Editorials
00’s Retrospect: Bloody Disgusting’s Top 20 Films of the Decade…Part 2
In this continuation of Bloody-Disgusting’s Top 20 of the 2000s countdown, the list has a decidedly international flavor due to the fact that 4 of the 5 films are of the foreign language variety. Fitting, considering that in the last decade the horror renaissance got a big helping hand from overseas, from the raft of J-Horror imports to the infusion of extreme, splatter-centric horror by way of France. Just goes to show that no matter what language you speak, fear is universal.
Also read: 00’s Retrospect: Dead on Arrival — Ten Horror Duds of the Last Decade
The last ten years have been a wild ride for horror fans. Thanks to countless innovators and a host of amazing films, it can safely be said that the 2000’s trump the 1990’s by a wide margin. Sure, that decade had groundbreakers like Scream and The Blair Witch Project, but that’s nothing compared to the number of great horror films (and, for that matter, the number of total horror films) that this decade has had to offer. To celebrate, the staff of Bloody-Disgusting decided to take a vote on the Top 20 horror films* of the 2000’s (along with one honorable mention), and the below list is the result. Looking over it, it’s actually pretty telling that nearly half the movies (9 out of 21) were produced on foreign soil, which just goes to show that this decade in horror was as much about the range of impressive imports as it was about the American product. Your favorites aren’t on there? Cry us a river. Or better yet, let us know what we missed. And make sure, at some point before the New Year, to get on your knees, clasp your hands together and pray to the horror gods to make the next decade as good as the last. – Chris Eggertsen
15. Battle Royale (Tartan; 2000 Japan)

No wonder this is Quentin Tarantino’s favorite film of the last ten years. Like his best movies, it’s a go-for-broke extravaganza: fun, provocative, ultra-violent, and bound to arouse controversy (which it did). It’s a pretty simple idea: a class of forty-odd young Japanese teenagers are thrust into a deadly game on a deserted island in which they must fight each other to the death until only one is left standing. If they fail at this, the collars fixed to the survivors’ necks will explode. What follows is a breathless chain of events as each individual reacts in his/her own way: some instantly become ruthless killers; others commit suicide; a few strike up allegiances in hopes that they can find a way off the island. It’s this quality that makes the film more than just an empty provocation – it builds character through action, a method all good filmmakers should seek to emulate.
14. Audition (Lionsgate; 2000 Japan)

Considered by many to be Takashi Miike’s masterpiece, this cringe-inducing, seriously disturbed film boasts one of the most unbearable scenes of torture in movie history. The story introduces us to a lonely widower whose producer friend sets up a fake movie audition for several young ingénues in hopes of finding him a wife. Unfortunately for the widower, the mild-mannered young woman he chooses isn’t exactly all she appears to be. The audience soon becomes aware of her not-insignificant dysfunctional tendencies in a series of shocking scenes, one of which just might make you lose your lunch (which, come to think of it, would be actually be a pretty fitting response). It’s revolting in the best possible way; the prolific Miike goes for the jugular here, and he cuts deep. Or, as the sadistic femme fatale of the film might say, “Kiri Kiri Kiri Kiri!”
13. Drag Me To Hell (Universal Pictures; May 29, 2009)

Sam Raimi’s return to gross-out form is a fun romp that’s by turns hilarious, gag-reflex-inducing and unsettling. Alison Lohman plays a young loan officer who has a curse put on her by an old gypsy woman after turning down an extension on her mortgage. Soon enough the demons from down below slowly begin to circle, and her efforts to countermand the curse become more and more desperate as the ticking clock winds down. Raimi is a master at this sort of thing, and much like in the Evil Dead films (particularly the second movie) he manages to keep us simultaneously laughing and screaming as we are treated to a series of increasingly inventive and maniacal set pieces. This is escapist entertainment at its best, and it almost makes you want to forgive Raimi for Spiderman 3. Almost.
12. Inside (Dimension Extreme; April 15, 2008)

One of the most audacious, brutal, unrelenting horror films ever made, Inside is perhaps the crown jewel of the new wave of extreme French horror films that have gained notoriety in the latter half of the decade. The movie follows a pregnant widow through a night of almost unbelievable pain and misery, as she is stalked by a scissors-wielding crazy woman who is convinced the baby is actually hers. Directors Alexandre Bustillo and Julien Maury handle the gory elements of the story with aplomb, but what really makes Inside so queasily effective is their skill at wringing the maximum amount of suspense out of the hair-raising setup. As if that weren’t enough, they even manage to work some pitch-black comedy into the mix. A shocking piece of cinema which provides further evidence that the French aren’t such pussies after all.
11. [REC] (Sony Pictures; 2007 Spain)

Out of all the “shaky-cam” films produced in the wake of The Blair Witch Project, this one is arguably the best, a seriously scary Spanish import that utilizes its P.O.V. camerawork more effectively than any of its predecessors. While the film takes awhile to get going, once the action starts it hardly ever lets up. The movie follows a TV news camera crew, police officers, firefighters and the residents of an apartment building as they fight for survival against a zombie outbreak after being sealed inside the structure in a quarantine procedure. The limited first-person viewpoint suits the enclosed setting well; it’s not necessarily what we’re seeing in front of us but what could be coming at us from just off-camera that’s most terrifying. There’s nothing all that deep here, but that’s not really the point. When it comes to visceral scares, [REC] has few peers.
Editorial written by Chris Eggertsen
*Editor’s Note: For those of you interested in knowing how the list came to be, here’s an explanation. Bloody Disgusting writers collaborated on a list of some of the best films this decade. The entire list was given to the Bloody Disgusting staff who then built their own Top 20 lists. Each film was given a point value. 20 received 1 point, 19 received 2 points, and so on all the way to number 1, which received 20 points. The numbers were tallied and the result are the top films listed. The bonus film had tied with #20 and the tie was broken by the number of actual votes.
The following participated in the project: Mr. Disgusting, Tex Massacre, BC, David Harley, Ryan Daley, Chris Eggertsen, Jeff Otto, John Marrone, Horror_Guy, Mr_Bungle, Klown, Caustic Coffee and Tool Shed
Editorials
‘The Vampire Lestat’ Concert Event Launches New Season With The Ultimate Expression Of Fandom
There are thousands of passionate fans decked out in gothic chic and champing at the bit like feral creatures. They’re screaming for Lestat, a legendary vampire-turned-rock star, as if the entire crowd has been glamored into submission.
The entire experience is magic, but not because some supernatural thrall has been activated. What’s going on is even more special. It’s the power of the effusive fandom that’s been authentically assembled by AMC’s sublime Immortal Universe, namely Anne Rice’s Interview with the Vampire, now, The Vampire Lestat.
The Vampire Lestat is far from the first Anne Rice adaptation, and it’s not as if there’s been a lack of erotic vampire material for audiences to sink their teeth into. On June 2nd, during a one-night-only spectacle, New York City’s prestigious Beacon Theatre shook from Sam Reid’s bravado performance and an audience full of adoring fans who had already memorized Lestat’s songs.
It’s clear that The Vampire Lestat just hits differently than its predecessors. It’s become more than just a TV series at this point, and this opulent display of ego, swagger, and pure sex is the perfect way to premiere the new season and give back to the fans who helped make Interview with the Vampire/The Vampire Lestat such a breakout success. It’s exactly the sort of hyperbolized hedonism that would make Lestat cackle.

For all intents and purposes, AMC has successfully created the illusion that this concert/premiere is just one of the many destinations on Lestat and his band’s 54-stop tour that is simultaneously playing out on this season of television. It’s such a sophisticated and thorough level of interactive fan engagement that the audience doesn’t just understand, but also manages to accentuate through its involvement.
It’s a level of seamless synergy that’s not unlike the give-and-take relationship of vampire and victim.
Before the concert started, “LeStans” were sitting in the Beacon and flipping through a fake Rolling Stone issue with Lestat emblazoned on the cover, complete with interviews with the undead frontman inside. Other fans were admiring the vinyl pressing of Lestat’s EP as they walked past a section of undead band merch. Fandom and fantasy blur together, and it all becomes this elaborate, immersive experience. Fan celebration, erotic gothic fantasy, and a lavish rock concert transform into one beautiful thing.
To this point, AMC Global Media’s Chief Content Officer and President of AMC Studios, Dan McDermott, introduced the event by reiterating to fans, “You are the heartbeat of the series.” That’s abundantly clear on nights like this as that heartbeat collectively pulses to this performance. In terms of how AMC engages with The Vampire Lestat’s fans, it’s as bold a reinvention as the season itself.
This intuitive gamble speaks to AMC’s creativity in this department and a fandom that is eager to seize such opportunities. It’s the same innovation that led to zombie walks for The Walking Dead and real-life Los Pollos Hermanos restaurant pop-ups from Breaking Bad. It’s a great way to pump up the audience for The Vampire Lestat and then maintain that enthusiasm for the whole season.
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For most series, a rock ‘n’ roll concert just doesn’t make any sense as a promotional tool. The Vampire Lestat finds itself in a very unique position where it can deliver an excellent concert at an iconic theater, but also use it to showcase The Vampire Lestat’s music by Daniel Hart (who was shredding on stage alongside Reid and the rest of their band) and, more than anything, Sam Reid’s endless charisma.
The way in which Reid feeds off of the crowd’s energy, modulating his performance and giving different sections of the Beacon life, is a perfect distillation of the series’ thoughtful relationship with its audience and how it’s become such a breakout success for AMC. AMC Studios President Dan McDermott emphasized that the fans are the reason that the show is still here and why an event like this is even possible. It’s rare to see a series in which every single cog in the machine is so perfectly attuned to its fans. Reid’s fans already cheer whenever they see him, so why not translate that to a concert setting?
It’s clear in this season of television that Reid was born to be a rock star, but it’s surreal to see him effortlessly command the stage — and the audience — at every step of the concert. He recites Shakespeare monologues and bitches out Armand between songs, all while the audience screams in support. For the duration of this concert, Reid is Lestat, and he’s given thousands of fans a memory that’s as immortal as any vampire.
Now bring on the encore and get this show on the road!
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