Gore Hounds - a one act horror play

Synopsis: Three drug-fueled horror junkies, Turk, Hud and Alex, get their hands on an Gore Hounds - a one act horror play and millions of other books are.
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Learn more about Amazon Giveaway. Set up a giveaway. There's a problem loading this menu right now. Get fast, free shipping with Amazon Prime. Your recently viewed items and featured recommendations. View or edit your browsing history. The Spanish film follows a news crew as they sneak inside a quarantined building experiencing the breakout of what appears to be a zombie plague. The fast-moving infected resemble those of 28 Days Later , later revealed to be demonically possessed in a way that moves through bites, ably blending traditional zombie lore and religious mysticism.

REC is a capable, professional-feeling film for its low budget, and there are some excellently choreographed scenes of zombie mayhem that feel all the more claustrophobic for being filmed in a limited, first-person viewpoint. Portrait of a Serial Killer , Director: That probably sounds like hyperbole, but Henry really is an ugly film—you feel dirty just watching it, from the filth-crusted urban streets to the supremely unlikeable characters who prey on local prostitutes.

Opera , Director: Giallo is not the kind of genre in which directors end up receiving a lot of critical aplomb—with the occasional exception of Dario Argento. He is to the bloody, Italian precursor to slasher films as, say, someone like Clive Barker is to more westernized horrors: Anyone who gets in the way of her career has a funny way of ending up dead, and her constant nightmares hint at a long-buried connection to the killer. If you love a good whodunnit, and especially if you have an interest in cinematography, Opera is a primer in horror craftsmanship.

The Fog , Director: Regardless, The Fog is a superior film from a production standpoint, reuniting Carpenter with Jamie Lee Curtis, albeit in a less important role. It concerns a Californian coastal town that is celebrating its th anniversary when dark secrets from the s begin to emerge. Anyone who knows Carpenter would be able to pick out his unique style immediately. Son of Frankenstein , Director: Deciding which of the classic Universal Monster movies should be featured on this list proved an incredibly difficult proposition. Well, despite what you may have heard, Frankenstein may very well be the third best film of its own series, surpassed not only by the well-recognized Bride of Frankenstein but also by the much less appreciated Son of Frankenstein as well.

Director James Whale and original Dr. With cavernous, opulent sets in Frankenstein manor, Son of Frankenstein is a lush, prestigious-feeling production that boasts masterful performances from Rathbone, the one-armed inspector parodied in Young Frankenstein played by Lionel Atwill and especially from Lugosi, who is at his absolute best in a role that is far more nuanced than that of Dracula. With its gorgeous, gothic visuals and expanded run-time, Son of Frankenstein is the secret crown jewel of the entire Universal Monster series.

Zombi 2 , Director: Scene of someone having an eye poked out?

Production History

In a small New England coastal town, a rash of murders breaks out among those visiting. Unknown to the town sheriff James Farentino , those bodies never quite make it to their graves—though people who look just like the murdered visitors are walking the streets as permanent residents. The zombies here are different from most similar movies in the genre in their autonomy and ability to pass for human, although they do answer to a certain leader…but who is it?

More people should seek out this weird little film. It Follows , Director: The music, the muted but strangely sumptuous color palette, the incessant anachronism: Forget the risks of teenage sex, It Follows is a penetrating metaphor for growing up. Near Dark , Director: In fact, these vampires project more of a tragic streak than anything: The Beyond , Director: When it opens, all Hell—of course—starts to break loose in the building, in a film that combines a haunted house aesthetic with demonic possession, the living dead and ghostly apparitions.

Cat People , Director: The story of a young Russian immigrant Simone Simon with a dark family past, Cat People combines aspects of film noir and mystery movies with Hitchcockian suspense, while pioneering several staple tropes of horror cinema that have been used hundreds, if not thousands of times since. The scene with a young woman walking home on a dark night, stalked by an unseen presence, builds to an unexpected conclusion that must have made audiences in come jumping out of their seats. Horror of Dracula , Director: Horror of Dracula is simply a gorgeous movie, with lush, gothic settings—crypts, foggy graveyards and stately manors—photographed with the Golden Age charm of Technicolor.

It has the best version of Van Helsing ever put to film the aquiline, gaunt-looking Peter Cushing , some of the best sets and an omnipresent feeling of refinement and grandeur. Dracula, as played by Lee, is a creature of dualities—preferring to use very few words and simply influence through his magnetic presence, but also just moments away from leaping into action with ferocious animality. The first, however, is unquestionably the best—so effective that it typecast Christopher Lee as a horror icon for decades, exactly as Dracula did to Bela Lugosi.

The Omen , Director: It has a palpable sense of malice to it, largely because of the juxtaposition of restraint and moments of extremity. The film is brooding, sullen, broken up by staccato moments of shocking violence. Ginger Snaps , Director: Ginger Snaps is a high school werewolf story, but before you go making any Twilight comparisons, let me state for the record: Where Twilight is maudlin, Ginger Snaps is vicious.

A pair of death-obsessed, outsider sisters, Ginger and Brigitte, are faced with issues of maturation and sexual awakening when Ginger Katharine Isabelle is bitten by a werewolf. As she begins to become bolder and more animalistic in her desires, the second, meeker sister Emily Perkins searches for a way to reverse the damages before Ginger carves a path of destruction through their community.

It also made a genre star of Isabelle, who has since appeared in several sequels and above average horror flicks such as American Mary. Even if the condition of lycanthropism is an obvious parallel to the struggles of adolescence and puberty, Ginger Snaps is the one film that has taken that rich vein of source material and imbued it with the same kind of punk spirit as Heathers. Misery , Director: James Caan plays Paul Sheldon, author of a popular series of Regency bodice-rippers featuring a protagonist named Misery Chastain.

And by rescued I mean abducted. The stories and characters intertwine on the same small town throughout Halloween night, intersecting in ways both classical the ghosts of a long ago tragedy return and modern a coven of female werewolves, out on the town. Sly comedy and great performances from an array of familiar faces Brian Cox, Dylan Baker, Anna Paquin power each of the segments, and none of them overstay their welcome. We Need To Talk About Kevin concerns the experience of a mother struggling with the aftermath of a school massacre carried out by her son.

In its narrative construction, it draws upon two key tropes: Onibaba , Director: Characters do wrong and have their wrongs visited upon them by the powers that be. In this case, Shindo. Starry Eyes , Director: Starry Eyes might be the most difficult film on this entire list to watch. Not necessarily because it will frighten you, although it will. But the film is so much more destructive and subversive than that. Her ambition turns her into a monster because she has nothing else: Her life is so devoid of meaning that doing the unthinkable has no downside.

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No one is going to describe Starry Eyes as light viewing, and no one is going to laugh at the deaths. Martyrs , Director: And among that post- Tension crop of movies, you can take your pick as to which is the grossest, the most distasteful, the most agonizing to watch: Frontier s , for instance, or maybe Inside. Movies like it, movies that sear their images on our brains forevermore after watching them, are rare in cinema, and in most cases that sear is gratifying.

Put it this way: Ramsay Bolton would watch it in the spirit of comedy and amusement. Black Sabbath , Director: Indeed, the band in question famously took their name from this celebrated anthology film, which spins three tales of Mario Bava-directed horror. To say any more would be to spoil this fascinating and subversive take on the vampire story, an absolute essential totem of the horror genre. Scream , Director: The Fly , , Directors: Kurt Neumann and David Cronenberg Vincent Price is as entertaining as the fly-crossed scientist as you would no doubt expect him to be.

Along with The Thing , the film is one of the last great hurrahs of the practical effects-driven horror era, featuring some of the more disgusting makeup and gore effects of all time. The Orphanage , Director: It seems safe to say that director J. The scene featuring a reprise of the knock-knock game once played by the orphans is almost unbearably tense. Eyes Without a Face , Director: What an idiot I was: Hers is a performance that stems right from the soul. The Descent , Director: But ah, how The Descent transcends its one-sentence synopsis. Not content to simply paint one of the two as flawed and the other as resourceful and ultimately vindicated, he uses a series of misunderstandings to illustrate human failing on a much more profound and universal level.

Ultimately, The Descent is as moving a character study as it is terrifying subterranean creature feature, with one hell of an ending to boot. Halloween , Director: But what it does give us is the first full distillation of the American slasher film, and a heaping helping of atmosphere. Utterly indispensable to the whole thing is the great Donald Pleasance as Dr. Videodrome , Director: Videodrome wears many skins: In Videodrome , maybe more saliently than in any of his other films, Cronenberg squeezes the ordeals of the slumbering mind like toothpaste from the tube into the disgusting light of day, unable to push them back in.

RMHS One Act Play "The Scary Question" 2014

Long live the new flesh—because the old can no longer hold us together. After a married couple Julie Christie and a typically unhinged Donald Sutherland loses their sole daughter to a drowning accident, they travel abroad while trying unsuccessfully to cope with the loss, until the wife is contacted by a psychic who claims to be able to speak with their deceased daughter.

Repulsion , Director: We spend much of the film with a single woman, Carole Catherine Deneuve , cloistered in a cracking, crumbling apartment that represents the slow erosion of her sanity. But at the same time, the dream sequences and hallucination scenes are the stuff of nightmares, a sort of evolution of the expressionist horror of The Cabinet of Dr. Caligari and others that deftly use both imagery and especially sound design to slowly ratchet up the intensity. Carrie , Director: Rarely has abject terror and helplessness been so perfectly captured as it is here, Spacek desperately, pathetically clinging to her classmates in terror of her first menstruation, only to be derided and pelted with tampons as she lays in a screaming heap.

Carrie is a brisk film which thrives on those two strong, central performances, building to the gloriously cathartic orgy of revenge we all know is coming. Soles get bumped off yet again. When a family member dies and the long-held tradition is threatened, allegiances come into question, familial ties crumble and the younger generation faces an extremely difficult decision in potentially breaking away from the customs that have bound the family together for many generations.

In particular, the conclusion and final minutes of We Are What We Are is shocking in both its brutality and emotional impact, an intimate case study of family dysfunction driven by the changing times and the impracticality of archaic traditions that sustain us. The Rise of Leslie Vernon , Director: In the years following Scream , there was no shortage of films attempting similar deconstructions of the horror genre, but few deserve to be mentioned in the same breath as the criminally underseen Behind the Mask.

How does the killer train? How does he pick his victims? How can he seemingly be in two places at once? And, despite a lack of star power, Behind the Mask boasts tons of cameos from horror luminaries: Every, and I mean every, horror fan needs to see Behind the Mask. Evil Dead 2 , Director: On the surface, Evil Dead 2 is essentially a remake of the first Evil Dead: It wastes no time, going straight into its comic violence within the first 10 minutes and never letting up.

The Babadook , Director: But The Babadook is so layered, so complex and just so goddamned dramatic that categorizing it outright feels reductive to the point of insult. You will also come away enriched and provoked. Australian actress-turned-filmmaker Kent has made a movie about childhood, about adulthood and about the nagging fears that hound us from one period to the next.

Demons , Director: Demons , his best work, catches several different genres at an interesting crossroads. The plot involves a movie theater besieged by demons during a horror movie screening, in a structure that mimics Night of the Living Dead. The Witch , Director: From its first moments, The Witch strands us in a hostile land. We watch, and writer-director Robert Eggers holds our gaze while a score of strings and assorted prickly detritus. The wagon lurches ever-on into the wilderness, piling the frontier of this New World upon the literal frontier of an unexplored forest.

All of this Eggers frames with a subconscious knack for creating tension within each shot, rarely relying on jump scares or gore, instead mounting suspense through one masterful edit after another. The effect, then, is that of a building fever dream in which primeval forces—lust, defiance, hunger, greed—simmer at the edges of experience, avoided but never quite conquered.

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Night of the Living Dead , Director: What more can be said of Night of the Living Dead? More importantly, it established all of the genre rules: Zombies are reanimated corpses; zombies are compelled to eat the flesh of the living; zombies are unthinking, tireless and impervious to injury; the only way to kill a zombie is to destroy the brain.

The film still holds up well, especially in its moody cinematography and stark, black-and-white images of zombie arms reaching through the windows of a rural farmhouse. Oh, and by the way: The Cabinet of Dr. Caligari , Director: Still, in the same vein as Nosferatu , its fantastical visual palette is instantly iconic: Buildings cant in impossible angles and light plays strange tricks—are those shadows real, or painted directly onto the set? The story revolves around a mad hypnotist Werner Krauss who uses a troubled sleepwalker Conrad Veidt as his personal assassin, forcing him to exterminate his enemies at night.

Black Sunday , Director: After years spent toiling as a cinematographer and at times uncredited co-director on an assortment of moderate to low-budget horror and sword-and-sandals productions, Mario Bava broke out in a big way with Black Sunday. Loosely and I mean loosely based on a short story by Nikolai Gogol, the film centers on the resurrection of a 17th century vampire-witch Barbara Steele and her paramour Arturo Dominici as they seek revenge on the descendants of the brother who executed her.

Designed as a throwback to the Universal Monster movies of the s, Black Sunday drew significant controversy for several gruesome sequences including, but not limited to, the implementation of a spiked death mask and a moment where a cross is stabbed through an eye.

Though time has since lessened the impact of the gorier scenes, the movie still packs a huge punch with its nightmarish atmosphere, which is further accentuated by its vivid black-and-white photography and striking production design. The Sixth Sense , Director: Critical examination aside, it truly is a frightening film, from the scene where Cole is locked in a box with an abusive ghost to the little moments I always found the scene where all the kitchen cabinets and drawers open at once while off-screen to be particularly effective.

For better or worse, though, this is the defining film of M. Rarely has the danger of success been so clearly illustrated for an artist—Shyamalan crafted a scary film that still holds up today, and then spent most of the next decade chasing that same accomplishment with rapidly diminishing returns that have only recently been rehabilitated with the likes of Split.

Santi, the young ghost haunting this Spanish orphanage, is a mystery, a cipher whose desires are alien to us, brackish as the ghostly water consistently weeping from his wounds. It remains his purest horror film. A Nightmare on Elm Street , Director: No doubt this is a factor of being the last to come along, as Wes Craven had a chance to watch and be influenced by the brooding Carpenter and the far more shameless and tawdry Cunningham in several F13 sequels. The Wicker Man , Director: The original Wicker Man , a British film released in , was a unique new horror tale with haunting cinematography and a deeply creepy soundtrack.

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The film explored gender politics and sexuality in a way that only s horror flicks really could, combining eroticism with violence to titillate and horrify viewers. Woodward manages to portray a virginal, overly righteous character in a way that is both sympathetic and thought-provoking. And it all builds to a conclusion that has to be regarded as among the most shocking of its era. The Changeling , Director: Dubbed one of the scariest movies of all time by Martin Scorsese , The Changeling deals the terror out in spades, with Medak playing up the tightening fear of the unknown with the precision of a horror maestro.

What begins as another haunted house story ends as a commentary on the history of America: Suspiria , Director: Only her rattling, pained breathing marks her physical presence, but her insidious influence is everywhere, in every frame, drowning the world around her. Argento would go on to film sharper mysteries, and burrow further into self-reflexive madness, but Suspiria endures as his purest, most singular aesthetic statement. Invasion of the Body Snatchers , Director: Oddly acting extras populate the backgrounds of tracking shots and garbage trucks filled with weird dust fluff which we eventually learn spreads the spores exist at the fringes of the screen.

As our protagonists slowly discover that the world they know is no longer anything they understand, so does such simmering anxiety fill and then usurp the film. Kaufman piles on more and more revolting, unnerving imagery until he offers up a final shot so bleak that he might as well be punctuating his film, and his vision of modern life, with a final, inevitable plunge into the mouth of Hell.

The Haunting , Director: Director Robert Wise purportedly hoped to experience paranormal phenomena during the filming of this adaptation of a Shirley Jackson novel, and disappointingly never did. Nonetheless he left viewers with a fairly chilling and highly stylish imagined experience. Wise, along with cinematographer Davis Boulton, uses wide-angle lenses and infrared photography, as well as incredibly creepy sets, to create a sense of unreality and distortion; unexpected angles serve to keep us off-kilter. In turn, The Haunting is a gooseflesh-inducing study in detachment from reality and a masterful deployment of ambiguity.

Peeping Tom , Director: The tripod has a knife on it. Basically, Peeping Tom is precisely as silly or as serious as you care to read it, though as absurd as the premise sounds on the page, the film is anything but on the screen. In fact, it was considered quite controversial for a time, and depending on who you ask it may still be.

Get Out , Director: Day of the Dead , Director: It comes along at a sort of sweet spot for the director—bigger budget, more ambitious ideas and Tom Savini at the zenith of his powers as a practical effects artist. She is , is the absurd truth: Re-Animator , Director: Ironically, the most entertaining take on H.

Jeffrey Combs as West is brilliant, establishing himself as the Anthony Perkins of his generation, a hilariously insolent and reckless genius whom he played in two Re-Animator sequels. The actor even played Lovecraft in the anthology film Necronomicon. Nosferatu , Director: Delivering one of the most memorable turns in cinema history, actor Max Schreck, with his grotesque makeup job and reptilian body movements, thoroughly embodies one of the most nightmarish images ever to grace the screen.

Moreover, when film was still considered little more than a gimmick, it was productions like Nosferatu that would help elevate the rough new medium to the status of a genuine art form. Nosferatu , in many ways, represents the beauty of cinema in its purest form. Poltergeist , Director: The Extraterrestrial and could arguably be seen as the dark side of a dyad about alienation in suburbia. Nonetheless, it retains the Spielberg Feel Good Stamp even as a horror film.

The pet canary dies. There are bizarre weather events. Nelson consults parapsychologist Dr. Hellraiser , Director: