By PAUL BRENNER & DEBORAH NICOL

The Haunting [Warner]

Forget digital effects; flush them down he recycle bin of your computer. Robert Wise's 1963 film, "The Haunting," requires no effects at all in order to create an atmosphere of horror and dread ("The Others" comes close but nothing like this). Bumps in the night, a slowly turning doorknob, a bulging door, and more primordial moans greet visitors Julie Harris and Claire Bloom as they spend the witching hours as Richard Johnson's guests in Hill House heir Russ Tamblyn's house of horror. Hill House carries its own legacy of tragedy in its past but Harris, obligingly brings both her baggage and her own set of ghosts to the doomed Victorian gothic and all Hell literally breaks loose. Presented in gorgeous black and white, anamorphic widescreen, it includes a feature-length commentary track by Harris, Bloom, Tamblyn, Wise, and screenwriter Nelson Gidding, photo galleries, trailers and an essay on great ghosts stories. - PB

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The Nightmare Before Christmas [Touchstone]

Tim Burton brings his delicious Edward Gorey-like visions to life in 1993's beautifully eerie stop-motion extravaganza, "The Nightmare Before Christmas." Written by Burton, directed by Henry Selick ("James and the Giant Peach"), and scored delightfully by Burton collaborator Danny Elfman, the dark and mischievous citizens of Halloween Town are presented in all of their troublesome glory. The grand pooh-bah of this little town, Jack Skellington, has concluded yet another successful Halloween, and dreadfully counts down the 365 days until next year's festivities. In his quest to find another distraction, he stumbles upon Christmas Town, where everything is soft and selfless -- quite the foil to his hometown. Despite his attempt to cheer up All Hallow's Eve with a little Christmas eggnog, his wicked little denizens choose to spike the punch, with disastrous results on Christmas morning. The DVD stocking is overflowing for all the good little Burton fans, including his early films "Vincent" and "Frankenweenie," a making-of feature, storyboard comparisons, and commentary by the director and cinematographer. The image is 1.66:1 widescreen with Dolby Digital Surround sound. - DN

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Night of the Bloody Apes & Feast of Flesh [Image]

A double-feature that you should not watch alone! Not because you will be frightened, but because it is more fun to yell at this absurdity with friends. In the 1968 Mexican (English dubbed) "Night of the Bloody Apes," a doctor is so overcome with grief for his dying son that he is willing to go to extremes to save his life. With his hunchbacked assistant in tow, the doctor kidnaps an ape from the zoo for his son's heart transplant. He should have known his son would not only take on the face of a wild beast but begin to act like one, as he rapes and pillages the surrounding city. Lots of ripped flesh, torn dresses, and women's masked wrestling. The second feature is the 1967 Argentine (also English dubbed) "Feast of Flesh," surrounding the mysterious murders of a beach town's young women. With so many male suspects, it is hard to know which one to pick when the eerie music calls to the heroin-addicted women. The police could not be any more incompetent, as seen when they draw one victim to her death while using her as a Guinea pig to catch the killer, and when an officer offers to playfully spank another victim right after she has escaped from an attempted rape. The characters are so blasé about the murders, that it is not a surprise when a couple begins go-go dancing immediately after informing the authorities about their discovery of a dead body. Both movies have quirkily hysterical moments, leaving the viewer wondering why bad B-movie drive-ins ever dissolved. Extras include trailers for both movies and for other similar high-brow double-features, and outtakes from "Night of the Bloody Apes." Also included are early strip tease shorts, an old women's wrestling contest, The White Gorilla safari short, and a music video of old horror comic book covers. The original -- and delicious -- Spanish title is "La Horripilante Bestia Humana & Placer Sangriento." - DN

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House Of Wax [Warner]

As sculptor Henry Jarrod, Vincent Price creeps along the borderline between Shakespearean tragedy and penny-dreadful ham in Andre de Toth's 3-D 1953 thriller. As an obsessive creator of waxworks, Price suffers from brain meltdown as his wax figures have paraffin meltdown when his wax museum goes up in flames. Just like any crazed psychotic artist, Price rebuilds from the ruins and seeks artistic perfection by creating new wax sculptures that can't help be perfect since Price now takes the easy way to verisimilitude by dipping dead corpses into molten wax for display. What more can you expect from an employer who hires an assistant named Igor who looks just like Charles Bronson? It includes the premiere newsreel and theatrical trailer, and it's presented in full screen with stereo sound. - PB

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Of Unknown Origin [Warner]

Peter Weller stars as a Yuppie banker on the rise who is driven low by a maniacally destructive rat in George P. Cosmatos's horror film version of Mouse Hunt. When Weller has to stay behind during a family vacation in his recently renovated townhouse, he finds his home being victimized by a Super Rat and he strikes back with all he's got in a battle of the witless. Even if Chuck Jones animated Rambo he could never have imagined this. The film -- along with Weller's town home -- may be a shambles but it's the perfect Halloween horror for an obsessive-compulsive viewer of the Home and Garden Channel. It includes an audio commentary by Weller and Cosmatos, filmographies, and the theatrical trailer; the image is 1.85:1 anamorphic widescreen and the sound is monaural. - PB

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Dawn Of The Dead [Anchor Bay]

George Romero made the classic "Night of the Living Dead" back in 1968. Its nightmarish imagery and unrelenting terror returned eleven years later with this film, the second part of his "Dead" trilogy. "Dawn of the Dead" continues the premise postulated in "Night of the Living Dead" -- hungry corpses rise to stalk and eat the living. The world is thrown into absolute chaos, but this time four people get hold of a helicopter and try to survive in the remnants of a crumbling consumer society, symbolized by an ultra-modern shopping mall under siege by the attacking armies of the dead. With "Dawn of the Dead," Romero not only delivered an acid satire of literal consumerism but also anticipated senior citizen bus trips to Atlantic City. The only extra feature is the trailer. Presented in 1.66:1 and monaural sound. - PB

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Wait Until Dark [Warner]

In Terence Young's film adaptation of the hit Broadway suspensor by Frederick Knott, Audrey Hepburn has, perhaps, her finest role as a blind New York housewife victimized by a trio of killers who are after a stash of heroin hidden by her husband. The three sleek terrorists -- Richard Crenna, Jack Weston, and Alan Arkin -- torment Hepburn like a grim and murderous version of the stooges from "Charade," only this time there is no Cary Grant. Young tightens the screws like a muscleman mechanic and by the end of the film you are left gasping for air. Includes the featurette "Take A Look In the Dark," where Arkin and producer Mel Ferrer reminiscence on the making of the film, an essay on the stage-to-screen evolution and trailers. The image is 1.85:1 anamorphic widescreen and the sound is monaural. - PB

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Bride Of Frankenstein [Universal]

James Whale's classic horror film is more of a character study of the monster than a shock fest. Nevertheless, it is still one of the best horror films of all time, easily surpassing the original "Frankenstein" for its gothic presentation and humanistic approach. Whale unknowingly provided much of the material for Mel Brooks's parody "Young Frankenstein" -- the monster's poignant visit with the blind man, his disappointing union with companion monster Elsa Lanchester. Plus nobody can deliver a line like "We belong dead" quite like Karloff. The image is full screen and the sound is monaural. Extras included are the documentary "'She's Alive!' Creating the Bride of Frankenstein" and an audio commentary with film historian Scott MacQueen. - PB

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The Fury [Fox]

Despite Kirk Douglas moaning into a pay phone, "I want your body, baby" "The Fury" (after "Sisters" and "Carrie") is the true flowering of Brian De Palma's directorial abilities. Working with John Farris's script, De Palma overcomes his pre-"The Fury" cuteness and creates a solid hallucination replete with masterfully choreographed, visually innovative and totally bewildering violence. De Palma's vision of one man's apocalypse, borrowed from "Zabriskie Point," supplies the final-audience grabber in their hyperenergized experience in terror and suspense. The image is 1.85:1 anamorphic widescreen and the sound is Dolby Digital Surround. The only extra features are a trailer and a stills gallery. - PB

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The Thing (From Another World) [Warner]

When a strange object falls out of the sky and crashes into the subzero expanse of the North Pole a group of scientists travel to the crash site to investigate. To find the size of the object embedded in the ice, they join hands and walk slowly forward until they form a perfect circle. The circle is a symbol of unity and the strength of the group working together. So who else but Howard Hawks would be the mastermind behind something like this? Hawks worked in practically every film genre in existence but never science fiction until this 1951 release. As typical of Hawks, every frame reeks professionalism and integrity and he abandons special effects gimmicks to concentrate on how a tight knit group reacts to extraordinary circumstances within the confines of an enclosed space. This may not be "Only Angels Have Wings" or "Rio Bravo" but the cold and unsparing wasteland of ice may be the ultimate test of Hawksian cohesion. The image is full screen, the sound is monaural and the trailer is included. - PB

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Excorcist II: The Heretic [Warner]

One of the most thoroughly reviled films of the past thirty years, "Exorcist II: The Heretic" plays around with some very sophisticated ideas about metaphysics, making Regan, as Martin Scorsese puts it, "almost a modern day saint." Unfortunately, in some respects, the philosophy, razor sharp cinematography, and special effects are marred by possibly the most ludicrous script in film history. Yes, Kokumo can help you find Pazuzu, as Richard Burton would have you believe. Next to "Annie Hall," it's the funniest film of 1977, whether intentionally or not. The image is 1.85:1 anamorphic widescreen and the sound is monaural. Extras include an alternate opening sequence and trailer. - PB

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The Omega Man [Warner]

In the early 1970s, granite-mouthed Charlton Heston made a cross-country tour of blighted American cities of the future in a trio of science fiction movies. In "The Omega Man," Heston's most laughable sc-fi romp, he plays one of the remaining survivors of a post-apocalypse Los Angeles, who mans a machine gun to fend off hordes of marauding mutant vampires. Anthony Zerbe is the head mutant and he hasn't changed much from "The Omega Man" to "The Matrix: Reloaded." What has changed is the length of time audiences are compelled to sit through pretentious science fiction bushwa like this. "The Omega Man" is only 98 minutes; "The Matrix" Reloaded" goes on for years. For Los Angeles haters, the film does offer a pleasant view of a barren and ruined downtown LA -- if that's your idea of a good time. The image is 1.85:1 anamorphic widescreen and the sound is monaural. The DVD includes an introduction screenwriter Joyce H. Corrington and actors Eric Laneuville and Paul Koslo, the documentary "The Last Man Alive -- The Omega Man," the text essay "Charlton Heston -- Science Fiction Legend" (essentially a filmography and short bio) and the film's trailer. - PB

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Soylent Green [Warner]

The scene is New York City where humidity drives the residents out of their homes and into the streets to mingle with the homeless. Food prices have soared to such a level that most of the population cannot afford real food and have to sustain themselves on manufactured synthetics. No, this is not a depiction of the Blackout of 2003. It does take place in the 21st century, however, in Richard Fleischer's lugubrious "Soylent Green." Charlton Heston, in his most lock-jawed performance until "Bowling for Columbine" is a cop who investigates the murder of Joseph Cotton, an executive at a manufactured food conglomerate called Soylent. When he persists in his investigation he uncovers an unspeakable horror. Oh, what the Hell, I'll speak it: "Soylent Green is people!" And pray for the spirit of Edward G. Robinson, who makes his final film appearance in "Soylent Green." Robinson is so good that his acting chops digests the other actors in the film like an E-Z-Swallow Soylent wafer. The image is 1.85:1 anamorphic widescreen and the sound is monaural. Extras include an audio commentary track by director Fleischer and actress Leigh Taylor-Young, the documentary "A Look At the World of Soylent Green," an MGM tribute to Edward G. Robinson's 101st film, the text essay "Charlton Heston -- Science Fiction Legend," and the trailer. - PB

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The Texas Chainsaw Massacre [Pioneer]

When a man has a chainsaw and a mask of skin to quote Arthur Miller, "Attention must be paid." In this cult film of cult films audiences are bludgeoned into shock by the savagery, grittiness, and hilarity of Tobe Hooper's classic. A favorite theme of B-movie violence -- vacationing teenagers -- accidentally trespasses on the land of the most dysfunctional family imaginable. With a family that feeds Grandpa drops of blood and lets their precocious 6' 4" boy Leatherface carve up interlopers with his toy chainsaw this is definitely not "The Cosby Show." An extremely vicious and raw film with a sneaky intelligence. And watch for the Chainsaw Dance -- it give Chaplin's Globe Ballet from "The Great Dictator" a run for it's money. The image is 1.85:1 widescreen and the sound is Dolby Digital Surround. This Special Edition extras include commentary by director Hooper, director of photography Daniel Pearl, and star Gunnar Hansen, deleted and alternate scenes, a blooper reel, trailers and a still gallery. - PB

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Invasion Of The Body Snatchers (1978 Version) [MGM]

Sure Don Siegel's original 1950s version of "Invasion of the Body Snatchers" is a great film, but the 1979 remake is no slouch. Phillip Kaufman's noirish update portrays a nightmare parable of American society in the 1970s; along with "Dawn of the Dead" it is probably the most potent satire of our culture. Kaufman's film takes its theme from the original novel, probing where the earlier film only touched. San Francisco Health Inspector Donald Sutherland becomes suspicious when Brooke Adams tells him that her lover isn't her lover. Jeff Goldblum and Veronica Cartwright join the quartet of resistors, with Leonard Nimoy giving an absolutely chilling performance as a Californian self-help guru. Entertaining, eccentric, paranoiac, and moody, see it with someone you think you trust. The image is 1.85:1 widescreen and the sound is Dolby Digital Surround. Extras include an audio commentary by director Kaufman the retrospective "Pod Culture," trivia and trailer. - PB

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The Tingler [Columbia]

Back in 1979, director William Castle had movie theater seats wired so that he might "tingle" the patrons at appropriate moments. But even without the electrical stimulation, "The Tingler" can be savored as a true testament to Castle's grace and elegance. Scientist Vincent Price wants to isolate the "tingler," a lobster-like creature within our bodies that is dissipated when we scream in terror. But if you are deaf-mute who can't scream, you die and the tingler survives. So scream like hell and keep checking the floor by your DVD player, so the tingler won't waggle away and kill your friends and neighbors. The image is 1.85:1 anamorphic widescreen and the sound is monaural. Extras include a William Castle drive-in scene, filmographies, trailers and the featurette "Scream for Your Lives!" - PB

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The House On Haunted Hill [Warner]

Forget Geoffrey Rush and go back to the source, the 1958 original directed by the self-proclaimed King of Horror, Mr. William Castle. In this cookie full of arsenic, Vincent Price is the ghoulish proprietor of a large mansion filled with ghosts. And the old dark house clichés will keep you shocked, shlocked, and amused. Elisha Cook Jr., everyone's favorite paranoiac, is on hand to deliver the film's final lines, perhaps the best lines ever o close a horror film. So get out your notebook, put on your adult diaper, load up the DVD player and let the good times roll. The image offers a choice of 1.85:1 anamorphic widescreen and full screen; the sound is monaural. The trailer is included. - PB

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Halloween [Anchor Bay]

You'll never forget the night he came. Director John Carpenter's horror classic and grand pappy of countless sequels almost unrelieved assaults its viewers with threats of horrible things to come -- and then delivers them. Carpenter's finely crafted psycho-suspense thriller owes much to both Hawks and Hitchcock, not so much as homage, but as a contemporary continuation of theme and style. The image for the standard edition is 2.35:1 widescreen, the sound is monaural and the trailer is included. The "Halloween: 25th Anniversary" 2-Disc Set features Dolby Digital 5.1 sound and a slew of extras, including a commentary track with director Carpenter, star Jamie Lee Curtis and producer Debra Hill, as well as a short feturette, a documentary, trailers, a still gallery and DVD-ROM features. The color palette in this version is distinctly different, less bluish and more natural than other older versions, but has made many longtime fans upset. - PB

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Sisters [Criterion]

A man is brutally slashed to death by his frenzied lover; a reporter sees he murder from her across-the-court apartment. But when she brings the police to the scene of the crime, nothing! No body, no blood, Zippo. Brian De Palma's first major effort takes some of the best elements from "Rear Window," "Psycho," and "The Trouble With Harry," and creates its own unnerving and perversely funny tribute to suspense master Hitchcock. Margot Kidder plays a separated Siamese twin whose sister torments her by murdering her lovers -- or does she? Jennifer Salt is on hand as the Nancy Drew-ish reporter trying to prove the seemingly non-existent murder. Watch for the crazed, Polanski-like finale in the insane asylum. The image is 1.85:1 widescreen, the sound is monaural. The image is 1.85:1 widescreen and the sound is monaural. The many extras include director De Palma's 1973 Village Voice essay "Murder by Moog: Scoring the Chill" -- on Working with Composer Bernard Herrmann -- a 1973 interview with De Palma on the making of the film, the 1966 Life magazine piece that inspired De Palma, excerpts from the original press book, behind-the-scenes stills, etc. - PB

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