An Homage to 80's Horror Pics
345227
Gratuitous gore, great standard 80's cheese factor, quirky performances ... what's not to love?  The perfect pick for horror fans!  Watch it damnit! :D
1323093
If you like a good horror film but sort of ache for old school or jus a nice modern take on it, this is for you. Well done!
2019557
The book reminds me of the great horror novels that were so great in the 80's.  The author gets right to the point and BAM! horror upon horror.
1671658
Reminded me of an extreme version of Creepy and Eerie Magazines and others I read years ago. I got my hands on them whenever I could sneak them away from my brothers. LOL  The artwork is almost too good!
2519148
Jeff Strand has him one bent sense of humor, and pulls no punches in this aptly title volume. It's the kind of book that brings back 80's horror movies that left your just as likely to howl as cringe, even doing ther money shots.

CHeck out the cool book trail by GOSMultiMedia on YouTube.

And then get yourself a copy and a box of popcorn with worms in it.
4649470
Good mix of scary pics mixed with herbivores.... nice because some recipients were little ones.  Cool stickers, still big enough to attach candy
3001585
Horror movie buffs will find THE ART OF HORROR MOVIES impossible to resist. This beautifully designed book is full of amazing, vibrant and varied artwork--more than 600 images. These include classic, iconic and rare horror movie poster art, as well as paintings and illustrations created for comic books, magazines and novelizations. Some of the most striking art comes from present-day digital artists who salute and reinvent vintage horror film art.

Stephen Jones and his contributors--film critics, journalists and historians--also offer a superb, concise and opinionated overview of a century's worth of horror on celluloid. Each chapter represents one decade of horror film output, both U.S. and international films. Sprinkled throughout are appreciations of some of the genre's MVPs: actors (such as Boris Karloff and Jamie Lee Curtis), producers, directors and studios. This art book is a treat for horror film enthusiasts, and overflows with vibrant images and fascinating film lore.

A beautifully illustrated and knowledgably written art book celebrating 100 years of horror films.
359587
This book is exactly what I am into. Pinup-fetish style in dirty motel rooms. Perhaps, because I was so excited to get it, I was somewhat let down. It is obvious that it is a man photographer. Most of the photos concentrate on crotch shots involving a lamp of some sort. A little odd, but there are some nice photos. Particularly the cover shot.
3753726
This is my first review, but I feel I should defend this flick so that the right kind of people view it. I'm a fan of art cinema.  I enjoy films like Hour of the Wolf, Eyes without a Face, Eraserhead, and Santa Sangre. I love Kubrick, Lynch, Bergman, and other art-conscious film directors.  I enjoy horror by Argento, Fulci, Bava, Carpenter (yes, I enjoyed The Ward, tho it's not as good as his earlier output), etc. I love old school 70's horror, 80's slasher flicks, and ALL of Romero's Dead films, Eli Roth, and comedy horrors. I also enjoyed and own each of Rob Zombie's films, even Halloween 2.

So, if any of this sounds like your taste, I have no hesitation recommending this tasteful little flick by zombie.
2133158
I ordered this for three reasons:

1.  The nifty picture of pretty lips with vampire fangs on the cover;

2.  "Bela Lugosi's Dead" by Bauhaus

3.  "Love Will Tear Us Apart" by Joy Division.

This CD features a few other select tracks, some more obscure than others, all woth having.  I can also understand how they fit into the Halloween theme, except possibly for Duran Duran's Hungy Like The Wolf, unless you're thinking of a werewolf when it's that time of the month.

All in all, if you are a child of the 80's looking for something to set the mood this Halloween season, this one is hard to beat.  Also good for any other time of the year.

Cheers.
4144110
To most self-respecting horror fans, the shaky web-cam style is usually a recipe for disaster.  The horror films using that style that have come in the wake of the classic Blair Witch Project film in the late 90's have mostly been panned and for good reason.  Even our beloved George Romero, a horror icon who could do no wrong, ended up disgusting most of his fans when he employed the technology to lay the only goose egg in his illustrious career, last year's dreadful "Diary of the Dead".  But along comes "Rec", a Spanish chiller that inspired the American remake "Quarantine".  Regardless of any discussions on the shaky-cam style of filmmaking, this is one of the better horror movies of recent years.  And that is an impressive achievement indeed.

At the beginning of "Rec" we follow around an attractive reporter named Angela and her colleague cameraman Pablo, who are filming segments for a weekly show they put on entitled "While you're Asleep".  This week's segment is to gain an inside look at the fireman profession.  They go to the station and interview firemen on the ins and outs of their profession.  Then the call comes.  A "situation" at an apartment complex that needs immediate rescue attention.  Angela and Pablo follow the firemen into the building and uncover a horrific situation where a woman bites off the face of a police officer.  Carnage ensues as more people become infected with this strange disease, turning them into ravenous flesh eaters.  The tenants and everyone try to escape the building, but they can't.  They have been quarantined inside by health authorities fearful that the disease will spread.

Why is "Rec" such a cut above all the other hand-held camera horror films?  Well, let's start off with the camera itself:  the picture is clear, of good quality and not amateurish.  For the most part it doesn't spin around nearly as much as other films like this, that can induce nausea watching it in a movie theatre.  But what mostly makes Rec a winner is its amazing sense of pacing and controlled intensity.  There are scenes so intense they left me on the edge of my seat with my jaw open in awe.  But without overdoing this, we are given breaks in between attacks, where the apartment tenants, and us the viewer, get to catch our breath.

I also didn't have trouble buying into the concept the cameraman would keep filming even though he's amidst all this carnage; him and the female newscaster have proven to us that they're intent on delivering their audience the inside scoop no matter how exploitative the contents.  I don't want to say more as to spoil the film, I'll just say this:  "Rec" absolutely needs to be watched if you're a horror fan.  It's incredibly intense and yes, actually scary.
2942543
Style trumps substance in Ti Wests delightfully atmospheric callback to 70s and 80s occult horror.  Neither gory nor exhilarating, if you don't like slow-burns then you definitely won't like this.  However, if youd enjoy a callback to atmospheric 70s-80s horror with a well-developed and endearing victim, then this is for you.

From the opening shot director Ti West (The Sacrament, The Innkeepers, Cabin Fever 2) transports us to what feels like 1980, a time of payphones and public bulletin boards with thumb-tacked want-ads.  The score, film quality, wardrobe and even the credits simply ooze "VHS horror."  The film doesn't just "look" old, it "feels" old.  Like it's been in a dusty box of tapes in a closet for the past 35 years.

As with It Follows (2014), we take our time getting to know and invest in our female lead, Samantha (Jocelin Donahue; Insidious Chapter 2).  Her hair and delicate features remind me of a young Margot Kidder (Black Christmas) and, thus, a good victim.  She rents a house from an all-too-kind landlord (cameo by Dee Wallace; The Howling, Cujo, Halloween) but desperately needs money to pay her rent.

West gives us a lot of subtle hints, and then some unsubtle ones in the spirit of the more obvious horror of the 80s.  When Sam finds a "babysitter wanted" flyer, it's surrounded by flyers/ads for watching the upcoming lunar eclipse.  Later the radio and TV news harbinger the ominous eclipse.  Add that to the babysitter trope, a house in the middle of nowhere and her friend (reluctant to leave Sam alone) finding the house and owner creepy and no one in the audience should have missed whats going to happen.

The house is huge and remote.  Its owner (Tom Noonan; Wolfen, RoboCop 2) is weird but polite, speaking of preparation for the eclipse to a suspicious degree.  He clearly wants Sam alone in the house, protesting the presence of her friend.  When Sam hesitates the old man offers her $200, $300, then $400 to watch over the house for a few hours while he and his wife (Mary Woronov; Warlock, Chopping Mall) are out.  Sam's friend says this is too good to be true and she should leaveshes obviously right!

There's a lot of exposition but it's delivered tactfully enough; like a subtle delivery of blatant content, which also holds for the scares and gore, when present (though rare and skewed to the end).

The film moves at a slow pace and it tiptoes the line between slightly boring and provokingly interesting.  I don't mind, though.  Im digging the nostalgic atmosphere and West does a god job of getting us familiar with Samantha and her friend (Greta Gerwig).  Several scenes endear them to viewers, my favorite being Sams cute scene dancing around the creepy house listening to a Walkman.

The payoff in the end is nothing we haven't seen before (many times, in fact, in 70s occult horror), but again, I don't mind.  Its creepy.  And even though we saw it coming and very little happens until the very end, I enjoyed this for what it was.  Honestly, I enjoyed the buildup in the first 60 minutes more than the payoff at the end.  Some may even argue that the final act does the films first hour no justice.  Despite this perhaps somewhat justified criticism, I felt the film was largely beautifully executed.

West wisely cast aside the CGI, overblown gore for shock value, nudity and over-exposition.  He ignores the rules of modern horror success and contemporary tropes to instead resurrect the nigh-forgotten tropes of decades past as he breathes life into that 70s/80s style that never truly benefited from high production value back in its time.  In short, West has created a classic horror film for a modern audience that has lost its patience with dated filmsand I applaud him for it!

Theres actually nothing original at all in this film.  However, Wests careful approach restores my faith in an overplayed genre.
3846859
It seems that almost any film made in the eighties is better than the crap we get mostly today, in particular for horror fans. This was the last film in the Shaw Brother's "Black Magic Trilogy" (1975 Black Magic and 1983 Boxers Omen) and made in 1983 it was a gore effects gooey rubber splatterfest. No CGI here we have guts, blood, magic wizards, naked bodies, rotten corpses, and supernatural necrophilla...wow. Although the horror is really too over the top to be scary, it is still fun to watch the wacky politically incorrect monster effects sorry ladies. I have read some reviews that compare it to John Carpenters "The Thing" and "Evil Dead" but it might be actually a little of both, gooey rubber tentacled monsters that morph out of random body parts like "Thing" and crazy horror lunacy like "Evil Dead". So sample the Asian craziness in a culture that makes it's films without a rating system and before Asian horror became nothing more than long haired groaning female ghosts.
4363151
Really cool photographs, a little more graphic than just butts, just in case anyone isn't ok with some boob and vagina shots :)
1445153
After reading the first two posted reviews and having all the archives books from Creepy and Eerie, I must say that this is a much better archive than the middle period Creepy archive books. True, there is only 4 issues but one issue (No. 44) has eight stories in it and there is plenty of very good to outstanding artwork plus quality stories to rate this archive as a must have in the collection. Richard Arndt has written an insightful introduction into the Warren publishing machine that tells you exactly what was happening around this time period. Dark Horse is falling into a rut lately by featuring nude women on their covers as oppossed to presenting true horror. The cover, done by SanJulian, can be justified as Sanjulian's first for Creepy but if you look at the next two Eerie arhives coming out, we get more of the same. Sexy woman as the focal point. I would have dared to show No. 44's masterpiece drawn by Segrelles. This cover was later marketed on Creepy shirts in the late 70's. It depicts a corpse reaching out to grab you. Repulsive is the first thought that comes to mind but it depicts the true spirit of the magazine. As for stories, many will enjoy the following: Issue 42's "A Change of Identity", #43's "The Mark of Satan's Claw" and "The Men Who Called Him Monster". Issue 44 is the true masterpiece as it contains the most stories and the best quality. The opening story written by horror master F. Paul Wilson "With Silver Bells, Cockle Shells And" will really shock you. "The Last Days of Hans Bruder" is also a shocker as it concerns a german doctor who is appalled at what he did during World War II. Just the directly implied threat of what the nazis were going to do with one character is menacing enough to send chills. Issue 45, I found, was a big let down from #44. I know you can't hit a home run every time out but at times, Warren magazines raised the bar on what they were trying to do and sometimes, given the high expectations, it may be dissapointing to find an inferior issue. Overall, I recommend this archive by it's greatest asset which is the artwork.
2030639
To tide you over until the next "Movie Megacheese" or whatever.  Very funny captions, worth a look.  A nice book in its own right, but not very much to it other than the very brief captions by Nelson.  The pictures reminded me of my 1970s childhood in a creepy, uncomfortable way.  I recommend buying it used (sorry!)
1383400
Not perfect, but a good effort. Love letter to the late 80's horror movies. Another great Anchor Bay release.