Author: Michael Flett

Beyond the fear of the stranger lurking in the dark, the danger of the unknown, if there is one theme which has recurred in horror literature and film

“When we were making the first Edgar Allan Poe film, House of Usher… I had no idea that I would be making a series of them,” recalls Roger

Gojira, birthed by the nuclear age in 1954 with his first appearance in Ishiro Honda’s film released through the legendary Toho studios, dubbed and recut with new footage

It is in cinema that horror has found its most enduring home, but in many ways the stage is a more natural fit; the darkened auditorium filled with

Life is not always kind, and sometimes those who work the hardest to achieve something are not the ones who benefit from their efforts. Released in October 1968,

While only a scant few of the stories printed in the penny dreadfuls may be familiar to modern readers or have lasting import, such as James Malcolm Rymer’s

History is a strange mistress. With the perspective of four decades, there can be few films in even the eclectic oeuvre of Brian De Palma which sum him

With horror so often being a meditation on the inevitability of death, the spectre of religion casts a long shadow over the genre, from The Exorcist to The

“Maybe it was inevitable, an unavoidable collision between mankind and technology,” warns the voiceover of Max Waters (Paul Bettany), setting the scene as he visits the near derelict

“Inspired by actual events,” claims the latest release from the revived British studio Hammer without offering any indication of the source or veracity of the groundless statement, the