Our editor-in-chief Nate Yapp is proud to have contributed to the new book Hidden Horror: A Celebration of 101 Underrated and Overlooked Fright Flicks, edited by Aaron Christensen. Another contributors include Anthony Timpone, B.J. Colangelo, Dave Alexander, Classic-Horror.com's own Robert C. Ring and John W. Bowen. Pick up a copy today from Amazon.com!

Posts by Nate Yapp

Review: Cat People (1942)

Cat People 1942 poster

In 1942, RKO needed to recoup its losses from the financial headaches surrounding Orson Welles' Citizen Kane. They contracted Val Lewton, a Jack-of-all-Trades in Hollywood, to produce a series of B-horror movies with predetermined, audience-tested titles. The plan may have been cheap quickies, but the result was far different: nine complex, modern, and shocking films. Jacques Tourneur's Cat People is the first in this series, and set the standard of quality to which the rest adhered.(read more...)

Review: Captain Kronos: Vampire Hunter (1974)

Captain Kronos Vampire Hunter poster

Captain Kronos can kill three men at once. Captain Kronos can take a vampire bite without turning into one of the undead himself. Captain Kronos is down with G-O-D. Captain Kronos can smoke pot and not get the munchies. Captain Kronos will take your sister out on a Friday night, treat her to a movie, dinner, and fantastic sex, and still have her home before curfew. Captain Kronos makes delicious honey-glazed ham and always shares with the orphans of Dusseldorf. Captain Kronos invented Google. Captain Kronos is better than you.(read more...)

Review: Kolchak: The Night Stalker - The Complete Series (1974)

Kolchak: The Night Stalker

In 1972, "Dark Shadows" creator Dan Curtis collaborated with famed horror writer Richard Matheson to bring an unpublished story by Jeffrey Grant Rice to the small screen as the television movie The Night Stalker. The film, about rumpled news reporter Carl Kolchak (Darren McGavin) and his investigation of a Vegas vampire, aired to outstanding ratings and strong critical response. Based on that success and that of the 1973 follow-up The Night Strangler, Universal commissioned a weekly television series that ran for 20 episodes in the 1974-75 season. Most of the cast from the movies returned for "Kolchak: The Night Stalker," and Rice took a creator's credit, but Curtis and Matheson declined involvement.(read more...)

Review: Spider Baby (1968)

Spider Baby poster

From the moment Lon Chaney Jr's craggy voice begins crooning about the maddest story ever told over the opening credits, it's apparent that Spider Baby is going to be something different from your average homicidal-family romp. Filmed in 1964, but stuck in cinematic limbo for four years, director Jack Hill's debut swirls with a peculiarly innocent sense of horror.(read more...)

Review: Cry_Wolf (2005)

Cry_Wolf poster

In Cry_Wolf, director Jeff Wadlow probes what happens when a lie is taken too far. Unfortunately, in doing so, he crosses the fiction with the film itself, negating the irony required in tackling such a subject. As a result, Cry_Wolf implodes well before it hits the disappointing denouement.

At an elite private high school, the popular kids engage in a game of lies for their own amusement. When fresh-faced Owen (Julian Morris) enters their midst, leader Dodger (Lindy Booth) decides to take the game up a notch. Using a recent murder as a jumping-off point, they spread a rumor that a serial killer is stalking the school. It's all good fun until their killer shows up on campus...(read more...)

John Carpenter

The Masters: John Carpenter

In 1978, one film lit up the horror genre and became the most successful independent production ever (until The Blair Witch Project, anyway). That movie was Halloween, directed by John Carpenter. Carpenter drew his inspirations from the Howard Hawks movies he grew up on, but his output was wholly his own, for better or worse.

Carpenter was raised in Bowling Green, Kentucky. His father was a musician who occasionally played back-up for such artists as Roy Orbison and Brenda Lee. Carpenter himself intended on pursuing music, but his love of cinema drew him elsewhere.

Review: Asylum of Satan (1972)

Asylum of Satan poster

Asylum of Satan poses a critical quandary. How much should directorial intent and fulfillment of that intent affect the rendered opinion? It's hard to argue that Asylum is not a bad film, but it maintains a curious sense of non sequitur horror that pokes through the dreck despite first-time director William Girdler's best efforts.

Lucina (Carla Borelli) wakes up in a strange bed in a strange place. A nurse informs her that she's a patient at Pleasant Hill Hospital, in the care of the sinister Dr. Specter (Charles Kissinger). Haunted by strange encounters and confusing visions, Lucina soon suspects that all is not as it seems in this place. If her lumpy fianceé (Nick Jolley) can't save her, she may become a fresh sacrifice for Satan himself!(read more...)

Review: Dead & Breakfast (2004)

Dead and Breakfast poster

How do you review a film that has "It's like a bad horror movie... only worse" as a tagline? In a calculated move, the makers have silenced critical input. If you don't like the movie, it's not like they didn't warn you...

Dead & Breakfast turns out to be an amusing enough piece of schlock. Inspired by such seminal splatstick works as The Evil Dead, Bad Taste, and Dead Alive, writer/director Matthew Leutwyler tosses together as many wacky-go-lucky gore jokes as he can muster for a weird romp through ghoul-town.(read more...)

Review: Doctor Gore (1973)


J.G. "Pat" Patterson, Jr., sometimes magician and friend of cult cinema legends H. G. Lewis and William Girdler, put together a little gore film in the early 1970s -- a take on the Frankenstein legend, but with prettier girls and bloodier parts. He assumed six different roles in the production -- director, producer, writer, actor, makeup, and special effects. Never before has one man given so much of himself to produce so little...(read more...)

Review: The Tomb of Ligeia (1964)

Tomb of Ligeia

As Roger Corman's Tomb of Ligeia opens, one striking difference between this film and Corman's other Edgar Allan Poe films becomes immediately apparent. Shooting on location, in the honest-to-gosh English countryside, the director has unbound Ligeia from the stagy, claustrophobic studio sets that marked the rest of the series. Indeed, the entire first reel takes place outdoors. Unfortunately, the change is merely cosmetic, and the result is a lackluster ending to a classic cycle of horror movies.(read more...)