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It’s always fun to discuss horror novels that Aren’T Stephen King. No knock on the monster from Maine, he’s the master of horror novels over the last, oh I don’t know, 50 years, for a reason but its nice to not have the show be solely dedicated to his adapted works. He says knowing that he makes the schedule and decides what books to cover. See you in May, Mr. King! Funnily enough, the man actually loved today’s subject to the degree that he called it one of 2006’s best horror novels, but more on that in a little bit. The Ruins (watch it Here) was one of those hot properties by an author whose previous work was an instant success with critics, fans, and studio executives that put it to celluloid. The book came out and just two years later we were given a movie...

Welcome to the Ghostface Glossary, a guide to every horror reference and nod throughout the first five films of the Scream franchise.

After a lot of pausing, rewinding, and zooming in, as well as researching, we’re catching all of the many horror-specific references Williamson, Craven, and Co. included in this beloved postmodern slasher franchise. If we’ve forgotten any glaring ones, kindly let us know.

This guide will exclude homages from previous Scream films and their respective sequels— we’re only looking at outside horror franchises and inspirations, because any red-blooded Ghostface fan is likely already aware of those. (Goes without saying that the beloved faux franchise ‘Stab’(s) 1-8 will also not be counted, since, even though our neon green ‘Stab’ t-shirts and mock VHS tapes feel very real, it’s still a very fake franchise). If we’ve forgotten any glaring ones, kindly let us know.

“You...

Do you have a question for the Nightmare on Elm Street actor, who became the star of many actual nightmares? Let us know and we’ll put it to him

It’s hard to think of a horror movie character more iconic than Robert Englund’s Freddy Krueger. He stars in Wes Craven’s 1984 film A Nightmare on Elm Street and in sequels all the way up to (count ’em!) A Nightmare on Elm Street 6, Freddy’s Dead: The Final Nightmare, and features in 44 episodes of the 80s TV series Freddy’s Nightmares. In 1994’s Wes Craven’s New Nightmare, Englund played a fictitious version of himself who is being stalked by his own character. He brought Freddy back one last time in 2003 for Freddy vs Jason, where Krueger and fellow horror icon Jason Voorhees (Ken Kirzinger) from Friday the 13th are both resurrected and sent to hell. Best place for them.

Over the last 20 years, McG has directed nine movies in a variety of genres and spent over a billion dollars of studio money on production costs, and yet his entire career has been characterized by mediocrity. Admittedly, the man born Joseph McGinty Nicol has attempted to diversify his output in recent years, but the overwhelming majority of his work is standard genre fare that could be described as passable at best and dismal at worst.

In the two decades since he made his feature debut with Charlie’s Angels, only one of McG’s directorial efforts has managed to secure a Fresh rating on Rotten Tomatoes, and that was 2017’s Netflix horror comedy The Babysitter. The acclaim from audiences and critics alike would indicate that the filmmaker is much better off working with lower budgets and tackling different stories than the tedious action fare he’s usually associated with, and the...

No horror fan needs to be introduced to the likes of Robert Englund, a name which in the collective imagery has become synonymous with so many different and varied aspects of the genre that he has left a deep and undeniable mark on. Needless to say, the thread holding together Englund’s celluloid persona is streaked with red and dark green, but the Californian actor could also resonate with many for the work he did with Tobe Hooper; his participation in ’90s items such as Urban Legend (1998), Strangeland (1998), and Wishmaster (1997); his previous work, during a time in which Freddy was still taking shape in the mind of Wes Craven, including Bruce D. Clark’s Galaxy of Terror (1981); or his recurring role as “Willie” in the TV series V (1983–1985).

Some might have discovered him through his more recent campy and grindhouse-inspired flicks like 2001 Maniacs (2005), Zombie Strippers (2008), or The Funhouse Massacre (2015). What...

Patrick Magee is a special-effects makeup artist who has worked on Beyond Re-Animator, Dark Ride, and Zombie Strippers, and he makes his directorial debut with Primal Rage, which will have its world premiere at the forthcoming Cinepocalyse in Chicago this November. Looking like Predator… with a Sasquatch, Bloody Disgusting has an effects-heavy trailer that storms into the woods and comes across the mighty Bigfoot. […]...

Patrick Magee is a special effects makeup artist who has worked on Beyond Re-Animator, Dark Ride, and Zombie Strippers, and he makes his directorial debut with Primal Rage, which will have its world premiere at the forthcoming Cinepocalyse in Chicago this November. Looking like Predator… with a Sasquatch, Bloody Disgusting has an exclusive teaser that storms into the woods and comes across […]...

Jesse Miller,

MoreHorror.com

Synopsis: A small town strip club owner must defend her bar; her strippers and her life when violent infected patron’s show up on the final closing night and all hell breaks loose.

Oh my goodness, where do I begin?

Peelers, much in the vein of Zombie Strippers, is a horror-comedy that really goes and pushes hard for an R rating. Its gooey, it’s gory, it’s crude and it pushes these aspects throughout the running time constantly.

To that extent, I was equally grossed out one moment and laughing the next, constantly surprised that the film went to such a lengths for shocks and comedic effect.

Writer Lisa DeVita and director Seve Schelenz seem to be on board with one another as to what the tone of Peelers should be, because as much as it is a horror comedy, it never loses sight of the balance throughout.

Stars: Whitney Anderson, Yeniffer Behrens, Mauricio Mendoza, Christopher Allen-Nelson, Kara Luiz, Michael G. Coleman, Caroline Mann, Paul Dietz, Mike Jerome Putnam | Written by John Rogers, Mo Anouti, Edward Conna | Directed by John Rogers

Not to be confused with the 2013 film of the same name, which was pulled from Tesco shelves after customer complaints over its graphic sex and violence, this iteration of The Hospital is actually a retitling of 2015′s The Linda Vista Project from director John (J.J.) Rogers – who has worked behind the scenes on numerous Dtv horror flicks previously, however this marks his directorial debut in the genre.

[Sidenote: The Hospital was also touted as a possible supermarket-friendly title for the UK release of Dustin Mills' The Ballad of Skinless Pete, at least until the UK distributor, now a favourite with genre fans, reneged on the contract and the film never saw the light of day]

The Hospital follows paranormal researcher Emily Strand (Whitney Anderson; Zombie Strippers, Toolbox Murders 2), who is given a chance to prove the existence of the supernatural at the now derelict Linda Vista Hospital. Rumours and claims of spectral activity have surrounded the former hospital since it was first built...

The week I saw Fetish Factory, the new feature from writer/director Staci Layne Wilson, I also rewatched Anna Biller’s The Love Witch and Hillary Clinton lost her chance to be the first female president of the United States. I was very much in the mindset of seeing art through a specific prism of gender politics and sexism, which may have colored my reading of the movie. At the same time, I don’t know if that’s true. This is a movie with gender politics very much on its mind. You don’t make a movie about the male customers of a sex fetish club being turned into bloodthirsty zombies without wanting to say something about the relationship between men and women.

A group of burlesque dancers—including Carrie Keagan, Jennifer Blanc-Biehn (who also produced the film), Tristan Risk, and Jenimay Walker—report for a shift at Fetish Factory,...

Triumph Films

The acting is pretty bad, the dialogue is worse and the production quality as a whole bears that unmistakable ultralow-budget, direct-to-DVD sheen, but Zombie Strippers, which bows April 18, could never be accused of failing to live up to its title.

Starring adult entertainment industry queen Jenna Jameson and loosely inspired by Eugene Ionesco's Rhinoceros, Jay Lee's grotesque little horror film makes up for in audacity what it might lack in finesse.

Set at the start of George W. Bush's fourth consecutive term in office, the cautionary tale finds the U.S. military, fighting wars on several fronts, seeking to replenish its dwindling numbers with a chemo-virus that instantly reanimates the corpses of its fallen soldiers.

But the virus ends up finding its way out of the lab and into Rhino's, a small-town Nebraska underground strip club presided over by the obnoxious Ian Essko (Robert Englund). There, it infects its star attraction, the Nietzsche-reading Kat (Jameson), and turns her into a writhing, flesh-eating sensation.

Stripping away all the lame political satire and cutting to the chase, there's admittedly something perversely effective about Jameson and company strutting their undead stuff against the appropriate death metal soundtrack.

It all serves as a warm-up to the main event -- a garish silicone and latex-charged zombie-stripper smackdown that can best be described as George Romero-meets-Russ Meyer with a nod to the 1972 Herschell Gordon Lewis cult classic The Gore Gore Girls.

In the process, writer-director-cinematographer Lee (The Slaughter) just might have stumbled onto something bankable.

Call it strip-quease.

Former porn star Jenna Jameson and her wrestler boyfriend Tito Ortiz are set to raise the dead in a new movie project called Zombie Strippers.

The couple will team up with A Nightmare On Elm Street star Robert Englund for the Jay Lee film about an underground Nebraska strip club hit by a deadly virus that reanimates the dead.

Jameson plays one of the strippers infected, who turns into a supernatural, flesh-eating zombie - the hit of the club.