Getting their Freeky Creek On! by Bobbie Culbertson

It was a cold and windy night dampened by misty rain as we drove out to Fairmount, Illinois, a cozy rural community just south of Oakwood and a few scant miles east of the 'Paign.  Only one reason was good enough to take us from our toasty home...the 5th Annual Freeky Creek Short Film Festival.  The festival, held at Sleepy Creek Vineyards (8254 E 1425 North Rd., Fairmount, Il. 61841) is the brainchild of Sleepy Creek owners, Joe and Dawn Taylor who annually choose short video submissions from over 600 entrants from around the world to show in their comfortable and tastefully decorated wine tasting rooms.  While this first evening wasn't sold out as the next two nights are, almost every seat in the place was filled with costumed Fest-attendees.

Master of Ceremony was Bill Kephart, dressed as an irreverent, cigar-chomping Easter Bunny, who throughout the three intermissions, would attempt to free his friend Naughty-Kitty who had been arrested and taken to the Humane Shelter for neutering.  Aided in these attempts by his friend, Jean Claude Van Damme, a warrior-like door greeter at Wal-Mart. (Don't ask!  You had to be there!)  Anyway ... on with the show(s).

The submitted short films ran from less than a minute to over 16 minutes in length.  And most, if not all, had the same things going for them—excellent production values and above par acting!  Some had frightening CGI effects at would rival top studios (6 Shooter with its "Alien" internal attackers springs to mind).  Animation proved to be an audience favorite (my vote would go to Office Kingdom with its resigned but dedicated clerk).  Gore checked in with Vasle a Pancienne (The Waltz) and showed itself to be stomach turning.

Comedy made a good showing with, in my opinion, If I Only... winning hands down (or, in this case, hands applauding wildly!).  Dead Hearts, the longest of this evening's fare at 16 minutes, proved true love never truly dies!  That said, all were entertaining, fascinating and professionally rendered.  At the evening's end, the audience was invited to cast their ballots for the best films in several categories:

Freekin' Creepy Award (best horror)

Freekin' Artsy Award (best animation)

Freekin' Pretty Award (best looking)

Freekin' Thespian Award (best acting)

Freekin' Funny Award (best comedy)

Freekin' Fake Award (best fake commercial or doc)

Freekin' Best of the Freekin' Fest Award!  (overall most votes)

The Festival ended Nov 1 and the winners have been announced on the Freeky Creek Facebook page:

https://www.facebook.com/FCSFF

Joe and Dawn Taylor have thoughtfully uploaded Youtube links to the various winner of this year's Freeky Creek Short Film Festival!  So, head on over to their Facebook page for a frighteningly good time!  And should you, dear readers, find yourselves in East-Central Illinois on or near Halloween, please check out the Freeky Creek Short film Festival at Sleepy Creek vineyards.  You won't be sorry!

Complete list of submissions (*= premier)

Act 1

On Broken Wings by Walter Arnold (US, 4:00 min)

The Man From Arctica by Nils J. Nesse (Norway, 1:00 min)

The Devil You Know IBC by Brian Osborne (Local, 0:48 min)

Armor* by Jennifer Bechtel (Local, 2:00 min)

Office Kingdom by Salvatore Centoducati (Italy, 7:00 min)

Under Age by Joonas Makkonen (Finland, 4:45 min)

ZHS Trailer* by Dan Drake (Local, 1:00 min)

Castcom Cable* by Thomas Nicol (Local, 5:27 min)

Christopher Columbo* by Jiani Bach Nygard (Local, 2:00 min)

Volunteer by Javier Marco (Spain, 3:52 min)

Clowns Are Not Scary* by Mike Trippiedi (Local, 2:36 min)

Ruins by Daniel Ueno (Brazil, 4:05 min)

The Headless Nun by Nuno Sa Pessoa (Portugal, 6:43 min)

Act 2

Heavy Metal Reflections by Shawn Wickens (USA, 2:59 min)

Valse a Pancienne (The Waltz) by Bourreau Francois-Xavier (France, 2:46 min)

If I Only...* by Mike Trippiedi (Local, 2:08 min)

The Contest by Mike Osborne (USA, 0:45 min)

Awkward by Toni Lopez Bautista (Spain, 7:20 min)

6 Shooter by Lauren Parker (UK, 3:30 min)

NO, IT'S NOT THAT by Aitor Arenas (Spain, 3:30 min)

Wacky Robot by Chris Deir (USA), 4:48 min)

Like His Father by Toni Lopez Bautista (Spain, 5:00 min)

Grandma (Lola) by Joey Agbayani (Philippines, 7:00 min)

The Low Road, Baby by Mark Roeder (USA, 4:00 min)

Act 3

Death Of the First Born Egyptians* by Nina Paley (Local, 7:06 min)

Little Baby's Ice Cream by Doug Garth Williams (USA, 0:50 min)

Sister And Brother In the Cemetery* by Mike Trippiedi (Local, 2:54 min)

Piscis by Juan Carlos Camardella (Argentina, 3:15 min)

Tuck Me In by Ignacio F. Rodo (Spain, 1:00 min

Invocation by Robert Morgan (UK, 3:10 min)

Dead Hearts by Stephen Martin (Canada, 16:00 min)

Bobbie

Hangin’ with My Horror-peeps: Unimonster’s Crypt goes to HorrorHound Indy 2014!

As long time readers of these pages will attest, I love conventions.  The chance to gather with your fellows, to bask in an environment so fully given over to something that’s so much a part of who you are, whatever that might be, is regenerative and exhilarating.  Even the Unimonster can tire of Horror, and even the Unimonster occasionally needs to be reminded of why this genre has held him enthralled for a lifetime.  Nothing does that like a convention, and rubbing shoulders with those who share that love.

For several years now, the HorrorHound Weekend has visited Indianapolis’ eastside, haunting the Marriott East hotel the first weekend in September, making it the perfect lead-in to the fall season, and the beginning of the extended bacchanalia that is the celebration of Halloween in the Crypt.  For most of that time, I’ve been attending the convention, and have happily watched it grow into a major event on the calendars of central Indiana Horror fans.  As usual, this year I and the Crypt’s devoted photographer (and Uni-sister) Cathy Willis arrived early, but not so bright, at the soon-to-be-jammed venue, secured our parking spot, and walked next door for what has become a pre-convention tradition for us, breakfast at the Lincoln Square restaurant. 

Normally, this doesn’t warrant mentioning, as in the past the food has been enjoyable.  Not great, not spectacular, but good, well-prepared, and filling; just what’s needed to fuel us up for a busy day.  This time it was not.  In fact, both Cathy and I found the food to be so disappointing as to merit special attention here.  I hope that this was just an aberration, and next year it will return to its previous level of satisfactory service.  Unfortunately, the staff of the Unimonster’s Crypt will probably remain ignorant of the answer, as our pre-convention breakfast will in all likelihood shift to the nearby Bob Evans.

Once we’ve checked in and gotten our credentials in order, my first priority is connecting with old friends who I only get to see at conventions.  This year, I was lucky enough to run into Count Gore De Vol practically upon walking in the door.  The Count is an old friend, and a reunion with him is always the highlight of a convention.

Another familiar face was Tom Sullivan, the Special Effects wizard behind the original Evil Dead.  One of the first interviews I conducted as the Unimonster was with Sullivan, at the 2004 Horrorfind convention in Baltimore, and it was a pleasure to reconnect with him here in Indy.  It was also a pleasure to introduce Cathy to him, as together we were able to convince her that The Evil Dead is a movie that she should see—hopefully sooner rather than later.

The next old friend of the Crypt that we encountered was artist Chris Kuchta (The Monsters in Monotone: The Horror Art of Chris Kuchta—28 February 2009).  I’ve been a fan of Chris’ artwork for years now, ever since I interviewed him for the Crypt, and that art has only gotten better.  I’m no more an art critic than I was then, but I know what I like, and I like Chris’ art!

 After renewing old acquaintances, the next item on my agenda was touring the HMA-Mask Fest exhibits.  The HMA, or Halloween Mask Association, has been an integral part of HorrorHound Indy for several years now, and for me, one of the highlights of the convention.  For someone whose childhood was spent fixated on the ads for Don Post’s iconic creature masks in the back of Famous Monsters magazine, it’s like letting a chocoholic into the Hershey’s factory.  The artists and craftsmen who make up the HMA never fail to disappoint me with their creativity and imagination, and this year was no exception. 

The Mask room holds far more than just masks, however.  Dark arts and crafts of all types are on display here, and one of the first tables we stopped at belonged to Evil Pumpkins [http://evilpumpkins.com/], owned by a Tennessee couple, Tanya and Jeano Roid.  Dealing in handmade jewelry, sculptures, and other curios, they specialize in, fittingly enough, evil little pumpkins.  Pumpkin necklaces, pumpkin pins, pumpkin magnets … and my favorite, pumpkins in graveyards.  Their pumpkins have a unique look, a blend of the comical and the macabre, kind of like Scooby-Doo with rabies.  However you describe them, they work for me.

Their most interesting product, however, is their ‘Evil Dead Dirt’, dirt taken from the former site of the cabin used for the filming of Sam Raimi’s 1982 classic The Evil Dead.  Such tangible connections to history, whether of the cinema or real world, have always held great significance to me.  I once owned a chunk of the Berlin Wall, and one of my most prized possessions is a working speaker from a Drive-In Theater.  A vial of soil taken from the filming location of one of my favorite movies would be a prized addition to my collection, and to many of yours, as well.  Check out their site, listed above, which will direct you to both their Etsy storefront, and their Facebook page.

Another young artist deserving of your attention is John Lanouette, owner and creative force behind Enchanted Sculptures [http://www.enchantedsculptures.com/].  What made his display stand out from the hordes of gore-covered zombies, slashers, and demons surrounding it was the fun, almost whimsical nature of his work.  Rows of foam rubber anthropomorphic candy corn, friendly gargoyles, and smiling vegetables ready for harvest evoke memories of a simpler, more innocent Halloween, and while those memories may be very distant for the Unimonster, they’re still capable of summoning a smile or two.

Eventually, we made our way to the main exhibit hall, containing the dealers’ room.  As always, this room was the center of most of the activity, and the location of most of the people attending the convention.  For many of the attendees, this was the convention, the place where they could mingle with the stars, check out new merchandise, or track down that long-sought collectible.

One negative that must be mentioned is the poor level of customer service provided by the convention volunteers.  While it’s understandably difficult dealing with the large crowds that attend horror conventions, those who represent those conventions need to remember that their attitudes and action will define how the experience is remembered by those that they are there to serve.

That issue aside, however, I, as always, left the convention feeling refreshed and renewed, and fired up for the Halloween season to come.  Ready for another year of bringing you the best … and the worst … in the world of Horror, Science-Fiction, and Fantasy entertainment.

(The Unimonster’s Crypt wishes to thank Nathan Hanneman and the staff of HorrorHound for their kind assistance and hospitality.)

These are a Few of my Favorite Things (and neither The Sound of Music nor Julie Andrews is on the list) by the Unimonster

When writers spend a great deal of time on one topic, whether it is Horror films, or food, or sports, they tend to focus on things that annoy or upset them.  It’s natural; most people are predisposed to complain, rather than to praise.  Speaking for myself, I often find it easier to make clear what I didn't like about a movie, than to explain what I did.  Ask me what was wrong with the Nicholas Cage version of The Wicker Man, and you’d better have a sizable hole in your schedule.  Ask me why Robin Hardy’s original film was so good, and while I could go on just as long, I can also sum it up in one sentence: “A director’s perfect vision, perfectly executed by the perfect performers for their roles.”

Occasionally however, it is nice to highlight those movies, objects, or people that make Horror and Sci-Fi fandom such an enjoyable hobby.  There’s a reason millions of people go to see the latest slasher films, or buy their eighth copy of Army of Darkness just to make sure they have every video release, or attend Horror conventions to get a treasured poster signed by someone who was essentially an extra in their favorite film.  They, like the Unimonster, love this hobby, and seek their own ways to express that love.  These are some of mine.

 

1.)  American Horror Story:  While AMC’s The Walking Dead is without a doubt the best Horror series on television, my personal tastes have always leaned more to the supernatural forms of horror.  Yes, gut-munching zombies are fine, and no one does a better job of bringing them to life than Greg Nicotero, but for pure horror on the small screen, the three seasons of AHS—Murder House, Asylum, and Coven—are far more effective.

2.)  Horror Hosts:  Though the heyday of the Hosted Horror show is forty years in the past, there are a dedicated groups of fans that refuse to let those days fade completely from the scene, and a corps of corpses (figuratively speaking, of course) who are just as dedicated to carrying on the tradition of visiting us in our homes through the airwaves (well, Wi-Fi at least), and guiding us through the night with classic, and not-so-classic, horror films.  Svengoolie, Karlos Borloff, Penny Dreadful, and Count Gore De Vol are just a few of the many who help us celebrate the memories of days gone by.

3.)  Epic Rap Battles of History:  Okay, I know that this is a weird one, even for me, and some might wonder just what comedic rap battle videos on Youtube have to do with the world of Horror and Science-Fiction.  However, when you have such battles as Back to the Future’s Doc Brown rapping against Doctor Who, Batman vs. Sherlock Holmes, and an epic trilogy featuring Darth Vader taking on Adolf Hitler, well … it’s both genre-related, and hilarious enough to have me rolling on the floor in laughter.  Considering the new ‘season’ just kicked off with Rick Grimes battling Walter White, it seems safe to say that ERB will continue to be one of my favorites.

4.)  Conventions:  While our hobby is usually centered on the glowing phosphors shining out from our living room televisions, there’s much to be said for gathering in large numbers with like-minded people, in the fellowship of Horror / Sci-Fi fandom.  The chance to see old friends, to experience new areas of fandom, and to score new collectibles celebrating your favorite films, all are great reasons to seek out and participate in Horror conventions.  For the Unimonster, it means a time to recharge my batteries, to renew my love of everything Horror.  Oh, and new books and T-shirts … it’s not a successful con unless I leave with at least one new reference book and one new horror tee!

5.)  Kaijû:  While I love giant bugs and monsters in general, the Kaijû of Japan’s Toho studios are by far my favorites.  Godzilla, Ghidorah, Rodan, Mothra, and the rest have been friends and companions of the Unimonster almost from infancy.  Near constant exposure during the late ’60s-early ‘70s completely inoculated me with a love of foam rubber monsters stomping miniature Japanese cities to rubble.  Forty years on, that love is still going strong, and with new offerings such as last year’s Pacific Rim and Gareth Edwards’ Godzilla [see review below] scoring huge at the box office, it’s apparent that I’m not the only one who feels that way.

6.)  Comic Book Movies:  Comic books have always been a passion of mine, and the fact that Hollywood is now embracing them as well, combined with the technology that allows filmmakers to convincingly create worlds as diverse as Asgaard, Oa, Krypton, and Sin City, makes this the best era ever for the Comic Book Movie.  And with the upcoming Batman / Superman film set to go head to head against the second Avengers film, things can only get better.

7.)  1970s Exploitation Film Pressbooks:  Collecting ephemera (advertising paper, posters, lobby cards, etc.) from our favorite films can be a great way to celebrate and display your love of movies, but it can be expensive.  An original 1954 one-sheet poster for Universal’s Creature from the Black Lagoon is worth about $25,000, and a Frankenstein Meets the Wolf-Man lobby card approximately $10,000.  Pressbooks, however, can generally be had for a fraction of that, around $30-50.  And what, you may ask, are pressbooks?  Pressbooks are the advertising circulars the film distributors sent out to theaters and drive-ins giving them the information they needed to properly promote the films they would be exhibiting.  From the pressbook, they could select which posters and lobby cards to order, select newspaper ads, and order radio and television spots.  They are fascinating documents, a look behind the screen, so to speak, into the world of the motion picture business.  My personal favorites are from the 1970s, the pressbooks of the exploitation films that fed drive-ins and grindhouses with the movies that kept the fans coming back.  My collection may be small, but it’ll continue to grow … without wiping out my meager budget.

There are many more things I could add to this list, but this will do … for now.  At least, until I find something new that becomes a favorite of mine.

Junkyard Film's Moldy Oldie Movie of the Month: THE BLOB (1958)

Title:  THE BLOB

Year of Release—Film:  1958

Steve McQueen (credited here for the last time as Steven) was almost 30-years-old when he agreed to play rather unconvincingly the part of 17-year-old Steve Andrews in THE BLOB (1958).  His co-star, Aneta Corsaut, was 25-years-old when she agreed to take the role of Jane Martin, Steve’s prudish teen love interest.  While out in Steve’s car, indulging in some 1950’s post-War necking, they see a meteorite fall into the near-by woods.  Realizing that a hot space-rock was the most exciting thing on the menu for the evening, Steve drives over to see where it fell.  However, before they arrive, the meteorite is probed by an old farmer who gets some of the enclosed red ooze on his arm.  When the teens find him, he’s frightened and is pitifully whimpering “Save me” to the horrified pair.  Steve and Jane rush the badly injured man to the town’s only doctor who is preparing to leave town to attend a convention in a near-by city.  Leaving the farmer with the doctor, Steve and Jane leave to tell their equally middle-aged teen friends of what they’ve just experienced with Jane whining all the time about finding the farmer’s little dog.

Meanwhile, the doctor, having called his nurse into the office, discovers the old farmer completely enveloped in the throbbing, moving gelatinous and now much larger red glob.  Quickly consuming the doctor and his nurse, the blob next traps Steve and Judy in a local grocery store, where the duo hides in the walk-in freezer.  The blob first tries to squeeze in under the door but rapidly retreats from the cold.  Now, thoroughly alarmed, the teens rush to tell the police what has occurred but with typical us-against-them mentality, the cops don’t believe them.  The “kids” next round up all their middle-aged teen friends and get them to help warn the towns-folks of the impending invasion by setting off all alarms and sirens in the town.  This insures a scene of silly slapstick as one old man does not know which of his volunteer uniforms to don ... the fire fighter’s outfit or his Civil Defense uniform.  Still, some teens resist this effort and attend an all-night movie marathon at the local theater.  As the red ooze squeezes through the projection booth window, the terrified audience runs screaming from the theater into the streets, the now-gigantic red blob oozing behind them.

Witnessing this, the town’s adult population finally believes Steve and Judy but it’s too late as the blob once again traps the teens, along with Judy’s little bratty brother, inside a near-by diner (why it does this instead of simply eating the hundreds of by-standers is best left to the blob).  The diner, now encapsulated by the red menace from outer space (Get it, folks?  Red Menace!  The Cold War!), has power lines dropped on it, hoping the electricity will kill the blob but it only sets the diner on fire with our teens now trapped in the basement.  Steve grabs a fire extinguisher and shoots it at the flaming door, forcing the blob to withdraw.  Realizing it’s the cold that repels the thing, Steve screams “CO₂!” repeatedly.  The High School principal, along with some of students, breaks into the High School (guess the principal forgot his keys) and, using the heisted extinguishers, freeze the blob solid.  The Army finally arrives and, boxing the thing up, drops it at the North Pole as Steve eerily predicts the onset of global warming by quipping “As long at the Arctic stays cold.”  The words “The End” slither across the screen before ominously forming into a question mark.

Although this is one of the first science fiction movies to be shot in Technicolor, it’s a surprisingly cheap film.  Scenes like the diner catching fire are not shown but rather told to us by on-lookers.  And it’s not a terribly suspenseful movie, either, as the town is populated by the cleanest-cut rebels without a clue teens and the two police officers are your typical good cop vs. bad cop types, with the good cop firmly on the teens’ side.  However, for its time, the special effects are surprisingly effective using a good mixture of stop action and reverse photography.  Steve McQueen, using his best Method Acting training, is far too sincere and serious for such a fun little movie about killer slime.  Still, in 2008 it was nominated (but lost to KING KONG) as Best Movie To Watch At The Drive-In. Originally intended as second-billing to I MARRIED A MONSTER FROM OUTER SPACE, it was the far more popular movie and was promoted to a first-run status.  It’s bizarrely cheerful theme song was co-written by Burt Bacharach and Mack David, who did the cork-popping honors by pulling his finger out of his cheek.

A belated sequel followed in 1972 as BEWARE!  THE BLOB (also known as SON OF BLOB) and was directed by ‘Dallas’ star Larry Hagman.  A re-imagining was released in 1988 and starred Kevin Dillon and Shawnee Smith as the beleaguered teens.  In 2011, director Rob Zombie announced he would do another remake but, as of this writing, there’s been no movement on the project.

In July each year film geeks flock to Phoenixville, PA where many scenes in THE BLOB were filmed.  During Blob-fest, there’s a weekend-long street party with a costume contest, an amateur filmmaking contest and live reenactments of some of the film’s scenes, culminating in the Blobfest Run-out from the Colonel Theater.

http://www.youtube.com/watch?v=BD0kfi7HPO0

And finally, for those of you who prefer your monsters more homegrown and leathery (not to mention fire breathing!), there’s the G-Fest, held each year in Rosemont, IL from July 13-15, to celebrate all things Gamera and Godzilla!

http://www.g-fan.com/html/gfest_xix/gfest_xix.php

See you at the Cons!

Bobbie

Monsters in the Madhouse: the Wild, Wacky, and Wonderful antics of Karlos Borloff (and his Cast of Crazies)

I had intended this to be just a Horror-host Review of Monster Madhouse, the program hosted by Northern Virginia’s Heavy-Metal Monster-Hunter, Karlos Borloff, named the Unimonster’s Crypt Horror-Host of the Year for 2010.  That was before I was fortunate enough to meet Borloff (aka Jerry Moore) at last month’s HorrorHound Indianapolis Convention [Ed. Note: a full article on the Convention will be posted with the May 2011 update].  After spending some time talking with the host of Monster Madhouse, I realized that there was much more to Borloff than cheesy old movies and a funny costume.  Underneath the scaly armor and heavy metal make-up is a fellow fan, someone who loves these old monster movies as much as those who regularly tune in to his show.

Beginning in 2006, Monster Madhouse has been thrilling fans in the Washington, D. C. metropolitan area with a combination of comedy, music, and monsters—especially the Daiei Studio’s Kaijû films featuring Gamera, the giant turtle.  Moore, who has a fondness for the “man in the rubber suit” movies, prefers the classic monsters to the parade of Slasher Films that began in the early ‘80s.

In the Horse Archer productions documentary VIRGINIA CREEPERS, released in 2009 and reviewed here [DVD Review: VIRGINIA CREEPERS: THE HORROR HOST TRADITION OF THE OLD DOMINION, 6 March 2010], Moore discusses his feelings regarding his choice of movies versus the more graphic forms of Horror,

So it’s all about monsters … they’re not going to celebrate Jason Voorhees or somebody coming up like, ‘oh look, there’s a beautiful woman, I’m going to kill her.’  That’s sick, garbage.  I don’t want to see that stuff … It’s not good for kids either, man.  I don’t like seeing little kids with a SAW III shirt on.

The popularity of Moore’s program has continued to rise, due in large measure to his family-friendly selection of Monster movies.  From Godzilla, to Gamera, to Zombies and Dracula, traditional monsters and creatures rule the Madhouse.  This may, in part, be dictated by the availability of these films in Public Domain.  Most of it is due to the fact that these are the kinds of films that Moore enjoys, and wants to share with his fans.

Another facet of Monster Madhouse’s success is the variety show format.  The large cast, including Jebediah Buzzard, Lizardman, Sally the Zombie Cheerleader, Sasha Trasha, Pvt. Beauregard J. Pettigrew, and numerous others, helps fuel this high-energy show despite the frequently low quality of the movies available from which to choose.  The jokes may not always work, but when you have this many people having this much fun, some of it has to transfer to the audience.

Helping all the insanity along is a rockin’ musical beat, courtesy of Moore’s band, the Monsterminators.  From the show’s opening theme to its signature tune Die Monster Die, the bands heavy metal music provides just the right accompaniment for the program.

Behind it all, though, is Moore himself.  When meeting the creative force responsible for the Monster Madhouse face to face, one is struck by the sheer volume of energy that he exudes.  It’s interesting to watch him as he works a Convention floor—greeting fans as though they were old friends, interviewing fellow hosts and celebrities, or just popping up here and there to enliven the proceedings.  Perhaps the reason he connects so easily with his fans is that he is one himself; he came out of our ranks.  Less than six years ago Jerry Moore was, in fact, just one of us, a member of a Count Gore De Vol fanlist.  His career as Borloff began in 2005 with an invitation to make a guest appearance on Gore’s Creature Feature: the Weekly Web Program.  Playing a contractor doing a remodel on Gore’s dungeon, Moore ends up being entombed behind the wall he’s building, as the Count winds up with Moore’s lovely assistant.

Less than a year later, he was back on Creature Feature, this time with the debut appearance of the new Monster-Hunter / Horror-Host in town, Karlos Borloff.  In August of 2006, Monster Madhouse Live debuted on Public Access cable in Fairfax County, Virginia, as well as being simulcast on the internet.  Live broadcast of a Hosted Horror show was rare even as long ago as the 1960’s, and simulcasting it on the web opened the program up to viewers around the world.

Since that debut, Moore’s Madhouse has served as the Rick’s Café of the Horror-Host world, echoing Claude Rains’ line in CASABLANCA—“… everyone comes to Rick’s.”  The list of those who have found their way to the friendly confines of the Monster Madhouse is indeed impressive, from fellow Virginians Count Gore and Dr. Sarcofiguy, New England’s Penny Dreadful, Chicago’s The Bone Jangler, to Troma Films head Lloyd Kaufman.  People in the world of Horror Fandom began to take notice of Moore’s show, and the character that headlined it.  They obviously liked what they saw.

Hosted Horror shows are enjoying a renaissance of late, as more and more would-be Zacherleys and Vampiras are discovering that they no longer need to be tied to the capricious whims of corporate media in order to make their dreams come true.  If one has imagination, some talent, a willingness to work hard, and a germ of an original idea, they can see their dream reach fruition.  A few, like Jerry Moore and the assorted loonies who inhabit the Monster Madhouse, might find their audience and become a success.

Uni's Trips from the Crypt: Famous Monsters Convention, 2010

Indianapolis is blossoming into one of the “in” places to be in the Horror community, helped by our close proximity to a major metropolitan area such as Chicago, and host for the past several years to the HorrorHound Convention in the spring.  Now central Indiana can boast of another Horror-Con: the Famous Monsters Convention.  Timed to coincide with, and celebrate, the relaunch of Famous Monsters of Filmland Magazine, this third incarnation of Jim Warren and Forry Ackerman’s landmark creation debuts with issue number 251, though there’s a number 250 that’s comprised of a forty-eight page tribute to the late Ackermonster himself.

The original 25-year run of this great magazine, which so endeared itself to generations of MonsterKids as to attain legendary status, has been credited as being the inspiration behind such creative talents as John Landis, George Lucas, Steven Spielberg, Joe Dante, and Peter Jackson.  Though the second incarnation of the title left a bitter taste in the mouths of fans, there’s hope that new publisher Philip Kim will restore the mag to it’s former glory.  The close cooperation of the estate of Forrest Ackerman certainly lends an important cachet to the enterprise that the previous venture lacked.

However, this is not a review of the magazine, but of the convention associated with it.  Held at the Wyndham hotel in Indianapolis from 9 July to 11 July 2010, the Unimonster, accompanied by the Crypt’s official photographer/videographer, spent two days in attendance and can report the convention was a rousing success.

Those who were following the run-up to the convention had some cause for concern, as there seemed to be some confusion initially with the reports that were coming out regarding plans for guests, movie screenings, questions about dealers’ booths, etc.  Despite some early difficulties involving the check-in process (minor ones at that), I was pleased to see that the convention was well organized, and well run.  Occupying virtually all of the available convention space in the hotel certainly helped, as the attendees had room to circulate, varying their time between the screening rooms, rooms where autograph signings were taking place, the dealers room, and other attractions.  Chief among these was the “Hall of the Living Dead,” dedicated to the stars of the Romero …DEAD films.  Several were in attendance, including such notables as John A. Russo, Tom Savini, Russ Streiner, and Judith O’Dea.  The Unimonster himself was fortunate enough to spend a few minutes in conversation with Russo, the screenwriter of NIGHT OF THE LIVING DEAD, as well as Leonard Lies, the “machete zombie” from DAWN OF THE DEAD.

As we mingled among the various attendees, it became obvious that Indianapolis horror fans, just as they did during HorrorHound in March, will turn out in droves when given the opportunity.  Fortunately, the organizers in this instance took into account a large turnout, and planned accordingly.  While the exhibit areas were busy, they weren’t so tightly jammed that one felt trapped, as was the experience at HorrorHound.

As always, one of the prime motivations for attending a convention is to reunite with old friends and meet new ones, and there was much of that happening.  Two of the Unimonster’s newest friends are Mitchell and Jessica Wells, of The Horror Society.  This was the second convention I’ve attended in their company, and I find their knowledge of, and passion for, Indie Horror to be quite refreshing.  These qualities are reflected in their web-site, which I recommend to everyone with an interest in low-budget, independent Horror Films (stay tuned for more developments involving The Horror Society—Ed.).

Two other individuals whose acquaintance I made at Famous Monsters were Joe Moe and Cortlandt Hull.  Joe Moe is well known to readers of the Crypt, as he was 2009’s Creature of the Year.  Joe was, in Forry Ackerman’s later years, the Ackermonster’s best friend, bodyguard, caregiver, and in general his right-hand man.  I’ve long been e-mail friends with Joe; it was great to meet him in person.

Cortlandt Hull is the owner and operator of The Witch's Dungeon, which is both a real-world and internet museum he began to pay homage to the great monsters of classic horror, including Dr. Wilfred Glendon, portrayed by his uncle Henry Hull in Universal’s classic 1935 film WEREWOLF OF LONDON.  Cortlandt’s latest project is THE AURORA MONSTERS: THE MODEL CRAZE THAT GRIPPED THE WORLD, a documentary examining the beloved Aurora monster models of the 1960’s, directed by he and Dennis Vincent, and starring Zacherley, the Cool Ghoul.  It is my intention to review this work sometime in the very near future, so this isn’t the last you’ll hear of this film.

Speaking of reviews, the Unimonster came away from the convention with a stack of films needing to be reviewed, and over the next few months you may expect to see my thoughts on films such as PICKMAN’S MUSE, from writer / director Robert Cappelletto [see below], and SHADOWLAND, starring former Hooters Calendar girl Caitlin McIntosh.

One of the films screened at the convention, one that I’ve reviewed this month, is David Kabler’s WANDERLOST.  Written by Kabler and Daniel Judson, it is a rambling, existentialist fantasy-horror, one that quite frankly is a bit too artsy for my tastes.  That’s not to say it isn’t well-executed, and if you enjoy the more avant-garde side of Horror, then by all means give it a try.

Without a doubt however, the big event of the weekend was a panel discussion featuring many of those who were Forry Ackerman’s closest friends and acquaintances.  Joe Moe, Mick Garris, Basil Gogos, Bela Lugosi, Jr. and others, along with Philip Kim and the editorial staff of the new Famous Monsters magazine, met to discuss their memories of Forry, the inspiration he provided to their lives, and the direction that the magazine that he was such an instrumental part of would take in the future.  Much remains to be seen in this regard, but if Kim and company stay true to the vision they laid out for the magazine, then I think Forry would approve.

Sunday at the convention was unfortunately abbreviated for me, but I was there long enough to insure that the final day was a rousing success.  Sunday, as is the norm for my conventioneering, is the day for networking, and there was much of that taking place.  I spent several minutes talking with a group there to promote the effort to honor Bob Carter, better known to those in Central Indiana as Sammy Terry, with admittance to the Indiana State Museum Hall of Fame.  Sammy, a long-time Horror host on WTTV-4, still makes occasional public appearances at conventions, and is frequently seen on local television during the Halloween season.  He has long deserved more recognition for his significant contributions, both to the Central Indiana region and to the broader history of the Hosted Horror program, and I would like to encourage everyone to support this effort to see that he receives this recognition.

Other contacts were made as well, contacts that will bear fruit that I will be sharing with you in the near future.  As I stated earlier, my Sunday session was unavoidably brief, but overall I came away from Famous Monsters Con feeling that it had been a rousing success.  As this was the first FM Con in Indianapolis, there was no reliable frame of reference with which to compare it, but I have to believe that Kim and the FM staff are pleased with the result.   There were few problems; at least few that were readily apparent to convention-goers, and everyone appeared to be having a very good time.  I can certainly attest that I did.

I’m not sure whether the Famous Monsters Con will return to Indy next year, but I hope that it does.  Not only for the obvious reason—that I had a great time and hope to attend it again—but because it’s good for local fans to be able to connect to others in the hobby, and to those who entertain and inspire us.

The Unimonster's Crypt Screening Room: WANDERLOST

Title:  WANDERLOST

Date of Theatrical Release:  2009

MPAA Rating:  Unrated Festival Version

[Ed. note:  At the recent Famous Monsters Convention in Indianapolis (see my Convention write-up above), this film from director / co-writer / producer David Kabler was one of the features selected for screening.  Due to a prior commitment, I was unable to attend the screening, so the filmmaker was kind enough to provide the Crypt with a copy of the film for review.  I would like to express my sincere appreciation for this kindness, which allows me to bring this review to my readers.]

One of the advantages of low-budget, independent filmmaking is just that: it’s independent.  The filmmaker, freed from the restraints of corporate oversight and the need to balance artistic imagination with commercial appeal, is able to give free rein to that imagination, and bring his unique vision to the screen—within the limits of his resources, of course.

The end result is frequently an intensely personal film, one that reflects the artist’s own hopes and fears, dreams and nightmares.  And the consequence of this is that not everyone will enjoy the film, or feel that it has a personal message for them.  That’s not a negative—these films aren’t designed to appeal to the mass market.  But when such a film does connect with a viewer, then the filmmaker’s vision is fully realized.

WANDERLOST is a surreal, bizarre journey through a nightmare world, one characterized by a ruined and decaying urban landscape.  The central figure is a drifter, traveling across country by hopping railroad freight cars.  His existence by its very nature is a solitary one, and one gathers that that is by choice.  Through flashbacks, the viewer is made aware of the character’s painful childhood as the victim of repeated, ritualized abuse.

Frequent cutaways introduce the viewer to other characters, each of whom seem to exist in a world apart from the others.  One of these is a graffiti artist who we watch as he creates an image on a brick wall.  He says nothing, simply stands at the wall creating his art.

There’s very little more I can say to describe the plot of the movie; not for fear of divulging too much, but because, quite frankly, I’m not sure there is a plot.  The film is visually equivalent to free-form verse; a series of random vignettes connected tenuously by a thread of horrific imagery.  Filmed in Asheville, North Carolina, it’s very well done from a technical viewpoint, and the photography, by co-writer Daniel Judson, is excellent.  Artistically, it serves very well the bleak, blighted mood of the piece, as does the various urban locations.  Kabler did a superb job designing the production to emphasize the isolation and alienation of the lead character, and on an emotional level, the film is quite successful at evoking the desired responses from the audience.

However, I’m someone who prefers some degree of linear reality to films.  While I can appreciate the artistic vision behind the film, and the quality of the execution of that vision, that alone is not enough to entertain me.  I need a story.  I’m a writer—words are my medium.  They are, in the final analysis, what I relate to, what I understand the best.  If the story doesn’t captivate me, then the most beautifully filmed, professionally produced movie is nothing more than a beautiful failure.  I wish that I could say otherwise about WANDERLOST.  Unfortunately, I can’t.

But that is merely my personal opinion of the film.  And, as I stated before, that’s the advantage of Indie films, and one of the reasons I’m such a fan of the form.  It doesn’t need to appeal to the masses; it succeeds, or fails, on an individual basis.  It’s art, not commerce, and just because it failed with the Unimonster means nothing if it succeeds with you.

To the best of my knowledge, there’s yet to be a DVD release announced for the film, so the best option for finding it is to go direct to the source and contact Kabler through his web-site, http://www.WANDERLOSTfilm.com.  So do what I did, and judge this film for yourself.  You may share my opinion.  You may not.  But how will you know unless you try it?

Uni's Trip from the Crypt: HorrorHound, 2010

ARTICLE TITLE: Uni’s Trips from the Crypt: HORRORHOUND Indianapolis 2010


About three years ago I wrote a piece describing my trip to the Wonderfest convention in Louisville, Kentucky and subtitled it “A Unimonster in Paradise.” Perhaps I should subtitle this piece “Paradise Regained,” for that is truly how rejuvenated and refreshed I feel after having spent three days at HorrorHound magazine’s Indianapolis convention.

This is the fourth year I’ve attended HorrorHound, and it’s grown each year—this year to impressive, and I must say disconcerting, proportions. It’s not that I’m not pleased to see how healthy and vital our world of genre fandom is, especially in our current economic climate. The fact that so many people are willing—and able—to come out and support those artists and entrepreneurs who make it possible for us to carry tangible memories home is terrific.

But when the exhibit floor is so closely packed with people that movement is for practical purposes impossible, when the line of people waiting to enter that exhibit hall stretches the length of a football field, with an even longer line of people waiting to purchase their admission, it is obvious to anyone who’s used to conventioneering that this event, as it’s now organized, has completely outgrown it’s current home. Part of the problem is the combination of three events—HorrorHound, the HMA Mask-Fest, and the Dark Carnival Film Fest—under one umbrella. A great idea in theory, but the practice of it will require some effort be put forth to improve traffic flow and overcrowding.

Still, it isn’t my intention to write a complaint letter. Despite the hassles of the too-large crowds in the too-small space, I must say that the HorrorHound folks do know how to put a great convention together. There is a reason so many people came out to the Indianapolis Marriott East last weekend (26-28 March), and that reason is easy to see—big stars, big events, and, on this occasion, two of the biggest names in horror: George Romero and Clive Barker.

But they weren’t the only draws at this convention, as you’ll soon see. Join the Unimonster, accompanied at times by the Uni-Sister (the Crypt’s official photographer, by the way), the Uni-Niece, and the Uni-Nephew, for a day-by-day, no-holds-barred look inside—HorrorHound Indy!
[Ed. Note: There is one sad note to Friday’s events, one I was unaware of until the following Tuesday. John McGarr, a California-based actor-producer, was struck and killed by an alleged drunk driver on his way into the venue. McGarr, whose most recent project was the 2009 independent film HOUSE OF THE WOLF-MAN, was 45. We at the Crypt wish to extend our deepest sympathies to his loved ones.]


Day One—Friday:

The contingent from the Crypt arrived bright and early for the convention, just before 4pm local time. The getting checked-in process was a little rough, but soon we were inside the exhibit hall, checking out the dealer’s tables.

For those who’ve yet to experience a Horror convention in person, the dealer’s floor can best be described as a true horror fan’s Fantasyland. It’s like a Flea Market from Hell—but in a good way. Virtually any type of Horror memorabilia one can imagine, from T-Shirts and DVD’s to original works of art, can be found for sale on the dealer’s floor, most at very reasonable prices. It’s a monstrous, blood-and-gore-drenched version of Wal-Mart, only without the crappy Muzak. And the Unimonster’s group certainly did some shopping. Whether a new book for the Crypt’s library or a set of Monster-themed rubber ducks for the Uni-Niece’s collection, we did our share for the industry.

As much fun as buying from dealers at these conventions is meeting them, along with thousands of one’s fellow fans. The joy of ‘fitting in’, of being in the company of people who share your tastes and interests, who see nothing unusual in your own love of the Monsters and the genre, cannot be overestimated. When I say how refreshed I always am after a good convention, this is usually the reason for that refreshment.

Another great thing about these conventions is the opportunity to connect with new friends and reconnect with old ones. I’m always guaranteed to meet up with my good friend and former colleague at CreatureScape, Elizabeth Haney. Elizabeth typically wears many hats when attending conventions, whether assisting friends who are here as part of Mask-Fest, or helping out with the Universal Monster Army’s Rondo-nominated display of monster toys and Halloween costumes from the ‘50’s, ‘60’s, and ‘70’s. A tireless advocate for those who strive to put forth their own take on classic horror, as well as those whose efforts run towards the modern, Elizabeth is a important presence on the Chicago horror scene.

We had the opportunity to reunite with our former boss at CreatureScape, former editor Sean Kotz. Sean, now head of Horse Archer Productions, was here to screen his new documentary, which was previously reviewed here in the Crypt [DVD Review: VIRGINIA CREEPERS: THE HORROR HOST TRADITION OF THE OLD DOMINION, 6 March 2010]. Seeing the movie on the big (well, bigger than my TV, at least…) screen, with my fellow fans in attendance, only improved my enjoyment of the film. Another reason for that improved enjoyment was the fact that several of the hosts featured in that documentary were in attendance at the convention, most notably Count Gore De Vol of Creature Features: the Web Program, and Karlos Borloff, of Monster Madhouse.

These two hosts were at HorrorHound to take part in the largest assemblage of Horror-Hosts ever gathered in one spot. More than eighty of their number—Penny Dreadful, Joe Bob Briggs, Dr. Ghoulfinger, and the Bone Jangler among them—were in attendance, meeting old fans and making new ones.

The second film on the evening’s schedule, C. W. Prather’s EVERY OTHER DAY IS HALLOWEEN, examining the career of our favorite vampire Count Gore De Vol, was the one blemish on the first night’s festivities. This was not the fault of the movie itself [reviewed below], but rather the fact that technical difficulties kept it from being shown. A replacement copy was secured for the next day; unfortunately, the scheduling did not permit it to be screened.

Instead, we were treated to a recording of the 1986 Creature Features airing of THE BRAIN THAT WOULDN’T DIE, complete with a live introduction from Count Gore himself, (with an assist from Karlos Borloff). This is the broadcast that featured Forry Ackerman as Gore’s guest, and is one of the best from the storied archives of Count Gore. Not as much fun as seeing EVERY OTHER DAY IS HALLOWEEN would be, but still enjoyable.
The first day ended well, aside from the problems with Gore’s movie, and I left the convention hall with my appetite whetted for even better experiences to come.


Day Two—Saturday:

Saturday morning at HorrorHound began with a quick circuit of the exhibit floor, taking some photos and meeting and greeting people, including a personal high point for the Unimonster, Mr. “Drive-In Critic” himself, Joe Bob Briggs. Then, after a visit with Count Gore, the Crypt’s photographer and I wandered over to the Mask-Fest room to check out that portion of the convention. Sponsored by the Halloween Mask Association, Mask-Fest 2010 was a chance for those who follow in the legendary footsteps of Don Post to display their wares to the monster-loving masses. Dozens of artists and craftspeople were assembled to show off their work, much of it truly spectacular.

Also to be found in the Mask-Fest room was the Universal Monster Army exhibit. This traveling showcase of Monster toys and collectibles from the ‘50’s through the ‘70’s is a Rondo nominee for Best Fan Event, and is something that these tired old eyes of mine always delight in seeing. The display includes Halloween costumes, decorations, and novelties, as well as the monster toys, and for the Unimonster is like a trip into his own childhood. The UMA (Pvt. Unimonster, reporting as ordered) is dedicated to preserving the MonsterKid experience of the middle decades of the last century, when Baby Boomers were children, and monsters and Horror-Hosts were our idols. It’s a fantastic display, and should be on every monster-fan’s list of must-see events.

Located next to the UMA exhibit was the display set up by Cortlandt Hull, of the Witch’s Dungeon. Partly done in tribute to his uncle Henry Hull, star of THE WEREWOLF OF LONDON, this is an incredible display, and Cortlandt’s site is one of the best devoted to classic horror. Their latest project is a documentary exploring the wonderful history of the Aurora Monster models, trailers for which can be seen at the Witch’s Dungeon.
Saturday, at least for the Unimonster, was a day for soaking it all in—the feel, the sights and sounds, absorbing the essence of the convention. As Cathy stayed busy taking the fantastic photographs used to illustrate this article (Ed. Note: more of which can be viewed at my Facebook Photo Album), I meandered about, talking to people, checking out display tables, watching the comings and goings. Conventions are very organic entities—they have an ebb and flow, a pulsebeat, and one needs to step back a little to tune into it.

In addition, Saturday, as is typical for Horror conventions, was the busiest day of the weekend, a fact made clear by the early afternoon. As the exhibit hall filled up, a line was formed to get in to the area. Another line was going in to get autographs from George Romero, yet another for Clive Barker—all essentially motionless. Those already inside had no desire to leave, as they realized the difficulties they’d have getting back in. Those in line were determined to do what they had come to do, and between them, there was simply no breathing room.

By the end of the second day of HorrorHound, it was obvious that this was a successful convention. It had been a great day, if an exhausting one, and I left looking forward to what the next day’s events would bring.


Day Three—Sunday:

Her photographic work completed, the Uni-Sister skipped the final day of the convention, and I arrived ready for some serious networking—the primary objective of the third day. Part of the reason for anyone other than a casual fan to attend a convention is to connect with others in the world of fandom, and that’s certainly true of the Unimonster. One of the connections I was able to make early on in the convention was with the folks who run the Rondo-nominated web-site The Horror Society, Mitchell and Jessica Wells. This is an excellent site devoted to independent horror, and the Wells are great advocates for young filmmakers.

One of the important features about HorrorHound Indy is the close proximity to Chicago, and it’s active indie-horror scene. One of the up-and-coming players on that scene is Dean Millermon, of Acme Design, Inc. Dean has a short film that he directed, and a copy of which I was asked to review. That short film is GARGALESE: THE TICKLE MONSTER, and a weirder seventeen minutes of film you’ll seldom see. It’s also an enjoyable, entertaining seventeen minutes, and I love the wackiness of the concept. You will get a full review of it in May, but it definitely gets a YES vote from the Unimonster. It may not be great filmmaking, but it is more enjoyable than most of what Hollywood churns out year after year.

Another Chicago filmmaker who’s also making a name for himself is Emil Hyde, of Massive Ego Productions. The company’s latest venture, THE LANDLORD, is an original, entertaining Horror-Comedy on the order of SHAUN OF THE DEAD or BUBBA HO-TEP. While not the equal of those films in quality, it is an enthusiastic, fun little movie that never takes itself too seriously. THE LANDLORD is scheduled for a widespread release on the Tempe Video label, with a drop date of 25 May, and as with GARGALESE, a full review will be posted for the May update.
An Indiana filmmaker who was taking advantage of the opportunity to promote his project close to home is Marv Blauvelt, producer / writer / cast member of SCULPTURE. Distributed by Screamkings Productions, directed by Pete Jacelone, and starring Raine Brown, Misty Mundae, and Dustin Kerns, SCULPTURE is currently in release, and will be reviewed in the near future.

But movies weren’t all that were on my mind on this weekend—not when I had the equivalent of Michael Myers’ yard sale to pick through. First, the guys from Kitley’s Krypt are always near the top of my list of dealers to visit, and this year was no exception. A fair portion of the Crypt’s library has come from Kitley’s, including this year’s acquisition of The Films of Boris Karloff. It always pays to check out their table, if non-fiction books on the genre are on your shopping list.

Another type of item that ranks high on my list of needful things is the ubiquitous horror tee. I love my Monster T-shirts, and never pass up an opportunity to add to the collection. I looked at a lot of great shirts this weekend, and finally settled on a beautiful Sir Graves Ghastly Tee. The product of Benjamin Harley’s The Screen Printing Factory, it features a stylized image of the host with the words, “I Dig Graves.” I could’ve taken another twenty shirts home easily, and would have, if not for the fact that the Unimonster’s not a wealthy man.

Then of course are all the fantastic masks and props on display as part of Mask-Fest 2010. As a child, some of the first things I can remember lusting after were the masks that Captain Company offered in the back of Famous Monsters magazine. One in particular, the Mummy, was the object of as much desire as a ten-year-old Unimonster was capable of mustering. Captain Company may be long gone, but it’s legacy lives on in the person of hundreds of skilled, talented artists, men and women who like me were inspired by their childhood love of the monsters. Unlike me, however, they have the talent to create the masterpieces in latex and resin that I saw on display. Among the dozens of mask-makers assembled for the show, several stood out among their fellows.

One of the best of these was Monte Ward’s Masks and Monsters. That table featured several spectacular examples of the mask-maker’s art, and I immediately felt the rekindling of that old love of monster masks. Also notable were the works of Kreation X, Trick or Treat Studios, and Safari Anomalous. Some of these are less masks than wearable sculptures, and are truly impressive.

As the final day’s events were winding down, I was privileged to witness the highlight of the convention, a truly historic moment in horror fandom. The occasion was a memorial service for Vampira, and all the great horror-hosts who have passed on. As images of those departed hosts flashed on the screen, accompanied by a funereal dirge, a slow candlelight procession of horror-hosts made their way to the stage, extinguished their flames, then took their seats. The master of ceremonies, Dan Roebuck’s Dr. Shocker, led the assemblage in a very fitting, very well deserved tribute to Vampira, and her alter ego Malia Nurmi. At the ceremonies conclusion, the gathered hosts formed up on stage for a group photo, which captured 83 horror-hosts in one place at one time, easily setting a record for such an occurrence.

As the convention drew to a close, I said my farewells, gathered my loot, and exited the hall. The convention itself had been exhausting, that is true. But as always, such events have a regenerative effect on me.
Anything can become tiresome, even something that you love. Conventions such as HorrorHound, however, serve to remind one of just what they love about the genre, and why they love it. For me personally, it’s a reaffirmation of the purpose served by the Crypt, which is to promote and foster a love for and understanding of the Cinema Fantastica—the movies with which I’ve had a forty-year love affair.

From Edison’s FRANKENSTEIN of 1910, to 2010’s THE CRAZIES, our genre is rich with macabre beauty and morbid wonder. Occasionally, even the Unimonster needs to be reminded of that.