Cinema Shock

In our new series Sex + Violence: The Films of Paul Verhoeven, we’re diving into the provocative, satirical, and often controversial career of one of cinema’s boldest auteurs. We kick things off with a look at Verhoeven’s first English-language film: the brutal 1985 medieval epic FLESH + BLOOD, starring Rutger Hauer and Jennifer Jason Leigh. Before we get there, we also spend time exploring Verhoeven’s early life, his rise through Dutch cinema, and how his distinct blend of sex, violence, and social critique began to take shape in films like TURKISH DELIGHT and SPETTERS. Then, we get into the chaotic production of FLESH + BLOOD—from its battles behind the scenes to the uneasy balance of exploitation and artistry on screen—and how it set the tone for the American phase of Verhoeven’s career. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: ROBOCOP (1987) TOTAL RECALL (1990) BASIC INSTINCT (1992) STARSHIP TROOPERS (1997) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

For the final film in Tobe Hooper’s Cannon Films trilogy—and the last wide theatrical release of his career—he returned to the movie that started it all. At the end of his three-picture deal with Cannon, the studio asked Hooper to deliver a sequel to his 1974 horror masterpiece. But THE TEXAS CHAINSAW MASSACRE 2 (1986) was not the film they—or most audiences—were expecting. Loud, gory, satirical, and often absurd, the film ditched the gritty realism of the original in favor of pitch-black comedy and over-the-top violence. In this episode, we follow the story of how CHAINSAW 2 came to be, how it baffled critics and audiences upon release, and how it gradually found a second life as a cult classic—now considered one of Hooper’s most distinctive and beloved films. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: FLESH + BLOOD (1985) ROBOCOP (1987) TOTAL RECALL (1990) BASIC INSTINCT (1992) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After the critical and commercial failure of LIFEFORCE, Cannon Films still had faith in Tobe Hooper—or at least, they had a contract to honor. Next up in Hooper’s three-picture deal was INVADERS FROM MARS (1986), a remake of the 1953 sci-fi cult classic. Cannon hoped the film could help change their reputation from B-movie factory to big-budget player. Instead, the result was a box office disappointment that only deepened the perception of Cannon’s creative chaos. In this episode, we explore how INVADERS FROM MARS came to be, the troubled shoot, and why the film ultimately failed to connect with audiences. Plus, we highlight the incredible creature effects by Stan Winston and his team, whose work remains one of the film’s few enduring legacies. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: THE TEXAS CHAIN SAW MASSACRE PART 2 (1986) UP NEXT: Sex + Violence: The Misunderstood Films of Paul Verhoeven Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

In this new three-part series, we pick up where The Tragedy of Tobe Hooper left off—right after the POLTERGEIST controversy—following Hooper into his wildest professional era: his years with Cannon Films. First up: LIFEFORCE (1985), a big-budget space horror film based on the novel The Space Vampires. With a screenplay by Dan O’Bannon and Don Jakoby (BLUE THUNDER), LIFEFORCE was Hooper’s attempt to kick off a new phase in his career—one with more control, more money… and much, much weirder material. In this episode, we dive into the film’s chaotic production, its strange creative choices (naked space vampires, anyone?), its reception by critics and audiences, and how it set the tone for Hooper’s Cannon trilogy—and the rest of his career. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: LIFEFORCE (1985) INVADERS FROM MARS (1986) THE TEXAS CHAIN SAW MASSACRE PART 2 (1986) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

For the final entry in our Unsung Legacy of Dan O’Bannon series, we’re diving into the movie that finally gave O’Bannon full creative control—and a chance to prove what he could do when left to his own devices. After the early success of ALIEN, O’Bannon spent years struggling to gain traction in Hollywood. Burned by politics, studio rewrites, and his own stubborn reputation, he still hadn’t found a project that was truly his… until 1985’s RETURN OF THE LIVING DEAD. Originally brought on as a screenwriter, O’Bannon eventually stepped into the director’s chair and delivered a film that was part horror, part comedy, part punk rock, and all attitude. The result? A cult hit that redefined zombie cinema and helped inspire decades of undead mayhem. In this episode, we break down the story behind RETURN OF THE LIVING DEAD—from its legal roots in George Romero’s NIGHT OF THE LIVING DEAD, to the chaotic production process, and O’Bannon’s vision for something weirder, wilder, and more subversive. We’re joined by special guest Dan Wipert of the Film Trace podcast. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: LIFEFORCE (1985) INVADERS FROM MARS (1986) THE TEXAS CHAIN SAW MASSACRE PART 2 (1986) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

Though largely forgotten today, BLUE THUNDER was a major box office success in 1983, spawning a TV series, video game, and plenty of knockoffs. But the film that audiences saw wasn’t exactly what Dan O’Bannon had in mind. In this episode, we explore the story behind BLUE THUNDER—an idea O’Bannon began developing not long after ALIEN’s release. Originally conceived as a politically charged, satirical action thriller about government surveillance and militarization, the script went through major changes once it landed in Hollywood. We trace its development through pre-production, how it evolved under director John Badham (SATURDAY NIGHT FEVER, WARGAMES), and how the final product compares to what O’Bannon originally envisioned. It’s another entry in the long history of Dan O’Bannon being both essential and overlooked. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: RETURN OF THE LIVING DEAD (1985) Up next: Tobe Hooper: The Cannon Years Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

Dan O’Bannon’s fingerprints are all over genre cinema—from ALIEN to RETURN OF THE LIVING DEAD, from Jodorowsky’s doomed DUNE to even an early hand in STAR WARS. But one of his more unexpected contributions came in the form of animation. In this episode, we’re diving into 1981’s HEAVY METAL, an animated anthology film based on the cult comic magazine of the same name. Known for its R-rated mix of science fiction, fantasy, and eroticism, the film features multiple segments—two of which were written by O’Bannon. We explore how HEAVY METAL came together, the bizarre production process that shaped it, its troubled path to home video, and the legacy it left behind—not just for animation, but for pop culture at large. And of course, we break down O’Bannon’s contributions and how they fit into the larger mosaic of his career. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: BLUE THUNDER (1983) RETURN OF THE LIVING DEAD (1985) Up next: Tobe Hooper: The Cannon Years Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After the release of ALIEN, Dan O’Bannon should have been on top of the world. But thanks to a high-profile dispute over the film’s writing credits, his career didn’t soar the way you might expect. Fortunately, O’Bannon’s ALIEN co-writer Ronald Shusett had another project in the works—a slow-burn horror film about a small New England town with a zombie problem. He invited O’Bannon to co-write the script, and the result was DEAD & BURIED (1981), a cult horror oddity directed by Gary Sherman. In this episode, we unravel the conflicting accounts of O’Bannon’s contributions to the film (including O’Bannon’s own denial of involvement), explore how DEAD & BURIED came together behind the scenes, and highlight the early work of future genre icons like Robert Englund and makeup effects legend Stan Winston. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: HEAVY METAL (1981) BLUE THUNDER (1983) RETURN OF THE LIVING DEAD (1985) Up next: Tobe Hooper: The Cannon Years Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

In Part 1, we traced ALIEN’s path from a scrappy concept between Dan O’Bannon and John Carpenter to a greenlighted studio film backed by 20th Century Fox and producer Walter Hill. Now, with Ridley Scott on board as director, the story really kicks into gear. In this episode, we break down the production of ALIEN—from its nightmarish design process with H.R. Giger to the casting of Sigourney Weaver and the creation of some of the most iconic visuals in sci-fi history. We also examine how the film’s success shaped the future of the genre—and how, despite writing one of the most legendary scripts in sci-fi history, Dan O’Bannon remained overlooked by the industry he helped shape. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: DEAD & BURIED (1981) HEAVY METAL (1981) BLUE THUNDER (1983) RETURN OF THE LIVING DEAD (1985) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

As we continue exploring the career of Dan O’Bannon, we now arrive at the film that forever tied his name to sci-fi horror: Ridley Scott’s 1979 masterpiece, ALIEN. Despite the film’s massive success, O’Bannon didn’t become a Hollywood power player. In fact, his journey through the ALIEN production reflects the same pattern that followed him throughout his career—critically essential, but constantly undervalued. In this episode, we trace the earliest origins of ALIEN: from an idea born during the making of DARK STAR, to a rejected Roger Corman project, and finally to a greenlit big-budget feature at 20th Century Fox. It’s the story of how Dan O’Bannon helped create one of the most influential sci-fi horror films of all time… and still got left behind. BUY OUR MERCH: http://cinemashock.threadless.com Coming Up: DEAD & BURIED (1981) HEAVY METAL (1981) BLUE THUNDER (1983) RETURN OF THE LIVING DEAD (1985) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

In our new series, we’re exploring the career of writer, director, and genre trailblazer Dan O’Bannon. His name might not be as widely known as some of his collaborators, but O’Bannon left an enormous mark on genre cinema—as the screenwriter of ALIEN, the director of RETURN OF THE LIVING DEAD, and the uncredited brain behind some of sci-fi’s most iconic ideas. To begin our journey, we’re heading back to where it all started: USC film school, where O’Bannon met another promising student named John Carpenter. United by their shared love of science fiction and monster movies, the two collaborated on a low-budget student film that would go on to become a cult classic. That film was DARK STAR. In this episode, we trace the origins of their friendship, the making of the movie, and how this quirky sci-fi comedy set the stage for O’Bannon’s groundbreaking (and often underappreciated) career. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: ALIEN (1979) DEAD & BURIED (1981) HEAVY METAL (1981) BLUE THUNDER (1983) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

This is the episode that gives our series its name. In the early 1980s, Tobe Hooper was given the opportunity of a lifetime: a chance to direct a big-budget horror film for Universal Pictures—written and produced by none other than Steven Spielberg, who was at the peak of his powers. That film was POLTERGEIST, and it would become the most commercially successful movie of Hooper’s career. But it also became his most controversial. Ever since its release, questions have swirled about who actually directed the film—Hooper or Spielberg? The speculation has been so persistent that it’s often overshadowed the movie itself… and cast a long shadow over Hooper’s career going forward. In this episode, we explore how POLTERGEIST came to be, the origins of the authorship controversy, and the impact it had on Hooper’s legacy. And yes—we weigh in on what we think really happened on set. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: THE FUNHOUSE (1981) POLTERGEIST (1982) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After the success of SALEM’S LOT, Tobe Hooper finally had the Hollywood credibility he’d been chasing—but the road to his next project was still full of potholes. That next project was THE FUNHOUSE (1981), a twisted little slasher made under Universal Pictures. Though it was Hooper’s first studio-backed film intended for theatrical release, the budget was modest and the expectations were clear: cash in on the booming slasher craze. In this episode, we take a look at Hooper’s post-SALEM’S LOT career, the development of THE FUNHOUSE, and how the film fits into both the slasher wave of the early ’80s and Hooper’s evolving (and often unpredictable) directorial style. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: POLTERGEIST (1982) Up Next: Dan O'Bannon: Hollywood's Secret Weapon Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After the disappointing reception of EATEN ALIVE, Tobe Hooper's career seemed to be floundering. But fate—and Stephen King—had other plans. As Warner Bros. began developing a film adaptation of King’s bestselling vampire novel Salem’s Lot, a savvy producer screened THE TEXAS CHAIN SAW MASSACRE while searching for a director. The moment he saw it, he knew Hooper was the right man for the job. In this episode, we trace the rocky road between EATEN ALIVE and SALEM’S LOT, and how the project shifted from theatrical feature to network television miniseries. We dive into the creative decisions that shaped the adaptation, the challenges of bringing graphic horror to CBS, and how Hooper helped deliver one of the scariest things to ever air on TV. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: THE FUNHOUSE (1981) POLTERGEIST (1982) Up Next: Dan O'Bannon: Hollywood's Secret Weapon Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After the breakout success of THE TEXAS CHAIN SAW MASSACRE, Tobe Hooper and co-writer Kim Henkel landed a major three-picture deal with Universal. But before they could cash in on that opportunity, Hooper had to fulfill a prior obligation—one that would derail his momentum almost immediately. That obligation? A commitment to exploitation producer Mardi Rustam to direct a low-budget killer crocodile movie called EATEN ALIVE. In this episode, we dig into the troubled production of Hooper’s grimy sophomore effort, from its artificial soundstage swamp to its over-the-top performances and chaotic behind-the-scenes energy. We explore how the film reflects Hooper’s obsessions while failing to recapture the impact of CHAIN SAW, and how this bizarre detour complicated his transition into mainstream Hollywood BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: SALEM'S LOT (1979) THE FUNHOUSE (1981) POLTERGEIST (1982) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

In 1974, a little indie horror film from Texas shocked the world—and launched the career of Tobe Hooper. With THE TEXAS CHAIN SAW MASSACRE, Hooper introduced audiences to one of horror’s most iconic villains, Leatherface, and helped lay the groundwork for what would become the slasher genre. But while the film became a touchstone of American horror, Hooper’s career afterward was marked by frustration, interference, and missed opportunities. In this first episode of our series The Tragedy of Tobe Hooper, we trace the chaotic, low-budget production of THE TEXAS CHAIN SAW MASSACRE, the real-life influences that shaped its gritty realism, and how it went from regional curiosity to international sensation—and one of the most influential horror films of all time. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: EATEN ALIVE (1976) SALEM'S LOT (1979) THE FUNHOUSE (1981) POLTERGEIST (1982) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

This week, we arrive at the blood-soaked finale of our Six Degrees of Kill Bill series. For the last six episodes, we’ve traced the cinematic lineage behind Quentin Tarantino’s KILL BILL—from spaghetti westerns and samurai classics to manga adaptations and grindhouse revenge tales. Now it’s time to take on the main event. In this episode, we dive deep into the creation of KILL BILL itself—from its inception on the set of PULP FICTION, to the years-long development of the screenplay, to the ambitious and tumultuous shoot that took Tarantino around the world. We also explore the reasoning behind the decision to split the film into two volumes, the legacy of its bold stylistic choices, and how it became one of the most iconic cult films of the 21st century. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: THE TEXAS CHAINSAW MASSACRE (1974) EATEN ALIVE (1976) SALEM'S LOT (1979) THE FUNHOUSE (1981) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

This week on The Six Degrees of Kill Bill, we return to Japan to explore a film with deep roots in manga, samurai cinema, and grindhouse remix culture: SHOGUN ASSASSIN. The film traces its origins back to Kazuo Koike—writer of LADY SNOWBLOOD and creator of his true magnum opus, Lone Wolf & Cub, a sprawling, violent manga epic that ran for six years and nearly 9,000 pages. That manga inspired a series of six Japanese films in the early 1970s, but it wasn’t until 1980 that American audiences truly caught on. That year, a pair of producers took footage from the first two LONE WOLF & CUB films, dubbed it into English, added a moody synth soundtrack, and released it to U.S. grindhouses as SHOGUN ASSASSIN. The result was a cult hit—and a direct influence on Quentin Tarantino, who featured the film prominently in KILL BILL VOL. 2. In this episode, we trace the full story: from Koike’s manga, to the original Japanese productions, to the recut cult phenomenon that became SHOGUN ASSASSIN. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: KILL BILL VOL. 1 & VOL. 2 (2003/4) Up Next: The Tragedy of Tobe Hooper Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

When KILL BILL begins, the first image we see—after the Miramax logo, of course—is the iconic Shaw Brothers shield. It’s more than just a stylish nod; it’s a direct homage to the Kung Fu cinema that helped shape Quentin Tarantino’s sensibilities as a filmmaker. In this episode, we dive into the history of the legendary Shaw Brothers Studio, whose influence on martial arts cinema can’t be overstated. Their golden age in the 1960s and ’70s introduced global audiences to the Kung Fu genre and left an indelible mark on KILL BILL, particularly during the House of Blue Leaves sequence in VOL. 1 and the Pei Mei chapter in VOL. 2. Our film of focus is THE 36TH CHAMBER OF SHAOLIN (1978), directed by Lau Kar-leung and starring Gordon Liu—who, fittingly, plays two different roles in Tarantino’s revenge saga. We also can’t talk about this movie without talking about Wu-Tang, so yeah… we go there. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: SHOGUN ASSASSIN (1980) KILL BILL VOL. 1 & VOL. 2 (2003/4) Up Next: The Tragedy of Tobe Hooper Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

That iconic yellow jumpsuit The Bride wears in KILL BILL VOL. 1? Bruce Lee wore it first. Originally intended as Lee’s fifth film, GAME OF DEATH was meant to be his magnum opus—a culmination of his martial arts philosophy, Jeet Kune Do, and a bold new vision for what martial arts cinema could be. But after Lee’s untimely death in 1973, the project was left incomplete, with only a fraction of the original footage shot. That didn’t stop the producers. In 1978, they cobbled together a finished film using doubles, trick photography, and just 11 minutes of Lee’s original footage—all in an effort to cash in on his global fame. In this episode, we explore Bruce Lee’s life and career leading up to GAME OF DEATH, the bizarre rise of the Brucesploitation genre in the years after his death, and how the mishandling of his unfinished masterpiece ironically led to one of his most enduring visual legacies. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: 36TH CHAMBER OF SHAOLIN (1978) SHOGUN ASSASSIN (1980) KILL BILL VOL. 1 & VOL. 2 (2004/5) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

For week three of our Six Degrees of Kill Bill series, we’re heading to Sweden to discuss what Quentin Tarantino once called “the roughest revenge film ever made!” Released in the U.S. as THEY CALL HER ONE EYE, Bo Arne Vibenius’s 1973 exploitation classic THRILLER: A CRUEL PICTURE provided clear visual and character inspiration for Daryl Hannah’s Elle Driver in KILL BILL—right down to the eyepatch. In this episode, we’re joined by our good friend (and Christina Lindberg superfan) DJ Wilson to trace the evolution of Swedish exploitation cinema. From its roots in the earliest days of filmmaking to its collision with the arthouse stylings of Ingmar Bergman and into the grindhouse boom of the 1970s, we explore how Sweden became an unlikely hotspot for some of the most infamous films in genre history. Special thanks to Daniel Ekeroth and his book Swedish Sensationsfilms, which helped guide this journey into the strange and sensational. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: GAME OF DEATH (1978) 36TH CHAMBER OF SHAOLIN (1978) SHOGUN ASSASSIN (1980) KILL BILL VOL. 1 (2003) & VOL. 2 (2004) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, merch and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

In our Six Degrees of Kill Bill series, we’re exploring the films that Quentin Tarantino has cited—or outright lifted from—in crafting his 2004 revenge epic. And few films were more influential than Toshiya Fujita’s LADY SNOWBLOOD. In this episode, we dig into the film’s origins as a cult manga, the surprising story behind its adaptation, and how Fujita and screenwriter Kazuo Koike brought it to the screen. We also take a brief (but fascinating!) detour into the Meiji era of Japanese history to understand how that context shapes the story, characters, and political undercurrent of the film. From its operatic bloodshed to its chapter-based structure and visual homages, LADY SNOWBLOOD isn’t just an influence on KILL BILL—it’s practically its spiritual ancestor. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: THRILLER: A CRUEL PICTURE (1973) GAME OF DEATH (1978) 36TH CHAMBER OF SHAOLIN (1978) SHOGUN ASSASSIN (1980) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

We're big fans of Quentin Tarantino here at Cinema Shock, and it’s no secret that he wears his influences proudly. His films are filled with references to the genre movies he grew up on—and nowhere is that more evident than in his two-part martial arts western revenge epic, KILL BILL. In this first episode of our Six Degrees of Kill Bill series, we're heading to Italy to explore one of the clearest influences on that film: Giulio Petroni’s 1967 spaghetti western, DEATH RIDES A HORSE. With a story of long-delayed vengeance, stylish shootouts, and a haunting Ennio Morricone score, this Lee Van Cleef revenge tale laid the groundwork for much of what Tarantino would later channel into KILL BILL. Join us as we trace the connections, break down the film’s legacy, and dig into why this underrated gem still kicks hard. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: THRILLER: A CRUEL PICTURE (1973) LADY SNOWBLOOD (1973) GAME OF DEATH (1978) 36TH CHAMBER OF SHAOLIN (1978) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, & Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After the crash-and-burn of THE LONG KISS GOODNIGHT, Shane Black disappeared from Hollywood for nearly a decade. When he returned, it was on his own terms—and with a directorial debut that would change everything. In the final episode of our Black Christmas series, we’re joined by writer and friend of the show DJ Wilson to explore how KISS KISS BANG BANG brought Shane Black back into the spotlight. We discuss how Joel Silver helped get the film made, how Black’s script resurrected Robert Downey Jr.’s career, and how this offbeat noir comedy became a cult favorite—and a stepping stone to Iron Man. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: DEATH RIDES A HORSE (1967) THRILLER: A CRUEL PICTURE (1973) LADY SNOWBLOOD (1973) GAME OF DEATH (1978) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

By the mid-90s, Shane Black was still riding high—despite the underwhelming performance of THE LAST BOY SCOUT. When his next spec script hit the market, it sparked a bidding war that ended with a record-breaking $4 million sale to New Line Cinema. In this episode, we’re joined by Zack Daigle, co-founder of the annual McArathon Christmas movie fest, to discuss THE LONG KISS GOODNIGHT. We dive into the high-stakes script sale, Renny Harlin’s direction, Geena Davis’s role as a suburban mom/secret assassin, and how the film’s failure marked a turning point in Shane Black’s career. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: KISS KISS BANG BANG (2005) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After the success of LETHAL WEAPON, Shane Black became the hottest screenwriter in Hollywood. But with great hype comes even greater chaos. In this episode, we’re joined by Myles Griffin of The More You Nerd podcast to unpack the wild story behind THE LAST BOY SCOUT. From a record-setting spec sale to a production hijacked by Bruce Willis and Joel Silver, to a post-production process that saw seven editors try to wrestle the film into shape—it’s a miracle this movie made it to theaters at all. We trace the film’s troubled path from page to screen and explore how it became a cult classic in spite of itself. BUY OUR NEW MERCH: http://cinemashock.threadless.com Coming Up: THE LONG KISS GOODNIGHT (1996) KISS KISS BANG BANG (2005) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

It’s December, which means Mariah Carey is defrosting and holiday movies are taking over your screen. But here on Cinema Shock, we like our Christmas movies with a little more gunfire and broken glass. This month, we’re celebrating the career of Shane Black—a screenwriter known for hard-boiled action, rapid-fire banter, and a surprising amount of yuletide cheer. We kick things off with the film that launched his Hollywood career: Richard Donner’s 1987 classic, LETHAL WEAPON. In this episode, we explore how Black broke into the business at just 24, the development of the script, and how the movie helped redefine the action genre heading into the 1990s. Coming Up: THE LAST BOY SCOUT (1991) THE LONG KISS GOODNIGHT (1996) KISS KISS BANG BANG (2005) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After the critical and commercial juggernaut that was THE DARK KNIGHT, Warner Bros. was eager for a third installment—and naturally, they wanted Christopher Nolan back in the director’s chair. But Nolan was initially unsure whether he even wanted to return. Eventually, he did. And with THE DARK KNIGHT RISES, Nolan set out to do something rare in studio filmmaking: conclude a blockbuster superhero saga with a definitive ending. In this episode, we explore how Nolan, his brother Jonathan, and co-writer David S. Goyer crafted the story for THE DARK KNIGHT RISES. We dig into the challenges of following up the most acclaimed comic book movie of its era, the film’s ambitious themes, and why this final chapter became the most divisive—and financially successful—entry in the trilogy. Coming Up: LETHAL WEAPON (1987) THE LAST BOY SCOUT (1991) THE LONG KISS GOODNIGHT (1996) KISS KISS BANG BANG (2005) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After the critical and commercial success of BATMAN BEGINS, Christopher Nolan stepped away to make THE PRESTIGE—before returning to Gotham for what would become one of the most influential superhero films of all time. Released in 2008, THE DARK KNIGHT wasn’t just a box office juggernaut—it was a cultural phenomenon. In this episode, we explore the development of the film, from early story outlines by David S. Goyer to the script Nolan co-wrote with his brother Jonathan. We also examine the unforgettable performance by the late Heath Ledger as The Joker, and how his portrayal redefined one of pop culture’s most iconic villains. This is the story behind the making of THE DARK KNIGHT—a film that forever changed how audiences, critics, and studios viewed comic book cinema. Here is the Lessons From The Screenplay video that we reference in this episode: https://www.youtube.com/watch?v=pFUKeD3FJm8 Here is the Canadian Lad video that we reference in this episode: https://www.youtube.com/watch?v=3Ln1LQXYBJo Here is the Film Theorists video we reference in this episode: https://www.youtube.com/watch?v=vjPcIh1fVNg Coming Up: THE DARK KNIGHT RISES (2012) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

With the release of BATMAN BEGINS in 2005, Christopher Nolan changed the face of comic book movies—ushering in the modern era of superhero cinema just a few years before the Marvel Cinematic Universe would explode onto the scene. But the road to Gotham’s rebirth was long and uncertain. Following the critical and commercial failure of BATMAN & ROBIN, Warner Bros. struggled for years to figure out how to revive the Batman franchise without repeating the mistakes of the past. Enter Christopher Nolan: the rising auteur behind indie thrillers like MEMENTO and INSOMNIA. He wasn’t the obvious choice to reboot one of DC’s most valuable properties—but he turned out to be the right one. In this episode, we explore how Nolan got the job, how BATMAN BEGINS evolved during development, and how the film’s grounded approach reshaped the genre for the next two decades. Coming Up: THE DARK KNIGHT (2008) THE DARK KNIGHT RISES (2012) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

In the final episode of our Romero/Savini series, we come full circle—back to the film that started it all. After years of legal battles trying to reclaim the rights to the original NIGHT OF THE LIVING DEAD (1968), George Romero and his Image Ten partners decided the best way to protect their creation—and maybe finally make some money from it—was to remake it. In 1990, they did just that. Romero wrote the screenplay, updating key elements of the original while preserving its structure, and handed directing duties to his longtime collaborator Tom Savini. For Savini, best known for his work behind the makeup chair, it was a chance to prove himself as a director on a film that carried enormous legacy and expectation. In this episode, we explore the making of NIGHT OF THE LIVING DEAD (1990), the creative choices behind the remake, the challenges Savini faced behind the camera, and how the film has been reappraised over time. Coming Up: BATMAN BEGINS (2005) THE DARK KNIGHT (2008) THE DARK KNIGHT RISES (2012) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

In the late ’80s and early ’90s, after decades of working independently, George Romero found himself navigating the Hollywood studio system for the first time—with mixed results on films like MONKEY SHINES and THE DARK HALF. But in between those two projects, Romero reunited with longtime friend and collaborator Dario Argento for a passion project: an anthology film adapting the works of Edgar Allan Poe. Originally envisioned as a multi-segment horror showcase featuring several iconic directors, the project ultimately shrank to just two stories—one helmed by Romero, the other by Argento. The resulting film, TWO EVIL EYES, quietly slipped into obscurity, receiving only a limited release in the U.S. and little fanfare on arrival. In this episode, we dig into what happened behind the scenes—why the anthology was scaled back, what Argento’s original vision may have looked like, and how TWO EVIL EYES fits into Romero’s body of work during a time of transition and compromise. Coming Up: NIGHT OF THE LIVING DEAD (1990) BATMAN BEGINS (2005) THE DARK KNIGHT (2008) THE DARK KNIGHT RISES (2012) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After the disappointing reception to DAY OF THE DEAD and the collapse of his production company, Laurel Entertainment, George Romero found himself in unfamiliar territory: working within the Hollywood studio system. In 1988, Romero was hired by the flailing Orion Pictures to adapt the novel Monkey Shines—a psychological thriller about a paraplegic man who forms a telepathic bond with a hyper-intelligent service monkey... who also happens to be a murderer. It was Romero’s first time working with a major studio, and the experience came with all the creative restrictions and compromises he’d spent his career avoiding. In this episode, we explore how Romero ended up on this strange project, the battles he fought behind the scenes, and the final film that emerged—an oddity in his filmography, but one that’s garnered a cult following in the decades since. Coming Up: TWO EVIL EYES (1990) NIGHT OF THE LIVING DEAD (1990) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

In the latest installment of our Romero/Savini series, we’re diving into what many—including Tom Savini himself—consider the duo’s greatest collaboration: 1985’s DAY OF THE DEAD. As the final chapter in Romero’s original Living Dead Trilogy, DAY OF THE DEAD was met with a lukewarm reception upon release. Fans expecting another DAWN OF THE DEAD were disappointed by the film’s bleak tone, limited scope, and talkier structure. But over the decades, the film has been reappraised as a cult classic—one that many now consider Romero’s most uncompromising and ambitious zombie film. Of course, it wasn’t the film Romero had originally envisioned. Budget cuts, ratings concerns, and clashes with producers forced him to scale back his apocalyptic vision. What emerged instead was a claustrophobic, character-driven horror film packed with social commentary—and some of the most iconic gore effects of Savini’s career. In this episode, we dig into the production history, creative compromises, and lasting legacy of DAY OF THE DEAD. Coming Up: MONKEY SHINES (1988) TWO EVIL EYES (1990) NIGHT OF THE LIVING DEAD (1990) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After the commercial disappointment of KNIGHTRIDERS, George Romero was looking for a win—and Hollywood came knocking. Although a planned adaptation of a Stephen King novel never materialized, the connection sparked a friendship that would soon lead to one of the most beloved horror anthologies of all time: CREEPSHOW. Released in 1982, CREEPSHOW was a gory, candy-colored love letter to the EC horror comics Romero and King had devoured as kids. Written by King and directed by Romero, the film brought together five twisted tales of terror and cemented both men's status as masters of the genre. CREEPSHOW also marked a turning point for Tom Savini. While already renowned for his gore work, this film gave him the chance to create elaborate creature and practical effects that pushed his talents to new heights. In this episode, we dig into the behind-the-scenes making of CREEPSHOW, the origins of its comic book inspiration, and how it became a high-water mark for horror anthologies. Coming Up: DAY OF THE DEAD (1985) MONKEY SHINES (1988) TWO EVIL EYES (1990) NIGHT OF THE LIVING DEAD (1990) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After the massive success of DAWN OF THE DEAD, most filmmakers would’ve doubled down on horror. George Romero did the opposite. With KNIGHTRIDERS, he left zombies behind and made what is arguably the most personal and unconventional film of his career. A character-driven drama about a traveling Renaissance faire troupe that stages full-contact jousts on motorcycles, KNIGHTRIDERS trades gore for idealism—and gives frequent Romero collaborator Tom Savini a rare turn as a dramatic leading man, opposite a then-rising star named Ed Harris. At the time, the film baffled audiences and bombed at the box office. But over the decades, KNIGHTRIDERS has quietly built a reputation as one of Romero’s most soulful and underappreciated works. In this episode, we explore how the film came to be, how Romero’s countercultural ideals shaped it, and how it eventually earned its place as a cult favorite. Coming Up: CREEPSHOW (1982) DAY OF THE DEAD (1985) MONKEY SHINES (1988) TWO EVIL EYES (1990) Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

This week, we're embarking on a bit of a side quest. EFFECTS isn’t a George Romero film, but it comes straight out of the Pittsburgh horror scene he helped shape. Directed by Dusty Nelson and made on a shoestring budget in the late ’70s, EFFECTS was the brainchild of a group of Romero collaborators honing their craft between bigger projects. Among those involved: longtime Romero editor Pasquale Buba, composer and actor John Harrison, and, of course, makeup effects legend Tom Savini—who not only provided the gore but also starred in the film. Long considered a lost film and a whispered legend among horror fans, EFFECTS was rediscovered decades later and restored for modern audiences thanks to Synapse Films and AGFA. In this episode, we dig into how the film came together, what makes it such a unique piece of regional horror, and how it fits into the broader legacy of Romero’s creative circle. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

After years of working in television and experimenting with smaller projects like MARTIN and SEASON OF THE WITCH, George Romero returned to the world of the undead with 1978’s DAWN OF THE DEAD—a bold, bloody, and darkly satirical follow-up to NIGHT OF THE LIVING DEAD that would change the zombie genre forever. This time, Romero wasn’t working alone. DAWN OF THE DEAD marked his first official feature-length collaboration with Tom Savini, who brought his Vietnam-era trauma and stage makeup training to bear with some of the most iconic gore effects in horror history. In this episode, we dive into the story behind DAWN OF THE DEAD—from Romero’s partnership with Italian horror legend Dario Argento, to the challenges of filming in an operational shopping mall, to Savini’s pioneering work in practical effects. We also explore the film’s sharp social commentary, its various international cuts, and the legacy that continues to influence zombie media to this day. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

Last week, we covered NIGHT OF THE LIVING DEAD, the film that launched George Romero’s career and first brought him into contact with a young aspiring makeup artist named Tom Savini. Savini’s deployment to Vietnam kept them from working together on that film, but nearly a decade later, the two would finally collaborate—this time on a very different kind of horror movie. Released in 1977, MARTIN is Romero’s haunting and deeply personal take on the vampire myth, a low-budget psychological horror film that trades fangs and folklore for razors and alienation. In this episode, we explore the making of MARTIN, how Savini’s contributions behind and in front of the camera helped shape the film, and why it remains one of Romero’s most unique and underrated works. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock

For our inaugural series on Cinema Shock, we're digging into the legendary collaboration between George Romero and special effects icon Tom Savini. While Savini didn’t work on NIGHT OF THE LIVING DEAD, the story of their partnership begins here—however indirectly. And really, there’s no better place to start when looking at Romero’s career than with the film that launched it all. Released in 1968, NIGHT OF THE LIVING DEAD didn’t just kick off Romero’s career—it helped create the modern zombie genre. In this episode, we uncover the film’s unlikely origins, how it was made on a shoestring budget, and why it continues to influence horror over half a century later. ----more---- Theme Song: "Guardian At The Gate Of Our Horned Lord's Heart" by Slasher Film Festival Strategy. ----more---- This episode was written, produced and edited by Gary Horne & Justin Bishop, with special thanks to Todd Davis. Visit our website for episode archives, blogs and more: http://cinemashock.net ----more---- Follow us: twitter.com/cinema_shock facebook.com/cinemashocknet instagram.com/cinema_shock