Saturday, March 11, 2006

Frightfest 2005

Hello again, Dr. Sinestro here. This is another blog entry chronicling the happenings at our yearly Halloween Horror Movie Marathons (aka Frightfest) here at the Cellar Cinema. If you’re new to this site you can read up on Frightfest 2001-04 under the February 2006 archive posts.

For Frightfest 2005 we didn’t stray very far from the formula established for 2004 which consisted of three feature movies, retro-horror trailers in between, and 10 minute countdown clock intermission ads in between. The foodstuffs were a copycat of the prior year featuring hot dogs, popcorn, chips, box candy, etc.

What we did do to mix up the program a bit was bring about the triumphant return of the Frightfest Trivia Game, which appears on screen after each feature with five questions for the viewing audience. Answers filled out on Scantron cards are counted at the end of the night and prizes are awarded. First prize this year consisted of DVD copies of The Thing and Audition; second prize was a couple of movie posters; and third prize was a Blair Witch twana necklace.

We also had a better turn out of costumed attendees. I went as a vampiric Count in red velvet; wife Satanica dressed up as a slinky Countess; we also saw the arrival of Oblisk the Tormentor (a Gimli-looking medieval warrior), Bill Gates, a Camp Crystal Lake counselor, and sister Cosmo arrived as her own made up anime character, Trixie Blowpop (which will become her codename here from now on).


I’m trying to develop a science for programming the marathon; the best way to attack it seems to be to schedule a hard-horror or retro movie as the first feature (this year, The Hills Have Eyes); a recent good horror movie in the showcase middle position (the uncut High Tension); and something energetic or funny for last (Dog Soldiers) to keep our guests awake. The films of 2005 got all around good notices from our guests (thirteen people crowded down into our basement this time around!), making this the most successful lineup yet.

As usual, the night got off to a start with a selection of trailers – The Legend of Hell House, featuring Roddy McDowall’s off the rails performance as a possessed medium; The Mutations, featuring the best lineup of freaks since Tod Browning’s Freaks in 1931; the giant mutant animal flick Food of the Gods; a hilarious Asian flick called Devil Woman; the London underground horror flick Raw Meat (aka Deathline); the mutant hill people movie Wrong Turn; and the goofy Excalibur spoof trailer for Leatherface: Texas Chainsaw Massacre III.

Knowing that a remake was in the works I was anxious to screen Wes Craven’s The Hills Have Eyes for the group, the majority of whom had never seen it. The film was actually in the original lineup for Frightfest 2004 until I changed the entire lineup - for the worst - at the last minute (the original lineup consisted of The Hills Have Eyes, My Little Eye and Zombie). In the summer of 2004 my wife, Satanica Pandemonium, and I attended the Flashback Weekend event in Chicago - a horror convention that screens old horror flicks on an inflatable drive-in screen over a three day weekend – where Dee Wallace herself introduced a 35mm screening of The Hills Have Eyes. Since the film seemed to be following me around its time to be shown in the basement had come. Ironically, the upcoming remake would be directed by Frenchman Alexandre Aja, director of our second feature, High Tension!

Wes Craven burst upon the horror film scene in 1975 with a horror redux of Ingmar Bergman’s Virgin Spring, Last House on the Left. Last House, more so than its contemporary, the Texas Chainsaw Massacre, delivers an experience so raw and nauseating (dealing with rape, castration, dominance & humiliation, etc) that it’s one of the few movies, along with the notorious Cannibal Holocaust, that you couldn’t pay me to sit through a second time. Craven’s follow up feature, The Hills Have Eyes, works in some of the same themes of the earlier film – here pitting a “civilized” family against a clan of mutant barbarians, reducing all involved to frenzied killers – but it’s done with more style and assurance and less out-and-out sadism. While it’s not generally held up as an example of Craven’s better work, I’ll champion Hills over Last House on the Left any day of the week.

The film opens in the stark Southwestern desert. The Carter family is on its way to California – led by authoritarian Bob (Russ Grieve) and wife Ethel (Virginia Vincent). They’ve packed son Bobby (Robert Houston) and daughter Brenda (Susan Lanier) in their station wagon, and tow other daughter Lynne (Dee Wallace), her husband Doug (Martin Speer) and their newborn baby in a camper trailer. En route to their destination the group intends to visit an old silver mine given to Bob & Ethel as an anniversary present.

They stop off at the only gas station for miles run by an old-timer named Fred (John Steadman). Fred is earlier seen dealing with a feral young woman named Ruby (Janus Blythe), and seems to have an uneasy relationship with the hill people. The only way to get to the mine in question is a long trek out into the middle of nowhere near a defunct Army testing site. Fred warns the Carter family to stay on the road and head to California but they don’t listen and set off into the desert.

Bickering between Bobby and Brenda distracts Bob, and after a fighter jet swoops down suddenly from the sky he swerves off road and cracks an axle. Stranded in the middle of the blazing desert, the family decides on a course of action. Bob will walk back to Fred’s gas station while Doug heads off in the other direction in search of help. They agree to meet back in a short time, and leave a gun with Bobby. Ethel insists on a group prayer before the men set out on their mission.

Sensing something in the overlooking hills, Beauty and Beast become increasingly agitated. After Beauty escapes, Bobby chases after her. In the hills and out of sight, the dog is lured to its doom by an unseen figure. Bobby hears Beauty’s yelps cut short and soon later discovers her vivisected remains. Frightened, Bobby heads back to base camp but does not tell Brenda, Lynn or Ethel of the incident.

Bob arrives at the gas station and finds old Fred struggling at the end of a noose. Bob cuts him down and Fred relates the tale of Jupiter, his mutant son, who ran off into the hills after killing Fred’s wife and baby daughter many years ago. As a man, Jupiter allegedly kidnapped a whore from town and raised a family of inbred, mutant kids. Bob dismisses the story as bogus but then a very real Jupiter (James Whitmore) appears and hauls the old man out a window.

Bob nervously tries to make it back to camp, taunted by the voices of the hill people out in the night. He has a heart attack and collapses, and they set upon him.

Doug returns from his walk having discovered an abandoned Army base just up the road. Bobby tries to pull him aside to voice his concerns but doesn’t get the chance. Doug and Lynn opt to spend the night together in the back of the station wagon. After locking himself out of the camper, Bobby spills his story about Beauty. Just then, there is an explosion not too far from the camp accompanied by Bob’s agonized screams.

Doug, Bobby, Lynn and Ethel run off to investigate and find Bob tied to a large cactus, on fire. Ethel goes into a state of shock as they cut him down and put him out, but he dies soon after.

With the family diverted, hill people Mars (Lance Gordon) and Pluto (Michael Berryman) launch a coordinated attack on the camper. After siphoning gas from the fuel tank they ransack the fridge, steal supplies, eat a caged bird and rape Brenda. Discovering the baby, the mutants become excited at the prospect of having a meal of tender baby meat and take her with them. Lynn and Ethel return just in time to catch Mars in the act and he shoots them both, killing Lynn and mortally wounding Ethel.

Beast escapes and pursues the hill people, killing one of the - a simpleton named Mercury. The dog demonstrates he is the smartest dog in the history of movies by picking up Mercury’s walkie-talkie and bringing it back to the family base camp.

Jupiter and his clan cart Bob’s fried corpse up to their lair and eat him. Wayward Ruby is tied up outside for attempting to run away, and is scolded by Mama (Cordy Clark). Jupiter expects the baby’s father to come looking for her, and tells his brood to get ready.

The next morning Ethel is dead and Bobby inadvertently gives away information about the survivor’s lack of defenses to Pluto over the CB. Doug and the Beast take off to the hills to get the baby back, while Bobby and Brenda use Ethel’s corpse as bait to lure Jupiter in to their elaborate booby traps.

Beast takes care of Pluto, severing his Achilles tendon and then his jugular vein. Ruby rescues the baby and returns it to Doug. Mars isn't far behind and backs Doug into a rattlesnake nest. Doug gets the upper hand as the two fight and stabs Mars repeatedly while Ruby screams in horror. The film frame goes red and the credits roll – the obvious implication made: which family is the more savage?

It’s strange that The Hills Have Eyes isn’t better known within the horror fan base; that may be changing now with Anchor Bay’s recent DVD release and the Alexandre Aja directed remake. It’s also one of Craven’s best horror pictures, a short list which would include A Nightmare on Elm Street, The Serpent and the Rainbow, Wes Craven’s New Nightmare and Scream. Craven is said to have based the idea on the legend of the Sawney Beane clan, an inbred group of cannibals from 14th century Scotland.

It sets up a believable, sympathetic family unit with the Carters. As Bob, Russ Grieve brings gravitas to his role as a retired policeman. Grieve had a long history (dating back to 1962) of playing cops of all stripes in cinema and television. Virginia Vincent, as family matriarch Ethel, isn’t a Hollywood type movie mom but someone closer to, well, your mom. What happens to these people is even more brutal in shocking because of the human dimension afforded them by the actors. The script also has a knack for naturalistic family dialogue.

The mutants are believably savage but Craven allows their clan character moments to counterpoint the civilized family on the road below. James Whitworth makes a big impact as the imposing Jupiter, with a scar running down the center of his face and barking most of his lines. Michael Berryman, an actor born with a number of birth defects, is perfect as the younger Pluto – implying the effects of radiation exposure without makeup. His image was used centrally in the marketing campaign. Berryman earlier appeared with Jack Nicholson in One Flew Over the Cuckoo’s Nest (1977) and went on to a healthy career that continues to this day, most recently appearing in Rob Zombie’s The Devil’s Rejects (2005).

This was one of Dee Wallace’s earliest appearances. She has since gone on to be the most successful of The Hills Have Eyes cast, endearing herself to horror & sci-fi fans everywhere for her back-to-back roles in The Howling (1981), E.T.-The Extra Terrestrial (1982) and Cujo (1983) in the early 1980’s. With over 100 acting credits to her name, she continued to feature in horror films, most notably with Critters (1986), Popcorn (1991) and The Frighteners (1996).

The film builds and maintains a tension despite taking place mostly in broad daylight, benefiting from the stark conditions and isolation of the desert. It’s raw, brutal and uncompromising.

Following a 10 minute countdown clock we were in for the second trailer block of the night, featuring the lengthy, humorous trailer for Alfred Hitchcock’s Psycho; the sequel trailer for Psycho II; the famous Legend of Boggy Creek trailer which alone scared millions of youngsters back in the 70's; the Rankin-Bass ode to horror’s icons, Mad Monster Party; Robert Englund’s Phantom of the Opera remake, made to capitalize on the success of the Andrew Lloyd Webber stage production; another underground horror flick, C.H.U.D; and the “inspired by Ed Gein” thriller, Deranged.

This put us in the mood for the second feature of the night, High Tension. Released as Haute Tension in its native France, and Switchblade Romance in Britain, High Tension arrived in theaters in early 2005 edited down by the MPAA from an NC-17 rating to secure an R. Also, it was the victim of some kind of hybrid dub that made some of the characters American but left others speaking subtitled French. These two affronts to good taste left most serious US horror aficionados to seek out the film on eBay in its original unexpurgated form.

Thankfully, Lions Gate had the good sense to restore the film back to its original incarnation for the eventual DVD release – fully uncut and in its original language.

We open in what appears to be a hospital. A woman in a hospital gown, whose face we cannot see, whispers “I won’t let anyone come between us anymore” over and over. Suddenly, we cut to the woods where a bloodied Marie (Cecile de France) is either chasing or being chased. She awakens in a car driven by her friend, Alex (Maiwenn), and we realize what we’ve seen is just a dream. The two girls are college students heading out to the Alex’s parent’s country house to study up on international law.

At the house we meet Alex’s family – her mother (Oana Pellea) and brother Tom (Marco Claudiu Pascu). Tom is dressed as a cowboy, using the family dog Hendrix as target practice. Across a cornfield from the house a grimy van resembling the Jeepers Creepers truck, is parked. Inside we see what appears to be a woman going down on the driver (Philippe Nahon); but after his climax we see him discard her severed head. Right from this scene the film is promising not to play it safe.

The two girls arrive at the house after dark. Alex introduces Marie to her mother and father (Andrei Finti). The two students have some time for girl talk before bed, and we learn that Alex is dating a married man and that Marie does not have luck with relationships. Marie goes outside for a smoke and through a window spies Alex taking a shower. When she returns to the house she goes up to her room, puts on headphones and masturbates.

The truck reappears and pulls right up to the house. The driver, wearing dirty coveralls and his face obscured beneath a baseball cap, rings the doorbell and awakens the occupants. Marie, brought to the window by the commotion, watches from upstairs. Alex’s father answers the door and is attacked by the stranger. The psycho kicks dad’s head in between banisters on the stairs and then decapitates him with a chest-of-drawers.

Marie attempts to camouflage her presence in the house. She hides beneath the bed and goes undetected as the killer travels from room to room in search of victims. She goes in search of a phone and ends up hiding in the closet of the master bedroom. Through the slatted door she witnesses Alex’s mom getting her throat slashed. The phone lines have been cut and Alex is chained up and gagged in her bed. Marie witnesses the killer stalking Tom through the cornfield outside, and gunning him down with a 12 gauge.

Unable to free Alex, Marie gets hold of a butcher knife from the kitchen. Once Alex has been loaded in the killer’s truck Marie stows along for the ride. He stops at a gas station where Marie is able to sneak inside and beg the clerk for help before the killer enters. The killer and Jimmy the clerk apparently know each other, so the killer recognizes something’s amiss and plants an axe in Jimmy’s chest Jack Torrance-style.

Once the killer hits the road, Marie phones the cops and then steals Jimmy’s car. She follows the truck off the highway and into a wooded area where the killer is able to get behind her and run her off the road. Busted up from the wreck, Marie staggers into a greenhouse where the killer plays cat and mouse. She survives an attack with a suffocating plastic bag and finally puts the killer down with a barbed-wire wrapped two-by-four.

The following scene is the make-or-break-it point for most people when they first see High Tension. We cut back to the gas station, where the cops have finally arrived and review the surveillance tapes. On the tapes we watch as Marie kills Jimmy with the axe, suggesting that there is no Killer at all. Much like the reversal in Fight Club (and half a dozen films since), Marie is the homicidal maniac and the lumbering Killer is a figment of her broken psyche.

Back in the woods, dawn breaks as Marie tries to free Alex from her bonds. Alex responds in terror when Marie comes near her and once freed screams at Marie for killing her family. Armed with a butcher knife, she stabs Marie and runs.

Marie becomes the Killer once again. Picking up a circular chainsaw from the greenhouse, he chases Marie through the woods and out into the street. She is rescued by an oncoming car – but only momentarily before the Killer puts the chainsaw through the window and bloodies the car with pieces of the unfortunate driver.

Alex tries to escape but steps on shards of broken windshield and can only crawl away. The Killer becomes Marie again and confesses her love for Alex. As Marie kisses her Alex cuts her deeply with a blade of glass, and we next see Marie the interrogation room from the opening moments of the film. Alex looks on from outside the one-way window but Marie senses she’s there and reaches out for her in a shock climax.

Going back through the film a second time reveals that the filmmakers had set up the twist ending throughout the film, and it isn't as much of an arbitrary cheat as some have claimed. The opening and closing moments tell us that the movie is Marie's version of events to the interrogators. It’s also foreshadowed in early dialogue – after awakening from the opening dream, Marie confesses that she does not know if she was the pursuer or the pursued; her behavior hints somewhat overtly at her lesbian attraction to Alex; and it's after seeing Alex showering that Marie’s fevered masturbation coinsides with the appearance of the Killer.

According to director Alexandre Aja, the idea for the twist was suggested by French super-producer Luc Besson, best known Stateside as director of La Femme Nikita, The Professional and The Fifth Element. Aja, inspired by American slasher films, clearly knows his genre. In fact, more than once I was reminded of John Carpenter’s Halloween in that this may also herald the arrival of a major new horror talent. There are a number of parallels to Carpenter’s film, including a killer who wears coveralls, a tense scene taking place in a closet with slatted doors, and prowling cinemascope camerawork. There’s also a similarity in the sound design. High Tension’s score layers in multiple tracks of white noise and rhythmic throbbing sounds while Carpenter’s approach was layers of minimalist keyboard synth tracks. There’s a technical prowess on display here as once the killer arrives at the house the film is almost completely without dialogue, ratcheting up the suspense in well orchestrated cat and mouse scenarios.

The bloody effects, which weren’t appreciated by the MPAA, were the work of genre veteran Giannetto De Rossi, who may be best known to horror aficionados through his work with Lucio Fulci on Zombie, The Beyond and House by the Cemetery; he also contributed makeups to cult items Dune, Conan the Destroyer, Rambo III and Dragonheart.

Based on the skill displayed with this, his debut feature, Aja was approached by Wes Craven to helm the remake of The Hills Have Eyes, which opens nationwide this weekend. Now that he’s being courted by the Hollywood studio system, one hopes that the promise on display in his first feature doesn’t become diluted on future projects. Like most new fright films, High Tension takes its cues from the bloody 70’s/80’s – but unlike the slew of rip-offs and imitators, it comes at us like a freight train of balls out horror.

We took another ten minute break and then regrouped for another trivia game installment and more trailers, including – Frankenstein Meets the Wolf Man; Neil Jordan’s The Company of Wolves; Ginger Snaps; An American Werewolf in London; and The Howling. All of this werewolf-centric promotion from proved the perfect segue for our next feature, Dog Soldiers.


To be honest, the opening scene of Dog Soldiers does not hold much promise: a guy and his gal, camping in the Scottish highlands, are killed in their tent by an off-screen menace just as they’re about to make whoopee. From this standard horror movie cliche we cut to two hours prior in North Wales, where a military maneuver is underway. Pvt. Cooper (Trainspotting’s Kevin McKidd) has eluded capture for 22 hours in an effort to join a Special Forces unit headed by Capt. Ryan (Liam Cunningham). After putting down some of his pursuers he finds himself at the end of Ryan’s revolver. Having the best score of all the recruits, Ryan instructs Cooper to shoot the dog who tracked him down. Cooper refuses to kill the animal for no reason, and for that Ryan fails him for being unable to follow orders.

Four weeks later, in the highlands, Cooper finds himself and his old unit, headed by Sgt. Harry G. Wells (H.G. – get it?) on deployment for military games against Special Forces. Wells (Sean Pertwee) is a boisterous fellow and is much admired by his squad, which consists of Pvt. ‘Spoon’ Witherspoon (Darren Morfitt), Cpl. Bruce Campbell (Thomas Lockyer), Pvt. Joe Kirkley (Chris Robson) and Pvt. Terry Milburn (Leslie Simpson). All of them are a bit disgruntled to be out on maneuvers during a soccer match between England and Germany (“full on footie war!”).


That night at their base camp a partially-eaten animal carcass falls on their position from a cliff above. The next morning they set out to investigate and catch sight of an emergency flare in the distance. Following it to its source they discover the remains of the Special Forces unit camp. All of the bodies are gone but the site looks like a slaughterhouse. Surprisingly, one man remains alive – Cooper recognizes Capt. Ryan. Ryan is in a bad state – an ugly wound on his stomach needs to be tended to right away. As Sgt. Wells and the others try to call in for an emergency airlift, Ryan keeps exclaiming “There was only supposed to be one!”

The team patches him up and moves out as the sun begins to set. They discover the radio is inoperative because it’s been tampered with – a transmitter is found inside. Once on the move they become aware that they are being followed by something inhuman. Bruce is killed while running from one of the beasts and Sgt. Wells is slashed open. Cooper stuffs the sergeant’s guts back inside him and carries the wounded man as the team runs from the multiple attackers.

On the road they flag down a jeep driven by a woman named Megan (Emma Cleasby), who takes the survivors back to a remote farmhouse. This turns out to be the only house for 50 miles, belonging to a family whom Megan knows. Cooper’s natural leadership asserts itself and the team sets about securing the building and tending to the wounded.

Megan’s friends are no where to be found and there’s no telephone at the residence. Cooper plans to take Megan’s jeep but the creatures outside have destroyed the engine, making escape impossible. She explains that what are hunting them are werewolves, and that she is an anthropologist who has been studying their movements. Their best bet is to hole up inside the farmhouse and survive until morning.

The Sarge is still leaking precious fluids, so Cooper and Megan use Super Glue ("developed by the US Army for the Vietnam war!") to stick him back together. Ryan, on the other hand, is recovering quite quickly from his wounds. In fact, the team discovers, his wound have nearly completely healed.

The power goes out and the squad has to use their superior firepower to repel a werewolf attack. Lacking silver bullets, the weapons do little but knock back the invaders. Sgt. Wells regains consciousness in time to help Cooper blast a werewolf crawling in through his window. After the dust settles, a Terry is yanked out through an unsecured window.

Megan suggests an alternate method of escape via a Land Rover in the barn. Joe is chosen to run out and hotwire the vehicle while Spoon runs the opposite direction as a diversion. Joe gets the truck started and discovers Bruce being torn apart by werewolves in the glare of his headlights. He backs the Land Rover up to the house to allow the others easy access. Unfortunately, he’s unaware of the werewolf in the back of the truck who kills him and cripples the vehicle.

Stressed out by their declining numbers, the survivors interrogate Ryan about exactly what he and his team were doing out in the woods. Ryan reveals that the capture of the wolf pack was his mission, and he used Cooper and his squad as bait. Infuriated, Wells punches Ryan – which triggers his transformation into a werewolf. Cooper plunges a sword into the belly of the beast, which escapes by lunging through a window. Wells realizes that his own startling recovery will soon have a heavy price.

Staring at a family photo the team finally realizes the obvious – that the wolves are trying to get into the house because they live there. Megan gives them the idea that the group may be sticking close to the house and gathering in the barn. Using a propane tank as a bomb they get the Land Rover in good enough condition to roll into the barn and blow it up.

After returning to the house, Megan has a confession to make. There were no werewolves in the barn, and the team has just given up their best chance for escape. Cooper comes to another realization – Megan isn’t in the family photo because she’s the one who took the picture. As she begins to transform into a werewolf herself, Wells shoots her in the head. Unfortunately, she has unlocked the house and the other werewolves are in.

Spoon tries to take one on hand-to-hand but is grabbed by a beast that sneaks up behind him. “I hope I give you the shits,” he exclaims as the two creatures close in for the kill. Sgt. Wells and Cooper are chased through various rooms of the house and escape to a lower level by shooting out the floor in their closet hiding space. In the kitchen, they discover “there is no Spoon” anymore. As Wells feels the change coming over him at last, he cuts a gas line to the stove and waits until the werewolves surround him. Then, he blows the entire farmhouse sky high.

Cooper survives by hunkering down in the basement with the remains of the family’s previous victims. He is attacked by the last surviving werewolf – Ryan, sword still protruding from his gut. Cooper finds a silver letter opener (a gift from the camper in the opening scene to his girlfriend) and stabs the werewolf with it. That and a shot to the skull put an end to Ryan’s career as a real monster.

As the credits roll, we see an amusing newspaper front page – Cooper’s story “Werewolves Ate My Platoon!” is given small space compared to a gargantuan headline that reads “England 5, Germany 1 – Team Bounces Back Abroad!”

Dog Soliders proudly wears its horror movie lineage on its sleeve. It plays out like some mad combination of Predator and Evil Dead, with the commando team from the former getting trapped for a night in the cabin of the latter. What makes it special is its playful sense of humor and its droll way of dropping acknowledgements to other movies as it goes. Film & genre buffs will catch nods to Apocalypse Now, Star Trek II, The Matrix and many other moments. It’s always fun to see a film made by a fan for fans, and writer/director Neil Marshall is clearly that. The film looks to have been shot on 16mm, and the fact that the story doesn’t stray far from the main farmhouse set suggests a limited budget. This is a fine example of how energy and imagination can produce more entertainment per dollar than recent soulless Hollywood horror flicks.

The werewolves themselves are a combination of man-in-suit prosthetics and animatronic puppetry. Although we’re denied the staple of most latter day werewolf movies (the on-camera man to beast transformation sequence), there’s a heaping helping of blood and guts being tossed around to compensate. Unfortunately, the film was not picked up for theatrical distribution here in the U.S (for being “too British” – apparently distributors don’t think we Yanks will take well to English accents and slang) and debuted on the Sci-Fi channel, where it was shorn of most all of its gory moments.

Director Marshall has gone on to direct The Descent, a film about the horrors that terrorize a group of an all-female spelunking team. Unseen yet by me, the movie continues to gather a strong buzz in the horror community and is scheduled to be released this fall by Lionsgate. Due to the overseas success of Dog Soldiers, the producers invariably felt the need for a sequel. The follow-up, titled Dog Soldiers: Fresh Meat, is said to pick up immediately after the first movie with Cooper being found by an American Special Forces unit (no doubt to attract distributors from the lucrative American theatrical market). The sequel has been in the rumor mill since 2002 and the latest IMDB entry lists it as going into production this summer.

We closed out the night with the final trivia game and awarded the prizes. As is the custom, we gave out Frightfest CD’s as consolation prizes. The track listing on 2006’s compilation:

The Phantom of the Opera – Nightwish
I Put a Spell on You – “Screamin’” Jay Hawkins
Haunted – Poe
Them – King Diamond
Rasputin – Johnny Hollow
Red Right Hand – Nick Cave and the Bad Seeds
Haunt Me – Wednesday 13
Devil’s Plaything – Danzig
Werewolf – Southern Culture on the Skids
Halloween – A.F.I.
Something to Tide You Over – John Harrison (Creepshow)
Theme from “Phantasm” – Fred Myrow
Mad Monster Party – Ethel Ennis
Experiment in Terror – Henry Mancini
Monster Mash – Bobby “Boris” Picket
Vampires in Love – Deadlines
Join Me – H.I.M.
Theme from “The Twilight Zone” – Marius Constant

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