Series: Film / TV

Born in Cleveland, Ohio in 1939, Wes Craven would go on to become a legendary director, screenwriter and producer. Before his passing in 2015, at the age of 76, he helmed almost 20 films in the arena of horror, carving out for himself a place in the modern-day pantheon of great frightmakers. Starting with 1972’s remarkably effective (although wholly offputting) classic The Last House on the Left, Craven proceeded to create the Nightmare on Elm Street franchise in 1984, and the Scream franchise in 1996. The Serpent and the Rainbow (1986) and Shocker (1989) also proved to be rattlingly good film jolters.

Born in Wellington, New Zealand in 1961, Peter Jackson is today known throughout the world as one of cinema’s foremost filmmakers; a triple threat in the fields of directing, producing and screenwriting. After a string of modestly budgeted early films, Jackson would, of course, begin to helm some of the priciest productions ever made, with his Lord of the Rings trilogy being budgeted at some $270 million, and King Kong at $200+ million. But in today’s Shocktober column, I would like to shine a light on two of Jackson’s earliest projects, the combined budgets of which probably totalled the one-week caterer’s bill for the Two Towers shoot.

Everybody the world over loves a good zombie movie, right? For proof positive of that statement, I offer you these five stunning little excursions into the realm of the lurching dead, culled from various international sources – the U.S., Spain, Italy and Hong Kong – each one of them a stunner in its own unique way. And, of course, each one of them an ideal entertainment for this Shocktober season…

CHILDREN SHOULDN’T PLAY WITH DEAD THINGS (1972)

Back in the dark days of the late ’70s and early ’80s, when none of us had what’s now known as cable TV (remember,

Three Horror Films Featuring Killer Genitalia

We’re all adults here, right? Okay, then, here goes: On her Grammy Award-winning album of 1994, Turbulent Indigo, Joni Mitchell gave the world a wonderful song entitled “Sex Kills,” which was written during the height of the AIDS epidemic. In part, the song bemoaned the fact that something as simple and natural as the act of lovemaking could prove deadly to the participants engaging in it. However, what Ms. Mitchell was unaware of at the time, perhaps, was the fact that one horror film, and two more that would emerge in the next few years,