IT- No Clowning Around

 

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It has only been out for a week, and it’s already completely smashed box office records and blown up social media feeds. It’s seeming likely, that this latest Stephen King remake/adaptation will be the biggest horror movie of the year. Perhaps I’m a bit late to the game, but I figured I’d chime in anyway. It’s taken me some time to compile my thoughts on this one. My feelings are rather jumbled.

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For those of you that have somehow remained unaware, It follows a group of kids trying to stop an ancient evil disguised as a clown. Of course the first element I need to address is the clown, Pennywise. While Tim Curry left some large clown shoes to fill, Skarsgard is a worthy replacement. Skarsgard’s Pennywise doesn’t speak as much as Curry’s, but he’s just as menacing. His fish like eyes that tend to cross, and the weird way he trails off when speaking hint at him being something far more sinister. In the book, it’s quite clear that Pennywise is a Lovecraftian-ish entity. While Curry’s interpretation is more entertaining, Skarsgard’s feels more in line with King’s original vision.

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While Skarsgard’s performance is top notch, it’s the kids who carry the movie. Each of the children stand out as individual characters. Not a single one of them failed to measure up. The interactions between them are humorous, emotional, and authentic. The relationships of the kids in It have been compared to that of the children in Stranger Things. That’s a fair comparison, and audience members that enjoyed one are bound to enjoy the other. While the young actors of It deserve the most credit for bringing their roles to life, director Andy Muschietti is owed praise as well. It can be difficult to work with child/teen actors, and Muschietti managed to bring the best out of all seven of them. Sophia Lillis as Beverly is particularly enchanting. I can see her becoming a household name.

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In addition to the acting, there’s also some bloody good cinematography. The version from 1990 was made for television, so the shots are practical rather than artistic. The new film is a theatrical release with a huge budget, so Muschietti was able to integrate more cinematic camera techniques. The movie is full to the brim of grand drone shots of Derry and slick slow-motion. The scene that stands out for me is the one where Beverly is listening to the voices bubbling up from the sink drain. Then the entire bathroom is splattered with blood in slow motion, while she screams her head off.

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Unfortunately, not all of the visuals hold up. I had a problem with the lighting in most of the interior scenes. While the low lighting worked for the outdoor scenes, it made the indoor scenes just too dark to see. Sometimes even the characters eyes weren’t lit. It’s a small thing, but it makes a world of difference. Horror filmmakers need to learn that just because the subject matter is dark, it doesn’t mean it has to be visually dark.

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I also took issue with the majority of the scary scenes. There is something going on in the current state of horror, where every horror scene is designed to be manic. That’s definitely the case with It. The cuts are too fast, the sound is too loud, and the camera motion is just excessive. I’m a slow burn fan, so I prefer the creeping dread that exists in the form of stillness, or perhaps a room that’s just too quiet. Maybe the climax scene could have benefited from the chaos, but when every Pennywise scene is that wild, the effect wears off fast. It seems like it’s trying too hard. Think about being at a haunted house. What’s creepier, the guy in a mask shouting in your face, or that thing in the lurking in a corner that you only get a glimpse of?

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As long as we’re discussing the scares, I should point out that there were a few questionable effects. For the most part the movie used practical stuff, thank God. Still there were a couple times I caught some weird CGI. The most glaring example is at the beginning. Pennywise is tempting Georgie to get closer to him. Georgie moves in slowly, and then Pennywise opens his ridiculous CGI mouth and chomps down on Georgie’s arm. I wouldn’t say it ruined the scene, but it made it less enjoyable for sure.

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My complaints aside, I’d still give this film a favorable review. If I had to offer a grade, I’d give it a solid B minus. I explained my issues with it to a friend, and he made the point that this movie still signifies that big budget horror is moving in the right direction. I have to agree. While It is not a great film by any stretch, it stands miles above the likes of other theatrical horror films. Still, I think I’ll stick with wacky Tim Curry.

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Annabelle Creation: They’ve Created a Monster

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Please note: Annabelle in italics refers to the film, while plain text Annabelle refers to the character.

Annabelle: Creation is the cinematic form of Frankenstein’s monster. By that I mean it’s a bunch of parts stitched together to make an abomination trying to pass itself off as the real deal. The film desperately tries to cram in all of the usual possession film tropes in order to create tension. Since the tension is never allowed to evolve naturally, the results feel heavy handed and laughable. At this point, Hollywood’s desperation to imitate the James Wan aesthetic is nothing more than a pathetic cash grab.

This catastrophe revolves around a group of young orphans sent to live in the country with a couple of doll makers. These doll makers are of course the creators of the original Annabelle who was modeled after their daughter. When their daughter dies tragically, they seal her room away with the doll in it. The arrival of the young girls triggers her awakening. Terror ensues.

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The first problem of Annabelle: Creation is that there is just too much happening. The film tries to introduce about 50 set pieces. There’s a tea set, a dollhouse, a scarecrow, a stairlift, and more. While each of these elements could be wicked cool on their own, none of them are ever given the proper amount of time to shine.

Then we have the forced supernatural atmosphere. I’m convinced someone over at Blumhouse has a checklist of all the cliches that need to be shoved into every modern horror film. Annabelle: Creation provides all the usual suspects including loud string music, fake jump scares, and little girls bending like contortionists. Unfortunately all of the tropes leave little room for actual plot. For example, a demon possesses the doll, and it needs a human host. Why? I couldn’t tell you. It already has a physical form. Plot holes like this can be found popping up throughout the entire movie.

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Another unavoidable issue with the film is that the doll is absurd looking. They tried way too hard to make her look creepy. No one would buy a doll that ugly. She looks like a Halloween decoration. Dolls are inherently creepy. It’s just unnecessary to take it so far. In a campy film like Dolly Dearest, this approach works. However in a gravely serious supernatural horror/drama it does not.

In all honesty, I’ve never cared for Annabelle. I didn’t like her in The Conjuring. The Annabelle portion of The Conjuring always seemed out of place, like that subplot was an afterthought. I absolutely despised the first Annabelle spinoff, and this latest addition isn’t much better.

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Annabelle: Creation does contain some spooky stuff, but the majority of the film is messy and unentertaining. While the setting and costumes are appealing, no amount of scenery can make up for the lack of a good story. I love The Conjuring 2 and Ouija: Origins, but I’m starting to think it might be time to put the “little girls getting possessed” narrative back into the coffin. Anyone with me?

If you want to read more articles like this one, follow our blog and be sure to follow us on Twitter @HallowsHaunts. For professional inquiries reach out to us (allhallowshaunts@gmail.com). I can also be found on Etsy, selling stuff for weird girls on my store page, Lola Tarantula.

Halloween Horror Nights at Midsummer Scream

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One of the biggest attractions at Midsummer Scream is always Universal’s Halloween Horror Nights. Every year fans gather in a room to hear any bit of news from HHN’s creative team, John Murdy and Chris Williams. This panel always draws an enthusiastic bunch of haunt fans, and this year was no exception.

Before jumping into the new stuff, they provided some background information regarding how they became involved in Horror Nights. Both men painted rosy pictures of their childhood love of monsters, and how it inspired them later in life.  None of this was news to me, but Murdy and Williams were as charismatic as usual, so it was still entertaining.

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As for this year’s Halloween Horror Nights, they walked the audience through pictures chronicling the process of building The Shining maze. They promised the Grady sisters, room 237, Danny on his tricycle, “Here’s Johnny”, and of course the famous carpet. Murdy stated that his goal with this maze is to capture the slow burning dread of the movie.

They delved into scare zones a bit, too. One of the scare zones will be Hell on Earth set in New York City. Guests can expect to see an assortment of demons roaming the streets. HHN always creates top notch monsters/effects, so haunt lovers will definitely be in for a devilish treat.

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Finally, for those super fans, Universal is bringing back their VIP tours known as the R.I.P. Experience. This walking tour includes front of the line passes to everything in the park, free valet parking, special entry, a buffet dinner, and reserved seats for shows.

Keep your peepers here for updates about Halloween Horror Nights. Also be sure to follow us on Twitter at @HallowsHaunts. We’ve got lots of spooky stuff in store this Halloween season, and you won’t want to miss it.

 

10 Creepy Films About Toxic Relationships – Part 1

I have a deep appreciation for human psychology, especially abnormal psych. A big part of psychology is how we relate to each other as human beings. Human relationships can be beautiful, and complex, and they can also be horrific. Today I’m listing some great films that examine the disturbing results that occur when fate brings the wrong people together. I’m breaking this article into two parts, because I don’t want it to get too long. (Keep in mind these are in no particular order.)

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301/302

301/302 is a Korean film that examines what happens when two people’s obsessions clash. The two female characters live next door to each other in an apartment complex, one is a chef and the other is a writer with anorexia. The chef ends up taking desperate measures to force the writer to sample her culinary talents. This film is weird, and funny, and gross. I like how it shows the histories of both women, allowing the viewer to understand how they came to be the way they are. There is an American remake of this film. It’s called Compulsion, and it stars Carrie-Anne Moss and Heather Graham. The original is by far the superior film, though.

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Silver Tongues

Silver Tongues is one of my favorite films about sociopaths. I’m shocked this movie isn’t more popular. It revolves around a couple that moves from place to place, finding people to psychologically toy with. Unlike 301/302, there is no deep reason for why the main characters do what they do, which makes it all the more troubling. They seem to just enjoy destroying the lives of others for kicks.

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Grimm Love

Grimm Love is one of the horror films released by Fangoria as part of their FrightFest. It stars Keri Russell as a psychology student studying a case that is based on Armin Meiwes, aka “The Rohtenburg Cannibal”. As many of you may know, Meiwes is known for convincing a man to let him eat him. Of course for the purposes of the movie, the names of the characters are changed and the details are scrambled about, but it preserves the shocking nature of the real crime. Russell puts in an excellent performance, and the film raises some interesting questions, like “What is love?”. I’m still saying it’s not cutting off a guy’s penis and eating it front of him, but hey, that’s just me.

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Bug

Bug is the story of the insanity that blossoms between a mysterious drifter and a battered woman. Bug can be considered a textbook example of Folie a deux. Folie a deux is a French term that basically means ” a madness of two”. It occurs when two people share a delusion. In order for Folie a deux to occur, there has to be isolation and one of the parties is dominant, while the other just sort falls in line with the delusion. In this William Friedkin film, Michael Shannon’s character convinces a damaged Ashley Judd, that the government has planted insects in their hotel room. It’s all downhill from there.

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Proxy

I don’t feel like I can say much about this film without giving plot points away. I guess I’ll just have to tell you something vague, like “No one is what they appear to be.” While, that’s true, it hardly does this movie justice. Proxy is bursting at the seams with well crafted shots, fascinating characters, and gut-wrenching violence.

What are some of your favorite horror/thrillers about toxic relationships. Let me know in the comment section or on Twitter @HallowsHaunts.

It Comes at Night… Sort Of

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Theatrical horror releases have been pretty thin this year so far. So when I saw the trailer for It Comes at Night, I couldn’t wait to get out and see it. The limited cast and ambiguous threat had me hoping for something like It Follows, but the film that was advertised wasn’t exactly the film I saw.

It Comes at Night centers around a family living in a post apocalyptic world where infection lurks around every corner. The film opens with the family being forced to kill the diseased grandfather.  It’s an introduction that packs an emotional punch and sets the tone of the movie quite well.

From there on, our young protagonist Travis (Kelvin Harrison Jr.) struggles to come to terms with the emotional reality of the situation. He is overcome by ghastly nightmares involving the sickness and his grandfather. Then one night a man breaks into their home. His parents (Joel Edgerton and Carmen Ejogo) and the intruder, Will (Christopher Abbott) form a tentative agreement to pool their resources. Will retrieves his wife and child (Riley Keough and Griffin Robert Faulkner) and the two families begin living together. At first, things are great, but then suspicion and paranoia begin to propel them all in a violent direction.

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It Comes at Night has a lot going for it. The performances are top notch. I was especially partial to Harrison and Keough. All of the characters are well rounded and they all feel like real people. The relationships between the characters and the mounting tension create a palpable sense of dread. I’d compare It Comes at Night to The Walking Dead. Both rely on characters in desperate situations facing heavy moral dilemmas, where neither party is right or wrong.

In addition to the characters, the architecture of the cabin allows for a unique setting. With its narrow passages, woodwork, and the surrounding forest it presents a wide range of cinematography options.

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The soundtrack consisting of a lot of low key drumming also stands out. It’s a sound I definitely haven’t heard in any other recent horror movie, and its a nice break from the usual orchestral or synth music that seems to pervade the genre.

Unfortunately, for all of its positives, It Comes at Night still doesn’t feel like much of a movie. It was halfway over before I could even figure out exactly where the plot was going. It’s only about 90 minutes, but it feels about twice as long. The supernatural threat alluded to is nonexistent. All of the nightmare fuel imagery is from Travis’s dreams, and those dreams are a rare occurrence throughout the film. In fact, not much happens in the movie at all. The characters are almost enough to make up for this, but not quite.

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I tried to pinpoint why this film felt so lackluster for me, because on paper I should love it. Usually, psychological slow burn films are my favorite, but this one didn’t stick the landing. I think it’s because many of the scenes don’t serve to drive the story forward, so it starts to feel stagnant. When the climax finally came, it was about what I expected. Then it just sort of ends. Everyone in the theater started grumbling, saying things like “That’s it?”. I liked It Comes at Night, and I’m glad it’s out there because it is something fresh in this landscape of Alien and Annabelle sequels. Just don’t expect it to live up to the hype.

What to Watch on Netflix- May 2017

It occurred to me recently that there are a lot of great movies streaming that get overlooked. It can be difficult when you’re browsing through Netflix and you’ve seen almost everything. Keeping that in mind I’ve decided to do a monthly round up of films that are worth watching. Bear in mind that my picks are only applicable to the American version of platforms. This week I’ll be focusing on Netflix. Ok, let’s do it.

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Para Elisa

This is a super short and sweet movie from Spain. It’s only about 75 minutes and the plot is fairly straightforward. I first saw this film at Screamfest and I was impressed, but since then I haven’t heard much about it. Like many festival favorites, it seems to have skipped the hype and gone straight to the oblivion that is Netflix. I recommend this film to anyone that digs creepy dolls. Just know this isn’t your standard creepy doll film.

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Mine Games

I’d be lying if I said I totally comprehended what occurred in this movie. Still, it’s weird and enjoyable. The story is about a group of friends that go into an old mine, and bizarre events ensue. I’m a big fan of films that are more about atmosphere than plot. To me horror is more effective when it’s not one hundred percent explained. This movie is for those that dig films like Triangle, Southbound, and Coherence.

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Almost Mercy

This indie film features appearances from horror favorites Bill Moseley and Kane Hodder, but it’s lead, Danielle Guldin that steals the show. The story follows two teen psychos who fight back against those that have abused them. The movie makes you think it’s going in one direction, and then swerves and goes the other way. If you like revenge stories, or character studies of sociopaths, then this is the one for you. Think American Psycho, the teen edition.

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Baskin

I don’t know if I would say that I like this movie, but it’s definitely worth the watch. This film from Turkey follows a group of corrupt policeman who venture into an abandoned building and discover Hell. There are many cool elements in this movie. I’m a fan of its depiction of Hell, and there are some awesome scenes of depravity. Some of the concepts are bit too literal for my liking. For example, one character has an actual lock on his head that another character must stick a key into to gain knowledge. Still, this Turkish gore fest is a safe bet for those looking for something on the extreme side of the genre.

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Mockingbird

If you check IMDB, you’ll notice that viewers hated this film. I actually found it to be quite entertaining. It’s a sloppy mess, and the ending is one of the WTF variety. Yet it’s captivating in the way it weaves together a couple different found footage perspectives. The story revolves around a couple that are forced to follow an anonymous set of instructions or else someone will die. Across town a man puts on a clown outfit after being informed that he could win a large sum of money if he plays along. There’s a sense of dread wondering how these two stories will overlap. Although, the resolution is a let down, I’ll still vouch for this found footage film by the director of The Strangers.

A Cure For Wellness- A Gothic Spectacular

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Visionary director, Gore Verbinski is back with his first horror film since The Ring. 2017’s A Cure for Wellness blends Verbinski’s meticulous attention to detail with elements from gothic and weird fiction. The resulting film contains a few flaws, but overall is a beautiful and unique cinematic experience.

A Cure for Wellness follows ruthless young businessman, Lockhart (Dane DeHaan), on his mission to Switzerland to convince his company’s head to return to his life in New York. Lockhart is the kind of guy who will do anything to achieve a goal, and he isn’t afraid to push people around in order to get what he wants. His arrogance leads him to believe that retrieving his boss will be a simple task, but he quickly discovers the sanitarium is hiding secrets in every corner, most of them related to the water.

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From a technical perspective, A Cure For Wellness is a feast for the eyes. Verbinski’s clear understanding of visual storytelling, creates a tense atmosphere of foreboding that is present in every scene. Whether the camera is following the dizzying movements of a group of white robed dancers, or showing a static image reflected in the eye of an animal bust, there is a grandness created within the frame. His indulgent style is an excellent fit with the dramatic storyline.

As for the story itself, there’s a bit of everything for all types horror fans. Fans of gothic horror will be attracted to the old buildings, incestuous relationships, and the forbidden romance. Those more drawn to Lovecraftian themes will enjoy the slimy creatures, the body horror, and the overall sense of individual oppression by the seemingly larger than life institution.

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The mystery behind the water in A Cure For Wellness is compelling, but a bit predictable. Chances are, most viewers will figure out what’s going on, pretty fast. That doesn’t make the film less enjoyable, just don’t expect to be shocked. It’s also a little on the long side, but because Lockhart is learning more and more with each scene, it doesn’t seem slow or boring. However, it might upon repeat viewings.

The film is at its very best when it relies on the creepiness of the characters and the cult-like mindset of the institution. The weird water based treatments, the polite but stiff staff, and the zombified patients in white are what makes the movie so spine chilling.

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The film is at its worst when ventures beyond the atmospheric and the psychological. The climax boils down to a physical fistfight between Lockhart and a character that basically transforms into Skeletor (No spoilers, here.). For a film that spent two hours being so thought provoking, it seems jarring and out of place for a high action scene to occur. For some this borderline comedic resolution may ruin the film. For others it’ll just seem like a sizeable bump in the road.

A Cure For Wellness is likely to be on many top 10 lists for 2017. Even though, it contains some significant blemishes, it still possesses many brilliant qualities. Like Crimson Peak, its gothic aesthetic and precise performances more than make up for its basic storyline. Verbinski may not have created a genre masterpiece, but A Cure For Wellness still way exceeds most studio horror productions.

Split- M. Night is officially back!

Every horror fan knows that M. Night Shyamalan has had a rocky career. He’s hit some high highs, but unfortunately he’s also hit some extreme lows. In 2015 he gave us the Wayward Pines series, which I’ve yet to finish, but showed promise. He also released The Visit which falls into a weird gray area where it manages to be both awesome and awful. His latest film, Split places him firmly back into good filmmaker territory, well at least for now.

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Split follows a teen outcast (Anya Taylor-Joy) and two of her classmates (Haley Lu Richardson and Jessica Sula) that are captured by a man with multiple personalities (James McAvoy). The girls must figure out how to stay alive, and how to protect themselves from their attacker’s 24 identities.

Split relies on heavy tension and well crafted characters to hold the viewer hostage until the very end. Each one of McAvoy’s personalities is unique and feels like an actual person, or perhaps even something supernatural. He sheds personas with ease, allowing him to shift back and forth between characters. Like his captives, the audience is left waiting for him to snap and change into someone or something else.

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The film tackles issues of mental illness and abuse with an unexpected level of compassion. Split makes you feel for McAvoy’s character, even as he commits horrific crimes. There is great deal of debate about whether Dissociative Identity Disorder/Multiple Personality Disorder even exists. For the purposes of Split, DID is both a gift and a burden. McAvoy’s character, possesses a multitude of talents, due to the diverse nature of his personalities. However, it makes life difficult for him, as he essentially has 24 identities competing for control, and some of them have bad intentions. In addition to DID, Split also delves into abuse. Both the protagonist and the antagonist are victims of child abuse. This is intriguing, because in a sense it makes them kindred spirits, who have wound up on different paths.

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Split is a great theatrical horror film to kick off 2017. It’s smart, it has fully developed characters, and one hell of an ending. Hopefully M. Night can keep producing quality work like Split.

 

Lola’s Top Ten Worst Films of 2016

While 2016 was mostly a good year for the horror genre, there were still some major flops that slipped through the cracks. My list consists of the films that were not necessarily the worst, but the ones that I found most annoying. I’ve ranked them accordingly.

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There isn’t much to say here. I think Wentworth Miller had some sort of gothic trope check list that he used to create this script. The sad thing is, he’s an excellent writer. Stoker is a favorite of mine. If you want to see a good gothic thriller starring Kate Beckinsale, I’d go with Stonehurst Asylum.

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9. Holidays

There have been some great anthology films of late. Unfortunately, Holidays falls into the weird and stupid category next to The ABCs of Death. The best segment of the batch is the Kevin Smith one, but even Smith’s piece seems lacking. The worst one is the Saint Patrick’s Day one, which crams a shitty 90 minute film into about 15 minutes.

171610088-7213fc65-1b44-41b3-a847-68a42f5b4325.jpg8. Green Room

I know many of you are going to disagree with me about this one. I liked the director’s first film, Blue Ruin, but Green Room seemed sloppy and nonsensical. It was drastically underlit, and I frequently couldn’t tell where the characters were in relation to one another. I’m also confused as to why this massive group of white supremacists couldn’t wipe out a few punk rockers. Finally, I have to talk about Patrick Stewart. His performance was almost unwatchable. He mumbles his way through the whole damn movie, like he’s sedated or something.

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7. Intruder

If I were ranking these films based on how poorly they were made, Intruder would be at the very top. This Netflix original had little to offer except unintended laughs. The most cringe worthy scenes are the ones where Moby attempts to act. Also, why can’t that girl see her stalker when he’s standing right next to her while she’s in the shower? She better get her peripheral vision checked.

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6. The Purge: Election Year

The Purge is a fun concept, and I enjoyed the first film and parts on Anarchy. However, Election Year just took it way too far. I didn’t hate this film, but it was just trying too hard. There were moments and characters I enjoyed, but the film as a whole felt like silly political propaganda.

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5. Ghostbusters

Ok, so Ghostbusters isn’t a horror movie, but horror sites covered the hell out of it and it has ghosts. To be honest, I couldn’t sit through the entirety of this film. The jokes fell flat as a pancake, and the characters made my flesh crawl. Whoever thought this script was good must’ve had their streams crossed.

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4. Morgan

This film had so much potential to be smart and scary. Instead, audiences were forced to endure some needless action scenes and an obvious plot twist.

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3. Cabin Fever

Cabin Fever gets the award for most pointless remake of 2016. Ever wonder what would happen if you took the exact same script, and reshot it with different actors? Yeah, neither did anyone else.

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2. Blair Witch

The Blair Witch happens to be one of my very favorite films. When I heard about the new film, I was pretty excited. The trailer looked good, and I knew it was in the capable hands of Adam Wingard and Simon Barrett. Unfortunately, it turned out to be a messy, confusing rehash of the original. Dumbest part of the movie? The drone, definitely the drone. They set it up to be an important part of the film, and then did nothing with it, what a waste.

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1. The Darkness

This film is so rubbish, it’d be comical if it wasn’t so sad. The trailer offered promise of an unusual ghost story, with Anasazi gods at the heart of it. Unfortunately, the Anasazi gods were only a minor part of the film. Instead, the audience was forced to endure haunted house 101 gimmicks, and a family that is full of dysfunction and low on likability. Kevin Bacon, you can do so much better.

 

 

A Special AHH Anniversary!

12670167_10153237045047750_5102022318822753542_n.jpgThe very first AHH meeting.

As of yesterday, All Hallows’ Haunts hit our one year anniversary. It’s been a crazy and wonderful year for us. We’ve got to do so many things and meet a variety of new friends from the horror community. In 2016, we got to experience Midsummer Scream, Scare LA, Stan Lee’s Comic Con, Halloween Horror Nights, Knott’s Scary Farm, and so much more. Andy and our Force of Nature friend, Sebastian Munoz built the Fallen Saints haunt from the ground up. Lola transformed into every creature under the moon for the ghoulish theatre experience, Urban Death. Finally, our little claws typed numerous articles on topics both delightfully spooky and frighteningly disturbing.

12049186_10153073784827750_6124095253612958666_n.jpgThe AHH founders with our friend, Vincent.

When we started this journey, we didn’t have a clue. Each step has been a learning process, and we’re still growing. However, there is one thing that has remained consistent, and that is our supporters. We’ve received so much love from the horror community. That love drives us to do more, to be better. That love has radiated from every dark, cobwebbed corner. So we want to say thank you. Thank you for engaging us at conventions, thank you for reading and sharing our content, and thank you so much for your kindness.

13422340_1754294864783083_5834912263037025618_o.jpgAndy and Lola with our friends, Sebastian and Adam.

In 2017, we intend to stay focused, and to expand our reach. We’d like to try our hand at other forms of media, in addition to the ones we already use. We’re undergoing some big changes right now, and it may be awhile before we feel settled. We ask that you stick with us and provide honest feedback. As the site mutates and develops, we promise to continue supporting Halloween enthusiasts, horror fiends, and other macabre weirdos. This is starting to get so sweet we’re worried about drawing mosquitos, so we’ll close with a final thank you to you, our dear friends.