Grushenka’s 5 Favourite Horror Movies So Far

Here is a list of the five favourite horror movies reviewed by this site so far.

Daybreakers

The movie is packed with outstanding performances. Sam Neill’s portrayal of a pharmaceutical tycoon and undead robber baron Charles Bromley is pitch perfect. Willem Dafoe’s Elvis is charming. Ethan Hawke’s 1,000-mile stare will break your heart. Plus there are enough heart-stopping sudden starts, gore and viscera to leave the most jaded horror fan gasping breathlessly for more.

Nightmare Castle

Beautiful, feckless lady of the manor and the virile gardener – very Lady Chatterley’s Lover. But instead of the wheelchair-bound cuckold, substitute a vengeful, torture-happy scientist as the husband and you’ve got the general idea of how Nightmare Castle begins.  The rest is pure gothic horror, full of flickering candles, pale beautiful women in long gowns, dark murder plots and vengeful ghosts in black and white.

The Book of Eli

Fallout 3 is a life-altering experience. I was straight-up, flat-out addicted until I beat the game. In fact, I’m pretty sure my house was significantly cleaner before I met Fallout 3. That’s why when I saw the trailers for The Book of Eli was entirely too excited to see this post-apocalyptic Western starring Denzel Washington and Gary Oldman. Even the trailers for The Book of Eli seemed an absolutely stunning reproduction of Fallout 3.

Crash

I’ve always thought of Crash (1996) as director David Cronenberg’s creepy-sexy love poem to Toronto.
There’s something so still, cold and perfect about the performances of Spader, Hunter, Unger, Koteas in Crash. Koteas is like watching a predator, circling and focused. Unger and Spader are languid, almost dreamy. Hunter is almost robotic. The look of this film was Toronto. Steel, cool, concrete, clean, dark, inaccessible. Polarizing, off-putting and somehow eerily beautiful, Crash is one of Canada’s most important films of all time.

Hatchet For The Honeymoon

Strictly in the service of accuracy, the slashing implement in question in this 1970 Spanish-Italian psychological thriller isn’t a hatchet, it is a great, gleaming butcher’s cleaver. As well, there’s absolutely no mystery surrounding the person who wields the cleaver, like the popular Showtime series Dexter, we follow the hunter rather than the hunted.