Haunts fit for any vamp or wolf. Each book came with a list of great travel destinations to fulfill your curiosity.
For the Vamps:
Places I'd Visit: Transylvania of course, the area itself does seem quite interesting. Did you know there is such a thing as Dracula tours? I'd probably favor New Orleans over anything else, the city is just filled with so much history and it is probably a place that I could more realistically venture to. Of course one of my dream places to go to is Crete and not only is the little island known for being the origin story of the minotaur or the possible real life Atlantis, but it is also home to vampires who reign during the day.
For the Wolves:
Places I'd Visit:My love for fairytales leads me to the Black Forest. I just couldn't pass up being in the same place that many of my favorite tales take place. I would also take an interest into going to cultural significant places such as Rome or Kyoto.
What are some of your favorite vampire/werewolf destinations? Leave a comment.
I don't think it goes far to say that I am a pretty big fan of horror and it just so happens from time to time I purchase little goodies that help fuel my liking for spooky little things. One time I stumbled upon two books that I ended up purchasing because of how they cheap they were and because they had glossy pages that appealed to me. The first book was How to be a Werewolf by Serena Valentino and the second one was How to be a Vampire by Amy Gray. They were both very nice books for the vampire or the werewolf enthusiast, but I've recently sold both of them. (I am currently going through a period where I'm pretty much getting rid of anything I don't love, need, or have a huge sentimental attachment to.) Of course before I sent both lovelies to their new home, I decided to scan a few pages from both books to share with you all
I will be doing a few posts where I share certain sections of each book. Of course before I do that I though I would put in a good recommendation for each book and encourage the actual purchase of either one.
How to be a Werewolf by Serena Valentino Synopsis: Celebrate
your inner beast and harness that newfound animal magnetism! with this
essential guide to the lycanthropic lifestyle. Are you subject to savage
moods, extreme and unexplained buffness, and cravings for meat on the
rare side? Do you long for super speed and reflexes, along with rapid
healing and maybe a talent for telepathy? Welcome to the pack and get
ready to howl as you sink your claws into this guide to everything life
as a werewolf has to offer. Among its abundant fur-raising topics: A
look at good, bad, and ugly transformation styles, including an answer
to the question of what happens to your clothes. A quiz to determine if
you're a menace to society, and tips on taking precautions Planning your
social schedule around the lunar calendar Dating hints, from the risks
and rewards of cross-species romance to avoiding your sweetheart's
family pet Killer fashion suggestions, from urban (leather and hardware)
to a cute and foxy kitsune look Ideas, decorations, and recipes for a
full-moon party Tales of real-life werewolves, plus lore and legends
from around the world Juicy reading material and gems of the silver
Teenage werewolves are invited to
celebrate their inner beast--and harness that newfound animal
magnetism--with this essential guide to the lycanthropic lifestyle.
How to be a Vampire by Amy GraySynopsisFor
those who join the decadent realm of the vampire, eternal life holds
juicy perks--charm and strength, shape-shifting and flying, telepathy
and super-powered senses. "How to Be a Vampire" is a comprehensive guide
to the vampire lifestyle that quenches newcomers' thirst for lore--and
tasteful tips. Illustrations.
the world of the undead! A comprehensive guide to the vampire lifestyle
quenches newcomers' thirst for lore and tasteful tips. For those who
join the decadent realm of the vampire, eternal life holds juicy perks
charm and strength, shape-shifting and flying, telepathy and
super-powered senses. But then again, one becomes . . . so terribly
hungry. Is there an etiquette for feeding without causing a scene? How
do you set up your crypt? What supernatural foes will make your blood
run colder? In this elegant, edgy resource, the newly immortal will
find everything they need to know, including: - a quiz to determine your
true vampire persona - ways to turn into a vampire or when a kiss is
not just a kiss; and why you should take a look at your family tree - a
transformation checklist, including canine teeth and UV sensitivity - a
makeup and fashion guide to looking damned good (or just damn ed) -
knowing your weaknesses, from garlic, stakes, and sunlight to a n
obsession with counting - 10 signs that your boyfriend is a vampire,
including super coolness (body temperature-wise) and a habit of
sleeping in - a field guide to vampiric variations around the world and
P.S. The reason I decided to sell each book is because I really don't have an exact need for them or much reason to look back at them, but they are packed full of information and pictures. I'm sure if you are a huge fan of either monster, you'll love them.
I'm blown away by the amount of children's horror films. This year young horror fans will be treated to films such as ParaNorman, Frankenweenie, and Hotel Transylvania. It's nice to know that horror for children is becoming more widely accessible. After all there needs to be something for younger viewers who are just not old enough to watch the more mature horror content that is out there.
My personal favorite is of course Frankenwenie, but that's probably because I grew up with the original. I am of course partial to anything Frankenstein related. I can't help, but love the vintage horror inspired poster.
I didn't know this, but did you know Universal did something similar to Disney's Wonderful World of Color? Their show is called, Universal's Cinematic Spectacular: 100 Years of Movie Memories.Best yet, the whole thing is narrated by Mr.Likes to take a bath in a casket. Horror starts at 6:29.
In other news:
Universal Pictures has signed a two-year production deal with Alex Kurtzman and Roberto Orci, who are best know for writing "Star Trek" and "Transformers." The duo will kick off their new relationship with modern reboots of Universal's "Van Helsing" and "The Mummy" franchises.
At this point, very little is known about the two films, except that Tom Cruise is attached to produce and star in "Van Helsing," which was turned into a film in 2004 with Hugh Jackman (pictured) playing the title character.
"We're thrilled to call Universal Pictures our home," said Kurtzman and Orci. "They
really understand the importance of building a strong creative team and
giving our shared projects their full support. We're proud to start
making movies that will live as part of Universal's enduring legacy."
Source: Universal Pictures
Personal Comments: I'm personally a fan of the 90s The Mummy. I never saw it as a remake of the Boris Karloff film, but more of a film that paid homage to it. It's one of my personal favorite popcorn films and was one of the first modern horror films I was ever allowed to see.
Van Helsing is another film I sort of grown up with, even though it's kind of bad. I'm actually really curious to see how both these films will turn out.
Have you ever wanted an autograph from Anne herself, but was nowhere near one of her fabulous autograph sessions? Well, I have good news! Now, you too can have a copy of her books, with her personal autograph.
When asked why she was doing this, her response was as follows.
“So we figured a way to print these out here at the house (Becket
designed them and handles the software) and self-adhesive backing paper,
and then we will mail to whoever sends an envelope. We'll see how it
goes. The post office box is nearby and we'll start filling orders as
soon as we get them. It seems my readers really want autographs, and they like real books, and so this is my solution to getting those autographs to people all over.”
For one free sheet only of 6 personally autographed book plates mail a
self-addressed stamped 8.5 x 11 inch rigid photo mailer envelope to:
Anne Rice – 42 335 Washington St. – Ste. # F-384 – Palm Desert, CA 92211.
I can assure you this is legit. Each sticker is personally signed by the woman, herself.
P.S. This might be for a limited time. If you miss you chance, leave a comment and I might send one of my extra stickers to you. ^_- Just be sure to give me the proper thank you.
Many fans of the show Supernatural know the godliness that is Misha Collins, but unfortunately there are many out there who do not know about the man that makes The Most Interesting Man in the World, and Captain Morgan,look pale in comparison. Truly, Misha Collins is the work of God and it has been said that the mighty man himself took a week long break just to create Misha (along with chocolate covered frozen cheesecake on a stick) After such an event, he went back to work creating the Earth and all! Aw, how could one not admire such a man! He is after all not just an actor, but he is also a baker and a candlestick maker! What little girl did not grow up wanting to marry an actor/baker/candlestick maker? (Namely the last two.) Today's post is dedicated to my dream man and why he is the man I wish to marry. First off, let's look at all the things that make him the manliest of men!
He is not afraid to get in touch with his feminine side.
He is one with nature!
He is a father of high morals and values!
He is a man of excellent taste and class!
He is a man who knows how to get his head in the game and is a true player!
He is a true fashion icon and is the ultimate male model!
He is a man who is not afraid to let it all hang out! Fan Service, anyone?
Note: What other celebrity will gladly show a picture of himself bare-naked on horse in
broad day light for all to see his glory!!!
It was awful within that 20 mile radius riots happened, children became orphans, birds fell from the sky along with airplanes,etc. To this day, Misha is considered a threat to national security.
And last, but not least he is a man of vision! Just watch this!
Wasn't it just wonderful?! A film of such magnitude deserves every possible film award known to man. He not only wrote it, but he also directed and starred in it. Oh, I know it says he only wrote it and directed it in the credits, but deep down all fans know he was also the leading role. Misha is just far too humble to admit that he is just that good of an actor.
Oh,but alas, my poor fan girl heart must sadly admit that he can never be mine. For he is married to the most womanliest of women, Victoria Vantoch.
She has turned many women into lesbians with that vegetable bouquet.
I can't say I can blame him. Who wouldn't want to marry a woman who wrote a book on having successful threesomes? (I must keep note if I'm ever going to have my way with the Winchester brothers) XD
-Sigh- If I can't have Misha, then I'll have to settle for the next best thing. I know! How about Morgan Freeman taking a bath in a casket!
What I have said on here should not be taken too seriously....mostly. Though, in all honesty Misha is in fact a hilarious man and should be followed on Twitter and many should check out his charitable organization Random Acts as well.
Politics in general will probably never be a focus on this blog. Mostly because I really don't feel that its appropriate for me to spew out my personal beliefs on here. However there are times where it really can't be helped. The above video is an ad for the ever so brilliant Rick Santorum. The ad seems to be putting a bit of a horror 50s B-movie spin on how our country will be, if Obama gets reelected. I'll be honest I'm not really all that thrilled when it comes to many the decisions Obama has made during his time in office, but trying to make a connection between Obama and President Mahmoud Ahmadinejad of Iran is going a bit too far.
I can't say that the video is not well shot because as far as most political ads go this one is probably one of the most coherent ones I've seen. I think those who are already a bit paranoid about Obama's stances on things will be affected by this video to a certain degree. It's certainly different as far as political ads go.
Rick Santorum has always been a bit too much for me. Frankly, the fact that such extremists exist scares me.
For some more political horror humor check out this great article on cracked
We write for the attention of all Hollywood producers, writers, and
most certainly directors of horror cinema over the last couple of
decades. Quite a lot of you have been responsible for a serious crime,
too-often committed against us, the paying horror audience: incompetent
and complacent film making. The growing laziness in the genre has become
more and more obvious, certainly since the turn of the millennium. We
wish to address this by taking a look at some of the major errors you
tend to make; horror from the rest of the world does not seem to make
these mistakes, and so there is no reason you should:
Anyone can make us jump
so we all love a good jump here and there; trust us, we really do! It
is a great moment when you are sat there... tense, curious, nervous...
and then BANG, the 'thing' happens and the entire screen
(hopefully completely rammed, because this movie is supposed to
incredibly epic) jumps and screams in unison. Indeed, it brings about an
immediate sense of togetherness - camaraderie, if you like, and the
relief laughter and chatter is a very pleasing sound that nobody will
ever moan about.
It should be remembered, however, that this can very quickly be overdone (I’m looking at you, The Woman In Black),
and in fact even with the jump-scares you do use, you need to be
careful that they do not become cheap or unrealistic; the last thing we
want is to be immersed in the atmosphere of a scene and for the wrong
thing make us jump.
You think this means we feel more scared, but sometimes the opposite
is actually true; a badly-judged jump-scare will certainly make us jump,
but will be followed closely by laughter, leaving us detached from both
the horror and the film.
Why does this happen? It all comes down to whether the jump works as
part of the story, and as part of a particular scene. Frank Darabont,
speaking about one particular jump-scare in his adaptation of Stephen
King’s The Mist', said that it was “the oldest trick in the book” that
got the author leaping from his seat when watching it for the first
Brilliant...he thinks he made Stephen King jump; but with that quote
he does actually hit the nail on the head! We all know the jump-scare
can be used to good effect, because it is indeed “the oldest trick in
the book”: the frame is set and then something bursts into it
The thing is we can all make somebody jump, it is very
simple; jump out on them, or sneak up behind them when they are not
expecting it and say boo really loudly. That is great, and fun, but
ultimately not scary in the long-term. It should also be pointed out
that film makers with actors, make-up, lighting, set design, hopefully a
scary story to tell, and a long list of other tools to hand should not
be resorting to a simple little trick - one readily available to us at
home - before hoping that a barrage of the same trick will send us home
with a need to tell everybody how frightening the film is.
Hollywood, if that's all you have to offer then I can promise you we will be talking about it at home...just not in the light you may have hoped.
"Using a jump as a pay-off to a building of tension gets tired after a while - trust us"
Please understand this is not to suggest we do not like the occasional good jump. For instance, a film like Rec has
just the right amount of jumps peppered through, but the creation of
tension envelops the moments rather than providing a build up. The
result is that we find ourselves totally shaken by the superb jump, but
not off the hook, as the dread continues to build. Using a jump as a pay-off to a building of tension gets tired after a while - trust us.
Enjoy the silence
It is one of the most basic principles of cinema: the soundtrack aids
the emotional drive of a movie. It tells us when to feel certain
feelings, amongst other things. Sadness, longing, excitement, tension,
and yes, even fear! You have heard of the expression, “over-egging the
pudding” though, yes? Any film that is over-scored is annoying; but in
the realm of terror, it can very easily dispel the fear rather than
enhance it. There are some truly terrifying moments in cinema from
around the world that work because they understand that silence can be
deafening in the right circumstances.
Take A Tale Of Two Sisters for example - this contains one of the most chilling bedroom sequences in a horror film since Poltergeist;
and take note of the fact that the director does not insist on bashing
you over the head with a discordant orchestra sting because “that it
will amplify the scare", but in fact relies purely on the natural sounds
of the room. Likewise, in another scene, the atmosphere is deathly-cold
and incredibly tense, through nothing more than the excellent sound of
In silence, we are tense; we are waiting for something awful, and
that natural sound of what is around us, even if it's pure silence, can
be deafening and creepier than any piece of music you wish to add to the
Music enhances shocking moments nicely, such as the shower-stabbing in Psycho;
but if you go and watch the scene now and take note of the sound that
leads up to the moment, what do you notice? A shower running. That is
the only sound.
Silence can be your greatest weapon.
Don’t butcher the fear
you have all your footage, resist the urge to hack away and re-assemble
every last frame. In horror, possibly more so than any other genre,
what the camera shows us, what we see and when we see it, could never be more important.
Sometimes the way some of you chuck this stuff together can be
mind-boggling, headache-inducing; and, worst of all, not scary. The fear
can be found with the right cut at the right time, so keep away from
the editing studio...
Take a little look at The Birds. Do we really need to
mention that classic scene that is simply one woman sat on a bench while
we know the birds are gathering? We don’t need to see it; we can
already sense what's going to happen. That way, when the shot is finally
panned into view, the true horror of the situation - that is, a
climbing frame crammed with birds - confirms our fears and raises the
suspense to unbearable levels.
One of the greatest examples from overseas is most certainly Ju-On: The Grudge.
I can barely put into words the feeling of realising that creepy little
kid is peering through the banister; he’s been there for how long? Fear presents itself through the unknown and Ju-On: The Grudge makes full use of the fact.
Many of you have taken heed of this already, as shown in the recent Insidious, which, despite its silly final act, does very well in this field. Likewise with The Strangers, there is a moment in the kitchen which is very successful.
Not everyone gets it right though; Gore Verbinski’s take on The Ring features
a re-working of the most frightening sequence in the original, and
makes a complete hash of it by having no sense of pace.
Getting the cut right is a big part of the challenge.
"Get us to care about something, anything, and you will drive the fear deeper..."
Nothing scarier than the imagination
Served as an accompaniment to the previous point, this was a notion associated very heavily with The Silence of the Lambs,
a film which comes to a climax in a room where nothing can be seen. Our
heroine Clarice Starling is feeling her way around a dark room, knowing
the killer is with her, watching. This works as a nice analogy for a
principle of horror that Hitchcock, once again, understood all too well:
Often it is what you do not see that is frightening.
Remember, our minds are dark closets filled with the most messed up,
disturbing thoughts you could imagine, and we love to exaggerate, to go
overboard; usually we just need a little push. So you can show us all
the monsters, beasts, ghosts, blood and guts you like, and there will be
the time and place for that. But you are so frequently better off
giving us a just a taste of it, a hint of what it is we are to be scared about - and then leave us to fill in the blanks.
Remember, The Blair Witch Project? With no need to pander to anybody, they kept everything low-key and ridiculously simple. It could even be argued that Blair Witch is
not technically a great film - but with the marketing campaign giving
it a head-start, it became the most effective American horror of the
decade. Admittedly it hinges on whether you play along with the notion
of being lost in the woods; but at no point do we see the antagonist; at
no point do we even know what it/she is. Instead we hear the right
things at the right times, and we watch as a woman runs through the
woods, clearly having seen something that we cannot. And it is horrible!
H. P. Lovecraft has been a long-standing example of an author who
scares the pants off his readers, all of whom find it extremely
difficult to tell you why they are scared. We all wait on tender-hooks
for the possible Del Toro production of At The Mountains of Madness, which seems to be under strain; but we shall see.
Put simply, keep it simple Hollywood...let us do your work for you, because we are very good at it.
If we care, we will scare
Since the advent of torture-porn, it has been very easy for people
like Eli Roth (a reasonable film maker in his own way) and Rob Zombie (a
not so reasonable film maker), to get away with presenting the most
turgid, infantile filth, often in the form of the most ridiculous,
over-the-top, moronic splatter-fests, and pretend that they have done
something really subversive, clever and scary.
have news for people like this: There is no subversion, and there is
nothing clever about torture when there is no drive behind it other than
the question, “How hideous can people be?”.
We know this already. We see real life happen. As for being scary, both Eli Roth and Rob Zombie admire Audition by Takashi Miike and presumably believe that they are paying homage to a master of the genre, because hey, he did a torture scene too!
Indeed he did, and if you go take a look at that film, you will
notice it turns the genre on its head, and consequently the audience; it
is a movie that blindfolds us, spins us in fast circles, and tells us
to pin the tail on the donkey. It makes us care for the very real
characters, so that when the horror finally hits home, it hurts us - and we understand its significance.
Take a look at the Guillermo Del Toro produced The Orphanage or even his own movie Cronos. Both
are films that have sincere themes and exploit honest, human fears -
the one concerning child death and another the subject of ageing. What
does torture-porn talk about?
More often than not the best horror stems from within: our own fears
about life, death, and the tragedy that is sometimes being human. There
is only so much blood and guts being spilled for its own sake that we
can watch before we simply get bored and immune. Themes we care about
never tire. They are about us, they are ideas we must care about.
David Cronenberg is a director whose shocking horror remains a
triumph by virtue of the revolution he brought about: in 'body horror' -
horror of the flesh. Watch The Fly, his re-working of a
classic yet simple fable, and witness a master at work. Using the fly
metamorphosis as a metaphor for our fear of disease - the horror from
which we cannot escape - is a journey into deep-seated terror. To bring
that to a point where we are both mortified and heartbroken for a man
who has become useless in front of his loved one is truly a stroke of
horror often comes a tremendous sense of sadness, or tragedy,
emphasising the terror, driving the story home and haunting us for days
or weeks. These are the films we talk about; these are the films horror
geeks adore. Yes, we enjoy a bit of teen-hacking as much as the next
man, but even with films such as A Nightmare On Elm Street, The Last House On The Left or The Hills Have Eyes,
you are watching work from a film-maker trying to present ideas that
run deeper than the carving-up of flesh; ideas that are supposed to bury
themselves in your head and get you thinking. That is one pivotal
element of the way these films scare - empathy, sense memory - driving
Even the most forgiving horror nerds are becoming frustrated with the
endless stream of remakes - often recreated almost shot-for-shot - just
because you want to make an easy buck. We are wise to the game, and as
much as you might hoodwink a lot of the naive, you are not getting one
over on horror fans; we grow tired of your minimalist imagination.
Unless there is a writer’s strike, there is no reason for it - it is
just cheating and, if we are being honest, the remake rarely has the
qualities that made the original so great, notwithstanding how well-made
And renaming it does not make the crime any more forgiveable, so please stop doing it.
Conclusion – Trust us, we have a brain
There will always be a lowest common denominator audience out there -
those who cannot keep up with cinema that pushes them to engage their
brains beyond that point required to understand the twist of a Saw movie.
But that's not a reason to water everything down, resort to cheap
tricks and simple, one-dimensional set-ups that do not stay with us for
more than five minutes after walking out of the cinema.
Horror is at its best and most terrifying when it has a brain. The
frustrating thing is that the history of cinema from the West shows that
there have been those artists who have understood the above-mentioned. So what has happened?
You can take this as an appeal to the darkest part of your hearts,
and the smartest, most twisted corners of your collective imagination
that quietly crave to be more daring: Stop playing it down for the
simple-minded audience all the time and start proving that which we
know, you know, to be true - horror can be so much more than “slash and
"We want the real monsters, the intelligence, the tragedy, the sadness and the metaphors"
We need the horror that avoids the tired clichés, the torture porn,
the over-cutting for the short attention spans, and the predictable
jump-scares for those who think that these alone create fear. Alfred
Hitchcock did not need such tricks when making The Birds and Psycho; even with Vertigo, which is not a horror movie, Hitchcock was able to create a chilling and genuinely haunting thriller.
William Friedkin, with 1973's The Exorcist, did not need to
resort to such banal methods to create what is still regarded, despite
its relative crudity when compared with modern films, as one of the
greatest horror movies of all time.
David Cronenberg, the director who showed you how to use visual
metaphor to explore the most horrendous themes, is a man whose horror
work was heralded as brilliant simply for being high-brow, for being
about concepts of the fear within, the horror of identity, the very real
terror that comes simply with being human. He made films about ideas for the most deeply-rooted, ugly parts of us to relate to.
We want that sort of horror - it is cleansing, therapeutic and
healthy. We want the real monsters, the intelligence, the tragedy, the
sadness and the metaphors.
In short, we need the horror that runs deeper than a pint of blood
smeared across the screen, in the vain hope it will be enough to keep us
awake at night.
A letter that could have been written by any horror fan. Thank you Daniel Elford for wording it all so perfectly. You can see the original here.
Now for the rest of us who are nostalgic for real horror; check out Channel 4's 100 Scariest moments. It's all based off of what viewers chose. It's a bit different from what many American channels would have for 100 scariest moments because Channel 4 is a British channel. There are many predictable moments such as Jaws, Halloween, and what not, but there are some different moments on there as well.
#100 Oncoming Train (Ha! I just find this one so fascinating. Great to know they looked back into history for what scared people
# 94 Cat People (I'm always happy to see this movie getting credit for what it did for horror)
# 89 Atomic Fallout Public Announcement (I would have honestly put this much higher. There is nothing scarier than having the presence of horror being possibly integrated in your everyday life.)
# 80 Snow White (Oh, Disney getting us hooked on scares at such a young age.)
# 72 Alice Cooper... Just Alice Cooper (Haha! Of course.)
#71 Thriller- Micheal Jackson (Still one of the greatest music videos of all time.)
# 54 Dr. Who Theme (Best Television theme of all time)
# 39 Dr. Who and the Daleks (Nothing scarier than a robot with a plunger)
# 25 Buffy-Hush (A very scary episode from my favorite show.)
# 21 Twin Peaks (A very strange and odd show. There will never be anything quite like it.)
Oh my goodness it's finally here. The trailer for the film that I've waited a couple of years to see. Lets take a look.
...........Yeah um that's not very Dark Shadowy at all. I know the show was known for its cheesiness, but come on some of the things shown here are a tad ridiculous. Even if the show was a little hooky it still had some class to it and did have a bit of a horror aspect to it even if it wasn't exactly scary. Well maybe its just a bad trailer perhaps the poster will be better.
Well someone discovered the paint overlay option on adobe illustrator.
Next we have the new trailer for Burton's new movie Frankenweenie
This film is a remake of one of Burton's earlier short films. Back in the day the Disney Channel would air the short around Halloween time. It looks really great. Not only does the stop motion look amazing, but it looks like they've improved on the original story a little bit. I can understand why Burton would want to remake this. The original was low budget in comparison and he was probably never able to make the film to his vision.
Now for a historical piece.
The film is produced by Burton and is based off a book written by Seth Grahame-Smith, the writer of Pride and Prejudice and Zombies.
Looks like a busy year for Burton with Zombies, undead dogs, and badass monster fighting presidents. Now we have to wait to see which films will excel and which ones will bomb.
This fantastic photo shoot done for Elle online magazine was done by Ryan Murphy. The Co-creator of shows such as Glee and American Horror Story. The shots are done with Stars from Glee and some stars from Murphy's other shows. It's great to see that someone has taken a notice in the classic and timeless looks featured in many horror films. Murphy was also kind enough to share his personal feelings on many of these classic films. You can read it here.
It's a solid list, but the rankings are off in my opinion and way too many deserving actresses are left off the list in place of ones that not many have heard about. I just find it a little odd that Lara Parker didn't make the cut as Angelique in the television show Dark Shadows.
Seriously, Lara Parker out babes most modern day scream queens.
The web has been buzzing about Burton's new film "Dark Shadows", especially about the fact that we now have Johnny Depp playing a vampire. The fangirls are all aflutter. For those that don't know Dark Shaodws was originally a television soap opera from the mid 1960s to the early 1970s. It was big back in the day and was a hit with the late comers of the baby boom generation. Just think of it as the Buffy, True Blood, Vampire Diaries, Being Human, etc. of its time, just with a better plot. The show itself has a bit of an impact on pop culture, but I'll get back on that in a latter post.
In the year 1752, Joshua and Naomi Collins, with young son Barnabas, set sail from Liverpool, England to start a new life in America. But even an ocean was not enough to escape the mysterious curse that has plagued their family. Two decades pass and Barnabas (Johnny Depp) has the world at his feet-or at least the town of Collinsport, Maine. The master of Collinwood Manor, Barnabas is rich, powerful and an inveterate playboy...until he makes the grave mistake of breaking the heart of Angelique Bouchard (Eva Green). A witch, in every sense of the word, Angelique dooms him to a fate worse than death: turning him into a vampire, and then burying him alive. Two centuries later, Barnabas is inadvertently freed from his tomb and emerges into the very changed world of 1972. He returns to Collinwood Manor to find that his once-grand estate has fallen into ruin. The dysfunctional remnants of the Collins family have fared little better, each harboring their own dark secrets. Matriarch Elizabeth Collins Stoddard (Michelle Pfeiffer) has called upon live-in psychiatrist, Dr. Julia Hoffman (Helena Bonham Carter), to help with her family troubles. Written by Warner Bros. Pictures
I have yet to see a trailer, but at the moment I'm feeling a bit iffy on how the film is going to turn out. There is a certain atmosphere to Dark Shadows that doesn't seem present in the preview shots. Just look at the group image at the top of this post and the new group shot, there is a definite eerie feeling to the original that the new image doesn't seem to capture. I'm not afraid to say that I'm not a fan of Burton's more current films and I'm a bit worried about how the material is going to be treated. It seems to me that the film is going to focus more on the campy comical atmosphere of the show instead of the dramatic horror aspect of it. Of course it's still too early to tell, so I'm hoping for the best.
Can't touch this.
There is much noise about Johnny Depp's look in the film and well even though I think the make-up job in the pic above is a bit wonky looking, I'm not surprised that they are trying to stay close to how Johnathan Frid (Original Barnabus Collins) looked on the show.