January 22, 1989 |
Ozzy Osbourne hosting horror films? Cannon Home Video has hired the heavy metal madman to perform two-minute introductions to each of eight horror films. The first four--"Dracula's Last Rights," "Crucible of Horror," "Beast in the Cellar" and "Blood on Satan's Cloth"--are due on video shelves April 26. Kristina Hamm, assistant to the director of Cannon Home Video, told us Osbourne will provide a plot summary and "tell a couple of jokes."
January 9, 2013 |
When the director of "Texas Chainsaw 3D" told studio executives at Lionsgate that he wanted to cast R&B singer Trey Songz as his young leading man, they balked. "People at Lionsgate were uncertain, saying, 'We've never heard of him. We don't know who he is,'" said John Luessenhop, the filmmaker behind the horror sequel. So Tim Palen, the studio's chief marketing officer, Googled Songz, and found he was a two-time Grammy nominee with 5.6 million followers on Twitter and 14 million fans who "like" his Facebook page.
October 24, 2013 |
By 1980, John Landis had a string of successes under his belt - including "The Kentucky Fried Movie," "Animal House" and "The Blues Brothers" - but the writer-director had long been unable to get his script for "An American Werewolf in London" off the ground. Landis had written the script in 1969 as a teenager. The screenplay earned him a number of writing jobs in the ensuing years, Landis recalled this week, but "everyone, literally unanimously, had the same response, which was either 'this is too funny to be frightening' or 'this is too frightening to be funny.' And I kept saying, 'it's both.'" Finally, Universal, home to many horror classics, released the $10-million picture in 1981, and it took in more than $30 million at the domestic box office (about $86 million in today's dollars)
October 31, 1988 |
Horror Films That Scared a Lot Of Us: 12 Popular Genre Films Since 1970 "Alien" (1979; $40.3 million in box-office rentals) "A Nightmare on Elm Street 3" (1987; $21.4 million) "The Amityville Horror" (1979; $35 million) "The Exorcist" (1973; $89 million) "The Fly" (1986; $17.5 million) "Halloween" (1978; $18.5 million) "King Kong" (1976; $36.9 million) "The Lost Boys" (1987; $14.5 million) "The Omen" (1976; $28.5 million) "Poltergeist" (1982; $38.2 million) "Poltergeist II" (1986; $20.
February 6, 2005
Chris LEE'S perceptive article ("Horror Returns to Make a Killing," Jan. 30) should have made mention of Danny Boyle's "28 Days Later." A smart, stylish and disturbingly real take on the "zombie" genre, the film was a huge success in the U.K. and went on to gross $45 million in the U.S. -- a considerable sum for such a modestly budgeted British movie. -- Alan Ireland Los Angeles Chris LEE repeats a fallacy that constantly occurs in articles on horror film revivals, that women are latecomers to their audience.
March 23, 1986
Who cares if Clarke and his fanzine are boycotted by LucasBerg? Who cares if Clarke is yet another "sci-fi" expert who detests the term sci-fi? I mean, where was Calendar when Famous Monsters, the magazine that started it all back in '58, was the lone voice in the media, giving millions of fans and scholars alike virtually their only glimpse of fantasy and horror films? Why has Forrest J. Ackerman, FM's esteemed creator and editor for a quarter of a century, never merited a Calendar cover story?
September 19, 2006 |
Call it fright on demand. Lions Gate Entertainment, Sony Pictures Television and Comcast Corp. plan to launch a video channel on Halloween devoted entirely to horror programs. The new channel, called Fearnet, is to be available on cable as video on demand. It also is to be available on the Internet and through wireless systems. The channel's target audience is men and boys from 14 to 29 years old.
October 15, 2013 |
"Girls" creator Lena Dunham, horror producer Jason Blum and YouTube sensation Casey Niestat will deliver keynote addresses at the 2014 South by Southwest Film Conference and Festival, SXSW announced Tuesday. Next year will be the first that the Austin, Texas, film festival is programming keynote addresses, modeled on those at its sister festival, SXSW Interactive. Each of the keynote speakers fits into one of the distinctive niches at SXSW, which is known for its horror films, comedies and low-budget offerings.