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My Top 10 Favorite Horror Films (2008)

This is a reprint of an article I posted on Facebook, October 14, 2008 — 3 years ago to the day in about an hour and a half, actually! I was busy constructing a new list tonight, when I found myself struggling, getting off track and, thanks to being sick, I didn’t really feel too motivated to continue, to be honest. Then I happened to remember that I had already created one a while ago. I didn’t realize that it was actually that long ago, though!


Around this time, I was going through a phase, writing Top 10 movie lists that will no doubt find their way here one day, much like this list and my Simpsons Movie and Catwoman reviews I posted from my review-writing English class. In fact, these lists were made just a few months after those reviews were written. I was riding high on review writing, and these were my pet projects.


Looking over this list, I’m actually pretty happy with how it is, even with 3 more years of experience with the genre. Possibly the main exception I would make is throwing Scream in there somewhere, but that’ll get its own review soon, anyway, so that movie will get its just attention. Don’t worry! Also, while Shaun of the Dead is undoubtedly horror-related, I didn’t put it here since there’s a strong emphasis on films that scare and create suspense.


I’m once again presenting it unedited from its original format, typos and all, save for some additional photos just for visual flair. I was pretty loose with the term “Horror” to be honest, but I wasn’t really that well exposed to the genre at the time. Heck, I’m still not, which is kind of the point in me focusing on the genre this month. Hope you like this list, though, as I attempt to recover and recharge by being absolutely lazy!

My Top 10 Horror Films!

by CJ Stewart on Tuesday, October 14, 2008 at 1:19am

Since working on this in mid-August, I’ve been revising this list constantly, so it really is a labor of love. I went from 9 Word pages to 7 back up to 8, but I really wanted to say everything about these movies without sounding boring or wordy. I’m not sure what I succeeded at, but I’m rather happy with it, unlike my “Depressing Movies” list, which I’m not really pleased with and created in lieu of this one. However, here it is: My Top 10 Horror Films! And what perfect timing, considering the month I ended up posting it in!

I really enjoy horror films – when I find the right one. I don’t know many people who enjoy them quite like I do, which is why I haven’t actually seen too many of them, so I find that I have to prioritize my horror-watching habits to those that stand out to me. The films on this list aren’t necessarily all considered horror films. That being said, you won’t see the likes of Freddy Krueger, Jason Voorhees, or Chucky in my list. Heck, you won’t even see the puzzlingly lauded The Exorcist on my list. Movies like these lack a certain something that allows me to connect to a horror film and allow it to truly stir fear in me. No amount of supernatural elements, gory effects, or gimmicks will inspire fear in me on their own. There needs to be an effort to place me in the movie, whether it be through the characters who are placed in the situations, or, even better, through the plausibility of such things happening. The best thing would be if they did both. I’m not sure what it is, really, that makes these movies I’ve listed resonate with me, but it’s certainly lacking in most “timeless” slasher and monster movies I’ve seen. Still, I will at least try to explain.

The same rules apply here as with my superhero Top 10 list: no series is represented by more than one movie, but movies that are related but exist in separate continuities do not count as being in the same series (remakes and re-launches, for example, can be listed with movies from the originating series). Also, though each movie is guaranteed to be fairly widely acclaimed as a great movie, I tried to number them according to their scare factor more than their widely believed status in film history, unless the movie’s just too amazing to place too low. …Make sense? … Yeah, I thought so!

10. The Terminator (1984)

Those who have seen its sequels and spin-offs would likely wonder what an action film is doing here, but if you’ve seen the first movie, you would know that The Terminator is a genuinely frightening, though somewhat unorthodox slasher film. Schwarzenegger’s unblinking, soulless determination to do nothing but pursue and kill is unsettling, proving that the actor is at his best when playing machines that lack the emotional depth (or lack thereof) that the Austrian bodybuilder’s delivery lends them. Once you think they’ve got him down, this unstoppable mechanical monster always seems to get back up. Sarah Connor has not yet become the fearsome and somewhat deranged warrior she became by the time Judgment Day picks up – she’s just a sweet and meek diner waitress who’s caught up in a war she is unprepared to fight. What really stands out the most about this movie is eerie climax, when the terminator rises from the flaming wreckage with all of its organic parts having burned off, and it begins its pursuit anew as a wobbly skeletal machine. The low budget, B-movie effects actually help with the creepiness, adding an otherworldly element to the twitchy skeleton. The Terminator is often forgotten, with most people giving praise to its admittedly superior sequel, but it would be a crime to discount this low-budget horror movie that launched an effects-driven, high octane action franchise.

09. Cloverfield (2008)

I may be having a lapse of reason here, but I just love this movie and its unprecedented presentation of a giant monster attacking a city. It’s one of those “not widely recognized as horror” films that I’m including on this list. I think Cloverfield deserves its spot in the genre because, seriously, when have any one of those giant monsters (known as “kaiju” in Japan) been truly terrifying in any of those giant monster movies we make fun of for having badly dubbed dialog? Godzilla, in both Japanese and American guises, is almost cuddly compared to the rampaging monsters that we’re able to experience first hand in this gimmicky film (and I call it “gimmicky” in a loving manner). The decision to film it through a character’s handheld camera, ala Blair Witch, is a genius way to add some much needed fear to a silly genre. (Just ignore the long-lived battery issue…) It’s the key to allowing us to experience the destruction and emotional trauma that the characters go through in such an attack. What is usually just collateral damage beneath a giant animal’s feet becomes a firsthand view of the resulting destruction of these characters’ lives. Sure, they’re more rich than I care to know about, and, yeah, they’re a bit MTV, but, unlike The Real World, these rich hipsters at least ring true enough to allows us to connect with them on a more personal level and, for once, feel sorry for them. They’re committed friends, even to the slightly annoying cameraman, Hud, who often doesn’t know when to shut his mouth. Once the attacks start, their little quibbles are quickly set aside in favor of far more noble goals. Most characters like these would spend most horror films wisecracking and having sex at inappropriate moments and then complaining about their designer sunglasses getting destroyed in the ensuing chaos. Cloverfield does what many other kaiju films fail to do: make us fear the monster’s destructive power and care for the characters caught up in its wake of destruction. It’s an exciting ride that will not likely see an equal any time soon. (Also, I’d like to point out that, if you’re worried about getting sick due to the camera, please take Dramamine so that you don’t complain throughout the movie about motion sickness. It’s really not that bad, and I get motion sickness extremely easily – used to get that way on short rides to school! Just please don’t ruin the experience for others….)

08. Psycho (1960)

It must be said: Despite the critics’ continued and deserved praise for this film’s brutality, this movie just isn’t as scary as it must have been back in the 1960’s. Seriously, it’s quite tame by today’s standards, and the taboos this movie brought up are hardly an issue in these more enlightened times. I haven’t the slightest idea why it hasn’t been re-rated from its still current R-status. The movie truly was a revolution in what it showed and discussed. Seriously – forget that it involves transvestitism.Psycho was the first film to depict a flushing toilet! The seeming protagonist, Marion Crane, is a flawed and conflicted character who spends much of her screen time in a state of paranoia. It’s a short lived paranoia, however, as she is suddenly and brutally murdered within the first half – something that was quite unheard of at the time! The nature of her killer, Norman Bates, however, is the movie’s true masterstroke. A milquetoast, timid man who clings to his mother’s side, Norman is the type of guy one would assume was rather asexual, but this repression belies his perverted, evil nature. The fear of not knowing, and then the dreaded confirmation of this evil lying within the seeming everyman, and the care Hitchcock took in making each and every moment build to an unexpected and violent climax are what still endure to this day. The nature of Mother and Norman’s bizarre attachment to her is the icing on this chocolate-sauced cake. After all, “A boy’s best friend is his mother,” right?

07. Jaws (1975)

This’ll sound stupid, but while I might live through a mountain lion or bear attack, which are far more likely out here in the Arizona desert, I honestly fear the potential of a shark attack even more. Irrational? Sure, but once you’ve seen a movie like Steven Spielberg’s Jaws, rationality and the fear of a shark attack, even in the desert, takes a backseat! The movie opens with the agonizingly prolonged approach upon a young teenage girl by an unseen creature. John Williams’ iconic score, which is possibly only matched in its association with terror by Psycho’s own shrieking violins, taunts us with the inevitability of this young girl’s summer fling being turned into violent thrashing. And when it strikes, the scene is painfully drawn out. Flesh is being torn from thrashing bone as the girl is tossed around in the salty sea water, rushing across her wounds. She bobs up and down, sputtering and screaming. But then, almost graciously, the attack is suddenly over. It’s only later that you realize that, this whole time, the shark is hardly seen on screen, though you’d swear you saw his jagged rows of teeth and those soulless black eyes. Thanks to the lack of visual accuracy in the contemporary special effects technology of the Seventies, Spielberg chose to leave the shark a mostly imagined entity to the people in the audience, with only occasional reminders of just how enormous the monster is every now and then flashed onscreen. It taps into our imaginations and allows us to build up the scenario for ourselves, customizing the fear in our own optimized way. Nothing can be more consistently terrifying than our own mind’s way of conjuring up what would frighten us most! There are moments of humor and lightness to be found. Most of the film takes place during the day, even, which is atypical for a horror film. But when else are you going to see happy, unwitting families grouping together as one large shark-friendly buffet as on the Fourth of July? The sunny scenery contrasts greatly with the sudden tragedy of a fearsome shark attack. Jaws started out Hollywood’s continuing string of summer blockbusters with only a few blood curdling notes: “Duh-dah… duh-dah… Duh-dah, duh-dah…”

06. Night of the Living Dead (1968)

Though it wasn’t the first to feature zombies, the deliberately black-and-white Night was the film that set the standard for every zombie film to follow, and did away with the supernatural voodoo mind control aspect that they had traditionally been associated with before. However, unlike most modern films, and even Romero’s own sequels to this film, the gore here is restrained, choosing to instead focus on the more cerebral aspects of atmosphere, mood, and paranoia. The ominous idea that anyone bitten by one of these mindless killers is doomed to become one of them is haunting, and stands as a sad reminder that, at any moment, anyone you once considered dear could quickly turn out to be your own worst enemy should the circumstances change. Night was filmed during the tumultuous Sixties, and, as such, has a long list of interpretations to match up with its subject matter. The reason behind the outbreak is barely touched upon in the film, and the outbreak’s origin has never been stated by its sequels or remakes. I think this is important since it shows that, really, there’s not just one cause for this representative cannibalism. It’s a sad fact that the choice of Ben, a black man, as the heroic and resourceful main character was a controversial one at the time. Ben the only one savvy enough to bring himself through the ordeal, but his efforts were sadly negated, as the hasty actions of a militia mistakenly targets him as one of the cannibalistic “ghouls.” However, this is only one reading of the film. More so than its sequels Dawn…Day.., and Land of the Dead, this movie is far more vague and open about what its message is, but the social history interpretation is one of the more obvious ones to spot. I also acknowledge how frightening the movie is, even today! These characters are separated from these mindless killers by only a wall, but, considering the rather brainless nature of their adversaries, this really should’ve been enough. They themselves are the cause of their own demises – they fight and bicker enough to not even escape the more obvious enemies. It’s a testament to human paranoia that they’d rather focus on the little issues they have with each other rather than focus on the real problem. It’s aptly summarized by one of the movie’s more famous lines of dialog: “They’re coming to get you, Barbra!”


05. Misery (1990)

Misery is, in my opinion, an often forgotten gem and stands as one of the few effective and realistic horror films. James Caan plays writer Paul Sheldon, who has grown tired of his extremely popular line of books about a woman named Misery Chastain. Kathy Bates plays his self-professed “biggest fan,” Annie Wilkes, who saves the weary author one day when he accidentally runs his car off the road in a snow storm. Judging from her intimate knowledge of the author, I have a hard time believing it was a mere coincidence. A trained nurse, Annie is one of those deeply religious women who possess an infuriating level of sunshine and happiness. She’s also the kind of woman who simultaneously despises sexual promiscuity and foul language despite her a habit of watching trashy dating shows and shelves packed with steamy romance novels. (You know the type!) However, Annie goes one step further than being a mere irritation. Too far. Unlike those misguided but well-meaning individuals, Annie’s a bit more… insane. Maybe she’s more accurately described as being sadistic, with a few fleeting fits of apparent pleasantness? Annie slips into and out of her instability at the flip of a switch, and, in a fit of rage, her euphemistic personality gives her a disturbingly profound disability to even swear properly! Sometimes it’s so ridiculous that you can’t help but let out an uneasy peep of laughter, but I doubt you’d feel like grinning if you were in poor Paul Sheldon’s place. The measures that she takes in order to keep her favorite author from getting better and leaving are beyond any semblance of what constitutes humane treatment. I know I’m being redundant, but I honestly can’t say too much without spoiling the movie’s best and most intense parts! Misery is lucky to have superb acting from its two leads, which allows this bizarre situation to seem all the more painfully real. Kathy Bates definitely deserved an Oscar for her performance here. She’s terrifyingly perfect. Fatal Attraction’s Alex Forrest is bland compared to Stephen King’s brilliant creation of Annie Wilkes, who stood in as a representation of King’s own occasional averseness to fame. Next time you think you might like writing a novel, think about that nice lady who always collects cat-related objects and Precious Moments dolls, who dangles a little cross from her neck while saying “Bless your heart!”, and picture her saying this: “I’m your number one fan!” *shudder*

04. Alien (1979)

“In space, nobody can hear you scream.” Yet another movie that learned from Jaws that it’s best to leave your monster a mostly ambiguous and mental presence, Alien also managed to be far more frightening than its aquatic predecessor. It’s also a surprisingly quiet movie, making the sudden and random violence so much more shocking. Due to H.R. Giger’s iconic and menacing creature design that still hasn’t been matched, the titular alien has become one of film history’s most iconic monsters, far more terrifying than Frankenstein’s monster or Count Dracula. The creature’s violent birth is abrupt and shockingly brutal. It’s far cry from the birth scenes we’re used to seeing. Like a parasitic butterfly punching through a flesh and blood cocoon, it rips through its host into the outside world, announcing its presence with a tiny screech. It’s sort of emasculating to see a man give birth to a completely alien creature, and in such a violent manner, too. The Alien series is often credited with presenting and challenging gender roles, giving women a surprising amount of strength when confronted with an adversary this formidable. It’s even more apparent in the sequel, Aliens, but Ellen Ripley, played by Sigourney Weaver, first earned her well deserved place amongst the best movie heroes here. With Tom Skerrit playing the ship’s captain, you wouldn’t imagine that she would be alive by the end, unless he were to fall in love with her. Ellen proves to be the more formidable opponent to the monster, however, and ultimately outlives her crewmates. She’s strong and able to hold her own. She’s quick, rational, brave, compassionate, and incredibly smart – a well balanced character who still manages to keep these features as a complement her femininity. Her status as an equal to the men in her crew and her subsequent victory over the alien is the revolutionary part of this movie. And yet the alien is not the only threat here, as a far more insidious plot has brought it into their company. One crewmate isn’t who he seems to be, and the company he works for could care less about the crew it hired. When Ripley discovers this, the crewmate attacks her in a way that shocking in its similarity to a scene of rape, with its climax occurring beneath a mural of pin-up girls as her assailant shoves an object down her throat in an attempt to kill her. I could go on and on about Alien’s thematic brilliance (Seriously. I wrote a paper on it!) It’s just that good. It’s also equally as terrifying. Aliens is often far more often remembered for being a great action flick, but the original Alien is even more brilliant in its ability to strike fear into its viewers. If you like really smart, analytical horror, this is the movie for you.

03. The Sixth Sense (1999)

– “I see dead people.” Seriously, is there anyone who doesn’t know this line? It’s a little easy to quote that famous line and take for granted the chilling message hidden in those words. Back in 1999, The Sixth Sense made people actually call M. Night Shyamalan the next Hitchcock. Ridiculous though it may seem now, it’s hard to argue with the brilliance of his first popular film. A strong mix of psychological thriller and sudden-loud-noise chills, this film is a beautiful yet sad ghost story. Everyone knows that there’s one of Shyamalan’s signature twists at the end, but for your own sake, I really hope that you saw the movie before someone spoiled the secret for you! This one is actually a stroke of genius! For those of you who haven’t seen it, I’ll dance around it – just in case – but, seriously, go see it now if you haven’t! The movie’s just as much about finding out the mystery behind this little boy’s frightening visions as it is about his doctor’s search for redemption after one of his former patients commits suicide right in front of him. Bruce Willis and Haley Joel Osment play off each other wonderfully, creating a mutually empathetic and helpful relationship between the two tormented characters. And what of the scares? Yet again, what we have here is an exercise in the idea that “less is more.” There are no ethereal ghouls or creepy little girls popping out of nowhere while screaming and twitching in this movie, though there are plenty of sudden reveals that are just as, if not more, effective as those elements. The film’s biggest revelation, beyond the reason behind Cole’s visions, is just as compelling to build up to and follow with your newfound knowledge as it was to see the film’s story unravel before your eyes the first time around. What’s unusual is that, for a movie so dark, it may also leave you feeling strangely uplifted by the end. There’s a definite power to the meaning behind these ghosts’ visits. Though he was only 11 when he played the role, Osment earned his Oscar nomination by making Cole’s scary situation seem as real to us as it did to the poor boy. Bruce Willis is also wonderful, lending the concerned Malcolm a kind yet sad personality to the doctor who has lost control of his life. He is the pivotal emotional fulcrum in the movie and is our gateway into this boy’s frightening world. He’s genuinely concerned and never patronizes Cole, knowing that, though adults may not believe in ghosts, they are just as much real to Cole as the pain he feels about his life drifting away. This is pivotal in maintaining an ambiguity about the movie’s mysteries – are the visions real or aren’t they? Does it matter? Is there a reason? Shyamalan proves that his increasingly disappointing follow-ups weren’t necessarily movie studios just cashing in (which this movie did quite nicely). After all, why wouldn’t you allow the director of a movie this beautifully made an opportunity to strike gold once again? From the staging, to the acting, the story, and even the scares, this is definitely a horror movie that manages to transcend the cheap thrills of the campfire stories Hollywood loves to churn out every year.

02. 28 Days Later (2002)

Danny Boyle’s horror masterpiece owes a lot to the zombie film genre – particularly the Romero series, where the zombie attacks stood in as an allegory for the world’s problems. What sets it apart from them is the breakneck speed of those who are infected. Literalist fans of the film will quickly point out that this is not a zombie film. Whereas the typical zombies in a Romero film shuffle and moan and turn gray, and many others rot and atrophy as time goes on, the infected in 28 Days Later are as alive as you and me and, therefore, possess the physical abilities you and I would… if our adrenal glands knew no bounds. There’s no shuffling or moaning here – these guys are blood-spewing, rage-filled sprinters bent on ripping you to shreds just for the hell of it! Mere contact with the infected comes with the added risk of becoming one of them, as a mere drop of their bodily fluids in your system swiftly turns you into one of them. The movie focuses on Jim, who wakes up in a hospital after a bad collision left him in a coma for several days. Malnourished and thin (and, initially, very naked), he wanders the trashed hospital looking for any sign of life, desperately chugging a can of soda for sustenance. Outside, the streets of London are just as barren. The early morning shots of the empty, lifeless city are hauntingly isolating. Signs of an impending apocalypse are strewn about in tattered newspapers and scattered trash. Bloodied missing persons ads huddle together on buildings. For a while, they are the movie’s only depictions of civilized life, moments of time long gone. Jim soon encounters the manic individuals who have helped send the city into this hell. Luckily, he finds people who can help him, and, ultimately, that he can help as well. The editing of the film is also unorthodox that of typical Hollywood horror (aside from being British). Filmed on a purposely grainy digital camera, frames are dropped from the video to add a chaotic effect to action scenes, as if the viewer were there, struggling to piece together what’s going on and never catching every detail of what’s going on. During the climax, rain doesn’t pour from the sky but instead strobes across the screen the screen as the infected swarm manically. 28 Days Later is a fantastic movie that carries with it a great deal of style and scares. It’s definitely going to induce sweaty nightmares!

#1. The Silence of the Lambs (1991)

How could I not put the good doctor himself, Hannibal, on this list? Hannibal Lecter is much scarier than any zombie or any shark or any other creature out there. Why? Because he represents something very real. Though an incredibly intelligent and cultured man, and once a brilliant and respected forensic psychiatrist, he now sits behind bars for his one crime against humanity: his innate taste for human flesh. Despite this, Hannibal isn’t one of the insane individuals he used to study. Not at all. In fact, he’s quite aware of his deviant tastes, and accepts them as just as much a part of his personality as his equally natural eloquence with words. Hannibal simply sees himself at a higher rung on the food chain compared to most individuals. Hopkins’ performance as the doctor remains the shortest on-screen role to ever win an Academy Award, proving just how much of an impact his performance made on audiences, despite the more frequent presence of a far less “likable” villain. The main villain is this man, a serial killer dubbed “Buffalo Bill” due to his habit of kidnapping and skinning the women he throws in his dungeon. What he does with the skins is gross and utterly bizarre, and yet disturbingly realistic. To catch him, rookie FBI agent Clarice Starling is sent to the revered and reviled Dr. Lecter to gain insight on Bill; however, Dr. Lecter expects something in return for his cooperation. “Quid pro quo.” He coerces Starling to share deep, dark secrets with him, working his way into her mind to uncover intimate details about her. She knows that, despite his sins, he is intelligent, and her submissive nature causes her to treat him with the respect he relishes, and Dr. Lecter grows strangely fond of the girl, though it’s often hard to tell whether he’s measuring her mind or her body (all the better to fit into his oven). The truly disturbing aspect of this movie is its depiction of the perversions and evils of this often scary world we live in. The evil here is not a supernatural occurrence, and its impact lasts longer than the movie’s duration and even further than a nightmare-filled night. It’s a very real evil that can and does exist in our own world – it’s a depiction of a sick reality many people have unfortunately and tragically faced. Hannibal Lecter and Buffalo Bill represent two sides of the same coin. Lecter is neither insane nor in denial; rather, he stands aware of his nature, and is an absolute example of the existence of calculated evil. Yet his charms are also seductive in their power to manipulate and (literally) consume others. He betrays the idea that only the mentally defective cause pain and suffering. Buffalo Bill, on the other hand, is a far less attractive brand of evil, unbridled by a rational mind. The man is so unattractive that he himself tries to cover it up with the spoils of his crimes. Bill is the stereotype that evil is repulsive and comes in blatantly ugly packages, and yet he is no more evil than the more poised and calm Dr. Lecter.

Evil is often seductive, and, like lambs to the slaughter, we have been tricked into placing our trust in those who would consume us for their own gain.

Obligatory Honorable Mention: The Cabinet of Dr. Caligari (1920)

Okay, here’s some clarification: This movie’s not scary by today’s standards. More so than Psycho. I realize that placing this movie on the list therefore violates the “scary” factor rule, but here’s the thing: this movie was very original, and it has some amazingly haunting visuals. I’m not going to pretend that I’m a connoisseur of German Expressionism or silent films, but this silent German Expressionist film is haunting, and it set the tone for many horror films to follow. And what’s not creepy about a carnie (Dr. Caligari) who controls a sleepwalking man to do horrendous acts? Fun Fact: Conrad Veidt, who plays the somnambulist Cesare, later went on to do a 1928 film version of The Man Who Laughs, his portrayal being Bob Kane’s inspiration for the Joker. Not the goofy Cesar Romero one – the murderer with a clown’s M.O. If that’s not enough to convince you of the validity of the film’s creepiness, let’s not forget the luscious, shadow-filled, perspectively askew world this film is set in. I have no doubt in my mind that this was an influence on Tim Burton’s own visual style. The eerie atmosphere is twisted and yet beautiful all at once, and it’s all done without spoken dialog or sound effects. There is no choice but to focus on the spooky visuals for information, and it’s these iconic images that I still remember from seeing this in my film history class. Sure, it’s not terrifying like the films above, but I have to pay my respects to this early influence on horror films. Someone release that talkie remake to the mainstream, already! I hear it’s pretty good!

  1. October 21, 2011 at 4:11 pm

    Interesting. I am happy to see Alien on this list. If you haven’t watched Les Diaboliques, I would highly recommend it. It is one of the few french horror movies that I have enjoyed. If a movie can instill the feeling of anxiety without using any gore, then I am usually pleased.


    • CJ Stewart
      October 22, 2011 at 12:20 am

      Me too. Gore does not make a movie scary. Psychological awareness does, however, and I’d have to argue that, handled carefully in this manner, gore has its place.

      I haven’t seen Les Diaboliques, but there are plenty of classics out there that I still have ashamedly yet to see, and this is one that pops up every now and then. I’ll definitely have to check it out.

      As for Alien? How could I not!? One of the best sci-fi AND horror films out there! I don’t understand why so many people I’ve talked to who don’t accept it as horror. Because it’s in space with ships and aliens? Sure, but those are its trappings. Its execution, though, is pure horror.

  2. October 28, 2011 at 11:12 pm


    Well, genres are just shallow labels. They don’t really have too much meaning.
    I’m getting excited for Colonial Marines to come out. Also, Prometheus next year.

  3. CJ Stewart
    October 29, 2011 at 12:14 am

    I need to play more video games… Prometheus will hopefully be a return to form, too.

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