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DELIRIUM dives deep into the Halloween season with a massive new cover story interview with that inimitable Sultan of Smut John Waters in a celebration of his sick and satirical shock comedy CECIL B. DEMENTED! Water’s deranged anti-Hollywood horrorshow turns 20 this year and, considering it’s one of Waters’ personal favorite pictures, the iconic director sits down with editor Chris Alexander to delve deep into is lurid legacy, while spiraling off into all manner of salacious sidebars and twisted tangents. It’s the ultimate Waters interview and you won’t want to miss it!

Elsewhere in this jam-packed 24th issue, we have new interviews with legendary occult metal band BLUE OYSTER CULT, a chat with HALLOWEEN star and noted director Nick Castle about his underrated 80s action classic TAG: THE ASSASSINATION GAME, new words with SAW series helmer Darren Lynn Bousman, cult filmmaker Harry Kumel revealing secrets about the 4K restoration of his 1971 masterpiece DAUGHTERS OF DARKNESS, words on the new Shudder series CURSED FILMS, the brilliant Italian zombie shocker THE LIVING DEAD AT MANCHESTER MORGUE, Arlene Sidaris riffing on Andy Sidaris’s wacky boobs ‘n’ bullets thriller GUNS and so much more!

DELIRIUM #24 is ON SALE NOW and as a special offer – for a limited time – we’re giving away a FREE $10 gift code to every customer who purchases the magazine! The code is good towards the purchases of ANY item at the FullMoonDirect.com online store.

Grab a copy of DELIRIUM #24 today! Before it grabs YOU!

Full Moon’s release of classic Paul Naschy film will be uncut and in HD for the first time

Full Moon is excited to announce the upcoming Blu-ray and DVD release of one of the greatest European Gothic horror films of the 1970s: Director Jose Luis Merino’s eerie and erotic masterwork ORGY OF THE LIVING DEAD!

Also released as THE HANGING WOMAN, BEYOND THE LIVING DEAD and RETURN OF THE ZOMBIES (under which name Full Moon’s iconic Wizard Video VHS label put it out under in the early 1980s), Merino’s terrifying chiller is filled with atmosphere, dread, nudity, gore and zombies galore and also features memorable appearances by FRANKENSTEIN’S BLOODY TERROR’s Aurora de Alba and SPASMO’s Maria Pia Conte. Full Moon is thrilled to be presenting ORGY OF THE LIVING DEAD fully uncut on Blu-ray and DVD for the first time in America, remastered from the original 35mm negative.

Continue reading “Spanish Chiller ORGY OF THE LIVING DEAD Coming to Blu-ray”

Quietly unnerving horror movie offers subtle, scary rewards

If Ingmar Bergman had mounted a production of LITTLE SHOP OF HORRORS, it might feel something like co-writer/director’s bizarre and dreamlike anti-horror horror movie LITTLE JOE. Out now on DVD from Magnolia Home Entertainment, the film is bound to isolate general horror fans looking for a quick thrill but is almost guaranteed an enduring cult following from genre obsessives who prefer to be challenged and frustrated by their cinema. And if nothing else, LITTLE JOE is indeed designed to challenge and frustrate but it also offers subtle rewards and ample pleasures for those willing to navigate its austere weirdness.

Emily Beecham (who won the best actress award at Cannes) stars as Alice, a botanist working for a British company experimenting in new breeds of consumer plant life. She and her partner Chris (Ben Whishaw) have created a pretty and oddly emotional plan that Alice nicknames “Little Joe” after her son Joe who is light of her life. Said plant apparently releases a pollen that makes its owner bond with the sprout in the same ways in which parents chemically connect with their children. “Little Joe” feeds on human contact, on conversation and kindness and in turn, releases a hormone that makes its “parent” happy. Although explicitly instructed not to do so, Alice brings one of the plants home for her son as a gift. Everything seems fine at first, but slowly, surely, her boy begins acting strangely, removing himself from her and suggesting he’d rather live with his father. Alice begins to suspect that her “Little Joe” might not be quite as benign as she had intended, and when the plants begin releasing their pollen to staff in the lab, she wonders if she has in fact created a monster.

Continue reading “DVD Review: LITTLE JOE”

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Intimate, uproarious documentary about the B movie legend is also a tragic true crime film

David (LOST SOUL) Gregory’s latest document of cinema eccentricity BLOOD AND FLESH: THE REEL LIFE AND GHASTLY DEATH OF AL ADAMSON, is first and foremost a tragedy. It begins at the end, in 1995, when mainstream media headlines screamed about the grisly discovery of a “horror movie director” who was found entombed in the basement of his California home, the victim of a sociopathic handyman who then went on the lam. It was a sensational finale to a fascinating life making movies whose go-for-broke (in many cases, literally going broke) sensibilities served as a middle finger to good taste. Adamson made pictures that were often rightfully lambasted by the critics, but thrived primarily in the undiscriminating passion pit worlds where cheap, dark fantasy thrills served as background noise to whatever shenanigans were going down in the backseats. Indeed, the gentle, likable director lived to make movies but his sad, cruel death was something that even he couldn’t have imagined.

The son of pioneering Western movie star Denver Dixon, Adamson was literally raised in the movie business and soon fell into directing films in the late ’60s and ’70s, at a time when there really was a healthy market for movies like HORROR OF THE BLOOD MONSTERS, BRAIN OF BLOOD, BLOOD OF GHASTLY HORROR, BLOOD OF DRACULA’S CASTLE and, of course, his most notorious (and perhaps most successful) effort, the deranged DRACULA VS. FRANKENSTEIN. Adamson, along with his frequent collaborator, producer Sam Sherman, unleashed an endless supply of psychedelic skid row schlock , movies made with energy and oddball vision and starring many aging Hollywood legends, like John Carradine, The Ritz Brothers and Aldo Ray. Adamson’s work may not have been “good” by standard definitions of the word, but seen as a body of work it was -and remains – unique, colorful and admirably consistent.

Continue reading “Review: BLOOD AND FLESH: THE REEL LIFE AND GHASTLY DEATH OF AL ADAMSON”

Director Floria Sigismondi delivers a serious-minded, stylish and surreal fever dream

Somebody somewhere screwed up the story and spread the belief that all horror movies had to tear you to pieces, saturating the screen with sadism and nihilism and other sorts of negative isms. They forgot that once upon a time, people turned to darker filmed fantasies to immerse themselves in beauty, to experience a sort of sinister, out-of-body, sensorial trip; to lose oneself in a work of macabre imagination, of somber moods and grandiose imagery. I can’t be sure exactly when jolts and jumps and spoon-fed, mundane logic superseded aesthetics in horror, but I know how lousy I feel when the world shrugs its shoulders in the wake of the release of a film – and a filmmaker – who has NOT forgotten what the essence of the genre is.

Such a picture is THE TURNING, and such a director is Floria Sigismondi, the artist whose landmark work making videos for David Bowie and Marilyn Manson (and many, many others) defined the look and feel of darker rock ‘n’ roll in the 1990s. Her 2010 feature film debut THE RUNAWAYS was a logical extension of her love of sound and image, telling the story of Cherie Currie (Dakota Fanning) and the titular band in a visually flashy fashion. But that movie’s greatest power was when it dialed things down, when it focused on faces, inner voices and emotion. The brief sequence where a tired, homesick Currie hears Don McLean’s “Vincent” on the radio during a drive between gigs is in itself a small, moving piece of cinema as poetry and secretly encapsulates everything the movie is about. Her second film, the recently released THE TURNING is indeed a horror picture, yet another dive into the well-worn weird-world painted in Henry James’ novel “The Turn of the Screw”.  And while the trailer for this one speaks to appeal to the Friday night Blumhouse crowd, its PG-13 rating inviting almost all audiences in to see it, the actual film itself is something else, or rather it slowly, surely, becomes something else. In fact, THE TURNING has the ultimate effect of actually turning, of rotating, sensually, seriously. It’s a movie that begins as a whole and then sort of melts into a swirling death-pool of subconscious imagery and primordial terror. In other words, it’s the work of a great artist trying to remind the world of the real deal power of horror cinema and what it can do to its audience.

Continue reading “Review: THE TURNING”

Legendary cult actress to sign copies of DELIRIUM #22 and PANTHER SQUAD Blu-ray and DVD