The 1970s remains one of the great decades for American cinema, and one of the key filmmakers from that era is William Friedkin, the director who gave us two of the best films of the decade: the hard-hitting police drama The French Connection (1971), and the groundbreaking, iconic horror film, The Exoricst (1973). Now, Friedkin tells the story of his remarkable career in his new book, The Friedkin Connection: A Memoir”.

Friedkin begins by relating how his directing career began not in film, but rather in television, answering an ad in the Chicago Sun Times to work in the mail room for a local TV station, learning the ropes by watching the production from the control room, working his way up to floor manager and eventually director. His descriptions of the TV station at that time paint a vivid picture of the early years of television. The book is filled with details about Friedkin’s early professional directing career for producer David L. Wolper, as well as interesting stories such as his experience meeting Alfred Hitchcock while directing the last episode of The Alfred Hitchcock Hour on the Universal lot.

Perhaps the most interesting chapters deal with the production of The French Connection and The Exorcist, Friedkin’s best-known works. He recalls his first meetings with Eddie Egan and Sonny Grosso, the models for the characters in The French Connection, and his experience riding along with them on drug raids, which he re-created in the film. Shooting the film proved to be a challenging experience, from securing the filming locations in New York, to working with Gene Hackman in bringing out the difficult qualities in his performance of ‘Popeye’ Doyle that Friedkin was seeking. The film eventually won the 1971 Academy Award for Best Picture and is recognized as a classic of the New Hollywood period.

Friedkin’s follow up film, The Exorcist has a fascinating production history that Friedkin recalls in great depth. He describes the difficulty of the casting process, in particular finding a young girl who could play the part of Regan, and recalls his first meeting with Linda Blair, who was eventually cast in the part. Friedkin also goes into detail about filming the prologue in Iraq, which presented its own set of challenges to secure the necessary permissions. Then of course there was the controversy surrounding the film on its release.

As a filmmaker, Friedkin gives readers a great deal of insight into the directing process. His experiences convey the creative decisions involved in directing films across a wide variety of genre and subject matter. Later in the book, he even describes his experience in directing an opera, Wozzek, and the differences between directing for the two mediums.

William Friedkin: A Memoir, published by Harper Collins, is a fascinating read for both filmmakers and those interested in film history. For more information on the book, please visit the Harper Collins website here.

Subtitled "Essays on his Work and Legacy Beyond THE MUPPET SHOW and SESAME STREET, this book compiles a variety of writings by several scholars (including the authors). The authors' previous book, KERMIT CULTURE, examined these two aforementioned shows, which were the centerpiece of Henson's achievements. With this book, they explore avenues that went beyond those more noted areas.

Henson's accomplishments during his comparatively short 53 year life were vast and far-reaching, his creative imagination and artistic vision permeating several areas of the type of children's entertainment that crossed over age limitations. Television's FRAGGLE ROCK and cinema's THE DARK CRYSTAL and LABYRINTH showed Henson able to alternate between insightful TV fare for youngsters under the guise of standard entertainment, and the visual elegance of fantasy filmmaking.

This approach, compiling various essays on common themes into an anthology, allows for a variety of perspectives each offering a great deal of depth to Henson's brilliance for visual imagery, storytelling, and positive underlying themes that have a subliminal impact on the viewer. Conceptual themes that exist beneath the surface, the messages inherent within the entertainment, are all covered with revealing insight.

The only drawback this book has is its being completely devoid of illustrations, save for a nice color shot from LABYRINTH on the cover. Since Henson's work is defined as much by its visuals as by its themes, the lack of graphics to enhance points made in the text is unfortunate. Perhaps this is something of a trifling quibble in that the reader will likely be familiar with the visual checkpoints offered within the various essays.

THE WIDER WORLDS OF JIM HENSON is an important, enlightening compilations of thoughtful, intriguing essays on one of the 20th centuries most creative minds. Highly recommended.

Filmmaker, director and photographer Rich Allen gives us a rich and evocative portrait of New York City in Street Shots/Hooky: New York City Photographs – 1970s, which contains his photographs that conjure up a New York which is a very different place than it is now.

Street Shots/Hooky actually tells two stories. The first is a remarkably personal story about how Allen started taking photos during his time as a bike messenger in New York in the early 1970s. These photographs reveal an eye for detail, with a knack for capturing peoples’ stories in a single snapshot. The second story is the creation of his short film, Hooky, which he made after receiving a filmmaking grant. Unsure of what to film, Allen turned to the local neighborhood residents, particularly a group of kids whom he’d used as a subject for his photography, and set about depicting their experiences on film. As it turns out, making Hooky turned out to be quite a dramatic experience in itself, which Allen does a remarkable job of describing in his book.

Allen’s photographs have a distinctly cinematic quality about them, with a real eye for characters and their surroundings. It seems appropriate that his film, Making ‘Hooky’, should return to some of these same subjects. Allen includes a DVD copy of his film, Making ‘Hooky’, in a sleeve on the back cover of the book, giving readers the chance to see this film for themselves. Making ‘Hooky’ begins by recalling the incredible events surrounding the production, providing background on the neighborhood kids who serve as Allen’s subjects, and his efforts to make his short film, which was faced with such difficulties as one of the kids getting lost during a trip to Battery Park, and the actor playing the cop trying to pick up girls in between takes. The surviving footage from the movie is included in Making ‘Hooky’, featuring the kids’ staged excursion to Battery Park and stealing a cop’s gun, leading him on a frenzied chase in an effort to retrieve the weapon from the mischief makers. The film reveals Allen’s penchants for interesting characters and humor.

For more information on Street Shots/Hooky, as well as Rich Allen’s other projects and City Pound Productions, visit his website at http://www.filmsbyrichallen.com.

Bruce F. Kawin’s Selected Film Essays and Interviews, a collection of his writings spanning from 1977 to 2011, is a welcome addition to film studies literature. Kawin, Professor of English and Film at the University of Colorado at Boulder, writes in a style refreshingly free of the jargon and verbal clutter that all too often serve to obfuscate and distract in academic film writing. This volume collects a number of his most important essays and reviews as well as two interviews with Lillian Gish and Howard Hawks, respectively.

The book is divided into six parts. Part I contains three essays on violence in film, including “The Whole World is Watching” from 1987, which contains a particularly insightful analysis of Kubrick’s Full Metal Jacket. Part II contains three pieces on the horror and science fiction genre, while Part III features reviews of Welcome to LA, The Fury, Piranha, and The Elephant Man.

It is Part IV that should be of most interest to the historians. Kawin’s 1978 interview with the always-interesting Lillian Gish focuses on her career at MGM at the end of the silent era, where she made a number of her best films, including The Wind. The interview reveals the degree to which Gish was involved in the creative process of her MGM productions (though she didn’t receive screen credit as producer), from picking the scripts, the director, and the actors.

Kawin’s interview with Howard Hawks, from 1976, reveals some interesting details about the director’s collaborations with William Faulkner, including mention of an unpublished manuscript of a vampire story (!) As with the Gish interviews, Hawks shares anecdotes about his experiences working at MGM, painting an interesting portrait of his working methods and collaborative process.

Faulkner’s work is also the subject of the first essay, “The Montage Element in Faulkner’s Fiction”, featured in Part V: Literature and Narration. This is one of the most interesting essays in the book, dealing with the contrast between film’s distinct properties and its frequent literary roots. Kawin explores Faulkner’s writing and how it reflected a distinctly cinematic approach in its use of montage.

Part IV, “Getting it Right”, contains four essays on spectatorship and film studies, the first of which – “Creative Misremembering and Other Perils of Film Study” – explores the problems of faulty facts gleaned from poor memory after a screening of a film. “Late Show on the Telescreen: Film Studies and the Bottom Line” explores the differences between viewing films on the big screen and the TV screen, while “Video Frame Enlargements” compares the differences in resolution and image quality between 35mm and video frame grabs used in publication.

Selected Film Essays and Interviews, published by Anthem Press, is an essential collection of Kawin’s writings that contain concise and thoughtful examinations on different areas of film studies. For more information on the book, visit the Anthem Press website at www.anthempress.com.

I’m an avid reader, always have been, since I was 3. I have a lot of influences from Bradbury to Salinger, from Kerouac to King and will read practically anything I can get my hot little hands on so I was particularly pleased to be able to get my hands on “Darling” by Brad C. Hodson. “Darling” is the first novel of acclaimed writer Brad C. Hodson, who has honed his craft and passion for horror through a successful track record of popular fiction and non-fiction short stories.

In “Darling,” Hodson takes readers to Raynham Place, a former battlefield and tuberculosis hospital and home to a number of mysterious occurrences.  When two friends decide to move into this shadowy complex, something appears off, something going beyond the local legends of ghosts, serial killers, and Black Hounds, something that gets inside of everyone living there.  The truth behind Raynham begins to unravel and threatens to burst with horrid nightmares.

First off, I’m going to make the most obvious comparison here. “Darling” reads like a Stephen King novel and in only the best of ways. Things quickly take a tragic turn but not before they get uber creepy and mystifying not to mention disgustingly gross. There’s so many characters here I lost track at times but the few very main characters are easy to keep track of, never fear. That’s really my only complaint with “Darling” is the fact that a few of the characters seemed extraneous and a couple of times I had to flip back through the book to re-read and figure out who was being referenced and why. That’s what happens in an apartment building full of people though and add to that the layers upon layers of folklore and tall tales and it makes for one meaty story.

And what layers they were! Each chapter, each page peels back a new layer to expose a foundation of local mythology and ghost stories, hell hounds and forbidden love that’s built up Raynham Place and by proxy the people living within. “Darling” is set in Tennessee and being from the South myself, I quickly fell in love with the pure Southern gothic of the tale. The South is a fascinating place, especially when you’re sitting around on a back porch late at night, telling tales of days gone by or as Hodson says:
“Growing up in rural Tennessee, my family shared ghost stories which turned me into a lifelong horror and mystery fan,” says Hodson.  “I delight in sharing with my readers tales of murder, mystery and suspense that will continue to haunt them long after they’re read.”

Even at 386 pages, this was a fast read, mostly because I couldn’t set it aside to do those silly little things that make up life like work or eating or sleeping. You’ll quickly be sucked down the rabbit hole into this creepily tense work, just as quickly as the residents of Raynham Place are sucked down the rabbit hole into their bloody, gory twisted versions of home, life and love. If you’re a fan of the horror genre and have been looking for the next big thing, look no further.

About the Author:

Brad C. Hodson is the recipient of the 2009 Roselle Lewis Award for Superior Achievement in Short Fiction. His fiction can also be seen in “Slices of Flesh,” “Horror for Good,” and “Blood Lite 3.” More information can be found at the book’s official website in addition to the social networking sites at Facebook and Twitter.  “Darling: the Soundtrack to the Novel” is available on iTunes and a book video trailer is available via Youtube.

Links:

Website - www.darlingbook.com and www.badmoonbooks.com
Facebook – www.facebook.com/brad.c.hodson
Twitter – www.twitter.com/bradchodson
Video Trailer – http://www.youtube.com/watch?v=wcQfx3MgPBw

I can't rightfully claim to be an expert on erotic cinema, nor can I claim that I have always been a fan of sexploitation, but I will say that I have always had an obsession with strange subcultures and obscured facets of American society. When it comes to cinema, erotica can serve many different purposes, but the most common is either simple titillation or commenting on sexual relationships in some form or another. Simple titillation would best be equated to the thirty minute gonzo sex clips that can easily be streamed on the net which feature no plot and lots of hardcore sex. Dealing with the other classification, we find a wide variety of interesting cinematic tidbits that push the envelope in terms of societal graces. This is where my interests come into play (though who doesn't enjoy the former as well?), and this is also the area that is most explicitly explored within Peep Shows. A book released by Alterimage and edited by Xavier Mendik, Peep Shows is a compilation of 21 articles that cover erotic cinema from the gleefully perverse hardcore scene to the artistic and posh world of soft core. Featuring a litany of very talented writers that delve into numerous topics, this book is sure to open your eyes to numerous new and interesting sub-genres within the world of erotic cult cinema.

Compiled as a series of academic articles on "sex cinema," Peep Shows finds its strengths in both the capable writing of its contributors and the very eclectic topics that they manage to delve into. The topics are varied, but many of the authors approach their subjects while preparing the reader to keep an open mind. If one were to approach the book without an open mind, it is unlikely that they would make it very far past the foreword. The level of writing is very high within the book and the editorial skills of Mr. Xavier Mendik certainly seem to be on-point, because the book is compiled in a seamless and intriguing fashion. Each chapter seems to fade together with the next and the authors all seem to have such a similar sensibility that the work truly seems to be cohesive. For some readers, however, I am sure that the book will come across as being a bit dry. Although some of the contributors do slightly deviate away from the scholarly approach in order to give some levity to their contributions, for the most part this is an academic piece. So, readers can expect some very deep examinations on films that probably didn't intend to say as much as the author would have us believe. Continuing on discussing these contributors, it should certainly be noted that the book features interviews with hardcore icon Seka and foreign import Christina Lindberg, as well as a foreword by Veronica Hart. Certainly, this book packs a decent number of famous contributors for a very polished piece of academia.

The most entertaining aspect of Peep Shows, for myself as a reader, has to be the variety of topics that the book brings to the table. From one chapter to the next, readers will likely discover a new and very peculiar aspect of sex cinema. From the more obvious and popular world of Bettie Page's early pinup days to the more obscure topic of Stephen Sayadian's Night Dreams and Cafe Flesh. Indeed, the article on Night Dreams and Cafe Flesh was a standout for me and marked the moment where I knew that I was completely hooked on this book. I had never heard of Stephen Sayadian, but Peep Shows gives a very solid recount of his career working for Hustler magazine and his reticent entry into the world of pornographic films. He and his band of artists then created two very surreal pornographic films that are the antithesis of quick stimulation. Post apocalyptic Eraserhead-inspired porn would never seem like a fabulous way to make money, but these gents went out on a limb in order to try and create something artistic - and in some ways it seems that it paid off. This fabulous little article, written by Jacob Smith, is just one of several very engaging articles about obscure facets within the wild world of erotica.

While the book generally hops around in numerous areas, including porn spoofs and the work of Italian exploitation/porn mastermind Joe D'Amato, the book can't cover everything. It would have been nice to see some broader international coverage, including a look at the pinku market of Japan or the CAT III world of Hong Kong cinema, but for what it is Peep Shows is a resounding success in every way. Continually entertaining and always a learning experience, the book asks for its audience to enter with an open mind and it rewards them with a wealth of knowledge along the way. While it surely isn't for every person's taste, Peep Shows is the expected result of a world no longer wholly ashamed of their craving of erotic cinema. With the advance of the internet, it now seems common knowledge that nearly the entire computing populace partakes in pornography of some sort. Peep Shows simply takes a look with a wholly objective eye and tries to associate all of the topics of our sexual culture and align them in a cohesive fashion. I highly recommend the book, and if you're interested you can read more about it and order it here.

From silent era comedies like Chaplin's SHOULDER ARMS and Harry Langdon's SOLDIER MAN to such recent films as DELTA FARCE and MEN WHO STARE AT GOATS, Hal Erickson's mammoth study MILITARY COMEDY FILMS is a thoroughgoing look at a popular sub-genre that spans the history of movies.  Erickson leaves few stones unturned, covering everything from the conventional army comedies of Abbott and Costello or The Three Stooges to the anti-war films, stories about the home front, military comedy's involving women as the central figure, even cartoons.

The rigidity of military life, especially basic training, has been easy fodder for slapstick comedy for some time. Even actual war escapades have been used as a backdrop for comedy, from the various historical wars up to more recent ones. Erickson's examination of this sub-genre explores a variety of different directions, whether they be more serious satires in the DR STRANGELOVE manner (attempting to make a statement with the humor), or something simply designed for laughs such as the Dean Martin-Jerry Lewis vehicles JUMPING JACKS or SAILOR BEWARE. Through it all, Erickson puts the entire sub-genre in perspective, discussing how the various styles relate to one another and thoroughly their significance, their impact, and their timelessness.

While this reviewer was not trying to find films that were overlooked, especially in a book that is so complete and detailed, I did find it curious that even in a casual reference to Elvis Presley when discussing the Sal Mineo-Gary Crosby movie A PRIVATE'S AFFIAR, Erickson makes no mention of Presley's own military comedy G.I. BLUES. But that is a trifling quibble.

It is particularly interesting how Erickson assesses Buster Keaton's civil war comedy THE GENERAL, realizing that the focal point is Keaton's role as a civilian who is not actively involved in the Civil War as a soldier. His argument for inclusion in his book is sound, is examination of the film within that context is fascinating.

Another notable aspect of this book is how Erickson acknowledges the less notable films within the sub-genre, including mentioning such interesting low budget efforts as LEAVE IT TO THE MARINES with Sid Melton, MILITARY ACADEMY featuring a few erstwhile Dead End Kids, and a series based on rustic comic book character Snuffy Smith.

MILITARY COMEDY FILMS is filled with fascinating information about a sub-genre that covers the entire history of film. It is most highly recommended.

Offbeat, tempestuous, energetic, unpredictable, and immensely talented, actress Lupe Velez was all of these. Her work is perhaps best known today as the girl in the egg-breaking bit with Laurel and Hardy (from the 1934 film Hollywood Party), or perhaps her series as the Mexican Spitfire, Velez is often only noted for her tragic suicide in 1944. With her usual expertise at painstaking detail, Vogel's heavy research reveals the troubled, vulnerable woman beneath the persona, while correcting long-standing errors and rumors that have unfortunately persisted.

Not merely a biography, this is a book which has everything. Velez's life, relationships, as well as her personal triumphs and tragedies are all covered in accurate detail. Her career, growth as a performer, settling upon a niche in Hollywood films, and impact on the careers of others is also examined.

What might be most interesting is the reaction to her work and personality. Vogel draws from a myriad of period reviews for the former, and for the latter she sought out interviews performers who had worked with Velez. Actress Marjorie Lord (perhaps best known for playing Danny Thomas's wife on TV during the 50s and 60s) recalled in a Classic Images piece:

...she was full of energy and her language was something. She was
an exhibitionist ....she went right through you. I liked her, but she
took over. You knew she was there.

Lupe Velez was one of those performers for whom the cliché "bigger than life" is an apt description. Her charismatic presence exploded onto the screen, even in smaller roles. The Laurel and Hardy sequence cited above is a particularly effective example of her versatility, her having to slow down to the pace of the comedy team and offer the subtler reactions conducive to their method helped make this one of the many iconic scenes of the duo's career.

Vogel's book concludes with a thoroughly annotated filmography, containing not only complete credit and story information, but often reviews and anecdotes. It is a book in itself.

Finally, this extensive look at Lupe Velez's life and career is filled with rare photographs, some offered by family members, giving further illustration to the actress' life.

Michelle Vogel has carved a firm and lofty niche among Hollywood biographers, noted for her thoroughness, accuracy, attention to detail, and readability. Lupe Velez -The Life and Career of Hollywood's "Mexican Spitfire" may be her best work so far.

There are literally hundreds of books that survey the entire history of the horror film and most of these books follow a very standard and logical, albeit overused, format. Just about every survey of horror films divides the genre into decades. A typical survey of horror would include the silent films of the teens and twenties, Universal horror films of the thirties, the color Hammer films and horror/sci-fi hybrids of the fifties, and so on. Occasionally a book may attempt to divide horror films into rough categories like haunted houses, ghosts, monsters, zombies, and such. But author and cinephile Bruce F. Kawin has added a new and refreshing twist to a topic that has been dissected more times than a corpse in Dr. Frankenstein's lab: he has divided all horror films into categories based upon the type of monster contained within the film. Thus, we have larger categories such as general monsters, supernatural monsters, and human monsters, and within these larger sub-genres, Kawin has further divided each group into more specific sub-subgenres. The result is one of the most unique treatises on horror films this reviewer had read in a long time.

Ostensibly written as a college-level textbook, Horror and the Horror Film is part of the larger series New Perspectives on World Cinema and is printed by Anthem Press. As such, the book is extremely information-rich and is filled with both film criticism and basic film theory. It is not your typical survey of horror films written for the average fan. I found myself, a huge fan of the genre, having to re-read parts in order to better process all of the information that is presented. But this doesn't mean it isn't accessible to the horror fan; rather, it presents a unique, in-depth analysis of many of the major thematic elements contained within the genre--some of which I was unfamiliar with--and categorized using a method that I have never seen before.

The book opens with a fascinating discussion of the horror film in general: its origins, how horror may be defined and why horror appeals to so many filmgoers as well as some of the commonly reoccurring tropes and themes contained within the genre. Kawin has a terrific grasp of horror film theory and discusses various reoccurring elements contained within the horror film such as beauty, reflexivity, horror within a framing device (usually a window), and the use of Forbidden Texts as a means for either understanding horror or initiating horror (either wittingly or unwittingly) as well as the ubiquitous One Who Knows--a person with secret or unexplained knowledge that tries to warn others of impending danger only to be killed for their warning attempts. Kawin covers all of this material in the first section of the book, using some genuine classics of the horror film as examples; thus we get in-depth analysis of films such as Carl Theodor Dreyer's truly unique Vampyr, Michael Powell's visionary Peeping Tom, the underrated Dead of Night, and many more.

The real meat of the book, however, is the second section which is constructed around Kawin's unique categorization and is aptly deemed "The Book of Monsters". Categorized into three major sections, Kawin discusses films that portray natural monsters, supernatural monsters, and human monsters. Within each of these three larger categories are subdivisions in which Kawin selects a handful of films as representations. For instance, in the first section of the "The Book of Monsters", Kawin discusses more natural monsters (as opposed to supernatural), such as beasts constructed by scientists (the Frankenstein Monster) or created chemically (Mr. Hyde) or surgically (Island of Lost Souls), monsters from space (The Thing from Another World, Alien), plant monsters (Invasion of the Body Snatchers), and even child monsters (It's Alive, The Brood, The Funhouse), among many others. The second section covers supernatural monsters such as vampires, werewolves, witches, demons and devils, mummies, and zombies, while the third and final section surveys human monsters like mad scientists, crazed artists, ghouls, True Believers, killer families, and many others.

Kawin closes his book with a third and final section that is a discussion of horror comedies, dividing these into categories as well. He also briefly covers horror documentaries, choosing to discuss historical documentation of horrors like the Jewish Holocaust or the coldly clinical scientific autopsy as opposed to discussing supposed documentary horrors like the Faces of Death series and films of that ilk.

It is clear that Kawin is not just a scholar but also a fan of horror. He writes with the passion of a horror fan and includes films only hardcore horror buffs would know such as Men Behind the Sun, Basket Case, Salo, Black Sun: The Nanking Massacre, and The Mutilator. And while Kawin certainly covers the classics, from Nosferatu, The Cabinet of Dr. Caligari, and Haxan to the Universal horror gems of the 1930's, he also is surprisingly up to date and mentions films released as late as 2009. I found many of the discussions contained within the book entertaining and enlightening. One discussion in particular, an explanation of the supernatural undertones of Friday the 13th, helped me to understand parts of the movie that have always bothered me. The one problem I had was Kawin's affinity for overly long and sometimes confusing descriptions of plotlines. While I found many of the plot descriptions to be unnecessary, one must remember that this book is meant to be used as a college text, so one must assume that some people reading the book might not have the same amount of exposure to horror films as others.

Overall, Horror and the Horror Film is an extremely insightful and entertaining examination of the genre. The structure is both unique and refreshing and the author is clearly an expert on the subject matter. This is one of the best surveys of the genre I've read to date and well worth purchasing if you are a student of film history or simply a horror movie fan interested in delving into some of the more cerebral aspects of the genre.

While writing for Rogue Cinema, I have been lucky enough to cover a broad spectrum of media forms. I have written, of course, about various film genres, but I have also done animated movies as well. I have written book reviews, and even covered online serials. However, up until now, I have never reviewed a comic! This changes with the new addition to the Drive-In Horror Show media brand, who have taken their anthology film and moved it into a very different direction. As a big fan of the original anthology film, I was excited to experience the comic and see if it was a work that was equally as creative. For a short answer, I will simply say: yes, yes it is.

I don't think a plot synopsis is entirely necessary for this book, as it would only take away from its effectiveness. Essentially, the book works in the same style as the movie. We have a drive-in theater that targets the ghouls and ghosts of a post-apocalyptic world, and this theater shows various horror movies. This first comic only displays one story, but it is insanely creepy! The plot found in the comic certainly matches the quality that was found in the original anthology film, and it certainly roots both projects even more firmly in a world that resembles something from the EC Comics brand. The artwork present in the book is very eerie, and doesn't appear interested in going for total realism or gore. Instead, there's an artistic flare found in the book that distinguishes itself. The book is also printed on thick paper, with very glossy ink, so it generally looks very classy.

I am not entirely sure what the plan is for the Drive-In Horror Show comic, but I would sincerely love to see it turn into a regular series that I could pick up at my local comic shop. The stories would no doubt provide the ghoulish atmosphere that horror is often missing in this day and age, so hopefully someone jumps on the bandwagon and we get to see more of these. If you'd like to read more about this project and many others, check out the official Drive-In Horror Show website: