Currently underway, Mondo (the collectible art boutique arm of the Alamo Drafthouse) is celebrating October with a monument to the most iconic creatures of the night, the Universal Monsters. Across the board, the show is a towering, impressive slate of poster art, portraits and more from lauded Mondo collaborators like Martin Ansin, Ken Taylor and Phantom City Creative and screen legends Rick Baker and Drew Struzan. Within its roster of creatives is another, unexpected legend, however.

A splendid look at not only home hauntings, but ultimately the humanity, community and DIY passion behind them, THE AMERICAN SCREAM is a perfect Halloween film. Michael Stephenson, director of BEST WORST MOVIE, nestles into Fairhaven, Massachusetts and three families whose annual tradition becomes all at once hilarious, heartbreaking and inspiring. Preceding its Chiller TV premiere this October 28, THE AMERICAN SCREAM is (deservedly) playing a host of theaters across the nation (including Brooklyn, NY's Nitehawk Cinema October 20 & 21). FANGORIA spoke with Stephenson, producer Meyer Shwarzstein and home haunter and star Victor Bariteau about living THE AMERICAN SCREAM.

Horror icon Linnea Quigley has been in many fright films, but is perhaps best known for her raucous performance as Trash in Dan O’Bannon’s 1985 cult classic THE RETURN OF THE LIVING DEAD. To celebrate her appearance at a RETURN screening at Chicago’s 24-hour event The Massacre (see full schedule below) this Saturday, October 20, Quigley took a moment to discuss her most famous role and its lasting impression on the public with FANGORIA.

You can’t keep a psychotic magician down, even in death. In William Conrad’s 1965 TWO ON A GUILLOTINE, the recently departed Great Duke Duquesne (Cesar Romero), “The World’s Greatest Illusionist,” is about to perform an encore direct from the afterlife. In his will, he has left his estranged daughter Cassie (Connie Stevens) his entire fortune—on one condition: Stay for seven straight nights in his palatial, possibly haunted, mansion… alone.

The book was called A PICTORIAL HISTORY OF HORROR MOVIES by Denis Gilford. On page 88, in glorious color, was a full page still from THE SORCERERS. I won’t describe the picture because it will blow the ending, but needless to say it piqued my curiosity about this atypical Boris Karloff film. I subconsciously added it to my list of eventual viewing.  Unfortunately copies of THE SORCERER were extremely hard to come by, and I wouldn’t get an opportunity to see it until the Warner Archives made it available. 

The filmmaking duo the Vicious Brothers (Colin Minihan and Stuart Ortiz) had a found-footage hit last year with GRAVE ENCOUNTERS, and now they’re back with GRAVE ENCOUNTERS 2. And as they discuss below, they didn’t just repeat themselves, but adopted a new approach to mock-documentary horror filmmaking.

There was a time when Halloween meant horror movies. It used to be that when the leaves went yellow and the pumpkins got ripe, fans could expect an avalanche of theatrical horror titles ranging from spooky to gory to silly and everything in between. Now, thanks to the SAW and PARANORMAL ACTIVITY franchises pounding their war flags on top of the holiday and sending any contending fright flicks scurrying off to January’s dumping grounds, modern horror fans face dwindling options at the ticket counter come All Hallows Eve.