My Movies

John Carpenter Collection severedbrandon

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John Carpenter dstuchlik

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on youtube!

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links included(updated as of 07/29/2022...don't expect updates often, but I'll try my best)

Horror!!!

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Your shameless horror & thriller movie plug.500+ Organized by color for your own visual pleasure.⛓ Consistently adding to the list. suggestions are welcome 🦇 -Recently added films will be at the bottom of the list for a few days. -Sequels are not usually listed, but by including the first I also include the entire franchise. -Self promotion in comments will be deleted

Horrors

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List contains horror movies that I've discovered in the entire time I've been watching TV and that seemed at least somewhat interesting to me based on the description. Horror is a genre whose main goal is to evoke a feeling of tension, fear, unease, or anxiety in the viewer. Unlike science fiction, which is based on science and technology, horror primarily works with human emotions, psychology, the instinct of self-preservation, and the fear of the unknown. MAIN THEMES AND ESSENCE OF HORROR ▪︎ Fear of the unknown and darkness: Working with uncertainty, mysterious phenomena, and situations where the characters (and the viewer) have no idea what will happen in the next moment. ▪︎ Paranormal and supernatural phenomena: Haunted houses, ghosts, demonic forces, exorcisms, curses, rituals, and invisible entities that disrupt the ordinary world. ▪︎ Psychological pressure and paranoia: Focusing on the human mind, fear of losing control, delusions, isolation, trauma, and situations where it is not clear what is reality and what is just imagination. ▪︎ Sinister beings and creatures: Stories about monsters, vampires, werewolves, zombies or unknown creatures from the depths of space or the earth. ▪︎ Atmosphere and tension: Building a dense, oppressive atmosphere by working with light, shadows, silence, soundscapes and isolated environments (old houses, dark forests, abandoned places). ▪︎ Fight for survival: Putting ordinary people in extreme conditions where they have to face a direct threat to their lives or an indescribable threat. Česky: V tomto seznamu jsou horory, které jsem za celou dobu co sleduji TV objevil a které se mi zdáli podle popisu aspoň trochu zajímavé. Horor je žánr, jehož hlavním cílem je vyvolat v divákovi pocit napětí, strachu, znepokojení nebo úzkosti. Na rozdíl od sci-fi, které staví na vědě a technologii, horor pracuje především s lidskými emocemi, psychologií, pudem sebezáchovy a strachem z neznáma. HLAVNÍ TÉMATA A PODSTATA HORORU ▪︎ Strach z neznáma a temnoty: Práce s nejistotou, záhadnými jevy a situacemi, kde postavy (a s nimi i divák) netuší, co se stane v příštím okamžiku. ▪︎ Paranormální a nadpřirozené jevy: Strašidelné domy, duchové, démonické síly, vymítání, kletby, rituály a neviditelné entity, které narušují běžný svět. ▪︎ Psychologický tlak a paranoia: Soustředění na lidskou mysl, strach ze ztráty kontroly, bludy, izolaci, trauma a situace, kdy není jasné, co je realita a co jen představa. ▪︎ Zlověstné bytosti a stvoření: Příběhy o monstrech, upírech, vlkodlacích, zombiích nebo neznámých tvorech z hlubin vesmíru či země. ▪︎ Atmosféra a napětí: Budování husté, tísnivé atmosféry za pomoci práce se světlem, stíny, tichem, zvukovou kulisou a izolovaným prostředím (staré domy, temné lesy, opuštěná místa). ▪︎ Boj o přežití: Postavení obyčejných lidí do extrémních podmínek, kde musí čelit přímému ohrožení života nebo nepopsatelné hrozbě.

Random Movie Roulette

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Rules: Generate a number (from 1 to x) via: www.random.orgSee how many number of films there are in the sidebarYou can skip movies 10 times but never go back.If you end up with a movie thats part of a series you can pick another movie in that seriesFeedback & suggestions Let us know which movie you got in the comments below.And give suggestions to which movies to add to the list from cult movies to masterpieces.

Horror

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favorite horror movies (in no particular order) 💀

John Carpenter

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le titre

Psychological Horror

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Psychological horror is a subgenre of horror and psychological fiction with a particular focus on mental, emotional, and psychological states to frighten, disturb, or unsettle its audience. The subgenre frequently overlaps with the related subgenre of psychological thriller, and often uses mystery elements and characters with unstable, unreliable, or disturbed psychological states to enhance the suspense, drama, action, and paranoia of the setting and plot and to provide an overall unpleasant, unsettling, or distressing atmosphere.

Films I've found on archive.org

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a constant work in progress. in alphabetical order, link to all the films: <a href="https://archive.org/details/fav-blureviews" rel="nofollow">archive.org/details/fav-blureviews</a>link more that arent listed here!

You Want It Darker

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"This is the movie!" - movies from Hideo Kojima's twitter

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"LA LA LAND was soooo amazing! This is the movie! I'll see it at least 10 times! Want the OST so bad!""Game Creator: 70% of my body is made of movies."Links to tweets are included in notes. Includes movies that were shown as part of the Kojima Productions movie bulletin.

"This is the movie!" - movies from Hideo Kojima's twitter

Witches

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Inspired by <a href="https://boxd.it/MDaa" rel="nofollow">Witches</a> by Elizabeth Sankey, a 2024 documentary that connects women’s mental health with accusations of witchcraft throughout history and modern women that mirror those witchcraft accusations ( in historical order)

horror.

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☠︎ the good, the bad, and the ugly of the genre. <a href="https://boxd.it/f8aOC" rel="nofollow">slashers</a> • <a href="https://boxd.it/ggNum" rel="nofollow">‘80s horror</a>

Director: John Carpenter

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Aftercredits' Archive

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🎬 Todos os filmes disponíveis no CineDrive do After Credits, reunidos em uma só lista.Link: <a href="https://whatsapp.com/channel/0029Vb8ibekA89Mab3Yal015" rel="nofollow">𝐂𝐢𝐧𝐞𝐝𝐫𝐢𝐯𝐞 | 𝐀𝐟𝐭𝐞𝐫𝐜𝐫𝐞𝐝𝐢𝐭𝐬</a>

Spooky Season 2026

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“This movie sucks it makes no sense” YEAH WELL YOU DONT MAKE SENSE

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“This movie sucks it makes no sense” YEAH WELL YOU DONT MAKE SENSE

Oct. Nov. Dec. ‘26 horror watchlist 🎃

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a collection of horror films to watch or rewatch by the end of the year :) moving to a separate list after i watch them! this is just for funsies

COLLEZIONE DVD/BLU RAY📀📀

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Blank Check with Griffin & David

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A list of the movies covered on the podcast Blank Check with Griffin & David, in the order by which they were covered. (Note: Does not include Patreon content) List is updated 06/27/2020

HORROR

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Alphabetical Top Twenty:Audition (Takashi Miike, 1999) Bay of Blood (Mario Bava, 1971) Bride of Frankenstein (James Whale, 1935) Cure (Kiyoshi Kurosawa, 1997) Day of the Dead (George A. Romero, 1985) Dead Ringers (David Cronenberg, 1988) Dracula (Tod Browning, 1931) Eyes without a Face (Georges Franju, 1960) God Told Me To (Larry Cohen, 1976) Halloween II (Rob Zombie, 2009) The Masque of the Red Death (Roger Corman, 1964) Nosferatu (FW Murnau, 1922) Opera (Dario Argento, 1987) The People Under the Stairs (Wes Craven, 1991) Possession (Andrzej Żuławski, 1981) Prince of Darkness (John Carpenter, 1987) The Shining (Stanley Kubrick, 1980) Texas Chainsaw Massacre (Tobe Hooper 1974) Torso (Sergio Martino, 1973) Zombie (Lucio Fulci, 1979)

John Carpenter Ranked

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Horror stories have always worked on film. It's where they work. That's where vampires and ghosts and UFOs are real. They're not particularly real in life, but they're real on the screen. It's the communal aspect of movie-watching.

John Carpenter, Ranked

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Maybe we’ll do an episode next year. This’ll do for now.

Aftercredits' Archive

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🎬 Todos os filmes disponíveis no Cinedrive do After Credits, reunidos em uma só lista.Link: <a href="https://whatsapp.com/channel/0029Vb8ibekA89Mab3Yal015" rel="nofollow">Cinedrive | Aftercredits </a>

Aftercredits' Archive

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Filmes disponíveis no nosso canal<a href="https://whatsapp.com/channel/0029Vb8ibekA89Mab3Yal015" rel="nofollow">CINEDRIVE | AFTERCREDITS</a>

John Carpenter

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The Directorial Filmography of John Carpenter.

Gothic Cinema & Literature (Personal Canon)

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Chronological. Subject to constant change. Read my related articles:<a href="https://scholarlypublishingcollective.org/psup/ags/article-abstract/1/2/257/404821/Gothic-Phenomena-and-Weird-Noumena-On-Writing-Dark" rel="nofollow">Gothic Phenomena and Weird Noumena: On Writing Dark Numinous Fiction</a><a href="https://inreviewonline.com/2025/06/19/the-pasteboard-masks-of-text-and-screen-on-writers-in-gothic-cinema/" rel="nofollow">The Pasteboard Masks of Text and Screen: On Writers in Gothic Cinema</a><a href="https://www.nightmare-magazine.com/nonfiction/plumbing-the-depths-haunted-writers-and-haunted-writings/" rel="nofollow">Plumbing the Depths: Haunted Writers and Haunted Writings</a>Essential Gothic Literature Peter Ackroyd, Hawksmoor Jane Austen, Northanger Abbey Clive Barker, The Hellbound Heart Pat Barker, Another World Charles Baudelaire, The Flowers of Evil William Beckford, Vathek Algernon Blackwood, The Empty House and Other Stories; The Listener and Other Stories Robert Bloch, Psycho; Psycho II; American Gothic; Lori Ray Bradbury, Something Wicked This Way Comes; Long After Midnight Charlotte Brontë, Jane Eyre Emily Brontë, Wuthering Heights Charles Brockden Brown, Wieland; Edgar Huntly Octavia E. Butler, Fledgling Ramsey Campbell, The Nameless; Ancient Images Wilkie Collins, The Woman in White; The Ghost Stories of Wilkie Collins Barbara Comyns, The Vet’s Daughter Charlotte Dacre, Zofloya Mark Z. Danielewski, House of Leaves Charles Dickens, A Christmas Carol J. M. Dillard, Specters Arthur Conan Doyle, The Hound of the Baskervilles Daphne Du Maurier, Rebecca; The Birds and Other Stories; Don't Look Now Tananarive Due, The Between Robert Dunbar, The Pines Bret Easton Ellis, American Psycho; Lunar Park; The Shards William Faulkner, As I Lay Dying; The Sound and the Fury; Sanctuary; Light in August Timothy Findley, The Last of the Crazy People Carlos Fuentes, Aura Nathaniel Hawthorne, Twice-Told Tales; The House of the Seven Gables Anne Hébert, Children of the Black Sabbath James Hogg, The Private Memoirs and Confessions of a Justified Sinner Joris-Karl Huysmans, The Damned Shirley Jackson, The Lottery and Other Stories; The Road Through the Wall; Hangsaman; The Bird’s Nest; The Sundial; The Haunting of Hill House;We Have Always Lived in the Castle Henry James, Ghost Stories of Henry James M. R. James, Ghost Stories of an Antiquary Jack Ketchum, The Girl Next Door Caitlín R. Kiernan, The Red Tree Stephen King, Carrie; ’Salem’s Lot; The Shining; The Dead Zone; Pet Sematary; It; The Dark Half; Dolores Claiborne; Lisey’s Story; Revival Gwendolyn Kiste, And Her Smile Will Untether the Universe Kathe Koja, The Cipher; Strange Angels; Kink; Catherine the Ghost Victor LaValle, The Ballad of Black Tom J. Sheridan Le Fanu, Carmilla Doris Lessing, The Fifth Child Ira Levin, Rosemary's Baby; The Stepford Wives Matthew Lewis, The Monk Robert Marasco, Burnt Offerings Richard Marsh, The Beetle Richard Matheson, I Am Legend; A Stir of Echoes; Hell House Robert Maturin, Melmoth the Wanderer Cormac McCarthy, Child of God Michael McDowell, The Elementals Maryse Meijer, The Seventh Mansion Herman Melville, Moby-Dick; Benito Cereno S. P. Miskowski, The Worst Is Yet to Come Toni Morrison, Beloved Flannery O’Connor, A Good Man Is Hard to Find and Other Stories; The Violent Bear It Away; Wise Blood Joyce Carol Oates, Expensive People; Zombie; Beasts; The Accursed; Daddy Love; Jack of Spades Joyce Carol Oates [as Rosamond Smith], Snake Eyes; Soul/Mate; You Can't Catch Me; The Barrens Oliver Onions, Widdershins Helen Oyeyemi, White is for Witching Edgar Allan Poe, Selected Writings of Edgar Allan Poe Ann Radcliffe, The Mysteries of Udolpho Anne Rice, Interview with the Vampire Eden Robinson, Traplines; Monkey Beach Naben Ruthnum, Helpmeet R. R. Ryan, The Subjugated Beast William Shakespeare, Hamlet; Macbeth Mary Shelley, Frankenstein Anne Rivers Siddons, The House Next Door Robert Louis Stevenson, Dr. Jekyll and Mr. Hyde Bram Stoker, Dracula Peter Straub, Julia; If You Could See Me Now; Ghost Story; Floating Dragon; The General's Wife; Koko; Mrs. God; Houses Without Doors; Mr. X; lost boy lost girl; Wreckage Donna Tartt, The Secret History Melanie Tem, Prodigal Emma Tennant, The Bad Sister Thomas Tessier, The Nightwalker; Fog Heart Jim Thompson, Heed the Thunder Thomas Tryon, The Other Horace Walpole, The Castle of Otranto Edith Wharton, Ghosts Oscar Wilde, The Picture of Dorian Gray T. M. Wright, Strange Seed"The romance-writers’ obsessive return to the scene of aristocratic crime on the one hand, and urgent repetitions of the restitution of social hierarchies on the other, could not be free of revolutionary resonances. This is not to say that the popular terror fictions of the time are coherent polemics. But they undeniably form part of a general socio-cultural problematic regarding Gothic manners and institutions, with pressing contemporary relevance." — E. J. Clery & Robert Miles, Gothic Documents: A Sourcebook, 1700-1820"Indeed, what informs or sustains Gothic can be seen as a strange and compelling phenomenon, the ‘reality’ of which cannot be seized (unless one practises what Keats means by ‘negative capability’). What I mean to say is that Gothic, as such, is an emergence that, if deemed ‘uncanny,’ is so because the ‘reality’ it draws to us is already ineffable and remains so. To use Harman’s object-oriented terms, one could say that ‘Gothic’ is ‘always withdrawn or veiled rather than directly accessible, and therefore any attempt to grasp that reality by direct and literal language will inevitably misfire’.” In this regard, we can infer the ontology of that which informed the Romantics’ claim that the so-called ‘objective’ world is imbued with Mind, but also, and perhaps more significantly, we can infer that the nature of the world or such Mind may well be more-than-human. This is to say that Gothic is anathema to the mind/matter divide and, as a genre, is more than just a ‘spooky atmospheric story’. Gothic relentlessly draws attention to an ontological error—a fault line, perhaps—in the perception that ‘matter’ is inert or inanimate, and draws attention instead to the sense that physical ‘objects’ are just one kind of object among many others. Finally, alchemy and animism as emergent objects infuse Gothic metaphysics.""In the mid-eighteenth century, following Descartes and, let’s say, anticipating the Freud-Jung dyad, ‘Gothic’ emerges through/in/as literature and art to herald a foreign body within metaphysical dualism, in that, as a mode, Gothic was to raise the question of ontology and epistemology regarding mental states—dreams and even madness, for example—and to suggest a somewhat interred connection between these and manifestations of the spiritual essence amid empirical life." — Jodey Castricano, Gothic Metaphysics: From Alchemy to the Anthropocene"Terror and horror are so far opposite, that the first expands the soul, and awakens the faculties to a high degree of life; the other contracts, freezes, and nearly annihilates them. I apprehend, that neither Shakespeare nor Milton by their fictions, nor Mr. Burke by his reasoning, anywhere looked to positive horror as a source of the sublime, though they all agree that terror is a very high one; and where lies the great difference between horror and terror, but in the uncertainty and obscurity, that accompany the first, respecting the dreaded evil?" — Ann Radcliffe, "On the Supernatural in Poetry""The Gothic is supremely the genre of the Fall. Who were the Goths, after all, but the tribe who brought down the glory of Rome? The word ‘Gothic’ in its usual eighteenth-century sense conveyed disapproval, since medieval taste in life and art was considered to be as barbarous and uncivilized as the Goths and Vandals. Walpole and his followers deliberately reversed that meaning, but even in their favorable light, ‘Gothic’ was still linked with darkness, mystery, and ignorance, was backward-looking and pessimistic rather than optimistic about the human condition." — Faye Ringel, New England’s Gothic Literature"Gothic describes a discursive strategy which produces monsters as a kind of temporary but influential response to social, political, and sexual problems. And yet, Gothic, as I have noted, always goes both ways. So, even as Gothic style creates the monster, it calls attention to the plasticity or constructed nature of the monster and, therefore, calls into question all scientific and rational attempts to classify and quantify agents of disorder. Such agents, Gothic literature makes clear, are invented not discovered by science." — J. Jack Halberstam, Skin Shows: Gothic Horror and the Technology of Monsters"While certain devices and plots, what might be called the stapes of the Gothic, are clearly identifiable in early Gothic texts, the tradition draws on medieval romances, supernatural, Faustian and fairy tales, Renaissance drama, sentimental, picaresque and confessional narratives as well as the ruins, tombs and nocturnal speculations that fascinated Graveyard poets.Apart from the period in which the key Gothic texts were produced, a period extending from Horace Walpole's The Castle of Otranto (1764) to Charles Maturin's Melmoth the Wanderer (1820), it is impossible to define a fixed set of conventions. Even these dates seem arbitrary, straddling as they do the eras dominated by neoclassical and Romantic writing. Gothic forms, moreover, are not only shaped by literatures of the past: the styles prevailing in the respective presents in which they were produced also provide their specific shape." — Fred Botting, Gothic"The horrors that we all do believe in are of the sort that Dostoyevsky and Albee and Macdonald write about: hate, alienation, growing lovelessly old, tottering out into a hostile world on the unsteady legs of adolescence. We are, in our real everyday worlds, often like the masks of Comedy and Tragedy, grinning on the outside, grimacing on the inside. That’s a central switching point somewhere inside, a transformer, maybe, where the wires leading from the masks connect. And that is the place where the horror story so often hits home.The horror-story writer is not so different from the Welsh sin-eater, who was supposed to take upon himself the sins of the dear departed by partaking of the dear departed’s food. The tale of monstrosity and terror is a basket loosely packed with phobias; when the writer passes by, you take one of his imaginary horrors out of the basket and put one of your real ones in—at least for a time." — Stephen King, Night Shift (Foreword)"From the start in Walpole, consequently, the gothic found the essence of humanity in the mind." — Marshall Brown, The Gothic Text

Gothic Cinema & Literature (Personal Canon)

psychological horror

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My Life in Horror

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