Tombs Of The Blind Dead Trailer

Trailer for the classic Spanish horror film Tombs of the Blind Dead/ What horror awaits when the blind Knights Templars rise from their grave?

Why do we watch disturbing films.

I actually got asked this not long ago. I was compiling a list of the most disturbing horror films. I had my draft printed out and a friend found it and read a few of the descriptions. Apparently just my short synopsis of films such as Cannibal Holocaust, Martyrs, and Henry: Portrait of a Serial Killer were enough to disturb her. “Why does anyone watch films like this?” She asked me. Well anyone who has been posed a similar question to a person who is not a horror film fan knows it is really impossible to make them understand. Most of us probably aren’t exactly sure why we are driven to the more extreme elements of horror.

Recent films like The Hills Have Eyes remake have pushed the envelope of the casual horror fan. Still these films are for the most part extreme only in the amounts of blood and gore on the screen. There is a huge difference between a film like Saw and a film like Takashi Miike’s Imprint. Saw is bloodier and gorier yet, it and it’s sequels play regularly on premium cable. Imprint meanwhile, was considered too disturbing for Showtime’s Masters of Horror. Then there are the incredibly disturbing films like Martyrs and Henry: Portrait of a Serial Killer that transcend the genre and become works of art. Sill why do we put ourselves through the emotional torment?

They elicit an emotion is us. They change us just a bit. Just like any work of art. As a lover of fine art can be transformed by a Van Gogh, we can be changed by the emotions we feel in a film. The more brutal and disturbing the stronger the emotions. Are fans moved by a film like Hostel? Possibly. What about a film like Friday the 13th? Not likely. That doesn’t mean it is a bad film, but it lacks the emotional content that other films contain. It is impossible to set through Martyrs and not be moved.

It is hard to sit through Martyrs, but if you manage it, just like the heroine Ana, you will be transformed. Maybe just a bit but you will come away changed. The emotions are just too strong. The characters too real. We care for them and we watch them destroyed. It is not that we enjoy them being destroyed, we don’t. But in their destruction we gain something. Some deep understanding of ourselves and our world. We gain an understanding of our own inevitable death.

Fans of horror have long understood that these films force us to confront our own mortality. They allow us to look into the abyss and walk away. To understand that one day that abyss will claim us. These disturbing films work in a similar way only much more potent than the average horror film. If The Wolfman is a Tylenol, then Audition is a shot of morphine. We have so desensitized ourselves to horror that just like a junkie the weak stuff just doesn’t work any longer.

Critics of the horror genre have long accused it of desensitizing us to violence. I think it is the other way around. The world is numbing us to horror. In 1931 Dracula was horrifying, in our modern age Bela Lugosi hamming it up in a cape just will not suffice. In a world where we are constantly bombarded with child killers, genocide, and global terrorism we need something stronger than a Hungarian count and fake spider webs. We still need that emotion, but we need a stronger drug. Because we need to be forced to look at death in order to fully live. We need to be reminded that mortality is what makes our lives so special.

So we watch horror films and as we get more and more doses of the nightly news, just like an infection we get resistant. We get closer to the abyss. Maybe sometimes we get too close. I felt way to close to the abyss after watching Oldboy. I also felt that elation that comes with standing on the edge of the void. We crave that feeling and even though we might not admit it, we crave that queasy disturbed feeling. The same people who look at us funny for enjoying Inside will rush out to see Marley and Me, leaving the theater in tears. They have gotten that same look into the dark, just from a different angle. I believe they are more like us than they, or we, want to acknowledge.

They flirt with the dark side. Watching light weight fare like Twilight and calling it horror. Others rush to see the latest bloodied up remake and say they love horror. While many true horror fans get pushed by the wave into deeper and darker frontiers. Maybe those of us who watch these films just need them more. Just like the addict we need our fix. Maybe instead of heroin it’s the Zoloft that keeps us sane. The drug that allows us to let our darkest side out in a safe environment. The valve that keeps us from going critical.

So ask me again why I like I like I Spit on Your Grave and I will just ask you why you like The Notebook. As different as they are, they both share certain similarities. They both look into the abyss. They both remind us that life is short lived. That dignity can be stripped away, by age and disease in The Notebook and by people in I Spit On Your Grave. So when you look at me and turn up your nose, try and remember this. We aren’t that different after all.

The Graves trailer and mini review

Well the story was predictable, but damn it was great to watch Bill Moseley in all of his awesome insanity. He plays crazy better than just about anyone. Bill has crazy down. Plus the two girls are really hot especoially Claire Grant. Tony Todd is always fun to watch and agreat guy in person but he really hams it up in this film. I think if he had been less dramatic and more animated I would have bought his preacher character a little more. While not great, over all I liked the movie. It was directed by Brian Pulido the guy who created Lady Death. Check it out

The Good Sisters Teaser Trailer

April Monique Burril Chainsaw Sally) and Debbie Rochon star as The Good Sisters

True Blood Season 3 "The Hunt Begins" Promo

True Blood Season 3 Official Trailer

Its almost time. Get ready for True Blood season 3

Jonah Hex rides from the comics onto the big screen

Comic Book characters are currently making their way to the big screen faster than a speeding bullet and the latest comic property to make the big screen is Jonah Hex. Not familiar with Jonah Hex? He might not be as recognizable to the general public as Spiderman or Iron Man but within the comics world Jonah has a loyal following. Jonah is not a superhero in the traditional sense as he doesn't wear a costume or have any super powers. Jonah is a wild west bounty hunter, an ex Confederate soldier who surrendered but refused to remove his colors. He is an anti hero closer to the Punisher than Batman.




Jonah first appeared in DC comics back in 1971. He was the central character in DC's Weird Western Tales until he got his own comic book, Jonah Hex in 1977. Jonah's most distinguishing characteristic is the horribly scarred right side of his face. Clint Eastwood based his look and mannerisms in 1976's The Outlaw Josey Wales on Jonah Hex. Besides looks their origins are similar, both men fought for the Confederacy, both rode with Quantrill's raiders, and both surrendered to the Union only to be betrayed and see their men massacred.



In 1985 Jonah was transported into the 22nd century for a 18 issue series called Hex. It was a huge success in Europe and Asia and while not as popular was a moderate success in the US.



In the mid 90's DC's Vertigo imprint released three Jonah Hex miniseries written by horror author Joe R. Lansdale and drawn byTim Truman. The series took Jonah into a more supernatural setting where he faced zombies, ghosts and the Autumn Brothers, two half breeds based loosely on H.P Lovecraft's stories. The Autumn Brothers stories published as Jonah Hex: Riders of the Worm and Such, resulted in the creators being sued by Musicians Johnny and Edgar Winters in 1996. The Supreme Court ultimately sided with DC comics in 2003 that the creators were protected as parody under the First Amendment.

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