The man who gave the world Godzilla, Rodan, Mothra, and more, Ishiro Honda was the wizard behind the Japanese monster-movie ( kaiju eiga) craze that thrilled legions of international fans in the 1950s and '60s. Ishiro Honda: King of the Monsters Featuring an appreciation by filmmaker Alex Cox Glam lesbian vamps ( Daughters of Darkness), blaxploitation bloodsuckers ( Blacula), pint-size Nordic Nosferatus ( Let the Right One In**), K-horror creeps ( Thirst), and more are now all part of an ever-growing, multinational lore that will, truly, never die.įEATURING: Dracula (1931), Dracula (Spanish-language version) (1931), Vampyr (1932), Isle of the Dead (1945), The Velvet Vampire (1971), Daughters of Darkness (1971), Blacula (1972), Nosferatu the Vampyre (1979), Fascination (1979), The Living Dead Girl (1982), The Hunger (1983)*, Near Dark (1987), Vampire's Kiss (1988), Cronos (1993), Blood & Donuts (1995)**, Dracula: Pages from a Virgin's Diary (2002), Let the Right One In (2008)**, Thirst (2009), A Girl Walks Home Alone at Night (2014) Ever since Bela Lugosi set the standard for sinister sophistication with his iconic performance in Tod Browning's 1931 classic Dracula, filmmakers have been relentlessly reimagining and redefining the vampire myth as a delivery system for primal fear, edgy eroticism, and potent social commentary. Scary yet seductive, the vampire has inspired more fascination than just about any other creature in horror history. Curated by Clyde Folley, this ghastly tour through the decade of greed features ambitious art-pulp hybrids ( White of the Eye), a Hitchcock-inspired trucker movie ( Road Games), old-fashioned creature features ( Q: The Winged Serpent), a vampiric Nicolas Cage ( Vampire's Kiss), and absolutely unclassifiable cult oddities ( Society), bringing together some of the eighties' most stylish, haunting, and outrageous visions.įEATURING: Inferno (1980), The Strange Case of Dr. While established talents such as John Carpenter ( Prince of Darkness), Tobe Hooper ( The Funhouse), David Cronenberg ( Scanners), Michael Mann ( The Keep), and Paul Schrader ( Cat People) brought terrifying spectacles to the screen, often with the help of Hollywood studios, home video opened up a new market that allowed the independents to take the genre to unexpected and-in the case of the UK's censorship of infamous "Video Nasties"-controversial new heights. Innovations in practical effects made the nightmares more vivid than ever, and thanks to the rise of home video, the call was now coming from inside the house. The 1980s were defined by style and excess, and the era's horror movies were no exception.
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