Polanski's FEARLESS VAMPIRE KILLERS for a great scene of a victim trying in
vain to use a cross to ward off a Jewish vampire.
John Landis' INNOCENT BLOOD for the way it combines vampire and mafia
genres/icons, when the vampire tries to seduce the mafioso and he orders
pasta take out with garlic sauce.
Joseph Rubin's THE STEPFATHER for its savvy critique of American patriarchy.
Of all the Cronenbergs, I'd have to pick VIDEODROME as the most disturbing.
Abel Ferrara's MS. .45 for pure weirdness.
The second half of Peter Medak's THE RULING CLASS, after Jack is cured of
thinking he's Jesus and decides he's Jack the Ripper instead.
Of the Nightmare on Elm Street series, I liked FREDDY'S DEAD, THE FINAL
NIGHTMARE the best.
And of cheapie horrors with no rep that I ever heard of, I particularly
enjoyed ONE MILLION YEARS TO EARTH, and SATAN'S TRIANGLE.
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