As a horror enthusiast who has witnessed countless chilling tales of spectral vengeance and supernatural terror, I must say that delving into the forgotten gems of the 90s has been a thrilling journey. Among these hidden treasures, two films have particularly caught my attention – “Whispering Corridors” and “The Nameless.
It appears that most films can be categorized as either successful hits or disappointing flops. However, there are numerous films that don’t fit neatly into these categories and ultimately slip out of public consciousness. These films may receive positive critiques but struggle to draw audiences, or they might be overshadowed by bigger productions, or simply not memorable enough to leave a lasting impact. All genres have their hidden gems, and horror is no exception. A sampling of horror movies from the last century includes forgotten classics, partially remembered monster films, and even entire decades filled with underrated and underappreciated horror titles.
This list includes horror films from the 1990s, each distinct in plot, mood, and technique. However, they all shared a common fate of not attracting viewers when initially released. Yet, these movies are worth watching today.
The Exorcist III
In their capacity as directors of “The Exorcist: The Beginning,” “The Exorcist: Believer,” and other films in the expanding “Exorcist” franchise, they might explain that it’s challenging to surpass a film widely recognized as the best horror movie ever made, such as the original 1973 “Exorcist.” Even William Peter Blatty, who received an Oscar for adapting his novel for the original film, faced difficulties in bringing his follow-up novel, “Legion,” to life on screen. Audiences disapproved of the lack of supernatural elements in a film marketed as a sequel to “The Exorcist.” This led Morgan Creek producers to introduce Jason Miller as Father Damien Karras, include an exorcism scene, and change the title to “Exorcist III.” While this helped boost ticket sales, it didn’t garner positive reviews or alleviate Blatty’s dissatisfaction with the project.
In 2016, a version of “Legion,” written by Blatty, was found on a Shout! Factory Blu-ray release of “Exorcist III.” Neither film matches the original 1973 “Exorcist,” but neither is a catastrophe. “Legion” is essentially a police drama, with George C. Scott investigating murders related to Regan McNeil’s exorcism, whereas the connection in “Exorcist III” is more implied. The exorcism scene in both versions can’t compete with the original, but they share some very unsettling scenes – like Mrs. Clelia crawling on the ceiling and a prolonged shot of a hospital corridor leading to violence. Notable performances by Brad Dourif and Miller as hosts for an evil spirit also add tension. In essence, “Exorcist III” and “Legion” stand on their own, despite the shadow cast by their renowned predecessor.
Cemetery Man
Back in 1994, I stumbled upon the Italian horror-comedy gem titled “Cemetery Man,” originally known as “‘Dellamorte Dellamore.” This movie, at first glance, seemed like a typical genre flick, but it had layers that were far from obvious.
The film’s change in mood from comical to gory might have left viewers puzzled, especially regarding its unusual and open-ended conclusion. Those seeking traditional zombie action may not find it satisfying here. However, over the years, “Cemetery Man” has garnered a cult following among fans who admire its unique, quirky viewpoint. Soavi’s zombies are moved beyond the conventional shoot-them-down approach, venturing into original and humorous territories. As Mondo Digital puts it, “Dellamorte Dellamore” is as philosophically deep and sensually aware as it is filled with zombie chaos, making it unlike any other film in European cinema.
Stir of Echoes
Despite being a modest success in 1999, David Koepp’s “Stir of Echoes” is often overshadowed by other supernatural horror films from the late ’90s such as “The Sixth Sense,” “The Mummy,” and “The Blair Witch Project.” These movies are more commonly remembered than “Stir of Echoes,” but that doesn’t make it a lesser film. Instead, it offers a unique and chilling take on the horror genre.
In the television series “Echoes,” Kevin Bacon portrays Tom Witzky, a typical blue-collar husband and father. Reminiscent of Cole Sear from “The Sixth Sense,” Tom finds himself with an uncanny ability to converse with the departed. This extraordinary power emerges following hypnosis by his sister-in-law (Illeana Douglas), which also triggers disturbing images of a vanished young girl (Jennifer Morrison). Driven by this ghostly presence, Tom delves into the facts surrounding her death, uncovering connections to people within their community.
In the chilling tale of “Echoes,” what stands out most is not just the lingering terror but also the deeply intimate, heart-wrenching emotions it evokes – fear and despair that feel all too real. However, its unique selling point lies in this: while it’s draped in spectral supernatural elements, it consistently portrays underlying themes of grief and sorrow.
Mimic
1997 marked Guillermo del Toro’s debut as a director in American cinema with the film “Mimic,” which blends elements of science fiction and horror. This movie revolves around a breed of insects, human-sized, that emerge from New York City’s subway system to feed on humans. While it might sound like a cheesy B-movie plot, del Toro presents it as a serious, often chilling thriller with a warning about the adaptability of insects, even when we try to eliminate them. Notably, the cinematography was handled by Daniel Lausten in his first collaboration with del Toro, setting the stage for their future projects together.
It seems that making “Mimic” was not a pleasant experience for Guillermo del Toro, as he reportedly had disagreements with Miramax chief Harvey Weinstein and even came close to physically fighting with James Cameron. These conflicts led to him losing creative control over the final product. The movie received mixed reviews and failed to attract an audience during its initial release, earning only $25 million against a budget of $30 million. However, it has since gained cult status and even inspired two sequels that are only loosely connected to the original. Del Toro himself distanced himself from the theatrical version and released a director’s cut in 2011.
Lord of Illusions
For those expecting a resurgence of gruesome horror like “Hellraiser” following the fantastical elements of “Nightbreed”, they might have found themselves perplexed by Clive Barker’s third and so far final directorial project, “Lord of Illusions”. This film, a unique blend of mystery, fantasy, and horror, is loosely inspired by a tale from his “Books of Blood Volume 6” collection. The story revolves around Barker’s occult detective Harry D’Amour (played by Scott Bakula), who takes on the task of safeguarding a stage magician (Kevin J. O’Connor) who is under threat from the leader (Daniel von Bargen) of an apocalypse cult.
1995 saw the release of “Illusions,” a film that initially received mixed to poor reviews and had moderate box office success. However, it’s now worth revisiting as an ambitious effort that, compared to “Nightbreed,” was more successful in blending Clive Barker’s fascinations with fantasy, thrillers, and horror genres.
Barker utilizes an exceptional cast featuring Famke Janssen as a seductive villain and Vincent Schiavelli, a fan favorite, and builds a genuinely chilling antagonist in von Bargen’s Nix. Moreover, he offers a plethora of convincing gory effects and suspenseful scenes. Regrettably, studio interference once again disrupted his creative vision: MGM demanded over 12 minutes of edits to heighten the horror aspects. However, a director’s cut was made available on Blu-ray in 2014.
Bride of Re-Animator
Just like many movies on this list, I found “Bride of Re-Animator” to be somewhat disappointing due to its status as a follow-up to the highly acclaimed 1985 horror film, “Re-Animator.” As a fan of H.P. Lovecraft’s work, I was particularly excited for this movie. However, when it came out in 1991, producer Brian Yuzna took over as director, but failed to recapture the same level of gory body horror and dark comedy that made its predecessor such a hit. The New York Times even called it a repetitive sequel rather than a worthy successor to the original.
At times, a “Bride” can resemble the insanity of “Re-Animator.” It cleverly reassembles Jeffrey Combs and Bruce Abbott as the mad scientist Herbert West and his sidekick Dan Cain, respectively, while also featuring David Gale as Dr. Carl Hill, who is remembered by fans as having been transformed into an angry severed head in the original film.
A significant portion of the following movie focuses on West devising a method to rejuvenate body parts rather than entire corpses. This results in some disturbing yet amusing visual effects, such as giving Hill’s head the ability to fly with bat wings. The climax involves an eerie plot to resurrect Cain’s girlfriend. Kathleen Kinmont portrays this creation, a ’90s-style Bride of Frankenstein, who is repulsive, somewhat comical, and tinged with sadness – much like the movie itself, “Re-Animator’s Bride.
Hiruko the Goblin
Japanese filmmaker Shinya Tsukamoto rose to international prominence in the late 80s, known for his visually intense, avant-garde films such as “Tetsuo: The Iron Man” and “Tokyo Fist”. His initial low-budget productions were bursting with frenetic energy, serving as a counterpoint to the impersonal existence of his characters, frequently ending in gruesome, spectacle-filled demises. In 1991, Tsukamoto changed direction with “Hiruko the Goblin”, a supernatural suspense movie adapted from Daijiro Morohoshi’s “Yokai Hunter” manga series.
Initially, the film titled “Hiruko the Goblin” was both critically panned and flopped at the box office upon its debut. It wasn’t until 2022 that it became accessible in the United States. The main criticism appeared to be that it followed a more conventional horror structure, featuring ordinary characters and a straightforward narrative, in stark contrast to the non-linear “Tetsuo.” However, at its peak, “Hiruko” mirrors the anarchy and audacity found in any of Tsukamoto’s films.
The core premise is simple — an archaeological dig releases the titular spirit, which turns a student (Megumi Ueno) into a malevolent severed head on scuttling spider legs. “Hiruko” is eventually swarming with such monsters, all given life through practical effects and stop-motion animation which evokes the cartoon energy of Sam Raimi and the nightmarish aliens of “The Thing” in one. If you’re a fan of both films, “Hiruko the Goblin” is worth your time.
Leatherface: The Texas Chainsaw Massacre III
The third installment of the “Texas Chainsaw Massacre” series, titled “Leatherface: The Texas Chainsaw Massacre III,” doesn’t hold the record for the bloodiest, the best, or the worst in the franchise born from Tobe Hooper’s 1974 horror masterpiece. This 1990 film by director Jeff Burr isn’t universally adored either; it has a low approval rating of 13% from critics and 30% from fans on Rotten Tomatoes, partly due to issues with the ratings board that led to the deletion of many gruesome scenes. However, despite its questionable reputation, “Chainsaw III” does have redeeming qualities that make it worth watching, even for die-hard horror enthusiasts who might initially be skeptical.
The movie titled “Chainsaw III” continues the familiar pattern of individuals encountering trouble with Leatherface and his cannibal relatives. This time around, the family has expanded to include Grandpa, who appears decomposed, and some fresh members. Viggo Mortensen lends an energetic performance as one of these new additions, making it worth watching this film directed by Burr; another character is Ken Foree from the 1978 “Dawn of the Dead,” portraying a tough-as-nails survivalist. The screenplay, penned by novelist David J. Schow, is filled with unusual instances, such as Leatherface (R.A. Milahoff) being annoyed that a language tool he’s using doesn’t accept “clown” as the correct synonym for “food.” While “Chainsaw III” may have its flaws, it can boast of being more enjoyable than the lackluster 2022 reboot on Netflix.
Dark Waters (1994)
It’s quite possible that you haven’t even heard of the 1994 film “Dark Waters,” let alone forgotten about it. Starring British actress Louise Salter (now an esteemed film producer), this movie offers a unique, dreamlike thrill. In the story, Salter’s character journeys to an island convent in order to uncover its mysterious link to her deceased father. Upon arrival, she stumbles upon bizarre rituals, human sacrifices, and a confined, agitated… entity, hidden within a locked closet.
Despite being a complex project due to language difficulties and other complications, director Mariano Baino skillfully creates a chilling, dreamlike interpretation of Lovecraft’s mythos. The remote Russian and Ukrainian landscapes add an unsettling, extraterrestrial ambiance – the kind of setting where dark rituals might have been performed for ages. “Dark Waters” has been hard to find in the U.S., with only a single Blu-ray release in 2017; but cult label Severin Films included it in their extensive folk-horror movie collection, titled “All These Haunts Be Ours.
The Day of the Beast
25 years later, Alex de la Iglesia’s “The Day of the Beast” still packs a punch by startling, entertaining, and provoking viewers. This 1995 Spanish-Italian film follows an unusual trio – a priest, a professor, and a heavy metal fan – as they embark on a series of questionable and blasphemous activities to thwart the birth of the Antichrist. The film is driven by continuous bursts of exaggerated violence and sharp satire aimed at religious institutions. In its more subdued scenes, “The Day of the Beast” offers a unique, albeit twisted, comedy about bonding with individuals who appear vastly different. It’s also a Christmas movie, but one like no other, having been made before or since.
The Spanish film “Beast,” which garnered six Goya Awards (Spain’s top cinematic honor), propelled director Alex de la Iglesia into the international spotlight and launched a diverse film career spanning various genres. His work encompasses extreme horror-thrillers like “Perdita Durango” starring Javier Bardem, English-language crime dramas such as “The Oxford Murders,” documentaries like “Messi,” and television series like “30 Coins.” Among de la Iglesia’s many creations, “Beast” stands out for its audaciousness and is highly recommended for fans of his extensive body of work.
Haunted
1995’s “Haunted” may face criticism for adopting a traditional style in its ghost storytelling. This film is a period piece, taking place in England following World War I, and follows American parapsychology professor Aidan Quinn as he investigates the claims of an elderly maid (Anna Massey) that three siblings under her care are being haunted by spirits. As Quinn’s professor delves deeper, he uncovers secrets among the siblings, portrayed by Kate Beckinsale, Anthony Andrews, and Alex Lowe, only to find himself becoming the ghosts’ target.
In the later stages of director Lewis Gilbert’s illustrious career, which encompassed three James Bond films and the critically acclaimed “Educating Rita,” came the film titled “Haunted.” While viewers seeking extravagant special effects might be underwhelmed, those who enjoy a methodical build-up of suspense and an eerie, Gothic ambiance will find Gilbert’s skillful direction and meticulous attention to detail commendable. When “Haunted” manages to send shivers down your spine (and it often does), it offers a chilling tale of murder and madness that is surprisingly gruesome, albeit not excessively graphic. Notably, a pre-fame Kate Beckinsale delivers an impressive performance as a young woman whose frivolous demeanor conceals a truly sinister disposition.
Whispering Corridors
Something terrible stalks the halls of the Jookran High School for Girls, something far worse than the abusive teachers and cold-hearted cliques. The presence is a matter of record for the students and teachers, who all accept that the ghost of a former pupil lingers at the school. But when the most brutal teachers begin dying, a new hire digs deep into the school’s history to determine who, or what, may be responsible.
“Whispering Corridors was a pioneering work in the surge of South Korean horror films that followed the lifting of cultural restrictions post-1987 military dictatorship. This movie aimed to imitate the Japanese horror trend from the early 90s. Like many Japanese horror films, it features a vengeful female spirit with dark hair. However, instead of relying on sudden jumpscares and gory deaths like J-horror, it creates a chilling and unsettling ambiance.
In addition to his role as director/co-writer, Park Ki-hyung utilizes his movie to express criticism towards a faulty education system and autocratic systems in general. The blend of commentary and excitement made “Whispering Corridors” one of the most well-received South Korean films from 1998, leading to five separate sequels produced between 1999 and 2021.
The Nameless
Check out “The Nameless” from 1999 on Rotten Tomatoes, where you’ll find it has a disappointing 20% rating from critics and 42% from viewers. However, this doesn’t fully represent the film. While “The Nameless” occasionally stumbles with plot clarity, its negative reception might also be due to its persistent dark theme and disturbing content. The movie, adapted from a novel by renowned British horror author Ramsey Campbell, focuses on a grisly child murder, followed by elements of a Satanic cult, a former camp doctor, an abusive ex-boyfriend, and matricide.
Director Jaume Balaguero expertly tackles what might initially seem like an array of unpalatable concepts, showcasing his talent particularly in the horror genre. Renowned for movies like “[REC]” and its sequels, he focuses more on building tense atmospheres and evoking strong emotions rather than relying excessively on graphic violence. The movie ends with a shocking plot twist that leaves many viewers gasping for breath. As Eye For Film puts it, Balaguero masterfully portrays evil in a way that is both brutally realistic yet magnificently executed.
Baby Blood
It’s challenging to find premises more extraordinary than “Baby Blood,” a 1990 French film. The story revolves around a pregnant woman (Emmanuelle Escourrou), subjected to abuse by her circus-owning husband, who crosses paths with an alien entity that infiltrates her unborn child’s body. This intruder takes over control of the baby while demanding continuous sustenance through human blood and offering frequent critiques of her actions, as well as outlining a strategy for its own escape.
In the film “Baby Blood,” Escourrou tirelessly caters to her parasitic entity, often drenched in blood throughout. If it were merely a gruesome spectacle, this movie would quickly fade from memory. However, the bond between the talkative alien and its host evolves into an eerie portrayal of motherhood, with Escourrou prioritizing her “baby’s” needs over her own. Upon its American release as “The Evil Within,” viewers witnessed a heavily edited version that boasted a special feature – Gary Oldman lending his voice to the alien entity. Both editions can now be enjoyed on Blu-ray.
Should you or someone close to you be experiencing domestic abuse, feel free to reach out to the National Domestic Violence Hotline at 1-800-799-7233. You can also explore further details, helpful resources, and assistance on their official website.
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2024-10-26 14:31