Few supernatural horror films tap into the abstract realm of the unconscious quite as effectively as Adrian Lyne’s Jacob’s Ladder. There’s a select group out there who have done it as well (Tarsem Singh with The Cell, Hellraiser and Silent Hill come to mind), but there’s just such an abundance of generic, or ‘vanilla’ horror out there. It’s not that that kind of stuff isn’t great, I just like to see something strive for a little more, stylistically speaking, go for something truly elemental and out of the box in its attempts to elicit fright. This one engraves nightmares of an inexplicable variety into your perception, images and sounds made all the more disturbing by the fact that we never really know what is going on with our protagonist, a Viet Nam vet named Jacob (Tim Robbins), a decent dude with a sketchy past who spends his days as a postal worker in NYC. Jacob is plagued by waking nightmares, visions of demons, confusing allusions to his past and a son (a pre Home Alone Macauley Culkin) who may have died, or never existed at all, all combined with a general sense of dread that almost seems to crawl out of the screen and choke the viewer. Jacob is dating a co worker (RIP Elizabeth Pena), who isn’t equipped to deal with whatever is going on with him, and his only friend seems to be his doting chiropractor Louis, played by an excellent Danny Aiello in a performance that is a ray of kindness and light in an otherwise ice cold atmospheric palette. Jacob begins to suspect that he and his platoon may have been victims of illegal weapons gas testing, and are now suffering the psychological fallout, or perhaps that his plight goes much deeper than that. It’s a disorienting state of mind for him, and in turn puts the viewer in a similar daze of eeriness and uncertainty, with not a concrete clue or answer in sight until the film reaches its devastating final moments. Ving Rhames, Pruitt Taylor Vince, Eriq La Salle and Matt Craven are just as haunted as his fellow Nam buddies, Jason Alexander has an energetic bit as a lawyer, and watch for Kyle Gass, Orson Bean and Lewis Black in early smaller roles. This film has put a hazy emotional and visual filter over my perception for years, and each time I give it another visit I get goosebumps from the horrors within, especially on a crisp recent blu Ray. There’s one sequence in particular which I won’t spoil with details, except to say it should be front and centre on the demo reel for the entire horror genre in cinema, a harrowing journey into a hellishly creative interzone of undefinable fear that still serves as the blueprint for some of my bad dreams to this day. A fright flick classic.