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POETRY TRIBUTE: William Castle

POETRY TRIBUTE: William Castle

POETRY TRIBUTE: William Castle

House on Haunted Hill!

©Rich Orth

Ennis House from William Castle's House on Haunted Hill / Fair use doctrine.You are cordially invited
To the House on Haunted Hill
Hold tight to your seats
Await the thrills
Can you just spend the night
How hard can it be
Not such a fright
That you screamingly flee
An easy 10,000 bucks
Yours for the taking
A little tale of terror
Of William Castle's making
Another priceless performance
by Vincent
Frank Lloyd Wright's structure
breathes
And every time the skeleton
rises from the vat
Several in the audience jump up
to leave
So come have some cocktails
Remember doors lock come midnight
And when all seems said and done
The ghosts will come for you
That begins the true fun...............
Vincent Price House on Haunted Hill / Fair use doctrine.

From The Castle to the Grave!

©Rich Orth

William Castle for President / Fair use doctrine.From the Grave he writes
Invites you into his world.
Scribe that refuses to die
He is risen
As he rises to the occasion
Devises ways for all to succeed
Conceiving the anatomy
Of a story that lives
Awkakens our souls
Exclaims as it unfold
A phantom
living upon a hilltop
gripped by things he doesn’t understand
Death
What is it. Unknown to a dead man.
He ….scares it forward
Elicits the living,,, all onboard..
The tingler ..as it grips
your spine…
The sense of horror..as
it should be defined
Benign..never…
Clever to the end
Endeavor as we intend….
A full moon is love and death and destiny.
As it rises and as it sets
A full moon is love and death and destiny.
and not necessarily all it besets
A full moon is love and death and destiny
As it rises and as it sets
He Scares us forward without regret
William Castle's grave / Fair use doctrine.
Posted by Alan Smithee in FICTION AND POETRY, 0 comments
TRIBUTE: GEORGE A. ROMERO (3 of ?)

TRIBUTE: GEORGE A. ROMERO (3 of ?)

RIP George A. Romero

“They're coming to get you, Barbara.”
It's maybe one of the most famous, and chilling lines in horror. From one of the most groundbreaking movies in the history of horror cinema, Night of the Living Dead by director George A. Romero. We lost George this week, and it's a loss that has shaken the world of horror. If you are a newer horror fan, maybe you don't know the name, but you should. Maybe you're a fan of The Walking Dead, but not really a horror fan, well you should know Mr. Romero's name. The modern zombie only exists because of George A. Romero.
Before Romero, zombies were basically lumbering, undead servants. Their menace was limited to lurching about, choking, and throwing their victims. They were creatures of Caribbean folklore that might strike fear into the superstitious locals but not so much on the big screen. George Romero changed all that; he took the shambling undead and instilled them with one of our great taboos: cannibalism. Now Romero has famously said he had no intention of making a zombie movie, no thoughts of forever changing horror history. Whatever his intentions, that's exactly what he did. Over the years zombies have evolved and changed, brain-eating, running zombies, rage zombies, virus zombies, but none of that would have been possible without Romero. Every zombie film, from 28 Days Later to Return of the Living Dead, every TV show from The Walking Dead to iZombie, every video game from Resident Evil to Lollipop Chainsaw, every damn one can trace its existence back to Mr. Romero.
Romero was more than just Night of the Living Dead. He followed this game changer with another classic, Dawn of the Dead. Years later he continued with Day of the Dead. Then, when everyone thought he was finished, he launched his big budget Land of the Dead and then came back with the much maligned (unfairly, in my opinion) Diary of the Dead. Outside the zombie subgenre, he created horror classics such as Creepshow, Martin, and The Dark Half, cult favorites like Knight Riders and The Crazies, and the occasional misfire like Season of the Witch and Survival of the Dead.
But that's all about his movies. There have probably been a thousand articles, blogs, and news stories about Romero's movies and his importance to horror. There could easily be 1,000 more, most of them better than anything I could write about his legacy. Nah, I really want to talk about the man and my encounters with him. Now I won't lie and insult the hard core fans of the dead series. That's not fair to them. As much as I love his zombie classics, I was never the biggest fan by any means, and he wasn't my favorite director. However, if Romero did a movie, I watched it, and usually I enjoyed it. So I passed up a chance to meet him at least once. Mostly because I absolutely hated waiting in line, and at conventions George Romero always had a line. I'm glad I overcame that to meet the man once.
The first time I saw him in real life was at the Horrorfind convention in Hunt Valley, Maryland. It was around 2006 or 2007. I was sitting by the pool with friends late in the evening just after dark. We were joking, chatting and drinking adult beverages and someone noticed him and poked me. I looked and there he was. He was so much taller than I had imagined from seeing him on television and in photos. He towered above the person he was talking too, wearing, as best I can remember a dark green or teal shirt and slacks, and the vest, and the coke bottle glasses. He didn't look like a man who had changed horror forever. He looked more like a hippie with his long, graying ponytail, but you felt his presence. It was only a brief passing moment, but you knew you were in the vicinity of horror royalty. This was someone who redefined the genre.
I didn't “officially” meet him that year. It was a year or two later, at the Full Moon Tattoo and Horror Festival in Nashville, TN. I went with the full intention of meeting him, but once again the line was unbelievable. Rightfully so. And I talked myself out of it. Luckily, I really wanted to meet him, so I kept popping by. Finally. I found the line had gotten shorter, so I jumped in. Only to find the line was short because George had went out to lunch and a lot of people had wandered off. Oh, ye of little patience, yeah I was impatient, too, but I made myself sit there on the floor in line until finally we got the word he was back. The line quickly refilled and started slowly moving. When we finally got to the table, we realized the line moved slow because the man, the master, the godfather of horror, didn't rush his fans.
Finally we got up to the table (me and my new line buddies), and there he was. The same vest, same glasses and ponytail, but he was smiling, laughing, and looking at his fans with genuine affection. It was the same when we introduced ourselves to him. He laughed at our jokes, smiled and asked where we were from. I had picked out a photo of him and Simon Pegg. He was about to sign, and he stopped, pointed at Simon and said, “That young man is going places”. We shook hands and got a photo with him at his table. This was back before they were called selfies, and when most celebs, including George, didn't charge for photos.
I met George a couple other times, always with friends. Every time was like the first time. George A. Romero, the father of the zombie movie, always smiling, usually laughing, always looking at his fans with a genuine love and appreciation. That's how I will always remember Mr. Romero. As wonderful as his films were, he was so much more. That's what I will take with me.
Posted by Allen Alberson in EDITORIALS, TRIBUTE, 0 comments
Zombies: To George A. Romero

Zombies: To George A. Romero

Zombies: A Tribute to George A. Romero

George A. Romero's Night of the Living Dead forever changed our view of zombies. Since then, he has released five additional zombie movies. On this day in 2005, George A. Romero's Land of the Dead was released theatrically. House of Tortured Souls pays tribute to Romero and his zombies with two poems by our resident poet Rich Orth.

 

Zombie silhouettes designed by Freepik

Sea Escape!
©Rich Orth

Lost Johnny this morning
God them bastards are fast
Wish Romero did more research
Maybe we'd be able to last
They function, predators
on top of their game
Snuffing us out
like flickering flames

Zombie silhouettes designed by Freepik

Savagely killing....

Only to have our friends
rise again
Our numbers diminish
For every one we kill.... 4

seemingly
appear to return.........
We've run out of land
There is no high ground
Surrender not an option
Suicide may be the only escape
Zombie silhouettes designed by FreepikI last flight..to the Ocean
we flee
With the slightest notion of what
to expect
Upon the seas
Marauding Pirate zombies
or zombie serpents
So must shit has hit the fan
Nothing would surprise me..............

 

Zombie silhouettes designed by FreepikZombie Preamble!
 ©Rich Orth

In this city of sin
Where life is a gamble
Heard my first rendition
Of the Zombie preamble
Now a majority rule
Constitution theirs to change
We the Living Dead people
In order to form a more perfect union
Zombie silhouettes designed by FreepikNo matter how deranged
Basically are saying .."Screw You"
We want your brains, only as hors d'oeuvres
You are merely
Soylent Green
A way to a means
As we march on, well lumber that is
Eating your young
Killing your bitches
******
Well since that day
I've been in hiding
We sit here now
Zombie silhouettes designed by FreepikTime is bidin'
Immoral Majority take heed
Will fight for your second death
Should there be need
Enjoy the top
While you can
Cause one shot
to the head
And your ass again
will be dead

 

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Zombie silhouettes designed by Freepik

Posted by Alan Smithee in FICTION AND POETRY, MONSTERS AND CREATURES, ZOMBIES, 0 comments
MOVIE REVIEW (RETRO): The Hunger (1983) Dedicated to David Bowie

MOVIE REVIEW (RETRO): The Hunger (1983) Dedicated to David Bowie

The Hunger
Nothing Human Loves Forever

By Woofer McWooferson

The Hunger (1983)

The Hunger (1983)

Dedicated to David Bowie
(nee David Robert Jones)
8 January 1947 – 10 January 2016
Thank you.

Catherine Deneuve and David Bowie

Catherine Deneuve and David Bowie as Miriam and John Blaylock in The Hunger

Director: Tony Scott; Writers: Ivan Davis and Michael Thomas (screenplay), Whitley Strieber (novel); Stars: Catherine Deneuve, David Bowie, Susan Sarandan; Rating: R; Run Time: 97 min; Genre: Fantasy | Horror | Romance; Country: USA; Language: English; Year: 1983

The Hunger, Tony Scott's 1983 adaptation of the Whitley Strieber novel of the same name, is perhaps the most sensual and artistic vampire film ever. The story of ageless Egyptian vampire Miriam (Catherine Deneuve) whose lovers are promised eternal life and youth, The Hunger begins as her latest lover John Blaylock (David Bowie) is beginning to age. Tony Scott's elegant and graceful style is perfect for the story, and he delivers scene after carefully crafted scene of cold lust, warm passion, and hot love. Denueve, Bowie, and Susan Sarandon are uniquely suited for the roles of Miriam, John, and Dr. Sarah Roberts (Sarandon), each bringing raw sexual intensity to mix with the aching hunger of the title.

Peter Murphy of Bauhaus in The Hunger

Peter Murphy of Bauhaus in The Hunger

Opening in a club where Miriam and John are hunting, The Hunger cuts back and forth between Bauhaus performing Bela Lugosi's Dead and Miriam and John scouting the crowd for a suitable meal. This juxtaposition sets the style and tone for the rest of the film. With very little ado, the Blaylocks accompany their meal home, seduce them, and then feed, said feeding being juxtaposed with Dr. Roberts' monkey test subject going wild, attacking his mate, and eating her. Using ankh necklaces with hidden blades, they slash their victims' throats and lap up their blood rather than using something so crude as their teeth. Nevertheless, the message is clear: we, vampire or human or monkey, are all animals with animal urges and animal desires. Shortly after this, John finds himself unable to sleep and realizes that Miriam's promise of eternal youth was hollow and selfish. Eventually John and Miriam separately seek Dr. Roberts because of her research on aging and longevity.

David Bowie as an aging John Blaylock in The Hunger.

David Bowie as an aging John Blaylock in The Hunger

The gore is minimal, but what there is of it is expertly placed for maximum impact, and the corpse and aging effects are top notch. The viewer believes he is seeing John age right before his eyes, and it is heartbreaking not just for John and Miriam but for the viewer as well. Watch for a young Willem Dafoe as 2nd Phone Booth Youth.

Susan Sarandon in The Hunger

Susan Sarandon as Dr. Sarah Roberts in The Hunger

From Bauhaus to Delibes and from Iggy Pop to Schubert, the soundtrack is haunting and beautiful and further accentuates both the smoldering passion of lust and the heartbreaking anguish of loss. Between the lead performances, Scott's direction, the use of light and shadow, and a soundtrack that feels deftly tailored for the story, The Hunger truly is a masterpiece in the vampire subgenre of horror.

Catherine Deneuve as Miriam Blaylock in The Hunger.

Catherine Deneuve as Miriam Blaylock in The Hunger

10/10 claws – Stylish, sensual, and satisfying.

Posted by Alan Smithee in MOVIE REVIEWS, REVIEWS, 0 comments
TRIBUTE: Remembering Wes Craven

TRIBUTE: Remembering Wes Craven

We Honor Genre Legend
Wes Craven

2 August 1939 - 30 August 2015

Wes Craven
When we here at House of Tortured Souls heard the tragic news about Wes Craven losing his battle with brain cancer, we were stunned and instantly saddened. It made us all realize what an indelible mark he has made in the film industry and with his fans and ourselves. And like many other sites, we decided to honor this revered master of horror and suspense and all say a little something about what the man and his films meant to us...

JOHN ROISLAND: When I was very young, I remember hearing adults talking of this horrific film called The Last House on the Left. I recall pieces of TV and newspaper ads for it and still more and more discussion about how disturbing and gross the film was, yet these ads and talks never seemed to have gone away. The funny thing was that the film came out the same year I was born, so that should give you some idea as to how long the impact of this film was. This was my first introduction to Mr. Wes Craven.

Moving forward a few years, I was in the 6th grade and had a few friends of mine staying the night. We had stayed up late watching this new horror movie on VHS called A Nightmare on Elm Street. To this day I remember how vivid my dreams were that night. This guy with knives for fingers chased me through this huge maze. This guy became one of the horror genre's most popular horror icons, as well as Wes Craven's most notorious character - Freddy Krueger.

For years to follow, Craven's films became the blood that flowed through my veins. The Hills Have Eyes, Shocker, The People Under the Stairs, and let us not forget one film that I thought was absolute genius: Scream. Who else would have used a story about horror films, to create a horror film?

Many years later, I caught up with my past and finally watched The Last House On The Left. The movie was, by this time outdated, and the special FX that one has grown to expect in movies weren't there, and ya know what? It didn't matter. The film stands on its own and is one of a kind. I can honestly say that all the things I had heard all those adult voices saying when I was just a little kid were true. Love it or hate it, it is one of the most powerful and disturbing films I have seen to this day!

I'm not going to lie and tell you the Wes Craven was/is my favorite writer/director, because he isn't. What I will say is that this master of horror deserves a huge amount of credit for his hand in shaping the horror film genre into what it is today. He was an inspiration and set filmmaking standards that will take many, many years for anyone else to match.

Thank you, Mr. Craven, for the beautiful nightmares.

 

AMY LYNES: I was in the seventh grade when I saw A Nightmare on Elm Street in the theater, and I was beyond terrified. I had truly never been that scared in my life. There were parts of the film where I couldn't even breathe, and I think I jumped out of my seat at least five times. And the terror didn't end when the credits rolled either. I was unable to sleep right for WEEKS. All these years later, I can honestly say that I have never had a film scare me the way ANOES did. The only other horror film that came even remotely close was also one of his films - Scream.

At the time, I had no idea that the director for ANOES and one of my childhood favorites, Swamp Thing, were one and the same. Swamp Thing showed me that appearances aren't everything, and it made me the type of kid who always rooted for the underdog and stick up for the kids who were bullied. That is something that has stuck with me my entire life, and it's huge part with who I am today.

While Scream isn't one of my favorite films, it did genuinely scare me the first time I saw it. It was the kind of thing every girl who has ever been home alone or has been a babysitter in someone else's home fears. Not since ANOES had a film given me nightmares and Scream did just that.

In the late 80s/early 90s, horror got boring for me. Everything seemed to lack originality or a formula that worked, and everything seemed SO predictable. Sadly, I kinda gave up on the genre for a while. Then in '94, Wes Craven gave us New Nightmare and he gave Freddy back to the fans. He got rid of all the cheesy lines and he made Freddy scary again. He instantly reignited my love of horror with one film.

Wes Craven seemed to have a way of honing in on what scared me the most, and his films have had a huge impact on me becoming the horror fan that I am today. His passing was truly a loss to the horror community and its fans. He will be missed - by myself and countless others - for decades to come.

RIP Mr. Craven. You will live on through your countless masterpieces and in the hearts of your fans. Thank you for all the screams.

 

STEPHANIE ROISLAND: I was very young the first time I saw A Nightmare on Elm Street. My family was not into horror at all with the exception of my older brother. I always knew I was different. I wasn't afraid of Freddy, he made me giggle. I was scared of the The Wizard of Oz, but The Hills Have Eyes intrigued me.

Wes Craven helped open my eyes to a world where everything twisted was acceptable and nightmares can be made into a reality on film. I loved the independent thoughts and freedom of his writing and movies. He, along with a handful of other directors/writers, gave me insight into a world where I fit in.

When I heard of Mr. Craven's passing this is what I blogged and it is still how I feel: "The goal of life is not to live forever, but to create something that will". And he accomplished just that. He will be immortal, not in the flesh but in his works. He has created a legacy that will live on and on with each generation. We will show our grandchildren his cult classics just as we did our children and show them how true horror really should be.

Rest In Peace, my friend, and here is to the immorality of Gods and Monsters.

 

DIXIELORD: Like so many horror fans, I first discovered Wes Craven with A Nightmare on Elm Street. It was like nothing I had ever seen before. Freddy Krueger was no hulking, silent stalker, no shambling zombie, and no Gothic Victorian creature of the night. Freddy was something entirely new, a laughing, wise cracking demon from hell, and he was always waiting in your dreams. With him, Wes Craven had made my nightmares something to really fear. Those harmless nightmares might not really be so harmless. Over the years, Freddy became a pop culture icon as the films got more campy, and people knew that Freddy was really Robert Englund. Then, when Freddy was posing with babies, and riding on parade floats, Wes took him back, and made him scary again. In New Nightmare, Wes Craven crashed through the fourth wall at full speed, making Freddy more real and more terrifying than ever.

Thank you, Wes, for making my youth more fun and more exciting. Thank you for giving me nightmares and for inspiring my imagination, while reminding me it's all just a nightmare, and I can always wake up.

 

NICK DURHAM: Other than maybe John Carpenter, no other horror maestro's films have had the effect on me the way Wes Craven's had. Granted my feelings on The Last House on the Left are one thing, but that has its place in history and it set the stage for the greatness that would come. There was a time when nearly everything Craven touched turned to gold. Well...almost everything. Despite that though, a majority of his films have had quite an impact on me personally.

The Hills Have Eyes and, of course, the original A Nightmare on Elm Street are two of my all time favorite horror films in the history of ever. Not to mention the fact that he somehow managed to reinvigorate life into Freddy with New Nightmare and an extremely original and interesting premise that no other slasher franchise would dare take on. As much as I love John Carpenter to death, he's never gone down that road. That, in itself, really made me believe that anything could be possible in the horror genre besides the typical and tired tropes we see again and again.

Wes Craven breathed life and fresh air into so many different elements of the horror genre with his films. Granted his later work didn't do a whole lot to twist my knickers, but there's no denying the effect a majority of his work has had on me personally and how I view the horror genre in general. There's damn few other people in the genre that spoke to me like Wes Craven did, and all of us are worse off without his presence.

 

KIM RICKETTS: Early on in my journey into horror I was introduced to A Nightmare on Elm Street. I was young, probably first grade or so, and I remember sitting near my mom watching that gloved hand breach the water and get closer and closer to a dozing Nancy. I was terrified and captivated at the same time. I so badly wanted to look away but I couldn't. I was hooked.

The actual killings didn't scare me half as much as the psychological scares that Wes Craven put into his work. My whole life I've never been so much afraid of what I could see but what was lurking out there unseen and ready to get you at your most vulnerable time. The fact that you were less safe sound asleep and dreaming than when you were wide awake was a complete mind screw. I came to love the campy wit and pure genius that was Freddy Krueger. He became one of the bad guys that I wanted to win over and over.

The concept of New Nightmare was brilliant to me. To take Freddy from the screen and bring him into "real life" was frightening. Having Heather Langenkamp and Robert Englund as themselves rather than Nancy and Freddy and then interact with a much darker, scarier Freddy made it seem like it really could happen.

With the Scream series, Craven hooked me again. I was in high school when the first film came out. I could relate. Sidney and her friends weren't all that different from my friends and me. We felt invincible and didn't follow rules for nothing. The fact that these kids were following horror movie rules that were basically every typical horror cliché was genius. This could happen in my town, and to my friends and me, and that just wasn't cool. We were indestructible, after all, and too young to die. It made it even scarier.

And that's what Wes Craven did so well. He scared you with what was in your mind. Whether it was Scream or The Last House on the Left, it could happen.

His scares will transcend time and his works will continue to frighten people for generations.

 

Dyametric 13: Wes Craven will be missed so much, by me and many others. As a director he wowed me. The second horror film I saw was A Nightmare on Elm Street. This film sparked something big in my heart for horror. It kept me wanting more. The first horror film I ended up seeing in the theater was Freddy's Dead. I actually talked my mother into buying tickets for me and a friend, and it was amazing.

The People Under the Stairs was another big film for me. I can't even tell you how many times I've watched it. "Fool" was a true hero in this film and the way he got the name, always makes me smile. The reason is a past story of my own.

A little known movie by the name The Fear (1995) was a film Wes didn't direct, but acted in. My name (Dyametric 13) comes from that film. I already knew what diametric meant, but watching this film made me love the word more. Dyametric 13 (with a slight spelling change) just stuck with me from that point on.

Even the Scream franchise has had some impact on me as a horror fan. It's not one of my favorites, but every now and then, I will still give it a watch.

The Serpent and the Rainbow truly terrified me. This film still gives me chills. I imagine waking up in a coffin, buried alive, now a living zombie, and it freaks me out. Knowing that this kind of stuff happens in real life? It makes the whole film just a bit more terrifying.

In my eyes, this man will never truly die. He has earned his place in horror history, and he is a true legend.

R.I.P. Wes Craven, you will be missed.

 

MACHETE VON KILL: I thought it would be easy to sit down and write about what Wes Craven and his movies meant to me. I thought it would be easy to put his impact on my life into words. I was wrong on both accounts, but I’m trying…

The first thing that comes to mind when I hear the name Wes Craven is Freddy Krueger! I was 10 years old and at a slumber party the first time I saw A Nightmare on Elm Street. Freddy scared the shit out of me! I had nightmares for weeks! I had a rounded plastic bird cage in my bedroom window, and at night it cast a shadow on my ceiling. That shadow looked just like Freddy’s famous fedora. I was positive that Freddy was going to come out of that shadow and get me in my sleep! I don’t scare easily (other than a few embarrassing phobias). I never have. Freddy got me good and, in the long run, I liked it.

Over the years I've watched many of Craven’s films. The Serpent and The Rainbow, The People Under the Stairs, and the original The Hills Have Eyes are among my favorites.

I have to admit, by the mid 1990s I was bored with the horror genre. I didn’t have access to much in my small town, and what I did have access to was mostly CRAP. It was played out, lame, and had no story. I gave up on my beloved genre until Craven gave us the gift of Scream. That movie brought me back to the genre. Wes was able to remind me why I fell in love with horror movies in the first place. He brought back masterful storytelling, enhanced with gore, rather than gore just for the sake of gore. It was a love letter to the fans, and for that I can never thank him enough.

 

WOOFER McWOOFERSON: When I started this piece, I thought I would talk about the two Wes Craven movies that I like most. The more I think about it, though, the harder that has been. His impact on the horror industry is undeniable, so I decided the best course was to discuss 10 things Wes Craven taught us.

1) The Last House on the Left (1972) taught us that revenge isn't always a dish best served cold.

2) The Hills Have Eyes (1977) taught us that being on guard is never overrated.

3) Swamp Thing (1982) taught us that even plant monster men can love.

4) A Nightmare on Elm Street (1984) taught us that sleep really can be a bad thing.

5) Invitation to Hell (1984) taught us that Susan Lucci plays evil like nobody else.

6) Deadly Friend (1986) taught us to fear basketballs.

7) The Serpent and the Rainbow (1988) taught us that Bill Pullman was more than a one trick pony.

8) Shocker (1989) taught us that the electric chair is not our friend.

9) The People Under the Stairs (1991) taught us that a lovely exterior can hide a hideous interior.

10) Scream (1996) taught us that there are rules to horror, and if you want to survive, you'd better know those rules and follow them.

Thank you, Mr. Craven. RIP.

 

KEV B.: We recently lost one of the brightest and most original minds in horror… Wes Craven who (among his other accomplishments) gave us Freddy Krueger and Ghostface. This is my posthumous praise for Mr Craven and his legacy. I was born in 1971 and raised in what I consider the greatest era of the horror genre. A time (in my opinion) of unparalleled awesomeness and the best time to be a young horror fan.

When I was about 12 years old my mom and I went to see A Nightmare on Elm Street on opening day, and I would venture to say it changed modern horror movies forever. I remember vividly, after the credits rolled, a man running out of the theater and projectile vomiting as Mom and I laughed.

It was unlike any other slasher of its time and gave us a new horror icon for the 80s... Freddy Krueger. Armed with a glove of knives for fingers and a killer wit, he slashed his way into our dreams and our hearts and established Wes Craven as a formidable force in the genre. After a few sequels, Freddy’s one liners became increasingly corny and he lost his initial menace, but the original is a true horror classic.

In the years to follow, Craven released The Serpent and the Rainbow and The People Under the Stairs, both of which are among my all time favorite movies and a departure from traditional horror. The Scream franchise was his big return to form, and he created a new icon for a new generation. Ghostface was a new kind of slasher with a whole new take on an old theme.

Wes Craven changed horror in my eyes, and with his passing horror will never quite be the same... Mr. Craven, you will be missed.

Wes Craven

Gone but never forgotten.

Posted by Alan Smithee in EDITORIALS, 0 comments