OCT. 17

It's not that Norte Americanos wouldn't pay to see it, they just aren't given the opportunity.

Seriously, what's the excuse for ignoring the largest single market in the world where Horror and Science Fiction are so damn huge that there are around 100 genre conventions in any given year, every single year?

And they wonder why pirate torrents still exist.

Today's Cinema Obscura is Álex de la Iglesia's ACCION MUTANTE.

The most casual search of the Internet for this title will expose you to a ravenous fanbase that is in love with this movie, and harbors various degrees of passion for all of Álex de la Iglesia's work.

Potential fans in the U.S. will be hard-pressed to find legal copies of this movie. I don't know if any Region 1 copies ever existed. Most Americans I know who have seen this movie, did so at their local Arthouse theater at some point.

However, if you're looking for encouragement,

Read our /ACCION MUTANTE review.

OCT. 16

Yet the fact remains that as the Horror movie fans draw, paint, and Photoshop their favorite monsters from Horror cinema, one of the most infamous, CANDYMAN, so often gets left out.

Is it because the sequel, FAREWELL TO THE FLESH, burned the first? Is it because the second sequel, a Direct to Video non-effort, burned the franchise?

Of course not. THE AMITYVILLE HORROR, CHILD'S PLAY, TREMORS, HELLRAISER, and more have all had shitty sequels and all went Direct to Video. The original SALEM'S LOT and IT movies were born on the boob tube long before Pennywise slithered to the theater screen.

So why does CANDYMAN get such short shrift? Especially when Horror actor Tony Todd (THE CROW, FINAL DESTINATION [all], HATCHET, Masters of Horror: VALERIE ON THE STAIRS) delivered so masterfully, enduring over 20 bee stings throughout the trilogy? That's right: it's not cgi, greenscreen, or practical effects. those are real bees in his mouth with their stingers still attached.

Anyone can jump to conclusions and I don't have an answer. I just keep asking the artists and Social Media posters, "Where's Candyman?"

Why?

I love this movie warts and all and, while I gave it 3 Shriekgirls, that is a strong, enduring 3, meaning it's a movie you can watch over and over and still enjoy it.

I wish I could say that about some of the 5 Shriekgirl movies that quickly dimmed upon repeat watchings.

Today, October 16, in 1992, CANDYMAN was released on the world.

Read my /CANDYMAN review.

OCT. 4

It was remarkably close to GET OUT in every way, except it was more Science Fiction-y, more believable, more chiiling, and more Horrific.

Just as GET OUT swept through box office receipts, TRANSFER swept up awards at film festivals, garnered high praised from critics, and fell into a vacuum of incompetent North American distribution thanks to Mongrel Media - a company with a seemingly vast slate of movies featuring big stars, that never go anywhere.

GET OUT was fortuante to have Blumhouse Productions guide it through its distribution channels and challenges.

TRANSFER was unfortunate to have Mongrel Media.

Their size of their mismanaged mausoleum of titles is downright scary in its obscurity. Mongrel Media is clearly a company where good movies go to be buried.

So it is that a great movie like TRANSFER defines Cinema Obscura the way few movies do.

Read /TRANSFER review.

OCT. 3

But that's what's happening and Lionsgate has no one but themselves to blame. Yesterday I told you about the critically acclaimed DANCE OF THE DEAD, that Lionsgate grabbed then fumbled? Today I'm talking the Australian, UNDEAD.

Australian Horror movies are known for their balls to the wall gore and action (MAD MAX everyone? How about WOLF CREEK?) and UNDEAD is right up there with the best of them.

But why is that?

Read my /UNDEAD review.

Want more Spierig Bros.?

Check out my review of DAYBREAKERS.

Want still more Spierig Bros.? Well Michael Spierig directed JIGSAW, which is coming up this month!

OCT. 2

Lionsgate in particular has made its name and livelihood on Horror movies, so since DANCE OF THE DEAD has demonstrably proven itself in every market where it didn't get short shrift, what gives?

That's a mystery I have no access to. I can only look at the money squandering real-world result of such short-sighted business acumen.

That is why, in the U.S., DANCE OF THE DEAD falls under my Cinema Obscura. You can find it on DVD at least, but don't expect a lot of extras.

Instead, let me tell you why it's worth your while,

Go to /DANCE OF THE DEAD review.

Have you already seen it?

Well have you read my interview with Director and Producer, Gregg Bishop?

No? Well don't wait another minute! Check out /UnderTheMicroscope: Gregg Bishop.

OCT. 1

You may not remember it, maybe you buried it, but everyone has their first fear: their first monster. This is mine.

FIRST MONSTER
Deep in the night while everyone slept, five year old Ankar sat on the foot of his bed.

His feet dangled over the floor as his hands firmly gripped the edge, ready to launch himself off … if need be.

Meanwhile, with his head tilted slightly to the left, so his ear was pointed to the source, Ankar gave his closet door a wary side-eye stare.

Something moved in there, the soft noise woke him up. Now there was silence but Ankar was certain that, whatever it was, was biding its time.

It waited for Ankar to let down his guard.

Continued at First Monster.

AND

Why not experience what I did, so very long ago?

Bram Stoker and F.W. Murnau's NOSFERATU.

There are more movies at the Feo Amante Theater. Go to NOW SHOWING!