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My Writing Process Blog Tour

First off, thanks to Rebecca J. Allred (@Ladyhazmat) for tagging me in this. It’s made me think about my process. Damn her for making me think. Without further ado, here’s a look into my process.

What Am I Working on?
As of right now, my writing has been put on hold due to my focus and time being dedicated into a new house. I’m moving next month so I hope to resume sometime in October, more than likely the beginning of November due to my annual Horrorfest coming up (details here). Though the wait might be long, the question of what I’ll be working on has already been answered. I usually write film reviews (works here) but I’ve decided to go back to my true passion: screenwriting. I’ve got all these ideas, and I’m confident to say that they would all make for great films. Once I start, I’ll be collaborating with other writers and this next stage in my life will the start of something special. 

How Does My Work Differ From Others of its Genre?
This question is rather tricky. From my earliest years to this year, when I got back into writing, I’ve found that I can’t stick to one genre even if I tried. I might have a couple of easy favorites I lean towards, but it’s important to my inner drive that I branch out as much as possible. Some genres are harder to write than others, I must admit (damn comedy).

Why Do I Write What I Write?
I’m referring to my memory cycle for this one. When I grew up with films, I didn’t grow up with just one genre, I grew up with all of them. Each one has inspired me to tell some sort of story, one different than the other.  I want to conquer a story in every single genre of film, and literacy. I’m a guy made of up of different aspects and angles. Being confined to one or two of those would just be crazy. 

How Does My Writing Process Work?
The details of this change every time but it goes a little something like this…

****An idea pops, usually when I’m doing something productive (never when I’m relaxing or lazy). Once it does, I lock it in one of the two ways: I either jot it down via paper or voice recorder (thank you app on my phone), or if I’m listening to a song while it manifests, I associate it with that song and there it shall say. I love when that happens. 

****Once I find the time to properly get the idea down, I start writing down as many details as I have. In this phase, I never try to force myself to create aspects to add to it on the spot; everything has to come naturally. And while I don’t force myself to do that, I certainly help my brain the best way I know how: soundtracks.

****I start assembling songs and soundtracks that I feel could help my story flow the best. I don’t limit myself in this phase, either. I get and grab whatever sound I can for whichever story, and I form it all until I come up with a playlist that can I have playing on repeat whenever the writing time starts. 

****Next comes the infamous first draft, and I do not hold back here. I have the music and the brain locked onto this one story, and I just let it all out. The first draft almost always acts as a story outline rather than constructed paragraphs. I form everything first, and then…

****Comes the phase where I make it all look pretty. This current phase is actually still new to me. Since I got back into writing just this past year, this is a phase that I have yet to perfect, but once I do, I look forward to sharing that with you all once I have it. I imagine it’ll be a combination of editing, structuring, editing, crying, self loathing, editing, reformatting, and ultimately triumph. As a matter of fact, I’m going to try something new, as recommended by screenwriter Dustin Lance Black (you can see that process here).

While I might not have everything figured out just yet, I think I’m off to a good start. I’m in the company of some fellow writers that are just as passionate as helping fellow writers as they are about their own work, and having some friends know & understand your struggles and victories is a big plus. One more thing I’d like to add: I mentioned before that I like the writing to come naturally. Working on a deadline is also a must. I recommendation I have is this: if you’re working on your own stories, allow yourself some time to not only process the idea, but also to let it breathe. Get some details in there, and once you have a few that you can use as stepping stones, then put the pressure on a bit. 

Thanks for reading. 



Tweetheads! As a surprise to you and me (hehe) I’ll be hosting #MTOS this weekend! The topic this time: Your movie collection—digital vs. disc. The times are a changin’ and I’d love know your thoughts on the quiet emergence of this new format war. Thank you @AustinMovieSnob and @MisterGreggles for your help! Have fun!

  • Q1-If you’re a physical media disc-only person, what would it take for you to switch over to digital? #MTOS
  • Q2-Recently more special features have been added to digitally purchased films. Would that be enough to convert disc-only people? #MTOS
  • Q3-The U.S. home release of Star Trek Into Darkness saw the splitting of special features between disc & digital. Sign of a new trend? #MTOS
  • Q4-One of the drawbacks to buying digitally: multiple formats being sold (.mov, .mp4, etc). Should one preval or fine the way it is? #MTOS
  • Q5-The ability to hold your films, along with sometimes stellar packaging. Is that something that still applies/appeals to you? #MTOS
  • Q6-Most blus come with a digital copy/UV option that seems like the best of both worlds. Others think it’s a nightmare. Your stand? #MTOS
  • Q7-With the more common mentality of ‘Just want the movie; don’t need the features’, do you think special features are in trouble? #MTOS
  • Q8-If we ever started living in an all-digital-only format (let’s pretend here), what would you do with you existing disc library? #MTOS
  • Q9-If you’ve already gone all digital, do you miss having physical media? #MTOS
  • Q10-A wacky sort of question: if digital beats disc…what would beat digital? Go nuts here. #MTOS

1 Notes

25 OF 2014 (The Most Anticipated Films)

Here’s my annual list of the most anticipated films for this current year. This year wasn’t nearly as difficult as the last two, but the challenge was still there. Still, here it is, and enjoy. 


25. XX
Directors: Jennifer Lynch, Mary Harron, Karyn Kusama, Jen & Sylvia Soska, Jovanka Vuckovic
Release Date: TBD

The horror anthology game has definitely been interesting as of late, with a boost given a by V/H/S back in 2012. 2014 will see the latest chapter in this saga, this time with an all-female army of badasses. The project will come from Lynch (Surveillance), Harron (American Psycho), Kusama (Jennifer’s Body), The Soska Sisters (American Mary), and Vuckovic (The Captured Bird), and although details are scarce at the moment, a line-up of talent like this is more than worthy of our patience. Cheers to 2014 being the release year, though.


Director: Gareth Evans
Release Date: March 28

For all intents and purposes, this shouldn’t have made the list. It almost didn’t. Unlike most of the cinematic action fanboys in the world, I didn’t fall in love with The Raid: Redemption the first time I saw it (and I was jealous of those fanboys). But thanks to multiple viewings and a new perspective on it thanks to the blu-ray, it now has a place in my heart. The big factor: seeing what Evans can do outside of a tall building. His contribution in V/H/S/2 shows that he’s extremely talented. And that first trailer might have given us a glimpse into a promising career for him.

Director: Karen Lam 
Release Date: TBD (Women in Film Festival Debut on March 6)

We’ve already got an all-female directorial charge of horror coming out (hence number 25) but this particular project is a special. It’s the feature-length debut of horror short master Karen Lam, who has shown extreme promise with Doll Parts and The Stolen (you can find my review for that here). Evangeline tells the story of a young girl starting out her college experience, only to find herself in the middle of a power struggle between revenge and the redemption, which comes from the film’s ever going Facebook page. It’s going to be a great year for feature debuts already…


Director: George Clooney
Release Date: February 7

The decision to move Clooney’s newest directorial effort to this New Year from a prime December 2013 was a head-scratcher, although it might have been out of a lot of people’s control. Apparently, the “last-minute” release set date for The Wolf of Wall Street changed the release dates of at least ten different movies. But no matter, because looks like a grand old time. The persuasion of Clooney attracted what could be his best ensemble cast yet, and his angle choice for a heavy-set WWII story (about some brave souls looking to save art pieces from the hands of the Nazis) looks like he might have more fun with this than his past efforts.


Director: Gavin O’Connor
Release Date: August 29

Natalie Portman plays a wife who tries to keep her husband safe from a gang of killers by hiring her ex to protect him. This production story was possibly my favorite of 2013. Actually, to use the word ‘favorite’ might be a bit cynical but it also seems fitting. First came the ever-dramatic departure of original director Lynne Ramsay. Then a day later, Jude Law left the project since he only joined because of Ramsay’s involvement. From that point, the production played the dreadful game of musical chairs with its director and stars. Thanks to the recommendation of a still-involved Joel Edgerton, the criminally underrated O’Connor (Warrior) was brought it. The storm has left. Now all that’s left is the anticipation of the aftermath.


Director: James Griffiths
Release Date: U.S. TBD (February 14 in the UK)

This might be my silliest choice here in the list, but damn if I can’t relate to this. Nick Frost plays a man that tries to win the heart of Rashida Jones by digging up his prodigy roots and salsa dancing to her soul. The plot description alone has me giddy. Combine that with the supporting efforts of Chris O’Dowd, Olivia Colman and Ian McShane and it’s a no-brainer. The feature debut for sitcom veteran Griffiths hasn’t found a U.S. date yet, but I will see the Fury of Frost this year come hell or high water.


Director: Matt Reeves
Release Date: July 11

Taking place a few years after Rise of the Planet of the Apes, Dawn focuses on the thin and violent line of existence between humans and genetically evolved apes, lead by Caeser. Cloverfield was six freaking years ago. How has it taken this long for Clovy’s director Reeves to finally have the reigns to a major franchise? Better is late than never, and sometimes things have a way of aligning perfectly. Rupert Wyatt did a hell of a job jump-starting the Apes franchise with Rise, but when declined to return, that just left the chariot cart open without a driver. Reeves needs something that can showcase his power as well as talent once more. Also, the trailer’s got a hell of a quote already.


Director: James Gunn
Release Date: August 1

My first introduction into Gunn’s wickedly delicious brain back was his work on Tromeo and Juliet, his first credited screenplay that dates back to 1996 (and, has since, brought us Slither and penned the Dawn of the Dead remake). With all of that effort, I was hooked. After all these years, to see him get to play around in the Marvel universe is nothing short of fan-freaking-tastic. He has a solid cast lined up, and the first released pic of said cast (above) is further selling the idea of a Gunn-runned Marvel world is something that we all need.


Director: James Bobin
Release Date: March 21

Kermit’s been framed by a look-alike jewel thief, and it’s up to the gang to break him out and find the dastardly criminal before it’s too late! I was thrilled with the return of the Muppets a couple of years ago, but news of a sequel had me weary. Let’s face it, the Muppets’ track record with sequels isn’t exactly kind (damn you Muppets in Space), and the lack of Jason Segel’s involvement didn’t help my worry either. But everything beyond those points has been smooth, with Bobin returning to the director’s chair, as well as Muppets screenwriter Nicolas Stoller coming back. Also, come on, a movie with the Muppets AND Tina Fey? It’s like a wonderful fever dream already. 


Director: Francis Lawrence
Release Date: November 21

Thanks have to be given to Gary Ross for starting up the cinematic version of Suzanne Collins’ fantastical Hunger Games trilogy, but the franchise now belongs to Francis Lawrence. He more than proved that with Catching Fire, and now that he’s been given the official reigns to conclude the trilogy with new screenwriter Danny Strong (Recount), it’s his to win, or lose. If the quality of these films is kept up, we could be looking at a powerhouse franchise that’s worth the admiration of us cinemaheads.


Director: Seth MacFarlane
Release Date: May 30

Are we still on the debate on whether or not Ted was good? If so, why? Ted was more than good, it was an outstanding feature directorial debut for MacFarlane, and kudos has to be given for coming out of the gate with his dream project. This newest effort is a romantic comedy set in the Western era, so in other words the potential for this is massive. I should also point out this fact: Neil Patrick Harris and Liam Neeson together in the same…freaking…movie. 


14. FURY (Title Might Change)
Director: David Ayer
Release Date: November 14

If there’s another film on this list that comes close to holding a “controversy” candle to Jane Got a Gun, it’s the newest WWII-themed film from David Ayer. Granted, this wasn’t the case until recently. Ayer’s recent effort, End of Watch, was spectacular and 2014 is going to be a big year for him (he also has the Schwarzenegger actioneer Sabotage coming out in April). But the recent antics of Shi LaBeouf, including the reports that he got into fights with everyone on set, have cast a dark cloud over this. I’d like to think the movie itself will overcome. I just want to see what Ayer does next.


Director: Bryan Singer
Release Date: May 23

I wonder if Singer still reflects upon his actions taken between 2003 and 2006. He had the X-Men franchise in his hands after the success of X2, and then lets it go to bring back Superman to the big screen. Superman Returns was highly anticipated, and then it came out. And then…poof, nothing. Singer’s stuck around since, and now, to some people, he’s come back home. I wonder if he himself thinks about any of that while directing the new and old cast of a franchise that is prime for a huge step forward.


Directors: Phil Lord & Chris Miller
Release Date: June 13

“Ladies, nobody gave a shit about the Jump Street reboot…but you got lucky.” Let Nick Offerman’s words set it. He’s back (even if it’s just for a scene). Tatum, Hill, and Ice Cube is back (no sign of Korean Jesus though). And best of all, Lord and Miller are back, and it has to be admired that they were able to bring this together while being knee-deep in The Lego Movie. And, true to the ending of the first, the duo is going to college. How much am I looking forward to this? I’m already quoting the trailer. “You look really old. You look old as shit to be here.”


Director: Jason Bateman
Release Date: March 28

Jason Bateman plays a loser who finds a loophole in the national spelling bee, and he’s looking to exploit it for all it’s worth. Have you seen the red-band trailer? Go see it. And trust me, I don’t recommend anyone see any trailers or clips that give away something/anything important. In fact, the trailer really doesn’t give us much, except an extreme promise that is this going to be a hell of a feature directorial debut from Bateman.


Director: Paul Thomas Anderson
Release Date: TBD

The words “1970’s”, “Los Angeles”, “crime” and “Paul Thomas Anderson” should be more than enough to fuel the fire within all of us cinematic diehards (or at least all of PTA’s fans). Combine that with the insane cast he has (Joaquin Phoenix, Josh Brolin, Benicio Del Toro, Reese Witherspoon, Jena Malone, and Maya Rudolph) and this is an obvious choice for the list. Now if we could just get a heads-up on a possible release date…


Director: Ivan Reitman
Release Date: April 11

If any of the selections could be chalked up to “really personal”, they don’t get better than this. I’m a Costner fan (don’t hate), a huge Ivan Reitman fan, but most of all, in this particular case, I’m a gigantic fan of pro football. Honestly, I don’t feel there are enough pro football movies, especially ones that are tailor-made for the NFL. So if you have those three elements, a script from the Black List, AND it takes place on the most important day for an organization? Please. Like I stand a chance.


Directors: Frank Miller & Robert Rodriguez
Release Date: August 22

If you were to have told me seven years ago that the decision to put a SIN CITY sequel on an anticipated list would have been hard, I probably would have pimped-slapped you. But here we are. I am looking forward to this, but it’s all about the timing. Would this have played out better years ago when it was appropriately due? Or will it play out better now, since the cinematic world hasn’t been kind to Rodriguez and Miller as of late? I guess we shall see…


Director: David Fincher
Release Date: October 7

I might be one of the few people out there that’s very much anticipating Fincher’s return to the American version of The Girl trilogy, so I was a tad let down when this was announced. But then I started reading up on the buzz for the book it’s based on, and apparently, it’s insane and disturbing on a Fincher caliber level. Gone Girl starts off with a bride that disappears on her wedding day, and things get weird from that point on. The author, Gillian Flynn, is also writing the screenplay herself. Oh and it’s also got the most weirdly rounded cast of any Fincher film so far. Hell, I’m in.


Directors: The Wachowskis
Release Date: July 18

I’m still feeling the effects of Cloud Atlas, the last cinematic gift given to us by the Wachowskis (with the help of Tom Tykwer). It’s a bit surprising that their newest effort is coming to us so soon, but you’ll hear no complaining from me. From adapting the works of David Mitchell to giving us something original, the siblings bring us an epic world where a human girl (Mila Kuis) is the last hope to save the galaxy. She’s targeted by an evil queen, and she’ll have to stay alive with the help of a mysterious man named Caine (Channing Tatum). 


Director: Gareth Edwards
Release Date: May 16

My anticipation for the U.S. reboot (aka the washing down of any bitter taste left over) began a long time ago with the hiring of Edwards, who made his film debut with the ingenious Monsters. To me, that move made by Warner Bros. signifies me that it wants the humanity aspect played up, and played right, in their monster movie. So yeah, I was already excited. Then that trailer happened. The now-banned teaser gave me goosebumps. And the first official trailer? I stand by my remarks: it’s the best trailer I’ve seen in years. 


Director: Bennett Miller
Release Date: TBD

He’s only directed to films (Capote and Moneyball), and to say that Bennett Miller has made each one of those count is a severe understatement. His third outing is the true-life story of the murder of Olympian Dave Schultz (Channing Tatum), and it’s ideal to Miller’s style. But the big selling point here? Steve Carrel, playing John du Pont, the man who murders Schultz. For those of you who were lucky to catch the teaser trailer before it got take down due to the movie’s 2013 release date move, you know exactly what I mean here.


Director: Christopher Nolan
Release Date: November 7

I will always love and appreciate Christopher Nolan for the Dark Knight trilogy that he gave us (yes, Rises included). The man has shown that no matter what subject matter he tackles in a film, he tackles it with severity. So what would a Nolan adventure be like if he focused his energy on space travel, complete with new possibilities? With the help of hell of a cast (Matthew McConaughey and Jessica Chastain leading the charge) and a teaser trailer that clearly defines “tease”, November 7th can’t come fast enough.


Director: Dean DeBlois
Release Date: June 13

It’s really been four years since How to Train Your Dragon came out, hasn’t it? I still remember my first theatrical experience with the seemingly underdog animated film at the time. It was everything a movie should be. I love the fact that they took their time developing this. I love the fact that they’re giving the characters the real-time treatment, making them age instead of keeping them at what they were. Most of all, I just love everything about the world that Cressida Cowell created. I have the utmost confidence in returning writer/director DeBlois, and the utmost confidence in the rest of the filmmakers.


Director: Wes Anderson
Release Date: March 7

The Grand Budapest Hotel tells the story of Gustave, a loyal hotel concierge that’s seen a lot during this time at a famous European hotel. He befriends a lobby boy named Moustafa, and together they try to survive a series of events that have them and everybody around them at wit’s end. All of these picks are based on what I hope the projects will be, but this is the one that has me at the closest to the metaphor “foaming at the mouth”. I’ve always loved Wes Anderson and his works, and this looks like Anderson on high octane energy. He’s got a tremendous cast lined up, and that’s led by Ralph Fiennes who looks to be having the most fun he’s had in a film in years. The whole ‘fun’ aspect in general is the key element here. I’m not expecting this to be Anderson’s best work yet. Just his most enjoyable. Everything about it seems infectious. I just hope I’m proven at least a little bit right. 



Hey tweetheads! I’ll be hosting #MTOS this week with the topic of musical scores & soundtracks as the headliner! This was actually very last minute and I had some incredible help. I want to thank @CelluloidAK, @sickkgirl_, @einsteinsarcade, @JacqValencia and @beckygracelea for their wonderful assistance. I hope the #MTOS community has fun with these! 

  • Q1-One could argue that scores/soundtracks have become more important in today’s cinema than in the past. Agree or disagree? 

  • Q2-When was the last time you heard a score or a soundtrack that just completely rocked your world? 

  • Q3-How often do you encounter a bad musical score or song use, and how much does it take you out of the experience? 

  • Q4-Having the score completed before the movie is even shot is a rare thing. Should that be practiced more? 

  • Q5-It can be argued that most of today’s composers lack the skills to deliver the emotional punch needed. Agree or disagree? 

  • Q6-When it comes to collecting memorabilia from your favorite films, how important is it that you buy the physical score/soundtracks? 

  • Q7-Who, in your opinion, is an up-and-coming composer that could possibly achieve legendary status? 

  • Q8-Which type of style do you prefer in your score, traditional orchestral or electrical, or does it matter? 

  • Q9-If you’re the creative type, how often do you listen to scores/soundtracks while practicing your art? Or do you at all? 

  • Q10-The style, methods and technology in the score process is evolving day after day. Where do you see this process in 20 years? 



…If you qualify for all of those, then join @ThatJaimeHF in a MST3K-style viewing of MONSTER BRAWL, available via Netflix. It’s about monsters that fight to the death, Pay-Per-View style. Yeah. So, keep the jokes cracking throughout the movie, and myself plus another judge will determine who had the best joke of the night. The winner gets a $15 Amazon gift card!




In honor of my Horrorfest, the extremely talented Jacqueline Valencia (aka @JacqValencia) wrote this perspective piece for tonight’s movie. I want to thank her for taking the time to do this. This review demands your attention, right…about…


The horror movies of the 1960s were groundbreaking because they were made during a time of great changes. Experimental drugs, free love, Vietnam, and revolutions of every kind. The real life horrors of war and fear of the unknown became all too real. It was also during a time when people were free to talk about what was previously taboo.

Rosemary is a doe-eyed innocent married to struggling actor, Guy (John Cassvetes) . They move into a new apartment and strange things happen. There’s a suicide in their building and their elderly neighbors, Roman and Minnie, become overly parental on them. After a visit to dinner with them Guy suspiciously finds himself a leading role. Then in a hallucinatory night of strange dreams of rape with the devil, Rosemary becomes pregnant. However, as the pregnancy progresses she goes through a series of pains and weird occurrences. Eventually, the truth comes out, Roman, Minnie, and almost everyone around her have virtually imprisoned her as the mother of the devil’s child.

From the beginning, Polanski sets an unsettling tone. At the intro Farrow’s voice sings a light but isolating lilt as the camera pans around New York City and finds the couple entering a building. Both clad and blue, young and marveling at an old apartment still full of the recently deceased tenant. They move in and camera still on the both of them as they bring light and yellow to the dusty, almost black interior. Farrow and her surroundings look straight out of a 1950s catalogue. As new things happen, the soundtrack goes from operatic to nuanced and tense as the couple starts donning brighter yellows and eventually, bright reds, the color of martyrdom, (especially in the rape scenes).

Roman and Minnie are flamboyant in apparel in almost every scene. It’s as if their clothes are merely representative of the people they are outside of their true natures. They are walking masks from their satanic world. Their apartment is dark, open-spaced, and oppressive in color. This is highly suggestive of the themes of class and age in the film. The young have agency while the old see it being taken away from them. Rosemary gets power as she becomes a mother, but is really the less powerful of them all because everyone around her as a stake in her reproductive ability. Roman, Minnie and their coven are mostly all elderly, while most of Rosemary’s friends are young. The exception being Rosemary’s old friend Hutch, who is symbolizes a bridge to both ages, for he’s the one that finds out Roman and Minnie’s secret intentions.

These are, of course, subtle subtexts in the picture. Polanski considered this part of his apartment trilogy (Repulsion, The Tenant), shedding light on the cons of apartment living in the big city. With this in mind, steady low-level tracking shots are an achievement for the confined spaces they were done in.  The technique hides expressions or intimates hidden moments creating a paranoia ripe atmosphere that highlights Rosemary’s victimized condition.

Polanski made Farrow walk into traffic with her pregnancy “padding” suggesting that no one would hit a pregnant woman. Polanski followed her with a hand held camera and sure enough, neither of them were hit: these were the risks of filmmaking.

When Rosemary finally sees her son, she is horrified and exclaims, “His eyes!” We never see his eyes or what he looks like. All the audience sees are Rosemary’s reactions and the coven’s adoration for the devil’s offspring. His crib is black and an upside down crucifix adorns the top of his crib. Guy hides in shame as this all happens. Roman urges Rosemary to be a son to her child and as the light, almost creepy score of her la-la-la’s come up, she smiles sweetly into the abyss of her son’s crib.

The audience is left discombobulated. Individuals conjure up all sorts of monsters as Rosemary’s baby from the darkest recesses of their brains. Polanski’s power of suggestion is a brush that paints tones, moods, and contrasts, twisting expectations and bending realities.

Many of the themes and techniques from Rosemary’s Baby can be seen in later 1970s giallo films like Dario Argento’s Suspira, and even iconic isolation films such as Martin Scorsese’s Taxi Driver. In many ways Rosemary’s Baby birthed a change in the way horror film was perceived: it  was the simulated blood, guts, and gore symbolic of the chills elicited of the conditions of its time.

Follow Jacqueline at @JacqValencia to make your tweet experience an even better one! 



Hey guys, in honor of my Horrorfest, Jeff S.C. (also known as ) wrote this review of tonight’s movie. A thousand thanks bro, and please give it a read below, it’s great work!

Maniac is not your typical slasher film. It doesn’t waste time establishing meaningless characters you know will amount to nothing more than slaughter-fodder. It doesn’t turn every kill into an opportunity for the audience to cheer and munch on their popcorn. It doesn’t spring meaningless, last-minute plot twists on the viewer and expect them to play along with it.

I repeat, Maniac is not your typical slasher film.

Based on the 1980 film of the same name, Maniac follows psychopathic murderer Frank Zito, portrayed here by Elijah Wood. As a child, Frank was forced to witness the many times his mother - a drug-addled prostitute - would snort cocaine, take home clients, and perform sexual acts in front of him; as a result, he was left with a series of mentally and emotionally damaging issues on par with Norman Bates. Since his mother’s death, he’s taken over the family mannequin business. He also has made it his business to stalk women at night, murder and scalp them, and add their hair to his collection — which he then staples to the heads of mannequins and treats as if they’re living beings. Shot almost entirely from a first-person perspective, few other films so effectively put you in the shoes of a deranged killer. To many, a film shot in the first person might seem like nothing more a gimmick, but here it is used to its fullest potential. Despite this change in narrative presentation, the story is not totally unlike the original, and still follows the same basic path, only to greater effect.

Though his performance is largely restricted to hand gestures, voice-over, and the occasional glimpse of a reflection in the mirror, Elijah Wood’s portrayal of this truly disturbed maniac is still one of the great modern horror performances. Taking a trip inside this character’s head is a remarkably chilling experience. What truly makes him disturbing to watch is how he almost seems apprehensive toward his actions, and how, in his own mind, there is no other way for him to survive. Watching the film, it’s not difficult at all to believe this man really could exist — a flaw many horror movies have in their portrait of villainous characters, who often seem totally unrealistic and ultimately quite dull. When it comes to true horror, there are few other characters who encapsulate it quite like this.

Aided by the fantastic, electronic ’80s-influenced music by Raphaël Hamburger, a great deal of the film’s suspense is derived from the moody nature of the score. Not relying on typical musical cues found in 90% of all horror films to build and release tension, this film instead lets the pulsating soundtrack build atmosphere in an unobtrusive but well-orchestrated way to allow the horrifically unsettling acts of violence and effectively gory visuals speak for themselves. And there is plenty of blood here; enough to satisfy most horror fans. What really works, though, is how well it’s blended into the film. Never once is it distracting and over-the-top, nor is it infrequent enough to lose the interest of gore-hounds looking for a nice bloody flick.

There are many elements in this film that are impossible to disregard. From the disturbing performance by Elijah Wood, to the fantastic camerawork and editing, Maniac is a real treat for film buffs: not only as a horror movie, but as a well-executed, character-driven psychological drama. Technically proficient as well as creatively constructed, Maniac is most definitely one of the finest horror films I’ve seen in quite some time.
—Make sure to follow Jeff at if you want your tweet feed to be filled with awesomeness—

364166 Notes

1,728,425 plays










here, have some childhood nostalgia




two grown up girls crying here as they recognized eVERY FUCKING SINGLE SONG OMGS


This is annoying me to no end what’s the one after American dragon, both me and my sis know the tune but we can’t match up the cartoon?!?!?!?!?! WHAT IS IT?!?!?!

and srsly… i’m nearly 20 and i sang along to every song with lyrics.

i lost it at rugrats




Hey guys, the Horrorfest starts today! The key to being the one and only grand prize winner and winning one of the 4 items below goes like this:

Every viewing night I’m going to tweet a random trivia question about a random horror flick. Anyone who guesses it correctly within the run time of the scheduled horror flick will receive 1 point for the night. From tonight till Halloween, the 5 people with the most points collected throughout the month get a chance to answer the FINAL trivia question. Whoever answers it first…WINS. To recap:

  • Starting this off right, you MUST be following @ThatJaimeHF on twitter the whole month. You can still participate even if you’ve won a prize from earlier in the month.
  • There will be a trivia question every night. The answer must be right the first time. A correct first guess worth 1 point a night.

  • Answer as many points as you can throughout the month.

  • The 5 people with the most number of points collected by October 31 will compete in one final trivia question. Whoever answers it correctly first WINS. And remember you’re competing for a chance at one of these prizes….



1 Notes


In celebration of my upcoming Horrorfest, I’m hosting the very awesome #MTOS (Movie Talk On Sunday) on September 29th. It’s an honor and a privlege to be doing this. I’m hoping these questions below will do the MTOS community proud!

Enjoy, and don’t forget to follow the month-long Horrorfest starting October 1st!

  • Q1-What’s an element that you think modern horror movies are missing from the past few decades that make us consider them classics?
  • Q2- Real-fake blood vs. CGI blood in horror: are there actual advantages to faking corn syrup? (Inspired by the Carrie remake debacle)
  • Q3- Zombies, monsters, serial killers & Gary Busey. Which movie monster deserves the current spotlight & which should rest for a bit?
  • Q4- The PG-13 rated horror flick: does it deserve as much flack is it used to get in the past?
  • Q5- What’s a horror film that’s come out in the last decade that you think should be bigger than its current status, and why?
  • Q6- The newest Chucky looks like it’s going back to serious scares. What’s a horror flick that could use a sincere reboot or sequel?
  • Q7- Horror flicks like V/H/S are trying to reinvigorate the anthology subgenre. Is it working & if not what subgenre should come back?
  • Q8-The Conjuring was a big box office win for the genre especially with its rating. What’s the upside to this & is there any downside?
  • Q9-The lack of major theatrical horror releases in October is getting worse year after year. Why won’t studios pounce on this?
  • Q10-What is it about horror flicks that make people like you and me celebrate it for a whole month? Why don’t other genres get that?