31 DAYS TO SCARE - 2026
I love a horror film. Be it schlocky, classic, groan-inducing, scream-producing, high tech, low budget, or plain crazy, there isn’t much in the genre I won’t see.
Every day in October, you can expect a horror film review, and I’m hoping you’ll get introduced to a few you haven’t heard of.
OCTOBER 1
Joy Ride (2001)
Joy Ride looked on the surface like a typical teen horror throwaway, but it turned out to be one of the most surprisingly scary films of 2001. After premiering at the Toronto International Film Festival, it hit theaters that October with good buzz and, rarer still, good reviews. With star power from the late Paul Walker, Steve Zahn, and Leelee Sobieski (not to mention a script co-written by J.J. Abrams), this road thriller follows a group of friends who run afoul of a trucker who goes by the name Rusty Nail. Director John Dahl doesn't shy away from brutal violence or a grim ending, though the hard-to-find Blu-ray has plenty of alternate endings if you want something happier. Best of all, it holds up 25 years later.
OCTOBER 2
Aliens (1986)
Seven years after Alien turned a spaceship into a haunted house, James Cameron sent in the Marines. Aliens is an astonishing action sequel, piling on desperate firefights, narrow escapes, and creatures that make heavy artillery feel woefully inadequate. But Sigourney Weaver gives it something even better than firepower. Her Ellen Ripley is frightened, furious, and fiercely protective, with an emotional life that makes every dangerous decision matter. That Best Actress Oscar nomination was earned long before she climbed into the power loader. Bill Paxton’s glorious panic and James Horner’s propulsive score add to the excitement, but Weaver owns the showdown. I’ll always choose the Special Edition for its richer portrait of Ripley. “This time, it’s war.” And this time, the sequel comes out swinging.
OCTOBER 3
Practical Magic (1998)
Based on Alice Hoffman's 1995 bestseller, Practical Magic follows Sally and Gillian Owens (Sandra Bullock and Nicole Kidman), sisters raised by their eccentric aunts (Stockard Channing and Dianne Wiest) under a family curse: any man who loves an Owens woman is doomed to die young. When Gillian's dangerous boyfriend ends up dead, a little spell to fix things goes very wrong. Is it scary? Not really. But it's the perfect cozy pick for anyone who wants a Halloween movie without the nightmares, and I'll gladly accept it. Griffin Dunne's film leans more Steel Magnolias than The Witches of Eastwick, but midnight margaritas, a killer cast, and those autumn vibes make it easy to forgive. Now that the sequel is here, I can't wait to catch up with the Owens women.
OCTOBER 4
Upgrade (2018)
I caught Upgrade weeks into its theatrical run, knowing almost nothing about it, and left wondering why nobody had insisted I go sooner. Logan Marshall-Green plays a technology skeptic left paralyzed after an attack that kills his wife. An experimental implant called STEM restores his mobility, then offers assistance that goes well beyond walking. His revenge mission becomes a vicious tug-of-war between human instinct and machine efficiency. Writer-director Leigh Whannell, who co-created Saw, finds gruesomely inventive ways to make that partnership work, while Marshall-Green sells the horror of watching his own body outpace him. The fights are fast, strange, and frequently shocking. It’s a bloody blast with a nasty question running through it: how much control would you surrender to get your life back?
OCTOBER 5
Sweeney Todd (2007)
A murderous barber and a pie-shop owner with flexible ideas about ingredients: Stephen Sondheim knew how to serve a horror musical. Tim Burton’s Sweeney Todd gives Johnny Depp a razor and Helena Bonham Carter a rolling pin, then lets revenge become a profitable business. Depp’s Oscar-nominated performance turns Todd’s grief into a dangerous obsession, while Bonham Carter makes Mrs. Lovett both pitiful and appallingly funny. Sondheim’s brilliant songs let the jokes and the horror share the same breath. I wish Burton trusted physical scenery more; the digital London often looks too artificial to feel threatening. Thankfully, the performances supply the menace. The blood flows freely, the meat pies sell nicely, and the laughs may leave you wondering what’s wrong with you. Dinner and a show, anyone?
OCTOBER 6
A Perfect Getaway (2009)
Bring up A Perfect Getaway with a group of film fans and anyone who's seen it will light up and say, "I love that movie... but DON'T spoil it." Dear reader, I would never. Here's all you need to know: newlyweds Cliff and Cydney (Steve Zahn and Milla Jovovich) are hiking to a remote Hawaiian beach when word spreads that a couple has been murdered on another island. Along the trail they meet Nick and Gina (Timothy Olyphant and Kiele Sanchez), plus a pair of sketchy hitchhikers, one of them a pre-Thor Chris Hemsworth. Everyone has secrets. Everyone looks guilty. Writer/director David Twohy knows exactly what you expect from terror in paradise, and he plays with it beautifully. Think you've got it figured out? That's the fun. Watch it, then keep your mouth shut.
OCTOBER 7
The Last Voyage of the Demeter (2023)
André Øvredal has a strong track record with horror films that know how to dole out their scares, so it's no surprise The Last Voyage of the Demeter is nice and spooky. Slicing off a single chapter of Bram Stoker's Dracula, the doomed ship carrying the count to England, it leans on a strong cast, a moody period setting, and the legend itself. Since we all know how this voyage ends, the suspense takes a hit, and at two hours it gets repetitive. Ninety minutes could have let out some extra air without taking the wind out of its sails. I never bought that the crew couldn't find the creature on a cramped ship in broad daylight, but the cast plays such smart, brave sailors that you go with it. Effects are solid, and the mostly nighttime setting makes it a great lights-off watch...so your companions can't see you jump.
OCTOBER 8
Day of the Dead (1985)
George A. Romero’s Day of the Dead was his personal favorite of the series, but for me it’s the least enjoyable of the original trilogy. You can tell Romero set out to make something special, only to be done in by casting and a smaller budget. The setting is fantastic: an underground bunker (shot in Pennsylvania’s Wampum limestone mine) that gives the movie serious ambiance. Tom Savini’s gore effects are some of the best of his career, gruesome, stomach-churning marvels worth seeing on their own. The trouble is the people. Much of the film is survivors screaming in each other’s faces, which I know is Romero’s point about how even the living can’t work together. Still, the histrionics get so distracting you start hoping Savini has something extra horrible saved for them. The dread of a never-ending zombie nightmare is there, but this time the impact doesn’t last.
OCTOBER 9
Christine (1983)
With a new take on Stephen King’s Carrie premiering this week, it’s the perfect time to revisit the King adaptation nobody talks about enough: John Carpenter’s Christine. It gets lost in Carpenter talk too, and I’ll never understand why. Keith Gordon plays Arnie, a bullied nerd who buys a rusted-out 1958 Plymouth Fury and starts fixing her up. The better she looks, the worse he gets, and anyone who crosses either of them ends up roadkill. Yes, the killer is a car, but this mean old thing is truly hell on wheels. Watching Christine rebuild herself on screen still drops my jaw, and Carpenter’s pulsing score and Donald M. Morgan’s cinematography make that fire-red frame downright menacing. Add a strong cast full of up-and-comers and you’ve got a dandy that belongs at the top of the list.
OCTOBER 10
The First Power (1990)
I can’t tell you how many times I watched The First Power on VHS and cable. It doubled its budget but was still seen as a letdown given Lou Diamond Phillips’ star power, and watching it now, I see why it took a beating and why it thrived on home video. Writer/director Robert Resnikoff nails the mood, and the cast takes the material REALLY seriously, so seriously you almost have to laugh when nobody blinks at the corny dialogue. It can’t decide if it’s dark and dangerous (an executed serial killer returns to possess random victims) or goofy (one host is a homeless woman with Beetlejuice’s comic timing). The bright spot is Tracy Griffith as a psychic stuck with Phillips’ bumbling, testosterone-fueled cop. Even as a kid, I wished the movie was all hers. Pricey Blu-ray copies prove it still has a hold on its fans.
OCTOBER 11
The Gift (2015)
Is The Gift an unoriginal title? Sure. Is it an engrossing thriller from writer/director/co-star Joel Edgerton? You better believe it. Jason Bateman and Rebecca Hall play Simon and Robyn, a couple starting fresh in Los Angeles when they run into Gordo (Edgerton), Simon’s old high school classmate. Soon Gordo is dropping by unannounced with gifts. Robyn thinks he’s harmless. Simon isn’t so sure, and when he tells Gordo to back off, things unravel fast, digging up secrets and debts too big to ever repay. In his directorial debut, Edgerton wisely lets Bateman and a terrific Hall lead the way in a tight, taut suspense thriller, the kind studios rarely make anymore. Made for $5 million, it pulled in $58 million worldwide, proof audiences still want them. Twisty and unsettling, it offers no easy answers for what happens when bad behavior goes unchecked.
OCTOBER 12
Hellraiser (1987)
Inspired by his own 1986 novella The Hellbound Heart, Clive Barker’s Hellraiser is a sadomasochistic supernatural nightmare that still packs a mean, gory punch nearly forty years later. Honestly, the franchise (nine sequels and a reboot so far) has never much interested me, but revisiting the original, I see how ahead of its time it was and why it became a surprise hit in 1987. In his debut as writer and director, Barker is often rough around the edges. Beyond Doug Bradley’s Pinhead and Ashley Laurence’s Kirsty, the cast isn’t much to write home about, and some bad dubbing will pull you right out of the moment. Still, Barker knows how to conjure pure nightmare fuel. Hellbound: Hellraiser II arrived a year later to fill in the blanks of a burgeoning mythology, but the original stands on its own as a horror classic with grotesqueries around every corner.
OCTOBER 13
Wolf (1994)
The week after Speed bolted to the top of the box office, it was knocked off by Mike Nichols’ Wolf, which tells you everything about the star power of Jack Nicholson and Michelle Pfeiffer in 1994. A secretive production had audiences dying to see what the pair would cook up. The answer: more romance than werewolf horror. Nicholson plays a Manhattan book editor bitten by a beast just as his career and marriage hit the skids. As the wolf inside him claws its way out, he falls for his boss’s feisty daughter (Pfeiffer), and the bodies start piling up. Is it him, or is something else stalking the woods? It’s a bit herky-jerky, but with James Spader, Christopher Plummer, and Kate Nelligan along for the hunt, it’s classy, grown-up horror, light on gore and heavy on character, that only Nichols could deliver.
OCTOBER 14
Kiss the Girls (1997)
By 1997 I was a huge fan of James Patterson’s Alex Cross novels, and like a lot of readers, I scratched my head when Hollywood started with book two instead of 1993’s Along Came a Spider. We all agreed that Morgan Freeman was the only choice to play the D.C. detective in the film version of Kiss the Girls. With its freaky murderer chasing women around tunnels and underground chambers, this is the scarier of his two Cross outings. Ashley Judd plays one of several women abducted by a serial killer, and after she escapes, she teams up with Cross to hunt down the man who also has his niece. The platonic chemistry between Judd and Freeman and a twisty plot that stays close to the book made it a big hit. It’s a shame Freeman stopped after 2001’s Along Came a Spider, because Tyler Perry’s repugnant Alex Cross and Prime Video’s better-received Cross haven’t filled his shoes.
OCTOBER 15
Species (1995)
I walked past that Species teaser poster so often in the summer of 1995 that I was dying to know what was lurking inside its creepy cocoon. The answer: a creature grown from a genetic code beamed in from outer space, designed by none other than Alien’s own H.R. Giger. She can look human when she wants to, taking the form of a young Michelle Williams and then, in her first major role, a frequently naked Natasha Henstridge. Her mission? Mate. Their mission? Stop her first. “They” are a quirky team played by Ben Kingsley, Michael Madsen, Alfred Molina, Forest Whitaker, and Marg Helgenberger. Director Roger Donaldson updates those ’50s invaders-from-space flicks with slick, gooey fun. It’s not out to win Oscars, just to entertain, and with popcorn, soda, and candy in hand, that’s exactly what summer movies are for.
OCTOBER 16
Urban Legend (1998)
I owe you all an apology. I’ve been doing 31 Days to Scare for over a decade, and I’m only NOW getting to 1998’s Urban Legend? It’s one of my favorite Scream-era slashers and, if you’ll forgive me, a cut above the rest. From a spooky opening that riffs on the “flashing headlights” myth to an over-the-top finale (stay through the credits!), it blends late ’90s college horror with ’80s camp better than almost anything from the era. The cast mixes fresh faces with stars straight off popular TV, and Freddy himself, Robert Englund, turns up as a folklore professor. Red herrings are served in abundance, along with plenty of nods to horror classics and their legendary stars. The 2000 sequel, Urban Legends: Final Cut, isn’t as strong, but its ending is a treat. Rumors of a Scream-style reboot keep swirling, and if any film from this era deserves one, it’s this.
OCTOBER 17
Sleep Tight (Mientras duermes, 2011)
Get ready to be creeped out in a major way. If you’ve ever felt like you weren’t alone at home, or noticed something wasn’t quite where you left it, the 2011 Spanish thriller Sleep Tight (Mientras duermes) is going to give you nightmares. After REC and REC 2, director Jaume Balagueró wanted a break from handheld camerawork, so he made this elegant, unnerving suspense film full of shocks and surprises. Luis Tosar plays César, the concierge of a Barcelona apartment building. He’s all smiles on the surface while he meddles in the residents’ lives, saving his worst for cheerful tenant Clara (Marta Etura). He chloroforms her and does unspeakable things to her, her food and her toiletries. The dread never lets up because you never know how far the script will go. He’s pure evil, and the film’s scariest and smartest move is that it never explains why.
OCTOBER 18
Crimson Peak (2015)
Guillermo del Toro waited almost a decade to make Crimson Peak, his gothic horror film for Universal, and trust me, the wait was worth it. He co-wrote it with Matthew Robbins, drawing on the haunted house and monster movies Universal made a cottage industry of in the ’30s and ’40s. A healthy $55 million budget bought him immaculate production design and a strong cast: Mia Wasikowska, Tom Hiddleston, Jessica Chastain and Charlie Hunnam. With that kind of originality and epic reach for the dark and ghoulish, it should have blown the doors off the competition. Instead it wasn’t a smash. It became another del Toro curio, loved by his fans and largely ignored by everyone else. That’s a shame, because few films of its time had visuals this enticing or ambition this big. It’s spooky, and it’s perfect as we tip into the final stretch of October.
OCTOBER 19
Gremlins 2: The New Batch (1990)
Gremlins 2 has always been a bit of a curiosity to fans of the 1984 smash. It’s a big change in tone from the original, which became an unexpected holiday thrill despite opening in June. But it’s also exactly what we want from a sequel: it thinks outside the box and lets its returning characters grow up while running into familiar trouble. Billy, Kate and Gizmo are back, and Gizmo is as cute as ever (so is Phoebe Cates... swoon!). This time the Gremlins take over a high-tech Manhattan skyscraper, and they’re wacky mischief makers more than straight-up scary ones. A lot of the high-concept humor went right over my head at 10, but now I laugh hard and appreciate the big swing. I wish the studio had given this one the same reverence as the first. At least a third film is finally arriving in October 2028!
OCTOBER 20
Heather O’Rourke: She Was Here (2026)
After rewatching Poltergeist and realizing all three films in that franchise have already been covered for 31 Days to Scare, I wanted to spotlight its most recognizable face: Heather O’Rourke. She was just five when she filmed the first movie and only 12 when she died from complications of congenital intestinal stenosis. The 2026 documentary She Was Here covers that tragic loss, but it’s also about how fully she lived in her too-short time. Her mother, sister and school friends describe a girl who rarely complained about feeling sick or tired and had an open heart for everyone. Craig T. Nelson, JoBeth Williams, Linda Purl and Poltergeist III director Gary Sherman remember a tiny pro who showed up prepared and eager to learn. Everyone agrees on the real tragedy: she never got to grow up and fulfill the talent that was there from the start. It isn’t a horror film, but it will shake any parent who realizes some things are simply out of their control.
OCTOBER 21
The Last of Sheila (1973)
Here’s a trivia question that stumps plenty of theater and movie fans: what 1973 whodunit was written by Stephen Sondheim and Anthony Perkins? The answer is Herbert Ross’s The Last of Sheila. A year after his wife is killed in a hit-and-run, a movie producer invites six Hollywood friends onto his yacht for a murder mystery game, and every clue points to a secret one of them is hiding. It’s overlong and talky (I’d expect nothing less from a Sondheim script), but it’s a blast if you know your ’70s Hollywood gossip and can spot who each star is playing a thinly veiled version of. The mystery is almost beside the point, though I forget every time just how twisted it gets. Dyan Cannon is a hoot, and Raquel Welch stage whispers every line. Glass Onion borrowed plenty, even giving Sondheim a cameo. It’s a fun relic of Hollywood’s bronzed tan era.
OCTOBER 22
The Crush (1993)
Guilty pleasure doesn’t even begin to describe how I feel about 1993’s The Crush. It’s the movie that introduced us to Alicia Silverstone, who was 15 during filming, before she became forever linked to three unforgettable Aerosmith music videos. By horror standards it’s pretty tame, basically a teen version of Fatal Attraction. Cary Elwes plays a hapless writer who picks the wrong guesthouse to rent. It’s owned by a wealthy family whose daughter (Silverstone) is used to getting whatever she wants. When he rejects her advances, she spirals fast and sets out to destroy his life, both personally and professionally. It’s the most PG-13 R-rated movie you’ll ever see, and it probably would have done better business if it had trimmed itself down to the more accessible rating. Still, it’s a harmless diversion with a cool poster and a soon-to-be Clueless star.
OCTOBER 23
Scream 2 (1997)
I was in the theater on December 12, 1997, when Scream 2 premiered, and I can still feel the buzz cycling through the room before our 8pm show. Next door, the 7:15 crowd was yelping, laughing and applauding, which only made our sold-out audience louder. When the lights finally went down, eight days shy of a year after the original rewrote the book on horror, we sat enthralled by the further adventures of the Woodsboro survivors and played another round of “Who’s behind the mask?” Wes Craven and Kevin Williamson delivered, starting with a terrific opening that out-metas the original. From then on, it was anybody’s guess who was slicing and dicing across a college campus. Like all good sequels, the body count is higher, the clues are harder to spot, and the killer’s identity and motives are even more diabolical. It’s my favorite sequel in the series because it still feels fresh, and nobody involved truly understood what they had. Happier times, for sure... but what a scream!
OCTOBER 24
Popcorn (1991)
Fans of the Scream franchise owe it to themselves to dig into 1991’s Popcorn, a meta, wink-at-the-audience slasher that beat Ghostface to the punch by five years. A group of film students throws an all-night horror marathon at a crumbling old movie palace, complete with the kind of gimmicks William Castle would love: a giant mosquito buzzing over the crowd for Mosquito, buzzers wired into the seats for The Attack of the Amazing Electrified Man, and “Odorama” for The Stench. Then a strange cult film called Possessor turns up, and someone starts picking off the audience while wearing a fresh disguise for every kill. Scream queen Jill Schoelen and E.T.’s Dee Wallace bring real ’80s horror cred, with Ray Walston and Tony Roberts along for the fun. It doesn’t take itself too seriously, but it takes the genre very seriously, and that’s what makes it a blast. Grab a bucket and settle in.
OCTOBER 25
It Follows (2014)
Is there anything creepier than a terror that can’t be stopped? How about one you can’t see coming until it’s too late? That’s the nightmare at the heart of David Robert Mitchell’s supremely scary It Follows. The premise is simple and sinister. A shape-shifting entity is passed from person to person through sex, and it walks, slowly and relentlessly, toward whoever has it. The only way out is to sleep with someone else and pass it on. If it catches them, though, it comes right back down the line for you. The film works as a metaphor for knowing who you’re with, but it’s never preachy. Maika Monroe is terrific as Jay, detached but determined. Mitchell fills the edges of every frame with dread, so you’ll scan every background stranger, and Disasterpeace’s pulsing synth score cranks the tension even higher. It’s heady stuff, and it’s hard to shake. Good news: Mitchell and Monroe are back for the sequel, They Follow, which has already wrapped filming.
OCTOBER 26
Friday the 13th Part 2 (1981)
Released less than a year after the original, Friday the 13th Part 2 is where Jason officially enters the picture. He wouldn’t get his hockey mask until Part III the next year, but with a sack over his head and a single eyehole cut out, he’s still the stuff of nightmares. After an opening that ties up the last loose end from the first film with an ice pick, the story jumps ahead five years to a new counselor training camp on Crystal Lake, right next door to the abandoned one. A fresh batch of horny young counselors sets Jason off on another rampage, and yes, it’s basically a repeat of what audiences saw a year earlier. It doesn’t matter much, because director Steve Miner gives his overstuffed cast a moment to shine before each gets a grisly sendoff. The MPAA butchered the film too, cutting 48 seconds of Carl Fullerton’s gore effects. Seen now, those shots seem tame next to what slips by with a PG-13. One thing nearly everyone agrees on: Amy Steel’s Ginny is one of the best Final Girls in the whole franchise. It’s a suspenseful sequel and a perfect double feature with the original.
OCTOBER 27
As Above, So Below (2014)
I’ve never been to Paris, but I’ve seen enough movies about the Catacombs to know that when I finally go, I’m staying on the lit path and never wandering off alone. That’s exactly what a group of should-know-betters does in As Above, So Below, chasing a legendary stone said to grant eternal life. Their treasure hunt leads them deep underground into a hellscape where their worst memories come back to haunt them, and something even worse waits as they try to find a way out. Written by brothers John Erick and Drew Dowdle, it blends handheld camerawork, practical effects and CGI seamlessly. It was also the first production allowed to shoot in both the public and off-limits sections of the real Catacombs, which makes it feel all the more claustrophobic and real. The Dowdles know how to build a scare, and they stage several whoppers. It holds up on repeat viewings. Turn off all the lights for this one, if you’re brave!
OCTOBER 28
The Devil’s Backbone (2001)
After a disappointing Hollywood experience making Mimic, Guillermo del Toro was feeling deflated. So he went back to Spanish-language filmmaking and pulled out a script he’d written before his 1993 debut, Cronos. He rewrote most of it, and the result is one of the all-time great ghost stories. It’s 1939, in the final days of the Spanish Civil War, at a remote orphanage that shelters the sons of Republican fighters. An unexploded bomb sits in the middle of the courtyard, a constant reminder of the war closing in. The ghost of a boy named Santi wanders the halls. He isn’t there to destroy anyone. He’s a tragic reminder of a crime someone wants buried. That’s what I love about Spanish-language horror: emotion comes before the scare. The monsters and ghosts usually have a reason for their rage, and a deep sadness hangs over everything. Del Toro still knows how to scare the pants off you, but this one will move you, too.
OCTOBER 29
Z (2019)
Thinking about Z takes me right back to the uneasy early days of COVID, when we were all stuck at home peeking through the blinds and wondering when we’d see our friends again. This Canadian chiller hit Shudder in May 2020, right as lockdowns were settling in, so it took a few months for people to notice. When they did, it became a word-of-mouth hit for its taut pacing, skillful direction and bold scares. Keegan Connor Tracy plays a mom who grows uneasy when Z, her young son’s imaginary friend, starts getting violent. At first she blames the boy for the mishaps. Then she realizes Z is real, and the revelations only get worse. Director Brandon Christensen, who co-wrote it with Colin Minihan, drops in one scare so devious, so wrong, and so out of nowhere that you’ll want to pause just to collect yourself. Tracy plays it close to the vest as a mother who may already know the answers. Lights off, and see how far you get.
OCTOBER 30
Fear (1996)
Fear was a landmark for me: the first R-rated movie I ever bought a ticket for, at the Mall of America, no less. I wasn’t 17 yet, but I said I was! I wanted to feel like an adult, which isn’t so different from Reese Witherspoon’s Nicole in this thriller from the late James Foley. Tired of being Daddy’s little girl, she falls for David (Mark Wahlberg, fresh off his Calvin Klein ads and Marky Mark days), and what starts out sweet and tender turns deadly as his jealousy and need for control spiral. Soon he’s stalking her friends and family to get to her, and he isn’t above hurting them. The first time David kills someone in his way, reality sinks in, especially for a teenager realizing how fleeting life can be. Some of the cruelty is still hard to watch. William Petersen, Amy Brenneman and Alyssa Milano are all strong, but Witherspoon and Wahlberg make this toxic bond believable and scary.
OCTOBER 31
The Exorcism of Emily Rose (2005)
Few films give me the shivers just thinking about them, but 2005’s The Exorcism of Emily Rose gets me every time. Director Scott Derrickson’s film is terrifically scary, and it’s even more chilling because it’s loosely based on a real case. As a genre film, it fills my cup in more ways than one. First, there’s the terror. Jennifer Carpenter plays a college student whose convulsions and visions are blamed on epilepsy until a priest decides it’s something else. Hers is a physically harrowing performance that makes you wonder how she survived it. Then there’s the courtroom thriller, as that priest is tried after the exorcism ends in tragedy. It stretches logic, but Laura Linney, Tom Wilkinson, Campbell Scott and Colm Feore are so good you buy it anyway. Derrickson went on to make more limit-testing films, burning images into your retinas so they stay with you even with your eyes closed. With this one, he succeeded.
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