Pride And Prejudice And Zombies has truly risen from the grave.
Deadline reports on two major developments on the Burr Steers film that mixes the mannered, brain-challenging prose of Jane Austen with brain-eating corpses from hell.
Sony Screen Gems has closed a deal for U.S. distribution rights, which means that we’ll probably be seeing the film in theaters come 2015!
Also, two of “Game Of Thrones‘” villains, both Charles Dance, below, and the wonderfully evil Lena Headey, pictured above, have joined the cast! Headey is a big genre icon having starred in the “Terminator” series, Dredd, 300 and even Laid to Rest and The Purge!
The film also stars Lily James, Sam Riley, Bella Heathcoate, Jack Huston, Douglas Booth, Matt Smith, and Suki Waterhouse.
“This mash-up that begins with the tangled relationship between lovers from different social classes in 19th century England, and is complicated by a full on outbreak of zombies.“
Latest script is by Steers, who rewrote a previous draft by David O Russell.
Ready at Dawn’s PS4 debut The Order: 1886 has gradually become one of my most anticipated games. I love Victorian era London, I love ancient wars between man and monster, I love steampunk weapons and gadgets, and I especially love using those steampunk weapons and gadgets on werewolves.
The latest dev diary for the upcoming game digs into all that steampunk goodness, as well as the process that went into creating each weapon and gadget.
If you ever wondered what it would look like if the visceral melee combat of Dead Island and the badass spellcasting of Skyrim was thrown into a medieval fantasy world filled with demons and monsters that need slaying, Hellraid is basically that. Back in April, Techland revealed they had decided to eschew a release on last-gen consoles in favor of bringing their dungeon hack ‘n slash game to current-gen consoles.
The move meant the game would be rebuilt from the ground up to make full use of the new consoles. It also meant it’d look and play better, so few people complained when they announced a 2015 release, rather than its initial fall 2014 window.
As we can see in the video below, this game has benefited greatly from that decision.
Hellraid releases on Steam Early Access later this year, with the retail version hitting PC, PS4 and Xbox One in early 2015.
Bob Clark managed to direct two of the most beloved Christmas movies of all time in his career. What makes that even more amazing is that he directed them for two completely different audiences. The first being Black Christmas which came out in 1974 and starred Margot Kidder, Olivia Hussy and John Saxon. The story follows a group of girls being systematically slaughtered by a killer within their sorority house. Really gets you in the Christmas spirit, no? Well if that isn’t your thing (in which case why are you here?) then you have undoubtedly seen his other classic A Christmas Story in which the most horrific elements come from boyhood pranks and the overshadowing fear of permanent eye dislocation.
So Clark has had an eventful career to say the least and when I picked up Children Shouldn’t Play With Dead Things I was sure I would enjoy it. I wasn’t wrong, actually I low balled my expectations and I fucking loved it!
I’ll be the first to jump on the “zombies are old news” bandwagon but that doesn’t mean I can’t enjoy them from time to time.Children, though a zombie movie, strangely follows the slasher movie formula. We have a group of young actors visiting a cemetery to entertain their tyrant of a director Alan, who is quite possibly the vilest of characters in movie history. He treats his troupe like dirt, even referring to one of them as “meat”. We have other formulaic characters as well such as the love struck couple, the funny fat guy, the bitchy girl, etc. However, though these characters all fall into some sort of typecast some still manage to be legitimately likable and funny except Alan who keeps insisting these people put up with his shenanigans lest they find themselves unemployed. Why they don’t just seek employment elsewhere I will never know. I guess times were tough in Miami for actors in 1973.
Now according to IMDB this is a horror/comedy which was basically unheard of back then. Sure, we laugh at a lot of horror movies from the 70s and 80s for their camp and bad acting but most of them weren’t funny intentionally. Writer Alan Ormsby (who plays the horrid director Alan) really nails it on dark comedy here while also balancing the disturbing factor. I laughed but I never lost the creeping feeling of what was going on.
Basically, Alan has his acting troupe sail to a, unbeknownst to them, (spoiler!) faux cemetery island that he and some of his friends have built in addition to the actual cemetery already there. After trying to raise the dead, and failing, Alan gives up and leads the group to a cabin but not before he digs up a real corpse named Orville to bring along with them.
And here is where the movie really takes a hard left and descends into lunacy. Turns out the dead really are coming back to life and when they do it’s a sight to behold. I will go on record and say that these zombies are the scariest I have seen. Romero/Savini zombie are all well and good but these zombies really look dead and some have been dead for a long, long time. And these aren’t your modern “virus” zombies either these are the real deal bursting out of their graves kind (read: the best kind).
I’ll admit the first part of this flick does sort of drag. There isn’t really any clear plot going on, it’s just these people going to a cabin on an island with their terrible boss. Essentially the first half hour is the worst team building exercise I have ever seen. Once it gets going though it’s a force to be reckoned with and I’m willing to look past a few flaws.
For instance, it doesn’t seem the zombieism is contagious in any way. Many characters are scratched and bitten but none of them turn. So at the end when the zombies climb aboard Alan’s boat to go back to Miami- ala Lucio Fulci’s Zombie- there really doesn’t seem to be a threat of spreading the disease. But really, that’s less of a “flaw” and more of a breath of fresh air and in a way Children Shouldn’t Play With Dead Things is sort of the precursor to The Evil Dead. The zombies or more like deadites in that they are brought back by a Necronomicon-esque Grimoire. I definitely can see a lot of imagery and ideas that were spawned from this criminally underrated movie. After all both The Evil Dead and Zombie came out well after Children Shouldn’t Play With Dead Things.
TLDR- Children Shouldn’t Play With Dead Things is well worth your time if you haven’t gotten around to it yet. It has the perfect feel for this time of year and really should be held among the top zombie movies of all time. It even almost makes up for Alan Ormsby’s other horror venture 1982′s Cat People…almost.
Have you ever wanted to know what it’s like to be in a coma, existing in some tenuous space just outside the reach of total consciousness? What if you had no agency in this world, but rather were forced to experience fragments of a previous existence without understanding the events themselves?
That’s the best nutshell explanation for Dear Esther I can muster. It is a concise, indelible experience, a playable metaphor without traditional structure or scope, but because I understand so little about it, who knows, I could be wrong about that, too.
Nevertheless, it is an experience worth having. The game is a beautifully rendered, auditorily pleasing adventure, and it only takes a single sitting to complete. Anyone who cares about video games as an art form should be interested in Dear Esther’s overall purpose, even if he – like me – does not quite understand what it might be.
It should be pretty obvious from the intro that Dear Esther is an experimental game, so placing it within the context of the horror continuum is going to be difficult. It is not obvious occultish phantasmagoria like Clive Barker’s Jericho, but neither is it a narratively rich deconstruction on par with, say, Mark Danielewski’s House of Leaves.
Dear Esther has no real game mechanic save for exploration, and it is not long enough to really warrant a full-on analyzation, especially not here. It’s brief, even by indie standards, but without it, arguably, we wouldn’t have games like Gone Home, which I would consider a much more mainstream and palatable example in this… genre?
In Dear Esther an unnamed character — not necessarily the narrator — wanders various parts of a seemingly uninhabited island, stumbling upon items that trigger chunks of epistolary VO and reveal fragments of a story to the player and, thus, the audience. Without giving too much away – and I kind of think explaining anything else about the game would only confuse uninitiated readers – suffice it to say, that’s just about it.
There isn’t even a ‘use’ button to interact with items, so it is the barest of configurations, and plenty of people would argue for that reason it’s not even a video game.
Horror fans might also be puzzled to find the review on Bloody Disgusting, for God’s sake, because what about this game could be construed as horror?
Rest easy. Dear Esther exists without a staple of traditional scary, gory, or disturbing elements, yes, but it is haunting and tonally dark, which ironically will make it more memorable than many horror gaming experiences I’ve had over the last few years. Something about the way the ambient music interacts and complements the baffling, fragmented narrative sets my teeth on edge, which places Dear Esther in a category unto itself.
As the player explores the rocky cliff side of this island, random VO narrates a splintered perspective of…someone. Or someones, I suppose. The narrative bits are not revealed with any linearity, so good luck in trying to decipher the story’s actual or metaphorical meaning. One would expect that, as the game progresses, the pieces of the puzzling story would begin to align, but they don’t in an intentional way.
From what I understand, plenty of sites feature detailed explanations of the game’s plot. I haven’t searched for what the game is “about” or anything and my instinct is to resist that temptation. I’ll eschew them in favor of my specific experience. To that end, Dear Esther is a mystery box I’d rather leave closed. So much of our world is dominated by knowledge that it feels empowering for something to be vague and apocryphal. It’s oddly life-affirming.
Honestly, it’s difficult to actually review this game as a game, because the game almost manages to sidestep the need for critical judgment. I realize that’s a copout. Being a small art project does not absolve it wholly; that’s not what I’m saying. I’m going to give Dear Esther a numerical value, however weird that feels in this situation, but more than that I think it’s important to get across the idea that people should experience this game.
That said, Dear Esther is not for everyone. I cannot condescend to say that by not playing this anyone is a knuckle-dragging Neanderthal. That is not the case. Nor am I trying to say it’s too “smart” for anyone. It is weird and brief and intentionally vague, kind of like LOST before they tried to explain everything, so this game just might not be enjoyable for you on any discernible way, and I think that’s okay too.
But I still think you should play it.
The Final Word: Dear Esther is less a game than a guided narrative, but its benefit lies not necessarily in how it attempts to deconstruct gaming and narratives and how we interact with digital worlds, but rather in the world itself. The bucolic surroundings are easy to look at, and the combination of visuals with the ambient sounds and odd little narrative pieces make it something to experience, kind of like a dream you don’t quite understand but will remember forever because of the particularly unsettled way it made you feel.
We have a new clip from The Pact 2, is now on VOD through IFC Midnight, with a limited theatrical run set for October 10. The clip shows one of the sequel’s fake scares, and then drops an exposition bomb on you.
The film is, “ a truly terrifying new film set just weeks after Annie Barlow’s deadly confrontation with the Judas Killer. In this elevated sequel, we meet June, a woman whose carefully constructed life is beginning to unravel due to lucid nightmares so awful they disturb her waking life.”
Camilla Luddington (“Grey’s Anatomy”), Patrick Fischler (“Californication”) and Scott Michael Foster all star in the sequel to the Nicholas McCarthy written and directed 2012 movie. The film was directed by Dallas Hallam and Patrick Horvath.
Universal Pictures is playing with the Ouija once again, this time in the UK. Check out a new trailer that moves the needle to “yes”.
In theaters October 24, the movie looks sort of like Final Destination, only they’re being haunted by what appears to be an angry old lady flaming to be their dead “friend”.
The pic stars “Bates Motel” and The Quiet Ones‘ Olivia Cooke, with Douglas Smith and Bianca Santos.
“In Ouija, a group of friends must confront their most terrifying fears when they awaken the dark powers of an ancient spirit board.”
Stiles White directs the supernatural thriller that is produced by Platinum Dunes partners Michael Bay, Andrew Form and Brad Fuller (The Purge, The Texas Chainsaw Massacre, Friday the 13th) alongside Blumhouse Productions’ Jason Blum (Paranormal Activity, Insidious series, The Purge), Bennett Schneir (Battleship) and Hasbro.
Let’s say you’re hiding under a cardboard box and there are some well-armed men who may have just made you. They’re slowly approaching. You have no time, no cover, and no way of escape without a distraction. It’s a good thing you’ve come prepared with the perfect decoy, something that will not only buy you all the time you need, but it may also result in a few goons shitting out their spines when they see a freakishly tall lady with a disfigured face waddling toward them.
That’s right, Lisa’s ghost from the Silent Hills P.T. demo is totally something you can summon as a temporary ally in Metal Gear Solid 5: The Phantom Pain. See her in action in the video below.
And here’s that nightmarish concept video from TGS.
Things are not always what the seem to be inside the walls of Murder World.
Rob Zombie shared new art for his Halloween-themed 31, this time displaying a woman tied down and topless, looking as if she was or is about to raped *Rubbing my eyes in frustration*.
The crowd-source page has revealed that “31 has no rules. 31 has no boundaries. It is ever so simple. Do whatever you can do to kill your opponent before they kill you. Keep this up for 12 hours and freedom is yours.”
What we now know about 31 is that it takes place on Halloween night in 1975. Therefore, it’s a period piece about five random people kidnapped on the five days leading up to Halloween and held hostage in a place called Murder World. While trapped inside this man-made Hell they must fight to survive playing the most violent game known to man… a game called 31..
Some of the greatest horror movies are the classics, the originals that brought the most iconic denizens to the silver screen for the first time. We don’t often take the time to look back and appreciate that which inspired, influenced, and ultimately allowed some of our favorites to exist.
Perhaps it’s this nostalgia that fueled this week’s quiz. This is a chance to look back and see how well you know your classic horror films! Because if any of these have slipped past your radar, it’s time to venture into the past and relive the days of atmospheric horror, the likes of which had never before been seen at that time!
Go back-to-back with a new “American Horror Story: Freak Show” teaser! FX is set to debut the fourth season on October 8th at 10:00 PM on FX.
It begins its tale in the quiet, sleepy hamlet of Jupiter, Florida. The year is 1952.
“A troupe of curiosities has just arrived to town, coinciding with the strange emergence of a dark entity that savagely threatens the lives of townsfolk and freaks alike. This is the story of the performers and their desperate journey of survival amidst the dying world of the American carny experience.“
Jessica Lange, Kathy Bates, Angela Bassett, Frances Conroy, Sarah Paulson, Emma Roberts, Gabourey Sidibe, Denis O’Hare, Jamie Brewer, and Evan Peters return from previous seasons. New cast members includes Michael Chiklis, Wes Bentley, John Carroll Lynch, Finn Wittrock, Matt Bomer, Patti LaBelle and the world’s smallest living woman, Jyoti Amge.
The official poster for Fairfield has been released, along with new stills from the film.
It is “A coming of age story about a group of teens trapped in their school during the zombie apocalypse.
When a mysterious illness suddenly spreads through his home town, Gabriel Cooper finds himself fighting for his life. After seeking refuge in the local high school, he’s united with a group of teenagers who are hiding in the school. Together, they must face the gravest of teenage dilemmas: sex, parents, friends, and zombies.”
Fairfield stars Juliet Landau, Chris Bellant, and Chris Riggi and will have it’s premiere this Halloween.
The film is directed by Mattheau O’Brien, written by Isaac Shyamalan Loftus, and produced by Rude Mechanical Laboratory and Waldorf Entertainment.
Horsehead Pictures and Starfix Productions shared the first clip from Horsehead (french title FIÈVRE), the first feature-length film by director Romain Basset from a script he wrote with Karim Chériguène. It premiered at the Fantastic Fest film festival this past weekend.
Catriona MacColl, Murray Head, Lilly-Fleur Pointeaux, Vernon Dobtcheff, Fu’ad Ait Aattou, Gala Besson, Joe Sheridan, Emmanuel Bonami and Philippe Nahon star.
We’ve also re-added the trailer at the bottom.
“Since childhood, Jessica has been haunted by recurring nightmares in which she is chased by a mysterious horse-headed monster called Horsehead. In the hope to find peace at last, Jessica has started studying Psychophysiology of Dreams.
Following the death of her grand-mother, Jessica reluctantly returns to the family home for the funeral. Upon her arrival, she finds out that the dead body of her ancestor is lying in the room next to hers for the duration of the wake…
Jessica falls ill after a first rough night during which she had the strangest nightmare. Stuck in bed with a high fever, the young woman decides to make good use of her lethargic state. She experiments LUCID DREAMING and aims to take control of her nightmares, a dangerous exercise from which some never recover.
Jessica wanders in her own dream-world and investigates to solve the mystery that has been gnawing at her and her family for several generations. She will also have to confront the evil Horsehead one last time.“
New Line Cinema just sent us a batch of family photos showing off their demonic Annabelle doll!
Their quasi-The Conjuring prequel haunting theaters October 23.
“John Form thinks he’s found the perfect gift for his expectant wife, Mia—a beautiful, rare vintage doll in a pure white wedding dress. But Mia’s delight with Annabelle doesn’t last long.
On one horrific night, their home is invaded by members of a satanic cult, who violently attack the couple. Spilled blood and terror are not all they leave behind. The cultists have conjured an entity so malevolent that nothing they did will compare to the sinister conduit to the damned that is now…Annabelle.”
Annabelle reunites the filmmakers behind 2013’s hugely successful supernatural thriller The Conjuring. James Wan, director of the global hit, is producing Annabelle with Peter Safran. John R. Leonetti, who served as cinematographer on The Conjuring, is directing.
Annabelle Wallis (X-Men: First Class) and Ward Horton (The Wolf of Wall Street) star as the Forms. Oscar nominee Alfre Woodard (Cross Creek, Twelve Years a Slave) stars as Evelyn, a neighbor who owns a bookstore and is familiar with the occult. Rounding out the cast are Kerry O’Malley (TV’s “Those Who Kill) and Brian Howe (Devil’s Knot) as neighbors Sharon and Pete Higgins; Tony Amendola (TV’s “Once Upon A Time) as Father Perez; and Eric Ladin (TV’s “Boardwalk Empire,) as Detective Clarkin.
Thanks to Bloody reader Fabien M., we have new images from Don’t Grow Up, a new thriller from Goal of the Dead‘s Thierry Poiraud.
In the film, “On an isolated island, a group of teenage delinquents living in a youth center wake up to find themselves alone with no one to watch over them. After much partying, their supervisor appears out of nowhere, feverish and shaking. He suddenly attacks the students. They fight back and kill him accidentally, leaving them no other choice than to flee the crime scene. As they run away, they realize the island has been deserted. Or practically. The few adults they encounter on their journey all seem to be infected by a mysterious epidemic, making them violent and dangerous. It gradually becomes clear to them that children and adolescents aren’t affected by this disease.
In order to survive, they need to respect one golden rule: DON’T GROW UP. But one of them is turning 18 very soon…”
The film stars Fergus Riordan, Madeleine Kelly, McKell David, Darren Evans, Natifa Mai, Diego Mendez, Dominique Baute, and Daniela Jerez.
It comes from Noodles Production and Capture The Flag Films.
Dark Sky Films, an MPI company, has picked up U.S. rights to Brian O’Malley’s UK horror Let Us Prey, starring Liam Cunningham (“Game of Thrones,” Hunger), Pollyanna McIntosh (Filth, The Woman), Douglas Russell (A Lonely Place To Die), Bryan Larkin (Outpost 3), Hanna Stanbridge (Outcast), Brian Vernel, Niall Greig Fulton and Jonathan Watson.
In the Irish horror, “An enigmatic stranger is detained in the cells of a remote police station one fateful night. From his basement dungeon the charismatic loner begins to take over the minds of his fellow inmates and those of the police officers. He influences them to bend to his evil will and their latent inner demons explode in a crazed night of blood-spilling and mayhem. Only rookie cop Rachel is able to resist him … Will she survive?
Judge, Jury and Executioner are waiting in Let Us Prey.”
The film premiered at this past weekend’s Fantastic Fest.
Myrkur, the mysterious one-woman black metal project, has released an official music video for “Nattens Barn”, which comes from her brand new self-titled EP (out now via Relapse Records).
Directed by Will J. Løkken and Aske Løkken, Myrkur comments:
See the video below and make sure to read my review here.
Arriving on VOD October 2 with a theater run set for November 7 from Cinedigm is Open Windows, Nacho Vigalondo’s (Extraterrestrial, Timecrimes) innovative and high-tech suspense thriller that unfolds on the screen of a laptop connected to the Internet.
Starring Elijah Wood (Maniac) and Sasha Grey, “Nick (Wood) is excited to discover that he’s won a dinner date with his favorite actress, Jill Goddard (Grey). But when Jill refuses to honor the contest, her manager Chord (Maskell) makes an offer he can’t refuse: the ability to view Jill secretly via computer. Nick begins watching the unknowing star on her webcam, not realizing that this decision will put both himself and Jill at risk as they enter a terrifying world of cat-and-mouse where nothing—and no one—are as they seem.”
Check out this new clip that wants you to keep a secret…
I’m really sorry, folks. Yes, Closed Circuit Extreme is another “found footage” horror flick. I know that you guys are getting sick of them. As I’ve said before, it seems that indie filmmakers will take a concept that Hollywood has capitalized upon and run it into the ground. But who knows? Maybe this film will surprise and take the concept in new and exciting directions? Maybe the film will instantly grip you by the grundies and not let go for it’s entire runtime?
You know the answers to those questions, don’t you?
Student Francesca Pardi mysteriously disappeared in 2010 and her body was never found. Her friends Claudia (Francesca Cuttica) and Daniele (Guglielmo Favilla) suspect handyman David De Santis (Stefano Fregni) is connected to Francesca’s disappearance. Unfortunately, the public prosecutor does not take them seriously. So to gain proof, Claudia and Daniele break into De Santis’ home and install five closed circuit cameras to spy on him. The cameras are all connected to one hard drive in the living room camera, so periodically, Claudia and Daniele have to break in to check the amount of data collected and to constantly fixed faulty recording signals. But when Daniele breaks his ankle, Claudia has to return to De Santis’ home herself, unaware that De Santis has suspected the break-ins for a while.
Well, I suppose that the most interesting way that the found footage gimmick is used in the film is it’s presentation. Given that we’re watching footage from a variety of angles/sources/lighting etc. that’s in possession by the police department, we do get artificially zoomed-in shots that are intended to highlight key snippets of dialogue or whatever. There are also slick graphics to highlight certain individuals involved in the case, so that’s pretty neato…
Yes, my feigned enthusiasm is that obvious.
No surprise, this film sucks. How bad is it? Well, what do you want to have happen in the first hour of a 98 minute film? Maybe some character development, some establishing of the plot? How about an hour of watching Fregni’s character doing absolutely nothing of interest? Yep, we get to watch his entire mundane daily routine. Watch De Santis open a beer with his teeth! Watch De Santis parade around in his underwear, scratching his ass! Watch De Santis hire a “masseuse”! You can see what I’m getting at. The first hour is drawn out for way too long, as if director/writer Giorgio Amato had nothing better with which to fill out his story. Oh, we do get to see Claudia and Daniele break in and adjust the equipment, but rather than gather and review the filmed footage, they just leave it there. Because that makes sense. Only after an hour does the film start progressing, but by then it’s almost over. Amazing.
It doesn’t stop there. The brilliant choice of having Italian actors deliver their lines in English is frustrating, given that there’s no ADR (surprise!), and we’re forced to try and discern what is being said. Don’t worry, the swearing is in English, and it gets tired real fast when that’s all they seem to do. Because that’s how English-speaking people in films talk, apparently. Regardless of whether they talk in English or Italian, none of the actors are particularly enduring. In fact, you end up hoping that our protagonists are caught, just so you wouldn’t have to deal with Claudia being so annoying, and Daniele being such an idiot.
So yeah, the last half hour of the film has De Santis finally begin to show off some serial killer tendencies. Once he does lure an attractive woman and subdue her, we get a rape scene (as well as full frontal Fregni), some disturbing letter dictation, and some cheap offscreen gore. Not only do these scenes feel out of place and are more upsetting thanks to the previous hour of nothing, but you still don’t end up caring all that much. Apparently, neither did Amato, since the film ends as anti-climatic as you can get.
Closed Circuit Extreme is a turd. No question. Instead of innovating things, we get the tired found footage trope run into the ground, lazy storytelling, annoying actors and cheesy effects. This is a far cry from the glory days of Italian horror, and really, the film is a far cry from anything resembling entertainment. Literally, you could watch ants parade along a sidewalk, and you’d find that more stimulating than this. Give Dario a ring if you’re looking for good Italian horror. Avoid this film like the plague.
Presented in 1.78:1 anamorphic widescreen, the quality is all over the place. Whether or not this was intentional to simulate the various sources of footage, it makes the film’s grittiness seem more forced and amateur than anything else. Details and colour quality vary with each source. The darker interior scenes suffer the worst, giving way to large amounts of noise, blur and lack of detail. Outdoor scenes fare better, but overall, the look of the film just adds to the aggravation of the overall experience.
Want to make the thick Italian accents more annoying? Scrap doing an ADR, and give us a Dolby Digital 2.0 stereo track with no subtitles. The audio is what you’d expect, given what the visuals are like: dialogue volume is dependent on the location of the hidden microphones, meaning it’s just as uneven as the video quality. What’s more annoying are the intentional static bursts that pop up when a cut to another feed is made. Really artificial, really cheap.
Other than the film’s trailer, there’s a collection of outtakes that have been included at the very end of the main feature. Yeah, I don’t know why they did it like this, either.
Day of the Dead returns to Los Angeles this weekend (September 26-28) for three days of monsters, movies, and madness at the LAX Marriot!
Over 75 celebrity guests are scheduled to appear all weekend long, including: CLIVE BARKER, DOYLE, COREY FELDMAN, TARA REID, BILL MOSELEY, SID HAIG, JOHN SCHNEIDER, RON JEREMY, KANE HODDER, and cast reunions for RETURN OF THE LIVING DEAD, NIGHTBREED, NIGHT OF THE DEMONS, THE THING, and much, much more!
Live music, 60+ hours of film and special event programming, monstrous after hours parties, costume and tattoo contests, and the best memorabilia vendors from across the country all weekend long.
Save money over the door price and avoid waiting in longer lines the day of the show by pre-ordering your tickets (through Thursday, Sept. 25th).
For tickets and full event info, visit the official website.