With Halloween upon us, there is no shortage of spooky films and television shows worth streaming this weekend across all the different platforms we highlight. Netflix obviously has a massive catalog ready to stream, from classics like Rosemary’s Baby to Rodney Ascher’s horror doc The Nightmare and everything in between. If you are in a specific mood, Netflix even allows you to sort by horror subgenre. All about zombies? How about Day of the Dead or Dead Snow? More into old school creature features? Then check out The Host or Grabbers. Into horror, but want to laugh a little? Horror comedies like Tucker & Dale vs. Evil, Vampire in Brooklyn, John Dies at the End and more are right at your fingertips. Over at Fandor, you can check out their Spotlight “Fear from Afar,” which highlights many great horror classics from around the world, including films from Werner Herzog, Mario Bava, Dario Argento, Lucio Fulchi, Alejandro Jodorowsky, Jess Franco, and many more. Recent additions to MUBI include Night of the Living Dead, A Bay of Blood, Black Sabbath and Creature from the Black Lagoon. And if all that isn’t enough for you, there are even more streaming platforms that only deal in the spooky and macabre, like Screambox, Shudder and Full Moon Streaming. But for the best selections new to streaming this week (horror and non-horror alike), check out the titles below.

Netflix

Tu Dors Nicole (Stéphane Lafleur, 2014)

One of the best indies of the year so far, Tu Dors Nicole is an entertaining entry into the hipster coming-of-age indie subgenre. The film resists any grand proclamations during it’s sleepy Canadian summer following Nicole’s rather unsuccessful quest for love and fun. It lifts itself up from familiar territory with a number of bizarre, almost surreal, moments—including a disarmingly funny supporting character in 10-year old admirer of Nicole. Though you may not have come across this small film, it’s been on our radar for quite a while as one of our 20 best undistributed films of 2014. We first saw Tu Dors Nicole during our coverage of the 2014 Toronto International Film Festival and were surprised by its freshness and wonderful 35mm black-and-white cinematography. Now is your chance to check out the film that may very well be in contention for our best of the year list.

Other titles new to Netflix this week:
A Borrowed Identity (Eran Riklis, 2014)
The Great Museum (Johannes Holzhausen, 2014)
Güeros (Alonso Ruizpalacios, 2014)
The Human Centipede 3: Full Sequence (Tom Six, 2015)
Manson Family Vacation (J. Davis, 2015)

Fandor

Eyes Without a Face (Georges Franju, 1960)

Recently named one of Way Too Indie’s Ten Must-see Foreign Language Horror Films, Eyes Without a Face is a creepy French drama with an old-school horror plot—a brilliant surgeon kidnaps young ladies in hopes to literally take their faces to graft them onto his unfortunate daughter. Edith Scob’s Christiane is one of the most haunting characters in cinema history with her emotionless white mask, blended perfectly in the black-and-white cinematography. Christiane is a clever twist to classic horror, akin in a strange way to Frankenstein’s monster, as the most terrifying character on the surface is the most innocent. Eyes Without a Face co-stars the glorious Alida Valli as Dr. Génessier’s sinister assistant. As a Fandor “Criterion Pick,” Eyes Without a Face is only available until November 8, but you have the perfect excuse with a spooky Halloween screening.

Other titles new to Fandor this week:
The Haunted Strangler (Robert Day, 1958)
M (Fritz Lang, 1931)
Marina Abramovic: The Artist Is Present (Matthew Akers & Jeff Dupre, 2012)
Monsieur Verdoux (Charles Chaplin, 1947)
The Vanishing (George Sluizer, 1988)

MUBI

Dr. Jekyll and Mr. Hyde (John S. Robertson, 1920)

Despite being one of the most well known and copied horror stories of all time, filmed adaptations of Dr. Jekyll and Mr. Hyde don’t seem to have the same cache as other classics in the genre like The Phantom of the Opera or Dracula. That isn’t for lack of trying, as far as I can tell there have been at least ten versions of the story made, with one currently in production. MUBI is now offering the original version, a silent short feature from 1920, starring Hollywood star John Barrymore as the title characters. The 1931 (Rouben Mamoulian + Frederic March) and 1941 (Victor Fleming + Spencer Tracy) have become more notable, but there is something to say for one of the first horror features ever made. Silent horror is one of my favorite subsections of the genre and the over-the-top performance style and haunting music should play right into the Jekyll and Hyde story. If you can’t get to Dr. Jekyll and Mr. Hyde during your busy Halloween streaming weekend, it is available on MUBI until November 28.

Other titles new to MUBI this week:
Antares (Götz Spielmann, 2004)
Hopscotch (Ronald Naeme, 1980)
In the City of Sylvia (José Luis Guerín, 2007)
Somers Town (Shane Meadows, 2008)
Tulpan (Sergei Dvortsevoy, 2008)

Video On-Demand

The Gift (Joel Edgerton, 2015)

Joel Edgerton’s directorial debut, The Gift (read our full review) is a slick throw-back thriller of consequences and brutal revenge. After Simon (Jason Bateman) randomly runs into high school classmate Gordo (Edgerton), he is forced to face the demons of his past—actions that he has either forgotten or willfully ignored. As the situation escalates, Simon’s wife Robyn (Rebecca Hall) is put in the cross-hairs of her husband’s feud. The Gift is reminiscent of 90s flicks like Single White Female and The Hand That Rocks the Cradle and is every bit as entertaining. The three stars all give great performances, twisting along with the mysterious plot. The Gift is available on Video On-Demand coinciding with its DVD and Blu-ray release.

Other titles new to VOD this week:
Max (Boaz Yakin, 2015)
Pixels (Chris Columbus, 2015)
Southpaw (Antoine Fuqua, 2015)

There’s no translation needed for a scream. And when someone’s being attacked with a ridiculously large knife, their nationality doesn’t make the situation any less terrifying. Not to mention other countries seem to understand that real horror isn’t about the jump-scares or extreme gore (something we’re finally seeing a little less of in recent films like Goodnight Mommy, The Babadook, and It Follows). So we had no trouble curating this list of the best foreign horror films, except maybe in limiting ourselves to only ten. This Halloween, if you thought subtitles might distract from suspense, check out any of these titles and find yourself spookily proven wrong.

10 Must Watch Foreign Horror Films For Halloween

#10. Nosferatu (1922 – Germany)

F.W. Murnau’s silent classic Nosferatu floods the mind with inky, dreamlike visions that never release their grip. The film haunts me to this day because the monster at its center isn’t treated as a movie monster at all, but a demon that lurks and stalks us from the shadows of our world. He’s embodied by German actor Max Schreck, whose performance is freaky as hell, not operatic and sexy (don’t call him Dracula). Our hero, Hutter (Alexander Granach), uncovers pieces of vampire lore via mysterious letters and occult symbols and barely evades the gangly Nosferatu himself as a wave of doom and dread rolls over us. The film’s most famous scene, involving a shocking coffin reveal, is as chilling as ever. Murnau’s film is now nearly 100 years old but is scary in a way that modern films can’t reproduce—with the absence of sound, Nosferatu‘s onscreen horrors appear all the more nightmarish, leaving a sonic vacuum in the air meant to be filled with our blood-curdling screams. [Bernard]

#9. Ringu (1998 – Japan)

Based on a novel by Kôji Suzuki (Japan’s answer to Stephen King), Ringu, from director Hideo Nakata, is a chilling film made effective by its own simplicity, both in construct and in execution. The premise, in the form of an urban legend propagated by teens, is simple: watch a certain VHS tape, die seven days later. That’s it. This simplicity of fate is what makes the tale so effective. Unlike most “something is coming for you” horror films (think everything from classics like Halloween to indie sensations like It Follows), there is no boogeyman to run away from, no executioner to plead to for mercy, no chance of dodging demise—nobody can hide from time. When the reporter (Nanako Matsushima) investigating the legend watches the tape herself, the story shifts from “What will happen next?” to “Something will happen soon,” adding to the film’s already great tension. Then, the story doubles-down in the form of the reporter’s young son happening across the tape, thus starting his own clock, that tension exponentially increases. This is what makes the film work so well. Ringu is more terror than horror, like an old-time ghost story that relies very little on visual scares, instead captivating viewers with great suspense, overwhelming atmosphere, and unsettling anticipation. [Michael]

#8. [REC] (2007 – Spain)

Before Paranormal Activity kicked off a found footage trend that we’re still going through, directors Jaume Balaguero and Paco Plaza cooked up this fun and chaotic zombie film (or is it?). Plucky reporter Angela Vidal (Manuela Velasco) is following a group of firemen working the night shift for a TV show when there’s a call about a situation at an apartment building. Angela and her cameraman follow the firemen inside, only to discover that some sort of virus is spreading through the building, turning people into crazed cannibals (similar the rage virus from 28 Days Later). By the time they realize something’s wrong the government shows up to quarantine everyone inside the building, and from there it’s a battle for survival as each tenant either gets devoured or succumbs to the disease. Balaguero and Plaza waste no time getting to the good stuff; exposition is minimal, and within 15 minutes the blood starts flowing. The cramped setting of the building, combined with the fact that the protagonists are actually trapped (and it’s worth mentioning that [REC] gets bonus points for providing a legitimate reason why the camera needs to keep rolling), makes [REC] a nail biter, and the film is brilliantly structured in the way it escalates the tension at an exponential rate. And the finale, a shocking sequence that plays out in night vision, wouldn’t feel out of place in a list of the scariest scenes of all-time. [C.J.]

#7. Kwaidan (1964 – Japan)

There’s something to be said about the power of folktales. Unlike the bulk of modern horror that draws on certain influences, but ultimately strives for a wholly new mythology, the act of bringing ancient stories to the big screen carries the potential for a far more affecting experience. It’s about sharing lessons, fears and cautionary narratives that have endured for hundreds of years and if done right, the result can be deeply resonant. Kwaidan is just such a film. Masaki Kobayashi’s three-hour anthology tells four tales from Japanese folklore united by the common thread of ghostly encounters. A poor young swordsman makes an ill-fated bid for higher social status, a woodcutter holds a promise of dubious consequences to a wintry spirit, the ghosts of a royal family request the talents of a blind musician and a writer sees a grinning face in a cup of tea. All four stories unravel at an appropriately deliberate pace set against a background of vibrant artificial scenery and highly expressive sets. Rather than being a horror film fueled by big scares, Kwaidan impresses with its subtly chilling atmosphere and its evocative rendering of a delusive, spiritually rich world. [Byron]

#6. Eyes Without A Face (1960 – France)

If ever there was any doubt that Georges Franju’s 1960 bastion of plastic surgery was a legitimate horror film, just think of the title it premiered with in the States in 1962: The Horror Chamber of Dr. Faustus. Of course, it’s only today’s audience who’d look at a horror cult classic like Eyes Without A Face and question its legitimacy for scares. Never forget how desensitized we’ve become over the years, but even if the film doesn’t scare us today as it surely did audiences back in the ’60s, the creeps it exudes still raise hairs on the back of the neck. Pierre Brasseur plays the mad doctor who attempts to re-create the physical beauty of his once-beautiful daughter, Charlotte (Edith Scob, mostly covered in the iconic white mask but piercing with emotions through eyes you’ll drop into and a voice that’ll break the fall). A sickly atmosphere that festers in the imagination. The triptych of psychological, emotional, and physical terror. Overarching gothic overtones. Alida Valli’s cold-blooded assistant (the Igor to Brasseur’s Dr. Frankenstein), all exterior beauty and interior grotesquerie. All these elements conspire with Franju’s taut direction and Eugen Schüfftan’s vivid cinematography to make for, arguably, the most poetic (but no less haunting) of all horror films. In my opinion, the heterograft scene stands as one of the genre’s defining moments. [Nik]

#5. I Saw The Devil (2010 – South Korea)

One of the greatest serial killer films ever made, Kim Jee-woon’s I Saw the Devil is a bonafide masterpiece. Mirroring what would happen if James Bond set his sights on Hannibal Lector, the film is a fast-paced epic that is filled with emotion and satisfying payoffs. Excellent performances from Choi Min-sik and Lee Byung-hun keep tensions high from start to finish, and some absolutely barbaric sequences of action and suspense raise the stakes in an honest and believable fashion. It’s the revenge element, though, is what truly propels I Saw the Devil to the next level. Soo-hyun (Byung-hun) is so personally invested in avenging the death of his murdered fiancée, who was killed by Kyung-chul (Min-sik), that the vengeance becomes his only motivation in life. Jee-woon and screenwriter Park Hoon-jung study the psyches of both the hero and the villain with equal interest, which makes I Saw the Devil one of the most character-driven tales of revenge ever made. [Blair]

#4. The Devil’s Backbone (2001 – Spain)

Like a little history and a whole lot of atmosphere to go with your horror? There’s no greater director more masterful at combining all of the above than Guillermo del Toro. Set during the Spanish Civil War of the 1930s, The Devil’s Backbone follows a group of orphaned boys at a home in the country. One new boy, Carlos, starts to see the ghost of a boy in the orphanages dark stone passageways and does his best to uncover what the dead boy’s story is. Like many of del Toro’s best films (Pan’s Labyrinth being another great example), the supernatural elements of this world are almost never as scary as the ill intentions of the living. Carlos and his companions must face the war-torn reality of their world while finding a way to reconcile the last wishes of the dead. Del Toro’s signature attention to eery detail—not to mention his penchant for lingering on his creepy creations allowing each horrifying detail to sink in—and his ability to craft unrelentingly evil characters are what make The Devil’s Backbone a mood-filled and satisfying ghost story. [Ananda]

#3. Diabolique (1955- France)

Diabolique is a classic of the horror genre which deserves its place alongside the likes of Psycho and The Exorcist. Gorgeously shot and incredibly tense throughout, Henri-Georges Clouzot crafts a horror film that is sure to sit with you for days. Following the story of a murder gone wrong, Christina (Vera Clouzot) and her husband’s mistress (Simone Signoret) conspire together to kill an abusive husband (Paul Meurisse), but once they do nothing is as it seems. Saying anything more about the story would spoil some of the most thrilling sequences ever put to film. It’s been said that Alfred Hitchcock lost out on the film rights to Diabolique by just a few hours, still it’s hard to imagine anyone, even the Master of Suspense himself, outdoing Clouzot here. [Ryan]

#2. Audition (1999 – Japan)

Prolific Japanese filmmaker, Takashi Miike, who is known for his transgressive social commentaries and cartoonish violence, released in 1999 what might be the most graphic and frightening film about romantic relationships ever committed to celluloid. The plot of Audition focuses on a widow by the name of Shigeharu Aoyama who, with the help of a fellow film producer, arranges a faux-audition for a non-existent movie in order to find himself a prospective bride. Unfortunately, his gaze falls upon the wrong woman. Asami Yamazaki, the seemingly harmless apple of his eye, is (to say the least) not at all who she appears to be. With Audition, Miike shows more directorial restraint than usual, which might be the film’s most commendable attribute. The majority of the runtime is spent exploring the growing intimacy between Shigeharu and Asami, interspersed with abrupt and very brief sequences hinting at something sinister developing within Asami’s psyche. It isn’t until the latter half of the third act that the film shifts gears completely and erupts into a state of unexpectedly extreme mayhem. But in order to find out the specifics of what transpires, you’ll have to experience the film for yourself—just don’t say you weren’t warned. [Eli]

#1. Let The Right One In (2008 – Sweden)

In the same year that obnoxiously popular teen vampire series kicked off (we won’t even mention its name), came a small film out of Sweden that turned the overplayed genre on its head. Beautifully shot, with a tender story and one hell of a mean streak, Tomas Alfredson’s Let the Right One In is a special film. By creating its monster in the form of a little girl, the film is able to cleverly play with many of the most traditional vampire myths—especially the role of the human servant, which is the most tragic theme of the film. Alfredson is an incredibly patient filmmaker (something that works extraordinarily well in moody horror films), knowing just how much information, thematic and visual, to show the audience. His craft shows particularly well in the breathtaking final scene, one of the best staged horror sequences of all-time. While that mainstream vampire series was capturing young audiences with sparkly skin and sexual repression, Let the Right One In showed that vampires could still be cool while actually having a complex and resonant dramatic story. And it’s actually scary. Let the Right One In also has the distinction of inspiring an above-average American remake (which can’t be said for too many other films on this list), Let Me In from Cloverfield’s Matt Reeves. [Aaron]

Our monthly staff features of past have usually been reserved for top ten lists regarding a certain subject, genre or even anticipation lists pertaining to film festivals. With this monthly feature we went through a few ideas before settling on something a little different. The idea was to always have it be horror themed since October is synonymous with Halloween. But instead of having a top ten list of a certain type of horror film or even ranking our favorites, we’ve decided that each of us will share with the reader what actually scares us in horror movies. Whether it’d be actual subject matter or aesthetics applied by the filmmakers, we discuss the various ingredients in horror movies that make us put that pillow over our eyes or make us reach for a loved one’s grasp.

What Scares Us The Most In Movies

Someone Else Is In Control

I thought a lot about what scares me in Horror films and the one thing that I kept coming back to is not being in control. I know it sounds weird, but when I’m watching a movie and if I can’t get a grip on what’s real or not or if I’m watching a living, breathing nightmare where I have no control, I freak. I think that’s why Suspiria is so attractive to me. The film is a master class of sensory overload where viewers are toyed with for 90 minutes. We are paralyzed to cheer for Susie Bannion, because we are so entrenched in this world where colors and sounds could never exist in our reality. Every time I watch the film, I can’t move. I’m transfixed and it scares me that I can’t move while I watch it. David Lynch is the master at creating films where the viewer is essentially his pawn and he attacks their stability with striking images. His final film (so far), Inland Empire, is quite possibly the greatest nightmare that I’ve seen in film. I was too scared to move while watching it. Laura Dern running in slow motion towards the camera that is suddenly sped up to a roaring orchestral cue haunts me to this day. Simply put, when David Lynch is in control, you are not.

I can also bring up that not being in control can also be applied literally as well. When a person in the film is shooting what you’re seeing (think Blair Witch), you experience what they are seeing from their point of view. I think the POV handheld genre has gone overboard, but there are some films that execute this to great extent. [Rec] and Grave Encounters are by no means great horror movies, but both feature great moments where someone else is in control of the camera and I want them to turn away or zoom out. By then it’s too late. [Blake Ginithan]

Trapped With No Way Out

Nothing gets my heart racing more than the idea of being trapped with no way out knowing that impending doom is inevitable. For me the fear is that feeling of being helpless in a situation that is inescapable. This is a rather simple concept that has been used and modified several times over. I suppose the most rudimentary example of this is when characters are trapped inside a room where the walls on both sides begin to close in to the middle of the room. This sort of “Walls Closing In” stunt has been around forever and I likely picked it up as a child while watching cartoons, Star Wars: A New Hope, or even Indiana Jones & The Temple Of Doom. As I mentioned, that is just the most elementary of an example and it would be easy to confuse my fear of being helplessly trapped with straight-up claustrophobia, so let me explain further.

You probably remember that famous scene in The Shining when Jack Nicholson busts down the door and screams, “Here’s Jonny!” through a hole in the door. That scene is a great example of what terrifies me the most in horror films. In case you haven’t seen it (watch it here), Nicholson slowly walks with a deranged look on his face and an axe in his hands towards his wife who has locked herself in the bathroom from him. She seemingly has nowhere else to go and she knows that she will soon be killed if she cannot escape. Add in Stanley Kubrick’s methodically slow-pacing and ear-piercing score and it is the perfect setup the scare the living hell out of me. The combination of having no control over the situation and knowing that death is soon approaching is what scares me the most. [Dustin Jansick]

Ambiguity

I’m going to be a bit broad with my pick, but what scares me the most is simple: ambiguity. A lot of horror films tend to go in the opposite direction, showing too much or explaining every little thing to the audience, but there’s still plenty of power in deciding not to show or tell. When I watched Ju-On years ago what terrified me wasn’t the jittery ghosts, it was how the curse in the film wasn’t defined in any way whatsoever. It could be weeks, months, or even years before these ghosts would get you, but they will kill you at some point.. Kiyoshi Kurosawa’s Kairo has one of the most terrifying first acts I’ve seen, as a rash of suicides and hauntings occur without explanation. Films like Insidious and Paranormal Activity also drew on elements of the unknown to scare audiences (to the point where people are now throwing money at them) but their inferior sequels built a mythology explaining every single thing that occurred in the originals. It’s an approach that shows how, the more you know, the less scared you’ll be. [CJ Prince]

Jack Nicholson As Joker

As I get older, I find myself almost impervious to fright at the movie theater, which is more of a curse than a blessing. It’s a sad thing that most scary movies fail to make my skin crawl like they did to my 7-year-old, candy-corn-gobbling self. The upside to my time-hardened nerves is that when a film does manage to creep me out, it’s a delicious rarity that I devour like a starving dog. I relish horror flicks like Eyes Without a Face, Nosferatu, Last House on the Left, and The Descent for employing finely tuned filmmaking techniques–not hackneyed “jump scares” or “false-alarm scares” (as Roger Ebert brilliantly called them)–to create deathly atmosphere and a sense of inescapable dread.

But still, nothing–NOTHING–can compare to the terror I experienced back in the candy-corn-gobbling days when I got my first glimpse at the face of pure evil–Jack Nicholson’s Joker. I remember being so scared of that pale, perpetually grinning motherfucker that I couldn’t even look at my family’s VHS copy of Tim Burton’s Batman. It didn’t even have Nicholson on it, but I knew some form of his lipstick-wearing devil spirit MUST have been lurking inside the cheap card stock packaging and black plastic shell. It had to be that smile–the only way to make any movie monster scarier is to have them bear their grisly grills like a demented clown (fuck clowns). There’s something repulsive, twisted, and deeply unsettling about someone who smiles as they’re about to do something truly sinister. I wonder if my folks ever got rid of that tape…[Bernard Boo]

Everything About Horror Films

So I will admit, I’ve never really been a huge fan of horror films. I’m pretty sure it all stems from watching Signs when I was in my early teens—man that film terrified me—the knife under the door, the creepy Alien sneaking out the hedges at that kids party. I had to keep the volume on 1 the entire time.

Then came my mid-teens when it was the cool thing to watch scary movies on a Friday night sleepover (Gothika, Amityville Horror, The Others – I mean what was up with that kid’s face?!) I think it’s the intense suspense build ups and the loud heavy Dolby Digital bass in the cinema that thumps through chest making you really feel like it’s all happening to you. I also find that the actual “knowing what’s around the corner” scares me more than whatever is there because your mind goes into a frenzy trying to prepare your body for it. [Amy Priest]

Suspense and Psychological Manipulation

I’ve never been one to actively search out horror films primarily for two reasons, the first being a belief (built from years of poor film choices by friends and family) that they all contained the same components, with slight variations on which “spooky” location and in which particular manner the unexplained deaths or disappearances happened. But in the interests of being truthful, the more honest—and embarrassing—reason is simply that I’m easily scared. Nevertheless, the films that really get to me are those that center more around suspense and psychological manipulation. Throw as much blood on the screen as you like, and it won’t bother me half as much as a mere second of something mentally disturbing. A perfect example of this is in 127 Hours (even though it’s not a horror film) when Scooby-Doo appears just for one shot; this one scene affected me far more than watching young Franco saw his arm off.

While finding suspense in films scary is a fairly universal concept, there is a defining line between the type of suspense we find dotted throughout films such as the Saw franchise and The Blair Witch Project, and the type we find in films such as Psycho and more recently, 28 Days Later. This difference stems from the basic intention of these films—are they attempting to provide us with a narrative that is scary in its essence, or are they attempting to thrill us with snippets of suspense loosely held together by some form of plot? I’ll jump (and perhaps even scream a little) at films that do the latter, but Joss Whedon has hit the nail on the head—at some point the majority of horror films devolved “into torture porn and into a long series of sadistic comeuppances.” Perhaps this is why my favourite horror film has to be, in all its meta construction, Whedon and Goddard’s The Cabin in the Woods; as much as it scares us, it simultaneously enters new territory, subverting our expectations of the genre. [Pavi Ramani]

Believability And Doubt-Producing Ending

My film genre of choice is horror, but because of that I’m actually quite a fastidious viewer and it takes a lot to impress me. The most obvious element of a scary film is actually the easiest to pull off: surprise. It’s not hard to startle an audience, jump out at them, or spray some blood in their direction, eliciting a few screams. The hard part, and what marks the best horror films from all the others in my opinion, is getting into our heads and keeping the fear alive once we leave the theater. The most memorable horror films have two elements that will get me every time.

First, is an essence of believability. I don’t care if it’s ghosts, aliens, murderers, or demons, if the film can show me that the scenario I’m witnessing could happen to me, than I’m much more likely to feel a sense of anxiety that heightens the fright. A virus that turns a majority of the world into zombies? Seems plausible. Found footage of the family-next-door being haunted? That looks like a house I’ve seen. Those look like people I know. I’m creeped out. Second, is a well-played, doubt-producing ending. At the end of The Silence of the Lambs, Clarice may have caught her serial killer, but Hannibal Lecter’s final phone call reminds her, and us, that evil is never truly contained, just redirected. A hand popping out of a grave, a-la Carrie, just makes me laugh; zooming in on Jack Torrance in an old picture on the wall of the Overlook Hotel at the end of The Shining, reminds me that the evil within that hotel lives on. Because they have these two elements, I can watch my favorite horror films over and over again and still squirm. Because really, I never stopped being scared of them. [Ananda Dillon]