I'll just come right out and say it: I think werewolves are dumb. They could be interesting, and I'm sure they once were, but for me they're typically a let down, whether they be the lame werewolves in Wes Craven's Cursed or the badly generated werewolf transformation in Harry Potter and the Prisoner of Azkaban or even the blood-splattering werewolves of a well-written horror film like Dog Soldiers. Maybe it's because the first werewolves I was familiar with growing up were Michael Jackson in the "Thriller" video and Michael J. Fox in Teen Wolf, but whatever the reason, the fact remains that I don't think they're scary and I don't think they're cool.

So, you can imagine how disappointed I was to see JoBlo's new spy shots from the set of "X-Files: Done One" (aka X-Files 2), which feature what looks to be a werewolf mask. I guess there's a chance that thing in the photos could simply be a wolf -- not of the 'were' variety -- and that would be OK. But seeing as this is the paranormal world of X-Files, I'm betting on my first thought being correct.

For other fans of the show, these photos are probably pretty exciting. They're certainly a lot more interesting than that first pic we saw last month, and more intriguing than these simple photos and video of David Duchovny and Gillian Anderson from FlynetOnline or these more official shots from ComingSoon.net. Also, with all the secrecy surrounding the plot of the sequel, these photos allow us to speculate a great many things while we wait to hear about the actual plot synopsis. Perhaps one of those new cast members, say Xzibit or Billy Connolly or Amanda Peet turns into a werewolf. Wouldn't that be super neat? Yeah, well you already know I think it would be boring, but I'm trying to be excited for the rest of you.

Sexy is as sexy does, I guess. Picking the hottest chicks of horror is a pretty tricky business. Not only are my picks completely subjective, slaves to my personal whims and moods, but also they are likely to change from day to day. Already, since I submitted my picks, I'm regretting not mentioning Milla Jovovich in Resident Evil, or Eihi Shiina in Audition. And what can I do with more obscure hotties from other eras like Jenny Wright in Near Dark, or Britt Ekland in the original The Wicker Man, or Simone Simon in Cat People? Do they not deserve a shot at hotness? Well, in any case, here are the seven I wound up with -- in chronological order -- and in all honesty, they're all pretty darn easy on the eyes and a little spooky besides.

1. Fay Wray in King Kong
In a movie entirely populated by men and beasts, Fay is a welcome bit of softness. If King Kong had been made two years later, the Hays Code would have required Fay to wear a high-necked negligee with bloomers and probably several other layers of underthings. But thankfully for generations of young boys, the film was made in 1933, and Fay was able to wear her flimsy, silky number that clung and flapped in the breeze. Likewise, the movie was better able to suggest the subversive relationship between beauty and beast. (Watch the trailer ... or head straight to the gallery!)

2. Elsa Lanchester in Bride of Frankenstein (1935)
Elsa was the ultimate goth chick in cinema. Many came in her wake, including Barbara Steele (Black Sunday) and the little known but easily recognizable Carroll Borland (Mark of the Vampire). But make no mistake: even without her two-foot fright wig with the silver piping up the side, Elsa was a hottie in her time. You can see it in the film's prologue; she plays Mary Shelley, freshly emerged from penning her chilling magnum opus. She has cat eyes, and a devilish grin that entrances even the strongest men. One question: if Dr. Frankenstein was able to build such a sex bomb, why did his male monster come out so ugly and blocky? (Watch the trailer ... or head straight to the gallery!)

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.