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Top 10 Offscreen Horror Kills We Wish We’d Seen!

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While there’s certainly a time and place for subtlety in horror films, sometimes you’re just in the mood to see some good old-fashioned onscreen bloodletting. Forget what the media tells you; watching senseless, gory murder after senseless, gory murder is a relatively healthy way to get out your frustrations. After all, it’s only make-believe (at least for those of us able to distinguish fantasy from reality). That being said, some of the most effective movie murders have actually taken place off-screen; whether through the use of sound effects or the mere suggestion of violence happening just beyond that closed door, what you work up in your mind is often more terrifying than anything the filmmakers could show you. Nevertheless, there’s always a part of the gore-hound in me that can’t help but feel slightly cheated by a quick cutaway just as the killer is about to finish off his/her victim. There are tons of examples I could cite, but the following ten are the ones that stick out most in my mind.

A Bloody-Disgusting/MySpace Horror Feature

#10

Film: Seven (1995)

Victim: Tracy Mills (Gwyneth Paltrow)

Killer: John Doe (Kevin Spacey)

Method: Decapitation

The shock ending of Seven relied on Paltrow’s death being kept off-screen, but my morbid curiosity still couldn’t help but get the best of me. How, exactly, did the whole thing go down? Also, given that the actress in question is the squeaky-clean, golden-locked, unabashed elitist Gwyneth Paltrow, it would’ve been kinda fun to see her (character) die. At the very least, Fincher could’ve given us a glimpse of Paltrow’s “pretty” severed head.

#9

Film: The Blair Witch Project (1999)

Victim: Heather Donahue (Heather Donahue)

Killer: The Blair Witch?

Method: Unknown

We just have to assume Donahue bit the dust, since we see absolutely nothing except her camera being knocked to the ground in the final scene. It’s too bad, considering how insanely annoying she’d grown by the third act. By that point, it frankly would’ve been tons of fun to witness her character suffering an agonizing death at the hands of the Blair Witch. That goes for the two dudes as well; after being forced to listen to those three oafs squabbling amongst themselves in a forest for 2/3 of the film, god knows we deserved the release.

#8

Film: Let the Right One In (2008)

Victims: Conny (Patrik Rydmark), Jimmy (Rasmus Luthander), Martin (Mikael Erhardsson)

Killer: Eli (Lina Leandersson)

Method: Dismemberment, Decapitation

Having been horribly bullied myself in junior high, the ending to sweet coming-of-age vampire movie Let the Right One In was a dark fantasy come true, with Oskar’s tormentors getting their comeuppance in sensationally grisly fashion. Not that we actually got to see much of it – only a couple severed body parts drifting down into the pool from above, and the aftermath – but it would’ve been nice to witness the havoc as Eli plowed through the fuckers like a raging maniac. Yes, the underwater shots were very effective, and it was certainly a more artistic way to go about illustrating the slaughter, but the 12-year-old in me still yearned to see those bastards get their comeuppance up close and personal.

#7

Film: Alien (1979)

Victim: Lambert (Veronica Cartwright)

Killer: The Alien (Bolaji Badejo)

Method: Likely stabbed through the head with the Alien’s “second mouth”

While we do see some of Lambert’s body when Ripley discovers she and Parker’s bloody remains in the coolant room, her actual death occurs off-screen. Granted, her frantic, strangely orgasmic breathing and final scream are insanely chilling – without a doubt some of the most terrifying audio ever recorded for a film – and the Alien tail slithering around her ankles and up her thigh gives the impression of, shall we say, interspecies rape. Fans have debated endlessly over whether Lambert was indeed “despoiled” before death, and the suggestion alone is chilling to contemplate. As for me, I’ve mulled this particular scene over and over in my head after every viewing, and I can’t help but morbidly wonder what exactly went down in that dark room.

#6

Film: House of 1000 Corpses (2003)

Victim: Denise Willis (Erin Daniels)

Killer: Dr. Satan (Walter Phelan)

Method: Torture

I know it’s sadistic, but we did wait the entire movie to see the kind of damage Dr. Satan was capable of inflicting, and then Zombie left us hanging by cutting away (no pun intended) just as the carnage was about to begin. Granted, it was probably an appropriate way to end the movie; like most off-screen deaths, there’s some artistic value in suggesting rather than showing. Nevertheless, the sound of an electric surgical tool being fired up just before the credits gave us a rather potent visual to ponder in our own heads.

#5

Film: The Black Cat (1934)

Victim: Hjalmar Poelzig (Boris Karloff)

Killer: Dr. Vitus Werdergast (Bela Lugosi)

Method: Skinned alive

In this infamous climactic scene from director Edgar G. Ulmer’s early horror masterpiece (very loosely based on an Edgar Allan Poe short story), the tables are turned on Satan-worshipping architect Hjamar Poelzig when Lugosi’s tragic hero chains him up to an embalming rack before proceeding to skin him alive with a scalpel. We only see the deed performed in silhouette (this is 1934, after all), but I’ll bet legendary makeup artist Jack Pierce would’ve had great fun creating the gory effect had he been given the chance.

#4

Film: Predator (1987)

Victim: Billy (Sonny Landham)

Killer: The Predator (Kevin Peter Hall)

Method: Likely stabbed to death or impaled

Billy’s intentions may have been good, but let’s get real: he only bought the remaining three characters about 6.5 seconds of escape time (for such a bad-ass, he sure did go down easy). We at least get to see the Predator ripping Billy’s skull and spine from his dead body later on, but unfortunately we aren’t shown the final few moments of the Navajo’s life – only his high-pitched screams as the alien does some undoubtedly fucked-up, painful shit to him. Given that he threw away his gun for his final “battle” with the alien hunter on the log bridge, let’s just assume method of death was being sliced and diced (that whole Predator honor thing).

#3

Film: The Hitcher (1986)

Victim: Nash (Jennifer Jason Leigh)

Killer: John Ryder (Rutger Hauer)

Method: Ripped in half

In one of the most queasy scenes in movie history, Rutger Hauer ties Jennifer Jason Leigh between two trucks, hops in the driver’s seat of one, steps on the gas and…well, your mind can fill in the rest. It’s going to have to, since you don’t actually see her death on screen, merely the cringe-inducing sight of the actress struggling as her body is stretched to the limit (although you do get to hear some sweet body-ripping sound effects). While the Michael Bay remake does showcase the same scene (this time with a male character) complete with its gory climax, I’d much rather have seen the gruesome effect utilized in service of the far superior ’86 version.

#2

Film: Night of the Living Dead (1968)

Victim: Barbra (Judith O’Dea)

Killer: Zombies

Method: Presumably eaten alive

Let’s face it: Barbra was fucking annoying, and it was a relief when the bitch died. I was only sorry we didn’t get to watch as the zombie hordes ripped out her intestines and proceeded to feast upon them. Funnily enough, in real life Judith O’Dea is now owner of a firm called O’Dea Communications, which specializes in “oral communications training.” Tee-hee.

#1

Film: A Nightmare on Elm Street (1984)

Victim: Glen Lantz (Johnny Depp)

Killer: Freddy Krueger (Robert Englund)

Method: Liquefaction

You might argue this doesn’t count given how gory Glen’s death scene is, but the fact remains that we didn’t get to see the nightmare sequence that would’ve explained exactly how his body was turned into a spewing crimson volcano. Did Freddy throw him into a giant blender? Chew him up and vomit him out? Melt his body down, Raiders of the Lost Ark-style? It’s a cool scene nonetheless, but it can’t help but make you ponder the “nightmarish” details of Glen’s explosive demise.

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Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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