Friday, December 28, 2012

Interview with TCM 3D director

Check out the link below for an interview with the new TCM 3D director.  It actually got me a little more excited to see it.  I like the bit where he referenced Leatherface's leg wound from the original.  There has been a lot of negative buzz about this one from the typical lot of internet "smartest man in the room" fanboy whiners chumps, but I'm not letting that stop my hype for a fraction of a second.  I cannot wait for next Friday to roll around, hopefully I can get a small group of ghouls to join me for some 3D chainsaw roaring action.

I love that poster :).

Monday, December 24, 2012

The Burning on blu ray - Scream Factory!

Some news on The Burning blu ray, looks like Scream Factory is set to produce it.  Hopefully it will be of the same quality as their other fine releases with some nice bonus material and art.  No distribution date, but I'm excited none the less.

Leslie Vernon toy - Behind the Mask

I loved Behind the Mask, and wish the best to their "jumpstart" campaign for the sequel.  It boggles my mind to think how much other crap gets out there yet a sequel to a cult hit like Behind the Mask can't find financial support.

Check out the new Leslie Vernon toy, just in time for Christmas:

Tuesday, December 18, 2012

Cropsy Christmas Cookie

Hey ghouls, hope all you sewer sucking urchins are having a splendid holiday season.  I got a Cropsy Christmas cookie the other day from a great fan which tickled me silly, and like a good kindergardener I thought I'd share before devouring it post haste. 

  Upcoming movie reviews should include the rare 80's Christmas slasher gem Blood Beat!  I just got the VHS rip in the mail and cannot wait to unwrap it for Chrismas time!  
If anybody was following my Facebook page I didn't suddenly decide to "unfriend" or block you, just thought I would take it off line for a bit until I have more material for the fanzine.  That's right, next year another fantabulous fanzine will hit the rack at your local curios shop.  This year was kind of hectic with the crypt move and other things so it took a brief hiatus, but by the next fall season expect another issue of the slasher fanzine that refuses to die, where the bodycount will never end, tentavely titled CROPSY'S CRYPT: CROPSY LIVES!

Wednesday, December 5, 2012

The Collection - first impression review

The Collection
The Collection is a mad dash of gore, brutality, and grotesquery; a mish mash of Saw-esque traps and stalk and slash mayhem through a hotel funhouse of horror. It’s a movie that panders to the sensibilities of gorehounds and flesh freaks while playing ode to the slasher sequels of yesteryear. Like the slasher sequels that dominated the VHS shelves during the 80’s there is a sense of one up-ism with The Collection, where everything seems badder and radder than its predecessor. The bodycount is bigger, the traps are bolder, and the “Collector” is as fiendish as ever, so shut down that bothersome cerebral cortex for a while, plop a cold beer in your hand, and get ready for some finger licking fun with The Collection.
The movie kicks off with some quick news footage detailing how the Collector is terrorizing the city, kidnapping unsuspecting citizens without any pattern or limits to his monstrous fetish, causing city wide panic and an irrational fear of traveling luggage. The Collector is apparently on his “A” game, so he decides to stage a night club attack with a barrage of exotic traps including running a hay bailer over a crowd of people and crushing a cage full of sappy party people with an industrial press. This first blood bath really sets the stage for the kind of crazy carnage to come. It’s silly and over -the-top but it’s just what the ghouls who are watching this movie are looking for. The Collection isn’t trying to make a point out of anything but entertaining the viewer with a sick, brutal ass horror film and it makes its intentions known at nearly every turn. From decapitated dogs, to grotesquely sown together bodies this movie really tries playing every card it has to get the gag reflex. Heck it even has zombies in it.

The anti-hero from the original, Arkin, is back and this one really solidifies his anti-hero, tough as nails final guy status. I really enjoyed the way they built up the rivalry between him and the “Collector” and the exponentially growing animosity they share for each other all the way to the end. It isn’t long before Arkin is back on the scene licking his wounds from the first movie in a hospital bed before he has mercenaries holding guns to his head, forcing him to lead the mutts to the Collector’s hideout in search of a missing rich person’s daughter. The Collection really isn’t concerned with table setting as it is with getting to the gore, bless its black heart. Arkin leads them to the out skirts of town explaining how he ingeniously tracked the Collector’s movements after getting captured by marking his arm for distance and the turns. The hotel is aptly named “Hotel Argento”, a name horror affectiandos will recognize immediately, and like the famous director’s giallo films the hotel is lit with a combination of atmospheric green, red, and black lights, giving it a funhouse kind of feel where some morbid mechanization lurks around every corner.

Most of the film takes place inside the abandoned hotel “where even rats avoid shitting”, with the cast evading one trap after another while trying to locate their missing party girl. Traps rank from terrifying to preposterous to out right impossible, but that doesn’t really hurt the proceedings as much as it is a reminder to relax, tap a sip, and not over think the blood bath stoopid. The kills come quickly; the film leaves little room for breather from one set piece to the next, and the fate of many of the “collected” are revealed. It appears that the Collector fancies himself as a bit of an artist, creating macabre displays of distorted flesh by sewing dead body parts back together and displaying them from behind a pristine glass case, and it’s apparent he’s been running this operation for a while. He must use a lot of Windex because those aquariums full of body parts are crystal clear, and dare I say kind of beautiful in a twisted way. While they do reveal a little more about the Collector during this round the film makers are careful to maintain an aura of mystery about him, which is great. Deconstructing slasher villains is so faux pas.

The performances are wide ranging and kind of what you’d expect from a high polished b-movie. Motivations are sometimes a bit sticky, and the characters caught in the Collector’s maze make some moronic moves, but again that’s par for the course. If these mercenaries were really that smart they wouldn’t have been so eager to run into the Collector’s hotel of horror with little to no plan other than “kick ass, find the girl”. This crew was born to be meat for the proverbial grinder. There was one plot hole I noted, where Atkin’s wife transforms from the frigid soul sucking hag from the first movie to a caring, loving spouse. They never mention the loan sharks coming after her which seemed to be the main plot driver of the original, and Atkin’s daughter is completely absent, but that really has little impact on the plot in this one.

I’ve heard that if this one does well in the theater there is a strong possibility for a third installment, which I would absolutely love to see. The ending could wrap things up nicely if they stop here, but they left themselves enough wiggle room to make a few more sequels as well. I would have to say that this is one of the best slashers I have ever seen in the theater, demonstrating a tenacity to entertain and cater to my gorehound tastes with a pinch of original ideas and concepts that seem to work well with this franchise builder, all good stuff. So I implore for everybody to check this one out, especially if you liked the original. I don’t think you’ll be disappointed, and hopefully someday I will be sitting here reviewing “The Collected” in the near future.

Monday, December 3, 2012

Silent Night, Deadly Night review

After watching Silent Night, Deadly Night last Friday for the fiftieth time I’ve come once again to the conclusion that it is a film that exists in a bizarre parallel dimension somewhat like our own, but with enough minute differences to know that it just isn’t Kansas anymore Toto. People sing Christmas tunes that I’ve never heard before, or repeat weird Christmas rituals I’ve never heard of or seen. It’s the kind of place where functional bows and arrows are sold in toy stores and people feel perfectly comfortable leaving their kids alone with catatonic psychopaths. In light of these facts I can’t help but give the movie a little leeway; after all, tis the season and all that muck.
At the core of the story is the tragic tale of Billy, who witnesses his mother and father brutally murdered by a man dressed as Santa on Christmas Eve, or maybe it was the real Santa, the movie really isn’t clear about that and in this dimension, who knows. His crazy ass grandpa actually predicts the event giving Billy adequate enough proof that Santa is really an evil bastard that punishes naughty people on Christmas. To the surprise of nobody but a few bitter nuns Billy develops a pathological fear of Santa Claus. On top of being orphaned by Saint Nick poor Billy suffers from mental and psychological abuse at the orphanage he is assigned to by the state under the harsh rule of Mother Superior. This will not end well for Billy.

Speaking of Mother Superior, what a bull faced cunt of a woman. I reserve the “c” word for special cases because I know how upset it makes people, but if anyone deserved the label Mother Superior “pain in the ass” is it. The way she deals with children is the way my old drill instructor dealt with new trainees, except maybe he was a little less abrasive. Mother Superior is the villain of the movie, and for all her self righteous bullshit and callous treatment of the orphans she never gets her just reward. That really breaks my heart every time I watch this movie. Spoiler alert folks, Billy does not get his revenge.

Billy gets a job at the local toy store where he ends up working for an alcoholic boss and jerky supervisor, but everything is as copasetic as it can be until the Christmas season. And because pretty much everybody is an asshole to some degree in this world Billy soon gets roped in to being the store Santa Claus. I didn’t think this was so strange or mean to Billy until the manager actually reveals that he knew about the nature of his parent’s deaths. So you knew that his parents were slayed by a man dressed as Santa but you still make him dress as Santa for your crummy store? These people are just asking for it, and by “it” I mean a hammer to the forehead, or maybe just getting strangled to death with Christmas lights, or disemboweled with a utility knife, or even shot through the chest with an arrow.

After heaps of tragedy is reigned down on Billy’s head like visions of sugar plumbs, he totally snaps and starts killing everybody for being “naughty”, although his rules for naughtiness are rather loose and free wheeling. He kills one guy for looking for his girlfriend. He impales some broad on antlers for answering her door without a top on, not to mention a cop and pretty much anyone that crosses his path that isn’t a child. Even one snowman totally minding his own snowman business gets hastily decapitated. Billy really goes berserk.

In the end Billy doesn’t quite get the revenge he was looking for, but what a ride. Silent Night, Deadly Night might have some serious anti-religious message buried under all the deep fried cheese but I highly doubt it. If anything it was just table setting the tragedy of a boy who hated Christmas, or really I think Christmas hated him. Recently I discovered that there is a kind of anti-Santa Claus type figure recognized by many religions and Christmas traditions around the world, a Santa Claus that punishes naughty children, but I think that whatever name they gave that deity should be swapped for Billy Chapman. He’s really what I think of when I think of Christmas punishment….it is good…it is necessary….so maybe Billy was really on to something the rest of Western civilization was missing out on. Billy really was on the cutting edge of Christmas tradition, haha, get it, cutting edge, he’s a slasher, hehehe, hahaha, and ho,ho,ho? Anyways Silent Night, Deadly Night should be a staple in your holiday movie diet, more so than that lame ass Charlie Brown, he’s naaaauughtyyyy…..

Monday, November 12, 2012

Happy Veteran's Day!

This vet will be staying home, watching The Prowler.

Friday, November 9, 2012

Silent Night, Deadly Night - remake trailer

Murderous musing - Black Christmas

Black Christmas is my go-to movie for the holiday feel good hibbidy jibbidies and holy jollies.  I love Black Christmas, from the set design to the characters, to the 70’s fashion, to Barb talking about turtles screwing; it never fails to capture my attention and imagination.  It’s a shame that so many people forget about Bob Clark’s black holiday flick in favor of Christmas Story, but if I had my way it’d play 24 hours a day like how they play Christmas Story on cable around that most wonderful time of the year.  Black Christmas is up there in the higher echelons of slasherdom with the likes of Psycho and Halloween….trooth!  So pull up a warm seat next to the funeral pyre as we talk about Black Christmas for a bit.

Black Christmas is the anti-Christmas flick.  At its core it’s a film about communication deteriorating and relationships breaking down to the point of being irreparable.  Right from the beginning we get Barb talking to her mother on the phone and having a difficult time with it.  She asks the operator to clear up the signal, then when she can hear clearly she’s shocked and disappointed to learn her mother has canceled Christmas plans with her to spend it with her boyfriend.  Already we get the sense that this is not going to be a warm and cuddly family Christmas flick; immediately after we get the first phone call from “Billy”, the film’s main antagonist, who screams obscenities and gibberish at the woman of the sorority house, again calling attention to the idea of communication breaking down.  Throughout the movie the motif of mixed communication and unraveling relationships is revisited time and time again, most notably with the main protagonist Jess and her boyfriend Peter.  During the film they quibble back and forth about Jess’s decision to abort their unplanned pregnancy.  As they argue they drive each other further away from one another, to the point where Jess no longer trusts Peter and suspects him as the murderer of her sorority sisters late in the film.       

The crux of their argument, about whether or not Jess should get an abortion, represents a different and rather ironic motif to a film about Christmas.  If Christmas is the celebration of the birth of baby Jesus, then Black Christmas is an examination of the emotional and psychological fallout from the death of a child on Christmas.  Jess’s assertive decision to abort the baby without consulting her boyfriend Peter is something that unhinges him and deeply distresses him throughout the movie, leading him to act in a suspicious manner.  If the birth of Jesus brings families together, then the death of a baby during the Christmas holiday does the exact opposite, and pushes families apart to the point of not trusting each other, and even suspecting each other of murder.  Outside of the sorority house a little girl is found murdered in the snow, launching a massive man hunt for the killer.  We have another example of how a child’s death during the Christmas season disrupts the entire community, causing them to look into their own homes or neighbor’s homes for the killer.  The ironic bit here is that while the manhunt proceeds outside of the sorority, the real danger lurks inside with the girls. 

All of these aspects of the film, the deteriorating relationships, abortion during the holiday season, the death of a child, mass miscommunication; all stand in profane juxtaposition to the sanctity of Christmas.  After the first kill of the film there is a shot of the victim’s plastic smothered face that slowly dissolves to reveal a giant church, the background music is a choir singing Christmas tunes.  Later Christmas carolers sing to a house while a woman inside is stabbed to death with an ornament, setting graphic violence along the back drop of Christmas cheer.  Clearly underlining the movie is an attack on Christian iconography and the sanctity of the holiday of Christmas.

And we can’t get through any honest evaluation of Black Christmas without identifying the fact that most; if not all the victims in the film are sexually active, independent, assertive women who do things that displease their male counterparts.  The first victim’s father seems disappointed in her and how she has been spending her time in college, Barb earns his displeasure by being intoxicated, and Jess is the focus of Peter’s rage over the abortion issue.  Even the nerdy girl gets on her boyfriend’s bad side by agreeing to go on a ski trip with her friends instead of spending the winter break with him.  Based on these facts it could be surmised that one motif of Black Christmas is really male aggression towards female liberation.

In the end Black Christmas boils down to a claustrophobic tale of sorority sisters being stalked and taunted by an unseen killer.  Even without considering everything else in the story, the film works as a taut thriller and template maker for stalk and slash films for years to come.  “Billy” may not be as enigmatic of a slasher as Freddy or Jason, but for my dough the idea of Billy is much more terrifying than what Jason and Freddy have been lampooned to be through the years.  Billy still remains the seminal unknown killer, the crazy at the other end of the phone, the home intruder that is never discovered, the unseen horror in the attic, and that idea fills me with oodles of Black Christmas cheer.     

Thursday, November 8, 2012

Murderous musings about Maniac (1980)

Maniac is a gritty, surreal, and often disturbing plunge into the mind of a serial killer loose on the streets of NYC; a modernized Jack the Ripper holding the city in a grip of terror.  I’m sure if you roamed into Cropsy’s Crypt you at least have a passing familiarity with the film, so I was just going to muse over the movie in kind of a stream of conscious kind of way, as if we were discussing this like beer buddies while digging a fresh grave.  The crypt is rather informal like that.   

Frank Zito, the movies protagonist and maniac, wears a casual demeanor, a disguise for the formality of every day living, but underneath the fa├žade lays a hurt child perpetually suffering from the mental anguish of abuse at the hands of his mother.  Although Frank’s mother is deceased he still hears her voice and bears the mental issues associated with traumatic child abuse.  If we were to compare Norman Bates and Frank Zito, I’d say Frank was certainly the spiritual successor of Norman with more severe and apparent abuse issues living in a more urban setting.  Norman developed a loving attachment to his mother tempered by her strict authoritarian rule of the house hold, where as with Frank Zito I get the sense that his mother was more active in her role of abusing the boy during his youth, something that stiffened his natural mental progression into adulthood (reflected by the moments in the film where he is playing with a toy gun, or hugging a teddy bear).  Both Norman and Frank have a child like quality to them, where they act boyish, and are still under the specter wing of their respected mothers long after they’ve departed this world.  I feel like these similarities are something that goes beyond mere coincidence; as if the director of Maniac, William Lustig, wanted to bring the story of Psycho into a modern setting, with a more severe psychosis.  And of course both Norman and Frank owe some of their personality quirks to infamous mama’s boy Ed Gein.

However I believe that Frank’s psychosis slightly differs from Norman’s in some discrete ways.  The biggest difference between Frank and Norman, from what I can ascertain from Maniac, is that Frank wants to own women and possess them so they can never leave him.  Norman merely wanted to be as close to his mother as possible, or rather, become so enraptured with the thought of his mother that her spirit possesses him.  Frank and Norman both suffer separation anxiety, they have a fear of people leaving them, but in Norman’s case it is much more fixated on his mother.  When he kills it is because he perceives his mother to be jealous of the would-be victim; thus the murder is an act of removing temptation from Norman.  However with Frank he never lets his mother’s personality possess him in the way Norman lets his mother’s persona possess him.  She’s always nipping at the fringes of his conscious mind, where he can have conversations with himself as if it were his mother speaking directly to him, but Frank never switches roles between mother and son and so forth.   Frank clearly knows his mother is dead (as demonstrated by him inviting a date to her grave to pay respects), where Norman doesn’t seem to be aware of his own mother’s passing.  This also explains why Norman does not feel alone in his hotel, because he believes he always has the company of his mother.  Frank’s life however is dominated by loneliness.  To combat these feelings of solitude Frank seeks to possess and surround himself with beautiful women, as if to fill the void in his life left by his mother’s passing.  And because his mother was so domineering and oppressive he wishes to seek out women that he can dominate and control; thus fabricating the illusion that his mannequins are in fact real women and the scalps that he extracts from his victims carries their spirits, endowing his plastic people with the personality of the recently deceased.  In this way he also reduces women to being mere objects, like dolls. 

Unlike Norman, Frank often uses his victims to redirect the anger and hatred he felt for his biological mother.  Frank has a love/hate relationship with his mother, where he seems to have loved and cherished her memory but hated her gender and loathed her profession as a hooker.  Norman seemed to fear women as being evil, but Frank outright hates all women and would like to see them possessed or utterly destroyed.  Frank’s approach to women is much more volatile than Norman’s in this regard.
I also believe Frank viewed killing as more of an art form.  Norman was instantly ashamed of his act of murder, covering it up as quickly as possible, carefully cleaning the shower immediately after that famous scene.  Some of that regret exists with Frank, where he bemoans his inability to control his murderous impulse, as if he was burdened with this horrible task of which he has no escape from, but Frank also relishes the “art” he makes out of his victims.  He seems to hate that his impulse is to kill, often apologizing to his victims moments after life has left them, but is proud of his gallery of the macabre in his cramped NYC apartment, which seems to be his only source of joy in the film outside of dating the photographer.  His appreciation and attitude towards art gives me the sense that Frank views himself as a climbing socialite and struggling artist.  Later in Maniac when he begins to fall in with the artsy fartsy crowd I can’t help but amuse myself with the irony of this serial killer talking about his approach to art to people who have no clue about the real “art” Frank is creating, but it’s obvious that he takes himself very seriously in this respect. 

The best moments in the movie for me aren’t the head explosions or graphic violence, it’s whenever Frank is dealing with normal people or portraying himself as a n art connoisseur interested with high fashion and hip pop culture.  The irony cuts deep to the bone and its fun seeing Frank acting all smooth, and even a bit goofy, when we know he’s absolutely out of his banana tree.  

The ending of the movie is oft criticized for the way the police detectives simply leave the apartment with Frank’s body laying in a bloody heap on his bed, but I think it’s another hallucinatory illusion of Frank, much like the mannequins that come alive to extract revenge on him.  I believe the entire end sequence is Frank shedding whatever sanity he had left, an act resulting in his surreal fantasy and cold reality colliding together and coalescing to the point that neither is distinguishable from the other for Frank or the viewer.  The end is nonsensical, but it was meant to be as loony as Frank’s own outlook on the nature of reality, so people shouldn’t read much into why the detectives would walk out on Frank without checking his pulse or anything and just scratch it up to one more chance for a jump scare.       


New Maniac trailer/poster

The new Aja produced Maniac flick actually looks slick, sick, and disturbing to the hilt, which is of course what we like here at the crypt of the neverending body count.  I enjoyed P2 and found it sufficiently suspenseful and engaging, this looks like the director really stepped up his game from there for the new Maniac.  I love the old one; certainly one of the most insane and disturbing movies ever committed to celluloid , and this new one looks like it's going for that same gusto. 

Sunday, November 4, 2012

Black Christmas - from Fright-Rags

Fright-Rags has pretty much dominated my t-shirt selection for the better part of a few years now, leaving my wallet cobwebbed, cold, and lifeless, and I couldn't thank them more.  Check out their new Black X-Mas shirt, one of the best artistic representations of the immortal Black Christmas I've ever oggled.  I hope someone has one of these under the tree for me this Santa slay day:

Fright-Rags Black Christmas tease 


And in unrelated news I hope everyone had or is having a scary Hallow's Eve!  With the crypt move complete I am happy to say that this year should see another release of Cropsy's Crypt fanzine with all new articles and shitty art by yours truly.  Hopefully I can stuff enough slasher goodness into this next jam to sate all your annual ghoulish desires.  Until next time...stay scared!   

Wednesday, October 31, 2012

Happy Halloween!

Zero more days to Halloween, Halloween, Halloween....consider me a Season of the Witch fan.  More coverage and musings about this bastard child of the Halloween franchise to come...

Friday, October 12, 2012

Mondo Halloween posters

Friday, October 5, 2012

Michael Myers learns to drive...

Wednesday, October 3, 2012

The Burning 2?

Thursday, September 20, 2012


High in the snow capped mountains of the Canadian wilderness lives an old Indian legend frozen in time; the legend of the viscous man eating Wendigo.  These cannibalistic flesh eating fiends of terrible strength and disposition were said to have a keeper, usually female, that sated the giant monster with blood sacrifice and protected the tribe from its ravenous hunger for human flesh.  Wendigos were said to exist in places of great isolation, up in the highest mountain peaks, where they’d be safe from the prying curiosity of wayward travelers.  That sanctity is about to be broken….

Ghostkeeper is a rare frozen treat; a Canadian snowbound slasher that borrows equal parts from The Shining and Psycho and maybe even a dash of Humongous on a basement budget.  The movie lumbers forward like a yak in waist high snow, building atmosphere and dread like a slowly rolling snowball gaining mass; but sometimes the snow melts and the suspense withers.  Hardly a crowd pleasing creature feature or bodycount flick, the movie spends a gob of time examining the three main characters relationships, where they mull over ideas of cheating on each other and sleepily analyze their own fears and aspirations while being snowed in on New Years at an abandoned hotel deep in the wintery tundra of the Canadian Rockies.  Trade New Years for Easter Day and Canadians for Swedes and you have a less exciting or polished version of Cold Prey, but we won’t hold that against it.

The story follows a trio of ill fated amateur snowmobilers who refuse to listen to the advice of a grumpy inn keeper at a mountain lodge.  The group does some of their own trail blazing and they end up at the decadent Deer Lodge; a secluded mountain resort long out of business but oddly enough warm and well kept.  They poke around the dark for a bit proving that three is a crowd when the two women in the group, Chrissie and Jenny, get catty with each other over boy toy Marty, who knows what fills bikinis and entertains ideas about a life of doing whatever hole he wants.  Jenny is Marty’s beau, but they find themselves coming at odds with each other when Marty expresses his own swinger desires to her.  She is the virginal, sensitive, innocuous woman of the group and is an absolute bore.  Chrissie is more of the flirtatious sassy chick that never wears a bra, which instantly garners Marty’s attention.  Jenny pleas with the others to heed the inn keepers warning about going off exploring during a snow storm, but what fun would that be?

They find themselves snowed in and trading stories in the dark with an old eccentric woman who has been acting as caretaker to the lodge even after it went out of business. It soon becomes apparent that she is hiding something and they aren’t alone when Chrissies is plucked from her bath by an unknown assailant (the old hag’s son) and brought to feed the “wendigo” (who is really just a big burly guy covered in three shades of slime mold and mung, like he just deep dived through a septic tank) that lives in the basement of the hotel in a prison made out of ice bricks.  Her throat is slit, the beast is fed, and the slasher game is set in motion.  Soon Marty and Jenny find themselves stalked through the dark corridors of the lodge by the old lady and her son. Marty covers his face in motor grease and loses his cool, eventually wandering off into the woods and dying of exposure while Jenny wards off the old hag with a shotgun blast to the gut and impales her son on a fence.  At the end Jenny takes over as the new “ghostkeeper” and caretaker of Deer Lodge for reasons we can only speculate. 

The VHS cover of GHOSTKEEPER in the UK had a giant demon chicken.  I still have no idea why, but that chicken is pissed!

Ghostkeeper didn’t exactly curl my frost bitten tail, but it is competent enough to spend a cozy warm evening with, sipping on cocoa, thinking about what fills them bikinis.  The movie struts forth at a slow melt pace, but the characters weren’t silly or dumb enough for me to completely write off after the first act, but by the end of the second act I really wanted the snow soaked in blood.  Still there is something odd about it that I can see myself crawling back to; be it the snot covered “abominable snowman” that looks like the dude from Slaughterhouse, the eccentric hag who claims she has her fill of companionship with the moon and the mountains, or the deeply isolated and beautifully shot snow laden setting, this movie does have its own brand of charm that only a crypt dwelling cadaver consumer like yours truly can truly appreciate.   Beware the indoor igloo!   

Wednesday, September 19, 2012

Halloween returns to the silver screen

Check here for a listing of theaters showing the immortal classic:

Halloween animated pitch scooped up a Halloween animated pitch done for Dimension a while back that never bloomed.  None the less this is a tasty treat for Halloweenies like the ole cryptkeeper.  Slither your eyes over the short below or watch it on youtube as well as associated art with the pitch.  Oh what could have been....

Thursday, September 13, 2012

TCM 3-D trailer

I'm revved up for the new TCM in January!

Wednesday, September 12, 2012

NOES - Thai posters

Tuesday, September 11, 2012

New Friday final girl poster - Fright Rags

Tuesday, September 4, 2012

The Collection - Official poster

I'm so there.

Thursday, August 30, 2012

Silly tagline, grim poster! TCM 3-D!

A round of applause for not making a totally lackluster uninspired poster; the next Massacre looks like it will have some meat and merit.  I'm turning in my grave in anticipation to see the chainsaw in all it's 3-dimensional glory!

Curse of the Thorn comic covers

Here are some covers to the planned "Thorn" Halloween series to get you in the mood for the season of rot from the defunct DevilsDue comics that never saw the light of day...

I can't wait to get my Michael Myers Halloween 2 "blood tears" mask in the mail!