Laurie Strode Is Getting Her VERY OWN Action Figure by NECA!!!!

Happy Halloween indeed!

Fans of Halloween (2018) and those looking forward to the 7” Michael Myers Ultimate Edition figure, things just got exciting.

For the first time ever Laurie Strode (in Jamie Lee Curtis’ likeness) is going to get her very own action figure, produced by NECA.

Like the Michael Myers figure coming later this year, Laurie Strode will be sculpted from how she appears in the 2018 film. No word yet from NECA of when we can expect the figure or if it will be in the Ultimate Edition line (fingers crossed it will be) or if the figure is going to be a Con exclusive – here is hoping for the former as this figure would be a nice edition to any horror enthusiasts collection.

Tune back in to The Crimson Screen Collectibles for more details as they’re made available. And if and when Laurie’s figure goes up for pre-order, look to us so you’ll be sure to snag one for your horror collection.

Living Dead Dolls Presents: Michael Myers from Halloween

You can’t kill the boogeyman!

Straight out of the 1978 John Carpenter film ‘Halloween’, The Living Dead Dolls present Michael Myers. “The Shape”, as he’s referenced in the film, has become one of the most recognizable icons of modern horror.

Nothing but darkness pierces through the all-new face sculpt of Michael’s expressionless white mask. Featuring rooted hair and presented in his film-accurate blue coveralls, the terror of Haddonfield comes equipped with his signature kitchen knife accessory.

The Living Dead Dolls Presents Michael Myers stands 10” tall and features 5 points of articulation.

He is packaged in a die-cut window box, perfect for display and containing the pure evil within.

Order yours here: https://shop.thecrimsonscreencollectibles.com/collections/mezco-figures/products/michael-myers-living-dead-dolls

Coming soon from MEZCO TOYZ: Mega Scale Exorcist with Sound Feature


Mezco unleashes the Mega Scale Exorcist with Sound Feature figure and it’s sure to make your head spin.

Standing at a menacing 15 inches tall, Regan MacNeil from The Exorcist is presented in a real cloth nightgown from the film. The possessed youth says 6 iconic and hair-raising phrases including “It burns!” and “Keep away! The sow is mine!”. The devil is in the details and each of them have been captured here; from Regan’s untamed real hair to her crazed, piercing eyes and maniacal grin. This Mega Scale Exorcist figure features 11 points of articulation for dynamic nightmarish poses. 

Breaking onto the cinematic scene in 1973, The Exorcist became the first horror film to be nominated for an Academy Award. The film tells the spine-tingling story of the demonic possession of a young girl, and a mother’s fight to save her daughter through an exorcism. 

The Mega Scale Exorcist figure comes packaged in a collector-friendly window box, perfect for display. 

PRE-OREDER yours TODAY: https://shop.thecrimsonscreencollectibles.com/collections/mezco-figures/products/mega-scale-exorcist-with-sound-feature

Three Beloved John Carpenter Films Getting the Steel Book Treatment.

Westley Smith

It was announced a few days ago by Shout! Factory that they are releasing three of director John Carpenter’s most beloved films in Limited Edition Steel Book Covers.

What are those films you may be wondering? Fear not, for I’m about to tell you and disclose the full spec details.

First up: John Carpenter’s They Live

They Live is probably Carpenter’s most discussed film – highly original, very insightful, with thought provoking social commentary about capitalism. They Live may mean more now, nearly thirty years later, than it did when it was originally released back in 1988. It’s a true classic in both Carpenter’s filmography and for action/sci-fi films.


They Live stars Roddy Piper as Nada, a drifter looking for work. After finding work with a local contracting company and befriending Frank (Keith David), Nada stumbles onto a plot involving aliens that are using subliminal messages to control mankind, which he sees for himself once he puts on a pair of sunglasses.

The Bonus Features for They Live are:
o Audio Commentary With Writer/Director John Carpenter And Actor Roddy Piper
o “Independent Thoughts” – An Interview With Writer/Director John Carpenter
o “Man Vs. Aliens” – An Interview With Actor Keith David
o “Woman Of Mystery” – An Interview With Actress Meg Foster
o “Watch, Look, Listen: The Sights & Sounds Of They Live” – A look At The Visual Style, Stunts And Music With Director Of Photography Gary B. Kibbe, Stunt Coordinator Jeff Imada, And Co-Composer Alan Howarth
o Original EPK: The Making Of They Live
o Never-Before-Seen Footage From Commercials Created For The Film
o Original Theatrical Trailer
o TV Spots
o Still Gallery

The second steel book releasing is: John Carpenter’s The Fog

Following the success of Halloween, John Carpenter set out to tell and old fashioned ghost story with The Fog. Though it was not the massive success that Halloween was, most will conclude today that The Fog is one of Carpenter’s best films – eerily spooky, atmosphic, and a creepy ghost pirates in a glowing green fog, what’s not to love?


On the hundredth anniversary of Antonio Bay, pirates return from their graves to seek revenge on the relatives of the conspirators who murdered them.

Bonus Features for The Fog are:
o 1080p High-Definition Transfer Supervised By Cinematographer Dean Cundey
o Audio Commentary With Writer/Director John Carpenter And Writer/Producer Debra Hill
o Audio Commentary With Actors Adrienne Barbeau, Tom Atkins And Production Designer Tommy Lee Wallace
o Interview With Jamie Lee Curtis
o “Tales From The Mist: Inside The Fog” Featurette
o “Fear On Film: Inside The Fog” Featurette
o “The Fog: Storyboard To Film” Featurette
o Horror’s Hallowed Grounds – A Look At The Film’s Locations
o Outtakes
o Theatrical Trailers
o TV Spots
o Photo Gallery

The third release to steel book is: John Carpenter’s Escape From New York

After The Fog, Carpenter would score a huge hit with the action/suspense film Escape From New York. Not only was the film a hit, but it would usher in a wave of dystopian-type movies, much like Halloween did with slasher films.


When President’s (Donald Pleasence) plane is sabotaged and crashes on the island of Manhattan, now a walled-off prison, Snake Plissken (Kurt Russell) is forced into rescuing him. But Snake only has 24 hours to save the President – and his own life – or the bomb in his neck will detonate.

Bonus Features for Escape From New York are:
o — DISC ONE —
o NEW 2K Scan Of The Interpositive, Struck From The Original Negative
o NEW Audio Commentary With Actress Adrienne Barbeau And Director Of Photography Dean Cundey
o Audio Commentary With Director John Carpenter And Actor Kurt Russell
o Audio Commentary With Producer Debra Hill And Production Designer Joe Alves
o — DISC TWO —
o NEW Big Challenges In Little Manhattan: The Visual Effects Of ESCAPE FROM NEW YORK
o NEW Scoring The Escape: A Discussion With Composer Alan Howarth
o NEW On Set With John Carpenter: The Images Of ESCAPE FROM NEW YORK With Photographer Kim Gottlieb-Walker
o NEW I Am Taylor: An Interview With Actor Joe Unger
o NEW My Night On The Set: An Interview With Filmmaker David DeCoteau
o Deleted Scene: The Original Opening Bank Robbery Sequence
o Return To Escape From New York Featurette
o Theatrical Trailers
o Photo Galleries – Behind-The-Scenes, Posters And Lobby Cards

If you are a steel book collector, we highly suggest picking these up. It’s already been confirmed that there are only going to be 10,000 copies made – that’s a small amount when you think about how many people love one, or all, of these John Carpenter films.

Right now, The Crimson Screen Collectibles is running a great deal on the three films. $23.99 each! If you’d like to order one, or all three, drop over to our store and place your order. But like we said, do it fast as quantities are limited.

All three films release August 1, 2017.

Order your copies here: www.thecrimsonscreencollectibles.com


Stephen King’s fogotten gem: The Night Flier (Review)


Frank Ford

With the “IT” trailer dropping this week (looking scary as hell, by the way) it got us here at The Crimson Screen thinking about another Stephen King adaptation that most people have forgotten since its releasing.

Over the years there have been a lot of King’s novels and short stories adapted into movies. Some are great; Shawshank Redemption, The Mist, Carrie, The Shining. Some are good; Pet Semetary, The Dead Zone, and Misery. Some are okay; Needful Things, Graveyard Shift, and Firestarter. And some are just downright dreadful– we’re looking at you The Lagoliers and The Mangler.

But the film I’m discussing today isn’t as well-known as most on the list above, and sadly it has somewhat fallen into obscurity since its releasing twenty years ago.

That film?

1997s “The Night Flier”.

Originally airing on HBO in 1997, before being released into theaters a few months later, The Night Flier revolves around Richard Dees; (the late Miguel Ferrer) a down on his luck, tightly-wound reporter who hasn’t had a successful front-page article in months for the sleazy tabloid magazine “Inside View”.

But Dees’ luck is about to change when his boss, Merton Morrison (Dan Monahan; Pee-Wee from the Porky’s films) offers him a new assignment. It seems someone has been flying around to small airports in a Black Sesna Sky Master killing victims and draining them of their blood. This person calls himself Dwight Renfield – the name is an anagram, Dwight is a reference to Dwight Frye the actor who played Renfield in the 1931 version of Dracula.

Could Renfield really be a…vampire?

Morrison seems to think this assignment is what Dees needs to get him back on the front page, and because Dees has his pilot’s license and his own plane, he can track Renfield’s path to get the bloody details about the murders.

Miguel Ferrer is perfectly cast as the unlikable Dees. The role fits him to a T and he makes you both truly despise and like him at the same time; not an easy feet for any actor but he pulls it off effortlessly. He really carries the movie as Dees; the hard-as-nails reporter who has seen too much depravity in his life and copes with the stress by drinking whiskey and smoking cigarettes – which Miguel Ferrer makes look really cool, if I can be politically incorrect here.

Dees doesn’t agree and passes on the story; allowing Merton to give it to the newest member of the “Inside View”, Katherine Blair (Julie Entwisle; wife of the film’s director, Mark Pavia) who has taken over for a former reporter, Dottie Walsh, who died under mysterious circumstances…

Blair (who Dees refers to as Jimmy, as in Jimmy Olsen) wants to get to know Dees better so she follows him to a bar. While there, Blair asks for Dees’ take on “Inside View”. It is here we see just how despicable Dees is, and tells her that she reminds him of Dottie Walsh, the reporter she replaced. Dottie killed herself because the weight of the stories she was covering was too much for her to handle. Dees found Dottie, took a picture of her body, and wrote the story of her suicide – which in Dees’ words with a chuckle, “Made for a good headline, though”.

Again, Ferrer’s performance in this scene is great and he plays it with such a sinister, spiteful vibe, that you can’t help but admire the guy in this role. He owns it. Like this role was written just for him. I can’t think of anyone that could have played Dees better than Ferrer did.

Dees does give Blair one piece of advice in this scene that will set up the final act of the movie beautifully when he says “Don’t publish what you believe. Don’t believe what you publish.”

The next day, Dees is once again called into Morrison’s office where he’s told that Renfield has murdered two victims in Maryland, bringing his total to four murders – one in Maine and another one in New York (which the movie opens with, brutally). Morrison, at this point, rubs it in Dees’ face that Blair found the nights prior victims through clever ingenuity.

Dees, not one to be shown-up, takes the story but only after Morrison, sleazily, persuades him. Morrison kicks Blair off the case which she protests, considering the story hers.

But Morris has made up his mind and gives the story to Dees.

Dan Monahan plays Morrison like a conniving weasel; he makes you want to reach into the screen and strangle the guy for how he’s playing both sides to get what he wants. Though Morison’s not as outright nasty as Dees, and keeps his true self well hidden, he’s still an unlikeable character.

Dees then flies to Maine where the first murder occurred and interviews Ezra Hannon.


There is a really good exchange between Dees and Hannon here. Hannon, who speaks with a New England accent, asks Dees which paper he writes for and Dees tells him “Inside View”. Hannon laughs and tells Dees that his wife reads that paper, but after she’s done with it he uses it “to line the cat litter box. Soaks up that cat piss real nice.” This small touch of social commentary really says a lot about tabloid publications and how people view them.

Hannon then proceeds to tell him about the night Renfield landed and that he was wearing a cloak that “was a red as a fireengine on the inside and as black as a woodchucks asshole on the outside” – that is such a Stephen King written line, and if you have ever read any of his books or short stories you already know his work is littered with zingers just like that that make you chuckle with delight.

He describes how the first murder victim, Clair Bowie, was acting strange and found him washing Renfields plane, as if in a trance. Later that night, Clair was found dead.

KNB did the effects on the film and there are plenty of moments where you get to see their work shine – none more than when Clair’s body is shown; it’s bloody great!

Hannon then says there was something else that was peculiar to him; he found dirt under Renfield’s plane and that it looked like something dead had come from it.

Later that night, Dees goes to Clair’s grave, and in a dick move to help his story and “Inside View” sell more papers, he kicks the gravestone askew to give his photo a creepier vibe. But Dees still isn’t satisfied and decides to cut himself and smear blood on the gravestone – which seems to link him and Renfield by blood.

This is another little tidbit that I like about this movie and how the media (whether it be mainstream or other) will do anything to enrich a story’s appeal to help ratings or sell papers.

Later, after having a nightmare about Renfield, Dees awakes and finds the words STAY AWAY written in blood on the window of his motel room – Renfield knows he’s on his tail.

Dees then flies to New York and gets the nasty pictures of the second victim, Buck Kendell, in the morgue. Reporting back to Morrison, Dees tells Morrison that he’s calling him “The Night Flier”. Morrison, now overly excited about the news says, “the fatties in the supermarket are going to go nuts. God, I hope he kills more people!” Morrison wants to rush the story to print.

Yet Dees knows this story is just getting started and it’s going to get bigger, stranger, and he isn’t in a rush to get it back to Morrison until he has more.
Morrison, upset that he’s not getting his way, then returns to Blair and puts her back on the story in hopes of getting a story out sooner.

Dees continuing his investigation goes to Maryland where he finds out that Renfield was staying with his last victims and that they were acting strange prior to their deaths, much like Clair Bowie had been, even after being notified by the FAA about Renfield.

Going to the victims home, Dees finds it in total disarray and covered in blood. But when he returns outside, he is greeted by a dog that tries to kill him – one can only assume that this is Renfield; it’s never fully explained in the movie and left up to interpretation.

Dees and Blair finally cross paths at a motel and decide to work together to track down where Renfield is going to be flying into next. After figuring out where he’s going to be landing, Dees locks Blair in a closet, so he can get the full story on The Night Flyer himself.

Tracking Renfield to the next airport, Dees finds the black Sesna plane; the inside is covered in blood and the back is lined with soil. Once inside the airport, Dees finds it littered with dead bodies; blood is everywhere and Renfield is near.

After finding one of the victims with a crucifix stuffed into his mouth, Dees has a meltdown and runs away only to slip in a pool of blood; he heads to the bathroom to puke.

While standing at the sink washing his hands, Dees hears footsteps behind him, but he cannot see anyone in the mirror’s reflection

It is here that the movie’s suspense is ramped up exponentially and with a cleaver use of the camera and special effects we get one of the creepiest scenes in the movie.

Renfield is behind Dees and beings to piss blood into the urinal – but the cool thing is that we don’t yet see Renfield, only the stream of bloody piss against the white porcelain of the urinal. It is a very cool scene that is well executed.

Then, as the camera moves, we start to see the mirrors being smashed – there is no reflection of Renfield in them. And before Dees realizes it, Renfield is standing directly behind him, silhouetted in the shadows, his face hidden. e demands Dees to give him his camera and film and forget about the story, or he’ll kill him.

Dees, with little options left, does as Renfield asks.

As Renfield is leaving, Dees demands to see his face and is sorry he asked when Renfield obliges to his request.

He is a hideous creature. KNB’s Effects are topnotch here and the first time you see Renfield’s face you’re truly as shocked as Dees is in the film.

Renfield’s victims then “return” to life as vampires and Dees begins to fight them off with an ax, chopping them up into bits.

The police enter the airport and find Dees covered in blood holding the ax. Now all of Renfield’s victims on the floor again, dead. Thinking Dees committed the murders they shoot him, just as Blair enters to see the aftermath.

She then takes over the story – writing the Dees was The Night Flier all along. But Blair knows the truth, that Dwight Renfield (a vampire) really killed all those people, but she takes Dees’ advice from the beginning: Don’t publish what you believe. Don’t believe what you publish.

The movie was made on an estimated budget of 1,000,000.00. Mark Pavia had just 31 days to shoot the movie and had it finished in 30 days. Every penny was put on screen and used to the fullest to put this movie together and you can see that in the final product.

Not only is this one of the most faithful King short story adaptations to date, it is also littered with references to some of King’s other works throughout the film – you’ll have to look for them, I won’t spoil that part for you. To find some of them you’ll have to both listen carefully and pay close attention to details in the background. I’m telling you it is a treasure-trove of Easter eggs litter throughout the film to the larger King mythos.

Mark Pavia wanted Stephen King to do a cameo in the film, but because of a book tour he was unable to play the part of the coroner. This is a shame, since The Night Flier is one of the best adaptations to his work, it would have really been nice to see him in this movie.

The atmosphere is heavy and claustrophobic at times, making you hold your breath and grow tense in the right scenes, especially the ending when Renfield is behind Dees.
But what the movie does best, even better than the horror aspect, is that it works as a great mystery. As you go along for this ride, you want to know more about The Night Flier/Renfield. You want to know why he’s killing people, how he’s doing it, and how is Dees going to solve the mystery, even though he’s an unlikeable character you’ll find yourself rooting for him.

As I’ve said above, KNBs effects are great in the movie; thought they are used sparingly, but when they are on screen there work is proudly displayed.

If there is one place where the film lacks, it’s in the budget. There are a few more things in the story that could have been fleshed out better. Like the dog that chases after Dees or why Renfield was caring dirt in his plane. Pavia was shooting with limited funds within a tight timeframe. He had to do set-ups quickly and efficiently to get the movie done. The small imperfections and plot holes are minor and the viewer can make their own conclusion about the dog and the dirt, if they want to.

Though The Night Flier has no connection to Salem’s Lot, (though King himself said that Renfield is the same vampire in his story Popsy) it feels very akin to that story – especially in the third act of the film, when Renfield’s victims come back to life as vampires. They even look similar to the vampires in Toby Hooper’s Salem’s Lot. It’s really cool and I can’t help but wonder if that was done on purpose since they had tied other King works in with this movie?

But Renfield isn’t the only character in The Night Flier that makes an appearance in one of Kings other stories, Richard Dees does as well in The Dead Zone.

If you haven’t seen this forgotten gem I highly recommend seeking it out. As of this writing it has not been released on Blu-Ray and the DVDs are long out of print – hopefully someone like Scream Factory or Arrow can pick this movie up and give it a rightful restoration collector’s edition and save if from obscurity.

The Night Flier deserves to fly again…

9 out of 10 stars.

[youtube https://www.youtube.com/watch?v=Do6BqbQRIv8&w=560&h=315]



The Witch (Review)


Westley Smith

The Witch (2015)

Director: Robert Eggers

‘The Witch’ directed by first-timer, Robert Eggers, is not for the normal horror crowd going out on a Friday night looking to have a good time with some laughs and scares while eating their popcorn and clutching onto the person sitting next to them – though the latter is absolutely going to happen, but only if you like psychological horror movies.

Scary and extremely tense at the same time, The Witch falls back onto old-school story driven horror without all the flashy cuts, cheap jump scares, and big name actors to draw you in.  Much like last year’s It Follows and The Babadook, The Witch delivers on the creepiness without showing you much and relying on strong storytelling, mood, and atmosphere to suck its audience in and scare the hell out of them.


The story revolves around a devout Christian family banished from their settlement and sent off into the wilderness to survive on their own.  After finding a piece of the earth to harvest, they build their home and begin to settle in.  But all is not what it seems and soon their youngest child goes missing, literally vanishing right before Thomasin’s (Ann Taylor-Joy) eyes as she is playing a game of peek-a-boo with the child.  It soon becomes apparent that there is more going on in the forest that surrounds their homestead, and that there is something in the woods casting its evil upon the unsuspecting family.


The creepiness of the movie comes mostly from the slow-burn tone of the film, the unsettling performances from the cast – especially the younger ones (Ann Taylor-Joy & Harvey Scrimshaw)  and the creepy twins (Ellie Grainger & Lucas Dawson) who talk to a horned black goat they refer to as “Black Phillip” – and their fanatical religious beliefs of the supernatural that starts to pit the family against one another, that’s fueled by the parents William & Katherine (Ralph Ineson & Katie Dickie).


Note: there is not one single jump scare in the movie.  I repeat: not one single jump scare in the movie.

Rather than frighten us with jump scares, director Eggers uses a slow unnerving pace, hallucinatory images, characters unraveling amidst a horrifying supernatural crisis, and the dark to bring out the things that go bump in the night, and in our minds.

Since the story takes place in 1630 (sixty years before the Salem Witch Trials) witchcraft was a huge concern to families all across New England at the time.  And once the fingers begin being pointed, mostly at young Thomasin, the family begins to unravel both mentally and physically in fear that there is a witch among them.


What is essential to know going into this movie is that the dialog is spoken in Old-English – taken from real letters, journals, and text from the 1600s – making it feel all-the-more tangible for the characters to be speaking in such a tongue. At the same time, using this dialog makes it somewhat hard to follow and may upset some viewers who find themselves wondering what the characters are talking about.

If you’re looking for a horror movie that is fast and gory, The Witch isn’t the movie for you.  At times the pace is very slow, almost crawling along, with long moments of the characters praying or talking about religion or damnation for their sins as humans.


But if you’re looking for a slow-burn psychological horror story with a satanic flair that gets under your skin and scrapes the bone, give The Witch a try.  Yet understand what kind of movie you’re getting into before entering the theater, as this is not a traditional horror movie that everyone is going to like.

8 out of 10.


[youtube https://www.youtube.com/watch?v=EzMM0VGhQks&w=560&h=314]