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But when Oskar faces his darkest hour, Eli returns to defend him the only way she can. The new Francis Ford Coppola concoction is a blood-soaked plum pudding of a movie — saccharine, horrific, perhaps a little rummy. The images throughout are layered with voluptuous superimpositions and bizarre match dissolves. The screen ripples with experimental bits of business — just about any three-minute chunk could be dropped into heavy rotation on MTV. The Hunger Something of an anomaly in the filmography of Tony Scott — who reached his creative stride later in his career, with such exemplary thrillers as Enemy of the State , Spy Game , and Deja Vu — The Hunger benefits from its wild stylistic energy the opening montage is a stunner and its ingenious casting, which pairs David Bowie with the great French actress Catherine Deneuve.

Gemma Arterton and Saoirse Ronan play year-old vamps on the lam, though neither looks a day over The criminally curvy Clara Arterton rustles up a living for the two of them as a prostitute and sometime stripper. Her younger sister, the prim, sensitive Eleanor Ronan , is a perennial schoolgirl and accomplished pianist.

Yes, this too is an AIDS movie. When her father, Count Dracula Ceaucescu, dies, Nadja believes herself free to change her life. Both actors, with their blue networks of capillaries substituting for facial hair, grow an even whiter shade of pale once our story moves to Paris and Antonio Banderas and Stephen Rea inject the more robust, grown-up aura of Old World evil. Near Dark Kathryn Bigelow has made bigger movies but none better. Near Dark is a poetic horror film that draws its power from the outlaw mythology of Bonnie and Clyde and Gun Crazy or maybe the Manson Family , and its brooding loneliness from the western landscape — home to the most successfully Americanized of the vampires.

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More: Film and TV. Powered By WordPress. Group Combined Shape. Combined Shape Group 2. Enter search below: Combined Shape. The self-aware humor inherent in the idea of a bloodsucker rampaging through a contemporary city actually works nicely alongside the genuine scares, making Yorga a more influential film it seems. It was followed by a sequel, The Return of Count Yorga A cult of Satanic hippies invades a small town and harasses the residents, only for the local baker to sell them pies infected with rabies -- a plan that backfires when the hippies go on a homicidal rampage.

A precursor of more accomplished movies like The Crazies and later-era works like 28 Days Later , I Drink Your Blood is grindhouse mayhem at its finest -- meaning it's a cheap, rough, gruesome ride that takes itself rather seriously and is more effective for it. The movie's middle-America-vs-the-counterculture subtext is hard to miss, but it's the spearings, mutilations and disembowelments that will keep you watching in horrid fascination. Originally released on one of the classic double bills of all time with I Eat Your Skin.

The Blind Dead -- the rotted, eyeless, reanimated corpses of a cult of Knights Templar who drink human blood -- are among the best movie monsters of the '70s. They're more like mummies than zombies, they're not mindless and their slow, implacable way of pursuing their victims along with their surreal slow-motion horseback riding give them a truly nightmarish quality.

One warning: made as Spain was emerging from a period of brutal censorship, the Blind Dead movies all contain an unhealthy streak of misogyny -- but look past that and you still have an outstanding early horror franchise to enjoy. Sensationalistic title aside, this is one of the best horror movies of its era. Dreamlike and surreal, its terrors taking place in a weird limbo between day and night, the movie follows recently released mental patient Jessic Zohra Lampert as she and her husband move to a small town in order for her to complete her recovery.

An enigmatic stranger Mariclare Costello living in their house and a series of increasingly bizarre incidents begin to chip away at Jessica's already fragile sanity. The plot never does much to explain anything, but director John Hancock is more concerned with mood and atmosphere, of which this little chiller has tons. This little-seen thriller is slow-moving and stately, yet also supremely eerie and thoughtful.

Robert Stephens stars as Cunningham, a scientist in Victorian England who inadvertently captures on film an asphyx -- a spirit that descends upon a person at the moment of their death as recounted in Greek mythology. Cunningham deduces a way to trap the asphyx, reasoning that if it is caught, one can become immortal; but of course one must get as close to death as possible to summon the asphyx in the first place. A unique and character-driven study of obsession and the only film ever directed by Peter Newbrook , The Asphyx benefits from its period atmosphere and oppressive sense of foreboding.

A police inspector the great Donald Pleasance investigates the death of a government official on an London Underground platform and discovers that the perpetrator is the last survivor of a family of cannibals, who themselves are the descendants of railway workers trapped underground a century earlier and never rescued. One of the weirder cult movies on this list and that's saying something , The Baby follows social worker Ann Gentry Anjanette Comer , who is assigned the case of the Wadsworth family. Matriarch Mrs.

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Wadsworth's adult son who acts like and is treated like an infant by everyone. Ann believes Baby could become "normal" with the proper care, but the Wadsworths -- who are as abusive as they are loving -- won't have it. Roman is terrific in an over-the-top, latter-era Joan Crawford way, and the bizarro family dynamics lead to a grisly finale.

The Baby is utterly tacky and kind of icky, but entertaining in its schlocky way. British horror cinema during the s was more than just the fading Hammer and Amicus brands. Case in point was the work of director Pete Walker, who made a string of gritty, exploitative horror outings with some interesting social and anti-authority themes lurking underneath their unpleasant surfaces. His best were perhaps the harrowing women-in-prison thriller House of Whipcord also and this, in which Walker regular Sheila Keith plays a murderer and cannibal who has just been released from an institution and may be relapsing into her old ways.

Keith is outstanding, as is Rupert Davies as her loyal husband, and the movie is a unique, subversive and scary take on family dynamics. The Vietnam War was still raging in the early '70s and it's no surprise that many filmmakers, horror or otherwise, drew on it for inspiration.

Witchcraft 5 : Dance with the Devil

Andy Richard Backus is shot dead in combat and his parents John Marley and Lynn Carlin are dutifully informed; imagine their surprise when he shows up at home late one night. But it's not long before they realize that their boy is not the same -- and may not even be alive in the true sense of the word. Eerie and tragic, with touches of black humor, Deathdream brought the war home in blood and decay. It's Alive is probably one of the better-known movies on this list, especially due to its iconic monster baby created by make-up wizard Rick Baker.

The low budget makes for some especially cheesy moments, but the baby is an inspired creation, as is the movie itself.

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There are a lot of movies on this list that one may like or dislike, but The Devil's Rain is perhaps the sole picture that everyone agrees is just bad. That doesn't make it any less fun to talk about though. What mattered was faith in God and loving God. Twelve years later I came to believe I was mistaken. Or that my approach did not work any longer for me. I left all organized religion in Did your parents encourage your writing as a young girl? Yes, my parents always encouraged my writing. They encouraged creativity on the part of their children in every way.

My mother believed we could accomplish great things when we grew up. She told us stories of the Brontes and how they'd written under male names in order to be accepted by the literati; she filled my head with tales of Dickens and all he achieved in terms of social justice through his novels. My mother totally believed in me, and though she died when I was fourteen, I took her confidence and faith in me to heart and have all of my life.

My father was a writer himself; his many rules and attitudes really did not work for me; but the fact that he was a writer, this inspired me greatly. It was a wonderful home to grow up in, filled with books and talk of the invisible and the intangible. We were as far from American materialism as one could imagine. When my first novel was published, when I received the very first copy, I flew from California to Texas in order to put that book, inscribed with love, in my father's hands.

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Were you at all surprised at the success of Interview With The Vampire? I was surprised. I had hoped and dreamed of great success, but in my heart I thought the book was too weird to be very successful. I was also shocked by some of the out and out dismissal of "a vampire novel," too. It was like a whirlwind, the publication, with a huge paperback advance sale, and a huge motion picture rights purchase; but many snubbed the book and in hardcover, it was not a sales success.

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In paperback it became a bestseller, and after that it became an underground favorite with many. The book lived two lives big commercial attention; and then underground devotion. I know there was an uproar in the casting of Tom Cruise as Lestat I personally think he stole the movie.


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Were you shocked at Tom's portrayal of Lestat? Let's put it this way. I was thrilled with Tom's portrayal of Lestat. I thought he did a magnificent job. As soon as I finished watching the movie on video tape in my home before its release I called the great producer David Geffen at home in California and told him I loved the movie, loved what Tom had achieved, loved all of it.

All my early fears were meaningless in light of Tom's passionate portrayal. Even now some 20 years from that time, when Lestat makes headlines, stills from that movie with Tom Cruise and Brad Pitt are blazed across the page or the computer screen. The movie has never stopped being popular. Every day new people see that film and review it on Amazon with exuberant praise. Or would that be just fun for you? I wouldn't know how. I am a highly instinctive and spontaneous writer, and all I know how to do is access my deepest obsessions and let the words flow, no matter how strange or erotic or bizarre the result may be.

I can't force myself to write something in which I don't fully believe. I just can't do it. Do you and Steven King get along? I don't know Stephen King at all. I've never met him or spoken to him. I wrote him a long fan letter once but never received a reply. Whenever I'm asked about his work, I praise him to the skies, and I love many of his novels. In the early years of his career, I think King was underrated. Later on he began to be recognized, to receive awards and to write now and then for the New York Times. I've enjoyed seeing all this. But Stephen King, to the best of my knowledge, has never commented on me or my work.