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The Greatest Horror Movies of All-Time IndieWire 3 hrs ago Products featured are independently selected by our editorial team and we may earn a commission from purchases made from our links. [Editor’s Note: The below piece was originally published on October 23, 2018. It has been expanded from the 100 greatest horror movies of all time to the 120 greatest as of April 10, 2021.] More from IndieWire Why does it feel like horror movies are always undervalued? One thing’s for certain: In this age of geekery reigning supreme, critics and academics no longer dismiss the genre as disreputable with the kneejerk regularity some once did. But even now there’s talk of “elevated horror,” of artier explorations of dread and terror Ari Aster’s “Hereditary” and Luca Guadagnino’s “Suspiria” being two very recent examples that are clearly distinguished from, well, non-elevated horror. The idea being that they engage your brain more than just sh ....
Samuel Fuller (1912-1997) carried in him the very spirit of American independent filmmaking. A longtime New Yorker and lifelong workhorse he began as a newspaper copyboy at age 12, was a crime reporter by 17, wrote his first of a dozen pulp novels at 22 – with titles like Test Tube Baby and Burn Baby Burn – his first of many screenplays at 24, fought in the United States Infantry in the Second World War, and began his directorial career – which would total 26 films across four decades – in 1949 with the western I Shot Jesse James. A maverick in the confines of b-production his work spanned genres and styles but often sprang from the worlds of pulp violence, tabloid expose, and social protest, drawing from his journalistic sense and experiences on the crime beat, as well as war stories, which he would explore in films set in Europe, Korea, and Vietnam. ....
Show People (1928) to Quentin Tarantino’s elegiac Once Upon a Time In Hollywood (2019) films about Hollywood, and by extension Los Angeles, have been there from the start of movies and continued in various guises throughout its multifarious history, often with tongue planted firmly in cheek. Throughout the sixties and early seventies several films were produced that spoke of the end of Hollywood as a creative enterprise, that is, as a field in which artists could examine their emotions and ideas and their response to the contemporary world – a civilization in crisis that they sought to describe or explore in depth from within. From Pier Paolo Pasolini’s ....