John Nolte

#5: The George Romero Zombie Quadrilogy (1968-2005) The fact that I have no idea how to pronounce “quadrilogy” certainly wasn’t going to stop me from whipping out a two dollar word in order to cheat all four of The Mighty

UPDATE: Behar responds to Angle’s flowers by once again calling her a “bitch”: “I would like to point out that those flowers were picked by illegal immigrants & they’re not voting for you, bitch.” End update. Class versus crass. Good

#6: Halloween (1978) I hate a guy with a car and no sense of humor. A nothing budget, very little blood, and no gore – but what we do have are three sympathetic lead performances, a perfectly structured screenplay, and

I have no obligation to the Democrats or progressives or unions. We’re not warriors in their cause[.] — Jon Stewart defending his anti-Beck rally You work on the message, I’ll work on the logistics. — Arianna Huffington to Jon Stewart

#7: Freaks (1932) We accept you, one of us! Gooble Gobble! In 1931, The Mighty Tod Browning (one of my favorite directors) was finally on top of the Hollywood world. Having just helped to kick the monster movie genre into

#8: The Last House on the Left (1972) How’d we get into the sex crime business anyway? My brother, Saul, a plumber, makes twice as much money as I do and gets three weeks’ vacation too. There are suspense films,

#9: The Changeling (1980) Goddamn sonofabitch, what is it you want?!? After four months of mourning the loss of his wife and daughter in a freak car accident, composer John Russell (George C. Scott) decides it’s time to put one

#10: Rosemary’s Baby (1968) To 1966! The year one! No special effects, no sensational scares, no tricks of any kind. Using little more than a perfectly calibrated tone, director Roman Polanski (who brilliantly adapted the script from Ira Levin’s novel)

Jodie Foster is a two-time Academy Award winner and one of the most respected and well-liked movie stars of our time. She minds her own business, does her job better than most and exhibits nothing but old school class in

Director Clint Eastwood’s “Hereafter” opens with a pretty amazing and terrifying sequence involving a deadly Tsunami that rips through everything including the person of a vacationing star-reporter from France, Marie LeLay (played by exquisite French actress Cecile de France). After

#11: The Hills Have Eyes (1977) There are many qualities that make for a classic horror film, but nothing enhances the emotional power of the overall experience like a director who can successfully plant a sense of pure dread deep

#12: The Night Stalker (1972) Don’t look now, baby, but Kolchak’s coming back in style. 38 years ago, on the evening of January 11th, 1972, wearing his signature porkpie hat and seersucker suit, an immortal (and bow-legged) television character strode

#13: The Orphanage (2007) If forced to boil down to a single element just what it is that makes director Juan Antonio Bayona’s feature debut so special, it would be the presence of Belén Rueda in the lead role of

“What would you like to see change?” “The current administration!” Below you’ll find a few choice snips from Mike Appelstein’s terrific interview with The Velvet Underground’s Maureen “Moe” Tucker, who disappointed aging left-wing hipsters everywhere when she dared step off

#14: Abbott and Costello Meet Frankenstein (1948) Lon Chaney Junior’s Lawrence Talbot: “Every night when the moon is full, I turn into a wolf.” Lou Costello’s Wilbur: “You and twenty million other guys.” By the time 1948 rolled around, Bud

#15: The Ring (2002) “What about the person we show it too? What happens to them?” As we reach the heart of my top ten you’re going to discover that (for the most part) the purer the horror the more

#16: Evil Dead 2: Dead By Dawn (1987) “Groovy.” This masterpiece mix of horror and slapstick gave whole new meaning to the term “eye candy” and forever cemented co-writer/director Sam Raimi’s status as a unique talent on the rise. There

If establishment comedian Jon Stewart didn’t have the professional dignity to express embarrassment after the President of the United States personally endorsed his upcoming October 30th, Mock-The-People left-wing political rally, no one should be surprised over Stewart’s willingness to unashamedly

#17: An American Werewolf In London (1981) “Stay on the road. Keep clear of the moors.” After delivering Animal House and The Blues Brothers, writer/director John Landis could pretty much make whatever film he wanted and what he wanted was

**UPDATE: Technical issues on this post have been resolved** #18: Near Dark (1987) “The night has a price.” For a time, during the late eighties, I would set an 8 hour VHS tape to record whatever was broadcast overnight on

Give “C.S.I.” Executive Producer Anthony Zuiker credit for agreeing to walk into the buzz-saw that is Laura Ingraham when she smells b.s. Laura’s unfailingly polite and complimentary to the producer, but she’s also skeptical and more than a little incredulous.

#19: Henry: Portrait of a Serial Killer (1986) If this list ranked films based only on the principle of pure horror, John McNaughton’s brilliantly directed, scripted (with co-writer Richard Fire), and acted look at a chapter in the life of

#20: Salem’s Lot (1979) Whatever you do, avoid at all costs the shortened versions that remove anywhere from a half hour to a full hour from the original 180-minute television miniseries. But if you have three hours to kill and