• “GIALLO,” “WHALE WATCHING MASSACRE,” lots more DVD art/dates

    Originally posted on 2010-09-08 19:28:36 by

    As the Halloween season approaches, the DVD horror market is shifting into high gear. A whole bunch of cover art and dates have come to light in the last week, and we’ve got ’em collected for you below.

    • Below you can check out the covers for Dario Argento’s GIALLO (pictured), coming from Maya Entertainment October 19 (though it’s already rentable as a Blockbuster exclusive now), and a slew of IFC Films/MPI Media Group DVDs: Rupert Glasson’s COFFIN ROCK and Jake West’s DOGHOUSE, coming Oct. 12; Mark Tonderai’s HUSH and David Morley’s MUTANTS, out Oct. 26, and Stuart Hazeldine’s EXAM and Kristian Levring’s FEAR ME NOT, streeting November 16. No special features have been announced for GIALLO, and specs have yet to be made available for the IFC/MPI titles; we’ll keep you posted.

    Image Entertainment has picked up the Gunnar Hansen-starrer REYKJAVIK WHALE WATCHING MASSACRE and partially retitled it HARPOON: WHALE WATCHING MASSACRE, setting a street date of December 7 on rated and unrated DVD as well as unrated Blu-ray. The Icelandic slasher/survival shocker, directed by Julius Kemp, will be presented in anamorphic 2.35:1 widescreen with Dolby Digital 5.1 audio on the DVDs (which will retail for $27.97 each) and DTS-HD 5.1 Master Audio on the Blu-ray (retailing for $29.97). Image also has THE LOST TRIBE, Roel Raine’s film pitting Lance Henriksen, Emily Foxler and others against prehistoric semihumans on a remote island, coming on DVD Oct. 19, with an anamorphic 2.35:1 transfer, Dolby Digital 5.1 sound and these extras:

    • Audio commentary by producer Mohit Ramchandani and actor Hadley Fraser

    • Behind-the-scenes featurette

    • Trailer

    Retail price is $27.97. The company has also set a Nov. 9 DVD/Blu-ray street date for DAMNED BY DAWN, Brett Anstey’s Aussie frightfest in the EVIL DEAD tradition about a farm family terrorized by evil spirits. This one will be presented in anamorphic 1.78:1 widescreen with Dolby Digital 5.1 sound on the DVD and DTS-HD 5.1 Master Audio on the Blu-ray; special features are:

    • Audio commentaries

    • “Making the DAMNED Film” featurette

    • Trailer

    Retail price is $27.97 for the DVD, $29.97 for the Blu-ray.

    • The well-reviewed indie RULE OF THREE will hit DVD Oct. 26 from Big Screen Entertainment. Set in a single hotel room, the movie concerns a father’s desperate search for his missing daughter, with flashbacks to various time periods revealing the awful truth surrounding what happened to her. The bonus features include:

    • Audio commentary by director/producer Eric Shapiro

    • Audio commentary by scriptwriter/actress Rhoda Jordan

    • Trailer

    Retail price is $19.95.

    • The art and info for Magnolia Home Entertainment/Magnet’s DVD and Blu-ray releases of S&MAN were revealed a little while back, but the movie’s so cool we figured we should include them here just in case you missed ’em. Filmmaker J.T. Petty’s study of the underground horror scene—including one auteur who may be taking his quest for murderous images too far—will hit both formats Oct. 12, accompanied by:

    • Audio commentary by Petty and “S&Man” Eric Rost

    • Audio commentary by Petty, Erik Marcisak and producers

    • Deleted scenes

    • Complete “S&Man” film

    • Excerpts from underground films

    Retail price is $19.96 for the DVD, $24.96 for the Blu-ray.

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  • New “LET ME IN” TV spot appears

    Originally posted on 2010-09-08 15:25:38 by Allan Dart

    The face of an angel, the thirst of a vampire… The American remake of the Swedish vampire sensation LET THE RIGHT ONE IN, written and directed by Matt Reeves, opens October 1. Check out a new TV spot after the jump.

    Dread Central posted the clip. LET ME IN stars KICK-ASS’ Chloe Moretz, THE ROAD’s Kodi Smit-McPhee, SHUTTER ISLAND’s Elias Koteas and THE BROKEN’s Richard Jenkins. You can read an exclusive interview with Reeves in Fango #297, on sale this month.

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  • “I SPIT” trailer, “RENFIELD” poster contests

    Originally posted on 2010-09-08 14:52:33 by

    A pair of upcoming genre features—Anchor Bay’s I SPIT ON YOUR GRAVE remake (pictured) and the indie vampire flick RENFIELD THE UNDEAD—are giving fans and filmmakers a chance to get involved. Find out how after the jump.

    Anchor Bay and Texas Frightmare Weekend have announced a trailer contest tying in with I SPIT ON YOUR GRAVE’s Dallas premiere on September 30 at 8 p.m. at the city’s Angelika Film Center. Filmmakers are being invited to submit trailers capturing the exploitation-cinema vibe, and the top three selected will play before I SPIT at the premiere. The trailers must be original, but otherwise anything goes: “We’re looking for submissions that are over the top, scary, wild, absurd and freaked out,” according to the Texas Frightmare website, where the chosen previews will be posted. “Live action, animated, stop-motion, claymation…it doesn’t matter as we’ll consider everything submitted.” Winners will additionally receive an I SPIT/Texas Frightmare prize pack. Submissions can be sent to Texas Frightmare Weekend, PO Box 384, Grapevine, TX 76099 and must be received no later than September 24; they must be in DVD format, ready for presentation in NTSC video. Questions should be sent to loyd@texasfrightmareweekend.com. Check out Fango #297, on sale this month, for a feature story on I SPIT, which opens nationwide October 8; you can see its official site here.

    Meanwhile, the producers of RENFIELD THE UNDEAD, which we last covered here, are offering fans the chance to vote on the poster design that will be used to market the movie. Five different variations (including the one seen here) are up for consideration at RENFIELD’s official website; click on that link to see the different variations and choose your favorite!

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  • “THE WOMAN IN BLACK” claims two more

    Originally posted on 2010-09-08 14:44:19 by Samuel Zimmerman

    THE WOMAN IN BLACK (coming from the new incarnation of Hammer Films) has added two more actors to its cast, Ciaran Hinds and Janet McTeer. Hit the jump for more details on the roles!

    WOMAN follows a lawyer named Arthur Kipps (Daniel Radcliffe) who moves into a small British town to put a recently deceased client’s papers in order. Working alone in the client’s remote mansion, he discovers dark secrets, including the titular spirit who is haunting the village. EDEN LAKE’s James Watkins will direct from a script by KICK-ASS’ Jane Goldman, based on the novel by Susan Hill.

    Deadline London is reporting that “Hinds will play the local landowner who counsels Daniel Radcliffe as he investigates this Victorian mystery,” while “McTeer will play Hinds’ on-screen wife, Mrs Daily.”

    Hinds was most recently seen in the supernatural Irish tale, THE ECLIPSE (check out our feature on that film and video interviews with the actor) and will turn up alongside Radcliffe in the upcoming final HARRY POTTER films.

    For more on THE WOMAN IN BLACK, head here to see what Radcliffe recently had to say about the movie. 

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  • “R.I.P.D.” getting ready for screen action

    Originally posted on 2010-09-08 14:27:47 by

    The Dark Horse-published, Peter Lenkov-scripted comic R.I.P.D. (Rest in Peace Department), which follows the exploits of cops of the dead, has been in development at Universal for a little while now, but the project is getting closer to fruition with the signing of a director.

    Variety reports that Robert Schwentke (pictured), the German filmmaker whose credits include the serial-killer flick TATTOO, the Jodie Foster thriller FLIGHTPLAN and this October’s actioner RED, will helm the R.I.P.D. movie from a script by CLASH OF THE TITANS’ Phil Hay and Matt Manfredi. Ryan Reynolds signed on this past April to star as Nick Cruz, a recently deceased cop who exchanges 100 years of service to the R.I.P.D. for the chance to avenge his own murder; his older partner has yet to be cast. Dark Horse’s founder/president Mike Richardson and Lawrence Gordon will produce with Original Film’s Neal Moritz.

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  • RIP “BEETLEJUICE” actor Glenn Shadix

    Originally posted on 2010-09-07 21:42:30 by

    Character actor Glenn Shadix, who will forever be remembered as Otho in Tim Burton’s BEETLEJUICE, has died at his home in Birmingham, AL. He was 58.

    Al.com quotes Shadix’s sister Susan Gagne as saying, “He was having mobility problems, and he was in a wheelchair. It looks like he fell and hit his head in the kitchen, and that’s the cause of death.” The actor only had a couple of small roles on his résumé when Burton cast him in 1988’s BEETLEJUICE as Otho, the pretentious interior decorator who’s curious to a fault about the ghosts residing in his clients’ home. He later acted for Burton in PLANET OF THE APES and voiced the mayor in the animated THE NIGHTMARE BEFORE CHRISTMAS. Shadix’s other credits include Michael Lehmann’s HEATHERS and MEET THE APPLEGATES, Mick Garris and Stephen King’s SLEEPWALKERS, Jeff Burton’s indie chiller ACTS OF DEATH, TV’s CARNIVÀLE and numerous animated series. He retired from acting four years ago and relocated to Birmingham, near where he was born, to be close to his family.

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  • 99 cent Whores!

    Originally posted on 2010-09-07 20:40:29 by Allan Dart

    That’s the price you’ll have to pay on iTunes to listen to The Cheetah Whores’ SHARKTOPUS theme song.

    The Syfy movie premieres Saturday, September 25 at 9 p.m. and stars THE DARK KNIGHT’s Eric Roberts as a research scientist who, along with his daughter (Sara Malakul Lane), develops a secret military weapon: a hybrid shark/octopus that can be controlled by electrical implants. But, of course, the monstrosity escapes and goes on a killing rampage at some Mexican resort beaches. As for The Cheetah Whores, the band was handpicked by SHARKTOPUS director Declan O’Brien (WRONG TURN 3) to write and sing the pop theme song, which is now available at the iTunes website.

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  • “DEAD RISING 2: CASE ZERO” (Video Game Review)

    Originally posted on 2010-09-07 19:08:52 by Doug Norris

    Way back in 2006 at the dawn of the Xbox 360 era, Capcom ushered in the runaway smash hit DEAD RISING. Seeming passable at first glance, with the cover suggesting a potential DAWN OF THE DEAD ripoff, the game became a surprise success.

    Regardless of escort missions with uncooperative AI and clunky aiming controls, players clamored to wreak havoc throughout the shopping-mall playground of blood-spattered destruction, leaving trails of zombie corpses and fallen psychopaths behind as they turned anything and everything the mall offered into a weapon. Gamers took to DEAD RISING so much that its gritty, self-serving, pug-faced protagonist Frank West even became a sort of cult hero, garnering homage from the fellow zombie-smasher LEFT 4 DEAD series and appearing as a playable character in the fighting game TATSUNOKO VS CAPCOM.

    Flash forward to 2010, and DEAD RISING 2 has become one of the medium’s most highly anticipated sequels. Leaked trailers began appearing on YouTube as early as 2008, with footage of undead hordes lumbering across casino floors in droves several times larger than in the previous installment. Early news of “combining weapons” had fans champing at the bit to get their hands bloody again. E3 and San Diego Comic-Con gave fans even more news, screens and video of the upcoming zombie splatterfest. And on August 31, Capcom released DEAD RISING 2: CASE ZERO, an Xbox 360 exclusive prequel to the new game.

    CASE ZERO introduces us to Chuck Greene, the protagonist fighting his way through a zombie-infested outbreak area in the dusty setting of Nevada. We join Chuck and his daughter Katey as they pull their bloodstained pickup into the small and eerily quiet town of Still Creek. Distracted by news reports of a military quarantine, Chuck and Katey lose their wheels to a thieving-happy survivor, and are left in your hands to find a way out. Did we mention that Katey has been infected and needs regular doses of the rare and expensive suppression drug Zombrex to quell her eventual zombification?

    DEAD RISING 2’s promised updated features are very much evident in CASE ZERO. First and probably most important is the ability to combine weapons. Any item appearing in the game with a “wrench” icon can be combined with another selected item to form a superweapon of destruction—with the aid of Chuck’s infinite supply of duct tape, the sound of which will become music to players’ ears. Right out of the gate, Chuck takes a baseball bat and a box of nails and crafts a spiked bat that would make Mick Foley giddy with excitement. In the first installment, players could implant showerheads into zombie skulls, resulting in some of the more gruesome outcomes. In CASE ZERO, Chuck combines a bucket with power drills to create the worst possible choice of hat for any out-on-the-town ghoul. Propane tanks and nails? Pitchforks and shotguns? Car batteries and yard tools? Smashy smashy!

    Updates to the game play itself include improved physics and greatly improved aiming controls. The AI doesn’t drag you down nearly as much during the escort missons and can actually prove helpful, not only when wielding weapons but also while blazing a path through the quickest way to a directional point. The graphics are a lot sharper, which means that the blood stands out better: Fountains of gore gush from zombies upon attack, and the more carnage Chuck creates, the more crimson he makes the scene. His weapons become heavily bloodstained with use, as do the surrounding landscapes and Chuck’s choice of attire. Luckily, there’s plenty of wardrobe (men’s, women’s and children’s) for Chuck to don so he can always stay fresh and clean.

    Unlike normal demos that just give you a slice of the larger whole, CASE ZERO provides a full playable level that will be unavailable in DEAD RISING 2. What’s more, your achievements, points, level-ups and unlockables will all carry over to the actual game, so anyone downloading CASE ZERO will receive more rewards upon the sequel’s release. CASE ZERO does seem a tad short, in that it’s insanely difficult to complete all tasks within the tiny 12-hour window; but, as with its predecessor, players can simply ignore any task at hand and spend those hours slicing, dicing, smashing, exploding and shredding every once-taxpaying zombie victim trudging around the dusty streets of Still Creek. At only 400 points ($5), anyone looking to get a taste of the sequel prior to release or just have their first experience with the DEAD RISING franchise should consider this a steal. Besides, who doesn’t want to duct-tape chainsaws to the ends of a boat oar and paddle through a sea of undead?

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    Originally posted on 2010-09-07 19:06:18 by Chris Alexander

    There’s little point in reiterating the massive impact STAR WARS had on pop culture post-1977—but rest assured, it changed everything. And on a very minor level, it kicked open the floodgates for everyone and their brothers to spit out low-budget space operas of every persuasion. Among these lower-rent clones was the Roger Corman-distributed Italian knockoff STARCRASH, a weird, impoverished but very cool bit of camp that had the cult cast of the decade: former child preacher Marjoe Gortner, future KNIGHT RIDER David Hasselhoff, MANIAC-to-be Joe Spinell and a very tasty Caroline Munro (pictured) as laser-gun-wielding galactic goddess and space smuggler Stella Star.

    In fact, it’s the scantily clad Munro as Starr that has kept the picture, directed by CONTAMINATION’s Luigi Cozzi, a permanent fanboy favorite—and writer Richard Dean (who previously edited the PHANTASM anthology FURTHER EXCURSIONS INTO OBLIVION) just happens to be one of those admirers. His new book CURVED SPACE: THE ADVENTURES OF STELLA STARR (from Dark League Press) is a collection of short stories that serve as both fan-fiction mash letters and nifty companions to STARCRASH, taking us on the speculative further adventures of Starr as she romps across the galaxy, both shaking and kicking ass.

    Other authors like Glen Alan Hamilton (“Flesh and Fake Parts”), Thomas Berdinski (the awesome Starr-vs.-zombies tale “You Can’t Keep a Good Robot Down”) and Robin Grenville-Evans (“The Arena of Revenge”) all take their turns spinning fun, zippy little yarns about their favorite femme fatale, but ultimately this tome is Dean’s beast from pillar to post. In his warm prologue, Dean details his first teenage brush with STARCRASH and its lasting effect on his life, and the essay is nothing less than passionate. He even managed to corral both Cozzi and Munro to contribute their own words to get the party started and make the joyously unofficial tales somewhat authorized.

    And while the book’s small-press status means that editorial errors abound, they really only add to the loose, rock ’n’ roll ‘zine feel that suffuses the entire book. STARCRASH (which makes its long-awaited DVD/Blu-ray debut next Tuesday, September 14 from Shout! Factory) was a charming thing made up of spare parts and love, and so is CURVED SPACE. To inquire about obtaining a copy, e-mail darkleaguepress@gmail.com, and hit up the book’s Facebook page for more info.

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  • WildClaw Theatre looking for horror radio play scripts!

    Originally posted on 2010-09-07 18:15:09 by Samuel Zimmerman

    Chicago’s WildClaw Theatre Company has put out a call for scripts for their third annual DEATHSCRIBE Radio Horror Play Festival. Hit the jump for details and info on how to get involved!

    The good folks at WildClaw sent along this message for all you creatively inclined Fango fans out there:

    “Are you a horror fan? Got a creepy idea for a story? Well, listen to this:

    WildClaw Theatre, Chicago’s only year-round horror theatre company, is now accepting radio scripts for its 3rd Annual DEATHSCRIBE Radio Horror Play Festival. Deadline for submissions is October 15, 2010.

    What freaks you out? Bugs? Ghosts? Serial killers? The past? The future? Death itself? How about life itself? WildClaw wants to hear it…and then we want to share it with the world.

    We are looking for 10-minute scripts from horror fans the world-over that are genuinely scary, imaginative, chilling, intelligent, suspenseful, horrific, or downright grotesque. No restrictions as to content or tone, but keep in mind that WildClaw is a Horror Theatre. We take our horror seriously, and so should you.

    Shape your fear into a 10-minute radio play and send it to WildClaw at deathscribe2010@gmail.com. If it freaks us out as well, you’ll see (and hear) it performed live at this year’s DEATHSCRIBE showcase event, a one-night-only extravaganza of live performances of original short radio plays, written by horror enthusiasts from around the globe! With live musical accompaniment, live foley artists, special guest directors, Chicago’s finest actors, and a celebrity panel to judge the best of the fest! (Audio clips from previous DEATHSCRIBE festivals are available on iTunes or right here.)

    So, if you have a dandy little campfire tale to share—and you know you do—visit WildClaw Theatre for submission rules and regulations. Likewise, if you know someone who should be tossing his or her bloody hat in the ring, please forward this info along. Submission deadline is October 15, 2010 at midnight, so everyone get scribbling!”

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  • Fango Flashback: “THE CREEPS”

    Originally posted on 2010-09-07 14:19:20 by Allan Dart

    HOUSE OF FRANKENSTEIN? HOUSE OF DRACULA? MAD MONSTER PARTY? THE MONSTER SQAUD? Yeah, there are a number of monster mash-up movies out there to choose from. But what other horror picture features Dracula, Frankenstein’s Monster, The Wolf Man and The Mummy…in miniature form? “Undersized. Undead. And angry.” That’s the tagline for THE CREEPS, Full Moon’s direct-to-video 1997 release that brought together four of horror’s most famous monsters, albeit in scaled-down sizes. The once-colossal Frankenstein’s Monster reborn as a three-foot fiend? Hey, it’s the jumbo shrimp of horror cinema! But what else would you expect from Full Moon and the Band family…

    Let’s be honest. The only reason someone rents a movie like THE CREEPS is because of the gimmick of casting “little people” (I’m going to be P.C. here, as most people of small stature oppose the use of the terms ”dwarf” and “midget”) in iconic horror roles. That being said, one of things to THE CREEPS’ credit is that while the filmmakers do indulge in the “minuscule monster” angle, the movie doesn’t sink to a series of tasteless short jokes or repetitive and sophomoric humorless indignities aimed at the diminutive actors. Trust me, I realize that THE CREEPS doesn’t set the watermark for the advancement of little people in motion pictures, but it’s a far cry from the abominable mini-vampire flick ANKLE BITERS.

    So, how do Dracula, Frankenstein’s Monster, The Wolf Man and The Mummy end up in our world as pint-sized terrors?  Well, THE CREEPS doesn’t set the watermark for coherent and logical storytelling, either. Come on, Charles Band directed this film! You know, the guy behind GHOULIES, the PUPPEMASTER films, DOLLMAN, HEAD OF THE FAMILY, BLOOD DOLLS and THE GINGERDEAD MAN. Tiny terrors are this guy’s bread and butter, and you gotta believe that this thought entered Mr. Band’s head: “Hey, what if we brought back Dracula, Frankenstein’s Monster, The Wolf Man and The Mummy, but with a twist… They’re little people!” And you gotta believe that when someone asked him why they were little, Mr. Band replied, “I don’t know. We’ll come up with something!”

    An “archetype inducer.” That’s the preposterous solution. What’s an “archetype inducer,” you ask? It’s the invention of the mad (although not supremely bright) scientist Dr. Winston Berber (Bill Moynihan), who has built this machine that uses the original manuscripts for books based on Dracula (Bram Stoker’s story), Frankenstein’s Monster (Mary Shelley’s novel), The Wolf Man (Guy Endore’s WEREWOLF OF PARIS) and The Mummy (I’m guessing Jane C. Loudon’s THE MUMMY, OR A TALE OF THE TWENTY-SECOND CENTURY) along with the sacrifice of a virgin to “transform mythic, cultural and literary archetypes into living entities” that will allow Dr. Berber to have the “powers of darkness” serve his will and help him rule the world! Uh-huh. Like I said, not the most well-thought-out plot device in cinematic history.

    Berber’s plan, however, is derailed when the kidnapped virgin—Anna (Rhonda Griffin), who works in the Rare Books division of a library—isn’t REALLY a virgin—and is rescued by the part-time video store owner/part-time private eye David (Justin Lauer), whom Anna hired to find the original manuscript of Shelley’s FRANKENSTEIN that Berber absconded with. The pair escape with the four manuscripts, and now the shrunken quartet must track them (and Anna) down in order to perform the procedure again and hopefully return them to their full-sized form.

    OK, enough of the plot. THE CREEPS takes a while to get going and only clocks in at 80 minutes (like many Full Moon titles, the running time is padded a bit), and yes, the acting, script and production values leave something to be desired, and yes, the score and the FX are kinda cheesy, and yes, this is another case of an amusing-sounding concept not executed to its full potential, but…I still dig THE CREEPS. It’s not an offensive film, or even a licentious one. Yeah, there’s an unnecessary scene where Anna cuts her foot and takes off her shirt to wrap the wound, but Griffin doesn’t even go topless. The most disturbing (and perversely engaging) scene involves the film’s most disturbing and unnerving character: The Wolf Man. Benicio Del Toro and Taylor Lautner can kiss my tuchus, because I’ve never seen a lycanthrope as bizarrely malefic and frighteningly perverted as this diminutive creature of the night. Part LAND OF THE LOST’s Chaka/part Gary Oldman’s Bat Creature in BRAM STOKER’S DRACULA, this werewolf is a friggin’ unsettling, sneering, seething sight to behold. And in that aforementioned disturbing scene, he and the Monster strip down and fondle Anna’s strapped-down boss. That’s creepy enough—and then the Wolf Man starts drooling…into the camera…several times! Trust me, when you see it, you won’t forget it. 

    THE CREEPS isn’t heavy on the sex, the blood or the violence—especially when compared to the graphic R-rated fare being released nowadays. There aren’t any scares to be had, either—these dudes move slower than the line at the DMV. I mean, Boris Karloff’s Imhotep looks look Usain Bolt when compared to this shambling lot of little monsters. And maybe it’s ’cause the two prior times I’ve seen this film it was while drinking with friends, but watching it sober and by myself, I didn’t really laugh out loud that much. But I’m glad that THE CREEPS isn’t simply (and crassly) a bunch of short stingers and little people jokes. And even though I’ve pointed out several of the film’s faults, I still smiled and enjoyed revisiting these Universal Monsters in miniature form chasing after and terrorizing their victims. What ridiculous yet loveable Z-movie nonsense! THE CREEPS is a gimmick, but like a good William Castle movie, it’s a gimmick that makes you foolishly grin. And that leads me to my final point: 

    THE CREEPS is moderately successful because it plays these mini-monsters straight. They aren’t in on the joke or going for laughs (drooling scene excepted). They simply want to be returned to their full size. Hey, I know this ain’t exactly high drama, but I give a ton of credit to the main “villain”—and the monster with the only speaking role in the film: Dracula, as played by Phil Fondacaro. I’m a big Fondacaro fan, and if you don’t recognize the name, you might recall the face and some of his credits. OK, you might not be able to pick him out of the 500 Ewoks in RETURN OF THE JEDI, but Fondacaro was the sympathetic Malcolm in TROLL, the fierce warrior Vohnkar in WILLOW, Sir Nigel in GHOULIES II, Vincent in BORDELLO OF BLOOD, Roland in the SABRINA TV series and Chihuahua in George A. Romero’s LAND OF THE DEAD. 

    A Full Moon regular, Fondacaro steals the show in THE CREEPS. He plays the bloodsucking legend as a no-nonsense, proud and determined individual, and while he may be small in stature, Fondacaro’s sober performance looms largest among all of the actors. As far as vampires go, Gary Oldman can kiss my… Wait, he’s pretty awesome in BRAM STOKER’S DRACULA. Well, Lance Henriksen can kiss my… Wait, he’s pretty awesome, too, in NEAR DARK. Well, Eddie Murphy in VAMPIRE IN BROOKLYN can kiss my tuchus! He can’t hold a candle to Fondacaro—although I wish Fondacaro was given the chance to bite someone’s neck, transform into a bat and act with John Witherspoon. 

    THE CREEPS is a high-concept horror flick: little people as memorable monsters. It’s not hard to see, no pun intended, the movie’s shortcomings. But for what it is, it works. And that miniature Frankenstein’s Monster? I’m still trying to wrap my head around that one…

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  • First looks at Dracula in “RENFIELD THE UNDEAD”

    Originally posted on 2010-09-06 23:35:12 by

    The independent fright feature RENFIELD THE UNDEAD, a new take on the Dracula saga, is racing toward completion. And now some lobby card-style pictures have come through that give us a peek at Drac himself from the movie; see ’em, along with a new poster, after the jump!

    “We are down to the wire; the Whitby cut of the movie is due in England for the Bram Stoker Film Festival in one week,” says writer/producer Phil Nichols, who also created the special makeup with Facades FX and plays the title role (as seen in the first photo below). “The world premiere is scheduled to be the opening Friday-night event of the festival. We’ll be launching the movie’s official website and posting the trailer within the week; here at long last are images of our Count Dracula, portrayed thrillingly by veteran stage actor John W. Stevens.” The last pic demonstrates how the vampire’s image will be translated to comics form for an upcoming graphic novel adaptation, illustrated by Melissa L. Nichols. See our previous report on RENFIELD THE UNDEAD, which was directed by Bob Willems and also stars Paul Damon, Keli Wolfe, Roxy Cook, Tyler Tackett and Julin, here.

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