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