Bernard Rose directs Virginia Madsen, Tony Todd and Xander Berkeley in this modern gothic tale of an urban legend that proves hauntingly real. 

Released during the deepest ebb between horror cycles, Candyman got lumped in with careless cash-in sequels to Nightmares, Fridays and Critters for on its surface it introduced just another visually exciting slasher killer for the covers of Fangoria, ignored by the masses away from the gorehounds. Yet it is a far superior film to its peers that has improved with age; Rose’s direction is somber and intelligent, Philip Glass’s score minimalist and apt, and the performances are mature and committed. Virginia Madsen, in particular, is given a gamut of emotions and mental states to work through, which she does with aplomb, handling the various terrifying gauntlets thrown down at her convincingly. Her lead here really belongs in the horror parthenon of brilliant genre acting together with Sigourney “Aliens” Weaver, Jodie “Lambs” Foster, Nicole “Others” Kidman and Catherine “Repulsion” Deneuve. Shame she never found further challenging work or a wider audience. The Clive Barker sourced plot, tinged with the author’s trademark self-born mythology and intoxicating tortures, playfully shifts and leaps so that its settings includes the soap opera of academia, gritty ghetto life (more convincingly recreated here than in many ‘hood movies that were prevalent then too), gothic romance fantasy and syrupy red mayhem. As for the titular ghoul himself, Todd embodies him well and his limited but intriguing glimpses and torturous hypnotic yearning make him feel like a monster still worth revisiting… assuming that any reboot was to be handled in the inspired way this unfairly ignored chiller was. Sweets for the sweet.

9

Roman Polanski directs Catherine Deneuve, Ian Hendry and Yvonne Furneaux in this psychological horror where a fragile girl loses her mind when left alone in her Swinging London flatshare. 

A genuinely affecting sequence of incongruous sounds, ominous malaise and bursts of surreal terror. Deneuve hooks you in with a compelling turn as the near silent quivering waif. Polanski ramps up the claustrophobia with angles and neat effects that crush you tightly in within her mental trap. Still an artful and potent shocker 50 years on.

9

 

Jacques Tourneur directs Robert Mitchum, Jane Greer and Kirk Douglas in this twisty turny noir about a detective who fell for the wrong dame then cashed out only to be drawn back into a new crime by the murderous ex who hired him to originally find her.

Proudly over complicated and nihilistic. Bramble tangle plotting that seems to add a new crime or indiscretion with every other line of dialogue makes this a satisfying puzzle to straighten out. You get a rare sympathetic turn from the burly and cool Mitchum, an against type unpredictable villain in Douglas and a queue of hard hearted but stunningly beautiful dames to mistrust. The verbal exchanges crackle, a lethal sexiness pervades, the shadowy visual symbolism captivates. Every pore of this mystery bleeds quality, bleeds noir. Get lost in its deep black oozing pleasures.

9

Scott Derrickson directs Benedict Cumberbatch,  Mads Mikkelsen and Tilda Swinton in this trippy superhero origin tale of a surgeon who masters dimension altering magicks. 

As a comic book fan but no Marvel zealot I went into Doctor Strange with tempered expectations. Brutally assessed, it is probably the weakest of the official canon Marvel movies, damaged by an awkwardly confined Cumberbatch (who swings from dislikable and arrogant to uncomfortable with quips and battles – he’s no Rudd or Downey Jnr) and a been there, done that self pitying first hour where we trudge through tragedies and training with no real end point but to get Strange up to speed with his needed “gifts” for the standard mega threat finale. Bolted on romances and shit learning montages are eventually kicked aside though. The second half improves when the large scale FX take over – a rompish quality kicks in and a still struggling lead often just shuts up and let’s you get lost in them. Giacchino’s spot on score injects fun into the Inception inspired knockabout and the epic visuals are pleasingly incoherent. Just about saves itself from being the first true stinker from the Stan Lee cookie cutter… Though second billed Chiwetel Ejiofor may want to call his agent and ask whether he actually had a character to play in some earlier draft or was merely a human shaped reserve sign for a sequel villain. His Mordo is a cypher whose change of heart at the end to set up his next entry naughtiness comes out of fucking nowhere. Mads and Tilda at the very least bring a bit of flavour to their stale, stock parts.

4

Pablo Trapero directs Guillermo Francella, Lili Popovich and Peter Lanzani in this Argentinian true crime story of a family who took to kidnapping for ransom during the political upheaval of the 1980s. 

Strong actors take on unsympathetic characters while the occasional brutal shock moment stop this from totally wearying the viewer. It is a tale not made for an international audience, assuming its target domestic audience will not require certain key information spelled out, so we, the secondary market, often feel adrift as to what is unspokenly going on in this moment of Argentine history. It appears that such crimes were unofficially accepted under the regime and even in the aftermath, an air that as long as the kidnappings remained unacknowledged then anyone could do it with impunity? Anyway as a viewer not au fait with that political climate I found myself adrift. There’s just not enough black humour or sustained tension to captivate while trying double guess what the bigger picture was, though the improving meals being used to symbolise the family’s returning fortunes is a nice human touch. A shame, as a good movie shouldn’t need footnotes.

5

 

Kazuhiko Yamaguchi directs Etsuko Shihomi, Sonny Chiba and Hiroshi Miyauchi in this barely related spin-off to the Terry Tsurugi revenge actioners. 

Another martial arts swindle you can’t help but forgive. This is a completely different movie that just happens to feature Chiba in a non- Terry support role, swiftly rebranded as a sequel to his iconic Grindhouse hit. Taken on its own strengths this is colourful enough, nasty enough and with a strong lead performance from Shihomi that once again you can ignore the naughty counterfeit activities. And that crazy energy is still there in spades. Features the Amazon Sevens (what would happen if David Lynch directed a lady Kung fu squad with The Flintstones wardrobe) plus an off-putting sadistic rape of a school girl. So something for everyone then?!

6

 

Shigehiro Ozawa directs Sonny Chiba, Yōko Ichiji and Masashi Ishibashi in this sequel where Terry turns down a hit job on a master he respects and all karate hell breaks loose. 

After two brief prologue hit jobs  with Chiba’s irrepressible Terry whacking and gobbing like a wrong un, he disappears for the first half an hour and we get stuck in stock footage of martial arts school demonstrations and elongated monochrome flashback to the first superior film. Yet before Clarence and Alabama can storm out and ask for a refund, he’s back on screen and delivers at least an hour of eye popping, rock ‘n’ roll exploitation fun, the highlight being a snow laden weapons battle at the midway point. Shenanigans but the Toei Company just about get away with their bald faced cheek.

7

James Watkins directs Kelly Reilly, Michael Fassbender and Jack O’Connell in this hoodies versus Guardian readers survival horror.

A chilling and unrelentingly nasty little thrill ride, once it gets going you cannot fault Eden Lake as a technical exercise. Politically it is dubiously even handed making the loveable Reilly and miscast Fassbender appear equally as culpable as the nihilist kids who brutalise them (early O’Connell and ever huggable Thomas Turgoose are fine but the rest of the gang have been picked for their looks rather than acting prowess). There are moments that recall A Clockwork Orange, Straw Dogs and Scum and if Watkins and co are touching those landmark bases it is hard to ignore or discredit them. Satisfying exploitation whatever rag you read. If you have the stomach for it Eden Lake will grip the shit out of you.

7

 

Dan Attias directs Gary Busey, Corey Haim and Everett McGill in this lesser Stephen King adaptation that is so chockablock full of camp, alternative pleasures the werewolf central hook seems more like a forgotten aside.

I missed this as a kid, not just from my adolescent aversion to horror either, I never knew of its existence until a decade after its release. And while it won’t be for everyone, frankly this ticked a lot of boxes for me. The main plotline (and I use those words cautiously) about a baseball bat wielding werewolf terrorising a small town feels almost like a spoof of Stephen King’s distinctive house sauce. But hanging off it is about a half a dozen other mini-movies, all effective. We have the pleasurable whodunnit aspect as we drift past a whole population of stock characters (well cast) who could be the werewolf. We have a Jaws-lite like situation where a community under threat turn against the sheriff in their thirst for vigilante justice. We have a young teenage narrator learning to accept her brother’s disability. We have Corey Haim’s wheelchair bound hero; who rides around on increasingly souped up motorised wheelchairs, firing fireworks off in nightbeast’s faces and racing cars on the open highways. This aspect is definitively less believable than all the werewolf scares and feels like something that even The Goonies or Monster Squad may have turned their noses up at as just being plain silly. But before you can write Silver Bullet off, I saved the best until last. We have Gary Busey going full throttle as the most irresponsible but loveable uncle ever. Boozing it up, hitting on underage girls, adding another hot rod engine to his nephew’s mobility chair while handing him some Mexican fireworks… it is the kind of unhinged, show stopping job that a young Nicholas Cage must have witnessed and thought “That is where I want to take my acting.” So for giving one of B-Movies finest sons their wildest hour (Busey out spectacles even the fine monster effect work), Silver Bullet transcends all its issues and coalesces into a great popcorn movie.

7

Ron Howard directs Warwick Davis, Val Kilmer and Joanne Whalley in this high fantasy adventure where a small Nelwyn farmer protects a baby in a Dakini war zone.  

An admirably straight laced plot, a superbly realised world and frequent amusing exchanges means Willow has aged better than most fantasy films. Sure, it probably is one early action sequence short of being an out and out classic but career best work from all the C-list cast creates a lovely dynamic even when not all that much happens in the first half. It gives you time to settle into the still shockingly dark world (for a family film… the 80s, eh?!) before you get caught up in cart chases, two headed dragons, the entire cast being turned into pigs and that amazing downhill shield as makeshift sled stunt. It cleaves very close to Star Wars in its format, but is there anything all that wrong with that? Only the regular cutaways to comedy sidekick Brownies fails, the jokes just don’t land, but even they set up a nice piece of comedy romance when Kilmer’s excellent Madmartigan falls for his hot enemy in a love spell. The production is lavish and the score hypnotically perfect. Treat yourself. Revisit Willow.

8