Scream Blacula Scream (1973): 31 Days of Horror

Scream Blacula Scream, if nothing else, has the added benefit of Pam Grier — who amplifies production quality just by appearing on screen. As Lisa, she’s an ideal counterpoint to William Marshall’s sympathetic villain — a confused voodoo priestess who’s just coming into control of her powers. The camera worships her just as William Marshall works the lens to magnify his powers of audience seduction, directing a version of male gaze inward and outward at the same time.

Blacula (1972): 31 Days of Horror

The filmmakers have made vampirism a stand-in for the historical and insidious plague of racism. Though the metaphor wavers as the film unspools, Blacula has made its most profound statement by the end of the opening scene. Like the classic Universal monsters, Prince Mamuwalde/Blacula has been rendered a sympathetic villain; sent to stem the tide of slavery, Mamuwalde has been made a slave of Dracula himself.

The Phantom of the Opera (1989): 31 Days of Horror

Originally a Cannon release, the film changed directors and shifted to Menahem Golan’s 21st Century Film Corporation when Cannon went bankrupt. During the transition, the screenplay gained the modern framework and the expectation of a sequel called A Phantom of the Opera 2: Terror in Manhattan, which feels a little too close to a real-life Hamlet 2 for comfort. Fortunately (or unfortunately?) the sequel never came to pass and all that we’re left with is this surprisingly competent adaptation of Gaston Leroux’s novel. 

Etoile (1989): 31 Days of Horror

An American ballerina (Connelly), enrolls in a prestigious Hungarian ballet school. Meanwhile, Jason (Gary McCleery), a young man assisting his uncle (Charles Durning) in a quest for antique clocks, falls in love with the beautiful ballerina. As their relationship blossoms, the ballerina becomes inexplicably obsessed with Tchaikovsky’s Swan Lake. Strange happenings intervene and Jason becomes determined to unravel the mysterious powers behind it all.