Terror in the Aisles

Director Andrew J. Kuehn excerpts brief segments of terror and suspense from a wide variety of horror films and strings them together with added commentary and some enacted narrative. The result is a compilation designed to evoke fright through juxtaposed clips. The approach blends external analysis with short, staged moments to create a cohesive experience.

Donald Pleasence and Nancy Allen provide commentary on topics such as sex and terror, loathsome villains, natural terror, the occult, cosmic terror, and spoofs, drawing connections between the clips and larger themes. Their voices anchor the film, offering insights while the clips play. This on-screen narration ties disparate sources into a unified discussion of fear.

The film organizes its clips into thematic segments: sex and terror, loathsome villains, natural terror, the occult, cosmic terror, and spoof material. Each category highlights different approaches to fear and suspense. This structure helps the viewer move through the spectrum of horror cinema.

In one segment, Alfred Hitchcock presents his concepts of how to create suspense, shown via a clip from Alfred Hitchcock: Men Who Made The Movies.

The advertising for the compilation refers to the clips as terror films rather than horror films. This framing emphasizes fear and psychological intensity over genre labeling.

Some included films, such as Marathon Man and Nighthawks, are not horror films but are included because their villains are especially terrifying. This broadens the scope of fear beyond conventional horror.

The compilation draws from a broad array of sources, incorporating villains and imagery from Dracula, Frankenstein, Friday the 13th Part 2, Halloween I & II, The Texas Chain Saw Massacre, and others to illustrate loathsome villains and varied scares.

The most recent movie used for the 1984 release was Videodrome, which Cronenberg brought to theatres in February 1983. Its inclusion marks the upper limit of the licensing window for clips in this project.

The efforts of obtaining rights and assembling clips were extensive, shaping which films could be included. The documentary’s editors had to navigate licensing complexities, which ultimately constrained the roster.

The film was released in 1984, presenting the curated segments and commentary to audiences. The release framed the project as a thoughtful panorama of terror and cinematic craft rather than a pure horror showcase.

No films released after Videodrome (Feb 1983) were considered for usage, reflecting licensing boundaries. This boundary defined the archival approach of the compilation.

Overall, the project aims to illustrate the spectrum of terror—from natural to cosmic—through careful curation and perspective. By pairing clips with commentary, it invites viewers to examine how fear is constructed across different eras of cinema.

Enacted narrative interludes and ongoing commentary help bridge disparate clips into a cohesive experience rather than a random montage. This storytelling approach guides the viewer through thematic transitions and maintains engagement throughout the film.