Hollywood Horror Hindi Dubbed Movie List

[Nayme Cutforth]

I kick arse for the Lord!" announces Stuart Devenie's zealous priest, before proving - rather conclusively - that God is taking a sabbatical. Still, points for trying. Intriguingly, Zombie McCruder was played by a different actor.

It was written by Dan O'Bannon, directed by Ridley Scott, played by Bolaji Badejo, sketched by H.R. Giger and plucked straight from the blackest excesses of your nightmares. The Nostromo's reckoning is beautifully summed up by Ian Holm's Ash: "Perfect organism. Its structural perfection is matched only by its hostility... I admire its purity. A survivor... unclouded by conscience, remorse, or delusions of morality." Plus, it has a head shaped like a willy.

Jason Miller's Damien Karras is a priest racked by guilt, fear, doubt, and memories (or are they visions?) of his dead mother, descending into what looks like the Chicago subway and which therefore might as well be Hell. So he's the perfect person to take on the wily demon, Pazuzu. Miller is fantastic as a weeping wound of a man whose belief is slowly restored by exposure to the most awful proof that God does, in fact, exist. He returned as a form of Karras for the surprisingly excellent Exorcist III.

It's always been a mystery why the Friday The 13th series never resurrected Betsy Palmer's psychotic camp counsellor. Yes, she may have had her head lopped off at the end of the original movie, but she's so much more interesting than her son, Jason, and deserves to be remembered as more than just a trick question at the beginning of Scream.

'Redrum... redrum'. Danny Lloyd has one film, and one film only (he also has a TV movie shot in 1982, but as that spoils the narrative let's ignore it), on his CV, but what a film, and what a performance. True, as Danny Torrance, the young boy blessed / cursed with the Shining in a hotel filled with ghosts that see him as a psychic Twinkie, Lloyd isn't called upon to do much more than ride a tricycle very fast and look afraid. But he does that like a champ, clamping his fingers over his eyes, mouth wide in terror. Wonder if Kubrick made him do each take 99 times?

Claire Bloom's stylish, somewhat sniffy psychic (perhaps her sniffiness, in some perverse way, comes from being overlooked by Hill House in favour of Julie Harris' Eleanor) broke new ground for horror as an openly gay character. To this day, though, most lesbian characters in horror fiction remain, regrettably, buxom vampires.

Everybody wants a Grandpa like Barnard Hughes in Joel Schumacher's garish and gory '80s comedy-horror. Sure, he's a cantankerous old sod, the sort of guy who's very protective of his own special shelf and who thinks a driving lesson involves turning the engine on and off again, but when it comes to wiping out vampires with a truck loaded with wooden stakes, he's your man. Plus, he wears a bandana. At his age. A bandana.

The best big-screen DJ this side of Wally Banter, Adrienne Barbeau is magnificent once more for her then-husband John Carpenter as the velvet-voiced coastal town radio host who gradually becomes aware of the dangers lurking in the fog, and then spends the second half of the movie delivering the kind of weather updates that would turn Wincey Willis green. Topical reference, there.

Given that he's been astonishingly unlikeable in virtually everything else he's done, it's a huge surprise that Jamie Kennedy's cine-literate Randy is so adorable in the first two Scream movies. Maybe it's because film fans so readily identify with him, just one more reason why Craven's decision to kill him (in broad daylight) takes Scream 2 to the next level. If Randy - or, essentially, the audience - is dead, then nobody's safe.

Angus Scrimm, in a suit that's too tight for him to accentuate his slender frame, squints and scowls for all he's worth as the iconic bad guy of Don Coscarelli's completely (and we mean this with love) bonkers franchise. An inter-dimensional alien being who poses as an undertaker while he prepares to wage war with his army of psycho dwarves and flying balls (stop sniggering), The Tall Man is just one of many (maybe even millions) - which makes him that much harder to stop.

Pierre Brasseur's surgeon scientist only wants to do what's right for his dear, darling, disfigured daughter Christiane. If that means kidnapping and, by default, murdering a string of young girls so he can conduct a revolutionary face transplant, then so be it. Brasseur is unforgettable as one of cinema's very best takes on Frankenstein in Georges Franju's classic.

Is it the soft German accent? His quivering presence? Those empty, wide, sad eyes? Karlheinz Bohm's subtle, timid killer plays a huge part in Peeping Tom's success, underplaying against Michael Powell's vividly voyeuristic kills, catching his victim's death throes on tick-tick-ticking camera. Either way, his demise is no moral triumph - it's tragedy.

"Why not me, Blake?" asks Hal Holbrook's sozzled priest at the end of The Fog, before getting his answer in spectacular fashion. Prior to that, Holbrook is excellent as Malone, gradually putting together the pieces of the true fate of the Elizabeth Dane and its crew of lepers, in which his ancestors were involved, and not at all happy about it. Armed with this knowledge, and a gold cross, Malone - previously a shambles of a man - decides to redeem himself, and his family name.

Tony Todd's hook-handed legend has, unusually for a franchise fiend, layers of emotional depth and something of a tragic sheen. We know what happens if you say his name five times into a mirror, but what happens if you type it? Candyman. Candyman. Candyman. Candyman. Can... actually, let's leave it there.

One of the wonders of Jaws is that its three heroes seem like ordinary guys, played by men who didn't wander straight out of modelling school and onto a movie set. When Roy Scheider's Martin Brody takes his shirt off, there's no rippling six-pack underneath. Brody is an ordinary guy catapulted into extraordinary circumstances, and Scheider makes him rich, relatable, human; the perfect man, then, to dispose of a villain that's everything but. Smile, you sonofabitch.

Roddy McDowall's prissy, hammy horror show host, forced to discover his faith and become the thing he's pretended to be for thirty years when he's confronted with real vampires, is a delight. Miles away from David Tennant's vulgar creation in the murky remake, McDowall's turn is a reminder of a more innocent time in horror.

Vincent Price starts Roger Corman's movie as a Satan-worshipping despot who orders the burning of a village, kidnaps a girl to be his sex slave, and then throws a big old party for the rich, figuratively fiddling while Rome burns. From there, it's downhill for Prospero, but Price is on fine form throughout.

Catherine Deneuve is on superlative form as the repressed recluse whose awkwardness and disdain for men and sexual contact begins to eat into her psyche, first manifesting itself as hallucinations (the image of hands coming through the wall to grab at Carole has been stolen by a number of directors, most famously George A. Romero for Day Of The Dead), then as bloody murders, then as catatonia. Startling.

Meurisse's cheating husband is a grade-A scumbag, whose emotional and physical abuse of his wife, Christina, continues even after his 'murder'. Meurisse is, thanks to the very nature of the film's plot, off-screen for much of the movie, but his presence is everywhere, while he's front-and-centre of one of horror cinema's most famous shock twists.

As played by Scatman Crothers, Hallorann - the chef at the Overlook Hotel - is a kindly old man who, blessed with his own Shining, acts as Danny Torrance's guide to the dos and don'ts of the evil old hotel. As set up by Stephen King, he's the knight in armour who travels half the country to save the day. As set up by Stanley Kubrick, he's a rug pulled from under your feet.

Deborah Kerr is on fine form in Jack Clayton's elegant and creepy horror as the governess who comes to suspect that her two young charges are possessed, while we, the audience, come to suspect that she may not be the full shilling.

OK, so Scott Reiniger's devil-may-care SWAT guy may border on the psychopathic, and contributes to his own demise, but we defy you not to will the little guy to fulfil his promise to Ken Foree's Peter that "I'm going to try not to come back". Anyone who's ever seen the back of a Dawn of the Dead VHS cover will know that he doesn't succeed.

A rare good guy turn for the great Christopher Lee in, arguably, Hammer's greatest movie. As the occult expert charged with saving Patrick Mower's rich kid from a fate worse than Emmerdale, Lee is fantastic as an uptight, upright, unswerving bastion of moral invincibility. And the facial hair - neatly devilish itself - is a winner.

Forced to take the lead role in Bad Taste because he had no other real option, Peter Jackson plays Derek as a dithering idiot who becomes dangerously unhinged when he falls off a cliff and spends most of the movie holding his brains in via judicious deployment of a belt. Jackson displays such a nifty instinct for comedy that it's a real shame that he hasn't given acting a go since; and Derek's Ash-like transformation into chainsaw-wielding badass is ludicrously satisfying. He's a Derek, and Dereks don't run.

Michael Rooker's frighteningly humdrum performance as a no-nonsense monster in John MacNaughton's dead-eyed character study gave audiences everywhere chills... and Rooker a career that sees him playing heavies and weirdos to this day.

'When your little girl/Has been kidnapped by The Beast, who you gonna call?' Zelda Rubinstein, apparently. The 4'3" actress, with a voice that sounds like a possessed doll, is a weird and unforgettable presence in Tobe Hooper's brilliant haunted house movie, showing up near the end to do battle with the darkness armed with nothing but a rope, some tennis balls and unshakeable faith.

The only opponent worthy of defeating Jason Voorhees, Tommy was played across three different films by three actors, beginning with Corey Feldman in the laughably-titled Final Chapter. Back then, he was a kid obsessed with movie make-up who uses his skills to lure Jason to his death. Part V's A New Beginning saw him become a borderline Jason himself; Jason Lives saw genre favourite Thom Mathews inadvertently resurrect Jason, then spend the rest of the movie Keystone Kopping his way around Camp Crystal Lake while scores of innocents perished. Dr. Loomis he ain't.

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