jack ketchum

HORROR ICON MINI-MARATHON: Lucky McKee

It’s rare that a male filmmaker, working in a genre known for its unenlightened views of the female experience, would build an entire resume of films that were mature and thoughtful observations of the horror genre from a woman’s perspective. In celebration of his upcoming film release “All Cheerleaders Die,” this week’s article covers the career of filmmaker Lucky McKee.

**Important note: NO, this book has nothing to do with the infamous weirdo and horse video by the same name. Just in-case any of you get confused or decide to google "Mr. Hands." I'd definitely add "book" to those search terms - or don't, if you're into that kind of thing. **

Lucky (May) Mckee's latest leaves the crew a little uncomfortable...

Your favorite gravel voiced and bald headed hearth throb Vin Diesel has made a few nerds happy by announcing that he and David Twohy are re-teaming for a third "Riddick" film.

Rhett Reese and Paul Wernick, writers of smash hit "Zombieland" are feeling rather cocky of late. In the same interview we posted earlier in the week, the two authors talk about their dreams of turning the film's universe into a TV show. Sure, it seems far fetched but you can put money on the bet that I'd probably watch it faithfully!

Top Cow comics has put up a trailer for its upcoming motion comics for "The Crazies". It's Friday, you know you'd rather read comics than work anyways.

Good news for you romantic types, there's yet another tween supernatural romance in the works pitting a teenage girl's hormones and a twinkie monster. Sparkling vampires were bad enough, how abouta teenage girl in love with a boy that turns into a wolf every winter? We're one step closer to 'Furry: The Movie' folks.

Lucky McKee and Angela Bettis are prepping for another team up, this time on the sequel to the "The Offspring", "Offspring: The Woman".

The story at the center of Jack Ketchum’s “The Lost” calls to mind true crime tales like “The River’s Edge” and “Say, You Love Satan”. At the center of these stories are charismatic and fractured Borderlines and Sociopaths who exhaust all the morally ambiguous and victimless avenues for eradicating their impotence and pain, and end up committing murder to affirm their fantastic notions of self. Where the film adaptation of ‘The Lost’ differs is that it takes a phenomenological approach to the tragic events and people at its core.