Originally released in 1971, A Bay of Blood was later refused certification from the BBFC in 1972, ensuring that the film could not be shown at any cinema within the United Kingdom. Fast forward to 1984, and the unmonitored home video market was beginning to find traction with consumers. Bava’s A Bay of Blood would finally find a UK audience upon it’s simultaneous release on VHS and Betamax (from Hokushin under the title Blood Bath) that same year.
“Diabolical! Fiendish! Savage… You may not walk away from this one!”
This upcoming December the Troma Team wish you all a very merry Xmas with two world premiere gifts on Troma Now that will make you want to bathe in your egg nog! Jay Summers’ feature length debut, Revenge of the Spacemen, along with Molly Hewitt’s short film, Maggie’s Problem (featuring music by prolific indie Lo-Fi legend R. Stevie Moore).
“…a throwback to all the classic alien invasion flicks of yesteryear…”
During the videotape format war of the late 1970s and early 1980s, JVC’s VHS would compete for market share against Sony’s Betamax. Betamax was, in theory, the superior recording format but VHS would ultimately emerge as the preeminent home video format in 1986. Consumers could not justify the extra cost of a Betamax VCR, which was often more expensive that the VHS equivalent due to the higher quality construction of Betamax recorders.
“Decadence is their fate.”
Let’s face it, the 1980s were awesome! So it’s expected that nostalgia will run rampant, but few modern films have been able to capture the decade’s idiosyncrasies like Turbo Kid.
“This is the future. The world as we knew it is gone. Acid rain has left the land barren and the water toxic. Scarred by endless wars humanity struggles to survive in the ruins of the old world, frozen in an everlasting nuclear winter. This is the future…this is the year 1997.”
As you are no doubt aware, having found this particular website, in the late ’70s space was the shit. In the wake of Star Wars, numerous projects were green-lit, ranging from Ridley Scott’s franchise-launching Alien to the bottom-of-the-barrel Disney project The Black Hole. Saturn 3 was American-born, British TV supremo Lord Lew Grade’s attempt to cash in on the public’s new-found love of sci-fi. And, on the surface, its got a lot going for it.
“Trapped between unnatural love and inhuman desire.”
Available on television digi-networks and online, Comet is a free network dedicated to science fiction and horror programming; sci-fi adventures and shocking horror tales sure to send a shiver down your spine!
Attack from Planet B have teamed up with Comet to give away science fiction themed swag to one randomly chosen person. Free stuff? Yes please!
Deadline: Tuesday 22nd November 2016
Made for approximately $25,000.00 and released in 1983 The Deadly Spawn is an exercise in low-budget excess. Conceived by producers Ted Bohus and Tim Hildebrandt this 16mm cult classic emerged, drenched in blood, during the horror video boom of the 1980′s as an effort to pay tribute to the alien sub-genre of 1950′s science fiction.
Special make-up effects artist John Dods worked extensively with his dedicated team to design and create the monster-mechanicals that helped secure The Deadly Spawn cult status.
“They came to Earth to feed on human flesh!”
After the success of John Carpenter’s original independent slasher film Halloween (1978), Rick Rosenthal takes over the reins for the second instalment. Immediately picking up where Halloween’s bone-chilling ending had left off, Halloween II (1981) continues Laurie Strode’s (Jamie Lee Curtis) struggle to survive the night, as the seemingly immortal Michael Myers (portrayed in the sequel by Dick Warlock) continues his relentless pursuit.
“The sensational follow-up to the worldwide phenomenon. More terror, even more terrifying.”
It is undeniable that media set in space is incredibly popular. Whether it is the latest Star Wars movie or the newest Call of Duty video game, space is in the forefront and in high demand. Sci-fi and space in general have a long history of TV shows, films and video games and while they have some similarities they are many radically different takes on the dark emptiness.
“Your universe awaits.”
Those who might shift the blame for Cell’s shortcomings onto a writer with a feeble understanding of the source book should be aware that Stephen King himself had a hand in composing the screenplay. Not only that, he also warned admirers of said novel that some changes that might rub them the wrong way would be imminent. King wasn’t lying, having willingly helped turn a visceral and harrowing work like Cell into a limp-wristed 28 Days Later riff with too many cut corners to freak out seasoned horror buffs.
“When everyone is connected, no one is safe…”
Once I heard the news that the new Japanese Godzilla film was going to be playing in my city, I was overjoyed. Ever since I was a child, I have always loved Godzilla. I went into Shin Godzilla very excited to see how my favorite giant monster was going to be reimagined.
Shin Godzilla (also Godzilla Resurgence) is the latest installment and 31st film in the Godzilla franchise. Produced by Toho, this film is a reboot in which Godzilla’s origin story is retold in modern Japan. The film was written and directed by Hideaki Anno and Shinji Higuchi.
“A god incarnate. A city doomed.”
The most accomplished horror filmmakers aren’t really interested in delivering easy shocks or jump scares. What they try to do is chip away at the layers of defence we have created in order to protect our delicate psyches. To do this, they often try to tap into our most primal fears – conscious and unconscious. I will elaborate later on what these seem to be in the case of Spring. On first impression, Spring appears to be a form of ‘boy-meets-girl’ story, but the seemingly simple plot delves deeper into the impulses of love and commitment than the usual Hollywood product.
“Love is a monster.”