In observance of that autumn spell when we celebrate the primal, compulsive instinct of fear, Rainestorm highlights 31 days of spooky scares to season the eerie atmosphere of Halloween.

What makes a movie distinctly qualified for Halloween? It cannot be merely any horror film. In consideration of the holiday’s spiritual origins, this month’s selections — with few exceptions — reflect something supernatural. No doubt the inclusions and exclusions represented will vex many. But if you’re game, come along and maybe discover some new treats as well as a few old tricks.

Reign of terror: 1996

The horror… the horror: Following on the heels of his very-meta New Nightmare, horror veteran Wes Craven serves up a reflexive revival of the diluted and nigh-dead slasher subgenre. With Scream, he reinvigorated the conventions of horror even as he simultaneously skewered and savored them. With a knowing wink and an ironic sense of humor, Craven and screenwriter Kevin Williamson played with and preyed on the audience’s expectations and participation with each fright. Even when we knew what was coming, the man who invented Freddy still brought the scary.

Halloween haunt: Woodsboro, California. Be it high school, homestead or hack reporter news van, no one in town is safe from the mystery killer’s knife. Much of the terror is played out in broad, bright daylight. However, the remoteness of Sidney’s home and its location in the woods add to the autumnal atmosphere. The film pays open homage to John Carpenter’s definitive slasher flick, while the killer-in-residence is decked out in basic black cloak with “Ghostface” death mask.

Tastiest treat: The horrifying opening sequence, wherein apparent star Drew Barrymore meets her grisly demise.

Check the candy for: Wes Craven’s cameo as a high school janitor with a penchant for Elm Street fashion.

Devilish discourse: “You’re starting to sound like some Wes Carpenter flick or something.”

Goes great with: April Fool’s Day (1986). At a time when slasher flicks were increasingly made on the cheap, this clever little whodunit displayed slick production value and a script more intelligent than the usual hedonism-meets-homicide horrors that preceded it. Turning horror tropes on their ear long before Scream came along, it didn’t have any real frights but it toyed with audience expectation and served up an unexpected twist.