Plus check out the first poster for the film
Type: Post | Date: Thursday, Feb 20, 2014
Type: Post | Date: Thursday, Feb 13, 2014
Matt Lauer: "I can't do this schedule for any prolonged period of time" "How I Met Your Mother" cast will deliver the Letterman Top 10 Why Netflix should release "House of Cards" Season 2 today, amid an East Coast snowstorm
Type: Article | Date: Wednesday, Dec 11, 2013
Brothers claim they're owed a percentage of profits from the final two films
Type: Post | Date: Friday, Dec 6, 2013
So does this make Harrison Ford the new Mickey Mouse?
Type: Post | Date: Wednesday, Nov 27, 2013
We warn you of some potential family gathering minefields in theaters and on home video
Type: Post | Date: Wednesday, Nov 13, 2013
A difficult father-son drama lands a gentle punch
Type: Event | Date: Tuesday, Sep 22, 2009
Includes:White Zombie (1932), MPAA Rating: NR Revenge of the Zombies (1943) Night of the Living Dead (1968), MPAA Rating: NR Oasis of the Zombies (1982) White Zombie It is altogether typical of Bela Lugosi's lousy business judgement that he accepted one of his finest film roles for a mere $500 dollars. In the haunting low-budgeter White Zombie, Lugosi stars as Murder Legendre, a shadowy character who exercises supernatural powers over the natives in his Haitian domain. Coveting beautiful Madge Bellamy as his bride, wealthy Robert Frazier is refused her hand in marriage. He enters into an unholy agreement with Lugosi, whereby Madge will fall ill and die, then be resurrected as a zombie-and, implicitly, Frazier's love-slave. This is accomplished, but Lugosi, relishing the hold he has over Frazier, refuses to release Madge's soul. She is ultimately rescued from Living Death by her faithful beau Robert Harron and missionary Joseph Cawthorn (heretofore merely the comedy relief). Few talkie horror films have ever so expertly captured the "feel" of the silent cinema as White Zombie; the film's ethereal, ghostlike ambience enables the audiences to accept even the most ludicrous of plot twists. The producers, Victor and Edward Halperin, use the film's tiny budget to their advantage, evocatively suggesting the horrors that they haven't the financial wherewithal to show on screen. Lugosi is superb throughout, making the most of such seemingly innocuous lines as "Well, well, we understand one another better, now." Long ignored or shunted aside as insignificant, White Zombie can hold its own with any of the like-vintage Universal horror classics. ~ Hal Erickson, All Movie Guide Revenge of the Zombies The second of Monogram's "zombie" thrillers, Revenge of the Zombies is better than the first, if only because of its powerhouse cast. John Carradine does his usual as Von Alltermann, a mad scientist in the employ of the Nazis. Commissioned to create a race of "living dead" warriors for the Third Reich, Von Alltermann takes time out to attempt to revitalize his deceased wife Lila (Veda Ann Borg). Stumbling into the doc's laboratory is heroine Jen (Gale Storm), who is rescued in The Nick by undercover FBI agent Larry (Robert Lowery). As in King of the Zombies, Mantan Moreland provides his patented bug-eyed comedy relief; good taste aside, he's the best thing in the picture. ~ Hal Erickson, All Movie Guide Night of the Living Dead When unexpected radiation raises the dead, a microcosm of Average America has to battle flesh-eating zombies in George A. Romero's landmark cheapie horror film. Siblings Johnny (Russ Streiner) and Barbara (Judith O'Dea) whine and pout their way through a graveside visit in a small Pennsylvania town, but it all takes a turn for the worse when a zombie kills Johnny. Barbara flees to an isolated farmhouse where a group of people are already holed up. Bickering and panic ensue as the group tries to figure out how best to escape, while hoards of undead converge on the house; news reports reveal that fire wards them off, while a local sheriff-led posse discovers that if you "kill the brain, you kill the ghoul." After a night of immolation and parricide, one survivor is left in the house.... Romero's grainy black-and-white cinematography and casting of locals emphasize the terror lurking in ordinary life; as in Alfred Hitchcock's The Birds (1963), Romero's victims are not attacked because they did anything wrong, and the randomness makes the attacks all the more horrifying. Nothing holds the key to salvation, either, whether it's family, love, or law. Topping off the existential dread is Romero's then-extreme use of gore, as zombies nibble on limbs and viscera. Initially distributed by a Manhattan theater chain owner, Night, made for about 100,000 dollars, was dismissed as exploitation, but after a 1969 re-release, it began to attract favorable attention for scarily tapping into Vietnam-era uncertainty and nihilistic a
Type: Event | Date: Tuesday, Oct 20, 2009
Includes:The Tingler (1959), MPAA Rating: NR 13 Ghosts (1960), MPAA Rating: NR Homicidal (1961), MPAA Rating: NR Mr. Sardonicus (1961), MPAA Rating: NR Zotz! (1962) The Old Dark House (1963) 13 Frightened Girls (1963) Strait-Jacket (1964), MPAA Rating: NR The Tingler As famous for the gimmick with which the film was shown as for its genuinely spine-tingling story, The Tingler follows a pathologist (Vincent Price) as he searches for the cause of a series of deaths and discovers that the victims have a large insect-like creature growing on their spinal chords. The creature attacks when the people are frightened and is only killed when the host emits a blood-curdling primal scream. This is coupled with a subplot to scare the deaf-mute owner of a silent movie house to death. Along the way, a couple of characters are injected with LSD and begin hallucinating like mad. When one of the nasty monsters "escaped" into a movie theater, the film's gimmick would begin. In order to further frighten audiences, director William Castle had certain theater seats rigged with small Army surplus devices that would deliver a mild electric shock to the spine in hopes of inducing terrified screams. Castle also planted audience members who would scream and faint. The house lights would go up, the film would stop and ushers would carry the unconscious person out of the theater. ~ Perry Seibert, All Movie Guide 13 Ghosts Gimmick-loving producer William Castle strikes again with this fun haunted-house thriller which invited audiences to find the hidden ghosts roaming about a haunted house through a special process called "Illusion-O" by which patrons could employ a special pair of red-and-blue-colored glasses to detect ghosts on the screen during the film's color-tinted sequences. The story is set in the mansion of the deceased occult scientist Dr. Zorba, whose nephew Cyrus and his family occupy the creepy estate and discover that they are not the only tenants. It seems the Doctor has been harboring 12 elusive specters on the premises, the appearance of which can only be detected through his final invention: a special pair of ghost-viewing goggles. To further complicate matters, it is learned that Zorba has stashed a small fortune somewhere in the house, and someone -- or something -- is determined to stop Cyrus and family from finding it. This film's original release featured an introduction from Castle, describing the "Illusion-O" process and demonstrating the proper use of the tinted glasses; he also appears in an epilogue stating that the glasses can be used to detect ghosts outside the theater! ~ Cavett Binion, All Movie Guide Homicidal Homicidal represents producer/director William Castle's slant on Hitchcock's Psycho. The film concerns a young woman named Miriam Webster (Patricia Breslin) who seemingly has everything a girl could want - including a successful flower shop business, and a handsome beau, Karl (Glenn Corbett), who works as a pharmacist. Events take a turn for the worse, however, when Miriam's half-brother, Warren, returns from Europe - with a rather unpleasant friend in-tow: a blonde named Emily (Jean Arless). Emily promptly sets about destroying Miriam's life: the newcomer attempts to wheedle Karl away from Miriam, then rips the flower shop to pieces, then ultimately reveals a little taste for knife-wielding that directly threatens Miriam's safety. Like The Tingler and other Castle outings, this one originally featured a gimmick, preserved in the video release: a "fright-break" just prior to the climax, which allowed terrified audience members approximately 45 seconds to get out of their seats and leave the theater - to avoid the prospect of being "frightened to death." One look at Jean Arless's credit in the cast listing betrays the final twist in this one, directly (and unapologetically) lifted by Castle from Psycho. ~ Hal Erickson, All Movie Guide Mr. Sardonicus In this 1961 William Castle film based on Ray Russell's
Type: Post | Date: Friday, Sep 20, 2013
Can the genre-loving documentarian make the jump to narrative features?
Matthew McConaughey bursts into crowded Best Actor field with career-best 'Dallas Buyers Club' portrayalType: Post | Date: Tuesday, Sep 10, 2013
How does anyone on the outside even begin to crack this field?