Monday, February 25, 2013

Masters of Horror: Women in Horror Edition

It's the final Monday of February which means it's the last day (for my blog) of WiHM. Unfortunately I didn't get any women themed horror film reviews out to you but I did accomplish all four lists and my Scream Queens Part III. I hope it makes up for the lack of effort this past October as I did have full intent, lists in mind and all, but never was able to deliver. But I did enjoy doing it this month as I liked being a part of WiHM. As a result I likely wont do it again next year but I hopefully will in some way or another celebrate the cause, maybe I'll focus on actual film reviews (believe it or not this is a film review blog, even if I've only posted one in the course of two months). But that's a year away and who knows what will happen between here and there. Regardless I'm thankful for getting the chance to be an ambassador and will gladly do so again.

As with the October lists I decided to end the Women in Horror Month series with a Masters of Horror list. Maybe they aren't Masters of Horror per say, at least not in the sense as my other MOH lists. But they've executed their films to a mastered level of horror. These aren't just random films from five random women, these are some of the most prominent, influential and scary films in the genre. And they don't need a bulky horror resume to accomplish such, as in most of their cases their single one time attempt stands for itself. For this last Monday of the month here are my Top Five Female Horror Directors:

#5 Amy Holden Jones, The Slumber Party Massacre (1982)

Amy Jones may not be a household name per-say, nor may her one time directed horror title, Slumber Party Massacre (unless it is a horror fanatics household, respectively) but she's almost the first woman to direct a horror film, being pre-dated thirty years by Ida Lupino who directed a film noir called The Hitch Hiker. Maybe an ironic surprise to most as Slumber Party Massacre doesn't really appear as the type to have a feminine touch to it, but doesn't that accredit to Jones more? Its a textbook, A to Z, slasher that is generally reserved as a fun watch. Jones was able to execute a simplistic gruesome slasher film without anyone questioning a difference due to her gender. Few individuals hold the opinion that women directed horror films are not as scary as male directed. I disagree, its a matter of the director's talent, not their sex, with Slumber Party Massacre being proof.

#4 Mary Harron, American Psycho (2000)

Here's what I like about Mary Harron, she was hired to direct American Psycho because the producers thought her gender would soften controversy about the explicit torture of women that is a common theme about the novel. Of course if anything is indifferent to gender it is the media as the film still caused out cry for its bizarre, bloody and highly graphic murders. Having read Bret Easton Ellis novel Harron was accurate in capturing the eighties yuppie and incessant madness that encases Patrick Bateman's life. The novel and film are both of satirical horror but I felt it was emphatic in the film as the novel's often dark material dampened some of the lighter moments. American Psycho became a cult film, it's humor and horror ever present to this day. The reasons for her hiring aside Harron was an ideal choice for the director, Easton's social critique and the lucid violence translated excellently to the film.

#3 Kathryn Bigelow, Near Dark (1987)

As of current Kathryn Bigelow is known for being the first woman director to win an Academy Award but before that us horror lovers knew her for directing one of the best vampire films ever, the late eighties midnight classic Near Dark. The film's release offered positive reviews but a poor box office reception which is often the secret ingredient to a cult horror film. The stylized western horror has one of my favorite killing scenes, when a sadistic Bill Paxton and Lance Henriksen (perfectly cast) mass drain a quiet bar. The film is known for uncommonly blending the genre's of western and vampire horror, the latter which was popular during the time. The film still makes several 'best' lists and is well received by genre fans. Aspects of Bigelow's current directing are distinct in her only horror film, not basing quality off of genre. Near Dark is essential, its lasting cult status marking it as one of the best horror films ever.

#2 Mary Lambert, Pet Sematary (1989)

I've made it pretty eminent that I find Pet Sematary to be Stephen King's best adapted novel (and best novel, mind you). What I love is the black veiled subject matter, as I've attested that losing a child is likely the worst horror a person can experience. In that it's a more difficult novel to adapt, as the gruesome and heartrending events even made King hesitant in publishing. The dark story is of the few film adaptions that accounts for the bulk of the novel, as well as efficaciously capturing the unnerving halo that hangs over the Creed family. Mary Lambert's visual perspective is accurate, portraying the small Maine home to eerie perfection, and the changed temperament of Church gives us a more suspenseful build that was missing in the novel. Lambert has a few other horror films in her proficient directing career, including one of the Urban Legends films but Pet Sematary is her first, and still her most adequate in my opinion. Without her directing and vision I don't believe that Pet Sematary would be as good as it is.

#1 Jen & Sylvia Soska, Dead Hooker in a Trunk (2009) & American Mary (2012)

The film is a little ill applied to my intro paragraph as Dead Hooker In A Trunk is likely not the scariest film you've ever seen. It rather applies more to the film I haven't seen, American Mary, and won't be able to do so for another eight months. So I'm only going off speculation here but from almost every review I've read American Mary is a genre defining film. I won't say for sure as I haven't seen it so its Dead Hooker as a rep for these ladies. But even for not seeing their sophomore film how could I not include the Twisted Twins? These two came into the genre recently but their impact has been so loud and influential that there's not too many horror fans that don't know who they are. And let's not ignore their fantastic romp of a debut film that got them heard. Dead Hooker was an modern exploitation flick that was not only impressive in budget and style but also provided a heavy dosage of humor and gore. It takes years to gain the accreditation these beautiful women receive and they've done it in four. They are exactly what Women in Horror Month is, a celebration of the beautiful, dark, and brilliant contributions to horror.

Honorable Mentions: Shannon Lark, Lip Stick (2010) a woman's obsession with self gratification is taken to horrifying extremes. Ida Lupino, The Hitch Hiker (1953) two young men lives are at the short extent of a car trip when they pick up a psychotic hitch hiker. Angela Bettis, Roman (2006) a lonely unstable man yearns for love but expresses it in all the wrong ways .

If you're reading post your own.

Saturday, February 23, 2013

Press Release: Berkshire County

An appropriate Press Release considering it's Women in Horror Month.

Feature Film Berkshire County is set to begin principle photography in Toronto this April of 2013.

CFC alumni Audrey Cummings is set to direct her debut feature Berkshire County to be edited by Michael Mason (Cabin Fever: Patient Zero/A Little Bit Zombie) this April in Toronto. Pre-Production has already begun on this much anticipated horror/thriller with DOP Michael Jari Davidson (Familiar) and Producer Bruno Marino (Tapped/Sick).

Logline: When a late night knock at the door signals the arrival of three psychotics, a teenage girl must go beyond what she ever thought capable in order to survive. 

Synopsis: The feature length thriller follows a self-loathing teen who reluctantly agrees to baby-sit at an isolated country home on Halloween night. But when a small boy in a pig mask appears at the door looking for candy, her night takes a horrifying turn for the worst. What ensures is a violent home invasion which forces our unlikely heroin to go beyond what she ever thought capable in order to survive. 

To find out more information on the film, watch for updates, etc you may visit their Facebook page or their website.

Friday, February 22, 2013

Women in Horror: Scream Queens Part III

As I did last year I wanted to do an expansion on my Scream Queens list and discuss a few woman in the genre I didn't include. As this week's list was about Final Girls I figured it was only fitting that I included it in this Irrelevant Post Friday. As this is now my third edition I feel that I'll make it a custom every year, although I may need to start dipping in my honorable mentions as I'm nearly caught up on Scream Queens. But here they are, the lovely actresses of our genre.

Katharine Isabelle (Ginger Snaps, Freddy Vs. Jason, American Mary)

The Canadian beauty is a well versed genre actress who's been present in the genre for most of her already lengthy career. Most noted is her sister werewolf film Ginger Snaps (one of my absolute favorites) and her brief but recognizable role in Freddy Vs Jason. As of current she's been gaining the long deserved critical acclaim for her lead role is the Soska's Sisters new horror film American Mary. Isabelle is a not only absolutely stunning to look at but she achieves talent in her all her roles, whether they be the low budget B's or the indie gems.

Sara Paxton (The Last House on the Left Remake, Shark Night 3D, The Innkeepers)

Sara Paxton is a recently new Scream Queen having only been present in the genre for a few years now. But of her films they are some of the more interesting to come out of studio horror as of recent. Paxton was appropriately cast as Mari in The Last House on the Left remake. Then went on to do the modern camp fest of Shark Night 3D, and Ti West's The Innkeepers as the abnormal, slightly dorky, employee of a haunted Inn. Paxton fluctuates between genres more familiarly seen in comedies and on television so its hard to say whether we'll see her more in horror or not. But the upcoming actress has a lot of attention her way as she's both pretty and verily acts. Hopefully she doesn't leave the genre entirely but even if so I consider her a verifiable Scream Queen for her small but recent presence in horror.  

Adrienne Barbeau (The Fog, Creepshow, Swamp Thing)

There a few individuals who don't begin to lavishly drool when I mention Adrienne Barbeau, as she is a well known, desired genre actress from the eighties. Her films most commonly with her husband at the time John Carpenter, she played shared lead actress with Jamie Lee Curtis in his ghost story The Fog; where she was the sultry voice of a late night radio host. Of course though her most recognized genre film is Wes Craven's Swamp Thing, which featured a nude scene of Barbeau. But anyone to pass her off as a bimbo genre actress is a fault on their part, as she's more than talented having done theater and television. The former gaining her a Theater World Award and a Tony nomination. In the nineties she again provided her most recognized asset, her seductive voice, to the animated Batman series as Catwoman. The natural beauty even to this day looks incredible and continues to be present in the industry.

The original Top Five list may be found here. And the second edition here. Happy Woman In Horror Month/Irrelevant Post Friday/Follow Friday. Whichever is relevant to you.

Thursday, February 21, 2013

Press Release: Upcoming Indie Film Scopia Kickstarter to Completion Campaign

Kill or Be Killed – and other innovative pledges - on “Scopia” latest Kickstarter Completion Campaign
Last week the team behind one of the UK’s most ambitious no-budget indie horror film, “Scopia” went back on crowd-sourcing platform Kickstarter to raise post-production finance.     

After almost two years in production, thirty filming days across 20 locations, covering the script’s six distinct historical periods including Meiji Japan, 18th century France, Medieval England, India, Nigeria and the first World War German front lines, “Scopia” is now close to completion. 

With elements of Donnie Darko meets The Butterfly Effect meets The Shining meets nothing you’ve ever seen before, “Scopia” hopes to capture the best of modern and classic genre movies while retaining a chilling horror twist at its core.

In Autumn 2012, the released teaser trailer created a ripple of interest across the horror genre bloggers sphere in both the UK and US as the first public outing of sneak film footage.

While the initial Kickstarter campaign in 2011 met with mixed results, the filmmakers aspiration this time around is a more modest £5,000 (approx $8,000USD) accompanied with more innovative perks that will stoke the horror and independent fan community into pledging support.   Pledges include “Kill or Be killed”, a pledge that would see participants choosing to play the either the victim or executioner in one of the film’s gory execution scenes.  The cost is a tidy £1000.  On the more affordable side cinema lovers could pay to visit the set of the last remaining scenes to be shot in London, join the crew for a day or if travelling wasn’t an option, perhaps just having a scene sponsored in their name might be the perfect gift. 

The campaign, which launched on Thursday 24th January, will close on February 28th 2013.  According to the date of this press release the campaign has raised 12% of its target (£645).
To take part and receive a range of exciting “Scopia” exclusive products, experiences and content make a pledge at :

“Scopia” Synopsis:
 Basia (Joanna Ignaczewska) is an ordinary polish girl who lives and works in London, who, after suffering from mild depression undergoes hypnotic regression with specialist Dr Edward Stanton (Louis Labovitch).
No sooner do these somewhat unorthodox treatments start, does Basia begin to experience flashbacks. Her world becomes very strange and eventually spirals into a perpetual nightmare as she recalls memories of not only a troubled childhood but also of troubled past lives. As these “memories” gush forth, the vivid and warm memories of her young mother’s kindness subside and start to give way to dark forces that seek to disrupt and destroy her.

As Basia struggles to hold these dark forces from breaking through into her present, she increasingly struggles to retain her sanity and the ability to fight back. There is a way out but it is hardest path to take, shaking her humanity to the very core.

Key Talent:
SCOPIA is Written and Directed by Christopher Butler and stars Joanna Ignaczewska and Louis Labovitch. They’re joined by Jessica Jay, Akira Koieyama, Mathew Roberts, Genevieve Sibayan, Callum Holbrook and others.
Produced by Steven Flynn of ISN/Flynn Entertainment.

Hot Quotes:
 “You might have not heard of Chris Butler and his upcoming debut feature SCOPIA, but if the first trailer is anything to go by, they’re both well worth getting acquainted with.” – Andy Madrzak,

 “Looks like it has some serious potential.” -

 “SCOPIA is definitely one film to look forward to.” –

 To find out more information on Scopia you can check the links down below:

 Official website:

Monday, February 18, 2013

Last Woman Standing

This list and the list last week got out to you late as it has been a rather interesting two weeks in my life. Next week's list is the last and yes it will really be on Monday. There will also be a TD review coming up sometime next week, as I'm not sure on the date yet. I haven't done one of those in a while but again my personal/work life take heavy tolls on my day and I'm only spared so much time for my writing. I'm also just exceedingly lazy at times, so I'm not entirely a victim here.

Final girls are not the same as Scream Queens. Of course only horror fans get this intricate into differentiating but it's true. Scream Queens are women of the genre that are prominent and often in films. Final Girls are the characters that make it to the end of the slasher films, or films of a similar finale. They are very different, so I'm not repeating the list I did for October 2011, mind you. Of course a person could be both a Scream Queen and a Final Girl, but the main factor in differentiating them is Scream Queens are the real woman who hold the role and the Final Girls are the characters. As for my third list of the month I'll be taking too the bad-ass female characters that have survived awful horror scenarios, but survived them not by dumb luck but by being smart and killing the monster. And as I didn't last week I'll remind everyone this week this list is a matter of my opinion and is subject to change over time. These are my Top Five Final Girls:

#5 Sarah from The Descent (2005)

Taking from Behind The Mask: The Rise of Leslie Vernon, all survivor girls go through a transformation. A point in the film where they surpass being a victim and become a fighter. As with Sarah I feel she makes the most vital and apparent transformation, in which is one of the most memorable images of the film. After losing her husband and daughter in a car accident and then getting trapped in cave while spelunking, with not only ravenous cannibal creatures but with the woman who was having an affair with her husband it's fair to say Sarah is callously beaten down. She becomes submerged in a pool of blood after having to kill her friend and two of the creatures. When she reemerges she display a eminent shift in attitude, aptly shot with actress Shauna MacDonald screaming drenched in red, that changes Sarah from her earlier damaged nature to a brutal survivor. 

#4 Laurie Strode from Halloween (1978)

Jamie Lee Curtis is the example of both a Final Girl and a Scream Queen as Curtis is renowned in the genre for her appearance in the late 70's and 80's, notably in Carpenter films. But her most famous character, Laurie Strode, is not only in the quintessential slasher film but is still regarded as one of the best Final Girls. The original monster, disregarding the sequels, had her against what was called The Shape. A seemingly faceless killer that resembled something of the boogeyman, as Tommy so calls him, with a physical superiority and the damaged mind of a six year old. Whether it really was the virtue or her luck Laurie was the only one to stand against him and live, all while doing her babysitting duties of keeping the children safe. The closet scene stands as shes cornered by a butcher knife with her only defensive tool being a hanger. She may not have killed Michael Myers but she definitely fought for her life.

#3 Samantha from The House of the Devil (2009)

Sam is the baby of the group, her film only being four years old but part of the reason I enjoyed The House of the Devil so much was I liked her as a final girl. This is besides the regular critiques that come with the film as an hour of it, or rather most of it, is spent watching Sam amble around the house, bored. In that hour drag of the film we get to see Sam be a normal 80's college student, which in my opinion gave her a more likable personality and evoked more empathy towards her. Often even the final girls get a rush of character development and are scooted through the film until the end when they really matter. Her final act is an awful but intelligent choice in that she realized her situation, even in all the horror encasing around her, and was able to make it despite the urge not too. WARNING I will spoil this for you if you don't stop reading, she shoots herself in the head to prevent Mother Ullman to take over her living body. Again not everyone's favorite choice but I felt that in likes to her situation it was the smartest.

#2 Nancy Thompson from A Nightmare on Elm Street (1984)

This might be off-putting to most, as a lot of people don't hold Nancy as high as I do on the list. Of course she's a recognized and regarded Final Girl but she usually holds a lower position. However, this is my list and I like her at number two for a lot of reasons. Nancy is of the few who takes her dream stalker head on. Of course so do the other women on this list, that's why they're final girls, but most are forced by circumstance in a life or death moment. Inevitably Nancy would have faced this as well but instead of waiting till that final moment she went looking for the monster in her dreams. Nancy has an uncommon strength and a fiery fight her in, whether that streaming from her dysfunctional family or her hurt from seeing her friends die in their sleep. It's an arch to her character that makes part of the reason A Nightmare on Elm Street is as good as it is. The fight, of them all, is that of a fair match as I argue that Nancy and Freddy are parallel in smarts, it was just a matter of limiting him to her human capabilities. If this isn't enough to convince you there's a great documentary out there called I Am Nancy with Heather Langenkemp that talks about why our Final Girl is just as remembered as one of our favorite slashers.

#1 Ginny Field from Friday the 13th Part 2 (1981)

Friday the 13th Final Girls are almost another category of their own, the film having birthed nine sequels, a remake, and a spin off. Of course in all of them though Amy Steele as Ginny from Part Two is my absolute favorite. There's quite a bit of reasons I like Ginny, the original reason being that my first viewing of the film when I was younger I was actually surprised to see a character like her. Having been used to the run of the mill slashers I didn't know capably smart victims existed, and especially not for the last woman left. Even to this day though when I re-watch the film I'm almost in awe how they could produce a character like Ginny in Part Two but then give us Chris in Part Three. An aspiring child psychologist Ginny is of the few who doesn't underestimate Jason or the legend, which is displayed so in the bar scene where she evaluates what the trauma of Jason seeing his mother killed would do to him. But her real Final Girl moment is when she finds the decrepit shack that Jason's been living and dresses in Mrs. Voorhees infamous blue sweater, pretending to be her to distract him. As Ginny doesn't kill Jason its hard to say what occurs between the two in the cabin in the following scene, but she is alive, albeit a bit emotionally unstable. But then again naturally anyone would be.

Honorable Mention: Kristen Parker (Patricia Arquette) from A Nightmare on Elm Street 3: Dream Warriors (1987), Sidney Prescott (Neve Campbell) from Scream (1996), Alice (Adrienne King) from Friday the 13th (1980), Sally (Marilyn Burns) from The Texas Chainsaw Massacre (1974).

If your reading post your own.

Press Release: Do Not Watch Teaser Trailer

Remember that interesting high concept horror film I posted a press release on last month? Well here's the new teaser trailer for the film Do Not Watch. More will be released soon.

To find out more information on the film go to You may also follow the film on Twitter @DoNotWatch for updates.

Monday, February 11, 2013

A Love that Kills

There's a certain comfort instilled in me that even though I am now in a relationship I still find Valentines Day to be a useless holiday that in all actuality is just a Thursday to everyone else. I'm nauseated by on screen romance and am often fit with impulsive giggling whenever I have to watch two actors awkwardly gaze into each others eyes and say lines that only writers could make up. My favorite love story is Leaving Las Vegas, so I believe you get a sense of exactly what I'm looking for in a love story. There are exceptions such as Benny & Joon. But generally any love film I own results in either one or both of the characters dying.

Love is a devouring emotion, and I don't really need proof to convince people of that. Therefor it's really only a fitting story-line for any horror film. And as bitter I may be I'll even admit that love and horror have been happily together since the Silent Film era. The plot of Phantom of the Opera is romantic (later abandoning its horror roots to become a musical romance, eck). The ever present vampires, new and old have always offered a Casanova side to their prey. And as of last week now zombies are contaminated with the emotion. It's a sub plot in a lot of films and if not there's at the least a happy or non happy couple lurking about somewhere in the script. But I wanted to take focus to those that have it at the heart of the film. For Valentines Day here are my Top Five Horror Love Stories:

#5 May (2002)

At the surface May doesn't appear to be a classic boy meets girl love story, but it's the film that desires the most of human connection. It's hard to say what the exact intention of the film is, as the film trades off comedy to romance to horror without a thought. And the intention of May herself is unclear; is she looking for love, a boyfriend, or just wants to be loved in herself? Her sexual exploits with her co-worker Polly weren't really under union terms, and her and Adam never really developed far past the friendship stage. But May takes her rejection further past the real nature of her friends and the ends the film in a heartbroken, albeit gory revenge that finally gives May what she's been longing for.

#4 Bride of Frankenstein (1935)

The classic horror love story about a monster and his bride that portraits the unrequited love to a tragic end. Bride of Frankenstein has an old school romanticism popular to its time. Not present in modern horror as they're unfortunate is to mimic the watered down love stories that are plagued in current romantic comedies and teen dramas. There's a quiet humility to the ending of Bride as essentially "We Belong Dead" may be the most tragic but beautiful love lines of film. A no more appropriate reaction than when the Monster finds out his Bride doesn't share the same feelings he does. And as brief as his time with her was there is an irreparable sadness as the monster destroys her, himself and the doctor, as his small light of not being alone the rest of his life is blackened in an instant.

#3 Fatal Attraction (1987)

Fatal Attraction serves as a lure to the darker desires of the human conscious. When a married man has an lustrous affair with a colleague it goes awry when she refuses that the affair is over and then dangerously pursues his family. Of few films Fatal Attraction really does have the proof that it literally scared dishonest lovers back into fidelity, as history recounts the public's reaction to what was considered a 'shocking' film at the time. Glenn Close's Alex is a smart play as the classic tantalizing mix of alluring and deadly isn't at first present, she subtly displays normality and then carefully unravels to insanity. Douglas is of course a great co-star and the two have a strong chemistry in their more explicit scenes. And despite his character faults at the beginning of the film you gain a sympathy as Alex begins to take it too far, where the horror inevitably occurs. The bunny in the boiler among the worst and more iconic references.

#2 Midnight Son (2011)

There's an illimitable amount of praise I can have for Midnight Son as I've said everything under the sun about it (and yet you still haven't seen it have you?). But really it is a beautiful depiction of what a modern day vampire romance should be. With Jacob's condition based in reality and his love interest Mary addicted to drugs. What I really do appreciate is the build of the initial relationship in Midnight Son, as it is a repressed appetency the characters struggle with. But not in the sense that Jacob can't be with Mary because he desires her as an appetite but rather pushes away as his weirdness is always a factor. The chemistry is tight and the film never achieves corny love level as is often fit with this sub-genre. And of course as said with my review I absolutely love the final shot.

#1 Let the Right One In (2008)

Let the Right One In is of the few films that has a real genuineness. The premise itself simple as it focuses to a bullied twelve year old Oskar who falls in love with Eli, a child vampire who's been about killing people in the area. The film discusses the horrors of growing up and then offers a sweet love story that can only exist in this manner. There's a acceptance in which they can see past the differences without thought or reason and accept each other simply for who they are. Of course outside the tender half of the film we are offered a vicious little creation of a vampire, in her own right she's intimidating and appropriately scary. Maybe it's because it occurs innocently between twelve year old's or isn't sappy in any way but Let the Right One In is a love story horror I can appreciate.

HM: Candyman (1992), a grad student writing a thesis on legends comes across a one armed ghost that appears in the mirror when the name is said five times. Play Misty for Me (1971), Clint Eastwood's directorial debut about a radio DJ's one night stand being a dangerous stalker. Bride of Chucky (1998), the eighties killer doll reunites with his real life girlfriend to reek hell on a young couple in love.

If your reading post your own.

Monday, February 4, 2013

Femme Fatale

I'm attempting to apologize for missing the Top Five List last October by giving them to you this February instead. It is of course Woman in Horror month and with that in mind these will all be themed around women and their part in horror. With the exception of next weeks list as it's aimed more for the other thing this month is famous for...Valentines Day (eck). This list as always will take place on every Monday throughout the month. They are subjects of my opinion and are not to represent as an ultimate.

Those who dismiss the genre as anti-femine or heavily aimed towards men perceive horror differently from me, in my opinion. I've always found horror to be the genre that gives more diversity than any other. In horror women aren't objectified to lusty teenager girls who fall in love with the nearest male lead. In fairness yes they've been known to objectified in sexuality and reduced to stupidity, but the latter could be argued for any male throwaway in a slasher film. However, as I said last year, horror allows a final girl, not a final boy. And not many other genres will allow women to take the reigns as the bad guy, so to speak. Which is the focus of my first list for WIHM, the beautiful and lethal women villain's that take our genre. I limited this list though to no supernatural related entrants such as Carrie White or Tiffany Ray (a very disheartening loss as I love her wicked little doll taunt) and only qualified those who were a hundred percent human. The title I'm using is a bit loose as I'm not going directly off definition, but rather accounting for the really terrifying women in horror. These are the women who can effectively capture and terrify us as viewers with their exquisite evil. And as usual these lists are always as of current and with more development in horror my opinion may change. Here are my Top Five Deadliest Women in Horror:

#5 The Woman from The Woman (2011)

Lucky McGee's film could be argued in a different point that the Woman is really victim. And I wholeheartedly agree but how could I not include the breathtaking Pollyanna McIntosh in her incredibly intimidating and scary role as The Woman? Despite the events that occur in the film The Woman is not to be messed with, with a primal fatale that the other women on this list don't quite have. She may enjoy the more simple pleasures of her violence (i.e. biting off Cleek's finger) but her instinct and her determination to live is what makes her so malicious. This isn't a woman sitting behind a desk barking orders because she's simply 'evil', anything she does is with intent to survive and in her nature to protect her clan.

#4 Sadie from The Last House on the Left (1972)

Craven's (in)famous first film is a genre classic for quite a bit of reasons but not really for its supporting female gang member. In turn the actress, Jeramie Rain, had a short career and doesn't have as much accreditation outside the film. But there's a vile heart to Sadie that tends to go unnoticed. There's something so disturbing in Sadie's etiquette to find a delectation in the murder of a young girl, and also her guiltless assistance as Krug rapes eighteen year old Mary. It's a particular disturbance that contributes to making Craven's film for what it is. Sadie sadism is deep and frays violently at the surface, making her a worthy entrant to this list.

#3 Baby from House of 1000 Corpses (2003) & The Devil's Rejects (2005)

Baby is more or less an embodiment of the term Femme Fatale, as definition describes a beautiful seductive women who lures her victims into compromising positions. An attack which she exhibits in both of Zombie's film. In particular though I think to the scene where Baby flirts with the older gentleman outside his motel room in order to let her in best displays this. She's quite predatory in that scene that it is almost as if it's instinct. Killing is so prominent in her that it almost seems natural, animal-like, as if it's encrypted in her makeup. And of course the grisly events that follow are gruesomely carried out in humorous tone to both her and her remaining family. Of all the women on this list Baby derives the most pleasure out of killing. Her malicious laugh being proof.

#2 The Woman from Inside (2007)

Admittedly I have only seen Inside as of recent but I'm still fairly confident in this placing of the list as Beatrice Dalle is absolutely horrifying as The Woman. As Dalle is rather beautiful in real life her performance deforms her, moments of lighting and her eerie expressions create an uneasy sense to The Woman. But at the core is where the real horror lies as her mental stability is non existent. Her motive in itself is simply scary as she breaks into a severely pregnant woman's house with intent to kill her and take her baby. There seems to be an astonishing lack of conscious for her as she goes to exceedingly bloody lengths to kill Sara (pregnant woman). It varies from her outbursts, that result in violent consequences, to her more intricate acts, that also end in brutality. Basically she has no intention of stopping until she gets what she wants, making her quite deadly.

#1 Annie Wilkes of Misery (1990)

First, let's not deny that Kathy Bates is simply brilliant in Misery. There's no performance that can duplicate Annie's absolute madness and unrequited love of author Paul Sheldon, and I feel any attempt otherwise would be laughable next to Bates. I've always attributed Misery to not really be a familiar horror, in that it's not likely to happen to you. Yet it's still scary, and I accredit most of it to Stephen King's delusional and unstable number one fan, Annie. There's a wonderfully misleading quality to Annie as she looks and posses the gentle soul of a nurse, but equally has quite vicious tendencies when properly provoked. The sledgehammer is undoubtedly the favorite but I love noting the scene where she gets worked up about the chapter plays, as it that proves both humorous and unnerving. Of course there as so many more moments where you get to see the true nature of Annie's sanity, or lack thereof, and it's apparent that she's willing capable to do anything. Reason being she's my number one scariest woman in horror.

Honorable Mentions: Alex (Glen Close) from Fatal Attraction (1987), Evelyn (Jessica Walter) from Play Misty for Me (1971), Mrs. Voorhees from Friday the 13th (1980), Asami (Eihi Shiina) from Audition (1999), Baby Jane (Bette Davis) from What Ever Happened to Baby Jane (1962), Ally (Jennifer Jason Leigh) from Single White Female (1982), and Pauline from Excision (2012).

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