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How much fun could a movie about a group of mostly dopey criminals being trapped in a mansion with a rampaging child vampire with a penchant for ballet be exactly? Well, tons of fun, obviously. Even if done poorly, I’d venture this particular set-up is fool proof entertainment but happily in this case it is executed by folks with true love and knowledge of the genre ( Matt Bettinelli-Olpin and Tyler Gillett, the talents behind READY OR NOT and the last two SCREAM flicks) and showcases an absolute dream team cast playing characters so contrasting and sharply carved you can almost imagine them on CLUE game cards. MATILDA: THE MUSICAL’s Alisha Weir is instantly iconic as the title character, a supernatural whirling dervish that is part Rhoda from THE BAD SEED, part Pris from BLADE RUNNER and part Carol Kane in SCROOGED sans toaster. With her sly precociousness she effortlessly joins the ranks of other classic “child” vamps that floated before her (Danny Glick of SALEM’S LOT, Homer of NEAR DARK, Claudia of AN INTERVIEW WITH A VAMPIRE, et al.). She’s one of the many reasons this movie is a bloody, demonic party and a half (one scene even strongly references NIGHT OF THE DEMONS) but all involved deserve kudos (and I don't mean the discontinued granola bar).

ABIGAIL introduces us to a group of rag-tag crooks whose get rich quick scheme involves kidnapping a rich kingpin’s kid, taking her to an isolated mansion (I just love a limited location film, what better way to fully block out the outside world than to literally erase it from visual existence?) and collecting some ransom money for her safe return. What could go wrong and how could all involved possibly know Universal pictures was looking to update DRACULA’S DAUGHTER? Things go South mighty quick and soon the rat pack code-named group including level headed ex-junkie Joey (SCREAM 4 & 5’s Melissa Barrera ), conniving short fuse ex-cop Frank (THE GUEST’s Dan Stevens fresh off GODZILLA X KONG and nearly unrecognizable), wacky hacker Sammy (FREAKY’s Kathryn Newton), no nonsense marine sniper Rickles (William Catlet), sweet natured bumbling muscle head Peter (Kevin Durand) and dim-witted psycho thug Dean (the late Angus Cloud in a spot-on performance that makes you reel at the incalculable loss) are fighting for their lives against a fanged pirouetting pipsqueak with daddy issues who is immune to crucifixes, stakes and garlic (like myself, her only true kryptonite is sunlight).

ABAGAIL (much like last year’s LAST VOYAGE OF THE DEMETER) proves there’s plenty of blood left to be sucked from the archetypal vampire tale and although it’s literally explosive at times in its implementation, it works equally well as as a cozy parlor, old dark house flick complete with hidden passages and nods to “And Then There Were None”. Much of the territory may feel familiar but there’s a subterranean wild streak that keeps you on edge right up to its final enthralling surprise. As always, a good film is greatly indebted to its cast and truly, there isn’t a weak link to be found in this crew. Darkly twisted, laugh out loud hilarious, terrifically brutal and ultimately strangely endearing , ABIGAIL is a movie and a character for the ages with an unabashed appetite for horror we can all relate to.

Cameron and Colin Cairnes’ retro horror jaunt LATE NIGHT WITH THE DEVIL has an irresistible cult-baiting premise. The year is 1977, Satanic panic is brewing and late night talk show host Jack Delroy (David Dastmalchian, who with recent appearances in THE BOOGEYMAN & THE LAST VOYAGE OF THE DEMETER is carving out some impressive genre star cred) is desperate for ratings (presumably to one up contemporaries like Johnny Carson). Unfortunate domino tiles begin to line up involving an impromptu conjuring of a certain “Mr.Wiggles” a demonic force that speaks through a pretty yet creepy young girl named Lily (Ingrid Torelli) who is the subject of a recent book (that recalls the infamous “Michelle Remembers”) on none other than Halloween night (Speaking of Halloween night, fans of BBC’s GHOSTWATCH (’92) should have a general idea of what’s in store). There’s little room for disbelief as Lily begins to spout information she herself could not possibly know as her chair alarmingly levitates. Eventually chaos reigns and audience members flee as hallucination and reality converge while the fully possessed Lily dispatches anyone who gets in the way of her exposing a massive skeleton in the not so innocent Delroy’s Faustian bargain lined closet.

LATE NIGHT is consistently entertaining thanks to it’s central performances (Dastmalchian is fantastic and Torelli’s arrival enlivens the proceedings even further) and the delicious anticipation of witnessing doubting Thomas “Carmichael the Conjurer” (Ian Bliss) proved wrong in his cynical skepticism. It’s not all smooth sailing though as the part faux-documentary (with Michael Ironside as narrator), part found footage, part backstage pass, part dream/delusion with a side of delirium, struggles tonally due to an indecisive foundation. Unlike the aforementioned GHOSTWATCH, LATE NIGHT doesn’t have much of a desire to fully commit to convincing the viewer of its own reality which gives it ample creative space to play around in but also dilutes the scares. It’s almost as if LATE NIGHT, by constantly pointing out different levels of artifice, shoots off its own foot in the process. There’s no real danger in a cardboard cut-out world. Still, no reason to throw out the possessed baby with the holy bathwater. This film’s glib, gimmicky nature may prevent it from getting truly under one’s skin but that doesn’t stop it from being a enjoyable send-up and a future shoo-in low commitment annual Halloween watch.

I will forever be grateful to my late father for taking me and my brothers to see the raging pile of cinematic pandemonium known as HUMANOIDS FROM THE DEEP (1980). Rarely has a film delivered such a schizo-mix of goofy guilelessness and pure exploitation. How can anyone resist a film brave enough to expose the epic confrontation between giant mutant fish men and the unflappable Troy McClure? Extra points scored when said flick features creature designs provided by none other than the brilliant Rob Bottin! This Roger Corman produced slime riot is cartoon-level silly for much of it’s runtime but I have to admit there are a few stalking scenes that still deliver authentic creeps and its final trashy jolt is an eye-popping ALIEN-inspired humdinger that may leave you reeling.

How in the world can anyone question the power and validity of made for TV movies when GARGOYLES (1972) is flying around? From it’s eerie opening narration to it’s unnerving aerial shots to its multitude of gorgeously created monster effects (Stan Winston’s work here rightfully earned an Emmy), this is a one of a kind monster mash that every horror fan should track down.

NECRONOMICON: BOOK OF THE DEAD (’93) is a squishy special effects heavy anthology loosely based on the work of H.P Lovecraft (who is portrayed by horror icon Jeffrey Combs in a wrap around segment). The Philadelphia-set third story “Whispers” is of special interest here as it was directed by the great Brian Yuzna and features absolutely freaky flying subterranean stingray-type creatures that are the stuff of nightmares (and could almost be related to my buddies THE BOOGENS (’81) or even THEY (2002). I’m a fan of the whole film but this third tale is disturbingly surreal and sports one hell of a sadistic mind-screw mean streak.

If you want to scare away potential friends just tell them you’re a fan of 2011’s prequel/re-quel THE THING and watch the light slowly evaporate from their eyes. Sure, I know the movie makes the mistake of slathering on unnecessary CGI and botches its climax (blame studio execs and rando test audiences) but it’s not nearly as faulty as its reputation suggests. There’s a great attention to detail that could only result from sincere reverence to John Carpenter’s classic, the cast is solid, the paranoia is substantial and more than a few of the hideous monstrosities it showcases are actually pretty impressive. It can’t compete with its predecessor for sure but it makes a fine optional companion piece and well, I just can’t resist its icy score and on-point arctic setting. One scene in particular always stands out to me involving Mary Elizabeth Winstead’s character observing stars in the night sky. It’s a pure moment of contemplation of the endless unfathomable nature of the universe and no effects are needed.

The ever clever Larry Cohen’s darkly funny flying monster movie Q: THE WINGED SERPENT (1982) features awesome aerial views of Manhattan and a gleefully retro stop motion animated beastie but the greatest ace it holds is the quirky acting stylings of one Michael Moriarty. I don’t know how he does it but Moriarty with his unpredictable eccentric mannerisms is somehow able to upstage a winged prehistoric Aztec God who sleeps in the Chrysler building and has a name I’m not even going to try to spell; it’s truly a remarkable thing. Cohen clearly felt the same way as he would continue to fan the flames of Moriarty’s idiosyncratic talents in several more collaborations. Over the course of his career, Cohen has delivered a surplus of cinematic gold to genre fans and this strange, eighties time capsule oddity, in my opinion, may be his grandest, most entertaining creation.

Anguish (1987)

Very hard to describe but this is one hell of a film and definitely shouldn't be missed. A film-within-a-film thriller about a group of people who are terrorized in a movie theater by a killer while watching a horror film about a murderous optometrist looking for eyeballs who stalks his victims in a movie theater. It's very intense and highly original, do yourself a favor and see it.

The Rosary Murders (1987)

Here is a film not to be missed. Detroit is plagued by a series of murders (what? I don't believe you) of priests and nuns, with each victim found holding a black rosary. The police cannot catch the serial killer and the Church can't protect its flock. When Father Robert Koesler (Donald Sutherland) hears a confession from the murderer, he isn't sure what to do (it's a toughie).  Can he respect the Seal of Confession even if it means putting more lives, perhaps even his own, in jeopardy? 

All American Murder (1991)

For all the giallo/whodunit fans out there, here is a film you should check out. An outcast with a past on the outs with his father and society in general gets transferred to a new college and falls in love with his dream girl; everything is looking to be on the upswing until she winds up getting torched and he takes the blame for it. Not wanting to fry himself -and with a little help from Christopher Walken- he sets out to clear his name, but it seems bodies keep piling up around him as the seamy underbelly of this seemingly perfect town and its inhabitants are exposed and the noose around his neck tightens. It's got funny, witty dialogue from likeable characters (as well as likeably hateable characters) and the atmosphere is taut but fun.

The Psycho Lover (1970)

A psychiatrist uses his position of influence and trust to induce a psychotic patient the police suspect of being a murdering rapist to off his wife. Things get fouled up when the wife finds out about his plan, cold bloodedly turns the tables and leaves his world shattered. Leaving aside a few gratingly crappy late 60's/early 70's pseudo folk songs and some campy scenes here and there, this is better than average for this type of film. All things considered it is entertaining throughout, with a definite sense of atmosphere, style and suspense.

Buried Alive (1989) and (1990)

The first of these films follows a young woman teaching at a spooky old girls’ school overrun by ants and staffed by some unusual types including Donald Pleasence. Spurred on by a series of horrific hallucinations, she begins to investigate the mysterious disappearances of several students. The second, A married woman and her lover plot to kill her husband to make off with the insurance money. However, their attempt to murder him using poisonous fish toxins backfires in surprising ways.

The Ghost Ship (1943)

An incredible film about a psycho sea captain which I can't recommend enough. This is a film way ahead of its time, containing all the elements of films made forty and fifty years later and it is made all the more striking in that it was practically a lost film for that entire time. I can only thank God that it was finally made available again.

Wise Blood (1979)

I think people forget Brad Dourif is a really good actor or that he had a career outside of Chucky. This film while perhaps not a conventional thriller or even a conventional film for that matter is as an extremely disturbing look at a deranged American mind as has ever been made.

Cry Terror! (1958)

Rod Steiger makes his first well deserved appearance on this list in this film. Now quite simply, Rod Steiger is one of the greatest bad guys in the history of cinema, here he plays an utterly ruthless mad bomber holding a family hostage and seeking to extort money in exchange for not blowing up airlines. It is pretty rough, especially considering the time it was made and if like me, you're a "low brow audience member that relies on cliches and cheap thrills because you don't like to use your head" as Bosley Crowther put it, you will love it. 

No Way to Treat a Lady (1968)

There are two reasons to see this and they are Rod Steiger and his accents/characters he plays. The story concerns an almost Woody Allen-esque nebbish jew New York City cop played by George Segal on the trail of an elusive thespian serial killer with a mommy complex playing a cat and mouse game with him. The film around him is fairly bland, but when Rod Steiger shows up and once again proves he was one of the greatest bad guys in the history of film, it is simply unforgettable as he slips in and out of various characters and displays moments of absolute unhinged apoplexy.

Experiment in Terror (1962)

Blake Edwards crafted one of the greatest and most unsettling thrillers ever made, bar none. In San Francisco, a sadistic asthmatic killer sets his sights on a woman played by Lee Remick with plans to terrorize her into robbing the bank she works at by threatening her and her younger sister. While it too is an excellent film, let us also not forget that knowingly or not, Don Siegel ripped this film off in several respects for Dirty Harry (1971).

Three crime films with some pretty horrific tones to them: The Black Panther (1977) The Candy Snatchers (1973) and Man on a Swing (1974). The Black Panther is one of the great unsung British crime films and chronicles the real-life robbery, kidnapping and murder spree of Donald Neilson, who most notably kidnapped, entombed and subsequently killed Lesley Whittle in a drainage shaft while trying to collect a ransom. The film does a great job showing how unhinged this guy is; The Phantom Killer from The Town that Dreaded Sundown immediately comes to mind looking at this guy's get up. It also really imparts on the viewer the terror of being in the clutches of a madman.

The Candy Snatchers has a similar plot in which three criminals kidnap and bury a young girl alive in a bid for ransom from her family, unfortunately, her step father uses this as an opportunity to collect a multimillion-dollar inheritance. The film has several twists and turns like that and creates a tense and bleak atmosphere in which you hope for a sunny resolution but at the end of which you are simply left saying "Damn…". Man on a Swing follows a cop (Cliff Robertson) investigating a murder and becoming involved with a creepy, malevolent little clairvoyant, played by Joel Grey, whom he begins to suspect may be more involved in one way or another than at first he thought. 

Three films about houses of psychotic women: The Corruption of Chris Miller (1973), Symptoms (1974) and Singapore Sling (1990). In The Corruption of Chris Miller, when he takes up residence in the isolated country home of two reclusive, repressed misandrist women, a man who is wrongly thought to be a particularly vicious serial killer, suffers for it.  Jose Ramon Larraz is one of my favorite horror directors and with Symptoms he created a truly great and atmospheric film about madness which imparts a rain-soaked sense of dread. Singapore Sling is a bizarre mashup of noir, horror and art film which tells the story of a detective searching for his missing lover and who winds up in the clutches of her murderers, a profoundly insane and incestuous mother-daughter pair who hold him hostage and incorporate him into their sex activities. 

Three films about female revenge: Lipstick (1976), Remember My Name (1978) and Tattoo (1981). Lipstick is a rape-revenge film starring Chris Sarandon and the Hemingway sisters, Margaux and Mariel. A slimy rapist is acquitted after attacking a model and sets his sites on her younger sister for which she removes him from the earth. Remember My Name is a stunning film starring Geraldine Chaplin and Anthony Perkins about a murderess being released from jail and tracking down her former husband and ruining his newfound marital bliss in a bid to win him back. Tattoo tells the story of a model (Maud Adams) being kidnapped, held hostage and inked by a deranged tattoo artist (Bruce Dern) who seeks to realize his masterpiece on a living canvas.