Before we get to Simon Augustine's addendum, his lengthy list of (dis)honorable mentions, other Disturbing Films, he first has this suggestion to get through your viewing party.

Items you may want to have handy in addition to DVDs:

1. Ouija Board: you may want to leave this lying on the coffee table. You'd be amazed how many otherwise rational and reasonable adults, who adamantly believe in science, evolution, and Einstein, and who shrug condcscendingly at the mention of Sasquatch, The Bermuda Triangle, UFOs, crop circles, ghosts, aliens, and A Divine Creator will refuse to use or even touch the magical Ouija. A lot of people don't believe in God these days, but they believe in power of the Spirit Board. Moving the pointer around and inviting Satan and his hellish minions to join you at DNATM can add to the fun and anxiety.
2. Draw a pentagram on the floor. It can't hurt.
3. Candles, candles, candles.
4. The Necronomicon, Disturbing Founding Father H.P Lovecraft's fictional, mythic bible of demonology and the occult, with important or relevant passages ear-marked; (note: a copy may be hard to find, considering the book doesn't really exist; and
5. A disconcerting framed picture of Charles Manson or Sean S. Cunningham.

Caveat Emptor: The most important criterion for this list is visceral barf-bag impact. Because of censorship in the first half of cinema history, and thankfully increasingly lower societal standards in the second half, the extremely graphic nature necessary to be truly sickening did not fully appear in the movies until the late 60's/early 70's when Last House On The Left, et. al. paved the way for a quick descent into more explicit sex and violence. Thus all of the films on the main list were released from 1968 to the present.

Continuing Simon Augustine's countdown of the Most Disturbing Movies (Read Part 1 for the first 13). [<< #3]

2. Salo (or 120 Days of Sodom) (1975) 10/9

This is high falutin' stuff for such a reprehensible list as this: it's the only Disturbing Film that is accompanied by a bibliography in the opening credits (just what an audience wants - homework). In this case, however, such ambitious gestures are warranted; Italian poet and provocateur Pier Paolo Passolini assembles all of his considerable directorial skill and visual mastery to deliver a really, really bad time -- an unflinching look at the savagery and absurdity of the sadistic impulse brought to its logical, and most banal, extreme.

Continuing Simon Augustine's countdown of the Most Disturbing Movies (Read Part 1 for the first 13). [<< #5]

4. The Texas Chainsaw Massacre (1974) 8/8

Tobe Hooper, a talented and innovative filmmaker who never quite got his mainstream due, even after making Poltergeist (and be embroiled in controversy with Steven Spielberg about who actually directed it), made this perennial classic on the cheap in the early seventies. Taking the baton from Wes Craven and Last House on The Left, it expresses the miasma of violent dread and disorientation that hung over an America left schizophrenic by the auto-cannibalism of Vietnam, Kent State, Attica, Watergate, etc. Hooper swings at the audience with the kind of gritty haymaker that only very hungry, very creative, and very poor directors just out of the gate can make.

Continuing Simon Augustine's countdown of the Most Disturbing Movies (Read Part 1 for the first 13). [<< #8]

7. Tie: Aftermath (1994) 7/10, Flowers of Flesh and Blood (Guinea Pig II) (1985) 10/7 

Two films about the systematic desecration of human bodies which have been rendered inert and still as they lie on a madman's table full of instruments.

In Aftermath, Spanish director Nacho Cerda presents us a short (30 min.) film with no dialogue, about the rhythmic and morbid procedures governing an autopsy room. Some of the most realistic looking dead bodies you will ever see in a film are cut, sawed and pried open, organs are removed, blood and gristle is drained into stainless steel basins, brains are removed from head, and skin is peeled back. The tone is ominous and a bit hypnotic, but what keeps disconcerting us is a sense that one of the surgeons - or whatever the heck you call 'em - seems, well, not right. A little too intense and a little too intent. Well, we find out that our worst suspicions are founded: most men like their sexual partners to be alive, but not all are that picky and choosy.