissa Anne Montgomery (Joelle Jacobi), who re-enacts her own death by strangulation just before an unseen adult enters the school and tries to do away with Frankie himself. While recuperating in the care of his widower father (Alex Rocco), Frankie conducts some detective work and learns that Melissa is one of ten children killed over the past decade. Further encounters with the girl's ghost -- and the mournful specter of her mother, the Lady in White (Karen Powell) -- do little to help the boy solve the mystery of who killed the kids. Meanwhile, an innocent black maintenance man becomes the scapegoat on which the police hang the killings. However, thanks to the damning but enigmatic evidence Frankie has discovered, the boy faces imminent danger from the actual killer, who ends up lurking terrifyingly close to home. The sophomore feature from writer/director Frank LaLoggia, who made his name with the low-budget horror film Fear No Evil, Lady in White starred the young Lukas Haas halfway between his appearances in Witness and Rambling Rose. ~ Brian J. Dillard, Rovi

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The Fly (1986)

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Seth Brundle is a research scientist, employed by Bartok Sciences, who has invented "Telepods" two matter transmission pods that teleports any object through space from one "Telepod" to the other "Telepod". But, it is until Seth meets journalist Veronica Quaife who inspires Seth to correct the system, that Seth achieves successful teleportation. But something goes horribly wrong, when Seth uses himself as a guinea-pig in a matter transmission experiment, as he teleports himself, unaware his genes have been fused with a house fly that was trapped in the telepod with him. Seth, now finds himself slowly transforming into a terrifying mutant creature known as "Brundlefly" as he finds himself in a fierce battle as his mutated genes begins to take over. Written by Daniel Williamson

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The Raven (1935)

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Bela Lugosi and Boris Karloff team up in this excellent 1935 chiller. Lugosi is crazed brain-surgeon Dr. Richard Vollin who is infatuated with the characters and devices found in the Edgar Allan Poe stories. When a local judge brings his beautiful daughter for brain surgery, the doctor falls in love with her and is spurned by the judge when he asks for her hand in marriage. To extract revenge, Vollin invites the judge, his daughter, and her new fiance over for dinner. He intends to try out some of his gruesome Poe gadgets on them. Before he can, enter Boris Karloff, a prison escapee who wants Vollin to do some much-needed plastic surgery on his face. Vollin obliges, but instead of making him handsome, he deforms Karloff and subjects him to his will. Now the evil Vollin can get down to business... ~ Rovi

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Dracula (1931)

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"I am....Drac-u-la. I bid you velcome." Thus does Bela Lugosi declare his presence in the 1931 screen version of Bram Stoker's Dracula. Director Tod Browning invests most of his mood and atmosphere in the first two reels, which were based on the original Stoker novel; the rest of the film is a more stagebound translation of the popular stage play by John Balderston and Hamilton Deane. Even so, the electric tension between the elegant Dracula and the vampire hunter Professor Van Helsing (Edward Van Sloan) works as well on the screen as it did on the stage. And it's hard to forget such moments as the lustful gleam in the eyes of Mina Harker (Helen Chandler) as she succumbs to the will of Dracula, or the omnipresent insane giggle of the fly-eating Renfield (Dwight Frye). Despite the static nature of the final scenes, Dracula is a classic among horror films, with Bela Lugosi giving the performance of a lifetime as the erudite Count (both Lugosi and co-star Frye would forever after be typecast as a result of this film, which had unfortunate consequences for both men's careers). Compare this Dracula to the simultaneously filmed Spanish-language version, which makes up for the absence of Lugosi with a stronger sense of visual dynamics in the lengthy dialogue sequences. In 1999, a special rerelease of Dracula was prepared featuring a new musical score written by Philip Glass and performed by The Kronos Quartet. ~ Hal Erickson, Rovi

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The Black Cat (1934)

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The first cinematic teaming of horror greats Boris Karloff and Bela Lugosi is a bizarre, haunting, and relentlessly eerie film that was surprisingly morbid and perverse for its time. Peter (David Manners) and Joan Allison (Julie Bishop) are honeymooning in Budapest when they meet mysterious scientist Dr. Vitus Verdegast (Lugosi) aboard a train. When the trio's bus from the train station gets into an accident, the young couple accompanies Verdegast to the castle of the spectral Hjalmar Poelzig (Karloff), an architect and the leader of a Satanic cult. Poelzig's treachery in World War I caused the deaths of thousands of his and Verdegast's countrymen, as well as Verdegast's own internment as a prisoner of war. While Verdegast was detained, Poelzig married first his wife, who later died, then his daughter. Now Verdegast has come back for retribution, and the honeymooners are trapped in the two men's horrifying battle of wits. Corpses preserved in glass cases, frightening Satanic rituals, and a climactic confrontation in which one of the characters is skinned alive add to the film's pervasive sense of evil and doom, along with the stark black-and-white photography by John Mescall that makes Poelzig's futuristic mountaintop mansion even more disturbing. Karloff and Lugosi are both excellent, with Lugosi doing a rare turn as a good guy, albeit one who has gone off the rails. Having little to do with the Edgar Allan Poe story of the same name, The Black Cat has grown in stature over the years and is now widely regarded as the masterpiece of director Edgar G. Ulmer and one of the finest horror films ever made. ~ Don Kaye, Rovi

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Dr. Jekyll and Mr. Hyde (1941)

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Spencer Tracy and Ingrid Bergman headline this screen version of Robert Louis Stevenson's tale, directed by Gone with the Wind and Wizard of Oz legend Victor Fleming. Tracy stars as Dr. Jekyll, a scientist who downs an experimental elixir that transforms him into a monstrous alter-ego, Mr. Hyde. Lana Turner co-stars as Jekyll's fiancée, and Bergman as Eva, the woman who captures his heart. A film steeped in heavy Freudian symbolism, this production also tries something unusual by relying largely on Tracy's shift in facial mannerisms (in lieu of heavy make-up) to convey the personality change. As a result, the movie manages to place a much stronger emphasis on emotions than on the terror of physical mutation. Neither critics nor audiences bought it: the film fell prey to critical castigation when it hit movie screens in mid-August 1941, with many indicating that they vastly prefer the 1931 Rouben Mamoulian/Fredric March version. Still, this one has its defenders. ~ Nathan Southern, Rovi

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Lady in White (1988)

The Fly (1986)

The Raven (1935)

Dracula (1931)

The Black Cat (1934)

Dr. Jekyll and Mr. Hyde (1941)

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