Do you remember the syndicated TV show Monsters that ran in the late ’80s? I don’t really either, but I do remember seeing commercials for it. It was a horror anthology series produced by Richard P. Rubinstein, the guy who co-founded Laurel Entertainment with George Romero and produced MARTIN, DAWN OF THE DEAD, KNIGHTRIDERS, CREEPSHOW and DAY OF THE DEAD. They also produced Tales From the Darkside together, and this was Rubinstein’s followup series minus Romero. As you can probly guess, the episodes center around different monsters. The credits boast having the legendary Dick Smith as a makeup consultant.
The show didn’t have any kind of host or wraparound at all, but the introduction shows a family of monsters watching TV together.
“Oh great, it’s Monsters! Our favorite show!” one of them says.
By human standards it would be pretty weird to have not seen a show you liked better than Monsters, but I can appreciate that there are many cultural differences and things that the monster community might pick up on in these stories that go right over my head.
Anyway, there were two Christmas-themed episodes. Glim-Glim, the 13th episode of the first season, was directed by Peter Stein (director of photography for FRIDAY THE 13TH PART 2, C.H.U.D., PET SEMATARY and BRENDA STARR) and written by F. Paul Wilson (author of the novel that THE KEEP is based on). (read the rest of this shit…)
CASH ON DEMAND is a 1961 Christmas crime movie that I learned about from that 
I don’t know why it took me more than 20 years, but I’ve finally seen JACK FROST, “not the Michael Keaton one, the other one,” as writer/director Michael Cooney says in his introduction to the (surprisingly) lovingly remastered Blu-Ray from Vinegar Syndrome. “The Michael Keaton one” (1998) is about a guy who tries to be a better father after dying and coming back as a snow man. “The other one” (1997) is the DTV horror movie about a serial killer who tries to continue serial killing after becoming a snowman.
THE MONSTER’S CHRISTMAS is a holiday special that aired on New Zealand television in 1981. I’m going to be up front and admit that I don’t have a whole lot of insightful things to say about this one, but it’s so charmingly weird that I felt like I owed it to the world to write it up and share some screengrabs so more people can know it exists.
My friends, the time has come for the THRILLING CONCLUSION to the Twilight Saga review saga. This is the one where the most crazy shit happens, especially in a big deadly snow battle between all the characters. So I had fun. If you support me on Patreon thank you, if not thank you also but consider signing up some time if you can. Either way, more reviews coming soon and
I’ve said it before, I’ll say it again, I’m saying it now: when it comes to balancing horror and comedy, AN AMERICAN WEREWOLF IN LONDON is the goal. I mean, there ones I love just as much that I consider a little heavier on the goofiness, like 
I’m more of an action guy than a thriller guy. But I can appreciate different stuff. Martin Campbell’s THE FOREIGNER (2017 – not a remake of the Seagal film) is definitely more on the thriller side, mostly seeking its excitement in a complex web of police, compromised politicians and terrorist groups all dealing with the aftermath of the bombing of a London clothing boutique.
BLINDSPOTTING follows 
My friends, we have come to the penultimate chapter in the special Patreon-only Twilight Saga Review Saga. In Twilight Part 4a there’s a big wedding, destructive humping, and some truly creepy birth related stuff. This one is directed by Bill Condon (GODS AND MONSTERS) and he does his thing with it.
36.15 CODE PÈRE NOËL – a.k.a. WANTED: MR. XMAS, GAME OVER, DIAL CODE SANTA CLAUS, HIDE AND FREAK, or DEADLY GAMES on the German Blu-Ray I rented – is an A+ Christmas action-horror cult movie from 1989 that I can’t believe I’d never heard of before. I read about it in the book 
