By Sarah Winkler Classicism is defined as a bias toward, or against persons of given social classes. In the films The Curse of Frankenstein (1957), and Frankenstein (1931), there are underlying, or otherwise distinctly presented elements of classism that surround the characters depicted in each film. These are currents of social bias which become highlighted... Continue Reading →
By Kole Phelps “What’s your favorite scary movie?” is a question that can mean two things to a horror fan. For some, it’s just a straightforward question, but for others, it brings to mind the image of Drew Barrymore dissolving into terror as a masked killer on the phone asks her the same question. Scream... Continue Reading →
While ostensibly a monster film, it is equally a revenge film and an action film. And I guess a hopping turdman film, which also makes it the only example of that I can think of.
Both John Carpenter’s The Thing and David Cronenberg’s Videodrome grapple with the idea of human evolution and our place in the world around us. While both films use quite different methods to communicate their fears, the focus of the horror elements center on the shifting state of nature.
By Sarah Winkler The process of translating works to different mediums calls for a subjective ‘originality,’ in that elements in a given adaptation are often something reworked, if not added or subtracted when moved from one format to another. In the case of transmuting classic literature to classic film, there is a similar need for... Continue Reading →
So listen, babies, when I tell you my truth: the Return of the Living Dead Soundtrack changed my life.
Ask any two horror fans why they’re fans in the first place expecting similar answers, and I think you’re in for some disappointment. We come to horror for as many different reasons as there are fans in the first place. But if you’ll forgive my armchair psychologizing, I think that all horror fans are, at... Continue Reading →
The producers of Italian genre cinema are often accused of stealing from successful movie trends from around the world, especially from America. Fulci hopped on the bandwagon started by Romero, Leone did the same thing with John Ford. And then there’s the late career work of Bruno Mattei who was just breathtaking in his thievery. Other films from this period of his career are talked about as (Name of a Film) crossed with (Name of a Different Film) because of the sheer audacity of their weird mish-mashing. Want to see Cannibal Holocaust (Lite) mixed with Predator? In the Land of the Cannibals (2003) is for you. But if you want to see something that stays mostly inside the horror genre for the mixtape it crafts, Island of the Living Dead is the one.
I’d bought this book years ago and somehow managed to never get around to actually reading it. I had a cursory knowledge of Adamson’s work, having seen Dracula vs. Frankenstein (1971) and Satan’s Sadists (1969), but that was really about it. I decided some months back that thanks to their stellar track record of running exactly parallel to my tastes that in general I would give Severin Films the benefit of the doubt on any release that they chose. The fact that company owner David Gregory has decided to not only make a documentary about Adamson, but that Severin also recently announced a mega box set release of 30 Adamson films AND the documentary, I decided that now was the time to pull this slim volume off the shelf and give it a go.