Hump-Day Harangue: Whither the Horror Movie Icon?

Vault dwellers, allow me to take you back to an earlier time in the history of our fair genre. Go ahead and hop in the Delorean--just watch your head on the door, I don't know what genius designed it that way, but what are you gonna do? Anyway, we're headed back to a simpler, more innocent time, when horror was dominated my living legends, by giants who walked among us and filled our minds with delicious nightmares, fusing their very personae with the essence of the genre itself. This is the age of the horror icon.

Our first stop is the 1920s, when a brilliant actor and makeup artist by the name of Lon Chaney became horror's first bona fide movie star. After his star faded and the industry entered the age of sound, Universal gave us the likes of Boris Karloff, Bela Lugosi and Lon's baby boy to continue the tradition, populating the terror landscape with a platoon of unforgettable movie monsters. In later decades, the likes of Peter Cushing, Christopher Lee and of course, the one and only Vincent Price ensured that the cult of the horror icon remained undead and well.

But then something happened. Something changed with the onset of what we now call the "modern era" of horror. For the benefit of creating a handy cutoff point, let's say that from the 1980s onward, the phenomenon of the horror movie icon suffered a swift decline. Sure, there were still actors making their living in the horror genre. But icons? In the sense of the folks mentioned above? Hardly.

Who have we been given over the course of the past 30 years to match the majesty of the likes of Karloff, Price, Cushing, et al? I ask this as an honest question. Am I, as I have sometimes been a accused of being, a horror snob? Forgive me if the Kane Hodders of the world just don't do it for me. I'll never get tired of looking at pictures of him pretending to choke people at horror conventions, but honestly, he's a stuntman in a hockey mask. A buoy with arms could've played Jason Voorhees. Robert Englund? A delight as Freddy Krueger, to be sure, but beyond that? A merely amusing character actor who would've remained best known as the "good alien" on V had it not been for that hat-wearing son of 100 maniacs.

Who else do we have? Doug Bradley? Tony Todd? Linda Blair? Maybe Brad Dourif comes close... I may be off-base here, but while these are all actors who have done a fine job crafting specific characters, I think even they would agree that they don't quite belong ranked in the category of the immortal legends of yesteryear mentioned earlier. Quite literally, they don't seem to make 'em like that anymore.

So what happened? What is it about modern horror that seems to inherently discourage the notion of the horror icon? Perhaps it is the stress on realism, the need to downplay the more obvious elements of showmanship and bombast that once played a larger role in genre entertainment. I firmly believe that horror films of the golden and silver ages of the 1920s-1960s were more "personality"-driven then they are today. Hell, I'd say that movies in general were more personality-driven back then, for better or for worse. Those larger-than-life figures have a hard time carving out their niches when the funner, "Famous Monsters of Filmland" approach to horror has come to be considered passe.

Quite frankly, these days, when we talk about horror film icons, it's easier to use the term to refer to directors than actors. After all, the true visionaries of horror these days, the names and personalities most closely linked to the genre in the minds of fans, are those of the likes of Dario Argento, John Carpenter, David Cronenberg, Wes Craven, George Romero, et al, rather than the actors who appear in front of the camera. This is a shift that has certainly occurred within the past 40 years, no question about it. But unfortunately, directors are more visionaries than personalities for the most part, so in the end it's a very different dynamic.

I'm not trying to say that the supernatural horror film has completely given way in the face of reality-based horror--far from it. There still remains more than enough room for monsters and entities of all shape and form, but whether we're talking serial killer flicks or zombie movies, there's a greater stress on realism, and I feel that realism, while it has its pluses, is decidedly the enemy of the horror film icon. There are standout characters, but for the most part, the actors who play them are linked pretty much 90% to one role alone. For the most part, Gunnar Hansen is Leatherface. Warwick Davis is Leprechaun. Clint Howard is the Ice Cream Man. Ahem, ok that one was a stretch, but you get the point.

They may have been before my time for the most part, but I miss those genuine, transcendent icons. Those individuals who literally embodied horror, and who in many ways towered over it. I hope we get to see more rise to that level one day. If they're out there, and I'm just not giving them their due, please put me in my place, by all means...

Fear in Four Colors: Victorian Undead #2: “The Skull Beneath the Skin”

Writer: Ian Edginton
Art: Davide Fabbri
Colors: Carrie Strachan
Letters: Saida Temofonte
Cover: Simon Coleby & Jonny Rench
Publisher: DC Comics
Publication Date: Jan. 1, 2010

Even the threat of imprisonment cannot deter the inquisitive minds of one Sherlock Holmes and his faithful companion, Dr. Watson, when faced with the walking dead. In the second issue of writer Ian Edginton’s Victorian Undead, a six-issue miniseries from WildStorm that pits Britain’s infamous detective against hordes of mindless reanimated corpses, Watson and Holmes make their way back to the scene of the first undead attack, deep underground the streets of London. What they discover there is beyond anything the pair could’ve imagined, and as things below the surface escalate, our heroes must hope for a miracle in the face of a painful and bloody death.

Once again ,Ian Edginton and artist Davide Fabbri deliver an excellent mash-up of traditional Sherlock Holmes story and the gory antics of the living dead. Edginton’s version of the British detective is characteristically intelligent, but thankfully lacks the patronizing nature that some portrayals of Holmes employ. Although he usually is a step or two behind his quick-witted companion, Watson is given an opportunity to demonstrate his own deductive reasoning in Victorian Undead #2, and I must admit that I was surprised by the degree of competence that he displays.

Unlike the first issue of Victorian Undead, which only featured one or two shambling corpses that were dispatched very quickly, the second issue of this series is far bloodier, much more action-packed, and filled with zombies! The interactions that Watson and Holmes have with the living dead in Victorian Undead #2 give the two an opportunity to demonstrate their physical prowess and sharp-shooting skills in addition to the intellectual and reasoning capabilities generally on display in Sherlock Holmes stories.

Each issue of Victorian Undead runs about 28 pages, so only so much story development can happen with each new installment. Fortunately, Edginton does an excellent job of moving the story along at a quick pace while still providing the reader with enough details to keep him or her from getting lost. Davide Fabbri’s art is the perfect compliment to Edginton’s story—both detailed and somewhat stylized, an excellent balance for the series.

If you enjoy the zombie genre and have an extra $2.99 lying around, I’d recommend that you pick up this issue of Victorian Undead. It’s debatable whether or not you need to read the first issue to understand the second, but I’d recommend at least flipping through the original if you intend to read issue #2. -- Paige MacGregor

TRAILER TRASH: Cannibal Edition!

Random Ramblings from the Vault...

• I'll freely admit that True Blood was losing me a bit this season. Yeah, I know I say that every season. But ever since the Russell Edgington storyline really picked up steam, I have been back on board in a big way. Great character, and great performance by Denis O'Hare.

• Did you ever notice that nearly all classic animated shorts in the old days, particularly those involving animals, are obsessed with characters who keep trying to eat other characters? Pretty damn terrifying if you really think about it. Well, not really. But kind of bizarre, no?

• So The Last Exorcism captured the number-one spot at the box office over the weekend, huh? Very interesting. OK, I'll definitely be checking this out at some point during the week...

• While on the subject of things that creep me out, I don't think I've ever gotten too far into it, but I'm thoroughly fascinated by very old graveyards, and will stop and have a look almost every time I pass one. Something beautiful about the ornate stones, and melancholy about how utterly forgotten everyone is who's buried there. For those interested, the most captivating one I've come across is a sprawling 19th century cemetery in Manchester, New Hampshire, right across the street from the Verizon Wireless Arena.

• Whenever I watch Taxi Driver, and get to the part where DeNiro drives past the movie theater showing The Texas Chainsaw Massacre, I always wish that he had taken Cybill Shepherd to see that, rather than that lame Swedish porn flick...

• So apparently James Cameron (you know, director of Piranha 2: The Spawning) is trashing Piranha 3-D for "cheapening" the 3-D medium. Yes, because there's nothing that screams "refined cinematic taste" like a 3-D movie. Or a James Cameron movie, for that matter. Can we cut the bullshit already, please? The sooner we can all admit that the 3-D "renaissance" is nothing more than a cynical racket to relieve you of more of your movie-going dollars, the better.

• John Cusack playing Edgar Allan Poe? Can't say I saw that one coming. What's next, will Jon Cryer be portraying Bram Stoker?

• Congrats go out to the delightful Jovanka Vuckovic, former editor-in-chief of Rue Morgue, for landing none other than Guillermo del Toro as executive producer for her debut short film, The Captured Bird. Also congrats on her recent birthing of one of the cutest babies I've ever seen in my life.

• Alright Twilight Zone fans, what's your favorite celebrity guest appearance? I could be all predictable and boring and say either William Shatner or Burgess Meredith, but there's something about Telly Savalas and "Talky Tina" that really stands out, too...

• I'd like to spread the word about two breathtaking film festivals happening on the same day on opposite sides of this great nation of ours. One is Horrible Imaginings: The Horror Film Festival of San Diego. The other is the Hudson Horror Show, happening in Poughkeepsie, New York. Both occur on Saturday, November 6, and there is a very real chance I shall be at the latter. More info to come on these events as we get a little closer...

Visceral Visionaries: Cruella Moxham

I've got a bit of a break from the norm for you this time out, boils and ghouls. That's because things are anything but normal anytime you're dealing with the inscrutable Cruella Moxham, a.k.a. Captain Cruella of the Carnivorous Cadavers. Rather than just making art, you see, Ms. Moxham lives it, and she was very gracious to recently give me a glimpse into her macabre world.

Juggling a collection of impressive projects at any given time, the main happening that Cruella is currently involved in is a zombie crawl known as the Village Invasion, coming to Saugerties, New York on Saturday, October 16. She discussed the event at length with me, in addition to the many other things with which she has been and is currently involved...

Let’s talk a bit about the zombie walks. The one you’re involved in promoting right now is the Village Invasion in Saugerties. Tell me a little about this. How did you get involved in all of it?
It’s hard to describe, actually. I’ll tell you one thing, I would never have been able to really get it going the way I have without utilizing social media. It helped me organize everything, and make the project a reality.

It’s your project, though, right--from the ground up?
Yes, it’s completely my own. This zombie crawl means a lot to me. Actually, organizing events like this in general is what I live for. It’s something I’ve always done; it’s in my blood. My family has been putting on a fundraiser now for 12 years, raising money for juvenile diabetes through a, “Car Show for a Cause”. We raise a great deal of cash in one day in just a few hours. It draws thousands of people.

So what is it about zombies that made you want to organize this whole event?
Nothing. I’m just good at it and I am very fond of all things related to horror, evil and Halloween. I found at an early age that I was different than other people. The ordinary things that others did were extremely boring to me, so I created my own entertainment. Besides, people are easily led—well; I suppose they like to call it, “willing participation.”

What is it that motivates you?
It’s just a great experience, to be able to pull off something successful like that, especially in my hometown. I consider it a success if 50 people show up, or even five, for that matter. It’s not really about me, it’s about the event and the people who come and enjoy in what I’ve created. What can I say; I’m a very complicated person, Brian. My desire is to create something where people can lose their inhibitions and have fun.

Tell me about some of the other events you’ve been involved with.
I rented an art studio and a gallery for three years in Kingston. I had art exhibits that would change monthly. One month the theme was, “Obsession and Fetishes”. The artwork ranged from the typical fetishes one can imagine just from the title of the show all the way to someone being obsessed with food. I pulled some strings and had some close friend who dabble in S&M come in their domme gear , that really shook up the town. Another memorable theme at the gallery was one where I covered the space in assorted shapes and sizes of mirrors. I called it the, “Reflection of the Flesh”, where YOU were the art. I set up paint stations with assorted non-toxic paints and let people at themselves with a photographer capturing the moments it was fantastic! That’s same day I orchestrated a local salsa band to play on the street, the date was Cinco de Mayo. Dancing painted people everywhere, the energy was amazing! I also have been very involved in the Kingston’s Artist Soapbox Derby and have won every year that I have entered into it.

I understand you also have done a lot of work in movie makeup?
Yes, I worked for a company called Aesthetic Creations. I was an assistant makeup artist, in the special effects department. I met a lot of interesting and talented people; most of them had worked or were working for Universal Studios. I really learned so much. I worked on the tail end of Beloved, creating silicon molds and prosthetics. I also got to do that for Bringing Out the Dead, directed by Martin Scorsese. Who is kind of a pompous jerk, by the way. But I got to do a lot of prosthetics for that movie, for Nic Cage, Marc Anthony and other character actors.
I also worked on Jim Jarmosh’s Ghost Dog: Way of the Samurai, in which I created prosthetics for faces, a fake forehead, for a character who was going to be shot in the head. It was definitely interesting to come into work for a company everyday where the props from the jail scene in Silence of the Lambs were hanging overhead.

On the other end of the spectrum, you also currently do a lot of work with floral arrangements. How did you get into that?
While I was subletting the gallery and studio space from a florist I would be there late every day either painting or working on the next event for the studio, and helped her out with the shop from time to time. The shop eventually closed, but I never stopped doing that kind of work. It turned out I was really good at it and I enjoyed being surrounded by flowers, who wouldn’t? People started seeking me out, and pretty soon I was doing arrangements for all kinds of events, from weddings to funerals.

So do you have any trouble at all balancing these two worlds, zombies and floral arrangements?
Not at all, I’m always busy. I am more creative in chaos. As I said, I’m a complex person. I’m from two worlds. As a child, I was very confused as to who I was supposed to be. Whenever I was told I couldn’t do something that was like a challenge to me. And it became a challenge to do as much as possible, and to be good at whatever crossed my path.

So what’s the next obstacle to be conquered? What does the future hold for Cruella Moxham?
I’m thinking the world and then maybe the Vault of Horror…yeah, sounds about right.

* * * * * * * * * *

To find out more about the Village Invasion, check out the official event page over at Crawl of the Dead. Also, be sure to connect with Ms. Moxham via Facebook!

Brokeback of the Dead...

Because it gets damn lonely in that underground bunker...



* Thanks to Erin Rose Tollefsen of Little Shop of Zombies.

Retro Review: The Cat and the Canary (1927)

I recently had the opportunity to truly step back in time and take in a piece of horror history--even film history, for that matter. Universal's The Cat and the Canary is truly an underrated marvel, and an influential piece of work that you owe it to yourself to see, if you haven't. Especially if you're someone who enjoys films like Nosferatu, Lon Chaney's The Phantom of the Opera, and Barrymore's Dr. Jekyll & Mr. Hyde (and really, if you're not, what are you doing here? Shouldn't you be surfing Texts from Last Night or something?)

It gives one pause to think that not a single member of the cast and credited crew of The Cat and the Canary is still alive. This contributes to giving the film the feel of a genuine relic of a bygone age. This is a motion picture made literally a lifetime ago, and this only adds to the rich, thick atmosphere already layered upon it by the deft direction of the German-born Paul Leni (who would do The Man Who Laughs for Universal the following year), and especially the camera work of cinematographer Gilbert Warrenton.

I say "especially", because one of the things that most recommends The Cat and the Canary is the endlessly fascinating cinematography. During a time when film-makers were still discovering their art, and learning how to use the new medium to its fullest advantage, The Cat and the Canary emerges as a lot more than simply a filmed play--which technically it was, since it was based on the very successful early 1920s stage production by John Willard. The movement of the camera is brilliant, vibrant and only further enhanced by the expert use of tinted color film stock.

In fact, in order to fully appreciate the film with the colors in place, I'd recommend the excellent Kino DVD edition of the film, since many public domain prints of silent movies don't include them. The Kino edition also replicates the original score, as composed by Hugo Reisenfeld. Yes, for those who don't know, many silent films had specifically composed scores, written to be played lived when the film was shown.

While the epitome of the classic "old, dark house" horror movie trope, The Cat and the Canary also typifies the manner in which American horror cinema was not yet ready to embrace the supernatural--that would come just a couple years later with Tod Browning's Dracula. This is more of a murder mystery than anything else, but it is so stylized and has such delicious ambiance, that it crosses confidently over into terror territory.

Yet there's also comedy, and plenty of it. The whodunit-style cast is populated by actors and actresses who defy the very unfair stereotype of the silent film actor, emoting both broadly when needed, and subtlely when the moment calls for it. The intoxicating ingenue Laura La Plante is our put-upon protagonist Annabelle West; Creighton Hale nearly steals the proceedings as her cousin Paul, bringing an irresistible pathos and comic presence to the role; Flora Finch is the stuffy Aunt Susan; Martha Mattox plays the inappropriately named Mammy Pleasant. It's an ensemble cast that comes alive on screen in a way that may surprise those not so well acquainted with silent cinema.

Yes, the storyline, with all its twists and turns, is the stuff of genre cliche. But the thing to note here, is that these devices were already cliche in 1927. The fun of the movie is the way it plays with them, the way it takes all the ingredients we're familiar with, and can still dazzle us with something unique. It's a visually beautiful film, which is only enriched by the intervening 83 years, allowing it to be further appreciated as a snapshot of a time and place in genre film history.

The Cat and the Canary is an important film. I'm extremely glad I stumbled across it and gave it a chance. And I strongly encourage you to do the same.

The Many Faces of Jason Voorhees

Fear in Four Colors: Jason Starr's The Chill

By Paige MacGregor

Every girl wants her first time to be special, but for Arlana Flaherty, “special” doesn’t even begin to describe the first time she made love to her boyfriend, Martin Cleary. Unfortunately for this beautiful Irish lass, the Flaherty clan are the keepers of “The Chill”, an old and powerful magic that grants immortality to a select few for the price of innocent men’s lives. And Arlana’s father has a taste for everlasting life.

More than 40 years later, a serial killer is on the loose in New York City, and as the number of sadistic, ritualistic murders begins to add up, the NYPD and FBI hone in on a suspect: a beautiful young woman named Arlana. The problem? Every witness provides a different description of Arlana, a fact that makes sense to no one save a beaten-down Irish cop named Martin Cleary.

Award-winning novelist and screenwriter Jason Starr’s first foray into the world of comics has resulted in the 192-page graphic novel The Chill, first published in 2009 by Vertigo Crime, a sub-imprint of DC Comics’ Vertigo imprint. The Chill is a gritty, noir-style thriller illustrated by Mick Bertilorenzi. Like the silver screen adaptations of Raymond Chandler and other authors’ original noir fiction, Bertilorenzi brings Starr’s story to life in high-contrast black and white perfect for modern crime fiction like The Chill. The graphic novel’s visual style is reminiscent of newsprint, even down to the texture of the paper, and the result is a tableau that compliments Starr’s writing without detracting from the progression of his story.

Starr’s background as a novelist shines through, and is evident in the extent to which the characters are developed, the complexity of the story, and the twisted, unexpected ending. Even readers who believe they know how it will end as they make their way through the graphic novel will be surprised by the grotesque nature of Starr’s ending, which is so deeply disturbing as to be virtually unpredictable. The Chill is far from tame, as readers will discover as soon as they begin reading. It's rife with graphic nudity, gore and sex, but it is the fact that Starr addresses the subject of ritualistic murder, intrigue and sexual manipulation in such a head-on manner that sets The Chill apart from other graphic novels I have read.

While it is possible to read The Chill in a single sitting, this is not a light graphic novel. As previously mentioned, The Chill is 192 pages long, and the action doesn't stop for a second, even when Starr's characters are laying out exposition. Fans of horror comics and thrillers certainly will enjoy Jason Starr's crime drama, and I highly recommend picking up a copy, either directly from Vertigo Crime or from another comic book retailer.

Random Ramblings from the Vault...

• I'll be damned if I can remember the last time I saw a "mainstream" theatrically released horror film with as much balls-to-the-walls gore as Piranha 3-D. It even had me getting a bit queasy at times, which is a good thing. And that opener with Richard Dreyfuss? Worth the price of admission, even with the horrendous CGI.

• Recently had a chance to pop in The Brain That Wouldn't Die during one of my late-night battles with insomnia. Never realized how much lurid, sleazerific stuff that flick had going on. 1950s stripper catfights? Sign me up.

• Speaking of stuff you miss on first viewing, after a re-viewing of A Nightmare on Elm Street 2: Freddy's Revenge, I can't believe they were ever able to get the movie made, what with all the gay subtext going on. I've said it before, and I'll say it again--that's a daring, egregiously underrated horror sequel if ever there was one. Sure beats the hell out of soul pizzas, I can tell you that.

• My excitement levels continue to rise for AMC's The Walking Dead. I literally have seen nothing thus far that would lead me to expect anything but greatness from the new series, set to debut in October (I'm assuming as soon as Mad Men finishes up.) I'd love to do a week-by-week episode review, but I'm assuming everyone and their mother will be doing the same thing. Hear that, blogosphere? I call dibs on the Walking Dead episode reviews! Ahem, glad that's settled...

• If anyone's looking to get me a birthday/Christmas present this December, might I suggest the book Final Exits by Michael Largo, winner of the 2006 Bram Stoker Award for best non-fiction book? Cool, thanks.

• Am I the only who still has trouble getting through the opening credits for Tales from the Darkside in a darkened room all by myself? Just wondering.

• My most recent sidebar poll, regarding which vampire you would allow to bite you, has really got me thinking. That's got to be one of the most fascinating aspects of the vampire legend, don't you think? That a victim would be so under their power as to allow themselves to be bitten, regardless of the risk involved. Quite a fascinating concept, no? I think the morbid drive toward self-destruction is one of those themes at the very heart of much of horror.

• One upcoming project that has certainly piqued my interest is Guillermo del Toro's Don't Be Afraid of the Dark. The recently released trailer has me more intrigued than ever. The original is easily my favorite horror TV movie of all time, but there's certainly a lot of room for improvement, especially with someone with the proven genre chops of Del Toro involved. Bring it on.

• A recent Facebook debate got me thinking (I'm really doing far too much thinking these days)... I think the world can be divided into those who think Alien is the superior film to Aliens, and those who prefer James Cameron's sequel to Ridley Scott's original. As for me, I've always been in the former camp--Aliens is a terribly entertaining action flick, but Alien...ah, that's just sublime film-making right there. I also take the same stance with regard to the Terminator films. The first one is a taut little sci-fi thriller that has stood the test of time; the sequel, a bloated, dated cheesefest.

• Are you a zombie in the general New York vicinity? Well, there just so happens to be a zombie crawl coming up in October that you might want to be a part of. It's the Village Invasion, descending on Saugerties, New York on the evening of October 16. Organized by the demonically delightful Cruella Moxham (an upcoming Visceral Visionaries victim/subject), it's sure to be a brain-munching bonanza. Get more info here...

• Speaking of demonically delightful, I'd like to thank the amazing Kristy Jett of The Blood Sprayer and Fright Rags, who despite having a blast all weekend at the Monster Mania convention in New Jersey, still managed to find the time to randomly put me on the phone with Joe "Mark" Seely and Erika "Greta" Anderson of Nightmare on Elm Street 5 fame. Possibly my most surreal experience since riding around Cleveland in a rental car with Mr. Perfect and the Big Boss Man...

VAULT VLOG: Zombelina's JAWS Reaction

Happy Birthday Howie Phillips Lovecraft!

Let's all take a moment to commemorate the 120th anniversary of the birth of the godfather of horror...

Think You Have Every Dawn & Day DVD? Think Again!

Romero fans know there have been approximately 7,836 different video versions of the classic living dead trilogy films available over the years, including various directors' cuts, special edition releases and what have you. Most recently of all were the Blu-ray releases of both Dawn of the Dead and Day of the Dead, which contained certain extras and other assorted goodies not seen before on any previous release. Pretty awesome, but of no use to troglodytes like myself who have yet to jump on board the fancy-pants Blu-ray express, choosing to stick with that quaint little relic known as the digital video disc.

Well, that's all changed now, thanks to UK video distributor Arrow Films. See, Arrow is the official UK distributor of a whole bunch of American genre titles, including, you guessed it, Dawn of the Dead and Day of the Dead. And on Monday, August 30, Arrow Films will be re-releasing both films on DVD, except this time adding on a host of special features previously included only on the Blu-ray releases. Yes, this is a UK distributor, meaning that both releases will be in PAL format, but most U.S. DVD players these days are all-region, and will support PAL. Just be sure before you buy these--don't come crying to me if they won't play, ya whiny Americans.

These are two of my favorite horror films of all time, and I approve of any excuse to check them out one more time. For more info on the Dawn and Day releases, as well as more very cool titles, check out the official Arrow Films website, as well as Arrow's official forum site, Cult Laboratories.

VAULTCAST: Conversations in the Dark... w/Bryan White

Brace yourselves, Vault dwellers, because it's about to get very geeky up in here. This week we're talking comics--horror comics, to be more specific. And 1970s Marvel horror comics, to be even more specific. Blade, Man-Thing, Werewolf By Night, Ghost Rider, Tomb of Dracula, the whole nine yards.

Joining me is fellow pop-culture obsessed Gen-Xer Bryan White of Cinema Suicide. He and I had begun conversing recently on Twitter about our shared enthusiasm for one of comics' most underrated movements and eras, and now, it's turned into all this. For those of you horror fiends who are also comics nerds, you're in for a treat. If you beat up guys like us in high school, kindly come back next week. We promise to have our lunch money for you then.

Take a listen to the embedded link below--or proceed directly to the Vaultcast page and download it.

Cinema Suicide: http://www.cinema-suicide.com
Twitter: http://twitter.com/CinemaSuicide