While hardly a spiritual upgrade of the slasher film, this high-concept teen body-count thriller drops hints of The Sixth Sense into the smart-alec sensibility of Scream. Helmed by X Files veteran James Wong, who co-wrote the screenplay with long-time creative partner Glen Morgan, Final Destination is an often entertaining thriller marked by an unsettling sense of unease and scenes of eerie imagery. It suffers, however, from a schizophrenic tone and a frankly ludicrous premise. A high school Cassandra, Alex Browning (Devon Sawa of Idle Hands), wakes from a pre-flight nightmare and panics when he is convinced the plane is doomed. His ruckus bumps seven passengers from the Paris-bound plane, which immediately explodes into a fireball on takeoff, but fate hasn't finished with these lucky few and, one by one, death claims them. Wong brings such a funereal tone to these early scenes of survivor's guilt and inevitable doom that the already far-fetched film threatens to veer into unplanned absurdity. Thankfully, the tale loosens up with a playful morgue humour: one of the victims winds up the splattered punch line to a grim joke and elaborate Rube Goldbergesque chains of cause and effect become inspired spectacles of destruction. Final Destination is a pretty silly thriller when it takes itself seriously, and the filmmakers play fast and loose with their own rules of fate, but once they stick their tongues firmly in cheek, the film takes off with a screwy interpretation of the domino effect of doom. -Sean Axmaker On the DVD: A superb commentary from writer Jeffrey Reddick, director James Wong and producer Glen Morgan goes into great detail about the film's background. From the team's involvement with The X-Files through to the fight to keep their title "Flight 180", they're pretty candid about the movie's secrets (cameos and character names) and bringing "Death" to life. [+]

lee grant ,michael ironside,william shatner. shocking tale of a woman hating sicko who stalks a journalist. good condition.

In 1976 The Omen was a hit among critics and audiences hungry for more after The Exorcist with its mixture of Gothic horror and mystery and its plot about a young boy suspected of being the personification of the Antichrist. Directed by Richard Donner (best known later for his Superman and Lethal Weapon films), The Omen gained a lot of credibility from the casting of Gregory Peck and Lee Remick as a distinguished American couple living in England, whose young son Damien bears "the mark of the beast". At a time when graphic gore had yet to dominate the horror genre, this film used its violence discreetly and to great effect, and the mood of dread and potential death is masterfully maintained. It's all a bit contrived, with a lot of biblical portent and sensational fury, but few would deny it's highly entertaining. Jerry Goldsmith's Oscar-winning score works wonders to enhance the movie's creepy atmosphere. -Jeff Shannon, Amazon. com On the DVD: The all-new 45-minute documentary, "666: The Omen Revealed", has contributions from all the major behind-the-scenes players, including director, editor, screenwriter (who confesses the movie was only set in England because he wanted a free trip to London), producer and composer. The latter, Jerry Goldsmith, has his Oscar-winning contribution to the movie recognised with a separate feature in which he talks through four key musical scenes in the score. There's also a thought-provoking short called "Curse or Coincidence?" in which the many bizarre accidents that happened during shooting are related, including the terrible story of what happened to the girlfriend of the man responsible for designing the decapitation scene-spooky. Director Richard Donner and editor Stuart Baird provide a chatty audio commentary to the film, and the DVD package is completed by the original theatrical trailer. [+]

With an ingenious script, engaging characters, nerve-shredding suspense, genuinely frightening set-pieces and laugh-out-loud funny bits An American Werewolf in London is a prime candidate for the finest horror-comedy ever made. Americans David (David Naughton) and Jack (Griffin Dunne) are backpacking in northern England when Jack is killed by a wild beast and David is bitten. Back in London David finds himself falling in love with a nurse, Alex (played with winning charm by Jenny Agutter), and turning into a werewolf. Adding to his problems, an increasingly decomposed Jack keeps coming back from the dead, and he is not a happy corpse. The Oscar winning make-up and transformation scenes still look good and rather than send itself up Werewolf plays its horror seriously, the laughs coming naturally from the surreal situation. Naughton is engagingly confused and disbelieving, desperately coping with the ever more nightmarish world, while Landis delivers one absolutely stunning dream sequence, an unbearably tense hunt on the London Underground and a breathtaking finale. Gory, erotic, shocking and romantic, this unforgettable horror classic has it all. Tom Holland's Fright Night (1985) remixed the formula with vampires, as did Landis himself in Innocent Blood (1992). A disappointing sequel, An American Werewolf in Paris, followed in 1997. -Gary S Dalkin.

When Ridley Scott's cut of Blade Runner was finally released in 1993, one had to wonder why the studio hadn't done it right the first time-11 years earlier. This version is so much better, mostly because of what's been eliminated (the ludicrous and redundant voice-over narration and the phoney happy ending) rather than what's been added (a bit more character development and a brief unicorn dream). Star Harrison Ford originally recorded the narration under duress at the insistence of Warner Bros. executives who thought the story needed further "explanation"; he later confessed that he thought if he did it badly they wouldn't use it. (Moral: Never overestimate the taste of movie executives. ) The movie's spectacular futuristic vision of Los Angeles-a perpetually dark and rainy metropolis that's the nightmare antithesis of "Sunny Southern California"-is still its most seductive feature, another worldly atmosphere in which you can immerse yourself. The movie's shadowy visual style, along with its classic private-detective/murder-mystery plot line (with Ford on the trail of a murderous android, or "replicant"), makes Blade Runner one of the few science fiction pictures to legitimately claim a place in the film noir tradition. And, as in the best noir, the sleuth discovers a whole lot more (about himself and the people he encounters) than he anticipates. The cast also includes Sean Young, Edward James Olmos, Daryl Hannah Rutger Hauer and M. Emmet Walsh. [+]

Roger Corman produced this shameless Jaws rip-off at the height of the "nature gone wild" boom of American cinema and struck B-movie gold. Scripted by John Sayles and directed by Joe Dante, this tongue-in-cheek thriller stars Bradford Dillman (doing his best Rip Torn impression) as an antisocial mountain man and Heather Menzies as a rookie detective who race a school of mutant piranha down river. Dante and Sayles provide the requisite blood and gore for this drive-in meat market: a kids' summer camp and a waterfront amusement park await the little beasties. Along the way, riverside retiree Keenan Wynn gets his ankles stripped clean, camp counsellor Paul Bartel is chomped on the cheek by a hungry little sucker who takes to the air, and hordes of unlucky bathers are caught in the centre of a feeding frenzy. What differentiates this little gem from the legion of similar knockoffs are the satirical swipes at military arrogance and crass commercialism, Dante's energetic enthusiasm and the bursts of black humour: "Lost River Lake: Terror, horror, death. Film at 11". The culty cast also includes Invasion of the Body Snatchers' Kevin McCarthy as the hysterical scientist guarding the creatures, horror diva Barbara Steele as a devious government researcher and long-time Corman regular Dick Miller as an unscrupulous entrepreneur ("Sir, the piranha are eating the guests"). -Sean Axmaker, Amazon. com.

jeffrey combs,barbara crampton. horror tale from the creator of reanimator.

In San Francisco everyone can hear Veronica (Alien) Cartwright scream. In the ultimate urban nightmare, to sleep is to die, to be replaced by a soulless alien duplicate. Less a remake of the 1956 classic of the same name, more a fresh vision of Jack Finney's source novel, Invasion of the Body Snatchers is the archetypal story of humans supplanted by unemotional "vegetable pods". A masterstroke is the introduction of SF icon Leonard Nimoy as a very West Coast relationships guru determined to explain everything in terms of urban psychological alienation, and the story does prove more unsettling on the big city's forbidding streets. This is very much an ensemble movie, with outstanding performances from Donald Sutherland and Brooke Adams, and what proved to be the first of several key genre roles for Jeff (The Fly, Jurassic Park, Independence Day) Goldblum. With minimal effects and very little gore, but filled with unnerving camera angles and a underpinned by a chillingly effective score, the film is relentlessly suspenseful, culminating in a sequence of terrifying set-pieces and a truly spine-tingling finale. More resonant with each passing year, the story was reworked in 1993 as Body Snatchers. On the DVD: While the print is more than acceptable there is a loss of detail and some shimmering artefacts in the very dark scenes. The disc is not anamorphically enhanced, which really should be a standard DVD feature. Still, the picture is considerably ahead of VHS and the stereo sound is highly unsettling. [+]