My Guilty Pleasure Horror Movies

Why it's guilty: The more respected version of the fourth Exorcist film -- Dominion: Prequel to the Exorcist -- by acclaimed director Paul Schrader, was shelved in favor of this lowbrow re-shoot by oft-reviled director Renny Harlin.

Why it's good: Shrader's artsy-fartsy version might be more introspective and subtle, but it's subtle to the point of tedium, with one of the more non-eventful climaxes in recent memory. Harlin's is dumber but also more entertaining, tossing in a big bloody battle scene and an over-the-top exorcism that can't be taken seriously.

Why it's guilty: A past-his-prime Sylvester Stallone stars in a thriller that instilled so little confidence in the studio that it pulled the film from theatrical release and dumped it straight onto video.

Why it's good: As a theatrical film, it might be so-so, but as a DVD release, it's a pretty darn good mash-up of Seven and Ten Little Indians, with a stellar cast that includes Jeffrey Wright, Tom Berenger, Charles Dutton, Robert Patrick, Sean Patrick Flanery, Dina Meyer, Courtney B. Vance and Kris Kristofrerson.

Why it's guilty: It's basically a chick flick.

Why it's good: Admit it: when your girlfriend forced you to watch it, you reluctantly enjoyed its blend of horror elements (those shadow creatures were pretty effective at the time), comedy (Whoopi Goldberg did win an Oscar, after all) and clay erotica.

Why it's guilty: Macaulay Culkin as a villain? Really?

Why it's good: It's a bit campy to see 12-year-old Macaulay Culkin as a cold-blooded killer, but I'll be darned if it doesn't work in that mold of '80s/'90s sociopath thrillers (Fatal Attraction, Single White Female, etc.), thanks to Culkin's emotionless performance (Intentional?) and an effectively manipulative script.

Why it's guilty: It's a remake of a well-regarded Vincent Price film that slathers on a layer of torture porn-ish sleaze. Plus, there's Paris Hilton.

Why it's good: Strong direction, nerve-wracking action set pieces and a solid cast surround the dead-behind-the-eyes Hilton. An added bonus: Paris gets a pole to the face (insert joke here).

Why it's guilty: Stephen King's lone directorial effort is surprisingly shallow and silly.

Why it's good: If you can get past the expectations of a spooky King tale with intricate character development, its zany imagery (Death by vending machine, anyone?) and hard rock soundtrack make for a fun, raucous demolition derby of violence.

Why it's guilty: It feels like an unnecessary sequel -- without most of the original cast -- forced by a studio looking to bleed the last bit of money out of the series.

Why it's good: Trippy, Nightmare on Elm Street-ish special effects sequences propel a fast-moving plot that lacks the original's scares but provides more cinematic thrills than the ridiculous Poltergeist II.

Why it's guilty: It's a ludicrous, '80s-styled, larger-than-life vision of the not-too-distant future, predicting all-out war between police and crooks and making Robocop seem kind of plausible; a noticeable step down in comparison to the original.

Why it's good: It's action-packed, violent and full of despicable people you don't mind seeing blown to bits in fits of senseless carnage; a perfect example of a brainless popcorn movie.

Why it's guilty: It was savaged by critics for being dumb, unscary and far beneath Hillary Swank's talent.

Why it's good: While Hillary Swank might be slumming, it's nice to see a major 21st century theatrical horror movie that's neither a remake nor a sequel. Plus, it has an intriguing concept, strong special effects and a nice twist ending.

Why it's guilty: It's washed-up '80s rocker Dee Snider's vanity project, billed as Dee Snider's Strangeland, as if his name carries any cache.

Why it's good: It deserves some credit for being an ahead-of-its-time example of modern torture porn, and the concept of the killer being caught and reformed is an intriguing attempt at social commentary.