- David Goulet on RUE MORGUE & NETFLIX: REUNITED FOR HALLOWEEN
- Ray Nomoto Robison on Blood on a Budget: Last Slays of Summer
- David Padgett on TERROR IN THE AISLES: 24 HOURS OF CELLULOID TERROR
- David Goulet on Blood on a Budget’s Halloween Horror Bin
- David Goulet on PHANTOM CITY CREATIVE GOES POE FOR NEVERMORE
Zack Carlson and Joe Ziemba recently launched BLEEDING SKULL! VIDEO, a film distribution label specializing in extremely low-budget horror and exploitation. The movies they plan on releasing will have had very little distribution on their initial release, and even sometimes none at all. Thus far they’ve released one obscure flick, a VHS exclusive called Cards of Death. It’s a trippy, blood-soaked romp through the seedy criminal underground featuring some of the most absurd death scenes ever committed to tape. If Cards is any indication of what to expect from a BLEEDING SKULL! release, it would be wise to keep your eyes peeled for whatever other oddities will be coming next.
He’s been referred to as the “modern-day Boris Karloff” and the heir-apparent to “Man Of A Thousand Faces” Lon Chaney’s throne. Rue Morgue’s Ron McKenzie sits down with Doug Jones to discuss his career, his friendship with long-time collaborator, Guillermo Del Toro, and (naturally) his love for the monstrous.
Introducing JOHN FAWCETT’S GINGER SNAPS, by UBC film professor Ernest Mathijs (Cult Cinema, 100 Cult Films, The Cult Film Reader), published by the University of Toronto Press on their Canadian Cinema imprint. RM’s Michael Mitchell talked to Prof Mathijs about the deeper themes running through the Canadian cult classic and its enduring appeal after all these years.
“A masterpiece of gaming history.” The first and the last true vampire RPG.” “Lines of dialogue you won’t forget.” No question, fans of the 2000 PC video game VAMPIRE: THE MASQUERADE – REDEMPTION, based on the White Wolf World of Darkness tabletop RPG game universe, are smitten. We braved the cloying cuteness of Anime North 2014 to get the recollections of voice actor Michael Benyaer – the talent who brought the scheming Wilhelm to undeath in the game.
Withholding the fact that, 35 years ago, director Ridley Scott provided the benchmark for all future science-fiction horror films with 1978′s Alien, the audience was left with questions. The biggest of these was the corpse of an alien space pilot that failed to safely transport its cargo, setting the stage for the catastrophes that ensued… and not just the studio version of Alien 3. For over 30 years, we’ve learned all about Ellen Ripley, The Weyland Corporation, Xenomorphs, their hive, and their queen, but who was this other being that set everything in motion? Where was it going? What were these eggs for? Apparently Scott was asking himself these very same questions, which ultimately inspired a new trilogy of films revolving around the answers to those questions. The role of the engineer in Prometheus (2012) demanded big shoes to fill it, both literally and figuratively. Standing at seven foot one, Ian Whyte was no stranger to portraying larger-than-life characters. The Welsh actor has portrayed predators in both Alien Vs. Predator films, was a double for Maxime Olympe in Harry Potter and the Goblet of Fire, as well as a white walker and Ser Gregor Clegane in HBO’s Game of Thrones. Whyte was kind enough to discuss his experiences in Prometheus with Rue Morgue at the Weekend of Horrors convention at the Turbinenhalle in Oberhausen, Germany.
Horror musicals are typically hit-or-miss, which isn’t surprising for such a specific genre, as musicals are generally assumed to be considerably more lighthearted than your average horror flick. Typically, they tend to fall into the realm of pure campiness, for instance the more recent Evil Dead: The Musical and Silence! The Musical, and while Carrie the Musical didn’t exactly intend for that kind of label, it has achieved cult status for the level of flop that it became. Based on the Stephen King novel and Brian de Palma film of the same name, Carrie the Musical was denounced by theatre critics (following its 1988 Broadway opening), who labelled the show “trashy,” “schlocky,” and getting “more giggles than screams.” We talked with Linzi Hateley, who gained the few positive reviews of the show with her performance in the title role in both the Broadway and Stratford productions, just in time for her Carrie-centric, one-night-only concert that will premiere in New York City next month.
Sinister Seven: Dark Regions Press publisher Chris Morey on Clive Barker’s “The Midnight Meat Train”
Poor Chris Morey – here he is, an innocent publisher in the throes of one of the biggest projects to roll out of his Dark Regions Press this year, and he’s stuck in a dark room with no food or water until he coughs up answers to Rue Morgue’s Sinister Seven. The topic: Dark Regions’ upcoming release of Clive Barker’s The Midnight Meat Train Special Definitive Edition.
Serves him right for hanging out with horror journalists.