Freestyle Digital Takes Us Down 'Munger Road'


LOS ANGELES, CA - June 30, 2012 – Freestyle Digital Media LLC (FDM) has acquired the rights to MUNGER ROAD, a tension filled suspense-thriller from Insomnia Productions that will debut on DVD, Digital Download and Video On-Demand. The film was written and directed by Nicholas Smith, produced by Kyle Heller and stars Bruce Davison (“X-Men,” “Luck”). Last year, MUNGER ROAD was released theatrically by Freestyle Releasing in the Chicago area to a remarkable $30,000 plus per screen average. The film is slated for release on September 11th.

MUNGER ROAD takes place in a sleepy Midwestern town on a night when a group of teens explore the famed ‘Munger Road’ – a spot where a horrific tragedy occurred years earlier. Something terrible happens to the group, forcing the local police to acknowledge there is a returning killer lurking in the area as thousands of people converge on the town for the annual Scarecrow Festival.

The deal was negotiated by FDM’s CEO Susan Jackson and Executive Producer Jeffery Smith, from Insomnia Productions. “’Munger Road’ has a loyal following of fans and appeals to all ages,” said Jackson. “It really delivers on the scares in the tradition of ‘The Amityville Horror’ and ‘An American Haunting.’ It’s based on a real place and folklore, which gives it an extra edge.”

Freestyle Digital Media’s recent slate of releases includes the critically-acclaimed Filipino horror-thriller THE ROAD from director Yam Laranas. In addition, DEADHEADS, the acclaimed horror-comedy from directors Brett and Drew Pierce, SWINGING WITH THE FINKELS starring Mandy Moore and directed by Jonathan Newman, and TOMORROW, WHEN THE WAR BEGAN directed by Stuart Beattie, which also marked the first feature film to debut on Facebook.
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The Original 'Scream Queens' Return to Life on DVD!

New Documetary
Screaming In High Heels

Coming to DVD August 28th from Vicious Circle Films

PHILADELPHIA, PA - June 30th, 2012 - Breaking Glass Pictures is proud to announce the August 28 DVD Release of "Screaming in High Heels: The Rise & Fall of the Scream Queen Era" (SRP $19.99). Edited for its TV debut earlier this year, the unrated DVD of "Screaming in High Heels" chronicles the careers of the original girls of terror as they show that cannibalism, demonic possession, flesh eating, and even chainsaw hookering is all in a days work.

Three girls living in Los Angeles, CA, in the 1980s found cult fame when they "accidentally" transitioned from models to B-movie actresses, coinciding with the major direct-to-video horror film boom of the era. Known as "The Terrifying Trio", Linnea Quigley "The Return of the Living Dead", Brinke Stevens "The Slumber Party Massacre" and Michelle Bauer "The Tomb", headlined upwards of ten films per year, fending off men in rubber monster suits, pubescent teenage boys, and deadly showers.

They joined together in campy cult films like "Sorority Babes in the Slimeball Bowl-O-Rama" (1988) and "Nightmare of Sisters" (1987). They traveled all over the world, met President Reagan, and built mini-empires of trading cards, comic books, and model kits. Then it all came crashing down. This documentary remembers these actresses - and their most common collaborators - on how smart they were to play stupid.

Featuring iconic directors of the time including David DeCoteau (Creepozoids), Richard Gabai (Nightmare Sisters), Fred Olen Ray (The Tomb), "Screaming in High Heels: The Rise & Fall of the Scream Queen Era" takes viewers through the prime of the "Trio" as they rule the screen with their sex appeal and vocal cords, and ultimately, into their very real demise from the genre that made them blood covered stars.

The unrated DVD release will come with chilling extras to die for, including: bonus interview footage with Linnea, Brinke, and Michelle; and footage from the Flashback Weekend of Horror Q&A session.
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Pix/See Makes Some 'Deadly Revisions'

Bill Oberst Jr. film from PIX/SEE Productions
Gets a wicked new name:

LOS ANGELES, CA - June 30, 2012 - Gregory Blair’s mystery/thriller starring international sensation Bill Oberst, Jr. takes it up a notch with a new title: “DEADLY REVISIONS”

PIX/SEE Productions announces that writer/director Gregory Blair’s mystery/thriller starring international sensation Bill Oberst, Jr. has gotten an upgrade; a new and improved title.

“While we liked the old title, which was the title of the screenplay, we wanted something totally fresh and more specific to the story we are telling,” Blair explains.

In DEADLY REVISIONS, horror film writer Grafton Torn finds hypnotherapy and nightmares reveal memories that might or might not be real…and that might or might not be deadly.

Star Bill Oberst, Jr. endorses the change. “The new title really has more intrinsic meaning,” he says. “I mean: yes, I’m a writer and I was in the process of making script revisions when I had my accident, but now it seems like it’s my life that’s getting revised. I have these horrific visions that keep changing…and I don’t know which versions are reality. If any of them are.”

Bill Oberst Jr.’s iconic screen presence has haunted dozens of films and his role in the Emmy nominated “Take This Lollipop”--the most popular application in Facebook history--has made him an international phenomenon. He’s very excited about his role in DEADLY REVISIONS.

“The script twists so much the audience has to keep reevaluating the information they get,” Bill explains. “And my character is a totally unreliable narrator!”

“And a nice little twist on top of everything,” Blair adds, “is that the title itself is a revision. How perfect is that?”

DEADLY REVISIONS begins shooting later this year. For updates, visit:

The official DEADLY REVISIONS website: http://www.DeadlyRevisionsMovie.htm

The DEADLY REVISIONS Facebook page:

The DEADLY REVISIONS Twitter:!/DeadlyRevisions
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Zombies Invade London August 4th!


LONDON, ENGLAND - June 30, 2012 - AMY GRIMEHOUSE presents Zombie Fete: a 12-hour homage to all things undead at The Islington Metal Works, London on Saturday 4th August 2012.

The celebrated alternative film club AMY GRIMEHOUSE have long been devotees of all things zombie and post apocalyptic, and after running a series of sell-out events in East London have chosen to relocate to Islington Metal Works for their most epic production to date – a traditional fete but X-rated, uncut, with bloodier bunting and more detached body parts.

The highlights of ZOMBIE FETE will include:

- 12 Hour Zombie Movie Marathon featuring everything from George A. Romero to Buffy, Zombieland to Dawn, Shaun and Juan of the Dead
- SFX make-up tutorial and the chance to explore your inner zombie with an acting workshop
- Dead flower arranging and zombie beauty pageant
- Back from the Dead Disco with DJ's Victoria & Albert + Goryia Estefan
- Zombie tombola, games and prizes and much more...
- Dress up is ESSENTIAL and dead royalty promise to be in attendance to cut the ribbon!

Amy Grimehouse Presents Zombie Fete
The Islington Metal Works
7 Torrens Court
London, EC1V 1NQ
Saturday 4th August 2012 3pm to 3am
Tickets: £15 (early bird £10)
To book tickets:

For more information on AMY GRIMEHOUSE:
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Fever Presents 'Smiley' This Halloween!


Fever Productions to Roll Out Film With Innovative Distribution Plan in Theaters and on VOD on October 11th.

LOS ANGELES, CA June 29, 2012 – Fever Productions announces October 11th, 2012 as the day and date release for the much anticipated horror-thriller SMILEY. The film, which will have a highly innovative, new distribution plan, was directed by You Tube sensation Michael J. Gallagher (“Totally Sketch”), and was co-written by Gallagher and Glasgow Phillips (“South Park”). Michael Wormser (“Some Guy Who Kills People”) is the Producer. Gallagher and his You Tube partners on “Totally Sketch,” as well as the other performers in the film, have an enormous fan base to call on with over 11 million subscribers, 2.2 billion views and 4 million plus fans on Facebook/Twitter. The trailer has accumulated over 11 million views since its debut.

After learning of an urban legend in which a demented serial killer named “Smiley” can be summoned through the Internet, mentally fragile Ashley (Caitland Gerard from “Magic Mike” and “The Social Network”) must decide whether she is losing her mind or becoming Smiley's next victim. The film also stars Melanie Papalia (“Endgame”), Shane Dawson (“Shane Dawson’s TV”) and Andrew James Allen (“Make It or Break It”), with Toby Turner ("The Annoying Orange"), Roger Bart (“Desperate Housewives”), Keith David (“The Thing”) and Liza Weil (“Scandal”) rounding out the cast.

SMILEY will be made directly available to a massive global fan base by using a new hybrid approach for distribution. To see the film in theaters, the producers will be utilizing Tugg, Inc. (“Tugg”), a web-platform that lets audiences choose the films that play in their local theater. With Tugg, fans will be able to buy tickets to premiere screenings throughout the U.S. on October 11th and October 31st. Tickets for the premiere screenings will go sale on Monday, July 16th, and fans will be able to request to host their own screenings soon after.

Starting Friday, June 29th, fans will be able to pre-order SMILEY to stream on demand through the film’s website, for a reduced price of five dollars. The buyers will also be prompted to select between a PG-13 or R Rated Director's Cut of the film. At 12:01am on October 11th, audiences will receive an email notification that SMILEY is now available to stream over their computers, smart TV's, smart phones and tablets in the U.S. and most international markets through Redux's Artists platform, which enables artists and filmmakers to sell video content directly to their audience across every screen. The film streams exclusively on Redux between October 11th and October 31st.

In addition to the Tugg and Redux roll out, the film will be available on more traditional platforms including DVD, Blu-Ray, iTunes, Redbox and cable VOD at a later date.

Said director Michael Gallagher: "We wanted to ensure SMILEY would be made available on the same day to fans worldwide. The love and support for the film has given us the confidence to move forward with an innovative release strategy, which puts the audience in the driver’s seat. If they want to see the film in theaters, they can demand it. If they want to watch it at home, they can stream it on any video device. They can even choose between a PG-13 version and an R-Rated Director's Cut. Also, because we are doing it independently, we are able to keep the costs low and the process simple. We hope to create a new model that puts the fans first and lets their interest in the film drive the distribution, not the other way around." 

For more information on the film, upcoming screenings, and to pre-order it today, go to

For more information on how Tugg works, go to

"Smiley" will also be available on DVD and Blu-ray at Redbox kiosks nationwide!
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Bring 'Halloween 4' and '5' Home to Blu-Ray This August!

Anchor Bay Welcomes Michael Myers
Home to Blu-Ray in

Available August 28th

CHATSWORTH, CA - June 25, 2012 - Michael Myers is back, and he’s never looked better. On August 28th, Anchor Bay Entertainment revamps two of the most iconic horror films to ever grace the big screen with Halloween 4 and Halloween 5. Coming to Blu-ray with all new HD transfers and over an hour of both archival and newly created bonus features, Halloween 4 and Halloween 5 both hit retail with an SRP of $24.99. Pre-book is July 25th.

Halloween 4

He had maimed 16 people to get to his sister. He was shot and incinerated, but still the entity that Dr. Sam Loomis (the legendary Donald Pleasence) calls “Evil on two legs” would not die. Tonight, Michael Myers has come home again…to kill! This time, Michael returns to Haddonfield for Jamie Lloyd (Danielle Harris, Halloween 5, The Last Boy Scout) – the orphaned daughter of Laurie Strode – and her babysitter Rachel (Ellie Cornell, Halloween 5, House of the Dead). Can Loomis stop Michael before the unholy slaughter reaches his innocent young niece?

Bonus Features: Deleted & Alternate Scenes (30 minutes of NEW scenes!), Audio Commentary with Director Dwight H. Little and Author Justin Beahm (NEW), Audio Commentary with Actors Ellie Cornell and Danielle Harris, Audio Commentary with Writer Alan B. McElroy, Halloween 4/5 Discussion Panel, and Theatrical Trailer

Halloween 5

Michael Myers survived the mine explosion thought to have killed him. One year later, his traumatized young niece Jamie is horrified to discover she has a telepathic bond with her evil Uncle…and that Uncle Michael is on his way back to Haddonfield. But Dr. Loomis has a new plan to destroy The Boogey Man in his childhood home using Jamie as bait. With enhanced gore and effects, vengeance has never looked so gruesome!

Bonus Features: Audio Commentary with Director Dominique Othenin-Girard and actors Danielle Harris and Jeffrey Landman; Audio Commentary with Actor Don Shanks and Author Justin Beahm (NEW); Halloween 5: Orginal Promo (NEW) and Halloween 5: On Set Footage (NEW - 17 mins. of raw footage)
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Best of ILHM: Beyond the Grave (2010)

A lone vigilante sets off across the empty highways of post-apocalyptic Brazil in search of The Dark Rider, the demon responsible for opening the seven gateways of hell and bringing about the end of the world! BEYOND THE GRAVE announces the arrival of Davi de Oliveira Pinheiro into world cinema, and this will be a name to follow in the years to come. The grand scale and surreal mysticism of Pinheiro's modern epic can best be compared to Jodorowsky's EL TOPO or Richard Stanley's DUST DEVIL, topped off with a touch of nihilistic humor. BEYOND THE GRAVE offers a striking visual palette that lends itself perfectly to the fast-paced action and comic book styling. Each shot has been meticulously planned for maximum impact. Pinheiro has also shrouded the film in magic, mystery, and suspense, creating his own unique rule set for the characters that is never fully revealed until the end. The brilliant performances by Rafael Tombini and Álvaro Rosa Costa give the film the final strength it needs to succeed, making BEYOND THE GRAVE an instant cult sensation!

Rating: 9/10.


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Go 'Beyond the Grave' with Director Davi de Oliveira Pinheiro

By combining myth, magic, action, and horror, director Davi de Oliveira Pinheiro has blown away audiences around the world with his breakthrough feature film BEYOND THE GRAVE. I Like Horror Movies steps behind the scenes with the director to discuss the making of this post-apocalyptic mini-epic in an exclusive interview below!
ILHM: With your first feature film BEYOND THE GRAVE, you have tapped into an enormous universe of myth and magic. What were your inspirations in writing and directing the film?

DDOP: Carl, I must say everything that was present in my life at the time and before it were inspirations. Of course I was immersed in the Lovecraft mythos and Stephen King’s The Dark Tower series at the time, as well as the films of Jean Pierre-Mélville and Monte Hellman. So these inspired "Beyond the Grave" more directly than any other references. Clive Barker is another horror author of resonance as well as the narrative ideas of Peter Straub.

Musically I was always thinking about Wim Wender’s "Der amerikanische Freund" and the music by Jürgen Knieper that reinterprets the thriller genre in synchronicity with themes of the film. I never presented it as model of what I wanted to musician Felipe Longhi, but he seemed to bring this sensibility by himself in his work, this idea of music that is very close to the sound of our region plus a universal touch.

Pictorially, Melissandro Bittencourt, Carmem Fernandes and I spoke a lot about the photography of David Eggby for "Mad Max" and the art direction of the film was dictated by improvised worlds like the one from "Escape from New York". Also, I was very inspired in my shots by the works of painter Gaspar David Friedrich. I was in love with his works at the time and my obsession of shooting dialogue scenes and visually rich moments from the back of the characters comes from this passion.

The sound design was inspired by the works of such masters as Ben Burtt and Walter Murch. Both Leo Bracht and I are big fans of the guys and their methods of producing very singular sonic worlds. We tried to make the sound design as strong and unique as the pictorial world building. The sound was a universe in itself and took us three years to do.

In life, my greatest inspiration were some friendships that failed, some that got stronger, friendships that were discovered and a personal relationship that failed. Inspiration comes from several different places and will always transform the film. Some of the ideas came from life on the set, the interaction with the crew, nightmares or basic ideas about actions that turned into fully formed scenes.

ILHM: BEYOND THE GRAVE is not easily classified under any one genre. How would you best describe it?

DDOP: It’s a Potpourri of film, of what film means to me. And I must admit I think mixing genre is something that comes naturally because the dramas I see are close to the horror and sci-fi worlds I believe can be built. They’re indissociable one from another, in my eyes. It’s not meant to sound big-headed, but I think I can only classify it as my film, because it’s so dear to me, a loved son. I really don’t want to impose my views on what it should do with its life beyond me.

ILHM: Please explain the characters of the Officer and The Dark Rider for our readers who have not yet seen the film.

DDOP: They’re the opposite philosophies of the dying world. The Officer is the hunter, who takes on himself a mission that is not his own as way of life, a way to sanitize a world gone mad. The Dark Rider is the other, the hunted, a shadow of what the Officer is trying to be, trying to do. He is an evolution, a being natural to the craziness, that is very aware of the end of humanity and at peace with it. The Dark Rider is trying to have fun until the world changes again.

ILHM: Interestingly, the undead in this world seem like more of a burden to the characters than anything else, with the main focus falling on The Dark Rider. Was this always the intended effect?

DDOP: The undead were more common zombies in the original drafts, more violent and active. The passivity started to appear in further drafts, with The Dark Rider evolving and becoming more than “a serial killer in a dead world” and the focal mystical force at work.

The undead in the film are like rats. They’re excluded things. They disturb when seem, but most of the time they’re forgotten, as if they’re not there. It is very important to me the use of the undead with a different perspective. I think the walking corpses can be used to bring forth profound thematic resonance and sometimes we’re very keen to forget it.

ILHM: Critics have already begun drawing comparisons to EL TOPO, DUST DEVIL, and even Stephen King's The Dark Tower. Do you feel that these comparisons are accurate to the underlying themes and style of the film?

DDOP: I think aesthetically with "El Topo" and "Dust Devil" and in narrative the comparisons to The Dark Tower are correct. I’m very in debt with those works. They’re some of my favorite things in the world and even away from them right now (I need to make a visit sometime soon) they make me think and imagine the possibilities of what can be done with imagination and a little work.

Thematically, I believe the works are very different. "The Dark Tower" is mostly about telling stories, "Dust Devil" is very hallucinatory and ambiguous, with powerful imagery and a sense of atmosphere that is enviable, but is very spiritual.

In the case of "El Topo" I believe Jodorowsky is so beyond anything I can summon thematically that I get kind of embarrassed. I’m nowhere near this level of transcendence. The film is so profound and with such a positive message. "El Topo" is based on a strong faith in ourselves as a race that can only come from a superior mind. It’s the kind a film that could be put in a Museum beside the works of artists like Goya, Bosch and Velázquez and it would be at home, because it can be watched endlessly. You can spend days looking at "El Topo". It’s like a painting, not only in it plasticity, but in its thematic force.

ILHM: Tell us about working with Rafael Tombini and Alvaro Rosa Costa as the film's stars?

DDOP: It was a blast! Both are very professional, dedicated, intelligent and creative actors. They have an incredible sense of responsibility to their roles, they’re into the world of the characters and the world of the film and they brought so much more than I could’ve imagined in my very limited view. They helped me to expand the Officer and Franco into fully fleshed characters.

Tombini is one of those actors that has natural charisma and is destined to do bigger things. We’ve a project, a war film that I’m very keen to work on and that can really show his strength and growth as a leading man.

The Officer was written for Tombini from the get go. We talked about the character from 2005 to the shooting in 2008. He knew the character inside out. We didn’t really rehearse. We just talked a lot and formed a bond of trust that helped make him comfortable to experiment and bring his own ideas to the Officer. He is very clear and specific about details, about the actions he wants to do and how. He is very technically proficient and knows how much he needs to prepare for a scene. Tombini makes no compromises.

Franco was written, but until later in the game we didn’t have the actor for it. Alvaro came as a surprise a few weeks before we started shooting. We didn’t know each other really well at the beginning, so most of the first scenes we shot forced us to comprehend what kind of director and actor we were dealing with. We got on the same page very soon, because Alvaro is a really smart man, a true artist very humane and keen to understand others. Alvaro brought to the character of Franco true warm and incredible sense of self that the screenplay asked for. His knowledge of his own body in relation to the space gave and elegance and austerity to the character that makes me really proud of the intersection between actor and character.

Besides that, Alvaro is an actor’s actor that helped reshape two scenes very directly. He put me in a very comfortable position as a director. I just let go of directing the actor’s and creating the movements. I was truly watching something very spontaneous and fun. Alvaro just brought all of the actors with him in those scenes, recreating them, choosing the right moments and a very particular pace. The incredible generosity towards the other actors, the commitment to exchange, the joy of acting, is something that got into the character and it’s not in the screenplay. It’s very much Alvaro Rosa Costa’s doing. He is a truly generous and unique actor, full of dignity and creativity that is his own.

ILHM: Much was accomplished on the film's small budget, but were there any effects that had to be left out due to budgetary constraints?

DDOP: There is one effect, described in the screenplay that always kills me that we didn’t do. But it is from a scene that in the end was cut from the film. The loss is less painful knowing that. But it was a bird eating the eyes of Machiavelli, the blind undead, at the character presentation.

ILHM: Who helped to bring the unique visual style to the film as your Director of Photography?

DDOP: Melissandro Bittencourt is one of the most talented DOPs of the South of Brazil. A great technician and artist with a rare eye for lighting design. He brought several ideas and the full concept of light after a few conversations. We’d worked before on the shorts "Tea Time" and "The Perfect Kiss" (still unreleased) and he has a flair for the realistic portrait of places that combined with the locations chosen by Carmem Fernandes, the production designer, brought to life the world of "Beyond the Grave". Pedro Marques on post-production enhanced their initial ideas and brought on his own some new ones, using very discreet and functional CGI and Digital Composition.

So the visuals of the film are fully credited to those heads of department and their incredible crews who worked hard to make the film sinisterly beautiful.

ILHM: The beautiful Brazilian landscape also serves as a major asset to the film. Where did you find your shooting locations for Post-Apocalyptic Brazil?

DDOP: The locations are part of the reason I wanted to do the film in Porto Alegre. To me it’s an undiscovered part of my city that I saw since I was a teenager. I collected ideas of what I wanted to put of the city into a film for years and years and "Beyond the Grave" was finally the chance to use all these ideas of locations. Like all things that inspired the feature, my personal outlook on the city of Porto Alegre was very important.

Besides these places helped to consolidate my idea of desolation (with a hint of nature getting back on track because of the end of humanity) that was very important to me thematically.

ILHM: What are some of the advantages and difficulties of having a film made in Brazil?

DDOP: What a hard question, Carl! The difficulty is mostly financial. No one wants to fund a horror movie in Brazil. What to say about a horror film with an art-house edge?

The great thing about filming in here is the locations and the undiscovered probabilities. There is a very different kind of culture in the South of Brazil that is very rarely portrayed. I am from a cold place in Brazil. I live down South close to Argentina and Uruguay. We’ve very rigorous winters and intense summers. It’s a culture of contrasts and ambiguities that is not yet explored in genre filmmaking.

The greatest advantage is that a new spin on genre is kind of natural, because of the ambiance. It’s such a different place from what is expected of Brazil, and I believe the film captures that.

ILHM: What has the experience been like touring the film around the world?

DDOP: It’s been an eye-opener. There are new discoveries about the film, about how the audience sees the film in every screening. From our experience "Beyond the Grave" is a very different creature to every audience member. Some find it really groovy, others are immersed in its sadness, and some are fascinated by the horror aspects, others by the drama. It is incredible to see people taking the film as their own and giving interpretations to elements we’ve thought a lot about and others that flew over our heads during the whole process.

ILHM: Do you plan to revisit this universe in a future film?

DDOP: I hope to have the chance. If not in a sequel, I would like to check the corners of this universe in other future films. I’m very fond of this place and hope to come back soon.

ILHM: What is the next project you have planned?

DDOP: Right now, I’m working on a couple of short films and a series pilot. One of the shorts is called "The Perfect Kiss", a micro-short horror film about murder. It’s very much influenced by early Argento, but with a more experimental spin.

The other one is a sci-fi about the last moments of a man before the apocalypse. It is a fragmented view of the end the world that I hope can be show in 2013.

The series pilot is called "Jack Hammer and the Demolition Men". It’s a throwback to 80s action series like "Airwolf" and "The A-Team", with lots of humor and old-fashioned morality. It was created by actor Felipe Monaco, a real talent and someone that is not in "Beyond the Grave" by mere accident (I was a fan of his, he wanted to do a zombie movie, but he was away from Porto Alegre).

During this post-production time of the three shorts, I’m writing some feature screenplays, viewing to produce a second film in this first half of the decade. So, if anyone who is reading this has a rich uncle, contact us!
BEYOND THE GRAVE is currently premiering in film festivals around the world, so please be sure to add the film on Facebook for updates on local screenings in your area:

For more information and to view the trailer of the film, also be sure to check out the Official Beyond the Grave website at the link below:

A very special thanks goes out to Davi de Oliveira Pinheiro and Lockheart Filmes for discussing BEYOND THE GRAVE with us! Read The Full Post HERE!

Best of ILHM: Alien (1979)

The crew aboard the Nostromo, a mining vessel, are awakened from hypersleep to respond to a distress signal that is coming from a remote planet. While investigating the derelict spacecraft, one of the crew members comes into contact with an alien life form that attaches itself to his face. He is brought back on board for medical attention, but after the creature frees itself, the real terror begins as the seed it has planted in its human host gestates into a monstrous killer.

Gritty. Realistic. Terrifying. Just a few words that could be used to describe Ridley Scott's ALIEN, the Science Fiction Horror film that changed it all. ALIEN provides us with a grim future that is not unlike the present, where Earth's resources have been depleted and must be harvested on distant worlds. The crew aboard the Nostromo are not daring cosmonauts, but blue-collared workmen and women, appropriately coined 'space truckers' by critics and fans alike for their crass behavior and neighborly personalities. These are average people that are thrust into extraordinary circumstances while performing their mandated duties. We relate to them because we are them, separated only by a few thousand light years.

Whether directly influenced or not, Dan O'Bannon's brilliant script bears a striking resemblance to a number of earlier space terrors. In QUEEN OF BLOOD, two cosmonauts are sent to Mars to recover an alien ambassador from the wreckage of her spacecraft, but the green-skinned beauty sates her hunger for blood on the crew once aboard ship. PLANET OF THE VAMPIRES is far more suspect as an early inspiration for the design and story structure in ALIEN. Mario Bava's technicolor space epic begins with two spaceships setting down on a remote planet in response to a similar signal for distress. After their investigation, several of the crew members turn up dead as others fall under the influence of an unseen alien invader. The characters and low-tech vision of futuristic space travel can also be attributed to O'Bannon's earlier film DARK STAR, a collaboration he had worked on with John Carpenter while attending USC.

Under Ridley Scott's direction, however, ALIEN produces some of the most frighteningly unexpected moments the Science Fiction genre has ever known. From the time the crew lands on the planet until the film's thrilling climax, we are not given a moment to recover from the growing tension and sheer terror. The audience is only temporarily disarmed as Kane rejoins the crew with no reason to suspect any further danger, but this is hardly any relief. In the famous 'birthing' sequence, the expressions of disbelief and utter horror that plague the faces of the stunned crew members mirror our own. Our increasing heart rates mimic the pulsing sound of the scanning device as Dallas enters the ventilation system to flush the creature out. Just when we think that all is well, we are shocked to find that the creature is even more clever than we ever could have imagined.

Dan O'Bannon would call upon an unusual Swiss artist that he had met while working on an early adaptation of DUNE to give the alien its unique design. H.R. Giger is known for his bizarre joining of metal and flesh, creating a grotesque beauty out of his highly-sexualized but cold and mechanical imagery. The designs used for the creatures, worlds, and spacecrafts in ALIEN are entirely unlike anything the world has ever scene as a result. As Ash describes it in his final moments, the alien is 'a perfect organism [whose] structural perfection is matched only by its hostility... [It is] unclouded by conscience, remorse, or delusions of morality.' Giger's insectoid realisation of the creature brings this statement to life with no less perfection.

ALIEN also introduces us to the character of Ellen Ripley, Warrant Officer aboard ship, but soon to become a film icon and the embodiment of female empowerment. Brave, resilient, and resolute, Ripley is a woman of action, and no one has portrayed these strengths better than Sigourney Weaver. Had the crew not broken Ripley's strict quarantine procedures, they likely could have avoided this entire mess, and it is ultimately up to her to finally destroy the creature when no one else can. These traits would only continue to grow in her future appearances within the series, especially when Ripley faces off with a horde of aliens and their temperamental queen in ALIENS.

ALIEN has unquestionably become one of the defining classics within the Science Fiction genre, spawning countless sequels and spin-offs across all forms of media along with an endless list of imitations. The strength of character and design along with the unmitigated terror that was first found in ALIEN is what sets it apart from all other films.

Rating: 10/10.

Movies like ALIEN:

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Best of ILHM: Dust Devil (1992)

A dark shadow hangs over the African desert, and in its wake lies a trail of bodies. He is the Dust Devil, and he rides on the winds collecting the souls of the desperate and weak of heart. As he sets off across the desert to collect his latest victim, he is followed by a persistent policeman whose fifteen year pursuit will finally draw him into a final confrontation with the devil! DUST DEVIL is Richard Stanley's magnum opus, a film that is simply too good for the Horror genre. Stanley is a supreme visualist, who is able to tell a captivating story through images, alone. His impeccable style mesmerizes the audience in DUST DEVIL, as each shot has been planned out to perfection. The African landscape comes to life in ways that many people never thought imaginable, to the point where it becomes a surreal painting. In its extended cut, Stanley achieves all of the same abstract mysticism and dreamy suspense as Alejandro Jodorowsky or David Lynch ever have. The film is otherwise beyond compare. Robert Burke plays a powerful villain, often losing himself in the character. He is charming and mysterious, easily winning the affection of his intended victims in their final moment of weakness. With stunning cinematography and a gripping story, DUST DEVIL is essential viewing for all Horror fans!

Rating: 9/10.

Movies like DUST DEVIL:

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Final Destination 3 (2006)

Senior year ends with a bang for Wen and her friends, who begin dying in a series of brutal accidents after exiting a roller coaster ride that was doomed to crash. Now, Wendy must try and figure out Death's new design before it's too late! What little seriousness remained after FINAL DESTINATION 2 has been traded in for pure over-the-top entertainment in FINAL DESTINATION 3. It is only by misfortune that director James Wong still feels compelled to include any attempt at storytelling in between the splatterific deaths. The added filler only serves to pad out the run time with all of the same familiar steps we saw in the first two films. It is worth the wait, however, once we get to the gratuitous gore scenes! Heads will be smashed, bodies will burn, and one unfortunate group of teenagers will take the ride of their lives on the Devil's Flight roller coaster! At least the average teen characters have been written to enrage and annoy, making their deaths that much more sweet.

Rating: 7/10.

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American Gothic (1988)

Cynthia and her friends find themselves deserted on a remote island after their engine sputters out over the Pacific Northwest, but they are taken in by a deranged family before learning of their homicidal tendencies. AMERICAN GOTHIC arrives with all of the good old-fashioned camp comedy of other 80's cult-classics like MOTEL HELL or MOTHER'S DAY, keeping its tongue placed firmly in cheek throughout all of the bloody proceedings. It perverts the values and ideals of the traditional American family in much of the same way as the aforementioned films, where breaking Ma and Pa's strict set of rules will have dire consequences. Rod Steiger and Yvonne De Carlo are perfectly cast as the batty old timers in a pair of strait-laced performances, and they are joined by Janet Wright, William Hootkins, and Michael J. Pollard as their middle-aged children who have the combined mental capacities of a 12-year-old. That doesn't stop them from killing their visitors in a variety of twisted games, however. 80's fans with a taste for the absurd will find it in AMERICAN GOTHIC!

Rating: 7/10.


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Final Destination 2 (2003)

Kimberly's terrifying premonition prevents her and a handful of other motorists from dying in a horrible accident on the highway, but the worst has yet to come when Death returns to settle the score! FINAL DESTINATION 2 ups the ante when it comes to shockingly outlandish deaths and the completely contrived scenarios in which they occur. While the basic plotline follows closely in line with the original, it becomes all the more convoluted and jokingly unrealistic when Kimberly begins using precognition to unravel Death's plan rather than simply relying on her instincts as Alex had done in the past. Still, that does not take away from the sheer enjoyment and surprise that each new death provides along the way. This first sequel packs some of the greatest moments in the series thanks to the continued use of clever misdirection leading in to each kill and the amplified gore over the original.

Rating: 7/10.

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Best of ILHM: The Company of Wolves (1984)

"Little girls, this seems to say, never stop upon your way, never trust a stranger friend, no-one knows how it will end! As you're pretty, so be wise! Wolves may lurk in every guise! Now, as then, it's simple truth, sweetest tongue has sharpest tooth!"

Childhood fantasies come to life in Neil Jordan's whimsical fairy tale, THE COMPANY OF WOLVES! Each of the stories take their roots from Angela Carter's feminist twist on Gothic fiction, creating strong female characters in place of typical male archetypes. Rosaleen is whisked away to a world of dreams and nightmares, where her kindly old granny tells her treacherous tales about men who hide their hair on the inside; wolves in sheep's clothing. It is these men, she warns, that will drag a young girl into the depths of Hell! Jordan works from an striking visual palette that is overflowing with dark mood and a menacing atmosphere. His forests are filled with gnarled branches, creeping mists, and towering toadstools, which set the perfect stage for such stories. Where other films strive to turn men into wolves on the outside, THE COMPANY OF WOLVES shows that all men are wolves on the inside, both figuratively and literally. The beastly men rip away their flesh to reveal their inner animal in a stunning display of special effects. As in Carter's fiction, THE COMPANY OF WOLVES serves as a beautiful allegory for the coming of age and the perils of puberty. Red suits Rosaleen quite well, and signifies her journey into womanhood. Jordan also explores these changes through clever visual metaphors and running motifs that underline the plot with wit and satire. Sarah Patterson is wonderful in her debut performance as Rosaleen, putting on a show of innocence and naivety that quickly turn to understanding when the time has come to put away her toys and run with the wolves in her budding adolescence.

Rating: 9/10.


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Best of ILHM: Psycho (1960)

A woman steps into the shower. A dark figure approaches from behind. The shower curtain is pulled back, and the woman screams as she is stabbed repeatedly to the sound of shrieking violins. The killer flees as the woman falls to the floor, her freshly spilt blood still circling down the drain. No other scene is more recognizable in all of Horror. The film, of course, is PSYCHO. The director, Alfred Hitchcock. Hitchcock broke terrifying new ground that shook the very foundations of the genre with the now infamous thriller.

A desperate secretary steals $40,000 in cash from her employer with the hopes of marrying her penniless boyfriend. As she grows weary on the run from Phoenix, she stops at a remote inn far off the highway, the Bates Motel, where she stays for the night. The innkeeper is a shy young man who lives under the watchful eye of his invalid mother. After sharing a quick bite to eat with him, she retreats for the night, and is killed by a mysterious figure while taking a shower. Now, the woman's boyfriend, sister, and a keen private detective have set out to find the missing girl and the cash.

PSYCHO marks a radical shift in the focus of Horror, one where monsters are no longer relevant, because the real monster is right here at home... It is US! Prior to 1960, terror lived on the outside, in some creature that threatened to destroy humanity. Vampires, werewolves, and giant radioactive bugs had once ruled our nightmares, but at the end of the movie, our heroes prevailed, and we were safe. With PSYCHO, the terror now comes from within. Norman Bates could be any one of us; a friend, a neighbor, even a fragment of our own fractured psyche! Like the serial killer Ed Gein, upon whom Robert Bloch's original novel was based, this new breed of psychotic madmen became indistinguishable from the whole of mankind. This is the most frightening aspect of the film, and what has allowed it to remain just as powerful and poignant today as in the day of its release.

Sigmund Freud would have a field day with the psychosexual content that overrides every element in the plot. From the Oedipal relationship between Norman and his mother to the significance of the knife in the Horror film, PSYCHO begs the analytic discussion that ties sex and death together intrinsically. Romance only gives way to irony, as Hitchcock never allows his characters the satisfaction of fulfilling their dreams or lustful desires. He succeeds at not only breaking the mold in Horror, but in providing a progressive look into female sexuality as well. In the opening scene, we find two unwed lovers, Marion (Janet Leigh) and Sam (John Gavin), just following a hotel room tryst. Marion is shown topless in her brassiere, enticing audience just as she will later in the film as she prepares to take a shower. In no mixed terms, this liberated sexual freedom ends at the tip of a knife.

The only thing sharper than Norman's knife is the precision with which Hitchcock edits each shot. He has not been called the Master of Horror without good reason, and PSYCHO demonstrates much of the director's finest work. Many other talents contributed to the film's success, however. Credit first goes out to screenwriter Joseph Stefano, who turns out a brilliant script based on Hitchcock's suggestions over the novel. This is where the major changes occur in the narrative structure and character, expanding Marion's role in the opening act that leads up to the surprise moment where we must shift our investment of emotion from our supposed heroine to the sympathetic Norman Bates. One cannot speak of genius without mentioning the great Bernard Hermann, who provides one of the single greatest film scores the genre has ever known. The frantic energy of Hermann's kinetic score is just as important in driving the terror and suspense in PSYCHO.

The names Anthony Perkins and Norman Bates have become synonymous over the years thanks to Perkins' outstanding performance as the disturbed killer. We are never given any reason to suspect Norman; he is timid, friendly, and by all accounts, 'normal.' Perkins draws us in to the character, and portrays Norman as the film's ultimate victim. In this way, he is the most sympathetic of all, and even the unexpected twist in the end leads to pity over celebration. Janet Leigh is phenomenal as well, teeming with fear and paranoia as she makes her fateful journey across state lines. Half way in, we meet Martin Balsam, who charms audiences as the clever minded Detective Arbogast, while Vera Miles and John Gavin take over as our second-string heroes in another pair of excellent performances.

Alfred Hitchcock not only broke the long-running tradition of externalized horror, but in the process, launched a brand-new era of psycho killer movies that would later evolve into the Slasher film of the 1970's and 80's. In PSYCHO, we see one of the master's finest works, a piece of cinematic history that has served to define the Horror genre for generations.

Rating: 10/10.

Movies like PSYCHO:

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'Lovely Molly' Possesses Audiences This July!

New York Times

“...the film is more disquieting than any demonic force
stomping up the stairs in the dark.”

“It is guaranteed to haunt you.”
- Dread Central


From the co-director of The Blair Witch Project;
Taking control on VOD July 16th followed by Blu-ray ™,
DVD and Digital Video August 28th.

CHATSWORTH, CA – June 10, 2012 - Some things never leave home. Image Entertainment presents the chilling and disturbing Lovely Molly, which opened to critical acclaim when it was unveiled at the Toronto Film Festival in 2011, making its VOD premiere July 16th, with the Blu-ray™, DVD and Digital Download arriving on August 28th. Fresh from its critically acclaimed national theatrical engagements, Lovely Molly is from the Executive Producer of the Lord of the Rings and marks the long overdue return to first-person horror from the co-director of the revolutionary horror film The Blair Witch Project. SRP is $29.97 for the Blu-ray™ and $27.97 for the DVD. Pre-book is July 31st.

When newlywed Molly Reynolds (Gretchen Lodge) moves back into her long-abandoned childhood home, she begins to experience unnerving and impossible things. What starts as a simple story about things that go bump in the night escalates into a battle for dominion over Molly's spirit, as she is beset by a cunning, malevolent force bent on wreaking havoc and terror on Molly and her family. Richly exploring the parallels between psychosis, addiction, and demonic possession to chilling effect, Lovely Molly shows us what really happens before the exorcist arrives.

The superb acting performance by the fresh, new talent Gretchen Lodge hasn’t gone un-noticed by critics with the New York Times declaring “Ms. Lodge is astonishing in her first film,” with hailing “…newcomer Gretchen Lodge is one hell of a scream queen,” and declaring “Lodge delivers an absolutely fearless and often astounding performance.” The Hollywood Reporter called the film “affecting and demonic,” while proclaimed “Modern-day horror doesn’t get much creepier than Lovely Molly.”
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Best of ILHM: Cannibal Holocaust Podcast

When it comes to shock and exploitation, no film has built a more notorious reputation for itself than Ruggero Deodato's CANNIBAL HOLOCAUST, a disgusting and disturbing journey into the Heart of Darkness that features animal slaughter, rape, torture, castration, and cannibalization. I Like Horror Movies joins the cruel creator of Mephisto's Castle, Jose Cruz, for an in-depth study of the film in this week's Sinister Spotlight: Cannibal Holocaust:

Be sure to visit Mephisto's Castle for this and many other wonderfully weird features:
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Best of ILHM: Battle Royale (2000)

"42 Students, Three Days, One Survivor, No Rules."

Fearing that the youth of the nation has spiraled dangerously out of control, Japan passes the Millennium Education Reform Act (better know as the Battle Royale Act) in order to stop teen delinquency. The law calls for a student lottery that will select one class each year to participate in a battle to the death on a remote island, where only one student will leave victorious. Nanahara is just one of the 42 students in Class B that must struggle to survive when all of his friends are out for blood.

BATTLE ROYALE explodes onto the screen from the pages of Koushun Takami's novel. Mixing survival horror with fast-paced action and suspense, it transforms the screen into an ultra-violent live-action comic book. The characters in the film take more closer after the ones described in the manga, where each of the forty-two students have their own unique personalities and strategies within the game. Some fight for survival while others try to find peace, but the two mysterious transfer students that have entered the game unannounced have much more sinister intentions...

Kinji Fukasaku's film can most closely be compared to Stanely Kubrick's A CLOCKWORK ORANGE in terms of its pitch black humor, unrelenting violence, and extreme final solution towards teen delinquency. It is as much a social satire as it is a brutal and bloody action film. BATTLE ROYALE contains shocking portrayals of murder committed by and against its teen characters, which led to a great deal of controversy in the wake of the school shootings that occurred around the time of its release. Unlike Joey Stuart's exploitative THE FINAL which glorifies teen violence, or the camp ridiculousness found in splatter flicks like MACHINE GIRL, the deaths in BATTLE ROYALE are instrumental in creating a microcosm for far greater social concerns. The incredible cinematography and superb editing also help to bring these elements together in a beautiful overall display.

BATTLE ROYALE contains an overwhelming cast of over forty teens in addition to the various adults, and yet each of them have been perfectly selected to fit their specific characters. Tatsuya Fujiwara and Aki Maeda provide memorable roles as the two central protagonists, although they are often overshadowed by many of the supporting characters. Kô Shibasaki's performance as the cold-blooded Mitsuko Sôma is among the best, while Tarô Yamamoto also creates a multi-layered personality as Shôgo Kawada. The vengeful headmaster played by Takeshi Kitano is yet another expertly cast role in this lengthy lineup.

The serious themes found within the context of the film are frequently broken up with its brilliantly dark sense of humor. Kitano's cynical remarks are delivered with such enthusiasm as he sends the students out to their demises. The irony or surprise found in many of the deaths also serves as a release from the horror. Perhaps the funniest moment comes in the form of the televised introduction to the rules that the students receive from a bubbly game show host.

Another interesting thing to note is how each of the weapons that are given to the various students resemble their personalities. Noriko is stealth and observant, which is why she is allotted a pair of binoculars. Nanahara is given a pot lid, representing a shield. He is a peacemaker and a defender, and this would only seem fitting for his character. Yukiko similarly tries to cease the fighting using her weapon, a megaphone, but it only leads to her destruction. BATTLE ROYALE's sociopathic villain Kiriyama is given a fan, which he quickly exchanges for a submachine gun. The erratic rain of bullets it produces reflects Kiriyama's 'fire-from-the-hip' mentality as he sets out to kill as many students as he can for sheer pleasure. These are just a few of the many examples found throughout the film.

Whether it is enjoyed purely for the high-powered action and suspense, or for its underlying social significance, BATTLE ROYALE proves to be one of the most exciting, intelligent, and thought-provoking films in modern Japanese Horror cinema.

Rating: 10/10.

If you liked BATTLE ROYALE, check out:

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Best of ILHM: The Exorcism of Emily Rose (2005)

Many films about demonic possession have come and gone in the days since THE EXORCIST first astonished audiences in 1973. While there have been several moments of shock and exploitation along the way, very few films have actually served to terrify us in quite the same way. That is, until the release of THE EXORCISM OF EMILY ROSE, a film that challenges the institutions of faith and science, while demonstrating the power of fear. Father Moore is placed on trial for negligent homicide after the death of a college student, Emily Rose, who he believed to be possessed by demons. By telling Emily's story, Father Moore hopes to enlighten the world to the reality of God and the devil, and to finally put her soul at ease. As we will see, director Scott Derrickson signs his own death warrant in his decision to frame this story around Father Moore's courtroom case, but not for the obvious reasons.

THE EXORCISM OF EMILY ROSE has two distinct personas: that of the Horror film, but also of a dramatized re-enactment of true events. When taken individually, Derrickson displays a keen control over these two differing genres, save for a few deadly exceptions where he attempts to blend them both together. The most apparent flaw is in the director's decision to involve supernatural elements in and around the court case. He is asking too much of his audience to believe that Father Moore's defender would be overcome by demons as well, mixing fact with fiction. By intercutting between the courtroom and the retelling of Emily's tale, Derrickson not only destroys the forward momentum of the picture, but dispels the suspense as expert testimonies explain away Emily's 'condition' as being rooted in medical science, thereby completely contradicting the horror of her situation. On the reverse, if he were trying to convince us that Emily's story were rooted in fact, he would refrain from exaggerating Emily's visions using computerization, which rules out any open interpretations of her 'condition.'

The film's greatest asset becomes its greatest weakness, as well. Jennifer Carpenter administers a downright terrifying performance as Emily, losing herself in the character and punishing her body in order to truly become 'possessed' right before our very eyes. Her inhuman contortions and venomous line deliveries seem inspired by the devil, himself. We are then left to wonder why she is underused to such a questionable degree. Emily hardly appears in the picture, and becomes a secondary character behind the drama unfolding in the courtroom. It is difficult to sympathize with her situation when we are never given enough time to understand her before she becomes possessed. This leaves an emotional disconnect at all times in the picture.

How, then, can we consider this to be a successful Horror film with so much working against it? THE EXORCISM OF EMILY ROSE challenges our beliefs, and presents an intellectual discussion of the supernatural that pits science and reason against faith. Derrickson assembles an excellent cast, including Tom Wilkinson as Father Moore and Laura Linney as attorney Erin Bruner. The story, itself, is one of the most compelling tales of possession and exorcism in recorded history, and had it been arranged differently by having the prosecution argue their theories in closing, the film, itself, could have had a much greater impact. The courtroom drama simply undermines the horror in its present state, which is a shame when EMILY ROSE comes so close to achieving cult status within the genre.

Rating: 7/10.


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Rewrite History With 'FDR: American Badass!'

FDR: American Badass!
Acquired by Screen Media Films

Film to screen first at Comic-Con

NEW YORK, NY – June 5, 2012 – A new film by Ross Patterson, “FDR: American Badass,” has been acquired by Screen Media Films. Screen president Suzanne Blech announced that the film, starring Barry Bostwick and Kevin Sorbo, and William Mapother, will be available in the marketplace and on VOD in September 2012.

“We are very happy to have to opportunity to work with the Street Justice Films team of Tristan Drew, J.P. McMahon, and Ross Patterson again,” said Blech of the acquisition. “This talented film making team has again delivered a timely and over the top horror/comedy in FDR: American Badass and we expect to have great success together.”

“Thanks to Screen Media, history classes all over the nation will finally have a film that shows what FDR really did for this country. You’re welcome America”, says Patterson.

“FDR: American Badass” is a slapstick comedy that has the 32nd President of the United States riding a ‘wheelchair of death’ to stop the world from werewolves who carry the polio virus, including werewolf versions of Hitler, Mussolini, and Emperor Hirohito. The film, directed by Garrett Brawith and written by Ross Patterson, stars Barry Bostwick, Lin Shaye, Kevin Sorbo, William Mapother, and Paul-Ben Victor.

Also, actors Barry Bostwick and Kevin Sorbo, along with producers Ross Patterson, Tristen Drew, will be representing the film at Comic-Con, where FDR: AMERICAN BADASS! will screen with the previous hit from the filmmakers, POOLBOY: DROWNING OUT THE FURY, on consecutive nights.

The deal was negotiated by Seth Needle from Screen Media with Jim Kehoe on behalf of the producers. Read The Full Post HERE!

Will You Survive IFC Midnight's 'Replicas'?


Theatrical and VOD release planned for 2013

LOS ANGELES, CA - June 5, 2012 – IFC Midnight is acquiring all US rights to REPLICAS, the acclaimed thriller from director Jeremy Power Regimbal, which had its world premiere at the Tribeca Film Festival in April. Starring Selma Blair (HELLBOY), Joshua Close (THE PACIFIC), James D'Arcy (W.E.), and Rachel Miner (BULLY), the film was produced by Regimbal and Justin Tyler Close, and was executive produced by Tina Pehme, Kim C. Roberts and Susan Jackson. Celluloid Nightmares has all foreign rights.

Following a tragic incident, the Hughes family escapes their busy, upscale suburban life in order to spend some quality time at their isolated country home. An evening with friendly neighbors is suddenly interrupted when one man’s obsession with perfection escalates into a violent struggle, forcing all to go beyond anything they ever thought they were capable of in order to survive.

Jackson, of North American sales agent Turtles Crossing LLC, negotiated the sale with Jeff Deutchman, Director, Acquisitions & Productions, Sundance Selects/IFC Films.

REPLICAS is Jeremy Power Regimbal’s first feature after helming numerous commercials and music videos through his company The Lab Media Group. The script, written by cast member Joshua Close, was based on a story from Regimbal and producer Justin Tyler Close, the creators of The Lab Magazine.

IFC Midnight is a sister label to IFC Films and Sundance Selects, and is owned and operated by AMC Networks Inc.
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Paranormal Activity 3 (2011)

In 2007, Katie and Kristi were haunted by a terrifying spirit from their past. Now, tapes of their childhood have been discovered that reveal their first encounter with the evil entity. Like the first two films, PARANORMAL ACTIVITY 3 is a long and drawn out waiting game that has very little story to tell in between its shocks and surprises. The characters are none more convincing or likable, and even the little girls are painted as minor annoyances. With enough patience, however, PARANORMAL ACTIVITY 3 provides some of the most frightening moments the series has to offer. It is always more unnerving when children become involved in the supernatural, and CATFISH directors Henry Joost and Ariel Schulman play this up for all it is worth. Writer Christopher Landon also adds an interesting new element to the background of the haunting that ensures the series' perpetuity. Other than that, PARANORMAL ACTIVITY 3 varies little from the proven path, so fans of the series will find plenty to love. Others will just be outright bored.

Rating: 7/10.

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Best of ILHM: An American Werewolf in London (1981)

With the exception of the Universal classic THE WOLF MAN, AN AMERICAN WEREWOLF IN LONDON is the greatest werewolf film ever made. John Landis strikes the perfect balance between horror and humor in this biting black comedy, while the special effects world would be changed forever by a young Rick Baker, who would bring home the very first Oscar for Best Makeup thanks to his genre-defining transformation sequence.

AN AMERICAN WEREWOLF IN LONDON begins as David and Jack set off across the misty moors on a backpacking trip through England. After they fail to heed the warnings set by the residents of the local tavern, the pair are attacked by a ferocious beast that kills Jack and leaves David hospitalized. As David deals with the grief of losing his friend, he begins to experience horrifying nightmares where he is transformed into a wolf, himself. Now, with the full moon fast approaching, David fears that he may actually become a werewolf in the light of the moon!

David Naughton plays the lovable lead with an enormous amount of enthusiasm, creating a reluctant and sympathetic monster with whom the audience can relate. He is just as tragic a character as Larry Talbot ever was, and is one of the most likable characters in all of the Horror genre. Griffin Dunne is equally enjoyable as David's undead buddy Jack, the wise cracking corpse who continues to decompose with each passing scene as he attempts to convince David to kill himself.

With his characters and light comic mood already established, Landis has primed himself for a surefire success, which is solidified by master of effects Rick Baker. Baker employs a number of cutting-edge latex and bladder effects that allow David's body to stretch and contort as he turns into the four-legged beast right before our very eyes! No amount of computerization can ever stand before the practical effects that were perfected in AN AMERICAN WEREWOLF, and Baker's transformation scene remains as the most visually arresting and effective sequence to date.

Beware the moon, but not AN AMERICAN WEREWOLF IN LONDON!

Rating: 9/10.


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Major Announcement for ILHM!!

To all of you ghouls and ghosts out there in reading land, I Like Horror Movies will be hosting the "Best of ILHM" for the month of June as we welcome our newest little monster, Gavin Lee Manes. Gavin will be arriving home on Thursday, June 7th 2012 to his loving parents, Carl and Cynthia Manes. Although new posts may be a little less frequent in the coming month, we have plenty of new surprises in store for you, along with some great reviews you may have missed!

In addition, I Like Horror Movies founder Carl Manes has been training extensively to survive the zombie apocalypse in the coming Run For Your Lives obstacle course that is being held in Temecula, California this October. Carl will be representing the site and all of its readers in the event, so with any luck he will not get chowed down before the finish line!

I Like Horror Movies is a non-profit and entirely independent news and review source, but we will be accepting donations for both causes if you feel so obliged. Please feel free to reach us at for more information.

Thanks again for your continued support, the bloody best from all of us here at I Like Horror Movies,

-Carl Manes
Editor, I Like Horror Movies Read The Full Post HERE!

Fright Night (2011)

Charley's paranoid friend Ed tries to convince him that his neighbor is a vampire, but it isn't until Ed goes missing that Charley begins to believe him... Now, Charley must enlist the help of famed vampire expert Peter Vincent to track down the fanged menace before he can sink his teeth into the rest of the neighborhood! FRIGHT NIGHT returns to the big screen in the 2011 remake, which unfortunately leaves much to be desired. Unlike Tom Holland's 1980's cult classic, which modernized the vampire mythos while paying homage to the films of the 50's and 60's, the only things this new version seems concerned about is looking cool and selling copies of the soundtrack. The plot has been slightly restructured in the first half to provide enough surprises for returning audiences as to keep things fresh, but the unnecessary escalation of action and computerized effects leads to a major let down in the second half. Careless screenwriting also leaves us with countless questions, since there do not appear to be any consequences for any of the characters' actions (particularly when no one can be bothered to investigate Charley's house fire or how and why he arrived at the hospital in a car that was stolen from a dead man). Filmmakers Craig Gillespie and Marti Noxon appear to have no interest in telling a convincing story or building suspense, and instead focus on being teen-edgy and hip. Colin Farrell hams it up in another over-the-top performance as Jerry the vampire, though he does fit the part of the handsome and seductive stud next door.

FRIGHT NIGHT is to the original what DISTURBIA is to REAR WINDOW: a trite, soulless retelling of the same old story used to capitalize on the teen dollar. Where the original is revered by fans, this version will quickly be forgotten.

Rating: 7/10.

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Class of Nuke 'Em High 2 (1991)

Sex, violence, giant mutant squirrels... CLASS OF NUKE 'EM HIGH 2 has them all! And at only a fraction of the fun of the original! After being reduced to rubble, Tromaville High School is rebuilt as Tromaville Institute of Technology, conveniently located inside the new nuclear power plant. It is here that Professor Holt begins using the students as her own personal guinea pigs, transforming the entire student body into a new batch of subhumanoids to terrorize the town! Troma takes trashiness to a whole new level once again, with more gooey gross-outs and gratuitous nudity than ever before. Increased budget and improved special effects do not equate into more laughs in this case, however. 
Like in THE TOXIC AVENGER PART II, the brain dead plot and ridiculous characters are supposed to be overlooked for all of the overcompensation elsewhere, but hardcore B-Movie fans should have no trouble turning a blind eye to the film's utter stupidity once the tops start falling off and the slime starts flowing.

Rating: 4/10.

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Best of ILHM: The Exorcist (1973)

In 1968, a young Frenchman changed the face of Horror by taking the devil out of the Gothic landscape of Medieval Europe and placing him in a small apartment building in New York City. ROSEMARY'S BABY was born, bringing supernatural terror into a real-world setting. Five year's later, another talented director by the name of William Friedkin would shock audiences the world over with THE EXORCIST, which many consider to be the scariest movie of all time! Adapted from William Peter Blatty's best-selling novel, THE EXORCIST follows 12-year-old Regan McNeil, who becomes possessed by an ancient demon, leaving it up to a pair of Catholic priests to rid the girl of the unclean spirit in order to save her everlasting soul. Regardless of one's religious affiliations, the shocking images and daring implications that THE EXORCIST represents are enough to shake one's belief (or disbelief) in God and the devil. Thanks to an incredibly talented special effects crew, Friedkin has created something so horrible, so truly terrifying, that it would stand to prove the existence of demons on screen. The sweet and sincere Linda Blair is slowly transformed into a foul monster that curses and defiles all that is holy. There is perhaps nothing more profane than watching a young girl stab into herself with a crucifix while shouting "Let Jesus fuck you!" Add to that the spinning heads, levitation, reverse crab-walk, and vomit-spewing, and the film becomes unbearably scary! Even the sound design is enough to make the skin crawl, most notably in the scenes where Regan begs for help by imprinting the words on her flesh and in the tape recorded sessions that Father Karras reviews at the monastery.

While the possessed Regan remains at the center of the action, the story is rather one of faith and redemption; it is the story of Father Karras. We learn very early on that Karras has lost his faith in a godless world, but that faith is restored in his personal encounter with the devil. It is almost as if the demon is used as a means of restoring him to the church, rather than he being the tool used to drive it out. Karras is brilliantly played by the late Jason Miller, who is dark, beaten, and completely unbelieving until the very end. Despite all of the alarming visuals, it is Father Karras' journey that we find the most captivating. The demon taunts him and tempts him, and at times, is able to defeat the wayward priest. If it were not for his reinstalled faith in God, the demon surely would have consumed Regan.

THE EXORCIST is often criticized as being an effects-driven spook show, but this is not the case. As mentioned previously, the performances of Linda Blair and Jason Miller, alone, lend legitimacy to the terrifying theme. In addition, they are met with equally powerful performances by Ellen Burstyn as the struggling mother Chris McNeil and the legendary Max von Sydow as the aged Father Merrin. Burstyn portrays a loving mother, but one that is having difficulty balancing her career and home life, while also dealing with the frustration of her daughter's uncaring father. She presents a character with whom the audience can relate, and she is very good in the role. THE EXORCIST is shot as if the camera is simply a fly on the wall as each of the frightening events take place. We feel intrusive, unwelcome. The camera takes us to places that we dare not go, and once there, it is unflinching as it barrages us with unspeakable horrors. Blatty's script can be often dry, however it is brought to life by the talented cast. The sinister special effects only work to elevate the already-chilling mood and captivating story. This is best demonstrated, again, in the monastery, where we jump out of surprise when the phone rings as Karras is listening to Regan's tapes. There is nothing frightening on screen. We are absorbed in the characters' plight, and we are scared.

THE EXORCIST is, in every way, a Horror classic. It is frightfully shocking, terrifying, and revolting; everything that the genre looks to be. But, it is also built on an excellent story, mood, and characters for whom we care deeply. For that, it must be considered amongst the best that the genre has to offer.

Rating: 10/10.

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Junk (2000)

A group of jewelry thieves choose the wrong location to swap their stolen goods as they find themselves in the middle of a military testing facility that is being used to revive the dead into a new form of biological weapon! JUNK, along with WILD ZERO and VERSUS, is a direct response to the popularity of survival video game series like Resident Evil in Japan. It is an Asian Horror film with Western sensibilities, pulling from the entire canon of zombie cinema, with ties to George Romero's classic DAWN OF THE DEAD as well as the lesser Italian efforts like HELL OF THE LIVING DEAD. The cliche story structure and poor production quality more accurately reflect the latter, but there is certainly no lack of gore in this gut-muncher! The Japanese have proven, once again, that they have the same taste for human flesh as most American audiences, as the bloody special effects and chilling make-up work rivals anything we have seen here in the US. JUNK really brings nothing new to the table, but offers gore fans more than their fill of flesh-eating zombie action!

Rating: 6/10.

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Final Destination (2000)

Alex has a terrifying premonition that causes him and several of his classmates to be escorted off of their plane to Paris just moments before it takes off and explodes. Now, Death has returned to reclaim the victims that escaped their fiery demise... FINAL DESTINATION: The ultimate excuse for contrived screenwriting! The FINAL DESTINATION series gave the typical Teen Slasher an all-new angle that moves away from the hockey-masked killer and into the realm of the supernatural. The films are always about surprise and anticipation, not so much in regards to who is going to die, but when and how. The first FINAL DESTINATION provides thrilling shocks in every death that defy audience expectations. Clever clues are laid out for both the characters and the audience to determine the next method of execution, and yet each death arrives with a sudden jolt. Director James Wong puts together another clean-cut cast of familiar teen faces, with Devon Sawa in the lead as the paranoid Alex Browning and Ali Larter chasing closing behind him as the stereotypically strange and misunderstood Clear Rivers. As silly and absurd as the series often may be, it provides plenty of mindless entertainment as we anxiously await each bloody new death.

Rating: 8/10.


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Spawn (1997)

The devil Malebogia tricks a skilled assassin from Earth into becoming a general for his evil armies, a Hellspawn. Spawn is sent back to Earth with the task of collecting enough corrupt souls to wage a war on Heaven, but instead, he learns to masters his new powers in order to defeat the devil at his own game. This generation's hottest comic book hero leaps right off the page and on to the big screen in the 1997 film adaptation of SPAWN! Visual effects artist Mark A.Z. Dippé holds true to the dark characters and themes of the comics, while providing audiences with a concise retelling of Spawn's origin story that is relatively faithful to Todd McFarlane's ground-breaking series. Dippé enlists the help of the industry's leading special effects teams to handle the film's ambitious action sequences, using KNB FX for the costuming, and Industrial Light & Magic for the computerized imagery used throughout the film. The results are very mixed. KNB's costume redesigns are bulky considering the character's sleek appearance in the comics, but Spawn's burnt face and necroplasmic shell hold up to the company's high reputation. The computerized vision of Hell and Spawn's trademarked cape, on the other hand, look cartoony at best and have aged poorly. With the comic at the height of its success, however, it was the opportune time to release the film, even if the technology needed to do so properly did not exist. Michael Jai White, John Leguizamo, and Martin Sheen are forgiven for their ridiculous and over-the-top performances given the extreme nature of their characters. While it is certainly flawed, SPAWN is entertaining and action-packed, and holds an equal appeal to both fans of the comics and newcomers, alike.

Rating: 7/10.

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Win a Prop from 'All God's Creatures'!

Osiris Entertainment is celebrating the DVD release of All God's Creatures with something extra special to the fans who made it possible.

Now is your chance to win an autographed prop from the movie! And not just any old prop... no, you get the chance to win one of Jon's actual "tools" -- the killer's wire, which fans will undoubtedly remember from one of the film's most chilling and emotional scenes. The prop will come with a collector's certificate, signed by Josh Folan, the acclaimed actor who brought to Jon to life.

Visit the Osiris Entertainment Facebook Page and Like the contest post to sign up for your chance to win. One entrant will be randomly chosen to win the prop, while five runner-ups will receive a free DVD. Winners will be announced on June 15, so enter today! Read The Full Post HERE!