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MattFini’s Halloween Top 10 Lists: Overlooked Slashers

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It’s hard to surprise people when putting together a list of the best slasher movies and, in the interest of doing so, I thought I’d exclude all the genre mainstays from the list. This list doesn’t necessarily represent the “ten best”, but rather some of the slasher subgenre’s more ‘overlooked’ offerings.

MattFini's Halloween Top 10 Lists: Overlooked Slashers

10. The Mutilator (1985)

It can be argued that this film’s greatest asset is its amazing tag line (By Pick, By Sword, By Axe, Bye Bye!), but that’s doing a bit of disservice to director Buddy Cooper’s only attempt to run with the slasher big dogs.

First we’ve got one of the most preposterous killer motivations in the subgenre: a child, cleaning his father’s gun in an attempt to gleam his daddy’s affections, accidentally shoots his mother dead. Dad comes home, flips his lid and viola! Instant slasher!

If you track down the uncut version, you’ll get the goods when it comes to slasher mayhem – especially in that infamous hook scene. And dig, if you can, that annoying Fall Break song. I can’t say I love it, but it makes me laugh every time.

9. The Deadly Intruder (1984)

Unless you can’t get enough of them 80’s slashers, you’d do best to mosey on away from director John McCauley’s attempt to turn Halloween into a domestic thriller.

Following one of the most implausible institution escapes you’ll ever see, a psycho killer sets his sights on a small dinner party (populated by none other than Danny Bonaduce). There’s gratuitous nudity (courtesy of our heroine, Molly Cheek), ridiculous red herrings and some of the most ill-fated slasher fodder I can recall (check out the fate of the poor telephone line repairman). And if that’s not enough, you’ve got some of the most “hands off” cops ever seen – complete with farting dog!

Deadly Intruder isn’t great, but it’s a wholly entertaining slice of 80s slasher madness, with all of the violence and nudity you could hope for. Why, oh why, isn’t this on DVD yet?

8. Hospital Massacre aka X-Ray (1982)

The early 1980s weren’t the best time to be in the healthcare industry as it seemed like every few months another slasher was busy carving up the staff members of their local hospitals. In between Halloween II and Visiting Hours came Hospital Massacre, in which a diabolical madman targets Playboy Playmate of the year, Barbi Benton.

Barbi checks into a hospital for some routine tests but soon finds herself at a madman’s mercy. Having switched out her results for some that will keep her confined (against her will), he comes after her with a vengeance. There’s some solid gore on display through decapitations, stabbings and a nasty ‘axe to the head’ bit, and Benton shows us the goods in a gratuitous examination scene.

If you can swallow the notion that Benton somehow becomes trapped against her will, Hospital Massacre brings its A-game and slasher fans will not be disappointed.

7. Intruder aka Night of the Intruder / Night Crew: The Final Checkout (1989)

Having spent ten years of my life working in a grocery store, I’d often find myself thinking back to Scott Spiegel’s night crew-based slasher flick when my least favorite co-workers would work night crew. In this movie, a small town grocery store is slated to close down; only somebody doesn’t want that to happen!

Raimi brothers, Sam and Ted, are on hand as victims in this fast-paced slasher flick (with Sam’s death being one of the most vicious). Our killer’s identity isn’t especially difficult to determine, but the wide variety of gory deaths more than make up for the lack of surprises. Director Scott Spiegel makes great use of the setting and the 80 minute run time zips by.

This one’s as fun as they come.

6. Return to Horror High (1987)

In 1982, Crippen High was devastated by a series of brutal murders, but the killer was never caught. Flash forward a few years and a team of low budget filmmakers have descended onto Crippen’s grounds to recount the tragic story. Of course, that pesky, uncaught killer also comes a calling …

This one is plays it up for laughs, and the murder sequences are admittedly a bit on the silly side (the Biology teacher is pinned to his desk and sliced open), but these guys were trying to do something different within the subgenre. It’s not a high body count, but we’ve got more twists and turns than you can keep track of and the cast – yeah, Clooney’s in here – is fun to watch. Alex Rocco, in particular, is a standout as the sleazy producer.

I’m also a big fan of the theatrical trailer, which doesn’t have much to do with the movie but makes for one hell of an image!

5. Silent Scream (1980)

One of the most criminally neglected genre films, Silent Scream isn’t all about the body count, making a solid effort to build lots of ambiance through its ‘old, dark house’ setting, which means it’s worth a look for those among you who don’t revel in dead teenagers (shame on you!).

We’ve got the creepy house, a truly crazed slasher and an attempt to give Psycho a run for its money not only with a shower scene, but also in a young man with mommy issues. The pace is slow, but it builds suspense, unfolding into a very memorable climax.

One of the classiest of all slasher films, this one won’t please those who want an endless display of sex and violence, but it’s among the most well-crafted. Rumors are that we’ll be getting a DVD release sometime in the near future, let’s hope it turns out to be ture.

4. Slaughter High (1986)

”Marty majored in cutting classmates.” And that tagline doesn’t lie, either. Here, one of our most diabolical slashers somehow stages a dummy five year reunion and successfully manages to lure back all of those who wronged him.

Don’t watch this one unless you’re fully prepared to roll with the stupid: Characters react in ways which go beyond dumb, and this five year high school reunion is home to the oldest looking twenty three year olds of all time (a popular, but valid criticism). But Marty’s jester mask gives him an intimidating presence, despite the nonsense, and this one dabbles in some solid gore (just make sure you’re getting the uncut version).

Harry Manfredini, Mr. Friday the 13th, supplies us with a vaguely familiar score, and Caroline Munro is one hell of a sexy final girl. Plus, there’s enough hijinks here for three movies. Nah, it’s not really that good. It’s awesome.

3. Satan’s Blade (1984)

This slasher mixes elements of the supernatural in with the ‘stalk and slash’ formula and the end result makes for one of the best!

When some poor sod stumbles across an old, cursed knife, our soon-to-be madman becomes possessed by an evil spirit and goes on an immediate rampage at a nearby ski lodge. Lots of attractive college girls fall victim to the blade and there’s a really nice, claustrophobic feel within the isolated ski lodge.

This one has its share of clunky bits, but also enough mainstays to keep slasher fans happy. I’m not sure why this one has become so much of a rarity over the years as it’s worthy of rediscovery. If you’re a fan of masked madmen, track it down.

2. Madman (1981)

Okay, this one isn’t really that overlooked. It’s got a fairly steady following and the OOP DVD has become a highly sought after collector’s item on eBay. But, you know what? I’m such a fan that I’m including it here.

From the opening campfire story (distinguished because our main character sings it) to the genuinely creepy first appearance of Marz, right down to the classic ‘hood decap’, this one is a must see. You’ve also got a hot tub love scene that defies description and one of the very best endings in the subgenre’s history.

Marz is an intimidating killer, to be sure, and that’s more than enough reason to recommend this one. See it on the big screen if you can to realize just how much of a difference the theatrical experience can be!

1. Just Before Dawn (1981)

The Oregon mountains are the setting for this slasher flick, which pits five twenty-somethings against a backwoods, hillbilly killer. The deaths aren’t plentiful, but each of them memorable. Most notably is Jamie Rose’s ill-fated skinny dipping sequence. Gregg Henry is quite good as the tough guy survivalist who grows weaker as the movie gets longer and Deborah Benson’s short, short, short s are almost worth the price of admission alone.

Plus, you have to love the way in which our killer is bested in this one – one of the very best scenes the subgenre has to offer. Director Jeff Lieberman makes fantastic use of the nature setting and moves the action along quite nicely.

Suspenseful and bloody, it’s easy to forgive some of the nonsensical character behavior because everything else is executed so perfectly.

MattFini

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Fearsome Facts: 8 Things You Didn’t Know About Fright Night (1985)

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Fright Night (1985) is to All Hallows’ Eve what A Christmas Story (1983) is to X-Mas: an opus which is worthy of its own 24-hour marathon and an ensuing all-night bacchanalia where blood is the life rather than alcohol. Filmmaker Tom Holland’s love letter to vampire films revitalized a subgenre of horror that was sadly rotting away not unlike an undead creature of the night.

Holland found inspirations in the scary movies that he idolized as a youth which included Hammer Film’s visionary retellings of the Universal Monsters. In fact, Holland based Fright Night’s sage Peter Vincent (Roddy McDowall) on his heroes: Vincent Price (House on Haunted Hill, The Tingler, House of Wax) and Peter Cushing (The Curse of Frankenstein, Horror of Dracula, The Mummy).

Fright Night made the vampire fashionable again in the 1980s, as it paved the way for other blood-sucking projects of that nostalgic-ridden era like The Lost Boys (1987), Near Dark (1987) and Bram Stoker’s Dracula (1992). Most horror cognoscentes and critics alike know every frightening behind-the-scenes macabre morsel of Fright Night’s history. But there always those tiny tidbits that slip through the cracks.

With that in mind, here are 8 Things You May Not Know About Fright Night.

8. The Great Vampire Killer

Tom Holland and Roddy McDowall became friends after working together on Fright Night, but the esteemed actor was not Holland’s first choice to play the Cowardly Lion-like character of Peter Vincent. Rather, Holland tried to hire macabre movie maestro Vincent Price to take on the role. Sadly, Price’s declining health prevented him from participating in the project.

As wonderful a casting move as that might have been, Fright Night purist are likely to argue that everything worked out for the best. McDowall delivered one of his most enduring performances in what was an A-List career, as he also endeared himself to a whole new generation of fans.

7. Charley and Amy

Actors William Ragsdale and Amanda Bearse might have been playing teenagers in Fright Night, but they were much older than their characters of Charley Brewster and Amy Peterson. Ragsdale was 24-years-old at the time and Bearse was 27-years-old!

6. 1966 Ford Mustang

Charley Brewster’s 1966 Ford Mustang had one of the worst paint jobs possible, as it appeared to have been haphazardly executed with an offbeat mixture of red and grey coloring. The muscle car actually belonged to writer/director Tom Holland. Sadly, the classic Mustang was totaled 10 years later during an accident. The paint job couldn’t have been any worse, right?

5. Abbott and Costello Meet Frankenstein

Holland’s cinematic masterpiece was obviously inspired by many vampire films of the past, particularly Hammer horror, but there is a thoughtful nod and a wink to the Golden Days of the Universal Monsters. During their final battle with Jerry Dandrige, Charley and Peter think they have the upper hand. Jerry flees after Peter shoots Billy Cole (Jonathan Stark), but soon the zombie-like Renfield creeps up the staircase after our heroes. Holland admitted that Billy sneaking up on Charley and Peter, as he climbed the stairs, was an homage to Frankenstein’s monster (Glenn Strange) sneaking up on Chick (Bud Abbott) and Wilbur (Lou Costello) in Abbott and Costello Meet Frankenstein (1948).

4. Evil Ed

Amy (Amanda Bearse) and Evil Ed go to Charley’s house to see how the tormented teen is holding up. Once they enter Charley’s room, Amy and Ed find Brewster sharpening a stake and preparing for all-out war with Jerry Dandrige. Candles flutter in the darkness, despite the sun being out, as Charley has also utilized crosses to defend against Dandridge.

During the filming of that scene, actor Stephen Geoffreys was incredibly sick due to food poisoning. You’d never know it by his performance though, because the young thespian pulled it together to complete the day’s shoot. It’s a memorable moment, as that scene sparked Amy and Ed into action. Immediately after, they recruit Peter Vincent to aid their troubled friend.

3. Box Office Boffo

According to Holland, Fright Night wasn’t expected to do much at the box office in the minds of studio executives. But to the pleasant surprise of all involved, Fright Night scared up over $6.1 million on its opening weekend alone. In fact, the movie went and won the Silver Medal at the box office for all horror films in 1985. Fright Night took home over $24 million domestically, but A Nightmare on Elm Street 2: Freddy’s Revenge took the top spot with almost $30 million.

2. Peter Vincent

Peter Vincent’s Hollywood apartment was cluttered with all manner of motion picture memorabilia, including a noticeable nod to former Dracula (1931) icon Bela Lugosi. But look closely and you’ll see another hidden gem hiding among the furniture and antiquities. Indeed, one of Roddy McDowall’s own life-masks from the Planet of the Apes film series can be seen adorning Vincent’s home.

1. Fright Night Sequel

During an interview in 2015, Holland discussed his vision for a follow-up he’d liked to have pursued for Fright Night. His concept revolved around Charley Brewster (William Ragsdale) being a single father with a couple of teenage children.

Charlie inherits his mother’s home and soon discovers something “evil” is squatting in the abandoned house where Jerry Dandrige (Chris Sarandon) used to cloak his coffin. Evil Ed (Stephen Geoffreys) has taken up residence and he is trying to resurrect Jerry. According to Holland, this Fright Night sequel would have included most of the original cast members unlike the much maligned 1988 Fright Night Part 2.

For those fanatics of Fright Night who also enjoy documentaries about horror movies, check out Dead Mouse Productions three-disc tribute titled You’re So Cool, Brewster! The Story of Fright Night (2016). Disc one is a Blu-ray of the exhaustive 3 ½ hour documentary that examines the making of both Fright Night and Fright Night Part 2. There is a second DVD disc included alongside the third disc which is hours of bonus features. This is a must-own for any Fright Night aficionado. You’re So Cool, Brewster is an Eerie Essential all on its own.

In conclusion, Fright Night is one of those rare films that stands the test of time from generation to generation. It is a must-see for all horror enthusiasts and an Eerie Essential to be enjoyed by all who dare take up the cross with Charley Brewster and Peter Vincent against the duplicitous Jerry Dandrige.

SEE or sNuB recommendation: Must-See!

***

Which Fright Night facts were your favorites? Are there any other obscure tidbits you’d like to have seen make the list? Sound off on social media.

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Horror Movies to Be Thankful for on Thanksgiving

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After you’ve gorged on your Thanksgiving feast and the L-tryptophan is kicking in, you’re probably thinking about parking your carcass on the couch and watching movie after movie. But not just any movie – this is a holiday, so naturally you want to celebrate on-topic and gobble some gore.

We’ve got you covered with this curated list of choices from a 25-item menu of Native American-themed thrillers and chillers.

Death Curse of Tartu (1966)

A group of students on an archaeology assignment in the Everglades decide to throw a dance party one night. The spot they choose happens to be the burial site of an ancient Seminole shaman named Tartu. He returns from the dead to take his revenge on those who desecrated his grave site.


Stanley (1972)

A Seminole Vietnam vet (Chris Robinson) goes on the warpath when a leather goods merchant (Alex Rocco) tries to grab his pet snake Stanley to turn him into a belt. A William Grefe cult classic!


Hex (1973)

Set on the Nebraska prairie in the immediate aftermath of World War I, the story follows the spiritual clash between the daughters of a recently deceased shaman and a gang of ex-aviators. Christina Raines, Scott Glenn and Keith Carradine star in this largely unknown, bizarre body-count thriller.


Shadow of the Hawk (1976)

A Canadian Indian (Jan-Michael Vincent) and a newswoman (Marilyn Hassett) join his grandfather (Chief Dan George) on a tribal walk among evil spirits.


The Manitou (1978)

A psychic (Tony Curtis) recruits a witch doctor (Michael Ansara) to get a 400-year-old Indian medicine man off his girlfriend’s (Susan Strasberg) back…. literally. The demonic Native American spirit is a tumor trying to reincarnate.


Prophecy (1979)

When a dispute occurs between a logging operation and a nearby Native American tribe, Dr. Robert Verne (Robert Foxworth) and his wife, Maggie (Talia Shire), are sent in to mediate. Chief John Hawks (Armand Assante) becomes enraged when Robert captures a bear cub for testing, but he’s not as angry as the mutant grizzly mom! George Clutesi plays an Original Person who believes the monster is the personification of the god Katahdin and is there to protect the land.


Nightwing (1979)

A policeman (Nick Mancuso), his girlfriend (Kathryn Harrold) and a scientist (David Warner) track vampire bats on a Maski tribe reservation. Abner Tasupi (George Clutesi) is the shaman who helps them.


Wolfen (1981)

A New York cop (Albert Finney) investigates a series of brutal deaths that resemble animal attacks. His hunt leads him to Native American high worker Eddie Holt (Edward James Olmos) to see if there’s any connection between the killings and old myths and legends from the area. Finney’s character refers to as “the Crazy Horse of the Seventies… the only one of our local militants left alive who’s not making money off of Levi’s commercials.”


Scalps (1983)

Hapless college science students go on a dig around a sacred burial ground for artifacts. Unfortunately, one of them becomes possessed by the evil spirit of Black Claw… and that means only one thing: Now he must slaughter all of his friends.


Eyes of Fire (1983)

Almost lynched in 1750, a preacher (Dennis Lipscomb) leads his followers (Guy Boyd, Rebecca Stanley) west to a valley whose dirt holds a devil of Indian origin.


Firestarter (1984)

Pyrokinetic protagonist Charlie McGee (Drew Barrymore) is in trouble when an evil Native American named Rainbird (George C. Scott) wants to kill her because he is convinced her death would give him special power to take to the mystical other world of his ancestors.


Poltergeist 2: The Other Side (1986)

The Freeling family have a new house, but their troubles with supernatural forces are not over. Whoops, looks like it’s another haunted Native American resting place!


Creepshow 2 (1987)

In the anthology film’s first vignette, “Old Chief Wood’nhead,” thugs who terrorize small-store grocers played by Dorothy Lamour and George Kennedy are attacked in kind by the general store’s wooden Indian.


Pet Sematary (1989)

After moving to an idyllic home in the countryside, life seems perfect for the Creed family…but not for long. Louis and Rachel Creed and their two young children settle into a house that sits next door to a pet cemetery – built on an ancient Indian burial ground.


Ravenous (1999)

Capt. John Boyd (Guy Pearce) is sent to investigate reports of missing persons at Fort Spencer, a remote Army outpost on the Western frontier. After arriving at his new post, Boyd and his regiment aid a wounded frontiersman, F.W. Colghoun (Robert Carlyle), who recounts a horrifying tale of a wagon train murdered by its supposed guide — a vicious U.S. Army colonel gone rogue… and who’s developed a taste for human flesh.


Brotherhood of the Wolf (2001)

In 18th century France, the Chevalier de Fronsac and his Native American friend Mani (Mark Dascosos) of the Micmac tribe are sent by the King to the Gevaudan province to investigate the killings of hundreds by a mysterious beast.


The Wendigo (2001)

Director Larry Fessenden movie uses the Native American Wendigo legend to tell an eerie and hallucinogenic tale about a family trapped in the woods with a dark force.


“Masters of Horror: Deer Woman” (2005)

A burned-out cop believes that a recent string of murders prove that the killer might be a deer-like creature in the form of a beautiful woman (Cinthia Moura) come to life from a local Native American folklore legend.


Skinwalkers (2006)

A 12-year-old boy and his mother become the targets of two warring werewolf packs, each with different intentions and motives. Based on the folk legend from Utah about the spirits of murdered Indians returning to seek revenge upon those who disrespect the land.


The Burrowers (2008)

A search party – played by Clancy Brown, William Mapother and Doug Hutchison – sets out to find and recover a family of settlers that has mysteriously vanished from their home. Expecting the offenders to be a band of fierce natives, the group prepares for a routine battle. But they soon discover that the real enemy stalks them from below.


The Dead Can’t Dance (2010)

Three Native Americans discover they are immune to a zombie virus in this whacky indie comedy.


Savaged (2013)

After thugs brutalize a deaf-mute woman (Amanda Adrienne), the spirit of an Apache warrior takes over her lifeless body and sets out on a bloodthirsty quest for revenge.


Volcano Zombies (2014)

Danny Trejo as a Native American who warns campers about the legendary and very angry lava-laden “volcano zombies.”


The Darkness (2016)

Peter Taylor (Kevin Bacon), his wife and their two children return to Los Angeles after a fun-filled vacation to the Grand Canyon. Strange events soon start to plague the family, and the Taylors learn that Michael brought back some mysterious rocks that he discovered inside an ancient Native American cave.


Mohawk

Mohawk (2017)

After one of her tribe sets an American soldiers’ camp ablaze, a young female Mohawk finds herself pursued by a ruthless band of renegades bent on revenge. Fleeing deep into the woods, Mohawk youths Oak and Calvin confront the bloodthirsty Colonel Holt and his soldiers. As the Americans seem to close in from all sides, the trio must summon every resource both real and supernatural as the brutal attack escalates. Mohawk is a dark, political drama with horror undertones. “While set 203 years ago, Mohawk is unfortunately a timeless story,” says director Ted Geoghegan. “It’s about marginalized people being decimated simply because they exist and scared white men who fail to realize that their racism and bigotry will place them on the wrong side of history.

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Three 1970’s Horrors That Remind Us Why We Enjoy Getting Mental at the Movies

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Crazy is always creepy in horror movies, and it usually comes in two forms: insane escapees or the sane among the crazies.

It’s one storytelling technique when a mental patient escapes and enters our own ordered, peaceful world. It’s quite another when a film drops us in the middle of an asylum to cope with crazy people who, in those movies, always seem to want to stab us.

First off, let me say the mentally ill are one of the most misunderstood and scapegoated minorities in movie history. Other stereotypes have disappeared from the silver screen over the years, but it’s still convenient to blame a killing rampage on an escaped mental patient. We’ll just chalk this up to lazy writing and move on.

Yes, “mentally ill” has become shorthand for “bloodthirsty and lacking in social etiquette.” Kudos to “American Horror Story’s” second season, subtitled “Asylum,” for adding some subtlety to that convention. Seventies horror movies, though, were riddled with stereotypes, enough so that when we travel back to that groovy and dangerous time, we can merrily ignore them and enjoy the scare.

Silent Night, Bloody Night (1972) is a fairly standard who-is-the-killer flick that turns terrifying in the last 20 minutes, when all hell breaks loose and the inmates, quite literally, take over the asylum. There is a nice, icy buildup throughout.

The populace of a small town are suspiciously nervous when a local mansion that had once been a mental institution goes up for sale. Mary Woronov (Eating Raoul) plays it numbingly cool throughout, until the climax, adding punch to the big reveals.

Also known by Night of the Dark Full Moon and Death House, this film is directed by Theodore Gershuny and written by Gershuny, Jeffrey Konvitz and Ira Teller. It’s always a good sign for consistency of vision when the director is also a writer.

I don’t know a lot of people raving about this film. It’s certainly not perfect, but a solid effort in that ’70s B-movie category, seriously creepy, and worth watching. Recommended.

Asylum (1972) has everything I enjoy about well-done, early ’70s horror: a fairly simple premise, creepy sets, and solid acting. The anthology setup works well here, stringing four Robert Bloch stories together. Peter Cushing and Herbert Lom show up along with Britt Ekland and Barbara Parkins.

The effects are not at all bad. Hope you view a cut of this movie that shows a stagehand rather obviously moving a prop in the “Frozen Fear” segment because those kinds of mistakes are fun to see.

Directed by Roy Ward Baker, Asylum delivers like any of the Amicus horror movies: similar to Hammer in that you know you will be entertained. Recommended for classic pre-slasher horror movie fans.

Then there’s Don’t Look in the Basement (1973). I was smart enough to see this in a theater when it came out… but dumb enough to bring a date. What a terrible first date movie!

On the other hand, Don’t Look in the Basement is a very creepy horror film due to several elements that come together beautifully:

– First, it has that grainy, cheap look to it like many early ’70s B-movies that, for me, adds to the mood. That look tells me positively this is not a big studio production. “Oh, this is one of THOSE movies,” says my head. “Anything can happen!” Tension builds.

– Second, it has an obviousness to it that can be unnerving when filmed correctly. Hitchcock used to do this well: We in the audience know the danger, but the hero on screen is completely clueless. We know from the minute the blonde nurse accepts her new job she shouldn’t be there — heck, we knew she shouldn’t even have come into the house!

– Third, most all of the characters may be insane, but that doesn’t mean they don’t have their own distinct stories, personalities and phobias. Crazy is not random. As Grant Morrison wrote in Batman: Arkham Asylum, the thoughts of the insane are not unpatterned. Each person has his or her own complex view of reality, no matter how wrong that perception might be.

There’s also a good deal of blood. And a surprise reveal. Don’t Look in the Basement has been recognized as a B-movie classic, and I enthusiastically recommend it here.

Three 1972 to 1973 horror movies and all three recommended! You may or may not disagree, and if so, I want to hear why! What are your favorite asylum flicks? Comment below or on social media.

Gary Scott Beatty’s graphic novel Wounds is available on Amazon and Comixology. Is madness a way to survive the zombie apocalypse? The strangest zombie story ever written, Wounds throws us into a world where nothing is beyond doubt, except a father’s concern for his wife and daughter. If you enjoy that “What th-?” factor in graphic novels, you’ll enjoy Wounds. For more from Gary Scott Beatty, visit him on Twitter and Facebook.

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