The Evil Dead
Prosecuted in Britain. Actually a comedy, though it took years to admit it.
Gore as the entire attraction, invented by a man who mostly made nudie films.
Films where graphic gore is the product rather than a consequence of the story.
Herschell Gordon Lewis made Blood Feast in 1963 for about $24,500, in four days, because the nudie-cutie market was collapsing and he needed something drive-ins could not get on television. It is barely competent as filmmaking. It is also the first film built entirely around on-screen dismemberment, and everything in this category descends from it.
Lewis followed it with Two Thousand Maniacs! and Color Me Blood Red, then split with his producer David F. Friedman and kept returning to gore between other exploitation work, including The Wizard of Gore (1970) and The Gore Gore Girls (1972).
The form got good when the effects people got good. Tom Savini, who had been a combat photographer in Vietnam, did Dawn of the Dead, Friday the 13th and Maniac. Giannetto De Rossi did Fulci's zombie films. Rob Bottin and Rick Baker took it into major studios.
By the mid-80s the excess had become the joke: Re-Animator, The Evil Dead II, Street Trash, Braindead. The gore is so far past plausibility that the only available response is laughing.
Re-Animator, which is the point where the technique and the writing finally matched.
Prosecuted in Britain. Actually a comedy, though it took years to admit it.
Remake and sequel at once. Raimi discovers slapstick and never looks back.
A shopping mall, four survivors, and Savini's finest hour.
The bleakest Romero. Bub is the only sympathetic character in it.
Jackson before the trilogy. The lawnmower scene ends the argument.
Where the effects and the writing finally matched. Jeffrey Combs is perfect.
Punk soundtrack, running zombies, and the film that invented 'BRAINS'.
Shot at weekends over four years by Jackson and his friends. Astonishing.
Miike hands out sick bags at the premiere and earns every one of them.
Troma's only good film, and the head-crushing is still funny.
Herbert West builds a woman from parts. The sequel goes bigger, wetter and more demented.
Stuart Gordon and Jeffrey Combs do Lovecraft again. A machine that lets you see what should stay unseen.
The French extremity wave stripped to one room, one night, and a pair of scissors.
$35,000, shot on 42nd Street, and completely charming. The best kind of cheap.
German, banned widely, and much sadder than its reputation suggests.
Sixty-seven minutes of industrial nightmare. Nothing else looks like it.
Savini's effects, Spinell's performance, and a very bleak little film.
A flamethrower and a meat grinder. Death Wish with the restraint removed.
Texas Chainsaw with a French accent and a swastika over the door.
Stan Winston effects and a good twist. Underseen.
Abel Ferrara's debut. More interesting as a document of downtown New York.
H.G. Lewis, a Southern town, and gore effects that predate everyone.
The first gore film. Barely competent, historically unavoidable.
A man rebuilds his dead girlfriend from the parts of exploded sex workers. Exactly that stupid, and great.