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rubykgrant · 6 years ago

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Updated! Big List of Spooky Movies and Books!

Get ready for Halloween~

I’m a notorious list-maker; I love collecting stories, and I also love sharing them with people who are either looking for ref or just want to find something interesting. “Spooky” is a pretty broad term, so I listed different categories below that will hopefully make more sense. Some movies/books fit into more than one category, so I picked one and stuck it there. Some stories have a film and book version that are both worth taking a look at, so I put a *by those titles (and they appear in the movie and book list). These range from being for kids to more mature, so if that is a concern for you be sure to check out the rating/content yourself

I’ve updated this since I’ve added a few more titles to my collection, and added more categories (but I think I’ll call this done for now, I can’t update it every couple of months)

I wanted to limit myself, at least a little (otherwise the list would have gon on forever). So each category has at least 3 titles listed, but no more than 7. A few of these are more funny than scary, and some might not really be “spooky” at all, but they still fit the theme. Something to keep in mind, I only listed stories that I own. This is not a complete list or a “best of”. I went with the ones from my personal collection because I know them best and I enjoy them. Hopefully I listed a few that will help somebody with research, or at least entertain them for a bit!

Enjoy~

Halloween

Movies- Hocus Pocus (1993), *the Halloween Tree (1993), the Nightmare before Christmas (1993), Trick r Treat (2007), Monster House (2006), Halloweentown (1998), the Legend of Sleepy Hollow (1949)

Books- How to Drive Your Family Crazy on Halloween by Dean Marney,*the Halloween Tree by Ray Bradbury, the Haunted Mask (Goosebumps) by RL Stine, Dark Harvest by Norman Partridge

Ghosts

Movies- Poltergeist (1982), the Haunting (1999), Casper (1995), Ghostbusters (1984), the Haunted Mansion (2003), Thirteen Ghosts (2001), *the Muppet Christmas Carol (1992)

Books- Stonewords a Ghost Story by Pam Conrad, Deep and Dark and Dangerous by Mary Downing Hahn, Ghost Beach (Goosebumps) by RL Stine, the Crossroads by Chris Grabenstein, Wait Till Helen Comes by Mary Downing Hahn, *a Christmas Carol by Charles Dickens

Witch

Movies- *Practical Magic (1998), *the Wizard of Oz (1939), *the Witches (1990), Kiki’s Delivery Service (1989), Scooby-Doo and the Witch’s Ghost (1999) *Harry Potter and the Sorcerer’s Stone (2001), the Craft (1996)

Books- *Practical Magic by Alice Hoffman, *the Witches by Roald Dahl, Charmed Life by Diana Wynne Jones, the Unwilling Witch by David Lubar, *Harry Potter and the Sorcerer’s Stone by JK Rowling, *the Wizard of Oz by L Frank Baum

Vampire

Movies- Blade (1998), the Little Vampire (2000), Hellboy Blood and Iron (2007), Hotel Transylvania (2012), Fright Night (2011)

Books- Bunnicula by James and Deborah Howe, Dracula by Bram Stoker, ‘Salem’s Lot by Stephen King

Werewolf

Movies- Alvin and the Chipmunks meet The Wolfman (2000), Ginger Snaps (2000), Van Helsing (2004) Wolf Children (2012), the Wolfman (1941)

Books- Wolfen by Whitley Strieber, Red Rider’s Hood by Neal Shusterman, the Werewolf of Fever Swamp (Goosebumps) by RL Stine

Zombies

Movies- Scooby-Doo on Zombie Island (1998), ParaNorman (2012), Night of the Living Dead (1968), *Pet Cemetery (1989), Zombieland (2009), Resident Evil (2002), Dawn of the Dead (2004)

Books- *Pet Cemetery by Stephen King, the Haunting of Derek Stone by Tony Abott, Welcome to Dead House (Goosebumps) by RL Stine

Demons/Devil/Possession

Movies- the Omen (1976), Insidious (2010), the Exorcist (1973), *Christine (1983), Fallen (1998), *Rosemary’s Baby (1968), Bedazzled (2000)

Books- *Christine by Stephen King, Needful Things by Stephen King, On the Devil’s Court by Carl Deuker, HECK where the bad kids go by Dale E Bayse,* Rosemary's Baby by Ira Levin

Curse/Transformation

Movies- *Beauty and the Beast (1991), the Princess and the Frog (2009), Penelope (2006), Kubo and the two strings (2016), the Swan Princess (1994), the Thing (1982), the Mummy (1999)

Books- *Beauty and the Beast translated by Richard Howard and illustrated by Hilary Knight, the Witch’s Boy by Michael Gruber, Owl in Love by Patrice Kindl, the Invasion (Animorphs) by KA Applegate

Monsters

Movies- Monsters Inc (2001), Eight Legged Freaks (2002), Godzilla (1998), *a Monster Calls (2016), Pokemon the First Movie (1998), *Jurassic Park (1993), King Kong (1933)

Books- *a Monster Calls by Patrick Ness, Frankenstein by Mary Shelley, *Jurassic Park by Michael Crichton

Cryptids and Mythology

Movies- Harry and the Hendersons (1987), Darkness Falls (2003), Atlantis the lost empire (2001), Song of the Sea (2014), *the Last Unicorn (1982), Urban Legend (1998), Tall Tale (1995)

Books- Sasquatch by Roland Smith, *the Last Unicorn by Peter S Beagle, the Moor Child by Eloise Jarvis McGraw, the Lightning Thief (Percy Jackson and the Olympians) by Rick Riordan

Giants/Tiny Folk

Movies- Honey I Blew Up the kid (1992), the Borrowers (1997), Mickey and the Beanstalk (1947), *Thumbelina (1994), the Princess Bride (1987), Gulliver’s Travels (1939), *Horton Hears a Who (2008)

Books- *Horton Hears a Who by Dr Seuss, Fairy Haven and the Quest for the Wand by Gail Carson Levine, Trouble with Trolls by Jan Brett, *Thumbelina (Hallmark pop-up book)

ESP/Psychic/Mental Powers

Movies- *Carrie (1976), *Firstarter (1984), *Matilda (1996), the Last Mimzy (2007)

Books- *Carrie by Stephen King, *Firestarter by Stephen King, *Matilda by Roald Dahl, Scorpion Shards (Star Shards Chronicles) by Neal Shusterman

Dolls and Toys

Movies- *Coraline (2009), the Adventures of Pinocchio (1996), Child’s Play (1988), Toy Story (1995), 9 (2009)

Books- Frozen Charlotte by Alex Bell, *Coraline by Neil Gaiman, No Flying in the House by Betty Brock

Circus/Carnival/Fair

Movies- We’re Back a dinosaur’s story (1993), the Care Bears Movie (1985), Little Nemo adventures in Slumberland (1989), *Something Wicked This Way Comes (1983), *Charlotte’s Web (1973), Dumbo (1941)

Books- Joyland by Stephen King, *Something Wicked This Way Comes by Ray Bradbury, *Charlotte’s Web by EB White

Gothic

Movies- the Others (2001), the Addams Family (1991), Rebecca (1940), Edward Scissorhands (1990), Mama (2013)

Books- the Raven by Edgar Allen Poe, the Shining by Stephen King, Remember Me by Mary Higgins Clark

Dark Fantasy

Movies- Legend (1985), the Dark Crystal (1982), *the Princess and the Goblin (1991), Labyrinth (1986), *the Neverending Story (1984), *the Secret of NIMH (1982), Anastasia (1997)

Books- Well Witched (Verdigris Deep) by Frances Hardinge, Poison by Chris Wooding, *the Neverending Story by Michael Ende, *Mrs Frisby and the Rats of NIMH by Robert C O'Brien, Zel by Donna Jo Napoli, *the Princess and the Goblin by George MacDonald, a Tale Dark and Grimm by Adam Gidwitz

Dragons

Movies- *How to Train Your Dragon (2010), the Pagemaster (1994), Mulan (1998), the Flight of Dragons (1982), Shrek (2001), *the Hobbit (1977), Quest for Camelot (1998)

Books- *How to Train Your Dragon by Cressida Cowell, Jeremy Thatcher Dragon Hatcher by Bruce Coville, *the Hobbit by JRR Tolkien

Other Worlds

Movies- Spirited Away (2001), *Alice in Wonderland (1951), Space Jam (1996), the Book of Life (2014), *Hook (1991), Pleasantville (1998), *the Phantom Tollbooth (1970)

Books- *Peter Pan by JM Barrie, Malice by Chris Wooding, * the Phantom Tollbooth by Norton Juster, *Alice’s Adventures in Wonderland by Lewis Carroll

Mystery/Thriller

Movies- Clue (1985), *Holes (2003), Get Out (2017), Hot Fuzz (2007), Minority Report (2002), Kidnap (2017), Saw (2004)

Books- *Holes by Louis Sachar, the Lost (the Outer Limits) by John Peel, We’ll Meet Again by Mary Higgins Clark

Psychological

Movies- Cube (1997), *Secret Window (2004), Silent Hill (2006), the Sixth Sense (1999), the Good Son (1993), Psycho (1960), Donnie Darko (2001)

Books- *Secret Window Secret Garden (Four Past Midnight) by Stephen King, House of Stairs by William Sleator, Speak by Laurie Halse Anderson, Dolores Claiborne by Stephen King, Tangerine by Edward Bloor, Lord of the Flies by William Golding

Action/Adventure

Movies- Anaconda (1997), Dire Hard (1988), National Treasure (2004), the Goonies (1985), *Treasure Planet (2002), the Mask of Zorro (1998), *James and the Giant Peach (1996)

Books- *Treasure Island by Robert Louis Stevenson, Hatchet by Gary Paulsen, *James and the Giant Peach by Roald Dahl,

Space Aliens

Movies- MIB (1997), Mission to Mars (2000), Galaxy Quest (1999), Alien (1979), ET the extra terrestrial (1982), Independence Day (1996), Spaced Invaders (1990)

Books- a Wrinkle in Time by Madeleine L'Engle, Ender’s Game by Orson Scott Card, the Dark Side of Nowhere by Neal Shusterman

Robot/Technology

Movies- I Robot (2004), the Iron Giant (1999), the Terminator (1984), AI artificial intelligence (2001), the Stepford Wives (2004), Wall-E (2008), *Screamers (1995)

Books- the Terminal Man by Michael Crichton, Feed by Matthew Tobin Anderson, *Second Variety (Screamers) by Phillip K Dick, *I Robot by Isaac Asimov, Cell by Stephen King

Nature/Animals

Movies- Lake Placid (1999), *Animal Farm (1954), Jaws (1975), *Cujo (1983), Ferngully the last rainforest (1992), Wild America (1997), the Lion King (1994)

Books- *Cujo by Stephen King, Cat in the Crypt (Animal Ark Hauntings) by Ben M Baglio, Congo by Michael Crichton, *Animal Farm by George Orwell, Watership Down by Richard Adams, Weslandia by Paul Fleischman

Illness/Medical

Movies- Outbreak (1995), Balto (1995), Osmosis Jones (2001), Repo the genetic opera (2008)

Books- Breath by Donna Jo Napoli, Because of Anya by Margaret Peterson Haddix, a Bad Case of Stripes by David Shannon

Comedy Horror

Movies- Little Shop of Horrors (1986), Beetlejuice (1988), Army of Darkness (1992), Gremlins (1984), Arachnophobia (1990), Jawbreaker (1999), Tremors (1990)

Books- Aliens Don’t Wear Braces (the Baily School Kids) by Debbie Dadey and Marcia Jones, the Cuckoo Clock of Doom (Goosebumps) by RL Stine, a Dirty Job by Christopher Moore jr, Skulduggery Pleasant by Derek Landy

Slasher/Gore

Movies- Scream (1996), a Nightmare on Elm Street (1984), *IT (2017), *I Know What You Did Last Summer (1997), Kill Bill (2003), Happy Death Day (2017), the Hills Have Eyes (2006)

Books- *I know What You Did Last Summer by Lois Duncan, the Dark Half by Stephen King, *IT by Stephen King

Dystopia/Disaster

Movies- Waterworld (1995), the Matrix (1999), Escape from New York (1981), Demolition Man (1993), the Day After Tomorrow (2004), Volcano (1997), the Fifth Element (1997)

Books- Among the Hidden by Margaret Peterson Haddix, Uglies by Scott Westerfeld, the Road by Cormac McCarthy, the House of the Scorpion by Nancy Farmer

Time Travel

Movies- Frequency (2000), Meet the Robinsons (2007), Back to the Future (1985), *the Time Machine (1960), Planet of the Apes (1968), Lost in Space (1998)

Books- *the Time Machine by HG Wells, Found (the Missing) by Margaret Peterson Haddix, the Jaunt (the Skeleton Crew) by Stephen King

Anime and J-Horror

Movies- Akira (1988), Perfect Blue (1997), Ring (1998), Dark Water (2002), Ghost in the Shell (1995), Digimon the Movie (2000)

Manga- Claymore by Norihiro Yagi, Death Note by Tsugumi Ohba and illustrated by Takeshi Obata, Yu Yu Hakusho by Yoshihiro Togashi, Fullmetal Alchemist by Hiromu Arakawa

Super Hero

Movies- Hellboy (2004), Ghost Rider (2007), the Incredibles (2004), the Mask (1994), Batman Beyond return of the Joker (2000), TMNT (2007)

Comics- Animal Man (New 52, 2011) DC Comics, Swamp Thing (New 52, 2011) DC Comics, BPRD Dark Waters (2012) Dark Horse Comics, Nextwave (Agents of HATE, 2006) Marvel Comics

TV Shows and Cartoons

Invader ZIM, the Grim Adventures of Billy and Mandy, Courage the Cowardly Dog, Beetlejuice (animated series), Gravity Falls, Buffy the Vampire Slayer, Grimm, the Twilight Zone, So Weird, Are You Afraid of the Dark, Danny Phantom, the Munsters, the Addams Family (animated series), Tales from the Crypt, Scooby-Doo Where Are You/What’s New Scooby-Doo, Sabrina the Teenage Witch (animated series), Gargoyles, Strange Days at Blake Holsey High, Aaahh Real Monsters, Tutenstein, Goosebumps, the New Spooktacular Adventures of Casper, Futurama, the Venture Bros, Rick and Morty, Metalocalypse, Over the Garden Wall, Star VS the Forces of Evil, People of Earth

#long post #ref #books #movies #tv shows #spooky #horror #halloween #ghosts #witch #monsters #vampire #werewolf #gothic horror #sci fi #dragons #movie list #book list #zombies #manga #anime

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the-master-cylinder · 5 years ago

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SUMMARY In a small suburban town, a group of high school students–Mark Loftmore (Zach Galligan), China Webster (Michelle Johnson), Sarah Brightman (Deborah Foreman), Gemma (Clare Carey), James (Eric Brown) and Tony (Dana Ashbrook)visit a mysterious wax museum, resulting from Sarah and China’s earlier encounter with a taciturn gentleman (Warner) who claims to own the exhibit and extends them an invitation. There, they encounter several morbid displays, all of which contain stock characters from the horror genre. Tony and China unintentionally enter two separate pocket worlds, as depicted by the waxwork displays, by crossing the exhibition barrier rope. Tony is at a cabin where a werewolf (John Rhys-Davies) attacks him. A hunter and his son arrive and try to kill the werewolf. The son fails and is torn in two, while the hunter shoots the werewolf, then shoots Tony as he begins to transform into a werewolf. China is sent to a Gothic castle where vampires attack her, and Count Dracula (Miles O’Keeffe) turns her into a vampire. Two of the other students, Mark and Sarah, leave the waxwork unscathed. Later, Jonathan (Micah Grant), “a college jock”, arrives at the wax museum looking for China, but The Phantom of the Opera display gets his attention as David Lincoln (David Warner) walks him into the display. Mark goes to a pair of investigating police detectives. He and Inspector Roberts (Charles McCaughan) meet Lincoln as he lets Roberts investigate the waxworks. As Mark and Roberts leave the museum, Mark recognizes Lincoln.

Later, Roberts realizes that some of the displays look like some of the other missing people, then comes back to the wax museum, cuts off a piece of China’s face (revealing black tissue underneath), puts it in a bag, and walks into the mummy display; the mummy throws him in the tomb with another undead mummy and a snake. Later, Roberts’s partner sneaks into the museum, and gets his neck broken by Junior (Jack David Walker), “a tall butler” Lincoln scolds for killing the partner.

Mark takes Sarah to the attic of his house, where he shows her an old newspaper detailing the murder of his grandfather (which was seen in the prologue); the only suspect was David Lincoln, his chief assistant, whose photograph closely resembles the waxwork owner. The two then consult the wheelchair-bound Sir Wilfred (Patrick Macnee), a friend of Mark’s grandfather, who explains how he and Mark’s grandfather collected trinkets from “eighteen of the most evil people who ever lived” and that Lincoln stole the artifacts; Lincoln, having sold his soul to the Devil, wants to bring their previous owners to life by creating some wax effigies and feeding them the souls of victims, a concept taken from Haitian Voodoo. Providing all eighteen with a victim would bring about the “voodoo end of the world, when the dead shall rise and consume all things”.

On the advice of Sir Wilfred, Mark and Sarah enter the waxwork museum at night and douse it with gasoline. However, Sarah is lured into the display of the Marquis de Sade (J. Kenneth Campbell), and Mark is pushed into a zombie display by the waxwork’s two butlers. Mark is approached by a horde of zombies, but finds that if he does not believe in the monsters, then they do not exist and cannot harm him. Mark finds his way out of the display and into the Marquis de Sade exhibit, where he rescues Sarah, while the marquis vows revenge.

Despite Mark and Sarah’s attempts to escape, Junior and Lincoln grab Mark and Sarah, pulling them out of sight as Gemma and James return. Gemma gets lured into the Marquis de Sade display, and James attempts to steal something from the zombie display; moments later, the bodies of James and Gemma reappear as wax figures, the displays completed with the figures and their victims reanimating as evil entities. Suddenly, Sir Wilfred and a huge group of armed men, along with Mark’s butler Jenkins, arrive, and in the ensuing battle, several waxworks and slayers die, including Lincoln’s butlers and Mark and Sarah’s former friends, now evil. Jenkins consoles Mark by saying the China-vampire he killed wasn’t his friend; it just looked like her. Mark duels with the Marquis de Sade, who is finally killed by Sarah with an axe.

The reunited couple are confronted by Lincoln, who dies getting shot by Sir Wilfred and falls in a vat of boiling wax. Sir Wilfred is decapitated by a werewolf as Sarah and Mark manage to escape the burning waxwork with their lives and begin to walk home, not noticing that the hand from the zombie display is scuttling away from the rubble.

BEHIND THE SCENES What’s it like for a 29-year-old director to work with the likes of David Warner and Patrick Macnee. “Terrifying,” nods Hickox. “David Warner is a hero of mine, and it’s very difficult to work with your heroes. I was an extra on one of his English TV shows, and I’ve always been a great fan of his. Patrick Macnee is the guy in the movie that knows what’s going on, the ‘Van Helsing’ of Waxwork. In a funny battle scene moment, after the werewolf has been killed with a silver sword, Patrick yells, ‘Tally-ho!’ and fires his gun in the air. At that point, we have a chicken come squawking down and land in his lap.

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“Bear in mind, when you see the battle, that we only had three 12-hour days to film it,” Hickox specifies. “There were 300 extras and a lot of story to tell in that sequence. I think our stunt coordinator Bobby Bragg set some sort of record by doing six full-body fire gags in one day. We’d dress him as one of the characters, set him on fire, film it, then dress him up as someone else.”

In another part of the fight, Deborah Foreman throws Michu, a little person, into an Invasion of the Body Snatchers pod. Instead of duplicating him, the pod cries out, “Feed me! Feed Me!” “I hope we don’t get sued for that one,” moans Hickox.

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Although the script was set in England, Hickox moved the production to America to give it a broader appeal. This caused much hardship since this meant Keen’s crew, located in England, had to design their work without the benefit of lifecasts of actors. As a result, many of the makeup crew ended up appearing as monsters, because they were available to be lifecast. A somewhat more novel solution was found for making a cast of Patrick MacNee, who suffers a grisly fate at the film’s conclusion: the makeup crew videotaped an old AVENGERS episode, watched it several times, and sculpted MacNee’s head from that.

SPECIAL EFFECTS The job of designing the waxwork displays was given to Bob Keen, who acted mostly in a supervisory capacity, hiring other makeup artists to build the creatures while he took care of the administrative end of the business and also directed second unit. Cliff Wallace and Dave Elsey headed a crew of about fourteen, many of whom were working on their first job, “because Bob in his wisdom decided to use people who he could get cheaply,” laughed Wallace.

The majority of the displays for “The Eighteen most evil beings” used in the film are the Marquis de Sade, the werewolf, Count Dracula (his Brides and son exist only within the portal and are not among those displayed), the Golem, the Phantom of the Opera, The Mummy, George A. Romero-style zombies, Frankenstein’s monster, Jack the Ripper, The Invisible Man, a voodoo priest, a witch, a snakeman, Rosemary’s Baby, an axe murderer, a multi-eyed alien, a giant talking venus flytrap, and Dr. Jekyll and Mr. Hyde.

Keen agrees, “We had a partnership in designing the creatures. Tony asked me what could be done, and like a fool I said, ‘The world.’ Really, the restrictions from Universal were a golden opportunity to do it our own way. Tony was already in the States rewriting the script, so I’d FAX him designs and drawings. He’d call and generally just say, ‘Cast them up.’ Because we were shooting in the States, we had to have everything finished here in England and shipped over before the cameras started rolling. Consequently, we worked 18-hour days for about eight weeks before we could leave.

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“Once in the States, the first scene we shot required the mummy to stamp on someone’s head and squash it,” Keen continues. “Then the werewolf literally tears someone open from the top of his head to the base of his spine-just tears the guy in half and eats what’s inside. It’s a lovely family movie, you know? The zombie scene was a toughie, requiring about 20 effect gags including a mechanical hand, and it had to be shot all in one day.”

“We did the zombie sequence in black-and-white because we ran out of money,” Hickox deadpans. “No, no, just kidding. It was really a tribute to Night of the Living Dead. Romero’s another one of my all-time favorites. They all get credit at the end, Romero, Dante, Argento and all.”

Waxwork (1988) Enzo Sciotti

“That entire zombie scene had to be done in reverse,” Zach Galligan recalls. “When I stumble onto the zombies, I chop off one of their hands and the hand attaches itself to my leg. I pull it off my leg and it grabs my arm, then my other arm. Finally, I have to do a ‘Magic Johnson running two-step slam dunk’ and impale the hand on a spiked fence, where it’s left wiggling and bleeding. Because the hand was made with monofilaments and wires and was mechanically delicate, the entire sequence had to be shot backwards. First it was impaled on the fence, then I jumped up and grabbed it. When you run that forwards, it looks like I’m impaling it.”

“I never pumped so much blood in my life,” effects Bob Keen gasps. “The producer walked onto the set, opened the door. went, ‘Oh, my God!’ and left. Every single piece of the set was covered in blood. Everything was dripping. There was a two-inch river of blood flooding into the other rooms. We used up our entire blood budget in the first week.”

“It was a record amount of blood.” assures leading man Zach (Gremlins) Galligan. “It’s staggering! It’s sprayed all over the white tile walls of Dracula’s castle. Imagine, there’s a guy lying chained to a table. Dracula (Miles O’Keeffe), his son and their guests have been feeding on the guy’s leg! It’s gnawed down to the bone. But the guy’s still alive and awake and alert. Then Dracula’s son grabs a piece of skin off the leg and eats it. It’s gonna be one of the great gross-outs of cinema.”

“We made a false leg that’s raw from the knee downwards,” adds Keen. “The vampires have been picking meat off to serve at the main table, just scraping meat off the bone. Very nasty stuff. After that. Michelle Johnson holds a cross on one vampire’s forehead and the creature starts to burn, like a good vampire. But instead of falling to the floor, his head literally rips open like a banana peeling itself.”

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CONCLUSION “I submitted Waxwork to the MPAA four times,” the director mentions. “Luckily, we’ve retained most of it, but there’s something about squirting blood that they don’t approve of. You can cut off limbs, you can have heads rolling, but the censors won’t allow spurting, moving blood. And you can’t linger, either. You can show things, but you can’t linger.

“The MPAA was terrifying until I actually started communicating with them,” Hickox admits. “Then, they were very direct about what they wanted. Actually, most of that scene was supposed to be comedic anyway, sort of like that Monty Python routine where the Black Knight gets his arms cut off.”.

CAST/CREW Zach Galligan as Mark Loftmore Deborah Foreman as Sarah Brightman Michelle Johnson as China Webster Dana Ashbrook as Tony Micah Grant as Jonathan Eric Brown as James Clare Carey as Gemma David Warner as David Lincoln Patrick Macnee as Sir Wilfred Mihaly ‘Michu’ Meszaros as Hans Jack David Walker (as Jack David Warner) as Junior Charles McCaughan as Inspector Roberts Kenneth Campbell as Marquis de Sade Miles O’Keeffe as Count Dracula John Rhys-Davies as Werewolf Jennifer Bassey as Mrs Loftmore Edward Ashley as Professor Sutherland Joe Baker as Jenkins Buckley Norris as Lecturer Tom McGreevey (as Tom MacGreevey) as Charles Rick Rossovich as Michael Loftmore (uncredited)

Several crew members appear in small roles: Anthony Hickox, director, as English prince James Hickox, assistant editor, as werewolf hunter’s assistant Gerry Lively, director of photography, as Sir Wilfred’s butler

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Cinefantastique v19n01-02 (1989) Fangoria#78

SUMMARY The film opens with a reenactment of final scenes of Waxwork, with Mark and Sarah leaving the burning waxwork (the part of Sarah having been recast from the first film). The disembodied zombie hand from the first film follows Sarah to her run-down flat and kills her stepfather with a hammer, a murder for which Sarah is blamed. No one believes her story about the evil waxwork.

In the hope of gathering evidence, Mark and Sarah visit the late Sir Wilfred’s home, where they find a film reel of Sir Wilfred speaking of his and Mark’s grandfather’s adventures and of the artifacts they collected together. A secret switch in Sir Wilfred’s chessboard opens a door to a room full of objects where Mark and Sarah find a small compass-like device. They learn this device was used in history by light and dark angels to travel through another dimension consisting of stories that have become realities (including homage to Frankenstein, The Haunting, Invasion of the Body Snatchers, Dr. Jekyll, Alien, Godzilla, Jack the Ripper, Nosferatu, and Dawn of the Dead). According to exposition later given by Sir Wilfred in the form of a raven, these worlds comprise “God’s video game,” where God and the devil battle over the fate of the world, each victory being reflected in events occurring in the real world. When Mark or Sarah appear in each reality they take on the persona of characters in those stories, sometimes having their personalities and memories taken over by those characters until they regain their senses.

Mark plans to gather evidence of the reanimated dead to bring back to the real world as proof of Sarah’s story in court. After several failed attempts and being lost in one world after another, they battle with an evil sorcerer and Mark is able to send Sarah home with an animated zombie hand as proof of her story. Unable to return with her, Mark instead arranges to have another compass delivered to Sarah after her trial ends so she can rejoin him.

DEVELOPMENT/PRODUCTION What Waxwork II: Lost in Time has in common with its progenitor is that the time periods to which the characters travel tend to bear a noticeable resemblance to familiar horror movies. The film picks up directly where its predecessor left off, with Mark (Zach Galligan) escaping the burning wax museum with his girlfriend Sarah (Monika Schnarre, replacing Deborah Foreman). Before either has a chance to recover, they both find themselves thrust into peril again as they enter a time portal that takes them through distorted planes of existence, where good battles evil in a movie-monster inspired arena.

According to Hickox, Mark has been brought into this environment because, “God has chosen him to fight as a sort of white angel. They actually go into a parallel universe where God and the devil fight it out in different vignettes, and use people like Zach and other human beings who’ve proven themselves as time warriors,” the director adds. “It’s not just a matter of time travel; they’ve actually gone into a different universe which is Cathagra-an old expression for purgatory. It’s a place between heaven and hell where people do battle.”

“We get to one of my favorite movies, THE HAUNTING—a wonderful parody all done on 18mm split diopter lenses—which outdoes the kitchen scene in WAXWORK by far. We’ve taken human mutilation to points never dared.” Hickox hoped the sequence’s black and white photography would help the bloody action pass the MPAA ratings board, since he was contractually bound to deliver an R-rated picture. “It’s not a gore movie,” said Hickox. “Eighty percent is very clean; then you’ve got these amazing moments where you can’t believe your eyes. WAXWORK was tongue-in cheek; this is comedy. We’re saying to the audience up front, ‘Feel free to laugh.’

“In the first one, there was a gag here and a little bit of silliness there, but it was basically a straight out horror movie—except for the ridiculous battle scene at the conclusion,” said Galligan of the difference in tone between the two movies. “This one is over-the-top but not inane—it’s believably over the top. I keep saying, ‘Tony, this is so exaggerated!’ He says, ‘I know, but it’s working.”

Hickox agreed with Galligan’s assessment of the first film’s ending. “That was a mistake!” admitted Hickox. “When you’re Mict young, you think you can do anything; then when you get to the set, you realize you can’t, and there’s nothing you can do-you’re locked in a corner. But you learn from your mistakes—I switch off the TV when I see that scene coming. One English paper did say it was the silliest ending to any movie ever. I suppose being the silliest is better than being forgotten.”

Though the film’s schedule was approximately the same as that of the first, experience and planning helped get more coverage. “The first two or three days were difficult, getting used to the pace at which Tony operates,” said Galligan. “He does 50 or 60 set-ups a day, which is almost unheard of. It’s three times more than I usually do, and there are no stand-ins, so we’re constantly on the set, constantly working.”

“I’m doing something else I haven’t done before, which is really making the actors work,” said Hickox. “I always felt silly before, making actors be emotional. They’re other people, and you’re trying to dig emotions out of them. Now I realize that’s what it’s about—to get that realism.”

The toughest challenge facing the Waxwork II crew, however, will be getting the film safely past the MPAA without any major cuts. Though Hickox has been shooting two versions of each gruesome scene for insurance (one slightly tamer than the other), he has also been throwing around other possibilities to protect the final film from being entirely goreless.

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“We’re thinking that if we put in silly sounds, that will help it pass,” reasons Hickox. “Like when eyeballs come out-there’s two ways you can play it, very graphically with a realistic sound or more of a ‘pop’ sound.”

Keen knows that Hickox usually pushes the limits in terms of gore. “Bob’s gotten used to me, so he always brings a few spare body parts,” jokes Hickox. Adds Keen, “We haven’t topped our all time record on the first Waxwork, where we pumped 35 gallons of blood, but we’re getting close.”

While shooting the zombie march in Los Angeles at the West Side Pavilion mall, blood wasn’t one of the more immediately pressing problems, though Hickox smiles. “I heard they’re still trying to scrub it off the floors.” What caused the most disruption were the sounds of gunfire shot off by the cast during filming.

“We nearly got closed down, because supposedly the M16s sounded like cannons outside the supermarket, so all we did all night was set off alarms,” recalls Hickox. “Drew Barrymore came along to play a cameo that night in the Nosferatu scene. We had to film those two scenes on the same night, so we had to build Nosferatu’s bedroom in the shopping mall. The passing crowd must have been thinking, ‘Why the hell are they building sets in a mall?'”

SPECIAL EFFECTS The tasks faced by Image Animation and Bob Keen on WAXWORK II included a seven-piece prosthetic makeup for Frankenstein’s monster, an eviscerated chest for Bruce Campbell, a man-in-a-suit alien, and a woman-to-panther transformation, not to mention various throwaway images like Godzilla and Mr. Hyde. “The trick about a WAXWORK film is that the effects are realistic, but they’re ultimately played for a laugh,” said Keen. “They are often amusing, but they are never phony or funny-looking, apart from Godzilla, who is a little more rounded and cute than the original.”

After putting his own spin on such timeless creatures of the night as vampires, werewolves and mummies in Anthony Hickox’s 1988 Waxwork, he returns to the fold for another parade of frightening folklore in Waxwork II: Lost in Time. This new excursion features variations on the Frankenstein Monster, Nosferatu and Dr. Jekyll and Mr. Hyde, among others.

“I love doing classic creatures like Frankenstein,” enthuses Keen. “When you’re a kid trying to get into makeup effects, all you ever want to do is Frankenstein and werewolves. The nice thing about the Waxwork movies is that I have the chance to reinvent them.”

Getting away with using some of these copyrighted characters does occasionally pose some problems, but as writer-director Hickox explains, “It’s a satire and we’re doing our own versions of them, so it’s pretty free.” Keen adds, “The fact is that I don’t want to do the wonderful Universal classics because one, they’re copyrighted and two, there’s no fun in just duplicating someone else’s work.”

The two universes that Keen particularly enjoyed exploring were the Aliens-inspired landscape and a medieval, Poe-type world. For the space nasty. Keen created probably the screen’s first albino extraterrestrial. He describes the beast as a sort of crustacean that uses a huge endoskeleton of a monster as its armor, while inside hides a little “space sucker.” This idea was loosely inspired by the Dalek robots from Dr. Who, which Hickox has always been fond of.

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“They had this protective shell that was mean, and inside there were actually these small slime monsters,” Hickox describes. “So imagine that inside this alien shell is a kind of weasely little slug controlling it all.”

Though monster favorites are an integral focus in the Waxwork framework, more modern creations also get the Keen touch. The lineup includes Godzilla (with a smoker’s cough). shopping mall zombies, a nifty albino alien and a woman who transforms into a panther.

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“It’s been four years since the last one. so the audience is more sophisticated, and we’re more sophisticated as a group,” comments Keen. “This movie is strong on the monster elements.

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For the Poe segment, Keen designed the woman transforming into a big jungle cat, which he feels is one of the picture’s FX highlights. “She’s absolutely incredible,” Keen raves. “We have this five-stage transformation and end up with this beautiful mechanical head. It’s very sexy.”

One of Waxwork II’s grislier elements is a homage to the 1963 classic The Haunting. Shot in black and white, this sequence features Bruce Campbell with his chest cavity carved open in the shape of a diamond and fully exposed. While birds peck at it, other assorted maladies occur to make it more than just a “flesh wound.”

“It’s kind of asking, “What can you do to the human body and still keep somebody standing there?” Hickox grins. “It’s very Monty Pythonesque, and it’s certainly the most graphic scene, but it doesn’t play that way because it’s shot in black and white. The alien scene as it stands now is pretty graphic, and so is all the medieval stuff.”

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In addition, a Dawn of the Deadlike segment set in a shopping mall promises to spurt enough grue to fill a beer keg. As Hickox explains, “The camera never shies away from a good death.”

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CAST/CREW Directed Anthony Hickox Written Anthony Hickox

Zach Galligan as Mark Loftmore Monika Schnarre as Sarah Brightman Martin Kemp as Baron Von Frankenstein Bruce Campbell as John Loftmore Michael Des Barres as George Jim Metzler as Roger Sophie Ward as Elenore Marina Sirtis as Gloria Billy Kane as Nigel Joe Baker as The Peasant Juliet Mills as The Defense Lawyer John Ireland as King Arthur Patrick Macnee as Sir Wilfred David Carradine as The Beggar Alexander Godunov as Scarabis

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Cinefantastique v22n06 Fangoria Horror Spectacular#05

DOUBLE FEATURE RETROSPECTIVE – Waxwork (1988)/Waxwork II Lost in Time (1992) SUMMARY In a small suburban town, a group of high school students--Mark Loftmore (Zach Galligan), China Webster (Michelle Johnson), Sarah Brightman (Deborah Foreman), Gemma (Clare Carey), James (Eric Brown) and Tony (Dana Ashbrook)visit a mysterious wax museum, resulting from Sarah and China's earlier encounter with a taciturn gentleman (Warner) who claims to own the exhibit and extends them an invitation.

#80sFilms #80sHORROR #90sMovies #DOUBLE FEATURE RETROSPECTIVE #Vestron

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collectorscorner · 7 years ago

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CC Blogger - New Arrivals @ Collectors Corner : Wednesday - 04/18/18

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tally-my-words · 7 years ago

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It had been about five years since Sam had set foot in Aspen Creek, Montana. He could tell from the tightness across Dean’s shoulders that it might be been longer. Dad would have come here, though. It shouldn’t hurt to remember his father here. This place always seemed suited for the broken thing that was John Winchester. He shrugged it off, doing his best to appear calm. Dean didn’t like this anymore then he did. At least it would be Samuel taking care of him. Other doctors, even those who understood werewolves, were never half so efficient. He shifted in his seat and opened the impala door. It was awkward, still, despite how long his wrist had been wrong, to shut the car door and walk like the injury didn’t bother him. Lone wolves shouldn’t show weakness in another’s territory. It helped that it was Bran’s. He shifted to look over at Dean. He knew how angry Dean was at Samuel.

“We could have found someone else,” Sam mentioned, trying to be aware how on edge his brother was.

“You broke it during the car crash and it’s never healed right. All it took was some wonked out Croatian zombie to break it again and it’s still not right. You keep messing it up and it’ll never be right. Best case, you lack wrist motion for the next few hundred years, worse case it gets you dead. Go,” Dean countered, gesturing towards the small storefront that read, ‘Dr. Samuel Cornick, M.D.’

Sam shifted away and walked into the small office, hunched slightly forward, hands in his pocket, despite his broken wrist. It would be pretty quick for Samuel to set it and afterwards, it would be right. That was what got Dean through the process of not walking into the office and punching the man. He knew Samuel would agree he deserved any physical abuse Dean chose to give him, but he wasn’t sure that Samuel’s very dominant wolf would agree. The third most powerful werewolf in the country was not someone he wanted to challenge, especially when he could help Sammy.

He continued to lean against the car, posture purposefully confident and casual. Out of the corner of his eye, he spotted a woman approaching. Long legs were covered in tights to keep out the incredibly cold air. His nose immediately told him she was a werewolf despite her light perfume. Her smile beamed with easy confidence.

“Hello, Hello!” she greeted, waving with the hand not holding an expensive coffee beverage. A young wolf by his best guess, wearing high heels. She approached closer, smile still perfect and he was honestly a little floored, shifting to face her. She was super-model tall with strong legs and a perfect hour glass. She brought both hands to clutch the drink and he noted they were clean, not like him or Sam. Or Mercy. He smiled warmly back as he evaluated what was certainly a pretty face, warm skin brushed with something resembling gold-dust from an old Western, her brown hair streaked with highlights that naturally matched.

Wow, that was far more pleasant than most werewolves would be meeting a stranger on their territory. He smiled, tight lipped and assumed it was the easy grace that being a submissive wolf gave. He wanted to be casual, but for some reason, it was difficult. “Hello,” he finally managed, sounding stand-offish, but at least he didn’t sound like he was hitting on her, yet.

“Charlie saw your car and told me to come play greeting party. It’s pretty,” she commented. The statement was simple, like she didn’t know, but with an innocence he wasn’t sure he could trust. She might not know what the car was, but she certainly didn’t strike him as obtuse. Especially not if Charles sent her as his envoy.

“Then he knows I’m in town,” Dean countered. Charles would recognize the impala.

“He didn’t specify,” she teased, corners of her mouth crinkling. She obviously knew the car was a recognizable one. He was right, not a stupid woman. He smirked back, just a little.

“He knows I’m here, he knows where I am, likely, and he knows I’ve always been a friendly,” Dean added. “So he sent you down here to be friendly.”

“He didn’t specify,” she countered a second time. “Charles is polite enough to make suggestions, but this wasn’t one of them. Suggestions are a nice trait I wish more men would pick up on. Mark of a gentlemen.”

Dean felt easier, immediately. She wasn’t flirting because Charles had suggested it. He liked the fact that this woman obviously knew she was gorgeous. “You’re right, he is,” he agreed, amiable. “I do like that you’re being nice.”

“I’m nice to everyone. Charlie would tell you that if you asked,” she added. He wasn’t sure if it was to get him to stop flirting or to get him to flirt more.

She didn’t smell like Charles, not like the spirit magic and herbs the Marrok’s son often worked with. She didn’t smell like anyone. She smelled of French perfume and roses. He caught the hint of one scent more than others and it made him a tad nervous. Perhaps she was someone’s and his senses were as dull as Sam suggested. It would be a bad idea to flirt with the Moor’s woman. He doubted it. She was too independent to likely be mated with that old a wolf. Independence like hers was rare among female werewolves. He liked that too. “Charles must think highly of you to let you call him that,” Dean teased, a smile warming again across his features.

“I don’t know, I never asked him if it was okay. He just didn’t growl,” she replied. It was an easy comment. Brilliant, beautiful, and submissive was his best guess at her unique personality. No wolf would try to put such an easy going woman in place. She was a pleasure. He felt odd in thinking that.

“Then you won,” he teased. He shifted, awkward. Sam might take longer than he expected. Samuel liked making other wolves wait on him and he knew Dean’s issue with him. Taking longer to talk with Sam would irate him, Samuel Cornick surely knew. “Know a place close by for a good meal? I’ll treat.”

The woman chuckled, warmth spilling over her face as she walked away, shrugging her shoulders from side to side as if unsure and playful. She walked him past the doctor’s office door and gestured towards the small restaurant at the far end of the street. Dean already knew its location. “I appreciate it, but the greaser look is a little thick with that car and that jacket and to then take me to a dinner,” she teased.

For some reason, it made him smirk. She caught him at one of his personas, applied when nervous or trying to get laid. He had to admit, it was firmly a mixture of both. He turned back towards her, facing the impala. He got the strong implication, suddenly, that she wasn’t interested in him. She saw the persona and it wasn’t her cup, but she didn’t dislike the person behind it. She was reading him every bit as well as he read her and both were missing valuable information. “Seriously, who are you? S. E. Hinton?” he countered. She had that strange feeling of familiarity and insight that he always associated with that book. He was a touch angry when she laughed.

“Really? ‘The Outsiders?’ Not a bad book, but could you be more stereotypical!” she countered, a true smile replacing the pretty face and practically glowing when she mentioned the novel. “Tough guy who hides his book knowledge behind a leather jacket and, if I read the ride of your jeans right, an illegal firearm.”

Dean’s mouth would have been open if he hadn’t been watching Sam exit the doctor’s office and begin to make his way over towards him. Something suddenly shifted in his brother’s expression from tired, pained, and stressed to oddly confused. It definitely resembled a puppy. Sam had stopped in his tracks and Sage seemed to have heard the walking, but hadn’t acknowledged the other man yet, unconcerned until Sam spoke. “Worse than the kid who loves to ‘To Kill a Mockingbird?’”

She turned around almost immediately, the smile still intact. Sam seemed to need less effort and already knew the woman. “Sam? You grew really tall! And that means this must be Dean!” she exclaimed and Sam’s bitch face was priceless before shifting into nervousness he rarely ever saw on his brother’s face.

“Dean, this is Sage Carhardt. Sage, yes, this is my brother Dean. Asil sent you?” he asked, voice small.

“No, Charlie, but he didn’t tell me you’re in town,” she replied. She then immediately turned on her toes, as if suddenly more interested in Dean and he was confused until she spoke again. “I’ve heard stories about you, Dean. You ran around with Mercy and cause all kinds of havoc from what I understand.”

Dean half blushed, looking away. Sage gave him no sense of threat when her eyes would occasionally meet his, looking away from her was easy. She posed no challenge for him to respond to. “Sam helped,” he teased, loving how nervous his brother was in front of the pretty woman. Probably not interested in either of them, but playing them like fiddles.

Sam shook his head, rolling his eyes. “I was like,” he began to say, but was cut off.

“Are you staying in town?” she asked Dean. It seemed intimate. He wasn’t sure if she was asking for herself, Asil, or Charles.

“No, we’re leaving as soon as we get food,” Dean informed. Aspen Creek was always awkward for Dean after he’d been turned and his control was on edge ever since John had died.

Sage nodded and extended her hand to him. “It’s a pleasure to meet you. I wish you were staying longer. Here’s my number. You should call me,” she informed with a slightly saucy wink. She then gave Sam a quick smile and added, “Keep an eye out on him.” His eyes met hers this time and he immediately realized how wrong he’d been about the strange, pretty wolf. He locked eyes long enough to make sure she understood that Sammy was his only priority in the world before quickly looking away. She was incredibly dominant and very old. He was close enough now, also to be sure – she wasn’t mated, either, it was her power, not borrowed like Leah’s. She gave him the quickest of hugs before turning and giving a slightly longer one to Sam. He was jealous.

#fic bit #WWT #wolves wings and wrenches #sam winchester x sage carhardt #Sam Winchester #dean winchester #Samuel Cornick #Sage Carhardt

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mercy-thompson-fanfiction · 8 years ago

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“We could have found someone else,” Sam mentioned, trying to be aware how on edge his brother was.

“Then he knows I’m in town,” Dean countered. Charles would recognize the impala.

“He didn’t specify,” she countered, corners of her mouth crinkling. She obviously knew the car was a recognizable one. He was right, not a stupid woman. He smirked back, just a little.

“He knows I’m here, he knows where I am, likely, and he knows I’ve always been a friendly,” Dean added. “So he sent you down here to be friendly.”

“I’m nice to everyone. Charlie would tell you that if you asked,” she added. He wasn’t sure if it was to get him to stop flirting or to get him to flirt more.

“Dean, this is Sage Carhardt. Sage, yes, this is my brother Dean. Asil sent you?” he asked, voice small.

“No, Charlie, but he didn’t tell me you’re in town,” she replied. She then immediately turned on her toes, as if suddenly more interested in Dean and he was confused until she spoke again. “I’ve heard stories about you Dean. You ran around with Mercy and cause all kinds of havoc from what I understand.”

Sam shook his head, rolling his eyes. “I was like,” he began to say, but was cut off.

“Are you staying in town?” she asked Dean. It seemed intimate. He wasn’t sure if she was asking for herself, Asil, or Charles.

“No, we’re leaving as soon as we get food,” Dean informed. Aspen Creek was always awkward for Dean after he’d been turned and his control was on edge ever since John had died.

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