Creepy Crate Unboxing – February 2019

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Wicked Horror is the author of Creepy Crate Unboxing – February 2019. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

We all know that it’s fun to get something in the mail. Maybe it’s even a little more if you don’t really know exactly what you’re getting. For those that love spooky surprises there is a great new subscription box company out there for your needs called Creepy Crate. Brought to you by The Line-Up, Creepy Crate ships its boxes every other month and includes a variety of collectibles, from t-shirts and books, to homewares and accessories – all related to either the horror genre or true crime. Each crate is $39.99 with free shipping, and has an average value of  $85 or more! You can purchase them individually or with a 6 or 12 month subscription. I will continue to praise the name of Creepy Crate because they have once again given me, and all true crime enthusiasts, a great box that appeals to our interests. The February 2019 box is maybe not as epic as the last one (check that out here) but there were still plenty of wonderful gifts inside that I couldn’t be happier to own. Read on and find out what we got! Created by the runners of Death Becomes Us, the first item in the box is this set of horrific coasters. Death Becomes Us is a true crime festival (who knew there were already so many of them out there?!) which will take place March 20-24, 2019 in New York City. The show will feature several speakers from the true crime world, from podcasters to actual investigators from some very famous cases. Death Becomes Us went back to a true classic in designing these coasters by choosing an image of the most famous unsolved murder, the death of Elizabeth Short, or the Black Dahlia. The split image shows Elizabeth’s beautiful portrait on one side, and her grisly autopsy photo on the other. While I’m definitely interested in this case like most true crime fans are, this image has always been a bit much for me to handle, so perhaps I’ll just stick to using the other side with the much nicer logo of the festival. Related to the previous item, the next thing in the box is also from Death Becomes Us. Creepy Crate seems to be a fan of tote bags, and so am I! This off-white canvas tote again features the festival’s logo, and is of great quality. It’s more wide than it is tall and the straps are a little short, like a small handbag. Still, it would be great for carrying around a laptop or notebooks, while supporting a great festival. You know what else I’m a big fan of? Pins! This adorably creepy pin is in the shape of a coffin with a skeleton inside, with a gold-colored backing. It is about an inch tall so it’s a little on the small side, but again, the pin is very cute and great quality. It’s the perfect accent for any bag or outfit to show off your macabre horror love. From the homewares line of Creepy Crate, we have these adorable glasses! This limited edition set of stemless wine glasses makes a cute take on being “partners in crime” with the smiling image of a woman holding an ax. I love the sense of humor with the style of the picture and the font used. It’s the perfect way to enjoy a glass of wine (preferably red) with your true crime buddy while you gossip about cases or watch “Forensic Files.” Or if you don’t drink (like me), these are still great as decoration in your kitchen. We’re getting punny again! The next Creepy Crate item is this about 2.5 inch square sticker that resembles the ADT home security company logo with the initials changed to BTK. BTK is obviously the nickname for serial killer Dennis Rader, and stands for “Bind, Torture, Kill.” Rader actually worked for ADT installing home security systems while carrying out the majority of his killings. This knowledge and the text below the logo, “He’s home even when you’re not,” is a clever but also important reminder of how these monsters were able to operate, hiding in plain sight. One of the most amazing developments in true crime occurred just last year in April when police arrested the man they believed was the infamous Golden State Killer. Also known as the East Area Rapist, he eluded identification and capture for decades after his string of horrific crimes in the 70s and 80s in California. This Audible original, Evil Has a Name, tells the story of how police finally caught Joseph James DeAngelo, with all new details of the investigation. This would be an excellent follow-up to the late Michelle McNamara’s bestselling book on the case, I’ll Be Gone in the Dark. This is a wonderful treat from Creepy Crate, and I can’t wait to listen to my first Audible book on this fascinating case. The last item in the box is my absolute favorite. It’s been hard to get me back into reading more regularly, but I think Creepy Crate has finally done it by providing this book — Hell’s Princess: The Mystery of Belle Gunness, Butcher of Men by Harold Schechter. Belle Gunness is a notorious female serial killer from the late 1800s who would lure men to her farm through advertisements for male companionship, only to murder and rob them when they arrived. She faked her own death and fled, never to be caught by police. Schechter is a well-known name in true crime writing, and I am actually a big fan of his, owning several of his books on other killers like Albert Fish, Jesse Pomeroy, and Ed Gein. I love his writing style and am definitely excited to delve deeper in Gunness’s story as told by him. Thank you, Creepy Crate, you’ve done it again! If you like what you’ve seen here and want to get your own subscription to this fantastic box, head over to Creepy Crate here and sign up now!

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1st Summoning Ventures into the Unknown [Review]

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Wicked Horror is the author of 1st Summoning Ventures into the Unknown [Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

What do you get when you have four movie making friends, a rural town with a local legend, and some bizarre goings on? You might be surprised to find out it’s not the Blair Witch Project. But don’t let the similarities in the storyline blind you, 1st Summoning is a noteworthy entity of it’s own. Originally called The Millbrook Summoning, 1st Summoning is a found footage flick that follows a group of friends documenting their journey to an abandoned building which is infamous for its connection with the occult. Along the way, some creepy and unexplainable things are caught on camera. I know it sounds like Blair Witch, but bear with me. As for the cast, we have the group’s douchey yet surprisingly lovable leader Mark who is the head cameraman and fearless investigator. Next is Ace, the unheard voice of reason. Then, we have headstrong Leslie, and her ex, Ryan. They might not sound like the most likable group of characters. But this allows viewers to watch the cast picked off without getting too attached. And I did find Ace Harney quite likable as Ace. Much like in the case of Dry Blood, Raymond Wood’s 1st Summoning is a movie that doesn’t rely heavily on gory special FX. In fact, effects are used quite sparingly throughout. So, when they are employed, it makes an even greater impact. The majority of the film’s frights come from a healthy dose of well-orchestrated jump scares. As a person who isn’t easily spooked, I couldn’t help flinching at a number of scenes. The POV style allows for the scares to be aggressive and in your face. It’s an experience that keeps you on the edge of your seat with anticipation. The film differentiates itself from The Blair Witch Project by accelerating the pace about halfway through the film rather than going with a slow build to the final, jaw dropping sequence. Also, the mythology is decidedly different from BWP even if it does surround the occult. My biggest complaint about the film is that the sound quality in some scenes is really poor. Some of the conversations are nearly inaudible. Even with headphones in and the volume all the way up I was barely able to catch what was going on. It can be irritating as this does happen a handful of times. Also See: Velvet Buzzsaw is Bloody Bonkers [Review] I also couldn’t help noticing how the background noise seemed to leak into some scenes and overwhelmed any dialogue. It felt like the act of filming itself was louder than what was being filmed. Same thing with the camera itself. I get when the camera falls or is being handed off to someone it’s going to make noise and rustle. However, just walking around with the device or when someone turns around suddenly it caused this squeaky/clacking noise that seemingly should have been taken care of in editing. Overall, 1st Summoning is a well made feature that I thoroughly enjoyed. The buildup was a little slow for my taste but that was more than made up for it with an impressive cast, high quality shots, and the last half hour of the movie going completely off the rails. It’s the ideal film to throw on during a scary movie night with friends. Also See: Are You Afraid of the Dark? Miniseries On The Way 1st Summoning is available in theaters and VOD from February 22nd via Darkwood Pictures! I highly recommend it. Wicked Rating: 6/10 Director: Raymond Wood Writer: Chris Piner Stars: Hayley Lovitt, Teddy Cole, Brook Todd, Ace Harney, Jason L. MacDonald Release: February 22nd (Select Theatres and On Demand) Studio/Production Company: Darkwood Pictures Language: English Length: 1hr 37 min

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Rob Zombie Teases Surprising Cameo in Three From Hell

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Wicked Horror is the author of Rob Zombie Teases Surprising Cameo in Three From Hell. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Weirdo maestro Rob Zombie continues to keep us in the dark about when we can expect Three From Hell, his highly-anticipated trilogy-closer to the Firefly Family story he began with 2003’s House of 1000 Corpses. There isn’t even a trailer yet — hell, there are barely teaser images. But there might be some super strange cameos to get ready for. Zombie has been teasing fans on Instagram for months about what to expect from Three From Hell, frequently sharing behind the scenes shots from the set. Those lucky enough to attend shows on his Twins of Evil tour redux with Marilyn Manson may even have got a little glimpse at the movie when a teaser trailer played before RZ took the stage. And yet, we still kind of don’t really know anything about the movie, only that it’s due some time this year (hopefully) and that Zombie is currently busy editing (it’s definitely done, he’s reiterated on social media, so don’t panic). Taking some time out the other day, the filmmaker and musician took to Insta yet again to give fans a sneak peek at one of the more surprising actors set to show up in the flick. None other than Chaz Bono is set to appear alongside Sheri Moon Zombie, Sid Haig, and Bill Moseley, with Zombie writing, “Recognize this man? It’s Chaz Bono. One of the many bizarre cameos in THREE FROM HELL” alongside the pic. Horror fans will last have seen Bono popping up in American Horror Story, so this isn’t too much of a stretch but it’s still surprising. The Firefly clan are all set to return in Three From Hell alongside the likes of Danny Trejo, RZ’s favorite stand-in Jeff Daniel Philllips, Dee Wallace, Bill Oberst Jr. and lots more. Zombie has a good eye for casting the living hell (no pun intended) out of his movies, frequently putting little-seen genre actors like Bill Moseley and Sid Haig front and center and giving them space to just play, so this latest effort should be no different. Stay tuned to Wicked Horror for more info on Three From Hell…if RZ ever gives us anything to work with before dropping the movie on us.

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Titular Role Cast for Upcoming Candyman Reboot!

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Wicked Horror is the author of Titular Role Cast for Upcoming Candyman Reboot!. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

The Jordan Peele-produced Candyman reboot/spiritual sequel has cast its lead character. The film, which is being directed by Nora Ephron Award Winning director Nia DaCosta will star Yahya Abdul-Mateen II (Aquaman) in the titular role. Abdul-Mateen II is pictured above. DaCosta will helm from a screenplay penned by Win Rosenfeld and Jordan Peele. The film is expected to enjoy a US release June 12, 2020. MGM will distribute the picture and Jordan Peele’s Monkeypaw Productions will produce the upcoming feature. Also See: Why Farewell to the Flesh is a Much Better Sequel than You’d Expect! The project is being described as a ‘spiritual sequel’ to the original that will return to the now gentrified Chicago neighborhood where the housing project, Cabrini Green once existed. Spiritual sequel sounds an awful lot like reboot to me but I’ll reserve judgment until we glimpse the first trailer. Tony Todd famously played the role of The Candyman (Daniel Robitaille) in the first three films in the series.  We don’t have any official word on whether or not Todd will appear in the reboot/spiritual sequel in some capacity but the actor has previously indicated that he would be happy to be a part of the film. We will let you know as soon as more details about the project are unearthed. The original Candyman tells the story of a graduate student who unwittingly summons the titular character while conducting research for her thesis. Featured Image Credit: Michael Tran/FilmMagic Source: Variety

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Seven Must-Read Lois Duncan Novels!

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Wicked Horror is the author of Seven Must-Read Lois Duncan Novels!. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

When we at Wicked Horror were discussing aspects of Women in Horror Month, the first name that came to mind for me was Lois Duncan. From actors to filmmakers to writers, there are so many women representing the horror genre that I respect and admire. Still, the YA novels written by Lois Duncan were a large part of my first forays into the world of horror. I was a teenager in the late 1990s, and that was a time when R.L. Stine and Christopher Pike dominated the young adult novel scene. I totally dug Fear Street and Final Friends; however, one hot summer day at the library I wandered up above all the Pike and Stine books and discovered Lois Duncan. And that summer day changed my literary life. Also See: Four Young Adult Novels That Would Make Great Movies! Stine and Pike created fun scenarios that typically centered on teens innocently put in mildly suspenseful situations. Duncan’s books were different. Her novels had a more genuine quality and manifested real danger for her characters. The teens in her novels were not always innocent. A kid could be hit by a car and die. An English teacher could be murdered. And the guilty young adults could get away with it. Sure, they would be morally conflicted and need to get themselves out of trouble. Nevertheless, on more than one occasion Duncan’s teens were as multifaceted as they were morally ambiguous. Lois Duncan was a trailblazer for women in horror (the earliest of her genre tomes seeing release more than 50-years ago) and her contributions to the genre, and as follows is a must-read list of my favorite of her novels. And I would be lying if I said I did not pull these novels out as an adult every now and then. Related: Fear Street Novels that Need to be Adapted for the Big Screen! Stranger with My Face Laurie Stratton’s parents have artistic professions and are nontraditional in comparison to the other families living in their small island town. One summer, Laurie notices a series of changes as she becomes a part of the popular crowd. People claim to see Laurie in places she has not visited. She soon discovers her family history is not what she believed and a long-lost family member is visiting her against her will. At first, Laurie is excited about a newfound ability but she is soon terrorized when she is locked out of her body. Stranger with My Face delves deeply into the world of astral projection. The novel sees Laurie feeling increasingly helpless and like a stranger in her own life. Killing Mr. Griffin We have all had that teacher in high school that we loathed almost as much as we admired. He or she pushed us hard with the best of intentions; however, those intentions occasionally pushed harder than necessary. One of Lois Duncan’s darkest novels, Killing Mr. Griffin centers on a group of English students led by a psychopathic teen out for revenge on their teacher. Each teen involved participates based on selfish motivations that ultimately lead to tragic circumstances. Duncan’s novels are not inherently preachy; however, Killing Mr. Griffin does convey a warning to recognize that some actions cannot be undone. These actions impact everyone around them. Ransom A pack of high schoolers are kidnapped as they ride the bus home one afternoon. The only common thread between the passengers is the fact that they are all dropped off in the same seemingly wealthy neighborhood. Brothers Glenn and Bruce are as different as night and day. Jesse is an army brat and only a temporary resident of the neighborhood. Marianne is a popular teen resentful of her mother’s new marriage. Dexter lives with his uncle after the death of his parents. Held high in a mountain cabin, these five teens are forced to look beyond their different personalities to join together if they want to survive. Ransom is one of Duncan’s earliest attempts at the Young Adult suspense genre. The kids could have easily been portrayed as mere caricatures but the author sidesteps this trap to bring to life a believable cast of characters. Down a Dark Hall The most recent of Lois Duncan’s stories to be adapted into film (starring Uma Thurman and Annasophia Robb), Down a Dark Hall follows a group of young women in a boarding school. Once there, they discover that they each have hidden talents. Talents that are suspiciously reminiscent of prodigies from the past. Talents that they are unable to maintain if they want to keep their sanity. In addition to these strange developments, the school and teachers help add to the unsettling atmosphere. While one of Duncan’s more well-developed books involving the paranormal, Down a Dark Hall illustrates the harm that can come from people who are still very much alive. I Know What You Did Last Summer Arguably Duncan’s most recognizable title, I Know What You Did Last Summer follows a group of teens dealing with the fallout of an accident that will forever change their lives. The casual horror fan might instantly think of the 1997 flick; however, the feature film deviates from its source material on many levels. For example, the victim is much younger and the killer is not a fisherman running around with a hook. Both vehicles have enjoyable sequences and thrilling moments. Similar to the film and true to form, Duncan’s novel ends in a way that suggests the surviving teens will not face any repercussions for the crime they committed. Also See: Why I Know What You Did Last Summer does not deserve the hate it gets! The Third Eye If I had to choose one novel from Duncan’s catalog, The Third Eye would be my favorite. Similar to the protagonist from mid-2000’s shows such as Medium and The Ghost Whisperer, Karen Connors is developing psychic abilities that are particularly useful in locating missing children. This classic tome is a perfect balance of the author’s interest between paranormal occurrences and a suspenseful atmosphere. Karen goes on an arc that takes her from adolescent fantasies to undeniable maturity. Deftly weaved into the narrative is a romantic thread that proves to be smartly-paced and endearing. I have always thought The Third Eye would make an excellent television series. Don’t Look Behind You This story of April Corrigan’s placement into the Witness Relocation Program was the first novel I read by Lois Duncan. April leads a coveted life of comfort in an upper-class family. She has the perfect boyfriend and is particularly skilled at tennis. After her father testifies in a high-profile case, the family is whisked away for their own protection. Each member of the family struggles to adjust and, in particular, April is resentful of her new surroundings. Her resentment could be the catalyst to her family’s undoing. Don’t Look Behind You is a satisfying read. The suspense is generated from intense situations brought about by the loss of security. True to the style of Lois Duncan, things do not always work out the way one might hope. A happy ending is sometimes choosing to accept what is there in the present and letting go of the past. And is not a thing to be taken for granted. Sadly, April’s personality is based on Lois Duncan’s deceased daughter Kaitlyn. On July 16, 1989, Kaitlyn Arquette was murdered on her way home from a friend’s house. Up until Ms. Duncan’s death in 2016, she never gave up hope in finding out what exactly happened to her youngest child. In 1992, Duncan released a nonfiction book called Who Killed My Daughter? This novel relayed all the facts she had in the case and the frustration she felt with how the investigation was handled.

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Gremlins Will Take Over the Animated World in Brand New TV Series

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Wicked Horror is the author of Gremlins Will Take Over the Animated World in Brand New TV Series. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

If you’re currently feeling like there’s a Gizmo or Stripe-shaped hole in your life, fear not, ’cause the Gremlins are set to return in all-new animated form in an upcoming TV series. Safe to say, things are going to get messy. According to Variety, the series is in development for WarnerMedia’s upcoming streaming series. The as-yet-untitled series is reportedly a period piece following Mr. Wing, the Chinese grandfather memorably portrayed by Keye Luke in the Gremlins films, as a young man adventuring with the cute critter Gizmo along for the ride. Warner Bros. will produce alongside Steven Spielberg’s mighty Amblin (both companies produced the movies, too). Attached to write and direct is Tze Chun, who helmed movies including the Bryan Cranston-starring Cold Comes the Night and Children of Invention, as well as TV shows such as Gotham. Chun is also the co-founder of comic book publisher TKO Studios. Cult classic Gremlins was released in 1984. The Joe Dante-directed movie, written by Christopher Columbus, grossed over $153 million worldwide on a reported budget of $11 million. A sequel followed just six years later, with Dante directing again. Both movies are staples for lifelong horror fans, and served as many viewers’ intro to the genre. WarnerMedia’s streaming service is set to launch shortly, though little is known about it as of yet, including what it will be called. Original content won’t launch until 2020, but in-house properties (such as Gremlins) are reportedly being mined for new content. Other hit properties like Friends will supposedly be pulled from competing streaming services so they can be housed exclusively by Warner’s, which should infuriate anybody who was getting used to it being on Netflix for another year. Stay tuned to Wicked Horror for more info on the Gremlins animated series as it becomes available.

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The Possession of Hannah Grace Doesn’t Possess Its Viewers [Blu-Ray Review]

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Wicked Horror is the author of The Possession of Hannah Grace Doesn’t Possess Its Viewers [Blu-Ray Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Most possession flicks end with the exorcism: a mostly triumphant banishing of the thing that’s been bumping in the night and swaying innocent girls away from Puritanical gender norms. (Are there possession films where the demons inhabit boys? Evil Dead and The Amityville Horror are all that come to mind for me, but let me know any I’m missing in the comments.) The Possession of Hannah Grace flips that, opening with the title character’s exorcism. Things go south. She drives one priest’s head through a spike and before she can kill a second, her father smothers her. From there, our main character enters. Megan (Shay Mitchell) is an ex-cop fighting alcoholism and the traumata of her partner’s death. She’s taken on the night shift in the morgue to avoid drinking. The film follows the exorcism and the opening credits with Megan’s first day. Director Diederik Van Rooijen sets up a terrifying setting. The lights are on motion detectors. The alarm that signals the arrival of the freshly deceased is loud enough to scare Megan and the audience out of their collective seats. Best of all, Megan is going to be there alone. It’s a terrifying setup. The catch is, almost everything that’s good about that setting was done better two years ago in André Øvredal’s excellent The Autopsy of Jane Doe. It’s possible that Van Rooijen and writer Brian Sieve had been working on The Possession of Hannah Grace long before they’d seen or heard of The Autopsy of Jane Doe. Maybe they still haven’t seen it, though it seems unlikely that someone working in horror could’ve missed it. But as someone who’s seen both, it’s difficult not to compare them, in the same way it’s difficult to separate Halloween (1978) and Friday the 13th (1980). Intentional or not, The Possession of Hannah Grace shares its DNA with a better movie that came out two years earlier. Also See: The Autopsy of Jane Doe is an Exceptional Horror Movie They really start to converge when Hannah Grace (Kirby Johnson) is brought into the morgue. Good makeup combined with Johnson’s contortions make for a freaky monster, but one that doesn’t follow any sort of logic. In the opening, Hannah Grace kills with force powers. She points her arms at people, and they levitate. She flings them around without touching them. As the movie progresses though, her modus operandi completely changes. She drops the force powers in favor of close range attacks. Either is scary, but having one character do both without an explanation as to why is confusing. Imagine if Freddy Krueger randomly poisoned someone’s food outside of the dream world halfway through A Nightmare in Elm Street. Movies get to set their own rules, but they need to obey them. She’s inconsistent in other ways too. She force throws one of her victims across the room only to slowly levitate him back. After each kill, she returns to the morgue. Her resting makes sense, but sleeping next to the crematorium when people are trying to burn you makes no sense. And then there are the living humans. After a break in results in one security guard being slashed and the night attendant of the morgue being knocked flat, the hospital does nothing. When that same intruder gets loose, the hospital does nothing. No extra security called in. No cops running extra patrols. No visit from the morgue manager to check on Megan. Neither the hospital nor the staff nor the police adjust their behaviors after the assault. Horror movies take a bad rap because of characters like this. It ends with my least favorite modern horror trope: a character who has suffered a traumatic event is healed by suffering ten times as much trauma. We contacted mental health professional Jack Burgos to see if that was at all feasible and he said, “No.” On the bright side, the special features are fun. The disc includes deleted scenes, “An Autopsy of Hannah,” “Megan’s Diaries,” and “Killer Cast.” The best being “Killer Cast,” wherein Kirby Johnson shows off her contortions and how they accentuate the makeup. It’s gross as hell! The Possession of Hannah Grace is available on digital platforms now. It’ll be released on Blu-ray and DVD February 26th. WICKED RATING: 4/10 Director: Diederik Van Rooijen Writer: Brian Sieve Stars: Shay Mitchell, Grey Damon, Kirby Johnson, and Stana Katic Release: February 26th, 2019 (Blu-ray and DVD) Studio/Production Company: Broken Road Productions, Screen Gems Language: English Length: 86 minutes Sub-Genre: Possession

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Urban Legend: Giallo Inspired Horror or ’90s Slasher Trash?

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Wicked Horror is the author of Urban Legend: Giallo Inspired Horror or ’90s Slasher Trash?. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

The 1990s were a significantly under-appreciated time period for horror. Although the decade brought us classic titles like Scream, Candyman, and Dead Alive, it is often maligned and looked down upon as drastically inferior to the 1980s in almost every way. While it would be nearly impossible to outdo the horror output of the 80s, the ’90s certainly had some noteworthy offerings. Was Urban Legend among them? Read on for my thoughts on the divisive campus slasher.  Urban Legend tells the tale of a college campus plagued by a rash of nasty deaths that appear to be inspired by a variety of urban myths. Could it be a series of strange coincidences or is a crazed and cold blooded killer on the loose?  Released in a post-Scream era, Urban Legend had big shoes to fill. And while it certainly didn’t outdo the gold standard of ’90s slasher cinema, it shouldn’t be dismissed as a throwaway effort, either. Sure, Urban Legend wasn’t Scream. But it wasn’t trying to be. It was a fairly straightforward horror film at a time when Wes Craven had effectively reinvented the horror genre. Urban Legend could have attempted to piggyback off the success of Scream by filling its runtime with self referential jokes and horror movie trivia. But, instead, it opted to take many of its cues from the gialli of the ’70s and the slasher pics of the ’80s. While that was (in my estimate) the right thing to do, it seems that a lot of critics (the film sits at an abysmal 19% on Rotten Tomatoes as of this posting) and even quite a few horror fans were expecting something different than what they got. If you are among the film’s detractors, then allow me to encourage you to give it a second look.  Also See: Seven Urban Myths That Still Haven’t Gotten Their Cinematic Due Urban Legend delivers on scares and offers a whodunnit storyline that keeps the viewer guessing right up until the end. The film has a giallo-esque quality to it that sees multiple redirects and red herrings introduced to deflect suspicion from the true killer. Not to mention, the killer wears black gloves. And in true giallo fashion, lead character Natalie’s initial assertion that a murder has taken place is dismissed by the police and she finds herself playing amateur sleuth to investigate the death of a friend.  Urban Legend features a cast of talented up-and-comers, including future Oscar winner, Jared Leto, former Noxzema Girl, Rebecca Gayheart, and Christmas TV Movie Queen Alicia Witt as Natalie. But perhaps even more impressive than the core cast was the roster of cameos and supporting roles featuring famous faces from genre film. We see the great Brad Dourif as a gas station attendant, Robert Englund as a professor of American Folklore, and Danielle Harris as Natalie’s roommate. And speaking of genre film royalty, Loretta Devine’s character is a huge fan of Foxy Brown.  The film delivers just the right amount of gore. Plenty of stage blood flies but the production never dips into excess. There are some truly inventive and even horrifying death scenes. And the fact that the deaths are based around urban legends adds an extra sense of panache and also ups the terror quotient. Seeing the campfire lore you grew up fearing come to life is rather unsettling (in the best possible way).  Urban Legend isn’t without its faults. It’s about ten minutes too long for what it is. And some of the performances are a little hammy. [Spoiler Alert for a 21-year old movie]. Rebecca Gayheart starts chewing the scenery like it’s a stick of Carefree Gum after revealing that she’s the killer. And Tara Reid turns in a very Tara Reid performance. But, if you can overlook the film’s shortcomings, Urban Legend is a fun nod to the gialli and slasher films of the ’70s and ’80s. It respects and admires its predecessors and never takes itself too seriously. You could do much worse. However, the less said about the two misguided sequels, the better. 

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New on Netflix: February 22nd, 2019

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Wicked Horror is the author of New on Netflix: February 22nd, 2019. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Welcome to New on Netflix, a feature here at Wicked Horror in which we provide the latest updates on what’s coming to the streaming service for the week. In recent times, Netflix’s shift in content has been interesting. While many fan-favorite movies and TV shows have been Netflix staples for the better part of a decade, they’ve been taken off the service with more frequency. Some of them return, some of them don’t, and while these are all simply the result of licensing deals that were already in place before these properties even hit the service, they do shed some light on the content provider’s new focus. Netflix is continuing to shift gears away from movies and TV shows owned by other studios or companies and is producing their own content with staggering frequency. As we continue to provide updates on what’s been added to the service, it will always be interesting to note the balance between original and licensed content being added to the Netflix library. With that in mind, here are the latest Netflix additions for the week of February 22nd, 2019. Hostel  There’s actually nothing new in the horror world this week, but Eli Roth’s Hostel was added at the beginning of the month and is definitely worth noting. While it’s somewhat divisive, this is one of the landmark horror movies of the 2000s, and was produced by Quentin Tarantino. While it is clearly, distinctly an Eli Roth movie, it’s a markably different feature from his earlier effort, Cabin Fever. 

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Protect the Recipe: Robocop and KFC?

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Wicked Horror is the author of Protect the Recipe: Robocop and KFC?. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

As Robocop fans anxiously await their favorite crime fighting cyborg’s return to the silver screen in director Neill Blomkamp’s upcoming sequel, Robocop Returns, they were recently treated to a series of Kentucky Fried Chicken commercials starring the future of law enforcement. In a series of 3 new commercials, we find our hero Col. Robocop protecting not the innocent, but Colonel Sander’s original recipe and shilling for KFC’s 5 Dollar Fill Up box meals. While watching the commercials one finds themselves amused and bewildered at the same time. One of the few saving graces for the ad campaign is that they were able to get actor Peter Weller to don his armor once again. Weller has not portrayed his signature character since 1990’s Robocop 2. I got a bit nostalgic for my childhood seeing Weller and hearing his voice, as that is the only Robocop I know and accept. My only complaint after watching these spots was Robocop was never meant to be a comedy property. The original was a violent satire of the 1980’s and Reganomics. It was the story of a man who struggled with finding his humanity after being melded with a machine. My hope is that after this, Weller will seriously consider returning to the franchise and giving Robocop another shot. If Jaime Lee Curtis can do it for Halloween (2018) and give the fans what they want, hopefully Peter Weller can too. See Also Robocop: Back On Duty Soon To Protect the Innocent

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Are You Afraid of the Dark? Miniseries On The Way

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Wicked Horror is the author of Are You Afraid of the Dark? Miniseries On The Way. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Just over a year ago, we broke the news that an Are You Afraid of the Dark? movie was in production, making all of our early nineties kid dreams come true. There hasn’t been much development since but now it seems there may be even more on the way than we bargained for. Are You Afraid Of The Dark? was a super Canadian concoction that played on Nickelodeon way back in the day. It was, by all accounts, considerably more nightmare-inducing than its younger sibling Goosebumps (which already got a brilliant big screen adaptation, followed by a so-so sequel). A whole bunch of soon-to-be huge stars had cameos over the series’ seven-season run including Ryan Gosling, Neve Campbell, and loads more. The show actually ran until the turn of the millennium but, for most of us, it’s a nineties gem whose darkness we probably still couldn’t handle in adulthood (just me?). We already know the cult favorite is set to become a movie with Gary Dauberman (who penned this year’s horror hit IT, along with, er, Annabelle: Creation) tapped to write the script. Plot details have still yet to be revealed, but suffice to say the right people are behind the reboot. Now, it seems we may have something to sate our appetite in the meantime as, according to Comicbook, there’s a miniseries on the way too — not instead of the movie, either, but to go alongside it. As per the press release from Nickelodeon, Are You Afraid of the Dark? will return this coming October as a brand-new miniseries following an entirely different Midnight Society as they gather around the requisite campfire to tell scary stories in the dark (hopefully without their iPhones). The upcoming miniseries will coincide with the release of the movie, which is due in theaters on October 4, 2019. Fans have been speculating for months about how a film adaptation of the cult anthology series would work, but Dauberman promised it will stay true to the Are You Afraid of the Dark? spirit. Speaking to SlashFilm, the writer advised: That show is so important to me. I didn’t want to age it down too much because for its time, it had some really disturbing episodes and some really dark episodes. Not every story the Midnight Society told ended with happily ever after or a person learning their lesson and it will never happen again He further elaborated on what kids, in particular, can expect from the upcoming flick: I think fear is healthy for kids. I don’t think we have to always sand down the edges of things and that’s something I really wanted to do with Are You Afraid of the Dark? I think it is scary and I think kids will be scared watching it at times, and also they’ll laugh at times. I think it’s got a great message. I think it’s got a great heart to it but it is still scary. I think that’s great. I think it’s going to open it up to a wider audience Either way, there’s plenty for readers of a certain age to look forward to, while a whole new generation can prepare to be scared out of their minds by the Midnight Society’s latest tales. Stay tuned to Wicked Horror for more on both upcoming adaptations as we learn it.

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Script to Pieces: Stephen Norrington’s Ghost Rider

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Wicked Horror is the author of Script to Pieces: Stephen Norrington’s Ghost Rider. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Welcome to Script to Pieces, a recurring feature at Wicked Horror where we look at the best, most interesting and at times most unbelievable horror movies that never happened. Sometimes these will be productions that never came together at all, other times, they will be original incarnations that were completely different from what we wound up with. Each should be fascinating in its own way, because the stories of movies that never see the light of day can sometimes be even more interesting than the stories of those that do. In this installment, we will be taking a look at Stephen Norrington’s Ghost Rider. While 2007’s Ghost Rider certainly has its fans, it is not widely considered to be one of the best big screen Marvel adaptations. Some, though, have seen it as a quick cash-in on the increasingly popular superhero trend, with Sony claiming the rights to a Marvel title and pushing something into theaters without much concern for quality, and that couldn’t be further from the truth. Ghost Rider actually had a long and complicated history of several attempts at adaptations dating back almost a decade before the film actually wound up being released. But the most important piece of the puzzle, especially for this particular incarnation of Ghost Rider, dates back to 1998. Stephen Norrington, a first time director, was hired to direct a film, a horror/action/hybrid based on an incredibly obscure Marvel Comics property. It was, in fact, the first theatrical Marvel film since the notoriously panned Howard the Duck in 1986. If anything, the allure seemed to be that if the movie bombed, it wouldn’t have a negative impact on the comics company or their brand, because it wasn’t a recognized title. That movie, however, was Blade. And it did anything but bomb. Also See: Script to Pieces: The Lost Girls A sleek and stylish thriller with a terrific, kick-ass lead in Wesley Snipes, Blade seamlessly blended martial arts and vampires with comic book antiheroes and ‘90s action set pieces. More than anything, it proved Marvel movies could work on the big screen. Even if X-Men gets the credit, Blade kicked down the door to allow that film to happen at all—in fact, X-Men itself has its own troubled development history—and really does not get the credit it deserves for what it did for comic book and superhero movies in general. In fact, Marvel had spent the bulk of the 1990s struggling to get several film and television projects off the ground, and actually realized almost none of them. The decade saw the unrealized development of James Cameron’s Spider-Man, Wes Craven’s Doctor Strange, Oliver Stone’s Elektra Assassin, as well as attempts at Luke Cage, The Fantastic Four, The Incredible Hulk, Black Panther and more. Blade was first announced by Variety in 1992—as a producing vehicle for LL Cool J, no less—alongside another hard-edged Marvel antihero, Ghost Rider. Throughout the decade, though, no studio was really willing to pull the trigger on any of these, with the success of the Batman films largely considered to be an outlier as studios were still convinced that comic book properties wouldn’t work on the big screen. As soon as Blade hit, these titles suddenly started getting taken a little more seriously. In 1997, Gale Ann Hurd—legendary producer of The Abyss and Terminator—came on board to produce and commissioned a script by Jonathan Hensleigh, who had just come off a string of massive hits with Die Hard With a Vengeance, Jumanji and Armageddon. He would eventually make his directorial debut in 2004, with another Marvel property, The Punisher. That script, whatever it consisted of, was scrapped in favor of a new script from David S. Goyer. A huge comic book fan, Goyer had gotten his start at Full Moon writing films like Demonic Toys and Arcade before finding critical acclaim co-writing neo-noir sci-fi flick Dark City. He had at this point already written an unmade script for Venom for Marvel and had of course written Blade, which had just hit theaters when Goyer was approached for Ghost Rider. His first draft, though, is dated 1995, so it’s more likely that Goyer was brought on in the earliest stages of development and Hurd circled back to his script after passing on Hensleigh’s. Goyer’s script was described as “Marvel meets The Road Warrior” and it should also be noted that it was meant to be much more of a hard-R, closer to Blade, than what the eventual film wound up being. In his script, Ghost Rider battled a biker gang of demonic origin, who were planning to open a portal to bring the demon Zarathos to earth to wreak apocalyptic havoc. His script was very different from what eventually hit the screen, especially as it was not an origin story. Goyer’s Ghost Rider depicted the supernatural antihero as a sort of wandering spirit, doomed to walk the earth forever until his curse is lifted. Basically, the concept read like a cross between The Incredible Hulk TV series and Kung Fu, only with a demonic biker as the lead. In August of 2000, it was officially announced that Goyer would be re-teaming with Blade director Stephen Norrington for the project. Not long after that, the project shifted hands from Dimension films—whose only in-house comic book property was The Crow—to Columbia Pictures/Sony. Also See: Script to Pieces: Beyond The Valley of The Texas Chainsaw Massacre Almost immediately, the boys from Blade began courting a leading actor in Johnny Depp, with production slated to begin that year for a 2001 release. While Depp obviously became a household name in the 2000s and was certainly recognizable at the time, he was not by any means what one considered to be an action star, which was what made his eventual turn in Pirates of the Caribbean: Curse of the Black Pearl a few years later so surprising at that time. Depp expressed interest in the role and seemed to like the tortured character of Johnny Blaze, but eventually passed on the role as the development process drew on with no real start date in sight. In 2001, Depp’s friend Nicolas Cage—who had convinced Depp to try acting in the first place—began to circle the project. Cage was no stranger to comic book roles at this point, even though he had never actually starred in one. He had famously been cast as Superman in Tim Burton’s unmade Superman Lives and had even been courted for Iron Man in the early ‘90s. A deep fan of the comic book character, Cage seemed enthusiastic about the role. He was also meant to play the Scarecrow in Joel Schumacher’s canceled Batman Triumphant. Like Depp, though, it seemed uncertain that the timing would actually work out. After the success of Sony’s Spider-Man, that studio fought for the rights to Ghost Rider from Dimension and attempted to get rolling on their own adaptation as soon as that process completed. Producer Avi Arad at some point met Eric Bana and initially courted him for the role of Johnny Blaze before deciding to cast him as Bruce Banner in Universal’s Hulk instead. Throughout all of this, Stephen Norrington was still attached to direct the project, even as its status became more and more liquid and ever-changing. At this point, the first major change in status came about as a new writer, Shane Salerno, was brought in to rewrite Goyer’s script. Salerno, at this point, was best known for writing on Armageddon and Shaft. In 2003, after the release of 20th Century Fox’s Daredevil, another Marvel adaptation, that film’s writer/director Mark Steven Johnson came aboard the project, scrapping Salerno’s new script in favor of writing the film himself, as he had done with Daredevil. By this point, Norrington had left the project anyway, in favor of directing another comic book adaptation instead. The movie in question was The League of Extraordinary Gentlemen, based on the graphic novel co-created by Alan Moore, which would not only be a critical and financial flop but would also wind up being the last film of Norrington’s career. In general, Stephen Norrington wound up having as many unrealized projects as directing credits, as he was at various points attached to Blade II, Shang-Chi, Akira, Freddy vs. Jason, The League of Extraordinary Gentlemen 2, Clash of the Titans and The Crow remake, with the last of those being only a few years ago. More than anything, the remarkable thing about the development of Ghost Rider is how long it took to come together despite all of the major elements in place. We’ve rarely seen that in the movies we’ve covered for Script to Pieces, as things are almost always delayed by rotating creative teams or changes of hand at the studio level. Yet Mark Steven Johnson and Nicolas Cage came onboard in 2003 with the movie prepping for a 2004 release, and yet it was not released until 2007. So what causes a delay that drastic? Usually, delays of that length of time are bogged down by intense behind-the-scenes drama, controversy, or expensive re-shoots, as has seemed to be the case with the long-delayed X-Men projects Dark Phoenix and The New Mutants. None of that appeared to be the case for Ghost Rider, with the most direct reason being that Johnson and Sony were apparently so intent on having Cage star in the movie that they waited over a year for him to become available after he wrapped filming on The Weather Man. Still, the feature wrapped photography in June of 2005, leaving plenty of time for a 2006 release, but Sony pushed it to February of 2007 to avoid overstuffing an already crowded release calendar. Eventually, Goyer’s initial ideas were reworked for the film’s loose sequel—again starring Cage—Ghost Rider: Spirit of Vengeance. Like the first, it was written for an R rating that it did not ultimately wind up receiving.

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More Details on Upcoming Lost Boys TV Series Emerge

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Wicked Horror is the author of More Details on Upcoming Lost Boys TV Series Emerge. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

It’s a busy week for Lost Boys fans as, hot on the heels of rumors the upcoming TV spinoff will be more female-focused, we now know who’s directing the pilot and who most of the principle cast members will be. The Lost Boys is being developed by the CW, with the series percolating since 2016. With the Charmed remake currently airing, it was starting to seem as though we’d never get a chance to revisit Santa Carla on the small screen. Earlier this week, however, news dropped that the infamous Frog Brothers may actually be the Frog Sisters when the reboot eventually drops. Now we know that the pilot, at the very least, has cast most of its leading playeres. According to Deadline, former Teen Wolf star Tyler Posey (who also featured in the dreadful Truth or Dare, if anybody remembers that flick) will feature alongside Kiele Sanchez (The Purge: Anarchy) in two of the reported three leading roles. Medalion Rahimi and Dakota Shapiro are also slated to appear. Director Catherine Hardwicke, who helmed Thirteen and the first Twilight movie, will direct the pilot from a script by Heather Mitchell. The synopsis is as follows: The Lost Boys is set in sunny seaside Santa Carla, home to a beautiful boardwalk, all the cotton candy you can eat…and a secret underworld of vampires. After the sudden death of their father, brothers Michael (Posey) and Sam Emerson move to Santa Carla with their mother, Lucy (Sanchez), who hopes to start anew in the town where she grew up. But the brothers soon find themselves being drawn deeper and deeper into the seductive world of Santa Carla’s eternally beautiful and youthful undead… Jason Patric and Dianne Wiest played Michael and Lucy, respectively, in Joel Schumacher’s original 1987 movie. As for the elusive Kiefer Sutherland role, Shapiro is taking on the leather-jacketed mantel while Rahimi will appear as Stella, a new version of Star, played by Jami Gertz in the original film. The series is being developed for TV by Veronica Mars creator Rob Thomas, who also created iZombie for the network. Thomas previously revealed he envisions the series as a seven-season anthology, with each season set in a different decade. According to his initial report, the only element that will carry through from season to season will be the immortal ‘Lost Boys’. The first season will be set in San Francisco, in 1967. Stay tuned to Wicked Horror in the coming months for more on this project as it breaks.

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The Lost Boys Series May Feature The Frog Sisters

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Wicked Horror is the author of The Lost Boys Series May Feature The Frog Sisters. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

As we first reported (in 2016), The Lost Boys is being developed for the small screen by the CW Network. We then brought you the news (in 2017)  that the show was being bumped to the next development cycle, along with the reboot of Charmed. While the Charmed remake is currently airing on the network, we have yet to see a whole lot of movement on The Lost Boys small screen adaptation. With that said, we do have some news to report on the forthcoming project, today. The scoop comes courtesy of  Collider’s Witching Hour Podcast. Hosts Haleigh and Perri revealed a report from journalist Jeff Sneider that The Frog Brothers may, in fact, be The Frog Sisters when the small screen redux ultimately makes its debut. The character’s names will reportedly be Cassie and Liza. Depending on how you look at it, this could be good news. It means that the series won’t be a straight up rehash of the film. And it shouldn’t be. If you’re going to redevelop a property, it should differentiate itself from its predecessor. The series is being developed for TV by Veronica Mars creator Rob Thomas. Thomas, who also created iZombie for the network previously revealed that he envisions the series as a seven-season anthology (each season set in a different decade). According to his initial report, the only element that will carry through from season to season will be the immortal ‘Lost Boys’. The first season will be set in San Francisco, 1967. Thomas is assuming scripting duties on the pilot and possibly additional episodes, as well. The Lost Boys feature film sees brothers Michael and Sam relocating to Santa Carla, California. Upon their arrival, the pair discovers that the city is swarming with bloodthirsty vampires. Joel Schumacher’s The Lost Boys stars Jason Patric, the late Corey Haim, Kiefer Sutherland, Jami Gertz, and Corey Feldman. No word at this juncture on who will be starring in the television series. Stay tuned to the site in the coming months for more on this project as it breaks!

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The Horror of Dolores Roach is Like Sweeney Todd Set in Brooklyn [Review]

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Wicked Horror is the author of The Horror of Dolores Roach is Like Sweeney Todd Set in Brooklyn [Review]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

From Gimlet, the same network behind Conviction and Homecoming, comes The Horror of Dolores Roach, staring Daphne Rubin-Vega and Bobby Cannavale. Written by playwright Aaron Mark, The Horror of Dolores Roach is inspired by Mark’s Off-Broadway play, Empanada Loca. After spending sixteen years in prison, New York native Dolores Roach returns to find her old neighborhood completely different, her boyfriend long gone and she must face the fact she had nowhere to go. Her luck turns around when she runs into old friend, Luis, who not only gives her a place to stay but gives her a seemingly endless supply of weed. Dolores is eager to get her life back on track but things quickly go downhill in a spiral of love, lies, murder, and occasional cannibalism.  It’s a bit like Sweeney Todd set in Brooklyn. This isn’t the first Gimlet series I’ve listened to so I knew I was in for a treat and they certainly did not disappoint. I’d go as far as to say this is Gimlet’s best work to date. First of all, Daphne Rubin-Vega deserves all the kudos in the world. Her performance as “Magic Hands Daphne” is equal parts remarkable, likable, and sinister. Rubin-Vega is a fantastic storyteller that will grab your attention instantly; and it isn’t just because of her lovely accent. Between the storytelling itself, the fitting background noise, and the editing, it feels like you’re listening to an actual movie. Which it has the potential to be.  This story has a little something for all those with an appreciation for the strange and unusual. It’ll make you laugh, it’ll horrify you, it’ll keep you on the edge of your seat and make you want to visit your local empanada shop. Overall, The Horror of Dolores Roach scores high points in every department that matters in a podcast. It’s unpredictability will keep you charmed and hooked from the get go. It’s guaranteed to become your new favorite podcast, if you can stomach it. Also See: Lore delivers the perfect mix of fiction and reality [Review] Wicked Rating: 9/10

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Iain De Caestecker Talks Overlord and Turning Into a Monster [Exclusive]

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Wicked Horror is the author of Iain De Caestecker Talks Overlord and Turning Into a Monster [Exclusive]. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Overlord is a critically praised (and sadly under-seen) World War II set horror movie that hit theatres last November. The cast includes Wyatt Russell, Jovan Adepo, Mathilde Olliver, John Magaro, Pilou Asbæk, and Iain De Caestecker. Julius Avery (Son of a Gun) directed and J.J. Abrams produced. The film is certified fresh on Rotten Tomatoes with 81%. Though the film is fascinating throughout, Iain De Caestecker stars in easily the most thrilling scene. Wicked Horror had the pleasure of talking to Iain about how the WWII setting helped up the horror, how the director got the cast in the zone, what it took to make the aforementioned scene come to fruition, and what is his favorite horror film of all time is! A heavy spoiler warning is in effect as Iain dives deep into his character and what it took to become the monster!  Overlord is now available on DVD, Blu-Ray, and VOD. Also See: Lin Shaye Dishes on The Final Wish and The Grudge Remake Wicked Horror: First off, wanted to say I absolutely loved the film. It just missed out on my top ten of the year, but I saw around 80 movies in 2018, so you guys were pretty high up there. Part of my love for it was the realism and the bond between yourself and the main soldiers. How did that start? Was the bond there from the beginning? Was it Julius Avery, the director, helping you guys out? Iain De Caestecker: Yeah, you know what one of the biggest things was that we met, we came into the studio one day and quickly said hi to each other and we just clicked. He wanted to get us to boot camp and he put us in our World War II costumes to get ready. We had a military advisor on the film, Freddie Joe Farnworth, he’s an ex-Navy Seal and he came in then they just shoved us in the back of a van and then they took us out to the forest for four days. We did the boot camp, and they did the boot camp just as it would have been for young soldiers in WWII. We’d get up early, we’d be doing press-ups and chucking logs over our head. We’d do drills where we’d go off and fire off replicas, as well as some of the real weapons from WWII. One of the big things was that we were there for four days and we’d make a fire and then just sit by it and really get to know each other. WH: Was it the whole cast? Like the actors who played Wafner (Pilou Asbæk) and Chloe (Mathilde Olliver), or was it just the main five or six US soldiers? Iain De Caestecker: Yeah, it was myself, Jovan (Jovan Adepo), Wyatt (Wyatt Russel), John (John Magaro), and Dom (Domonic Applewhite). There was no better bonding experience than that, you know? You learn very quickly that you’ll watch out for each other and take care of each other. You know, suddenly you get your phone taken away from you for four weeks. There was just this history that we built that you really couldn’t manufacture. It was really valuable, of course for this movie being set in WWII, but it should really be a rite of passage for every movie since it’s such a great bonding experience. WH: The WWII bit actually leads me to my next question. So obviously mutants and bringing people back from the dead; it’s pretty horrifying in itself, but how much of the uneasiness in the film came from the fact that it was set in WWII. What these kids went through back then, do you think that was more terrifying than the monster element? Iain De Caestecker: Yeah, that’s a really good point. You know, I remember WWII from history classes in school and those sorts of things. Before, it didn’t affect me, just sort of a story. Then you read up on it and you just learn how much you don’t know about it really, how many individual stories there are. You know, one thing from that boot camp, we would go out on these night patrols. We would get taken out and you’d have to do hand signals to be as quiet as you can but still communicate with each other. It really gave you a glimpse into it, because it was pitch black and you couldn’t see 20 yards in front of you. These kids were dropped into another country, another continent, and you had no idea where the next enemy was coming from. WH: When Julius (Avery) and J.J. (Abrams) would talk to you guys about the film, did it seem more like they were making a horror movie set during WWII or a WWII movie with a little bit of horror in it? Or 50% either way? Iain De Caestecker: That’s a good question. I think the movie starts off more like a war movie. WH: Especially with that opening scene! Iain De Caestecker: Exactly. And ultimately as well, the movie is a little bit heightened. It’s a supernatural movie, it’s fictional. Since it’s heightened, that’s the difficult subject to include which is to remain respectful. We always thought that we were which is why we had our military advisor on set. We were diligent to make sure that we always had that level of responsibility in the backs of our minds, but at the same time, there is that supernatural element too. There’s also this thing of, if you’re going to have a villain in that type a movie, there’s no one really better than a N*zi.  WH: There’s not much scarier than a N*zi.  Iain De Caestecker: Yeah, true. WH: So I wanted to talk about one of the scariest moments in the movie, which I’m sure you talk about all the time: the resurrection scene with your character, Chase. Can you just walk me through it? I was reading that it was actually much more practical then people would think it to be. Also, what kind of direction was Julius giving you, because I’m sure it was very different than what most actors go through. Iain De Caestecker: Yeah, you know what it was? Originally we were supposed to shoot it in just a couple of days, but it just kept up and there was just so much to do; it took about five days to shoot. You look in the mirror with all these prosthetics on an you’re just like, “This is crazy.” You know, in fact originally when I did my meeting for it, I had to do a Skype with Julius because he was in London and I was in America at the time. At the end of it he goes, “Hey, can you do this scene for me?” And I was like, “Yeah, sure.” So he goes, “Can you just turn into a monster for me?”  So it’s just this weird thing where I’m in this room, pretending to turn into a monster, but you don’t really know what it is. Once we get to set, it’s nice because you have almost half the battle done for you. We had this really amazing team who had molded my body before it started and created this amazing concept art. They’d put it on me every morning and that really informed a lot of my decisions on how’d I move on set. But, yeah, a lot of it was practical really. I think there may be a couple of bits of CGI in there just to kind of heighten things, but really a lot of what we did on those days is in there! WH: That’s awesome. I feel like that’s just not something you see much in horror movies anymore and in your performance, you could tell you were actually going through it, and not just pretending. Iain De Caestecker: Thanks, man! And yeah, there is that. Whilst those things are always fun to do, they’re fun in hindsight as well. While you’re doing those things, they’re pretty grueling, but Julius is great to have around! He’s got such a high intensity; he knows what he wants, but he’s also got this great balance of things especially from my perspective. Since he knows what he wants, he knows how to get you to that place, but he’s also very accepting of everybody’s ideas. You’ll come up with an idea and he’ll just go, “Yeah, let’s try it. Let’s do it.” If it doesn’t work, he tried it, but if it does, he’ll go with it. Having him on set is great because doing something such as turning into a monster is something else; like how do you prepare for that, really? WH: I was also thinking about how your character, Chase, is so passive and unready for the war that watching that scene isn’t just terrifying, but also quite heartbreaking. Iain De Caestecker: I’m glad you said that. That was something we talked about before a lot. Knowing that the transformation scene was to come up I think that was the point they were trying to make. Here’s this guy who out of the group is the most of a pacifist, which is why I think he and the main character, Javon’s (Jovan Adepo) Boyce, had that kind of a relationship. Chase was the most idealistic of them; he wasn’t really prepared. WH: Being a war correspondent, it seemed he wasn’t in it as much for the violence as he was just to capture it. Iain De Caestecker: Exactly; you’re exactly right. He sees the camera as his weapon and he really hasn’t prepared himself for the horrors of war. So when this switch happens and you see him turn into this other thing, that’s what we were looking for, you know? That switch to be that much more dramatic. WH: Well we’re running out of time, so I always like to ask one last question. Being a site that focuses so heavily on horror, I like to ask all the actors, directors, writers, editors, and everyone we interview to give me one horror movie that is either your favorite or one that you think got criminally overlooked. Iain De Caestecker: One new horror movie that I watched this year, well everyone saw it, so it wasn’t quite overlooked, was A Quiet Place. I thought it was just a really well-done movie; just so well executed. Also, I watched The Shining again, it had just come on some streaming service, I put it on just to watch a little and I got just so hypnotized by it. It’s just a – well, it’s just a perfect movie, isn’t it? I was reading up on it and learned that there are all these kind of conspiracy theories that people have made up over the years. WH: If you haven’t yet, there’s this documentary called Room 237, it’s about all the conspiracies in The Shiningand it is just a crazy movie. Iain De Caestecker: Yes! I need to watch that one. It’s just so mysterious; I could easily watch it again tonight and it’s one of those movies where I’d find something new every time. You see, what A Quiet Place does so well – I’m just going to correlate the two since I just brought that up – it does those kind of horror basics really well. Whereas The Shininghas that chilling and scary atmosphere. WH: It’s not so much shocking as it is upsetting. Iain De Caestecker: Exactly; it’s truly disturbing. WH: Well Iain, it’s time to let you go, but I really appreciate you chatting. Iain De Caestecker: Thanks! It was great talking to you, Mark. Cheers.

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Giallo Madness: Death Walks at Midnight

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Wicked Horror is the author of Giallo Madness: Death Walks at Midnight. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Giallo Madness is a recurring segment where Wicked Horror managing editor Tyler Doupe’ looks back on a noteworthy giallo from years past and makes a case for why it should be on your radar. The titles showcased in this feature will typically be lesser known but still equally deserving of your attention. In this installment, we will be revisiting Luciano Ercoli’s Death Walks at Midnight.  Fashion model Valentina tries a hallucinogenic drug as an experiment for a magazine article. While under the influence of the substance, Valentina witnesses a grisly murder. But is she actually seeing what she thinks she sees, or is it an effect of the drug she’s taken?  Death Walks at Midnight was ahead of its time in a lot of ways: Blood spatter dripping down the camera and leading to a scene transition may be commonplace in contemporary horror. But, Death Walks at Midnight is one of the earliest places I recall seeing such a thing and at the time of the film’s release, it was somewhat revolutionary. Clever cinematography, camera tricks, and innovative techniques such as this make the film particularly memorable.   Further establishing Death Walks at Midnight as innovative for its time, the film features a killer that moves slowly while his victims run away. This technique was famously utilized in several of the Friday the 13th sequels.  While it may have broken some new ground, Death Walks at Midnight wasn’t afraid to pay tribute to films by which its creation was influenced. And it even makes a point to (presumably) pay homage to Mario Bava’s Blood and Black Lace by featuring an almost identical spiked glove to that which was used in Bava’s 1964 giallo prototype.  By giallo standards, the performances in Death Walks at Midnight are good. The English language version of the film features particularly well-synced dubbing and none of the acting is any more over the top than that which is featured in similar films of the same era.  Valentina is fairly well developed and almost immediately likable.  Also See: Giallo Madness: Seven Bloodstained Orchids The giallo has often walked the line between fantasy and reality, leaving the viewer in a constant state of uncertainty in regards to what is really happening. Death Walks at Midnight does a beautiful job of keeping the viewer, not only in a state of suspense, but also forcing them to question what they’ve seen and if it’s real, a hallucination, or some combination thereof.  A lot of the film’s charm can be attributed to master screenwriter Ernesto Gastaldi’s (Torso) screenplay. It’s full of twists and turns and keeps the viewer guessing until the true killer’s identity is finally revealed. We do see the face of the killer early in the film but the identity of his accomplice (who is naturally someone Valentina has met during the picture’s runtime) remains a well-kept secret until the very end of the feature.    Luciano Ercoli does a brilliant job of brining Gastaldi’s script to life. Ercoli has a knack for building and sustaining suspense and that is apparent in nearly every scene of Death Walks at Midnight. He uses shadows and dimly lit rooms to keep the viewer on edge between well-timed scares.  Composer Gianni Ferrio’s dreamlike score is minimalistic and fairly simple but nonetheless provides a sense of foreboding and effectively intensifies the numerous scenes of nail-biting tension.   The set design and wardrobe are a true product of their time. All of the furniture, artwork, hairstyles, and clothing couldn’t possibly be from any era outside the ’70s. For some, that might be a detractor, but for the avid giallo enthusiast, it only adds to the charm.  Also See: Giallo Madness: Black Belly of the Tarantula The Arrow Home Video release of Death Walks at Midnight features a bevy of special features, including a brief but insightful introduction from screenwriter Ernesto Gastaldi. The scribe looks back on the film (and the era in which it was released) with a great deal of fondness. In a separate, and brand new, featurette, Gastaldi recalls his prolific career as a screenwriter. In addition, there is a second featurette detailing the noteworthy collaborations between director Luciano Ercoli and his wife Nieves Navarro, who plays Valentina. The home video release also includes the English and Italian language versions of the film, as well as the broadcast television cut. Lastly, genre film journalist Tim Lucas lends his vocal talents and vast film knowledge to the commentary track.  If you haven’t had the occasion to check this flick out, you really should. It is a tragically underrated giallo which deserves a great deal more love than it gets. 

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Blumhouse Eyeing Reboots of Scream and Hellraiser Franchises

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Wicked Horror is the author of Blumhouse Eyeing Reboots of Scream and Hellraiser Franchises. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

In news that is likely to polarize fans: Jason Blum and his has revealed that his company Blumhouse has interest in acquiring the rights to both the Scream and Hellraiser franchises. In speaking with Cinema Blend, the production company powerhouse told the outlet that “Yes, [Miramax and I] definitely have [discussed it]. We’re looking – there’s nothing happening with either one of those things – but we’re definitely looking at it, and it’s definitely something I’d be open to.”  A Hellraiser reboot has long been planned and has never managed to get off the ground. Years back, Todd Farmer and Patrick Lussier were attached to the project. While Hellraiser: Judgment was arguably the best of the direct-to-video sequels, it would be nice to see what could be done with a bigger budget and a fresh set of eyes. Also See: Pain and Pleasure: Patrick Lussier Dishes on the Hellraiser Remake that Might Have Been As far as the Scream franchise goes, it’s hard to imagine what it would be like without Wes Craven at the helm. Craven directed all four installments in the series and the most recent film already attempted a soft reboot. So, it’s anybody’s guess where Blum and company would take the franchise. It’s important to note that nothing is currently in the works on either property. Nothing has advanced beyond the discussion stage. So, put your pitchforks away for the time being and also keep in mind that The Blumhouse-produced Halloween reboot/sequel was a raging success and a definite crowd pleaser. Also See: Halloween (2018) is a Welcome Return to Form

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Why The Night Evelyn Came Out of the Grave is a Must See!

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Wicked Horror is the author of Why The Night Evelyn Came Out of the Grave is a Must See!. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Emilio Miraglia’s The Night Evelyn Came Out of the Grave is a an Italian-made British horror film that features velvet suits, gloved killers, the unexpected appearance of free-spirited bands, J&B whiskey, and burials. But that is actually about par for the course for an Italian horror film from the ’70s. Keep reading for more reasons you need to see it! Lord Alan Cunningham is a wealthy aristocrat who has just been released from a mental institution, following the death of his redheaded wife Evelyn. Alan caught his wife sucking face with a random man before he was institutionalized. People handle grief differently and Alan handles his grief the best way he knows, which is by luring redheaded strippers and prostitutes to his home so he can torture and eventually kill them. Since Alan cannot get revenge on his dead wife for cheating, any other redheaded woman will have to do! One night Alan decides to take the advice of his friend Richard, who suggests Alan get a second wife who looks similar to Evelyn, minus the red hair. Alan marries a woman named Gladys in the hopes of curing himself of his murderous impulses. Unfortunately, things become far worse and more bizarre murders persist. Also See: Giallo Madness: Seven Bloodstained Orchids The Night Evelyn Came Out of the Grave is anything but typical. It features a series of unpredictable twists and turns. As the audience, we’re constantly guessing because we never quite know where anyone stands until the turning point. The atmosphere at the climax of the film is unforgettable! Although it has similarities to the giallo offerings of the ’70s, this picture is really its own thing. It’s full of bizarre subplots and unbelievable goings on. For instance, everyone in the film knows that Lord Alan has a nasty habit of murdering women, however, literally everyone overlooks his obsession with bloodshed for one reason or another. If it is an unusual Italian horror film you seek, you will not be disappointed with The Night Evelyn Came Out of the Grave. It is filled with intensity; it features a disturbing plot; Bruno Nicolai’s score is haunting and memorable;, and the cinematography is amazing. My advice before watching the film? Be patient. It has a slow start, but it’s well worth it when things start to come together.

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Nicolas Pesce’s Piercing Hits Home Video Next Month

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Wicked Horror is the author of Nicolas Pesce’s Piercing Hits Home Video Next Month. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Nicolas Pesce (The Eyes of My Mother) finally brings his festival hit Piercing home to DVD, Bluray, and Digital in just a few weeks. The slick revenge thriller blew our minds at Frightfest last year and soon you can experience all the sexy madness for yourself. Based on Ryû Murakami’s popular novel, the film, which was written and directed by Pesce, tells the twisted tale of a lonely father looking to kill for sport who gets more than he bargained for when he encounters a crazed and bloodthirsty prostitute. It Comes At Night star Christopher Abbott plays the troubled Reed, who calls upon the services of Mia Wasikowska’s (Crimson Peak) seemingly coy hooker while wife Laia Costa (who broke out in a big way in the single-take, Berlin-set thriller Victoria) stays home minding their kid/encourages him to indulge his bloody sexual delusions. The intriguing premise is as follows; “In this twisted love story, a man seeks out an unsuspecting stranger to help him purge the dark torments of his past. His plan goes awry when he encounters a woman with plans of her own. A playful psycho-thriller game of cat-and-mouse.” In our review out of Frightfest, we noted the film is “visually arresting, deviously intoxicating, and completely messed up. … a cult hit in the making and a brilliantly bizarre follow-up to The Eyes Of My Mother.” Check out the full review here, and our interview with Pesce here. You can pick up Piercing on DVD, Blu-ray, and on Digital from March 12, 2019. Check out the trippy box art below. Trust us, you won’t see anything else like it this year.

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New on Netflix: February 15th, 2019

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Wicked Horror is the author of New on Netflix: February 15th, 2019. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Welcome to New on Netflix, a feature here at Wicked Horror in which we provide the latest updates on what’s coming to the streaming service for the week. In recent times, Netflix’s shift in content has been interesting. While many fan-favorite movies and TV shows have been Netflix staples for the better part of a decade, they’ve been taken off the service with more frequency. Some of them return, some of them don’t, and while these are all simply the result of licensing deals that were already in place before these properties even hit the service, they do shed some light on the content provider’s new focus. Netflix is continuing to shift gears away from movies and TV shows owned by other studios or companies and is producing their own content with staggering frequency. As we continue to provide updates on what’s been added to the service, it will always be interesting to note the balance between original and licensed content being added to the Netflix library. With that in mind, here are the latest Netflix additions for the week of February 8th, 2019. The Umbrella Academy  With Netflix’s Marvel shows clearly winding down, gears have shifted toward an adaptation of this independent sensation co-created by My Chemical Romance frontman Gerard Way. Starring Ellen Page, the series is a unique, bizarre, dark take on a superhero team. It’s almost a modern gothic twist on what we think of as recognizable stories like X-Men and Doom Patrol, but with mysterious pregnancies, supernatural powers, and plenty of other threads that make this worth watching for horror fans.

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Back to the ’80s: Psycho III

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Wicked Horror is the author of Back to the ’80s: Psycho III. Wicked Horror is the internet's only horror fan site for free original horror movies, news, review & more.

Welcome to Back to the ’80s. This recurring feature aims to take a look at the good, the bad, and the ugly from horror’s most beloved decade. Regardless of which category a particular film falls under, this segment will spotlight films that horror fans can appreciate for one reason or another. We will look at how some of these flicks have stood the test of time and others have not aged quite so well. Regardless of what they look like today, these efforts from the 1980s laid the groundwork for the horror genre as we know it today. In this installment, we will be taking a look at Psycho III. Maureen Coyle (Diana Scarwid) is an unstable young nun that has lost her faith. After a failed suicide attempt leads to the death of a fellow Sister in Christ, Maureen decides it’s time to leave the church. She struggles with depression in the heat of the desert until finally being picked up by Duane Duke (Jeff Fahey), a musician hoping to make it big in L.A. Before long, Duane crosses the line and Maureen is left abandoned on the side of the road. Their paths will cross again as they make their separate treks to the Bates Motel in this third installment of the Psycho franchise. At the end of 1983’s Psycho II, audiences came to find the infamous Norman Bates (Anthony Perkins) visited by Emma Spool (Claudia Bryar). She claimed to be his real mother. Unfortunately, Spool had her own mental problems over the years which could explain her poor judgment in forgetting the consequences to being Norman’s mother. With a shovel and some tea, Norman took care of this new mother and had a new reason to fully slip back into insanity. The entirety of the celebrated first sequel found Norman questioning but never succumbing into madness until the very end. Mary (Meg Tilly) and Lila Loomis (Vera Miles) brought him close to the edge and succeeded just a little too late. In 1960, Alfred Hitchcock created a seminal masterpiece with Psycho. The feature is still academically studied today. Psycho is one of those flicks on an elevated level and any sequels really should be studied from a different perspective. Like John Carpenter’s Halloween (1978), Psycho generated a franchise that developed sequels constantly compared to the original. Yet, what was created from the original piece was something groundbreaking and influential. By definition, a sequel is furthering ideas from a previous work and has a limited chance of doing something new and innovative. Typically, the story is a continuation of a previous narrative. So, when watching Psycho II one has to approach the film on its own merits. Like Norman Bates, the Psycho franchise was acclimating into the slasher craze formula of the 1980s. On many levels, the first sequel is incredibly successful. From a clever script to a terrifying atmosphere, Psycho II is a sequel worth watching. New characters are added alongside characters from the original, and they are just as compelling and vulnerable. Norman’s arch is continued in a way that makes sense 22 years later. And, personally, it’s my favorite of the Psycho films. Related: Read Nat’s take on why the second installment is almost as good as the original! On the flip side, 1986’s Psycho III is full of innovative but unevenly executed ideas. The second feature generated a suspenseful atmosphere based on components from Hitchcock’s picture. Psycho III starts off strong and is littered with one or two nerve-wracking moments; however, a reliance on homages over fresh setups quickly steers the film off course. This third entry in the series is directed by none other than Norman Bates actor Anthony Perkins. There are more than a few scenes in which Perkins recreates shots designed by Hitchcock. For example, the way in which Arbogast (Martin Balsam) fell down the staircase is reconstructed for a major death in this flick. These recreations are done so well that they tend to make the new death sequences seem mundane and ineffective. The film faces a major problem in identifying with whom the audience is meant to relate. After the revelation in Psycho II, we know that Norman is up to his old tricks. There is no mystery this time as to who is the killer; however, in terms of suspense, the best scenes are when we are worried about Norman being caught. In the original Psycho, Hitchcock found a strong balance in letting the audience worry about Norman as well as “Mother’s” potential victims. In a macabre sort of way, we forgave Norman’s actions up until the climax because he was trying to protect his mother. This time around we know that Norman is Mother. Psycho III tilts towards Norman’s side of the story. Perkins succeeds in generating a successfully suspenseful atmosphere when it comes to Norman being found out. One delightfully nail-biting scene shows the sheriff (Hugh Gillin) chewing on some ice that is barely concealing a victim. Another excellent sequence finds Norman caught in his infamous swamp. Unfortunately, worrying about him takes away from the suspense meant for any unsuspecting victims. And, thus, all the effort to make these other scenes appear scary becomes ineffective. The audience becomes left with an uneven film. Psycho and Psycho II worked well with a rounded out bunch of characters that, along with Norman, merited sympathy in different ways. This feature does not achieve that same effect. Also See: Back to the ’80s: Fright Night To be fair, some of the blame has to lay with the characters created in Charles Edward Pogue’s screenplay. These characters are not likable. With the exception of Maureen and the sheriff (created by Tom Holland), the people in Psycho III are either nasty or boring stereotypes. The acting is fine enough, but certain “protagonists” are intended to instill sympathy with the audience. This intention fails on many levels. In particular, journalist Tracy Venable (Roberta Maxwell) is meant to lead the audience through a chilling conclusion. Venable is a one-note character that does little more than antagonize everyone else in the film. Even the few that are relatively likable. She is more likely to alienate the audience rather than garner their sympathy. Which is unfortunate because Perkins’s performance in the finale is sensational. Perkins brings Norman to life once again in this third feature as both director and actor. His role as director is effective enough overall. He occasionally misses the mark; however, one can see the potential in his ideas. In terms of becoming Norman again, Perkins is as fascinating as ever. His internal conflict is palpable as he struggles with becoming Mother or remaining true to himself. While in the past he has always been a dutiful son to his mother (real or imagined), in the third installment Norman finally resists the hold Mother has on him. Perkins deftly sinks back into this iconic role in a way that redeems many of Psycho III’s faults. Diana Scarwid’s performance is an additional reason to enjoy this sequel. She projects vulnerability and desperation as this young woman wanting to believe there is some purpose to life. Scarwid convincingly develops Maureen’s arc from being an isolated nun to a woman that could fall in love with Norman Bates. In addition, Jeff Fahey’s Duane is one of the many mentioned before unlikable characters. Nevertheless, Fahey exudes a certain duplicitous charisma that is believably both charming and loathsome. Click here to read why this franchise’s sequels get a bad wrap! Psycho III is full of interesting ideas with one or two actually working. The feature is hit-or-miss in terms of suspense and character development. There are many wink-nudge moments containing welcome references to the original; however, these setups take away focus from any new and original ideas specific to this sequel. Unique to this installment is the franchise’s one true supernatural occurrence. While it could be explained away as coincidence, Mother actually moves independently of Norman. The movement is small and incredibly convenient. And represents the lack of logic frequently present in this movie. Fans of ‘80s horror will not be overly impressed with Psycho III. Still, those that enjoy the saga of Norman Bates will be satisfied with Anthony Perkins’s performance and his ultimate confrontation with Mother.

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