Our editor-in-chief Nate Yapp is proud to have contributed to the new book Hidden Horror: A Celebration of 101 Underrated and Overlooked Fright Flicks, edited by Aaron Christensen. Another contributors include Anthony Timpone, B.J. Colangelo, Dave Alexander, Classic-Horror.com's own Robert C. Ring and John W. Bowen. Pick up a copy today from Amazon.com!

Posts by Chrissy Derbyshire

Review: Army of Darkness (1992)

Army of Darkness poster

Sam Raimi’s Army of Darkness is not a great horror film. Not an auspicious start to any review. Let’s take it one step further. Sam Raimi’s Army of Darkness is not a horror film at all. It’s a madcap comedy, avec zombies – but don’t expect Shaun of the Dead either. This third and (thus far) final film in the Evil Dead series is an amalgam of Three Stooges and Monty Python style comedy antics and groovy Harryhausen-esque special effects, all squeezed into an Evil Dead plot so thin it looks ready to rupture at any moment.(read more...)

Review: Evil Dead II (1987)

Evil Dead II: Dead By Dawn poster

Those ghastly deadites are back, and this time it’s comedy. From the creepy, ghost-train opening it’s hard to discern whether Evil Dead II is really a horror film or not. By the time Ash starts chasing his hand around with a shotgun, it’s pretty evident that the film owes a lot to both comedy and horror. Filmlore tells us that The Evil Dead was so over-the-top that many viewers thought it was a spoof. So when director Sam Raimi decided to make a sequel, it became more of a comedy remake of the original. This would explain Ash’s otherwise perplexing behaviour: returning to the house in which he had, one movie ago, almost been killed by things which were evil and, moreover, dead.(read more...)

Review: A Nightmare on Elm Street (1984)

Nightmare on Elm Street poster

The worst thing you can do before viewing Wes Craven’s A Nightmare on Elm Street is to watch one of its sequels. It isn’t that watching the sequel first spoils the chronological flow of the story. No. It is merely because the sequels are predominately ridiculous trash. This can colour your preconceptions of the original movie which is, in fact, rather good. For A Nightmare on Elm Street is, believe it or not, a horror film. It is (brace yourselves) scary. Unlike the pseudo-scary, pseudo-comic franchise that grew out of it, the original film contains some memorable images, interesting plot twists and (gasp, faint) even a decent-to-good script.(read more...)

Review: Hellraiser III: Hell on Earth (1992)

Hellraiser 3 poster

We’ve seen one house turned into a young woman’s private Hell. We’ve journeyed with that woman into Hell itself. What’s left, but Hell on Earth?(read more...)

Review: Hellbound: Hellraiser II (1988)

Hellbound: Hellraiser II poster

What's so surprising about the Hellraiser franchise (if we may call it such) is that no sequel is a repeat performance of its predecessor. No - forget the parentheses: it should not be placed on the same level as Halloween or Friday the 13th, admirable though these franchises may be. For each film has a fresh hell to offer us. Hellraiser's was restricted to one house: a contained, private hell. Hellraiser II takes us to greater depths, as Hellraiser's dynamic teen heroine Kirsty faces the Cenobites on their own turf.(read more...)

Review: Phantom of the Opera (1998)

Phantom of the Opera 1998

My name is Christina, and I love Dario Argento’s Phantom of the Opera. There. I said it. Alas, this means I must now be a social pariah among horror fans. Even – nay, especially – among Dario Argento fans. For some reason, there are few films more maligned. There are two common excuses for this. The first: it’s over the top. Well, yes. The story of Phantom of the Opera is. Opera is. C’est l’opéra.(read more...)

Review: Ring (1998)

Ring (Ringu) poster

Judged on plot alone, Nakata Hideo’s Ring ought to be pretty tame. Indeed, this uniquely compelling cinematic work often comes across, on first description of the story, as a piece of over-the-top Japanese kitsch. The story of a cursed videotape that kills the viewer within seven days ought not to be this scary. Yet it has chilled and awed mainstream Western audiences, and almost single-handedly brought about our current obsession with Japanese horror. Arguably, it has paved the way to mainstream success in the West for the likes of Takashi Miike and others. The point is that the art of terror revolves around context. That old campfire chestnut in which a ghost hunts down the liver stolen by a schoolboy from his now uninhabited corpse looks ridiculous on paper.(read more...)

Review: An American Werewolf in London (1981)

American Werewolf in London poster

An American Werewolf in London is a strange beast. Its mixture of innovation and blatant cliché gives the viewer the unsettling (though not necessarily unpleasant) feeling that they are watching two different movies. The film’s beginning is so extravagantly ‘borrowed’ from every other werewolf film ever made that we may be lulled into a false belief that we are about to watch a so-bad-it’s-good, substance-free monster flick. Not so. Still, the first few scenes of the film are certainly good for fans of the aforementioned well-respected genre. Hey kids, can YOU spot some windswept moorland, a pub full of suspiciously paranoid locals, a distant howl and the choice bit when they suddenly remember ‘Beware the moon – and keep to the road… oops…’?(read more...)

Review: May (2002)

May poster

From start to finish, I watched this film with my jaw dropped in disbelief. This is not an unusual reaction for me and it can mean many things. It can mean that I am witnessing the most spectacular pile of crap the world has ever known. It can mean, equally well, that I have just seen a person’s brain eaten in close-up, and I would rather not have. On rare occasions, it may be because the movie is, in fact, stunningly brilliant. But why did Lucky McKee’s May elicit such a reaction? Yes, it is gory (think blind children crawling over broken glass) and yes, it is brilliant. Most of all though, the film, like May herself, is weird. "I like weird," say two of the film’s (doomed) characters. You have no idea.(read more...)

Review: Sleepy Hollow (1999)

Sleepy Hollow poster

The light dims. The witching hour approaches. The Burtonites emerge from their black-and-white pinstriped cots to start their day. Tim Burton, as well as enjoying great commercial success, was always a perfect candidate for cult status. The former Disney animator has attracted a loyal following among movie fans for his peculiar brand of stylish, perverse, gothic fairytales. Burton is famously the creator of films no-one else would dare to make.(read more...)