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“Monsters do exist; in us and among us. They walk in our shadow. They can prey on us more as we fear them less. We should know. We created them.” --- George A. Romero

Horrorphile - May 2007

Halloween 2007 poster art
It’s one of the most highly anticipated horror releases in years, but the older horrorphiles are grinding their teeth with mixed emotions. They’ve only announced a North American release date at this stage: August 31st. It’d be kinda cool if Australasian audiences got it released down under on October 31st, y’know to soften the blow of expectation a little …
Michael Myers in Halloween 2007
Michael admires his deadly handiwork
Despite my initial contempt at one of my all-time favourite horror movies being remade, I am now slowly and steadily embracing the inevitable. Perhaps embrace is the wrong word. More like I’ve resigned myself. I’m not really a fan of Rob Zombie’s horror movies, House of 1000 Corpses (2003) and The Devil’s Rejects (2005), although I appreciate the passion he has for the genre and his take-no-prisoners approach.

Michael Myers strangles Laurie Strode
Your neck reminds me of my sister's!
Co-writer and director of the original Halloween (1978), John Carpenter is Consulting Producer on Rob Zombie’s version. Does that mean Carpenter has final approval over any of the scripting changes? What about the casting? What about the music? Tyler Bates is the film’s composer, an accomplished scorer who has down the soundtracks for Dawn of the Dead (2004), Devil’s Rejects, Slither (2006), 300 (2006), as well as the upcoming remake of Romero’s Day of the Dead (arghh! noooo!) and Resident Evil: Extinction (2007). One would assume Carpenter has insisted upon Zombie and Bates using his original theme (it’s used in the trailer …)

Daeg Faerch in Halloween 2007
Daeg Faerch as young Michael
From the stills being released it looks as though many of the original movie’s scenes are being faithfully re-staged, but is this a good thing? Not really. Gus Van Sant’s Psycho (1998) was an utter waste of time and a squandering of Hitchcock’s imagination. Supposedly Rob Zombie’s Halloween is a re-imagining (the trailer spouts that he’s re-inventing a legend); a hybrid remake-cum-prequel, delving into the whys and hows which Carpenter never disclosed, yet apparently had written in his original treatment. Daeg Faerch has been cast as the young Michael Myers, with Zombie’s version having him killing his teenage sister Judith at the age of 10, instead of age 6 in the original movie.
Danielle Harris as Annie, Scout as Laurie and Kristina Klebe as Lynda

Scout Taylor-Compton is playing Laurie Strode, with Malcolm McDowell as Dr. Sam Loomis. Zombie’s wife Sheri Moon plays a character called Deborah Myers (presumably another sister??), while Hanna Hall plays the doomed Judith Myers, Dee Wallace Stone has been cast as Laurie’s mother Cynthia (whom was never seen in the original movie) and Brad Dourif is Sheriff Leigh Brackett.

Malcolm McDowell in Halloween 2007
Malcolm McDowell as Dr. Loomis
Other cult horror actors have been cast in small parts such as Udo Kier, Ken Foree, Danny Trejo, Adrienne Barbeau (once married to Carpenter), Clint Howard, Sybil Danning and Richard Lynch.

Michael Myers in Halloween 2007
Have kitchen knife, will travel
The original tagline of “The night He came home.” has been replaced by “When darkness fell, He arrived.” Hmmm, I’m not sold. And just how much bloodshed will there actually be in Zombie’s version? Carpenter’s original very cleverly avoided any overt bloodletting, pushing the film into a highly respected, yet unusual, league of its own.

Well, the trailer looks okay, the cinematography is good (Dean Cundey’s camerawork in the original is brilliant), the opening murder looks quite different, but possibly just as effective. I guess we’ll just have to wait and see what the movie offers as a whole. I call it baited breath, yet my head still moves side to side …
Micahel Myers in Halloween 2007
Destination Haddonfield, Illinois

Here by thy hallowed trailer:



* images on this page are courtesy of www.bloody-disgusting.com
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cartoon image of a boom operator
Horror movies are sometimes remembered for a stupid line uttered by a victim, often they’re championed because of dialogue spoken with maniacal glee or sardonic sadism by a nasty villain. Other times the line is remembered because of its irony or wit. And then there are the quotes which are etched into our memeories simply because they seemed so unassuming, yet they lingered long enough in our minds that their subtext became highly relevant.

It’s always fun throwing a few ripe words around to see who’ll make the connection. See if you can name the film these quotes are from. And for added kudos, identify the character that says the line.

1. “Dick Laurent is dead.”

2. “Nothing like rain water from the Top-End.”

3. “Got a wonderful defence mechanism. You don’t dare kill it.”

4. “They’re coming to get you Barbara, there’s one of them now!”

5. “I got a thing about chickens.”

6. “Bad luck isn’t brought by broken mirrors, but by broken minds.”

7. “The Power of Christ Compels You.”

8. “I’ve waited a long time for you.”

9. “I like the dark. It’s friendly.”

10. “Why don’t we just wait here for a while … See what happens.”

11. “It’s just torture and murder. No plot, no characters. Very, very realistic. I think it’s what’s next.”

12. “I just don’t get off on funerals, man, they give me the creeps.”

13. “I got this ache … I thought it was for sex, but it’s to tear everything to fucking pieces.”


13 ... My word! You know the film industry can always do with another script supervisor!
9 - 12 ... Reading all those screenplays you downloaded seems to have payed off!
5 - 8 ... There might be a part for you in the local community centre play!
1 - 4 ... Best you stick to singing those few pop song lines you can remember.

Answers can be emailed on request.
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Beyond the Darkness (Buio Omega)

May 29th 2007 05:07
Buio Omega DVD cover art
You want sick? You want twisted? You want perverse? You want unbridled repulsion? Then come no further … One of the Euro meisters of exploitation, the extraordinarily prolific, but now deceased Italian director Joe D’Amato (real name Aristide Massaccesi) delivered a deeply dark exercise in florid exhumation, a neo-gothic descent into necrophilia madness.

It's original title is Buio Omega (which roughly translates as Final Darkness), it was released in America as Buried Alive, and in other regions as Blue Holocaust, but has become most widely known under the title Beyond the Darkness (1979). It’s an acquired horrorphilic taste to say the very least, but it’s a taste that will repel most sensibilities.
Keiran Canter as Frank
You might feel a little prick, darling
What makes it so interesting is that it is arguably one of D’Amato’s most accomplished films. It has striking use of locales, art direction and cinematography, quite solid acting, and some rather ingenious use of special effects makeup/trick photography. Still, be warned, this movie is not for the easily squeamish. Zombies, vampires, demons aside, one can handle the violence in those kinds of movies, because of the supernatural, escapist element. But in Beyond the Darkness the atmosphere and tone is so grimly sustained and palpably real, you can’t help but feel the movie’s dangerous proximity to reality (think Jeffery Dahmer, Ed Gein).
real corpse, or fake corpse?
You might feel a little tug, darling
Frank (Keiran Canter) is an attractive, but creepy looking young man. He lives in a huge mansion in the gorgeous Italian countryside, along with his even creepier and androgynous-looking housekeeper Iris (brilliant performance from Franca Stoppi) while working as a taxidermist in the mansion’s basement. Frank’s fiancé Anna (Cinzia Monreale) is dying in hospital (it appears she is the victim of a voodoo curse). There is nothing the doctors can do. Frank can only watch her die. Now he is quite alone, having been orphaned as a young teenager, although his relationship with Iris only fuels his psychosexual confusion.
Frank gets it on
Don't mind my dead fiance beside us
When Anna dies Frank injects her with a preservative chemical at the funeral parlour. Later he exhumes her body and in one of horror cinema’s more revolting scenes he performs a complete evisceration including sucking out the brain matter and cranial fluid, all shown in nauseating detail. It’s the composure of the scene which is most nightmarish. But of course D’Amato pushes the boundaries just that much further and show’s us Frank chowing down on his beloved’s raw heart.

Beyond the Darkness
Let me loosen your belt Frank you seem a little uptight
After embalming Anna’s corpse Frank sets her upstairs in the master bedroom lying pallid on the bed while he gazes at her in a state of sexual arousal. Iris joins him and in another of the movie’s undeniably errrggh! moments she assists him in getting his rocks off. Yup, this is one fucked-up flick.

Beyond the Darkness
Iris assists in the carnage
Matters go from disgusting to homicidal rather quickly, as Frank’s psychosexual compulsion leads him to murdering attractive young women whom he lures back to the pad. Even Iris gets in on the killing (dismemberment, acid baths, etc), her own deranged libido desperately wanting to maintain the union with her employer. Yes, it’s a dark and disturbing spiral this movie whirls steadily into.

Beyond the Darkness
Frank takes necking to a whole new level!
Beyond the Darkness is pure horror cinema. Banned for many years, partly due to rumours that D’Amato had used a real cadaver (it isn’t, but it’s a most convincing fake). D’Amato’s movie proves some of the most effective horror movies are not just about the set-pieces, but about their context and the tone in which they are executed amidst the bigger picture. Add to it the effectively melodic, but altogether haunting electronic score by Argento stalwarts Goblin and you have a strong foundation supporting a very dark core.

Beyond the Darkness
Frank's homemade facial
If you are looking for an abyss to ease yourself over, Beyond the Darkness is a most suitably precipice. Of the many facets and levels of horror cinema, the handsome revulsion and quiet hysteria of Buio Omega is most unique.

Beyond the Darkness
The kiss of death
For those of you game enough here’s the link to a suitably graphic, yet still restrained, German trailer for the movie under the title Sado - Stoß das Tor zur Hölle auf (Push the Gate to Hell Up):

Beyond the Darkness ... its not work safe
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Zombie Movie

May 28th 2007 00:04
Zombie Movie title header
The other night Orble film nut John Doe and myself indulged in a mini horror fest; we watched five movies back to back … I guess I’m a nut too. The first in the marathon screening was a short Kiwi gem I’d not heard of (and being a New Zealander this somewhat perturbed me); the title is simply Zombie Movie (2005).

Being a short film its never had a theatrical run, but its won a couple of awards (best horror-comedy short film at the Screamfest L.A. International Horror Film Festival and best short film at the New York City Horror Festival), and I can see why; it’s a smart and blackly funny take on the zombie predicament and because the two filmmakers behind it – director, actor and co-writer Ben Stenbeck and writer, cinematographer Michael J. Asquith – were part of Peter Jackson’s WETA special effects team on The Lord of the Rings trilogy, the zombie and gore effects are top notch


[ Click here to read more ]
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Grindhouse double feature movie poster
THIS is what we wanna pay to see!
If you’re a down under or British fan of either Quentin Tarantino or Robert Rodriguez and have been waiting with baited breath for the Grindhouse double feature exploitation experience, prepare to be disappointed.

The movie in its entirety (all 190-odd minutes, which includes the fake trailers) opened in the America last month and did reasonably dismal business. The total cost of Grindhouse was around $60 million, and so far its returned $24 million in box office. As far as the big boys were concerned (executive Weinstein brothers) this was not the dog’s bollocks, it simply wasn’t up to scratch. So to try and re-coup some of their losses they insisted the double feature be split up into two individually released features


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Mother of Tears promotional artwork
Promo art shown at Cannes
The anticipation is heating up, Dario Argento’s third and final installment in his witchcraft trilogy known as "The Three Mothers" is in post-production with an Italian release date set for late October (no Australasian dates as yet). It’s all very exciting as the reports from Cannes indicate this could well be a return to true Argento form; a wild and surreal plot, lots of dark eye candy, and stunningly violent set pieces.

Morian Atias as the Mother of Tears
Mater Lachrymarum
As I reported earlier, some months ago, Argento enlisted two American screenwriters, Jace Anderson and Adam Gierasch, to help him tell the story of the final witch, Mater Lachrymarum (Mother of Tears), played in the movie by the bewitchingly drop-dead gorgeous Moran Atias (Argento has never had a problem casting stunning European women as pure homicidal evil). Anderson and Gierasch were assisted by Walter Fasano (also the movie’s editor) and Simona Simonetti (possibly related to the movie’s veteran composer, Claudio Simonetti, of Goblin fame


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The Church

May 23rd 2007 02:56
The Church DVD cover art
“It was intended that the secret should remain buried in oblivion for thousands of years. If it has come before your eyes, oh unfortunate ones, the terrible is then vivid. Evil in this land has taken the form of monstrous creatures that we call demons.”

Father Gus (Hugh Quarshie) and The Bishop (Feodor Chaliapin)
[The Church (1988) boasts a fabulously evil supernatural premise, which unfortunately ends up as hard and impenetrable as the stone walls of the church itself. From a story by Dario Argento and Franco Ferrini, director and co-screenwriter Michele Soavi, comes his follow-up feature (after Stagefright, 1987). It’s a more elaborate film, but far less cohesive, and ultimately less satisfying in many ways


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Shivers

May 22nd 2007 05:06
Shivers DVD cover art
“Everything is erotic … everything is sexual. You know what I mean? Even old flesh is erotic flesh. Disease is the love of two alien kinds of creatures for each other. Even dying is an act of eroticism. Talking is sexual, breathing is sexual. To even physically exist is sexual.”

Writer/director David Cronenberg’s first commercial feature, Shivers (1975), set the unique tone of many of his films to come: rampant body horror. And despite its production value shortcomings, it’s a remarkably intense and resonant film; a pseudo-intellectual shocker for psycho-sexual deviants


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An Academy Award Oscar statuette
Sure there are many, many different science-fantasy movie awards which include horror movies, but they’re too broad in scope, and there’s too many damn Harry Potter heads at those events these days …

Back at the Academy Awards of 1982 Rick Baker won the first ever Oscar for Best Achievement in Makeup for his still astonishing transformation sequence (and assorted wounds) in An American Werewolf in London (1981), however since then very few horror movies have reaped that bestowment. Stan Winston won for makeup on Terminator 2: Judgment Day and for his animatronic work on Jurassic Park (1993). Winston and, I believe, Ray Harryhausen are the only two special effects technicians on the Hollywood Walk of Stars


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A zombie loses his head in Dawn of the Dead
Horror movies aren’t for sensitive souls. Those with weak hearts and squeamish stomachs should be wary of the intense subject matter and suspense techniques employed in particular horror movies. But have you watched a movie that actually made you feel queasy, really want to throw up?

I was arranging a screening of Star Wars for next week with a good mate of mine (it’s the 30th anniversary), and suggested we make it a double feature, watch a horror flick as well. He announced that he’s actually not very fond of horror movies. I called him a pussy. He laughed. So I joked and added, “So I guess there’s no chance of watching the notorious Italian jungle gorefest Cannibal Holocaust then?” He replied, “Actually that sounds kinda fun. I just don’t like the ones where a young girl is walking through a dark house and there’s scary music playing


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POSTER GALLERY 1

May 17th 2007 01:50
I’m a huge fan of stylish and imaginative graphic art; the clever use of imagery taken from the movie (or in some cases shot specifically for the poster) and manipulated into something striking, even different, the inventive use of lettering and fonts, and not forgetting the indelible tagline.

Here is the first selection of movie posters (in an ongoing gallery series) that for me conjure up the high art or deep trash essence of the movie itself, or in some way capture a potent element of terror or horror, otherwise missing or less obvious in the actual movie


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From Dusk Till Dawn

May 16th 2007 07:08
From Dusk Till Dawn DVD cover art
What a pairing this movie promised when it was released back in 1996! “From Robert Rodriguez … From Quentin Tarantino … From Dusk Till Dawn.” And it certainly delivered … in spades. This wild hybrid movie threw all caution to the wind and chowed down on exploitation genre moviemaking in a full tilt boogie!

One third of special effects team KNB EFX Group, Robert Kurtzmann, concocted the outrageous, but highly entertaining story, Tarantino provided the screenplay: the sociopathic Gecko brothers, Seth (George Clooney) and Richard (Quentin Tarantino) arrive at a motel with a hostage in the boot of their dust-laden muscle car. Seth is the “brains”, Richie is the “loose unit”, but they’re both wild cards. They’re on the run, having made a successful heist, although they killed several people in the process. Now they have to get themselves across the border into Mexico to rendezvous with their man Carlos


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A machete
While horror’s legendary monsters generally don’t carry a weapon; their sheer brute strength or supernatural powers enable them to menace and terrorise without the aid of a deadly instrument, the really nasty villains, those heinous killers who love to maim and inflict grievous bodily harm to their victims, sometimes killing them suddenly and viciously, they usually carry some kind of weapon, or they’ll keep their eyes peeled for a desired tool or implement.

Freddy Krueger and that glove
The infamous four who always have a particular weapon at hand would have to be Jason Voorhees, Freddy Krueger, Michael Myers and Leatherface


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In Cold Blood

May 11th 2007 01:24
In Cold Blood DVD cover artwork
Not strictly a horror movie, but with a horror undertone, and culminating in a scene of chilling abject horror, In Cold Blood (1967) was a landmark movie in almost every way. It was a tour-de-force of direction and acting, cinematography and editing, screenplay and score.

The actual Clutter family
Based on the book of the same name written by Truman Capote and adapted and directed for the screen by Richard Brooks In Cold Blood details the senseless murdering of an entire family, follows the fugitive killers on the run, their eventual capture and finally their State execution. It is based on real events which occurred in Kansas in 1959, and Capote’s book became a massive bestseller. The story of how he befriended one of the killers while he was on Death Row to enable him to extract the details of their crimes is portrayed in the recent movie Capote. Curiously, In Cold Blood features a small role of a reporter who visits the incarcerated killers, obviously modeled on Capote (although looks nothing like the real Truman


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Arriflex 35mm motion picture camera
A simple enough question, but an important one: What are the primary elements within the production of a horror movie that lift it from being an okay flick to a good flick, and a good flick to a great movie?

Like all cinephiles, horrorphiles have differing cinematic sensibilities, but we’ll pretty much agree on a handful of elements that need to be adhered to if a movie is to be respected and admired. Yes, filmmakers can break the rules and conventions, but it must be done with an adept and skillful application, because there’s a fine line between pleasure and pain, and if you lean too far into one area you can piss an audience off, and if you lean too far the other way, you can alienate them (strange, but true


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A Canon electric typewriter ... last of its kind
I do love memorable dialogue; screenwriter’s lines that shimmer and resonant long after the images have become hazy. Sometimes dialogue is enjoyable because it’s so ripe and juicy, other times it ricochets around because it’s so damn funny (many of my faves are streaked with irony). Some lines are absurdly clever, while others plain and simple as the night sum up the character or mood of the movie so damn succinctly.

Many of the following lines of dialogue may not appear that interesting taken out of context, but hopefully you will have seen the movie and know exactly the scene I’m talking about, that magical moment just prior to something scary or horrific happening, or perhaps moments after the mayhem has occurred


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Re-Animator

May 8th 2007 04:33
Re-Animator movie poster
This movie holds a special place in the dark deep trash hearts of most True Believin’ horrorphiles. Re-Animator (1985) is one of those rare and extreme beasts; too graphic and exploitative for most tastes, too severed tongue in cheek for others, and too B-movie for the horror snobs.

Stuart Gordon hit the mother lode when he very loosely adapted novelist H. P. Lovecraft’s tale of mad scientist Herbert West and his re-agent intravenous potion. Like Sam Raimi’s The Evil Dead (1982) before him it immediately polarised audiences and sent shockwaves of macabre delight through the hardened horror circles


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Scream

May 7th 2007 04:13
Scream movie poster
I’ve never been a big fan of Wes Craven’s movies. Last House on the Left (1972) was too depressing and aesthetically displeasing. The Hills Have Eyes (1977) was effective, but dare I say it, I prefer the remake. A Nightmare on Elm Street (1984) is easily his best work.

When Craven made Scream (1996), originally titled Scary Movie, the buzz on the horror circuit was immense. Kevin Williamson’s screenplay toyed with the stalk'n'slash genre like a mongoose toys with a snake. Scream boasted more horror movie references and sly in-jokes than a horror convention. But in the ten years since it was released the movie hasn’t dated all that well


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Psycho

May 4th 2007 03:47
Psycho original movie poster
“We all go a little mad sometimes …”

Arguably Hitchcock’s most effective movie, Psycho (1960) shocked audiences around the world when it was first released. It dared show things mainstream folk weren’t prepared for. Ordinary cinema-goers ran screaming up the aisles, fainting in the foyer, but most importantly, spreading the word! In New Jersey drive-ins there were car queues stretching three miles up the road


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The Blair Witch Project

May 3rd 2007 03:48
The Blair Witch Project movie poster
A film that has been championed and derided ever since it was first released. A movie’s success and criticisms built from an enormously effective hype machine. Two filmmakers who decided upon a very clever, yet absurdly simple, concept for a horror movie: a relatively short, super-low-budget flick about three filmmakers making a documentary about a witch, who vanish in the woods. A year later the footage is found.

The Blair Witch Project (1999) directed by Daniel Myrick and Eduardo Sánchez held the Guinness Book of Records for budget to box office ratio (for a mainstream film): The film cost $US22,000 and made $US240.5 million (that’s approximately eleven grand for every dollar spent)!! It held the spot of highest grossing independent movie of all time for several years


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The Final Conflict

May 2nd 2007 03:15
The Final Conflict movie poster
“And God shall wipe away all tears from their eyes; and there will be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away.” (Revelation XXI : 4)

In the third Omen film, The Final Conflict (1981), we have Damien in his early thirties now controlling his uncle’s massive multi-national corporation Thorn Industries. Damien is played by Kiwi actor Sam Neill, but the performance lacks any menace whatsoever. Harvey Stephens in The Omen movie commanded a more chilling presence


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Damien: Omen II

May 1st 2007 04:19
Damien: Omen II movie poster
“For such are false apostles, deceitful workers, transforming themselves into the apostles of Christ.” (11 Cor. 11:13)

Seven years have passed and Damien Thorn (Jonathon Scott-Taylor) is now a 13 year old cadet at a military school near Chicago, living with his dead father’s brother Richard Thorn (William Holden), his wife Ann (Lee Grant) and his cousin Mark (Lucas Donat


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