Following the success of The Hills Have Eyes, Swamp Thing shows Wes Craven adapting his style from the rough ‘n’ ready thrills and spills of his earlier exploitation films, to a sci-fi adventure featuring a mutant-monster with good intentions! Swamp Thing features a supporting cast of fan-favourites including Adrienne Barbeau, Ray Wise and David Hess in one of his best-remembered villainous turns.
Howdy Folks! You like blood? Violence? Freaks of nature? Well then, come on down to Fright-Rags’ Museum of Monsters and Mad-Men, and witness an exclusive collection of House of 1000 Corpses, The Cabin in the Woods and Mani-Yack merchandise.
“Boy, I bet you’d stick your head in fire if I told ya you could see Hell. Meanwhile, you’re too stupid to realize you got a demon stickin’ out your ass singing, ‘Holy Miss Moley, got me a live one!'”
Slasher Pack VII: Elm Street includes four Japanese inspired horror tees from A Nightmare on Elm Street and its sequels: Freddy’s Revenge, Dream Warriors and The Dream Master; available for pre-order now!
“Don’t fall asleep!”
Fright-Rags celebrates 50 years of George A. Romero’s Night of the Living Dead, honors Fangoria’s return to publication, and continue to release high-quality horror movie merchandise all year long.
“They won’t stay dead!”
The Slasher Pack Part IV: Fresh Blood includes four Japanese inspired horror tees from Scream, It Follows, The Witch and Get Out; available for pre-order now!
“Evil takes many forms.”
Just as A Nightmare on Elm Street continues to thrive many years after its 1984 release, fans continue to share their stories on how the film has affected them. FredHeads is a documentary that shines a spotlight on the fervent fans within this passionate community.
“The Nightmare on Elm Street franchise has done more than impact my life, it has saved my life. In my darkest times I have turned to Elm Street. It is a survival story, it is my best friend, it is my comfort, and it is my home.”
“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.