There’s something deliciously fucked up about this. For everyone who knows what’s really in room 237, this one’s for you.

#killermemes&comics #theshining #room237 #jacktorrance #wendytorrance

It’s tough to discern what went wrong for director Roger Christian’s feature film debut, THE SENDER. Despite regular showings on cable in late 1983, the film seems to have eluded many horror fans who usually defaulted to more popular genre fare of the time such as THE BROOD (1979) or DRESSED TO KILL (1980) for their mental-health-gone-wrong fix. This indifference first plagued THE SENDER during its theatrical run, which netted only a little over a million dollars. When you’re inquisitive enough to peel back the film’s layers, you find out that its misanthropic blend of enigmatic science and surrealistic violence is probably what torpedoed it from the start.

In short, THE SENDER isn’t a happy film. It starts with an amnesiac filling his pockets with rocks and wandering out into a lake to commit suicide and ends with a suggestion that the same character will repeat the story’s entire ordeal again. In between all this, the nameless protagonist’s doctor finds out that he’s inherited from his mother a terrifying ability to project his nightmares into other people’s reality. I know what you’re thinking: dude, this could totally be an influence on A NIGHTMARE ON ELM STREET! Admittedly, there are some peculiar similarities, but THE SENDER is preoccupied with the claustrophobic emotions of reality while Wes Craven’s 1984 classic concentrates on the wide open playing field of the dream state.

Director Roger Christian has had a dizzying career of extremes, ranging from Academy Award-winning production design for STAR WARS to helming the harangued Scientology sci-fi disaster, BATTLEFIELD EARTH. Here, he shows some nice directoral touches that primarily serve to bolster the film’s unsettling is-this-real-or-a-dream undercurrent. Meanwhile, composer Trevor Jones, fresh off of John Boorman’s dazzling Knights of the Round Table rip EXCALIBUR (1981), provides a mix of maudlin and jittery cues to tap into the emotional core of the story. 

I originally slated THE SENDER to be part of the “One-Sheet Wonders!” section–its poster’s use of imagery, color, and sinister taglines is commanding–but the film is far too interesting to be represented by its marketing materials alone. Check it out for yourself on a dark, rainy night and see if it haunts your dreams, too.

#unclean&unseen #thesender #rogerchristian #trevorjones #excalibur #starwars #battlefieldearth #thebrood #dressedtokill #mentalhealth

I remember seeing this poster in a video store back in the mid 80s. Despite the fact there were much newer, more lucrative genre titles to promote at the time, I can see why the owner decided to keep it up. Let’s face facts: a big-ass picture of Michael Berryman, who played the brutal ‘Pluto’ in the film, is one of the better horror film marketing ideas Hollywood has had in the past 50 years. The result is striking and invites the moviegoer to check out the poster’s more subtle details.

And for those who don’t know, this film also set off a decades-long friendly rivalry between directors Wes Craven and Sam Raimi. Details can be found on Wikipedia here.

#onesheetwonders #thehillshaveeyes #michaelberryman #wescraven #samraimi

I guess maybe the marketing blitz for THE BEAST WITHIN (1982) worked a little too well.

You gotta admit that the “this-is-really-nasty-shit-and-don’t-tell-us-we-didn’t-warn-you!” shtick was a bold move by MGM/UA. People are suckers for reverse psychology, so I’m surprised the film fizzled at the box office after just a few weeks and barely recouped its $5 million budget. Fast forward a few decades and I’m convinced this kind of approach would have worked better in the torture porn era of horror (think HOSTEL, THE HUMAN CENTIPEDE, etc.) from the early part of the 21st century.

#fearflashbacks #thebeastwithin #mgmua #tortureporn #box office #hostel #thehumancentipede

The only thing I love more than posting bad horror reviews from brain-dead critics is posting complimentary ones by astute journalists. Case in point: today’s review of George A. Romero’s MONKEY SHINES, which floundered at the box office despite a good amount of buzz, meticulous editing, and decent critical assessment. Studio tampering with Romero’s ending, as well as other pressures put upon him by distributor Orion Pictures, made the director reassess his career and return to making independent films.

#fearflashbacks #monkeyshines #georgeromero #orionpictures

When all else fails, just give people what they want.

Today, is a poster of one of the most iconic moments in horror history: Jack Nicholson’s improvised “Here’s Johnny” bit from Stanley Kubrick’s THE SHINING.

Taken from Fangoria Poster Magazine #3 (1988)

#onesheetwonders #theshining #jacknicholson #heresjohnny #stanleykubrick #fangoria

A few months back, I took my first-ever trip to San Francisco. This included an unplanned drive down to Santa Cruz, which has a rather famous boardwalk you may have seen before. 

Yes, this is the place where THE LOST BOYS hung out in “Santa Carla”. I’m happy to report that the wooden rollercoaster, The Giant Dipper, featured in the film was still there and celebrating its 100th anniversary!

The Boardwalk may also look familiar to Jordan Peele fans, as it was highlighted in the opening of his acclaimed thriller, US. It also got onscreen time thanks to the kooky cult classic, KILLER KLOWNS FROM OUTER SPACE. Other Hollywood hits that have used the site for its backdrop include the Michelle Pfeiffer vehicle DANGEROUS MINDS (1995), the hit Dirty Harry sequel SUDDEN IMPACT (1983), and the Frankie & Annette reunion flick BACK TO THE BEACH (1987). Paying tribute to this, the Boardwalk has a small area featuring posters of some of the films made there.  

Seeing it in the offseason was strangely quiet, but the sun was still warm and we had the whole place to ourselves. Though the rides were only operating on the weekends by that point, there were other attractions to enjoy, including some vendors, arcades, a great pirate-themed miniature golf course, and the beautiful beach area overlooking Monterey Bay. 

If you’re ever in the area, definitely check it out. It’s a fun spot for adults and kids alike. And who knows, you just might run into Kiefer Sutherland…or your own doppelganger.

#onlocation #santacruzbeachboardwalk #california #sanfrancisco #santacarla #thelostboys #us #killerklownsfromouterspace #suddenimpact #backtothebeach #dangersousminds #giantdipper #rollercoasters #montereybay #jordanpeele #dirtyharry #michellepfeiffer #frankieavalon #annettefunicello #kiefersutherland

Whoooo-EEE! Four films in one night!

Drive-ins were fun to a point. It was great to watch movies in your car, bring your own snacks, and be able to talk if you wanted to. You could also skirt extra ticket prices by throwing your buddies into the trunk (hopefully the lock didn’t jam).

My very first drive-in memory was me and my sister falling asleep in the back of my parents’ AMC Gremlin watching SATURDAY NIGHT FEVER, circa early 1978. However, if we’d had something more akin to the four-picture horror extravaganza we feature today, I probably would have stayed up longer.

We start with one of my all-time favorites, THE BLOOD ON SATAN’S CLAW (sometimes known as SATAN’S SKIN) before dovetailing into THE BEAST IN THE CELLAR. But the night isn’t over yet! We then charge bleary-eyed into the Hammer film THE MUMMY’S SHROUD. Depending on which theater you visited, your fourth and final offering was either the another Hammer offering, THE BRIDES OF DRACULA, or MUNSTER, GO HOME! Not that it matters because I guarantee I would have been asleep by the opening credits of THE MUMMY’S SHROUD, anyway!

#fearflashbacks #thebloodonsatansclaw #satansskin #thebeastinthecellar #themummysshroud #munstergohome #thebridesofdracula #hammerfilmproductions #drivein

Director Osgood Perkins’ latest, THE MONKEY, based on Stephen King’s short story, captured more than $14 million at the box office in its first weekend. Our movie landscape has been the same for years, littered with comic-book adaptations and animated fluff, both of which still pull in big bucks. Despite this, THE MONKEY placed second for the week and landed comfortably on target with projected earnings.

Reviews for the film have been good, but the buzz hasn’t been quite as loud as Perkins’ 2024 offering, LONGLEGS, which scared up nearly $75 million in domestic receipts alone. Still, THE MONKEY has nothing to be ashamed of, especially when you consider its stiff marketplace competition, namely CAPTAIN AMERICA: BRAVE NEW WORLD, the latest $180 million Marvel Comics extravaganza, which took the weekend’s top spot.

For all the details, check out the original article courtesy of the fine folks over at Screen Rant.

#horrorhappenings #themonkey #stephenking #osgoodperkins #longlegs #captainamericabravenewworld #marvelcomics #boxoffice #screenrant

Wasn’t expecting THAT mash-up, were ya?

#killermemes&comics #iknowwhatyoudidlastsummer #sixteencandles #longdukdong