Late Phases (2014; Dir. Adrian Garcia Bogliano)
Adrian Garcia Bogliano's particular, often nasty voice speaks in English in Late Phases, a refreshing werewolf throwback. Nick Damici stars as a blind veteran facing off against the creatures in a retirement community. The film's focus is equal parts family drama and lupine lunacy. There's a killer transformation, and werewolf-through-the-windshield was one of my favorite onscreen moments of '14.
Jinn (2014; Dir. Ajmal Ahmad)
Rather than spook the audience with Islamic folklore, Jinn seems hopeful on fulfilling its badass potential. The action-horror film stars Ray Park and its custom car was a huge point in marketing. In the film, "Shawn (Dominic Rains) enjoys an idyllic life with his new wife Jasmine (Serinda Swan) in Ann Arbor, MI. Their happiness is interrupted one day by a cryptic message warning of a curse that has been hunting his family for generations. Shawn is skeptical until strange and then menacing things start to happen. Unable to explain the events and fearing for his life, Shawn turns to Gabriel (Ray Park) and Father Westhoff (William Antherton), a mysterious duo claiming to have answers. Soon Shawn finds himself in the middle of a war between good and evil."
Blue Velvet (1987, Dir. David Lynch)
David Lynch's most famous film, the warped, Hitchcockian Blue Velvet is as affecting as ever. A film that must be seen.
Big Trouble in Little China (1986; Dir. John Carpenter)
Carpenter fave and ultimate good time Big Trouble in Little China is back on the service. Take a break with Burton.
The Exorcist (1973; Dir. William Friedkin)
The superior theatrical cut of William Friedkin's landmark horror film arrives on Netflix. A perfect way to introduce to a horror newbie, or revisit this essential all-timer.
Ghoulies Go to College (1991; Dir. John Carl Buechler)
For all your Ghoulies needs, see right here.
The House on Telegraph Hill (1951; Dir. Robert Wise)
Allow me a detour. From Robert Wise, the director of The Haunting, The House on Telegraph Hill is a terrific American film noir. Post-war anxiety, assumed identity and more bring this classic thriller to a boil.
The Human Centipede 2 (Full Sequence) (2011; Dir. Tom Six)
The Human Centipede 2 hates you, which is exactly the reason I can't help but love it. Intent on giving viewers exactly what they complained wasn't in The Human Centipede, and revealing its opinions on the audience in the process, Tom Six's sequel is a repulsive, ghastly exercise.
What a great way to gear up for the Final Sequence
In Dreams (1999; Dir. Neil Jordan)
A largely forgotten film from the director of The Company of Wolves and Byzantium, In Dreams is now on Netflix to revisit. Will this mind-linked serial killer thriller reveal itself as something to champion?
The Mirror (2014; Edward Boase)
A selection at last year's Film 4 FrightFest in London, The Mirror arrives on Netflix as a well-received new found footage entry. In the film, "Three scheming roommates buy a haunted mirror from an eBay auction. Their plan is to prove that it is indeed haunted in order to claim the Million Dollar Paranormal Prize, money offered by a foundation whose mission is to educate the public on the dangers of believing unproven claims of supernatural phenomena. They set up round-the-clock cameras in the hopes of capturing evidence of something going bump in the night. Their desire to win blinds them to the evil forces they have unwittingly brought into their home, forces that are out to exact a terrible revenge."
The Sixth Sense (1999; Dir. M. Night Shyamalan)
As Wayward Pines is about to premiere and the creepy trailer for The Visit gets our hopes up, extend your goodwill for M. Night Shyamaln by revisiting his terrific ghost story.
Tales From the Darkside: The Movie (1990; Dir. John Harrison)
The revival series may be in flux, but the 1990 movie, featuring Debbie Harry as a child-cooking witch, lives on Netflix for those who love it. If only they could add the series, as well.
Wes Craven's New Nightmare (1994; Dir. Wes Craven)
New Nightmare, Wes Craven's awesome, pre-Scream go at metafictional horror reinvents Freddy as something older, something folkloric. It remains both a fun trip through Elm Street past, as well as a very neat twist on a movie monster who devolved into comedy.