Rabid is the third film from cult director David Cronenberg (Videodrome, Scanners) in which he further plays with his ideas regarding body horror. Former porn star and 2004 and 2008 Vice Presidential Candidate, Marylin Chambers stars as the lead, a young woman named Rose. At the opening of Rabid, Rose and her boyfriend Hart are involved in a motorcycle accident. A catatonic Rose is hospitalized and given an experimental skin graft for her burn injuries. A month later she comes out of her coma only to find she has a mutated appendage that pops out of her armpit and feasts on blood. After feeding on them, Rose’s victims become infected with a need for blood themselves, and she inadvertently causes a zombie like epidemic throughout Canada. Continue reading
Since I have fallen behind so much for the last week and I can barely remember all that I watched, I’m just going to spurt out some movies I saw and give a brief sum of my thoughts. Continue reading
For those of you who don’t know, John Amplas was a big part of Romero’s films from Martin to The Dark Half. That encompasses an almost two decades worth of work in some of Romero’s best output.
I asked him if he’d be kind enough to do an interview for my blog, and he was nice enough to agree to it. So without further adieu, here is the interview with man himself. Continue reading
Hope you are all having a good Father’s Day, or making the best of it. A couple years ago, I did a spotlight on the moms of horror so I figured it’s time I did a spotlight on the Dad’s of horror! Let’s get it started: Continue reading
This was an amazing, once in a lifetime event that I was fortunate enough to attend. Goblin, for those who do not know, did the landmark music scores for Dawn of the Dead, Suspiria, Tenebrae, and Deep Red. They have also done music for other films as well as a few records of their own. I am a big fan of all those movies and really love their music and was stunned to hear they were doing a North American tour and were stopping by Milwaukee as part of it. Continue reading
This is the Italian/European edit Argento made for that market after pitching a deal with Romero he could do that in exchange for helping to finance the film. And his cut, I have to say, is much better. What we have here is a film with a tighter pace, better music, and an important piece of dialogue missing from the theatrical version. Argento really shows his chops as an editor and makes this feel like a different experience than Romero’s. Continue reading