LAST MINUTE COSTUME IDEAS

As our favorite night of the year quickly approaches, you may still be asking yourself, "What on EARTH should I be for Halloween?" The process of obtaining a costume can be as simple as walking into Party City/Spirit Halloween/Walmart, browsing the advertised costumes, and finding your size in the one that stands out above the rest. Easy enough, right? The difficult part is running the risk of spotting ten people wearing the very same costume. What a drag! Fortunately, there are plenty of badass movie characters you can be for the spooky holiday we look forward to the most.

1. Snake Plissken, ESCAPE FROM NEW YORK [1981]:

Let's face it, Kurt Russell always looks awesome, and you can, too. You only have to decide what suits you better: sporting a brown leather jacket, or showing off your guns in a black tank.

2. Ike and Addley, MOTHER'S DAY [1980]:

Due to the fact that MOTHER'S DAY is a lesser-known gem, there are some people who will tilt their heads and scratch them when you and your buddy show up dressed like inbred freaks with weird headgear. You'll still have fun, I promise.

3. Frankenstein, DEATH RACE 2000 [1975]:

Between his helmet and the cape, Roger Corman's Frankenstein is such an enigmatic, likable hero. As long as you don't get behind the wheel intending to speed and run people over, you simply cannot fail by imitating him.

4. Edward Davis "Ed" Wood, Jr, ED WOOD [1994]:

In the Tim Burton classic, Johnny Depp's portrayal of Ed Wood with a curly blonde wig and a dark mustache is flawless. Dressing the part would not only be honoring an admirable, low-budget movie director, but it'd be fun.

5. Matt Cordell, MANIAC COP [1988]:

The whole "cop" thing can seem kind of played out, but it's not often you see a maniac cop running wild in the streets on Halloween night. Up the ante by pairing a uniform with crazy costume makeup.

6. Brown Knight, MURDER PARTY [2007]:

The familiar knight you see gracing a Medieval Times promotion is stunning, but armor can be expensive. With a bit of time and effort, you can design your own. All it takes is cardboard, scissors, and duct tape to look like a chivalrous soldier.

7. Post-mortem Elizabeth, FRANKENHOOKER [1990]:

If you've been eager to dye your hair purple and show off some skin, a golden opportunity in the shape of a monster prostitute is here, presenting itself. Just be sure to stay off street corners.

8. Samara, THE RING [2002]:

Twelve years ago, America's take on RINGU brought us Samara, the menacing little girl who will crawl out of your television set to devour your soul. You can inflict a lot of psychological damage upon your friends with a little makeup and a white gown. Voila.

9. Old Lady Hackmore, ERNEST SCARED STUPID [1991]:

Old Lady Hackmore stands out as one of the coolest hermits on film. She is out-of-her brain, and she's fearless enough to put her insanity on display. An untamed mane, steampunk goggles, and layers of ratty brown clothes will help you achieve her crazy appearance. 

10. Ilsa, ILSA, SHE WOLF OF THE SS [1975]:

Why wouldn't you want to be the most fearsome woman on the planet? While I wouldn't suggest wearing the antisemitic uniform to hand out candy to innocent children, you should be safe donning it at a party surrounded by close friends.

Now that you've got a list of costumes to consider, there is no excuse for dodging festivities on the 31st. It's good to get out of the house once in awhile. Please remember to be confident, enjoy yourself, and stay safe! 

STRYCHNINE STORY TIME: A WARM WELCOME

[Art by @JohnWright0715] 

Hey, everyone. Although I believe in the power of mystery, I'd like to reveal a little about myself as a means of introducing THE KILLING JAR. My name is Vincenza, and I am 22 years old. I've been watching horror movies from the time I was born, but it wasn't until last year that I decided I'd like to turn my love into more of a lifestyle. After attending my first horror convention, I learned the beauty of being surrounded by people beaming with the same kind of undying passion that burns inside of me. Shortly after the convention, I was recruited to write for a horror movie review site. When the site shut down, I immediately thought about starting something of my own. So, here we are...

I have all of my old reviews posted from the site I previously wrote for, and I will continue adding to the blog as often as I can. I keep relatively busy between work and the random adventures I create for myself. I also travel and move often, usually between NY and LA. In short, as much as I enjoy connecting with fellow horror fiends online, I really love exploring the world and seeing what it has to offer. I take life as it comes, you know? I'll keep the site running on self-discipline and aim to post a few times per week.

Anyway, I'm happy to have a platform to write about the stuff that keeps the breath in my lungs, and I would be thrilled to have some of you contribute, as well. I'm open to anything, really; if you're psyched on a movie, a haunted spot, UFO footage, etc., you can talk about it here! Please feel free to contact me anytime, and we'll figure something out.

From the bottom of my heart, I'd like to thank you for visiting. Now, let's get WEIRD.

Xoxo,

Vincenza

P.S. Discussing spooky/surf/goth/metal music on occasion is inevitable.

THE WHIP AND THE BODY [1963]

Love takes a beating in Mario Bava’s THE WHIP AND THE BODY. Kurt, highly assertive and sadistic, has been banished from his family’s castle after whipping the servant’s daughter to near death. Upon hearing the news of his brother’s recent marriage, Kurt makes an abrupt, unannounced appearance to bestow congratulations. His presence is loathsome to all but Nevenka, his stunning ex-lover/brother’s new wife, who can’t resist Kurt’s enticing demeanor. Shortly after his arrival, Kurt is mysteriously murdered by the same dagger the servant’s daughter used to end her life once and for all. However, Kurt’s unyielding appetite for dominating is so voracious, not even death can keep him away from inflicting pain upon Nevenka. Nevenka is thrown onto a path of destruction as she fails in her attempt to fight masochistic cravings that lead her into a pit of despair and insanity. Meanwhile, Kurt’s brother and remaining family members band together to solve Kurt’s death.

THE WHIP AND THE BODY is an Italian gothic horror teeming with atmosphere and deep lust. Renowned Hammer Horror film actor Christopher Lee plays the role of the ruthlessly mesmerizing Kurt in a most haunting manner. Alongside him is the equally unforgettable Daliah Lavi as Nevenka, his confused, desperate, submissive paramour. Compared to modern-day horror, the violence between the two is mild, and their sex is more implied than displayed, but the intensity of feelings conceived by an electrifying romance between Nevenka and Kurt is plenty to maintain intrigue. Although releasing a film with such taboo subject matter in the early ‘60s created quite the uproar, it seems Bava aimed more to touch the black hearts of his audience rather than shock. Bava’s tenebrous yet dazzling cinematography combined with the hypnotizing score composed by Carlo Rustichelli produces a sensuous viewing experience unlike any I’ve undergone before. If you need a break from gore and hypersexuality, THE WHIP AND THE BODY will move you with ominous love.

Rating: 8/10

Director: Mario Bava [BLACK SUNDAY, BLACK SABBATH, A BAY OF BLOOD]

Cast: Christopher Lee, Daliah Lavi, and Tony Kendall
Country: Italy

WILD ZERO [1999]

Guitar distortion meets zombie bedlam in a Japanese love affair called WILD ZERO. Ace is a diehard rock ‘n’ roll junkie with a thirst for glory. One night, he attends a Guitar Wolf show with more on his “to do” list than throwing his fists in the air, head banging, and jumping around to his favorite band; Ace wants to introduce himself to the nightclub owner and prove himself as a performer. When Ace’s time to shine arrives, he finds the nightclub owner is already occupied with the members of Guitar Wolf. Through the door, Ace listens in on the confrontation ensuing and courageously bursts through to defend Guitar Wolf in the name of rock ‘n’ roll. Violences breaks out, but Guitar Wolf and Ace leave with their lives. Lead vox gifts Ace a mysterious whistle that will assist him in troubled times before vanishing. The following day, Ace disrupts a gas station robbery, revels in the company of Tobio, a beautiful bystander, and then rides off. Shortly after, Ace is greeted by zombies and learns the world is in a state of emergency due to a zombie uprising brought on by alien invasion. Ace teams with Tobio and Guitar Wolf to cease the unearthly carnage.

Zombie trash-heads rejoice for a wildly entertaining rock ‘n’ roll epic. I’ll go into this by saying that the only prior knowledge I had of Guitar Wolf was that they existed. Therefore, my opinion isn’t based solely on the band’s involvement. The band members’ parts as actors and musicians, though, positively magnify the excitability factor throughout. Zombie disarray and destruction is complimented immensely by a fantastic soundtrack, including other bands such as The Phantom Surfers, The Zeros, and Teengenerate. The characters (such as a kindhearted transsexual, a sleazy nightclub owner, and a tough, female arms dealer) all have unique, distinctive personalities that really help set WILD ZERO apart from other films in the zombie sub-genre; they’re obnoxious, out of their minds, and badass in their very own ways. The special effects are as absurd as they are awesome, with magical guitar picks, flying saucers, and laser beam eyes. Splattered brains, mutilated guts, and cleanly sliced fingers are just a few perks. While WILD ZERO feels much like a B-movie, it’s clear to see that writers Satoshi Takagi and Tetsuro Takeuchi invested plenty of heart into every element as proper tribute to classic zombie flicks and rock ‘n’ roll music. P.S. ROCK ‘N’ ROLL!

Rating: 10/10

Director: Tetsuro Takeuchi

Cast: Guitar Wolf, Masashi Endô, Kwancharu Shitichai
Country: Japan

MOTHER OF TEARS [2007]

During a construction dig in church grounds of the Italian countryside, a tomb with an attached urn from the early 1800s is discovered. The head priest steps in for closer inspection and reveals the findings belong to Mater Lachrymarum, a black witch. Since Mater Lachrymarum made up one-third of a powerful ancient evil group known as The Three Mothers, the priest is deeply disturbed by the event. He decides to send the urn to a museum directed by a trusted friend, Michael, who is also a scientist and an expert on magic. Before obtaining permission, Michael’s assistant cracks the urn open alongside Michael’s student/girlfriend, Sarah. Inside, the two women uncover three beautifully preserved mini statues, a medieval dagger, and a cloak with ancient writing painted on it. When Sarah leaves to retrieve a dictionary for deciphering, three demons appear to rip the assistant to shreds. When Sarah returns and sees the mess, she is forced out of the museum by a ravenous monkey and voices in her head. Soon the world rapidly transitions into a state of disorder with suicides, homicides, and demonic possessions. Research produces both questions and answers that lead Sarah on a supernatural path to cease the apocalyptic danger released from the urn.

MOTHER OF TEARS is a blood feast served hot by demonic forces, black magic, and illusion. I’ll be honest, having heard such severely divided reviews, I was both apprehensive and extremely curious about the movie. Once the film concluded, I realized I wasn’t prepared to take a stance; I felt as if I had woken up from a perplexing bad dream, and I needed time to register the overwhelming content. First of all, there are plenty of “jump-scares” to hasten your heartbeat and keep you on edge from the very beginning. The eruption of gore and savagery starts less than ten minutes in with an insanely brutal monster attack that’ll make your eyeballs pop out of your skull. Without a doubt, Argento has successfully delivered monumentally grotesque features throughout his career, and he ups the ante with this one. Violence is brought to life with the use of practical special effects and CGI. However, the CGI scenes are a little too unrealistic and off-putting. The story itself is unique, amplified with provocative religious illustrations and other wondrous imagery, but the plethora of otherworldly visuals can be a bit distracting. All in all, MOTHER OF TEARS is an artistic work that can be appreciated with a second viewing…if you have the patience and stomach for a double dose.

Rating: 6/10

Director: Dario Argento [SUSPIRIA, INFERNO, TENEBRAE]

Cast: Asia Argento, Adam James, Cristian Solimeno
Country: Italy|USA

SATURN 3 [1980]

A dreamland is transformed into a battle zone for superiority and sexual gratification in SATURN 3. Adam, Alex, and their dog Sally lead a utopian lifestyle on Saturn’s third moon. They work and play happily distanced from a congested planet and its often shuddersome occupants. The slight interference of Adam’s wonderment is the only issue; it’s apparent he worries that his younger comrade/lover will one day grow curious enough about Earth to leave him behind and delve into its offerings. Adam’s concern is intensified when Captain Benson invades their domain and becomes obsessed with stealing Alex away for his personal pleasure. Ultimately, Benson has arrived to build a replacement scientist, a robot soon called “Hector.” However, since Hector’s actions rely on Benson’s evil and primitive thoughts, Hector develops into an outlet for Benson’s frustration. The captain causes his creation to go on a murderous rampage, and Adam and Alex must destroy the man-made slaughterer before facing death in space.  

SATURN 3 is a science fiction thriller that will engulf you like a black hole. For starters, Elmer Bernstein’s futuristic score, filled with an array of sounds ranging from brass to xylophone, will positively catapult you into a completely new dimension. The gigantic space station in which the crew resides is steel-colored, but brightly illuminated with fluorescent white light and primary colors that establish a gorgeous, spellbinding backdrop. In contrast to the enchanting visuals is Hector, potentially one of the most fearsome killers in motion picture history (by my standards, at least). The villainous robot is faceless, erratic, and nearly unstoppable. Primal desire is the driving force behind the more emotional scenes in the film, which are surprisingly NOT boring. Although the love triangle concept may seem overdone, the drama is actually compelling due to the characters’ perfectly conveyed personalities. Fawcett, in particular, impresses as an intelligent, strong-willed contender. SATURN 3 implements a dynamic of cinematic layers for an out-of-this-world expedition.  

Rating: 10/10

Director: Stanley Donen

Cast: Farrah Fawcett, Kirk Douglas, Harvey Keitel
Country: UK

THE GATE [1987]

THE GATE is a terminal for the wicked to unleash Hell on suburbia. Two inquisitive adolescents, Glen and Terry, cannot resist the powerful urge to treasure hunt in the newly exposed hole in the backyard ground of Glen’s home. The excavation of a tree has provided a whole new world for the boys to explore, until Glen is ordered by his father to fill the void. Although Glen is disappointed, he and Terry at least have a prize to crack open from their dig: a crystalline rock. The same day of the tree’s removal, Glen’s parents discuss their three-day trip and the terms and conditions their kids must abide by, as they apprehensively decide to leave Glen in the supervision of his naive, sixteen-year-old sister, Al. The first night of their parentless vacation, Glen and Terry finally break the rock apart, which prompts a foreign message to appear on the notepad lying underneath it. After Glen and Terry read the script aloud, the evening takes a turn for the worse, and the two following days reveal evil demons, monsters, and zombies that have escaped from Hell through the passageway the boys accidentally created. Heavy metal guides them on their quest to conquer.

THE GATE tells the story of a fantastic horror adventure that you’ll undoubtedly want to pass along to future generations. You will be captivated from the very beginning with Glen’s distressing nightmare, a mere foreshadow of the grim days ahead. The mischief and nonsense leading up to the more frightful moments inject a lot of extra life into an already sensational plot-line. Glen’s snappy comebacks in back-and-forth combat with Al and her bratty, unsympathetic acquaintances are priceless, right along with Terry’s extensive air guitar performance. When the terror kicks in, the situation becomes not only insanely creepy, but tragically depressing. The demons deliberately terrorize Glen, Terry, and Al based upon their past experiences and fears; the beasts use the vulnerability of the innocent humans to dig deep into their minds and hearts for maximum impact, even producing manifestations of dead loved ones. The abundance of monsters take on all shapes, sizes, and numbers, ranging from a group of foot-tall devil babies to a single, four-eyed lizard creature the size of a house. Glen proves himself as an ultimate warrior using clever tactics to defeat the tourists from Hell in a legendary battle of good vs. evil.

Rating: 9/10
Director: Tibor Takács [NOSTRADAMUS, RATS, SPIDERS]

Cast: Stephen Dorff, Christa Denton, Louis Tripp
Country: Canada|USA

CHILDREN SHOULDN'T PLAY WITH DEAD THINGS [1972]

CHILDREN SHOULDN’T PLAY WITH DEAD THINGS without expecting fatal revenge. Alan, an abrasive director, leads his group of theatre friends to an island graveyard for an evening’s worth of morbid, satanic amusement. Alan guides a tour through the cemetery containing evil ex-criminals whose souls may or may not be resting in peace, while his skeptical companions make a mockery of him. Unfortunately, they have no other choice but to comply if they desire a place in Alan’s upcoming feature. Anya, Alan’s girlfriend with a few screws loose in her head, is the only one sincerely enthralled by the fascinating enigma of death and is eager to proceed with the night’s grisly festivities, including the summoning of a corpse. Alan’s plan to perform a seance comes to life when they extract Orville’s breathless body from the hole he had called home. Orville becomes the center of negative attention, getting used and abused like a child’s toy, until an army of corpses rise from their graves to punish Alan and his crew for disturbing their slumber. 

CHILDREN SHOULDN’T PLAY WITH DEAD THINGS stands alone as an eccentric zombie soiree with a colossal build-up and an even more massive detonation. As you would imagine, I’ve drowned in my fair share of cinematic deviance, but this one had my jaw dropped, my eyebrows raised, and my head shaking. Director Bob Clark (who went on to make holiday classic Black Christmas a short time later) filmed the flick in two weeks’ time on a budget of just $70K, and unmistakably so. The camera quality is reminiscent of home video, and the sets are nothing short of simple…but it works; both factors create an extreme sense of realness that is profoundly effective. The dialogue is unbelievably absurd as Alan takes a beating for his offbeat commandership and fights back. The gang’s lack of respect for the dead is as funny as it is disgraceful, especially with the unholy wedding ceremony eternally bonding man and cadaver. After a bit of dragging, the film concludes with violent screeching, endless groaning, and a revolting buffet for the walking dead.

Rating: 7/10
Director: Bob Clark [DEATHDREAM, BLACK CHRISTMAS]

Cast: Alan Ormsby, Anya Ormsby, Valerie Mamches
Country: USA

BLACK WATER [2007]

No crocodile tears are cried in BLACK WATER. A group of three are on a mission for kicks as they set out to travel the Australian landscape. While on holiday, Grace, Adam (her husband), and Lee (her younger sister) are going in any direction the road may lead. Their first stop? A crocodile farm. The following day, with visions of aquatic reptiles dancing in their heads, the trio plans to meet Blackwater Barry for a tour of the Mangrove Swamps. They look forward to a day’s worth of exploring wildlife and fishing. When they arrive at the marina, Blackwater Barry is unavailable, but a less-experienced guide offers to take them out on the water. The tour guide arms himself with a gun, and the gang is on their merry way. Not far into the expedition, an engulfing nervousness ensues when a paint can pops up and bangs against their boat. However, they quickly realize there is something much more frightening in the river to panic about: a massive crocodile with an equally-sized appetite. The crew must dodge or die in a battle against the voracious swamp thing.

BLACK WATER’s low budget is no reflection of the quality of the storyline or acting. Often times, the term “killer croc” can generate a mess of pre-conceived notions typically associated with B-horror movies, but this film proves it is meant to be taken seriously. The deeply emotional, psychologically taxing events that develop are all the more impactful with the words “based on true events.” The movie burns slowly, but the pace only adds to the realness of the horrifying situation. Not to mention, impressively enough, not a trace of CGI is used to animate the atrocious creature; an actual live crocodile was used in the making of the film! Grace, Adam, and Lee have an incredibly tight-knit, genuine relationship which completely amplifies the effects of their combined fear, paranoia, and heartache that never stops once it starts. As one family member breaks off to find a means of escape at a time, the crocodile’s unpredictable appearances transform the experience into a full-fledged nightmare. BLACK WATER delivers a tormenting adrenaline rush for those seeking an animal induced, edge-of-the-seat thriller. 

Rating: 8/10

Directors: David Nerlich, Andrew Traucki [THE REEF]

Cast: Diana Glenn, Andy Rodoreda, and Maeve Dermody
Country: Australia

DEMONIC TOYS [1992]

Toys aren’t meant to be played with in Full Moon Features’ DEMONIC TOYS. A romantically-linked team of undercover cops, Judith and Matt, meet with two illegal firearms dealers outside of Toyland Warehouse for a bust. After learning the news of his soon-to-be-dad status, Matt is fatally shot by the bad guys, and child-bearing Judith is left to serve justice on her own. The criminals lead Judith on a chase into the dark, desolate storage space where she eventually finds herself locked inside a room with one of the outlaws. Meanwhile, the building’s careless security guard kicks back with the chicken delivery guy, Mark. Judith’s gunshots divert their attention from meaningless conversation, and the men find their way to her. The security guard searches the warehouse for the other felon and is approached by a full-mouthed doll, Baby Oopsie Daisy. Jack Attack and Grizzly Teddy join in on the slaughter as Mark and Judith helplessly watch. Soon after, Judith discovers a demon from her latest dream has possessed a squad of toys to obtain strength for him by killing. Ultimately, after 66 years of waiting, the beast intends to take over the soul of Judith’s unborn child.

DEMONIC TOYS is a tall glass of revolting goodness, a refreshing mixture of horror, comedy, and fantasy. For years, I had been inclined to see the feature swarmed with homicidal playthings, and my only regret is not purchasing it sooner. The cast is an impeccable group of performers who not only nail their distinguished character roles, but portray their on-screen fear in a sincerely convincing manner. The monstrously strong toys are a collective force of knife-yielding, sharp-toothed, laser-beam shooting villains. While the concept of murderous toys is nothing new, the psychological impact of their taunting and relentless ways is profoundly shocking. Even more alarming is the demon creepily disguised in the body of an adolescent boy, calmly speaking of his evil plans in a deep, monotone voice. I felt myself falling victim to the mind-control of the pint-sized freaks and their maker. Further praise shall be awarded to the special effects team for concocting nasty batches of green muck and red plasma, as well as producing cringe-worthy death scenes. Horror lovers from all walks of life will undoubtedly enjoy the macabre magic that manifests in DEMONIC TOYS.

Rating: 9/10

Director: Peter Manoogian [ARENA, SEEDPEOPLE]

Cast: Tracy Scoggins, Bentley Mitchum, Daniel Cerny
Country: USA

GOBLIN!

[Photo by @eduardovictory]

Excitedly head banging my way to the Fonda Theatre, the night ahead was a mesmerizing blur. I had never interviewed a band, or anyone, for that matter. And there I was, cruising to meet with GOBLIN, a progressive rock group from Italy whose legendary music accompanies some of the most beloved horror movies in the history of film. Upon my arrival at the venue, Goblin was in the midst of sound checking. The entrancing sounds filling the space conquered me completely; I was instantly transported from an overwhelming reality to a tranquil dream. At the conclusion of the pre-show rundown, my mind gradually entered recovery mode. I soon found myself in the beautifully furnished basement of the theatre, being greeted by the incredibly gentle, friendly face of keyboardist Maurizio Guarini. Maurizio eagerly sat down with me so I could get to know him a little better. Fabio Pignatelli, the bassist, joined our conversation, and Agostino Marangolo, the drummer, cut in later to introduce himself.

V: First, I’d love to find out where your genius melodies stem from. Do you ever look to horror movies or other visuals for inspiration?

M: Yeah, each of us always has an inspiration, internally. Not something specifically, but maybe we can pick up something from here, something from there. I think music is always an evolution of something that we saw before individually. Not something in particular.

F: Maybe the fact that we are Italian, and Italy is where melody started centuries ago. That might help. In our DNA, maybe we have some more facility for melodies.

V: So, is it more musically inspired than visual?

M: It depends. It’s one whole process. When we write music for movies, we cannot separate. Actually the idea would be seeing everything in the same unique entity, music and visual.

V: Does the music usually flow out of you naturally, or is there a lot of brainstorming required prior to composing?

M: Normally, I think, instinctively in the beginning, it starts from ourselves. And then, there is a rationalization of what to do. It’s a normal process of composition. And then when we have the melody that we like, of course we have to work in some way to adjust and to make it functional for the movie.

V: Do you ever experience writer’s block?

M: I don’t think so because normally we are left pretty free to do what we do. So if somebody will call us, it is because of our sound. So, we are normally kept with enough freedom to not have problems with that.

V: Are there any assignments that were particularly challenging for you?

M: Maybe SUSPIRIA because SUSPIRIA started in a different way than the others. Initially, it was made before the movie. And the movie was one of a kind, totally different from the others. So, we couldn’t follow the standard that we normally follow. Personally, I was part of the very beginning of development, and the rest of the band did the continuation. It was a totally uncommon way to work on a movie. You always have challenges, but challenges always result in something creative at the end. So challenge is not a problem. Actually, it’s something to go ahead to do better things with sometimes.

V: Which one has been most rewarding for you?

M: Personally, I like something that we did with a symphonic orchestra. It’s not a very famous work, Mt. St. Helen: Killer Volcano in 1980. That’s rewarding because listening to your music played by the symphonic orchestra when you are 22 or 23 is something really touching.

F: SUSPIRIA.

V: Do you prefer scoring soundtracks or writing exclusively for Goblin?

M:  There’s no better or worse. I think there are totally different processes to approaching the music. With a movie, you already have a plot, you have something to follow with somebody asking for something in particular. Of course you need to be creative, but there is less additional work. The movie is already advertised, you just add something to something existent. If you have to do your album, it’s a totally complicated process because not only do you have to define your line of production, what you want to do, what you like, but you have to think about enriching the sound and finding something new. It’s more rewarding when you do an album, musically speaking. But movies are more rewarding, in terms of popularity, because a famous movie has a possibility to be seen by hundreds of millions of people. It’s a different thing. I wouldn’t say better or worse. They’re two totally different things.

V: Is it more liberating writing for yourself?

F: When we make music for a movie, in any case, we think of something to see.

M: Of course we imagine that a movie exists anyway, even if you cannot see it. You imagine the music in your mind. You have to think of something. You may even think of a song without a movie like there was a virtual movie in your brain. You have a model, you follow something inside you.

F: For me, it’s more simple to write music on a movie. But if there isn’t a movie, sometimes I look to movies for inspiration.

V: I know you have a new album coming out. Are there any other projects or collaborations we can look forward to?

M: This album is what we will be focusing on in two days, at the end of this tour. So, since it’s almost finished, I hope in a couple of months it will be ready. And then, we have ideas, but we don’t have an exact plan yet. For sure, you’ll hear from us in a few months because something new is going to happen. We have ideas, but we don’t want to reveal this on top of the album.

V: Do you have any particular memories or influences from childhood that continue to shape your music today?

M: I think everything that we listened to when we were kids is part of what we are. Especially music. I follow different things from my life. At the beginning, I was listening to very simple music from my parents. And then, I started listening to rock, and then a little bit more jazz rock, and then I switched to progressive rock. Music is an evolution. In each of us, it’s an inspiration. Everything that we do is such signification of what we are and what we listened to before. In the case of a band, it’s a collaboration, so it’s even more complicated. We put our experience into the music. I think this is valid for everything and everybody.

F: The first concert I attended. Jethro Tull, Yes. Family, an English group, killed me when I was 19 or 20. It was like a shock.

V: It appears you’ve been having a lot of fun on tour. What’s your favorite state or country that you’ve visited so far?

M: We’ve gone to so many places. Every place is good. Playing live gives us a reason to visit different countries. I’ve been to Australia, New Zealand, Japan, and Europe. The response in the US is incredible. I never expected the huge amount of fans and response. We were really not expecting that.

V: Do you perform any rituals prior to going on stage? Do you have any superstitions?

F: We sometimes fight.

M: Maybe each of us has something, a half a glass of wine. I don’t know. It’s not really a requirement. If it’s not available, that’s it. Maybe we should. You gave us a good idea. I’ll try to suggest to the other guys to do something.

V: Tomorrow you’ll have your last show of the tour. Do you plan on hitting the road again soon? Is there anything about traveling you’re going to miss, or are you mostly excited to return home?

M: Not soon in the US because we maybe stayed too much. In the last seven months, we did three tours. We will wait one year and come back, of course. We’re really focusing on the album. By the end of the summer, we might end up doing some festivals here in North America. We’re working on that. Or maybe some horror events. I know people in the horror industry want us, but we never try to push anybody to make it happen. We will try to attend these kinds of things. I’m pretty sure people will be happy if we do that.

After the interview, I experienced an immense feeling of happiness and a strong sense of comfort. Perhaps the familiarity of Italian accents contributed to my contentment, but the men of Goblin emit the rare kind of warmth that you can only typically obtain from family or close friends. Since I caught them at the tail end of their tour, the guys could have understandably been impatient tackling yet ANOTHER question-and-answer session. However, they were actively engaged and enthusiastic throughout the duration of it. My sky-high elation to see them perform reached even greater heights following our encounter. The commencement of the show rapidly brought about a massive wave of enchantment, the unparalleled talent nearly paralyzing audience members (and me, once again). The shower of red, blue, and green light, in addition to the backdrop montage of scenes from masterpieces like SUSPIRIA and DAWN OF THE DEAD, produced a magnificently intoxicating atmosphere. The contagious energy bursting powerfully from Goblin and guest keyboardist Steve Moore (Zombi) made the event all the more blissfully surreal.   

Special thanks to @GoblinBand and @ColinJMcCracken for making a dream come true!

BIO-ZOMBIE [1998]

Take a nice stroll through a neon graveyard in BIO ZOMBIE. Woody and Bee are just a couple of restless punks employed at a record store in a shopping mall. The two young men are constantly on the lookout for thrills, big and small, and they waste a great deal of time instigating confrontations with random passersby. One night, the boys are sent out to a repair shop to retrieve their boss’ Jaguar. During their trip in the luxury car, they inevitably run over a pedestrian frantically crossing the road. Rather than contacting the authorities for assistance, Woody and Bee carelessly toss the body in the trunk. Back at the mall, in the parking garage, the guys hesitantly lift the partially open lid further, revealing a steaming hot mess of slime…but no body. Their lackadaisical attitude permits them to brush off the panic and move on with their delinquent merriment. Time only tells the extent of disarray they’ll have to manage. A biochemical soft drink has transformed the town’s citizens into brain-munching crazies, and the boys must unite with the few uncontaminated mall shoppers and workers in the fight for their lives.

BIO ZOMBIE is a limitless excursion of amusement offering full-fledged zombie glory. Instantly, you’ll feel the corners of your mouth turn up, because the gut-busting dialogue and one-liners shooting like rapid fire from the very beginning are absolutely unforgettable. The Tokyo Shock flick contains charming humor that can easily be compared to the more well-known SHAUN OF THE DEAD, which hit theaters six years later. Characters Woody and Bee are the most wonderfully obnoxious dynamic duo, producing obscene laughter with their “bad boy” facades. While the hilarity is introduced from the get-go, patience is a virtue in the wait for heavenly carnage. A minor scene of gory action provides a jolt early on, but the mass zombie slaying occurs much later in the film. There is a wealth of entertaining situations to chew on in the meantime, as Woody and Bee initiate a robbery, only to then get mixed up with the petite Hong Kong beauty they mug. The vicious zombies produce thrilling violence and bloodshed, and heaps of sickening scenes will get your stomach turning. BIO ZOMBIE is a horror-comedy that hits the mark and is undeniably worth a watch. 

Rating: 8/10
Director: Wilson Yip

Cast: Jordan Chan, Sam Lee, Emotion Cheung
Country: Japan

DARK SKIES [2013]

There is no method for predicting DARK SKIES. The Barrett family fits the mold of many other American households, facing economic hardship but persevering nonetheless. Daniel has been laid off, and Lacy is a real estate agent in desperate need of promising clients. They have two children to provide for: a curious teenager named Jesse, and an obedient little boy called Sammy. Jesse begins reading stories about the Sandman to comfort Sammy before bed. Almost immediately after, Lacy is awakened to find an anomalistic structure composed of miscellaneous food items and utensils in the center of the kitchen. In the midst of registering the bizarre sight, Sammy meets her in the kitchen and admits the Sandman is to blame. A myriad of unexplained happenings proceed the first encounter. Their home security alarm system malfunctions, Lacy notices an unnatural figure standing beside Sammy’s bed, and three flocks of birds fly directly into the exterior of their house. Lacy searches for answers, only to discover people have had identical experiences, attributing the disturbances to aliens. Daniel refuses to accept her theory, but soon becomes a believer after installing security cameras throughout the house. The parents learn they must fight the relentless snatchers, known as The Grays, if they want to keep their children on earth.

DARK SKIES is a most formidable, out-of-this world feature that will make abduction by extra terrestrials feel like a sincerely real possibility. I’ll be the first to admit that, although I am open-minded about horror, I tend to gravitate towards movies released during the 1970s and ‘80s. However, after recently viewing the trailer for DARK SKIES, I was convinced it was worth a watch. (It IS.) As a Blumhouse film made on a dime, rather than using elaborate special effects and fancy sets, it relies heavily on solid acting and the building of anticipation. Both elements transcend well above the average. Character development is substantial, and every member of the Barrett family is relatable, which greatly heightens the sense of fear and anguish they each endure. Most cliches associated with foreign beings, such as lost time, strange markings, and irremovable implants, are touched on and well-executed. The Grays create an insanely petrifying air of mystery as they vanish just as abruptly as they appear. They are wonderfully simplistic in design, and visions of them will seep through your skull to the very center of your brain. If you’ve been searching for an eerie alien film to intensify your deepest convictions, look no further.

Rating: 9/10
Director: Scott Stewart [LEGION, PRIEST]

Cast: Keri Russell, Josh Hamilton, Dakota Goyo
Country: USA

DERANGED: CONFESSIONS OF A NECROPHILE [1974]

Enter the most lively world of carcasses in the Ed Gein-based film, DERANGED. Ezra Cobbs has spent the last fifteen years as a loyal, committed, loving son, tending to every want and need of his darling, but terribly crippled mother. Unfortunately, love isn’t enough to keep the breath in her lungs, and she perishes in bed with Ezra sitting beside her. Before her violent departure, she sternly advises Ezra to avoid all women, as they are evil, disease-bearing vermin…except for her longtime friend, Maureen Selby. Ezra is reluctant to meet Maureen at first, due to his demented view of females, impaired by his religious upbringing. The agony of loneliness conquers his sanity, and Ezra finally resorts to digging up his mother’s decaying body for company at home. His grave robbing urges only advance as he learns just how comforting the presence of rotting corpses can be. On his quest for further affection, Ezra feasts his eyes on the living; he starts hunting beautiful women to slaughter, embalm, and store in his home, beginning with his mom’s dear friend.

DERANGED is a somber, yet shockingly outrageous telling of notorious serial killer Ed Gein’s morbid crimes. The narrator of the film is an effective touch, introducing the audience to the story and cutting in throughout to provide background information regarding the heinous atrocities. The opening scene offers a crystal clear glimpse of what is to come in the remaining minutes: the whirlpool of raw emotion that death drags its helpless onlookers into, tastefully complemented by nonsensical conversation and a delightfully satisfying mess of blood. As the centerpiece, Roberts Blossom is one of the most believable actors to portray a schizoid on-screen. His mannerisms, facial expressions, and the look of undiluted madness that shines through his piercing blue eyes will certainly linger in your mind. The mournful tone of the film is relatively prominent, but the nuance of comedy undeniably elevates the mood and begs for repeated viewings. His family of decaying, blue-skinned cadavers is certainly a group worth meeting for dinner more than once, thanks in part to make-up effects by Tom Savini. DERANGED is a low-budget treasure, by far, and a must-see for Ed Gein aficionados.

Rating: 8/10

Directors: Jeff Gillen, Alan Ormsby [POPCORN]

Cast: Roberts Blossom, Cosette Lee, Leslie Carlson
Country: Canada|USA

THE HOUSE OF SEVEN CORPSES [1974]

Trespassers beware in THE HOUSE OF SEVEN CORPSES. Beal Mansion is the most conveniently creepy location Eric Hartman could have stumbled upon for the filming of his upcoming horror movie. Although seemingly perfect in appearance, its violent history proves otherwise. Seven members of the Beal family met their demise in the most unforeseen circumstances, permanently tainting the house and all who may enter. The last resident to expire was a woman who practiced witchcraft, further darkening the tenebrous aura of the home. Despite the revolting past of the estate and expressed concern from Edgar, the cryptic caretaker, hardheaded Eric settles inside with his submissive cast and crew. Using the stories behind each death that occurred within the mansion’s walls as basis for the plot of the film only causes affliction. Perhaps the greatest misstep that Eric takes as a director is permitting the reenactment of witchcraft rituals from the Tibetan Book of the Dead. As a non-believer in the supernatural, he has no fear, but his cast feels apprehensive. Unbeknownst to all, as lead actress Gayle recites passages from the evil publication, she is slowly beckoning a homicidal corpse from its grave.

THE HOUSE OF SEVEN CORPSES is a dormant volcano of a horror film. The opening credits instill immense excitement; a gloomy hymn accompanies gruesome shots revealing how each member of the Beal family met their untimely death. Naturally, such heaviness early on could lead one to expect some insanely hair-raising scenes of manslaughter, freak accidents, and (most of all) hauntings. Instead, we are forced to swallow a heaping amount of monotonous build-up, topped off with numerous temper tantrums brought to you by Eric, the severely unhinged director. In all fairness, Eric’s animosity towards his team is more amusing than it is loathsome. It isn’t until the last thirty minutes that the accumulation of slightly bizarre happenings finally transitions to more thrilling events, such as gun slaying and the discovery of an actress hanging in a doorway. However, the hype failed miserably at delivering an explosive finale. The very last scene is the only notable one; the start and stop motion of the camera captures a beautiful closing image while ghostly music romanticizes the mood. In conclusion, you’ll likely fall asleep before the zombie wakes up.

Rating: 3/10

Director: Paul Harrison

Cast: John Ireland, Faith Domergue, John Carradine
Country: USA

SOMETIMES THEY COME BACK [1991]

SOMETIMES THEY COME BACK…for revenge. Jim Norman moves his wife and son from the busy city of Chicago to his slower paced hometown for a teaching job. After a twenty year hiatus, Jim struggles to cope with the foreign territory of unruly high school kids and the all-too-familiar land of his older brother’s resting place. Jim was only a kid when his brother Wayne’s life was ripped away from him. While on their way to the library, Jim and Wayne were confronted by a group of nasty degenerates. Wayne fought back and was stabbed, then left to die as a train roared through the tunnel in which they were taking a shortcut. The gang failed to escape the train’s path, as well, after Jim snatched their car keys. Jim’s mind was permanently altered by the tragedy, and the surroundings of his childhood home exacerbate the pain of his loss. When a couple of his students are mysteriously murdered, further corroding his sanity, two more students are added to his class just as quickly. Jim immediately realizes his new pupils are the living dead, and part of the gang responsible for his brother’s murder. Determined to even the score, the punks have returned to earth to wipe Jim off the face of it.

SOMETIMES THEY COME BACK is a story drenched in undying grief and tossed in horror. The basis of Jim’s childhood turmoil is explained thoroughly and well. His treacherous flashbacks reiterate the salt being rubbed in aged, but oozing wounds, adding a powerful element of emotional investment. The ghost punks, while dead, give the most amount of life to a movie often on the edge of flat-lining. They are perfect in their presentations as over-the-top “bad boys,” almost reminiscent of the tough guys in The Lost Boys and Stand By Me. The use of special effects is light, but the gang’s transformation from lively jerks into grimy zombies is memorable, without exception. There are a variety of supernatural powers at work that remain unexplained, which ultimately leads to more distracting confusion than peaked interest. For example, Jim develops psychic abilities and accurately predicts the location of a dead body. How? Undeniably, SOMETIMES THEY COME BACK feels like the made-for-television movie it truly is, but it’s packed with high tension and seriously grisly images one wouldn’t expect from a low budget motion picture made solely to watch in the living room. While the movie definitely had its moments, my high expectations for this particular Stephen King film adaptation were not reached. 

Rating: 6/10

Director: Tom McLoughlin [FRIDAY THE 13TH PART VI: JASON LIVES]

Cast: Tim Matheson, Robert Rusler, Nicholas Sadler
Country: USA