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RUE MORGUE #2: Horror Movie Heroes

Launched in 1997 by Rodrigo Gudiño, RUE MORGUE is the world’s leading horror in culture and entertainment brand, spearheaded by its multiple award-winning magazine, RUE MORGUE and RUE MORGUE DIGITAL; RUE MORGUE TV specialty horror channel; RUE MORGUE LIBRARY book series; RUE MORGUE PRESENTS FRIGHTMARE IN THE FALLS horror expo and RUE MORGUE PRESENTS CINEMACABRE MOVIE NIGHTS monthly film series.

Country:
Canada
Language:
English
Publisher:
MARRS Media Inc.
Frequency:
Bimonthly
£4.84
£21.79
6 Issues

in this issue

5 min
introduction

“WHAT’S YOUR FAVOURITE HORROR MOVIE?” It’s that question. The one horror fans get asked – most often by non-horror fans, in my experience – as a way to gauge just what kind of terrible things make us tick. My response to it is usually, “It depends on the hour,” because horror is a genre so rich in style, substance, and subjective affect that it can’t be encapsulated in a single movie. I can easily find “horror” films that scare the hell out of me, thrill me with special effects, bend my brain in surreal directions, make me laugh with outrageous gore gags, deliver pulse-racing tension, soothe the animal brain with depictions of orgiastic violence, excite the academic mind with bigger questions about our relationship to fear, or just unleash cool-ass monsters…

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13 min
david cronenberg

DISTURBING. SUBVERSIVE. FEARLESS. REPELLENT. UNIQUE. UNFORGETTABLE. These are just some of the adjectives that have been used to describe the singular cinema of David Cronenberg. Born in 1943, he studied biochemistry at Toronto University before switching to English Literature, writing several (unpublished) science fiction stories. His creative impulse then found a further outlet when he shot his first short, Transfer (1967), following it up with two futuristic underground films, Stereo (1969) and Crimes of the Future (1970). These nascent works exhibited themes and ideas that would emerge fully in the filmmaker’s later work: psychosexual disease, bodily mutation, remote institutions, surgery, telepathy and rebirth. Cronenberg’s early features – Shivers (1975), Rabid (1977), The Brood (1979), Scanners (1981) and Videodrome (1983) – were dismissed by some unsympathetic critics as “cheap,” “nasty” and “distasteful.”…

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1 min
why i love david cronenberg

IMDb currently lists 27 credits for David Cronenberg as an actor, stretching all the way back to his blink-and-you’ll-miss-it cameo in Shivers as “Infected in the crowd.” Here are my picks for Cronenberg’s top five turns in front of the camera. NIGHTBREED (1990): Clive Barker’s film boasts Cronenberg’s most prominent acting role, as well as arguably his most assured performance. Third-billed behind Craig Scheffer and Anne Bobby, the Baron of Blood essays the role of serial killer Dr. Decker, a psychopathic psychotherapist who wishes to destroy the misunderstood monsters of Midian. JASON X (2001): Although he is summarily dispatched within seven minutes of the futuristic tenth entry in the Friday the 13th saga, Cronenberg’s professorial presence as scientist “Dr. Wimmer” provides a welcome diversion. A mentor and friend to the late director…

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3 min
john carpenter on dario argento

FOR SOME, DARIO ARGENTO IS THE ITALIAN HITCHCOCK – a baroque visionary whose best films are a delirious alchemy of riotous colour, bravura camera movement, nerve-shredding music and stylized violence. For others, his movies are empty, excessive and barely coherent – the vile and lurid products of an unrepentant misogynist. Whatever your view, one cannot deny that Argento’s influence on horror cinema has been profound. Suspiria (1977), his classic tale of witchcraft at a German dance academy, is a breathtaking assault on the visual and aural senses that stands as one of the genre’s enduring triumphs. His other arresting masterworks include The Bird with the Crystal Plumage (1970), Deep Red (1975), Inferno (1980), Tenebrae (1982) and Opera (1987), which all effectively marry high art, rigorous technical skill and crass exploitation to…

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5 min
sergio stivaletti

SERGIO STIVALETTI HAS CREATED GRISLY EFFECTS FOR SOME OF ITALY’S MOST INFLUENTIAL HORROR DIRECTORS. His career began in earnest in 1985, when he worked as a makeup artist on Dario Argento’s Phenomena and Lamberto Bava’s Demons; since then, Stivaletti has created makeup, creature and animatronic effects for such Italian genre classics as Opera and Dellamorte Dellamore. He dishes on decades of slinging the red sauce. Your career is closely connected to that of Dario Argento. Beginning with Phenomena, you worked on all of his films that were shot in Italy. How did you get involved with him? I worked with Angelo Mattei, who made the cadavers for Inferno [1980]. The one floating underwater – I worked on that, though I was not on the set. I did it at my home, so…

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11 min
ray harryhausen

AFTER A LONG AND FRUITFUL LIFE, A TRUE VISIONARY OF FANTASTIC CINEMA DEPARTED OUR MORTAL REALM ON MAY 7, 2013. One of the greatest practitioners of stop-motion animation in the history of the medium, Ray Harryhausen’s obsession with the art form began at the tender age of thirteen with multiple viewings of King Kong (1933). After conjuring up a number of 16mm creations, he went to work alongside Kong’s stop-motion pioneer Willis O’Brien on Mighty Joe Young (1949) before breaking out on his own with The Beast From 20,000 Fathoms (1952). In 1955, Harryhausen joined forces with producer Charles H. Schneer and for the next few decades they carved out an unforgettable legacy of fantasy films with the likes of The Seventh Voyage of Sinbad (1958), Jason and the Argonauts…

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