HALLOWEEN HORROR DAYS ~ DAY 12: CASTLE OF BLOOD (1963)

When it comes to Italian horror cinema or 'Giallo' films (spaghetti horror as I like to call them) there are very few actors and actresses that have become iconic. One of the few who has become such an icon is Barbara Steele. Best known for the Mario Bava directed classic BLACK SUNDAY, Steele is one of those rare actresses who can encompass both beauty and horror all in the same shot. If you're unfamiliar with Barbara Steele it's okay. Her horror catalog is merely a handful of films from the 1960's and if you haven't ventured into foreign horror it's likely you wouldn't know of her. But once you do become acquainted with her work you'll never forget her.

CASTLE OF BLOOD is another of Barbara Steele's horror films. Also known as Danse Macabra (Dance of Death), Castle of Blood is a black and white film directed by Sergio Corbucci and Antonio Margheriti. Sergio Corbucci gave us the original DJANGO as well as a number of other great spaghetti westerns. And Antonio Margheriti would go on to direct Barbara Steele in yet another horror film, the Long Hair of Death, and work on other classic horror films such Andy Warhol's Frankenstein and Dracula. It goes without saying that the right people were behind the creation of this seldom mentioned horror classic.

THE PLOT

Alan Foster is a London journalist in the mid-1800's. He has finally met one of his favorite writers, Edgar Allan Poe, in a London pub and is determined to interview Poe for his paper. Foster scoffs when Poe tells him that his stories of murder and the supernatural were all true. Foster refuses to believe that anything supernatural could exist. A nearby listener offers to show Foster proof that the supernatural does indeed exist. This listener wagers that Foster can't last the night in an old castle just outside of London. Foster takes the bet and is driven out to the castle. There, he holds up in an old study for the night. Then someone steps out of the shadows, a beautiful woman. As Foster takes her hand his night begins to spiral out of control down a hellish path of blood, murder, and resurrection.

THE GOOD

Atmospheric. Castle of Blood was shot in black and white and on sets reminiscent of classic Universal Horror films i.e. gnarly leafless trees looming over mist shrouded graveyards, large dark stone crypts, and massive cobweb covered castles. The film captures everything great about 1930's horror films and takes it that extra step further. Explicit onscreen violence, overtly sexual content, as well as regenerating corpses and disturbing horrific images. If I could change anything about those classic 1930's monster movies I'd want them to have everything I listed above. This aspect of the film gives it a distinct experience, a novelty that I've seen seldom in horror.

Edgar Allan Poe. This film contains a number elements that make it a worthwhile watch. One of them is the take on Edgar Allan Poe. Many classic horror films have been the subject of his stories. Here he himself is one of the subjects. The film attempts to add to the myth and mystique surrounding the author suggesting that the event depicted in the film is only one of many similar events experienced by Poe. By doing so the filmmakers create a whole other layer to the story.

I mean, c'mon, how crazy would that be if everything Poe wrote about was actually true?

THE BAD

This isn't a fault with the film but rather a personal preference in that there could've been more onscreen blood. Really, for a movie named Castle of Blood there wasn't much blood in it. I really enjoyed the overall presentation of the film from beginning to end. But comparing it with Barbara Steele's earlier film, Black Sunday, this film feels a bit toned down in the gore department. One of the intrigues to spaghetti horror films are seeing the added levels of explicit content in these early films at a time when mainstream Hollywood horror was relatively tame. The lack of blood may be intentional though as the majority of the characters we spend our time with may or may not be real. Again, nothing at fault with the presentation, I only wish it had reached Black Sunday levels of gore.

THE VERDICT

Castle of Blood is a creepy atmospheric ghost story in the style of the classic horror films of old. The black and white presentation enhances the overall experience along with the extra degrees of violence and sexuality thanks to it being a foreign film. Barbara Steele once again wonderfully embodies an alluring and at the same time frightening persona. The inclusion of Edgar Allan Poe as a character in the film provides great food for thought and another layer of intrigue to the story. If you're a fan of classic horror from the 1930's and 40's give this one a try. Wondrous and frightening sights abound sure to set your heart racing for many different reasons.

Overall Ranking: 6 out of 10

(above average. worth the price) 

Nude-O-Meter: 4 out of 10

If you like Castle of Blood then check out this other Barbara Steele movie below!

BLACK SUNDAY (1960)

HALLOWEEN HORROR DAYS ~ DAY 11: THE OTHER SIDE OF THE DOOR (2016)

Children have a strange power in film. They can appeal to your better nature and melt your heart. They can frustrate and annoy you. When one becomes a parent seeing a child in danger can make your heart race. And then seeing a child as a personification of fear and evil can make one's blood run cold. Such is the versatile power of children. Innocence corrupted is one of the more common and terrifying narratives in horror films, one that can result in some truly traumatic horror films such as THE EXORCIST or THE OMEN.

James Wan, the director behind such frightening films as INSIDIOUS and THE CONJURING, knows the power that children can possess and has utilized them quite effectively in his films. When people tell you your life changes after having a child of your own, they're right. James Wan's films take on a whole new level of terror. After watching the trailer for the horror film THE OTHER SIDE OF THE DOOR I was instantly sold. Then upon hearing it was James Wan's production team behind the film with Alexandre Aja producing (the man who gave us PIRANHA 3D and HORNS) it made this movie a must see.

THE PLOT

If you had lost a child, what would you do to get them back? A couple living in Mumbai, India lost their son in a tragic accident. Maria, the mother, can't take the grief and tries to kill herself. Rushed to the hospital, Maria is saved before any irrevocable damage is done. Their housekeeper, a local woman named Piki, sees how Maria can't move on and so tells Maria of a temple that exists outside the city which borders the realm of the dead. There she can speak to her son from behind the temple doors. But no matter what she must not open the door. Maria goes to the temple and speaks with her deceased son. She is so overwhelmed with emotion that she opens the door... letting something loose.

THE GOOD

Indian Horror Myth. The greatest aspect of this film is the story. It's a completely new and unique concept than anything else I've ever seen or heard of. The temple of the dead, the guardian of the dead, the death worshiping tribesmen, all of it feels fresh and interesting. Maybe if I were Indian these concepts would be familiar but as it is this is new to me. I haven't done any research into the supernatural mythology of India, but that's what's so intriguing about this film.

The Imagery. The film takes place in Mumbai, India so instantly you are placed in an unfamiliar and interesting locale. Then there is the forest of the dead leading up to the temple. Both are evocative sights, like a rotting desert Hell. Then there are the tribesmen who are as unnerving in broad daylight as they are in the shadows of the night. And finally the character of The Myrtu: a gatekeeper of the land of the dead and without a doubt the scariest creature and coolest design in the entire film.

The art direction and set design of this film is superb.

The Mood. Joseph Bishara, the musical maestro responsible for the scores of Insidious and The Conjuring provides the score here. Bishara is one of the best horror score composers working in film today and his score here is bloodcurdling. Director Johannes Roberts takes the time to build the tension letting the scares come naturally. Every detail is accounted for as the supernatural presences converge on the main characters. Not only do you feel isolated as a foreigner in a foreign land, as the movie forges ahead the world itself becomes something stranger as the world of the living is slowly transformed into the world of the dead.

THE BAD

PG-13ish? I've seen PG-13 horror movies executed brilliantly and I've seen horror movies that fell flat because of not being rated R. Here is something else entirely. This movie is rated R but feels like a PG-13. I wouldn't change anything about the suspense building or the scares in this movie. What I see is a missed opportunity to embrace the R rating. The movie builds to an awesome climax but never fully commits to the spectacle. If I were to change anything about the film I'd up the gore and gruesome death scenes at the climax. Otherwise what this film does it does well.

THE VERDICT

The Other Side of The Door is a unique twist on the rules and myths surrounding the afterlife. Director Johannes Roberts and his crew create a totally immersive world with frightening and intriguing visuals building up to nightmarish scares. For those bored of the standard American ghost stories and tales of possession this film injects new blood and new fear into the classic ghost story.

Overall Ranking: 6 out of 10

Nude-O-Meter: 1 out of 10

For more films by James Wan and good movies about hauntings check out these others

Annabelle (2014)

The Conjuring 2 (2016) 

Insidious (2011)

Insidious Chapter 3 (2015)

Sinister (2012)

Deliver Us From Evil (2014)

 

Carnival of Souls (1962)

HALLOWEEN HORROR DAYS ~ DAY 10: GOODNIGHT MOMMY (2014)

Foreign films are fertile grounds for striking and disturbing horror. There is a far richer history from which to draw ideas from, in some cases towns and communities that have existed longer than any settlements here in the USA. A history of violence and bloodshed stretching back thousands of years. These are the places where the first stories of vampires, witches, and werewolves came from. So in that respect it's easier to trace horror roots back to the old world.

Remember the horror boom in the mid 2000's when films like THE GRUDGE and THE RING were churning out hand over fist? America had discovered the potency of Japanese horror cinema and were importing and remaking these films with a vengeance. Then later European films like HIGH TENSION and DEAD SNOW were making waves. And lets not forget the spaghetti horror films from the 1970's and 80's. In short, foreign films are where some of the best horror comes from. In 2014 a little film came out of Austria called GOODNIGHT MOMMY. This film jumped on the horror radar in a serious way and recently I was finally able to see it.

THE PLOT

In an isolated house out in the country twin boys Elias and Lukas are spending the summer together as their mother convalesces from facial reconstructive surgery. Mother needs rest and darkness to heal. She looks unrecognizable to them with bandages covering her face. She's acting stranger than usual, not herself. After a violent episode in which the boys are harshly reprimanded Lukas and Elias begin to suspect something. Maybe the woman beneath the bandages isn't their mother at all.

THE GOOD

Genuinely Creepy. Not gonna lie, this movie is slow. But it is always building. For much of the film there isn't any dialog. We see the boys playing out in the open, running through the trees and fields, and even finding an old ossuary (a bone pit. Human bones. Apparently there are ossuaries all over Europe). And then there is the mother. We primarily see her through the eyes of the boys. The bandages on her face are eerie and frightening. She has a short temper at times and seems very irritable. She needs to keep out of the light to help with healing so much of her scenes happen at night. All of it builds a genuinely creepy atmosphere and feeling of isolation. There is one particular sequence that stands out where the mother decides to go for a walk at night through the trees by herself. Very bizarre. Very creepy.

Brutal. Admittedly this movie takes a while to get going. There are some skin-crawling scenes here and there: mother in her bandages, the hissing cockroaches, and the dead cat in the fish-tank. But nothing too intense... until the final act. The movie ratchets up the intensity and delivers some truly gruesome scenes. And the film doesn't hold back. Without giving too much away there is a moment with super-glue and scissors that is particularly disturbing. The movie keeps going at this pace right up to the end.

THE BAD

Not so twisty twist? There's a plot point in the movie which is either executed perfectly or horribly depending on how one looks at the film. Almost from the very beginning you start to suspect this plot twist. There are moments where the brief dialog tries to steer you away from thinking this. Ultimately when you reach the end you find out it is exactly what you thought it was. If this were an M. Night Shyamalan film you'd be able to see the plot twist coming a mile away. But yet knowing this plot twist from the get go doesn't detract from the power of the film. The twist isn't where the plot takes off. The twist, after finishing the film, provides interesting discussion and possible explanations. So, I won't hold it against the movie too much as it still proved strikingly effective.

THE VERDICT

Just when you thought it was safe to be with family... Goodnight Mommy is a little film that achieves a lot of emotion. It is masterful in creating a feeling of isolation and how a simple thing like identity, when in question, coupled with childlike fantasy can turn into something horrific. The film doesn't pull its punches. When the story gets brutal you see it all. And afterwards you might not look at family the same way again. Give this one a go if you're looking for a suspenseful build up and harsh ending.

Overall Ranking: 6 out of 10

Above Average. Worth the price.

Nude-O-Meter: 3 out of 10

HALLOWEEN HORROR DAYS ~ DAY 9: THE BOY (2016)

After certain horror films of a particularly dark nature, a film like THE WITCH for example, sometimes its necessary to have a nice pallet cleanser. Sometimes you just can't beat a classic type of story told in an effective way. THE CONJURING is my favorite example of a recent horror film that didn't break the mold and didn't bring anything really new to the table but what it did do it did so very well. The Conjuring gave us a story we have all seen a hundred times and it executed the story flawlessly. Sometimes all you need is the right approach.

THE BOY is a little horror film starring Lauren Cohan from television's THE WALKING DEAD and SUPERNATURAL. Once you've seen the trailer you basically know what kind of horror film this movie is going to be and the filmmakers deliver on their promise and then some. The Boy is a well done, well executed horror film. It doesn't give you anything really new or innovative but instead provides a breath of fresh air for a tried and true horror story.

THE PLOT

Greta has been hired by Mr. and Mrs Heelshire to watch the couple's son, Brahms, while the Heelshires go on vacation for the summer. Greta discovers the Heelshires tending to a porcelain doll. At first Greta believes this to be a joke, but Mr. and Mrs Heelshire are not laughing. They run Greta through her list of responsibilities treating the doll as it were a real human being. Despite the peculiarity of the situation Greta agrees, thinking it will be the easiest money she's ever earned. She soon discovers that nothing is as it seems, hearing footsteps at night, giggling in the hallways, and the doll seemingly moving on its own.

THE GOOD

Possessed Doll? Whether it's Child's Play, Annabelle, The Puppet Master, or even the 1987 horror film DOLLS, scary toys always make for a fun time in front of the screen. The Boy is another wonderful addition to the list. The doll is effectively creepy and unsettling. Lauren Cohan sells the drama with her captivating performance as she is basically the only actor you see for the majority of the film. This subject matter can either soar or fall flat. Director William Brent Bell turns what could've easily become a forgettable B-horror film into an effective fright fest full of chills and thrills and surprises.

Twists. One of the aspects that gives this movie a leg up on other horror films is the breaking of genre conventions. Characters react differently in this film than in the other like-horror movies that have come before. Once you think you know the character stereotypes being presented the characters break mold and make a choice against the stereotype. These choices enhance the narrative making it fresh and entertaining while still giving you the movie you're expecting to see. This film at first glance appears as another formulaic horror film but in reality it is anything but predictable.

THE BAD

Pacing. This is a nice way of saying the movie is a bit slow. Personally I don't find fault with this at all. Within this pacing however there is a window to lose the more impatient and main stream audience. What the film is actually doing is creating a suspenseful and eerie atmosphere and building tension. This greatly benefits the overall experience of the film. Then there is the PG-13 rating. Again, I personally didn't find the PG-13 rating a hindrance. As a result though there is little on-screen blood letting and no nudity. If this is the kind of experience you're looking for then this film is probably not for you.

THE VERDICT

THE BOY is a creepy atmospheric tale the likes of a HAMMER HORROR classic. It channels beloved horror films of old while at the same time remaining fresh by playing with character stereotypes and genre conventions. Instead of gore the film opts for suspense creating a movie for a wider audience. And thanks to one rather sizable twist The Boy earns a repeat viewing and a place among the better horror films of the last decade. Definitely worth a watch and worthy of praise.

Overall Ranking: 7 out of 10

Nude-O-Meter: 1 out of 10

 

HALLOWEEN HORROR DAYS ~ DAY 8: THE WITCH -- A NEW ENGLAND FOLKTALE (2015)

There are horror films and then there are horror films. The former are scary roller coaster rides that terrify and delight at the same time. A perfect example would be the film THE CONJURING. Then there are the horror films that don't necessarily scare you but actually horrify you. These films are quite different in that you leave them feeling sullied, unsure of the world you live in, and sometimes with images you wish to God that you had never seen. These films are not fun but rather an experience with something wrong and sometimes truly evil. These films represent the deep end of horror.

THE WITCH is a truly authentic and horrifying film exploring the account of one family beset by witchcraft. True witchcraft is a deeply unsettling subject, one that inflicts mental scars and leaves you forever changed. The Witch strives to do just that and, in my humble opinion, succeeds. I would not recommend this film to just anyone, but to those looking for a disturbing experience and a visual exercise in evil. There is nothing fun about this film. It is a well done film nonetheless. This might be the single most horrifying experience you engage in on film.

THE PLOT

Colonial era America. William, his wife, and five children have been banished from the puritan colony because of a religious dispute. They travel into the unexplored wilderness and build a new home for themselves at the edge of the woods. Life out on the frontier proves difficult for William and his family. Their fall harvest is sparse and the animals are producing the bear minimum. Then one day William's infant son disappears, snatched away by someone or something into the woods. This is only the beginning of their troubles as a dark force seemingly targets them one by one.

THE GOOD

Authenticity. According to the end credit roll for the film, the filmmakers aimed for a purely authentic take on witch lore. And they succeeded. The Witch is a period film set in the 1630's. The dialog in the film was written in the speech of the 1630's with minimal modernizing. As you'd expect the costumes and sets appear just as historically accurate. And to top it all off the acting is well done and believable. The result is an incredibly immersive story that makes you glad you don't live during that time in history.

Realism vs Fantasy. This is one of the most realistic depictions of witches I've ever seen. The film sets an ominous tone from the start with a subtle and unnerving score. Then the very land itself becomes a frightening character within the story. The woods and wilderness were once thought of as a terrifying place not to be ventured into lightly. This film turns the woods into one of the most frightening places imaginable. Add to that the feeling of isolation and paranoia to create the perfect horror film landscape.

But within this realistic depiction there are fantastical elements that go beyond reality, elements which the filmmakers approach from a realistic point of view. Again, in the credit roll it is stated that much of the film was derived from actual documented accounts from that time period. If in these accounts of witchcraft these practitioners were reported flying and riding on broomsticks, what would that look like in real life? The film strives to show us these fantastical elements in as realistic a way as possible.

THE BAD

Despite its name, The Witch doesn't focus on the witch so much as it focuses on the family beset by witchcraft. This isn't necessarily a bad thing. The few scenes that the audience participates in with the witch are truly disturbing and uncomfortable scenes. An entire film through the eyes of such a character might be unpalatable even for the most brutal film aficionado. Such a film however might prove interesting to see in a purely soul damning masochistic way. Then there is the rather slow pace of the film. This wasn't a problem for me, in fact I felt it was a strength of the film. But for the majority of today's audiences as well as the casual horror fan this could be a turn off. Make no mistake, this isn't your typical summer blockbuster horror film.

THE VERDICT

The Witch isn't a fun movie. It's a black hearted story of pure evil. The film accomplishes striking realism and incredible authenticity making the viewer believe in the fantastic and horrifying nature of the witches we've all heard about as children. When our parents warned us about witches this is what they were talking about. This is why people were so paranoid and afraid during the Salem Witch Trials. If you ever questioned the existence of a dark force at work in the world, The Witch will make you believe and fear.

Overall Ranking: 7 out of 10

Nude-O-Meter: 3 out of 10

HALLOWEEN HORROR DAYS ~ DAY 7: DON'T TORTURE A DUCKLING (1972)

The word "Gaillo" is an Italian reference to any horror/thriller film. Here in America the term is used to reference those horror/thriller films from Italy. Mario Bava, Dario Argento, and Lucio Fulci are among the premiere Gaillo directors and their films have inspired many movies and filmmakers the world over. I first became aware of Lucio Fulci's work with his seminal classic ZOMBIE. Zombie ranks among my top favorite horror films and is simply a wonderful feast for the eyes. Little did I know then that this was only the tip of the iceberg of Fulci's contributions to the genre.

DON'T TORTURE A DUCKLING is a murder mystery tale about the most despicable of killers: A child murderer. Duckling came about relatively early in Fulci's horror/mystery career well before such genre classics as The House by the Cemetery and The Beyond. Duckling contains many of the elements that would become signatures of the director's: graphic nudity, gore effects, and brutal violence. The film is gruesome, depraved, and a well done mystery. It has all the elements of a shocking gaillo film horror aficionados have come to expect.

THE PLOT

Children have been disappearing in the small Italian town of Accendura. One by one the bodies begin to surface, each one murdered by strangulation or drowning or worse. The boys had been known to play together and cause mischief, which made them unpopular around certain areas and people. Was it the simpleton Guiseppe whom the boys would often tease? Or was it the mad voodoo woman La Magiara? Or was it someone else entirely? The bodies continue piling up with the killer showing no signs of stopping.

THE GOOD

Tone. The film opens with a woman digging through the dirt with their bare hands. Slowly she brushes the dirt away from what ultimately reveals to be a skeletal corpse of an infant child. The image is striking and visceral accompanied by jarring musical cues. The combination of the music and images create a disturbing opening sequence. It's one of the most powerful pieces in the whole film. The tone of the film continues along this course showing the viewer uncomfortable scenes with young children and brutal murders. Few horror films have the cajones to go where this film does, touching on such primal fears as children in danger.

Mystery. Lucio Fulci would ultimately be known for his dripping red gorefests of the late 70's and early 80's. The foundation of Fulci's love of gore can be seen in Duckling with the many graphic sights therein. But Fulci has also shown a talent for crafting mystery and intrigue. Throughout Duckling we are given a selection of possible perpetrators, each one built up so well that the audience would believe any of them capable of such heinous acts. Fulci crafts a depraved murder mystery as compelling as it is horrific. The director would go on to perfect his mystery storytelling a few years later with the 1977 film The Psychic.

THE BAD

Not much. There isn't a whole lot one can fault this film for. The acting of some of the supporting cast is a little spotty here and there, but for a 70's gaillo film that's par for the course. Along with that there are a few underdeveloped characters. Then there is the final sequence which suffers from the film's low budget (use your imagination to fill in the believability gap). Ultimately it is the grim subject matter and disturbing imagery that comes across as off-putting at moments. I wouldn't call it a fault though. I'd call it damn effective filmmaking. To say the least, this film isn't for everybody, especially not the squeamish.

THE VERDICT

The gruesome effects are strikingly effective and the murder mystery is well written and expertly crafted. The subject matter of the film is disturbing and the imagery is no less appalling, as it should be. Director Lucio Fulci melds graphic imagery with a classic murder mystery leaving one wondering just who is the murderer. Don't Torture A Duckling shows more of the director's abilities as a storyteller than the later films he is known for.

Overall Ranking: 7 out of 10

Nude-O-Meter: 5 out of 10

For more Gaillo films, Euro-Horror, and Lucio Fulci films be sure to check out these as well.

ZOMBIE (1979)
THE MOUNTAIN OF THE CANNIBAL GOD (1978)
 TOMBS OF THE BLIND DEAD (1972)
SUSPIRIA (1977) 
TORSO (1973)
BLACK SUNDAY (1960) 

TOP TEN UNIVERSAL MONSTERS

TOP TEN UNIVERSAL MONSTERS

Welcome to another of Blood Work's Top Ten Lists: October Edition.

The Universal Studios Monsters from the 1920's, 30's, 40's, and 50's are among the most recognizable horror icons the world over. Representatives of the golden age of horror cinema, many stemming from classic novels and age old myths and legends, these monsters are the stuff of nightmares plaguing humanity for hundreds of years. Captured on celluloid for our entertainment.

I love the classic Universal Monsters as well as the other movie monsters from that era, not just Universal Studios. But for the purposes of this list we'll stick strictly with Universal... with one exception, perhaps the only non-Universal monster to reach similar heights of iconography.

Disclaimer: This list is of MY PERSONAL FAVORITE monsters. I have enjoyed the classic Universal Monster movies since I was a child and they hold a special place in my black heart.

So, without further adieu...

#11

DR. JEKYLL AND MR. HYDE

As always I throw in a bonus. This is the one exception to the Universal rule. Paramount Pictures actually contributed this horror gem in 1931, the same year we received the immortal classics from Universal Studios Frankenstein and Dracula.

This particular version of Dr. Jekyll and Mr. Hyde was portrayed by Academy Award winning actor Fredric March and has become perhaps the most well known and iconic film rendition of the character. When I saw the movie in my late twenties I instantly became a fan. The movie is pre-code era Hollywood with its share of risque content, making it all the more compelling. And Fredric March is scary. I daresay his Mr. Hyde is the only non Universal Monster that is iconic enough to stand up with Karloff and Lugosi.

#10

DR. GLENDON ~ WEREWOLF OF LONDON

Before Lon Chaney Jr. donned the make-up and became the iconic Wolf Man, actor Henry Hull portrayed Dr. Glendon, a botanist traveling in the remote areas of Asia in search of a lunar flower that only blooms in the light of the full moon. Attacked by a bizarre animal, Dr. Glendon was transformed into Universal Studios' first werewolf.

This werewolf was less wolf and more Mr. Hyde/vampiric ghoul. Maybe even a little Jack the Ripper for flavor. The Werewolf of London isn't the werewolf movie that typically comes to mind and that is a shame. The design of the monster and Henry Hull's performance I personally find more frightening than the Wolf Man. In any case, the Dr. Glendon werewolf is one of the scarier monsters in Universal's stable.

#9

IMHOTEP ~ THE MUMMY

Many consider Imhotep as Boris Karloff's greatest role in horror. The role showcased a wider range of what the actor was capable of as opposed to the rather limited Frankenstein Monster. The make-up for the Mummy by film legend Jack Pierce is nothing short of amazing. The only unfortunate aspect about it all is that there is only one small fleeting scene with Karloff in full Mummy dressing.

Imhotep is more a sorcerer than a Mummy which is both a strength of the character and a weakness in my opinion. With today's special effects the potential for Imhotep is far greater as demonstrated in the Stephen Sommers films. Even so, Karloff's performance in the Mummy is one of his key roles in solidifying him as a film legend.

#8

THE BRIDE OF FRANKENSTEIN 

One of the most iconic characters in horror and perhaps the most fleeting performance of them all. The Bride of Frankenstein only appears in the final ten minutes of the film with less than five minutes of screen time. A testament to Elsa Lanchester's incredible performance and the costume design, now an instantly recognizable image.

Lanchester's performance is both amazing and weird at the same time. It's almost like a cross between a hostile cat and swan. Elegant and beautiful while simultaneously disturbing. If only for the third film we could've seen a full movie with the Monster and his Bride. And yet, maybe it's the small amount of footage that makes the performance all the more legendary.

#7

THE WOLF MAN 

Artwork by Basil Gogos

Universal's werewolf take two. Lap dissolves and a ton of make-up made Lon Chaney Jr.'s transformation from Lawrence Talbot into the Wolf Man the stuff of legends. The pentagram on the hand, the mark of the beast, lends a demonic element to the werewolf which I find very interesting and frightening.

Of the five classic films featuring the Wolf Man only Lon Chaney Jr. ever played the character. He's fought Frankenstein's Monster and Dracula and has inspired nearly every werewolf film afterwards in one form or another. Despite being the second of Universal's werewolves no other film lycanthrope has had greater influence on horror.

#6

JACK GRIFFIN ~ THE INVISIBLE MAN

One of the best horror films ever made, Claude Rains brings the Invisible Man to life with the same power of that of Lugosi and Karloff. His voice is powerful and memorable and he plays the character with cruel glee and madness. It is amazing to watch, er- Not watch Rains' amazing performance.

The special effects are nothing short of spectacular. Watching the character of Jack Griffin as he removes the bandages covering his body never gets old. All in all it's a wonderful film from top to bottom and probably stands up better today than any other Universal Monster picture.

#5

 COUNT DRACULA 

Art by Basil Gogos

One of the pillars of horror in any and all mediums, the definitive vampire, Count Dracula. Bela Lugosi's rendition is quite different from Bram Stoker's Dracula. Lugosi's image is handsome and exotic rather than repulsive like Stoker's. Dracula's costume too is different in the novel. Thank goodness Stoker never lived to see it.

Like the Wolf Man, vampires have been forever influenced by this rendition of Dracula. Perhaps the most menacing monster of them all, Dracula has left a permanent impression in the minds of the populace. What's a real shame is that Bela Lugosi's Dracula is vanquished at the end of the first film and Lugosi doesn't reprise the role until 18 years later in the comedy Abbott and Costello Meet Frankenstein. It's a real shame because is amazing as the Count.

#4

THE PHANTOM OF THE OPERA

 Perhaps Universal Studios' first actual horror film, Lon Chaney Sr.'s unforgettable role as the Phantom set the bar for Hollywood film monsters everywhere. The determination and inventiveness of the Phantom gives the character a frightening persona. Add in Chaney's nightmarish make-up and the stuff of legends is born.

It was the Masquerade Ball sequence in the film that made me a fan of this character. Dressed as Death, his mere presence commands the attention of everyone and holds them in suspense. The scene is also in complete and stunning color (remember this is a 1925 silent film. Color was unexpected to say the least). Lon Chaney's Phantom is the first and some might say greatest of Universal's monster.

#3

KHARIS ~ THE LIVING MUMMY 

Growing up watching these old horror movies, the mummy films passed me by. It wasn't until much later that I finally saw them. With the original 1932 Mummy film I was initially disappointed in that we only see Boris Karloff in full mummy dressing for less than a minute. I soon discovered it was the following four mummy films that had what I was wanting.

Kharis, the cursed re-animated Egyptian priest is my all-time favorite film mummy. Silent, shambling, hellbent on murder, I see Kharis as a sort of super-zombie and a template for 80's slashers expressing the same peculiar demeanor. Kharis embodies all the characteristics that make Michael Myers or Jason Voorhees so frightening.

#2

FRANKENSTEIN'S MONSTER

The classic monster of monsters, a perversion of nature and a slight against God. Frankenstein's Monster is one of the most compelling characters in film and literature. Frankenstein is my favorite book and the 1931 Frankenstein film is one of my favorite horror movies. The character of Frankenstein's Monster is compelling no matter what form he takes, a testament to the power of the story and character.

Frankenstein's Monster is also a character with considerable complexity. He is both a terrifying and sympathetic figure. A misunderstood monster like King Kong or the Incredible Hulk (two of my top three favorite fictional characters). And let's not forget Boris Karloff's striking and iconic visage as the Monster.

The Monster would undoubtedly be my number one if not for the next monster from Universal.

#1

THE CREATURE FROM THE BLACK LAGOON

The design. I remember first seeing an image of the Creature (or Gill Man to some) and being instantly captivated. Once I saw a picture of him I immediately wanted to see the movie. One of my fondest memories as a child was receiving the VHS tape of The Creature From The Black Lagoon for Christmas. Still to this day I find the Creature's design incredibly compelling.

The mysteries of nature, what "creatures" exist that have yet to be discovered in the further reaches of the Amazon or the darkest depths of the ocean is an incredibly compelling concept. His first two films together basically retell the story of King Kong, my all-time favorite movie. As much as I long to see a big full color modern remake of the Creature, no retelling could ever equal the incredible experience of the original, and no updated redesign could ever surpass the 1954 image.

The Creature From The Black Lagoon is one of the reasons I love monsters and horror films.

And there you have it! My Top Ten favorite Universal Monsters!

HONORABLE MENTIONS: Gwynplaine (the Man Who Laughs), Count Alucard (Son of Dracula), Countess Zaleska (Dracula's Daughter), Quasimodo (Hunchback of Notre Dame), Igor, Dracula's Brides, the Metaluna Mutant, and more!

Have your own favorite Universal Monsters? List them in the comments below!

And for more Top Ten Lists check out these below!

TOP TEN DOCTOR STRANGE VILLAINS

TOP TEN DC SUPER HEROES

TOP TEN MARVEL SUPER HEROES

TOP TEN MARVEL SUPER VILLAINS

TOP TEN MARVEL ROMANCES  

TOP TEN INCREDIBLE HULK VILLAINS

TOP TEN FIGHTING GAME GUYS

TOP TEN FIGHTING GAME GALS

 

Check out these film reviews too of the classic Universal Monsters!

 

FRANKENSTEIN (1931) 

THE MAN WHO LAUGHS (1928) 

THE MUMMY (1932) 

CREATURE FROM THE BLACK LAGOON (1954)