Happy Halloween kiddies! Check out this awesome mash-up by PleasePlaySomeMore, which features 250(!) horror film clips set to the music of Power Glove. It is equal parts spellbinding and awesome.
Saturday, October 31, 2015
Friday, October 30, 2015
To celebrate this day before Halloween edition of VHS Fridays, I give you Gary Graver's 1982 flick Trick or Treats.
Linda (Jacqueline Giroux) is stuck babysitting Halloween night and not only has to deal with her rambunctious charge, but also the escaped madman who comes calling.
I have a soft spot for Trick or Treats, as it served as one of the major influences of my 2013 short film Lively, but man this movie is a hot mess. The tone is puzzling from the get-go, as even though it is structured like a horror, the scattershot gags would have you believe it to be comedy. I mean, there's no other way to take the painfully long scene where Peter Jason struggles with the two orderlies carrying him away to the loony bin. Bits like this will make you laugh, but mainly in response to how they got onscreen. It's possible it was meant to be a spoof, but it's really too obtuse to be considered one. Student Bodies is a spoof, this is just confused.
|Babysitter (Jacqueline Giroux) & Babysittee (Chris Graver)|
Trick or Treats then fails as a horror film because there's little suspense or edge to it. And considering that the first murder doesn't happen until past the seventy minute mark, it doesn't live up to the promise of its poster or slasher underpinnings either. Christ, they actually had to add a subplot halfway through the movie just so they'd have someone to off.
Its biggest flaw though is just that so little of it makes any sense. Why does Linda accept a babysitter job the night of Halloween? Because her “agency” will drop her if she doesn't. What talent agency books babysitting jobs? Why is Steve Railsback's character in this movie? Did they just need filler? The little kid pretty much spends the entire movie fucking with the babysitter, and she keeps falling for his pranks. After the ninth or tenth prank, why doesn't she just tie him up somewhere? And don't get me started on how Jason's character spends half of the movie in drag and no one seems to notice. Because that's the joke, right? Okaaaay.
|Peter Jason (right) makes a new friend.|
Perhaps the biggest question is, if the script was such a disaster, why were there so many people in this? David Carradine was probably on set for a day, and was clearly winging it. Carrie Snodgrass was there because well, they apparently shot it in her house. But Railsback, Catherine E. “Log Lady” Coulson and Paul Bartel? I suppose the latter isn't too much of a surprise as he often cameoed in other people's genre films.
Regardless of its WTF nature, the babysitter/problem child/escaped maniac dynamic has always intrigued me and Trick or Treats is one of the very few instances where all three get equal play. So I'll take what I can get. The Vestron VHS & Code Red DVD releases are hard to find, but it is online if you feel so inclined.
Enjoy your Devil's Night, kiddies!
Tuesday, October 27, 2015
With this past summer's release of Satanic Panic (which included an essay on metal-themed horror), the recent festival darling Deathgasm, and the upcoming Halloween festivities, this week's trailer seems more than appropriate.
Is there anything more fucking metal than this movie?
Sunday, October 25, 2015
In its tenth year, Toronto After Dark continued to showcase short films both homegrown and from around the world. Here were some of my favourites this year.
We were all saddened to hear about the passing of Roddy Rowdy Piper earlier this year. Thankfully, we were blessed to have this last hurrah in the form of the short film Portal To Hell where he plays a maintenance man whose building suddenly becomes a gateway to the netherworld. Piper has just as much charisma as he ever did in this, and it's impossible to watch without a big smile on your face.
Wunderkind Nate Wilson returned to After Dark with his newest short film, Fuck Buddies. It is amazing to me that at eighteen, he not only has this much of a grasp on gender relations, but also the confidence to have people act out this crazy scenario. This zany cross between rom-com and J-horror is quite remarkable in its ability to just keep getting more and more insane.
In the scares department, TAD brought forth Oliver Park's Vicious from the UK. It takes the standard woman home alone trope and throws in some of the creepiest visual set pieces I've seen in quite some time.
|Rachel Winters in Vicious|
The world of animation was not left out this year. I really dug Morgan King's short Exordium. Watching its use of rotoscoping gave me pangs of my days watching stuff like Heavy Metal and Wizards. Khoebe Magsaysay's Nihil was also a dazzling piece that reminded me of Ari Folman's The Congress and nineties video games Another World & Flashback. Both shorts are a feast for the eyes.
I was very glad to see two of my favourite short films this year - Point of View and Boniato - play the festival this year. Justin Harding and the Spanish trio of Andres Meza-Valdes, Diego Meza-Valdes & Eric Mainade should have long careers ahead of them if they keep bringing this amount of energy and intensity.
I didn't get to see everything at TAD this year, but I heard that Heir and I Am Coming To Paris To Kill You both played very well at the fest.
I also wanted to throw another one out here. This year, after getting swamped by the over eight-hundred submissions they received, the shorts programmers invited me to help pre-screen. I watched almost two hundred entries, flagging a bunch, but my favourite was this Aussie film from James Hartley called Twisted, which I have put below.
Saturday, October 24, 2015
The other local filmmakers I wanted to praise were the new director/producer team of Trevor Juras and Peter Kuplowsky, whose film The Interior screened here on Monday.
James (Patrick McFadden), an office drone fed up with city life, leaves everything behind and treks into the British Columbian forest. It is not long, however, before he discovers he might not be alone.
I remember when first Peter told me he was trekking out to BC for a few weeks to shoot a movie in the woods. I said “that's cool”, but what I was thinking was “good luck with that.” But here we are, a year later, and those crazy bastards have delivered a solid and engaging movie.
For those who have seen director Trevor Juras' short film work (and if you haven't, watch this now), you'll know how seamlessly he blends comedy with horror. In The Interior, it plays here in two halves, buttering us up with situational comedy before thrusting us into the harsh unknown of the wilderness.
I've heard some critical bylines to the effect of “man goes into forest; nothing much happens,” but I feel that's grossly inaccurate. By saying that, you are ignoring all the talented filmmaking that is going on here. While it is true that the narrative is minimalist – there is virtually no dialogue in the back half – Juras held my attention in other ways.
|Patrick McFadden as James in The Interior.|
Perhaps the most impressive thing about The Interior is its calculated use of light. Juras made mention during the Q&A that he wanted as little of it as possible, even cutting out the usual crutch of the overhead lamp doubling for the moon, in order to simulate the extreme darkness of the forest. This absence of light was a character in itself, as your eyes cling to the narrow rays thrown by the main character's flashlight. It is these sequences that get to the very root of our primal fears. Juras also has a really tight grasp of when to use music and when not to, as some sequences are beautifully blanketed with the work of Chopin, and some are starkly silent.
I was worried that The Interior was going to be a largely obtuse affair that left me scratching my head at the end – much like my recent experience with Alex Ross Perry's Queen of Earth, which I loved despite the huh? – but it was actually quite simple and straightforward. These half a dozen guys ran around in the woods for a fortnight and came out with a solid movie. It's quite inspiring when you think about it.
|Director Trevor Juras.|
I’m thrilled that the Toronto film community is not only thriving by being home to countless Hollywood projects and television shows, but also nurturing dynamic indie filmmakers like Trevor and Gabriel. The future is bright, indeed.
Friday, October 23, 2015
Toronto After Dark has always been very welcome of the indie film scene here in Ontario. There are dozens of significant filmmakers creating great content, and I am blessed to know, and in some cases worked with, several of them. Two such directors had their Toronto premieres earlier this week, the first of which being Gabriel Carrer with his rage-fuelled vigilante opus The Demolisher.
After his wife is crippled by gang members, Bruce (Ry Barrett) takes to the streets of Toronto seeking vigilante justice.
I have to say that I was pretty impressed by this. I was expecting a straightforward revenge yarn, but Carrer provided something much more brooding and insular instead. At the subsequent Q&A, he talked about the evolution of the project. Originally envisioned as a straight-up slasher in the vein of The Prowler, it morphed into something more along the lines of seventies/eighties revenge flicks like Death Wish and The Exterminator.
The Demolisher is a great looking film with a musical score by Glen Nicholls that adds much to the proceedings. Carrer wears his influences on his sleeve, everything from Mann to Refn to Carpenter, but perhaps the most striking presence in the film is the city of Toronto itself though. The Big Smoke is often used as a double for other cities, so it was really awesome to see it front and center as a gritty metropolis. The chase sequences through empty streets and buildings had a surreal quality to them, as this city rarely gets that quiet – though truth be told some bits were shot in neighbouring municipalities.
|The Demolisher (Ry Barrett) patrols the streets.|
This was a mood piece with sparce dialogue and a narrative largely told visually, a task for which the three leads, Ry Barrett, Tianna Nori and Jessica Vano were more than up to. I could see they were all one-hundred percent invested in conveying the abject anger and desperation of Carrer’s cinematic world. I’ve worked with Barrett in the past, and I’m so glad to see he has now graduated to the lead roles he deserves.
The Demolisher is not without its issues though. There is suitable exposition to glean the character's motivations, but they could’ve been expanded on to give the piece more dramatic weight. And because the film begins with Bruce’s crusade already in progress, there is no real arc or escalation. It was a superhero (or supervillain depending on how you look at it) movie without the origin story. However, because I was engrossed in everything else, I wasn’t too bothered too much.
|From left, Director Gabriel Carrer & stars Ry Barrett, Jessica Vano & Tianna Nori.|
Carrer’s skills as a filmmaker are increasing with each subsequent film, and as his tools and budgets get bigger, I expect so will his cinematic ambitions. I look forward to see what the future holds for Latefox Pictures.
Be sure to come back tomorrow when I discuss the other local premiere I dug, Trevor Juras’ The Interior.
Thursday, October 22, 2015
Toronto After Dark has been wreaking havoc at the Scotiabank Theatre the last week, and I’ve been trying to catch as many flicks as possible. Fortunately, I saw a few of the films in the line-up at Fantasia, so I haven’t been killing myself with the commute.
The first movie that really grabbed me at the fest was Adam Schindler’s Shut In.
An agoraphobic woman is forced to hide inside her house when three men come looking for the money they’ve heard she is keeping on the premises.
I thought Shut In was a really tight thriller. It was very contained, and let the actors do much of the heavy lifting. The comparisons to Panic Room were valid, but I feel like Fincher’s works are often more about his style and less about his subjects. Here, Schindler takes a less flashy approach to the filmmaking and concentrates more on the arc of his protagonist, Anna played by Beth Riesgraf.
|Beth Riesgraf as Anna in Shut In.|
And Riesgraf is a true find. Already a veteran actor on television, Schindler said that she was the first person they auditioned and no one came close after that. She had to show real range in the movie and performed admirably. The other notable appearance is Martin Starr as the sadistic burglar Perry. Primarily known for his comedy work, he looked like he was having fun going in the absolute direction here – think the Dwight Yoakam role in Panic Room, except a bit less skeevy. He makes you forget his usual bespectacled nerd persona almost immediately.
It was mentioned at the following Q&A that the film was shot in an impressive fifteen days, Sure, it takes place in one location, a beautifully rustic house located in Shreveport, Louisiana, but ninety minutes of coverage is a lot to get in the can in that amount of time.
|Martin Starr talks during the Q&A.|
I think what I liked most about the film was that it had me the entire time. It took a turn in the second act that surprised me – surprised everyone, there was actual applause in the theatre – which is not easily done these days. The subject matter, in the hands of lesser filmmakers (or writers), could’ve been a real lazy or unpleasant affair, but even the more implausible moments were well executed due to its well-timed escalation.
The home invasion subgenre has become increasingly crowded in the years following The Strangers, but I think Shut In delivers enough of the goods to make it rise to the top.
Wednesday, October 21, 2015
As promised, here are some of the highlights from the Horror-Rama Q&A's. I sadly missed a few (Sybil Danning & Tristan Risk among them) due to my other responsibilities at Toronto After Dark, but I was really glad I got to see some of them.
The first one was filmmaker Mick Garris, which was really great. He's perhaps best known for being Stephen King's go-to adapter, but you don't really realize just how much stuff he's been involved with until it's all laid out. The talk did obviously begin with his dealings with King though.
On adapting The Stand;
“Adaptation is a difficult process. Film is external and fiction is internal. As for The Stand, when you look at polls of King's favourite books, The Stand always tops the list. So yes it was intimidating! I mean, imagine, I'm a relatively new filmmaker, the guy who'd made Critters 2 and Psycho 4 and this was (an adaptation) of the great American novel. But the good news was, I am not just a huge genre fan, or a huge King fan, but a huge Stand fan, so I cared about what happened to it as much as anybody else. The other thing that made it a lot better was that King wrote the script himself and it was phenomenal. That was the blueprint, and if you start with a good script you, if you're any good at all, or care at all, it's really hard to mess it up.”
|Filmmaker Mick Garris.|
On adapting The Shining;
“The Shining was my favourite book ever, certainly favourite horror book. And when I saw that movie (Kubrick's The Shining) I was so disappointed and so upset and angry and let down. Because, and I've learned to appreciate over the years as a great Kubrick film, but it's not a great King adaptation. So, when we went to do the miniseries, we didn't see it as remaking the Kubrick film. I was so passionate about the book, so when the reviews of the miniseries came out and they were really positive, it got even better reviews than The Stand which were overwhelmingly good, I felt satisfied that we finally got the tell the story in the book.”
He did say that he got maligned by some for that miniseries though.
“Some people hated me just for doing it, they said 'how dare you remake Kubrick'. We weren't remaking the movie, we were doing the book! I'll never forget one review I got. It said 'Garris is to Kubrick, as Peoria is to Paris.' Ouch! That's why if you're going to make material for public consumption, you need the skin of a rhinocerous.”
|Those hedge animals though :/|
When asked if he could adapt any story of King's, what would it be, he said;
“Gerald's Game. Easy answer. I love that book.”
And when the moderator brought up The Long Walk;
“Well, it would be an amazing movie, and everybody seems to want to do it, but nobody ever does it. But, it's funny, it comes up every time I talk to someone about doing Stephen King.”
After talking about a few other King projects, Garris took the opportunity to announce a new project he has in the works called Nightmare Cinema;
“It is sort of a miniature Masters of Horror, we're doing five stories all together with five filmmakers. We're doing it on a very limited budget, and I'm not gonna tell you who they are, but I will say it is two Americans, including me, one Japanese director, one Cuban director and one British director. I'm really excited about this.”
The Q&A concluded with Garris speaking up bringing back his Post Mortem interview series.
“We are going to do a new series. It's not official, but I am going to start chasing some new interviews at the end of this month down in Mexico at a film festival there. I'm excited about doing these. This one will be a bit more travelly, we won't do the Charlie Rose-type black set and very formalized, it will be in somebody's house or office or hotel room, things like that.”
That night, there was a screening of Luigi Cozzi's 1980 Alien rip-off Contamination. As a special treat, star Ian McCulloch and composer Maurizio Guarini were in attendance to conduct a pre-show Q&A.
|Maurizio Guarini (left) & Ian McCulloch (right)|
McColluch was honest about his work on the film;
“I did it for the money, and the locations. I must admit when I finally saw the film I was expecting the worst. But even though it's now quite cheesy and dated, it was thirty-five years ago after all, I must say it is rather enjoyable.”
Guarini had to agree and said that he'd forgotten most of his time working on the film;
“But with the Internet, and seeing photos, the memories are coming back to me. I remember getting left alone while doing the music. But yeah, the film isn't bad.”
It had been a very long time since I'd seen Contamination, as well. In fact, truth be told, this was my first time seeing an uncut version as what I watched circa 1992, was the one featured on Elvira's Movie Macabre. McColluch & Gaurini are right. It's a little rough, but it's not without its many charms. And of course, the score is bangin'.
On Sunday afternoon, horror icon Michael Berryman took to the conference room to share his countless anecdotes.
He began with his time working with the late Wes Craven, relating a story about how the snake wrangler in charge of a deadly “Super Rattlesnake” on the The Hills Have Eyes was not a snake wrangler at all, but just a dude with a pet snake a crew member had grabbed from a local bar.
|Actor Michael Berryman|
Berryman also talked about his predilection to please when Craven suggested they go to a Drive-In where Hills was playing, have him dress up as Pluto and sneak up on the patrons in their cars. It was all in good fun until a seven-foot-tall thug came after him with a bat for “scaring his girlfriend”.
He talked at length about the upcoming release he was very proud of called The Storyteller, a feature film by the late Andrew Getty;
“This film is incredible. We saw it for the first time last week. It is so absorbing, it captures you. There are some camera moves... man, if you're into film at all, you gotta see Storyteller. The editor was working on this thing for ten years!”
He was asked about his experience working with Brandon Lee on The Crow;
“I was the Skull Cowboy, but the scene was cut from the movie. But I got to meet Brandon Lee. I got to work with him. I sat in his trailer with him for hours, we'd talk about his dad and where our futures were going and how much we appreciated this script for a movie we knew was going to be fantastic.”
|Berryman as the Skull Cowboy in The Crow.|
“Brandon, in my opinion, died because of greed. It's not the company's fault. It's because it was a state that didn't want unions and outside labour. For instance, our armourer, our gun guy, was from California and well qualified. But legally they had to send him home and hire a local guy. Now you got a guy who's working on a major motion picture, and I'm sure he did the best he could, but the suits were pushing and in the end, it cost them a lot of money for the lawsuit in Brandon's death.”
Things got a little lighter when someone asked about his experience working with Ruggero Deodato;
“You're in a supermarket. You're looking at the cans. Ruggero would be the one with a dent in it.”
Last, but certainly not least, was perennial Scream Queen Linnea Quigley. The moderator ran down her greatest hits and she related tales from her time on classics such as Return of the Living Dead and Night of the Demons, as well as the cultier stuff like Sorority Babes in the Slimeball Bowl-O-Rama and Creepozoids.
When someone asked about how she got into the business, she said;
“I got into acting, kind of by mistake. I was working at a health spa in L.A and I worked with some models and they told me they were making a hundred dollars a day. That was a lot of money then, in the late seventies or whatever. So, they said 'why don't you come with us to our agent'. I did thinking nothing would come of it, but I started getting certain things. I started out doing modelling for movies that hadn't been made, they used to do the artwork first and sell the movie upon the artwork. Then I started getting like little roles, like where I'd have a line or be a featured extra. I took acting classes and did my homework too. It was a really slow climb, it wasn't overnight or anything, that's for sure.”
|Actress Linnea Quigley.|
On reuniting with old friends on Trophy Heads;
“It was a really weird experience. Michelle & Brinke and I hadn't worked together in twenty-five years before David Decoteau's 1313 Cougar Cult (laughs) and it had been thirty or more since we all worked with Charlie Band. It was really nostalgic to do it. It seemed the same but different, you know? Everything was video now and instant and moving faster. It was really nostalgic, but in a good way, it wasn't like noooooooo.”
On working with young directors who grew up watching her films and if she finds they are better or worse than the old guard;
“Well, sometimes it's hard when the people that were fans are directing you because they're a little bit intimidated by you. And then they think you don't need any direction, or they're scared to give you direction, which is what you want. You want them to direct you, because you want to do a good performance. It's hard to say. On film it was such a harder medium, I think they were more dedicated to it. You couldn't do it again and again, so you had to do it right. One or two takes, or forget it. I don't know, there are some great directors that have come up now too.”
So, that was all I was able to sit in on. Thanks again to Chris & Luis for gathering all these great icons under one roof.
Tuesday, October 20, 2015
Man, guys, that was probably one of the busiest weekends I've ever had, as I was running back and forth between Horror-Rama & Toronto After Dark throughout. More on TAD later because now I want to get you up to speed on what occurred on that pair of genre-filled days.
Horror-Rama took place at the Hyatt Regency this year, which was a little strange. Not only because the decor was a bit counter-intuitive (unless you're dealing with The Overlook) to the bloody business at hand, but also when you stepped into the lobby, you were greeting by this;
|Abandon all hope...|
Many a smile was cracked over this I can assure you. Well, maybe not by the staff or the people on the left side of the hotel, but hey, fuck 'em. Anyhow, you wouldn't have needed a sign to figure out which way to go.
|What are they all looking at???|
I picked up my pass and went in. I really didn't get as much time to shop (or take decent pictures of the show floor for that matter) as I would've liked, as my time there was cut short both days by TAD. Plus, there were many panels going down on the lower levels of the hotel. I've decided to get into those tomorrow and just focus on the actual event here.
Due to my decreased time on the show floor, my wallet came away a little heavier than usual. But not by much. In addition to my annual contribution to Mike at Hollywood Canteen, I naturally picked up some VHS as well. There's a new vendor that's come onto the scene here recently and he has a ton of great stuff.
Myself, I came away with;
There is also a relatively new T-shirt vendor called Zombieinfo.com. Look at these beauties!
Even though I wasn't around for the official announcement ceremony, The Blood In The Snow Film Festival announced their 2015 line-up.
I've been looking forward to seeing Save Yourself and Secret Santa for a while, so good on the BITS crew for locking those down. My buddy Mike Pereira also has his newest short film, Deathbox playing the short film showcase, as well.
I also hit up the Fangoria table and picked up some mags.
I have to give a shout-out to Chris & company on the festival programme. Most conventions just sort of throw together a convention guide, but this Horror-Rama programme, nay, magazine, was really top notch, filled with awesome interviews and info on the guests that were appearing this year. They really put some effort into this thing.
Even though the atmosphere was a bit tweaked by the surroundings - apparently the hotel were big sticklers about food or drink on the show floor and even frowned upon posters on the walls - everybody seemed to be having a good time. I have to commend Chris & Luis for keeping this going. In the absence of any real horror presence at Fan Expo this year, it was even more of a necessity.
Saturday, October 17, 2015
Today is the 5th annual International Independent Video Store Day! So be sure to visit your local video store and show them some love. And if you are one of those unfortunate areas that no longer have such establishments, reach out and support another local business. Let's all put the 'you' in community. See what I did there? Yeah, I know, I'm very tired...
Thursday, October 15, 2015
Tonight begins the latest (the 10th!) edition of Toronto After Dark with opening gala screenings of Axelle Carolyn's anthology Tales of Halloween and Corin Hardy's The Hallow.
I shall be revelling in the festivities for the next nine days, but you can expect some posts to start trickling in early next week, as there is Horror-Rama and Video Store Day happening this weekend, as well.
Talk about an embarrassment of riches!
Wednesday, October 14, 2015
Last week, Vertigo released, as part of their eleven new #1's this fall, a new comic called Survivors' Club from writers Lauren Beukes & Dale Halverson.
The premise is quite brilliant actually. Imagine if all the survivors from your eighties horror tropes (the slasher, the killer doll, the vampire, the possessed machine et al) were all now living in the present day, broken and scarred from their childhood traumas. Then, imagine they were all brought together to fight an evil that had returned.
While it true, the first issue barely had enough time to introduce all six protagonists, I can immediately see the potential here. With a half-dozen origin stories to uncover, that holds a good deal of longevity. I also really dug the art by Ryan Kelly, especially the centerpiece splash page below;
Survivors' Club is pretty much a no-brainer for anyone who digs fresh interpretations of the eighties horror oeuvre. Th premiere issue is out now, with the second one due out Nov 4th.
Tuesday, October 13, 2015
On the subject of Fabio Frizzi, one of things his band played last Thursday was the score from Cat In The Brain.
I must admit I've never seen this particular film, but now that I know that's what it is about, I will rectify that quickly!
Monday, October 12, 2015
Last Thursday, composer Fabio Frizzi brought his show to Toronto and it was pazzo stupefacente bellissimo!!!
Despite being criminally under attended - seriously where was everybody from the Goblin show two years ago??? - Frizzi and his half-dozen accompanying band members (that included vocalist Giuletta Zanardi) put on a stellar show. It didn't seem to bother them at all, as they played through all the Lucio Fulci classics, some stuff from his work on spaghetti westerns and also his pumped up score from Lamberto Bava's Blastfighter.
I, of course, was sitting on pins and needles waiting for one particular piece, and it came early.
You no doubt recognize the man seated next to Frizzi - it is none other than Maurizio Guarini. Even thought the two of them have worked together for decades, this was first time they'd played together on stage. A truly epic night.
Sunday, October 11, 2015
Hey everyone! It's Thanksgiving weekend here, and I'll soon be celebrating by getting myself elbows deep in some slime, but more on that another time. For now, here's what I've got for you this week.
Further Proof IKEA is Evil.
Just like Grady Hendrix, with his recent book, Horrorstör, artist Ed Harrington has also picked up on IKEA's underlying essence of malevolence. Check out these horror inspired instruction manuals.
To check out more over at Harrington's Tumblr, click here.
Friday the 13th Part 8-bit.
The preview titles for Videogram's new EP, Pre-Cert keep on coming. This newest one entitled, Voorhees Stomp was even accompanied by a cool retro-video directed by Aaron Romero. Check it out below.
For more info on the Pre-Cert release, click here.
Have a Mondo Halloween.
MondoCon happened last week in Austin, Texas and one of the beautiful works unveiled was this Halloween piece by Jason Edmiston.
This 24 x 36" poster, limited to 300 pieces, was available at a special Halloween screening at the Alamo Drafthouse. Sooooo wish I was there.