The Vault Takes You Inside Tribeca

It's my pleasure to announce that The Vault of Horror will be providing behind-the-scenes coverage on the horror films being screened this year at New York's prestigious Tribeca Film Festival. They include:

The Cottage: The most hyped of the bunch, this horror-comedy stars Andy "Gollum" Serkis, and will be screening for the first time outside its native UK.

Dying Breed: An Australian thriller making its world premiere at Tribeca.

From Within: Also making its world premiere, this supernatural tale stars Thomas Dekker of Terminator: The Sarah Connor Chronicles, and Rumer Willis (Bruce & Demi's baby girl).

Killer Movie: A biting satire about murderous havoc unleashed on the set of a reality series, directed by Jeff Fisher and inspired, no doubt, by his experiences working on The Simple Life.

Sick Nurses: a.k.a. Suay Laak Sai, this Thai splatterfest export is already causing a buzz overseas.

The Wild Man of the Navidad: Based on real-life journals, this world-premiering flick focuses on a Texas town confronted by a creature inspired by urban legend.

Kirksdale: A short subject making its New York premiere, set in a 1960s Florida mental asylum.

I plan to get to as many as I can (or as many as Tribeca can provide screeners for). And who knows, there might even be a director Q&A here and there as well. And if I really keep my fingers crossed, they might even let me get my hands on Let the Right One In.

So keep your greasy eyeballs peeled for upcoming Tribeca coverage in the days/weeks to come. The Tribeca Film Festival happens from April 23 to May 4. Special thanks to their PR Department for making this possible.

Tweet

The Horror Comics Inquisition: Revisionist History?

In what is sure to be a fairly unpopular, if not inflammatory piece amongst lovers of horror-themed comic books (I'm talkin' to you, Karswell), The New Yorker has published a review of two new books on the subject of the 1950s Congressional hearings into the comics industry that challenges how the controversy has been viewed for the last half-century.

The review, by Louis Menand, though peppered with cultural snobbery in the grand New Yorker tradition, nevertheless is a fascinating read, which I was drawn to as a lover of both horror and comics. Was Dr. Francis Wertham, author of the infamous Seduction of the Innocent, not really the witch-hunter he's remembered to have been? Was William Gaines, publisher of EC Comics, more to blame for the collapse of his genre than anyone else? And was that collapse actually caused by factors completely unrelated to the 1954 hearings?

The two books being reviewed are David Hajdu's The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America and Bart Beaty's Fredric Wertham And the Critique of Mass Culture. In his combined review, Menand jumps full-tilt into the 50-year-old fray, indicating, for example, that an amphetamine-fueled Gaines practically hanged himself in the witness stand with devastatingly ill-conceived testimony. He also points out that Wertham actually opposed the creation of the restrictive comics code that the industry imposed on itself, but rather favored something more akin to a ratings system.

In his appraisal of the two books, the reviewer takes a viewpoint which, while unpopular, is certainly worth a look for anyone interested in the subject. Particularly, he suggests that Gaines was not some first-amendment martyr, but rather a profiteer crafting entertainment for children that may not necessarily have been appropriate for them, especially in 1950s America. Menand points out comic industry insiders hired private investigators to try to dig up dirt on Wertham (below), who, in his words, "was not a philistine, [but] a progressive intellectual" who was anti-censorship but merely concerned with what he saw as racist, sexist and misogynistic representations in children's literature.

The decimation of the comic book industry is also, in Beaty's book, pinned more on the dissolution of chief distributor the American News Company in 1955 rather than the hearings of the previous year.

This is not a black and white issue, to be sure, and Menand also specifically makes mention of the Kangaroo-court atmosphere that characterized the hearings. But instead of simplifying the matter into a good-guy/bad-guy scenario, Menand and the two books he's reviewing take a closer, harder look into the situation than perhaps has ever been taken, pushing aside the mists of nostalgia that have prevailed in post-counterculture America.

Tweet

Rue Morgue Honcho Talks Horror

It's been clear for years now, at least to this humble blogger, that Rue Morgue is the finest horror magazine on newsstands. And I'm not the only Classic Horror Film Board voter who thinks so, since the mag did win a coveted Rondo Hatton award a couple weeks ago.

Firefox News (no connection to the browser, which they dutifully point out) has a really in-depth exclusive interview up with Rue Morgue founder Rodrigo Gudiño, who is apparently quite the deep thinker on all matters horrific. With a guy with this much insight on the genre at the helm, it's no wonder Rue Morgue runs circles around other horror pubs that seem more interested in printing as many gore-dripping photos as possible than anything else.

Gudiño discusses the difference between horror fans and science fiction fans, the perception of horror in the mainstream and what can be done about it, as well as many of the ventures Rue Morgue and its staff are involved in, including motion pictures. Check it out here.

Tweet

Gore Goes Mainstream: A History of Horror Movies, Part 7

It's ironic that the horror genre would be so quiet at the turn of the 21st century. Ironic, because in the years that followed--the final years of this seven-part history of horror--we have seen scary movies hold mainstream America fascinated to a degree greater than anything witnessed before, or at the very least since the heyday of Universal 75 years ago.

Whereas in the past, horror was treated as the forgotten stepchild of the movie biz, the sordid secret kept hidden away and relegated to midnight showings and niche subcultures, these days it's all around us, accepted like never before by a culture which has perhaps become too cynical and overexposed to real-life horrors to truly be shocked any longer. More on that later.

In recent years, the last true example of cinematic dread we've seen has been the surge of unnerving films that have come out of the Far East. In the Western world, the trend became to remake these films for American audiences, starting with The Ring in 2002. By far the most effective of the bunch, it was followed by the likes of The Grudge (2004), and more recently Shutter and The Eye.

Much of what became hip for the genre this decade has had to with a nostalgia for the films of a generation past. In part, this can be pointed to for the dramatic resurgence of the zombie subgenre--it can also be attributed to the success of videogames like Resident Evil. It was that game that kicked off the undead renaissance with a film adaptation in 2002. That same year saw the release of Danny Boyle's 28 Days Later, which introduced us to the concept of "fast-moving zombies."

It might not be an exaggeration to say that the past half-decade has seen more flesh-eater flicks than at any point previous. George Romero's Dawn of the Dead got a surprisingly high quality 2004 remake; Romero himself finally got to continue his saga with 2005's Land of the Dead; and Edgar Wright brought us the ingenious Shaun of the Dead (2004), the finest horror comedy this side of Abbott & Costello Meet Frankenstein.

The other face of this nostalgia was a throwback to the gritty, over-the-top exploitation horror of the 1970s. After more than a decade of restraining itself, Hollywood was starting to let its hair down again. The result is epitomized by the work of rocker-turned-director Rob Zombie, whose House of 1,000 Corpses (2003) and The Devil's Rejects (2005) exemplify a return to the early work of Tobe Hooper and Wes Craven.

But the logical extension of this would turn out to be a development that has been troubling to some old-school fans, yet exhilirating to a whole new generation just now embracing the genre. It should be said that the major difference between the exploitation flicks of then and now is that now they enjoy the mainstream spotlight. Filmmakers who grew up on this form of entertainment have helped bring it to the fore like never before. And as a result, a natural evolutionary step has occurred.

In direct contrast to the previous decade, in which some of the most bloodless horror films of the modern era were released, the past few years have born witness to an almost unprecedented amount of gore. And this time, it's not hidden away in a rundown grindhouse theater, playing to an isolated subculture of aficionados, or relegated to a few racks in the back of your local video store. This time it's front and center, and right in everybody's face.

Although the first Saw film, released in 2004, was actually quite psychological and contained little graphic violence, it has become the most recognizable touchstone of what is now usually referred to as torture porn, a subgenre of horror that focuses on depicting bodily trauma in unflinching detail. In the later Saw pictures, and even moreso in a movie much more typical of the category, Eli Roth's Hostel (2005), some might even argue that the depiction of torture takes precedence over character and plot.

Never before have movies containing such images played to such a wide audience. They are a part of our pop culture in a way that their predecessors were not, at least in their own time. The reasons for this have been debated endlessly by social commentators both professional and amateur. Are we desensitized as a society? Or worse, have we grown to enjoy such macabre displays, like Romans at a gladiatorial event? Some have argued these points, while others simply say that horror filmmakers are only looking for new ways to disturb us, for new ground to cover.

If it is just all about exploring new territory, that's at least more admirable than the latest trend that has all but taken over the production of horror movies as we approach the end of the first decade of the 21st century: remakes.

Too timid to try anything original, the majority of those willing to back horror flicks these days are looking to cash in on bankable properties; proven titles that are almost guaranteed to bring in a buck, if only on name recognition alone. The 2003 remake of The Texas Chainsaw Massacre kicked it off for all intents and purposes, and it has only grown more commonplace in the past five years. We've seen Zombie redo Halloween (2007), plus slavish rehashes of classics like House of Wax (2005), The Amityville Horror (2005), The Omen (2006), The Wicker Man (2006), The Hills Have Eyes (2006), When a Stranger Calls (2006), The Hitcher (2007) and many others, with decidedly mixed results.

In the year 2008, horror fans have a veritable legion of upcoming horror redo's to look forward to: Prom Night, Friday the 13th, A Nightmare on Elm Street, Rosemary's Baby, Hellraiser, Sleepaway Camp, etc., etc. Perhaps it's a commentary on the state of the genre that it seems to be torn between groping to depict more and more horrifying images, and endlessly trying to recreate that which worked in the past.

So where do we go from here? Maybe overseas, where films like the excellent [REC] threaten to steal away America's dominance of the genre. Or maybe the upcoming Wolf Man and the rebirth of Hammer Films signify a return of the classic monsters. Then again, it's most likely a heretofore unseen new development as unimaginable as the likes of Psycho or Night of the Living Dead would've been to pre-1960s audiences.

If it survives this latest cannibalistic phase, the horror film genre can survive anything, and it will almost certainly continue to thrive. From Count Orlock and Erik the Phantom, to Dracula and Frankenstein, to the Gill-Man and Norman Bates, to Leatherface and Jason, to Jigsaw and Captain Spaulding, the cinema of fear has firmly held our imagination in its icy clutches for a hundred years. Ironically, for as long as there exists real horror in this world, we'll always seek the escape of its morbid, yet safely unreal on-screen counterpart.

Other major releases:

• The Others (2000)
• Final Destination (2000)
• Freddy vs. Jason (2003)
• Wrong Turn (2003)
• The Descent (2005)
• Silent Hill (2006)
• Fido (2007)
• Hatchet (2007)
• 28 Weeks Later (2007)
• Diary of the Dead (2008)

Part 1: The Silent Dead

Part 2: Gods & Monsters

Part 3: It Came from Hollywood

Part 4: The Times, They Are a-Changin'

Part 5: Blood and Guts

Part 6: From Post-Mortem to Postmodern

Tweet

Del Toro Wolf Man Pix Hit the Web

Since first appearing at EW.com yesterday, these two images of Benicio Del Toro as Wolf Man Larry Talbot in the upcoming remake have been making the rounds on a bunch of sites, but I couldn't resist the urge to put in my two cents.

To put it simply, Rick Baker is a god among men. I knew he was a major fan of the work of Universal makeup master Jack Pierce, but even I couldn't have dared to dream of such an impressive homage to Pierce's work on Lon Chaney Jr. in the 1941 original. It's refreshing to see they resisted the urge to go CGI. It's also nice to see they're sticking with the more humanoid werewolf variety, rather than the lupine version made popular (by Baker himself, ironically) in An American Werewolf in London. This is good stuff. Consider me officially re-excited for this picture, now 11 months away.

Tweet

Howard Phillips Lovecraft – A Paean

For as long as this blog allows me to contribute, you will occasionally read statements by me extolling the virtues of H.P. Lovecraft. In fact, I will probably repeat myself many times on the subject. But for now, allow me to begin.

The importance of H.P. Lovecraft to the genres of horror and science fiction cannot be overstated. He is seminal. He is a pillar of all that came after. He was the first of many, and where he was not the first, he was most innovative.

His name – Lovecraft – innocuous sounding enough, is now synonym to both “macabre” and “lurking terror.” Without him there would be no King. No Barker. No Carpenter. No horror as we now know it. [Caveat: there has been a remarkable amount of scholarly writing about H. P. Lovecraft, of which only tidbits I have read. I do not proclaim to be an expert on the man, only that I have come to love his stories and have begun to understand his importance].

And the saddest thing about H.P. L. is that he was completely unappreciated in his lifetime. He was convinced he was a failure. He died penniless. He was forgotten. Yet the list of what was inspired by H.P. Lovecraft, even tangentially inspired, is simply vast. There are several board games, a role playing game, video games, and even two Metallica songs inspired by him.

My first exposure to Lovecraft was a paperback collection entitled “The Shadow Over Innsmouth,” which was an anthology of several of his stories. I found it while rummaging in the basement at the tender age of about 10, looking for some packed away Lionel train accessories. A basement, dark, musty and cluttered is a rather poignant place to find your first Lovecraft. On the cover was a man in a back tuxedo and cape, similar to what Bela Lugosi’s Dracula was fond of wearing, but with a face not unlike a cross between a Nosferatu and the Creature from the Black Lagoon. It scared the bejeezus out of me, and from that point on I associated “Lovecraft” with “scary.” [I was young, and didn’t use big words yet].

I tried to read it, as I liked trying to scare myself [I had already delved into Edgar Allen Poe, the direct precursor of Lovecraft, as well as Stephen King], but I couldn’t get around his dense, spiraling, verbose writing. It was too much vocabulary, too much atmosphere, and not enough action for my young sensibilities. So, “The Shadow Over Innsmouth” went back on the shelf.

Now, during the 80’s there were two movies I remember renting from Lynn TV, [the local video store], based on Lovecraft – “From Beyond” and the cult classic “Re-Animator.” I thought both of these movies were great; they were gory, violent, filled with nudity, and at least in the case of “From Beyond,” pretty freaking scary. The IMDB credits H.P. Lovecraft with some 71 films based, one way or another, on his writing. Yet none of these were in critical successes, and although a few were cult classics, most people, [myself included], have not seen them. One future project, “At the Mountains of Madness” is one that all horror fans should be looking forward to. [More on “ATMOM” below]. Therefore, these B movies would be my first official consumption of any H.P.L's material.

Years passed. I grew up, and went to the usual years of schooling. I read many books, and saw countless movies. I collected comics. I developed my tastes, which tend to the fantastical, at times weird, at times dark. I enjoyed visions of the future, both dystopian and utopian, far reaches of outer space, of Mars and Martians, of myths of Earth’s origins, of ancient times and creatures. I read King, Barker, Heinlein, Asimov, Bradbury, Herbert, Tolkien, and others. Then one day, in my late 20’s, I again came across “The Shadow Over Innsmouth” and began to read. It was fantastic. I loved it. The first story was “The Colour Out of Space,” a very creepy, yet simple story about what happens to the countryside when a meteorite falls from the sky, written in H.P.L’s anachronistic manner [notice the spelling of “Colour”]. I buried my nose in the book, next trying to get through “The Shadow Over Innsmouth,” about a desolate New England town peopled by worshippers of an ancient and malevolent sea god. In the middle I lost the book, and couldn’t find another copy of it in my local used bookstores nor the local Barnes & Noble. Then I got lucky when I found another H.P.L. anthology with “The Shadow Over Innsmouth” in it. I picked it right back up, and devoured the whole thing, and then consumed the rest of the book.

At this point I was ravenous for more. I searched on-line and I found sites with his complete works [I am presently looking for a printed one for my bookshelf]. After-hours at my old office I would print out stories for my ride home on the subway, and in no time I went through them all.

A casual reading of H.P.L. finds that his themes repeat – madness; darkness; lurking; moldering decay; especially dark shadows; backward and decrepit people living in decrepit towns and countryside; orders of ancient and otherworldly beings and gods whose “magic” is more like science we cannot understand. His settings often repeat as well, and are mostly the back country of New England, usually centering on a town called Arkham, the Miskatonic University, and the denizens thereof. This last theme, of otherworldly beings and their super-science, would eventually be named by others the “Cthulu Mythos,” encompassing a series of loosely connected stories about these beings and their worshippers and victims. In my opinion they are the best of H.P.L., and certainly his most influential works.

And in creating this Mythos [though many others contributed to the Mythos, notably Robert Howard - creator of Conan, Solomon Kane, and Kull - and some crossover can be seen in the Conan stories], H.P.L. laid the foundation for modern horror. Unfortunately for him he would not live to see his work find the success he so longed for, due to his untimely demise in 1937.

With the Mythos came the Elder Ones, the Elder Gods, the Outer Gods, the Deep Ones, Cthulu and his Children. We get horrific entities with names like Yog-Sothoth, Azathoth, Nyarlathotep, Dagon, Shub-Niggurath, Tsathoggua and creatures called shoggoths. We learn that the Elder Ones [another race of alien, interstellar primordial superbeings], Cthulu and his kind, and the Outer Gods vied for the Earth when it was young, and they are still lurking: some sleep below the sea in hidden cities; some dwell in hidden caves under the polar ice; some just beyond the gauzy fabric of this reality.

These things hailed from otherworldly parts known as Leng, R’lyeh, Ulthar, Skai, Kadeth, and Ib in the land of Mnar, and their deeds were memorialized in such volumes as the Necronomicon and the Pnapkotic Manuscripts, not to mention numerous horrific carvings, base reliefs, hieroglyphs, and totems. Pretty rich stuff from a writer making up canon on the fly, without ever working it out into a cohesive system.

Before H.P.L.’s influence took hold, horror was of the Victorian type: Dracula, Frankenstein, and the horror stories of old Europe: vampires, werewolves, and at the core of it, Satan. At times, instead of the devil being at the core, it was the acts of men: Jeckyl and Hyde, as well as the monster of Frankenstein – both examples of men trying to be God and the ramifications thereof. All in all, it was a very structured world, with God on one side, the Devil on the other, man in the middle, and in the end things would shake out. Man’s place in this order was assured.

It is after H.P.L. and the Cthulu Mythos took hold, when the madness and man’s uncertainty as to his place in the natural order, do we truly get modern horror as we know it. With this new paradigm, horror would eventually take new turns. We would encounter the backcountry cannibal families for the first time, waiting in their ramshackle farmhouses. We would experience stories that challenge our sensibilities as to our place in the universe. Killers were motivated [and would not die, or, stay dead] by forces that were wholly unexplained, and not attributable to either God or Satan, but rather unknown alien forces, or at times sheer, simple madness. Men would fall into fearful insanity at their powerlessness to act; at the realization of their insignificance; that the fate of man and the earth are already sealed and it is only a matter of time; that nothing can stop the inexorable march of evil to their doorstep. Man’s place in the universe was not only suspect, it was downright trivial when one became aware of the real forces at work. Some might say that his dreadful vision was influenced by the madness of the mindless slaughter of the First World War.

In my opinion H.P.L.’s magnum opus is the novella “At the Mountains of Madness,” which is probably his longest work. Simply, it’s about an Antarctic expedition [launched by the Miskatonic University] which goes horribly wrong, leading to death and insanity. It is the kind of story that grips you, steadily ratcheting up the tension until you cannot put the story down. It is credited for inspiring the novella “Who Goes There?” by John W. Campbell, which in turn inspired “The Thing.” In “At the Mountains of Madness” we hear of a tale which ties together much of the Mythos, but leaving more than enough unexplained to fuel further wonder. We find out that our ideas of Earth’s origin, and its ultimate fate, is not what we would expect, or anywhere close to what we hoped for. But no such admonition to “Watch the skies” will ameliorate our collective doom.

H.P.L. can be found everywhere in the horror genre. Movies as disparate as Ghostbusters, The Thing, The Shining, The Texas Chainsaw Massacre, Pet Semetary, Hellraiser, Hellboy, The Fog, and Event Horizon all owe H.P.L. a great debt for the groundwork he laid, the concepts he pioneered, and the atmospheres – the general creepiness – he was the master of. The same goes for horror literature, as well as comic books. Hell, Gotham City’s Arkham Asylum came from somewhere. Stephen King is practically his latter day protégé, another New Englander publishing the terrible goings-on in the unseen corners of Massachusetts and Maine.

H.P.L. is, with respect to the genre of horror, almost like Shakespeare to the English language – his influence is so wide, so diffused, so constant, you don’t even notice it. It’s like asking a fish to notice the water he is swimming in. But there it is – he is the dark, creepy, lurking atmosphere we all breathe.

I would like to give a special thanks to the Big AB of the Northern Wastes for his assistance in this endeavor.

Tweet

This Is Not Your Father's Hammer Films

This has been out there for a while now, so some of you may already know that Britain's legendary Hammer horror studio has been revived and is releasing its first new movie in 30 years. I came across the new trailer earlier today, so I thought I'd share it.

The film is called Beyond the Rave, and unlike earlier Hammer releases which were traditionally period pieces, the movie takes place in the present day, placing blood-sucking vampires amidst Ecstasy-addled ravers.



It's certainly a break from such classics as Horror of Dracula, The Curse of Frankenstein and Kiss of the Vampire, but Hammer CEO Simon Oakes, who bought the company last year, insists that the studio must change with the times if it expects to get back into the production business.

"We have an opportunity to recalibrate the DNA of Hammer Films for the MySpace generation," said Oakes in a press release. Because, as everyone knows, the 1950s and 60s was the Victorian era.

I'm willing to give the flick the benefit of the doubt, but really, how long can this pandering to an increasingly infantilized demographic continue? It's a vicious, self-sustaining cycle. I'm a member of Generation X, and I'm one of many who grew up loving Hammer movies. What's with all the spoon-feeding that goes on these days?

OK, now that I've gotten that out of the way, I really am interested to see what Hammer 2.0 is capable of. Beyond the Rave will air in five-minute installments on MySpace beginning April 17, and then will be released to DVD. Included in the cast is the once quintessential Hammer babe Ingrid Pitt, who, in a sad commentary on the inexorable march of time, plays the mother of one of the main characters.

Tweet

Happy St. Paddy's Day from The Vault of Horror

NOW WHERE'S ME POT O' GOLD???

Tweet

A Story Any Horror Geek Can Relate To

Joe Dante has long claimed to have been a lifelong sci-fi/horror freak, and a reminiscence of his related today at contactmusic.com definitely supports that. The director of Piranha, The Howling, Gremlins and yes, Looney Tunes: Back in Action tells about the time a man was stabbed in the movie theater in which he was watching Mario Bava's 1965 classic The Whip and The Body.

A fan of obscure and then hard-to-come-by cult films, a teenage Dante used to venture into the sketchier parts of Philadelphia to visit the local grindhouse cinema and catch the kinds of flicks he couldn't see anywhere else, such as Bava's haunted castle tale. Dante, then 19, recalls sticking to his seat despite the outbreak of real-life violence and its aftermath:

"There's a scene where Christopher Lee is beating Daliah Lavi with a whip on a beach at sunset. Somebody in the theater got so excited that he stabbed the guy next to him. This was the only time this picture had played [by me] and, by God, I wasn't going to get up and leave. The police came... but I stuck around to see the end of the picture."

See, and you thought movie theater violence started with Boyz n the Hood and New Jack City. But seriously, who among us wouldn't probably have reacted the same as Mr. Dante?? And if you're answering "Me!"--then, sir or madam, I order you to remove yourself forthwith from my blog.

Dante is the master of ceremonies for the film series Mario Bava: Poems of Love and Death, a celebration of the Italian horror maestro's work currently going on at Hollywood's Egyptian Theatre.

Tweet

A Place for Monster Kids Young and Old

A few months ago, I had the good fortune to come across a little place on the web that made me feel completely at home. And if you enjoy reading this blog, then that place would probably make you feel at home, too. It's the Classic Horror Film Board, or the CHFB as we hepcats call it.

I enjoy posting on messageboards. It's fun sharing information, memories and opinions with people all over the world. But it has to be the right place. Unfortunately, a lot of horror boards are just not fun places to be. Some are filled with comments that don't go much deeper than "Rob Zombie is awesome!" or "Leprechaun: Back 2 tha Hood sucks way more than Leprechaun in the Hood!" Other times, I get that sinking feeling that the posters are not so much horror movie fans as fans of the content of horror movies. To illustrate, whenever I come across threads like "Who is the coolest serial killer of all time?" or "What would be the best way to torture someone?", I usually head for greener pastures.



The CHFB has become a favorite of mine, and it's one of the places I post to regularly, along with Bloody-Disgusting and the Rue Morgue forums. I guess what I enjoy most about it is that it's filled with fans who never forget that this stuff is supposed to be fun. The kind of fans who grew up watching B-movies on late night TV; or aren't ashamed to say they've built a model or two; or can recall the days of "horror hosts". These are real horror fans--not petulant emo-types whose mommy and daddy don't understand them and who are about two wedgies away from going Columbine.

So if you truly love this stuff and have wide-ranging tastes that can go anywhere from Dr. Caligari to Dr. Satan, then the Classic Horror Film Board will be a breath of fresh air. It's a place for the intelligent exchange of ideas, for shameless mass reminiscing, and real community-building for scary movie enthusiasts in the age of information. See you there!

Tweet