TDHorror Retro Review

If you didn't know one of my favorite websites, TrulyDisturbing.com, or TDhorror for short, asked me to write Retro Reviews for them. My first one was of Herschel Gordon Lewis's The Wizard of Gore and can be found here. Thus far I've only done two, hopefully more, but for my second review I reviewed one of my favorite films, Alice, Sweet Alice. Normally I don't like to do such, as I feel analyzing such taints my love of the film, but this film is an exception because I love it despite its odd faults. More giallo inspired horror, with religious overtones, and disturbing flesh colored masks.

Alice, Sweet Alice (or Communion, or Holy Terror mind you) is about twelve year old Alice Spages who is a little bit off. Often remit by adult's love, who advert more of their focus to her younger sister Karen, Alice has made a hobby of collecting an odd assortment of things, including cockroaches, her sister's favorite items, and creepy flesh colored masks. Karen’s first communion awakens tension between the two sisters and their single mother as Alice becomes increasingly jealous by the attention given to Karen. Jealously might possibly turn into rage as Karen ends up dead in the church and Alice is missing from sight during the murder. Everyone begins to suspect and nearly convict Alice for her sister’s murder and others that show up afterwards, but as nothing ever changes, not even in death, Alice blames Karen for the murders. At a loss what to believe the adults struggle to keep composure in this religious horror novelty.

The 1976 film may have died off entirely had it not been Brooke Shield's debut role which pushed the film into three different releases, under three different titles no less. Thankfully the independent slasher flick did receive more attention than normally allotted to such films as Alice, Sweet Alice is one of my bizarre favorites. The heavily played religious overtones create a tediously weird film about God, family, and murder...


You can read the rest of the review at TDHorror. Along with a lot of other really awesome articles and other guest contributions. Specifically an article by ahlephia on horror legend Robert England (yes I got overtly excited when I saw it). http://www.trulydisturbing.com/

A Nightmare on Elm Street (2010)

The remake of the Wes Craven classic of the same name follows Nancy and Quintin, two sleep deprived teenagers who are being haunted by a man in their dreams. The man, dressed in a dirty Christmas sweater, burnt head to toe, and downing a glove with knives for fingernails, is killing off Nancy and Quintin's friends in their dreams. Now as the two of them struggle to stay awake in what are called (or I believe) micro-dreams they try to figure out what he wants, knowing there's a larger connection to all of this. The look and feel to this is modern horror but I don't know it just doesn't work. Warning, some spoiler alerts.

The film doesn't go with out effort, the opening title sequence is a nice visual piece and new concepts to the series add an interesting touch, like the micro-dreams, or as I said in the first paragraph I believe that's what they called them. In all honesty I had a hard time following the dialog as it was less than intelligent at times. After the first forty five minutes I consciously made an effort to take in only about forty five percent of what people were saying to each other as it was just unrealistic and quite frankly stupid. Also another thing that added a different dynamic was that the current victims were the previous victims. However; that also serves as a down point for the film, they showcase the child molester element quite a bit, and when I mean that I mean when Nancy says: "Fuck you!" Freddy replies: "That sounds like fun." It's a little bit tough to take in. It didn't find a balance between casual and disturbing, at points in the film like when the kids found out they were molested as children from their parents (who also disclosed it in such a bizarre way) they had basically no reaction. But then there's a scene where Freddy comes close to raping Nancy.

Acting is decently awful. I couldn't stand Katie Cassidy and I was counting off the minutes until Freddy killed her, she also looked twenty five not seventeen. Kellan Lutz also got it pretty earlier as well and I was thankful for that. Roony Mara was fairly awful, I understand that Nancy is suppose to be a tortured misfit teen in this but reading all your lines in monotone doesn't help the audience like you. Her character doesn't compare with old Nancy and you can understand why they have another character in the end helping her try and kill Freddy. It isn't believable that she can do it on her own. I like Kyle Gallner from Jennifer's Body and A Haunting In Connecticut, so I know he can act, and while I'm glad he was there to counter Mara's acting he was also a little less than impressionable. Now Jackie Earle Harley is probably the only person I can see playing Freddy and he did alright, I guess. It's not as iconic as Robert England's but he's creepy, they made him look like a real burnt victim which did make it more horrifying and hard to look at. How he acted was a little odd but I don't know, it could have been worse.

The film would have gotten a solid two stars (out of five)  from me for the new ideas and the added creepiness of Freddy but the last ten seconds were so awful that it pushed it into the category that this is just another really shitty remake. They try to replicate the iconic scenes and it's obvious that they were hesitant about it, knowing that copying it exactly or dis-including it would piss off fans. But that dilemma speaks for itself; you can't do either without pissing people off so why bother remaking this? This just doesn't work, the undying bogeyman of the seventies and eighties who spawns sequels into the nineties doesn't work in the new millennium (unfortunately). I actually went to the theater (rare for me) and saw Scream 4, which isn't exactly scary but was a great movie as it did what the first did, paid homage to the genre while parodying it. You're wondering what relevance this has well I'm just saying Craven understands how horror has moved from the decades, current Hollywood producers don't. Freddy belongs in the eighties, this generation should stick to what it knows, torture porn and Facebook killers. Or maybe I'm asking to much here but...I don't know...how but something new and creative we've never seen.

Troll (1986)

Troll follows the story of it's title character, Torok, a centuries old troll/fairy that's out to create an entire fairy universe inside the constrictions of an apartment complex. With the help of Wendy Anne Potter, the cute little girl to the family that just moved in down stairs, Torok believes he's finally going to rule in the human world. Once in Wendy Anne's body Torok goes door to door and using his nifty ring creates an Eden for his friends. But not everyone is blind to Wendy's new behavior, her brother, Harry Jr, see's that there's something wrong with his sister and with a little help from the witch who lives upstairs, he's out to save his sister and the world. The 1986 B-horror film has been hiding in its sequels cult shadow for years, forgotten by such infamy the original film proves to actually be decent and entertaining. 

In a lot of ways Troll is almost a horror movie to a kid, but at the same time the second layer plot might go over their heads. The fairy-tale aspect and the lack of deaths might appeal to that sort of audience more than an adult, unless of course your nostalgic. The whimsical nature to Troll is equally paired with an undeniable quality, its humor, some intentional, but lets be honest most not. The name of the dad, Harry Potter, a writer who gets thrown into a world of witches and trolls? It almost feels like its satirizing J.K. Rowling novels but that's impossible since it predates it by 11 years. The trolls themselves while creepy are also laughable, especially when they sing. No blood, mostly people oddly running into each other at all times, the Troll kicking people three times his size asses, and pod like things that look more like they belong in gardens than as some violent alien spawn types.

The characters, to my deep surprise, were developed. Between Eunice, the old soul who seems to have a gleeful tinge to her expression every time she talks about the trolls, to Malcolm, the dying little person who's humble disposition about his life made you root for him and his survival. Harry Potter Sr. was gloriously lame, from his pitiful attempt at a pre pregnancy drug joke to his horrendous dancing. In fact lets just lump Anne Potter in that category as well, her undeniable love for her husband and her mom duties put her in line with Mr. Potter, but its all in a good way. They are hilarious together, the scene where Malcolm is telling the Fairy Princess story at the dinner table and Mr. Potter looks over at Mrs. Potter and lovingly grabs her hand, I had a good laugh on that one. Beyond cheesy. 

Troll is not all laughs though, the story is interesting and if Ghoulies or Leprechaun scared you then I have no doubt Torok the Troll will keep you up for at least one night. This film doesn't get a lot of credit because Troll 2 is the ultimate so "bad it's good movie". I really like Troll, I laughed through a good portion of it and although it may not have exactly worked I give the screenwriters credit for at least attempting a serious film, I mentioned it earlier but I'd say its plot jumped a second layer. I own the Troll/Troll 2 double feature and it was a decent purchase, in my opinion. Troll's a good B-movie to watch or maybe for a little bit older kids who won't get too scared. 

The Master of Horror - Dario Argento

Next year's lists will not be so crammed, I promise. I'll admit I tried to squeeze a few viewings in of films the night before, having not seen them but knowing they had a strong legacy in the genre. I'm sure some that I critiqued or rather ignored will grow on me and the list will inevitably change, hell Boyfriend's With Fangs needs a drastic update since last year. So do know that none of them are absolute or near such (maybe with the exception of Stephen Kings) and that all contain the fine print "So far".

Thus to prevent addressing it in ever paragraph of this list (as it inevitably would be) lets just mention the flaws of Argento's work; awful sound transfers, not the best acting, and plot instances that fail. Its safe to say character development and the logical plot are not his strong points. What are? Setting up atmosphere in set design (I've heard he's meticulous about such things), collaborating well with composers, directing his DP's to gorgeous cinematographic heights and creating a beauty in death, something I don't believe any other filmmaker has done quiet so well. To note I didn't get distinctly different in separating the giallo's from the true horrors as I would therefore not have a list and they are scary despite trying for a more crime fiction motif. Not solely a master of Italian horror but basically a master of horror in general Dario Argento's films established a cult following based of his work. Not all can be Argento fans (understandably) but those who are appreciate them for what they are, broken masterpieces. So for this year's Master of Horror I focused on my favorite country of horror by one of my favorite directors, My Top Five Favorite Dario Argento Films:

#5 Phenomena (1985)


This is Argento's heavy metal rock film of the 80's, a combination I couldn't dream up if I'd even believed it to work. However, it does in this outlandish piece of cinema. Usual Argento the film has excessive flaws in plot, where most lead dead or near death, and dialogue. Often I'm afraid that he's more interested in surprising us with a killer than establishing a substantial reason as to why this person is murdering everyone. Regardless Phenomena did capture my heart briefly at it's start, young Jennifer Connelly and Donald Pleasence are good in their roles which they play against a beautiful Swiss Alps scenery. The soundtrack is killer as it plays loud chords and blares inside the story, and unlike other films its never inaptly played (I'm looking at you Deep Red). Jennifer's creepy bug telepathy and the rest of the works I've praised place this as number five on my list.

#4 Opera (1987)

Another gore fest Argento with surrealism at play. Again he creates a beautiful sculptured film that transcends the expectation of art. A deeply unhinged but emotionally sympathetic lead makes this the closest thing Argento has had to a character study. Of course bad dubbing doesn't precede the film but no less tolerable than normal. This is by far the most brutal flick ever conceived from this MOH. Harsh and stunning at the same time.

#3 The Bird with the Crystal Plumage (1970)





Oddly The Bird with the Crystal Plumage is less known or rather less acclaimed than his other films. I'm a little confused to this; yes there's an absence of blood but this is one of the best Argento films ever, and it happens to be the first he directed. It follows the basic giallo plot of a writer who witnesses an attempted murder outside an art gallery and begins to investigate for himself. In a way I felt that Deep Red was almost a remake of this, between the similar plots and Sam eerily wearing the same black button up shirt and khaki pants as Marc Daily. The film, though mostly giallo, has a very haunting atmosphere, curtosy of an enchanting score by Ennio Morricone. It takes a real horror turn when Sam's girlfriend is locked in her apartment and the killer is trying to break in. A little excessive reaction but ultimately effective in capturing the terror of that moment, which is to attribute to good acting, especially by lead Tony Musante. No amateur directing shown on his half, Argento's first try was impressively good and a tense suspenseful watch, with a bit of humor.

#2 Deep Red (1975)

If Phenomena hadn't of fallen apart towards the end it had a better chance at ranking higher than Deep Red. But overall Deep Red is the more composed film and the quintessential of his giallo's. A complex range of characters speaking between Italian and English this was the film that scared me since seeing Suspiria. A breach of safety in my seat when I jumped from that laughing doll, a provoked chill from the break in and the death at Amanda Righetti's house, and essentially a great build of tension for the Italian thriller. Deep Red is a quite important viewing in the world of giallo films, not only Argento's most significant but arguably one of the most significant of the genre. And even better a killer with motivation! Deep Red is topped with good performances and an astounding soundtrack (though not the best, in my opinion) which makes it a must see.

#1 Suspiria

This was likely obvious as my header is of the film's eloquent cover but it's not as if there's any other choice. As gathered I liked/loved the other four films on this list nothing comes close to the bravura of Suspiria; a bleeding array of colors via the director of photography and a deafening soundtrack by the Goblins escalate the film to horror movie greatness. The lost in translation aspect appears here as Jessica Harper's Suzy is attending a ballet school in a foregin country. The plot doesn't succumb to the typical monsters as we tend to expect (vampires, werewolves, etc) but does a more rare fear of witches. Suspiria is the work of an preeminent nightmare caught on film, the images, the blood, the lack of distinction to what's going on, the distorted set pieces...nothing is right within the film. Captured soundly by Argento, bad dubbing and odd dialect aside this I'd argue is Argento's most seamless film. Unlike the others which become tangled in themselves Suspiria stays generally focused (I didn't say absolute now did I), and delivers a horror induced ending. As said Suspiria does not go without faults but I don't care, my favorite Argento film is certainty not Oscar worthy, nor is my favorite horror movie. Two titles that Suspiria shares.

Honorable Mentions: Inferno (1980), the sort of sequel to Suspiria that takes a focus on the Mother of Darkness, with a beautiful underwater sequence guest directed by Mario Bava. Tenebre (1982), another giallo piece that follows the murder surrounding a novelist's new book; a blood spattered ending is undoubtedly to satisfy fans.

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Paranormal Activity 3 (2011)

Dennis has recently married Julie and is now step dad to her two girls Katie and Kristi. He's a struggling videographer, a business which he runs out of his home giving him access to a lot of video equipment. While filming arguably the most dull sex tape ever between him and Julie an earthquake happens on film. But the natural disaster pales next to what Dennis sees after the quake has stopped, a spirit standing in their room. Immediately he wants to pursue this further and sets up cameras around the house to see if he can find anything else quite like it. It doesn't take the spirit long, or rather Toby, to make another appearance on tape as he's not shy. But as the haunting becomes more evident Dennis is discovering that this isn't harmless as Toby has a plan for his family, particularly the youngest Kristi.

I enjoyed both one and two in the franchise, finding them properly paced and effectively jumpy but as a whole I'm not necessarily a fan. That's not to say I don't like them, because I do, its just I appreciate them more for their technical plots and story buildup rather than have an actual love for the series. Where the first two relied on the subtly paced and what you don't see, the third takes the opposite approach and bares all. In the end it works rather well, this is by far the most terrifying of the series and I was in constant dread knowing that every time they were on camera something was going to happen, you just didn't know what. Which is a brilliance behind the writing, you've come to expect a certain set of rules to the ghost that's been stalking this family but they essentially throw away all previous behavior and throw you off with new bits of horror. Paranormal Activity 3 made more ploys towards the typical haunted house film (I saw that babysitter peak her head around the corner), where the ghost became physically violent and manifested itself in front of us for scares. The last fifteen minutes not only change how you see the spirit but how you see the series as a whole, it will literally alter your viewing experience. I immediately wanted to go back and watch the previous two films.

Dennis the likable hippie bum of a step dad is essential in pissing this ghost off with his camera taunting. Am I the only one who noticed Katie basically grew up and started dating her step dad? The parallels between Micah and Dennis are endless down to camera obsession and not having any clear manifestation of a job. While cute, younger Katie and Kristie are not young prodigy actors I hate to say. But I don't necessarily expect much from such so I won't pry further. Lauren Bittner and Christopher Nicholas Smith are fine as the parents, they seem convincing as a couple and that's all that really is needed. In this film the focus is less on the family's emotional struggle and more about the spirit and setting up what's to happen. Therefore acting is incidental and things such as camera placing are more prominent. In addition to two bedroom cams directors and DP set up a living room camera with its base on a fan to give a wide scope moving effect around the room. A very adept approach in creating a new way to scare the audience, as we see what the characters in the kitchen don't.

The film fells less realistic, as did the second, than the first despite having Henry Joost and Ariel Schulman (directors of the documentary Catfish) there to give it that more realistic approach. Though it had its slow moments the first film's realism was based off the sense that everything was on camera, even the pointless stuff. The third is not so much; everything that is on camera is relevant to the plot and set up so it comes off more as a film than that cleaver found footage effect. As of last time the trailer is deceptive, I don't believe that one clip in that trailer makes it to the actual cut of the film. A lot of reviews are claiming this as the best film in the series, I'm less kind. I'll admit while it's the most dire of the series (I jumped...a lot) I'm still accrediting the first film for being the best. Simply because I prefer the what we don't see to what we do. Still that's not to prevent you from seeing the third installment, without a doubt it'll be the scariest experience you've had in theaters for a while.

What Goes Bump In The Night

It hasn't gone unnoticed that I did not post a film review last Thursday and did not for several reasons. The most critical being that the review I did write for The Last House on the Left remake was more like a thesis and analysis of the film than an actual basic four paragraph review. It was difficult to edit within two days and I'm still not content with it. I will post it soon or later, maybe even a edited and an unedited version but I'm not sure when that'll be. I'd also care to note, as in the fashion of last years lists, I'm getting sick! The ills of October never fail to ensure. Regardless I will be back to posting my Paranormal Activity 3 review Thursday night, ill or not. And the usual: The grammar in this post is awful, blah blah.

There's an idiomatic to most ghost's films, whether they expose themselves as somatic or tediously as cerebral haunts; they scare the masses more than any other type of genre film. If you're struggling to see the cadence of my notion simply look at film's sister medium, TV. What more horror shows are we offered? There's a capacious list of ghost hunting shows, communications with the paranormal, and the haunted house experience than any other genre horror has to offer. Does Leslie Vernon have a TV show (I fucking wish), or what about a crime noir with giallo sub-settings? These don't exist because they don't effect the broad viewing audience, but the idea that the life after does. The idea itself works in the basis of other more complex fears (fear of God, discontent in death, the un-lived life, etc). What happens after death is by far the more disquieting of phobias as there is no clear answer. Hence for my second to last list of the month I picked one of the more redoubtable sub genre's of horror, My Top Five Favorite Haunted House Films:


#5 House on Haunted Hill (1959)

House on Haunted Hill is one of those films that contradicts itself in quality. Helmed as a classic the film, in my opinion, has immense plot holes, obnoxious characters of the suicidal variety, and a lack of sense. The film becomes balanced in that it is creepy; beyond bumps and noises the film uses strange 'what the fuck?' moments to capture the audience's fear. Particularly the scene with the maid in the basement. In its dated effects and murder mystery finale the film still manages to scare.


#4 Insidious (2010)

Insidious is the most recent film on this list, having only been out for a year but I did find it as a rather  efficacious ghost story, with a unique re-imagining to the genre with the astral projection. Several scary and jumpy moments where you're terrified for the family. The film does suffer from an unsteady plot direction (the end result) but is scary throughout. Directed and written by James Wan and Leigh Whannell, who also created Saw, the film is aesthetically shot, well acted, rhythmically scored, and as said scary. And of course Lin Shaye (don't pretend like you didn't think I'd mention her, you should know me better than that by now) is in it so...it's awesome.

#3 The Shining (1980)

Here's the reason The Shining holds above other films, the ghosts in the Overlook don't hurt the family in throwing tables and flickering lights but they drive Jack Torrance to absolute insanity, granted that he wasn't all the way stable to begin with. Stanley Kubrick's removal of emotion by soundly capturing the emptiness of the hotel made The Shinning horrifying beyond compare. As a child I remember the scene that scared me the most was the woman in the bathtub, I was afraid to go near a tub for years because of her. The film was critically pissed on upon release (as was Carpenter's The Thing) but is now also regarded as a classic of the genre.

#2 Paranormal Activity (2007)

Paranormal Activity is the film that came out of nowhere. Having no chance at a release in a Halloween fashion it made it's way to into theaters by demanding viewers and achieved an audience. Slow for a start (nothing happens the first half an hour) but genuinely creepy with it's subtle usages, Paranormal is able to get under you skin. The found footage was past me, in truth, but not without trying. Micah and Katie feel real as well as their relationship problems. Not over playing the haunting made the film prominent for me.

#1 Poltergeist (1982)

The term poltergeist is generally used to describe the more physical ghosts that make rapping's and bang things about the house, but the film diverted it past that and into a much more terrifying embodiment of a haunting. There's a little bit of everyone's range of horror in Poltergeist, from closets to clowns, or trees the film continues to scare. I've always been in particular discomfort to the face peeling scene. The film is lead by a very wrenching bit of emotions from the characters who've lost their daughter in a the supernatural world, by which you become inclined and left inside the film with the family. Unlike others Poltergeist is able to effectively show the demon spirits without coming off too corny and also pairs with the translucent presence in moving the furniture. Directed by Texas Chainsaw Massacre director Tobe Hooper (or not?) the film is an exceptional haunted house film, and my personal favorite.

Honorable Mentions: I was specific with this list by intent when I said Haunted House, there's phenomenal ghost stories like The Fog but I did not want to have the HM go on to unbearable lengths, as it already is. The Amityville Horror (1979), a family moves into a house where a grotesque set of murder occurred a year before, based on the horrifying true story. The Amityville Horror (2005), Ryan Reynolds in a very creepy performance in the stand alone remake of the same name. The Haunting (1963), a woman becomes more than a guest at a house when she realizes it wants her. The Innocents (1961), a woman treads a boundary of insanity and a haunting when she notices the little boy she's governess for is not so innocent anymore. Thir13en Ghosts (2001), a widower is relieved of money when he inherits his uncle's glass house only to be mislead when he realizes there's ghosts that lurk. The Grudge (2004), a house possess a violent spirit whose angst kills all those who enter it. Rose Red (2002), with its demolition nearing a house gets another chance to devour it's guests when a group of psychics stay the night to do paranormal research. Also to note I did have the full intention of watching The Changeling and The Legend of Hell House but was not able to due to an issue with the viewings. As an indirect recommendation every haunted house list I've looked up they easily make it and hold good placing.

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Death by Engine

I...don't have much to say this week other than THANK YOU! For the obscene amount of comments I got, specially from Carrie Green, Demented Dreamer, and Drymonema. The former whose novels you need to buy and the two latter who have exceptional reviews; Drynmonema is also doing a collection of lists. As my limited five list B-movies likely isn't enough try his top ten for the more obscure B horror films. And if my review of The House of the Devil didn't intrigue you Demented Dreamer should with his in-depth review. I'm also tired from work today and three shots in so my grammar isn't perfection (like how I have an excuse every week), please forgive the inane writing style and continuous use of the word 'tension'.

This week's list is a bit uncommon as it's not all the way horror as it is more of thrillers. But thrillers have a tendency to provoke an anxiety for characters whereas horror doesn't always. There's two things that are guaranteed when watching these types of genre film; the cover art of the rear view mirror and a lot of tension. If you don't know what I'm talking about then don't worry I doubt your alone. There's not a lot of films such as these and even less of what I've seen. Without any more delay this week's list is My Top Five Favorite Car Thrillers:

#5 Christine (1983)


Christine is not the best of Carpenter, nor is it the best of King, but it's not bad. The horror is odd as it relates to a car being possessed and having an emotional fixation on it's owner, Archie. But while it's not the most relatable it is unique in concept. My favorite scene is where Christine repairs herself in front of Archie, his look is darkened as he intently watches her and the atmosphere gives way to an uncanny moment.



#4 Duel (1971)

A man driving home makes the commonly rude act of cutting off a trucker, a mistake he wont make again as the truck now wont stop chasing him until he's dead. I am one of the few that don't hold Duel high in regards, that's not to say I didn't like it but I don't praise it like some do. It's not the film's fault per say but rather Dennis Weaver's character, I'm not sure how to put this without being rude but...he's an asshole. He cuts the trucker off in the first place! I have little sympathy for him. Despite that though Duel does have several thrilling moments as the truck stalks Weaver and does its very best to kill him. Increasing tension provided by Steven Speilberg's directing makes Duel a good car thriller.

#3 Joy Ride (2001)

Joy Ride is the most horror of the five film on this list, two brothers who teasingly fuck with a trucker over a radio are paid the price when the trucker comes after them. Joy Ride isn't a film beyond flaws, not even close, there's a lot of cliche teen horror decisions and the ending fell a part a little bit for me, but good acting by Leelee Sobieski, Paul Walker, and Steve Zahn prove as strong points for the film. As well as a significant amount of tension squeezed out of the plot.


#2 The Hitcher (1986)

Yes The Hitcher ranks higher than Duel, hate me all you want but I love the HBO film staring ET's friend, C. Thomas Howel, and Rutger Hauer as the serial hitch hiker (what more can you ask for in a villain?). The lesson in never picking up a hitch hiker proves true when immediately Howel picks up Hauer and he waste no time in being sketchy. The film made Bravo's 100 Scariest Movie Moments (as does Duel and Christine) and the moment that still continues to shock is when Hauer has Jennifer Jason Leigh tied between two trucks, her limbs resting on his foot on the gas peddle.

#1 Death Proof (2010)

I've gushed about Robert England (far too much, I'll admit), and Craven and King, but have I really gotten around to how much I love Quinten Tarantino? No I haven't since he writes more action movies than he does horror. The lovely exception is this thrilling film where Tarantino plays homage to the old car films but provides us with a holy shit moment like no other. The film has eight set of women, all being stalked by Kurt Russel (why doesn't he play more bad guys?), an ex stuntman who has an erotic fixation on killing women with his stunt car. The first set of girls are the more relateble of the eight but the second set is what escalates the film's suspense. Zoe Bell, Tarantino's go to stunt girl, plays herself and willing straps herself to the hood of the car while driving hundred plus miles down a stretch of road to create an edge of your seat nerve splitting moment.

Honorable Mentions: Rubber (2010) director Quentin Dupieux social commentary on a rubber tire's telepathic powers, which he productively uses to kill living things, all while chasing the love of his life. I'd like to note two things, the first in relation to the film Rubber. Netflix recommended this to me based on my interest in Wristcutters: A Love Story, I Love You Phillip Morris, and Trick 'r Treat. If that doesn't convey this film than I don't know what does. Also I apologize for another short honorable mentions, but this type of film is rather slim. Of course there's great films like Gone in 60 Seconds and Vanishing Point but those feel more action than they do as thrillers.

If you're reading post your own.