Wednesday, September 22, 2010

Ok so I promised a couple move reviews. So here we go... 

This was my first DVD through Netflix. I saw an ad for it in Rue Morgue a few issues ago. This was an awesome movie!! It's funny more than scary. Not even scary, unless you're my 4 yr old son watching it with me!! Monaghan plays a grave robber telling his story hours before his death. It takes place back in the day, 1800s. I can't say too much because it'll give it away. But if you have the time, watch this one. It's funny as hell!! This one, I really didn't care to see. All those old ass actors and such. And I'm not really into the action type movies. But this one blew me away. The action was great and some of the fight scenes were awesome!! Although there are some highly known actors billed here, a couple only had small cameos. The main actors were Stallone and  Statham. This one is another surprise. Surprise because of some of the things that were shown in it for a Disney movie. All the death. Not that I'm complaining!! It just shocked me for a Disney movie!! It pretty much stayed with the game as far as Dastan is concerned. All the tricks and slides he does in the game were done in the movie for the most part. It was pretty good too.

And let's not forget the eye candy:

Tuesday, September 14, 2010

Four Haunted Places to visit in the US.
Have you been to any of these places? I would love to go to the Amityville House.

The Amityville HouseThe Amityville House As the story goes, on Nov. 13, 1974, Ronald Jr. (“Butch”) DeFeo killed six members of his family in a house in Amityville, New York. He claims there were demonic forces in the home that drove him to murder. When new owners moved into the house at 112 Ocean Avenue, they too experienced terrifying phenomenon, which led to a best-selling novel and two films. I've seen the original and the remake with Ryan Reynolds.  Both are great movies.

Alcatraz – The infamous San Francisco Bay’s prison, a notorious penitentiary, known for its cold dark cells, saw many murders, riots and suicides during its 29 years of service. Now a national museum, it’s said to be haunted, with tales of inexplicable sounds, cell doors closing on their own, disembodied screams and scary apparitions. I would love to go on a trip with the guys and girls from Ghost Hunters to this place!!
Saint Augustine LighthouseSaint Augustine Lighthouse - Legend says three little girls died on the construction site, while playing with a rail car. When the car spun out of control, the girls were drowned in the water below. Now, visitors can hear a female crying, “Help me!” inside the tower, as well as mysterious lights and footsteps.

  Sloss is currently used to hold metal arts classes, a barbecue cookoff, Muse of Fire shows, and concerts. Being a reportedly haunted location, it is also an annual Halloween haunted attraction. Once a year, Sloss Furnaces hosts a "Ghost Tour" based on a story written by Alabama folklorist Kathryn Tucker Windham. I have been here years ago, but for the Halloween Ghost tour. It was fun, but we waited 4 hours to do the tour. And the tour only took about 45 minutes.
Sloss Furnaces has been investigated by Ghost Adventures.

Monday, September 13, 2010

Something every yard should have for Halloween

A pair of skelamingos!!
I found some on Amazon that I will be ordering soon!!!!

Saturday, September 11, 2010

I snagged this from It's a post from April 6, 2009 and I think it's a pretty damn good entry to share!! 

The Vault of Horror & Day of the Woman Present: The 20 Hottest Women of Horror

Tonight we're talking about the women of horror, so who better to bring on board than the mastermind behind Day of the Woman herself, the irrepressible and irresistible BJ-C? She and myself worked long and hard to compile the following list of the most beautiful female characters in horror history, and I now leave it to BJ-C to bring it to you in her own inimitable style...

20) Gloria Holden (Countess Marya Zaleska)

~When your daddy is the Prince of the Night, one can only assume that you’re going to be a bona fide sex kitten. With those mesmerizing eyes, rocking figure, perfect pout, baby-smooth skin, and lesbian overtones, she’s like rolling all of the women on this list into one. She truly defines what it means to be a Horror Babe.

19) Jenny Agutter (Nurse Alex)
~ If you happen to be an American feeling a sick in London and think you may have possibly been bitten by a werewolf, there's no better cure than Nurse Alex Price entering your hospital room with a short skirt and a tray of pills. Enough said.

18) Sherri Moon Zombie (Baby Firefly)
~Love his work or hate it, Rob Zombie nabbed himself a real fox. Baby Firefly brings the perfect combination of insanity, sex and innocence, all rolled into one character. I’ll give her a B, an A, a B and a Y anytime she wants…

17) Evelyn Ankers (Gwen)
~Every furry man has to have a sexy co-star, and Evelyn Ankers is that woman for the Wolf Man. With those luscious blonde tresses and 40’s pinup body, it's no wonder Lon Chaney [as well as us here at VoH & DotW] noticed her, too.

16) Fairuza Balk (The Craft)
~A woman with turquoise eyes hidden behind black makeup and black lipstick. The lead witch of the coven in The Craft, she made famous the image little Goth girls across America try to emulate. She’s probably the scariest sexy women on this list.

15) Milla Jovovich (Alice)
~She’s got super-human strength, piercing blue eyes and a figure that makes even women swoon. There’s nothing hotter than a girl in little to no clothing, who can completely annihilate zombies. Not to mention, her legs could kill… and sometimes do.

14) Kate Beckinsale (Selene)
~She’s scantily clad in vinyl and leather, and has the ability to destroy anything in her path. Not to mention… she’s hotter than hell. This breathtaking (and powerful) former vampire makes us thank heaven she’s immortal.

13) Janet Leigh (Marian Crane)
~By far the most famous woman to ever take a shower, Janet Leigh as Marian Crane is the hottest embezzler to ever step foot in the Bates Motel. She may have been killed off within the first 45 minutes of Psycho, but her naked figure being stabbed is one of the most sensual & terrifying scenes in horror history.

12) Sadie Frost (Lucy from Bram Stoker’s Dracula)
~Move over Mina, it’s your best friend Lucy we’re looking for! A vivacious starlet who is much praised for her beauty and sweet nature, the poor victim of Dracula has such a vamp look to her already, it’s impossible to overlook her sexiness… even moreso after becoming a vampire.

11) Hazel Court (Elizabeth in The Curse of Frankenstein)
~One of the premier '50s scream queens. Hazel captivated us with that thick hair and plump pout. Not to mention, her hotness got our eyes on someone other than Vincent Price when she stepped on screen. Another one of those curvaceous women, she looked fabulous in every role she played.

10) Caroline Munro (Laura Bellows, Dracula AD 1972)
~One of the sassy and sexy women of Hammer Horror, Caroline Munro grazed the screen in numerous forms. A former Vogue model, her big break was performing as one of Hammer’s girls. She however turned down many roles because they required nudity, such a shame ;)

9) Rose McGowan (Cherry Darling)
~She has those luscious red lips and smokin’ hot body. She's a go-go dancer, a full-fledged bad-ass zombie slayer, and of course, there's the stockless-M4 carbine leg. What else could someone ask for?

8) Jessica Biel (Erin)
~So the remake of TCM wasn’t as well done as it could have been… but Holy Upgrade Batman on the main girl. Jessica Biel was white hot as the uber-conservative daugher of the Priest on 7th Heaven, but seeing her half naked in a horror film... sign me up!

7) Allison Hayes (Mona)
~In Zombies of Mora Tau, we find the 50-Foot Woman herself, Allison Hayes, displaying one of the sexiest brassieres ever created. With an absolute perfect hourglass shape, she completely embodies what it meant to be a 50’s Scream Queen.

6) Nastassia Kinski (Irena)
~The lips that drove men crazy long before Angelina. The character Irena in the remake of Cat People (which is a film already swarming with sex) makes panthers look sexy, and there is something about that iconic movie poster that makes it harder to walk…

5) Isabelle Adjani (Lucy Harker)
~Looking like she was glazed with porcelain, Isabelle Adjani as Lucy Harker in Nosferatu the Vampyre has one of the most breathtaking sets of eyes to ever grace the silver screen. The contrast of her dark makeup on that ivory complexion of hers draws everyone in, with or without a vampire on her neck.

4) Linnea Quigley (Trash)
~ Not sure when Trash is hotter--before she turns into a zombie or after. Her legendary full-frontal graveyard dance is officially the most necessary gratuitous nude scene in movie history. Plus, she’s one of three people on the planet to make pink hair sexy.

3) Anna Falchi (She)
~Italians have given the horror world synth-rock music, realistic zombie makeup, and Anna Falchi. In the film adaptation of Dylan Dog, or Dellamorte Dellamore/Cemetery Man, we get the luxury of staring at “She” as she represents numerous women in the film. For lack of a better description, HOTTEST ZOMBIE EVER.

2) Salma Hayek (Santatica Pandemonium)
~Vampire Freaking Stripper…Never in my life have I ever wanted more to be bitten by a woman than I have after watching From Dusk Till Dawn. Who doesn’t like seeing Vampire Strippers with snakes in their hands? That’s what I thought…

1) Maila Nurmi (Vampira)
~Absolutely exemplifying what it means to have an hourglass figure, Maila Nurmi encompasses everything a sexy gothic pinup should be. From her smashing frame, to her stunning cheekbones, Maila Nurmi jumpstarted puberty for the boys of the classic horror era the world over. Dita Von Teese….eat your heart out.

Friday, September 10, 2010

The Silent Dead: A History of Horror Movies, Part 1

For as long as humans have been sophisticated enough to desire entertainment, we've had an innate fascination with being horrified. Perhaps the last vestigal remants of the "fight or flight" instinct give us this visceral thrill, which we can enjoy freely with the knowledge that what we are seeing is not real.
As ingrained as the love of being scared is in the human psyche, it's suprising that horror took a while to establish itself as a major genre in the motion picture business. In the earliest days of the movies, they were not very common, particularly in America, where religious groups still held great sway over public opinion.
At the beginning of the industry, it was in Europe that horror films first took root. Pioneering French filmmaker Georges Melies (best known for 1902's A Trip to the Moon) is credited with creating the earliest examples with his two short films, The House of the Devil (1896) and The Cave of the Demons (1898).
At the start of the 20th century, the epicenter of the motion picture biz was in Germany, and horror pictures were no different. A wave of Expressionistic films emerged there in the '10s and '20s, the impact of which continues to be felt to this day. Chief among them were Paul Wegener's The Golem (1920), Robert Wiene's The Cabinet of Dr. Caligari (1920) and of course, F.W. Murnau's 1922 masterpiece, Nosferatu--the first of countless Dracula adaptations.
Meanwhile, in the States, it was actually Thomas Edison, who had invented motion picture technology in the first place, whose production company put out what may be America's first horror movie and the first in another long tradition, 1910's short film Frankenstein.
In Hollywood, the 1920s produced the first horror movie megastar, the one and only Lon Chaney. Known as "The Man of a Thousand Faces," Chaney achieved notoriety in large part due to his uncanny ability to transform himself through make-up. Chief among his notable roles are The Monster (1925), lost film London After Midnight (1927) and his iconic turn in The Phantom of the Opera (1925), which gave rise to Universal's classic monster movie series the following decade.
The end of the 1920s saw the rise of a revolution in filmmaking thanks to arguably the greatest innovation the industry has ever seen: sound. The effects would be profound, and horror movies would lead the way.
Other major releases:

Gods & Monsters: A History of Horror Movies, Part 2

The advent of sound in 1927 opened the door to unheard-of possibilities in motion pictures. For the nascent horror movie genre, particularly in America, it seemed to provide the necessary impetus that allowed what had been an obscure niche curiosity to burst into the mainstream in a big way.
Of course, it wasn't just horror movies that grew in stature thanks to sound. It was at the beginning of the talkie era that the U.S., specifically Hollywood, became the center of the movie universe. And one American movie studio took it upon itself to kick off a golden age of terror flicks.
One of the smaller studios in Tinseltown, Universal didn't necessarily have the big bucks to attract the big stars and produce the prestige pictures. What it did have was visionary studio head Carl Laemmle, who in 1930 greenlit a film adaptation of the long-running stage production of Dracula. Directed by Tod Browning and starring stage headliner Bela Lugosi, the movie was a smash hit--America' first sound horror film. It was quickly followed in 1931 with another adaptation, this time Mary Shelley's Frankenstein, directed by James Whale and starring Boris Karloff as the misshapen monster. It was an even larger hit.
Horror was bigger than it had ever been, and Universal was leading the way. Lugosi and Karloff became icons of the genre, and their respective films each spawned a series of sequels, most notable among being the superlative Bride of Frankenstein. Taking some inspiration from the German Expressionist pics of the previous decade, the Universal horror movies were rich in atmosphere and, intially at least, took their subject matter very seriously. Frankenstein and Dracula were followed by such films as The Mummy (1932) and The Invisible Man (1933).
Universal's success inspired some of the other studios to try their hands at horror movies. A particular stand-out would be Paramount's 1931 production of Dr. Jeckyll & Mr. Hyde, starring Fredric March.
In 1934, driven in part by what it perceived as the shocking nature of the horror genre, as well as other "unsavory" aspects of movies in general, a certain rather conservative constituency in America led to the adoption of the Hays Code. Created by studio heads as a response to the moral outcry, the Hays Code reigned in some of the content seen in movies, and horror was one of the main areas affected.
In the latter half of the decade, Universal's pictures softened somewhat in tone. Despite still being enjoyable films, they fall somewhat short of the gothic masterpieces of a few years earlier.
Universal was still rolling along by the start of the 1940s, and in 1941 produced another classic monster, The Wolf Man, played by Lon Chaney Jr.--son of the silent horror star of a generation prior. Nevertheless, after the success of The Wolf Man, world affairs would play a part in the genre's imminent decline.
With the onset of World War II, horror films fell out of favor with the American public--in large part, many have felt, due to the real-life horror hitting so close to home on a daily basis. Most of the genre, including Universal's output, devolved into more juvenile and campy fare over the course of the rest of the decade, typified by such "monster team-up" flicks as Frankenstein Meets the Wolf Man (1943), or the grandaddy of all horror-comedies, Abbott & Costello Meet Frankenstein (1948).
Still, there was some quality horror being made even during those doldrum years. Chief among the horror filmmakers of the era was Val Lewton, who produced a series of pictures for RKO that included such gems as Cat People (1942), I Walked with a Zombie (1943) and The Body Snatcher (1945).
By the end of the 1940s, the United States--and the world, for that matter--was a very different place from what it had been just a decade before. America's place in the world had changed; sensibilities had changed; and what frightened people had also changed. As horror movies inched toward another renaissance, the genre would reflect this as well.
Other major releases:

Wednesday, September 8, 2010

from  If you love horror movies, then you need to go over there and follow that blog!! 

"Take This, All of You, and Eat It": The Subversion of Catholicism in Italian Zombie Cinema

"I envy athiests, they don't have all these difficulties."
-Lucio Fulci

Although Ireland gives it a run for the money, there is probably no more devoutly Roman Catholic nation on Earth than Italy. Indeed, the religion is called Roman Catholicism because its heart is in the Italian capital of Rome itself--it is within that the Vatican City is to be found, and it has been so ever since Roman emperor Constantine converted to the then-upstart faith some 17 centuries ago.

Yet fast forward those 17 centuries, and one finds a specific cultural phenomenon, admittedly most keenly observed by film fanatics, happening in the same country. For Italy, specifically the Italy of the late 20th century, is known for having produced some of the most unspeakably ghastly, gut-churning horror films to be found anywhere in the history of the genre. Specifically, some of the most heinous stuff to be found in the Italian horror milieu seems to have been reserved for the zombie sub-genre.

So why is it that one of the most religious nations on the planet would also give rise to some of the most Satanic visions of the world ever put to celluloid? Is it ironic? Or rather, is it perfectly understandable? I submit that the latter is true. The rise and popularity of zombie cinema in Italy can be directly attributed to the faith of the nation--it is a direct reaction to it, and against it.

The Nature of Italian Zombie Horror

It has sometimes been remarked that it is the people most acutely susceptible to fear who tend to be the most fascinated by horror. This can be observed in the phenomenon of the horror fan who watches raptly, his eyes darting between clasped fingers at the images on the screen. We love to be scared, or rather we are drawn to it, and this is why very often it is the very people most immune to the power of horror who have little interest in it as a genre.

Very often, what we find most frightening, or most morbidly fascinating, is that which flouts or perverts our deeply held values, that which forces us to confront possibilities we dare not, and mocks what we hold dear. In the case of Italian zombie cinema, this refers directly to the manner in which it stands as a direct defiance to the Catholic beliefs and doctrines embodied by the very nation in which it was made.

There has been a fascination with zombie movies in Italy, and in particular a need to make them as despicably nasty as possible, as a way of subverting the primary tenets of the Roman Catholic faith. To a people raised to fear God in the truest sense of the phrase, this is an irresistible forbidden fruit, the contemplation of which is an act of subversion in and of itself.

In order to better illustrate, let's break down some of the specific beliefs flouted by the Italian zombie cycle...

The Resurrection of Christ

Perhaps the most obvious of all perversions of Catholicism is this one. The physical resurrection of Jesus Christ, on the third day after his execution, celebrated by all Christians as the feast day of Easter, is the central belief of Roman Catholicism; it is the one ultimate truth one must accept on faith in order to be considered Roman Catholic. The idea is that Jesus defeated death, and in so doing saved the world from sin. It is the greatest triumph of good over evil.

And yet, it's no coincidence that horror fans have recently taken to sardonically referring to Easter as "Zombie Jesus Day." There's an easily perceived parallel there, and this was not lost on the Italians some 30 years ago, either. For anyone raised with Catholic beliefs ingrained in them, very time a zombie is seen to return to life in an Italian zombie film, it is an obscene joke, a direct parody of Christ's own return to life as recounted in the New Testament. It is taking what Catholics believe to be the Son of God's greatest and most noble victory, and twisting it into a thing of utter revulsion and emptiness.

The Resurrection of the Body

This ties directly into what is inferred, and indeed promised, by Jesus rising from the dead. According to Roman Catholic belief, because Jesus defeated death, he assured everlasting life for all who believe in Him. To clarify, Catholics believe that the human body is merely a temporary holding place for the soul, and that after death they are promised eternal life in the presence of God, and that later at the end of days, they will be physically resurrected, much like Christ Himself, in a new body, one beyond the mortal flesh, transcendent and pure. As Stephen Thrower writes in Beyond Terror: The Films of Lucio Fulci, "for Christians, the body is a mere waste product, excreted by the passage of the soul into heaven."

Extending that analogy, one can then imagine what a blasphemous perversion the concept of the walking dead represents in Italian horror. Instead of being cast off upon death, this physical body, this excrement of the soul, continues to walk about, with no trace of that soul evident. Just as it represents a perversion of Christ's resurrection, so too does the zombie represent a complete perversion of that promise given to humanity by the Resurrection; rather than returning to life as a transcendent being, these people are mindless, stinking, rotting corpses--beings solely of physicality, and not of spirituality.

The Soul and the Afterlife

Drawing on this concept, Italian zombie films completely refute the existence of the divine spark in any sense. If we learn anything from these movies, it's that we have no souls at all, but are instead merely bodies and nothing more. The existence of zombies flies in the face of any notion of the sanctity of human consciousness, for it demonstrates that the body can "live" on, even without conscious animation--and most importantly, no reference to a soul or anything beyond the fleshly shell is ever made.

All we get instead is a fixation on the natural decomposition of the physical body, with no transcendent meaning whatsoever--the ultimate nihilism. "These films," writes Jamie Russell in Book of the Dead, "ask us to confront the unspoken truth of our existence: that we are, in material terms, nothing more than a collection of organs, blood and messy slop." There is no hope for anything resembling a life after death, other than that of the unthinking zombie, which seeks only to consume life.

Judgment Day

As portrayed here, the body is nothing more than an object, explicitly shown to be merely meat, without any presence of the Divine whatsoever. In fact, that's pretty much the ultimate conclusion to be drawn here, if we follow the line of thinking to its end: there is no God, and therefore nothing waiting for us either after death or at the end of time.

This is particularly illustrated in Lucio Fulci films such as City of the Living Dead and The Beyond, which deal directly with the apocalypse itself, but not a holy day of judgment as promised; rather, it is an Armageddon of desolation and total annihilation. In the former film, the world is faced with an end that would consist of the living dead flooding the earth for all eternity, casting out the living entirely. And in the latter film, our protagonists come face to face in the end with a complete emptiness, and as the closing narration declares, they "will face the Sea of Darkness, and all therein that may be explored."

This is a far cry from the Judgment Day anticipated, and indeed wished for, within the teachings of Roman Catholicism, an era of absolution, spiritual evolution, and everlasting peace.


One of Roman Catholicism's most controversial religious doctrines is that of transubstantiation--the belief that during the Eucharistic portion of the Mass ceremony, bread and wine are transformed into the body and blood of Christ. This is no expression of symbolism or allegory; rather, the literal belief in the transformation of bread and wine into flesh and blood is expected of all devout Catholics. In order to partake of the Lord's grace and be saved, they must ingest this flesh and blood into their bodies; this is Christ as sacrificial lamb, offering up his body to be consumed by his followers.

For those of the faith, this is the ultimate act of oneness with the Savior, hence the sacrament's very name, communion. How obvious then, to a nation of Roman Catholics, the outright mockery present in the zombie's act of consuming the flesh of the living. Just as Christians yearn to take in the power of Christ, and eat his flesh to do so, so does the zombie yearn to absorb the living, physically ingesting their flesh in order to do so. Except instead of an act of sublime grace and sacrifice, it is one of amoral murder, chaotically severing all family and social bonds in the process.

* * * * * * * * * *

To a country whose very existence is tied up intimately with the Roman Catholic Church, the oldest and most direct religious establishment of Christianity on Earth, the zombie is anathema. To those drawn to the horrific and the unspeakable within that country, fans and filmmakers alike, the cinema of the zombie is a sweet sacrilege. It is an unrelentingly grim and pessimistic refutation of the beliefs they were raised to hold dear, titillating with the rush of the forbidden--the contemplation of the possibility that those beliefs are fraudulent.