It’s as much fun as you’re going to have in a movie theater this year.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
A preview of the 2015 Bruce Campbell’s Horror Film Festival, including appearances by Eli Roth, Tom Holland, and Bruce Campbell!
Your guide to the best movies New to Netflix, On Demand, and other at-home services.
With the exception of "The Woman" (which is still in limited theatrical release), all of the films from "Bloody Disgusting Selects" are currently available on multiple platforms including Netflix (DVD only), Amazon.com and most VOD providers including Comcast, DirecTV, Amazon, iTunes, CinemaNow, VuDu and Verizon FiOS. Check your VoD provider listings, or go to www.bloodydisgustingselects.com for more information about the films and where to find them.
On DVD, all of the foreign-language films reviewed here include an optional English-dub dialogue track for viewers with an aversion to subtitles.
by Jeff Shannon
Historically and statistically, the most abundant, profitable, and creatively expressive movie genre has always been horror. It has consistently been the most viable proving ground for new talent and a focal point for the most obsessive movie fans on the planet. It's the most purely cinematic of genres, playing to the strengths of an artistic medium that has shock, surprise, dread, fear, and bloodletting built into every molecule of its DNA. It's a realm of expression that challenges masters and amateurs alike.
Of course, there's always a downside: The record-setting $50 million opening weekend of "Paranormal Activity 3" (which earned a one-star review from Roger Ebert) -- and Paramount's immediate strategy to keep that franchise booming -- provided a stark reminder that, more often than not, horror is where commerce almost always trumps art. It's the favorite plaything for copy-cats and money-grubbers. The genre's blood is frequently tainted by fast-buck pretenders and greedy opportunists who care more about profit than the genre's history, which is the worthy subject of some of the finest film scholarship that's ever been written.