Hmmm, so many to choose from....
George Romero's NIGHT OF THE LIVING DEAD and DAWN OF THE DEAD for their
apocalyptic visions of the U.S. George Romero's MARTIN for its views on
the manner in which "otherness" and "monstrosity" are regarded by
middle-class WASP culture.
GANJA AND HESS for its narrative and stylistic daring, and its
representations of African-American strength within the face of cultural
oppression. NEAR DARK for deftly blending genres and playing with
gender roles (and having a completely kick-ass bar slaughter scene).
For sheer fun, Peter Jackson's BRAIN DEAD (a.k.a. DEAD ALIVE) and Sam
Raimi's EVIL DEAD 2: DEAD BY DAWN. Their exuberant excesses in gore
comedy can't be beat.
LET'S SCARE JESSICA TO DEATH and DEAD AND BURIED for giving me nightmares
when I was a little kid. (I was never able to bring myself to watch them
again, they'd scared me so much.)
On the global front, Japanese horror films EVIL DEAD TRAP II: HIDEKI,
ONIBABA, and THE LAST FRANKENSTEIN for their fascinating cultural
renderings and all-out creepiness. Italian maestro Mario Bava's KILL
BABY KILL, SHOCK, LISA AND THE DEVIL, and BLACK SUNDAY: impressive
accomplishments for their time, and even today (particularly KILL and
LISA, two fascinating movies). Sammo Hung's ENCOUNTERS OF THE SPOOKY KIND
for its great mixture of bone-breaking kung fu and Chinese hopping
Most of the films of Dario Argento and David Cronenberg for their
intensely personal visions.
THE COMPANY OF WOLVES, Neil Jordan's and Angela Carter's lushly envisioned
Freudian fairy tale, deserves to be seen. MOTEL HELL is a caustic Grand
Guignol look at the values that comprise America's heartland. THE TEXAS
CHAINSAW MASSACREhas an intiguing representations of family (and for being
so stylistically aggressive).
This is all I can think of at the moment....
"Ah, rum! Darkest of the dark liquors!"
[log in to unmask]
To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L
in the message. Problems? Contact [log in to unmask]