Originating from folklore and legends across different cultures and centuries, the supernatural creatures with a lust for blood and a fear of garlic and crucifixes have become some of the most iconic figures in horror and popular culture. And some of the most popular. The Twilight film series alone grossed over $3…

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Originating from folklore and legends across different cultures and centuries, the supernatural creatures with a lust for blood and a fear of garlic and crucifixes have become some of the most iconic figures in horror and popular culture. And some of the most popular. The Twilight film series alone grossed over $3…

Read more…

The solo feature directing debut of Spanish filmmaker Caye Casas, the horror comedy The Coffee Table (a.k.a. La mesita del comedor) was made in 2022 and got a lot of attention as it made its way around the world earlier this year, with JoBlo’s own Alex Maidy giving it an 8/10 review that can be read at THIS LINK and legendary author Stephen King recommending it to his fans and followers by writing, “My guess is you have never, not once in your whole life, seen a movie as black as this one. It’s horrible and also horribly funny. Think the Coen Brothers’ darkest dream.” Now, Casas has revealed that The Coffee Table is getting a Turkish remake, titled Cam Sehpa, from director Can Evrenol!

Evrenol made his feature directorial debut with the 2015 horror film Baskin and has since directed the horror thriller Housewife, the post-apocalyptic adventure Peri: Agzi Olmayan Kiz, and the crime thriller Sayara.

The Coffee Table follows Jesus and Maria, a couple going through a difficult time in their relationship. Nevertheless, they have just become parents. To shape their new life, they decide to buy a new coffee table. A decision that will change their existence. The film starred David Pareja, Estefanía de los Santos, Josep Riera, Claudia Riera, and Eduardo Antuña. The cast of the remake Cam Sehpa has not yet been revealed.

While Evrenol works on Cam Sehpa, Casas is developing a “dark and acerbic” horror project called El Show del Gran Luciferio, which centers on the eccentric Luciferio, a game show host who pits contestants against each other in over-the-top trials to appease a rapt audience. As the show progresses, the games grow more barbaric as the adulation for the savage host drives increasing fury. When the project was first announced, Casas said it was “from a question. What are we capable of doing for money? We all have a price according to our personality, our circumstances and our ambitions. We wanted to create a fun, cruel, macabre and spectacular story that played with this concept, with the idea of ​​what our price truly is. This story is different, but it also incorporates my style of making the viewer experience very strong emotions. El Show del Gran Luciferio is a very acidic criticism of human misery. The viewer will have fun, laugh with my particular sense of black humor and be disturbed; they’ll view sequences they’ll never forget.“

What do you think of The Coffee Table getting a Turkish remake from Can Evrenol, and are you glad to hear that Caye Casas is developing a new project? Share your thoughts on Cam Sehpa and El Show del Gran Luciferio by leaving a comment below.

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When Christmas time comes around, most have their rotation of A Christmas Story, Christmas Vacation, or Elf to get them into the holiday spirit. But I go for different fare. Because what are the holidays for if not for uncomfortable family drama. A crumbling marriage isn’t usually a plot point of a Christmas movie but that’s what makes The Ref so unique. Kevin Spacey and Judy Davis play Lloyd and Caroline, a married couple clearly on the path to divorce. But everything is turned upside down when criminal Gus (played by Denis Leary) holds them hostage until the citywide manhunt for him chills out, and he can escape. Denis Leary is at his absolute peak, with even the teaser trailer for this film just being him ranting, standup-style about Christmas. This is crude so it may make for some awkward moments with family, but what are the holidays for if not for difficult conversations?

And I think The Ref gets a different side of Christmas down that we don’t see enough of: the awkward family dynamics. Sure, we can see some jovial disagreements like Cousin Eddie showing up unexpectedly but the level of contempt that THIS family has for one another is impressive. When Lloyd’s brother and his family show up, the night gets even more complicated. And no one wants to be there. Everyone is clearly being dragged along. They know what they’re in for. Hell, even their son does as he spouts out one of my favorite lines: “I hope they get into a fight like they always do. Their fights are bitchin’!”

Glynis Johns plays Rose, Lloyd’s mother and the matriarch of the family. She clearly rules with an iron fist, using her money to get her way; usually with some threats for good measure. And she’s absolutely despicable. It’s clear she’s given Lloyd a lot, but constantly holds it over him, never allowing him to break free of her. She emasculates him and treats him like a child. I mean, I’m never gonna advocate for an affair but Lloyd is so pathetic under his mother’s rule that you kind of get where Caroline is coming from. He fails time and time again so to finally see him stand up to her is so gratifying. By the end, everyone is coming together against Rose.

While I do think the movie’s messaging is a little awkward (maybe DO get that divorce if you clearly don’t like each other) but hey, that’s the 90s. Everything had to be wrapped up in a nice little bow. Even still, the film gets surprisingly sentimental and handles it well. Like any good Christmas movie, when the credits roll, I get a warm fuzzy feeling that can’t be beat. And that’s what Christmas is all about. If you want to watch it, you can find it digitally on iTunes, but it’s also streaming on Hoopla.

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Dakota Fanning (The Watchers) and The Strangers director Bryan Bertino are teaming up for a horror movie called Vicious, which is coming our way from Paramount Pictures… but we don’t know when Paramount is going to decide to show it to us. Originally set to receive a theatrical release from Paramount in August of 2025 (August 8th, to be exact), Vicious was pushed up to February 28th – but now, Deadline reports that the film has been pulled off of Paramount’s release schedule completely. They say, “The studio is looking to find a better date for the film.”

Scripted by Bertino, Vicious sees Fanning taking on the role of a young woman who is left a strange present by a late-night visitor, and quickly realizes she is fighting for her life after slipping down a disturbing rabbit hole contained inside the gift.

Fanning is joined in the cast by Devyn Nekoda (Scream VI), Mary McCormack (The West Wing), Rachel Blanchard (The Summer I Turned Pretty), Kathryn Hunter (Poor Things), Klea Scott (Millennium), and Emily Mitchell (Ordinary Angels).

An Atlas Independent production, the film is being produced by Richard Suckle, with Melinda Whitaker serving as executive producer.

Bertino made his feature directorial debut with the 2008 horror film The Strangers and has since followed that up with three more horror films: 2014’s Mockingbird, which he co-wrote with Mr. Robot creator Sam Esmail, 2016’s The Monster, and 2020’s The Dark and the Wicked. He also wrote the initial screenplay for The Strangers: Prey at Night, which got a rewrite from Ben Ketai and ended up being directed by Johannes Roberts. While Bertino focuses on Vicious, the Strangers franchise is continuing on without him. Director Renny Harlin recently shot an entire trilogy of Strangers movies at the same time, and so far only The Strangers: Chapter 1 has made its way out into the world. We’re still waiting to hear when The Strangers: Chapter 2 and The Strangers: Chapter 3 are going to be released. Currently, they’re sitting in limbo with Vicious.

What do you think of Paramount moving Vicious around (and removing it from) their release schedule? Let us know by leaving a comment below.

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On the 10th day of Christmas, Awfully Good Movies gave to thee… another sucky Christmas mov-ie! And this season, that movie would be Surviving Christmas, the 2004 holiday farce starring Ben Affleck as a wealthy but lonely ad executive who heads back to his old childhood home to find James Gandolfini and Catherine O’Hara now living there with their visiting daughter Christina Applegate, and asks them if they’ll serve as his replacement family for Christmas for $250,000–which is barely more than this flick made at the box office, due to Affleck’s reputation as a punching bag from his (first) romance with J. Lo.

Indeed, this was one of the movies that almost ended Affleck’s career, with Gigli and this being such huge flops that Affleck’s next film, Man About Town, went direct to DVD. Don’t feel too bad for Affleck though, the movie’s horrible reception led to him opting to refocus on directing, and the rest is history.

Yet 20 years later, does the oddball comedy duo of Bruce Wayne and Tony Soprano actually hold up far better than we thought? And is that partially because the sight of James Gandolfini scowling in a Santa hat and Christmas sweater is just plain hilarious? The answer to both of those questions is “Yes”. Merry Christmas to All, and to All an Awfully Good Night!

Previously on Awfully Good Movies…

MONKEYBONE

X-MEN: DARK PHOENIX

CANNONBALL RUN II

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There are certain types of media that could have only come from one person. Something so specific and out there that only a beautiful, twisted mind like director Frank Henenlotter could have conjured it. Today, we’re talking about one of those movies. A movie that answered a question we’ve all asked at some point in our lives… ”What if Frankenstein were a hooker?” This is the story of what happened to Frankenhooker.

Director Frank Henenlotter hit the streets of New York City for his follow up to Brain Damage and Basket Case with a hankering for something different this time around. His newest film would stay in and around the horror genre of course but would lean further into the comedy aspect of his writing prowess. The idea of which came from an improvisation that took place at a pitch meeting for an entirely different film. According to Henenlotter, “We were discussing another screenplay I’d written. An insect story”, when he realized his audience wasn’t interested and on the fly pitched, in his words, a “rather oddball idea of blending The Brain That Wouldn’t Die with some T&A and some very affectionate Frankenstein cliches from my favorite grade-D movies”. And so, it was at that point, in the same three month period, Henenlotter would write the script for both Frankenhooker and Basket Case II. On Frankenhooker’s script, he thankfully had the help of the late Bob Martin who worked as an editor for Fangoria and wrote a novelization based on Henenlotter’s previous film, Brain Damage.

In the script, New Jersey’s Jeffrey Franken is something of a disenfranchised mad scientist. He spends his days in his moms basement working on his elaborate and wacky inventions. Even at one point having the confidence to DIY provide stomach surgery on his girlfriend. He can’t go to a real school for this of course because he’s anti-social found they “upset” him. One fateful day, one of Jeffrey’s inventions (an automatic lawnmower), runs his dutiful girlfriend over, horrifically murdering her in front of everyone at her dad’s birthday party. Afterwards, Jeffrey proceeds to go full on nutbar and lose his mind in his moms basement. He’s stolen her head (the only part of her left intact) from the crime scene and keeps it fresh in a freezer full of purple goo. By day he works on a plan to bring her back to life. By night he has dinner dates with her severed head.

To demonstrate just how off the map Jeffrey is at this point, whenever he becomes tired, stuck on a problem, or full of anxiety? He takes a power drill to different parts of his brain. Just to mix it up. Finally, he decides that he can’t take it anymore. He has the scientific ability. It’s time to bring her back to life. But since her body has been gruesomely dismembered, he would have to create her a new one. But where’s he going to get them? Hookers of course! Hookers from Manhattan. Jeffrey dresses like a doctor and heads downtownwhere he acquires a group of hookers from their pimp, Zorro. Later, he reluctantly and sort of accidentally murders them all by offering them his supped of version of crack, which makes them overheat and explode into actual smithereens. He then takes their bits home and picks his favorite body parts from the hooker treasure trunk, creating the perfect body to match his dead girlfriend’s head.

Only when Elizabeth is brought back to life she is all sorts of Pet Semetary messed up. Her mind is an amalgamation of the dead prostitutes mixed together, and her genitalia make those who come into contact with them overheat and explode. But Elizabeth is also in there somewhere. And pretty pissed off that her boyfriend brought her back to life using, as the movie poster states, ”sluts and bolts”.

Zorro the pimp later beheads Jeffrey for his crimes upon the hooker kingdom but fear not…Elizabeth uses Jeffrey’s left behind schematics to bring him back to life as well. When Jeffrey awakes, to his horror, he finds out that his head is attached to a body comprised of female hooker parts. “Where’s my Johnson?!?” he screams into the void as the credits roll. Frank Henenlotter, everyone.

One thing that makes Henenlotter’s films work despite their batcrap crazy premise and low budget? His ability to find actors with almost no experience who absolutely crush their performances. In this case, James Lorinz as Jeffrey delivered a performance just as quirky and original as the film that surrounds him. The Street Trash and eventually King of New York actor had an authentic New Jersey attitude infused with the wacky hijinks of a Jeffrey Combs in Reanimator. He reminds me of Randall from Clerks were his dickishness infused with the spastic quirky nature of a New Jersey version of Matthew Perry’s Chandler from Friends.

The same is true for Patty Mullen as Elizabeth. For an actress who had only been in two other roles to this point in her career (and shockingly doesn’t have a credit after Frankenhooker), Mullen is unforgettable. She’s total game for anything the film throws at her and manages to pull off both verbal and physical comedy in a way that would impress comedian and stuntman alike.

One of my personal all time favorite acting roles, however, goes to a man with only two acting credits to his career. Zorro the Pimp’s Joseph Gonzalez. Gonzalez made his acting debut in Henenlotter’s Brain Damage as a meat head in the shower. In that film, he’s actually a pretty decent guy, telling a skinny, scared looking man entering the showers, “Hey man, don’t worry about it, ain’t no body gonna bother you”. Before having his brains eaten. Here, as Zorro the Pimp, he runs around like a cracked out businessman Lou Ferrigno type-Hulk and it’s nothing short of glorious. I’m not going to call it good parse, but there’s something about Gonzalez’ line delivery that should be studied. There’s nothing like it. As he says (while his mouth isn’t even moving) *Clip here* “Zorro knows what you need to get in the right state of mind…some of this sweet, sweet…ROCK”.

Made for a budget of $2.5 million according to Box Office Mojo and produced by Shapiro-Glickenhaus Entertainment (or SGE for short), Frankenhooker was, at the time, Henenlotter’s most expensive film to date. Henenlotter sang the praises of SGE in an interview, stating that the company was extremely supportive of the films he had made for them. He even states that if they were still in business, he’d still be making films. Which would be pretty rad.

Part of Henenlotter’s love for SGE came from the fact that they fought with him against the MPAA when the company refused to give the film an R rating. This, despite Frankenhooker’s decided lack of gore. Henenlotter mentioned that at the infancy stages of the movie, SGE asked how he was possibly going to make it without receiving the dreaded “X” rating from the MPAA. He explained that the movie was a comedy, not a horror film, and thus would not have gore. He said, “when I kill all these women, I’m not going to have any blood or gore. I’m going to do this like fireworks. It’s going to be hilarious.” But when the MPAA called with their results, they didn’t think it was that funny. As Henenlotter tells it, the head of the ratings board at the time, Richard Heffner, called and said they had screened the film and were going to rate it an “S for sh*t”.

This emboldened Henenlotter’s understandable suspicions the ratings board were corrupt, saying, “That was the ratings board. It’s supposed to be an impartial, nonjudgmental organization who is all a crock of sh*t.” SGE decided to back Henenlotter and instead refused to accept the X rating or the R rating. Releasing the film unrated in all of its glory. Apart from one specific version of the film made for the most prudish of video stores Frankenhooker was released in all of its unrated glory on home video.

Though Henenlotter had a good time working with SGE, it doesn’t mean the shoot was without its problems. Allegedly at one point in the production they went over their budget and had to bring in someone “unlicensed” who told Henenlotter “don’t worry…..it’s maybe safe”. He also ended up having to handle the cinematography himself as he had done on both Brain Damage and Basket Case after, as he puts it, “the DP we got flaked out”.

Frankenhooker was filmed in part at Pier 40 in New York where, as Fangoria #90 put it, was a semi derelict storage facility where they would also be filming Basket Case 2. Back to back. Henenlotter explained this was the only way to make both films on such a low budget, saying, “both films are far more ambitious than you would assume from the budgets. By setting up the studio on the first one, we already have everything arranged for the second, minimizing our overheads.”

Henenlotter once again worked with the amazing special FX guru Gabe Bartalos who helped him set up the intricate shot of nine hookers exploding in a hotel room. They achieved this by having the ladies freeze in their positions and then creating full body molds of them in said positions. They then filmed up until the point of fruition and removed the actresses from the set, replacing them with the molds, and blowing them the F up.

It’s not all fun and exploding hookers. Neither in the stressful creation or the film, nor in its meaning. Henenlotter explained “a film has to be about something”. In this case Jeffrey wanted bring his girlfriend who struggled with her body image before she died back to life as this porno mag centerfold. The end of that movie is him paying for that sin. You may not need a decoder ring to get it, but it deserves credit where credit is due. Even something as dumb and fun as Frankenhooker can have something interesting say in the right hands. As Henenlotter puts it, “I’ve always been fond when women embrace Frankenhooker. Because they see past the T & A and realize….’That son of a bitch tried to fix her!”.

There you have it. Frankenhooker. A feminist film. I kid, but these films do tend to be far smarter than the average critic gives them credit for. One scene between Jeffrey and his mother where he bares his heart to her that he’s losing it, becoming amoral and veering toward utter madness only to be offered a sandwich? Is a particularly hilariously sharp take on mental health and relationships. But its funner in a movie that features a character feverishly digging through a container of dismembered hooker breasts.

At some point amongst the filming and or editing of Frankenhooker, an unlikely ally appeared onto the scene in Bill Murray. Murray had been editing his film Quick Change and ended up hanging around for a bit. Murray was later quoted as saying, “If you see one movie this year, it should be Frankenhooker”. Which, at the time, absolutely had to blow people’s minds.

Eventually, the rights to Frankenhooker and other SGE properties were sold to Synapse films who released the film on Blu-ray in 2011 before Troma Entertainment purchased the entire SGE catalog in 2021. Here’s hoping we’ll get a 4K special edition some day with all the fixings.

In the end, Frankenhooker is a hilarious and underrated mix between Porky’s, Weird Science, and Reanimator that was destined to become a cult classic from the day Henenlotter improvised it in that meeting room. One of those rare movies whose hidden qualities you appreciate more and more upon each viewing. And that, my friends, is what happened to Frankenhooker.

A couple of the previous episodes of What Happened to This Horror Movie? can be seen below. To see more, head over to our JoBlo Horror Originals YouTube channel – and subscribe while you’re there!

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On Halloween of 2022, it was announced that original Friday the 13th screenwriter Victor Miller – fresh off winning the U.S. copyright to the 1980 film after a lawsuit that stretched on for years – was teaming up with his lawyer Marc Toberoff, franchise rights holder Rob Barsamian, production company A24, the Peacock streaming service, and showrunner Bryan Fuller (whose credits include Hannibal and Pushing Daisies) to develop a new Friday the 13th streaming series called Crystal Lake. Things were moving ahead at a good pace, filming was expected to begin this July, but then the project hit a speed bump at the end of April with the firing of Fuller and his frequent collaborator Jim Danger Gray. Things got back on track in late August with the hiring of a new showrunner – and that person is Brad Caleb Kane, who also serves as co-showrunner and executive producer of It: Welcome to Derry, the It prequel series that’s coming to HBO next year. Earlier this month, another Friday the 13th came around on the calendar, and Kane took that opportunity to give a small update on Crystal Lake.

On Instagram, Kane wrote, “Wish I could give a more substantial update but mum’s the word. Suffice it to say the story’s been broken, scripts have been and are being written and the goal is to give the fans (including myself) a tense, scary, bloody and satisfying ride that’s well worth the wait. More news to come in the new year. Unless, y’know… we’re all doomed.“

In addition to showrunner, Kane will be credited as creator, writer, and executive producer of Crystal Lake. It remains to be seen if he’s using anything from the original Fuller scripts and outlines, or if he scrapped those and started over completely. When he was hired, he provided the following statement: “From the moment I watched Jason Voorhees squeeze a guy’s eyeball out of its socket (in glorious 3D!) at the tender age of 8 years old, I knew my creative path was someday destined to converge with The Man Behind The Mask. Nothing defined my childhood more than growing up in the golden age of the slasher flick, and nothing’s defined the genre more than Friday The 13th. I couldn’t be more excited for the opportunity to contribute a chapter to this iconic franchise, particularly with such fearless partners as Peacock and A24.“ In addition to It: Welcome to Derry, Kane’s TV credits include Fringe, Black Sails, Lodge 49, Moonhaven, Warrior, and Tokyo Vice.

A while back, an article published by The Wrap sought to figure out why Crystal Lake fell apart just a few months before filming was scheduled to begin. Their sources gave a lot of conflicting information, but it seemed to boil down to concerns about Fuller’s vision, late scripts, a ballooning budget (it was surpassing the $85 million being provided for the first season), unpaid writers… and possibly A24 executives’ lack of TV experience.

Fuller’s approach to the material was to make each season a deconstruction of the first four Friday the 13th films. “The series would incorporate lore from several sequels but remix that material in a way similar to Fuller’s Hannibal, which interpolated the Thomas Harris novels for three seasons.” So season 1 would be set “in the immediate aftermath of the drowning of a young Jason Voorhees,” and it would center on his mother Pam as she goes on a homicidal rampage of revenge. That rampage doesn’t turn out well for Pam, opening the door for Jason to return and start his own killing spree. Charlize Theron was on the wish list to play Pam, and Claire Danes was actually offered a one season deal to play the character, but she turned it down. Vincenzo Natali (Cube) and Kimberly Peirce (Boys Don’t Cry) were going to be directing episodes, while Scream screenwriter Kevin Williamson was writing an episode that would have been an hour-long chase sequence “set entirely on a frozen Crystal Lake, with the summer camp’s cabins trapped under snow drifts.”

Each episode of Crystal Lake was set to have a budget of $9.6 million, but A24 reportedly wanted to cut that in half. Maybe Kane’s vision will allow them to do that.

Are you glad to hear an update from Brad Caleb Kane? Share your thoughts on Crystal Lake by leaving a comment below.

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Netflix has just released the new teaser for the political thriller Zero Day. The series deals with the United States’ response to a devastating cyber attack and the attempt of bringing the perpetrators to justice. The series will be six episodes and is set to stream on Netflix on February 20, 2025.

The official synopsis reads,
“Zero Day is a limited series starring Robert De Niro as respected former U.S. President George Mullen, who, as head of the Zero Day Commission, is charged with finding the perpetrators of a devastating cyber attack that has caused chaos around the country and thousands of fatalities. As disinformation runs rampant and the personal ambition of power brokers in technology, Wall Street, and government collide, Mullen’s unwavering search for the truth forces him to confront his own dark secrets while risking all he holds dear.

Zero Day is written and executive produced by Eric Newman and Noah Oppenheim, with Lesli Linka Glatter as executive producer and director of all six episodes. Michael S. Schmidt also serves as writer and executive producer, with Robert De Niro and Jonathan Glickman as executive producers. Starring Robert De Niro, Angela Bassett, Lizzy Caplan, Jesse Plemons, Joan Allen, Connie Britton, Matthew Modine, Dan Stevens, Bill Camp, Gaby Hoffmann, and Clark Gregg.”

Series creator Eric Newman would state, “As a lifelong fan of American cinema, no actor looms larger for me than Robert De Niro. To have him as a producing partner and star in this show is beyond our wildest dreams. I’m grateful to Netflix for their continued faith and support and thrilled to be in business with the amazing creative team of Noah, Lesli, and Jonathan on this timely (and terrifying) series.” He would also speak about the Taxi Driver star’s producing role on the show, “[De Niro] very much became our partner in this process — very hands-on, very involved, read everything at every stage, and it’s been an incredible honor and privilege. You can count on one hand the actors and actresses in history who bring this level of gravitas, pedigree, and talent to their work.”

De Niro would also talk about his fondness for his character’s tact as a former president, “That’s the spine of my character in the show. Don’t dodge anything. Don’t play games. Be honest about what’s going on so that the public knows what’s going on.”

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In 1968, director George A. Romero re-defined the word “zombie” with his feature debut Night of the Living Dead, one of the most highly respected and beloved horror movies ever made. Unfortunately, Romero and his collaborators didn’t make as much money off of that film as they should have, due to a copyright mistake that instantly put Night of the Living Dead in the public domain. So twenty-two years later they decided to produce a remake with legendary special effects artist Tom Savini directing. The 1990 version of Night of the Living Dead (watch it HERE) didn’t have the smoothest production – in fact, Savini  has described the experience of making Night ’90 as “the worst nightmare of my life,” and says that the finished film only represents a small percentage of the vision he had for it. The rest was lost due to budgetary limitations, clashes with the producers, and the wrath of the MPAA… But now, it looks like the film is going to be getting a new release that brings it closer to Savini’s original vision!

During an appearance at the Frightmare in the Falls convention, Savini revealed, “If you like that movie, next year something very wonderful is going to happen with that movie. It’s gonna be re-released by Sony and it’s gonna be completely uncensored and uncut. They really put a lot into it. My original thought was, the movie should start in black & white and then eventually become color as an homage to the original film and then this is the new one, and that’s exactly what’s going to happen now. I used to say the movie was only 30% of what I intended, now it’s more like 60.” The folks at The Living Dead Weekend note that Sony has been working on this release, creating special features for it, since 2022.

Scripted by Romero, Night of the Living Dead 1990 has the following synopsis: For reasons unknown, the recently deceased are rising from the grave as flesh-hungry zombies. Fleeing from the undead horde, a small group of survivors, including Barbara, Ben, and Harry, sequester themselves in a remote farmhouse. With the zombies outside the house multiplying, tensions flare, as the group argues over the best way to escape their increasingly dire situation before they are overrun completely.

The film stars Patricia Tallman, Tony Todd, Tom Towles, McKee Anderson, William Butler, Katie Finneran, Bill Moseley, and Heather Mazur.

Are you glad to hear that Night of the Living Dead 1990 will be getting a new release for its 35th anniversary that will bring the film closer to Tom Savini’s vision for it? Let us know by leaving a comment below.

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