Monday, April 13, 2015

A Case of Vinegar Syndrome

I recently had the opportunity to conduct an interview via email with Joe Rubin, co-owner of the up-and-coming label Vinegar Syndrome. The folks at Vinegar Syndrome have done some commendable work restoring, presenting, and distributing horror, exploitation, and X-rated films that might otherwise have fallen by the wayside. Without further ado, let’s get into the interview…

(The Horror Aisle) For a relatively new company, it seems like Vinegar Syndrome has been very busy and has made some major waves. Can you tell us a little about how the company got started?

(Joe Rubin) My background is in film programming and archival management. Through a series of random events, I was put in touch with my partner in VS, Ryan Emerson, to work on restoring a film. After that project was completed, Ryan and I stayed in touch and started doing more restorations of other genre films as independent contractors. Eventually we were given an opportunity to relocate our operation, which included my large film collection, to the East Coast. After launching a small film scanning and restoration company, Ryan proposed the concept of starting our own DVD and Blu-ray label, which would focus on preserving and releasing some of the films in my collection. Although it was initially going to be a side project to the lab, it took off beyond our expectations and we began seeking out rights and elements for many other films.

(THA) Vinegar Syndrome is clearly a labor of love for those involved, and one of the most impressive aspects is that you take many films from genres that might be otherwise lost, ignored, or treated poorly - low-budget horror, exploitation, classic soft- and hardcore erotica - and give the films a red-carpet treatment. Are there specific traits, themes, or cast & crew that you look for when considering potential new releases? How much of it has to do with available elements and their condition?

(JR) It all has to do with the elements. Well, mostly. We never release a title unless we have elements from which we can at least perform an acceptable restoration. We never use tape materials. Beyond that, it’s very random. All of the bigger, i.e. Blu-ray, titles are films that we feel either represent genre landmarks or films which are unique to the point that we want them to be available in the home market in the highest possible quality. A lot of my personal interest in presenting X-rated films in great looking versions is because they haven’t been seen like that since they came out, and I hate that these often really fascinating and in many cases weird and totally unique movies can only be viewed in inferior versions which betray the real quality work and love that was put into making them.

(THA) My first VinSyn purchase was Night Train to Terror, which was quickly followed by Graduation Day, Christmas Evil, Raw Force then some of the deeper exploitation and - ahem - adult cuts. Do you find that your horror titles tend to be a "gateway drug" to the full-on Vinegar Syndrome experience?

(JR) I don’t know that I’d call them a gateway drug or anything similar. There are a lot of people who only buy horror titles and a lot of people who mostly buy the X-rated and general exploitation stuff, but have little interest in horror. I think that both the X stuff and the horror films help find audiences for the other. I think a major component that doesn’t get discussed very often, and are probably my favorite types of films that we release, are the weird art movies, like The Telephone Book or Gameshow Models, that I think represent a perfect bridge between ‘mainstream’ exploitation and the more off-beat and underground filmmakers who were working in experimental and X-rated productions at the same time. For me, and I say this often, the basic ideology behind the company is to position all of these films side by side and say that they’re all worthy of restoration and preservation.

(THA) It seems that there is a growing mutually beneficial (and mutually appreciative) relationship between Vinegar Syndrome and venerable Austin institution the Alamo Drafthouse. First, in an article announcing a series of nationawide co-branded VS screenings at Drafthouse locations, your company was described as "the Criterion Collection of exploitation / horror / weirdo movies" - high praise indeed, especially considering that the Drafthouse has its own film distribution company which occasionally treads similar water as Vinegar Syndrome. Most recently, a partnership with the American Genre Film Archive was announced which will see its first fruits released in April with the release of legendary blacksploitation freakout Supersoul Brother. Can you tell us how this seeming match made in heaven came to be, and maybe drop some hints as to what we can expect in the future?

(JR) We feel that there should be a sense of camaraderie between the different companies and organizations that share of goal of preserving and distributing this sort of cinema. I’ve been friends with the guys at AGFA for a while and we’d worked with them on a couple other projects in the past, so it just felt right to sort of pool resources and start releasing some films together. As for the VS Presents series, that was all thanks to Joe Ziemba, who has been a strong supporter of VS for a while. He came up with the idea and it’s been great to bring these movies back to theatres. After all most of them were made before the idea of home video even existed!

(THA) Vinegar Syndrome recently completed what appeared to be a wildly successful IndieGoGo campaign to help fund the VinegarSyndrome.tv streaming service. Could you share a little about that experience? How about giving us a peek at what's to come for backers of the campaign?

(JR) We were really amazed by the generosity of the supporters who contributed to the campaign. We’re essentially wanting to make the site a one-stop source for all things exploitation movies, and a large part of that is trying to bring in titles from other distributors who we’ve worked with and are friends with so as to be as comprehensive as possible. As for VS specific stuff, we’re gonna be uploading hundreds of shorts and features (a lot of it from the sexploitation/X-rated side of things) that we’d just never be able to release on DVD. It’s gonna be a lot of really rare stuff, really weird stuff, etc. We’re also gonna be offering a ton of trailers in HD. The goal is to turn this into something that’s less a VS-themed service but a place for all exploitation/sexploitation/X-rated films and their distributors to display their work. Hence the name change from vinegarsyndrome.tv to exploitation.tv. We want to be as inclusive as possible here.

(THA) As discussed during the crowdfunding campaign, Vinegar Syndrome has a full roster of upcoming physical releases on DVD and Blu-Ray over the next few years. Before we get to the question, let me commend you for stating a clear & solid commitment to physical media. While streaming has its place (and seems to be gaining more ground in the mainstream marketplace), much of the collector marketplace appreciates the experience of holding the item, checking out the artwork, etc. Out of the releases that are already public knowledge, which would you say you are most excited to bring to the public? Has a specific title proven more challenging than you expected?

(JR) Well, the big titles that we’re announcing this week (and will probably already be announced by the time this is published) are our new Blu-rays of Coonskin, Sweet Sweetback’s  Badasss Song and Dolemite. The first two will be coming from our new sister label, Etiquette Pictures. We’ve also got some more Troma madness planned, as well as a couple fresh deals with top X-rated filmmakers brewing. And yeah, we have zero plans to cut down on physical media. They look much better on your shelf than hard drives.

(THA) I'd like to ask you about Vinegar Syndrome's work on Last House on Dead End Street (if you can talk about it). This movie has had a long and storied history, from its production to theatrical screenings, to home video releases, and director Roger Watkins's passing in 2007. Could you share some insight on how Vinegar Syndrome became involved with bringing the film to Blu-Ray, and any specific obstacles or triumphs you have encountered?

(JR) It’s probably the most tedious restoration we’ve ever done. We keep on finding more materials for it that are slightly better in certain places than the previous copies so we’ve had to redo/add to our restoration so many times. It’s tedious. But it’s coming. Unfortunately, no exciting revelations to be told; no fabled 3 hour cuts, etc. But when it does eventually come out, it’ll look better than even, even if it’s still not perfect.

(THA) Are there any "dream projects" that you can discuss which you'd like to see Vinegar Syndrome tackle in the future?

(JR) I feel like every day I get excited about a new lost film. There are so many things I’d love to see get released. At this point, I rarely seek specific films out. They just tend to come to us, like the weird lost hippy/musical/Shakespeare hybrid, Catch My Soul, which we’re gonna be putting out through Etiquette next year.

So there you have it! I’d like to say a hearty “Thank you!” to Joe Rubin, to James Neurath (who helped facilitate this interview), and to everyone else at Vinegar Syndrome. You can check them out at:

Sunday, April 12, 2015

Wherein The Horror Aisle Meets The Movie Crypt...

Firstly, let me apologize for the unexpected and extended period of radio silence. Over the last few weeks I have been putting in between 75 – 90 hours between two jobs, and it has seriously cut into my time for writing. With that out of the way, let’s proceed…

On the evening of Wednesday, March 11th I (and a to-be-announced contributor to The Horror Aisle) attended a special event at the venerable Alamo Drafthouse location on South Lamar – a live edition of The Movie Crypt, hosted by Adam Green and Joe Lynch, accompanied by a double-feature of their respective new movies, Digging Up the Marrow and Everly. I was in no way prepared for what my admission fee would provide – close to six hours of entertainment, insight, vintage trailers, dirty jokes, laughs, and two kick-ass (and vastly different) films. Since the films were released by two different companies, this was a one-shot affair, and one that was not to be missed. If you were not lucky enough to be in Austin and attend, you can recreate the experience in the comfort of your own home by checking out Episode #95 here (http://geeknation.com/podcasts/the-movie-crypt-ep-95-live-in-austin-tx/) - so grab a copy of Digging Up the Marrow (out now) and Everly (out April 21st), along with your beverage of choice and strap yourself in!

The evening started, appropriately enough, with the theme from The Movie Crypt, some patented Adam and Joe banter, and some audience Q&A. Adam shared a story behind the creation of Marrow, which found its initial inspiration in a piece of fan mail that he received, claiming that Victor Crowley from the Hatchet movies was real, and offering to prove it. After seeing Alex Pardee’s art exhibit, the specifics of the film really began to take hold. Leading up to Digging Up the Marrow were three vintage trailers chosen by Adam Green which set the stage perfectly – E.T. – The Extra-Terrestrial, Nightbreed, and The Blair Witch Project.  So, what exactly is Digging Up the Marrow? It is a fictional documentary (not a found footage film or mockumentary, and I think that is a very important distinction to make) inspired by the art of Alex Pardee and some of Adam Green’s own experiences.

I’ll try to stay clear of any spoiler-ish material here so that folks who haven’t yet seen this movie can experience it fresh. In Digging Up the Marrow, Adam Green plays a fictionalized version of himself (similar to his work in Holliston, though obviously played less for laughs). Green receives a package from someone called William Dekker (played to perfection by Ray Wise), who claims to be able to prove that monsters exist and wants Green and his team to help tell his story. Dekker claims to have discovered a world, just under our own, which he calls “The Marrow” where these “different people” live and have developed their own civilization.  Green and his crew begin the process of interviewing Dekker and reviewing his tale, difficult to believe though it may be. After some preliminary interviews, the documentary team travels with Dekker to a secluded cemetery where an entrance to The Marrow supposedly exists. I don’t think it’s a spoiler to state that eventually the team finds what they are looking for before the film takes some surprising left turns. The glimpses of creatures created from Alex Pardee’s art are a highlight of the film, along with Ray Wise’s performance.  If you have enjoyed Adam Green’s previous work in film or television, I can fully recommend this movie. Just don’t think of it as a mockumentary or a found footage film. [In the spirit of full disclosure, I won a copy of the Blu-Ray of Digging Up the Marrow at this screening after asking a question about working with Ray Wise.]

Between the movies, there was time for a post-Marrow Q&A. And for those of you keeping score at home, Joe Lynch’s suggestion for a sequel to It Follows called She Swallows was inspired by my wonderfully offensive sweatshirt from T-Shirt Hell, the design for which can be found here (http://www.tshirthell.com/funny-shirts/she-swallows). Important tidbits shared include Adam’s art preferences, the connection between Marrow and Citizen Kane, the potential for a sequel, and the hopes for a third season of Holliston (along with some of the challenges involved in bringing that to fruition). Adam shared a story highlighting the importance of being kind to the people you work with, no matter in what stage of your career you might find yourself, which was, dare I say it, touching and definitely deepened my respect for him.  Joe also got a chance to share some behind-the-scenes stories, including gems about showing Takashi Miike’s Ichi the Killer during the filming of  Everly and being surprised that some attendees from the country that gave us A Serbian Film walked out of the movie, as well as an anecdote about Peter Dinklage’s LARP battle skills on the set of Knights of Badassdom.

Before you knew it, the lights were again dimmed for the vintage trailers chosen to precede Joe Lynch’s Everly.  This time we were treated to From Dusk Till Dawn, They Called Her One Eye, and Blood Simple. Everly is a taut and thrilling action movie that, for much of the film, plays out in the titular character’s apartment. Lynch proudly wears his many influences on his sleeve (you may find nods to and echoes from films such as Die Hard, Thriller, Ichi the Killer,  Big Trouble in Little China, Tenebre, and many more), and this coupled with a go-for-broke performance from Salma Hayek had me hook, line, and sinker. Hayek plays Everly, a beautiful woman and mother to a young daughter trapped by her gangster lover Taiko in a life of prostitution and sexual slavery of which she is trying to break free. Taiko discovers her intentions and places a price on Everly’s head, causing all hell to break loose and a number of assassins, trained and otherwise, stream into her apartment in an attempt to claim the bounty.  What follows is a claustrophobic mixture of action, thriller, and horror, the majority of which takes place in Everly’s apartment.  There is a sequence near the end of the film that opens up the world a bit, and the way it was filmed reminded me of some of Dario Argento’s spectacular work during one of the murder scenes in Tenebre, providing you with both a greater sense of the geography of the apartment building where much of the action has occurred as well as a glimpse at the larger world outside. It was a surprising and impressive shot in a movie that had mostly held close to tight quarters.


Though the films shown were markedly different (and distributed by different companies), this double feature was a cohesive experience, anchored by the podcast sequences before, between, and after the films. Adam Green and Joe Lynch seemed as excited to be a part of the evening as did the attendees, and after the event was over they spent plenty of time in the lobby conversing with fans, taking pictures, and signing posters, DVDs, and other memorabilia. Despite staying up way too late on a work night, I’ll be the first to say that the time spent (and sleep lost) were well worth it, and I’d like to offer a hearty (if belated) word of thanks to Joe Lynch, Adam Green, and to the Alamo Drafthouse for an incredible evening.

Friday, March 6, 2015

Retro Review: Graduation Day (1981)

Graduation Day (1981)
Directed by Herb Freed
Released on Blu-Ray & DVD by Vinegar Syndrome


1981’s Graduation Day, one of a countless number of “event-day” slashers released during the early-80’s heyday of the genre, starts amidst a splash of funky period fashions and tunes with a montage of various track and field events which lead up to the death that sets off the next 90-some-odd minutes’ worth of nefarious doings. This initial sequence is spiced up with plenty of cross-cutting between various events and shots of the crowd, with a liberal usage of slow-motion thrown in for good measure. Laura, a star sprinter, is cheered by her classmates and goaded by her bullying coach before crossing the finish line and promptly expiring.

Shortly after this prologue, we are introduced to Anne, Laura’s older sister, who has returned home after serving in Guam. She’s hitching a ride into town with a contender for the least-appealing ladies’ man of the 1980’s, a stereotypical sexist pig who reminded me of Fred from “Scooby Doo” well past his prime and having let himself go. After a sexual harassment-filled lift from this shining example of early-80’s masculinity, Anne arrives at her familial home, where we’re next introduced to  her drunken lout of a stepfather, himself a likely contender for the decade’s worst parent. It becomes clear by this point that the movie, likely intentionally, is paraded before us a line-up of potential suspects, many of whom are likely red herrings, but most of whom provide us with a reason to dislike or distrust them.


 "You're not one of those lezbos, are ya?"

After a less-than-welcoming family reunion, Anne goes to visit her late sister’s boyfriend, Kevin. Kevin lives with his grandmother in a cluttered old house. The grandmother seems a bit off her rocker, talking constantly to either herself or her television, but is paid little mind by either the characters onscreen or the viewer. During this scene, as is present throughout Graduation Day, both sound and image (working together as well as in juxtaposition) are used to ratchet up the tension.

From there the story moves on to the local high school, where preparations are underway for – you guessed it – graduation day. We are introduced to a number of Laura’s classmates and members of the track team, as well as some of the teachers and administrators of the school. There are a couple of points of interest here. Eagle-eyed viewers should stay watchful for scream queen Linnea Quigley in an early role as Dolores. The story goes that Quigley replaced another actress originally chosen for the role who objected to the nudity required for the film’s “topless chase” scene. That previous actress still appears in pictures of the track team, and her decapitated head makes an appearance in the film later – perhaps as a stand-in after Quigley’s character has met her demise, belying the film’s extremely low budget origins. Viewers may also be surprised to see veteran letter-turner Vanna White in one of her earliest film appearances as the character Doris, who mainly exists to sport some questionably high-waisted pink pants and discover a dead body. Add in a lengthy sequence of roller-skating, very dated dance moves and an extremely lengthy musical number from a band called Felony who looks like they’ve never even neared a misdemeanor (doing a tune called “Gangster Rock” no less), and you’ve got all the makings for a second-string slasher classic.


I'd like to buy an AAAAAAAAAA

Many of the school’s staff members seem to fall into a number of tired tropes from the genre, but there is just enough of an off-kilter take to prove entertaining – such as the toupeed crooning Lothario serving as the music teacher, genre mainstay Christopher George as the hard-driving coach who many blame for Laura’s death, and character actor Michael Pataki, who definitely brings the lion’s share of quirk to his portrayal of Principal Guglione.

While I don’t want to go too far into the events of the movie from this point (as any slasher fan who hasn’t seen this flick should seek it out and witness it firsthand), I would like to discuss some of the film’s pedigree and DNA. The film’s director, Herb Freed, has said on multiple occasions that he and his wife and writing partner, Anne Marisse, were not inspired by similar slasher films of the era. While I have some doubts about that statement, I’ll leave it up to the viewer to draw their own conclusions. What I find more interesting is the likely unintended similarities that Graduation Day shares with a number of Italian gialli: multiple POV shots from the killer’s perspective, black-gloved hands wielding an assortment of often-outlandish weapons, and the use of music and editing techniques to drive certain sequences. Despite falling firmly in the 80’s slasher genre, Graduation Day certainly shares a number of similarities with Italian gialli, and benefits from the resemblance.


Coach, I don't think that's a regulation ball...

Stephen Thrower, in his highly-recommended book Nightmare U.S.A. – The Untold Story of the Exploitation Independents, suggests a Marxist subtext to the film, and though this is somewhat present, it in no way beats the viewer over the head or distracts from the proceedings.

From a technical standpoint, Vinegar Syndrome again exceeds expectations with their Blu-Ray of Graduation Day. Though the print is not completely free of white specks or damage, the film likely looks better than it has since the early 80’s, and displays a consistent grain and filmic presentation that does not show any signs of being DNR’ed into oblivion.  The disc features interviews with star Patch Mackenzie, director Herb Freed, editor Martin Jay Sadoff (for those interested in the technique and skill of film editing, I highly recommend checking this out), and producer & story writer David Baughn.  Two commentaries are also present; one features producer Baughn, while the other is conducted by the presenters of slasher-themed podcast “The Hysteria Continues”.


Bottom Line: While Graduation Day will likely never be mistaken for a top-tier 1980’s slasher film, it has just enough going for it to make it a worthy entry in the genre, and deserving of both the top-notch treatment given it by Vinegar Syndrome as well as a place on your movie shelf.

Thursday, March 5, 2015

Dark Clouds on the Horizon

Some exciting news to tease and tantalize...


  • The Horror Aisle's official Twitter account is live and active @TheHorrorAisle - if you use Twitter, follow us and we will follow you back!
  • One of my Brothers in (tentacled) arms, DJ TJDK, has been added as an author to The Horror Aisle. He's got some madness and mayhem brewing which we are very excited to bring you soon.
  • We have another couple of contributors that we will be announcing and introducing in the coming weeks, as well as some exciting interviews and previews in the works.
  • In the next few days, I will be presenting not just one but two Retro Reviews of movies on Blu-Ray from the mighty Vinegar Syndrome! Get ready for The Horror Aisle's take on rediscovered slasher favorites Graduation Day (out now) and Don't Go in the Woods (coming 3/10/15).

Saturday, February 28, 2015

How the Curse Began...

I think it's safe to say that both Nature and Nurture played into my lifelong love of horror movies. Growing up, I had a favorite uncle who was also a fiend for the gruesome stuff. Together he and I would stay up late and watch broadcasts of black-and-white movies of varying quality presented by the local horror host. (By the way - if any of you know who the local host was in West Texas during the late 70s and early 80s, please drop a line as I was pretty young and don't remember the specifics.) Jay, my uncle, never took me with him and his college-aged friends to see scary movies in the theatre, but when he returned from these excursions he would regale me with lurid tales of horrors glimpsed upon the silver screen. I remember being in a state of rapt attention listening to him as he relayed the storylines of movies like Halloween and Tobe Hooper's The Funhouse. Such a horror hound was my Uncle Jay that, in addition to numerous books by Stephen King and other known authors, in later years his bookshelf also held novelized versions of movies such as Friday the 13th, Part 3. Between my uncle's recounting of various horror movies, our regular viewing of televised terrors, and my habit for sneaking brief reads of the books on my uncle's shelf, it can hardly be a surprise that a love for being frightened took root deep in my heart at an early age.



"They'll probably get us wherever we are..."

It was my attendance at an elementary school friend's birthday slumber party that truly took things to the next level for me. I was six years old, and had been invited to my friend Adrian's house for an overnight party. I knew the drill - pizza, soft drinks, movies, ghost stories after dark, and assorted juvenile hijinks. I had no idea that the events of the night would change my life forever.

The evening started with a trip to the local pizza parlor, where we feasted on slices of pepperoni pizza and slaked our thirst with oceans of Dr. Pepper, all the time listening to songs on the jukebox ("Pac-Man Fever" and "I Love Rock n' Roll" seemed to be the favorites of the evening, despite having lived in the dusty jukebox for a couple of years) and pumping quarters into the battered tabletop Galaga machine. When we returned to Adrian's house, his mother asked if we wanted to watch a movie. We all answered enthusiastically in the affirmative.

When the first movie started up, my immediate response was rather dismissive; it was in black-and-white. My entire exposure to B&W movies to this point had been rather tame stuff which my parents had watched and which held no real interest to me. I remember hearing my mother talk about how scary Hitchcock's Psycho was, but when I asked to watch it one night when it was being shown on WTBS (The Superstation!) they firmly declined my request. I had no frame of reference for what I was about to experience in George Romero's Night of the Living Dead. I remember feeling my initial disinterest fade away during the initial sequence with Johnny and Barbara in the cemetery, and will admit to a bit of panic as Barbara fled from the Cemetery Zombie. A sense of creeping dread came on in waves, growing in intensity, until my young mind erupted in true shock and terror after witnessing the explosion of the truck, and learning exactly what the zombies would do if - and when - they finally got ahold of you. From that moment onward, I was glued to my seat, eyes fixed on the horrors unfolding on the screen, ignoring even the demands of a bladder filled to capacity (and being unwilling to navigate an unfamiliar home in the dark after having glimpsed such unspeakable horrors). I was awestruck by the spectacle of it all, unable to look away until the final devastating scene had played out, watching in silence as the credits played through to the very end - something I had never done until that night.

The lights came up briefly, chasing away the dark shadows which had engulfed Adrian's house, and allowing each of us a nervous rush to the bathroom before we refilled our supplies of popcorn and soft drinks. Once we had all settled back in, the lights again dimmed and the second feature began...



"...because we're already dead!"

As with Night of the Living Dead, I had no conception of what I was about to see in Creepshow. At my young age, I'd had no previous exposure to the EC Comics such as Tales from the Crypt or Vault of Horror. Based on the introduction to the film, I didn't expect it to affect me the way the night's previous film had. Creepshow had a way of knocking me off-balance. It balanced its scares with laughs, the humor setting you up before the horrors knocked you down. As with just about any anthology, Creepshow is a bit of an uneven experience, with some of its segments far outshining the others. The two segments that affected me the most on that initial viewing (and remain my favorites to this day, more than three decades later) were "Father's Day" and "Something to Tide You Over". It may just be me, but I think we're seeing a pattern emerge here! Something about the zombie father coming back to finally get his cake and - most especially - the waterlogged zombies coming back to exact righteous revenge on Leslie Nielsen (perhaps in an act of prepaid karmic retribution for Dracula, Dead and Loving It?) stuck with me for weeks to come. As is standard operating procedure for slumber parties, even those which don't involve a double-shot of Romero to a batch of impressionable young minds, we stayed awake until we could no longer keep our eyes open and our heads up. Ghost stories were told, and we compared notes as to what the scariest parts of the movies had been.

I returned home as if nothing had happened. I didn't share my experiences with my parents, and wouldn't until years later. Needless to say, they would not have been too pleased with someone else's parents exposing me to R-rated or unrated horror movies at such a young age. The nights of the next few weeks were long and unfriendly things. I kept the covers pulled up over my head, which as every young child knows, is like monster camouflage. Even the slightest noises of the house settling caused me a fright, my heart leaping into my throat. For quite some time afterwards, I slept with my closet light on and a small pocket knife hidden under my pillow - just in case those things came calling in the night.



Creepshow had me like...

For me, that is where and how it all began - this lifelong fascination with horror, and with scaring myself senseless. It has in some ways kept alive a connection with my uncle, who passed away unexpectedly while I was in junior high school. It has provided endless opportunities for enjoyment, discussion, thought, and good-natured argument. And now it has become the impetus for this blog, which I hope you will enjoy and share with others of a like mind.

So what about you? What set off your horror obsession, and how have you fed and cared for it over the years? Let us know in the comments!

Wednesday, February 25, 2015

Pardon Our Dust...

Welcome to the humble beginnings of The Horror Aisle, what I hope is merely Phase One of a plan which ultimately results in world domination. Prior to bringing the world to its knees, I envision this site as a place where I and perhaps a few very special guests can share some thoughts about one of my all-time favorite subjects - horror movies! Highbrow, lowbrow, unibrow, and all points in between are fair game for review, discussion, and mockery. At first our entries may be somewhat infrequently posted, but in the not too distant future I hope to post at least a couple of entries each week discussing old favorites, new releases, and hidden gems.

Thanks for stopping by as we strategically place the cobwebs! There will be more madness to share soon...