The Cat and the Canary (1927)

A will is read at midnight, twenty years after the death, in a house nobody has aired out since. Leni shot it two years before sound arrived and spent the money on camera moves instead — corridors that breathe, a hand coming through a wall panel, title cards that shake when the characters do. Blood Incantation build the same way: death metal that keeps opening doors onto rooms the genre did not know it had. Both are about an inheritance nobody should accept, handled with far more craft than the situation required.

— PAH