Alicia I love this movie so much

Peereddi I was totally surprised at how great this film.You could feel your paranoia rise as the film went on and as you gradually learned the details of the real situation.

Siflutter It's easily one of the freshest, sharpest and most enjoyable films of this year.

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

Michael_Elliott The American Nightmare (2000) *** (out of 4)This documentary takes a look at the social issues of the 1960's and 70's and what impact they had on the American horror film. John Carpenter, Wes Craven, George A. Romero, John Landis, Tobe Hooper, David Cronenberg and Tom Savini are the famous faces on board to discuss films like NIGHT OF THE LIVING DEAD, THE LAST HOUSE ON THE LEFT and THE TEXAS CHAIN SAW MASSACRE.If you're a fan of this era's horror films then you'll certainly want to check this documentary out as it has a great group of filmmakers being interviewed and it was great fun getting to hear their thoughts on their own movies as well as the movies of others. The three films I mentioned are the ones that get the most attention, for obvious reasons, and thankfully all three of the filmmakers are on hand here. Of course, watching these films today these interviews are all the more special since all three have since passed.For the most part I guess you could argue that there really isn't anything new here since we've heard Craven, Romero and Hooper discuss these three landmark films countless times before. Between the magazine articles and the documentaries and the commentary tracks, I'm sure most fans know all about these movies and what impact the social enviroment had on them.With that said, there's no question that this is a very fun documentary and if you're a horror fan you're always going to be interested in what people have to say about these types of films. Savini goes into great detail about what his days in Vietnam were like and how this leaked over into his work. All in all this is a very entertaining documentary that is very much worth watching.

Scarecrow-88 Interesting documentary on horror filmmakers of the late 60s/early 70s, focuses on important films of the genre that commented on the times they were made. Night of the Living Dead and how it correlated with the Civil Rights movement. Last House on the Left and The Texas Chainsaw Massacre were made as the horrors of Vietnam continued to expose how evil ran rampant in the jungles of another country and that American soldiers were just as complicit to a lot of what happened there. Shivers commented on the ongoing changes in sexuality. Halloween on how we seem to want to be scared and enjoy a ride while in the theatre. The jolt that comes from danger lurking. Directors Tobe Hooper, David Cronenberg, Wes Craven, John Landis, George Romero, and makeup artist Tom Savini (who lends a chilling recollection on Vietnam and how this experience shaped him as an artist; his photographic work and how it separated him from the horrors in front of him are quite haunting), along with professors who comment on the chosen horror films for the documentary, lend a voice to where the horrors on screen from their work came from. There is an honesty that is appreciated, and you can see the contemplative, cerebral, and introspective reasoning behind the films they created for the viewing public.I think the direction can be heavy-handed at times, with how it extrapolates the horrors of real life being so intertwined with the horror films in the documentary. I think the dialogue of how the professors saw the horror films through their own intellectual and emotional lens is quite compelling. It is nicely intermingled with the thoughts and comments of the directors. You get some amusing anecdotes from Landis who is his usually energetic/enthusiastic self, more of a vocal component in regards to how the films of Romero, Hooper, and Craven effected him. Hooper speaks on what inspired the various aspects of his film, like how his relatives used to tell him about Gein when he was a kid, seemingly to freak him out. His inspiration behind the film in regards to being in the hardware store. And his disregard for family gatherings. Carpenter apologizes for the notion that his film was anti-sex; his comment on his generation being sell-outs is an example of how the sentiment is from many who would agree with him. It is all about the Benjamins. Romero's films get serious props from the documentary and the professors who are involved. The themes behind both Night and Dawn are discussed in length and depth. The use of Vietnam and how America was going to hell (Kent State, in particular, is also mentioned) is one of the more highly scathing points made in the documentary. While there's this sombre tone applied with the use of how the 50s atomic bombs scare, the sexual revolution, Vietnam, and the possibility of the apocalypse, Landis at least brings some humor that is much needed due to the approach. The music score is quite aimed to provoke an emotional response to the history for which these films covered fell within. Mostly, I think The American Nightmare is worthy of any horror fan's time. Wes Craven talking about the darkness behind the American dream's dissolve (the ideal from the 50s), Cronenberg getting quite analytical and philosophical in regards to the body and physical agony and the rewards of sexual freedom that can also come out of that. Romero describing us as the living dead and the disco era right after the horrors that were occurring when Night was made before he unleashed Dawn on us. But I think Savini's Vietnam stories and getting to see a small glimpse in his workshop (the cool sculpture of Lugosi's Dracula, Karloff's Frankenstein Monster, and Chaney's Phantom can be seen) are my favorite parts. Metaphor of what you see in the films compared to what was happening in reality could be the most hammering pointed aspect of the director's approach to the documentary.

Bill357 This movie is a load! A bunch of self important directors finally get some recognition by the art house crowd and try to convince you that their films were about more than the pandering and profiteering they really are.Not that I'm against pandering and profiteering. They're what used to make horror movies great.I groaned as I was forced to listen to speaker after speaker rave about political subtexts and rolled my eyes at the shameless horror directors egging them on.I remember one interviewee that stated something to the effect of, "How can you watch Last House on the Left and not think of Kent State?".I don't know dude, maybe it was because I paid attention to the movie instead of thinking about freaking Kent State! The flick I saw was about perverts raping and killing teenage girls in the woods.Another nugget of insightfulness comes from the alleged Vic Morrow killer, John Landis, who talks condescendingly about the "guys from the NRA", who came to hunt zombies in Night of the Living Dead and equating them with the KKK and the civil rights era.Well guess what Johnny babe? That's what a posse looks like. The guys from the ACLU just got ate! They can't make it!

pizowell This documentary is an absolute treasure for any true horror film buff. Containing insightful interviews from film philosophers and sociologists analyzing films and the circumstances and reflections of the times in which they were made along with detailed and compelling interviews with such pioneering genre filmmakers as Tobe Hooper, Wes Craven, David Cronenberg, George A. Romero, John Carpenter and others. The interview with Tom Savini in which he recalls gruesome instances from his tour in Vietnam is riveting, adding to the overall bleakness of the piece. Fascinating, thoughtful, chilling and ultimately unforgettable. I applaud director Adam Simon for assembling the components to pull off this highly analytical serenade to the most profound and influential horror films and filmmakers and his ability to do so with integrity and intelligence and an obvious love for the genre. Extra kudos for the Godspeed You Black Emperor soundtrack. Brilliant.