The man who brought new attention to the Italian horror scene with SHADOW has the modern giallo TULPA ready to his theaters this year, and distributor Jinga Films’ extreme, NSFW trailer has hit the web.

The British horror film THE HOUNDS makes its U.S. DVDebut today, and we’ve got an exclusive excerpt and a few pics to share with you.

Diahnna Nicole Baxter and Aurora Perrineau team with director Christopher Ray (as in son of Fred Olen-Ray) for a new haunted house chiller.

CINEMA SEWER's Robin Bougie pens a very special tribute to his friend and colleague Andy Copp, the much-loved genre film champion and filmmaker who we lost this past weekend.

I considered Michael Winner a friend. Not a friend in the sense that he’d loan me 50 bucks when I was short on rent, but a friend in that his kindness, openness, advice and cheerful nature were inspiring to me, personally.

THE FOLLOWING (premiering tonight at 9/8 Central on Fox) represents the latest attempt by a broadcast network to compete with the extremities and explicitness of cable TV. Or to put it another way, how ya gonna keep ’em watching your procedurals after they’ve been down on the farm with THE WALKING DEAD?

Vamp me? No, VAMP U. The horror/comedy is headed to theaters and video in the next couple of months, and we’ve got more details and a first look at the final poster.

With the Guillermo del Toro-executive-produced MAMA cleaning up at the box office (an estimated $28.1 million in its first three days and $33.2 million for the four-day holiday weekend), two Spanish films del Toro godfathered are headed for English-language revamps.

UK director Jeremy Lovering’s feature debut was developed and filmed unconventionally. He kept much of the story—its twists and turns and frights and games— from his two leads, only revealing the entirety to Allen Leech; he who plays the one playing tricks. While the average moviegoer rarely needs such back story, viewing the film with context in this case feels a tad more necessary. Although Lovering’s search for verisimilitude was not in vain, it does materialize in both grounded, raw performance and a strong sense that no one has any idea of what’s going on.

In its cryptic opening scene, Park Chan-wook sets the tone of STOKER, his English-language debut, with a monologue and the sound of the world in which the film takes place. STOKER prides itself on not being a conventional genre picture by any means, but the hypnotic rhythm in which the film unfolds will undoubtedly keep any audience transfixed.

Where V/H/S was a raw, lo-fi and frightening odyssey via POV, its sequel is—and from the very outset—bigger, weirder and even reflective of its predecessor. In the first few minutes alone, V/H/S 2 runs through almost every format previously explored, from spy camera to camcorder to iChat; and almost every perspective as well, from investigative to voyeuristic (often both at the same time) to daily doings. And while less traditionally dreadful, where it all leads is infinitely more thrilling.