Rosemary's Baby (1968)

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In Roman Polanski's first American film, adapted from Ira Levin's horror bestseller, a young wife comes to believe that her offspring is not of this world. Waifish Rosemary Woodhouse (Mia Farrow) and her struggling actor husband, Guy (John Cassavetes), move into the Bramford, an old New York City apartment building with an ominous reputation and only elderly residents. Neighbors Roman and Minnie Castevet (Sidney Blackmer and Ruth Gordon) soon come nosing around to welcome the Woodhouses to the building; despite Rosemary's reservations about their eccentricity and the weird noises that she keeps hearing, Guy starts spending time with the Castevets. Shortly after Guy lands a plum Broadway role, Minnie starts showing up with homemade chocolate mousse for Rosemary. When Rosemary becomes pregnant after a mousse-provoked nightmare of being raped by a beast, the Castevets take a special interest in her welfare. As the sickened Rosemary becomes increasingly isolated, she begins to suspect that the Castevets' circle is not what it seems. The diabolical truth is revealed only after Rosemary gives birth, and the baby is taken away from her. Polanski's camerawork and Richard Sylbert's production design transform the realistic setting (shot on-location in Manhattan's Dakota apartment building) into a sinister projection of Rosemary's fears, chillingly locating supernatural horror in the familiar by leaving the most grotesque frights to the viewer's imagination. This apocalyptic yet darkly comic paranoia about the hallowed institution of childbirth touched a nerve with late-'60s audiences feeling uneasy about traditional norms. Produced by B-horror maestro William Castle, Rosemary's Baby became a critically praised hit, winning Gordon an Oscar for Best Supporting Actress. Inspiring a wave of satanic horror from The Exorcist (1973) to The Omen (1976), Rosemary's Baby helped usher in the genre's modern era by combining a supernatural story with Alfred Hitchcock's propensity for finding normality horrific. ~ Lucia Bozzola, Rov
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1960s, Classic, HD, Psychological/Mystery/Suspense,

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House of Wax (1953)

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A sculptor of wax figures for a museum is horrified when his partner proposes setting fire to the unpopular museum in order to collect the insurance money. As the wax figures melt amid the blaze, the two men have a fight. The sculptor is knocked out in the scuffle and left to "perish" among the flames. He resurfaces many years later for the launch of his own wax museum. The opening coincides with the sudden disappearance of some dead bodies from the city morgue. His assistant begins to suspect his boss of foul play, especially after the deranged wizard of wax begins eyeing his assistant's lovely girlfriend's friend as a model for a waxed figure of Marie Antoinette. 

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1950s, Classic, HD, Thriller/Mystery,

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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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1930s, Classic, Vampire movies,

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The Shining (1980)

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"All work and no play makes Jack a dull boy" -- or, rather, a homicidal boy in Stanley Kubrick's eerie 1980 adaptation of Stephen King's horror novel. With wife Wendy (Shelley Duvall) and psychic son Danny (Danny Lloyd) in tow, frustrated writer Jack Torrance (Jack Nicholson) takes a job as the winter caretaker at the opulently ominous, mountain-locked Overlook Hotel so that he can write in peace. Before the Overlook is vacated for the Torrances, the manager (Barry Nelson) informs Jack that a previous caretaker went crazy and slaughtered his family; Jack thinks it's no problem, but Danny's "shining" hints otherwise. Settling into their routine, Danny cruises through the empty corridors on his Big Wheel and plays in the topiary maze with Wendy, while Jack sets up shop in a cavernous lounge with strict orders not to be disturbed. Danny's alter ego, "Tony," however, starts warning of "redrum" as Danny is plagued by more blood-soaked visions of the past, and a blocked Jack starts visiting the hotel bar for a few visions of his own. Frightened by her husband's behavior and Danny's visit to the forbidding Room 237, Wendy soon discovers what Jack has really been doing in his study all day, and what the hotel has done to Jack. ~ Lucia Bozzola, Rovi

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1980s, Classic, Psychological/Mystery/Suspense,

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Psycho (1960)

Marion Crane (Janet Leigh) and her boyfriend Sam Loomis meet for a secret romantic rendezvous during lunch hour at a hotel in Phoenix, Arizona. They talk about how they can barely afford to get married. Upon Marion's return to work at a realtor's office, a client comes in with $40,000 in cash to purchase a house for his daughter. The money is entrusted to Marion, who decides to steal it and skip town.

On the road, she pulls over to sleep and is awoken by a policeman who detects that something is wrong. The policeman lets her go, but upon arriving in another town, Marion pulls into a used car dealership and hastily exchanges her car for another one. Driving during a rainy night, Marion pulls up to the Bates Motel, a remote lodging that has recently lost business due to a diversion of the main highway. The proprietor, youthful but nervous Norman Bates (Anthony Perkins) invites her to a light dinner in the parlor. Norman discloses that his mother is mentally ill, but he becomes irate and bristles when Marion suggests that she be institutionalized. The conversation induces Marion to decide to return to Phoenix and return the stolen money. Marion later takes a shower in her room, during which a shadowy figure comes and stabs her to death. Norman bursts into the bathroom and discovers Marion's dead body. He wraps the body in the shower curtain and cleans up the bathroom. He puts Marion's body in her car and sinks her car in a nearby swamp.

In Phoenix, Marion's sister, Lila, and her boyfriend Sam Loomis are concerned about Marion's disappearance. A detective named Arbogast confirms she is suspected of having stolen $40,000 from her employer. Arbogast eventually finds the Bates Motel. Norman's evasiveness and stammering arouse his suspicions. Arbogast later enters the Bates' residence, looking for Norman's mother. A figure emerges from her room and murders Arbogast.

Fearing something has happened to Arbogast, Sam and Lila go to the town of Fairvale and talk with the local sheriff. He is puzzled by the detective's claim that he was going to talk to Norman's mother and states that Mrs. Bates died years ago, along with her lover, in a murder-suicide. Norman, seen from above, carries his mother down to the cellar of their house as she verbally protests the arrangement.

Sam and Lila rent a room at the Bates Motel and discover the cabin Marion stayed in. Lila explores it and finds a scrap of paper with "$40,000" written on it, and notes that the bathtub has no shower curtain. Sam distracts Norman while Lila sneaks into the house, looking for Mrs. Bates. Norman subdues Sam and chases Lila. Seeing Norman approaching, Lila hides in the cellar and discovers Mrs. Bates sitting in a rocking chair. The chair rotates to reveal a desiccated corpse, the preserved body of Mrs. Bates. Norman enters the basement, wearing a dress and wig while wielding a large knife, revealing Norman to be the murderer all along. Sam enters and saves Lila.

After Norman's arrest, a psychiatrist who interviewed Norman reveals that Norman had murdered his mother and her lover years ago, and later developed a split personality to erase the crime from his memory. At times, he is able to function as Norman, but other times the mother personality completely dominates him. Norman is now locked into his mother's identity permanently. Mrs. Bates, in a voice-over, talks about how harmless she is and how it was really Norman, not she, who committed the murders. The final scene shows Marion's car being recovered from the swamp.

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1960s, Classic, HD, Psychological/Mystery/Suspense,

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Halloween (1978)

Six year old Michael Myers comes home from trick-or-treating one night, and stabs his sister to death... 15 years later, he escapes from the mental hospital, and sees a bookworm teenager, Laurie Strode. She and her friends, Lynda and Annie are making Halloween plans. Laurie is babysitting, while Annie and Lynda are fooling around in the house across the street. But the lights aren't on in the house, and Annie and Lynda aren't answering the phone. In curiosity, Laurie goes to the house to see what's going on...

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1970s, Classic, Slasher,

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White Zombie (1932)

While traveling to New York, the young couple Madeleine Short Parker (Madge Bellamy) and her fiancé Neil Parker (John Harron) are convinced by their new acquaintance Charles Beaumont (Robert Frazer) to stay in Port Prince and get married in his mansion. However, Beaumont felt in love for Madeleine and his real intention is to convince her to call off the wedding. When he realizes that the time is too short to seduce her, he visits the local witch Legendre (Bela Lugosi) , who gives him a drug to transform Madeleine into a zombie. She dies immediately after the wedding, and her corpse is disputed by Beaumont and his sick love for her; Legendre, that wants her for his team of zombies; and Neil, who is convinced by the local missionary Dr. Bruner (Joseph Cawthorn) that she might be alive. In the end, true love wins. Written by Claudio Carvalho, Rio de Janeiro, Brazil 

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1930s, Classic, Zombie movies,

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House on Haunted Hill (1959)

 

A perennial favorite of the "Shock Theatre" TV circuit, House on Haunted Hill stars Vincent Price as sinister gent (you're surprised?) Frederick Loren, who resides in a sinister mansion on a sinister hill, where seven murders have occurred. He makes a proposal to several strangers, offtering $10,000 to anyone who can last the entire night. Loren festively gives each of his guests a tiny coffin containing a loaded handgun, designed to protect them from the spooks that emerge in the house over the course of the night. The picture hinges on its surprise ending, which packs in several by-now-familiar twists. When originally released to theaters, House on Haunted Hill was accompanied by one of those gimmicks so beloved of producer/director William Castle: the gimmick was "Emergo," and it involved a prop skeleton that "emerged" from the side of the screen at a crucial moment to frighten the audience. Like most of Castle's best films, House didn't really need the gimmick, but its presence added to the fun -- especially when second- and third-time viewers responded to "Emergo" by bombarding the skeleton with popcorn and empty soda bottles. ~ Hal Erickson, Rovi

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1950s, Classic, Paranormal,

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Night of the Living Dead (1968)

Chaos descends upon the world as the brains of the recently deceased become inexplicably reanimated, causing the dead to rise and feed on human flesh. Speculation rests on a radiation-covered NASA satellite returning from Venus, but it only remains a speculation. Anyone who dies during the crisis of causes unrelated to brain trauma will return as a flesh-eating zombie, including anyone who has been bitten by a zombie. The only way to destroy the zombies is to destroy the brain. As the catastrophe unfolds, a young woman visiting her father's grave takes refuge in a nearby farmhouse, where she is met by a man who protects her and barricades them inside. They both later discover people hiding in the basement, and they each attempt to cope with the situation. Their only hope rests on getting some gasoline from a nearby pump into a truck that is running on empty, but this requires braving the hordes of ravenous walking corpses outside. When they finally put their plans into action, panic and personal tensions only add to the terror as they try to survive. Written by Curly Q. Link

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1960s, Classic, Zombie movies,

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The Omen (1976)

Robert and Katherine Thorn seem to have it all. They are happily married and he is the US Ambassador to Great Britain, but they want more than to have children. When Katharine has a stillborn child, Robert is approached by a priest at the hospital who suggests that they take a healthy newborn whose mother has just died in childbirth. Without telling his wife he agrees. After relocating to London, strange events - and the ominous warnings of a priest - lead him to believe that the child he took from that Italian hospital is evil incarnate. Written by garykmcd

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1970s, Classic, Psychological/Mystery/Suspense,

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