by Paul Costello

Wandering through the old Horror Vault, we're staying in the realm of early silent horror that came from the old German Expressionist masters, however this one comes with a slight twist. At various stages of the development of the Expressionist style that derived from Germany in the early part of the 20th Century, many German directors found themselves being tapped for a career in Hollywood. Ernst Lubitsch went westward in 1922; F.W. Murnau made the move to US soil in 1926; Fritz Lang arrived in Hollywood ten years later, after a brief time in France; and Paul Leni headed to the Universal lot in 1927 after accepting the invitation of Carl Laemmele, the founder of the famous US studio. Laemmele saw something in Leni's early work from their native country and wanted that vision to become part of his growing film empire.

by Paul Costello

In the world of horror cinema, there are two names that tower above the rest in terms of film production. One is Universal, the oldest film studio in the US and probably the single most famous company associated with the horror genre. Here in the UK, we have the other big name: Hammer. Perhaps the most successful and prolific production company ever in the UK, Hammer Films has, over the years, become not only synonymous with the horror genre, but with a distinct brand of horror. Sophisticated, even quaint, and yet increasingly rather camp, the horror films of Hammer boasted an aesthetic that was instantly recognisable to audiences and set it apart from its US contemporaries. Without Hammer, the face of both the UK film industry and horror itself would be a vastly different landscape. But what of its history and development? How did this relatively unassuming production house that started in a few rooms in a London office suite become one of the most respected names in the horror cinema? Let’s take a look back over the years and see how it all started.

by Paul Costello

German Expressionism is a part of the filmic landscape that seems to be getting further and further away from the modern cinema audience. And not just in a temporal sense, which is a very real aspect of our existence, but as a cultural factor, too. The works of the silent masters of Germany's early 20th Century were amongst the most important contributions to the developing cinematic world, in terms of both style and technical innovation. However, as time goes on, the credit they receive is becoming increasingly marginalised by later, more successful films that took what was started by the likes of Robert Weine and Fritz Lang and introduced to a wider audience. In terms of aesthetic, subtext and atmosphere, the development of the language of horror cinema would be vastly different without the produce of studios like Decla and Ufa (Universum Film Aktiengesellschaft).

So, to begin this journey through the distant memories and forgotten parts of horror films, we're going back nearly 100 years to look at a film that had not only a great influence on subsequent films across the world, but served as a point of significance for those at the time. 

We'll be looking at 1920's Der Golem, wie er in die Welt kam, or The Golem: How He Came into the World.

by Max Bosshart

One can argue who is more influential in horror movie and there are people who will disagree with this list, many people were left off this list, and maybe some changes could have been made. Its not fool proof and is the opinion of one man. 

This is one view on the most influential directors in horror history. 

by Max Bosshart

Nell returns to us in the sequel to 2010's The Last Exorcism. 

Written by Damien Chazelle and Ed Gass-Donnelly and directed by Ed Gass-Donnelly, The Last Exorcism Part II follows Nell as she is found by a young couple after the events of the first movie. She is taken to group home for young women where she starts to calm down from her ordeal. She slowly starts to believe that what she believes happened is wrong until Abalom returns to haunt her.

by Max Bosshart


In the beginning of 2003, Rob Zombie was a musician who loved horror movies. Four months into the year he became the director of a horror movie known as House of 1000 Corpses. The story of House of 1000 Corpses is a story of perseverance; perseverance on the part of Zombie himself. Originally the movie was made in 2000 and due to be produced by Universal. Universal feared the movie would be rated NC-17 and shelved the project. Zombie was able to purchase the rights back and brought it the home of big budget horror: Lionsgate.

by Max Bosshart

Once again, Max delves into the vault of horror with a 1930's classic


 White Zombie is a tale of a young couple, Madeline (Madge Bellamy) and Neil (John Harron,) who travel to Haiti to be married on the behest of a new acquaintance, Charles Beaumont (Robert Frazer.) After the couple is married by the missionary, Dr. Bruner (Joseph Cawthorn,) Beaumont, who has fallen madly in love with Madeline, enlists the aid Murder Legendre (Bela Lugosi.) Legendre is a Haitian voodoo master who runs a sugar cane factory manned by zombies of his making.
 

by Max Bosshart 


Written, directed, and produced by the Soska twins, Jen and Sylvia, American Mary is a shining example of independent horror at its best. It won five awards at Screamfest 2012, including best picture. It’s a beautifully crafted film; boasting a unique story and a stunning cast.

Mary Mason (Katharine Isabelle) is a medical student struggling to make ends meet. She finds herself in need of fast cash and finds it through Billy Barker (Antonio Cupo,) Beatress Johnson (Tristan Risk,) and the world of underground body modification surgery. There, Mary's life takes a radical shift down a dark path.

by Max Bosshart


I feel Forbidden World started like this; 

Director: I've got this great idea for a movie.
Producer: Ok.
Director: Its about a group of people in space being attacked by a creature.
Producer: You mean Alien?
Director: No, no, its a mutant and...
Producer: Whatever, just make sure there's synth music.

Today if you want a knock off, you can go and watch an Asylum film, in 1982 the best choice was Roger Corman's New World Pictures. Forbidden World is Corman's version of the sci-fi classic Alien.

Forbidden World opens up to Han Solo, I mean Mike Colby (Jesse Vint) and his sidekick SAM-104 (Don Olivera) affectionately known as Sam. Mike is a professional troubleshooter and is on leave until the duo are diverted to a small scientific outpost on a desert planet. There we meet a group of scientists who've been genetically experimenting with Proto B to solve the food crisis. One such experiment, Subject 20, has been causing some problems. Soon one of the science crew is killed, Subject 20 goes missing and Mike sleeps with one of the women.

By Max Bosshart.

In 2010, I first encountered the trailer for Beyond the Black Rainbow. I instantly knew that I wanted to see the film. I have a soft spot for movies that come across as weird, bizarre, and over the top, hoping to one day find the film that is too weird for my tastes. Though I didn't have high hopes for Beyond the Black Rainbow, I figured it would come across as trying too hard. 

Director/writer Panos Cosmatos' science fiction thriller is set in 1983, confined to The Arboria Institute, a New Age compound designed by Dr. Mercurio Arboria. We're introduced to the two leads, Dr. Barry Nyles (Michael Rogers) and his patient, Elana (Eva Allan.) We soon come to realize that Dr. Nyles isn't quite the New Age utopian psychiatrist it would appear and Elana is more prisoner than patient. As the story progresses we're introduced to a few minor characters and things get more bizarre little by little until we're full bore in the middle of a psychedelic nightmare.