Over at Cracked.com, they've made a list of the top ten worst twist endings of all time. Obviously that list has a lot of spoilers, but I'm going to attempt to write this post without revealing any of them. Why? To make sure you go over there, of course. So, if you're not worried about ruining the endings to some movies you probably shouldn't see anyway, then head over and read the hilariously confusing explanations, or attempts at explanations, and/or how some endings don't make enough sense to bother with explanations. I will let you in on the titles of the movies, just in case you are interested in seeing any of them in the future and would like to go in spoiler free. The ten, in order from "least asinine" to "most asinine", are: Stay (2005); High Tension (2003); Signs (2002); Hide and Seek (2005) and Secret Window (2004), which tie for #7, because they're considered the exact same plot (is that spoiling it for you guys? probably -- oh well, I tried); The Forgotten (2004); Basic (2003); Perfect Stranger (2007); The Number 23 (2007); Planet of the Apes (2001); and The Life of David Gale (2003).

I haven't seen the number one movie, but I can't imagine it's worse than the others that I have seen, especially Planet of the Apes. Basically, I think Cracked.com considers it the worst because it stars Kevin Spacey, who also starred in The Usual Suspects, which pretty much, along with The Sixth Sense, obviously, got Hollywood on this crappy twist kick to begin with (He was also in Se7en, which had another so-so twist ending). Look at those films; they all came out between 2001 and 2007. And what was the most common twist? The main character did it. Either he or she has a split personality, or amnesia, or suffers from some other psychological ailment. Other idiotic yet easily written twists include: aliens did it; it's all a dream (as if you need to steal from Bob Newhart, come on!); and, in the fashion of Suspects, it's all just made-up stories. Personally, I'm upset to not see my least favorite twist ending. It involved a whole crop of great actors who just so happened to be explained as existing inside the imagination of some mental patient. That one had the split personality plus the dream plus the Suspects idea that none of what we watched is real. Can you name it?

If Alfred Hitchcock taught us anything, it's that sometimes suspense can occur in the most unlikely of places: cornfields, brightly lit motels, and even Mount Rushmore. But I have to admit, I wouldn't necessarily count a parking garage as one of them -- they're kind of spooky, but only when you don't tip the attendant for bringing you your car. Shock Till You Drop now has the exclusive poster for the indie-thriller P2. The horror was created by the team behind the French thriller High Tension, Franck Khalfoun and Alexandre Aja (The Hills Have Eyes). This time, Khalfoun is at the helm, and he also contributed to the script along with Aja. Next up for Aja will be the horror flick Mirrors with Tension writer Grégory Levasseur, and starring Kiefer Sutherland and Amy Smart.

P2 follows a successful businesswoman who is kidnapped by a creepy security guard with an ax to grind over his spurned affections. Wes Bentley (who has been relatively absent from the movies since his big break in American Beauty) stars as the wacko parking attendant, and Rachel Nichols is the career girl on the run. Nichols is a relative unknown to most, but for fans of Alias, her face might ring a bell as 'Rachel Gibson'. Next up for Nichols is a role that is probably a little more high profile; she has a part in the Tom Hanks film Charlie Wilson's War directed by Mike Nichols (no relation). P2 was shot on location in Toronto, Canada last January and is set to hit theaters on November 9th.

If there's one thing the media really loves to do, it's lump a bunch of barely-connected people into an ill-fitting group -- and then give that group a clever name. Whether it's The Rat Pack, The Brat Pack or The Splat Pack, I just get irked whenever a new "pack" makes it into the cultural lexicon. Oh, you're not familiar with that last one? Yeah, it's a moniker that's been given to a bunch of "new" horror filmmakers, one that seems to imply that these guys get together every weekend to smoke weed and watch Halloween 2 together.

According to a recent article in Time Magazine, one that seems to approach horror flicks the same way a prissy schoolmarm would approach some inappropriate comic books, the members of "The Splat Pack" are Eli Roth (Cabin Fever, Hostel), Neil Marshall (Dog Soldiers, The Descent), Alex Aja (High Tension, The Hills Have Eyes), Rob Zombie (House of 1000 Corpses, The Devil's Rejects), and James Wan, Leigh Whannell and Darren Lynn Bousman of the Saw trilogy. (Apparently Wolf Creek director Greg McLean was part of the original pack, although he goes unmentioned in the Time article, probably because he hasn't made much money yet.)

But what do these guys have in common, really, other than the fact that they all make horror flicks? I see Americans, Brits, Aussies and a Frenchman in the mix, and while some of the guys are fresh-faced and 20-something, guys like Roth have been toiling away in backstage anonymity for years. Plus, c'mon, Rob Zombie is 42 years old, so how exactly does he tie in with these kids? And why is it that Neil Marshall never seems to be quoted in these articles? Is he just included because his horror movies are ... GOOD? Apparently the Splat Pack label was created by Alan Jones of Total Film, and I'm sure the guy's an absolute expert on horror flicks -- but labels create limits, exclusions and oversights. And, ultimately, articles like this one, I suppose. (Either way, I bet Jones bangs out a book called The Splat Pack by the end of 2008.)

The UK's Christopher Smith (Creep, Severance) is young and horror-heavy, so why isn't he a member of The Pack? Shouldn't (Dawn of the Dead screenwriter, Slither director) James Gunn be one of the den mothers? Lucky McKee has made only two feature films (May and The Woods), but they're both downright excellent pieces of horror. Why's he not a member? Uwe Boll's done a bunch of horror flicks that could be accurately described as " laden with torture," so why not throw him an invitation? You want a guy who loves the word splat? Try Jake West, the guy who directed Evil Aliens. Plus I read another article a while back in which Jonathan Liebesman (Darkness Falls, The Texas Chainsaw Massacre: The Beginning) was considered a member of The SP! Now, if that guy can be considered some sort of "future of horror," I'll eat my hat.

The common themes among the Splat Packers are ... what? They all like horror movies, they don't shy away from intense chills, harsh themes or copious gore, and they're all carbon-based life forms, I guess. But really: Does anyone out there think the work of Eli Roth is even remotely similar to that of Neil Marshall? Does a Rob Zombie flick remind you of what was seen in, say, High Tension? I mean, if you're going to define a term, then define it. And as a big fan of just about all these movies, I just gotta scratch my head when I hear these guys lumped together in one basket.

And what happens when guys like Ryan Schifrin (Abominable), Adam Green (Hatchet), J.T. Petty (S&Man) Scott Glosserman (Behind the Mask: The Rise of Leslie Vernon), Jon Levine (All the Boys Love Mandy Lane) and Adam Mason (Broken) start to make their way up the ranks? Will we have the arrival of Splat Pack 2: The New Generation? Back in the late '70s/early '80s, did we need a goofy little heading to remember names like Carpenter, Hooper, Craven, Dante, Landis and Cunningham?

Ultimately, I have no real point. I'd just seen the phrase "Splat Pack" one too many times and felt the need to vent. Opposing viewpoints are welcome, as long as they agree with my own opinions.

Well, this is weird. For the bulk of my 30+ years on this planet, there's been no such thing as a "televised horror awards" presentation, and now, not 15 minutes removed from geeking out over the newly-announced Fangoria Chainsaw Awards nominations -- I come across the Spike TV Scream Awards nominations! Cool!

Now, with all due respect to Spike TV and their cool new concept, I gotta say the Fango Chainsaw noms are just a little bit cooler. But hey, there's no law that says the horror freaks can't hang their hat on TWO new awards presentations. Frankly I think we could use a few more enthusiastic celebrations of juicy genre filmmaking.

Anyway, the Screams seem to run a lot like the Chainsaws do: Check out all the categories and nominees (after the jump) and then head on over to SpikeTV.com and cast your own votes! This is particularly amusing for the horror nuts -- because we're nothing if not passionately opinionated on which horror flicks rock and which ones suck the proverbial egg. Spike TV broadcasts their Scream Awards on the evening of October 10th.

One would think that with a name like Wes Craven - his real name, by the way - that a life as a director of horror films would be the man's inescapable fate from the very start. While the 66-year-old Cleveland-born Renaissance man has created some of the most revered films of the modern genre like A Nightmare On Elm Street and the breakout Scream trilogy, there is more to him than that. He studied writing, psychology, philosophy and literature at Wheaton College and Johns Hopkins University, taught college, and did not even start working in the film industry until the age of 31 as a sound editor.

It was in 1971, though, when his path would intersect with that of another future horror legend - Friday the 13th creator Sean S. Cunningham. Their meeting first resulted in the largely forgotten Together, footnoted only because it starred a 19-year-old woman named Marilyn Briggs (who consequently met brothers Artie and Jim Mitchell, who rechristened her Marilyn Chambers and made her a porn icon in Behind The Green Door). However, the collaboration made fellow tyro Cunningham want to work with Craven again. The next year saw the release of the Cunningham-produced, Craven-directed The Last House On The Left, a remake of Swedish titan Ingmar Bergman's The Virgin Spring, believe it or not, a raw and grimy low-budget effort about a pair of murdering rapists who unknowingly hole-up in the house of the parents of one of their victims. The film became a cult favorite and launched Craven's career in movies.

Craven's second film, the savage and effective 1977 survival tale, The Hills Have Eyes, was about a family who, while traversing the desert, encounters a group of inbred maniacs who prey on these seemingly helpless castaways. Nearly three decades later comes the first remake of Craven's own work, with the new version helmed by French it-director Alexandre Aja (High Tension), released in the U.S. on March 10. Craven, who produced the film for Fox's boutique arm Fox Searchlight, was cool enough to call me at home for an impromptu chat. After I insulted his parentage and suggested a scenario in which he couple with a Cheerio (thinking I was being pranked by my friend Eric), I apologized and basked in fanboy glory for the remaining 22 minutes of our phoner.