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ScaryTales on Vaughn Live - Live Streaming

<center><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border= "0" class="aboutImage"><img src= "//s3.vaughnsoft.net/imgur/zL2r23T.png" border="0" class= "aboutImage"><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border="0" class="aboutImage"> For a lot more CLASSIC HORROR from the Silent Era thru the 1960's go to Creepy Classics click> <a href= "https://vaughn.live/creepyclassics" target="_blank" class= "indexTxtLink" rel= "”noopener">https://vaughn.live/creepyclassics</a> For Documentaries, Biographies, Docudramas, Specials, Tributes, Spotlights and other Horror & Sci-Fi related Films go to Horror 101 click> <a href="https://vaughn.live/horror101" target= "_blank" class="indexTxtLink" rel= "”noopener">https://vaughn.live/horror101</a> For ALL other related Horror (ex. Monsters, Kaiju, Godzilla, etc.) go to Monster Fest click> <a href= "https://vaughn.live/monsterfest" target="_blank" class= "indexTxtLink" rel= "”noopener">https://vaughn.live/monsterfest</a></center> _____________ <img src="//s3.vaughnsoft.net/imgur/oISbK1h.jpg?3" border="0" class="aboutImage"> Here are all the Universal Horror, Sci-Fi movies from the classic era: (All playing in similar order listed here, chronologically in 2 Groups "The Universal Horrors" then "The Universal Monsters" below) The Hunchback of Notre Dame (1923 Silent) with Lon Chaney, Patsy Ruth Miller, Norman Kerry, Kate Lester The Phantom of the Opera (1925 Silent) with Lon Chaney, Mary Philbin The Cat and the Canary (1927 Silent) with Laura LaPlante The Man Who Laughs (1928 Silent) with Mary Philbin, Conrad Veidt The Last Warning (1929 Silent) with Laura LaPlante The Last Performance (1929 Silent) with Conrad Veidt, Mary Philbin Murders in the Rue Morgue (1932) with Béla Lugosi The Old Dark House (1932) with Boris Karloff The Black Cat (1934) with Boris Karloff, Béla Lugosi The Raven (1935) with Boris Karloff, Béla Lugosi The Mystery of Edwin Drood (1935) with Claude Rains The Invisible Ray (1936) with Boris Karloff, Béla Lugosi Night Key (1937) with Boris Karloff The Phantom Creeps (1939) with Béla Lugosi Tower of London (1939) with Boris Karloff Black Friday (1940) with Boris Karloff, Béla Lugosi Man Made Monster (1941) with Lon Chaney, Jr. The Mad Doctor of Market Street (1941) with Lionel Atwill The Black Cat (1941) with Basil Rathbone, Béla Lugosi Horror Island (1941) with Dick Foran, Peggy Moran Night Monster (1942) with Béla Lugosi Phantom of the Opera (1943) with Claude Rains, Susanna Foster, Nelson Eddy Captive Wild Woman (1943) with Evelyn Ankers The Mad Ghoul (1943) with Evelyn Ankers Calling Dr. Death (1943) with Lon Chaney, Jr. Weird Woman (1944) with Lon Chaney, Jr., Evelyn Ankers Dead Man’s Eyes (1944) with Lon Chaney, Jr. The Climax (1944) with Boris Karloff Jungle Woman (1944) with Evelyn Ankers The Jungle Captive (1945) with Rondo Hatton The Frozen Ghost (1945) with Lon Chaney, Jr. and Evelyn Ankers Strange Confession (1945) with Lon Chaney, Jr. Pillow of Death (1945) with Lon Chaney, Jr. House of Horrors (1946) with Rondo Hatton The Brute Man (1946) with Rondo Hatton The Strange Door (1951) with Charles Laughton and Boris Karloff The Black Castle (1952) with Boris Karloff It Came From Outer Space (1953) Cult of the Cobra (1955) with Faith Domergue This Island Earth (1955) with Faith Domergue Tarantula (1955) The Mole People (1956) The Incredible Shrinking Man (1957) with Craig Stevens The Deadly Mantis (1957) The Land Unknown (1957) with Jock Mahoney and Shirley Patterson The Monolith Monsters (1957) The Thing That Couldn’t Die (1958) Monster on the Campus (1958) Curse of the Undead (1959) with Eric Fleming The Leech Woman (1960) with Coleen Gray Here are all the Universal Monsters movies from the classic era: Dracula (1931) with Béla Lugosi, Helen Chandler, David Manners, Dwight Frye Dracula (Spanish Version) (1931) with Carlos Villarías, Lupita Tovar, Barry Norton, Pablo Álvarez Rubio Frankenstein (1931) with Boris Karloff, Colin Clive, Mae Clarke, John Boles The Mummy (1932) with Boris Karloff, Zita Johann, David Manners, Arthur Byron The Invisible Man (1933) with Claude Rains, Gloria Stuart, William Harrigan, Henry Travers The Black Cat (1934) with Boris Karloff, Béla Lugosi Werewolf of London (1935) with Henry Hull, Warner Oland, Valerie Hobson Bride of Frankenstein (1935) with Boris Karloff, Elsa Lanchester, Colin Clive, Valerie Hobson Dracula’s Daughter (1936) with Gloria Holden Son of Frankenstein (1939) with Boris Karloff, Béla Lugosi, Basil Rathbone Lionel Atwill The Invisible Man Returns (1940) with Vincent Price, Cedric Hardwicke, Nan Grey, John Sutton The Invisible Woman (1940) with Virginia Bruce, John Barrymore, John Howard The Mummy’s Hand (1940) with Tom Tyler, Dick Foran, Wallace Ford, Cecil Kellaway, Peggy Moran The Wolf Man (1941) with Lon Chaney, Jr., Evelyn Ankers, Maria Ouspenskaya, Béla Lugosi, Claude Rains, Ralph Bellamy, Patric Knowles The Ghost of Frankenstein (1942) with Lon Chaney, Jr., Béla Lugosi, Evelyn Ankers, Cedric Hardwicke, Ralph Bellamy, Lionel Atwill Invisible Agent (1942) with Peter Lorre The Mummy’s Tomb (1942) with Lon Chaney, Jr. Frankenstein Meets the Wolf Man (1943) with Lon Chaney, Jr., Béla Lugosi Son of Dracula (1943) with Lon Chaney, Jr, Evelyn Ankers House of Frankenstein (1944) with Boris Karloff, Lon Chaney Jr., J. Carrol Naish, John Carradine, Anne Gwynne, Lionel Atwill, George Zucco, Elena Verdugo The Invisible Man’s Revenge (1944) with Evelyn Ankers The Mummy’s Ghost (1944) with Lon Chaney, Jr., John Carradine, Ramsay Ames, George Zucco The Mummy’s Curse (1944) with Lon Chaney, Jr., Virginia Christine House of Dracula (1945) with Lon Chaney, Jr., Martha O'Driscoll, John Carradine She-Wolf of London (1946) with June Lockhart Abbott and Costello Meet Frankenstein (1948) with Lon Chaney, Jr., Béla Lugosi, Bud Abbott, Lou Costello, Lenore Aubert, Jane Randolph Abbott and Costello Meet the Killer, Boris Karloff (1949) with Bud Abbott, Lou Costello, Boris Karloff Abbott and Costello Meet the Invisible Man (1951) Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953) with Boris Karloff Creature from the Black Lagoon (1954) with Julie Adams, Richard Carlson, Richard Denning Revenge of the Creature (1955) with Lori Nelson, John Agar, John Bromfield Abbott and Costello Meet the Mummy (1955) The Creature Walks Among Us (1956) with Jeff Morrow, Rex Reason, Leigh Snowden, Gregg Palmer Following the movies above are 6-18 Documentaries to begin here... ENJOY THEM! <center> <img src="//s3.vaughnsoft.net/imgur/oISbK1h.jpg?3" border="0" class="aboutImage"></center> TBA: CONJURING UNIVERSE vs. INSIDIOUS 1-4 Timeline The Nun (1952) Annabelle: Creation (1955) The Nun II (1956) Annabelle (1967) The Conjuring (1971) Annabelle Comes Home (1972) The Curse of La Llorona (1973) The Conjuring 2 (1977) The Conjuring: The Devil Made Me Do It (1981) INSIDIOUS Chronological Order Insidious: Chapter 3 (2015) Insidious: The Last Key (2018) Insidious: (2011) Insidious: Chapter 2 (2013) Insidious: The Red Door (2023) enjoy these Universes TBA STREAMING SOON: ALIEN VS. PREDATOR Vs. BLADE RUNNER UNIVERSE Alien / Predator / Blade Runner Shared Universe (in order of timeline w/ IMDB Ratings) 01. Prey (2022) 7.1 02. Predator (1987) 7.8 03. Predator 2 (1990) 6.3 04. Alien vs. Predator (2004) 5.6 05. AvP: Requiem (2007) 4.6 06. The Predator (2018) 5.3 07. Predators (2010) 6.4 08. Blade Runner (1982) 8.1 09. Soldier (1998) 6.1 10. Event Horizon (1997) 6.6 11. Blade Runner 2049 (2017) 7.9 12. Prometheus (2012) 7.0 13. Alien: Covenant (2017) 6.4 14. Alien (1979) 8.5 15. Aliens (1986) 8.4 16. Alien³ (1992) 6.4 17. Alien: Resurrection (1997) 6.2 THE END? TY Welcome to Our Tales of Fear, Horror, Thrillers, Suspense, Mysteries, Slashers, Monsters, Sci-Fi, Low Budgets, Humor, Action and more! rolling back to Randomly playing the 1930-2022 enjoy this stream for today. <center><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border= "0" class="aboutImage"></center> <h1>SCARY TALES</h1> Streams ALL PAST to PRESENT (mainly 1930-2023): Tales of Horror, Thrillers, Suspense, Slashers, Mysteries, Sci-Fi, Found Footage, TV Series, Low Budget, Horror Humor, Documentaries & Many Others! We're not 24/7 Scary Tales streams only when we can and when in the mood (mostly weekend's and holiday's) also time to time we will go 4,5,6, 7 Days or more non-stop streams that is seldom though just Follow Us to know when we're streaming here or @ CreepyClassics. So be very Patient & Polite to Us & Others while viewing the Tales of Fear! or you may get banned after courtesy Warning. Thank You and Enjoy the Tales of FEAR! <center><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border= "0" class="aboutImage"></center> <h1>HORROR HISTORY:</h1> Horror: Is one of the most enduring and controversial of all cinematic genres. HORROR films range from subtle and poetic to graphic and gory, but what links them together is their ability to frighten, disturb, shock, provoke, delight, irritate, and amuse audiences. HORROR'S capacity to take the form of our evolving fears and anxieties has ensured not only its notoriety but also its long-term survival and international popularity. All that is important and exciting about the HORROR genre TODAY! <center><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border= "0" class="aboutImage"></center> The First Horror Movie: What Was It? Over the course of a century, film horror has gone through many peaks and troughs, leading us into the somewhat contentious period we find ourselves in today. The history of horror as a film genre begins with—as with many things in cinema history—the works of George Mellies. Just a few years after the first filmmakers emerged in the mid-1890s, Mellies created “Le Manoir du Diable,” sometimes known in English as “The Haunted Castle” or “The House of the Devil,” in 1898, and it is widely believed to be the first horror movie. The three-minute film is complete with cauldrons, animated skeletons, ghosts, transforming bats, and, ultimately, an incarnation of the Devil. While not intended to be scary—more wondrous, as was Mellies’ MO—it was the first example of a film (only just rediscovered in 1977) to include the supernatural and set a precedent for what was to come. Where the genre will go over the next hundred years is anyone’s guess, but sometimes it’s good to look back on the long road we’ve traveled to get to this point. <center><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border= "0" class="aboutImage"></center> The Literary Years After the first horror movie, sometime between 1900 and 1920, an influx of supernatural-themed films followed. Many filmmakers—most of whom still trying to find their feet with the new genre—turn to literature classics as source material. The first adaptation of Frankenstein was released by Edison Studios in these early days, as well as Dr. Jekyll and Mr. Hyde and The Werewolf (now both lost to the fog of time.) Things were starting to roll at this point as we moved into… <center><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border= "0" class="aboutImage"><img src= "//s3.vaughnsoft.net/imgur/CqDRhjk.png?1" border="0" class= "aboutImage"></center> ...The Golden Age of Horror Widely considered to be the finest era of the genre, the two decades between the 1920s and 1930s saw many classics being produced and can be neatly divided down the middle to create a separation between the silent classics and the talkies. On the silent side of the line, you’ve got monumental titles such as The Cabinet of Dr. Caligari (1920) and Nosferatu (1922), the first movies to really make an attempt to unsettle their audience. The latter title is one of Rotten Tomatoes’ best horror movies of all time and cements just about every surviving vampire cliché in the book. Once the silent era gave way to the technological process, we had a glut of incredible movies that paved the way for generations to come, particularly in the field of monster movies – think the second iteration of Frankenstein (1931), The Mummy (1932) and the first color adaptation of Dr. Jekyll and Mr. Hyde (1931). The 1930s also marked the first time that the word “horror” was used to describe the genre—previously, it was really just romance melodrama with a dark element—and it also saw the first horror “stars” being born. Bella Lugosi (of Dracula fame) was arguably the first to specialize solely in the genre. And as well as unnerving its viewers, the genre was starting to worry the general public at this point, with heavy censoring and public outcry becoming common with each release. Freaks (1932) is a good example of a movie that was so shocking at the time it got cut extensively, with the original version now nowhere to be found. Director Tod Browning—who had previously created the aforementioned and wildly successful Dracula—saw his career flounder at the hands of the controversy. The shock value of Freaks is one of the few that has aged well up until the present day and is still a highly disturbing watch. <center><img src="//s3.vaughnsoft.net/imgur/uXUxSE8.gif" border="0" class="aboutImage"><img src= "//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border="0" class= "aboutImage"></center> The Atomic Years Freaks 1933 was banned for thirty years in the country that really came into its own during this period: Great Britain. The Hammer Horror Company, while founded in 1934, only started to turn prolific during the fifties, but when it did, it was near global dominance (thanks to a lucrative distribution deal with Warner and a few other U.S. studios). Once again, it was adaptations like Frankenstein, Dracula, and The Mummy that put the company squarely on the map, followed up by a slew of psychological thrillers and TV shows. And, of course, you can’t mention British horror without paying respects to Alfred Hitchck, singlehandedly responsible for establishing the slasher genre, which we’ll see a lot of as we travel further forward in time. Another hallmark of the 1940s-1950s era of horror came as a product of the times. With war ravaging Europe and fears of nuclear fallout running rampant, it’s of little surprise that horror began to feature antagonists that were less supernatural in nature—radioactive mutation became a common theme (The Incredible Shrinking Man, Godzilla), as did the fear of invasion with The War of the Worlds and When Worlds Collide, both big hits in 1953. The latter marked the earliest rumblings of the “Disaster” movie genre, but it would be a couple more decades before that would get into full swing. <center><img src="//s3.vaughnsoft.net/imgur/NKlYGrs.jpg" border="0" class="aboutImage"><img src= "//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border="0" class= "aboutImage"></center> The Gimmicky Years 3D glasses? Electric buzzers installed into theatre seats? Paid stooges in the audience screaming and pretending to faint? Everything and anything was tried during the 50s and 60s in an attempt to further scare cinema audiences. This penchant for interactivity spilled over into other genres during the period but quickly died down in part due to the massive amount of expense involved. For horror, in particular, this gave way to the opposite end of the spectrum: incredibly low-budget productions. From the late 1960s onwards, so insatiable was the American appetite for gore that slasher films produced for well under $1 million took hold and were churned out by volume. That’s not to say that there weren’t some masterpieces produced during this time, though; George A. Romero emerged triumphant and kickstarted zombie movies in this period, having produced Night of the Living Dead in 1968 with just over $100k. It went on to gross $30 million, and the living dead rose in its wake. <center><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border= "0" class="aboutImage"><img src= "//s3.vaughnsoft.net/imgur/rKXnwqr.png?1" border="0" class= "aboutImage"></center> All Hell Breaks Loose Occult was the flavor of the day between the 70s and 80s, particularly when it came to houses and kids being possessed by the Devil. The reason for this cultural obsession with religious evil during this period could fill an entire article on its own, but bringing it back into the cinema realm, we can boil the trend down to two horror milestones: The Exorcist (1973) and The Omen (1976). Supernatural horror was now very much back in vogue, and harking back to its cinematic origins, literature once again became the source material. This time, however, it wasn’t a Victorian author whose work had fallen out of copyright but a gentleman named Stephen King. Carrie (1976) stormed the gates, and The Shining (1980) finished the siege (with 1982’s supernatural fright fest Poltergeist following soon afterward). With these hallmarks in the history of horror now firmly established, the foundations were laid for… <center><img src="//s3.vaughnsoft.net/imgur/rKXnwqr.png?1" border= "0" class="aboutImage"><img src= "//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border="0" class= "aboutImage"><img src="//s3.vaughnsoft.net/imgur/rh9bNx3.gif" border="0" class="aboutImage"></center> ...The First Horror Movie Slashers If there’s one trope that typifies the 80s, it’s the slasher format – a relentless antagonist hunting down and killing a bunch of kids in ever-increasing inventive ways, one by one. Arguably kicked off by The Texas Chain Saw Massacre in 1974, the output became prolific over the next decade. For every ten generic slashers, however, there was one flick that would end up becoming a cult classic even if critical success was mixed at the time—Halloween, Friday the 13th, and A Nightmare on Elm Street are the most prominent examples, which became so successful that they spawned their own long-running franchises (the first time in the history of the genre that multiple sequels became commonplace.) Plenty of imitators and rip-offs followed, too, particularly in the Holiday-themed department. Some were a lot better than others as the genre descended to its most kitschy. Similar to the first horror movie, these films were not intended to scare but to entertain. <center><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border= "0" class="aboutImage"><img src= "//s3.vaughnsoft.net/imgur/CGK9zC7.jpg" border="0" class= "aboutImage"></center> The Doldrums Suffering from exhaustion in the wake of a thousand formulaic slasher movies and their sequels, the genre lost steam as it moved into the 90s. The advent of computer-generated special effects brought with it a number of lackluster CGI monster titles that did little to revive the genre, such as Anaconda (1997) and Deep Rising (1998). But it was a comedy that ended up saving the day. Peter Jackson’s early foray into filmmaking saw him taking the splatter subgenre to ridiculous extremes with Braindead (1992), and Wes Craven’s slasher parody Scream (1996) was met globally with overwhelming success. The genre as a whole limped on without much fanfare into the 2000s save for a few box office successes. The zombie subgenre, however, sprang back into un-life during this decade, arguably spurred on by the unprecedented success of Max Brook’s novel World War Z (later becoming a film in its own right.) The video game adaptation of Resident Evil (2002) was among the first of the new wave, followed swiftly by 28 Days Later a few months later, Dawn of the Dead (2004), Land of the Dead (2005), I Am Legend (2007) and Zombieland (2009.) <center><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border= "0" class="aboutImage"></center> THE PRESENT DAY! The state of the horror industry is hotly contested. With the genre seemingly relying on churning out remakes, reboots, and endless sequels, many argue that it’s languishing in the doldrums once again with little originality to offer a modern audience. The resurgence of ‘torture porn’ is also derided as a subgenre, having come back into the fore in the wake of the 2000s Saw and Hostel franchises with no signs of slowing down. On the other hand, glimmers of hope shine through with examples of extreme originality and artistry. Cabin in the Woods (2012) has been heralded as this decade’s Scream, and the recent releases of The Babadook and A Girl Walks Home Alone at Night (both 2014) breathed new life into the genre. Jordan Peele, writer, producer, and actor, rose as the new king of horror with original films, including Get Out (2017), Us (2019), and Nope (2022), which top Rotten Tomatoes’ best horror movie list. While scary, the films are also smart and provide sociopolitical commentary, as Peele explained in an interview with Time Magazine. NYFA Alum Tracy Oliver is a co-writer of the 2022 film The Blackening, a movie that makes fun of horror clichés but also calls out racial stereotypes. Both films, similar to the first horror film and a variety of others in the history of horror, don’t have the main goal of scaring the audience. <center><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border= "0" class="aboutImage"></center> The Future of Horror Films With perhaps more subgenres than any other branch of fictional filmmaking, it’s difficult to see how anyone can expand or advance on anything that has come before in cinematic horror. However, there’s no doubt somebody will, and that motivated and imaginative film school students become the Alfred Hitchcks of tomorrow. The First Horror Movie & The History of the Horror Genre by Jeff @SCARY TALES 2022 <center><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border= "0" class="aboutImage"><img src= "//s3.vaughnsoft.net/imgur/RaamqAD.png" border="0" class= "aboutImage"><img src="//s3.vaughnsoft.net/imgur/K0wdlFf.png" border="0" class="aboutImage"> <img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border="0" class="aboutImage"> <img src="//s3.vaughnsoft.net/imgur/K5fpvfG.png" border="0" class= "aboutImage"><img src="//s3.vaughnsoft.net/imgur/Tovlhlq.png" border="0" class="aboutImage"><img src= "//s3.vaughnsoft.net/imgur/NvUznar.png" border="0" class= "aboutImage"><img src="//s3.vaughnsoft.net/imgur/v5sN3Z4.png" border="0" class="aboutImage"><img src= "//s3.vaughnsoft.net/imgur/wmeOvWw.png" border="0" class= "aboutImage"><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border="0" class="aboutImage"><img src= "//s3.vaughnsoft.net/imgur/XsrP8Ds.jpg?1" border="0" class= "aboutImage"><img src="//s3.vaughnsoft.net/imgur/BikvIpD.jpg?1" border="0" class="aboutImage"> <center>ScaryTales Creation: October 06, 2013 Copyrighted 2013-2024</center> </center>

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UNIVERSAL HORROR & MONSTERS CATALOG (80+ Titles)

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For a lot more CLASSIC HORROR from the Silent Era thru the 1960's
go to Creepy Classics click> https://vaughn.live/creepyclassics

For Documentaries, Biographies, Docudramas, Specials, Tributes, Spotlights and other Horror & Sci-Fi related Films go to Horror 101 click> https://vaughn.live/horror101

For ALL other related Horror (ex. Monsters, Kaiju, Godzilla, etc.)
go to Monster Fest click> https://vaughn.live/monsterfest
_______________________________________________________________________________

Here are all the Universal Horror, Sci-Fi movies from the classic era:

(All playing in similar order listed here, chronologically in 2 Groups "The Universal Horrors" then "The Universal Monsters" below)

The Hunchback of Notre Dame (1923 Silent) with Lon Chaney, Patsy Ruth Miller, Norman Kerry, Kate Lester

The Phantom of the Opera (1925 Silent) with Lon Chaney, Mary Philbin

The Cat and the Canary (1927 Silent) with Laura LaPlante

The Man Who Laughs (1928 Silent) with Mary Philbin, Conrad Veidt

The Last Warning (1929 Silent) with Laura LaPlante

The Last Performance (1929 Silent) with Conrad Veidt, Mary Philbin

Murders in the Rue Morgue (1932) with Béla Lugosi

The Old Dark House (1932) with Boris Karloff

The Black Cat (1934) with Boris Karloff, Béla Lugosi

The Raven (1935) with Boris Karloff, Béla Lugosi

The Mystery of Edwin Drood (1935) with Claude Rains

The Invisible Ray (1936) with Boris Karloff, Béla Lugosi

Night Key (1937) with Boris Karloff

The Phantom Creeps (1939) with Béla Lugosi

Tower of London (1939) with Boris Karloff

Black Friday (1940) with Boris Karloff, Béla Lugosi

Man Made Monster (1941) with Lon Chaney, Jr.

The Mad Doctor of Market Street (1941) with Lionel Atwill

The Black Cat (1941) with Basil Rathbone, Béla Lugosi

Horror Island (1941) with Dick Foran, Peggy Moran

Night Monster (1942) with Béla Lugosi

Phantom of the Opera (1943) with Claude Rains, Susanna Foster, Nelson Eddy

Captive Wild Woman (1943) with Evelyn Ankers

The Mad Ghoul (1943) with Evelyn Ankers

Calling Dr. Death (1943) with Lon Chaney, Jr.

Weird Woman (1944) with Lon Chaney, Jr., Evelyn Ankers

Dead Man’s Eyes (1944) with Lon Chaney, Jr.

The Climax (1944) with Boris Karloff

Jungle Woman (1944) with Evelyn Ankers

The Jungle Captive (1945) with Rondo Hatton

The Frozen Ghost (1945) with Lon Chaney, Jr. and Evelyn Ankers

Strange Confession (1945) with Lon Chaney, Jr.

Pillow of Death (1945) with Lon Chaney, Jr.

House of Horrors (1946) with Rondo Hatton

The Brute Man (1946) with Rondo Hatton

The Strange Door (1951) with Charles Laughton and Boris Karloff

The Black Castle (1952) with Boris Karloff

It Came From Outer Space (1953)

Cult of the Cobra (1955) with Faith Domergue

This Island Earth (1955) with Faith Domergue

Tarantula (1955)

The Mole People (1956)

The Incredible Shrinking Man (1957) with Craig Stevens

The Deadly Mantis (1957)

The Land Unknown (1957) with Jock Mahoney and Shirley Patterson

The Monolith Monsters (1957)

The Thing That Couldn’t Die (1958)

Monster on the Campus (1958)

Curse of the Undead (1959) with Eric Fleming

The Leech Woman (1960) with Coleen Gray

______________________________________________________________________________

Here are all the Universal Monsters movies from the classic era:

Dracula (1931) with Béla Lugosi, Helen Chandler, David Manners, Dwight Frye

Dracula (Spanish Version) (1931) with Carlos Villarías, Lupita Tovar, Barry Norton, Pablo Álvarez Rubio

Frankenstein (1931) with Boris Karloff, Colin Clive, Mae Clarke, John Boles

The Mummy (1932) with Boris Karloff, Zita Johann, David Manners, Arthur Byron

The Invisible Man (1933) with Claude Rains, Gloria Stuart, William Harrigan, Henry Travers

The Black Cat (1934) with Boris Karloff, Béla Lugosi

Werewolf of London (1935) with Henry Hull, Warner Oland, Valerie Hobson

Bride of Frankenstein (1935) with Boris Karloff, Elsa Lanchester, Colin Clive, Valerie Hobson

Dracula’s Daughter (1936) with Gloria Holden

Son of Frankenstein (1939) with Boris Karloff, Béla Lugosi, Basil Rathbone Lionel Atwill

The Invisible Man Returns (1940) with Vincent Price, Cedric Hardwicke, Nan Grey, John Sutton

The Invisible Woman (1940) with Virginia Bruce, John Barrymore, John Howard

The Mummy’s Hand (1940) with Tom Tyler, Dick Foran, Wallace Ford, Cecil Kellaway, Peggy Moran

The Wolf Man (1941) with Lon Chaney, Jr., Evelyn Ankers, Maria Ouspenskaya, Béla Lugosi, Claude Rains, Ralph Bellamy, Patric Knowles

The Ghost of Frankenstein (1942) with Lon Chaney, Jr., Béla Lugosi, Evelyn Ankers, Cedric Hardwicke, Ralph Bellamy, Lionel Atwill

Invisible Agent (1942) with Peter Lorre

The Mummy’s Tomb (1942) with Lon Chaney, Jr.

Frankenstein Meets the Wolf Man (1943) with Lon Chaney, Jr., Béla Lugosi

Son of Dracula (1943) with Lon Chaney, Jr, Evelyn Ankers

House of Frankenstein (1944) with Boris Karloff, Lon Chaney Jr., J. Carrol Naish, John Carradine, Anne Gwynne, Lionel Atwill, George Zucco, Elena Verdugo

The Invisible Man’s Revenge (1944) with Evelyn Ankers

The Mummy’s Ghost (1944) with Lon Chaney, Jr., John Carradine, Ramsay Ames, George Zucco

The Mummy’s Curse (1944) with Lon Chaney, Jr., Virginia Christine

House of Dracula (1945) with Lon Chaney, Jr., Martha O'Driscoll, John Carradine

She-Wolf of London (1946) with June Lockhart

Abbott and Costello Meet Frankenstein (1948) with Lon Chaney, Jr., Béla Lugosi, Bud Abbott, Lou Costello, Lenore Aubert, Jane Randolph

Abbott and Costello Meet the Killer, Boris Karloff (1949) with Bud Abbott, Lou Costello, Boris Karloff

Abbott and Costello Meet the Invisible Man (1951)

Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953) with Boris Karloff

Creature from the Black Lagoon (1954) with Julie Adams, Richard Carlson, Richard Denning

Revenge of the Creature (1955) with Lori Nelson, John Agar, John Bromfield

Abbott and Costello Meet the Mummy (1955)

The Creature Walks Among Us (1956) with Jeff Morrow, Rex Reason, Leigh Snowden, Gregg Palmer

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Following the movies above are 6-18 Documentaries to begin here... ENJOY THEM!

TBA: CONJURING UNIVERSE vs. INSIDIOUS 1-4 Timeline

The Nun (1952)
Annabelle: Creation (1955)
The Nun II (1956)
Annabelle (1967)
The Conjuring (1971)
Annabelle Comes Home (1972)
The Curse of La Llorona (1973)
The Conjuring 2 (1977)
The Conjuring: The Devil Made Me Do It (1981)

INSIDIOUS Chronological Order

Insidious: Chapter 3 (2015)
Insidious: The Last Key (2018)
Insidious: (2011)
Insidious: Chapter 2 (2013)
Insidious: The Red Door (2023)

enjoy these Universes
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TBA
STREAMING SOON: ALIEN VS. PREDATOR Vs. BLADE RUNNER UNIVERSE

Alien / Predator / Blade Runner Shared Universe
(in order of timeline w/ IMDB Ratings)

01. Prey (2022) 7.1
02. Predator (1987) 7.8
03. Predator 2 (1990) 6.3
04. Alien vs. Predator (2004) 5.6
05. AvP: Requiem (2007) 4.6
06. The Predator (2018) 5.3
07. Predators (2010) 6.4
08. Blade Runner (1982) 8.1
09. Soldier (1998) 6.1
10. Event Horizon (1997) 6.6
11. Blade Runner 2049 (2017) 7.9
12. Prometheus (2012) 7.0
13. Alien: Covenant (2017) 6.4
14. Alien (1979) 8.5
15. Aliens (1986) 8.4
16. Alien³ (1992) 6.4
17. Alien: Resurrection (1997) 6.2

THE END? TY

Welcome to Our Tales of Fear, Horror, Thrillers, Suspense, Mysteries, Slashers, Monsters, Sci-Fi, Low Budgets, Humor, Action and more! rolling back to Randomly playing the 1930-2022 enjoy this stream for today.

SCARY TALES

Streams ALL PAST to PRESENT (mainly 1930-2023): Tales of Horror, Thrillers, Suspense, Slashers, Mysteries, Sci-Fi, Found Footage, TV Series, Low Budget, Horror Humor, Documentaries & Many Others!

We're not 24/7 Scary Tales streams only when we can and when in the mood (mostly weekend's and holiday's) also time to time we will go 4,5,6, 7 Days or more non-stop streams that is seldom though just Follow Us to know when we're streaming here or @ CreepyClassics. So be very Patient & Polite to Us & Others while viewing the Tales of Fear! or you may get banned after courtesy Warning. Thank You and Enjoy the Tales of FEAR!

HORROR HISTORY:

Horror: Is one of the most enduring and controversial of all cinematic genres. HORROR films range from subtle and poetic to graphic and gory, but what links them together is their ability to frighten, disturb, shock, provoke, delight, irritate, and amuse audiences. HORROR'S capacity to take the form of our evolving fears and anxieties has ensured not only its notoriety but also its long-term survival and international popularity. All that is important and exciting about the HORROR genre TODAY!

The First Horror Movie: What Was It?

Over the course of a century, film horror has gone through many peaks and troughs, leading us into the somewhat contentious period we find ourselves in today. The history of horror as a film genre begins with—as with many things in cinema history—the works of George Mellies.

Just a few years after the first filmmakers emerged in the mid-1890s, Mellies created “Le Manoir du Diable,” sometimes known in English as “The Haunted Castle” or “The House of the Devil,” in 1898, and it is widely believed to be the first horror movie. The three-minute film is complete with cauldrons, animated skeletons, ghosts, transforming bats, and, ultimately, an incarnation of the Devil. While not intended to be scary—more wondrous, as was Mellies’ MO—it was the first example of a film (only just rediscovered in 1977) to include the supernatural and set a precedent for what was to come. Where the genre will go over the next hundred years is anyone’s guess, but sometimes it’s good to look back on the long road we’ve traveled to get to this point.

The Literary Years

After the first horror movie, sometime between 1900 and 1920, an influx of supernatural-themed films followed. Many filmmakers—most of whom still trying to find their feet with the new genre—turn to literature classics as source material. The first adaptation of Frankenstein was released by Edison Studios in these early days, as well as Dr. Jekyll and Mr. Hyde and The Werewolf (now both lost to the fog of time.) Things were starting to roll at this point as we moved into…

...The Golden Age of Horror

Widely considered to be the finest era of the genre, the two decades between the 1920s and 1930s saw many classics being produced and can be neatly divided down the middle to create a separation between the silent classics and the talkies.

On the silent side of the line, you’ve got monumental titles such as The Cabinet of Dr. Caligari (1920) and Nosferatu (1922), the first movies to really make an attempt to unsettle their audience. The latter title is one of Rotten Tomatoes’ best horror movies of all time and cements just about every surviving vampire cliché in the book.

Once the silent era gave way to the technological process, we had a glut of incredible movies that paved the way for generations to come, particularly in the field of monster movies – think the second iteration of Frankenstein (1931), The Mummy (1932) and the first color adaptation of Dr. Jekyll and Mr. Hyde (1931).

The 1930s also marked the first time that the word “horror” was used to describe the genre—previously, it was really just romance melodrama with a dark element—and it also saw the first horror “stars” being born. Bella Lugosi (of Dracula fame) was arguably the first to specialize solely in the genre.

And as well as unnerving its viewers, the genre was starting to worry the general public at this point, with heavy censoring and public outcry becoming common with each release. Freaks (1932) is a good example of a movie that was so shocking at the time it got cut extensively, with the original version now nowhere to be found. Director Tod Browning—who had previously created the aforementioned and wildly successful Dracula—saw his career flounder at the hands of the controversy.

The shock value of Freaks is one of the few that has aged well up until the present day and is still a highly disturbing watch.

The Atomic Years

Freaks 1933 was banned for thirty years in the country that really came into its own during this period: Great Britain.

The Hammer Horror Company, while founded in 1934, only started to turn prolific during the fifties, but when it did, it was near global dominance (thanks to a lucrative distribution deal with Warner and a few other U.S. studios). Once again, it was adaptations like Frankenstein, Dracula, and The Mummy that put the company squarely on the map, followed up by a slew of psychological thrillers and TV shows.

And, of course, you can’t mention British horror without paying respects to Alfred Hitchc**k, singlehandedly responsible for establishing the slasher genre, which we’ll see a lot of as we travel further forward in time.

Another hallmark of the 1940s-1950s era of horror came as a product of the times. With war ravaging Europe and fears of nuclear fallout running rampant, it’s of little surprise that horror began to feature antagonists that were less supernatural in nature—radioactive mutation became a common theme (The Incredible Shrinking Man, Godzilla), as did the fear of invasion with The War of the Worlds and When Worlds Collide, both big hits in 1953.

The latter marked the earliest rumblings of the “Disaster” movie genre, but it would be a couple more decades before that would get into full swing.

The Gimmicky Years

3D glasses? Electric buzzers installed into theatre seats? Paid stooges in the audience screaming and pretending to faint? Everything and anything was tried during the 50s and 60s in an attempt to further scare cinema audiences. This penchant for interactivity spilled over into other genres during the period but quickly died down in part due to the massive amount of expense involved. For horror, in particular, this gave way to the opposite end of the spectrum: incredibly low-budget productions.

From the late 1960s onwards, so insatiable was the American appetite for gore that slasher films produced for well under $1 million took hold and were churned out by volume. That’s not to say that there weren’t some masterpieces produced during this time, though; George A. Romero emerged triumphant and kickstarted zombie movies in this period, having produced Night of the Living Dead in 1968 with just over $100k. It went on to gross $30 million, and the living dead rose in its wake.

All Hell Breaks Loose

Occult was the flavor of the day between the 70s and 80s, particularly when it came to houses and kids being possessed by the Devil. The reason for this cultural obsession with religious evil during this period could fill an entire article on its own, but bringing it back into the cinema realm, we can boil the trend down to two horror milestones: The Exorcist (1973) and The Omen (1976). Supernatural horror was now very much back in vogue, and harking back to its cinematic origins, literature once again became the source material. This time, however, it wasn’t a Victorian author whose work had fallen out of copyright but a gentleman named Stephen King.

Carrie (1976) stormed the gates, and The Shining (1980) finished the siege (with 1982’s supernatural fright fest Poltergeist following soon afterward). With these hallmarks in the history of horror now firmly established, the foundations were laid for…

...The First Horror Movie Slashers

If there’s one trope that typifies the 80s, it’s the slasher format – a relentless antagonist hunting down and killing a bunch of kids in ever-increasing inventive ways, one by one. Arguably kicked off by The Texas Chain Saw Massacre in 1974, the output became prolific over the next decade. For every ten generic slashers, however, there was one flick that would end up becoming a cult classic even if critical success was mixed at the time—Halloween, Friday the 13th, and A Nightmare on Elm Street are the most prominent examples, which became so successful that they spawned their own long-running franchises (the first time in the history of the genre that multiple sequels became commonplace.)

Plenty of imitators and rip-offs followed, too, particularly in the Holiday-themed department. Some were a lot better than others as the genre descended to its most kitschy. Similar to the first horror movie, these films were not intended to scare but to entertain.

The Doldrums

Suffering from exhaustion in the wake of a thousand formulaic slasher movies and their sequels, the genre lost steam as it moved into the 90s. The advent of computer-generated special effects brought with it a number of lackluster CGI monster titles that did little to revive the genre, such as Anaconda (1997) and Deep Rising (1998). But it was a comedy that ended up saving the day. Peter Jackson’s early foray into filmmaking saw him taking the splatter subgenre to ridiculous extremes with Braindead (1992), and Wes Craven’s slasher parody Scream (1996) was met globally with overwhelming success.

The genre as a whole limped on without much fanfare into the 2000s save for a few box office successes. The zombie subgenre, however, sprang back into un-life during this decade, arguably spurred on by the unprecedented success of Max Brook’s novel World War Z (later becoming a film in its own right.) The video game adaptation of Resident Evil (2002) was among the first of the new wave, followed swiftly by 28 Days Later a few months later, Dawn of the Dead (2004), Land of the Dead (2005), I Am Legend (2007) and Zombieland (2009.)

THE PRESENT DAY!

The state of the horror industry is hotly contested. With the genre seemingly relying on churning out remakes, reboots, and endless sequels, many argue that it’s languishing in the doldrums once again with little originality to offer a modern audience. The resurgence of ‘torture porn’ is also derided as a subgenre, having come back into the fore in the wake of the 2000s Saw and Hostel franchises with no signs of slowing down.

On the other hand, glimmers of hope shine through with examples of extreme originality and artistry. Cabin in the Woods (2012) has been heralded as this decade’s Scream, and the recent releases of The Babadook and A Girl Walks Home Alone at Night (both 2014) breathed new life into the genre. Jordan Peele, writer, producer, and actor, rose as the new king of horror with original films, including Get Out (2017), Us (2019), and Nope (2022), which top Rotten Tomatoes’ best horror movie list. While scary, the films are also smart and provide sociopolitical commentary, as Peele explained in an interview with Time Magazine. NYFA Alum Tracy Oliver is a co-writer of the 2022 film The Blackening, a movie that makes fun of horror clichés but also calls out racial stereotypes. Both films, similar to the first horror film and a variety of others in the history of horror, don’t have the main goal of scaring the audience.

The Future of Horror Films

With perhaps more subgenres than any other branch of fictional filmmaking, it’s difficult to see how anyone can expand or advance on anything that has come before in cinematic horror. However, there’s no doubt somebody will, and that motivated and imaginative film school students become the Alfred Hitchc**ks of tomorrow.

The First Horror Movie & The History of the Horror Genre
by Jeff @SCARY TALES 2022