Wednesday, April 11, 2012

A little hiatus and a lot of stress

...sorry folks there is not going to be a Friday story post this week... and there may not be any new posts at all for the next week or so.

My daughter is currently in the hospital and while it is nothing life threatening I honestly can't seem to put two coherent thoughts together right now.

I hope you will all visit again when things around here get back to normal.

(whatever the Hell normal is these days anyway...)


Check out Keri O’Shea's tribute to the 30th Annivesary


Regular visitors to Brutal as Hell will have noticed that we’ve got a bad case of retrospective fever at the moment; well, what can we say? 1982 in particular was obviously a hell of a year for renegade horror cinema, and we can’t let these milestone birthdays pass us by without celebrating them. It’s incredible really that, in such a short space of time, we get the releases of both The New York Ripper (which Marc has just written about) and, shortly afterwards, Frank Henenlotter’s Basket Case: these are both films which have enjoyed ardent horror fandom ever since, and whilst they’re different in many ways, what we see in both films is a penchant for ramping it up, mixing the absurd with the grisly, whilst providing us with lurid time capsules of New York way back when, something which fans loved then and love now....


click here to read the rest at BRUTAL AS HELL


Tuesday, April 10, 2012


Liz Kingsley of AND YOU CALL YOURSELF A SCIENTIST has been reviewing the Universal Mummy series of films. Her work is always informative and witty. Why not give her a read?


By the end of 1931, the fight to establish the horror movie in America had been fought and won. Although it was the gamble of Universal Studio’s twin nightmares, Dracula and Frankenstein, that had in effect created the horror genre, it was Paramount’s filming of Dr Jekyll And Mr Hyde that legitimised it, by demonstrating that the horror movie could also be art. Having sat back warily and watched as Universal in particular bore the brunt of the initial critical and social backlash, the other studios now jumped upon the bandwagon, determined to cut themselves a slice of this unexpected financial pie. Within the next twelve months, MGM, RKO and Warners, through its partnership with First National Pictures, all joined the fray; and indeed, 1932 would ultimately prove to be one of the finest and richest years in the history of the horror movie. Curiously, after its hugely successful first venture, Paramount withdrew itself from the battle (although when the studio did finally produce another horror film, it would again be a work of extraordinary power and artistry). Universal, on the other hand, seeing its rivals harvesting the new cash crop it had developed, redoubled its efforts; and towards the end of the year made another kind of history by producing the first major horror movie with an original screenplay written directly for the screen...

click here to read her full review of THE MUMMY 


Much as some of us might bemoan the constant stream of sequels, prequels, and re-makes that emanates from Hollywood today, it is certainly not a new phenomenon. As film technique improved throughout the silent era, endless motion pictures were shot and re-shot to reflect the fact; while the move from silent film to talking pictures was another cue for countless films to get a makeover. Even the shift from the anything-goes attitude of the pre-Production Code era to the rule-bound post-Code world was an excuse for certain productions to be re-made in more “acceptable” form. It was, however, those behind the making of Hollywood’s first and greatest wave of horror movies who first grasped the concept not merely of the re-make, but the franchise – and embraced it. Film series were common enough, of course, but it was Carl Laemmle and his people at Universal Studios who realised that the supernatural themes of their lucrative new specialty offered the perfect pretext for returning to the well as often as they liked. Sure the monster was killed off at the end of each film....but just because it was dead, that didn’t mean it had to stay dead, right?...

click here to read her full review of THE MUMMY'S HAND


This first sequel to 1940’s The Mummy’s Hand is in a number of ways a very strange film. Although of course a Universal film, with all that that implies, The Mummy’s Tomb often feels more akin to the slapdash contemporary productions emanating from Monogram and PRC---not on the level of its production values, though the budget was obviously low, but rather with respect to its brief and breathless style and its often startling disregard of “the rules” – including the most basic rule of passing time, as we shall see. The most unexpected aspect of this film is certainly the ruthlessness with which it sets about disposing of the returning cast members from The Mummy’s Hand, who were then – presumably – the audience’s identification figures; a quality that, in conjunction with Mehemet Bey’s countdown of potential victims, makes it feel like a proto-slasher movie. The other notable thing about The Mummy’s Tomb is that it is quite free of the painful comic relief that undermined the action of the preceding series entry. The result is a fast-moving, grimly entertaining little horror film...

click here to read her full review of  THE MUMMY'S TOMB


BTW this was one of my favorite toys from childhood...





YOG-BLOGSOTH brings us face to... er face with a JUPITERIAN!

PROJECT ROOFTOP brings us Jsm's version of the Marvel Family

Monday, April 9, 2012

Occupy Midian!


“Occupy Midian” is the movement to get an extended version of the great film “Clive Barker’s Nightbreed” released onto Blu-ray and DVD. We are here, we are MANY, and we want to buy it!
This group is to show Morgan Creek, the current owners of the film “Nightbreed”, that there is a high demand for this film to be released in an extended cut as the director and creator Clive Barker originally intended.

“Occupy Midian” was a name thought up by Anne Bobby during an interview with the Clive Barker Podcast. This group aims to work in close co-operation with the creative people currently restoring the film...”

Join the OCCUPY MIDIAN at Facebook

Sunday, April 8, 2012

This is completely inappropriate for today! What the Hell is wrong with me?