vhs-ninja:

Razorback (1984) by Russell Mulcahy.  

vhs-ninja:

Razorback (1984) by Russell Mulcahy.  

dweemeister:

Invasion of the Body Snatchers (1956)
American science fiction films have only become more commonplace at the multiplex in recent decades. With that glut of science fiction, many filmmakers delving into subjects of aliens, new technologies, new areas in outer space, and intriguing adventures have forgotten what so many early science fiction films in the 1960s and before accomplished - asking questions pertinent to human existence or tinkering with structure and the state of knowing. Don Siegel’s Invasion of the Body Snatchers (based on Jack Finney’s novel The Body Snatchers), though often perceived to be an anti-communist or anti-McCarthyist in the United States, is a suspenseful piece that delivers a chilling thrill ride. A box office failure on its release, the film’s reputation has only further blossomed with each passing decade and has been aided by the success of the 1978 remake.
Within the opening few minutes of the film, a screaming, sweaty man is about to be interrogated by local police while stationed in the hospital. The film is told in flashback alongside the narration of Dr. Miles Bennell (Kevin McCarthy) as he recounts the hours leading up to his arrival at the hospital. Bennell is from the small valley town of Santa Mira, California (which resembles the Hollywood Hills area in Los Angeles County) and has overheard stories from patients who believe their children, spouses, and relatives have been replaced by less human, less emotionally responsive copies. Bennell responds to telephone calls about patients not feeling well and when he arrives at their residence, they instantly feel better. The trend happens far too many times to count as a coincidence and Miles’ ex-girlfriend Becky Driscoll (Dana Wynter) reports of the same phenomena occurring within her own family. Later, Bennell’s friend Jack Belicec (King Donovan) and wife Theodora “Teddy” Belicec (Carolyn Jones) find a body with his exact physical features. However, the features have been underdeveloped and more bodies start appearing out of veiny, seed-like pods. Bennell and Becky soon find themselves on the run as the source and intention of these copies are more sinister than they first anticipated.
But the gripping power of Invasion of the Body Snatchers lies within the terror of smaller, individual moments. To describe anymore would to undermine the suspense and the surprise for those who have never even heard of the film. With a barebones of around $300,000-$400,000 ($2.6 million-$3.5 million in 2014’s USD), Siegel is forced to concentrate on lighting, mood, and atmosphere rather than visual effects. In crisp, high-contrast black-and-white, Siegel adopts a film noir approach while employing extensive use of deep staging in the outdoor nighttime scenes that dominates the second half of the film. The lighting scheme is horrifyingly simple yet its effect is unmistakable - so many of these scenes contain pitch-black voids that always suggest something malevolent may yet appear. Nighttime scenes inside the homes are particularly evocative and - without a single word spoken - reminds the characters and the audience that even in the comfort of their home the titular body snatchers (no formal name for is ever given and we never see the aliens whose tactics are threatening the local populace)   Contrasts between light and dark are extreme for this era and Siegel could not have chosen a more effective aesthetic.
Siegel also isn’t afraid of the Dutch angle and extreme close-ups. Both cinematographic techniques were frowned on by major studios (Invasion of the Body Snatchers is an Allied Artists - a “Poverty Row” film studio - production) but embraced by many filmmakers working for less prestigious, more independently-minded film studios. Often considered a feature of camp films, Dutch angles are used brilliantly in Invasion of the Body Snatchers. Certainly overuse of the Dutch angle has been a hallmark of camp-value cinema and television but is utilized only during a moment of physical disorientation or a perceived pursuit. Its use implies imminent danger and forces the viewer to pay attention as the film is otherwise unremarkable in its geometry. A low-height camera angle during the first reveal of the pods offers room for investigation and grim curiosity. With few visual effects providing the flourishes, Siegel necessarily had to distinguish Invasion of the Body Snatchers from the immense amount of B-pictures emerging in this decade. He does so successfully.
Though the performances are overall sufficient for this quintessential B-sci-fi, it should be said that Kevin McCarthy - handsomer than 95% of most Americans but 90% less handsome than the Hollywood ideal leading man - carries himself well physically during his more traumatic scenes and his “ordinary” looks make him a more believable protagonist than most leading men in B-sci-fis. One feels through McCarthy’s performance that he is truly maneuvering through a nightmarish turn of events. Otherwise, everyone else is a set of B- and C-list faces who are performing par for the course. 
Unlike the human stars of the film, the real stars of the film are the menacing pods in which the human duplicates emerge from. As the duplicates are copies of humans slated for “replacement”, production designer Ted Haworth concocted an idea to have a handful of the actors assist in the creation of their respective full-body molds - all of which were made of thin, extremely tight latex. The process to create the full-body molds took hours and the actors could only breathe through two nostril holes. Haworth’s idea is ingenious and the final result is one of the definitive images of American science fiction films pre-2001: A Space Odyssey. It is also, when one reads the physically demanding requirements of the shoot, an encapsulation of how stressful a process filmmaking can be.
Arguments continue to rage over a potential political allegory behind Invasion of the Body Snatchers. Almost all the principle creative minds behind the film - especially author Jack Finney - have disavowed any intentional allegories. Siegel further claimed that such analyses - given the political climate of the time - were inescapable and maintains that Invasion of the Body Snatchers is but a richly tense thriller. For those who refuse their statement, I personally think that the anti-communist and anti-McCarthyist (not the actor, but the Wisconsin senator who became a figurehead of the Second Red Scare in the United States) explanations are too interchangeable in the context of the film to be valid. Invasion of the Body Snatchers is instead commenting on a loss of human connection and capacity for behavioral comprehension - for the pursuers and the pursued - when resorting to simple political or other identity-based labels. Yet it also acknowledges that certain situations call for an uncompromising, absolutist response, even by violent means. No matter what Cold War-era connections one draws from the film, Invasion of the Body Snatchers is extremely open to personal interpretation as the closing third of the film invites speculation and inquisition. 
Two versions of Invasion of the Body Snatchers exist. Originally released with a more optimistic ending, Siegel’s initial intention was to have a downbeat ending with loose ends left untied. But the pessimistic variant of Siegel’s film is rarer to come by. The version released to theaters contains additional footage and McCarthy’s narration (a move that Allied Artists forced upon a rebellious Siegel) and is the one I saw. Both versions are valid and the difference in concluding tone has little significance when judging either version. For Siegel’s mastery lies within the tension-building and his monochrome palette. 
Science fiction ought to consider ideas of humanity as it - more than any other genre of narrative storytelling - represents a humanistic idyll that humans aspire for or a hell that one would hope to avoid. Such thoughts are not lost in Invasion of the Body Snatchers despite its lowbrow title and obvious lack of acting talent and funds. For a decade awash with forgettable, painfully pedestrian science-fiction films, it is a stinging, memorable shock to the senses. And almost sixty years later, it remains just that.
My rating: 8/10
^ Based on my personal imdb rating.

dweemeister:

Invasion of the Body Snatchers (1956)

American science fiction films have only become more commonplace at the multiplex in recent decades. With that glut of science fiction, many filmmakers delving into subjects of aliens, new technologies, new areas in outer space, and intriguing adventures have forgotten what so many early science fiction films in the 1960s and before accomplished - asking questions pertinent to human existence or tinkering with structure and the state of knowing. Don Siegel’s Invasion of the Body Snatchers (based on Jack Finney’s novel The Body Snatchers), though often perceived to be an anti-communist or anti-McCarthyist in the United States, is a suspenseful piece that delivers a chilling thrill ride. A box office failure on its release, the film’s reputation has only further blossomed with each passing decade and has been aided by the success of the 1978 remake.

Within the opening few minutes of the film, a screaming, sweaty man is about to be interrogated by local police while stationed in the hospital. The film is told in flashback alongside the narration of Dr. Miles Bennell (Kevin McCarthy) as he recounts the hours leading up to his arrival at the hospital. Bennell is from the small valley town of Santa Mira, California (which resembles the Hollywood Hills area in Los Angeles County) and has overheard stories from patients who believe their children, spouses, and relatives have been replaced by less human, less emotionally responsive copies. Bennell responds to telephone calls about patients not feeling well and when he arrives at their residence, they instantly feel better. The trend happens far too many times to count as a coincidence and Miles’ ex-girlfriend Becky Driscoll (Dana Wynter) reports of the same phenomena occurring within her own family. Later, Bennell’s friend Jack Belicec (King Donovan) and wife Theodora “Teddy” Belicec (Carolyn Jones) find a body with his exact physical features. However, the features have been underdeveloped and more bodies start appearing out of veiny, seed-like pods. Bennell and Becky soon find themselves on the run as the source and intention of these copies are more sinister than they first anticipated.

But the gripping power of Invasion of the Body Snatchers lies within the terror of smaller, individual moments. To describe anymore would to undermine the suspense and the surprise for those who have never even heard of the film. With a barebones of around $300,000-$400,000 ($2.6 million-$3.5 million in 2014’s USD), Siegel is forced to concentrate on lighting, mood, and atmosphere rather than visual effects. In crisp, high-contrast black-and-white, Siegel adopts a film noir approach while employing extensive use of deep staging in the outdoor nighttime scenes that dominates the second half of the film. The lighting scheme is horrifyingly simple yet its effect is unmistakable - so many of these scenes contain pitch-black voids that always suggest something malevolent may yet appear. Nighttime scenes inside the homes are particularly evocative and - without a single word spoken - reminds the characters and the audience that even in the comfort of their home the titular body snatchers (no formal name for is ever given and we never see the aliens whose tactics are threatening the local populace)   Contrasts between light and dark are extreme for this era and Siegel could not have chosen a more effective aesthetic.

Siegel also isn’t afraid of the Dutch angle and extreme close-ups. Both cinematographic techniques were frowned on by major studios (Invasion of the Body Snatchers is an Allied Artists - a “Poverty Row” film studio - production) but embraced by many filmmakers working for less prestigious, more independently-minded film studios. Often considered a feature of camp films, Dutch angles are used brilliantly in Invasion of the Body Snatchers. Certainly overuse of the Dutch angle has been a hallmark of camp-value cinema and television but is utilized only during a moment of physical disorientation or a perceived pursuit. Its use implies imminent danger and forces the viewer to pay attention as the film is otherwise unremarkable in its geometry. A low-height camera angle during the first reveal of the pods offers room for investigation and grim curiosity. With few visual effects providing the flourishes, Siegel necessarily had to distinguish Invasion of the Body Snatchers from the immense amount of B-pictures emerging in this decade. He does so successfully.

Though the performances are overall sufficient for this quintessential B-sci-fi, it should be said that Kevin McCarthy - handsomer than 95% of most Americans but 90% less handsome than the Hollywood ideal leading man - carries himself well physically during his more traumatic scenes and his “ordinary” looks make him a more believable protagonist than most leading men in B-sci-fis. One feels through McCarthy’s performance that he is truly maneuvering through a nightmarish turn of events. Otherwise, everyone else is a set of B- and C-list faces who are performing par for the course. 

Unlike the human stars of the film, the real stars of the film are the menacing pods in which the human duplicates emerge from. As the duplicates are copies of humans slated for “replacement”, production designer Ted Haworth concocted an idea to have a handful of the actors assist in the creation of their respective full-body molds - all of which were made of thin, extremely tight latex. The process to create the full-body molds took hours and the actors could only breathe through two nostril holes. Haworth’s idea is ingenious and the final result is one of the definitive images of American science fiction films pre-2001: A Space Odyssey. It is also, when one reads the physically demanding requirements of the shoot, an encapsulation of how stressful a process filmmaking can be.

Arguments continue to rage over a potential political allegory behind Invasion of the Body Snatchers. Almost all the principle creative minds behind the film - especially author Jack Finney - have disavowed any intentional allegories. Siegel further claimed that such analyses - given the political climate of the time - were inescapable and maintains that Invasion of the Body Snatchers is but a richly tense thriller. For those who refuse their statement, I personally think that the anti-communist and anti-McCarthyist (not the actor, but the Wisconsin senator who became a figurehead of the Second Red Scare in the United States) explanations are too interchangeable in the context of the film to be valid. Invasion of the Body Snatchers is instead commenting on a loss of human connection and capacity for behavioral comprehension - for the pursuers and the pursued - when resorting to simple political or other identity-based labels. Yet it also acknowledges that certain situations call for an uncompromising, absolutist response, even by violent means. No matter what Cold War-era connections one draws from the film, Invasion of the Body Snatchers is extremely open to personal interpretation as the closing third of the film invites speculation and inquisition. 

Two versions of Invasion of the Body Snatchers exist. Originally released with a more optimistic ending, Siegel’s initial intention was to have a downbeat ending with loose ends left untied. But the pessimistic variant of Siegel’s film is rarer to come by. The version released to theaters contains additional footage and McCarthy’s narration (a move that Allied Artists forced upon a rebellious Siegel) and is the one I saw. Both versions are valid and the difference in concluding tone has little significance when judging either version. For Siegel’s mastery lies within the tension-building and his monochrome palette. 

Science fiction ought to consider ideas of humanity as it - more than any other genre of narrative storytelling - represents a humanistic idyll that humans aspire for or a hell that one would hope to avoid. Such thoughts are not lost in Invasion of the Body Snatchers despite its lowbrow title and obvious lack of acting talent and funds. For a decade awash with forgettable, painfully pedestrian science-fiction films, it is a stinging, memorable shock to the senses. And almost sixty years later, it remains just that.

My rating: 8/10

^ Based on my personal imdb rating.

bee-cake: What generation had the best horror movies, in your opinion?

That’s kind of a tough call, because the movies themselves were a reflection of the times in which they were made, and it was the changing climate surrounding them that made them so powerful and moving.

I will try to cover the most noteworthy films of each decade (occasionally regardless of my own feelings about them), and the social and political climate of each period.  I’ll have to put the rest under a cut, because this post is probably going to get rather long.

Read More

willyliberteen: Ever heard of "The Thing that Drifted Ashore"?

Oh, hell yeah!  That’s one of Junji Ito’s short stories (not his best, but still pretty damn creepy).  Of course, it may effect me more than others, since I’ve got that thing about deep water (and things in the deep water).

For anyone that might want to read it, you can find it in full here.

maniacaltoaster: Lotta zombie movies were call "The *Word* Dead" huh? XD

Zombie movies with “dead” in the title?

Alien Dead (1980)
Another Night of the Living Dead (2011)
Benefit for the Living Dead (2005)
Braindead (1992)
Brain Dead (2007)
Children of the Living Dead (2001)
Children Shouldn’t Play With Dead Things (1972)
City of the Living Dead (1980)
City of the Walking Dead (1980)
Crossclub: The Legend of the Living Dead (1999)
Curse of the Living Dead (1973)
Dance of the Dead (2008)
Dawn of the Dead (1978)
Dawna of the Dead (2008)
Day of the Dead (1985)
The Dead (2010)
Dead & Breakfast (2004)
Dead & Buried (1981)
Dead Air (2009)
Dead and Deader (2006)
Dead Before Dawn (2012)
Dead Dudes in the House (1988)
Dead Heat (1988)
The Dead Hate the Living! (2000)
Dead Meat (2004)
Dead Men Walking (2005)
The Dead Next Door (1988)
Dead of Night (1974)
The Dead One (1961)
The Dead Outside (2008)
The Dead Pit (1989)
Dead Snow (2008)
Deadgirl (2008)
DeadHeads (2011)
Death of the Dead (2010)
Dead Roses (2005)
Detention of the Dead (2012)
Diary of the Dead (2008)
Dorm of the Dead (2007)
Ed and His Dead Mother (1993)
Erotic Nights of the Living Dead (1980)
The Evil Dead (1981)
Flight of the Living Dead: Outbreak on a Plane (2007)
Forest of the Dead (2007)
Forever Dead (2007)
Gangs of the Dead (2006)
Garden of the Dead (1974)
Goal of the Dead (2014)
Graveyard of the Living Dead (2008)
Hell of the Living Dead (1981)
Hood of the Living Dead (2005)
House of the Dead (2003)
House of the Living Dead (1973)
Island of the Living Dead (2006)
I Sell the Dead (2008)
Juan of the Dead (2010)
Knight of the Living Dead (2005)
Land of the Dead (2005)
The Living Dead Girl (1982)
Museum of the Dead (2004)
The Naked and the Living Dead (2003)
Night of the Day of the Dawn of the Son of the Bride of the Return of the Revenge of the Terror of the Attack of the Evil, Mutant, Alien, Flesh Eating, Hellbound, Zombified Living Dead Part 2: In Shocking 2-D (1991)
Night of the Dead (2006)
Night of the Living Dead (1968)
Night of the Naked Dead (2012)
Nightmare of the Living Dead (1998)
Nudist Colony of the Dead (1991)
The Abyss of the Living Dead (1982)
Otto; or Up with Dead People (2007)
Porn of the Dead (2006)
Poultrygeist: Night of the Chicken Dead (2006)
The Quick and the Undead (2006)
Raiders of the Living Dead (1986)
Retardead (2006)
Return of the Blind Dead (1973)
Return of the Living Dead (1985)
Revenge of the Living Dead Girls (1987)
Romeo and Juliet vs. The Living Dead (2009)
Severed: Forest of the Dead (2005)
Shadow: Dead Riot (2006)
Shadows of the Dead (1931)
Shaolin vs. Evil Dead (2004)
Shatter Dead (1994)
Shaun of the Dead (2004)
Song of the Dead (2005)
Special Dead (2006)
Stag Night of the Dead (2008)
Storm of the Dead (2006)
Survival of the Dead (2010)
Cemetery of the Living Dead (1965)
Tombs of the Blind Dead (1971)
Undead (2003)
Undead or Alive (2007)
Undead Pool (2007)
The Video Dead (1987)
A Virgin Among the Living Dead (1973)
Virus Undead (2008)
The Walking Dead: A Hardcore Parody (2013)
War of the Dead (2011)
Zone of the Dead (2009)

Yes.  Yes there are.

deadjosey:

classichorrorblog:

Evil Dead II (1987)

Directed by Sam Raimi

The lone survivor of an onslaught holds up in a cabin with a group of strangers while the demons continue their attack.

man wellheyproductions is lucky he saw Bruce Campbell’s  amazingness up close ; n ;

I got to, too!  I gave him a piece of artwork I did of him, had him sign another copy of it for me, shook his hand, and then basically fell all over myself in nervousness, and ended up spouting a bunch of unintelligible fangirl gibberish. :(

He’s left-handed, by the way.

cronendrome:

David Cronenberg cast Lynn Lowry as Nurse Forsythe in Shivers/They Came From Within because of her haunting eyes and strange screen presence. 

cronendrome:

David Cronenberg cast Lynn Lowry as Nurse Forsythe in Shivers/They Came From Within because of her haunting eyes and strange screen presence. 

mondomovies:

31 DAYS OF HALLOWEEN: favorite 80’s horror14/31 - The Video Dead (1987)

mondomovies:

31 DAYS OF HALLOWEEN: favorite 80’s horror
14/31 - The Video Dead (1987)

spookshowvixens:

One thing I absolutely love about Terror Tuesday at the Alamo Drafthouse is that it constantly exposes me to little known horror films I otherwise would never have gotten exposed to.  This includes obscure titles like; “Invasion of the Blood Farmers”, “Another Son of Sam”, “Mardis Gras Massacre” and last night’s gem, “BoardingHouse.”  These are the kinds of movies that might never be seen again in their 35mm glory unless resurrected and returned to the silver screen by dedicated programmers like Joe Ziemba and his predecessor, Zack Carlson.  For that, I am eternally grateful for their hard work.  

The 1980s saw the boom in home video that brought video stores to every corner shopping center (and even a few gas stations), VCRs in almost every home and a constant hunger for new product.  To meet this demand for constant, fresh product a new industry sprung up that made cheap, straight to video films shot on video using the primitive technologies of the day.  Of course two of the big genres to take advantage of this new way of making movies were pornography and horror.

 We all know that porn really took off with the advent of home video machines so people could watch adult films without having to sit in a seedy, inner city theatre surrounded by the kinds of people who see pornography in cheap, inner city theaters.  They could sit home and be with the same kind of people (themselves) with realtive anonymity.  It was also easier to market and make porn for the home market and it became the primary method of production and distribution until the internet came along and gave it all away for free.

As for horror movies, the cheaper production methods and easier distribution of the home video market meant that aspiring auteurs could get their films made and out to the public without worrying about big studios getting in the way.  It was also an avenue for making a name for oneself quickly.  Horror was a good fit for this new market because exploitation films (much like pornography) are always in demand, tend to make a quick profit and thrive on excess and shock value the big studios are picky about.  So, we got movies like “Sledge Hammer,” “Things”, “Truth or Dare”, “Microwave Massacre” and “BoardingHouse.”

"BoardingHouse" is about a man named James who inherits a large, 10 bedroom house from his late uncle, who died mysteriously inside a few months back.  James has the idea to turn it into a boardinghouse and puts out an ad advertising for "Women between the ages of 18 and 28 with no attachments".  Surprisingly this unequal opportunity approach lands him the bachelor pad of his dreams and 9 eager young ladies move in with him, paying him 100 dollars a month.  James is also a practicing psychic, honing his mental powers by "channelling cosmic energy to unlock the secrets of the universe".  This means he’s got telekinetic powers sufficient to levitate a bar of soap and make it dance across the surface of the water in his bathtub.

What James does not know is that the house he inherited once belonged to noted psychic researcher Dr. Hoffman who died along with his wife under suspicious circumstances.  They left behind one child who has been confined to a mental institution ever since.  Well, it doesn’t take Sherlock Holmes to figure out what happens.  We see a figure wearing black gloves force a nurse to undress and commit suicide by hanging herself with nylon stockings.  All I could think was, “WOW!  Lord Vader sure has some kinky fetishes.”  This is, however, not a dark lord of the Sith but our mysterious killer who makes a beeline for the old house.

From here on we are treated to lots and lots of nudity.  No, more nudity than that.  In fact, this movie has so much bouncing, heaving, exposed flesh that I got sick of seeing it by the end and just wanted all the girls to put their clothes back on.  Worse, we get LOTS of scenes of James and his strange body wandering around in thongs as well as lots of shots of his butt.  Someone was overly proud of their overly tanned, slightly wrinkling body, let me tell you.  He does own a Datsun (the forerunner to Nissan) 280ZX though so he has SOME taste.

The nudity is punctuated every now and then by an act of telekinetic violence.  One annoying girl gets an icepick through her hand, another has visions of being a pig-headed monster eating mice in the bathroom. I literally have NO idea what this scene was about other than a sign that someone who made this film was on waaaaaaay too many drugs.  One of the murders even involves a girl being forced to bleed all over and wander into the sea.  By far though, the most ridiculous death is the girl who’s eyes pop out of her head and fall into some party dip.  You can see in the pictures above that she was just holding her hands over her face with face eyeballs squeezing out between her fingers.  

I won’t spoil any more of the fun of this film by revealing who the killer actually is or what their motive is.  Let’s just say it’s weird, fun and a lot like this movie itself, comes out of almost nowhere and gets to you.  However, I will say the greatest villain in the entire movie is the editor.  He seems to cut scenes short just as people are beginning to talk or worse, cut scenes off before they even start, leaving just a tiny clip of something that may or may not have happened.  I seriously think half of the plot got lost in the ham-handed editting.  

I can see the makings of a much, much better movie lurking in this one. It seems though that the director’s reach far exceeded his grasp, budget or the talent of his cast and crew.  With a higher budget and more professional people behind the cameras, this could have been a very exciting, intriguing thriller on the lines of “Carrie” or a bizarre free for all of ideas like “Hausu.”  What we get instead is the germ of a great idea that has yet to germinate because the manure it was buried in is just too thick.

Let me get something straight here though.  I do not hate this movie.  I don’t consider it terrible or ‘so bad it’s good’.  In fact, I have come to loath that last phrase almost as much as I loath the concept of ‘guilty pleasures.’  If you like a movie, admit it, don’t backhand compliment it to try and preserve your ‘cool’ status or impress anyone else.  Heck, I -like- the Michael Bay “Transformers” movies and I am not afraid to admit it.  I will defend the “Star Wars” prequels with my dying breath because there were some good ideas in there.  Could they have been made better?  Probably, but not by me.  

The same applies for “BoardingHouse”.  It’s not a great movie, it’s not even very competently made but it never bored me and I could see a glimmer of something good in it.  Anyone willing to put their heart and soul into making a movie, even a low budget horror film (Hell, ESPECIALLY a low budget horror film), should be praised for having the spine to get it done.

In the words of the great Mr. Lobo, horror host extraordinaire, “Open your mind to the possibility that they’re not bad movies, just misunderstood.”  If you do, I can guarantee you you can enjoy more movies and find new horizons of cinema.  Heck, you might even join us at Terror Tuesday and have your horizons expanded for you.   Or, go rent “BoardingHouse” and see a potentially great movie that entertains better than anything Merchant Ivory ever put out.

I had tracked the name of this one down for someone before, and (without bothering to read anything about it) just chalked it up to being another run-of-the-mill failed slasher flick.  Now, however, I’m a bit more intrigued.  I think I might have to give this one a shot, even if only for the pig-headed mice-eating scene (I’m not sure if I’m relieved or disturbed to discover that the object being dangled in the air wasn’t the used tampon I assumed it was).

(Source: everythingisamovie)

fuckyeahhideshihino:

Hideshi Hino

fuckyeahhideshihino:

Hideshi Hino

(Source: hanakodo)

vhs-ninja:

The Night of a Thousand Cats aka La Noche de los Mil Gatos (1972) by Rene Cardona Jr. 

vhs-ninja:

The Night of a Thousand Cats aka La Noche de los Mil Gatos (1972) by Rene Cardona Jr. 

Dammit…whoever was asking about the older horror show possibly aimed at teenage audiences from the late 80’s-early 90’s where a kid gets sucked into a video game, wins it, and ends up having to keep reliving it because he’s now trapped in it - I think something went goofy while I was in the middle of responding, and I think it sent prematurely.

In any case, I went through the episode listings for Are You Afraid of the Dark?, but that didn’t turn up any matches.  I’m going to guess this was live-action, and not animated.  While I keep digging around, does that sound familiar to anyone else?

(P.S. - I’m also still trying to find the movie from around the same period that features a melting cat, if anyone’s got any clues on that one)