Virgin Classic Horror. In the tradition of "The Raven", an earlier Poe movie this black comedy set in a Funeral Director's has laughs along with the darkness.

An ultracreepy blend of horror and fantasy (think of it as Beauty and the Bugs) from Mexican director Guillermo del Toro (Cronos) about giant cockroaches in the subway tunnels beneath Manhattan. Like its DNA-altered spawn (the title refers to the way some insects evolve to resemble their predators), Mimic is not your everyday bug picture, but a more poetic (though quite gruesome) sort of film, literally crawling with bizarre, striking images. In this case, the mutant bugs are not the result of evil atomic experiments (as in Them!), but are the unexpected side effect of work done by an entomologist (Mira Sorvino) and her Centre for Disease Control officer husband (Jeremy Northam), who, in a last-ditch effort to control a roach-carried disease epidemic that was killing children, released a genetically altered form of sterile cockroaches beneath the city. They stopped the virus, but. Also starring Charles Dutton, Giancarlo Giannini, F. Murray Abraham, and Josh Brolin. -Jim Emerson.

Martin Cruz Smith's bestselling mystery novel seemed ideal material for a movie version, but in Gorky Park director Michael Apted and the usually reliable writer Dennis Potter couldn't quite solve the problem of taking the story from page to screen. William Hurt plays Renko, a Cold War-era Moscow police detective who must cope with both crooks and Communist party protocol as he tries to solve a murder case in the middle of one of Moscow's public parks that leaves three faceless corpses. The strands of the mystery involve corruption, American money and the fur trade and, ultimately, take Renko to New York. But the tension is never all there, despite a deliciously menacing performance by Lee Marvin as the bad guy and Brian Dennehy as an American cop who becomes Renko's ally. -Marshall Fine.

The secret to "getting" Tim Burton's Sleepy Hollow is appreciating that it's the film he's wanted to make his whole life. After the intimately expressive Edward Scissorhands, this is his most personal venture. Burton's Gothic style-apparent through all his work-stems from a childhood misspent watching the horror movies of Roger Corman, Hammer studios, and anything featuring his idol Vincent Price. For Sleepy Hollow Burton surrounded himself with his usual collaborators and friends; the production was almost entirely shot on location outside London to reunite him with key members of the crew he'd used a decade earlier in Batman, and also to capture the atmosphere of Hammer horror on its own turf. Johnny Depp's Constable Ichabod Crane warmly emulates the mannerisms and enunciation of Peter Cushing. In a prologue scene Burton plays out a long-held fantasy by pitting Depp against Christopher Lee. And it is fantasy that categorises the film throughout, from the mythical fireside telling of the Hessian Horseman's origin (a mesmerising Christopher Walken), to the bright spots of colour saturating Crane's childhood dreams (featuring Burton's real-life love Lisa Marie). These moments literally shine out amid a meticulously crafted look for the film, which underwent a bleaching process to tone things down to an almost monochrome hue. The Scooby Doo-like whodunnit plot, concerning family lineage and petty vengeance, is naturally secondary to what Burton is aiming to achieve through photography and performance, which includes expressive cameos from Michael Gambon, Michael Gough, Jeffrey Jones, and Iain McDiarmid. Yet despite all these subtleties, it's also his best action movie: the swordplay betters anything from his earlier work, while the windmill escape and subsequent coach chase is truly breathtaking in choreography and execution. [+]

The most viscerally frightening and disturbing homicidal maniac picture since The Silence of the Lambs, Seven is based on an idea that's both gruesome and ingenious. A serial killer forces each of his victims to die by acting out one of the seven deadly sins. The murder scene is then artfully arranged into a grotesque tableau, a graphic illustration of each mortal vice. From the jittery opening credits to the horrifying (and seemingly inescapable) concluding twist, director David Fincher immerses us in a murky urban twilight where everything seems to be rotting, rusting, or moulding; the air is cold and heavy with dread. Morgan Freeman and Brad Pitt are the detectives who skillfully track down the killer-all the while unaware that he has been closing in on them, as well. Gwyneth Paltrow and Kevin Spacey are also featured, but it is director Fincher and the ominous, overwhelmingly oppressive atmosphere of doom that he creates that are the real stars of the film. It's a terrific date movie-for vampires. -Jim Emerson.

Halloween is as pure and undiluted as its title. In the small town of Haddonfield, Illinois, a teenage baby sitter tries to survive a Halloween night of relentless terror, during which a knife-wielding maniac goes after the town's hormonally charged youths. Director John Carpenter takes this simple situation and orchestrates a superbly mounted symphony of horrors. It's a movie much scarier for its dark spaces and ominous camera movements than for its explicit bloodletting (which is actually minimal). Composed by Carpenter himself, the movie's freaky music sets the tone; and his script (cowritten with Debra Hill) is laced with references to other horror pictures, especially Psycho. The baby sitter is played by Jamie Lee Curtis, the real-life daughter of Psycho victim Janet Leigh; and the obsessed policeman played by Donald Pleasence is named Sam Loomis, after John Gavin's character in Psycho. In the end, though, Halloween stands on its own as an uncannily frightening experience-it's one of those movies that had audiences literally jumping out of their seats and shouting at the screen. ("No! Don't drop that knife!") Produced on a low budget, the picture turned a monster profit, and spawned many sequels, none of which approached the 1978 original. Curtis returned for two more instalments: 1981's dismal Halloween II, which picked up the story the day after the unfortunate events, and 1998's occasionally gripping Halloween H20, which proved the former baby sitter was still haunted after 20 years. -Robert Horton.

In this 1983 adaptation of Sir Arthur Conan Doyle's classic Sherlock Holmes story The Sign of Four, Ian Richardson takes his bow as the much-played grandee of Victorian detective fiction. One of the most enjoyable Holmes tales, this is a fast-paced adventure which features Holmes and Watson on a nail-biting chase through the fog-laden streets of London as they attempt to apprehend a brutal killer. While Richardson's Holmes may have been overshadowed by the more prolific contributions of Jeremy Brett he is a no less successful one, looking the part and bringing his own charismatic charm to the role. With its moody, vivid drama and raft of good performances, this story lays the groundwork upon which Jeremy Brett's later series would so brilliantly capitalise. Rich in atmosphere and successfully capturing the mystery-ridden world of Holmes and Watson, this is a welcome look back at one of the better small-screen Holmes. Fans of Holmesian trivia will note the presence of Clive Merrison, who would go on to play Holmes in the BBC's complete audio adaptations. -Danny Graydon.

a blood bath of terrifying violence directed by mike jackson 1986

Robert Altman wanted to capture a sense of what life was like in his hometown during the Depression, both in a story about the people who lived there and, more impressionistically, in the jazz that sprouted there before moving to New York. But his plot here is rambling and undramatic: A small-time hood double-crosses a vicious black gangster (Harry Belafonte) and is grabbed by him, marked for death. To save his life, the hood's dim blond wife (Jennifer Jason Leigh) kidnaps a rich politician's wife (Miranda Richardson) and spends the day driving around town with her, on the theory that the politician can convince the gangster to free her husband. Leigh is jittery, Richardson seems bored-and the lengthy jam sessions we see (involving contemporary musicians such as Joshua Redman) serve only to prolong an already slow-moving film. Possibly worth seeing for the silky menace of Belafonte, but there is little else to recommend it. -Marshall Fine, Amazon. com.