50 Years.

Aug 23rd Horror Trivia Screening List

To all those who came here from the event or our FB page, welcome! I am Jay, one half of the horror trivia quizmasters and this is my humble blog.

If you heard a title while at the last event and thought “oh that movie sounds cool, I should check that out”, here's a comprehensive list of all the films that were mentioned. Click on the titles to be redirected to their Imdb listing.

For everyone else, maybe there's one or two here you have yet to catch. Horror Trivia Nights happen at Storm Crow Manor & Offworld Bar in Toronto. If you're in the area, come on down! Register here. If you're not local, we do often stream the event on @ruemorguemag Instagram.

Wolf Creek (2005)

Land of the Dead (2005)

The Witch (2015)

Shadow In The Cloud (2020)

Leatherface: Texas Chainsaw Massacre III (1990)

Texas Chainsaw Massacre: The Next Generation (1995)

Texas Chainsaw 3D (2013)

Salem's Lot (1979)

Drag Me To Hell (2009)

House of Wax (2005)

The Descent (2005)

The Final Destination (2009)

As Above So Below (2014)

Malignant (2021)

High Tension (2003)

Cherry Falls (2000)

Starry Eyes (2014)

Splinter (2008)

Bride of Frankenstein (1935)

Psycho II (1983)

Dawn of the Dead (1978)

Freddy Vs. Jason (2003)

Insidious: The Red Door (2023)

Phantasm (1979)

Phantasm II (1988)

The Exorcist II: The Heretic (1977)

Army of Darkness (1992)

50 Years of KIllin'

Tex-A-Thon

Last weekend, I partook in the latest marathon at my friend Serena’s place which consisted of watching all the Texas Chainsaw Massacre movies. Out of all these events I have participated in (Scream, Chucky, Hellraiser, NOES & Halloween) this was definitely the one I had reservations about.

While the first two films are horror royalty – it can be argued that Tobe Hooper’s 1974 masterpiece is the GOAT and certainly the most intense and unrelenting when viewed on the big screen – but beyond that there are some serious diminishing returns. I had not seen the third & fourth installments in over twenty years and I was even more apprehensive about enduring the back half. I was not a fan of the 2003 remake and I wasn’t expecting the trio that came after it to be any better. Let’s see how we fared.

It was about noon when I rolled in with the first film underway at the point just before Jerry (Allen Danziger) meets his end. I have seen this movie countless times – I can tell you it was refreshing to watch it now without a debate weighing on my mind – and it never ceases to impress me. It is something that shouldn’t exist, but does. A celluloid nightmare that captured a moment in time and influenced filmmakers for years to come.



But enough gushing, you’re reading this so you know all this.

For the sequel, Hooper took a left turn at Crazytown. In response to audiences not catching onto the fact that there was actually an element of comedy to TCM, he doubled down on the camp for Part 2. Everything is amplified here. I wager that Jim Siedow (returning as the eldest Sawyer brother), Bill Moseley and Dennis Hopper were all competing to see who could chew the most scenery – Hopper’s double chainsaws probably wins that one.



And just in case you hadn’t picked up on the chainsaw as phallic symbol, Hooper smashes that point home, as well. Even this iteration’s Final Girl, record jockey Stretch (an extremely game Caroline Williams) while imperiled most of the picture does find the courage to fight back in the last reel.

Leatherface: Texas Chainsaw Massacre III was a decidedly dry affair. Even with Ken Foree and the trivia factor of it starring a young Viggo Mortensen, there’s not much to this movie. In fact, I’ve forgotten a lot of it already other than one of the family members was a Patty McCormack-esque little girl and Leatherface gets an engraved gold-plated chainsaw. Which reminds me, this Excalibur trailer really is the best thing about this movie.

The Next Generation is a train wreck, but at least it’s a somewhat entertaining one.

There’s something about the “anything goes” attitude of director Kim Henkel that makes it palatable. In terms of subject matter, it’s a carbon copy of what came before, but Matthew McConaughey’s untethered performance is something to behold. This was also Renee Zellweger’s first leading role and she takes it like a champ.



So much of this movie makes no sense, but four movies in I found I didn’t much care.

Then it was time for the modern era of TCM. Fifteen years on from my first impressions, I can relent that Marcus Nispel’s 2003 incarnation is a well made movie. I still don’t like it, chiefly because it’s everything that the original is not. It’s slick and overproduced, leaving nothing to the imagination, but it does resemble the first film in that they are both acutely representative of horror filmmaking from their respective eras.

I always found a whole town seemingly being in on it a little more implausible than just one killer family in the middle of nowhere. Just a sign of the times I guess. At the very least though, I thought Jessica Biel made a decent Final Girl. I feel she’s an actress who’s put in some really great performances since her time at Platinum Dunes that have sadly gone unrecognized.

TCM: The Beginning was definitely the most joyless of the series. It’s dirty and gross and feels like a lesser version of Nispel’s picture. It’s also kind of unnecessary. Were how R. Lee Ermey became Sherriff and how the gropey guy in the wheelchair lost his legs really burning questions we needed answered? I don’t think so.

Plus, unlike Biel and the next movie’s heroine Alexandra Daddario who both filled their roles with gusto, something about Jordana Brewster felt a bit out of place here. I guess the fact that it was a prequel sort of self-spoiled the ending, as well.

Midnight was fast approaching so it could be that I was a little punch drunk by this point – I believe it was only Serena & I that were still up by the seventh stanza – but Texas 3D was not terrible. It’s ridiculously stupid – the whole movie hinges on the main character not opening a letter she receives at the onset – but like I said, Daddario made a fine Final Girl even if she was fifteen years younger than the character she was supposed to be playing. This installment offers up some (quite possibly unintentional) dumb fun, something painfully lacking from the previous two movies.

Sadly, we obviously weren’t watching it in 3D, as that could’ve made for some Bloody Valentine shits and giggs too. I was also surprised to find I didn’t hate the fact that “Old Man Leatherface” (played this time by Dan Yeager) and Dadarrio become best buds at the end ala AvP. Hey, at least it’s something different.

 

And that is what I came away with when all was said and done. Everything past Part 2 was basically the same movie over and over with the same beats.

-People run afoul of the family deep in the heart of Texas.

-Someone gets hung on a hook.

-Girl gets tied to a chair.

-Girl screams while getting chased with a chainsaw.

-Girl thinks she’s saved but really isn’t.

And I lost count of how many recreations of the famed “dinner scene” there were. It was a lot. Considering how many other films (and video games) have aped this sequence, you’d think the home team might move onto bloodier pastures. I guess 3D did somewhat, as that carnival sequence was the closest thing to a set piece the series has ever had, apart from perhaps the motorcycle chase in The Beginning.

Now I am well aware there are those who might say “well that’s what slasher franchises are by design, making the same movie over and over” and I don't I agree with that. Nightmare, Friday and Halloween had differences from movie to movie, involving progression of characters and story – even if they were rudimentary and often ret-conned. I realize that the bulk of these series’ happened during my formative years so nostalgia plays a large part of my perception of them, but I honestly think each Friday movie has its own distinct flavour.

As you may have noticed, I am one movie short. Yes, it is with a heavy heart (not really, like at all) that we failed to complete the task at hand. After 3D, we called it a night. I’m pretty sure we weren’t missing much. I read the script for Leatherface a few years back and I’m morbidly curious to see if the twist turned out to be as outlandishly absurd onscreen as it was on the page, but I’m in no hurry to find out.

Oh well, seven out of eight ain’t bad. With a belly full of Serena’s homemade chili and the sound of chainsaws still ringing in my ears, I can think of worse ways to spend a Saturday.

Black Tuesday.

Tonight's the night! My compadre Tal & I will be participating in the latest Black Museum debate, arguing that Sally Hardesty is the Greatest Final Girl.

It should be a bloody affair and when the dust settles I will attempt to give you a blow-by-blow as impartially as possible -- no promises.

Wish me luck and I'll see you back here at the end of the week.

R.I.P. Tobe Hooper 1943-2017

Here I was about to attack the day with a news post, but then woke up to some terrible news. Iconic filmmaker Tobe Hooper passed away yesterday. He was 74. I was just getting over Romero, and now we've lost another genre giant.

Tobe Hooper 1943-2017

The legacy of Hooper's crowing achievement The Texas Chain Saw Massacre cannot be understated. It is a landmark film and much like Romero's Night of the Living Dead changed the landscape of what was possible in horror cinema. I first saw TCM projected in 2008 with Hooper in attendance. He was such a quiet and humble guy, not at all what you would expect from a storied purveyor of nightmares.

Tobe Hooper at The Bloor, 2008.

I've said this before, but when seen on a big screen TCM has real power, perhaps more than any horror film ever made. The imagery is stark, the Texas sun seems to beam through the screen and the last act is unrelenting. If someone in the seat next to you were to fire up a chainsaw, you might not even notice due to the loud and entrancing nightmare unfolding onscreen.

Beyond TCM, Hooper also has a large range of crazy and uncompromising titles, such as Eaten Alive (1976), Lifeforce (1985) and his about-face sequel, Texas Chainsaw Massacre 2. That is not even mentioning his role in one of the seminal titles of the early-eighties, Poltergeist.

Hooper was also very active in television. Not only did he direct arguably one of the best Stephen King adaptations in Salem's Lot, he also had many stints in episodic television, including three of my favourite nineties shows, Nowhere Man, Dark Skies and Tales from the Crypt and a pair of entries in Mick Garris' Masters of Horror.

We've lost another figure of horror royalty yesterday, so let's all honour him with a watch of one of his films today whether it be the staples, or one of his lesser known titles like The Mangler or Spontaneous Combustion. Rest in peace, Mr. Hooper. 

Shock Stock 2017

Last weekend saw my yearly pilgrimage to London, Ontario for Shock Stock #7.

Three days of rain caused some minor flooding at my place, so I didn't get to the festivities as early as I would have liked, but I made it. There was no way a little water was going to keep from this year's scumbag soiree. I have to apologize for the lack of pictures, I think I just got caught up in everything this year to properly document it.

After the ball hockey tournament debacle last year, Grimbrothers James & Jake decided to pull up stakes and move to another venue. After six years at the Centennial Hall, Shock Stock invaded the Ramada Inn. A pair of conference rooms were used for the vendor village and two for screenings and Q&A's. By the end of the weekend, everybody was in agreement this place was superior and a much needed change of scenery.

We pretty much took over the entire place and I couldn't believe how accommodating the establishment was, considering how rowdy things got at times. The tiny in-house bar was overwhelmed the first night, but they did their best to accommodate Saturday's festivities when Miss Shock Stock took place in the hotel's restaurant. There was something beautifully makeshift about it that felt just right. Blood and boobies in a place where a few hours later there would be a breakfast buffet sounds like wonderful magic to me.

The layout was nice and compact and it was really convenient that it took place in the same building as most of the attendees were staying. I hear there are some shows in the States (like Cinema Wasteland) that operate like this and it's a great idea. I was down the street at the HoJo to save a few bucks, but I'll definitely be splurging and getting a room in-house next year.

I picked up a shit-ton of merch. I didn't have my wingman Schwartz with me this year, so I think I overdid it in his absence. He's the one who usually goes overboard, so I couldn't be the voice of reason this year. There also just seemed to be a lot of stuff that called to me this year.

Also, for some reason I bought a pile of buttons even though I never wear them.

Apart from the vendor village, I watched some shorts, the cream of the crop being The Butcher Shop's newest Human Cattle, Kyle Hytonen & Derek Lukosius' Infirmity and Chris Giroux's Scraps.

The one horror Q&A I did attend was actress Caroline Williams of Texas Chainsaw Massacre 2 among others. She was very lovely and had some great stories about working in the business. Here are some bloody bits;

On her first impressions of Tobe Hooper;

“He was short, and bossy and said 'fuck' all the time. He had a big cigar and Dr. Pepper going all the time. He wasn't into the esoteric of acting, he didn't want to hear my motivations. He was like, 'this is the shot, this is how we're doing it, this is what I want you to do' and that was it.”

On working with Dennis Hopper;

“The value of working with Dennis is that's how I learned the technique of film acting because the way you look on camera, the way you're lit, the size of the frame, those things are essential to an actor. That way you can make more of a creative contribution. I didn't any of those things until I met Dennis. When we were blocking our scenes together on the stairs, Dennis was saying 'I don't want to sit on this side, I want to sit on that side because the woman should look pretty in a movie even if she's bad (character-wise) so Caroline you come sit over here' because that was my good side. He had already gauged what that was. He knew everything and it was instinctive with him.”

Actress Caroline Williams

On seeing TCM2;

“I went with friends of mine and we sat in the back of the theater and there was a girl sitting in front of me going, 'she doesn't cry pretty'. So I had to listen to this bitch talk about me the whole time. But I had a great time. It was very well received by the fans for the first couple of weekends and then after that it kind of dropped off the map. But, you know, it gave me a place to go, as I've told Tobe before, without him and without this film, the rest of my life wouldn't have happened in quite the same way.”

On fan love for Stretch and TCM2;

“I think it's that crazy quilt of characters that Stretch encounters. It's like Dorothy in Oz. You know, you've got The Tin Man and The Scarecrow, but they happen to be Chop Top and Leatherface, and The Cook and all these crazy motherfuckers underground. Watching her go through her journey and ultimately save the day. I mean, I got to follow Marilyn Burns as a Final Girl under the direction of Tobe Hooper. That's kind of a big deal too, you know? Because I couldn't lift Marilyn's performance, that would've been impossible. This one was very balls out and comedy and just had so many crazy moments. I think the movie endures partly because it hasn't been remade and it doesn't dilute the impact of seeing it for the first time.”

On indie film financing;

“I think that's the future of indie horror. You do have to find, and I hate to say it, real estate investors. They will capitalize their investment thoroughly, they are willing to put the money into it that needs to put into it to make sure the project comes to complete fruition and they know they will not get an immediate return on their investment. It could take a year or two before they get their money back. These are the kind of guys that are willing to take some chances. And as an alternative revenue stream, if you're a young filmmaker, or writer or producer, start thinking about real estate investors. Wilson DaSilva is one of the biggest redevelopers in Toronto, he bought Anchor Bay Canada and renamed it United Front Entertainment.”

It was a terrific weekend that just felt like one big hangout. It was nice to get away from mopping up water from my kitchen floor and get greasy for a couple of days. As always, the Vagrancy Brothers know how to do it up. Here's to next year!

Trailer Tuesdays: Texas Chainsaw Massacre 2

For reasons that will become evident tomorrow, I'm posting the trailer for Texas Chainsaw Massacre 2.

This is such a whacked out film. I feel like this was the only direction this franchise could have gone to survive in the shadow of its predecessor. Hooper ramped up the black comedy (that was evident in the first film but not recognized until much later) and somehow made the villains (and heroes alike) even more maniacal. This is just another reason why the eighties was a beautiful time to be a horror movie fan.

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Hey all. Everything appears to be back to normal here, so fingers crossed. I got some really cool stuff for you today, so let's jump in.

Best Damn Chili In Texas.

Word came down a few days ago that Bilbo's Texas Landmark, the gas station used in the classic horror film The Texas Chain Saw Massacre is being turned into a BBQ restaurant. 

The brainchild of businessman and TCM superfan Roy Rose, he also plans on setting up some rooms in the back for those brave enough to stay the night. In recent years, the Landmark had fallen into disrepair, so I'm very glad someone stepped up to preserve this important piece of horror history.

Cool Swag.

I saw two awesome pieces of horror merch this week. The first are these Hi-Top Critters sneakers from TeeAmazing.

Oh yes, these babies can be yours for $55.95USD. Click here to order. The second thing is this absolutely sweet set of playing cards.

The proceeds from these limited edition cards will directly fund Autism research. You can be sure I was pre-ordered a deck of these the moment I finished the video above, and so can you by going to Cultzilla here.

More JC.

Maestro John Carpenter has released a follow-up to last year's Lost Themes, with the simply titled Lost Themes II. Check out the opening track below.

You can also stream the entire album over at NPR. I'm still holding out hope that Carpenter comes to Toronto with his live show in the future, but until then... 

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Howdy everyone! I spent most of my weekend catching up on new releases with free passes scored from winning James Bond trivia at an opening night Spectre screening. Yes, I watch other types of movies too. But, back in the world of horror, here's what's been going down.

But The Rent is Great.

Here's the trailer for Breakthrough Entertainment's newest, The Sublet.

I see a couple of familiar faces in this. If anything, It'll be cool to see Tianna Nori dust off her crazy chops, last seen in Tricia Lee's Clean Break. The Sublet should see a release in 2016.

Reap The Harvest.

Scott Schirmer, the director of Found, one of my fave indie horrors of recent years, is back with a new project called Harvest Lake. It's got Tristan Risk, Ellie Church, and... tentacles? Seriously, what more do you need?

Check out the website to pre-order the limited edition Blu-ray here.

R.I.P. Gunnar Hansen 1947-2015.

I have to end on a sad note, as it has been reported that actor Gunnar Hansen has died this weekend at the age of 68. 

Gunnar Hansen 1947-2015

The Icelandic-born actor was best known for his iconic role in Tobe Hooper's 1974 juggernaut The Texas Chainsaw Massacre, but he appeared in over thirty films over the course of his fourty-year career. I was fortunate to see him in person on a few occasions, and he was larger-than-life and always seemed humbled to be a part of one of horror's true classics. 

Man, this year has just been rife with losses. Time to go try and cheer myself up. Stay safe, kiddies.

Shock Stock 2015 Part 2

On Saturday, I checked out of my swanky suite in the morning, but not before sharing an elevator with one of the permanent residents. No sooner had the doors closed that, this old lady turned to me and said,

“You know they're finding AIDS and Hep A in blood products. I'm tellin you, all this sexual immorality has to cease. What do you think?”

I said that things were getting of hand, which she took to mean I wanted to hear her life story about raising several kids on her own in Alberta. Then, mercifully, the doors opened and I was saved by the concierge at the front desk. Apparently, this woman just does this sort of thing.

I walked down the street to Centennial Hall and through the door of the Con. With the screening behind me, I was finally able to get a good look at the floor. There were some new vendors and, like I said before, an increased number overall.

The old standards were in attendance of course, like Suspect Video, The Vault, Twisted T's, Troma, Fangoria, Hollywood Canteen, The Butcher Shop, Black Fawn and Blood In The Snow.

Part 7 mold taken straight from Kane Hodder's own mask.

BITS crew Melanie, Jen & Jason.

There were two newcomers that especially caught my eye. The regular poster vendor in the back corner had been replaced with a new outfit called Poster Mortem. It was basically a guy who was selling off his recently acquired collection of foreign horror posters, of which there were some bee-oots.

The second one was a glass artist company called Slay It Mosaics. There were some great stuff here, very creative and striking work.

Not cheap, but custom glass work never is. Shock Stock always a few local indie filmmakers promoting their works, and this was no different. I have to give a shout-out to Reel Phobia Productions based out of Cambridge, Ontario. Super nice people.

What a great Goddamn title, right? Hopefully these guys get hooked up with Zack for a screening at The Vault, or maybe even a premiere at Blood In The Snow? Stranger things have happened!

I was actually surprised by the amount of VHS this year. Last year, it seemed like the demand had dropped off a bit, but it was back with a vengeance this year. I'd say there were at least ten different sellers schlepping their wares this time around. 

I was very good this year though, and only picked up these.

This was the first time I'd seen Demented in the wild for many years, so I picked that one up for sure. Plus, until the whole Tangerine Dream rights get sorted out, it's gonna be a while before we see an official digital release of The Keep, as well.

As far as guests go, Italian exploitation icon Giovanni Lombardo Radice was really interesting to listen to. You don't really realize how many people he has worked with until you go down the list. Fulci, Deodato, Lenzi, Soavi, Margheriti, the list goes on.

He talked about his first role on House on the Edge of the Park, and how he became indispensable on set because he was the only one who could speak all three languages of the cast and crew (Italian, English and French) and also spoke of his experience working with the great Lucio Fulci.

“I'd heard the stories of his screaming and such, but he was always gracious with me. He later told me that sometimes he had to make up problems to keep the crew on edge. If they weren't, they would get sloppy. So I think any bad behaviour on his part was more an act rather than in his nature.”

Actor Giovanni Lombardo Radice.

However, he did not sugar coat his time working on Cannibal Ferox.

“Okay, this is the thing. If you're going to be working in the Amazon, you have to be working with Scorsese. If you're going to be working with Umberto Lenzi, you have to be shooting in the south of France and staying in a five-star hotel. Working with Lenzi in the Amazon was hell, it was a nightmare. God created the Amazon when he was really pissed.”

Radice also mentioned that his autobiography, A Zombie Life would be out later this year.

Speaking together were actors Tony Todd & Eugene Clark. They had great chemistry and riffed off one another. Todd was really excited about his new project, a retelling of Frankenstein. Reunited with Candyman director Bernard Rose, their efforts recently won them best picture at the Brussels International Fantastic Film Festival. Todd also said he was working on a one man play about the life of boxer Jack Johnson.

Actors Tony Todd & Eugene Clark.

When asked if the two of them would ever appear in a movie together, Eugene replied;

“Nah, they'd never put two brothas in the same movie.”

Later, Edwin Neal did a short Q&A before the retro-screening of 1985's Future Kill. He was every bit as eccentric as his character in The Texas Chainsaw Massacre, but you know, more in a jovial kind of way, than in a slice you & eat you kind of way.

He said that the question he most gets asked is how they did the shot with the swing;

“Everybody assumes it was really complicated and used like $40,000 crane, Christ, that was almost the whole budget. These big time directors would come up with these elaborate ways we must have done it - and I'd say. 'the girl gets up from the swing and then the two biggest guys on the crew lifted the swing so the camera could pass under it.' They'd just look at me in shock. It just goes to show you, that you don't need big equipment to get some of these shots, just ideas and some strong crew.”

Actor Ed Neal.

When he was talking about Future Kill, he did say that working with particular first-time (and coincidentally last time) director Ron Moore was a challenge.

“Unfortunately, when you're dealing with someone fresh out of school, they spend a lot of time asking the crew 'should I do this? should I do that?' I remember having to palm money to members of the crew just to make sure they didn't walk off the set.”

I hadn't actually seen Future-Kill before, but was obviously familiar with the instantly recognizable H.R. Giger cover art. Even though that cover was probably responsible for hundreds, nay thousands of rentals, it is so good that the movie couldn't possibly live up to it. I didn't mind it though. Sure, it's ultra low budget and its limitations are constantly evident, but its Animal House meets Escape From New York vibe kind of worked.

Later that night was the Scumbag Soiree. It was crazy. I mean, the Shock Stock parties of year's past have been epic, but this one was absolute off the chain. Death metal and self immolation were the warm up acts! And the Miss Shock Stock crowning ceremony was the stuff of legend.

Sharlotte Dresden, Shotzi Blackheart & Sadie Katz.

Think Girls Gone Wild mixed with Backyard Wrestling. Stuff I'd seen on VHS, but never in real life, and within spraying distance. It makes a difference.

After making sure to leave a high score on the bar's Galaga machine, I took off into the night and made the inadvisable three-a.m drive back across the 401. Though still fairly young at five years, this was definitely one of the best editions of Shock Stock I'd say. And now that they've has teamed up with the other new horror entertainment event on the block, Horror-Rama, I see bright things in the near future.

Congrats to the scumbags, Jake & James for another memorable beer & blood drenched event!