Happy Halloween!

Closing out a month long Horrorfest - here's everything I watched in horror this month - along with some cool photos...

The Name of the Game is Kill!

The Veil: "Destination Nightmare"

Blacula  *

Tales from the Crypt: "Judy, You're Not Yourself Today"

Scream Blacula Scream

 





Random violence from one of today's movies!

 

Dark Shadows Episode 23

Switch Killer

Thriller: "Rose's Last Summer"

Fury of the Wolfman



 

The house Halloween Night - with skull on chair and the carved Jack O'Lanterns from my buddy Ray.

 

American Horror Story: "Murder House"

Tales from the Crypt: "Fitting Punishment"

Dino Wolf





 

Dark Shadows Episode 24

Death by Invitation

Thriller: "The Guilty Men"

Asylum

I didn't watch this today - but I love the movie, so...



 

Tales from the Crypt: "Korman's Kalamity"

The Human Monster

Dark Shadows Episode 25

Elvira's Movie Macabre: "Blue Sunshine"  *



A closer shot of Ray's excellent Jack O'Lanterns.

 



 

Tales from the Crypt: "Lower Berth"

Brotherhood of Satan

The Walking Dead: "No Sanctuary"





 

Dark Shadows Episode 26
 



 

Gildersleeve's Ghost

Thriller: "The Purple Room"

Sand Sharks

Thriller: "The Watcher"

Wolf Creek 2

Dark Shadows Episode 27

The nighttime shot - with Ray's fog machine puffing out some white wisps...





 

The Return of Dracula

Tales from the Crypt: "Mute Witness to Murder"

Halloween 5: The Revenge of Michael Myers  *

The Walking Dead: "Strangers"
 

Terror Train  *

Night of the Demons  (1988)  *

A picture I took of a tourist-y attraction about twenty minutes from my house - I really like this picture.



 

Laid to Rest

Diary of the Dead  *

Wolf Creek  *

The Invisible Man Returns  *

I Spit On Your Grave  (1978)  *





 







 

 

The Howling  *

The Collection

Wolf Creek 2  *

Contracted

You're Next

Trailer Park of Terror  *

Another atmospheric shot - this one taken by my wondrous wife Suze - although I did point it out to her.



 

Feast III: The Happy Finish

The Walking Dead: "Four Walls and a Roof"
 

The Mad Butcher

Tales from the Crypt: "Television Terror"

V/H/S

Thriller: "Girl with a Secret"

Next of Kin  (1982)

See No Evil  (2006)



 







 

Tales from the Crypt: "My Brother's Keeper"

The Skull

 

Shredder

 

Tales from the Crypt: "The Secret"

 

Sideshow

 

The Amityville Horror  (1979)

And because you can never have too much cheesecake, we'll finish up with finalist Kitty Korvette
from The Search for the Next Elvira.



 

Terrified

 

The New York Ripper

 

Race with the Devil  *

 

Elvira's Movie Macabre: "The Satanic Rites of Dracula"  *

 

Chopping Mall  *

 

Texas Chainsaw Massacre: The Beginning

* = seen before


So there you have it! 42 movies and a bunch of TV episodes! It was an amazing October - with a great Crazy Movie Weekend and a fun Halloween night! Thanks to all - see you in November!








Until next post, you Can Poke Me With A Fork, Cause I Am Outta Here!

Tales from the Script: Hospitality!

An excerpt from my scary screenplay Hospitality...

The story opens with a convenience store robbery perpetrated by a trio of ne'er-do-wells, Cory, Annie, and Vern. Things do not go as planned, and people die. This sequence is crosscut with the average morning of a man named Henry. Henry rises from bed, paints while the morning light is good, then gets breakfast for his aged father and himself. Everything sounds normal in Henry's house, doesn't it? Except it isn't. And in the early scenes it's nothing you can put your finger on. But something is "off."

 

 

The escape in the car is derailed by a flat tire, and the kids stop off in an empty field outside of town. Eventually, they decide to steal a car from a passing motorist. To accomplish this, Cory has Annie get all dolled up in a fairly trashy outfit, the better to lure middle aged men to a meeting with their insurance adjuster.

 

 

Of course, the person they stop is Henry, on his way back from town with some groceries. Annie plays her part well, and gets Henry to stop. But Vern is off sinking their car in the river, and Cory won't jump Henry alone.

 

 

EXT. ROAD - MORNING

Annie glances up at Henry as she continues to massage her ankle.

HENRY

Are you all right?

ANNIE

Not really.

HENRY

What seems to be the problem?

ANNIE

Out late. Party. Met a guy, seemed all right.
He brought me out here. You know. When I
said no, he kicked me out of the car
and left me out here in the middle of nowhere!

The last few words she directs to the departed “guy.”

ANNIE (CONT’D)

I fell asleep over there by the river. I heard a car go

by a little while ago, as I was waking up, but I

couldn’t get out here in time.

 HENRY

I guess that must have been me.

Not many cars out this way.

 ANNIE

Well, I’m glad you came back. My ankle

is really hurting. Can you help me?

 

HENRY

I live close by, just got a few things in town.

Why don’t you get in? You could call someone

from my house?

Henry opens the side door. This is not going as planned. Annie looks off as though she is thinking this over. She is actually looking at Cory.

 

 

Cory mimes that he doesn’t know, looking around to indicate he has no idea where Vern is. Annie looks back at Henry.

ANNIE

How close by?

 

HENRY

You can almost see it from here. Come on.

Let me offer you some hospitality.

ANNIE

You’re not one of those crazies? You’re not

going to turn out to be an axe murderer?

 

 

HENRY

Absolutely not. I don’t even own an axe.

Scouts’ honor. I’m Henry.

Not knowing what else to do, Annie pretends to hobble to the car.

ANNIE

Uh, my name is An...gelina. I hope my

friends can find your place.

HENRY

Won’t be a problem. Angelina.

Such a pretty name.

Annie climbs into the car. Henry smiles as she closes the door. He rolls the window up, closing Annie in with him. She watches the window slide into place almost nervously.


[As the car drives off, Vern returns. Cory berates him with much profanity and they start walking, hoping to find Annie quickly.]



EXT. HENRY’S HOUSE - MORNING


Henry’s car pulls in along the driveway. The house is set back a good distance from the road. The car stops near the house, and Henry climbs out. Annie does the same, but slower, very on edge.


She looks back down the road.

HENRY

See, I told you it was close.

ANNIE

Yeah, but my friends still might have

a tough time finding the place.

Henry waves this off and opens the back door of the car. He reaches in and pulls out the two brown paper bags of groceries. With keys in hand, he turns and walks to the house, expecting Annie to follow him.

She doesn’t. He turns back and sees her still looking down the driveway.

HENRY

Aren’t you coming inside? You

still need to call your friends.

Annie casts one more look down the driveway, then turns and walks nervously to where Henry stands by the door. Henry maybe starts to realize something is hinky here. However, the curtain has risen, the play must go on. But Henry can’t resist one little prod.

HENRY (CONT’D)

Your ankle seems to be much better.

Annie realizes she forgot her limp.

ANNIE

Yeah, I guess it is better. Guess being off

it for a few minutes did the trick.

 

HENRY

I guess so.

Henry unlocks the door and gestures for Annie to precede him inside. She smiles anxiously, and goes in. Henry follows, and the door closes with an ominous click. Once again, we stay on the door just long enough to expect something else to happen. Finally, it doesn’t.

INT. HENRY’S KITCHEN - MORNING


Henry has taken the lead and walks in to the kitchen. He sets down the grocery bags. Annie looks the place over as she eases into the kitchen. There is a sign posted: “Enjoy our hospitality. We’re glad you came to see us!” There are also small paintings here, the lightest in tone of any we’ve seen so far.

ANNIE

This is a nice place. You have a lot

of paintings.

HENRY

They’re mine.

Annie looks at him.

ANNIE

Well, sure they are. It’s your

house...

Henry grins.

HENRY

No, I mean I painted them.

ANNIE

Really? Wow. You’re really talented. I like

your sign too. Hospitality. You said that out

on the road.

HENRY

Thank you, Angelina. Yes, my father always

encouraged having guests, and treating them well.

ANNIE

Do you live here alone?

HENRY

No, my father lives here with me.

Annie starts slightly at the change in tense. This day started off bad, and just keeps adding more complications.

ANNIE

Uh, you can make that Annie, I guess.

Where is your father?

 

 

HENRY

Annie it is then. I’m afraid Father is not well. He

sleeps most of the time. Actually, I need to check

on him, and put these groceries away. Do you

need to freshen up?

ANNIE

Uh, sure. Yeah, that would be good.

 

HENRY

Bathroom’s first on the left down the hall.

But first, let me show you this.

Annie is not sure what he means as Henry steps over to a small fusebox looking box on the wall. He opens it and flips the switch inside.


We flash to the front door, the back door, and a shot of the windows. Each time, there is a soft CLUNK that sounds like a lock being thrown followed by a soft and steady electrical HUM.


None of this can be heard in the kitchen.

HENRY (CONT’D)

There. I just turned on the light over my mailbox.

Now your friends will have no problem finding this place.

And you can make your call as soon as I check on

Father. First door on the left in the meantime.

Annie smiles and walks down the hall. Henry smiles back, but the smile fades after Annie disappears and he starts to put away the groceries.

 

EXT. ROAD - MORNING

Cory and Vern walk along, scanning each side looking for some sign of Annie or Henry’s car. They come upon Henry’s driveway.


As they stop to look at it for a moment, the sharp eyed will see the mailbox, which is brightly painted to look like a rather strange fish, the first dimensional representation of Henry’s art that we’ve seen.


And no, there is no light over it at all.

VERN

Is this it?

 

 

CORY

Hell if I know. I don’t want to go to the

wrong place and get some nervous nellie

farmer calling the cops.

Vern calmly pulls out his pistol. Cory sighs and shakes his head.

CORY (CONT’D)

And I don’t want to leave a string of bodies

across the county. Let’s go further down,

see if we see the car.

Vern reluctantly agrees, puts his gun away, and they walk on.

INT. HENRY’S HALLWAY - MORNING

The door to the bathroom opens quietly. Annie peeks out, then slips out into the dimly lit hallway, trying not to let her heels clatter on the floor. The walls here are also covered with several framed pieces.


Down the hall, Henry putters and puts away groceries, humming to himself. Annie turns and walks down the hall the other way.


She comes to a closed door, and puts her hand on the knob. She watches back down the hall, but Henry continues to make noise in the kitchen. She debates opening this door, which could creak, or walking down to the last door, which is open.


She lets go of the doorknob and creeps on down the hall. She peeks carefully around the door frame.

Inside the room, there is a figure lying in the bed. It is very still, and does not show any signs of life. With another peek back to the kitchen, Annie slides into the room.

INT. HENRY’S SECOND BEDROOM - MORNING

Surrounded by Henry’s art, Annie’s eyes adjust to the even more dim light here, and Annie can see that the figure appears to be a very old man, with gray hair and an ample gray beard. There is still no sign of obvious life.

 

 

Annie steps closer, and finally, unable to resist, reaches out a hand to the figure’s foot and gives it a gentle shake.

 

 

Instantly the figure’s eyes snap open, startling the hell out of Annie, who reels back. The figure flops and writhes, absolute stark terror in the eyes. No speech, but a muffled mumbling can be heard. Now it can be seen that the figure is restrained in the bed. Annie turns to run away...

 

 

...and finds Henry standing right behind her, rage in his eyes. He grabs Annie and hustles her out into the hallway.

HENRY

What are you doing?

Why did you do that?

ANNIE

What’s wrong with him? Why is he

so scared? And why is he tied

up like that?

HENRY

He is a very old, very sick man. He is terrified

of just about everything these days, especially strangers.

And in his confusion he cannot be left to fall out of

bed, or wander around the house and hurt himself.

This explanation calms Annie somewhat. Henry also relaxes a bit.

ANNIE

I’m sorry, Henry, I heard a noise...

HENRY

It’s all right. I’m sorry I snapped. I need to

get him calmed down, and seeing you again

won’t help. Will you wait in the kitchen for me?

ANNIE

Yes, of course.

Annie walks back down the hall to the kitchen. Henry watches her until she disappears around the corner, then he walks into the bedroom. The figure reacts again, still terrified.

HENRY

I’m sorry, Father.

He walks over to the dresser and picks up a small case. From inside he draws out a hypodermic needle, which is already filled. He squirts the air out as he approaches the bed. The figure on the bed mumbles incoherently again in the same muffled way.

HENRY (CONT’D)

But it’s for your own good.

The figure on the bed tries to jerk away, but cannot escape.

INT. HENRY’S KITCHEN - MORNING


Annie waits nervously. She eyes a butcher block full of knives, even slides the largest partially out, then decides against it and lets it fall back.


After a moment, Henry walks back into the room. He seems to have regained his composure, though maybe it is now a bit brittle.

HENRY

There, he’s settled down now.

ANNIE

God, I am so sorry, Henry.

HENRY

It’s all right. So much upsets him these

days. Now, how about that phone call?

Annie has no desire to make a phone call, but still doesn’t what to do.

ANNIE

Uh, sure.

HENRY

Phone’s right over here.

He gestures to an old cordless phone mounted on the wall. He takes the handset off and gives it to Annie.


It feels strange, and she hefts it as though the weight is off.

ANNIE

Henry, I don’t think there are

any batteries in this phone.

Henry slides closer as though to take a look.

HENRY

No, there aren’t. Oh, and Annie?

I was never a scout.

Annie tries to move but she’s let Henry get too close as he pulls the same hypodermic up from where he’s been palming it and slams it into Annie’s upper arm.


Annie turns and grabs for the knives, but only manages to get the largest back out and turn before crumpling. The knife clatters harmlessly onto the floor beside her.





Not to spoil anything - but things go downhill from there. That's a few pages out of a 98 page screenplay - if you have six figures lying around that you're not using - this has an executive producer credit just waiting for you...



Until next post, you Can Poke Me With A Fork, Cause I Am Outta Here!

Buddha Man Meets Vincent Price!

The Fly (1958) In a novel opening to a 50’s sci fi flick – we start off as Andre DeLambre (David Hedison) lies dead, his head and arm crushed to paste in a hydraulic press at the factory owned by his family for generations. The police quickly realize this particular press cannot be set automatically, but must have someone at the controls – so this wasn’t suicide – it’s MURDER. Who could be responsible? Well, there are no flies on the police – they see Mrs. DeLambre (Patricia Owens) standing right beside the controls in question and they waste no time putting the blame squarely on her. Her brother-in-law Francoise (Vincent Price) cannot believe Helene capable of such an act and tries to find out why she did it – but the stoic woman refuses to answer – and her quiet calm does not endear her to the authorities, as they begin to believe she is cold and calculating. Making matters worse – they discover evidence that as the press first came down on Andre – his arm slipped out – and that Helene lifted the press, put his arm back in, and sent the press down a second time. What kind of a monster could crush her husband to death – twice?

Herbert Marshall and Vincent Price in the lab.

Eventually it becomes obvious that she is not attempting to flee – or fly – away in escape – but her refusal to explain her actions simply isn’t going to fly. She tells Francoise her story – a few weeks before, scientist Andre had made an amazing breakthrough in his research – he created a machine that could teleport solid matter across a room! Eventually Andre hoped his teleportation system would allow cheap and fast movement of food, goods, and people anywhere in the world – but that would come after perfection of the process – currently it’s just moving something from one cabinet to the other in his laboratory. However, the scientist’s adventurous side kicks in and he decides to take a trip through himself to test the effects of teleportation on living matter. (Seems a little risky, considering…) The first time through goes fine. But the second time is another matter, as Andre is unwittingly joined by a second passenger, and you’re not winging it if you remember the title of the movie at this point.

Charles Herbert and Vincent Price revel in their arachnophobia together.

After that second teleportation, Andre locks himself in his lab and won’t let anyone see him. Eventually he allows Helene to bring him food – but only soups and liquids – and he now wears a cover over his head and keeps one hand out of sight in a pocket. He also enlists her help in a feverish search for a fly – but not just any fly – this fly sports a tiny white head…without it he might not have a wing or a prayer…

David keeps his Hedison out of sight, while Patricia thinks he Owens her an explanation...

This is one of the most fondly remembered monster movies from the 50's - and with good reason. It's a well made thriller - even if the science is beyond goofy. A very solid cast is well orchestrated through the story by director Kurt Neumann - who sadly died right after the movie was released and never got to see it become his biggest hit. Like pretty much all movies like this from the time - the movie makes you wait a while to see the creature in the feature - but it's worth the wait - a cool makeup design by Ben Nye.

Don't harsh his buzz... 

I'm glad Vincent Price is playing Hedison's brother here - because that means we get Price throughout the movie - if he'd been the fly guy we'd have much less of him in the movie. Hedison - still sporting the first name Al before settling on David as a better choice a few years later - is a good choice for the doomed scientist. Patricia Owens handles the various sides of her character (loving wife, cool widow, hysterical screamer) very well - which leads me to wonder why she's not more well known than she is? Charles Herbert has been discussed in this blog before. A good child actor - with agents and managers canny enough to get him top billing in films he did a couple of years after this. And we must mention Herbert Marshall - a veteran actor who found the film silly - he and Price legendarily broke up at some of their scripted lines and actions - but who keeps his performance properly somber and serious.


I don't think you can mention this movie and not touch on the highly recommended 1986 remake from David Cronenberg - that version shores up the science by bringing in DNA and a transformation at the molecular level - which is still fantasy but a tiny bit more grounded in reality than switching heads and hands with an insect.


But we're still back in 1958 - and this original movie is highly recommended as well. In fact, why not watch the two versions back to back?

House of the Long Shadows  (1983)  A thrill collectively went through all classic horror fans when this movie was announced. The four reigning Kings of Horror (at the time) - Vincent Price, Christopher Lee, Peter Cushing, and John Carradine - all together in one film for the first time. Add in more cool British actors like Richard Todd, Sheila Walker, and Louise English (one of Benny Hill's Angels a few years previously) to make the movie even better. That the cast list ended with Desi Arnaz, Jr. didn't have us worried one bit. Then we saw the movie. We should have worried. In the midst of all those veteran actors, Desi stands out like a sore thumb and really mars the movie.

Christopher Lee, John Carradine, Peter Cushing, and Vincent Price.

It also works against that incredible quartet that the script - the zillionth adaptation of the hoary old chestnut Seven Keys to Baldpate - is pretty slow and doesn't really showcase any of the four that well. I don't mind it being another version of an old story - I just wish this adaptation had a little more pep. It's also a visually dark movie - at least it was in the old VHS and in the streaming version I watched not long ago - and it's sometimes hard to see what's going on - which is ironic considering how many times the story was used for radio shows. A big remaster to Blu-Ray might take care of the illumination issues, but until then good luck seeing parts of this. In the end, it's not that great - but what true horror fan could resist checking this out?









Thank you as always, my golden friend. Until next post - you Can Poke Me With A Fork, Cause I Am Outta Here!

Random Stew 10/28/14!

It's the season, and these ads are part of the reason...

Everyone I ever trick or treated is so lucky they didn't give me a packet of Kool-Aid. Soooooo lucky....

Cheap parenting at its best...

Jack Frost O'Lantern!










Until next post, you Can Poke Me With A Fork, Cause I Am Outta Here!

Maniacal Movie Poster Monday #187!

The Atomic Monster  (aka Man-Made Monster)   (Universal Studios, 1941)

Realart re-released this Universal Studios flick - and apparently it was in the 1950's if that retitle is any indication. This is a fun movie, but it's kind of sad - as lovable lummox Chaney is made into a murderous monster by good ol' Lionel Atwill.











They  (Dimension Films, 2002)

I really didn't care for this toothless PG-13 horror flick in the theater. But, here's the poster anyway.














The Brotherhood of Satan  (Columbia Pictures, 1971)

I finally got to check this flick out a week or so ago - not a great movie, but interesting - and I think one that would lend itself to a rewatch.









Until next post, you Can Poke Me With A Fork, Cause I Am Outta Here!

Crazy Movie Weekend: Halloween Horrorfest 4!

October 24-26 marked the fourth edition of my weekend long horror movie marathon (itself within an all month long horror marathon)!



I took the whole day off this year - cleaned the house and trekked out for snacks and supplies - and of course the now truly traditional Friday night meal to kick off the movies:

Papa Murphy's Take-n-Bake Jack O'Lantern Pepperoni Pizza!

And then - just after 7pm - the films began! (SPOILER ALERT - the following images may present spoilers, plus there is an ongoing body count for each movie - if you haven't seen all of these movies beware...)

Halloween 5: The Revenge of Michael Myers

My buddy Ray and his girlfriend Melinda joined me and my wife Suze for this one. I always snap pictures right off the screen - trying to get a good one to use in social media - to let everyone know what we're up to - and it's always in the hopes someone extra will join us - though that's not yet happened.

Donald Pleasence

This was the shot used on social media.

URK!

Don't worry, the cat is not part of the body count.

Terror Train

Ray, Melinda, Suze, and me.

The conductors don't appreciate practical jokes - and no one knows who's really in that snake costume...

Michy's legs were a draw to take this shot.

This is the social media shot.

Ray's carved buddy Jack is the mascot for the second Body Count shot.

Night of the Demons  (1988)

Ray, Melinda, Suze, and me - and James joined us near the end.

Linnea Quigley looking pretty damned demonic...when there's only one picture from the movie of course
it is the shot used in social media...

Snacks and an adult beverage flank our ever growing BC.

Laid to Rest

Ray, Melinda, Suze, James, and me. The biggest attendance for the weekend. *sigh*

Sean Whalen buys it. Doesn't he kind of look like Mrs. Bates from the end of Psycho here?

My door decoration holds up the next BC - with a little help if you look down his arm...

And that wrapped us up for Friday night - it was after 2am...





Saturday morning - shortly after 9am - and now it's just James and me for the rest of the fest!

George A. Romero's Diary of the Dead



A group shot.

As the credits roll and we hit a nice round number, my cat Eva Gabor photobombs the BC pic...

Wolf Creek

Trying to catch a good shot of Mick...

There it is! And this is the social media shot.

My Canadian buddy Elaine's Halloween card spruces up the next BC shot.

The Invisible Man Returns 

Though old movies are not James's thing - I mandated an old school scary movie to honor my start as a kid in watching horror. I gave him two choices. First - Boris Karloff or Vincent Price. He chose Price. Second - The Invisible Man Returns or House of Wax? He chose the one not to see.

Not a great shot of Mr. Unseen (Vincent Price) but I'm always a sucker for a leg shot.

Here's the social media picture.

But I kept shooting - isn't she a babe?

Almost got used for social media.

Same here.

More of our snacks appear - and The Invisible Man barely makes the Body Count rise at all.

 

I Spit On Your Grave  (1978)

A nice try at a shot, but ends up a little busy.

In trying to keep the photos PG-13 at most - but still present something creepy -
this guy and his knife was about my only option. This is the social media winner.

This was voted on for the social media shot - but I went with the other one because the knife has
gone invisible here.

Friday the 13th dominates this BC pic.

The Howling 

Not the greatest picture, as the double exposure of the next shot is already dissolving in,
but I love these stop motion werewolves you get the briefest glimpse of...

There's the machine itself, in all its glory! My combo VHS/Blu-Ray player! And that's The Howling disc
about to come out for the next feature...

The Collection

An interesting mid-dissolve shot - kind of cool, but not what I'm looking to post ...

Trying to catch the doom trap and the guy in the same shot - fail.

Trying to catch a good shot of Our Hero...not that great.

Trying for the guy and the trap again - more fail.

Let's try catching the killer then. The lighter looks good - but he's still in motion and soft focus as a result...

Not a perfect shot - but a good one - and this is the one I used.

Jason V is almost knocked over by a single film body count that rivals his across eleven movies!

Another choice for James - a sequel to one of the movies we had watched, or a remake of one of the movies we had watched? He couldn't decide at first - eventually saying whichever was newer. 2010's I Spit On Your Grave gets pushed to next year by 2014's:

 

Wolf Creek 2

James couldn't make out John Jarratt's Australian accent very well, so the captions were on for the
whole movie. It was near impossible to get a good shot of Mick when there weren't words at the
bottom, and I didn't want to stop the movie, turn them off, start the movie, take the pic, stop the
movie...etc. So this pic won.

I did get this pic - which makes Mick look really creepy eyed - until you realize those are his
fingertips and not crazy eyeballs.

Our dinner - wings - and James's drink of choice - Rum-n-Pepsi - are shown off for the next BC picture.

Contracted

We had made good time watching Saturday and had time for two more movies. I knew what I wanted to finish
Saturday with, so James got the choice of what was next to last - one of the choices became Sunday's first
movie, and Splinter and Shredder moved to next year. We chose this body horror flick so we could get
thoroughly grossed out. During this movie - in all seriousness - a weird light floated around in the distance
behind my house. No sounds, too slow for a remote drone or toy, and it went straight up at one point, so
not a plane. We got creeped out and ran back to the movie after locking up the back patio and
closing the curtains.

Trying to catch her horrifically changed eyes. Fail.

URK!

Trying to catch the full effect again. Fail.

Better, but still not quite what I was looking for.

GURGLE!

Bam! Putting on makeup with the messed up eyes and mouth? Winner winner chicken dinner! Sent this one out.

Another gruesome eye shot.

Jack returns for the next BC shot. Not a huge number of bodies - but we were good and creeped out!

You're Next

James said "there's your shot right there." He was right - the movie title and some gore? Perfect!

James always does a "dead guy" shot for the HHs.

That wrapped us up for Saturday night - nine movies - a good day well spent. We were all done shortly after 2am again.


Sunday morning - back at it around 9:30am....

Trailer Park of Terror

Hard to catch a good shot in this movie as there's lots of fast moving people and camera shots.

And then you get a shot like this. No, it's not what it looks like. She is taking his belt off with her hands.
I just caught it at the exact perfect moment to make it appear this movie is raunchier than it really is.
Sorry if that offends you - but it was too funny not to include.

A prop from my favorite horror convention!

Feast III: The Happy Finish

The previous two CMW: HHs had ended with the previous two Feast movies - so we closed out the trilogy this year.

This was actually a bathroom break pause - but this movie has so much fast moving stuff to challenge me
taking a pic that I just went ahead with it.

And as has become another tradition - I jump on camera for the Body Count Final Total.

FIVE HUNDRED AND TWO! Can you believe it?

So, the second poorest turnout for any Crazy Movie Weekend - only the very first one had lower attendance with just three people - and a bunch of entertaining movies with an incredible body count. Too bad for those invited - Sandra, David, April, Natalie, Brett, Rebecca, and Jeff - who didn't make it. Maybe next year. James and I had a blast, and I was happy Ray, Melinda, and Suze made it for Friday night's movies.






Until next post, you Can Poke Me With Several Movies, Cause I Am Outta Here!