House II is one of the few movies I can remember seeing ads for on TV when I was watching cartoons in the afternoon. The ad would come on again and again, and it looked like everything I could want in a movie - monsters, human sacrifice, John Ratzenberger. However, it was also a horror movie (kind of) so no one in my family would take me to see it in the theater. When I eventually got to see it on VHS it didn't become a favorite, but there was so much strange content in there, so many weird little
Results tagged “Horror”
The very '80s horror/fantasy movie series gets a lavish box-set Blu-ray release.
One of the most amusingly bad drive-in monster movies ever conceived receives a beautiful new HD transfer from the Warner Archive Collection.
What can you say about a monster movie featuring a walking, stalking, murderous tree on a wooden rampage? In the instance of From Hell It Came, you can say a whole heck of a lot just by saying very little. In fact, the most commonly referenced review of the movie was a six-word piece which read nothing more than "And to Hell it can go!" But ne'er fear, kiddies ‒ From Hell It Came has managed to uproot itself and terrorize unsuspecting filmgoers once again. This time, however, bad movie aficionados 'round the world will be able to fully immerse
Spanish horror legend Paul Naschy's directorial debut gets the full treatment in this shocking, sleazy, and sinful release now available from Mondo Macabro.
As a small child, Jacinto Molina became heavily captivated and inspired by the classic Universal horror movies of the '30s and '40s. So much so, in fact, that he would later craft his own series of bloody horror outings in his native Spain under his better-known alias, Paul Naschy. All but begetting the Spanish horror boom of the late '60s and '70s, Naschy's more celebrated character would be that of a tormented lycanthrope named Waldemar Daninsky, whom his creator (and portrayer) continued to torture onscreen more than a dozen times over a span of 36 years in-between his many varied
Writer Jordan Peele makes a winning theatrical debut as director.
Get Out was a surprise critical and commercial box-office success earlier this year, seemingly coming out of nowhere to make a lasting impression. Although its themes borrow liberally from disparate film predecessors, primarily Guess Who’s Coming to Dinner and The Stepford Wives, the movie as a whole is a welcome breath of fresh air in the overwhelmingly formulaic U.S. film industry. It’s principally marketed as a horror film, and while it certainly has its share of thrills, it’s more of a Black Mirror alternate-universe mindgame than a typical gory, blood-soaked horror flick. The movie follows an eventful weekend for a
Still looking for that beaver-rape scene.
Similar to the Hays Code in the United States but officially state-sponsored, Sweden created a censorship board in 1911. Designed to keep anything offensive from perverting the young minds of moviegoers, it banned movies as diverse as Battleship Potemkin, Nosferatu, The Texas Chainsaw Massacre, and Mad Max from being played in Swedish theaters. With the rise of home video, an influx of illegal bootleg VHS tapes began finding its way to film fans across the country. By the 1990s, a growing number of filmmakers and movie lovers began protesting this censorship by demanding that the law be thrown out. Writer
The kooky, slightly kinky '70s sci-fi horror hybrid featuring the talents of the late Fritz Weaver and Robert Vaughn receives a beautiful makeover from the Warner Archive.
Released just a few months before Star Wars and Close Encounters of the Third Kind would become science fiction movies to end all science fiction movies, Donald Cammell's 1977 horror hybrid Demon Seed really isn't the easiest movie in the world to fathom. Not without some combination of drugs or alcohol, at least. Based on an early story by Dean Koontz, the tale finds Fritz Weaver ‒ no stranger to either genre ‒ as a computer genius who builds the supercomputer to end all supercomputers. Little does he know, however, that his latest, greatest invention may actually turn out to
Cheerfully sleazy exploitation movie about a singing brain parasite is charmingly repellent.
There's a certain genius to Brain Damage (1989). Thousands of horror movies are made which simply copy the last popular one, doing the bare minimum to get a (in the past) theatrical release or (more recently) a DVD distributor. These movies feel like somebody is filling out a checklist. "Creative" kills, check. Some nudity, okay. Jump scares, gore shots, blah blah blah. Brain Damage is no less puerile, in a sense, but it is knowingly puerile. It isn't copying somebody else's bad ideas, it has a sackful of its own (and some good ones, to boot.) Brain Damage tells the
Garagehouse Pictures digs up one of the goofiest ‒ and yet, strangely intriguing ‒ lost regional horror comedies ever.
Picture, if you can, what might have happened had a very bored Charles Addams sat down for a few hours one sunny afternoon to jot down the general outline for a lighthearted episode of The Twilight Zone. But rather than seeing his little side project achieve fruition via its intended nationally broadcast television medium, the story wound up in the hands of amateur filmmakers instead. Expanding his original story into something that would still pass for "feature-length" by cinematic standards in 1962, an indie filmmaker in Philadelphia subsequently gathered together a few friends, even fewer dollars, and said "What the
The Warner Archive Collection shows off two showcases of animators Ray Harryhausen and Jim Danforth in these splendid catalog releases.
Decades before civilized man would figure out new and inventive ways to suck the life out of that good ol' fashioned movie magic previous generations grew up looking up to, a species of gifted animators roamed the great halls of special effects studios near and far. Out of all the long-leggedy beasties, none were as revered and respected as the Hausenusharrius Rayus ‒ better known as Ray Harryhausen to us laymen ‒ whose magnificence and might effectively crowned him King of the Stop-Motion Animators. And it is with one of his tales that we begin this peek at two recent
The Warner Archive Collection brings us two remarkably different ‒ but nevertheless essential ‒ offerings from the inimitable Audrey Hepburn.
In case you missed it, 2017 is already a great year for Audrey Hepburn fans. Twilight Time recently unveiled a gorgeous transfer of Stanley Donen's Two for the Road, wherein cinema's most beloved beauty co-starred with Albert Finney. And now the Warner Archive Collection ‒ who have been unveiling more classic catalogue releases on Blu-ray for film lovers to cherish ‒ presents us with two more for the road in what I can only call an "Audrey Two-fer" (yes, Little Shop of Horrors fans, that may have been a reference). The first title being perhaps the most popular of the
Cursed convents? Possessed prioresses? Severin Films is having nun of that now!
The various subgenres of exploitation filmmaking are both wild and varied, ranging from bizarre tales featuring Bruce Lee wannabes to brutal barrages upon the senses having to do with the Nazis. In addition to Brucesploitation and Nazisploitation, there's also sexploitation, blaxploitation, 'Namsploitation, and even sharksploitation to consider. And they're all a lot more popular than you probably think, too. But hidden away in the darkest recesses of cinema, there's yet another form of exploitation film that could effectively eradicate any remaining scruples of the morbidly inclined. I refer to, of course, the weird and wacky world of Nunsploitation. If you
Some nutty gangsters thought they pulled off the crime of the century...but it’s going to cost them an arm and a leg!
Press release: After a daring jewel heist, a trio of thieves hold up in an old dark house inhabited by a motley bunch of restless ghosts that only want to dispatch their new guests in the most horrible manner possible - that is if they can get to them before the spirits of an unruly group of dismembered corpses from the nearby cemetery! Shot in Philadelphia in 1962, The Dismembered claws its way out of the grave of cinematic obscurity to debut on home video for the very first time courtesy of a new HD Blu-ray from Garagehouse Pictures. The
"I'm going to kill you. In fact, you're already dead" - Rick, spoiling the Season Eight finale.
In which Shawn and Kim react to the Season 7 finale. Shawn: A season full of ups and downs finally came to an end this week and it kinda ended back in the middle. A success if you consider where we were a few weeks ago. The problem with writing 16 times a season is that we've usually covered most of the themes. This finale doesn't leave the Internet aflame with theories about what just happened or what's about to happen. In many ways, I prefer the natural break to end the season but I also see this as the
The best B horror movie Universal Studios never made receives a beautiful makeover from the UCLA Film & Television Archive and The Film Detective.
Sometimes, being in the right place at the right time is all it takes. And when it comes to fairly forgotten B horror pictures from Poverty Row during the 1930s, Frank R. Strayer's underrated gem The Vampire Bat essentially flew down from the skies and into motion picture history just for its impeccable timing alone. Filmed at night on leftover sets from earlier big studio productions and rounding up a fine cast from various other recent horror hits ‒ independent or otherwise ‒ this 1933 chiller from mystery/thriller writer Edward T. Lowe Jr. has all of the heart, humor, and
Canada's strange 'Exorcist' rip-off receives a beautiful restoration thanks to Severin Films.
Apparently, nary a nation capable of manufacturing a motion picture during the 1970s was immune to the phenomenal success of William Friedkin's The Exorcist. Sadly, the otherwise reputable country of Canada was among the list of offenders in the post-Exorcist wave of rip-off cinema that followed once the 1973 blockbuster traveled abroad, exorcising their right to cash-in on the horror subgenre of demonic possession with a tale of their own. Unfortunately, the resulting motion picture, Cathy's Curse lacked most of the enjoyable qualities better-known, less-reputable knock-offs from other countries possessed. To imply Cathy's Curse is slow would be something of
Lucio Fulci's last credited feature feels more like a dry run for Dario Argento's career slump. And is just as appealing.
Within the annals of Italian horror films, there are perhaps no two better-known names than those of Lucio Fulci and Dario Argento. Even today, long after the film industry which had shot both filmmakers to fame (or infamy, if you prefer) had collapsed, the two artists are still held in high regard ‒ despite the inconvenient truths that one of them is dead and the other hasn't made a decent picture since 1990 (sorry, Trauma lovers, but Two Evil Eyes is where I officially draw the line). During their heyday, it was easy to distinguish one director's work from the
"Aside from the season opener, this was the best episode this season." - Kim
In which Kim and Shawn find reasons to root for people again. Kim: So, here we are with one episode to go this season. Here's a shocking statement: aside from the season opener, this was the best episode this season. Do you know why? We saw many of our core group two episodes in a row. We furthered the "war with Negan" storyline, adding at least the guns from Oceanside, while not forgetting about Sasha, Rosita, and Eugene from last week. We got to see Daryl and Jesus in the same frame. We followed up with Maggie and that dick
"Wouldn't watch that episode again. Not even if you paid me." - Kim
In which Shawn and Kim wonder if anything but a bloodbath save this season now? Shawn: I'm not going to have many complaints when they finally bring back my Maggie, Jesus, and Daryl to start the episode and then end with an actually interesting ending and in-between don't torture me with Carl or Father Gabriel. I mean, that's quite a formula for success. It seemed like a shorter episode, which is even better compared to the previous couple. I had a few thoughts along the way. Catching up with The Hilltoppers is not my ideal setting for a whole episode.
"Dumbing down the show just makes it dumb." - Shawn
In which a bad cantaloupe does some irreparable damage. Shawn: As low as the show has gotten the past couple episodes, this was a tick up. A tick because there still was no Negan, Daryl, or Jesus again. I was left feeling a little better about where this episode pointed us. A little. A few random thoughts to try to tie together my feelings as we roll towards the finale. One bad cantaloupe can spoil your day. I've had nights ruined by bad peanuts but I have always had a fear of bad cantaloupe. I wondered why everyone else wasn't
Severin Films presents one of the best bad movies ever, fully restored from original elements discovered ‒ naturally ‒ in the remains of a drive-in.
Had your average drive-in movie theater screen been constructed with a curtain, then Stu Segall's Drive-In Massacre would have definitely called for the pulling of such. That is not to say Drive-In Massacre is a "bad" film: truth be told, it's actually quite awful ‒ though, in this particular instance, its sheer incompetence is actually the film's saving grace! Rather, the jaw-droppingly unbelievable 1976 independent no-budget wonder from Southern California was made on little more than a whim and a prayer once it became all too clear the once-popular form of outdoor motion picture entertainment was coming to an unceremonious