In the Autumn of 1979, Sam Raimi and his merry band headed into the woods of rural Tennessee to make a little film called The Evil Dead. They emerged with a roller coaster of a film packed with shocks, gore and wild humour, a film that remains a benchmark for the genre. Ash (cult favourite Bruce Campbell) and four friends arrive at a backwoods cabin for a vacation, where they find a tape recorder containing incantations from an ancient book of the dead. When they play the tape, evil forces are unleashed and one by one the friends are possessed. Wouldn't you know it, the only way to kill a "deadite" is by total bodily dismemberment and soon the blood starts to fly. Raimi injects tremendous energy into this simple plot, using the claustrophobic set, disorientating camera angles, and even the graininess of the film stock itself to create an atmosphere of dread, punctuated by a relentless series of jump-out-of-your-seat shocks. Much of the film's energy is supplied by the "Raimi-cam," a gliding, swooping, rushing camera that suggests a dislocated, otherworldly point of view while injecting a lively if spooky fleetness to the pace. Though it's no comedy, Raimi's dry wit and cinematic cleverness pervades the entire film. The Evil Dead lacks the more highly developed sense of the absurd that distinguish later entries in the series--Evil Dead 2 and Army of Darkness--but it is still much more than a gore movie: it marks the appearance of one of the most original and visually exciting directors of his generation, and it stands as a monument to the triumph of imagination over budget. --Simon Leake, Amazon.com

On the DVD: For a film made on the tiniest of budgets and shot in 16 mm, The Evil Dead looks impressive in this widescreen 1.85:1 anamorphic print, even if the picture quality is never going to rival that of 35 mm. The revelation here is the soundtrack, with optional DTS 6.1 audio mix, which showcases Sam Raimi's bizarre assembly of sound effects and Joseph LoDuca's minimalist Bernard Herrmann-inspired score. Director Raimi and Producer Robert Tapert chat amiably about making the film on the first commentary track, but the real treat is Bruce Campbell's "alternate" commentary, which is not only extremely informative but laugh-out-loud funny, too. Among other nuggets we learn that: the distinctive moving camera effects were created by strapping the camera to a plank held between two people who had to run very fast through the woods; most of the actors were so worried about appearing in a horror movie that they made up stage names for the credits; and Raimi's 73 Oldsmobile has since reappeared in almost every one of his films. A trailer and stills gallery complete the extras package. --Mark Walker

Director William Friedkin was a hot ticket in Hollywood after the success of The French Connection, and he turned heads (in more ways than one) when he decided to make The Exorcist as his follow-up film. Adapted by William Peter Blatty from his controversial best-seller, this shocking 1973 thriller set an intense and often-copied milestone for screen terror with its unflinching depiction of a young girl (Linda Blair) who is possessed by an evil spirit. Jason Miller and Max von Sydow are perfectly cast as the priests who risk their sanity and their lives to administer the rites of demonic exorcism, and Ellen Burstyn plays Blair's mother, who can only stand by in horror as her daughter's body is wracked by satanic disfiguration. One of the most frightening films ever made, The Exorcist was mysteriously plagued by troubles during production, and the years have not diminished its capacity to disturb even the most stoical viewers. --Jeff Shannon

Director William Friedkin was a hot ticket in Hollywood after the success of The French Connection, and he turned heads (in more ways than one) when he decided to make The Exorcist as his follow-up film. Adapted by William Peter Blatty from his controversial best-seller, this shocking 1973 thriller set an intense and often-copied milestone for screen terror with its unflinching depiction of a young girl (Linda Blair) who is possessed by an evil spirit. Jason Miller and Max von Sydow are perfectly cast as the priests who risk their sanity and their lives to administer the rites of demonic exorcism, and Ellen Burstyn plays Blair's mother, who can only stand by in horror as her daughter's body is wracked by satanic disfiguration. One of the most frightening films ever made, The Exorcist was mysteriously plagued by troubles during production, and the years have not diminished its capacity to disturb even the most stoical viewers. --Jeff Shannon

The Eye ("Jian gui") incorporates a very old suspicion that has prevented many people from ticking the "cornea" section on their Donor card. From the age of two, Mun (Angelica Lee) has been blind and has learnt to live her life through her other four senses, but after a cornea operation she discovers she has a "sixth sense". As her sight slowly returns she notices shadowy figures prowling around her that are definitely not normal human beings. So begins a quest for the eye donor, during which Mun discovers that people's superstitions still remain as strong as ever.

Hong Kong directors Oxide Pang Chun and Danny Pang have not made another generic horror in the wake of Ring, nor an ultra-violent picture in the style of Battle Royale. A clearer comparison is with The Sixth Sense, but unlike M Night Shyamalan's film The Eye uses stunning visual effects to evoke a deeper sense of the unknown and a deeper understanding of death without the trappings of Christianity (here suicide does not lead to eternal damnation). Ultimately, The Eye is a supernatural suspense story, with Mun turning detective and learning a little more than she bargained for about her own mortality.

On the DVD:The Eye offers a short (eight-minute) "making of" documentary which is extended further in the Pang Brothers documentary. As with all Tartan products the disc is full of trailers, but has some added value with Justin Bowyer's film notes. There is the option to play the film without English subtitles, and the subtitles have been improved in contrast to earlier Tartan releases by the addition of a black rim around the italics. Sound and vision are exceptional and will certainly add to any jumpy reactions. Let's hope this one also gets the two-disc special edition treatment in the future. --Nikki Disney