Waxwork Records proudly presents the deluxe vinyl re-issue of the Darkman original motion picture score. Directed by the legendary Sam Raimi, 1990’s Darkman is dark superhero film that pays homage to Universal’s classic horror movies from the 1930s. Waxwork Records is also beyond thrilled to present George A. Romero’s Day of the Dead original motion picture score on deluxe double vinyl.
Fright-Rags will help you maintain that Halloween spirit throughout the year with treats from John Carpenter’s Halloween, Michael and Peter Spierig’s Jigsaw and General Mills’ monster cereals.
“The trick is to stay alive!”
Released just one year after 1980’s Friday the 13th, Saturday the 14th attempts to spoof the horror genre; taking reference from ‘haunted house’ tropes of films like The Changeling (1980), and classic Universal monster movies like Dracula (1931) and Creature from the Black Lagoon (1954), rather than from the slasher sub-genre itself.
Unfortunately Saturday the 14th’s humour feels like it should be more zany, and more madcap than it actually is. Most jokes fall flat against deadpan performances and uninspired direction from Howard R. Cohen.
“Just when you thought it was safe to look at the calendar again.”
Fright-Rags have a treat for you… A new collection dedicated to Trick ‘r Treat, and a Friday the 13th Part III t-shirt; available only for 24 hours on Friday the 13th. Also, relive your childhood with three new t-shirts designed by Abrar Ajmal and Coki Greenway, based on three Halloween family favorites: 1993’s Hocus Pocus, 1986’s The Worst Witch (featuring Tim Curry), and ‘The Disney Sunday Movie’ Mr. Boogedy.
“It’s just a bunch of hocus pocus!”
Lloyd Kaufman, president of Troma Entertainment and creator of The Toxic Avenger, will be a special guest of honor at the New York Comic Con between the 5th-8th October 2017 at the Javits Center. Literally take a knee with Lloyd Kaufman and the Troma Team, only at NYCC Troma Booth #429.
“In this time of political outrage and SJW rhetoric, we need events like NYCC to bring us all together in civil discourse and sex and violence!”
Based on the Manga by Tsugumi Ohba and Takeshi Obata, Death Note is a huge franchise in Japan. The Netflix remake rather misses the entire message of the original Death Note – which is that power corrupts. It barely touches on the themes that gave the original depth and intrigue and lacks its tension-building storytelling, which left the viewer wondering where the latest development might lead, and who would win. It’s the version for people who can’t cope with subtitles.
“Every human spends the last moments of his life in the shadow of a death god.”
Waxwork Records is thrilled to present the deluxe soundtrack re-press of George A. Romero and Stephen King’s seminal 1982 horror-anthology classic, Creepshow; along with six large vibrant and detailed 1.75″ Creepshow enamel pins; designed by Ghoulish Gary Pullin.
“Where’s… my… cake? I… want… my… cake!”
Autumn is finally upon us! For the Halloween season, we bid you welcome with three new apparel collections from Fright-Rags: The ‘Vintage Halloween’, Bela Lugosi and General Mills monster cereals merchandise.
“This is the real thing! Unbelievable, shocking, true thriller!”
Waxwork Records have worked directly with composers Les Reed and Rick Wakeman to acquire the original source material (after a lengthy search for the original masters) and re-master for vinyl. This stunning deluxe, double LP soundtrack release marks the very first time that the music from Creepshow 2 has been released in any format.
“Good to the last gasp!”
Swedish musician Thomas Nyholm, under the moniker of Islandrocks, creates these insanely good cover versions of exploitation, cult classic theme songs, such as City of the Living Dead (1980), The Beyond (1981), Suspiria (1977), Class of Nuke ‘Em High (1986) and The New York Ripper (1982).
“We are going to dance the Fulci way! Zombie …the funk are among us!”
“You ain’t got to pull that Blacula shit with me.” The line is an attempt to link what seems to be a half-hearted star-vehicle with something else: blaxploitation. By simultaneously comparing Murphy’s ’90s effort with its ’70s predecessor, whilst slyly digging at the older genre’s foibles, the gag it is a somewhat noble, if pithy, effort to give Vampire in Brooklyn more heft.