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    There's a good reason why mummified corpses have been the subject of so many horror movies: there's something about the attempt to preserve a body's appearance after death that gives you that nagging feeling the subject just might awaken again under the right conditions.
    The conditions in the lab shown here are really damn cold, to simulate the state in which this Incan girl's corpse was found at the peak of Mount Llullaillaco in the Andes back in 1999.
    Apparently the victim of a ritual sacrifice 500 years ago, this girl, now dubbed the “Llullaillaco Maiden,” was apparently frozen so perfectly that her internal organs are still intact, with blood still in her heart and lungs, and her skin mostly undamaged by the elements.

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    There's something undeniably satisfying about seeing the protagonist of a film exact sweet revenge upon those who wronged him or her. Even though what the protagonist is doing could be seen as wrong, we love to cheer them on and bear witness to their divine retribution. Just because two wrongs don’t make a right doesn’t mean that two wrongs can’t be fun.
    Retribution films appeal to our sense of justice. There's a basic belief ingrained in most people that those who do wrong must be punished, and those who are wronged must be vindicated. When we're subjected to watching the suffering of a seemingly reasonable person, we want nothing more than to see them exact swift and precise revenge upon their oppressor(s). Read on for our picks for ten of the most intensely satisfying retribution films in the horror, thriller, and suspense genres. 
    Leon: the Professional
    Luc Besson is a master of the revenge story, and Leon is no exception. It was an unusual decision to have Leon (Jean Reno) training a young girl in the ways of the assassin so that she might exact revenge on the monsters that killed her family, but if you can put the somewhat preposterous premise aside, the film is highly enjoyable. Natalie Portman turned in an impressive performance as the young Mathilda. Were a less capable performer to take on the role, the film would have likely been much less effective. 
    The Last House on the Left (1972)
    There are few pleasures as great as seeing the worst kind of evildoers punished for their crimes against mankind. The Last House on the Left brings its audience a close up look at a group of wicked baddies getting their due. It’s easy to get behind a father and mother that are avenging the rape and death of their daughter, particularly when the villains show zero remorse and absolutely no desire to atone for their heinous crimes. It’s sweet poetic justice when the villains take shelter from a storm at the home of their victim and find themselves on the receiving end of a bad situation. 
    I Spit on Your Grave (1978)
    Yes, the rape sequence in I Spit on Your Grave is too graphic, but the intent behind that was to make the visceral nature of the revenge portion of the film seem completely justified. Jennifer (Camille Keaton) makes the men who wronged her pay with their lives, but it’s impossible to blame her after the misogynistic and violent ordeal she was put through. The viewer develops a strong sense that justice is being served, in spite of the fact that Jennifer has to circumvent the appropriate channels to serve it.
    Danny Trejo proves, once again, that he is absolutely not to be messed with. After being double-crossed, he rains down revenge on those who transgressed against him... and the revenge that he delivers is of epic proportions: he goes on a killing rampage in good old-fashioned grindhouse style. Though it originated as a fake trailer on Quentin Tarantino and Robert Rodriguez’s Grindhouse, Machete proved that the decision to make the trailer in to a full-length feature film was a sound one. In fact, the sequel Machete Kills is on its way to theatres this October 4th. 
    Mother’s Day (1980)
    A personal favorite of mine, Mother’s Day has one of the most tremendous revenge sequences ever committed to film; the film’s leads give their persecutors a major run for their money and righteously avenge the death of their best friend. The "television over the head" scene is a personal favorite and a standout moment in the film for sure. The girls don’t stop there, though; they force their captors to eat lye, stab them repeatedly and chop them up with a hatchet. Mother’s Day was reportedly shot at the same time as Friday the 13th... just across the lake, in fact. 
    Carrie (1976)
    Hell hath no fury like a woman scorned, and Carrie White (Sissy Spacek) shows viewers just how steep a price one must pay for crossing her. After the world’s worst Prom Queen coronation, she goes buck wild and destroys everyone and everything in her wake. Not willing to stop there, she proceeds home and lets loose on her overprotective and completely insane mother. It will be interesting to see just how Chloe Grace Moretz attacks the role of Carrie in the upcoming remake, which is reportedly sticking closer to the source material than Brian De Palma's 1976 incarnation. 
    Kill Bill
    It’s nearly impossible not to take a large degree of joy from watching The Bride (Uma Thurman) slice her way to Bill; the glee with which she dispenses her brutal brand of revenge is most certainly a delight to watch. It’s easy to cheer on a likable protagonist that was betrayed by those she once trusted and manages to save herself and claim vengeance against her transgressors. It’s the classic retribution plotline, but it’s incredibly well executed and spiced up with some striking Tarantino visuals. 
    The Craft
    It was with great pleasure that I watched the coven of witches plot their revenge on the bullies that tormented them. Particularly noteworthy was the scene where the girls get even with mean girl Laura. She relentlessly tormented poor Rochelle for simply being herself; she even went so far as to compare Rochelle’s hair texture to that of pubic hair. Not nice, Laura. However, Laura’s lack of regard for her fellow students made it that much easier not to feel sorry for her when her own hair began to thin and fall out. 
    One of Mel Gibson’s last truly great films, Payback is a brutal vengeance-fueled dose of divine retaliation. It’s almost strange to identify with Mel Gibson’s character since, due to a series of bad decisions in his personal life, he has not exactly painted himself in the most congenial light. That aside, it's easy enough to like and cheer for his character. Seeing Gibson play a tough guy who defies death to exact revenge on his wife and best friend makes for a most satisfying viewing experience. This gritty thriller offers plenty of language, violence, and tomfoolery to go around. 
    Inglourious Basterds
    Brad Pitt really showed his versatility in Inglourious Basterds, shedding his pretty-boy image and donning a soldier’s uniform with such vigor that we almost forgot he was ever Mr. Smith or Joe Black. It takes the film a while to build an elaborate backstory, but once things get going, the going gets good. It would be a challenge to think of a more despicable group of people than Nazis, so seeing a plotline that includes a woman who lost her family to the Nazis striking out and seeking revenge makes for an enjoyable film. Since it’s a Tarantino picture, there's also plenty of scalping and barbaric behavior to satisfy even the most discerning gore-hound. Though the film isn’t even remotely historically accurate, it rewrites history in a way that's fun to imagine, and the scene in the theatre at the end of the movie is of epic proportions. 
    We extend honorable mention to Django Unchained. 
    What are some of your favorite revenge themed films? As always, please let us know in the comments below...

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    willow creekAfter films like Shakes the Clown (1991), Sleeping Dogs Lie (2006), World's Greatest Dad (2009), and God Bless America (2011), you surely know what to expect from writer/director Bobcat Goldthwait by now, right? Loud, colorful, perhaps even garish social commentary and raunchy farce from a stand-up comic turned actor turned surprisingly good filmmaker. Wrong!

    The man's latest film is a refreshingly matter-of-fact horror/thriller called Willow Creek, and to my eyes, it's the best sort of "homage" you can do. Based solely on Willow Creek it seems plainly evident that Goldthwait is a fan of A) "found footage" horror films in general, and B) The Blair Witch Project in particular, and so he packed up a few (very good) actors, a handful of cameras, and hit the road to make a low-key scary movie that works for all the reasons I just mentioned.
    Right off the bat I'll "warn" you that the 78-minute Willow Creek is what's widely referred to as a slow burn. As in, the first two-thirds of the movie are spent setting up the (simple) plot, the (cool) setting, and the (refreshingly cool) lead characters. Jim (Bryce Johnson) is an amateur filmmaker who wants nothing more than to document a trip deep into "Bigfoot" territory, and Kelly (Alexie Gilmore) is his sweet, smart girlfriend who comes along to help out. 
    That's it. Two people, one camera, one goal: dig up some dirt on Bigfoot!
    At its best moments, Willow Creek feels like someone (probably Goldthwait) was watching Blair Witch and thought, "Hey, that's cool, but what if we tried a new angle, or went in a different direction, or what if we (I dunno) made the characters likable?" (I'm just kidding around. I love The Blair Witch Project, and the fact that it still inspires good filmmakers is a testament to its overt coolness.) Johnson and Gilmore bring an effortless chemistry to the film, which (it must be said) elevates Willow Creek beyond so many of its "found footage" ilk. For a horror flick in which, frankly, not a whole lot happens for 45 minutes, the actors do make it interesting enough.
    The patient horror fans will certainly enjoy what the third act of Willow Creek has to offer, and soon there will be a lot of geeky discussions over the film's one "super-long" (almost 20 minute!) take, but speaking as a guy who sees a lot of movies in which two people point a camera at dark shadows, I say Willow Creek is a calm, cool. creepy little winner. It coasts on the skills of the lead actors, and then it transforms into a powerful cauldron of legitimate suspense. Lots of indie horror flicks can steal a scare or shock you with some gore, but Willow Creek sustains actual suspense for an admirable amount of time. Straightforward, simple, scary. I like it.


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    A couple of weeks ago, a movie called The Conjuring came out and did big business at the box office. Despite being a project of James Wan, mastermind of the blood-splattered, torture-dependent Saw flicks, The Conjuring manufactures its scares out of atmosphere and dread rather than graphic violence and buckets of blood. Critics and audiences alike seemed amazed that a horror film with such reserve could be such a creative and financial success.
    That brand of horror may never outnumber effects-driven showcases at the box office, but it has always thrived in the world of horror fiction. “Quiet horror” is a revered tradition practiced by giants such as Charles L. Grant, T.E.D. Klein, Ray Bradbury and, of course, Ramsey Campbell. Campbell has been penning quiet, devastating horror stories since the mid-1960s, and this new collection Holes for Faces (gathering stories exclusively from the 2000s) proves he still knows how to unsettle readers on a primal level.
    Take “Peep,” for example, about an old man spending time with his visiting grandchildren. The kids are spoiled, prone to exasperation when their grandpa moves too slow, prone to giggling at him when his back is turned. For the most part he tolerates their impudence, but when they begin to play a seemingly innocent variation of peek-a-boo he finds himself awash in chilling memories from his childhood. Suddenly, every glimpse of a mirror and every peek around a corner are filled with dread and suspense, both of which are felt keenly by the grandfather…and the reader.
    Stripping the veneer off the mundane to show the darkness at its core is a unifying thread of Holes for Faces. In “Getting It Wrong” a lonely cinema ticket taker comes to dread the ringing of the telephone; in the title story a visit to an underground tourist attraction casts a cold shadow over a family’s vacation.
    The reason horror like this connects is because it lifts the genre out of distant moors and crumbling castles and drops it in the midst of our everyday lives and locations. Once it reaches your neighborhood it creeps and whispers instead of jumping and shouting; it raises the hairs on your neck instead of going for the gag reflex. Campbell is adept at drawing portraits of everyday life with a little extra dark around the edges, and that’s a skill that’s difficult to master. Consider Holes for Faces another textbook by one of our best practitioners, an essential addition to the bookshelves of horror readers and writers alike.
    Blu Gilliand is a freelance writer of fiction and nonfiction. He covers horror fiction at his blog, October Country, and contributes interviews to the Horror World website. Follow him on Twitter at @BluGilliand. 

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    dexterAt today's Television Critics Association panel with Showtime, there were hints about a potential Dexter spinoff.


    Showtime entertainment president David Nevins announced that the cabler had inked a two-year deal with Dexter showrunner Scott Buck to develop projects for them. And while he isn't going to come out and say it, he did say, "We announced a deal with Scott Buck today, draw your own conclusions." Nevins was quick to follow that up with the fact that no deals with any of the current Dexter cast members has been made, and that "it's not necessarily a spinoff." "All options will be explored. We're really not dealing with it at all until we're through this season and maybe for a while thereafter," he told the panel. "We have a deal with Scott and we're going to develop a bunch of different things with him, there's nothing else to be concluded at this point. There's no sense of whether it will happen and if it will happen but I want to stay in business with Scott."

    That is one of the greatest non-committal statements I have ever heard. If I had to guess, I would say that a spinoff is certainly not out of the question (some have suggested that Deb would be the focus, but I think an even more interesting angle would be on Harrison), but in reality, I think it is all a big tease. 

    Source: Hollywood Reporter

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    Fans of AMC's 'The Walking Dead' may have to wait all the way until mid-October for the 4th season to begin, but on August 27th you can re-experience 'The Walking Dead: The Complete Third Season' when it arrives on DVD and Blu-Ray courtesy of Anchor Bay Entertainment. Whether you spring for the limited edition "Zombie Head Tank" version designed by McFarlane Toys or just get the regular editions, you'll still be treated to a handful of special features including audio commentaries and deleted scenes. And I'd bet you'd love to see one of those deleted scenes right now, right? Of course you do. And we've got a tease for you. Below you'll find an intense little scene between Merle (Michael Rooker) and Carol (Melissa McBride). 

    The Walking Dead: The Complete Third Season


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    How big a fan are you of 'Dexter'? Have you ever wanted to have a prop from the show but figured collecting something like actual memorabilia might be a bit too expensive? Well then you're in luck, because Cloned Replicas has got you covered. At the moment, Cloned Replicas is offering 3 official 'Dexter' props fully authorized by Showtime - a Dexter Morgan ID badge (as seen worn by Michael C. Hall during Season One), a "smiley face" blood slide and a Jordan Chase (of Season Five) necklace. You can buy any of the three on the Cloned Replica website, but also keep tabs on their official Facebook page and stay tuned for future announcements. They've got a slew of other really awesome horror related props in the works that will blow you FEARnet readers away.

    Official Dexter props from Cloned Replicas


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    We've always had a fascination with monsters. Some are pretty forgettable, while others have found a place in our hearts or struck deep into our psyches. But we've come a long way from the nuclear age of giant ants terrorizing middle America and atomic lizards the size of skyscrapers engaging in battles with gargantuan apes. The modern monster has evolved from the golden age of Bela Lugosi's blood-sucking antics in the depths of Transylvania, or the stop-motion excellence of Ray Harryhausen – designs still vehemently admired to this day thanks to publications like Famous Monsters of Filmland.
    There's always been a kind of aesthetic beauty to be found in monsters, and the advances in makeup effects are constantly lifting the limits on the imagination; the possibilities of future monsterdom are becoming endless. Some of our filmmaking heroes are so adept at realizing visually dazzling creatures that it's become their professional calling card (Guillermo Del Toro, I'm speaking to you... also, you may note an absence of any of del Toro's creations on this list; that's simply because there are way too many stellar choices to choose from). Some of us are completely hooked on the monstrous; in fact, some of you probably just spent the entirety of this month's wages on NECA monster merchandise before reading this.
    Today, the criteria qualifying a villain for monsterdom have blurred greatly. No longer are these strictly unnatural beasts from the bowels of hell or invaders from space; they can be very human (just switch on the news and you'll see plenty of them), using charm or sex appeal over fang and claw. A much more terrifying fiend, in my opinion.
    Here we present our picks of the most beautiful monsters to grace the silver screen – from triumphs of creature design to the downright dangerously disarming.
    The Cenobites (Hellraiser)
    If Clive Barker was looking for the perfect embodiment of indistinguishable pain and pleasure, I can't imagine anyone getting any closer than he got with his hellspawn creations. Is there any other horror icon that has an entrance with such grandeur? Say what you want about the sequels that followed the 1987 original, I think the Cenobites continued to aesthetically evolve after Hellbound: Hellraiser II. Freed from the dingy blues, blacks and greys of the London house of the first chapter and the Labyrinth of the second, Hellraiser III: Hell on Earth was the first time we see the Pinhead makeup effects in daylight. It was also the first time they eased up on Pinhead's voice effects, opting for a more human tone and bringing out the magic of Doug Bradley's performance. The lead Cenobite has arguably never looked better than the climatic judgement scene in Hellraiser: Inferno.
    Director Scott Derrickson (Sinister) weighed in on his contribution to the saga: “What makes the cenobites so unique is that they are creatures of a kind of religious/philosophical science fiction as much as they are creatures of horror. They are dimensional travellers interested in something that humans find horrific, but by the end of Barker's original, it seems that humans are the real monsters. As for my own contribution to Cenobites, I'm quite proud of the Wire Twins. I think they fit the mythology well and the 'under the chest massage' in Inferno is quite a strong demonstration of the Cenobite pleasure/pain aesthetic."
    Catherine Tramell (Basic Instinct)
    Upon release, Paul Verhoeven's sexually-charged thriller was a taboo-busting blockbuster that challenged audience expectations for sex and violence in cinema, and caused outrage among censors (and the gay community, due to its depiction of Tramell's sexual orientation). In hidsight, the film may be just a softcore murder mystery, but Sharon Stone's career-making role remains a fascination to this day. So, femme fatale or monster? She's certainly no Rita Hayworth. Tramell is a double major in psychology and literature and an accomplished crime novelist, with glacial good looks so perfect she could have easily been designed in a laboratory as a sexual weapon of mass destruction. A stone-cold psychotic sociopath, Catherine can fool any polygraph test you want her to take, so if she decides she wants to butcher you mid-coitus with an icepick, chances are she'll get away with it.
    Gozer the Gozerian (Ghostbusters)
    “Nimble little minx, 'aint she?” Peter Venkman does his best to make light of the fact that this trans-dimensional being intent on conquering our world just back-flipped right over the Ghostbusters' volley of proton beams. The Stay-Puft Marshmallow Man may have resonated most in the minds of audiences when Ivan Reitman's 1984 supernatural comedy first hit the screens, but it was Gozer that gave the big-budgeted finale its gravitas. Don't let that androgynous '80s MTV music video reject look fool you; Gozer has built a name on consuming worlds. Played by Serbian model Slavita Jovan, with American actress Paddi Edwards lending the raspy demon vocals, Gozer may very well be one of the more unsung female horror icons – even though Gozer is initially genderless, the deity chooses to physically manifest itself as a human female. That one should have feminist film theorists up for hours.
    Patrick Bateman (American Psycho)
    There couldn't be a more relevant monster for our age of austerity than Bret Easton Ellis's Wall Street accountant Patrick Bateman. As far as his monsterdom status, that should be a no-brainer (especially when referring to the 1991 source novel, which is far more horrifying than Mary Harron's 2000 film adaptation). Hacking up a co-worker with an axe, bounding after a terrified prostitute armed with a chainsaw while wearing nothing but a pair of sneakers... add to that being a spoiled, narcissistic homophobe completely obsessed with conformity who is nearly brought to tears just by the thought of not being able to fit in; Bateman is despicable to the core. Good thing it's the eighties then, right? In the age of excess, packaging is everything... and what could be more disarming to the rich and wealthy bourgeois of New York than looking like you just stepped right out of a Calvin Klein ad?
    Edward Scissorhands
    Back in 1990, before tweens everywhere could be seen in Jack Skellington t-shirts and matching bags, Tim Burton's dark fairytales were actually pretty fucking creepy. That first image of Johnny Depp emerging from the shadows in his room, arms outstretched towards Diane Wiest in a gesture of friendship with that sympathetic, battered china doll face, had echoes of Max Schreck's Count Orloff in Nosferatu, his outfit looking like Brandon Lee's Eric Draven from The Crow fused with the Cenobites' neo-punk chic. Burton and Depp achieved a modern Frankenstein's monster that was very much like Karloff's tragic character in 1931, birthed into a world that was not ready for him (or simply not willing to understand him), and cursed with an appearance as frightening as it is childlike.
    The Xenomorph (Alien)
    When the late Dan O'Bannon turned in his script for this 1979 shocker, the producers were at odds with who would direct the film, as they didn't want to simply knock out another monster B-movie that would likely be forgotten once audiences finished their last mouthful of popcorn. They suceeded in snagging a capable director: the now-legendary Ridley Scott. The next step would be the design of the titular "Big Bad" of the story. If they settled with antennae and green skin, I doubt all the expert direction in the world could have helped turn Alien into the harrowing "haunted house in space" thrill ride it turned out to be. Enter H.R. Giger. The Swiss surrealist artist's vision's of biological machinery with some startling phallic images proved the perfect contrast to Scott's realistic, mundane depiction of space travel.
    Norman Bates (Psycho)
    Peanut butter and jelly sandwiches, cookies and milk, white picket fences, all the reassuring images of the middle-American nuclear family of the 1950s in cinema and television were torn down when Alfred Hitchcock introduced the world to the schizophrenic Norman Bates – arguably the original American Psycho – perfectly embodied by the late, great Anthony Perkins. No longer are monsters born of Eastern European lore, or the result of freak atomic accidents; the boy next door is now the reason to check under your bed at night. Awkward, boyish charm with a clean-cut schoolboy innocence: another perfect example of the disarming maniac.
    The Monster's Bride (Bride of Frankenstein)
    One of the most enduring icons of horror cinema, endlessly lampooned in pop culture and the inspiration for a million Halloween costumes, Elsa Lanchester's Bride was always going to be a sure-fire entry in this list. What is it about the Bride that left such a lasting impression despite such a short time on screen? The first thing we all think of is that damn crazy hair – jutting out right over her shoulders and streaked on both sides with lighting bolts, presumably to signify the method of her resurrection. It would probably appear silly, had James Whale's 1935 film been shot in color... but still to this day, she retains a disturbing air of tragedy. 

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    New comic book Wednesday has come and gone. The dust at your local comic shop has settled. An eerie silence descends as you finish reading your last superhero book of the week. Now it's time for something a little more sinister. Welcome to Bagged and Boarded: comic reviews of the sick, spooky, twisted and terrifying!
    Five_GhostsFive Ghosts: The Haunting of Fabian Gray No. 5
    Fabian Gray is a brave, adventuring treasure hunter who fights against Nazis and sleeps with beautiful women. He's the archetypical Indiana Jones in every way... except for the fact that a powerful artifact he stumbled upon implanted itself in his chest. And also except for the fact that now five ghosts haunt him and give him power. These ghosts (a detective, an archer, a wizard, a samurai, and a vampire) guide and inhibit Fabian as he searches for his lost love. They call this issue "five of five" and it definitely concludes, but there's way more to the story!
    Bag it or board it up? I don't like to gush, but this comic is right up my alley! It's as if someone asked me, "Hey, Giaco, how could we make Indiana Jones more awesome?" And then I answered "Oh, with staples of classic literature, ghosts, possession, and magic powers." And then they made this comic. Check it out if your tastes align with mine, and you won't be disappointed. But start from the start for an even better read through!
    WakeThe Wake No. 3
    Everything's gone to hell at the "Ghost Rig." The giant oil rig, kept completely secret and off the radar deep in the arctic circle, uncovered what may be the missing link of mankind. A aquatic being, half-man, half-fish, broke free in the flooding rig and is now preying on the crew! This is not your typical Merman. It's impossibly fast, it stalks its prey, it tears people apart, and it can even make you hallucinate! As the situation looks more and more grim the crew has little choice left but to flee.
    Bag it or board it up? Ooh, this is a fun new comic. I love the discovery of this ancient creature, and the way it viciously stalks its prey. I don't want to give too much away, but the way it affects its victim's mind is really new and wild. Here's a comic that would make an amazing little horror flick. It's full of claustrophobia, terror, and suspense! The artwork in this comic is a mix of gritty realism and pencil-thin over-articulation, which makes for a dramatic and vivid scene. This is definitely worth checking out.
    Gold_BonesHouse of Gold and Bones No. 4
    Corey Taylor, lead singer of Slipknot and Stone Sour, presents the final chapter in his bizarre tale about a man lost in a warped world. Up until this issue we’ve heard talk of an event coming called The Conflagration. All we knew about it was that it was some type of choice that had to be made. Well, now it’s time to make the choice, and our hero must face his fears, squelch his inner demons, and survive in a twisted and horrible realm he’s created for himself.
    Bag it or board it up? This comic has been a roller coaster ride for me. I was originally pleasantly surprised by the book. The first couple issues were weird, vividly imagined, and full of a primal and confusing energy. This issue, the grand finale, just falls short. It doesn’t commit to anything, it offers a very skimpy background for our character, and the final climactic scene is ham-fisted and blatant in its metaphors. An eagle-man and a demon fight in the rafters of a church? Really? In the end we even get a “The End?” This is still one of the weirdest comics out right now, but it feels like “easy weird,” like the type of weird that settlers for invoking a carnival clown or a freakshow to force a reaction from the viewer.
    BPRD5BPRD Vampire No. 5
    This is the last chapter in this mini-series about Simon, a man out hunting for the vampires who wronged him. Set in the times of Hellboy’s childhood, this final issue follows Professor Bruttenholm as he sets out to put a stop to Simon’s quest. But Simon, who was up until now the trouble hero of our story, may have gone too far in his bloodlust, and we get to see first hand the mind of a torn man cracked.
    Bag it or board it up? This is a sad, exciting ending to a wonderful mini-series. The artwork, as always, is haunting and perfectly fits the mood of the piece. The story comes to a dream-like crescendo here and we, the viewer, are left wanting more. In fact, if I have any complaints about the issue, it’s how clear it is that they’re leading us into the next mini-series. But I’ll read on, it’s a BPRD comic, how could I not?

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    Between Norman Bates' rude shower intrusions and Freddy Krueger slicing through Nancy's restful bubble bath, horror villains are making it too damn dangerous to get properly clean these days. But artist Mary Bastian decided it's about time monsters made up for their soggy misdeeds by taking the form of sweet-smelling soaps.
    Bastian's Etsy store features an assortment of scary soaps, from Halloween standbys like Jack O''Lanterns and skulls to movie-themed shapes inspired by Jaws and Ghostbusters.
    Available in scents like pecan pie, banana and ginger snap, the handmade soaps also come in less ominous forms, including Back to the Future and Superman logos. But seriously, just imagine humming the Jaws theme as you glide this shark-shaped soap through the suds. You know you want to.

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    There's something about horror movies featuring killers in animal masks that just makes you want to see them... a fact thatYou're Nextdirector Adam Wingard is clearly aware of, and is playing up as much as possible. The marketing for the much-anticipated and highly praised home invasion thriller has been almost entirely centered around the animal mask-wearing invaders, prominently featured in the film's posters and trailers.
    Beginning last week, You're Next teamed up with t-shirt site Threadless for a special challenge, based on the three creepy masks that will be terrorizing us all come August 23rd. The challenge is for artists to dream up and design a t-shirt graphic inspired by the masks – designs that will then be turned over to the Threadless community for voting. Whichever design gets the most votes will be printed up and sold by Threadless, and the artist will receive a slew of prizes including $2,000, a $500 Threadless gift certificate, signed You're Next posters, horror Blu-rays from Lionsgate, and even replicas of all three masks. Other highly-scored designs will also be printed by the company, though the aforementioned goodies are only available to the Grand Prize winner.
    Artists have through August 15th to submit their designs, and voting on current submissions is currently open to all. Check out some of my personal favorites thus far!
    Head over to Threadless to submit a design, and/or place your votes... and get ready for You're Next to invade a theater near you on August 23rd!

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    If we've been scaring the hell out of you with all these articles about spiders taking over the world, then obviously we're doing our job. But with that said, arachnids do get a bad rep... and it's not always undeserved, either; some spiders can straight-up kill you. But the seriously big ones, like South America's Goliath bird-eater, aren't quite the monsters the movies make them out to be... well, unless you're a bird, of course.
    Actually, the “bird-eater” handle is an exaggeration, as entomologists say the Goliath tarantula – whose scientific name is Theraphosa blondi– doesn't typically prey on birds (while there are many spider species who eat bats, as we told you about earlier). But he could if he really wanted to, and he's been known to eat large rodents, frogs, snakes and lizards. Goliath's venom is not lethal to humans... in fact, the poison-laced hairs on their legs, which they can shed when threatened, are far more toxic.
    In an episode of the National Geographic series World's Weirdest, the Goliath is described as “a tarantula with a PR problem,” and when you watch their footage of this dude in action, it's not hard to understand why. It's hard enough to get past the whole “biggest damn spider ever” stigma, but he's also got a pretty bad attitude, with that whole hissing and rearing-up thing.

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    When you hear a medical expert claiming that scientific advancements can bring the dead back to life, you're probably assuming it's a quote from Herbert West, the disturbed genius of H.P. Lovecraft's Re-Animator. But in this case, you'd be mistaken: in this interview with German news agency Spiegel, doctor Sam Parnia claims that modern medicine will soon enable doctors to revive a human body up to 24 hours after death.
    Parnia, an Intensive Care physician at New York's Stony Brook University School of Medicine, has become a key figure in the field of “Resuscitation Science,” and explains that more patients could be saved if medical professionals put existing resuscitation knowledge to better use. He's documented his findings in his new book, Erasing Death.
    “With today's medicine, we can bring people back to life up to one, maybe two hours, sometimes even longer, after their heart stopped beating,” the doctor explains. “In the future, we will likely get better at reversing death... in 20 years, we may be able to restore people to life 12 hours or maybe even 24 hours after they have died.” Parnia also claims that many deaths could be averted by the techniques used at the ICU facility at Stony Brook, and cites the recent death of James Gandolfini as an example. “I believe if [Gandolfini] died here,” he claims, “he could still be alive.”
    Parnia goes on to say that today's cultural concept of death may be based on conditions that are not necessarily permanent anymore. “We encounter it in movies and books all the time,” he says. “That is my basic message: The death we commonly perceive today in 2013 is a death that can be reversed.”

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    At today's Television Critics Association panel, American Horror Story producer Tim Minear finally confirmed what the third season, subtitled Coven will be about. 

    Guess what? Kathy Bates will indeed play Marie Delphine LaLaurie, something which has been at the center of much speculation. Madame LaLaurie was a real-life socialite in New Orleans. A house fire revealed that she kept her slaves bound and tortured. Angela Bassett will play Marie Laveau, another real person who lived around the same time as Madame LaLaurie. Laveau was a Creole voodoo priestess in New Orleans who some claim to have seen continue to practice her voodoo after her death in 1881.

    Jessica Lange will play a witch named Fiona who, as far as I can tell, is not based on a historical figure. Sarah Paulson will play her daughter, Cordelia, named for the daughter in King Lear. The actual plot is still being kept a secret, but Minear promises that this season will feature bigger themes such as oppression of minorities, and "minority groups going after each other." There will also be a strong "feminist theme" going through the season - no surprise because the cast this season is almost entirely female.

    AHS: Coven is set in modern times, so if I had to guess, Jessica Lange and her coven (which, judging by these pictures, I assume includes Emma Roberts, Gabourey Sidibe, and Taissa Farmiga) are trying to conjure up LaLaurie or Laveau, or both. But of course, knowing AHS, shit will get really crazy. But Minear promises that this season will have a higher "fun quotient" that might make it a little more "welcoming" to an audience.

    American Horror Story: Coven will air on FX in October.

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    Some people see a new indie horror flick with a slightly familiar premise and they shriek "rip-off." It's easy to guess that the new indie thriller called Antisocial will be accused of "stealing" from Stephen King's Cell, fine indie flicks like 28 Days Later, Pontypool, and The Signal, and/or countless J-horror flicks in which humanity's over-reliance on technology leads to some truly horrific results. So, no, the Canadian horror offering called Antisocial is not the most original concept you'll come across. It still manages to get some stuff right.

    After a suitably mysterious prologue, Antisocial gets underway in pretty standard fashion: a half-dozen college kids are gathered together for a New Years Eve party, only (uh oh) there seems to be a horrific virus spreading through the streets of Ontario. Antisocial takes a little while to build up some steam, but suffice to say that the impending apocalypse is somehow being spread through, you guessed it, social media networks.

    At its driest moments, Antisocial is dedicated to scenes in which basic characters simply ramble through exposition, but once those speed bumps are out of the way, this low-budget Canadian export manages to become a strange and occasionally unpredictable combination of slasher flick, "body horror," zombie flick, and sci-fi-style cinematic speculation.

    The message of Antisocial -- that our over-reliance on "staying in touch" actually and ironically keeps people apart -- is hardly a new revelation, but it's nice to see another indie horror flick that manages to grab a bunch of old parts from other films and wedge them together with at least a little new glue of its own. Once the astute horror viewer gets done "checklisting" the movies Antisocial reminds them of (like I did back in the first paragraph), they're likely to settle back and enjoy the impressively varied series of visceral horrors that lay waste to our unfortunate college students.

    Like most indie horror films from newcomers, Antisocial has a few ripe lines of dialogue and a handful of relatively amateurish performances (although leading lady Michelle Mylett is actually quite good), but if you can get past the fact that the flick is composed of 75% recycled ideas and 25% new ones, you may find that something to like. Originality is often overrated, while presentation counts for a lot, and in that department Antisocial acquits itself rather well.


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    Dexter Episode 806
    “A Little Reflection”
    Written By: Jace Richdale
    Directed By: John Dahl
    Original Airdate: 4 August 2013

    In This Episode...

    Dexter has been following Zach Hamilton for the last week. Other than a fascination with crime scenes, car accidents, and other places where dead bodies are likely to be, Dexter can’t find any evidence that Zach deserves to be on his table. Dexter is curious when he follows Zach to Vogel’s office. The moment the kid leaves, Dexter confronts her. Vogel admits that Zach’s father brought him to see her because of her work with psychopaths and his propensity towards violence. She comes down with a sudden case of ethics and won’t divulge more, but does ask that if Dexter finds any evidence against Zach, he come to her first. 

    Dexter’s next crime scene is an easy one - a woman was killed by her boyfriend, who was picked up a few blocks away in blood-soaked clothes. The scene clears out quickly, and Dexter sees Zach watching, packing up his camera. With no one else from the force around, Dexter invites Zach into the crime scene. Zach jumps at the chance and looks at the scene with awe and wonder. Dexter recognizes that awe and turns it into a “learning moment.” The next day, Dexter visits Zach at his studio to check out the photos he took. The colors are super-saturated; Dexter thinks Zach photographs crime scenes like fashion shoots. He notices a picture of a pretty woman - still alive and walking down the street - that Zach quickly crumples into the garbage. 

    Batista names Miller as the new sergeant. Quinn is hurt but surprisingly, he turns his disappointment into productivity. He feels like if he had solved the Norma Rivera case, he would have made sergeant.  He checks in with Dexter on any new evidence (he has none) and announces that he is going to watch Zach around the clock if necessary. This will get in the way of Dexter’s own surveillance so he asks to come along. Big mistake, as Quinn just rambles on, and wants to talk about Deb. Dexter tunes out. They are watching Zach watching a yoga class in the park. Dexter quickly realizes that Zach is watching one particular woman - the woman in the photo he threw away. Dexter takes note of her license plate and discovers that the woman is Sofia Fuentes, an employee at the Hamiltons’ yacht club. Dexter fears that Sofia is Zach’s next victim.

    Dexter sneaks into Zach’s studio late at night to search for evidence. He finds what he needs: hidden inside a camera case is a thumb drive which includes photos of Norma, seconds after her death. Zach catches himself in the reflection of photo frame on the floor. Dexter prints these out and brings them directly to Vogel, with a “toldja” look. She knew - Zach admitted as much during his first session. Dexter still thinks Zach deserves to be on his table, despite Vogel reminding him that he could have been Zach were it not for Harry, Vogel, and the code. She suggests they teach Zach the code, but Dexter refuses. “We are nothing alike. He killed an innocent, and he needs to die.”

    That night, Dexter heads to Zach’s studio. Despite his red Porsche in the garage, Zach is nowhere to be found. Dexter sees the pink slip to a cheap sedan on the desk, and can’t help but feel a hint of pride that Zach has learned from his previous mistake. A quick call to the yacht club reveals that Sofia is wrapping up her shift, so Dexter heads straight over there. Sofia is leaving the club - but so is his dad. Sofia is his new mistress. The two kiss and go their separate ways. Zach follows with a knife in his hand, and Dexter follows him (no knife in his hand, of course). Dexter is surprised to discover that Zach is following his dad, not Sofia, but that doesn’t slow him down. He injects Zach and drags him out of sight before Ed catches them.

    Zach wakes up on Dexter’s table. He first insists that he wasn’t going to kill his dad, but realizes that Dexter isn’t buying it, so he switches to the truth. Zach’s mom is drinking herself to death due to his dad’s philandering. Zach thought killing Norma would put an end to it, but when he started up with Sofia, he knew the only way to stop it was to kill his father. Dexter calms down, just a bit. “So you were just protecting your mom.” But his anger rises again, and he mentions Zach’s photos. “You kill because you want to kill!” Zach breaks down: “I can’t help it, it just builds up inside of me.” After he killed Norma - his first and only victim - he felt a huge weight lifted, the release of something horrible. Dexter softens even more - he may as well have been describing Dexter’s first kill. Zach begs Dexter to kill him - “If you don’t, I will kill again. I don’t want to be like this, but I can’t help it.” Dexter cuts him free. Perhaps he can be Zach’s Harry.

    Meanwhile, Deb helps Elway with an uncover job. His little sister, Susan, has been dating a guy Elway knows to be a womanizer and a cheater. Deb offers to go undercover - she did work vice, after all - to catch this guy in the act. As she and her catch are on their way up to his hotel room, Elway comes in and punches the guy out. He agrees to dump Susan. It is pretty clear that Elway has a crush on Deb. As the episode winds down, Deb is relaying this to Dexter over steaks and beers at her place. They have been slowly but steadily rebuilding their relationship. Suddenly, Deb gets dizzy and sleepy and lays down. Dexter rushes to her side, and he starts to suffer the same symptoms. Before he blacks out, Hannah walks. “Hi Dexter. Remember me?”

    Also: Dexter worries that Harrison is lying to him (about the broken TV remote). Deb reminds him that “he is four, doofus.” And Masuka discovers his daughter had her car repo’d and is in debt. He offers her a check for $5,000 - and she is insulted and refuses to accept it.

    Dig It or Bury It?

    The whole Zach Hamilton thing is taking a much better turn than I expected. Dexter didn’t just automatically say, “Hey, I need someone I can pass on my knowledge to.” There was a natural progression there. He saw what Vogel saw in Zach. I still can’t get excited about that storyline, but at least it feels natural.

    What I can get excited for is Hannah’s return. We knew it was going to happen, but now she is finally here. I can’t help but feel like Dexter’s bad date with Cassie (they have a lunch date tonight and it is clear they do not mesh well) was setting him up to miss Hannah, despite the fact that she tried to kill Deb. Of course, Hannah dosing Deb (and Dexter) probably doesn’t earn her any brownie points with him. I wonder if Hannah will kill Deb? (Yes, I still believe that Deb is going to die by the end of the season.)


    Dexter has his hands full: teaching Zach the code and figuring out what Hannah wants.

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    true bloodTrue Blood Episode 608
    “Dead Meat”
    Written By: Robin Veith
    Directed By: Michael Lehmann
    Original Airdate: 4 August 2013

    In This Episode...

    Let’s start in the vampire camp. Jessica is blissful with James - until guards find them and take them back to their respective cells. On the way, they run into Pam, who is buttoning up after screwing the shrink. (“It was oozy but productive.”) Jason is still in the female cell block, under Violet’s “protection.” She vows that he is hers forever. This makes Jason nervous. She takes him into a coroner’s drawer to feed in private. Jason’s one request is that she not rape him. Violet promises that he will beg her to fuck him.

    The tainted Tru Blood is filtering into the prison camp. Jessica tells James not to drink it; he takes pity on Steve and tells him not to drink it either. The prison overlords start to realize that some of the vampires aren’t drinking the Tru Blood. Sarah hears that Steve is one of them, and breaks him easily with some time on the hamster wheel and the threat of UV lights. Steve and James are sent to the white circular room. The girls are brought in as well, and Jessica immediately recognizes the room as “where they will meet the sun.”

    Sarah has other problems. Ms. Suzuki storms the Tru Blood plant, demanding to see Burrell. Sarah intercepts and tries desperately to calm her down, but it doesn’t work. Suzuki sees that her product is being tainted and is horrified. She tries to call the FDA, and Sarah panics. She tries to snap Suzuki’s neck but finds it much more difficult than it appears on television. The women struggle awkwardly, and Suzuki escapes. She runs through the prison camp and slowly begins to realize the house of horrors she has gotten herself mixed up in. Suzuki finds herself on the catwalk above mens gen pop, and her stiletto catches in the grate. She breaks her ankle and falls, allowing Sarah to pounce. She bashes Suzuki’s head against the grate over and over, causing blood to drip to the cell below. Finding that she doesn’t have the strength to pound her face into hamburger, Sarah grabs Suzuki’s stiletto and hits her with it until the heel punctures her neck. Sarah thanks Jesus. (For the strength to physically kill her?)

    Alcide demands that Rikki release Nicole and her mother. Rikki decides to challenge Alcide as the pack master. Danielle and a beefy blonde trans woman back her up. Alcide fights Rikki and gets the better of her, but declines to kill her. He leaves the pack - for good - and delivers Nicole and her mom to Sam. The women stay at Sam’s place while Sam plans to sleep in his office. He hugs Nicole goodnight and gets a whiff of something. Nicole is pregnant. Mom arranges a flight home for them the next day, but before they leave, Sam has made his decision: he wants Nicole to stay. He tells her he is in love with her, and with the dreamy eyes of a starstruck teenager, Nicole says she is in love with him, too.

    Eric is grief-stricken by Nora’s death, and he is mad that Bill couldn’t (or wouldn’t) save her, and his distinct lack of sympathy. Eric heads out to find Sookie and Warlow himself. He sees Sookie exit fairy land, but can’t get in. But he finds another way. Adilyn sneaked out with Holly’s sons to drink in the cemetery. One of the boys passes out, so Adilyn and the other kid start going at it. Eric interrupts, glamours the boys away, and takes a bite of Adilyn. Just a bite - Andy later finds her, and Adilyn is consumed with fear and guilt. He is very understanding.

    Sookie is trying to broker a deal between Bill and Warlow. Bill wants Warlow’s blood; in exchange, Warlow wants Sookie to be his fairy vampire bride. Sookie spends most of the episode debating her options. She goes to Sam (as he is professing his love for Nicole) and admits that she always thought they would end up together. Sam is pissed off (after all, she left him hanging for years) and explains that Nicole is knocked up - but she doesn’t even know it yet. Sookie visits her parents’s graves, and this seems to make her decision for her. “Fuck you mom and dad. I’m going to become the thing you hated so much you wanted to kill me for. I’ll be damned if I will lay beside you for eternity.” She calls Bill and tells him to pick her up. They head to the cemetery and hold hands while Sookie zaps them to fairy land. When they get there, it is dark - and Warlow has had his throat slashed. He is alive, but barely.

    Dig It or Bury It?

    It is surprising and exciting to me to be able to say that I am enjoying this season. Tonight’s episode was great. I like that Sookie has finally just given in to the whole “fate wants me to be a vampire” thing. Way to be a team player! Is rebelling against your dead parents the most slack-ass way to rebel? Or the most enduring? Either way, I’m ready for a change, and if Sookie is immortal, she will no longer be the damsel in distress. Dear jeebus I hope not. When Tara became a vampire, she had a significantly diminished role - you think about that, Sookie Stackhouse.

    Ass Factor

    Frankly, I was a little uncomfortable with Adilyn getting naked. It was only for a minute, and I know she is of age, but she looks so much younger... it felt a little dirty.


    In true True Blood style, the penultimate episode promises lots and lots and lots of killing. 

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    falling skiesFalling Skies Episode 310
    Written By: Remi Aubuchon
    Directed By: Greg Beeman
    Original Airdate: 4 August 2013

    In This Episode...

    Weaver, Pope, Anthony, and Lyle board a train (!) headed for Chicago. Lourdes is chained up and along for the ride. The goal is to use Lourdes as bait to draw Karen and her forces to Chicago. Tom and the rest of the army, along with Cochise, have the weapon out on a barge in Boston. They take aim, and fire. The Volm weapon sucks out a bit of the grid, turns it into energy, and blasts at the massive tower in the distance. They hit one leg of the tower; it will take ten minutes for the weapon to recharge. They don’t have ten minutes - ships are flying towards them now. The crew shoots them all down pretty easily. The tower collapses under its own weight - it crumbles into ruins, and the grid goes down. A cheer erupts. The massive Volm ship - which resembles a flaming snowflake - lands right where the tower once stood.

    Yup, that all happened in the first ten minutes. It was a pretty awesome battle. Weaver’s crew returns to base camp - they were surrounded by the Espheni and the Volm sent in soldiers to clear the way. Tom and Weaver go in to meet with the Volm commander, who is Cochise’s father. Things are very cordial, until the commander tells Tom that the humans are being relocated to Brazil. The promises that the humans will be well cared for there, and the Volm will protect them while they battle the Espheni, but Tom wants to continue the battle for their planet. To Weaver, it sounds like they are being sent to a prison camp. Tom grabs the commander by the arm, and this lands Tom in the brig. Weaver goes back to the people and sadly tells them they are being relocated. No one is happy - especially Pope - but they all lay down their weapons and pack up their meager belongings.

    Tom and the commander cool down, then speak again. Physical contact with the Volm is strictly forbidden, but the commander apologizes. He doesn’t understand why Tom is so resistant to be relocated - it is for their benefit. (And personally, hanging out on a beach in Brazil? Not too shabby.) No other indigenous species has ever turned down relocation - they have all welcomed it. Tom insists they be allowed to fight for their home. He promises to think it over.

    One of the Volm has gathered the rest of the group and leads them towards the transport. They meet up with Tom and Cochise. By order of the commander, Cochise returns the weapons to Tom’s crew and tells them they are free to go anywhere they want, as long as they leave Boston as fast as possible. Tom is grateful and says a heartfelt goodbye to Cochise.

    As Tom and the rest of his army head out, they are ambushed by Karen, a mech, and a few skitters. Karen is waving a white flag and wants to talk about the Volm. Tom doesn’t trust her, which she understands, but insists that there might come a day when their “interests will coincide.” She brought Tom a gift, but he opens fire and shoots her in the chest. She drops, and a mini-battle breaks out. The humans easily take out the Espheni. Tom hears his name and wanders off after it. Hal and Maggie notice that Karen isn’t dead yet. Hall kneels down to hold her hand - and Maggie finishes the job. Hal is super-pissed about this, but refuses to admit it.

    Meanwhile, Tom has found his gift: Anne. She is alive and well and they greet each other happily. Lexi is there too - she has aged six years in two months. Tom is a little freaked out.

    Tom’s patrol group goes back to rest of the group and they prepare to roll out. Before they do, Lexi goes up to Lourdes, who is chained up in a cage, looking like a cross between a zombie and Samara. Lourdes looks fearful as the calm, happy little girl approaches. She reaches into the cage, caresses Lourdes’s cheek, and a handful of alien worms squirm out of Lourdes’s eyes. Tom sees this, and watches as his daughter happily crushes the bugs into metallic powder in her hands. Tom looks freaked out. Personally, that seems like a good sign to me.

    Dig It or Bury It?

    That was satisfying. The Volm weapon worked, Karen is dead, and Anne and Lexi are back. Regardless of what the outcome ended up being, the Volm weren’t lying to Tom and his crew. They brought down the grid, and came to Earth to fight the skitters. Maybe I am naive but I want to believe that the Volm really were looking out for the best interest of the humans, and that Lexi’s semi-alien DNA isn’t a bad thing.

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    For me personally, the most exciting sequels are the ones that bring back the key creative core group behind the original film, and in the case of 'Insidious: Chapter 2,' there's reason to celebrate because just about everyone is back! Director James Wan (who has never done a sequel until now), writer/actor Leigh Whannell and cast members Rose Bryne, Patrick Wilson, Barbara Hershey and Lin Shaye are all back in the fold along with some other new interesting faces in the mix like 'The House Of The Devil's' Jocelin Donahue playing a young Barbara Hershey! So why did Wan decide to follow up 'The Conjuring' with a sequel to his surprise hit from 2010? Check out our interview with him and Whannell to get the scoop. 'Insidious: Chapter 2' opens in theaters September 13th!

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    The last few years have seen the rise of the fan-made documentary, as superfans take it upon themselves to create the ultimate behind the scenes documentaries about their favorite horror films. Entries like Never Sleep Again, More Brains! and the soon to be released Crystal Lake Memories come to mind, all of which are incredible sources of information and entertainment for the die-hard fans of the films they're honoring. There's truly no one more qualified than the real fans of these films to give them the loving treatment they deserve, which is why it's so exciting to see so many fans taking matters into their own hands and going out of their way to give us something a little more substantial than quickie DVD special features.
    Soon getting added to the list of aforementioned titles is Unearthed & Untold: The Path To Pet Sematary, brought to us by friends and superfans John Campopiano and Justin White. Of particular excitement in regards to this one is that we've never gotten much in terms ofmaking-of material and behind-the-scenes stories from Mary Lambert's 1989 film adaptation of Stephen King's bestseller; even last year's Blu-ray release was only packaged with the same short featurettes that were included on previous DVD releases. It came with a pretty snazzy lenticular cover, but the special features package was far from impressive.
    John and Justin therefore took it upon themselves to provide Pet Sematary fans with the kind of documentary they themselves wanted to see, and for a couple years now they've been compiling information and conducting extensive interviews with anyone and everyone connected to the production, from cast and crew to locals who were around when the movie was being filmed, to create the ultimate be-all end-all Pet Sematary retrospective documentary. If you're wondering how in-depth they got with all this, let me just say that they even interviewed several folks who owned the many cats that were used to portray "Church" in the film!
    Unearthed & Untold will have a particular focus on the impact the film had on the locals in Maine, where Pet Sematary was filmed, as John and Justin set out to not just chronicle the production itself, but also cover the bigger picture of the effect it had on everyone who was involved with its creation. A strong focus was also placed on stories that have never before been heard, people who have never been heard from, and images and video footage that has never been seen... guaranteeing that Unearthed & Untold will be one hell of a special treat for Pet Sematary fans.
    Check out the just released trailer for the documentary below, and keep up to date with all things Unearthed & Untold through their official Facebook page!

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