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Why do people want to scare  other people.

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What I wonder about the horror genre is how the writers know what would scare people the most.

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I wonder why people like the thrill of being scared

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What i wonder about the horror genre is the movies based off what they have seen or based of something that happened.

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What I wonder about the horror genre is how they make the scary faces look so realistic.

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I wonder what the motive is to kill

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I wonder why most cheap jump scares scare people better than true fear and horror?

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I wonder why people get scared by scary movies but they keep watching them. Do they like getting scared? or do they just like scary movies?

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What I wonder about the horror genre is how do people come up with so many scary movies?

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What I wonder about the horror genre is

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I wonder

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I wonder why people keep tripping on air while there is nothing

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I wonder why people find enjoyment in making and watching horror movies.

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What I wonder about the horror genre is how do horror movies and horror stories cause people to have mental or emotional feelings and experiences after?😵

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October in America means one thing: the spooky season is upon us.

This translates to pumpkin spice everything, creative costumes full of pop culture references and fake blood, and of course, horror movies teeming with bone-chilling suspense and gore.

Yet, when seeking a good scare from our screens, it's important to keep our mental health in mind too.

Movies like "Jennifer's Body," "The Shining," "The Invisible Man," and "Get Out" are great for suspense and thrill, but sometimes the scare can become a tad too real.

Taking care of our mental health is important, so it pays to know your limits and how to watch in a healthy manner.

Horror movies contain psychological tricks that create illusions of suspense and danger through the manipulation of images, sound, and story.

Although your brain is aware that the threats aren't real, your body simultaneously registers them as if they are.

Sally Winston, licensed psychologist and executive director of the Anxiety and Stress Disorders Institute of Maryland, explains, "[When watching horror films], your heart pumps and the adrenaline flows, and your attention narrows in, even as you know you are at home or in the theatre and there is no real danger."

This is similar to being on an amusement park ride, where you can feel terrified while at the same time knowing you're safe.

Winston says that generally speaking, there's no harm in watching for those who can process the illusion for what it is. She describes the ability to have an experience and simultaneously observe it as "defusion" or "disentanglement."

It's a "prerequisite for enjoying horror movies," she says.

That said, there are some things to be mindful of.

Horror films are designed to elicit certain emotions such as tension, fear, stress, and shock. These can cause the release of the hormones in the body such as norepinephrine, cortisol, and adrenaline from the autonomic nervous system.

You may notice a physiological response from these hormones by way of pupil dilation, increased heart rate, and muscle tension.

Although adrenaline contributes to the overall experience of the movie, the elevated states can make it harder to sleep.

"Even the post-horror euphoria some feel is activating, not relaxing. Thus, even for those who enjoy the emotional roller coaster, horror and suspense films can make it harder to sleep," says Dr. Pamela Rutledge, director of the Media Psychology Research Center.

Getting a good night's sleep is incredibly important for both physical and mental health.

has shown that sleep loss or poor quality sleep can negatively affect how the brain processes emotions the following day and can intensify negative emotions.

Poor sleep has also been linked to mental health issues. It's estimated that of people with depression experience poor sleep quality. Some suggests poor sleep in older adults increases the risk of death by suicide.

also suggests that going 3 or more consecutive nights in a row without sleep can result in perceptual distortions, delusions, and hallucinations.

Rutledge notes that "for sensitive individuals, sleep can also be impaired by internalizing the images [from movies] into dreams."

This means that the horror on the screen can trigger nightmares, which are to disrupt REM (deep sleep) and cause disrupted or poor quality sleep.

If horror movies are keeping you up at night, it may be worth reconsidering your viewing choice.

People who suffer from anxiety are more likely to be negatively impacted by horror films.

As Rutledge explains, "Chronic anxiety increases the sensitivity to startle-eliciting stimuli, thus making people who are already stressed and anxious more likely to respond negatively."

Anxiety sensitivity is the fear of the bodily sensations associated with anxiety and a misinterpretation of these sensations as being real threats.

Winston explains this as "the fear of fear - an aversion to, and fear of, the body's arousal response through sensations and feelings."

Those that suffer from anxiety sensitivity are more likely to experience a negative impact from watching horror films. The tendency to fear intrusive thoughts and images may be triggered and increase levels of anxiety or panic.

Winston notes that watching horror images could lead to unwanted thoughts and feelings, so there's usually a major urge in those who experience anxiety sensitivity to avoid such experiences.

Despite being full of guts and gore, horror films can have positive effects on viewers too.

Rutledge says, "Generally, people who watch horror films tend to enjoy them for a variety of reasons, so for most viewers, it is a positive impact."

Watching horror films can also be an opportunity to confront one's fears as the viewer withstands the horror and gets to enjoy the payoff of resolution.

This can be especially true for viewers with certain mental health disorders.

"If someone is being treated for an anxiety disorder or OCD, horror movies can provide useful opportunities to face one's fears and develop the confidence that you can, in fact, endure unpleasant distress, and that it's not dangerous to you," Winston explains.

However, it's important to talk to your doctor or a licensed psychologist about whether this would work for you personally.

There are also ways to lessen the impact of a scary movie while still enjoying the thrill.

Find out what subgenre suits you

An important tip to watching horror films is to find what level you can handle and what subgenre suits your preferences.

As Rutledge says, "Know your own taste and tolerance."

For example, not everyone is going to enjoy gore or mind games. If bloodshed is more likely to haunt you long after viewing, try something more supernatural, like "Paranormal Activity" or "The Conjuring."

Alternatively, if ghosts are more likely to keep you up at night, try opting for a psychological thriller such as "Black Swan," "The Boy Next Door," or "Look Away."

If gore is your cup of tea, try "Human Centipede" or the "Saw" series.

Set boundaries for yourself

The most important thing to keep in mind when watching horror films is your own comfort.

"There's no harm in avoiding horror movies, whether it's in response to a moral value eschewing violence or a psychological desire to avoid unwanted images and sensations," says Winston.

Rutledge agrees with this sentiment of putting your needs first.

"Be prepared to set boundaries and stick up for yourself when negotiating shared programming. Don't subject yourself to discomfort because others want to watch something you may find upsetting," she says.

It's important to assess your current emotions and how you'll be impacted by what's on-screen, especially if you have a tendency toward fear or anxiety.

As Rutledge notes, "If you're finding yourself short-tempered and anxious... forego a horror film and watch something that lets you escape into another world."

Remember, you can always leave the room and pick up a relaxing book instead. All narratives have conflict, but it's about picking the level that feels right for you at the time.

Beware of the binge

It's also important to monitor not just what's on the screen but how much of it you're consuming. Although it may be tempting to marathon horror movies all month, this can come with some risks.

A 2017 study by the University of Toledo's Department of Health and Recreation found that binge-watching TV or movies can increase symptoms of anxiety and disrupt sleep, even when they aren't horror movies.

The study also found that participants who watched more than 2 hours of TV each night displayed higher levels of depression than those who had shorter viewing times.

Binge-watching horror movies also increases the regularity of adrenaline in the body, worsening issues with sleep.

also suggests that binge-watching can be an obsessive and compensatory behavior. This can involve symptoms such as lack of control, negative health and social effects, feelings of guilt, and neglect of duties.

It's key to monitor how many movies you're watching a week and notice if it's affecting your routine behavior.

As with any film or TV show, it's all about moderation.

Take a break

If parts of a movie are making you feel uncomfortable, you can always close your eyes or leave for a quick bathroom break.

There's no shame in turning away from a particular scene that's chilling your spine in an unenjoyable manner.

Keep the lights on

Watch with the lights on or during the daytime. This can especially help if you experience nyctophobia, or extreme fear of the dark.

Buddy up

Another tip is to watch scary films with others, as they can help you feel tethered to reality. Then there's the option for cuddling, which can help you feel safe.

"Horror films increase 'snuggling' in theatres to manage fear, and group viewing amplifies enjoyment because people feel safer feeling scared," says Rutledge.

Know what's coming

If you're scared of not knowing the ending, you can always look up spoilers ahead of time and just keep them to yourself. This can help ease feelings of suspense.

As with all genres of movies and TV shows, it comes down to individual preference and circumstance.

To watch safely, monitor how horror movies are making you feel. Notice how you feel the following day and whether your sleep is impacted.

Remember, you can always leave a viewing if you're uncomfortable or not enjoying the physiological responses in your body.

Getting in the Halloween spirit is fun, but taking care of your mental health is far more important.
Marnie Vinall is a freelance writer living in Melbourne, Australia. She's written extensively for a range of publications covering everything from politics and mental health to nostalgic sandwiches and the state of her own vagina. You can reach Marnie via , , or her .

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Are Horror Movies Bad for Your Mental Health?

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October in America means one thing: the spooky season is upon us. This translates to pumpkin spice everything, creative costumes full of pop culture references and fake blood, and of course, horror movies teeming with bone-chilling suspense and gore. Yet, when seeking a good scare from our screens, it's important to keep our mental health in mind too.

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What I wonder about the horror genre is, why do some people not get jumpscared or feel scared when watching horror movies?

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Why do some people find scary movies scary while others don't?

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Answer (1 of 11): There are lots of various factors, as discussed here: Why Some People Love Horror Movies While Others Hate Them | World of Psychology TL:DR... They're faking it One possible reason people may appear to not be scared by scary movies is that they're pretending. In the article i...

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I wonder why whites people always die in horror movies.

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I wonder why its so easy to get scared.

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I wonder how many people died in the movie purge election year (2016)

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I wonder if the criminal minds murders based on real killer and it is, who is it beside on?

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Law & Order (and its various spin-offs) is famous for its " ripped from the headlines" stories - episodes that take a prominent crime and change just enough details to make it fiction. But the Dick Wolf show is hardly the only procedural to look to real-life for inspiration. The long-running CBS show Criminal Minds has also produced its share of episodes inspired by disturbingly real crimes. Here are seven Criminals Minds episodes that are based on real life.

"The Thirteenth Step"

The 13th episode of Season 6 features a young couple named Raymond Donovan and Sydney Manning who go on a killing spree in the American West. The episode is partly inspired by Charles Starkweather and Caril Ann Fugate, two teenagers who murdered 11 people in 1958. Fugate and Starkweather also inspired the movies Natural Born Killers and Badlands, as well as the Bruce Springsteen song "Nebraska."

"Minimal Loss"

The BAU team are called in to investigate alleged child abuse at a cult compound in Colorado in this Season 4 episode. A standoff with police follows, with deadly consequences. The story shares similarities with the real-life standoff between the FBI and the Branch Davidians in Waco, Texas, in 1993, which ended with the death of leader David Koresh and more than 70 of his followers.

"Natural Born Killer"

In Season 1, Episode 8, a supposed mob hit that turns out to be the work of a serial murderer. The killer, Vincent Perotta, was likely based on Richard Kuklinski, a mafia hitman and serial killer who claimed to have killed hundreds of people, though not all are confirmed. Kuklinski's story also inspired The Iceman, a 2012 movie starring Michael Shannon.

"Hostage"

This Season 11 episode tells the story of a teenage girl who escapes from the home where she's been held captive with two other women for several years. The case shares many similarities with the real-life story of Amanda Berry, Gina DeJesus, and Michelle Knight. The three Cleveland women were abducted and held captive by Ariel Castro for nearly 10 years before escaping in 2013.

"Alpha Male"

Killer Eliot Rodger was the inspiration for the unsub in this Season 12 episode, according to CBS. In the episode, a violent misogynist attacks people with acid because he's angry about not being in a relationship. In real life, Rodger murdered six people in Isla Vista, California. He dubbed his crimes a "day of retribution" designed to punish those who he believed had rejected him.

"Our Darkest Hour" and "The Longest Night"

In these two connected episodes, a serial killer strikes during a series of rolling blackouts in L.A. The crimes share some similarities to those of Richard Ramirez - aka the Night Stalker - who murdered more than a dozen people in Los Angeles in the 1980s, as one of the show's producers explained to TV Guide in 2010.

"Ashes & Dust"

A troubled man embarks on a spree of deadly arsons in this Season 2 episode. The killer, Vincent Stiles, was inspired by Paul Kenneth Keller, a real-life serial arsonist from Washington state whose crimes may have been triggered by his divorce.

Stiles also gets involved with the Earth Defense Front, an activist group that sets fires as mode of protest. The EDF resembles the Earth Liberation Front, which set fires at places like ski resorts to protest environmental destruction. However, the real-life ELF's actions didn't result in any deaths.

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Which 'Criminal Minds' Episodes Are Based on Real Crimes?

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Law & Order (and its various spin-offs) is famous for its " ripped from the headlines" stories - episodes that take a prominent crime and change just enough details to make it fiction. But the Dick Wolf show is hardly the only procedural to look to real-life for inspiration.

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What I wonder about the horror genre is how they made the people who died in the movie" The Final Destination 3" make it look so realistic while riding the roller coaster?

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When Wendy Christensen has a vision of an accident on a roller coaster, resulting in her and her friends' deaths, she instantly begins to panic and gets off the ride, causing some of her friends to get off as well. The remaining friends, including Wendy's boyfriend, are stuck on the roller coaster and find themselves involved in the accident. With Death waiting around the corner, Wendy and Kevin Fischer must try and work out Death's plan, before they and the remaining survivors end up dead. Written by FilmFanUK

Taglines:

This Ride Will Be The Death Of You.

Trivia

Most of the roller coaster footage was filmed on the "Corkscrew" at Playland, part of the Pacific National Exhibition in Vancouver, British Columbia. The actual ride is much tamer and slower (only contains a double corkscrew inversion) compared to "Devil's Flight", which contains multiple vertical loops and multiple corkscrew sections. In order to achieve such a roller coaster, CGI was applied to the roller coaster set, which contained a hydraulic setup that mimic the actual roller coaster. See more "

Goofs

(at around 41 mins) When Wendy calls Kevin at the cemetery, Wendy says she is at Jason's grave. When she is seen kneeling by the grave, the grass below her shows no sign of any kind of recent burial like the film portrayed. See more "

Quotes

Crazy Credits

At the end of the credits you will hear the mortician (William Bludworth) laugh. See more "

Alternate Versions

German retail DVD is available in two versions: the uncut version (rated "Not under 18") and a cut version for mail order (39 seconds of the film are cut is rated "Not under 16"). See more "

Soundtracks

Love Train
Written by Kenny Gamble (as Kenneth Gamble) and Leon Huff
Performed by Tommy Lee
See more "

Release Date:

10 February 2006 (USA)

Also Known As:

Final Destination 3-D

Budget:

$25,000,000 (estimated)

Opening Weekend USA:

$20,125,000, 12 February 2006

Cumulative Worldwide Gross:

$118,890,272

Runtime:

See full technical specs "

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Directed by James Wong. With Mary Elizabeth Winstead, Ryan Merriman, Kris Lemche, Alexz Johnson. A student's premonition of a deadly roller coaster ride saves her life and a lucky few, but not from Death itself, which seeks out those who escaped their fate.

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What I wonder about the horror genre is why are some movie's jump scares so terrible?

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Jump scares don't need to be a bad thing, in fact a well placed jump scare or two can turn a good horror movie into a great one. Who doesn't remember the night vision scene from The Descent or the final scene in Carrie? These are some classic moments in horror cinema.

Where jump scares get a bad rap is when they are used as a cheap way to startle the audience in lieu of building genuine tension. Often the director will use variants of the same cliched scares and the result can be a dull and uninspiring movie.

Below we break down some of the common jump scare techniques that have become cliches due to overuse.

The Fridge Scare

In basic terms the fridge scare involves a character closing a fridge (or cabinet) door to reveal someone standing on the other side. The giveaway for this scare is the positioning of the camera which will be perpendicular to the fridge rather than looking directly into it. This way the fridge door obscures a significant part of the screen allowing the director to "surprise" us when the door is closed. When watching a movie we should always remember that every scene exists for a purpose, in this case, showing a person looking through a fridge or cabinet without showing what's inside doesn't seem to have any plot related purpose, therefore we can assume more often than not it is a set up for a jump scare.

The fridge (or cabinet) scare has become a very common technique in the 21st century and examples can be found in What Lies Beneath (2000), Disturbia (2007), Pandorum (2009), Odd Thomas (2013), The Purge (2013) and Mother! (2017).

The scene above shows the fridge scare in The Purge where Mary is surprised by her son Charlie. This scene is rather absurd from a logical standpoint as you have to accept that Mary is so unaware of her surroundings that she doesn't hear or sense her son walking up to the door and that her son would choose to stand in front of the door in silence rather than walk around it to talk to his mother. This is a problem with most variants of the fridge/cabinet scare as logically the person approaching would either be noticed or they would call out rather than just stand in silence until the door is closed.

The Car Window Scare

A person or animal suddenly appears at a car window scaring the occupant or occupants of the car. These are often fake-outs where the person doing the scaring is a friendly character. Like the fridge scare, these scares also require some suspension of disbelief as it would require the person or thing doing the scaring to approach the car without being noticed. The below scene for example is from Jeepers Creepers (2001), notice how quiet it is immediately before Darry arrives. It is incredibly hard to believe that Trish wouldn't hear Darry running towards the car or that Darry wouldn't call out as he approaches.

Further examples of this can be found in Urban Legend (1998), Dead Silence (2007), The Last House on the Left (2009), Carrie (2013), The Forest (2016), and Annabelle: Creation (2017). In Don't Breathe (2016), and Chernobyl Diaries (2012) it is a dog rather than a person doing the scaring.

The Animal Scare

The animal scare involves an animal jumping out in front of a character during a tense scene. Often a cat is used (the cat scare) however a barking dog or a rat are also common. These scares are almost always "fake outs" which are jump scares that don't involve the antagonist(s) of the movie or don't advance the plot in any meaningful way.

A famous early example pictured below is the cat scare in The Amityville Horror (1979). Other examples include Deliver Us From Evil (2014) which manages to include not one but three animal scares (a bear, a cat, and a dog), Signs (2002), The Grudge (2004), and The Rite (2011). Pet Sematary (1989) and Re-Animator (1985) are rare examples where cat scares are not used as a fake out (the cat is an antagonist in both these cases).

The Mirror Scare

The mirror scare has been a mainstay in horror movies for decades. There are two basic set ups to the mirror scare. One involves a mirror attached to a door (such as a medicine cabinet) being closed or adjusted to reveal a second person standing behind. The second set up involves the camera panning or cutting away from a mirror and then back with a second person now appearing in the mirror. Other variants include the reflection moving independently such as the below scene from Mirrors (2008) or a character wiping steam off the mirror to reveal someone standing behind them.

The following movies employ mirror scares: Repulsion (1965), An American Werewolf in London (1981), Stir of Echoes (1999), Mirrors (2008), The Haunting in Connecticut (2009), Halloween II (2009), Orphan (2009), The Conjuring 2 (2016), and the alternative ending to .

Occasionally other reflective surfaces are used to deliver the scare such as a television in the case of Signs (2002), The Ring (2002), and The Conjuring 2 (2016).

Peephole Scare

In the peephole scare a character looks through a peephole or keyhole in a door or wall and we see what they see from a 1st person perspective. After a few seconds we see a scary figure (or sometimes just an eye) appear directly in front of the key hole. These scares are effective because the field of vision is reduced when the scene switches to first person view creating a sense of claustrophobia and putting us on edge.

This technique is used in numerous horror films including: What Lies Beneath (2000), The Devil's Backbone (2001), Fright Night (2011), You're Next (2011), The Woman in Black (2012), Viral (2015), Hidden (2015), Visions (2016), The Autopsy of Jane Doe (2016), Under the Shadow (2016), Friend Request (2016), and .

The False Awakening

The false awakening or dream within a dream jump scare involves a character waking up from a dream or nightmare only to be hit with a jump scare as it is revealed they are still in a dream. Commonly the character will roll over in bed after "waking up" and a corpse or scary figure will be in bed beside them. These can be effective as the viewer subconsciously relaxes when the character "wakes up" making them more susceptible to further scares.

The first and most famous example of this is in American Werewolf in London (1981) where the mutant Nazis from David's first dream suddenly break through the window. John Carpenter was a fan of this technique using it in both Prince of Darkness (1987) and In the Mouth of Madness (1994). The Haunting in Connecticut 2 (2013) also contains a false awakening scare that is almost a carbon copy of the one from The Prince of Darkness.

The Delayed Scare

After a particularly tense scene the audience is led to believe the danger has passed and then several seconds later we are hit with a jump scare. Several of the deaths in the Final Destination franchise use this technique where one of the characters narrowly avoids death only to die suddenly moments later.

The Exorcist III (1990) has a classic delayed scare where nurse Amy tries to find the origin of a mysterious noise only to discover it is ice cracking in a glass. A few seconds later the patient in the bed beside her jumps up and scares her.

An interesting variant of this is when the scare comes slightly earlier than expected such as this scene from Oculus (2013). We expect the scare to occur when the sheet is removed from the statue however Kaylie is interrupted before she gets the opportunity.

Not Quite Dead

After defeating the killer, the heroes can finally relax, or can they? The apparently dead killer suddenly jumps up for one final scare. This cliche has been around for years and was quite popular in the 1980s although it still persists today. Examples can be found in The Burning (1981), Silver Bullet (1985), Child's Play (1988), and the Scream franchise.

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The Lazy Director's Guide To Jump Scares

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Jump scares don't need to be a bad thing, in fact a well placed jump scare or two can turn a good horror movie into a great one. Who doesn't remember the night vision scene from The Descent or the final scene in Carrie? These are some classic moments in horror cinema.

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I wonder why horror movies create 3d figures or change humans into animations through computers?

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What I wonder about horror genre is how they make things look so real.

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For someone who has never acted in a horror movie, much less directed one, Newton native John Krasinski has certainly impressed a lot of critics with his new film "A Quiet Place."

Set in a post-apocalyptic world where humans are hunted by creatures with super-sensitive hearing, "A Quiet Place," which co-stars Krasinski's wife, Emily Blunt, had a 97 percent freshness rating on critical aggregation website Rotten Tomatoes at the time of this article's publication.

According to Box Office Mojo, the movie already has netted $4.3 million from Thursday night preview screenings, and online ticket retailer Fandango says the film is outselling other recent horror films like "Split" and "10 Cloverfield Lane," which earned $40 million and $24 million in their opening weekends, respectively. Considering that "A Quiet Place" had a budget of only $17 million, that's a good sign.

To help you decide whether or not to head to theaters, we've rounded up reviews from some of the nation's top critics.
In her four-star review, The Washington Post's Ann Hornaday compared "A Quiet Place" to 2017 best picture nominee "Get Out."

A creeping, increasingly queasy sense of dread pervades "A Quiet Place," John Krasinski's nervy thriller that marks a notable addition to the recent spate of smart, timely genre pictures. Like "Get Out," which was on its way to becoming a pop culture juggernaut around this time last year, "A Quiet Place" deploys the most classic conventions of similar films that have gone before it, including jump scares, creepy-looking creatures, frightening camera angles and a terrifying sound design.

Justin Chang of the Los Angeles Times praised Krasinski's directing, comparing his ability to slowly reveal the film's monsters to the work of Alfred Hitchcock, and noting that the sympathy Krasinski inspires for the characters is "remarkable."

I can't recall the last time I found myself caring as intently for the characters in a horror picture as I did for the family in "A Quiet Place," the sensationally gripping and emotional new alien-invasion thriller from the actor and writer-director John Krasinski. The sheer levels of sympathetic adrenaline he summons here - of pure, relentless, moment-to-moment anxiety - are nothing short of remarkable, especially since the terrors that have befallen this family are at once so ludicrous, so vague and so inexplicable.

Richard Roeper of the Chicago Sun-Times called the film "one of the smarter and more involving horror films of the last few years," and commended Krasinski's direction.

It takes a certain confidence of material and vision for a filmmaker to hit the ground running with a movie, plunging us into the story without exposition and trusting we'll stay with it for a number of scenes. Krasinski does just that - and with success - in "A Quiet Place."

The Boston Globe's Ty Burr, who gave the film three out of four stars, praised the "nearly unbearable" tension of the film, saying that "the movie grabs you at the start and never lets go."

In a striking departure from the standard jet-engine clamor of most modern movies, "A Quiet Place" is a thing of stocking feet, meaningful glances, and objects placed on surfaces very very carefully. The effect on the audience at the screening I attended was nearly magical. No small talk. No cellphones. Just the sound of a full house holding its breath for 90 solid minutes.

Writing for NPR, Scott Tobias discussed the film's sound design, saying "A Quiet Place" is a welcome break from "being pummeled into submission by studio soundtracks." Tobias noted how ironic it is that Michael Bay - he of the ear-splitting "Transformers" franchise - served as a producer for the film.

Krasinski starred in Bay's thriller 13 Hours: The Secret Soldiers of Benghazi, and Bay has returned the favor by allowing him to merge the quiet, character-driven qualities of his indie films with the sledgehammer impact of a mainstream shocker. Krasinski lands on a loud-quiet-loud formula akin to '90s alternative rock: When the chorus kicks in, the jump-scares really pop.

The Chicago Tribune's Michael Phillips said mostly kind things in his review (two and a half stars out of four), but couldn't help but play "Mr. Logic Cop," wondering why the supposedly supersonic hearing of the creatures - who come running from hundreds of yards away at the slightest sound - so often failed them.

"A Quiet Place" depends on a single plausibility factor above all: These creatures find their human prey through their sense of hearing, and they can hear almost anything, from long distances. But too often in Krasinski's movie, the human characters are rustling the cornstalks or knocking over this or that, and nothing comes of it.

Running total opposite from the many positive reviews, K. Austin Collins of The Ringer found himself laughing during much of the film, and left unsure of whether "A Quiet Place" was a straightforward horror film or a comedy deftly parodying cheesy horror movie tropes.
"A Quiet Place" is a classic example of a film that needed to be either better or worse to really be good. It needed either to embrace that it's a dumb horror movie populated by dumb people making dumb choices and revel in that fact, as its premise is more than prepared to do, or to earn its self-seriousness with real complication and compassion, preferably something beyond poorly scripted dramatic arcs and the lonesome Americana of Krasinski's beard.

Find out how to Boston when you sign up for Boston.com's culture and lifestyle newsletter.

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What critics are saying about 'A Quiet Place'

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For someone who has never acted in a horror movie, much less directed one, Newton native John Krasinski has certainly impressed a lot of critics with his new film "A Quiet Place."

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What I wonder about horror genre is, does it effects you mentally after watching a horror movie and how?

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Love a good scare? Take a peek at what happens inside your body when a horror flick startles you.

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I wonder what the reason is or the back story is for the Murder to kill people.

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What i wonder about horror genre is how they create such good effects in movies.

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I wonder why pop-ups in horror movies are scary.

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what I wonder about the horror genre is they make the monster in horror look or become scary.

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What I wonder about the horror genre is how the star killer of the movie feels after killing all those people in the movie franchise?

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Why IT Actor Bill Skarsgard Was Never The Same After Playing Pennywise

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What I wonder about the horror genre is how the creators are able to make you feel terrified without using jumpscares and creepy music.(Using pyschological horror.)

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What I wonder about the horror genre is how are the 3d models able to produce life like movement? (Until Dawn)

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Until Dawn "From Stage To Screen" Part 1 & 2 (Bonus Content) Behind the Scenes

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I wonder, what is the killer's motive in horror movies to kill people.

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Why does Jigsaw kill people in the Saw movies?

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Answer (1 of 5): Jigsaw is described as a mysterious person who kidnaps people he believes take their lives for granted and subjects them to "tests", usually mechanical devices rigged to maim or kill the subjects if they fail to complete it within a certain time period. Unlike most killers, Jigsa...

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I wonder is why do most scary movies have blood?

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What I wonder about horror genre is how they find or make up the stories.

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What I wonder about horror genre is why are guns virtually useless in movies

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What wonder about horror genre is that who is moving the items or people by itself without anybody there.

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How many people died in each Jigsaw movie. 2004-10(2017)

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The list consists the deaths occurred in the Saw franchise. Trivia John Kramer became Jigsaw due to the following events throughout the plot of each movie. When his wife, Jill, was robbed at the clinic, Cecil Adams accidentally slammed a door against her stomach, causing her to miscarry their unborn son, Gideon.

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What I wonder about horror genre is what gives the author(s) the inspiration to come up with a specific idea for a movie.

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What I wonder about the horror genre is why in the world are all horror movies predictable these directers cant even make good unique actually scary movies

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I wonder who really killed
John F. Kennedy

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What I wonder about horror genre is how they make someone look so different.

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What I wonder about the horror genre is the movie, “The Exorcism of Emily Rose” based on a true story, or is it just for entertainment purposes?

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Dan walked out within the first five minutes of "The Exorcism of Emily Rose," never to return again. He doesn't even live next to a haunted bed and breakfast anymore - but no amount of pleas would convince him to see this movie.Though I think Dan overreacted, I don't think this film should be rated PG-13; it's stories like these that scar children. Truth be told, I actually didn't beg Dan to see the movie, because I didn't want to be responsible for him waking up every night at 3 a.m.

"The Exorcism of Emily Rose" is based on the experiences of a German woman, Anneliese Michel, who was born in 1952. At age 16, she began shaking uncontrollably and seeing demons. Doctors diagnosed her with grand mal epilepsy and psychosis. But her devoutly Catholic family believed demons had possessed her. The Catholic Church refused to perform an exorcism, saying she didn't show the proper signs of possession. But about six years after her symptoms began, the bishop of Wurzburg granted the local pastor to perform exorcisms, which he did twice a week. She improved, only to deteriorate again. She eventually died of starvation at age 23, and her parents and pastor faced charges of negligent homicide.In 1973, "The Exorcist" came out, and psychiatrists throughout Europe reported an increase of fears about possession in their patients. So prosecutors took more than two years to bring Michel's case to court, where attorneys played more than 40 hours of audio tape of the exorcisms.

"The Exorcism of Emily Rose" condenses the time period the girl suffered and tells her story through a series of flashbacks, interspersed with a courtroom drama.Though there are a few startling scenes with demons' faces and contorted body positions, the movie is more of a psychological - or spiritual, if you will - thriller than a horror flick; to the director's credit, there aren't any 360-degree head rotations or projectile vomiting sprees.The question of whether the girl's symptoms originated from physical and mental illness or from demonic possession is compelling, and the movie does an excellent job of presenting both sides rather convincingly.But the secondary stories add a whole other layer of depth. Father Moore (Tom Wilkinson) refuses to take a deal that would result in a six-month prison term, as opposed to a possible 10-year term, because he demands to tell Emily's (Jennifer Carpenter) story to the public. Defense attorney Erin Bruner (Laura Linney) is an agnostic whose main goal is to become an equal partner in her firm through this case. As she develops faith in the priest, she takes risks and even begins to develop spiritually.
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"The Exorcism of Emily Rose": It possesses you with thought

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Dan walked out within the first five minutes of "The Exorcism of Emily Rose," never to return again. He doesn't even live next to a haunted bed and breakfast anymore - but no amount of pleas would convince him to see this movie.Though I think Dan overreacted, I don't think this film should be rated PG-13; it's stories like these that scar children.

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What I wonder about the horror genre is how they make the movies and books a suspenseful thriller?

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I wonder which scary films are based on true events.

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I wonder is what is the point of making horror movies?

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What I wonder about the horror genre is, what are the Annabelle movies based off of?

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Ever since the first Conjuring film hit cinemas fans have wondered how much of the Warrens' tale is based on truth.

Was there a real Annabelle doll? If so, is it as evil as the movie version?

The answer to the first question is, yes, there was a real doll, though whether or not you believe the terrifying tales that surround it is up to you.

The second question is a little more complicated. The only thing that's certain is Annabelle's real life tale is proof that sometimes reality is worse than fiction.

The doll caused such mayhem it is now locked up in Ed and Lorraine Warrens' Occult Museum in Monroe, Connecticut.

While the raggedy-doll is a far cry from the porcelain version in new movie Annabelle: Creation, many of its details are scarily similar.

"Looks are deceiving," Lorraine Warren once said. "It's not what the doll looks like that makes it scary; it is what has been infused within the doll: evil."

The Warrens may be the most famous part of the tale, thanks to The Conjuring movies, but they aren't where it all began. Far from it.

Annabelle's reign of terror began in 1970 when a mum bought the doll from a hobby shop for her daughter, student nurse Donna, as a birthday gift.

Donna was living with her friend Angie at the time and was over the moon at her mother's gift, at least to start with.

The doll swiftly made its true nature known and became a real-life nightmare for the girls.

Annabelle started small - a hand movement here and there. Things that could easily be explained away.

Donna and Angie didn't really question why Annabelle moved from the chair to the floor - perhaps she fell? - but the movements increased and soon their explanations for them dried up.

They'd move the doll to Donna's room and it would appear immediately outside Angie's room. Before long things got out of hand. The pair claim Annabelle levitated and began attacking them - even attempting to strangle a friend.

Annabelle's attacks

The girls' close friend, Lou, became very nervous around the doll, believing it to be possessed, but they shrugged it off. It was just a doll. But the story took a more sinister turn spurring them into action.

Notes started to appear around the apartment, which on the face of it didn't seem that strange, except the weird thing was that they were written on parchment paper and the girls had no idea where they'd come from.

Each note had a different message, 'Help Lou' and 'Help Us' were just two of the terrifying scrawls seemingly in a child's handwriting.

Things came to a head when Donna came home from work only to find the doll had 'blood' on her hands.

Annabelle was on her usual spot on the bed, but the red marks on her hands caught the nurse's eye - it seemed to be blood. The red liquid appeared to be coming from the doll itself.

It was the final straw, it was time for the girls to ask for help. A medium was called in.

Seance and the spirit of a dead girl

The first medium came up with their theory fairly quickly during a seance, telling the girls a story about a seven-year-old who had died years before.

According to the medium, the apartment complex was built on a field where the girl was found. When the doll was brought to the apartment Annabelle's spirit was apparently in the area and she became fond of the doll, opting to possess it. The real girl - Annabelle Higgins - became Annabelle the doll.

In a surprising act of compassion the girls decided to keep the doll, saying they felt sorry for the spirit, but their empathy wasn't to last.

A series of bad dreams and visions of the young girl weren't enough to make them change their mind, but when the girls' friend Lou was attacked they begged for help.

The doll's brutal attack

It appeared as if the doll particularly disliked Lou.

One night he awoke from a deep sleep and instantly felt panicked. He'd had a recurring bad dream, but this time it felt different.

It was as if Lou was awake, but he said he was unable to move. He looked around the room, but saw nothing. Then it started. He glanced down and saw Annabelle at his feet, the doll slowly began gliding up his leg, moved over his chest and stopped there. The little doll's hands were around his neck in seconds, according to the distressed man, and she was strangling him. Lou says he blacked out and awoke the next morning, unsure whether it was a dream or reality.

The next day he got his answer.

Lou was hanging out in Angie's room looking over maps and preparing for a road trip when they heard a noise in Donna's room, but Donna wasn't actually home.

Thinking it was an intruder, they were frozen in fear and their mood didn't improve when they 'realised' it was Annabelle.

Lou peeked into Donna's room, but he saw no one inside. Annabelle sat demurely on the chair instead of the bed where she was normally placed, but nothing else was amiss. He moved towards the doll, but soon felt a terrible crippling feeling wash over him. He felt as if someone was behind him.

The crippling feeling surged through his chest. Looking down he saw claw marks appear, as if someone had leapt up and roughly scratched him. There were seven marks in total: three vertically, four horizontally, all searing hot.

In a panic, Lou looked around the room - there was still no one in there with him. There was no other explanation in his mind - it had to be Annabelle.

An explanation?

The scratches were visible to other people, but they mysteriously disappeared or 'healed' within two days. There was no trace of them at all.

Donna called in an Episcopal priest named Father Hegan, but he argued it was a spiritual matter and he needed a higher power. Ed and Lorraine Warren were contacted.

The pair, like the Ghostbusters for occult matters, soon diagnosed the doll as having an "inhuman demonic spirit".

The Warrens said the doll wasn't possessed but it was being manipulated by a spirit. Inanimate objects aren't possessed, the pair said, but spirits can become 'attached'.

The Warrens had been called just in time as they felt the occurrences would have escalated and ended with a death in the house.

The apartment was 'cleansed', a process Ed described: "The Episcopal blessing of the home is a wordy, seven page document that is distinctly positive in nature. Rather than specifically expelling evil entities from the dwelling, the emphasis is instead directed toward filling the home with the power of the positive and of God."

Donna wanted the doll gone.

The Warrens agreed to take it away and Ed drove Annabelle to their museum for safekeeping. He claimed the doll willed the car's brakes and steering to fail - repeatedly.

He threw Holy Water on Annabelle as she sat on the backseat in a bid to stop the 'attack'. It seemed to pause the weird behaviour.

Arriving home, Ed sat the doll in a chair near his desk - he claims it began to levitate, but then swiftly fall inert. Over the next few weeks it would move, cropping up around the house.

One day a priest came to visit. Seeing the doll in the chair, he picked it up and addressed it, saying: "You're just a ragdoll Annabelle, you can't hurt anyone," tossing her aside.

Ed was appalled, shouting "That's the one thing you better not say!"

An hour later the couple saw the priest off, asking him to call them when he got home. A few hours later he rang, his brakes had cut as he turned on to a busy intersection. He'd been in an accident, his car was destroyed and he had barely survived.

The Warrens decided there was only one thing for it. Annabelle was moved to a glass box at their museum, secured with a special set of prayers. It's where she resides today.

"We have a priest come in and bless the museum, including Annabelle," said Lorraine when asked about the demonic doll.

"These are prayers that bind the evil - much like an electric fence for a dog."

It seemed it was over, but it turned out Annabelle wasn't to be restrained.

Lorraine Warren has since warned what happens when Annabelle is mocked.

(Image: Courtesy of The Warren's Occult Museum)

A defiant man visiting the museum had heard the tales and began bashing on Annabelle's case, calling on her to scratch him if she was real. "Son, you need to leave," Ed warned, trying to protect him. He was too late.

"[The girlfriend] told us that they were both laughing and joking about the doll when the young man lost control of the bike and crashed head-on into a tree," Lorraine recalled years later.

The man was instantly killed. His girlfriend survived but was in hospital for a year.

Annabelle remains locked in the safe, sealed away. Lorraine has been back since her husband's death, but can't even look at the doll saying it's the 'worst thing in the whole Museum'.

The Conjuring doll may strike fear in your heart, but at least it's not real. The simple raggedy-doll, however, shows reality is sometimes more terrifying than fiction.

Did you know?

Why the creators used a different doll...

While the raggedy-doll's simplicity is enough to strike fear in any horror fan's heart, director James Wan and producer Peter Safran who worked on The Conjuring knew they couldn't use it.

"For starters, you'd be hard-pressed to find a manufacturer to allow their doll to serve as a conduit to evil in a movie," said Safran.

The idea was to find a good replacement that was a perfect balance of innocence and creepiness - with a large emphasis on the creepy.

The unsettling elements were toned down a tad in the Creation story by director David F. Sandberg to make it believable as a child's toy.

Her features were softened, the overbite gone and her cheeks filled out.
This article was originally written on August 22, 2017.

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Real-life story of demonic doll Annabelle from The Conjuring 'who killed a man'

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Ever since the first Conjuring film hit cinemas fans have wondered how much of the Warrens' tale is based on truth. Was there a real Annabelle doll? If so, is it as evil as the movie version?

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What I wonder about horror genre is why and how do dolls become haunted and somehow move on their own.

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5 Creepy Dolls MOVING: Haunted Dolls Caught On Tape!

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What I wonder about horror genre is do people in the movie actually get scared of the person thats dressed up scary.

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What I wonder about horror genre is how they make everything look so real.

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I wonder how do the authors know how to get the thrill of his/hers audience. Like how the author gave its audience a thrill in nun.

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As if the first two Conjuring films - and the subsequent Annabelle spin-offs - weren't terrifying enough, director Corin Hardy has decided to showcase the origins of that creepy nun from The Conjuring 2 in an upcoming prequel. Aptly named The Nun (released in UK cinemas on Sep. 7), it looks as though the fifth instalment of the film series is going to be one hell of a nightmarish scare. It's described as "the darkest chapter" in the teaser trailer, and certainly begs the question, is The Nun based on a true story? After doing a little digging, let's just say I'd start "praying for forgiveness" now if I were you.

It's no secret that the stories presented in the Conjuring universe are based on the real life case files of paranormal investigators Ed and Lorraine Warren. Portrayed by Patrick Wilson and Vera Farmiga in the films, the duo investigated a number of paranormal occurrences during the '70s and '80s, and are probably the most-well known investigators in their field. From a Raggedy Ann doll possessed by a demonic spirit named Annabelle(sound familiar?), to their involvement with the Amityville horror case, to an investigation that involved a man who believed he was literally a werewolf, the Warrens gave the horror world a plethora of source material to scare audiences senseless, including demons. Yes, demons.

So where does the nun fit into all of this? Well, The Nun isn't based on a true story but the very prominent demon that possess her is. Valak is the name, and residing as "the Great President of Hell" is his game, according to website Week In Weird. No, he wasn't made up by Hollywood. His origins can be found in the 17th Century tome The Lesser Key of Solomon.

The ancient book describes Valak as the commander of over 30 legions of demons, and is certainly one entity that you do not want to mess with. If you want to freak yourself out further, read this excerpt from the book in question:

"The Sixty-second Spirit is Volac, or Valak, or Valu. He is a President Mighty and Great, and appereth like a Child with Angel's Wings, riding on a Two-headed Dragon. His Office is to give True Answers of Hidden Treasures, and to tell where Serpents may be seen. The which he will bring unto the Exorciser without any Force or Strength being by him employed. He governeth 38 Legions of Spirits, and his Seal is thus."

Creepy, huh? However, Valak isn't exactly what you'd picture as your typical Satan-esque leader of the underworld - a gaunt-looking Nun is ten times scarier than a winged-child riding a dragon, IMO. But don't let the get-up fool you, because this demon means business. He may aid you in finding hidden treasures, but only if he finds you worthy. If not, well, prepare for torment is all I can say.

Valak may be a very real demon, but it has little to no significance in the Warren's cases nor the Enfield haunting explored in The Conjuring 2. Speaking to website io9, Conjuring director James Wan explained that the demon was haunting Lorraine in the films as opposed to the cases at hand. "The demonic entity that takes on the form of the nun has got nothing to do with Amityville," he told the website. "[Lorraine's] just having a psychic premonition."

Instead of being the reason for all these hauntings that the Warrens are investigating, Valak's inclusion in the Conjuring lore instead helps bridge the films together and in turns adds a strong foundation to the overall vision of the films.

The exact details of the Warrens' paranormal investigations may not be represented accurately in The Conjuring films, but nonetheless Wan has already created a solid franchise of hauntings and demonic activity that are just begging to be explored further. Whether that's through demonic origins, further investigations, or introductions to other demons featured in The Lesser Key of Solomon, it looks as though Wan has a lot more his sleeve - especially if The Nun does as well as its predecessors at the box office.

I just hope that you'll be able to sleep well tonight after learning about Valak, because I sure as hell won't.

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Is 'The Nun' Based On A True Story? The Creepy Answer Will Probably Give You Nightmares

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As if the first two Conjuring films - and the subsequent Annabelle spin-offs - weren't terrifying enough, director Corin Hardy has decided to showcase the origins of that creepy nun from The Conjuring 2 in an upcoming prequel. Aptly named The Nun...

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What i wonder is that is there houses that are actually haunted when they film horror movies?

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Do You Dare? 13 Haunted Houses From Horror Movies You Can Visit in Real Life

Halloween is right around the corner - and many folks celebrate the most wonderfully scary time of year by rewatching their favourite horror movies. For hardcore fans bitten by the travel bug, there are some actual houses used in iconic horror hits that can be visited. From the creepy Overlook Hotel in The Shining to the Chicago apartment building where Chucky rampaged in Child's Play, here are 13 horror movie houses you can visit this Halloween... if you dare!

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Do You Dare? 13 Haunted Houses From Horror Movies You Can Visit in Real Life

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Halloween is right around the corner - and many folks celebrate the most wonderfully scary time of year by rewatching their favourite horror movies. For hardcore fans bitten by the travel bug, there are some actual houses used in iconic horror hits that can be visited.

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Something I wonder about the horror genre is how do horror game developers come up with the story and characters. For example, Tattletail, or Dark deception. Or how people can make some stuff look so real.

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I wonder is how the Mom can not learn her lesson and bring her son back to life.

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The Monkey's Paw is a classic "three wishes" story that doubles as a horror story and a cautionary tale; reminding us that unintended consequences often accompany the best intentions. This widely read story is a favorite in classrooms around the world. The story was first published in 1902 and then featured in The Lady of the Barge, published in 1911. We created The Monkey's Paw Study Guide to benefit students and teachers. Enjoy our collection of Halloween Stories.

Careful What You Wish For

"Be careful what you wish for, you may receive it." --Anonymous
Part I
Without, the night was cold and wet, but in the small parlour of Laburnum villa the blinds were drawn and the fire burned brightly. Father and son were at chess; the former, who possessed ideas about the game involving radical chances, putting his king into such sharp and unnecessary perils that it even provoked comment from the white-haired old lady knitting placidly by the fire.

"Hark at the wind," said Mr. White, who, having seen a fatal mistake after it was too late, was amiably desirous of preventing his son from seeing it.

"I'm listening," said the latter grimly surveying the board as he stretched out his hand. "Check."

"I should hardly think that he's come tonight, " said his father, with his hand poised over the board.

"Mate," replied the son.

"That's the worst of living so far out," balled Mr. White with sudden and unlooked-for violence; "Of all the beastly, slushy, out of the way places to live in, this is the worst. Path's a bog, and the road's a torrent. I don't know what people are thinking about. I suppose because only two houses in the road are let, they think it doesn't matter."

"Never mind, dear," said his wife soothingly; "perhaps you'll win the next one."

Mr. White looked up sharply, just in time to intercept a knowing glance between mother and son. the words died away on his lips, and he hid a guilty grin in his thin grey beard.

"There he is," said Herbert White as the gate banged to loudly and heavy footsteps came toward the door.

The old man rose with hospitable haste and opening the door, was heard condoling with the new arrival. The new arrival also condoled with himself, so that Mrs. White said, "Tut, tut!" and coughed gently as her husband entered the room followed by a tall, burly man, beady of eye and rubicund of visage.

"Sergeant-Major Morris, " he said, introducing him.

The Sergeant-Major took hands and taking the proffered seat by the fire, watched contentedly as his host got out whiskey and tumblers and stood a small copper kettle on the fire.

At the third glass his eyes got brighter, and he began to talk, the little family circle regarding with eager interest this visitor from distant parts, as he squared his broad shoulders in the chair and spoke of wild scenes and doughty deeds; of wars and plagues and strange peoples.

"Twenty-one years of it," said Mr. White, nodding at his wife and son. "When he went away he was a slip of a youth in the warehouse. Now look at him."

"He don't look to have taken much harm." said Mrs. White politely.

"I'd like to go to India myself," said the old man, just to look around a bit, you know."

"Better where you are," said the Sergeant-Major, shaking his head. He put down the empty glass and sighning softly, shook it again.

"I should like to see those old temples and fakirs and jugglers," said the old man. "what was that that you started telling me the other day about a monkey's paw or something, Morris?"

"Nothing." said the soldier hastily. "Leastways, nothing worth hearing."

"Monkey's paw?" said Mrs. White curiously.

"Well, it's just a bit of what you might call magic, perhaps." said the Sergeant-Major off-handedly.

His three listeners leaned forward eagerly. The visitor absent-mindedly put his empty glass to his lips and then set it down again. His host filled it for him again.

"To look at," said the Sergeant-Major, fumbling in his pocket, "it's just an ordinary little paw, dried to a mummy."

He took something out of his pocket and proffered it. Mrs. White drew back with a grimace, but her son, taking it, examined it curiously.

"And what is there special about it?" inquired Mr. White as he took it from his son, and having examined it, placed it upon the table.

"It had a spell put on it by an old Fakir," said the Sergeant-Major, "a very holy man. He wanted to show that fate ruled people's lives, and that those who interfered with it did so to their sorrow. He put a spell on it so that three separate men could each have three wishes from it."

His manners were so impressive that his hearers were conscious that their light laughter had jarred somewhat.

"Well, why don't you have three, sir?" said Herbert White cleverly.

The soldier regarded him the way that middle age is wont to regard presumptuous youth."I have," he said quietly, and his blotchy face whitened.

"And did you really have the three wishes granted?" asked Mrs. White.

"I did," said the sergeant-major, and his glass tapped against his strong teeth.

"And has anybody else wished?" persisted the old lady.

"The first man had his three wishes. Yes," was the reply, "I don't know what the first two were, but the third was for death. That's how I got the paw."

His tones were so grave that a hush fell upon the group.

"If you've had your three wishes it's no good to you now then Morris," said the old man at last. "What do you keep it for?"

The soldier shook his head. "Fancy I suppose," he said slowly." I did have some idea of selling it, but I don't think I will. It has caused me enough mischief already. Besides, people won't buy. They think it's a fairy tale, some of them; and those who do think anything of it want to try it first and pay me afterward."

"If you could have another three wishes," said the old man, eyeing him keenly," would you have them?"

"I don't know," said the other. "I don't know."

He took the paw, and dangling it between his forefinger and thumb, suddenly threw it upon the fire. White, with a slight cry, stooped down and snatched it off.

"Better let it burn," said the soldier solemnly.

"If you don't want it Morris," said the other, "give it to me."

"I won't." said his friend doggedly. "I threw it on the fire. If you keep it, don't blame me for what happens. Pitch it on the fire like a sensible man."

The other shook his head and examined his possession closely. "How do you do it?" he inquired.

"Hold it up in your right hand, and wish aloud," said the Sergeant-Major, "But I warn you of the consequences."

"Sounds like the 'Arabian Nights'", said Mrs. White, as she rose and began to set the supper. "Don't you think you might wish for four pairs of hands for me."

Her husband drew the talisman from his pocket, and all three burst into laughter as the Seargent-Major, with a look of alarm on his face, caught him by the arm.

"If you must wish," he said gruffly, "Wish for something sensible."

Mr. White dropped it back in his pocket, and placing chairs, motioned his friend to the table. In the business of supper the talisman was partly forgotten, and afterward the three sat listening in an enthralled fashion to a second installment of the soldier's adventures in India.

"If the tale about the monkey's paw is not more truthful than those he has been telling us," said Herbert, as the door closed behind their guest, just in time to catch the last train, "we shan't make much out of it."

"Did you give anything for it, father?" inquired Mrs. White, regarding her husband closely.

"A trifle," said he, colouring slightly, "He didn't want it, but I made him take it. And he pressed me again to throw it away."

"Likely," said Herbert, with pretended horror. "Why, we're going to be rich, and famous, and happy. Wish to be an emperor, father, to begin with; then you can't be henpecked."

He darted around the table, pursued by the maligned Mrs White armed with an antimacassar.

Mr. White took the paw from his pocket and eyed it dubiously. "I don't know what to wish for, and that's a fact," he said slowly. It seems to me I've got all I want."

"If you only cleared the house, you'd be quite happy, wouldn't you!" said Herbert, with his hand on his shoulder. "Well, wish for two hundred pounds, then; that'll just do it."

His father, smiling shamefacedly at his own credulity, held up the talisman, as his son, with a solemn face, somewhat marred by a wink at his mother, sat down and struck a few impressive chords.

"I wish for two hundred pounds," said the old man distinctly.

A fine crash from the piano greeted his words, interrupted by a shuddering cry from the old man. His wife and son ran toward him.

"It moved," he cried, with a glance of disgust at the object as it lay on the floor. "As I wished, it twisted in my hand like a snake."

"Well, I don't see the money," said his son, as he picked it up and placed it on the table, "and I bet I never shall."

"It must have been your fancy, father," said his wife, regarding him anxiously.

He shook his head. "Never mind, though; there's no harm done, but it gave me a shock all the same."

They sat down by the fire again while the two men finished their pipes. Outside, the wind was higher than ever, an the old man started nervously at the sound of a door banging upstairs. A silence unusual and depressing settled on all three, which lasted until the old couple rose to retire for the rest of the night.

"I expect you'll find the cash tied up in a big bag in the middle of your bed," said Herbert, as he bade them good night, " and something horrible squatting on top of your wardrobe watching you as you pocket your ill-gotten gains."

He sat alone in the darkness, gazing at the dying fire, and seeing faces in it. The last was so horrible and so simian that he gazed at it in amazement. It got so vivid that, with a little uneasy laugh, he felt on the table for a glass containing a little water to throw over it. His hand grasped the monkey's paw, and with a little shiver he wiped his hand on his coat and went up to bed.
Part II
In the brightness of the wintry sun next morning as it streamed over the breakfast table he laughed at his fears. There was an air of prosaic wholesomeness about the room which it had lacked on the previous night, and the dirty, shriveled little paw was pitched on the side-board with a carelessness which betokened no great belief in its virtues.

"I suppose all old soldiers are the same," said Mrs White. "The idea of our listening to such nonsense! How could wishes be granted in these days? And if they could, how could two hundred pounds hurt you, father?"

"Might drop on his head from the sky," said the frivolous Herbert.

"Morris said the things happened so naturally," said his father, "that you might if you so wished attribute it to coincidence."

"Well don't break into the money before I come back," said Herbert as he rose from the table. "I'm afraid it'll turn you into a mean, avaricious man, and we shall have to disown you."

His mother laughed, and following him to the door, watched him down the road; and returning to the breakfast table, was very happy at the expense of her husband's credulity. All of which did not prevent her from scurrying to the door at the postman's knock, nor prevent her from referring somewhat shortly to retired Sergeant-Majors of bibulous habits when she found that the post brought a tailor's bill.

"Herbert will have some more of his funny remarks, I expect, when he comes home," she said as they sat at dinner.

"I dare say," said Mr. White, pouring himself out some beer; "but for all that, the thing moved in my hand; that I'll swear to."

"You thought it did," said the old lady soothingly.

"I say it did," replied the other. "There was no thought about it; I had just - What's the matter?"

His wife made no reply. She was watching the mysterious movements of a man outside, who, peering in an undecided fashion at the house, appeared to be trying to make up his mind to enter. In mental connexion with the two hundred pounds, she noticed that the stranger was well dressed, and wore a silk hat of glossy newness. Three times he paused at the gate, and then walked on again. The fourth time he stood with his hand upon it, and then with sudden resolution flung it open and walked up the path. Mrs White at the same moment placed her hands behind her, and hurriedly unfastening the strings of her apron, put that useful article of apparel beneath the cushion of her chair.

She brought the stranger, who seemed ill at ease, into the room. He gazed at her furtively, and listened in a preoccupied fashion as the old lady apologized for the appearance of the room, and her husband's coat, a garment which he usually reserved for the garden. She then waited as patiently as her sex would permit for him to broach his business, but he was at first strangely silent.

"I - was asked to call," he said at last, and stooped and picked a piece of cotton from his trousers. "I come from 'Maw and Meggins.' "

The old lady started. "Is anything the matter?" she asked breathlessly. "Has anything happened to Herbert? What is it? What is it?

Her husband interposed. "There there mother," he said hastily. "Sit down, and don't jump to conclusions. You've not brought bad news, I'm sure sir," and eyed the other wistfully.

"I'm sorry - " began the visitor.

"Is he hurt?" demanded the mother wildly.

The visitor bowed in assent."Badly hurt," he said quietly, "but he is not in any pain."

"Oh thank God!" said the old woman, clasping her hands. "Thank God for that! Thank - "

She broke off as the sinister meaning of the assurance dawned on her and she saw the awful confirmation of her fears in the others averted face. She caught her breath, and turning to her slower-witted husband, laid her trembling hand on his. There was a long silence.

"He was caught in the machinery," said the visitor at length in a low voice.

"Caught in the machinery," repeated Mr. White, in a dazed fashion,"yes."

He sat staring out the window, and taking his wife's hand between his own, pressed it as he had been wont to do in their old courting days nearly forty years before.

"He was the only one left to us," he said, turning gently to the visitor. "It is hard."

The other coughed, and rising, walked slowly to the window. " The firm wishes me to convey their sincere sympathy with you in your great loss," he said, without looking round. "I beg that you will understand I am only their servant and merely obeying orders."

There was no reply; the old woman's face was white, her eyes staring, and her breath inaudible; on the husband's face was a look such as his friend the sergeant might have carried into his first action.

"I was to say that Maw and Meggins disclaim all responsibility," continued the other. "They admit no liability at all, but in consideration of your son's services, they wish to present you with a certain sum as compensation."

Mr. White dropped his wife's hand, and rising to his feet, gazed with a look of horror at his visitor. His dry lips shaped the words, "How much?"

"Two hundred pounds," was the answer.

Unconscious of his wife's shriek, the old man smiled faintly, put out his hands like a sightless man, and dropped, a senseless heap, to the floor.
Part III
In the huge new cemetery, some two miles distant, the old people buried their dead, and came back to the house steeped in shadows and silence. It was all over so quickly that at first they could hardly realize it, and remained in a state of expectation as though of something else to happen - something else which was to lighten this load, too heavy for old hearts to bear.

But the days passed, and expectations gave way to resignation - the hopeless resignation of the old, sometimes mis-called apathy. Sometimes they hardly exchanged a word, for now they had nothing to talk about, and their days were long to weariness.

It was about a week after that the old man, waking suddenly in the night, stretched out his hand and found himself alone. The room was in darkness, and the sound of subdued weeping came from the window. He raised himself in bed and listened.

"Come back," he said tenderly. "You will be cold."

"It is colder for my son," said the old woman, and wept afresh.

The sounds of her sobs died away on his ears. The bed was warm, and his eyes heavy with sleep. He dozed fitfully, and then slept until a sudden wild cry from his wife awoke him with a start.

"THE PAW!" she cried wildly. "THE MONKEY'S PAW!"

He started up in alarm. "Where? Where is it? What's the matter?"

She came stumbling across the room toward him. "I want it," she said quietly. "You've not destroyed it?"

"It's in the parlour, on the bracket," he replied, marveling. "Why?"

She cried and laughed together, and bending over, kissed his cheek.

"I only just thought of it," she said hysterically. "Why didn't I think of it before? Why didn't you think of it?"

"Think of what?" he questioned.

"The other two wishes," she replied rapidly. "We've only had one."

"Was not that enough?" he demanded fiercely.

"No," she cried triumphantly; "We'll have one more. Go down and get it quickly, and wish our boy alive again."

The man sat in bed and flung the bedclothes from his quaking limbs."Good God, you are mad!" he cried aghast. "Get it," she panted; "get it quickly, and wish - Oh my boy, my boy!"

Her husband struck a match and lit the candle. "Get back to bed he said unsteadily. "You don't know what you are saying."

"We had the first wish granted," said the old woman, feverishly; "why not the second?"

"A coincidence," stammered the old man.

"Go get it and wish," cried his wife, quivering with excitement.

The old man turned and regarded her, and his voice shook. "He has been dead ten days, and besides he - I would not tell you else, but - I could only recognize him by his clothing. If he was too terrible for you to see then, how now?"

"Bring him back," cried the old woman, and dragged him towards the door. "Do you think I fear the child I have nursed?"

He went down in the darkness, and felt his way to the parlour, and then to the mantlepiece. The talisman was in its place, and a horrible fear that the unspoken wish might bring his mutilated son before him ere he could escape from the room seized up on him, and he caught his breath as he found that he had lost the direction of the door. His brow cold with sweat, he felt his way round the table, and groped along the wall until he found himself in the small passage with the unwholesome thing in his hand.

Even his wife's face seemed changed as he entered the room. It was white and expectant, and to his fears seemed to have an unnatural look upon it. He was afraid of her.

"WISH!" she cried in a strong voice.

"It is foolish and wicked," he faltered.

"WISH!" repeated his wife.

He raised his hand. "I wish my son alive again."

The talisman fell to the floor, and he regarded it fearfully. Then he sank trembling into a chair as the old woman, with burning eyes, walked to the window and raised the blind.

He sat until he was chilled with the cold, glancing occasionally at the figure of the old woman peering through the window. The candle-end, which had burned below the rim of the china candlestick, was throwing pulsating shadows on the ceiling and walls, until with a flicker larger than the rest, it expired. The old man, with an unspeakable sense of relief at the failure of the talisman, crept back back to his bed, and a minute afterward the old woman came silently and apathetically beside him.

Neither spoke, but sat silently listening to the ticking of the clock. A stair creaked, and a squeaky mouse scurried noisily through the wall. The darkness was oppressive, and after lying for some time screwing up his courage, he took the box of matches, and striking one, went downstairs for a candle.

At the foot of the stairs the match went out, and he paused to strike another; and at the same moment a knock came so quiet and stealthy as to be scarcely audible, sounded on the front door.

The matches fell from his hand and spilled in the passage. He stood motionless, his breath suspended until the knock was repeated. Then he turned and fled swiftly back to his room, and closed the door behind him. A third knock sounded through the house.

"WHAT'S THAT?" cried the old woman, starting up.

"A rat," said the old man in shaking tones - "a rat. It passed me on the stairs."

His wife sat up in bed listening. A loud knock resounded through the house.

"It's Herbert!"

She ran to the door, but her husband was before her, and catching her by the arm, held her tightly.

"What are you going to do?" he whispered hoarsely.

"It's my boy; it's Herbert!" she cried, struggling mechanically. "I forgot it was two miles away. What are you holding me for? Let go. I must open the door."

"For God's sake don't let it in," cried the old man, trembling.

"You're afraid of your own son," she cried struggling. "Let me go. I'm coming, Herbert; I'm coming."

There was another knock, and another. The old woman with a sudden wrench broke free and ran from the room. Her husband followed to the landing, and called after her appealingly as she hurried downstairs. He heard the chain rattle back and the bolt drawn slowly and stiffly from the socket. Then the old woman's voice, strained and panting.

"The bolt," she cried loudly. "Come down. I can't reach it."

But her husband was on his hands and knees groping wildly on the floor in search of the paw. If only he could find it before the thing outside got in. A perfect fusillade of knocks reverberated through the house, and he heard the scraping of a chair as his wife put it down in the passage against the door. He heard the creaking of the bolt as it came slowly back, and at the same moment he found the monkey's paw, and frantically breathed his third and last wish.

The knocking ceased suddenly, although the echoes of it were still in the house. He heard the chair drawn back, and the door opened. A cold wind rushed up the staircase, and a long loud wail of disappointment and misery from his wife gave him the courage to run down to her side, and then to the gate beyond. The street lamp flickering opposite shone on a quiet and deserted road.

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The Monkey's Paw, a Short Story by W. W. Jacobs.

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What I wonder about horror genre is it all fictional stories or nonfictional murder stories?

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Orphan follows the story of Esther, a little girl who turns out to be a killer, and her adopted family. But Esther and her secrets aren't fictional.

Jaume Collet-Serra's 2009 film, Orphan tells the story of a couple who adopts a nine-year old girl who may not be exactly what she appears, and was based on real life events. Produced through Dark Castle Entertainment, the psychological horror film received mixed reviews, but everyone agreed that the performance of Isabelle Fuhrman as Esther, the mysterious orphan, was haunting and exceptional.

Audiences who found Orphan and other killer kid movies like and particularly chilling will be disturbed to learn that the plot of Orphan is actually based on the true story of Barbora Skrlová, a woman who was discovered posing as a 13-year-old boy in Norway after she had escaped from another family where she had facilitated extreme child abuse on the family's other children.

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Related: Silent Hill: True Story & Real Town's History Explained

After the film's release in 2009, it spawned another incident ten years later in which an Indiana couple adopted a six-year-old Ukrainian girl named Natalia Grace who had a form of dwarfism that made her about three feet tall and also gave her some additional difficulties with mobility. However, after being with the family for a few weeks Natalia began acting strangely, threatening the family and acting erratically, after which the mother became convinced Natalia was actually an adult.

The True Stories Behind Orphan

The case of Barbora Skrlová was a national news story, when 13-year-old "Adam", an adopted boy in Norway went missing and it was discovered that he was actually a 33-year-old Czech woman. Skrlová committed her first crimes in the Czech Republic where she came to live with two sisters, Klara and Katerina Mauerova, and Klara's two children. Klara had significant mental illness, so much so that it was the cause of her separation from her children's father. Because of this, Skrlová was able to more easily manipulate her.

She began controlling and manipulating the family, pretending that Klara's two sons, Ondrej and Yakub, were breaking things and misbehaving, and then convincing the sisters to administer increasingly violent punishments against them for the boys' imagined mistakes. Eventually Skrlová had convinced the sisters to lock the boys in the basement and deprive them of food. When a neighbor alerted the police to potential abuse in the household, the two sisters were arrested, but Skrlová escaped, pretending to be a child. When a 13-year-old boy of Czech parents went missing, Skrlová stepped in to pose as him. It is believed that the parents helped Skrlová pose as their son until she eventually ran away and their ruse was discovered.

After Orphan's release in 2009, nearly 10 years later, a unique case came to light which may have been inspired by the events depicted in the film. Indiana couple Kristine and Michael Barnett were well-versed in raising children with special needs. In 2010, they adopted six-year-old Natalia Grace from the Ukraine; she had a form of dwarfism that made it difficult for her to walk. Natalia had been in the US for about two years when she came to live with the Barnetts, coming to live with them after her last adopted family had given her up for undisclosed reasons.

Related: Rob Lowe to Direct & Star in Gender-Swapped Bad Seed Remake

After a while, Natalia started acting strangely. Kristine reported that the girl was threatening the family, standing over them at night, and she even saw her once trying to pour bleach in Kristine's morning coffee. Kristine began to suspect that Natalia was not actually a child and backs up this suspicion with Natalia's sophisticated vocabulary, lack of interest in toys, and medical tests which supposedly show Natalia as having the bone density and teeth of a teen or young adult, though later tests dispute these conclusions.

Based on Kristine's belief that Natalia was dangerous and running a scam, the Barnetts legally changed Natalia's age on her birth certificate to twenty-two years old in 2012, and then in 2013, they rented her an apartment and moved to Canada. Later, legal charges were waged against the Barnetts in 2014 when Natalia reported to the police that she had been abandoned by her family.

The Barnetts were charged with two counts of felony neglect of a minor. Kristine still maintains that Natalia is a dangerous adult running a scam, while Michael, now divorced from Kristine, claims the couple knew the entire time that Natalia was a child, but Kristine convinced everyone to lie about her age. Natalia's age is still up for debate, and legal action is ongoing to reverse the changes to her birth date that the Barnetts made. When asked about the case, Kristine specifically referenced the 2009 film saying, " The movie Orphan is exactly what happened."

Next: Orphan Movie Prequel Esther In The Works From The Boy Director
About The Author

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Orphan True Story & Real Life Crime Explained

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Orphan follows the story of Esther, a little girl who turns out to be a killer, and her adopted family. But Esther and her secrets aren't fictional. Jaume Collet-Serra's 2009 film, Orphan tells the story of a couple who adopts a nine-year old girl who may not be exactly what she appears, and was based on real life events.

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What i wonder about horror genre is , how does Freddy Kruger looks so alike in movies and in real life.

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what i wonder about horror genre is how they make everything thing look so real.

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What I wonder about horror genre is that  do they use self-personal experiences to develop a story and exaggerate it to conjure something more?

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What I wonder about the horror genre is how do they know when to  build up suspense and scare somebody?

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Horror films can be so scary because they're able to bypass our knowledge that we're watching something and trigger a real fear reaction.

Neuroscientists have started studying people when they watch films, and filmmakers are consistently able to trigger similar emotional reactions in viewers, especially with scary movies.

As filmmakers get a better understanding of the science and technology improves, this effect will get even more powerful.

It's October, the perfect time for scaring yourself with a spooky film.

Some people adore the rush they get from watching a horror flick; others can't stand how filmmakers somehow worm their way into your consciousness, building up tension and then striking that moment of terror with a jump scare or with some creepy moment that seems to burn itself into your brain.

Using images and sound, the best horror directors are able to tap into a part of your brain that operates purely on instinct.

When you sit down to watch "It" or "The Ring," you know that the movie isn't real. And yet somehow, the best scary films put you on the edge of your seat, ready to jump - sometime actually eliciting a yelp or a gasp.

That's a powerful effect.

"Usually when we're watching something we've shut down the motor regions of the brain, and yet those stimuli [from a shocking scene] are so strong that they overcome the inhibition to the motor system," said Michael Grabowski, an associate professor of communication at Manhattan College and the editor of the textbook " Neuroscience and Media: New Understandings and Representations."

We jump or yell because a film bypasses our tranquilized state and taps into a primal instinct, which is to react immediately to protect ourselves and warn others - before taking time to process what scared us.

"The scream is a way to alert others in your social group and scare off attackers," said Grabowski.

These scary moments supersede our rational thought process that knows they aren't real.

Neurocinematics

Grabowski's background is in filmmaking, but his research now is focused on an emerging field called "neurocinematics," which focuses on the connection between the mind and the experience of cinema.

While filmmakers have been able to evoke emotional responses in viewers for more than a century, it's only now that modern neuroscience can show us what's happening in someone's brain.

This goes beyond horror, too. Think of the last time that you felt emotion while watching any film, whether you laughed or suddenly felt tears welling up in your eyes during "Inside Out." Despite knowing that what you're watching isn't real, you feel real emotion.

But as Uri Hasson, a researcher and professor who focuses on neuroscience and psychology at Princeton, discovered when conducting the study that first coined the term "neurocinematics," people watching something scary or suspenseful tend to have particularly similar responses in their brain.

For now, that insight is mostly helping us understand what that fear looks like in the brain. But some researchers think that modern filmmaking, with an updated understanding of neuroscience and psychology, is actually better able to tap into emotion than it used to be.

Universal screengrab via MovieClips
As Dutch media studies professor Patricia Pisters wrote in an essay for Aeon, "in contemporary thrillers, the spectator knows just as little as the characters, and is immediately drawn into the subjective emotional word of the protagonists. As spectators, we indeed experience the world increasingly 'inside out' and have direct access to the drama of the neural mechanisms of emotion. We are taken on a neuronal rollercoaster that will eventually give us the story."

In the future, said Grabowski, it's possible that filmmakers will be able to use even more precise insights to directly stimulate certain emotions, to control when their audiences jump and what they feel.

When you combine that with powerful technologies like virtual reality, something that makes it even harder for us to tell reality from fiction, the possibilities are fascinating and even a little scary. (If you have a Cardboard headset, check out the terrifying short film " Catatonic" - the future of interactive media is somewhat terrifying.)

It's like the dream of Alfred Hitchcock that Pisters cites in her essay, quoted from Donald Spoto's biography of the filmmaker.

"The audience is like a giant organ that you and I are playing," Hitchcock reportedly told scriptwriter Ernest Lehman. "At one moment we play this note, and get this reaction, and then we play that chord and they react. And someday we won't even have to make a movie - there'll be electrodes implanted in their brains, as we'll just press different buttons and they'll go 'oooh' and 'aaah' and we'll frighten them, and make them laugh. Won't that be wonderful?"
This story was originally published in 2016.

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Horror movies tap into a primal fear instinct in your brain

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Horror films can be so scary because they're able to bypass our knowledge that we're watching something and trigger a real fear reaction. Neuroscientists have started studying people when they watch films, and filmmakers are consistently able to trigger similar emotional reactions in viewers, especially with scary movies.

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What I wonder about horror genre is why do they make most movies about playing with evil spirts.

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i wonder about the horror genre is how do these makeup artist make every effect look so horroristic but realistic?

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I wonder why white people tend to always go into the danger instead of running out of it.

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Why Black People Are Barely in Horror Films

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What i wonder about horror genre is how they

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What I wonder about horror genre is how can the people make a horror seen look so real even though it’s fake?

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what i think about the horror genre is that some of them are fantasies and most of them fake

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I wonder about the horror genre is why they be looking so real.

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What I wonder about horror genre is how do they come up with characters and their power.

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what i wonder about the horror genre is how do they come up with the monsters and the scary stuff

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What i wonder about the horror genre is that how do Michael Myers move so fast around but in the movies it shows that he is walking

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One thing that i wonder about the horror genre is

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What I wonder about the horror genre is why does Eren Yeager dad do experimentation on Eren (attack on titan)

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What I wonder about horror genre is, how did they make the effects so realistic so real during paranormal activity

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What I wonder about horror genre is

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What I wonder about the horror genre is Explores the dark, malevolent side of humanity

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What i wonder about the horror genre is why Micheal Myers returns home to Haddon field to murder more teenagers.

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Michael Myers is a fictional character from the Halloween series of slasher films. He first appears in John Carpenter's (1978) as a young boy who murders his elder sister, Judith Myers. Fifteen years later, he returns home to Haddonfield, Illinois, to murder more teenagers. In the original Halloween, the adult Michael Myers, referred to as The Shape in the closing credits, was portrayed by Nick Castle for most of the film and substituted by Tony Moran in the final scene where Michael's face is revealed. The character was created by John Carpenter and has appeared in thirteen films, as well as novels, multiple video games, and several comic books.

The character is the primary antagonist in all films except Halloween III: Season of the Witch, which is not connected in continuity to the rest of the films. Since Castle and Moran put on the mask in the original film, six people have stepped into the same role. Castle, George P. Wilbur, Tyler Mane, and James Jude Courtney are the only actors to have portrayed Michael Myers more than once, with Mane and Courtney being the only actors to do so in consecutive films. Michael Myers is characterized as pure evil, both directly in the films, by the filmmakers who created and developed the character over nine films, and by random participants in a survey. In the first two films, Michael wears a Captain Kirk mask that is painted white. The mask, which was made from a cast of William Shatner's face, was originally used in the 1975 horror film The Devil's Rain.

Michael Myers appears in all of the Halloween films excluding Halloween III: Season of the Witch, which did not feature any elements from the preceding two films, but did feature a television playing the original Halloween film. Myers has also appeared in expanded universe novels and comic books.

Michael Myers made his first appearance in the film (1978). At the beginning of Halloween, a six-year-old Michael (Will Sandin) murders his teenage sister Judith ( Sandy Johnson) on Halloween, 1963. Fifteen years later, Michael ( Nick Castle) escapes Smith's Grove Sanitarium and returns to his hometown of Haddonfield, Illinois. He stalks teenage babysitter Laurie Strode ( Jamie Lee Curtis) on Halloween, while his psychiatrist Dr. Sam Loomis ( Donald Pleasence) attempts to track him down. After murdering several of Laurie's friends, Michael finally attacks Laurie herself, but she fends him off long enough for Loomis to save her. Loomis shoots Michael six times, knocking him off the balcony; when Loomis goes to check Michael's body, he finds that he has disappeared. Halloween II (1981) picks up directly where the original ends, with Dr. Loomis still looking for Michael. Michael ( Dick Warlock) follows Laurie to the local hospital and kills the staff one by one throughout the night. Loomis learns that Laurie is Michael's younger sister and rushes to the hospital to find them. Laurie shoots Michael in the eyes, blinding him, and Loomis causes an explosion in the operating theater, allowing Laurie to escape. Michael, engulfed in flames, stumbles out of the room before finally collapsing. Halloween III: Season of the Witch (1982) has no continuity relation to the other films, although Michael briefly appears in a television advertisement for the first film.

Halloween 4: The Return of Michael Myers (1988) picks the story up ten years after the events of Halloween II. Michael ( George P. Wilbur) is revealed to have been in a comatose state since the explosion. Michael wakes from his coma when he learns Laurie Strode has died in a car accident but has a nine-year-old daughter, Jamie Lloyd ( Danielle Harris). Returning to Haddonfield, he causes a citywide blackout and massacres the town's police force before being shot by the state police and falling down a mine shaft. Halloween 5: The Revenge of Michael Myers (1989) begins immediately after the fourth film ends, with Michael Myers ( Donald L. Shanks) escaping the mine shaft and being nursed back to health by a local hermit. The next year, Michael kills the hermit and returns to Haddonfield to find Jamie (Harris) again, chasing her through his childhood home in a trap set up by Loomis (Pleasence). Michael is eventually subdued by Loomis and taken to the local police station, but a mysterious "Man in Black" attacks the police station, kills the officers, and frees him.

Halloween: The Curse of Michael Myers (1995) takes place six years after the events of The Revenge of Michael Myers; both Jamie ( J. C. Brandy) and Michael (Wilbur) have disappeared from Haddonfield. Jamie has been kidnapped and impregnated by the Cult of Thorn, led by Dr. Terence Wynn ( Mitchell Ryan), Loomis' friend and colleague from Smith's Grove. Wynn is revealed to have been manipulating Michael all along and was his mysterious savior in Halloween 5. Michael attacks Jamie, but not before she hides her infant, who is discovered and taken in by Tommy Doyle ( Paul Rudd). While trying to protect the baby from Michael and Wynn, Tommy learns that the cult may be the cause of Michael's obsession with killing his entire family, in addition to his seemingly supernatural abilities. Michael ultimately turns against the cult and is finally subdued by Tommy, who injects him with large quantities of tranquilizers inside the Smith's Grove Sanitarium. The film ends with Michael's mask lying on the floor of the lab room and Loomis screaming in the background, leaving the fate of both men unknown.

Ignoring the events of the previous three films, Halloween H20: 20 Years Later (1998) establishes that Michael Myers ( Chris Durand) has been missing for twenty years since the explosion in 1978. Laurie Strode (Curtis) has faked her death to escape her brother and is now living in California under an assumed name with her teenage son John ( Josh Hartnett). Michael tracks Laurie and her son to the private boarding school where she is headmistress and murders John's friends. Getting her son to safety, Laurie willingly goes back to face Michael, and decapitates him, finally killing him. Halloween: Resurrection (2002), which picks up three years after H20, retcons Michael's death, establishing that the man Laurie decapitated was a paramedic whom Michael had attacked and swapped clothes with. Michael ( Brad Loree) tracks down an institutionalized Laurie and kills her. He returns to Haddonfield, where one year later, he finds and kills a group of college students filming an internet reality show inside his childhood home. Contestant Sara Moyer ( Bianca Kajlich) and show producer Freddie Harris ( Busta Rhymes) escape by electrocuting Michael. Michael's body and the bodies of his victims are then taken to the morgue. As the medical examiner begins to inspect Michael's body, he awakens.

(2018) is a direct sequel to the original film in which Michael and Laurie are not siblings. It is established that after being shot by Loomis, Michael ( James Jude Courtney) fled into the nearby woods and was found by Deputy Frank Hawkins, who arrested him. Following his killing spree in 1978, spending the next 40 years in Smith's Grove Sanitarium before escaping again and returning to Haddonfield for another killing spree (freed by his psychologist Dr. Sartain). Here he comes face-to-face again with Laurie Strode (once again played by Curtis), who has been living in fear of his return. Michael is taken to Laurie's home by Sartain, before he himself is killed, where he engages in a showdown with Laurie, who severely injures him and severs two of his fingers. Michael is ultimately trapped in Laurie's burning house by Laurie, her daughter Karen ( Judy Greer), and her granddaughter Allyson ( Andi Matichak). Michael is heard breathing in a post-credits scene, suggesting that he survived.

Halloween Kills (2021) is a direct sequel to the 2018 film in which Michael escapes the burning house, and proceeds to go on a killing spree. After a few kills, the townspeople form a mob to hunt him down. While the mob proves to be unnecessarily destructive, they do eventually swarm him and seemingly kill him. As the mob disperses, Michael kills one who attempts to ensure that he's truly dead, and then proceeds to kill the rest of the returning mob. He then makes his way back to his childhood home, where he finds Karen and kills her as well.

Halloween Ends (2022) picks up four years after its predecessor. Michael has been absent since his last rampage, and now inhabits a cavern in the sewers where he encounters Corey Cunningham, a troubled young man, who escapes. Corey later lures an antagonistic cop into the cavern, where Michael kills him, drawing Michael to return to Haddonfield, joining Corey as he kills a doctor and nurse that bothered Allyson, who's dating Corey. Unsettled by Corey's eyes, which remind her of Michael's, Laurie tells Corey to stay away from Allyson. Enraged, he returns to the cavern, grapples with Michael and takes his mask. As Michael unknowingly follows Corey back into Haddonfield, Corey poses as Michael and murders several people who wronged him. He goes to kill Laurie but is shot down a stairwell, after which he fatally stabs himself, framing Laurie for the assault. Michael arrives and kills Corey, before a climactic confrontation ensues between Laurie and Michael. Laurie pins Michael's body to a table, stabs him and slits his neck, but he lunges and grabs her throat. Allyson intervenes and breaks Michael's arm, freeing Laurie to fatally slit Michael's wrist, and he dies from extreme blood loss. A town-wide procession takes place, with Laurie and Allyson driving Michael's corpse through Haddonfield to provide closure to everyone. Laurie disposes of the corpse in an industrial shredder, eviscerating the remains of Michael Myers once and for all.

A new version of Michael Myers appears in Rob Zombie's (2007), a reboot of the franchise. The film follows the basic premise of the original film, with an increased focus on Michael's childhood: a ten-year-old Michael ( Daeg Faerch) is shown killing animals and suffering emotional abuse from Judith ( Hanna R. Hall) and his mother's boyfriend Ronnie ( William Forsythe), both of whom he later murders, along with a boy who was bullying him. After being committed to Smith's Grove, Michael takes up the hobby of creating papier-mâché masks and receives unsuccessful therapy from Dr. Sam Loomis ( Malcolm McDowell). Michael's mother Deborah ( Sheri Moon Zombie) commits suicide after witnessing him killing a nurse. As an adult, Michael ( Tyler Mane) returns to Haddonfield to reunite with his younger sister Laurie ( Scout Taylor-Compton), the only person he has ever loved. However, Laurie has no memory of Michael and is terrified of him, ultimately shooting him in the head in self-defense after he kills her friends and adoptive parents. Zombie's story is continued in the sequel, Halloween II (2009), which picks up right where the remake leaves off and then jumps ahead one year. Here, Michael (Mane) is presumed dead but resurfaces after a vision of Deborah informs him that he must track Laurie down so that they can "come home." In the film, Michael and Laurie have a mental link, with the two sharing visions of their mother. During the film's climax, Laurie kills Michael by stabbing him repeatedly in the chest and face with his knife, with the final scene suggesting that she has taken on her brother's psychosis as she dons his mask.

Michael Myers made his literary debut in October 1979 when Curtis Richards released a novelization of the film. The book follows the events of the film but includes references to the festival of Samhain. A prologue provides a possible explanation for Michael's murderous impulses, telling the story of Enda, a disfigured Celtic teenager who butchers the Druid princess Deirdre and her lover as revenge for rejecting him; the king subsequently has his shaman curse Enda's soul for walking the earth reliving his crime for eternity. It is later revealed that Michael Myers suffers nightmares about Enda and Deirdre, as did Michael's great-grandfather before shooting two people to death at a Halloween harvest dance in the 1890s. The novel shows Michael's childhood in more detail; his mother voices concern over her son's anti-social behavior shortly before he murders Judith. Dr. Loomis notices the boy's effortless control and manipulation of the staff and patients at Smith's Grove during his incarceration. Later in the story, Michael's stalking of Laurie and her friends is depicted as more explicitly sexual than was apparent in the film, with several references to him having an erection. Michael returned to the world of literature with the 1981 adaptation of Halloween II written by Jack Martin; it was published alongside the first film sequel, with the novel following the film events, with an additional victim, a reporter, added to the novel. The final novelization to feature Michael was Halloween IV, released October 1988. The novel was written by Nicholas Grabowsky, and like the previous adaptations, follows the events of Halloween 4: The Return of Michael Myers.

Over a four-month period, Berkley Books published three young adult novels written by Kelly O'Rourke; the novels are original stories created by O'Rourke, with no direct continuity with the films. The first, released on October 1, 1997, titled The Scream Factory, follows a group of friends who set up a haunted house attraction in the basement of Haddonfield City Hall, only to be stalked and killed by Michael Myers while they are there. The Old Myers Place is the second novel, released 1 December 1997, and focuses on Mary White, who moves into the Myers house with her family and takes up residence in Judith Myers' former bedroom. Michael returns home and begins stalking and attacking Mary and her friends. O'Rourke's final novel, The Mad House, was released on 1 February 1998. The Mad House features a young girl, Christine Ray, who joins a documentary film crew that travels to haunted locations; they are currently headed to Smith Grove Mental Hospital. The crew is quickly confronted by Michael Myers.

The character's first break into comics came with a series of comics published by Brian Pulido's Chaos! Comics. The first, simply titled Halloween, was intended to be a one-issue special, but eventually two sequels spawned: Halloween II: The Blackest Eyes and Halloween III: The Devil's Eyes. All of the stories were written by Phil Nutman, with Daniel Farrands-writer for Halloween: The Curse of Michael Myers-assisting on the first issue; David Brewer and Justiniano worked on the illustrations. Tommy Doyle is the main protagonist in each of the issues, focusing on his attempts to kill Michael Myers. The first issue includes backstory on Michael's childhood, while the third picks up after the events of the film Halloween H20.

In 2003, Michael appeared in the self-published comic One Good Scare, written by Stefan Hutchinson and illustrated by Peter Fielding. The main character in the comic is Lindsey Wallace, the young girl who first saw Michael Myers alongside Tommy Doyle in the original 1978 film. Hutchinson wanted to bring the character back to his roots, and away from the "lumbering Jason-clone" the film sequels had made him. On 25 July 2006, as an insert inside the DVD release of Halloween: 25 Years of Terror, the comic book Halloween: Autopsis was released. Written by Stefan Hutchinson and artwork by Marcus Smith and Nick Dismas, the story is about a photographer assigned to take pictures of Michael Myers. As the photographer, Carter, follows Dr. Loomis; he begins to take on Loomis's obsession himself, until finally meeting Michael Myers in person, which results in his death.

In 2008, Devil's Due Publishing began releasing more Halloween comic books, starting with a four issue mini series, titled Halloween: Nightdance. Written by Stefan Hutchinson, Nightdance takes place in Russellville, and follows Michael's obsession with Lisa Thomas, a girl who reminds him of his sister Judith. Lisa is afraid of the dark after Michael trapped her in a basement for days, and years later, he starts sending her disturbing, childlike drawings and murdering those around her on Halloween. Meanwhile, Ryan Nichols is hunting Michael down after seeing him attack and kidnap his wife. In the end, Michael frames Ryan for the murders and buries Lisa alive. Hutchinson explains that Nightdance was an attempt to escape the dense continuity of the film series and recreate the tone of the 1978 film; Michael becomes inexplicably fixated on Lisa, just as he did with Laurie in the original Halloween, before the sequels established that a sibling bond was actually his motivation for stalking her. Included in the Nightdance trade paperback is the short prose story Charlie, which features Charlie Bowles, a Russellville serial killer who taps into the same evil force which motivates Michael Myers. To celebrate the anniversary of the Halloween series, Devil's Due released a one-shot comic entitled Halloween: 30 Years of Terror in August 2008, written by Hutchinson. An anthology collection inspired by John Carpenter's original film, Michael appears in various stories, tampering with Halloween candy, decapitating a beauty queen, tormenting Laurie Strode, and killing a school teacher.

I met this six-year-old child with this blank, pale, emotionless face, and the blackest eyes; the devil's eyes [...] I realized what was living behind that boy's eyes was purely and simply...evil.

- Loomis' description of a young Michael was inspired by John Carpenter's experience with a real-life mental patient.

'Michael Myers' was the real-life name of the head of the now-dissolved British company Miracle Films. Myers, after meeting producer Irwin Yablans, distributed John Carpenter's previous film Assault on Precinct 13 in England in 1977. His name was chosen as a tribute to this success. A common characterization of Michael Myers is that he is pure evil. John Carpenter has described the character as "almost a supernatural force-a force of nature. An evil force that's loose," a force that is "unkillable". Nicholas Rogers elaborates, "Myers is depicted as a mythic, elusive bogeyman, one of superhuman strength who bullets cannot kill, stab wounds, or fire." Carpenter's inspiration for the "evil" that Michael would embody came when he was in college. While on a class trip at a mental institution in Kentucky, Carpenter visited "the most serious, mentally ill patients". Among those patients was a young boy around 12 to 13 years old. The boy gave a " schizophrenic stare", "a real evil stare", which Carpenter found "unsettling", "creepy", and "completely insane". Carpenter's experience would inspire the characterization that Loomis would give of Michael to Sheriff Brackett in the original film. Debra Hill has stated the scene where Michael kills a German Shepherd was done to illustrate how he is "really evil and deadly".

The ending scene of Michael being shot six times, and then disappearing after falling off the balcony, was meant to make the audience's imaginations run wild. Carpenter tried to keep the audience guessing as to who Michael Myers really is-he is gone, and everywhere at the same time; he is more than human; he may be supernatural, and no one knows how he got that way. To Carpenter, keeping the audience guessing was better than explaining away the character with "he's cursed by some..." For Josh Hartnett, who portrayed John Tate in Halloween H20, "it's that abstract, it's easier for me to be afraid of it. You know, someone who just kind of appears and, you know [mimics stabbing noise from ] instead of an actual human who you think you can talk to. And no remorse, it's got no feelings, that's the most frightening, definitely." Richard Schickel, film critic for , felt Michael was "irrational" and "really angry about something", having what Schickel referred to as "a kind of primitive, obsessed intelligence". Schickel considered this the "definition of a good monster", by making the character appear "less than human", but having enough intelligence "to be dangerous".

Michael Myers is enduring because he's pure evil.

Dominique Othenin-Girard attempted to have audiences "relate to 'Evil', to Michael Myers' 'ill' side". Girard wanted Michael to appear "more human [...] even vulnerable, with contradicting feelings inside of him". He illustrated these feelings with a scene where Michael removes his mask and sheds a tear. Girard explains, "Again, to humanize him, to give him a tear. If Evil or in this case our boogeyman knows pain, or love or demonstrates a feeling of regret; he becomes even scarier to me if he pursues his malefic action. He shows an evil determination beyond his feelings. Dr. Loomis tries to reach his emotional side several times in [ Halloween 5]. He thinks he could cure Michael through his feelings."

Daniel Farrands, the writer of The Curse of Michael Myers, describes the character as a "sexual deviant". According to him, the way Michael follows girls around and watches them contains a subtext of repressed sexuality. Farrands theorizes that, as a child, Michael became fixated on the murder of his sister Judith, and for his own twisted reasons felt the need to repeat that action over and over again, finding a sister-like figure in Laurie who excited him sexually. He also believes that by making Laurie Michael's literal sister, the sequels took away from the simplicity and relatability of the original Halloween. Nevertheless, when writing Curse, Farrands was tasked with creating a mythology for Michael which defined his motives and why he could not be killed. He says, "He can't just be a man anymore, he's gone beyond that. He's mythical. He's supernatural. So, I took it from that standpoint that there's something else driving him. A force that goes beyond that five senses that have infected this boy's soul and now are driving him." As the script developed and more people became involved, Farrands admits that the film went too far in explaining Michael Myers and that he himself was not completely satisfied with the finished product.

Michael does not speak in the films; the first time audiences ever hear his voice is in the 2007 Rob Zombie reboot. Michael speaks as a child at the beginning of the film, but while in Smith's Grove he stops talking completely. Rob Zombie originally planned to have the adult Michael speak to Laurie in the film's finale, simply saying his childhood nickname for her, "Boo". Zombie explained that this version was not used because he was afraid having the character talk at that point would demystify him too much and because the act of Michael handing Laurie the photograph of them together was enough.

Describing aspects of Michael Myers that he wanted to explore in the comic book Halloween: Night dance, writer Stefan Hutchinson mentions the character's "bizarre and dark sense of humor", as seen when he wore a sheet over his head to trick a girl into thinking he was her boyfriend, and the satisfaction he gets from scaring the characters before he murders them, such as letting Laurie know he is stalking her. Hutchinson feels there is a perverse nature to Michael's actions: "see the difference between how he watches and pursues women to men". He also suggests that Michael Myers' hometown of Haddonfield is the cause of his behavior, likening his situation to that of Jack the Ripper, citing Myers as a "product of normal suburbia - all the repressed emotion of fake Norman Rockwell smiles". Hutchinson describes Michael as a "monster of abjection". When asked his opinion of Rob Zombie's expansion on Michael's family life, Hutchinson says that explaining why Michael does what he does "[reduces] the character". That being said, Hutchinson explores the nature of evil in the short story Charlie-included in the Halloween Night dance trade paperback-and says that Michael Myers spent 15 years "attuning himself to this force to the point where he is, as Loomis says, 'pure evil'". Night dance artist Tim Seeley describes the character's personality in John Carpenter's 1978 film as "a void", which allows the character to be more open to interpretation than the later sequels allowed him. He surmises that Michael embodies a part of everyone; a part people are afraid will one day "snap and knife someone", which lends to the fear that Michael creates onscreen. He was further characterized in the video game Dead by Daylight as "infused with a distilled and pure form of evil... For Michael, he had to kill to find some inner peace. As he took his sister's life, the police found a silent boy dressed as a clown at the scene. Sending Michael to a mental institution was a feeble attempt to save the child. Unsuccessful therapy and nightly screams just made him even more introvert [] and deranged."

In 2005, a study was conducted by the Media Psychology Lab of California State University, Los Angeles on the psychological appeal of movie monsters- vampires, Freddy Krueger, Frankenstein's monster, Jason Voorhees, Godzilla, Chucky, King Kong, the Alien, and the shark from -which surveyed 1,166 people nationwide (United States), with ages ranging from 16 to 91. It was published in the Journal of Media Psychology. In the survey, Michael was considered the "embodiment of pure evil"; compared to the other characters, Michael Myers was rated the highest. Michael was characterized as lending to the understanding of insanity, being ranked second to Hannibal Lecter in this category; he also placed first as the character who shows audiences the "dark side of human nature". He was rated second in the category "monster enjoys killing" by the participants, and believed to have "superhuman strength". Michael was rated highest among the characters in the "monster is an outcast" category.

John Carpenter, serving as an executive producer and creative consultant for the 2018 sequel to Halloween (1978), expressed his disagreement with Rob Zombie's portrayal of the character: "I thought that he took away the mystique of the story by explaining too much about [Michael Myers]. I don't care about that. He's supposed to be a force of nature. He's supposed to be almost supernatural." Co-writer Danny McBride felt that previous sequels had made Michael less scary by giving him an inhuman level of invulnerability, preferring to humanize the character: "I think we're just trying to strip it down and just take it back to what was so good about the original... I want to be scared by something that I really think could happen. I think it's much more horrifying to be scared by someone standing in the shadows while you're taking the trash out as opposed to someone who can't be killed pursuing you."

In the documentary 'Halloween' Unmasked 2000 it is revealed that Michael almost had an entirely different face. The first mask considered was an Emmett Kelly clown mask that the crew had put frizzy red hair on. Ultimately, it was decided that the mask did not have the "creepy and unsettling atmosphere" they were looking for with Michael. The second mask considered was a modified James T. Kirk mask that had the eyes opened up and the skin painted white. After modification, this mask captured the blank and emotionless look they wanted.

This section needs expansion. You can help by adding to it.

In Robot Chicken's nineteenth episode, " That Hurts Me", Michael Myers (voiced by Seth Green) appears as a housemate of "Horror Movie Big Brother", alongside fellow horror movie killers Jason Voorhees, Ghostface, Freddy Krueger, Pinhead, and Leatherface. Myers is evicted from the house, and takes off his mask to reveal himself to be the comedian Mike Myers, and utters his Austin Powers catchphrase, "I feel randy, baby, yeah!" He then proceeds to kill the host. Michael appeared on 25 April 2008 episode of Ghost Whisperer, starring Jennifer Love Hewitt, titled "Horror Show". Here, a spirit communicates with Hewitt's character by placing her in scenes from the deceased's favorite horror movies, and one of the scenes involved Michael Myers. The episode "Bad Night" has the main characters reopening a 1978 murder case after new evidence indicates the victim was killed by a mentally disturbed man who, after seeing Halloween in theatres, went on a killing spree dressed as Michael. Michael Myers makes a cameo appearance in Rob Zombie's The Haunted World of El Superbeasto, released on 22 September 2009. Michael Myers appears in the DLC pack for the video game Call of Duty: Ghosts, Onslaught, as a playable character. Myers also makes a playable appearance in the Halloween chapter of the video game Dead by Daylight, alongside Laurie Strode. He also made cameos in a film within the film within a film Stab 8 in the 2022 film , portrayed by co-director Matt Bettinelli-Olpin.

In one of the various merchandises to feature the character, Michael Myers made his video game debut with the 1983 Atari video game . The game is rare to find, often being played on emulators. No characters from the films are specifically named, with the goal of the game focusing on the player, who is a babysitter, protecting children from a "homicidal maniac [who] has escaped from a mental institution". Michael was one of several horror icons to be included in the 2009 version of Universal Studios Hollywood's Halloween Horror Nights event, as a part of a maze entitled Halloween: The Life and Crimes of Michael Myers Pop artist Eric Millikin created a large mosaic portrait of Michael Myers out of Halloween candy and spiders as part of his "Totally Sweet" series in 2013. In 2018, Spirit Halloween released a lifesize animated Michael Myers prop to coincide with the 2018 film.

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Michael Myers is a fictional character from the Halloween series of slasher films. He first appears in John Carpenter's (1978) as a young boy who murders his elder sister, Judith Myers. Fifteen years later, he returns home to Haddonfield, Illinois, to murder more teenagers.

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What I wonder about horror is that what are the psychological effects of watching horror movies.

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With Halloween comes scary movies such as the cult classics “The Exorcist,” “Saw,” “The Ring,” and “The Shining.” Ghosts and murderers fill our screens and dramatic music rings in our ears. Horror movies are ingrained in our culture; is this healthy? Let’s first explain what our mind does when watching a horror movie. “What happens…

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What I wonder about the horror genre is there's always someone dying or someone they know who's the killer. Like in Scream the 1996 one that is one of my favorite movies but there more.

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Something I wonder about the horror genre is how do they come up with the main character in a horror movie.

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Doubt. Stolen manuscripts. Self-loathing. Censorship. Missed deadlines. Unanswered pitches. Typos in query letters. Spotty Wi-Fi? The horrors of writing range from the existential to the melodramatic.

Horror films are exercises in hyperbole. Writers are perfect characters for these tales of dread. Writers often become lost within the worlds of their minds. Their devotions to stories and poems can develop into frenetic obsessions. Writers crave solitude and distance, creating a barrier from the outside world. In a profession where rejection is constant, writers might take out their frustration on friends, partners, and children.

Writers are often the subjects of dramatic films, but less often the focus of horror. Perhaps writers don't want to write their worst fears into reality. Still, there are enough tales of writerly woe and worry for poets, novelists, and essayists to ponder their deepest anxieties on the screen. Here are eight horror films about writers.

Images (1972)
The film begins with an extended scene of composition interrupted by a phone call. Cathryn ( Susannah York), a children's book author, labors over a draft. Alone in a large house, she crumples and tears manuscript pages. She kneels and rolls on the floor, and then traces letters on a window while rain sprays the glass. When she finally does pick up the ringing phone, she hears a woman ask "Do you know where your husband is tonight?" One of Robert Altman's largely forgotten films, Images delivers slick scares that are secondary to the psychological terror of a writer whose past and present with her lovers intersect to the point of confusion. Cathryn's voiceover of the manuscript continues throughout the film - which turns out to be In Search of Unicorns, an actual fantasy novel for children published by York herself.

The Shining (1980)
The Overlook Hotel: a nightmare writer's residency with spectacular views. Frustrated writer Jack Torrance is the winter caretaker of an expansive hotel in the Colorado mountains. He is alone there - except for his wife, his son, and the various spirits that occupy unlocked rooms and tend empty bars. Jack's single-sentence manuscript might be the sign of madness, or a recursive experimental novel. In Stanley Kubrick's house are many mansions: from spatial disorientation to Jack Nicholson's whirlwind emotional shifts within a single scene (watch the bathroom sequence with the butler closely - is Jack evil, manipulated, or something else entirely?), The Shining might be the ultimate horror film about a writer.

Barton Fink (1991)
"I'm just having trouble getting started." Playwright Barton Fink has moved to Hollywood to write for the movies. Capitol Pictures wants Barton to pen the script for a wrestling movie since he "knows the poetry of the streets." Between a struggling writer and hallway shots of a haunted hotel, the nods to The Shining are many, but the tone is quite different. The Coen Brothers - who allegedly wrote this film about writer's block to break their own real-life writer's block while drafting Miller's Crossing - probe the horrors of Hollywood. "This is a wrestling picture," says studio executive Jack Lipnick. "The audience wants to see action, adventure, wrestling - and plenty of it. They don't want to see a guy wrestling with his soul. Alright, a little for the critics."

Misery (1990)
Romance novelist Paul Sheldon crashes during a blizzard. He is nursed back to health by his "number one fan," Annie Wilkes. Health, of course, is a relative term. Wilkes becomes Sheldon's tormentor when she discovers that his new manuscript contains profanities - and that Sheldon has killed off her favorite character in his most recent release. Other than the infamous ankle-breaking scene, the most painful sequence of the film might be when Annie forces Paul to burn his new manuscript.

Sinister (2012)
Actor-novelist Ethan Hawke (Ash Wednesday, The Hottest State) plays Ellison Oswalt, a crime writer whose family moves into a home with a terrible past. Oswalt has been trying to recapture the success of Kentucky Blood, his first book, and turns to the murderous history of his new home as his next subject. He soon finds a boxful of Super 8 snuff films in the attic, and discovers a mystery far more frightening that any book he might have imagined.

The Bird with the Crystal Plumage (1970)
Sam Dalmas, an American novelist living in Rome with his girlfriend, has writer's block. He remains uninspired by Italy, but is soon about to become distracted from his literary worries. Sam views a brutal attack in an art gallery, and although the victim survives, Sam becomes embroiled in the serial killer's carnage. Scored by Ennio Morricone, The Bird with the Crystal Plumage was director Dario Argento's first film. He would later direct Tenebre, another slasher about an American author in Italy.

Castle of Blood (1964)
Alan Foster, a journalist from the London Times, wants to interview Edgar Allan Poe about his tales of horror and dread, but Poe assures him that every story he has written is true. Skeptical, the journalist accompanies Poe to a haunted castle, where, from midnight to sunrise, the dead come to life. Classic black-and-white atmospheric horror.

1408 (2007)
An "occult writer" of "ghost survival guides" who plays up the camp of his experiences but is actually skeptical of the supernatural, Mike Enslin has found his newest subject is Room 1408 of the Dolphin Hotel. Early in the film Enslin is having a reading and book signing for his newest book about haunted houses, and quips ghost stories are "awful convenient for desperate hotels when the interstate moves away." While mindlessly signing copies of his new book, a fan surprises him with a copy of The Long Road Home, his only novel. The fan says she bought the copy on eBay, and asks the question every author fears: "are you going to write another one like this one?" Although the bulk of 1408 occurs in the devilish hotel room where the manager says no one else has lasted more than an hour, for writers, a room haunted by demons pales in comparison to the fear that our best work is behind us.
Image Credit: Pexels.

One of the most morally and aesthetically interesting aspects of Werner Herzog's 2005 documentary film Grizzly Man, the enchanting and bizarre tale of Timothy Treadwell's life and death among the grizzlies, is Herzog's decision not to include the existing audio of Timothy Treadwell and Aime Huguenard's deaths. Treadwell and girlfriend Huguenard were eaten by a grizzly bear while living amongst the grizzlies in Alaska in the summer of 2003. Treadwell's video camera (at least its audio function) was on while the two were being attacked and this audio is now in the possession of one of Treadwell's friends. Herzog himself listens to the footage in Grizzly Man, and though viewers cannot hear it, they see Herzog listening to it, and hear him tell the audio's owner that the recording should be destroyed.A strict empiricist would disagree: If we are to understand an event or a life we must examine all of the evidence, however gruesome. But then, artists are not lawyers or scientists, and artistic justice is rather another thing than scientific or legal justice. Herzog's choice not to include the audio recording of these two surely horrific deaths is a question that many artists are confronted with. What aesthetic and ethical effects will the representation of a certain act, particularly something like dismemberment or rape, have on my audience? Will the representation of such acts necessarily invoke responses of arousal or morbid fascination in the viewer? While this might serve the purposes of certain artists intent on impressing upon us as visual consumers our complicity with the rapist, voyeur, or bear, it becomes deeply problematic when the artist does not want us to identify with the assailant.Those who have read J.M. Coetzee's Disgrace will know that the horror of a traumatic event that goes undescribed is not lessened, as will those who have read Samuel Richardson's Clarissa (1748). Sometimes referred to colloquially as "The Rape of Clarissa," Richardson's nearly 1600 page novel does not actually describe Clarissa's rape. It is through Clarissa herself that we get the novel's only approximation of a description of the event and her drug-addled memories are described only vaguely - shadows, a candle, the prostitutes (who, we later learn, held Clarissa down for her rapist). Richardson's choice to refuse description, like Coetzee's, is an ethical choice. It is a choice that absolutely refuses to offer us the possibility of aesthetic engagement with monstrous acts. If literary and other fiction is, as some hold, a means of playing make-believe, of trying on alternate identities, artists who refuse to represent horrific acts tell us something in these refusals. They do not want us to imagine these things, they do not want to provide the means by which we will be implicated in dehumanizing other people (even if these people are only literary characters). Even to write descriptions of such events would be, to whatever degree, to aestheticize them. And to make a rape into an object of aesthetic contemplation, aesthetic pleasure, is a sort of crime. Sofia Coppola's 2006 Marie Antoinette is the most recent example of this phenomenon that I have encountered. Coppola uses artistic refusal in her decision not to represent any social reality beyond Versailles until the very end of the movie, and then, only slightly. Occasionally, a court character mentions unrest among the people, bread shortages, increased taxes, but no physical evidence of it ever invades Louis XVI's court until the film's end, when a crowd of peasants surrounds the palace. In one of the movie's final scenes, Marie Antoinette ( Kirsten Dunst) goes out onto a balcony of the palace and we hear below her (and even see the torches, pruning hooks, and scythes - though not the faces - of) the people below her on the ground. The scene astonishes because through it we realize that Marie and Louis had no idea what was happening beyond Versailles - had no idea these people truly existed, much less that they existed in exigency and anger. They have never seen them - they did not physically exist until this moment when it is too late. And we are made, like the monarchs, to have no idea of the anger and suffering of their people (no visual idea at least, though we all know their eventual fate). Is this refusal unethical? Does it mask the suffering of thousands to force upon us sympathy for two thoughtless, pampered fools or does Coppola's demand that we understand the king and queen's ignorance press for an even more scrupulous definition of justice?In "Weighing In," Seamus Heaney invokes "the power/Of power not exercised": Sometimes we say more and say it better by refusing to speak.

Max's recent post cataloging 13 years of Anglo-American " Prizewinners" got me wondering... what were the most decorated books in foreign-language fiction during the same period? And how many of them are currently available in English? I assumed that, in an Internet age, this information would be easy to come by in consolidated form; as it turned out, I was wrong. And so, by way of a remedy, I embarked on a tortuous research process.The first step was to figure out what prizes I should be looking at. I tried to identify awards that recognized a single work of fiction annually, or biennially; that focused on a specific linguistic tradition; and that would give a book traction in a market sizable enough to facilitate comparison. That is, I was looking for analogues for the National Book Award or the Booker. The list of prizes I ended up with covers a slightly expanded version of the U.N. Security Council - France and its former colonies, the Spanish-speaking world, Germany and Austria, Italy, Russia, and Japan - which may, in itself, tell us something about the nature of literary laurels.Next, to allow for the time required to translate a book, I narrowed my window to the years 1995-2005, assuming that more recent books may still be in the process of translation. Using Wikipedia, World Literature Today the Library of Congress Catalog, Amazon.com, Babelfish, and other resources, I was able to track down English-language versions of prize-winning titles from those years (though not to rule out the existence of translations the LoC and Amazon might have missed).With its many arbitrary elements, its patent Eurocentrism, and its shaky grasp of some of the languages and cultures involved (readers are encouraged to enlighten me via the comments button), my ad hoc methodology makes the one publisher John O'Brien critiques in the current issue of CONTEXT look positively rigorous. Nonetheless, in light of O'Brien's argument that "translations have suddenly moved from their marginalized place in the American marketplace," the resulting list turns out to be pretty interesting. And, no matter how one interprets the data, this "International Edition" of our Prizewinners feature should offer readers who share my passion for contemporary world literature a place to start.(N.B.: Jealous of Max's arithmetic prowess, I've injected some pseudoscience into this post by calculating the Translation Quotient (TQ): percentage of winners of each award that have been translated into English. The prizes are listed in descending order of TQ.) 1. French-Language LiteratureIn the Prix Goncourt, France has one of the world's most venerable and distinguished literary awards. Every December since 1903, it has been given to "the best and most imaginative prose work of the year." My favorites among the honorees include Marcel Proust's Within a Budding Grove and Patrick Chaimoiseau's Texaco. Perhaps because of the prize's august history, and perhaps because of the intensity with which the French promote their literary culture, the Goncourt has the best Translation Quotient of any of the prizes I looked at. Of the 11 winning books from 1995 to 2005, eight have been translated into English. The 2006 winner, Les Bienveillantes, was written in French by an American, and was one of my Most Anticipated Books of 2008.Goncourt winners in translation 1995-2005 (TQ: 73%)1995 - Andrëi Makine, Dreams of My Russian Summers (Arcade)1997 - Patrick Rambaud, The Battle (Grove)1998 - Paule Constant, Trading Secrets (University of Nebraska Press)1999 - Jean Echenoz, I'm Gone (New Press)2000 - Jean-Jacques Schuhl, Ingrid Caven (City Lights)2001 - Jean-Christophe Rufin, Brazil Red (Norton)2003 - Jacques-Pierre Amette, Brecht's Mistress (New Press)2004 - Laurent Gaudé, The House of Scorta (MacAdam/Cage) 2. Spanish-Language LiteratureNovelists working in Spanish have a number of interesting prizes at their disposal, including the Cervantes Prize, given for lifetime achievement. The premier prize for a single novel is pretty widely recognized to be the semiannual Premio Internacional de Novela Rómulo Gallegos. Three out of the six winners from 1995 - 2005 have been translated into English; some authors, like Enrique Vila-Matas, have had works other than their Gallegos-winners translated.RRómulo Gallegos winners in translation 1995-2005 (TQ: 50%)1995 - Javier Marías (Spain), Tomorrow in the Battle Think On Me (New Directions)1997 - Ángeles Mastretta (Mexico), Lovesick (Riverhead)1999 - Roberto Bolaño (Chile), The Savage Detectives (FSG) 3. Italian LiteratureThe preeminent Italian prize is the Premio Strega; the Italians seem to do a pretty good job getting books chosen for the Strega translated into English. Of the 11 winners between 1995 and 2005, three have been translated into English, and several authors have had other titles appear in the U.S.Strega winners in translation 1995 - 2005 (TQ: 27%)1999 - Dacia Maraini, Darkness (Steerforth)2002 - Margaret Mazzantini, Don't Move (Anchor)2003 - Melania G. Mazzucco Vita (FSG) 4. Russian LiteratureThis one was a disappointment. Russian is one of the great literary languages, and has its own Booker-Open Russia Literary Prize. Monumental winners like Georgy Vladimov's The General and His Army (1995) would seem to be right up my alley - but haven't been translated into English. Vasily Aksyonov, a Millions favorite and winner of the Russian Booker in 2004, has had a number of books appear in the U.S. But apparently, only one book that took home the prize between 1995 and 2005 has itself been translated.Russian Booker winners in translation 1995 - 2005 (TQ: 9%)2003 - Ruben Gallego White On Black (Harcourt) 5. German-Language LiteratureI have to admit, this surprised me. I would have expected German speakers, with their robust literary heritage, to coronate a single book each year to present to the world. Then again, given the history of the last 150 years, the collapse of the Hapsburg Empire, and so on, I suppose it's not surprising that there is some fragmentation when it comes to awards. Perhaps as a remedy, the German Publishers & Booksellers Association in 2005 created the German Book Prize. But according to my (admittedly cursory) research, the preeminent prizes for a single work of German-language fiction during the 1995 - 2005 period would have been Austria's Ingeborg Bachmann Prize and the Alfred Döblin Prize (endowed by Günter Grass). Surprisingly, out of the 17 combined winners of these two prizes from 1995 - 2005, only one was translated into English. (The percentage goes up slightly, to two out of 20, if we throw in the great Ingo Schulze's, 33 Moments of Happiness, which won the Döblin "Förderpreis," [meaning, first novel prize?] in 1995).Döblin and Bachmann winners in translation, 1995 - 2005 (TQ: 6%)1995 - Norbert Gstrein, English Years (Minerva [U.K.]) Japanese LiteratureA mixed bag here. The Tanizaki Prize would seem to confer just the kind of distinction a publisher would want - it's so selective that some years, they don't even give it out - and yet none of the 12 winners from 1995 to 2005 have been translated into English. (There were two winners in 1997, 2000, and 2005). Then again, Yuko Tsushima, who won in 1998 and Yoko Tawada, who won in 2003, have had other works translated into English, and Ryu Murakami has been translated quite often.Tanizaki Winners in translation, 1995 - 2005 (TQ: 0%)

O'Connor was amused about Ronald Reagan possibly acting in one of her stories.

I've read Anna Karenina countless times, published articles, and dedicated two chapters in my book Understanding Tolstoy to the novel. So it is particularly exciting for me when an adaptation comes along that allows me to see the novel in a fresh light and even stirs me to tears over moments I thought I knew by heart. That happened to me a number of times while watching Joe Wright's 2012 adaptation of the work. Which is why I was disappointed when the movie was nominated for Oscars in what amounts to the consolation prize categories, the ones having to do more with the style than the substance of the film: Cinematography, music (original score), costume design, and production design.

But then, I'm not surprised. Most criticisms of the movie have focused on the idea that it's long on style, short on depth. Robert Ebert of the Chicago Sun-Times writes, "This is a sumptuous film - extravagantly staged and photographed, perhaps too much so for its own good." "Visually stunning, emotionally overwrought, beautifully acted, but not quite right," claims Betsy Sharky of The Los Angeles Times. And yet, I would argue, that it is precisely by means of its stylistic prowess that Wright's film captures the deeper truths about Tolstoy's novel as successfully as any other adaptation I've seen.

One of the most controversial aspects of the movie is the filming of the whole thing in a dilapidated theater. In making "the radical artistic choice to tell the story as if it were being enacted by players on a stage," writes Lisa Schwartzbaum of Entertainment Weekly.com, "Wright falls passionately in love with his own fanciful artifices."

Maybe, but he also gets at one of the novel's central ideas: that this is a spectacle society concerned more about show than substance, with tragic consequences.

Two thirds of the way through the novel Anna goes to the opera. By this point, she's deep into her affair with the juicy cavalry officer Vronsky and has left her husband Karenin, who refuses to give her a divorce, making it impossible for Anna to remarry legitimately. A woman without social standing, Anna is the talk of the town, and, apparently, the main attraction at the opera that night. A woman sitting in the box next to her makes a scene after the woman's husband exchanges a few polite words with Anna.

Here's what Wright does with that moment: A hush comes over the theater and all eyes turn from the stage to Anna, illuminated by a spotlight as she sits there in her light-colored gown of silk and velvet with a low-cut neck, in her glittering necklace, with expensive lace in her gorgeous, black hair - and utterly humiliated. That shot says it all: There sits the real diva of the night, the grand dame of Petersburg high society whose titillating story of adultery, self-destruction, and pariahdom those leering theater-goers thoroughly enjoy from behind their lorgnettes. That they, too, may be complicit in Anna's sad tale is a possibility none of them bothers to consider.

But if Wright doesn't demonize Anna, nor does he glamorize her, as is so often the case with filmmakers and readers alike. When Tolstoy first started working on the novel, he envisioned Anna as a kind of empty tramp, but the more he wrote, the more sympathetic he became to her plight. Still, at no point does he absolve her of moral responsibility for her own decisions, as some readers are too apt to do. Anna is a tragic figure, not merely because she is an emotionally deprived woman in a loveless marriage surrounded by empty hypocrites. She is also a victim of her own her romantic illusions, of making, in Tolstoy's words, "the eternal error people make in imagining that happiness is the realization of desires." By giving herself over to the fantasy of complete liberation, Anna becomes a slave to her passions, a star in a tragic story partly of her own design. She is a stark illustration of Tolstoy's belief that one of the central problems of modern social life isn't just that we're all playing roles on a stage, but that those roles often end up playing - and destroying - us.

Wright (and Stoppard) might have made a safer bet by focusing exclusively on the sexy Anna-Vronsky plot, as other movies have done, but they instinctively understood this to be counter to Tolstoy's intention. Anna and her tragic story reflect the truth that broken families, ungrounded passions, and human isolation are central to the modern experience. It is against these realities that the autobiographical rural landowner Levin, with his questing spirit and commitment to higher ideals, must fight. He belongs to a minority in his time - as he would in ours, which is why his story is vitally important today. Levin strives for meaning that neither the social artifice, the reductive scientific world view, the moral relativism, nor the pseudo-religiosity of his era can provide. Dostoevsky called him one of those "Russian people who must have the truth, the truth alone, without the lies we unthinkingly accept." The director's choice to film the Levin scenes at his estate in the countryside in a realistic as opposed to a stage setting is actually quite brilliant in communicating the impression Tolstoy gives in the novel that Levin is one of the few characters in his world who is connected to something real and authentic.

Then there's Karenin, whom Wright correctly senses is a lot more like Levin than most readers ever suspect, at least when it comes to his uncompromising belief in ideals and principles. Wright doesn't reduce him to the mean-spirited, rational machine so many filmmakers have made him out to be. Karenin is a deeply principled man who is simply incapable of accessing or expressing his emotions. But they're there, all right, and Jude Law makes us feel them. When Karenin is sitting alone at the front of the stage before the dimming flood lights, having just learned that Anna is pregnant with Vronsky's child, he turns slightly towards his wife (and the viewers) and says, "Tell me what I did to deserve this." That heartbreaking moment reveals all the depth of his confusion. Like everybody else in Tolstoy's novel, he has been thrust into a tragic situation beyond his capacity to understand.

Do I think this is a perfect movie? No. Keira Knightley is a little too young-looking and too thin for Tolstoy's voluptuous, 28 year-old Anna. The movie could have made the connection between Anna's and Levin's storylines even more explicit, as Tolstoy does when he has the two meet near the end. There are moments here and there where the acting doesn't quite ring true, as in that scene when Vronsky reacts to the news that Anna is pregnant with his child. And maybe the British tabloids had a point when they wondered why Wright decided to turn the dark-haired Vronsky into a blond.

But to criticize is easy. To create is hard. And Wright has shown himself to be every inch the creator, not on the level of Tolstoy, of course, but certainly on the same emotional and philosophical wave length.

A literary adaptation, in my view, shouldn't be an imitation, but an interpretation. And a good interpretation, as any literature teacher or literary critic knows, is one that doesn't cover a book, but uncovers it. For me, Wright's film did that. The power of this movie isn't merely in the fact that the director has willfully re-shaped Tolstoy's classic according to his own bold, wacky conceit, but that in his very stylistic quirkiness he has actually brought us surprisingly close to the philosophical vision of the original work. For that even the most dedicated Tolstoy aficionados can be grateful. The Academy should have looked a little bit deeper.

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Eight Horror Films About Writers - The Millions

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Doubt. Stolen manuscripts. Self-loathing. Censorship. Missed deadlines. Unanswered pitches. Typos in query letters. Spotty Wi-Fi? The horrors of writing range from the existential to the melodramatic. Horror films are exercises in hyperbole. Writers are perfect characters for these tales of dread. Writers often become lost within the worlds of their minds.

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How To Make A Horror Movie | Runner Up of Trop Jr Australia 2013

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How Scary Can a Horror Movie actually be? It is as scary as you make it! Directed by Matthew Robertson Subscribe to Tropfest: http://bit.ly/SubscribeTropfest Produced for Trop Jr Australia 2013, TSI: Jump Follow Trop Jr on Social: Facebook: https://www.facebook.com/tropjr Twitter: https://twitter.com/TROPJR

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What I wonder about the horror genre is how they make paranormal thing look real.

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Mama Behind The Scenes - The House (2013) - Guillermo del Toro Movie HD

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What i wonder about the horror genre is in the moive Friday the 13 Why was the machete jasons wepon?

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NECA Friday the 13th 2009 Prop Replica Machete

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What I wonder about the horror genre is why do people make horrible decisions in horror movies?

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Without bad decisions, most horror movies would be over in about ten minutes. You can shout at the television all you want, but the act of characters making unsound choices in horror is here to stay.

RELATED: 10 Horror Remakes You Never Knew Existed

By now, fans of the genre know the basic tropes of horror. For instance, people always have a habit of running upstairs rather than out the door. Or, they throw themselves directly into harm's way by investigating a strange sound. Oh, we can't forget when characters don't finish the killers off. With all this in mind, let's check out ten times people made the worst decisions ever in horror movies. And yes, please note there are spoilers ahead.

10 Jeepers Creepers (2001): Derek Goes Into the Pipe

Jeepers Creepers starts off with siblings Trish and Darry driving home from college. They later spot a truck driver, who passed them earlier, dumping what looks like bodies down a large pipe. Rather than getting help, the siblings investigate the pipe once the trucker drives off.

Trish and Darry are being good Samaritans. We get that. But please know the truck's license plate read "BEATNGU." No matter how you decipher that personalized plate, it's a red flag. So, what happens next? Darry crawls down the pipe. That's right. Probably could have saved themselves a heap of trouble had they just contacted the police first.

9 Paranormal Activity (2007): Micah Taunts the Demon

A suburban couple in Paranormal Activity believes there is something very wrong with their new house. Could it be haunted? The boyfriend, Micah, then decides he should take care of this himself.

While we know someone in this position in real life would be wary of asking for outside help because they might appear unstable, what Micah does is particularly stupid. Especially if you think you are being haunted. Micah only adds to the problem, which in this case, is a demon. In the end, his curiosity gets the best of him.

8 Saw (2004): Lawrence Misuses the Saw

In , Cary Elwes' character, Lawrence, and a photographer named Adam both wake up in a strange room with no recollection of how they each got there. They're separately chained down so they can't roam. It's eventually revealed a serial killer named Jigsaw is behind this. He has sinister plans for Lawrence and Adam, but we don't know what those are until later.

RELATED: Saw: Every Movie In The Franchise Ranked (According To IMDb)

In the end, Lawrence chooses to saw off his foot so he can grab the random cellphone nearby and call his family. Here's the problem with this, though. The cellphone was within reach if only he had a tool to grab it... Oh, wait, he did! He literally had a saw long enough to pull the phone towards him.

7 The Descent (2005): Juno lied

The Descent is hands down one of the best horror movies from the 2000s. But it also boasts one of the stupidest decisions ever made on film. The story starts with Sarah visiting some caves with her friends after Sarah suffered a traumatizing event a year earlier. They go spelunking in the cave system, which Juno says has been previously explored. And someone would look for them there if trouble arose.

Well, trouble arises in the worst way possible. The cave is full of subterranean, bloodthirsty monsters. Furthermore, Juno lied. They weren't in an explored cave; they were in an unexplored system. So even if someone did come looking for them, they would be at the wrong cave.

6 ATM (2012): They parked so far away

Some of the tensest horror movies to watch are the ones where the characters are trapped in a remote location. These are often called "bottle thrillers," which include the likes of . In the 2012 movie ATM, two best friends and their office co-workers escape their job's annual Christmas party. They first go to an ATM booth in the middle of the night. It seems innocuous enough, at least, until they are confronted by a menacing figure in a hooded parka outside the booth.

ATM has the right elements for a top-notch thriller. Yet, it ultimately comes undone for various reasons. One point of interest is how the victims cannot reach their car. You know why? Because they parked it far away in an empty parking lot. Why not just pull up, grab the money, and go?

5 The Ring (2002): People watch the tape knowing the rules beforehand

People cite as being one of the scariest modern horror movies. It is suspenseful and eerie in every way. In the film, a reporter stumbles upon an urban legend about a videotape that curses anyone who watches it. Can you guess what the reporter does? She watches it. Can you guess what so many other people in the whole franchise do? They watch the tape.

RELATED: 10 Scary Horror Movies About Urban Legends

Why on Earth would you do that? Especially when someone gives it to you, and probably tells you what would happen. The idea of there being a cursed VHS lying around sounds fake, but have some shred of self-preservation, people.

4 I Know What You Did Last Summer (1997): Helen Looks Back

Taking off the rose-tinted glasses, we can admit I Know What You Did Last Summer is not a great slasher movie. It's an iconic one, though, that rises from Scream's looming shadow. Nevertheless, there are some fun memories attached to this movie.

One momentthat leaves a sour taste in our mouths is Helen's death. First off, Sarah Michelle Gellar gives the best performance in the whole film. She depicts the sad, former beauty queen with dashed dreams oh so perfectly. What hurts the most is when Helen is a few feet away from safety. She can make it to the parade going on outside the alleyway. Instead, she turns around, and she is taken by the hook-handed killer.

3 Stage Fright (1987): Corrine Hides the Key

Michele Soavi's Stage Fright (also known as Deliria) is one hidden gem that's slowly getting its dues after three decades. Because it is Italian, people confuse the film for a Giallo. There may be shared stylistic traits, but Stage Fright is generally regarded as a straight-up slasher.

The movie follows a theatre troupe being stalked by a killer wearing a giant owl head. Prior to all of this, a co-star was murdered outside the studio. Rather than excusing all the actors, the director urges everyone to continue rehearsing. A character named Corinne even locks them in by hiding the key. Not a smart movie seeing as Corinne bites it before she can tell everyone where the key is. Now, the cast is stuck inside the building with the killer.

2 Black Christmas (1974): The cops leave Jess sedated and unattended

As seminal as Black Christmas is for the horror genre, we as viewers could not help but holler at the screen during the last act. Not only does the central character Jess go upstairs after finding out the killer is in the house, but she also calls out to her sorority sister. She then goes upstairs!

We know Jess is just trying to be a good friend, so we forgive her. What we can't forgive is the cops leaving Jess unattended at the end while she's heavily sedated. They think the threat is over, but that's not the case at all.

1 Scream 2 (1997): Sidney Goes Back to Unmask Ghostface

Sidney Prescott is considered one of the best " final girls" in horror history. But she's not the smartest cookie in Scream 2. The sequel has Sidney attending college after the notorious Woodsboro murders. As fate would have it, Ghostface returns to wreak havoc on campus.

Sidney is downright foolish in Scream 2 when she and her friend Hallie escape Ghostface's attack. They were being escorted by two bodyguards before the masked killer murdered the officers. However, Ghostface has been knocked out during this whole ordeal. Sidney and Hallie sneak past him and are on their way before Sidney gets a bad idea. She circles back to unmask Ghostface despite Hallie understandably warning her not to. It's a poor decision on Sidney's part because Hallie is, of course, stabbed to death.

NEXT: 10 Twists In Horror Movies That Made No Sense
About The Author

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10 Times People Made The Worst Decisions Ever In Horror Movies

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Without bad decisions, most horror movies would be over in about ten minutes. You can shout at the television all you want, but the act of characters making unsound choices in horror is here to stay. RELATED: 10 Horror Remakes You Never Knew Existed By now, fans of the genre know the basic tropes of horror.

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What i wonder about the horror genre is about the movie IT i wonder how the clown went in the sewer.

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It Opening Scene (2017) | Movieclips Trailers

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What I wonder about the  horror genre is how do they move Chucky the doll in the movies ?

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Chucky Invades Behind The Scenes (2013) - The Making of Chucky's Movie Invasions HD