It's hard to keep a good zombie down, and the regular re-emergence of Lucio Fulci's seminal Dawn of the Dead rip-off onto home video is quite the indication it will never go out of style. One of the most quintessential Italian splatter flicks ever made, this epic bastard sequel to George A. Romero's masterpiece launched the horror movie career for director Fulci, whilst simultaneously leaving a noticeable boot print on the map for Italy itself. Known around the world by an oft-bizarre assortment of alternate titles ‒ including Zombi 2 (its original title, as christened to cash-in on the release
Results tagged “Horror”
Blue Underground gives Lucio Fulci's groundbreaking "massacre-piece" a gorgeous new 4K restoration, and the results are even more shocking than ever.
Even though the story has room for improvement, The Fog is an entertaining horror movie that does a lot of things right.
Currently in limited release across the country thanks to a new 4K restoration by Studiocanal, John Carpenter's The Fog is a thrilling ghost story. It opens with an old boat captain (John Houseman) telling a story to a group of kids about a clipper ship, Elizabeth Dane, having crashed in a fog 100 years ago because they were drawn into rocks by a campfire. The sailors drowned but are supposed to rise again when the fog returns. And return it does as the town of Antonio Bay celebrates its centennial. Father Malone (Hal Holbrook) is nearly clobbered by a chunk
A comprehensive, lavishly illustrated overview of the reviled, but ever popular, slasher-movie genre.
Before the late '90s-early 2000s revival of horror as a mainstream money maker (thanks largely to Scream and the new slasher boom which followed), there were four big modern boogeymen of horror: Freddy, Jason, Michael Myers, and, to a lesser extent, Leatherface. Sure, other monsters came and went, and had whole series playing out on direct to video, but those four guys all got theatrical releases. They had mainstream patina: hell, two of them got TV shows. It's one of the oddities of the horror genre that it's the villains, not the heroes, who make the series. Halloween is not
Featuring unforgettable make-up, ground-breaking special effects and outstanding performances.
Cinema Sentries has teamed up with Universal Pictures Home Entertainment to award one lucky reader the Universal Classic Monsters: Complete 30-Film Collection on Blu-ray. For those wanting to learn more, the press release reads: Thirty of the most iconic cinematic masterpieces starring the most famous monsters of horror movie history come together on Blu-ray for the first time ever in the Universal Classic Monsters: Complete 30-Film Collection from Universal Pictures Home Entertainment. Featuring unforgettable make-up, ground-breaking special effects and outstanding performances, the Universal Classic Monsters: Complete 30-Film Collection includes all Universal Pictures’ legendary monsters from the studio that pioneered the
Teruo Ishii's strangest film of murder, doppelgangers, and the titular malformed men finally makes it to Blu-ray.
Escaped asylum inmates, mistaken identity, resurrection from the grave, bizarre biological experiments, murder, incest, and a plot for world domination via freaks - the barest bones of a plot outline makes Horrors of Malformed Men, directed by Teruo Ishii, sound itself malformed - overstuffed with ingredients that can’t cohere. Surprisingly, the film maintains an integrity to its own oddity and perversity, never pausing for a moment to let a hint of self-awareness turn the proceedings into farce. We meet our protagonist, Hirosuke Hitomi, in a woman’s cell of an insane asylum, where half-naked women dance around him and try to
John Carpenter's Halloween Celebrates its 40th Anniversary in Select Theatres Beginning September 27
The horror classic is being re-released in advance of the sequel Halloween (2018).
Press release: CineLife Entertainment, the event cinema division of Spotlight Cinema Networks, has teamed up with Compass International Pictures and Trancas International Films to bring John Carpenter's seminal 1978 classic back to select theatres worldwide beginning September 27, 2018. In the film, the villain, Michael Myers, has spent the last 15 years locked away inside a sanitarium under the care of child psychiatrist Dr. Sam Loomis. On October 30, 1978, Myers escapes and makes his way back home to Haddonfield, turning a night of tricks and treats into something much more sinister for three young women, including Laurie Strode, the
The new 4K restoration will roll in October 26 with NYC, LA, and Chicago runs.
Press release: New York based Rialto Pictures will release John Carpenter’s landmark horror movie The Fog on October 26, in its first-ever major restoration. The horror classic, in a full 4K restoration from Studiocanal, opens October 26 for limited runs at the Metrograph, in New York, Landmark’s Nuart in Los Angeles, and The Music Box Theatre in Chicago. Additional screenings will occur during the week of Halloween throughout the Alamo Drafthouse circuit and other specialty theaters. Carpenter’s first post-Halloween venture into the H.P. Lovecraft-inspired, apocalyptic vein that he would continue to mine in films like The Thing (1982) and Prince
A talented young cast and impressive production pieces can't save this meandering debut from Sergio G. Sánchez.
Based on its trailer, its look, and the fact that it has Anya Taylor-Joy (The Witch, Split) and Mia Goth (A Cure for Wellness), one could easily mistake Sergio G. Sánchez’s directorial debut, Marrowbone, for a horror movie. And while there are certainly horror elements that appear throughout, Marrowbone plays more like a drama about a family trying to stick together than it does a terrifying, haunted-house thrill ride. It’s especially frustrating because there are moments within the movie where Sanchez implements the tacky jump scare method and then retreats to focus on the issues the family faces - which
The American Genre Film Archive and Something Weird Video present something so delightfully awful, it'll leave you ecstatically screaming "Ewe!"
Even established connoisseurs of strange little motion pictures generally regarded as "bad" can occasionally step into something they are wholly unprepared for. And that can certainly apply to anyone who decides to leap off the beaten path only to set foot into the sulphuric pile of sheep dip that is Godmonster of Indian Flats. The fourth and final feature film from recently departed artist/filmmaker (and Cornell graduate also, I might add) Fredric C. Hobbs, this bizarre 1973 offering is truly difficult to categorize, as it appears to be an environmentally-conscious retrograde science fiction/horror hybrid about an eight-foot-tall mutant sheep housed
A compelling alien tale that fits the established mold while keeping you guessing to the very end.
How much you come away from a story loving or loathing a character is a testament to how well they are written or portrayed. In just about any Alien story that involves Weyland-Yutani corporate sleaze, the disdain felt for those people is usually stronger than we feel toward the aliens themselves. The horrific violence and dehumanization by the banana-headed, sci-fi monsters manages to consistently pale in comparison to what human beings do to one another in the interest of personal greed or glory. Such is the case in Alex White's Alien: The Cold Forge, a story set shortly after the
Surprisingly effect horror film from that goofy guy in The Office.
To make a film filled with long silences and almost entirely free of audible dialogue is a bold choice. To then make it a genre picture - a horror film no less - is pretty close to insane. To then have it become one of the most critically and commercially successful films of the year is about as close to a miracle as Hollywood gets. A Quiet Place is a horror movie filled with monsters that quickly devour you the moment you make any sound. It focuses on one family (the credits list them as the Abbotts, but I don’t
Wes Craven's first film gets an excellent new set from Arrow Video.
A few weeks ago I called a dirt-bike drama from Paul Verhoeven a vile piece of work. It was sexist, homophobic, and all around brutish in his depiction of teenagers in Holland. Yet here I am about to give a much more positive review to Wes Craven’s The Last House on the Left, a film that depicts brutal violence, torture, rape, and murder. The natural question is why do I find one film’s depiction of deplorable things vile and the other’s depiction of the same and worse somewhat entertaining? The answer lies both in genre and directorial intent. Spetters is
Three Japanese movies directed by Michio Yamamoto that involve Western-style vampires, with style, atmosphere, and some decent sprays of blood.
As one of the great national cinemas, the Japanese movie industry has invented whole cloth many genres and excelled in many non-native filmic conventions… except arguably the Western-style horror movie. Until the late '90s, when The Ring brought out a rather short-lived craze of ghost stories (usually with a long black-haired ghost, which is cribbed from Japanese folk-lore), Japanese example of horror were rather sparse, and rather different than Western films. In the West some of the acknowledged greatest movies of the silent era are horror films. There are several distinct studio and national traditions: Universal horror creatures, the '50s
The film itself is a twisted experience that had me quivering by the time the credits rolled.
It’s hard to know how exactly to describe Hereditary as a film. On one hand, it’s a dark descent into a person’s damaged psyche. On the other hand, it’s an enigmatic supernatural thriller that serves an allegory for the “demons” we inherit from our family. The film itself is a twisted experience that had me quivering by the time the credits rolled. But one thing about Hereditary that is perfectly describable is the brilliance of Toni Collette’s leading performance. Collette gives what is perhaps the best performance in a horror film in recent memory. One that will potentially join the
Garland follows up his impressive directorial debut on Ex Machina with another unsettling sci-fi tale.
Annihilation gained notoriety during its U.S. theatrical release earlier this year when it was revealed that Paramount had decided to skip theatrical release in many other major worldwide markets, instead sending the film directly to Netflix. While this was widely viewed as a vote of no confidence in the film, the finished project proves that it has nothing to do with the film’s quality and everything to do with market dynamics. Screenwriter/director Alex Garland’s cerebral take on horror sci fi simply doesn’t fit into the Hollywood blockbuster formula, so while Paramount’s bottom line may have been protected by their unusual
John Landis' campy homage to classic monster movies surfaces in High-Definition for a limited time from Turbine Media Group.
The first feature film of cult filmmaker John Landis (An American Werewolf in London, Innocent Blood) Schlock serves as a exemplary reminder we all have to start somewhere. Shot over the course of 12 days on a measly $60,000 budget in one of the many suburbs of Los Angeles, Schlock is a campy homage to horror and science fiction movies of the past, as seen through the eyes of one very eager 21-year-old filmmaker. A small community is besieged by a wave of baffling, unsolved murders, committed by an entity whom authorities and the media alike have dubbed "The Banana
Killer Klowns From Outer Space Blu-ray Review: Because Killer Klowns Not From Outer Space Simply Wouldn't Sell
Thirty years later, I still get excited by how absurd it is.
Cream pies that melt the flesh off a person. Balloon animal hunting dogs. Locust popcorn. Cotton candy cocoons. Monster marionettes. A circus tent spaceship. Ludicrous inflatable balloon boobs. Killer Klowns From Outer Space is as creative as it is ridiculous. It's not a parody or a satire and everyone in the film takes the events very seriously, making it that much funnier. Mike (Grant Cramer) and Debbie (Suzanne Snyder) are visiting a remote make-out spot when they see what appears to be a shooting star passing nearby overhead. They chase after it and find a circus tent oddly erected in
The best version yet of an influential classic.
In 1968, George A. Romero made a name for himself and essentially created the zombie genre with Night of the Living Dead. The dead rose from the grave to attack the living, an event whose origin is, at best, speculated upon by the time the credits roll. Five years later in 1973, Romero gave us The Crazies, in which we knew almost immediately what the cause of the madness was, but were less sure how to avoid, diagnose, treat, or save anyone from it. The film opens with two children, a brother trying to scare his sister by unscrewing light
Cargo puts a refreshing spin on the zombie genre and is anchored by a career-best Martin Freeman performance.
When it comes to films depicting the zombie apocalypse, we see the same repetitive formula: Survivors must fight for their lives against the undead and try not to get infected. The latest entry in the zombie film genre, Cargo, demonstrates that same formula but puts a whole new spin on it. Yolanda Ramke, who wrote and co-directed the film with Ben Howling, has crafted a story about fatherhood set against the backdrop of a zombie apocalypse and it is packed with both horror and heart. Cargo follows the story of Andy (Martin Freeman) and Kay (Susie Porter), an Australian couple
Frank Henenlotter's feature debut comes on a ridiculously stuffed Blu-ray, a must for any fan.
My conscience tells me I have to recommend this release, because it is a superb home video version of Basket Case, with an absolutely comprehensive set of bonus features, impeccable video and soundtrack (mono and thankfully not upconverted into fake surround) and something that should thrill any fan of the movie or series. But the entire aesthetic of Basket Case rebels against the archival perfection of a Blu-ray release. This is the sort of movie that should be seen in a seedy little theater where you'd never use your credit card. It has '70s (or, more accurately, early '80s) New