Álex de la Iglesia earned his cult filmmaker status by creating strange and memorable genre movies like The Day of the Beast (1995), Witching and Bitching (2013), and The Bar (2017). The director doesn’t create typical conditions for his brand of mounting dread he manages to stir up a cold chill or two while still keeping everything cast in broad daylight. Kurosawa’s Séance is a master class in disquieting atmosphere and authentic scares. Soon after, she and her husband are plagued with unrelenting guilt. He studies a desperate psychic who goes to extremes as she attains her own renown during a missing child case. Always cooking on low heat, his adaptation is a meditative lesson on dangerous ambitions and compromised ethics. Kiyoshi Kurosawa’s cheerless interpretation of Mark McShane’s novel Séance on a Wet Afternoon is the slowest of burns. Even so, this grim fairy tale exudes eeriness. The repetition adds to the unreality at hand, but it can also wear thin on viewers. The Ogre is singular when it comes to the director’s body of work the dreamlike yet ghastly ambience makes up for a lack of trademark Bava carnage. A curse on the house, however, brings her childhood nightmares of a basement-dwelling ogre to life. In this case, the doomed destination is a rural Italian villa where a writer hopes to complete her latest book. The setup here is similar to that of The House by the Cemetery : a family experiences a supernatural event when they stay at a new home. Of these films, The Ogre is promoted as a sequel to Demons and Demons 2 in some parts the connection is a nominal one.
#Quicksilver highway series
Lamberto Bava conceived five movies for the television series Brivido giallo (Yellow Thrills), but only four were actually produced. Terminal Invasion is essentially a one-location thriller with shades of The Thing, albeit far more low-key and talky. The characters, including Bruce Campbell as an anti-heroic convict, are stranded inside a small airport during a blizzard when a shapeshifting alien starts to pick them off one by one.
#Quicksilver highway movie
In 2002, Cunningham’s Crystal Lake Entertainment produced an original cable movie for Syfy (née Sci-Fi Channel) called Terminal Invasion the telefilm also reunited him with composer Harry Manfredini. His other directed horror offerings include A Stranger is Watching (1982), The New Kids (1985), DeepStar Six (1989), and XCU: Extreme Close Up (2001). Of course, it wasn’t until 1980 that Cunningham changed the landscape of horror - Friday the 13th remains a template for the slasher subgenre. Cunningham got his start around the same time as Wes Craven they worked on movies together including The Last House on the Left. An ordinary abode turns into a chamber of torture where geriatric killers gleefully maim their youthful prey. The plan takes a turn for the worse, and the intruders are handed a sizable slice of just desserts the many clocks in the house suddenly upset the flow of time and the criminals are now trapped inside with the homicidal homeowners. The House of Clocks concerns three robbers getting more than they bargained for when they rob an elderly couple in their own home. Both projects were shelved and not seen until later, though. Fulci directed and wrote two made-for-television movies as part of the series La case maledette (Cursed Homes) immediately following The House of Clocks, he began working on The Sweet House of Horrors. His talent could not be limited to just horror, but that is definitely a genre where he excelled. Both tales demonstrate Garris’ morbid sense of humor and eye for outlandish imagery.īetween giallo movies and spaghetti westerns, Lucio Fulci had a diverse career. Quicksilver Highway stars Christopher Lloyd as the narrator of two ghoulish stories based on the respective works of Stephen King and Clive Barker “Chattery Teeth” features a pair of novelty wind-up teeth springing to action during a dust storm-set carjacking, and “The Body Politic” pits a man against his own autonomous hand.
He remained true to his love of anthologies by producing this bisected horror-comedy that first aired on Fox in 1997. Without him, we wouldn’t have the ambitious series Masters of Horror, either. Mick Garris is certainly no stranger to television he’s done everything from writing ( Amazing Stories ) to directing ( Psycho IV: The Beginning ).
#Quicksilver highway tv
These small-screen endeavors show how talented filmmakers can traverse the limitations of TV while still preserving elements of the genre they helped build. We can always learn something new about these “Masters of Horror” simply by watching their television work. The likes of Wes Craven and John Carpenter found great success on the big screen, but their horror contributions before and after their theatrical breakthroughs can’t be overlooked.
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