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mrepstein · 6 years ago

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Brian Epstein’s Address & Telephone Book

A small leather bound pocket address and telephone book that was owned and used by Brian Epstein. The book dates to 1967 and it consists of pages of addresses and telephone numbers some of which are typed, some of which are in Epstein’s hand and some which have been added by hand on his behalf. // (click HERE to view more pages from the book)

The book contains a total of 404 entries - a selection of them are listed below:

ATV Ltd

ABC Television Ltd

AIR London Ltd.

Tom Arnold Ltd

Neil Aspinall

Artistes Car Hire

Annabels [nightclub]

Alexander’s Restaurant

Ashley Steiner Famous [talent agency]

Al Aronowitz

Atlantic Records

Eric Andersen

Bob Anthony

Bryce Hanmer & Co [accounting firm]

Bedford, Okrent & Co

BBC Television Centre

BBC Broadcasting House

Al Brodax

Cilla Black

Mr. & Mrs. Tony Barrow

Mr. & Mrs Don Black

Bryan Barrett

Jack Barclay Ltd [Bentley dealership]

Peter Brown

Mr. & Mrs. B. Bullough

Mr. & Mrs J. Bullough

Miss J. Balmer

Mr. &. Mrs. Ivan Bennett

Eric Burdon

Francisco Bermudez

Lionel Bart

David Bailey

Bag O’Nails

Tony Barlow

Ray Bartell

Rodney Barnes

Bruno One Restaurant

Sid Bernstein

Kenn Brodziak

Leonard Bernstein

Al Bennett

Beverly Hills Hotel

Brian Bedford

Scotty Bower

David Ballman

Bob Bonis

Bill Buist

Arthur Buist

Dr. Norman Cowan

Curzon House Club

Crockfords Club

Clermont Club

Cromwellian Club

Paddy Chambers

Radio Caroline

Michael Codron

Cap-Estel Le

Mr. & Mrs. J. Cassen

Columbia Pictures Ltd

Eric Clapton

Capitol Records Mexico

Michael Cooper

Roger Curtis

Neil Christian

Maureen Cleave

Thomas Clyde

Cash Box

CBS Records Ltd

Denny Cordell

William Cavendish

Caprice Restuarant

David Charkham

Capitol Records

Columbia Broadcasting System

Bob Crewe

May Cunnell

Car Hire Co. for Lincoln

Dr. Kenneth Chesky

Capitol Records (Voyle Gilmore)

Irving E. Chezar

Danny Cleary

Bobby Colomby

Bob Casper

Andre Cadet

Daily Express

Disc & Music Echo

Decca Records

Bernard Delfont Ltd

Bernard Delfont

Noel Dixon

Jimmy Douglas

Chris Denning

Simon Dee

Rik Dane

Dolly’s [nightclub]

Hunter Davies

Terry Doran

Pat Doncaster

Norrie Drummond

Alan David

John Dunbar

Peter Dalton

Kappy Ditson

Robert Dunlap

Robert L. David

Diana Dors

Ivor Davis

Tom Dawes

Brandon de Wilde

Don Danneman

Malcolm Evans

Clive J. Epstein

Mr. & Mrs. H. Epstein

EMI Records Ltd

EMI Studios

Geoffrey Ellis

Etoile Restaurant

Tim Ellis

Terry Eaton

Kenny Everett

John East

Bob Eubanks

Esther Edwards

Ahmet Ertegun

Alan Freeman

David Frost

Georgie Fame

Robert Fraser

Andre Fattacini

Dan Farson

Billy Fury

Barry Finch

Marianne Faithfull

Robert Fitzpatrick

Warren Frederikson

John Fisher

Danny Fields

Francis Fiorino

Dr. Geoffrey Gray

Hamish Grimes

Derek Grainger

Rik Gunnell

Rik Gunnell Agency Ltd

Derrick Goodman & Co.

Peter Goldman

Christopher Gibbs

David Garrick

Geoffrey Grant

Mick Green

John P. Greenside

Michael Gillet

General Artists Corp.

John Gillespie

Voyle Gilmore

George Greif

Ren Grevatt

Milton Goldman

M. Goldstein

Gary Grove

Henry Grossman

Mr. & Mrs. Berrell Hyman

Doreen Hyman

Mr. & Mrs. Basil J. Hyman

Mrs. A. Hyman

Steve Hardy

H. Huntsman & Son Ltd

Simon Hayes

Frankie Howerd

Henry Higgins

Chris Hutchins

Tony Howard

Wendy Hanson

Marty Himmel

Casper Halpern

John Heska

Ricky Heiman

Joe Hunter

Ty Hargrove

Hullabaloo.

Walter Hofer

M.A. Jacobs & Son

David Jacobs [lawyer]

Dick James Music Ltd

Mr. & Mrs. D. James

Mick Jagger

Brian Jones

Michael Jeffries

Drummond Jackson

David Jacobs [d.j.]

Brian Joyce

Gerry Justice

Gibson Kemp

Johnathan King

Mr. & Mrs Maurice Kinn

Kingsway Recording Studios

Ashley Kozac

Kafetz Camera Ltd.

Reg King

Andrew Koritsas

Ed Kenmore

Walker Kundzicz

John Kurland

Murray Kauffman

Larry Lamb

Martin Landau

Kit Lambert

Dick Lester

Mr. & Mrs. Vic Lewis

Tony Lynch

Radio London

Mike Leander

John Lyndon

Bernard Lee

Kenny Lynch

Denny Laine

Lomax Alliance

Ed Leffler

David G. Lowe

Richard W. Lean

Goddard Lieberson

Laurie Records

Liberty Records

London Records

Alan Livingston

Melody Maker

Peter Murray

Keith Moon

Mr. & Mrs. G. Martin

Mr. & Mrs. Brian Matthew

Midland Bank Limited

Vyvienne Moynihan

Gerry Marsden

Ian Moody

Michael McGrath

Cathy McGowan

Mr. & Mrs. J. McCartney

Albert Marrion

Robin Maughan

Peter Maddok

Gordon Mills

Brian McEwan

John Mendell Jnr.

Marshall Migatz

Fred Morrow

Chruch McLaine

Vincent Morrone

Jeffrey Martin Co.

Gavin Murrell

Dean Martin

Gordon B. McLendon

Sal Mineo

Scott Manley

Bernard Mavnitte

Verne Miller

John Neville

Joanne Newfield

Tommy Nutter

Francisco Neuner

Tatsuji Nagasima

New Musical Express

NEMS Enterprises Ltd

Graham Nash

Nemperor Artists Ltd

Louis Nizer

Bob Nauss

Gene Narmore

George H. Ornstein

Olympic Sound Studios

A. L. Oldham

Myles Osternak

Roy Onsborg

Col. Tom Parker

Jerry Pam

Plaza Hotel

PAN AM. rep

Bob Perlman

Allen Pohju

Robert H. Prech

John Pritchard

Prince Of Wales Theatre

Don Paul

Sean Phillips

Jon Pertwee

Ricki Pipe

Dr. D. A. Pond

David Puttnam

David Puttnam Associates

Tom Parr

Harry Pinsker

Kenneth Partridge

Larry Parnes

Priory Nursing Home

Viv Prince

Steve Paul

Radnor Arms [pub]

Leo Rost

Keith Richard

Record Mirror

Dolly Robertson-Ward

Charles Ross

Rules Restuarant

Marian Rainford

Bobby Roberts

Bill Rosado

Vic Singh

Speakeasy [club]

Simon and Marijke

Simon Shops

Judith Symons

Keith Skeel

Tony Sharman

Simon Scott

Barrie Summers

John Singleton

Squarciafichi

Don Short

Dr. Walter Strach

Walter Shenson

John Sandoe Ltd

Bobby Shafto

Harry South

Brian Sommerville

Robert Stigwood

David Shaw

Chris Stamp

Aaron Schroeder

Stephen, Jacques & Stephen [law firm]

Leo Sullivan

Gene Schwann

Herb Schlosser

Gary Smith

Jim Stewart [co-founder, Stax Records]

John Simon

Jerry N. Schatzberg

Lex Taylor

Robert Shoot

Lauren Stanton

St. Regis Hotel

Eric Spiros

Howard Soloman

Taft Limousine Corp

[Sidney] Traxler (lawyer)

T.W.A. Ken S. Fletcher [director, public relations, TWA]

Derek & Joan Taylor

T.W.A. (Victor Page)

Martin Tempest

Evelyn Taylor

Twickenham Studios

Kenneth Tynan

Alistair Taylor

F. T. Turner & Son Ltd.

R. S. Taylor

Michael Taylor

George Tempest

Norm Talbott

United Artists Corp Ltd

U.P.I.

Klaus & Christine Voormann

V.I.P. Travel Ltd

Mark Warman

Gary Walker

Robert Whitaker

Peter Watkins

Peter Weldon

Mrs. Freda Weldon

Alan Warren

Orson Welles

Sir David Webster

Alan Williams

Dennis Wiley

Terry Wilson

Nathan Weiss

Norman Weiss

Gerry Wexler

Murial Young

Bernice Young

Peter Zorcon

#Brian Epstein #handwriting #60s

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rauthschild · 4 years ago

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Satan Sneakers With Human Blood Join Aztec War Gods And Hitler Culture Overtaking America

By: Sorcha Faal,

A very worrisome new Security Council (SC) report circulating in the Kremlin today first notes Foreign Ministry spokeswoman Maria Zakharova blasting NATO Secretary General Jens Stoltenberg’s claims Russia is reluctant to hold a dialogue, with her stating: “All such statements by Mr. Stoltenberg to the effect Russia refuses to hold a dialogue are not true…They are lies...A very specific discussion was proposed, with the aim of not drifting away towards politicized PR affairs, something our Western partners are notorious for...There was a proposal for holding a concrete discussion, with experts, including military ones, taking part, on a wide range of problems...He may fumble through the papers, find them and stop spreading disinformation about Russia’s alleged refusal to conduct a dialogue...Russia does refuse to participate in a preplanned PR campaign...This is certainly not for us...As far as a concrete discussion is concerned - let me stress once again, with military experts taking part - nobody will ever refuse to hold it, because we were the ones who addressed you with this proposal”.

Then in assessing this blatant disinformation, this transcript shows Security Council Members concluding its being orchestrated by Supreme Socialist Leader Joe Biden—whose US Intelligence Community has been discovered flouting laws as it increasingly involves itself in domestic politics—beyond all belief, yesterday saw Biden appointing Richard Torres-Estrada to be the first-ever “Chief of Diversity and Inclusion” over all US Special Forces—and is remarkable because Torres-Estrada compared President Donald Trump to Adolf Hitler while calling him “a fucking moron" and "an idiot surrounded by clowns”—which means he’s the last type of person anyone would think of placing into a position of leadership over elite American soldiers.

Most specifically because unlike their new “Chief of Diversity and Inclusion” leader Torres-Estrada, all elite US Special Forces officers receive extensive education about Adolph Hitler at their West Point Military Academy in classes conducted by Dr. David Frey—who teaches these elite combat officers about how Hitler surrounded himself with German Shepherd dogs as a symbol of power—teaches how Hitler was a powerful socialist tyrant and leader of the National Socialist German Workers' Party (aka Nazi Party)—teaches how Hitler enacted gun laws to disarm his opponents and Jewish citizens in order to destroy them—teaches how Hitler rigged elections so his Nazi Party could stay in power—and teaches the truth that the most notorious environmentalists in history were the German Nazis.

Unlike President Trump, though, socialist leader Biden exhibits every one of these attributes of Hitler—which brings into further clarity the historical research book “Hitler’s Monsters: A Supernatural History of the Third Reich” written by Dr. Eric Kurlander and published by Yale University Press in 2017—and in one religious scholarly review about notes: “Again and again, the figures in Kurlander’s book, from minor Nazi officials all the way up to Hitler, seem to have almost no sense that the human will has limits, or that reality should place a check on the kinds of weapons they hope to design, or on the theories they hope to be true”.

Critical to notice in the rise of socialist leader Hitler and his Nazi Party, as Dr. Kurlander documents, is that it was accompanied by nearly all of the people in Germany going insane—an insanity of supernatural evil that saw the German people, most particularly their elites, turning away from their centuries of Christian heritage and own nation’s history—today under socialist leader Biden is being evidenced again in America—and is best exampled in the socialist Democrat Party stronghold State of California, where its Department of Education has proposed a new curriculum that would involve teachers leading students in chanting the names of Aztec gods in an effort to build unity in the classroom.

As to why anyone of sound mind would have children chanting the names of Aztec gods whose demonic history is exposed in historic research articles like “Feeding The Gods: Hundreds Of Skulls Reveal Massive Scale Of Human Sacrifice In Aztec Capital” staggers belief—but one should notice that this is occurring in an America where 666 pairs of $1,000 custom “Satan” sneakers containing a drop of human blood are frantically being bid on today.

And as likewise was exhibited in Nazi Germany when its people went insane, this evil warping of American culture does include mind-bending bizarre occurrences—with this being best exampled today by the Sesame Street characters Elmo and his friend Wes, who had a lovable conversation about how the color of ones fur didn’t make them any different—though when famed artist George Alexopoulos made a cartoon of Hitler saying the exact words Elmo used, the leftist social media site Instagram instantly banned it for violating its community standards—and saw this insanity being followed by socialist leader Kamala Harris joining with known rapist President Bill Clinton at an “Empower Women” event—that caused Clinton rape victim Juanita Broaddrick to post the message: “Is this a fucking joke…..This pervert ........ who raped me....is going to talk about empowering women....with a woman who spread her legs for power”—though for most of the normal Americans watching this socialist insanity, it saw them simply asking Harris: “Wasn’t Epstein available?”. [Note: Some words and/or phrases appearing in quotes in this report are English language approximations of Russian words/phrases having no exact counterpart.]

https://www.brighteon.com/49f503ae-39b0-40c4-922f-000722d88018

Demonic supernatural socialist insanity sweeps through America today like it did in Nazi Germany a century before.

According to this report, one of the many normal persons knowing the truth about the supernatural origins of the socialist insanity sweeping through America is Father David Fulton, the pastor of St. Joseph’s Catholic Church in Constance-Nebraska—and is why, on 6 January, he traveled to Washington D.C. to pray and perform an exorcism at the US Capitol—but for doing so, Father Fulton was informed this week that he now faces expulsion from the church for what he did.

As to why a Christian religious leader in America faces expulsion from his church for doing what his faith led him to do, this report notes, was explained by famed comedian-actor Adam Carolla, who said this week that when comedians are afraid of the backlash from “the woke mob” then “you know they have gotten to everybody”—and exactly stated: “Professors and cops and politicians; they caved…Now, the fact that comedians have caved meant they got to everyone…If comedians are scared, then everyone is scared because they were really our last hope…They are the last sort of truth-tellers in society”.

For the grave danger facing truth-tellers in America, this report details, is exampled by SUNY Geneseo College student Owen Stevens, who was suspended for saying the obvious truth that “A Man Is A Man, A Woman Is A Woman”, and had to get a court order to allow him back into school—further sees Bishop Ready High theology instructor Deborah DelPrince being fired from her 20-year teaching job because she wrote “I can’t breathe’ — that’s not necessarily true…But it perpetuates a myth against police” about the death of George Floyd—a death the Security Council conclusively documented happened to this career criminal due to a drug overdose—a truth about the death of this career drug abusing criminal also known to Duke University, but who warned all their students this week that if any of them even mention the factual toxicology report proving there was a cocktail of drugs in Floyd’s system which likely caused or contributed to his breathing problems and death, they would be immediately investigated for “Discrimination and Harassment”.

While viewing this socialist insanity, this report continues, it caused Kimberley Strassel of the Wall Street Journal to write in her article “Yellow Journalism Turns Blue” the suggestion that: “Perhaps it is time to introduce “blue journalism”—the new media practice of abandoning standards to work seamlessly with the progressive left against any opposition”—a suggestion that couldn’t be more timely, as the leftist Washington Post is now publishing deranged articles from so-called experts recommending that 3-month-old babies begin racist training—a level of socialist insanity too much for the Australian reporter, who this week slammed the “Weekend at Biden’s” administration as being a joke—and most certainly a level of socialist insanity too much for the British policeman, who this week published on behalf of all normal people his heartfelt resignation letter “I’m Done Britain”, wherein, in part, he wrote:

I’m a cop of 20 years’ service and I’m done with it.

I’m done with duplicitous liars and twisters of the truth in Parliament, who destroyed policing to further their own careers.

I’m done with those charlatans and snake-oil salesmen and women who spread their bile. Whose acid eats away at society, its values and future. I’m done with the utter lack of consequences of their corruption.

I’m done with the duplicitous liars and twisters of truth in the media and ‘journalism’ with their spin, lies, misrepresentation and half-truths.

I’m done with their 24-hours news, their Twitter echo chambers, their pile-on tactics and agendas, to invent the next big story or extend the life of the old one. I’m done with their sickening pretence that they are on some crusade to make the world a better place.

I’m done with the socially corrosive special-interest groups who want to be top of the victimhood ladder and are prepared to burn the world and anyone different to them, to ensure they are heard above anyone else. Their constant screaming for attention and ever more fantastical claims that bear no scrutiny, but which they know they will never be challenged on, because, you know, ‘cancel culture’.

I’m done with the Soviet-era scale of bureaucracy that stops me doing my job, the projects that strangely never fail, the nepotism in the promotion boards, and the boys’ and girls’ clubs in policing that look after each other, no matter how incompetent, and screw everyone else who isn’t in their gang.

I’m done with the anxiety, the anger, the constant state of heightened arousal in case of danger, even when I should be feeling safe in my own home. I’m done with the corrosive damage to my physical and mental health, sacrificed for a country and public, serving both in green and blue for a country that couldn’t give a toss.

I’m done with the deaths, the suffering, the violence, the dishonesty, the predatory behaviour and all the other public faeces that you ask us to clean up

I’m done with the indescribable levels of frustration, rage, hate and despair that all the above has filled my life with, when all I wanted to do was look after the good people and lock up the bad.

Sort your own mess out, or don’t and let it all collapse around you.

I’m done and I really don’t care anymore.

https://rumble.com/vf2byf-australian-reporter-thinks-biden-admin-is-a-joke-weekend-at-bidens.html

In a further example of the socialist insanity sweeping through America, this report points out, it bears noticing that, on 10 March, the Free State of Texas leader Governor Greg Abbott ended the mask mandate for his citizens—and upon hearing Abbott’s announcement on 2 March, socialist Democrats and their leftist corporate media lapdogs warned that death and destruction were imminent—demented Dr. Anthony Fauci called the decision “inexplicable”—socialist leader Biden called it “Neanderthal thinking”—failed US Senate and presidential candidate Beto O’Rourke called it a “death warrant for Texans”—and socialist tyrant California Governor Gavin Newsom said it was “absolutely reckless”—but two weeks later, the State’s COVID-19 hospitalizations have decreased by 21 percent, and the rolling average number of daily new cases decreased by almost 2,199 over the past two weeks, a 36 percent drop.

The importance of knowing about these insane socialist leaders, their leftist media lapdogs, and the fear mongering lies they tell, this report concludes, is because it makes understandable why the ratings of leftist news outlets CNN and MSNBC are crashing to historic lows—a fact fearfully noticed by the leftist Washington Post in their article “Trump Predicted News Ratings Would 'Tank iI I'm Not There.' He Wasn't Wrong”—a fact noticed by Yale University, who fired their psychiatrist that declared President Trump mentally unfit—a fact noticed by America’s largest leftist newspaper USA Today, who fired their “race and inclusion” editor after she disparaged white people—and a fact noticed by socialist Democrat Party leader US Senator Bernie Sanders, who jumped to the defense of President Trump against the leftist social media banning him to warn: “Tomorrow It Could Be Somebody Else”—and though these are hopeful signs of America winning out in the end against this demonic socialist insanity, the main battle still be fought is described in the just published article “When The Powerful Say Truth Is A Lie And Lies Are The Truth, No One Will Stand Up For America But You”, that says:

For the past year here in Washington, D.C., as well as in cities and states across the country, we’ve been told not to gather with our friends, neighbors, and family, not to worship God with our parishes, and not to visit our sick or elderly loved ones.

We’ve even been told not to admire outdoor beauty, with the National Park Service’s Tuesday announcement that they will be choking off the number of people permitted to admire the cherry blossoms around the Tidal Basin this spring.

And every single day we are subjected to more base lies disguised as lofty truths. Breathing freely without two masks is selfish. Staying indoors is good for your neighbors. Our differences are what make us a community. We are all in this together.

Powerful black people are oppressed and poor white people are privileged.

QAnon is marching on Washington and the Ku Klux Klan is right behind every door.

Men are women, women are men, and pregnant women make great professional soldiers.

Power-grabs are voting rights. Election integrity threatens “the bedrock of American democracy.”

Joe Biden is an historic visionary.

“War is peace.”

“Democracy dies in darkness.”

Except that last one is true.

The problem, of course, is while corporate media were excited to scream it from the rooftops during President Donald Trump’s four years in office, at a time the most powerful people in the country are insisting the truth is a lie and their lies are the truth, many of our best-known reporters are not merely absent, they’re complicit.

Thursday afternoon, when the president took questions for the first time in more than nine weeks, PBS’s Yamiche Alcindor, for example, asked how the president deals with the tension of attracting ungovernable masses of illegal immigrants to the border after being “elected as a moral, decent man.” Instead of rolling their eyes, two more reporters referentially played off her questions.

Will Biden run for re-election in four years, another reporter queried. Will Vice President Kamala Harris be his running mate? Why isn’t he moving faster to smash the tools designed to protect the Senate’s minority party?

“How far,” AP’s Zeke Miller asked at the top of the presser, “are you willing to go to achieve those promises that you made to the American people?”

We already know the answer to that question because the Democratic Party has made it abundantly clear they will go as far as they physically can.

They will come into our schools, they come into our churches, they will come into our social media, our place of employment, our private company, our home, and our family.

The real question is: How far will we let them come?

Because no one else is going to stand up for us.

0 notes

aion-rsa · 4 years ago

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Best Horror Movies Streaming on HBO Max

https://ift.tt/2G6IjxE

Editor’s Note: This post is updated monthly. Bookmark this page and come back every month to see the new horror movies on HBO Max.

What ever would we do without horror?

So much of our day to day life is built around logic and known, verifiable facts, and for some, the rest of the time must be supplemented with comforting reassurances that everything is going to be alright. Well if the last year has taught us anything… that’s not the case. Perhaps this is why horror hounds know the best way to face abstract fears is to confront them head on… and preferably with a screen in the way.

So, with Halloween around the corner, we figured it’s time to get in touch with our illogical, terrified animal brain. That’s where horror and horror movies in particular come in. Gathered here are the best horror movies on HBO Max for your scaring needs.

Alien

“In space, no one can hear you scream,” the tagline for Ridley Scott’s 1979 sci-fi/horror epic promised. Well maybe they should have screened this thing in space because I’m sure all that audiences in theaters did was scream.

Alien has since evolved into a heady, science fiction franchise that has stretched out for decades. The original film, however, is a small-scale, terrifyingly claustrophobic thriller.

Altered States

What if you could tap into the vast swaths of the brain you never use? What if you did and didn’t like what we found? And what if it was an absolute psychedelic rush of a cinematic experience?

All three questions are answered in their own way during Ken Russell’s Altered States, a wild sci-fi thriller. In the film, William Hurt stars as a psychologist who begins experimenting with taking hallucinatory drugs while in a sensory depravation tank.

Yes, he manages to expand his consciousness; he also begins to expand his physical body as it transforms beneath his skin. Or does it? Well that’s yet another good question…

An American Werewolf in London

Arguably the definitive werewolf movie, John Landis’ 1981 horror masterpiece has the single greatest on-screen lycanthropic transformation in movie history… and that’s only one of its appeals.

Peppered with loving references to the werewolf movies that came before it and a few legitimate laughs to go along with the scares, An American Werewolf in London is remarkably knowing and self-aware, without ever flirting with parody.

Not enough can be said about Rick Baker’s practical effects, which extend beyond the aforementioned on-screen transformation and into one of the most gruesome depictions of a werewolf attack aftermath you’re ever likely to see. A classic of the era, it still can get under the skin whenever Griffin Dunne’s mutilated corpse rises from the grave to warn his friend to “beware the moon.”

New Line Cinema

Blade II

Perhaps Guillermo del Toro‘s schlockiest movie, there’s still great fun to be had by all in Blade II. As a sequel to the 1998 vampire actioner that starred Wesley Snipes as the titular “daywalker,” Blade II builds on the lore of the first film and its secret underground society of bloodsuckers who Blade must do battle with.

However, del Toro heightens both the Gothic lunacy of it all, as well as the horror quotient. Truly there are few sights as gross in vampire lore as Luke Goss’ Nomak, a new type of monster whose face opens like a flower, revealing a gaping hole of fangs and tongue…

The Brood

I bet you never thought placenta could look so tasty, but when Samantha Eggar’s Nola Carveth licks her newborn clean you’ll be craving sloppy seconds within the hour. She brings feline intuition to female troubles. We get it. Having a new baby can be scary. Having a brood is terrifying. Feminine power is the most horrifying of all for male directors used to being in control.

David Cronenberg takes couples therapy one step too far in his 1979 psychological body-horror film, The Brood. When it came out critics called it reprehensible trash, but it is the writer-director’s most traditional horror story. Oliver Reed plays with mental illness like Bill Sikes played with the kids as Hal Raglan, the psychotherapist treating the ex-wife of Frank Carveth (Art Hindle). The film starts slow, unfolding its drama through cuts and bruises.

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Cronenberg unintentionally modifies the body of the Kramer vs. Kramer story in The Brood, but the murderous munchkins at the external womb of the film want a little more than undercooked French toast.

Carnival of Souls

Carnival of Souls may be the most unlikely of chillers to appear in the Criterion Collection. Hailing from the great state of Kansas and helmed by commercial director Herk Harvey, who was looking for his big break in features, there is something hand-crafted about the whole affair. There’s also something unmistakably eerie.

The story is fairly basic campfire boilerplate, following a woman (Candace Hilligoss) who survives a car crash but is then haunted by the sound of music and visions of the ghoulish dead–beckoning her toward a decrepit carnival abandoned some years earlier–and the acting can leave something to be desired. But the dreadful dreamlike atmosphere is irresistible.

With a strong sense of fatalism and inescapable doom, the film takes an almost melodic and disinterested gait as it stalks its heroine to her inevitable end, presenting images of the walking dead that linger in the mind long after the credits roll.

The Conjuring 2

Making an effective, truly spooky mainstream horror film is hard enough. But The Conjuring franchise really nailed things out of the gate with a sequel that is every bit as fun and terrifying as the original.

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Patrick Wilson and Vera Farmiga return as paranormal investigators Ed and Lorraine Warren in The Conjuring 2. This time the Warrens head to Great Britain to attend to the Hodgson family, dealing with some poltergeist problems in their Enfield home. The source of the Enfield haunting’s activity contains some of the most disturbing and terrifying visuals in the entire Conjuring franchise and helped to set up a (sadly pretty bad) spinoff sequel in The Nun.

Doctor Sleep

Let’s be up front about this: Doctor Sleep is not The Shining. For some that fact will make this sequel’s existence unforgivable. Yet there is a stoic beauty and creepy despair just waiting to be experienced by those willing to accept Doctor Sleep on its own terms.

Directed by one of the genre’s modern masters, Mike Flanagan, the movie had the unenviable task of combining one of King’s most disappointing texts with the opposing sensibilities of Stanley Kubrick’s singular The Shining adaptation.

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And yet, the result is an effective thriller about lifelong regrets and trauma personified by the ghostly specters of the Overlook Hotel. But they’re far from the only horrors here. Rebecca Ferguson is absolutely chilling as the smiling villain Rose the Hat, and the scene where she and other literal energy vampires descend upon young Jacob Tremblay is the stuff of nightmares. Genuinely, it’s a scene you won’t forget, for better or worse….

Eraserhead

“In Heaven, everything is fine,” sings the Lady in the Radiator in Eraserhead. “You’ve got your good things, and I’ve got mine.”

You may get something short of paradise, but the insular world David Lynch created for his 1977 experimental existential horror film is a land of mundane wonders, commonplace mysteries, and extremely awkward dinner conversations. Lynch’s first feature film is surrealistic, expressionistic, and musically comic. The minor key score and jarring black and white images bring half-lives to the industrial backdrop and exquisite squalor. At its heart though, Eraserhead is poignant, sad, and ultimately relatable on a universal level.

Jack Nance’s Henry Spencer is the spiky-haired everyman. He works hard at his job, cares deeply for his deformed, mutant child, and is desperate to please his extended family. Lynch lays a comedy of manners in a rude, crude city. The film is an assault on the senses, and it might take a little while for the viewer’s brains to adjust to the images on the screen; it is a different reality, and not an entirely inviting one, but stick with it. Once you’re in with the in-laws, you’re home free. When you make it to the end, you can tell your friends you watched all of Eraserhead. When they ask you what it’s about, you can tell them you saw it.

Eyes Without a Face

“I’ve done so much wrong to perform this miracle,” Doctor Génessier (Pierre Brasseur) confesses in the 1960 horror film Eyes Without a Face. But he says it in French, making it all so much more poignant, allowing it to underscore everything director and co-writer Georges Franju did right. We feel for the respectable plastic surgeon forced to do monstrous things. But the monster behind the title character is his young daughter Christiane (Édith Scob). She spends the majority of the film behind a mask, even more featureless than the unpainted plastic Captain Kirk kid’s costume Michael Myers wore in Halloween. The first time we see her face though, the shock wears off quickly and we are more moved than terrified.

Like Val Lewton films, the horror comes from the desolate black-and-white atmosphere, shrouding the claustrophobic suspense in German Expressionism. Maurice Jarre’s score evokes a Gothic carnival as much as a mad scientist’s laboratory. After his daughter’s face is hideously disfigured in an accident, Dr. Génessier becomes obsessed with trying to restore it. We aren’t shown much, until we’re shown too much. We see his heterograft surgical procedure in real time. A woman’s face is slowly flayed from the muscle. The graphic scenes pack more of a visceral shock after all the encroaching dread.

From Dusk Till Dawn

Some movies have such a gonzo left turn between acts that audiences will either go with it or throw their popcorn at the screen in disgust. For most viewers, including us, Robert Rodriguez and Quentin Tarantino’s From Dusk Till Dawn is happily the former. An absolutely wild mash-up of the gangster genre that both filmmakers were redefining in the 1990s and the type of schlocky grindhouse thrills they worshipped at 1970s drive-ins, From Dusk Till Dawn is one of the strangest and most satisfying vampire movies ever made.

Culture

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By David Crow

Movies

Robert Rodriguez Explains From Dusk Till Dawn Ending, El Mariachi Origins

By David Crow

With a story that improbably pairs Tarantino and George Clooney as on screen brothers, the flick recounts how the duo’s notorious Gecko Brothers kidnap a nice Christian family ruled by a doubting pastor (Harvey Keitel) in order to sneak across the Mexican border. But once there, the strip club they choose to spend the night in has the unfortunate gimmick of being run by ancient vampires, including Salma Hayek as the Queen of the Undead. It’s batshit good fun, and a far better tribute to grindhouse cinema than the Grindhouse double-feature the same filmmakers would partner on a decade later.

Godzilla

As the original and by far still the best Godzilla movie ever produced, this 1954 classic (originally titled Gojira), is one of the many great Showa Era classics that the Criterion Collection and HBO Max are making readily available to American audiences. And if you want to watch one that is actually scary, look no further.

Movies

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By Don Kaye

Movies

Godzilla 1998: What Went Wrong With the Roland Emmerich Movie?

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In this original uncut Japanese form, the movie’s genuine dread of nuclear devastation, as well as nightly air raids, less than 10 years since World War II ended in several mushroom clouds, is overwhelming. Tapping into the real cultural anxiety of a nation left marred by the memory of its dead, as well as the recent incident of a fishing crew being contaminated by unannounced hydrogen bomb testing at Bikini Atoll, Godzilla encapsulates terror for the atomic age in a giant lizard. But unlike the sequels there is nothing cuddly or amusing about this original Kaiju with its scarred body and legion of tumors. This is the one Godzilla movie to play it straight, and it still plays today.

The Invisible Man

After years of false starts and failed attempts at resurrecting the classic Universal Monsters, Universal Pictures finally figured out how to make it work: They called Blumhouse Productions.

Yep, Jason Blum’s home for micro-budgeted modern horror worked wonders alongside writer-director Leigh Whannell in updating the classic 1933 James Whale movie, and the H.G. Wells novel on which it is based, for the 21st century.

Movies

How Jason Blum Changed Horror Movies

By Rosie Fletcher

Movies

How The Invisible Man Channels the Original Tale

By Don Kaye

Turning the story of a man who masters invisibility into a horrific experience told from the vantage of the woman trying to escape his toxic violence, The Invisible Man becomes a disquieting allegory for the #MeToo era. It also is a devastating showcase for Elisabeth Moss who is compelling as Cecilia, the abused and gaslighted woman that barely found the will to escape, yet will now have to discover more strength since everyone around her shrugs off the idea of her dead ex coming back as an invisible man…

Lifeforce

Most assuredly a horror movie for a very acquired taste, there are few who would call Tobe Hooper’s career-destroying Lifeforce a good movie. There probably aren’t even many who would call it a fun movie.

But for those with a singular taste for batshit pulp run amok, Lifeforce needs to be seen to be believed: Naked French vampire girls from outer space! Hordes of extras as zombies marauding through downtown London! Lush Henry Mancini music over special effects way outside of Cannon Films’ budget!!! Patrick Stewart as an authority figure possessed by said naked French space vampire, trying to seduce an astronaut via makeout sessions?!

Movies

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By Ryan Lambie

Movies

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By Ryan Lambie

… What is this movie? Why does it exist? We don’t know, but we’re probably more glad it does than the people who made it.

Magic

As much a psychological case study as as a traditional horror movie, for those who like their terror rooted in humanity, Magic may be the creepiest iteration of the “killer doll” subgenre since this is about the man who thinks his dummy is alive. Starring Anthony Hopkins before he was Hannibal, or had a “Sir” in front of his name, Magic is the brain child of William Goldman, who adapted his own novel into this movie before he’d go on to do the same for The Princess Bride (as well as adapt Stephen King’s Misery), but after he’d already written Butch Cassidy and the Sundance Kid and Marathon Man.

In the film, Hopkins stars as Corky, a down on his luck ventriloquist who tries to get his life together by tracking down his high school sweetheart (Ann-Margret). She’ll soon probably wish he didn’t bother once she realizes Corky believes his ventriloquist dummy Fats really is magic… and is determined to get him to act on the most heinous of impulses.

The Most Dangerous Game

Before King Kong, Merian C. Cooper and Ernest B. Schoedsack released The Most Dangerous Game, one of the all-time great pulp movies, based on a short story by Richard Connell. This classic has influenced everything from Predator to The Running Man, The Hunger Games to Ready or Not.

It’s the story of a big game hunter who shipwrecks on a remote island with an eccentric Russian Count who escaped the Bolshevik Revolution (Leslie Banks). The wayward noble now drinks, studies, and charms his apparently frequent array of unannounced guests, including two other survivors from a previous (suspicious) wreck. The film quickly boils down to a mad rich man determined to hunt his guests as prey across the island for the ultimate thrill.

Movies

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By David Crow

Culture

Why King Kong Can Never Escape His Past

By David Crow

Man hunting man, man lusting after woman in a queasy pre-Code fashion, this is a primal throwback to adventure yarns of the 19th century, which were still relatively recent in 1932. Shot simultaneously with King Kong, this is 63 brisk minutes of excitement, dread, and delicious overacting. Let the games begin.

Night of the Living Dead

“They’re coming to get you, Barbara!”

The zombie movie that more or less invented our modern understanding of what a zombie movie is, there is little new that can be said about George A. Romero’s original guts and brains classic, Night of the Living Dead. Shot in black and white and on almost no budget, the film reimagined zombies as a horde of ravenous flesh-eaters, as opposed to a lowly servant of the damned and enchanted.

Movies

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Games

The George Romero Resident Evil Movie You Never Saw

By David Crow

Still visually striking in black and white, perhaps the key reason to go back to the zombie movie that started it all is due to how tragically potent its central conflict from 1968 remains: When strangers are forced to join forces and barricade in a farmhouse to survive a zombie invasion, the wealthy white businessman is constantly at odds with the young Black man in the group, to the point of drawing weapons…

The Others

Alejandro Amenabar (Open Your Eyes) wrote and directed this elegant ghost story. Nicole Kidman is superb as Grace, who relocates herself and her two small children to a remote country estate in the aftermath of World War II. Their highly structured life — the children are sensitive to sunlight and must stay in darkened rooms — is shattered by mysterious presences in the house.

Amenabar relies on mood, atmosphere and a few well-placed scares to make this an excellent modern-day companion to classics like The Haunting and The Innocents.

Ready or Not

The surprise horror joy of 2019, Ready or Not was a wicked breath of fresh air from the creative team Radio Silence. With a star-making lead turn by Samara Weaving, the movie is essentially a reworking of The Most Dangerous Game where a bride is being hunted by her groom’s entire wedding party on the night of their nuptials.

Movies

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Movies

Best Horror Movies on Amazon Prime Right Now

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It’s a nutty premise that has a delicious (and broad) satirical subtext about the indulgences and eccentricities of the rich, as the would-be extended family of Grace (Weaving) is only pursuing her because they’re convinced a grandfather made a deal with the Devil for their wealth–and to keep it they must step on those beneath them every generation. Well step, shoot, stab, and ritualistically sacrifice in this cruelest game of hide and seek ever. Come for the gonzo high-concept and stay for the supremely satisfying ending.

Sisters

One of the scariest things about the 1972 psychological thriller Sisters is the subliminal sounds of bones creaking and muscles readjusting during the slasher scenes. Margot Kidder plays both title characters: conjoined twins, French Canadian model Danielle Breton and asylum-committed Dominique Blanchion, who had been surgically separated. Director Brian De Palma puts the movie together like a feature-long presentation of the shower scene in Alfred Hitchcock’s Psycho. The camera lingers over bodies, bloodied or pristine, mobile or prone, with fetishistic glee before instilling the crime scenes in the mind’s eye. He allows longtime Hitchcock composer Bernard Herrmann to assault the ear.

De Palma was inspired by a photograph of Masha and Dasha Krivoshlyapova, Russian conjoined twins with seemingly polarized temperaments. There may be no deeper bond than blood, which the film has plenty of, but the real alter ego comes from splitscreen compositions and an outside intruder. The voyeuristic delight culminates in a surgical dream sequence with freaks, geeks, a giant, and dwarves. Nothing is as it seems and an out-of-order telephone is a triggering reminder.

Vampyr

A nigh silent picture, Vampyr came at a point of transition for its director Carl Th. Dreyer. The Danish filmmaker, who often worked in Germany and France at this time, was making only his second “talkie” when he mounted this vampire opus. That might be why the movie is largely absent of dialogue. The plot, which focuses on a young man journeying to a village that is under the thrall of a vampire, owes much to Bram Stoker’s Dracula as well as F.W. Murnau’s Nosferatu from some years earlier.

Yet there horror fans should seek Vampyr out, if for no other reason than the stunning visuals and cinematography. Alternating between German Expressionist influences in its use to shadows to unsettling images crafted in naturalistic light, such as a boatman carrying an ominous scythe, this a a classic of mood and atmosphere. Better still is when they combine, such as when the scythe comes back to bedevil a woman sleeping, trapping us all in her nightmare. Even if its narrative has been told better, before and after, there’s a reason this movie’s iconography lingers nearly a century later.

Wes Craven’s New Nightmare

Some do not count Wes Craven’s New Nightmare, the seventh film in the Nightmare on Elm Street saga, as actually part of the series. As a gleefully meta exercise in self-awareness and self-critique, the film shirks off continuing the narrative from the last batch of Freddy Krueger movies, the last of which had the title Freddy’s Dead. Rather writer-director Wes Craven, returning to the series for the first time as director since the original, attempts to wrestle the horror icon back from pop culture. When Craven and actor Robert Englund created Freddy in 1984’s A Nightmare on Elm Street, the fiend was a menacing, demonic child murderer. By 1994, he’d turn into a kid-friendly pop culture personality and huckster.

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With Englund on board, as well as the original film’s star in Heather Langenkamp, New Nightmare has the knotty concept of being about Langenkamp playing a version of herself: an actress who did a slasher movie 10 years ago and is still in some ways haunted by it. In real life she faced a stalker calling her at all hours of the night; in the movie, it’s Freddy. Or a Demon who’s taken the shape of Freddy… it’s complicated. The movie’s reach may exceed its grasp in terms of artistry, but at the very least Freddy was scary again for one last time. And the film’s ambition in crafting a waking nightmare of movies bleeding into our reality is still impressive.

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