Thirty years is a lifetime, but in film it’s just one more marker along the celluloid highway. A Nightmare on Elm Street 3: Dream Warriors debuted on this date in 1987, and certainly the horror world was ready: Friday the 13th was six films deep, and the Halloween franchise was one year away from Michael Myers’ long-awaited return).
Sometimes it’s hard to put a fresh coat of paint on an old house. The colors can bleed through no matter how many new layers are added, giving the house a look of desperation from a block away. But sometimes the right paint is used, the restoration is done with love and affection, and the new owners actually care about their surroundings. Such is the case with The Night Stalker (1972), the ABC TV movie that took the vampire out of his crumbling castle and transported him to the seedier side of the modern day Las Vegas strip; and in doing so created one of the most endearingly reluctant monster hunters of all time, Carl Kolchak.
Give it up for Juan Piquer Simon. Not only did the Spanish director bestow upon the horror world one of the craziest and memorable slashers of all time, Pieces (1983), he also found it within himself to give us Slugs (1988). Not quite as crazy as Pieces (but almost as good), Slugs trades heavily in the J.P. Simon business: a whole lot of weird, a nuclear ton of energy, and gore galore. If you only see one badly dubbed mollusk monster movie, filled with heavy pettin’ and (literally) explosive action, you would be wise to choose Slugs.
We’ve all been in that weird, unnerving situation where it seems like everyone in the room is completely different than you. This seems to happen much more these days in the divisive landscape that we currently experience in America. Get Out takes the premise of a stranger in a strange world, adds in some pertinent social commentary about race and racism, and mixes it up with an interesting horror angle that is both disturbing and darkly humorous.
Daily Dead is proud to debut the music video for “Ratimis,” the title track from the full-length album by electronic artist Brahm, available beginning today from Swedish Columbia Records. Directed by cult filmmaker Damon Packard, a lifelong independent director known for movies like Reflections of Evil and Foxfur, the “Ratimis” video is comprised of clips from a number of horror films all set to the pulsing electronic score of Brahm's music.
Out today in select theaters and on VOD is the new found footage horror film VooDoo, and for our latest Q&A feature, we caught up with the movie's writer and direct, Tom Costabile, to discuss the guerilla-style approach to VooDoo, shooting the "Hell" scenes, and much more.
Two brothers make a pitstop in a town teeming with cannibals in Chris von Hoffmann's Drifter, and for our latest Q&A feature, we caught up with Hoffmann to discuss the making of his feature film debut.
Writer/director Eric England has made a name for himself in the horror genre by bending familiar genres into new and unique shapes, whether it's his debut feature Madison County, a take on the slasher movie mixed with ’70s survival horror, or 2013's Contracted, his version of a body horror film and more (although to say exactly what would spoil one of that movie's best surprises). England's fourth feature, Get the Girl, continues this tradition of genre-bending by mashing up a dark comedy, heist movie, crime thriller, and romance into one slick, sharp package.
You’d be hard-pressed to find anyone more attractive to an anglophile. With gaunt, angular features and a proper aristocratic accent, Peter Cushing could just as easily sell you a first-edition Charles Dickens novel as he could read a line of dialogue. Inserting those proper English characteristics into tales of bloodthirsty creatures is part of what makes Hammer films so entertaining. In the case of Val Guest’s 1957 creature feature, The Abominable Snowman, those admirable characteristics are also integral parts of the plot.
Out of all the eclectic characters who inhabit the universe of Mike Mignola's Hellboy universe, the Visitor, an alien assassin who spared the demon's life is perhaps one of the most intriguing. Thankfully, Dark Horse's new comic book series The Visitor: How and Why He Stayed will shed more light on the mysterious alien, and with the first issue coming out tomorrow, we caught up with Chris Roberson (iZombie) to discuss collaborating with Mike Mignola on the new Hellboy series.
I’ve said this before and I’ll say it again: Seed of Chucky is the best Child’s Play movie by John Waters that he never directed.
I cherish a good giallo film. For those unfamiliar with this sub-genre, it’s like a slasher, but with an emphasis on police procedure and a dash of Italian Vogue. (Not to mention the ubiquitous gloved killer.) Starting in the mid ‘60s, they revved up the violence, leading to the watershed of Twitch of the Death Nerve (1971), where Mario Bava singlehandedly invented the “body count” that transferred across the water and led us to Haddonfield and Camp Crystal Lake.
But some gialli still let their freak flags fly, bringing us to The Night Evelyn Came Out of the Grave (1971), a film that blends bodies, bodices, castles, the supernatural, possible gas lighting, nudity, and triple crosses into an overflowing bath of ideas that is a lot of fun to splash around in. Not all the water stays in the tub, but there’s still plenty enough for a good soak.
Director Gore Verbinski has crafted quite an interesting career. After striking genre gold with the remake of the Japanese horror film Ringu, orchestrating one of Disney’s most successful franchises with Pirates of the Caribbean, and continuing his collaboration with Johnny Depp on the animated film Rango and the reboot of The Lone Ranger, Verbinski was poised to do whatever he wanted to do with his next film, and it doesn’t take long to realize this quality in the director’s new film, A Cure for Wellness.
Easily one of the more thought-provoking horror movies to get a wide release in some time, Gore Verbinski’s A Cure for Wellness arrives in theaters this weekend courtesy of 20th Century Fox. Not one to shy away from an ambitious directorial challenge, during our interview, Verbinski discussed bringing the unknown back to big screen horror, what fueled his desire to tackle a wholly unique story after years of bringing popular properties to life, and how A Cure for Wellness is his own twisted version of a fairy tale.
Hello, readers! Welcome back for the another installment of one our featured columns here at Daily Dead, Deadly Dialogue: A Conversation on Cinema, in which we catch up with notable folks—both in front of and behind the camera—from the horror and sci-fi genres, to discuss the films that inspired them to become the artists they are today.