It's sick! It's twisted! It's House of 1,000 Corpses, and it's more fun than a wholesome bowl of "Agatha Crispies"! Dropped by two studios (Universal and MGM) and doomed to obscurity until Lions Gate Films gave it a limited theatrical release, Rob Zombie's gonzo horror flick is a blood-spattered throwback to the gore-fests of the 70s, lending new meaning to the term "box-office gross". Most critics misunderstood this unbridled exercise in graphic style and violence, but for devoted horror buffs it's a refreshing rebuttal to the comparatively "polite" frights of the post-Scream era. While paying homage to The Texas Chainsaw Massacre, Last House on the Left, Motel Hell and other gory classics, Zombie's ramshackle plot (two young couples are terrorized by an inbred family of homicidal maniacs) lacks a crucial sense of dread, but his pastiche of vivid colours, grainy fetish-films and photo-negative imagery is guaranteed to hold your attention. A bona-fide cult item, this House is definitely worth a visit. if you dare. -Jeff Shannon.

Christopher Lee, long Hammer Studios' house villain, takes a rare heroic turn as scholar and occultist Duc de Richleau, the kind of role that Peter Cushing had made his métier. Lee plays Richleau with a dark elegance and intensity-he is a commanding figure with a trim goatee who discovers that the son of a war buddy has joined a satanic cult lorded over by the quietly malevolent Mocata (Charles Gray, best known as the narrator in The Rocky Horror Picture Show). Director Terence Fisher, working from a literate script by genre scribe Richard Matheson, creates a strikingly handsome period piece (set in 1920s rural England) dripping in dread as Richleau and Mocata battle for the souls of two young lovers on both physical and spiritual planes. The action scenes are well handled and the towering Lee cuts quite a figure leaping through hoards of robed devil worshippers to save a sacrificial victim, but the film peaks in an eerie supernatural battle in which Richleau and his sceptical party confronts Mocata's demons while protected in a giant pentagram. The effects are coarse and dated by today's standards, but the gorgeous period detail, vivid colour and unsettling imagery create a sinister ambience, and Fisher's mix of psychodrama and swashbuckling action makes for an engrossing thriller, a life-and-death struggle between two masters of the forces of light and darkness. -Sean Axmaker.

By Tom Baker's third season in the role the actor had become firmly established in the minds of many fans as the definitive Doctor. First broadcast in early 1977, "Robots of Death" follows on directly from "Face of Evil", which was writer Chris Boucher's debut and also that of Louise Jameson's Leela, the Doctor's most shapely companion (a kind of Neanderthal Seven of Nine if you will). Boucher's second Who story concerns an isolated mining ship on which a series of inexplicable deaths take place-although as the Doctor opines, "nothing is inexplicable, only unexplained". The Doctor and Leela inevitably become embroiled in events, which soon turn into a sci-fi murder-mystery: imagine Isaac Asimov crossed with Agatha Christie in a Frank Herbert Dune-like setting. Add an undercover robot sent by "the company" and the claustrophobic, not to say deadly setting of the mining ship and there is a fascinating foreshadowing of Alien, too. It is tightly plotted, intelligent Saturday teatime entertainment (something that was possible then but is now an unthinkable oxymoron) with a typically strong cast of redoubtable thesps in supporting roles (not to mention extravagant costumes and garish make-up). There may be no Daleks or Cybermen, but this is vintage Who nevertheless. -Mark Walker.

For all the slasher pictures that have ripped off Psycho (and particularly its classic set piece, the "shower scene"), nothing has ever matched the impact of the real thing. More than just a first-rate shocker full of thrills and suspense, Psycho is also an engrossing character study in which director Alfred Hitchcock skilfully seduces you into identifying with the main characters-then pulls the rug (or the bathmat) out from under you. Anthony Perkins is unforgettable as Norman Bates, the mama's boy proprietor of the Bates Motel; and so is Janet Leigh as Marion Crane, who makes an impulsive decision and becomes a fugitive from the law, hiding out at Norman's roadside inn for one fateful night. -Jim Emerson.

Okay, you knew everyone in high school was just a little different: everyone looked at you strangely, the teachers were freaky, and you never could find the right groove to fit into. What if it turned out that it was all because your school was inhabited by creepy aliens from outer space? That's the enjoyably cheesy B-premise for this fun and scary flick from the pen of Scream's Kevin Williamson, the master of the post-modern teen horror film. Directed by Robert Rodriguez (El Mariachi), it's The Breakfast Club meets Invasion of the Body Snatchers, as six disparate students from Herrington High School band together when they discover that an alien life form is invading both the student and faculty bodies, with plans to take over the world. Each of the heroes represents a different high school type: popular babe (Jordana Brewster), picked-on geek (Elijah Wood), goth girl (Clea DuVall), sensitive jock (Shawn Hatosy), new kid in town (Laura Harris), and bad-boy rebel (Josh Hartnett). The plot isn't much-a basic kill-or-be-killed premise spiked with a healthy shot of paranoia-but Willliamson and Rodriguez do a great job of building the tension slowly but surely. The suspense set pieces are genuinely frightening, and the film pokes fun at itself without deflating its scares; Williamson is a master at shifting gears from comedy to horror quickly and adroitly. The young cast doesn't have a weak link among them (with special kudos to Wood, DuVall and heartthrob-in-the-making Hartnett), and Rodriguez gets maximum mileage from the titular faculty, which includes Jon Stewart, Piper Laurie, Salma Hayek, Bebe Neuwirth, and Robert Patrick of Terminator 2. Go to the head of the class, Mr. Williamson. -Mark Englehart.

Invasion of the Body Snatchers is considered one of the best science fiction films of the 1950s and 1960s. The classic paranoid thriller was widely interpreted as a criticism of the McCarthy era, which was characterised by anti-Communist witch-hunts and fear of the dreaded blacklist. Some hailed it as an attack on the oppressive power of government as Big Brother. However viewers interpret it, this original 1956 version of Invaders of the Body Snatchers (based on Jack Finney's serialised novel The Body Snatchers) remains a milestone movie in its genre, directed by Don Siegel with an inventive intensity that continues to pack an entertaining wallop. Dr. Miles Bennell (Kevin McCarthy) is unconcerned when the townsfolk accuse their loved ones of acting like emotionless impostors. But soon the evidence is overwhelming-Santa Mira has been invaded by alien "pods", which are capable of replicating humans and taking possession of their identities. It's up to McCarthy to spread the word of warning, battling the alien invasion at the risk of his own life. Look closely and you'll find future director Sam Peckinpah (an uncredited cowriter of this film) making a cameo appearance as a meter reader! -Jeff Shannon.