Robert Englund, D’Onofrio’s Don’t Go in the Woods at this years NYC Horror Film Festival

The 2010 New York City Horror Film Festival will feature a slasher legend and a slasher musical.  Robert Englund will receive this years Lifetime Achievement Award on November 13th, at 10:00 P.M.  After the ceremony there will be a special screening of the original A Nightmare on Elm Street.  Englund will also attend a genre panel with Bill (Maniac) Lustig on  November 14th at 1:00 P.M.

Vincent D’Onofrio’s slasher musical Don’t Go in the Woods  will be screened November 12 at 9:00 P.M.  D’Onofrio will attend the screening and the after-party will feature live performances showcasing music from the film.  Don’t Go in the Woods has yet to find a distributor, so this screening will provide slasher fans with an excellent opportunity to see this very different take on the slasher genre.

Check out www.nychorrorfest.com for information on the other films and guests at the festival.

Posted in Features | Tagged | Comments Off on Robert Englund, D’Onofrio’s Don’t Go in the Woods at this years NYC Horror Film Festival

6 More Days To Halloween: Everyone Deserves A Halloween Treat

My sometimes collaborator but always friend Dustin over at Retro Horror Remix recently released Halloween Treat 2 though the internet’s version of VCD, the torrent. Continue reading

Posted in Features | Tagged , | 2 Comments

7 More Days To Halloween: The Tough Sell Of Trick Or Treats

Every Halloween on Retro Slashers I mention Gary Graver’s Trick Or Treat (1982). A movie deeply underloved, even by the slasher crowds that hold Don’t Go In The Woods Alone and The Prey up as pinnacles of retro-slasherdom. Last year’s gratuitous mention warranted some speckled comments killing the movie criticism and worse – indifference. Continue reading

Posted in Features | Tagged | 6 Comments

8 More Days To Halloween: Coming To Terms With Season Of The Witch

As we approach All Hallows Eve I’m struck by the annual feeling that Halloween: Season Of The Witch is the most “Halloweenish” of the whole series. It always bothered me on one level at least – it’s a holdover from the ‘robot duplicate takeover’ plots from the 70’s that by the early 80’s was mostly consigned to cheesy TV movies and shows. But when I was a kid, I still accepted it as a new entry.

I didn’t even wonder where Michael Myers was – the 1982 entry continued the premise of the holiday which was as much of a character as Myers himself if you think the way I think. As well, I think one of the cool things about being a kid your fertile imaginative mind tends to fill the holes that require adults to take a leap of faith to cross. So I just assumed this movie was about the factory that made Michael’s mask and therefore why he was evil. Even in my later decidedly less-tender teenage years I was mentally linking up the plot with the cult in Halloween: The Curse Of Michael Myers – I think it’s a given that Dr. Wynn was based on Conal Cochran.

And now that I’m an adult? I dream of the genius that could result in taking those early Myers-like chase-scenes in the movie and trimming around the whole conspiracy plot to recut the movie into a slasher-centric short that better falls next to the first two.

“Bad Halloween sequel, good standalone movie” seems to be the comment that bridges fans and detractors of Season Of The Witch. For me it’s the reverse sentiment – as a standalone movie the bad taste of Futureworld and the like is a perma-fixture in my moviegoing mouth, and gee wouldn’t that pin-eyed devil (only seen on the poster) have been the scariest shit ever? But as a Halloween sequel, it  passes muster – one of the few in the franchise that actually feels like circa late October.

Posted in Features | Tagged , | 5 Comments

Book Review – Teenage Wasteland: The Slasher Movie Uncut

The history of our beloved genre has been amassed into one essential tome by J.A. Kerswell, founder of the terrific Hysteria Lives! website. Clocking in at 208 pages and published by New Holland Publishers, Teenage Wasteland is a fast, entertaining and informative read. Kerswell traces the evolution of the slasher flick beginning with the Grand Guigol in France (crowd-pleasing theatre that featured bloody effects and sadistic plotlines), stops by Hitchcock’s groundbreaking Psycho before moving on to the German (Krimi) and Italian (Giallo) thrillers of the 60’s and 70’s, detours into grindhouse and drive-in flicks, and then gets to the meat of the matter with the true birth of the slasher film – John Carpenter’s genre-defining Halloween.

Kerswell explores the slasher move explosion that followed in Michael Myers’ wake during its “Golden Age” from 1978 through 1984, but he doesn’t stop there. Looking at slasher flicks from around the world, direct-to-video DIY jobs, contemporary stabs at the genre, as well as reboots, remakes and reimaginings, he’s also thought to include a glossary of slasher terms, movie body counts, box office receipts, reviews of key slasher movies, and a list of recommended reading and websites (including www.RetroSlashers.net – yay for us!).

Teenage Wasteland is written with a fan’s love of the genre and an obsessive’s knowledge. Kerswell certainly knows his stuff, and he happily doesn’t fall into the trap of blindly praising a movie just because it features a knife-wielding killer and a Final Girl. As a slasher fan, this book is a pleasure to read, and the colourful and perfectly appropriate eye-catching design is an added bonus that encourages the reader to linger over almost every single page.

Teenage Wasteland is a welcome addition to the list of essential books about horror movies that includes Michael Weldon’s Psychotronic Encyclopedia of Film, John McCarty’s Official Splatter Movie Guide and Stephen Thrower’s Nightmare U.S.A., and it’s the best resource book slasher fans can get their bloody hands on. If you’re lurking on this website, you’re obviously a slasher fan… Why don’t you have this book? Just don’t be surprised if you find yourself trying to source movies like Room 13 and Fright after you’ve been though its pages.

Posted in Library | Tagged | 6 Comments

Mother isn’t very well: Robert E. Howard’s connection to Norman Bates

Robert Bloch claimed the exploits of Ed Gein, Wisconsin murderer and grave robber, inspired him to write Psycho. After reading Bloch’s landmark novel for the article “The Forgotten Norman Bates”, I believe I’ve uncovered another inspiration for one of  Norman Bates’ personalities.  The Norman Bates who steals his mother’s body, dresses in her clothes, and murders Mary Crane is based on Ed Gein.  But the “Normal” Norman personality who takes care of his sick mother, shows a quick temper when his views are challenged, and cleans up after Mother whenever she makes a mess is based on a man who spent the last months of his life taking care of his sick mother.  The Normal Norman personality is inspired by the final days of writer Robert E. Howard.

In 1933, Bloch began a correspondence with H. P. Lovecraft which lasted until Lovecraft’s death in 1937.  Lovecraft’s letters are full of praise and suggestions concerning Bloch’s early steps in writing weird fiction, but they also contain many anecdotes about the other members in Lovecraft’s circle of friends, including Robert E. Howard.  Sometime in late June 1936, Lovecraft sent Bloch a letter detailing Howard’s suicide.  At first, Lovecraft doesn’t believe the news but states “I had a long normal letter from him (Howard) dated May 13th.  He was worried about his mother’s health, but otherwise seemed quite all right.”  Lovecraft ends the letter with a last moment addition stating “Just had word from Two-Gun’s (REH) father.  Sad report all too true.  REH shot himself when he learned that his mother’s illness was fatal.  REH’s melancholy streak must have run deeper than we thought.”

After finishing what turns out to be her final meal, Mary Crane sets Norman Bates off by suggesting he place his mother in an institution.  Robert E. Howard had plenty of bad experiences with placing a sick mother in sanatoriums.  Hester Howard spent several weeks in Torbett Sanatorium located in Marlin, Texas and another sanatorium near San Angelo.  Mrs. Howard’s tuberculosis would only get worse and the sanatoriums would send her to a hospital.  Eventually, Robert Howard would take his mother home so his elderly father, Dr. Isaac Howard, could treat her.

One of Norman’s duties as a good son is cleaning up when Mother makes a mess.  In Psycho, Norman cleans the bloody bathroom and hides Mother’s victims in the swamp.  Robert Howard, also a good son, had to clean a different type of mess.  A letter from Robert Howard to Lovecraft dated February 11, 1936 reveals Howard has “had little opportunity to do any writing of any kind” due to his mother’s deteriorating health.  According to Howard, his mother “requires frequent aspirations” and “is subject to distressing and continual sweats, and naturally has to have constant attention.”  The Howard family hired several women to help with Hester’s care, but none of them lasted very long.  Hester Howard’s constant care always fell on Robert’s shoulders.

There are a few other clues in Psycho linking Norman Bates to Robert E. Howard.  Texas, Howard’s home state, is mentioned many times because Mary and Lila Crane live there.  After Mary’s death, Norman keeps watch for cars with Texas license plates because he knows someone will come looking for the murdered girl.  Norman’s library includes volumes on ancient cultures, barbaric races, cults, and occultism which are subjects Howard researched before writing his weird adventure tales.  Lila Crane, while searching Bates’ house, discovers Norman’s hidden stash of pornography.  Robert M. Price, in his introduction for Robert E. Howard Selected Letters 1931-1936, claims Howard had a porn collection and used it for inspiration when writing tales for Spicy-Adventure Stories.

Robert Bloch was inspired to write Psycho after reading about Ed Gein’s exploits but I contend parts of the novel were inspired by Robert E. Howard’s last days as chief caregiver for his sick mother.  In Chapter Nine, Norman Bates realizes he will always be mommy’s little boy.  The only time Norman feels like a somebody is when he’s lost in a book.  Robert E. Howard could never escape being mommy’s little boy, either.  When he was writing for pulp mags or letters to friends, Howard was Two-Gun Bob, Terror of Cross Plains.  Howard had fans, admirers, and editors who wanted to publish his stories.  But in the end, Howard was just Hester Howard’s frightened little boy.  On June 11 1936, Robert E. Howard shot himself moments after he learned his mother would never awaken from a coma.  Why did the creator of Conan, Kull, Solomon Kane, and many other characters end his life when he was so close to being free from the burden that had crippled his writing for so long?  Maybe Norman Bates is right  when he says “I think perhaps all of us go a little crazy at times.”

I couldn’t have written this article without the following books: H.P. Lovecraft: Letters to Robert Bloch, Robert E. Howard: Selected Letters 1923-1930, Robert E. Howard: Selected Letters 1931-1936, and of course Robert Bloch’s Psycho.

Posted in Library | Tagged | 7 Comments

Intruder Thoughts From A Real Retail Worker!

Intruder (1989) is a personal favorite of mine for use of isolated locale and inventive killscenes. I reviewed Wizard’s Director’s Cut a few years back and often go back to it for it’s blue collar charms. I’ve often wondered what a real supermarket/grocery store clerk thought of the movie, so don’t you know I was so chuffed to receive this email from new reader “Mark”:

Hi John,
I just found the site.  I just saw THE INTRUDER tonight.  I work retail so this was awesome.  I especially like how Jennifer said something in response to the killers motive like “But that’s not the night crew’s fault!”  haha, how often have I had my crew blamed for something at work! hehe.

I like how the adding machine’s tape got red blood all over it giving new meaning to the phrase “in the red.” hehe.

I like how Jennifer hid behind an end-cap; now that was genius!  There are definitely odd hollowed out spaces in end caps in our store!  Very scary places!

And, I love how not only did the dude get killed in the box bailer, but the killer went so far as to actually make a bail!  So the bail has the victims arms/legs hanging out of it!  It is so hard to get my crew to take the time to make bails and so it was awesome when the killer went and made a bail! haha.

I like how the feet under the bathroom stall were just feet!  No one was in there!  Just their dead feet! haha.

Posted in Features | Tagged | 6 Comments

Terror At Black Tree Forest (Teaser Trailer)

Here’s the teaser to Terror At Black Tree Forest, a movie I have the producer credit on. Dustin Ferguson wrote and directed it. He edited Sleepaway Camp IV: The Survivor for me, so this ended up sort of a fun trade-off. Dustin crafted a really tight indie throwback to The Forest and Don’t Go In The Woods. You can blame me for the title, which is a homage to 70’s fare like The Town That Dreaded Sundown, of which this slasher has a few elements in common.

Posted in Features | Tagged | 5 Comments

Madman, Maniac in Fango #297

Retro Slasher fans should keep an eye out for Fangoria #297.  The issue features interviews with Madman producer Gary Sales and Maniac director William Lustig.  There’s also an interview with Adam (Hatchet II) Green which gives insight into the hell he went through dealing with the MPAA.  Adding to the slasher nostalgia theme of Fango #297 is an article on the I Spit on Your Grave remake.

Posted in Library | Tagged , , | 1 Comment

Stage Fright (1987) Review

A theater troupe working on a musical suddenly find themselves the target of  escaped lunatic Irving Wallace (Clain Parker).  When the seamstress  is murdered by the killer during rehearsals, the director (David Brandon) sees an opportunity to cash in on the free publicity and orders the actors to work all night so the musical can open early.  After the doors of the theater are locked and the keys hidden away, the troupe discover Irving Wallace still walks among them.  The actors begin a desperate search for the keys while trying to survive the night.   

Stage Fright is one of the last great slashers to come out of the Big Boot before the film industry crumbled.  This film marks Michele Soavi’s debut as a director but he’d apprenticed with the biggest names in Italian horror cinema (Fulci, Argento, Bava, D’Amato) for years before getting the opportunity.  Joe D’Amato (Aristide Massacesi) worked behind the scenes as producer and Anthropophagus star Luigi Montefiori wrote the script.  Also along for the ride are actress Barbara (Cemetery Man and The Church) Cupisti and frequent victim John Morghen (Giovanni Lombardo Radice).  Morghen is best known to gore fans as the guy who gets a drill through the skull in Fulci’s The Gates of Hell and suffers an even worse fate in Make Them Die Slowly.

Irving Wallace wears a giant owl mask while stalking his prey.  In lesser hands this could have been a major disaster, but Soavi’s direction and Montefiori’s script never lets the character come across as a buffoon.  Wallace is a cruel, mean sumbitch who enjoys finding new ways to use power tools.  The gory murders include pick-ax to the mouth, chainsaw dismemberment, decapitation, a brutal stabbing, power drill through the gut, and a nasty game of tug-of-war involving a pregnant woman.  The final sequence involves Wallace arranging the bodies (or sometimes the bits that are left) on stage and smearing his victims with blood and feathers.  It’s a chilling scene yet strangely beautiful at the same time.

A major benefit to the story is the viewer gets to know the characters before Wallace escapes from the asylum.  Knowing about their struggles, hopes, and dreams makes the characters more human.  Also helping Stage Fright is the dubbing is much better than the average Italian gorefest.  Only Morghen’s performance is hindered by an over the top voice actor.  At times it sounds like fitness guru Richard Simmons is reading Morghen’s lines.  There are a few jerks in the troupe but most of the characters are likable and don’t deserve their grizzly fates.

Stage Fright is one of the last great Italian slashers and one of the best  released after the genre’s golden age.  The film’s mix of atmosphere, tension, frights, and shocks makes Stage Fright a cut above the average slasher.  This film was actually the third slasher made by the team of  Massaccesi and Montefiori.  Anthropophagus and Rosso Sangue were the first two entries in their slasher trifecta, but Stage Fright is the best of the three.  Soavi makes a cameo as a young cop convinced he looks like James Dean.

Posted in Reviews | Tagged , | 2 Comments