Rex Reed is Steve Martin in The Thomas Edison Story!

I wholeheartedly endorse Michael Atkinson, of the Village Voice, I believe; a  champion of the outre and offbeat - plus his 'Ghosts in the Machine' is probably my all-time favorite book of essays on film.

Sure, you can call KMS heavy-handed, and the references will most likely date it something fierce, but I found it full of fine performances,and quite engrossing while simultaneously oozing with dread and despair; the editing/sound in the opening scene is ominous as hell, and worth seeing for that alone.

I stand corrected; thoughts of The Underneath and caucasian Shredders robbed me of my better judgement.  They blinded me - with Fichtner!

He was the best thing about Drive Angry too, he out-Walkens Walken in that; walking around like someone who's never been on two legs before and delivering every line with bemused contempt.

Took me forever to see Underneath, but its top-shelf Soderbergh, up there with his Lem Dobbs collaborations; Fichtner is menacing as hell, and the hospital room scene is a masterpiece of suspense.

Have you ever seen a grown man naked?

Argento's may be far more stylish, but this ranks as my favorite giallo.

For pure "oh shit" pants-wetting freaky-ness, I don't think you can top the scene from Jacob's Ladder when Elizabeth Pena's caring girlfriend is suddenly transformed into inhuman evil with a jump-cut of her bellowing "ANYBODY HOME?!" while staring directly into the camera with solid-black demon eyes. Out of the…

Oh, and who could forget the scene from Mulholland Drive when the
lovable old couple who've befriended Betty are by themselves in the back
of a cab, and suddenly the mask drops and they're flashing cryptic,
menacing smiles to one another as if they couldn't hold them in a second
longer?

One of all-time great creepy smiles comes from John Carpenter's underappreciated In the Mouth of Madness, when protagonist Sam Neill is suddenly confronted by his assistant and pseudo-romantic interest Julie Carmen, who is now host to lovecraftian monstrosities; she saunters in giving a grin that is the very…

A great scene from a movie that, for all its faults, is one of the best horror films of the '70's.  The ending is a heartbreaker, too.

My little brother, home sick from school and semi-feverish, was traumatized for a few years after watching the couch scene with me; personally, I find "Meanwhile" to be the epitome of creepiness, although there's a scene in Jacob's Ladder where Elizabeth Pena is shown with solid-black eyes for a split-second which…

The way Paul L. Smith delivers the line "You ain't seen nothing. . .yet!" alone makes this worth seeing.

As a high school kid suddenly sees the gang members in front of his locker: