The Mummy

Love—or what we call love—produces a lot of lip service, which isn’t a reference to kissing. We proclaim our dedication to another, though in reality—if our typical future behavior is any indication—we might as well be saying, “Fat chance.” Horror films often feature obsession that is billed by the obsessing individual as love in its purest form. This would-be brand of love resembles hate and is in reality about control and ego.

The Comedy of Terrors

After the relative success of American International Pictures’ 1963 release of Roger Corman’s The Raven, the studio quickly reunited the same fearsome trio of Vincent Price, Peter Lorre, and Boris Karloff for The Comedy of Terrors.

Black Sabbath

Mario Bava was a living embodiment of Italian genre cinema, working credited and uncredited on nearly a hundred films.

The Black Cat

A paragon of queer perversity, Edgar G. Ulmer’s unfathomable Universal horror hit gave major stars Bela Lugosi and Boris Karloff two of their greatest roles. In the first of many films together, the erstwhile Dracula and Frankenstein’s monster play a pair of intensely bonded frenemies locked in an epic sadomasochistic pas de deux.