The Cherry Hill Chainsaw Massacre

Stephen King, the most renowned horror author of our lifetime, has always exhibited a penchant for the supernatural and science fiction, whether that be an adolescent outcast utilizing her newfound telekinesis to exact vengeance on the town that's mistreated her, a child-consuming alien disguised in the deceptively comforting shape of a clown, a horde of spider-like aliens emerging from a wall of mist, an ordinary man suddenly blessed (or cursed) with the ability to foretell impending tragedies, or an alcoholic patriarch driven to axe-wielding madness by the spirits of a haunted hotel. All of which makes his departure into dystopian political horror more intriguing and grounded in a reality that might resemble our own. Based on his 1979 novel of the same title, The Long Walk transpires in a futuristic, dystopian United States ruled by a totalitarian regime. Once a year, 50 young men are assembled to participate (either willingly or obligatorily) in a walkathon named "The Long ...

Since the genesis of the slasher subgenre, sex and death have been inextricably linked. If teenagers engaged in the "sin" of premarital sex, they were almost certain to be penetrated by something much sharper and more fatal than male genitalia. In their own bizarre, self-righteous way, horror movies doubled as cautionary tales against such a transgression, encouraging adolescents and young adults to save themselves and their purity for the right person with whom they wish to share the rest of their lives. Now, of course, if the young, attractive, sexually active characters in horror films finally realized the virtue of the pious message being bluntly communicated in the Halloween and Friday the 13th franchises via their masked, silently judgmental antagonists, we would no longer be able to bask in the pleasure of the beheadings, eviscerations, and impalements that constitute the raison d'etre of slasher movies. So let's just keep imparting the moral judgment on our ch...

Bryan Fuller and David Carson's 2002 made-for-TV adaptation of Stephen King's 1974 supernatural coming-of-age horror novel, Carrie , will always hold a special place in my horror-loving heart. For starters, it's the very first adaptation of the story I had ever seen, having purchased it on DVD under the assumption it was the "right" adaptation (and at this time, I didn't even know it was an adaptation of a novel, nor did I even know the meaning of the word, "adaptation," yet: I was in Kindergarten). It wasn't until my parents came into my bedroom while I was watching the movie on my computer (this was before I had a DVD player to watch movies the correct way) that I learned the truth: "This isn't Carrie !" my mother asserted. "Yes, it is!" I replied with almost tearful disappointment and frustration. 'Twas then that my father introduced me to the concept of a "remake," a cinematic term I had never heard befor...