SHIVERS (a.k.a. THEY CAME FROM WITHIN)

1975, Canada

Poster country of origin: France

47” x 63”

There haven’t been too many movies lately revolving around witchcraft and satanic rituals, and in that respect, THE HAGSTONE DEMON is a fun breath of fresh air. Shot on what was clearly a low budget, Jon Springer’s tale of a haunted apartment complex (which has played festivals and is awaiting wider release) is generally successful and entertaining throughout.

Fango heard from Andy Davis and Sandy McKeon, creators of ADELLE, the first feature from their Abandoned Cinema company that hits DVD from Elite/Hannover House in October, and they sent a couple of exclusive photos that you can see below the jump. Directed by Davis from a script he wrote with McKeon (who also co-stars), it’s described by the latter as “somewhere between ALICE IN WONDERLAND and FREAKS—a pony-cart ride into hell.”

Various sources are reporting that Dennis Hopper died today of prostate cancer at his home in Venice Beach. The influential actor and director was 74.

Jason Horton, co-director and co-writer of last year’s zombie opus EDGES OF DARKNESS, got in touch with the news that his new feature TRAP is now available on DVD, and sent an exclusive still you can see past the jump. He describes the movie, which he scripted and helmed solo, as “a thriller following a brutal abduction that gets even worse when the middle-aged kidnapper falls for his 15-year-old victim.

Mother knows best. Especially if you’re gawky Ronald Wilby (Scott Jacoby)—who, on his 16th birthday, accidentally crushes a little girl’s skull on a cinderblock and hastily buries her body in the shallowest of graves. Mom’s solution? Wall Ronald off in the spare bathroom of their house, sealing him in with plaster and gaudy floral-print wallpaper so that the police will never find him.

I had planned to write a rave review of Niels Arden Oplev’s terrific film of Steig Larson’s incredible novel THE GIRL WITH THE DRAGON TATTOO for this second blog, but due to all the insanity surrounding the publication of my new book CITIES OF NIGHT, I haven’t had the time to go see the must-watch movie a second time and have only just finished the book.

Living just minutes from New York City, there’s not one day when I haven’t encountered a manhole leading down into the sewer system. Sometimes, I see smoke coming out of one, or hear noises, mostly a train passing through—and I’ve become fascinated by the idea of who or what might be lurking underneath. As children, many of us believed the sewers were ruled by the Teenage Mutant Ninja Turtles—but I think they were really conquered by the Cannibalistic Humanoid Underground Dwellers, better known as C.H.U.D.s.

Horror’s universal themes and ability to gnaw at at least one of everyone’s fears make it an incredibly wide-reaching and affecting genre that often spills over into the interests and influences of other artists, including those not directly related to the business of the macabre. Unsurprisingly, one such avenue terror often extends into is music, and band members who may play, sing and scream by day, but revel in splatter at night.

As the love of movies has become an ever-developing pastime of mine, I constantly try to remain on the edge of horror-film collecting and viewing. From an early age, my father taught me the magic that movies can possess—whether it be the biggest theatrical blockbuster or tiniest straight-to-VHS release. I can remember watching the more timid genre fare early on—GHOULIES, TROLL 2, THE WILLIES, LITTLE MONSTERS and the popular GREMLINS franchise—which offered only a gateway to the darker and crueler side the horror scene had to offer.

Once upon a time, the promise of an unrated or extended cut was exciting. The advent of DVD and the attendant special features opened up a whole new world of rare behind-the-scenes material, excised bits and alternate takes we had only heard about. Now, more often than not, it’s simply a sham. Two more seconds of barely noticeable gore? Oh, cool.