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ENTERTAINMENT
July 15, 2013 | By John Horn
Lianne MacDougall, a film writer who specializes in genre movies and has been linked romantically to Quentin Tarantino, has been accused of repeated plagiarism and apparently has taken to Twitter to apologize for lifting whole sections of other articles. Mike White at the website the Impossible Funky  said he has chronicled a series of verbatim lifting published by MacDougall, who uses the Web alias Spiderbaby and writes for the sites FEARnet.com and hosts the online show Frightbytes.
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ENTERTAINMENT
January 22, 1989 | Marc Shapiro
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."
ENTERTAINMENT
January 5, 2013 | By Mark Olsen, Los Angeles Times
The best horror films are actually about something larger than the grim events that typically befall their characters. It's what makes Tobe Hooper's "Texas Chainsaw Massacre" films, George Romero's "Living Dead" movies or the more recent "House of the Devil" and "Let the Right One In" so powerful: They examine societal change and the fear of the other through a distorted lens. As with far too many recent horror sequels and reboots, "Texas Chainsaw 3D," the latest off-target entry in the once radically unnerving series, has little on its mind beyond good-time gore.
ENTERTAINMENT
October 31, 1988 | Arts and entertainment reports from The Times, national and international news services and the nation's press
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.
ENTERTAINMENT
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.
ENTERTAINMENT
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?
BUSINESS
September 19, 2006 | Lorenza Munoz, Times Staff Writer
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.
ENTERTAINMENT
October 15, 2013 | By Rebecca Keegan
"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.
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