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The cinematic influence of legendary B-movie producer and director Roger Corman cannot be overstated. The original "King of Cult" was a shrewd and thrifty operator who identified a gap in the market during the 1950s, namely among a young demographic of movie-goers who wanted cheap thrills when they went to their local fleapit or drive-in theater. And he gave them what they wanted in abundance, producing over 300 pictures and directing around 50 himself, often low-budget flicks full of sex, violence, rocket ships, monsters, hot rods, and plenty of rebellious attitude. The other side of Corman was a mogul of good taste, who distributed three Best Foreign Language Oscar-winners and brought the likes of Akira Kurosawa, Federico Fellini, and Ingmar Bergman to wider U.S. audiences. Not only that, his films served as a launchpad for many future directors and actors such as Martin Scorsese, Francis Ford Coppola, Jonathan Demme, Robert De Niro,...

Do you like blood? Violence? Freaks of nature? Well, here at Arrow in the Head, we love all of those things – and that has inspired us to put together this list of some of The Goriest, Bloodiest Films Ever Made. Some of the movies are on here due to their historical significance, some are due to the amount of fake blood that was used during the production, and all of them are quite messy. Here we go:

Blood Feast (1963)

This is where it all began. In the late ‘50s and early ‘60s, independent filmmaker Herschell Gordon Lewis and his producing partner David F. Friedman were looking at the major movies of the day to find what they could offer the moviegoing public that the studios weren’t providing. They started out with “nudie cutie” sexploitation movies, meeting the demand for bare flesh. After taking note that violence in movies had...

Baltimore native John Waters is filmdom’s pencil-mustached titan of trash who has spent a lifetime of dumpster-diving into a vat of bad taste, sleaze, kinky gross-outs, over-the-top camp, maudlin melodramatics, sick jokes, taboo sexuality, vulgarity and bizarre personalities. At least he has a fabulous sense of humor. The director is a New York University film school dropout who instead became a scholar of transgressive, envelope-shredding cinema, influenced by the directorial likes of Herschell Gordon Lewis, Federico Fellini, William Castle, Douglas Sirk and Ingmar Bergman. Early on, Waters assembled a stock company of players from suburban Baltimore who he would the Dreamlanders, including Mink Stole and Edith Massey.

But Waters would find his true muse and favorite leading lady in his childhood friend, Glenn Milstead, a drag queen whose alter-ego was known as Divine. When Milstead died at age 42 from an enlarged heart in 1988, Waters' output went more mainstream, with...

This article contains spoilers for "The Monkey."

Although it's still possible to get into the weeds when discussing auteur theory, it's generally become accepted that directors, especially if they're also acting as their own screenwriters, have a large degree of creative control over their films. As such, it's possible to find common threads that connect a certain filmmaker's work, whether those threads are thematic, stylistic, or some combination of the two. For example, think of the Stanley "Kubrick stare," the Spike Lee floating dolly shot, Alfred Hitchcock and voyeurism, Steven Spielberg and father figures, and so on. Some directors may seem easier to clock than others, of course, especially if they exclusively or generally work within a particular genre. Yet even those who remain in one genre can contain as much artistic diversity as those who attack a wide range of subject matter.

Take, for instance, Osgood Perkins. As a filmmaker,...

Horror streaming platform Nyx TV UK has unveiled a packed February 2025 lineup, promising a thrilling blend of psychological thrillers, cult classics, and supernatural chills. Leading the charge is the Channel premiere of Big Bad Wolves, the provocative Israeli psychological thriller from directors Aharon Keshales and Navot Papushado. Praised for its blend of dark comedy and harrowing drama, the film will stream on Friday, February 21, at 9pm.

Often hailed as one of the most thought-provoking psychological horror films of the past decade, Big Bad Wolves has earned critical acclaim worldwide. Its intense exploration of morality and revenge is sure to captivate audiences as the headline feature for this month’s offerings.

Nyx TV UK’s February slate also includes ten additional Channel premieres, covering a range of genres and eras to satisfy horror fans of all kinds. Among the highlights is a tribute to the “Godfather of Gore,” Herschell Gordon Lewis,...

Buckle up for a modern cult classic that I think many horror fans have yet to see. Now on Screambox is Sonny Laguna and Tommy Wiklund’s Wither, an extremely bloody scary tale of demonic possession that plays as a Swedish tribute to Sam Raimi’s horror classic, Evil Dead.

In the film, a couple set off to a cabin in the vast Swedish woodlands to have a fun holiday with their friends… but under the floorboards awaits an evil from Sweden’s dark past.

“The dazed young men and women soon mount their attack that includes decapitations, dismemberment, spurting blood, flailing axes and the kind of gore one does associate with Swedish cinema!”

Check out Wither, which Meagan Navarro calls “gloriously gory”, right now on Screambox alongside Herschell Gordon Lewis’s Blood Feast (and its remake), the Pet Sematary-inspired Lizzie Lazarus, several Giallo movies, the newly added and incredibly timely Street Trash remake,...

Screambox has all sorts of goodies hitting the streaming service this month, including the newly-released Pet Sematary-inspired Lizzie Lazarus, not to mention several Giallo movies. They join last month’s release of the incredibly timely Street Trash remake and the nightmarish exorcism drama Deus Irae.

Gorehounds will eat well with Screambox’s double helping of Blood Feast. Herschell Gordon Lewis’s landmark splatter film drops on January 31 while Marcel Walz‘s recent remake starring stars Robert Rusler (A Nightmare on Elm Street 2) and Caroline Williams (The Texas Chainsaw Massacre 2) is now streaming!

The new take on 1963’s Blood Feast (read our review) is dripping with copious amounts of the red stuff; our own Chris Coffel called it “a delicious splatterfest that will have horror hounds going back for seconds.”

In the film…

“Fuad Ramses and his family have moved from the United States to France, where they run an American diner.

Screambox has revealed the new films joining the horror streaming service in January, including Herschell Gordon Lewis’s Blood Feast (and its remake), the Pet Sematary-inspired Lizzie Lazarus, and several Giallo movies. They join the newly added and incredibly timely Street Trash remake alongside the nightmarish exorcism drama Deus Irae.

Here’s a breakdown:

The people in Hell are starving while the people in Heaven feast in Lizzie Lazarus. Drawing comparisons to Stephen King’s Pet Sematary, the twisted psychological horror film will be resurrected January 14 exclusively on Screambox.

Gorehounds will eat well with Screambox’s double helping of Blood Feast. Herschell Gordon Lewis’s landmark splatter film drops on January 31, while the recent remake starring stars Robert Rusler (A Nightmare on Elm Street 2) and Caroline Williams (The Texas Chainsaw Massacre 2) streams on January 17.

Screambox celebrates January Giallo with four stylish Italian murder mysteries: Strip Nude for Your Killer...

From Italian master of horror Lucio Fulci, Don’t Torture a Duckling will be released on 4K Ultra HD on March 25 via Arrow Video.

The 1972 Italian giallo film has been newly restored in 4K from the original 2-perf Techniscope camera negative with newly restored original lossless mono Italian (with English subtitles) and English soundtracks.

Fulci co-wrote the script with Gianfranco Clerici (Cannibal Holocaust) and Roberto Gianviti (The Psychic). Florinda Bolkan, Tomas Milian, Barbara Bouchet, Irene Papas, Marc Porel, and Georges Wilson star.

Special Features:

Audio commentary by Troy Howarth, author of So Deadly, So Perverse: 50 Years of Italian Giallo Films Lucio Fulci Remembers – 1988 audio interview with the filmmaker Who Killed Donald Duck – Interview with actress Barbara Bouchet Those Days with Lucio – Interview with actress Florinda Bolkan The Dp’s Eye – Interview with cinematographer Sergio D’Offizi From the Cutting Table – Interview with editor Bruno Micheli Endless Torture – Interview with makeup artist Maurizio...

The four films collected in Severin’s new set Hard Wood chronicle a seismic shift in cult filmmaker Ed Wood’s oeuvre. They see him moving from utterly idiosyncratic mashups of sci-fi and horror like Bride of the Monster and the immortal Plan 9 from Outer Space (not to mention the mockumentary delirium of Glen or Glenda?) to other perhaps less reputable pastures in the land of exploitation filmmaking. Starting with The Sinister Urge in 1960, except for one reasonably charming excursion into cornpone comedy, Wood largely confined himself to working within the increasingly explicit realm of sexploitation films.

Wood co-wrote but did not direct 1963’s Shotgun Wedding, a prime example of the hicksploitation craze that swept the nation in the early ’60s after the runaway success of the TV show The Beverley Hillbillies, which, in the world of exploitation filmmaking, bore fruit like Herschell Gordon Lewis’s gore-laden Brigadoon riff Two Thousand Maniacs!

Warning: This article contains Spoilers for Terrifier 3 (2024)

This article includes descriptions of fictional murder, self-harm, and suicide.

While Terrifier 3 never explains the differences between Vicky and Art the Clown, these are relatively easy to work out by looking at their respective responses to injuries. Terrifier 3 is not a movie that is overly concerned with the mechanics of its plotting. In general, director Damian Leones Terrifier trilogy owes more to the gory splatter movies of Herschell Gordon Lewis than the tightly wound narrative experimentation of Christopher Nolan. That said, amid all of Terrifier 3s brutal kills, there are a few tidbits of lore and clear plot details that canny viewers can discern.

Related Terrifier 3's Biggest Character Death Is A Cop Out

Terrifier 3 kills off one of the franchise's most important characters, so why is their death so underwhelming and could this set up a future twist?...

Whereas splatter movies wield gore and carnage like a weapon to evoke a visceral response, splatter comedies push the onscreen violence and gore into outlandish territory for the sake of a hearty laugh. Peter Jackson and Sam Raimi, for example, began their filmmaking careers defining the modern splatter comedy with their early works, pushing the boundaries of taste, horror, and humor through cartoonish bloodletting.

This week brings the arrival of a new splatter-comedy, Destroy All Neighbors, presenting the perfect excuse to laugh your way through the excess entrails and arterial spray the niche subgenre has to offer. These five splatter comedies vary in style and tone, but all seek to tickle your funny bone through humor, fun, and a whole lot of guts.

Here’s where you can stream them this week.

For more Stay Home, Watch Horror picks, click here.

Blood Diner – The Roku Channel

Before becoming a standalone film,...

Killer Collectibles highlights five of the most exciting new horror products announced each and every week, from toys and apparel to artwork, records, and much more.

Here are the coolest horror collectibles unveiled this week!

Dawn of the Dead Vinyl Soundtrack from Waxwork Records

Dawn of the Dead’s theatrical soundtrack is available on vinyl for $60 via Waxwork Records. The 3xLP album includes the complete De Wolfe library cues for the first time on vinyl.

It’s pressed on 180-gram colored vinyl and housed in a triple gatefold jacket with matte satin coating featuring art by Juan Carlos Ruiz Burgos, a four-page booklet, and liner notes by Living Dead historian Jim Cirronella. Shipping begins on December 15.

Tales from the Darkside: The Movie 4K Uhd from Scream Factory

Tales from the Darkside: The Movie will be released on 4K Ultra HD + Blu-ray on November 28 via Scream Factory. Based on the TV series of the same name,...

On February 6, 2006 — just a little over three months after the release of "Saw II" — critic David Edelstein published an op-ed in New York Magazine entitled "Now Playing at Your Local Multiplex: Torture Porn." It's one of those catch-all "state of the cinema" pieces that critics, journalists, and other culture commentators love to write every so often, attempting to point out a media trend as it's happening; I myself have written several such pieces during my career.

Sometimes these articles are thoughtful observations on what the medium is doing and where it may be heading. Sadly, more often than not, they act as glorified dog whistles, seeking to stir up controversy and public opinion against the oh-so-scary New Thing We Don't Like. As such, it almost doesn't matter that Edelstein spends the bulk of the piece attempting to reconcile with post-9/11 horror films, gliding over and seemingly missing the point of...

To celebrate the 90th Anniversary of Drive-Ins, Authentic Drive-In Theatres across the country present the second annual Authentic Drive-ins Horrorfest. Participating Authentic Drive-In Theatres will show double, triple, or dusk to dawn marathons of classic Horror films on the largest movie screens in the country!

Retrospective Drive-In Horror film series will include a Sat. Sept. 23, 2023 A Nightmare On Elm Street Dusk to Dawn show at the Quasar Drive-In featuring the first seven Freddy Krueger Elm Street classics. To celebrate 45 years of Michael Myers, on October 13-15, the Mahoning Drive-In will present seven Halloween films including the original classic John Carpenter’s Halloween (1978), all on 35mm!

Screening at Authentic Drive-In Theatres across the country will be Horror classics including William Friedkin’s The Exorcist (1973), John Carpenter’s Halloween (1978), George A. Romero’s Night Of The Living Dead (1968), a 35th anniversary screening of Child’S Play (1988), a 40th anniversary screening of The Slumber Party Massacre...

The episode of Best Horror Movie You Never Saw covering 2001 Maniacs was Written by Cody Hamman, Narrated by Kier Gomes, Edited by Juan Jimenez, Produced by John Fallon and Tyler Nichols, and Executive Produced by Berge Garabedian.

Robert Englund doing a demented Colonel Sanders impression. Lin Shaye putting on a deadly song and dance routine. Enough politically incorrect elements to offend pretty much everybody. Buckets of gore. Gratuitous nudity. And a cameo appearance by Eli Roth, playing his Cabin Fever character. Put all of this together and you get 2001 Maniacs (watch it Here). The director calls it a “splatstick” movie. Splatter combined with slapstick comedy. We call it The Best Horror Movie You Never Saw.

Herschell Gordon Lewis was a classy guy, but he specialized in making movies that were not classy. His aim was to give the grindhouse and drive-in crowds the things Hollywood wasn’t giving them. Noting...

John Waters thinks mainstream Hollywood films are just as shocking as his gross-out cult classics.The groundbreaking 77-year-old director made his name with the 1972 black comedy ‘Pink Flamingos’ that famously featured the late drag queen Divine eating real dog faeces. He told Variety about how he believes even mainstream Hollywood films have become as shocking as his old work: “That was stunt work! Eating s*** was the ultimate stunt work. It was about showing things that Hollywood wouldn’t show, and that’s no longer the case. “Now they’ll show anything. Even Steven Spielberg. The opening of ‘Saving Private Ryan’ is Herschell Gordon Lewis – I mean, full gore.” John added he thinks the trans representation is one of the few taboos left that is now being explored. He said when asked what he thought the next generation can do to shock people: “The whole trans/nonbinary thing gets on everyone’s nerves,...

John Waters looks positive giddy as he perches on the edge of his chair at the Provincetown Film Festival, chuckling as he recalls the bad reviews Variety gave him back in the day.

I recall one from the 1974 write-up for “Female Trouble” — “‘Camp’ is too elegant a word to describe it all” — and he rolls his eyes at the word “camp.” “No one says that word anymore,” he laughs. “To me, ‘camp’ is like two older gay gentlemen talking about Tiffany lampshades in an antique shop. We were never that. We used ‘trash’ or ‘filth,’ which was more punk, to describe our style.”

Trade reviews offered a strange sort of validation for the budding “smut-eur,” who would take the put-downs and twist them to his advantage back in the early ’70s, turning bad blurbs into good publicity for his gonzo stunts. When Fine Line rereleased Waters’ most notorious film, 1972’s “Pink Flamingos,...

Flannery O’Connor saw folks in a way few writers did. She saw through them, past their petty prejudices and hollow pieties, to the less civilized selves they so desperately tried to keep under wraps. But it wasn’t just O’Connor’s X-ray vision that made the Georgia-born author such an uncanny reporter on the human condition. She also had the most extraordinary ear, capturing the music of how her people spoke, then lacing into her stories regional turns of phrase one simply couldn’t invent, as if she were embroidering with barbed wire.

To plagiarize (but also to canonize) O’Connor: A good writer is hard to find. Lesser talents have been ripping her off for the nearly 60 years since she died, and rather than do the same, writer-director Ethan Hawke and his mid-20s daughter Maya (whose dead-ringer resemblance to mother Uma Thurman is its own kind of...

Joe Lynch makes fun movies. Beautifully silly, gore-soaked love letters to genre itself, packed with clever casts and enough prosthetic goo to make even Herschell Gordon Lewis sick to his stomach. Lynch’s feature debut (’00s crowd favourite Wrong Turn 2) opens with a gorgeously grim sequence that’s become the stuff of legend – an unsuspecting driver, stunningly bisected by an inbred cannibal, with nothing but a rusty axe and his bare hands. So the promise of not only a new Lynch joint, but one both inspired by, and dedicated to, King of ’80s splatter Stuart Gordon, is enough to send any self-respecting horror fan clawing for a ticket.

And while Suitable Flesh is certainly one for the fans, filled to the brim with winking humour and Gordon’s inventively ghastly spirit, it frustratingly never quite delivers the same amount of bite as its bark.

It doesn’t really help that...

The Basket Case 3 episode of The Black Sheep was Written and Narrated by Andrew Hatfield, Edited by Brandon Nally, Produced by Lance Vlcek and John Fallon, and Executive Produced by Berge Garabedian.

One of the quintessential drive in kinda guys to me is Frank Henenlotter. Not only because of the anointing from the patron saint of Drive-ins himself, Joe Bob Briggs, but also just from a horror core memory. Long before I knew about the fabled 42nd Street in New York and all the magical movies that were shown there, I was introduced to Belial and his brother Duane on grainy VHS from Video Unlimited. That’s the magical part about being a horror fan. My brothers weren’t even particularly fond of the first movie, but knew it was an important piece of independent horror cinema. Shot for 35,000 and released in April of 1982, Basket Case is now enshrined in Moma,...

Horror Exploitation usually has a limited budget, so the filmmakers must make do with outrageous dialogue and over-the-top situations. These pictures hit hard and fast in the realm of the Russ Meyer seminal classic Faster, Pussycat! Kill! Kill! (1965), the early work of Herschell Gordon Lewis and many others. Subtlety is not a mark in this style be it set in a Women’s Prison, a jungle, a small town, an island or simply a last house on the left. Toss in this modern entry into that cesspool of guilty pleasure and you have the Australian film My Cherry Pie (2021). This film is not a reference to the 1990 song Cherry Pie by American glam metal band Warrant although both were odd genre homages to eras that were changing.

Writer / Director Addison Health and co-director Jasmine Jakupi have put together this rather unoriginal story of a trio of sleazy, drug-taking low-life criminals...

The magic of John Waters' 1972 cult classic "Pink Flamingos" is that even after decades, it still possesses the power to disgust and repel audiences. Bearing an Nc-17 rating — it deserves nothing less — "Pink Flamingos" features copious nudity, cannibalism, assault, vomiting, unsimulated sex, torture, real animal death, and real coprophagy. The characters constantly scream about how much they hate the world, and how wallowing in filth is the only thing that brings them true happiness. Indeed, breaking rules, destroying property, shoplifting, public sexual exposure, and eating poop are acts of blissful, pointedly perverted defiance against a world that demands normality. "Pink Flamingos" is a big queer, naked, punk rock middle finger to the pearl-clutching bourgeoisie.

Waters' movies from the 1970s — "Mondo Trasho," "Multiple Maniacs," "Pink Flamingos," "Female Trouble," and "Desperate Living" — are all essentially supervillain movies. Waters once said in an interview with yours truly (an interview that is sadly now...

(Welcome to The Daily Stream, an ongoing series in which the /Film team shares what they've been watching, why it's worth checking out, and where you can stream it.)

The Movie: "Basket Case"

Where You Can Stream It: The Criterion Channel, Tubi, Kanopy, Screambox, Arrow

The Pitch: Backed by a grant from the National Endowment for the Arts, a group of scattered New York artists gathered in a room sometime in 1974 to talk. Their goal was to assemble a loosely organized art collective that would remain in artistic control of its own exhibitions and its own cable TV station. The resulting collective was called Collaborative Projects, or Colab for short. Colab proceeded to put on public variety performances with names like "Income and Wealth Show," "The Batman Show," and "Just Another A**hole Show." The Colab also sponsored a series of feature films that came to be known as the No Wave movement.

Being a horror fan, you're probably aware of the splatter subgenre, or more recently referred to as the torture horror category. These movies are the ones that are more on the extreme end and rely on violence and heavy mutilation of the body to invoke a feeling of uneasiness in the audiences watching. Movies like Hostel, Saw, and The Collector come to mind, but where did it all begin? We have none other than Herschell Gordon Lewis to thank for the gory, bloody, and visceral horror subgenre.

To say Herschell Gordon Lewis‘ and Jeremy Kasten‘s respective The Wizard of Gore releases pushed me to my limits is correct for all the wrong reasons. My choice to stack the 1970 original and 2007 remake back-to-back stands as one of my least favorite Revenge of the Remakes double-bills thus far. I’ve no objection to gore-forward perversions that assault audiences with repugnant visuals, unless their storytelling devolves from nonsense to unintelligible drivel from one title to the next. Even worse when one of the films can’t even sustain its titular “Gore” effects.

Lewis’ legacy as the Grandfather of Grossouts and Sorcerer of Sadistic Splatter isn’t lost on The Wizard of Gore, unlike Allen Kahn‘s screenplay, hacked apart and reassembled to maximize the grotesque kill sequences using sheep carcass guts. Kasten’s remake didn’t have to attain Kubrickian levels of storytelling to surpass its inspiration’s narrative cohesion,...

This post contains spoilers for "M3GAN."

Gerard Johnstone's new film "M3GAN," a violent, wicked, enjoyable hoot of a film, cribs a lot of its images and plot points from films that came before. It bears a strong resemblance to Lars Klevberg's 2019 remake of "Child's Play," as well as to Wes Craven's goofy 1986 robo-thriller "Deadly Friend." The M3GAN of the title is a hyperintelligent robotic child that is being developed as a high-tech prototype toy by the brilliant engineer Gemma (Allison Williams). When Gemma loses her sister and brother-in-law in a car accident, she becomes the willing-but-not-really-attentive guardian of her nine-year-old niece Cady (Violet McGraw). Gemma uses the presence of a child in her home to field test M3GAN, and the robot quickly becomes a tender, ersatz parent for Cady. Naturally, M3GAN begins taking her task of protecting Cady a little too seriously, and it won't be...

William Lustig's 1980 film "Maniac" is one of the sweatiest, most brutal, most unpleasant grindhouse horror films of its decade on either side. Co-screenwriter Joe Spinell plays Frank Zito, a serial killer with a peculiar M.O. When he encounters his victims, mostly young women, he declares them to be too beautiful, with beauty being punishable by death. He then strangles his victims, strips them, scalps them (!), and carries his "souvenirs" back to his cramped New York apartment where he dresses mannequins in the clothes and "wigs." The film's gore effects were provided by horror movie maestro Tom Savini, who had previously worked on notable horror classics like "Friday the 13th," and with George Romero on "Dawn of the Dead" and "Martin." Savini would also go on to direct the 1990 remake of "Night of the Living Dead." 

"Maniac" is bleak and unpleasant, but may also serve as the Platonic ideal of an exploitation movie.

Mister Creep: "Three college students stumble upon a lost television broadcast of a deceased serial killer and search for its location. They discover a nightmarish cover-up of a clown-faced man who killed hundreds and may still be around long after his death.

From writer/director Isaac Rodriguez, and starring Thomas Burke, Ali Alkhafaji, Amber Lee Solis, and Judy McMillan, come face to face with Mister Creep on digital December 5."

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Monsters vs Madness: A Benefit Auction For Planned Parenthood - Happens Online November 11-27, 2022: "This November, fans around the world will have a chance to bid on one-of-a-kind painted figures of the most famous movie monsters ever in an online auction to benefit Planned Parenthood. The Monsters vs Madness auction is the brainchild of author, pop culture expert, producer and co-chair of the Atlanta Monsterama fan convention Anthony Taylor. Last summer, dismayed by the Supreme Court decision in the Dobbs case,...

Between new horror releases The Menu and Bones and All and it being Thanksgiving week, it feels safe to assume that food is on everyone’s mind right about now. So this week’s streaming picks belong to food-based horror movies, naturally. These grotesque movies are heavily themed around eating, though not in a way that’ll whet your appetite.

Here’s where you can stream these Thanksgiving-appropriate horrors this week.

For more Stay Home, Watch Horror picks, click here.

Blood Diner – The Roku Channel

Before becoming a standalone film, Blood Diner was initially intended to act as a sequel to Herschell Gordon Lewis’s Blood Feast. That change resulted in a zany ’80s horror-comedy that remakes the splatter classic; the premise is essentially the same at its core. Directed by Jackie Kong, Blood Diner follows two brothers tasked by their dead serial killer uncle to continue his attempts to resurrect the goddess Sheetar.

The shocking new horror film Hellbilly Hollow will close the 20th edition of the New York City Horror Film Festival (Nychff), to be held at Cinépolis Luxury Cinemas (260 West 23rd Street) December 1 to 4, 2022.

After wowing fans with clips and guest speakers at Burbank’s Son of Monsterpalooza convention in October, Hellbilly Hollow will now make its World Premiere on Sunday, December 4 at the New York City Horror Film Festival, attended by director/actor Kevin Wayne and producer/actor Kurt Deimer. Rising rockstar Deimer also contributed songs to the film’s rousing heavy metal soundtrack. Hellbilly Hollow was produced by Andy Gould, who previously produced Rob Zombie’s The Devil’s Rejects, 31, Lords of Salem and Zombie’s two Halloween films, among others.

In Hellbilly Hollow, Deimer and Wayne play horribly scarred—and seriously twisted —brothers Bull and Tickles. The demented siblings run the titular haunted attraction, weaving in real murders and mayhem into their staged shenanigans.

Writer/director John (Ida Red) Swab’s critically-praised horror thriller Candy Land will open the 20th edition of the New York City Horror Film Festival, to be held at Cinépolis Luxury Cinemas (260 West 23rd Street) December 1 to 4, 2022. Stars Olivia Luccardi (It Follows) and Owen Campbell (X) will be attending the NYC screening.

Candy Land will be joined by over 50 films from around the world at the New York City Horror Film Festival. For this edition, classic screen bogeyman Kane Hodder (notorious slasher icon from the Friday the 13th and Hatchet films) will be receiving the fest’s Lifetime Achievement Award.

The festival offers 13 programs, each consisting of terrifying new feature films and shorts. Q&a panels and celebrity guests follow each screening. Fans and filmmakers will mingle at the full bar located at the venue.

Candy Land follows religious cult disciple Remy, who stumbles upon a rag-tag group of truck...

In “Terrifier 2,” a slasher named Art the Clown wears a jester costume with pom-pom buttons and a white bald harlequin head cover, and he’s got licorice-black teeth frozen into a rictus grin (it’s literally a dirty mouth), a hooked nose that looks like something out of an anti-Semitic caricature from the ’30s, a small top hat cocked to the side of his head, and a general attitude of it-only-hurts-you-when-i-laugh blood-soaked dementia. That laugh of Art’s is a real keeper, because it’s silent, like Marcel Marceau’s. He’s so brimming with stylized delight as he chops and saws and skins and dismembers people and throws acid into their faces that he’s like Freddy Krueger channeling Liberace channeling Josef Mengele. When he’s soaked in gore, which is much of the time, the grin shines all the brighter.

Art the Clown, who is played by...

John Carpenter is a legend of the horror genre, blessing the world of cinema with the absolute classics like "Halloween" and "The Thing" and peppering in cult favorites like "The Fog" and "Prince of Darkness." Somewhat surprisingly, the however, man who practically created the slasher movie and embraced groundbreaking gore effects is reportedly not a fan of "Hostel," Eli Roth's ultra violent horror film that became one of the cornerstones of the "torture porn" wave upon its premiere in 2005.

Although "splatter films" showcasing extreme violence are nothing new, the 2000's ushered in an era of horror that focused on shockingly graphic torture and gore. New York Magazine film critic David Edelstein dismayingly dubbed this style of horror "torture porn," denouncing the films in this category as "so viciously nihilistic that the only point seems to be to force you to suspend moral judgments altogether." Of course, as with any controversial leap in intensity,...

New Press DieDieBooks Launches to Publish Killer Books on Horror Movies: "Created by and for horror fans, each book will focus on a different horror movie, with its initial run featuring Poltergeist, Threads, The Wolfman, Sleepaway Camp, and The Love Witch.

Today marks the official launch of the indie press DieDieBooks, which is currently raising funds on Kickstarter to publish a series of stylish, collectible books that bring different fans’ perspectives to their favorite horror movies.

The first books include a deep dive on the Hooper vs. Spielberg debate surrounding Poltergeist written by author Jacob Trussell, a primer on the nuclear apocalypse film Threads written by nuclear scholar and activist Bob Mielke, a queer perspective on the controversial slasher Sleepaway Camp by Bj and Harmony Colangelo, a portrait of Lon Chaney Jr.’s mental anguish during his performance in The Wolfman by Philip J Reed, and a love letter to...

After The Blair Witch Project came along in 1999, it feels like the independent horror boom of the 2000s was almost a direct result of that film’s success. Throughout this decade, we saw so many writers, directors, and other industry creatives get the opportunity to establish themselves and chart their course in Hollywood, and so many of those folks are still continuing to have a huge impact on what’s going on in the genre world these days as well.

The start of the new millennium proved to be an interesting time for horror, but especially indie horror. So many may not realize it, but American Psycho was initially an indie project that went through years and years of development before Lionsgate picked up the rights to Bret Easton Ellis’ book and moved forward on the project with Mary Harron at the helm. Even David Twohy’s Pitch Black started off as an indie film,...

Hello, dear readers! Today, we here at Daily Dead are kicking off our 2022 Indie Horror Month celebration, and we have a ton of killer content coming your way throughout the entire month of April that will highlight some amazing indie genre goodness created by an assortment of maverick makers from both the past and present. And for our first official piece for Ihm 2022, I thought it made sense to take a look at one of the most pivotal decades in independent horror cinema: the 1970s.

While we’ve had plenty of brilliant indie horror released here in America throughout every decade (it’s worth noting that the roots of independent horror can even be traced back 100 years to the release of F.W. Murnau’s Nosferatu), there were certainly several key figures who were busy making horror movies on their own terms prior to the ’70s that helped pave the way...

The extraordinary Jonathan Ross discusses his favorite movies with hosts Josh Olson and Joe Dante.

Show Notes: Movies Referenced In This Episode

Kick-Ass (2010)

Kingsman: The Secret Service (2015) – Dennis Cozzalio’s 2015 year-end list

The Woman in Black (2012)

Stardust (2007)

The Green Knight (2021) – Our podcast interview with director David Lowery, Dennis Cozzalio’s best-of-2021-so-far list

Slumdog Millionaire (2008)

The Astro-Zombies (1968) – Dennis Cozzalio’s drive-in director list

The Corpse Grinders (1971) – Dennis Cozzalio’s drive-in director list

Incredibly Strange Creatures Who Stopped Living And Became Zombies (1964) – Dennis Cozzalio’s drive-in director list

Blood Feast (1963) – Charlie Largent’s Blu-ray review

The Wizard of Gore (1970)

Police Story (1985) – Glenn Erickson’s Criterion Blu-ray review

Honey, I Shrunk The Kids (1989)

Re-Animator (1985) – Charlie Largent’s Blu-ray review

Society (1989)

Eraserhead (1977) – Karyn Kusama’s Blu-ray review

Faster Pussycat Kill Kill (1965) – Randy Fuller’s wine pairing

Beyond The Valley Of The Dolls (1970) – Michael Lehmann’s trailer commentary, Glenn Erickson’s Blu-ray review, Randy...

The Texas Chainsaw Massacre franchise has an identity crisis that goes deeper than interchangeable skin masks. To mainstream moviegoers in 1974, pleasantly removed from the sloppy-joe stylings of Herschell Gordon Lewis and his ilk, the standard of cinematic bloodletting sat with the black-and-white Bosco of "Night of the Living Dead" -- even "The Exorcist" opted for less sacred bodily fluids. All it took to traumatize a generation was $140,000 and a bunch of Lone Star amateurs. "The Texas Chain Saw Massacre" gave terror a fresh shape and a pull starter.

And yet, the original film is not especially gruesome. Director Tobe Hooper consulted the Motion Picture Association of America constantly,...

The post Every Texas Chainsaw Massacre movie ranked worst to best appeared first on /Film.

The Dungeon of Andy Milligan Collection

Blu ray

Severin Films

1965-1984 / 1.33:1, 1:85.1.

Starring Neil Flanagan, Berwick Kaler, Maggie Rogers

Cinematography by Andy Milligan

Directed by Andy Milligan

“I should have killed Andy.” – Jimmy McDonough

In 1987 Andy Milligan was working on his latest film, a bloody revenge saga with a Frankenstein theme called Monstrosity. His biographer Jimmy McDonough was by his side, working the clapper, absorbing Milligan’s abuse, and taking notes on the final years of the director, still a poisonous devil when the mood took him. Born in St. Paul, Minnesota in 1929, dead 62 years later in Los Angeles, Milligan wore his resentments like a crown, shoveling contempt on anyone who crossed his path—including his audience.

Made wherever the money was, New York, London or Staten Island, Milligan’s body of work spanned continents yet the results were anything but sophisticated—juvenile and uncommonly mean spirited, the films...

A new take on Edgar Allan Poe’s "The Fall of the House of Usher," Patrick Picard's The Bloodhound is one of the January releases on Arrow Video's streaming service ahead of its Blu-ray release on March 23rd, and we've been provided with an exclusive clip to share with Daily Dead readers.

You can watch a disturbing dream come to life in our exclusive clip below, as well as details on Arrow's January lineup:

Press Release: London, UK - Arrow Video is excited to announce the January 2021 lineup of their new subscription-based Arrow platform, available now in the US and Canada, coming soon to the UK. Building on the success of the Arrow Video Channel and expanding its availability across multiple devices and countries, Arrow boasts a selection of cult classics, hidden gems and iconic horror films, all curated by the Arrow team.

The lineup begins with...

They're wild, they're tough, they wear crazy clothes, they ride motorbikes and they're looking for trouble. If you don't get the message, look out for the legend 'Man-Eaters' scrawled on the back of their cheap nylon jackets. That's the name of their gang, and this is their turf - don't you forget it.

The biker movie was in its heyday when Herschell Gordon Lewis decided he wanted a slice of the action. This wasn't the first film to focus on a female biker gang, but the director's inimitable style made it a landmark nonetheless, and it has survived as one of the best known examples of the genre. Although not much else about the film is believable, the bikers themselves are authentic, members of a real Florida-based gang. They're clearly at easy with their machines, easily able to stage the races that provide the film's early action scenes. What they can't.

Arrow Video is excited to announce the bow of their new subscription-based Arrow platform, available in the US and Canada beginning October 1. Building on the success of the Arrow Video Channel and expanding its availability across multiple devices and countries, Arrow boasts a selection of cult classics, hidden gems and iconic horror films, all curated by the Arrow Video team.

Arrow Video Channel begins streaming this October with headliners The Deeper You Dig, The Texas Chainsaw Massacre, Crumbs, The Hatred, Cold Light of Day, Videoman and The Herschell Gordon Lewis Feast. Also immediately available are perennial Halloween hits Hellraiser 1 & 2, Elvira, Ringu, tthe complete Gamera series, as well as full collections from the Arrow archives packed with exclusive extras, rarely seen interviews and documentaries.

The Deeper You Dig, the latest feature written, directed by and starring filmmaking family The Adams Family, leads the lineup of Arrow's launch, joined by The Adams Family's The Hatred,...

Slave of the Cannibal God

Blu ray

Code Red

1978/ 99 min.

Starring Ursula Andress, Stacy Keach

Cinematography by Giancarlo Ferrando

Directed by Sergio Martino

At the same moment the Korean War was ending and Eisenhower entered the White House, illustrator Samson Pollen found his niche; illuminating the fever dreams of suburban dads for action magazines from Man’s World to Stag. He enjoyed a long career and in 1978 he was handed an assignment right up his alley, a garish montage of anacondas, he-men and nearly-naked women. But his art for Slave of the Cannibal God turned out to be far from his best work. Blandly composed and indifferently executed, Pollen’s movie poster works best as a critique of the film itself.

Directed by Sergio Martino, this travelogue-cum-horror movie stars Ursula Andress, a paragon of beauty who built her brand on a supernatural physique and a come-hither gaze that might have inspired...

After a few relatively quiet weeks to wrap up June’s home media releases, July comes roaring back with a slate of titles that genre fans will definitely want to add to their Blu-ray and DVD collections. Arrow Video has been staying extremely busy as of late, with three different releases coming out on Tuesday: Black Rainbow from Flash Gordon director Mike Hodges, Zombie for Sale, and Teruo Ishii’s Inferno of Torture. Criterion Collection is also celebrating an all-time sci-fi classic this Tuesday, The War of the Worlds, and if you haven’t had a chance to check it out on Shudder, Belzebuth is headed to both Blu-ray and DVD this week as well.

Leomark is showing some love to the Godfather of Gore, Herschell Gordon Lewis, with their Blu-ray presentation of Bloodmania, and Kino Lorber is resurrecting The Flesh and the Fiends for a Special Edition Blu this week,...

The Day is here! The Collector’s Edition blu-ray is available now. This 2 disc feature packed set is region free and ships worldwide. Bloodmania is also a part of some special Halloween bundles. Treat yourself by ordering your copy here: darksidereleasing.com check out the Beautiful pin courtesy of our official merchandiser Video Nasty’s Hour of …

The post BloodMania Special Edition by Herschell Gordon Lewis’ Blu-Ray released by Darkside Films appeared first on Hnn | Horrornews.net.

It’s the Swinging Sixties baby, and Peter Cushing is right in the thick of it! Or rather I should say he’s up to his tweed in blood and severed heads in Corruption (1968), a strange and nasty little number that proves the Baron did know how to get his hands dirty.

Released in December by Columbia Pictures, Corruption curried no favor from critics at the time, with most labeling it as silly nonsense with a poor script. But time has been kind to the film (and softened its edges), as it’s a good showcase for Cushing and a solid snapshot of London’s loosening mores. And with a tagline that screams, “Corruption Is Not A Woman’S Picture!”, how can you refuse?

Sir John Rowan (Cushing) has it all: Lynn, his beautiful model fiancée (Sue Lloyd – Eat the Rich), a thriving career as one of London’s leading plastic surgeons,...

They’re there. Just when you’ve given up hope of finding shining fecal matter at the bottom of the filmic pool, one catches your eye with a title alone. And when you crack open the fetid artifact and find it filled with everything you’ve wanted and more, well, it’s cause for celebration. Welcome to Help Me…I’m Possessed, a whack-a-doodle mélange of Al Adamson, Herschell Gordon Lewis, Mad Scientist flicks, and a heaping dose of insanity. It isn’t good, but it sure is wonderful.

Premiering in October in Orlando, Florida, Help Me (Aka Nightmare at Blood Castle) was given a limited theatrical release in ’76, followed by a brief life on video as The Possessed in the ‘80s. No matter which format you didn’t see it in back then these are different times, and even an obscure oddity like this gets a fancy Blu-ray to be preserved forever.

Baltimore native John Waters is filmdom’s pencil-mustached titan of trash who has spent a lifetime of dumpster-diving into a vat of bad taste, sleaze, kinky gross-outs, over-the-top camp, maudlin melodramatics, sick jokes, taboo sexuality, vulgarity and bizarre personalities. At least he has a fabulous sense of humor. The director, who turns 72 on April 22, is a New York University film school dropout who instead became a scholar of transgressive, envelope-shredding cinema, influenced by the directorial likes of Herschell Gordon Lewis, Federico Fellini, William Castle, Douglas Sirk and Ingmar Bergman. Early on, Waters assembled a stock company of players from suburban Baltimore who he called the Dreamlanders, including Mink Stole and Edith Massey.

SEEHonorary Oscars: Full list of 132 winners from Charlie Chaplin to Cicely Tyson

But Waters would find his true muse and favorite leading lady in his childhood friend, Glenn Milstead, a drag queen whose alter-ego was known as Divine.

For February 19th’s home media releases, one of the biggest reasons for genre fans to get excited is that Bad Robot’s Overlord is finally making its way to various formats, so for those of you who may have missed it in theaters, this week is your chance to right that wrong (this writer loved it!). As far as cult titles go, Scream Factory has resurrected The Return of the Vampire in HD, Severin Films is showing Skinner some much-deserved love, and Arrow Videos has Herschell Gordon Lewis’ Color Me Blood Red on tap.

Universal is re-releasing a ton of titles on Tuesday, including Cry-Baby, Dracula (1979), Hellboy II: The Golden Army, Silent Hill: Revelation,and The Watcher, and Nightmare Vacation is getting a special release this week as well.

Color Me Blood Red

URFor the third and final instalment in his infamous 'Blood Trilogy', Color Me Blood Red, splatter...