At The Mountains of Madness - More From Del Toro

The news that Guillermo del Toro's next film won't beAt the Mountains of Madnessfor Universal still stings. We're all pretty heartbroken to be honest. So what exactly happened?

In an exclusive interview withDeadlinedel Toro himself shed some light on the subject. Dig on some excerpts below and hit up that link for the whole enchilada.

On casting Tom Cruise ...

"Closing Tom’s deal was in{Universal's}hands. He was without a doubt, absolutely in favor of being in the movie. We met extensively, both in Canada and the U.S., dozens of times. Final polishes of the screenplay met with his approval. Closing the deal is not something that was in my hands. They needed to close it corporately."

On the R rating ...

"I think the R should be worn like a badge of merit in promoting the movie. To say, this is not a gory movie, not a movie full of profanity or violence, but it’s a really intense movie."

On the budget and dealing with Universal ...

"Since the day of the decision, I haven’t had a face to face with them. We’ve exchanged a few phone calls. In my mind, we were given the parameters of a budget and screenplay, and I was given the chance by the studio to create a visual presentation. They were blown away by the visual presentation, they openly admitted to loving the screenplay, saying it was dead on. And we hit the target on the budget they gave us, not a figure I arrived at. This came after months and months of story boarding, haggling with VFX companies, and bringing down the budget number. The week before the decision, I was scouting in the border of Canada and Alaska. We were a week away from opening offices in Toronto. We were crewed up, and frankly, I am as puzzled as most people are. One of the biggest, biggest points for me with this movie was the scope and the R, going hand in hand."

So there you have it, folks. Sadly, that's just the way Hollywood works sometimes. In the interim we'll be happy to have a new monster flick inPacific Rim, but if there's any justice in this world we'll eventually get ourAt the Mountains of Madnesswith Guillermo at the helm doing it the only way he knows how ... his way.

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Indie Horror Month - 25 Milestones in Independent Horror Filmmaking: Part 3

Welcome back, fiends! Over the last two days we’ve looked at the first 10 milestones in independent horror filmmaking, starting in 1921 and ending up in 1977 with David Lynch’sEraserhead.
Today we begin in the year 1978 and take you through the next five milestones of indie horror up until the year 1981.

1978- Joe Dante DirectsPiranha:
Before he was terrifying this writer as a small child with his gritty werewolf taleThe Howling(the animated werewolf sex scene remains to this day an all-time favorite of mine) or capturing the imaginations of children and adults alike withGremlins, director Joe Dante started off working for the iconic B-Movie master Roger Corman.

Dante paid his dues in the industry by coming up under the tutelage of Corman for several years, working as an editor on several projects as well as co-directingHollywood Boulevard. It was in 1978 that Dante would get his big break. Corman, seeing how Steven Spielberg’sJawswas storming theaters countrywide, set off to produce his own spin on the killer fish subgenre in horror withPiranha, a comedy horror film about a swarm of killer piranhas that pack more than the average bite. Corman knew Dante had the ability to capture that unique blend of comedy and horror that has become a trademark in the director’s filmmaking style.

Since its release in 1978,Piranha’s legacy has continued on, including one sequel as well as two remakes (with one remake sequel coming later this year), and acted as the catalyst for not only Dante’s career (whose other genre contributions includeTwilight Zone: The Movie, Amazon Women on the Moon,andThe Burbs) but for critically-acclaimed writer John Sayles as well, who used the money he earned writingPiranha(as well as other horror classics including Dante’sThe Howling) to fund his award-winning future projects.

Piranhaalso remains one of the most successful releases out of the independently run New World Pictures (which was owned by Corman until 1983), further cementing its place in horror history.

1978- John Carpenter Gives Us a New Face of Evil withHalloween:
It’s hard to imagine audiences had any idea what they were in for when they first experienced John Carpenter’s classic slasher flickHalloweenthat fateful autumn in 1978 when it opened in the Midwest. But it’s safe to say that the audiences and the horror genre all felt the power and horror from what many deem the first modern slasher film.

TheHalloweenstory begins with a screening of Carpenter’s cult classicAssault on Precinct 13at the Milan Film Festival, where the director met Irwin Yablans and Moustapha Akkad, who were anxious to work with the up-and-coming Carpenter on a low-budget horror movie. Originally titledThe Babysitter Murders, Yablans suggested moving this chilling tale of babysitters being slain to the holiday Halloween, and from there Carpenter began working on the script with co-producer Debra Hill.

Halloweenwas shot for $320,000 funded solely by Akkad, and Carpenter and his cast and crew were all pushed to the brink during their vigorous 21-day shoot during the springtime in order to deliver the film on time for the upcoming October release. But their tireless efforts to deliver a quintessential spine-tingler paid off - duringHalloween’s initial theatrical run, it earned $47 million in the U.S. alone, making it the most profitable American independent film of its time.

Halloweenended up being a huge milestone, not only creating one of the biggest franchises in our genre but also serving as an inspiration for the modern slasher films for decades of filmmakers who followed. It also launched Master of Horror Carpenter into a new stratosphere in the industry, giving him the clout to go on to create such masterpieces likeThe Fog, Escape from New York, The Thing, ChristineandIn the Mouth of Madnessand created one of the biggest icons of our beloved genre: serial killer Michael Myers.

1979- Aussie Filmmakers Take a Bold Leap withMad Max:
Until 1979 Australian filmmakers weren’t all that widely known around the world, but that all changed when a couple of industry newcomers took a chance in making their gritty dystopic vision of the future,Mad Max.

Before he helmedMad Max, director George Miller was a medical professional working in Australia, but the everyday drama of the emergency room couldn’t keep his full attention so Miller set his sights on becoming a filmmaker. While at a summer film school in 1971, Miller met Byron Kennedy, and an instant bond was forged. Before they took on the pressures of making a feature film, they produced the award-winning short film"Violence in Cinema, Part 1"but struggled for several years until gettingMad Maxoff the ground. It was in 1973 that Kennedy-Miller Films was born and the duo set off to make an action film unlike anything Australian audiences had ever seen the likes of before.

The pair met up with first-time screenwriter James McCausland, and in late 1978 production began onMad Maxfor an estimated $400,000 (AUS) raised independently by Kennedy-Miller Films. The movie shot for twelve weeks around Melbourne, and since there were budget constraints to deal with, the only actor that wore real leather in the film was lead Mel Gibson (who was still an unknown talent here in the US). Many of the cars had to be repainted and reused for multiple set-ups, and often the paint on the cars would still be wet as the film was rolling. Corners even had to be cut during post-production: Kennedy and Miller did all the editing and sound on a homemade editing machine created by Kennedy’s father, who was an engineer.

Mad Maxwas an instantaneous hit in Australia, and once it was released worldwide, it put not only the continent on the proverbial map but newcomer director Miller (who would later win an Academy Award forHappy Feet) as well. The film went on to gross $100 million globally, spawned two sequels, and has influenced filmmakers for generations since its debut.

1980-Friday the 13thBecomes a New Date to Fear:
Until 1980 Sean S. Cunningham was only known in the horror genre for his producing skills. Credited with being the visionary who stood behind an unknown Wes Craven’s disturbing tale of revenge,The Last House on the Left, Cunningham was finally ready to get into the director’s chair after being inspired to do so after seeing John Carpenter’sHalloweenin 1978.

Cunningham hired writer Victor Miller to pen the script (the duo had just collaborated on the dramaManny’s Orphans), and Miller decided to turn the slasher genre on its head a bit: He made the killer not only a woman, but also a mother, which is something that hadn’t been done in this new modern era of horror.

Cunningham madeFriday the 13thfor $550,000, and in an unprecedented deal (at the time), Paramount Pictures nabbed up the project for $1.5 million after one screening, making the major studio one of the first of its time to distribute an independently produced horror film.

There isn’t much left to say aboutFriday the 13thand Cunningham’s influence on modern horror that hasn’t been said a million times over, but perhaps if Cunningham wouldn’t have felt inspired to create his own horrific tale about a group of doomed camp counselors and a deranged mother hellbent on revenge, then we may have never been introduced to one of the biggest icons in pop culture ever: Jason Voorhees. And as fans we would never have enjoyed the countless movies for years to come that clearly took their cues from Cunningham’s work onFriday the 13th.

1981-The Evil DeadRaises the Bar for B-Movies:
The Evil Deadstory really begins back in 1978. A then up-and-coming director named Sam Raimi partnered with his childhood friend, then-unknown actor Bruce Campbell (as well as future Scream Queen Ellen Sandweiss), to create the short film"Within the Woods"as a calling card to help raise funds for their next project -The Evil Dead. Their plan for"Within the Woods"proved successful as Raimi was able to pull together $375,000 from investors based on his work on the short and set off to makeThe Evil Deadwith Campbell, Sandwiess and a whole slew of others on board.

In order to work within his budgetary constraints, Raimi proved his knack for perseverance and shotThe Evil Deadover the course of 1-1/2 years, even using stand-ins (or“Fake Shemps”) when necessary. Once the film was finished, Raimi tried shopping his over-the-top gore-fest around Hollywood but was initially turned down by almost every single distributor in the US at the time due toThe Evil Dead’s graphic violence and terror.

But then he showed the movie at the Cannes Film Festival marketplace, where it was picked up by the European distributor who handledThe Evil Dead’s initial limited theatrical run when it premiered in October 1981. Eventually New Line Cinema stepped in and gave the film a wide release in 1983 after realizing its cult classic potential, and since thenThe Evil Deadhas grossed $29.4 million in theaters. That’s not taking into consideration the money brought in by the various DVD and Blu-Ray versions of the film that have been released since 1999.

Despite the initial negative reviews,The Evil Deadhas gone on to be somewhat of a critical darling these days, being heralded as one of the premiere B-movies ever made. Since makingThe Evil Dead, Raimi has gone on to become a genre hero with films includingEvil Dead 2, Army of Darkness, DarkmanandDrag Me to Hellas well as becoming one of the most sought after directors in Hollywood after his success with helming the originalSpider-Mantrilogy (which has accumulated over $2.6 billion in box office receipts worldwide).

We’ll see you fiends Thursday for our next five milestones!

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Indie Horror Month - 25 Milestones in Independent Horror Filmmaking: Part 2

Yesterday Dread Central brought you the first five milestones in our look back at the 25 milestones that shaped the independent horror landscape over the last 100 years. Today we begin in 1963 with some of the most influential independent genre projects of that era that took some of the biggest gambles in Hollywood and have left an enduring legacy over the last 40-plus years.

Enjoy these five milestones in indie horror, and we’ll see you tomorrow for our next journey through our genre’s rich and storied history.

1963-Blood FeastIntroduces us to Splatter Horror:
Undoubtedly, horror fans owe a huge debt of gratitude to Herschell Gordon Lewis, because had it not been for Lewis’ pushing of the envelope, the horror genre today might be a completely different landscape of films. Lewis had worked as a marketing executive for Paramount Studios for years but he came to realize the profits in independent distributing and started his own company in the 1950s. Not content justcreating an ordinary horror experience for audiences, he set out to makeBlood Feasta blood and gore-filled fest that was beyond shocking to moviegoer sensibilities in 1963.

The best part was that nothing Lewis did was technically against any of the rules set in place from the ratings board, making it an unprecedented film because they had no idea what to do with it. From the success ofBlood Feast, Lewis would go on to complete hisBlood Trilogywith2000 Maniacs!andColor Me Blood Red, ushering in a new standard in horror and for filmmaking in all other genres as well.

Lewis, forever the businessman, still continues working to this day as a producer (at the age of 81 years young) and even recently stepped back behind the camera as director onGrimm Fairy Talesin 2009. But it's his work from almost 50 years ago that has forever endeared Lewis to us as the Godfather of Gore and the countless directors that have worked in horror sinceBlood Feastwill forever owe him a debt of gratitude for the ways he challenged the system with the project.

1968:Night of the Living Deadis Released:
There isn’t much left to be said aboutNight of the Living Deadthat fans don’t know already. Shot on a budget of $114,000 and grossing over $30 million dollars worldwide during its release and subsequent re-releases, George Romero proved to Hollywood that it doesn’t take a star-studded cast to get audiences in their seats. WithNight of the Living Dead, Romero proved that if you give moviegoers a unique concept and compelling storytelling, they’ll show up in droves.

Night of the Living Deadwas a remarkable film for its time, and not just within the context of the horror genre either. The film received a lot of attention (and many times spawned controversy) over the use of nudity (which is subtle compared to today’s standards) as well as for Romero’s casting of African-American actor Duane Jones as the film’s lead, Ben, which was unheard of at the time. Even the film’s climax managed to stir the pot a bit, but Romero remained committed to the social commentary he wanted to make and never changed it despite being urged to do so.

AfterNight of the Living Dead, Romero went on to direct several other“Dead’films, cementing his place in horror history as the“Godfather of the Zombie Movies.” His influence on cinema can be felt far and wide, and to this day Romero continues to work in the entertainment industry, proving that he’s still one of the premier filmmakers in our genre. His last project,Survival of the Dead, was released in 2010.

In 1999Night of the Living Deadwas selected by the Library of Congress for preservation in the National Film Registry alongside films such asRaiders of the Lost Ark, Roman HolidayandA Streetcar Named Desire.

1972- Wes Craven Takes Us toThe Last House on the Left:
Before he was scaring generations of horror fans with Freddy Krueger, writer/director Wes Craven was a struggling artist in Hollywood back in the 1970s. It wasn’t until he met producer Sean S. Cunningham that he’d get the break he needed. Cunningham had recently worked on a successful project with the Hallmark Releasing production house, and based on that success, they gave him $90,000 to shoot a horror movie. Little did they know what they were getting into when Craven finished the script forThe Last House on the Left.

Based on the 1960 Swedish filmThe Virgin Springby Ingmar Bergman, Craven’sThe Last House on the Leftwent through several incarnations before it became the cult classic we know today. It may surprise some to know that the 1972 film is what Craven calls a“softer version” of his original script, which had been originally titledNight of Vengeance, so it’s hard to even begin to imagine what would have been in store for audiences if the original was a much more violent version of this already controversial flick which was dubbed a “Video Nasty” by the Department of Public Prosecutions in 1982 and remained banned until sometime in the 1990s.

It’s been noted that these days it’s still hard to find a completely uncut version ofThe Last House on the Leftbecause during its initial release some projectionists were so appalled by its content that they’d actually hack out snippets themselves. The controversy wasn’t enough to keep audiences away - the film grossed $3.1 million during its initial theatrical run and has gone on to become a cult classic and even spawned a successful remake in 2009.

Despite their involvement with the controversialThe Last House on the Left, both Craven and Cunningham have gone on to enjoy successful careers behind some of the genre’s most influential films of the 80s and 90s, and this project helped pave the way for them to do more, both independently as well as through the studio system.

1974- Tobe Hooper UnleashesThe Texas Chain Saw Massacre:
There is no doubt that audiences would not find a more disturbing film in their cineplexes in 1974 than Tobe Hooper’sThe Texas Chain Saw Massacre. This gritty independent masterpiece is remarkable for many reasons, but two important reasons in particular: One, it was the originator of several elements common in the modern slasher subgenre of horror, including the use of power tools as murder weapons; and two, the characterization of the killer as an overbearing faceless figure.

Produced by Hooper for less than $300,000 with a cast of relatively unknown actors,The Texas Chain Saw Massacrecaused quite a stir upon its release that October. The film was banned outright in several countries and later pulled from some theaters after concerns regarding its violent content, but it eventually went on gross over $30 million in the US alone, making it the most successful independent film at that time.

Over timeThe Texas Chain Saw Massacrehas gained a reputation as one of the most influential horror films in modern cinema history with its influence over filmmakers like Ridley Scott, Alexandre Aja, and Rob Zombie only further proving the lasting power behind one of the grittiest and most terrifying social commentaries to ever be released in this, or any other, country.

1977- David Lynch Brings Us a New Cinematic Vision withEraserhead:
Using Surrealism in films wasn’t that unheard of before filmmaker David Lynch got his start, but there is no doubt that he single-handedly changed the face of that type of storytelling (now, most people refer to cinematic surrealism as “Lynchian”) with his inaugural feature film,Eraserhead.

A film six years in the making, Lynch began working on the project after securing a $10,000 grant from the AFI in Los Angeles. With the grant not being sufficient money to complete the entire feature, Lynch remained unflappable in his desire to finishEraserheadso he used money from friends and family and from odd jobs over the years. Lynch finally completed the film in 1977.

Upon its release,Eraserheadpolarized and baffled many critics and audiences but demonstrated that Lynch was both a visionary and a pioneer filmmaker of his time. After its limited theatrical release, the writer/director was hired to helmThe Elephant Man (by none other than Mel Brooks) and received an Academy Award Nomination for Best Director and for Best Adapted Screenplay for his efforts. Lynch went on to garner two more Oscar nominations as well for his directing work on 1986’sBlue Velvetand 2001’s Mulholland Drive.

Had it not been for Lynch’s perseverance to getEraserheadmade, fans may never have enjoyed the resurgence of Dennis Hopper or wondered who killed Laura Palmer. In 2004Eraserheadreceived its highest honor by being selected for preservation in the National Film Registry alongside films likeBen-Hur, Enter the DragonandSchindler’s List.

We’ll see you fiends Wednesday for our next five milestones!

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A Serbian Film Deemed Child Pornography in Barcelona

And the little film designed to shock, offend, put off, and disgust its viewers,A Serbian Filmhas caused a hell of a lot of commotion at the Sitges Film Festival in Barcelona when it screened there. Hold on to your asses, folks!

According to Spanish WebsiteEl Paisfestival director, Angel Sala, has been formally charged with the exhibition of what they're calling child pornography in connection with a screening ofA Serbian Filmat the 2010 edition of the festival.

Interestingly enough the scene everyone's all up in arms about, while no doubt disgusting, takes place off screen and is merely implied. Does that make it right? Either way, like or agree with the film or not, no one was harmed during its making and everything onscreen is fictitious.

Stay tuned for more on this outrageous story soon.

Synopsis:
Milos is a retired porn star who made his name in foreign productions. In order to sustain his impoverished family, he accepts an invitation from an ex-partner and friend, Layla, for one last job. He's supposed to star in an“art porn” movie in which his instincts are more important than knowing what the script is about. The director sounds intelligent and convincing, even charming. But the first day of shooting is a bit strange. Then it gets weirder. When Milos decides to pull out, things go from bad to worse. Andworse. Until they reach the unspeakable.

A beautifully shot and edited film with an excellent sense of timing and narrative economy, it is graced by a superb, droning industrial score. The drama is augmented by incredibly convincing and poignant performances.

A Serbian Film (review here)is firmly rooted in the frustration and despair of living in Serbia today. It reinvents the horror genre to suit its own purpose, turning it into a powerful cinematic scream of anger and frustration. It offers a stylized version of what it feels like to grow up in a country humiliated, denigrated, impoverished, bombed-out, stripped of its territory, labeled genocidal and haunted by the spirits of war crimes both real and constructed. The film is a scream against shady politics, both domestic and foreign; against limitations both internal and external; against being both metaphorically and literally fucked. There are moments where it goes to devastating extremes, but never without purpose or reason. You won't know whether to laugh, cry, stare in disbelief or leave the theatre when faced with the transgressive new links between sex and death that A Serbian Film reveals. This film will fuck your senses and rape your soul. You have been warned.

For more, check out Cult Labs’officialA Serbian Filmwebsite.

A Serbian Film - UK Trailer
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Paleyfest 2011: True Blood Season 4 Update! Watch a Scene from NEXT Season!

This June"True Blood"returns to HBO, and fans have been endlessly speculating about Season Four: What new creatures will we see? Who gets naked? Will Tara finally stop fucking crying?

Well, Alan Ball and the entire cast crashed this year’s Paleyfest and dropped a few hints at what we can expect.

Appearing live were:

Kevin Alejandro,“Jesus Velasquez”
Marshall Allman,“Tommy Mickens”
Alan Ball, Creator/Executive Producer
Chris Bauer,“Andy Bellefleur“
Kristin Bauer van Straten,“Pam De Beaufort“
Nelsan Ellis,“Lafayette Reynolds”
Ryan Kwanten,“Jason Stackhouse”
Todd Lowe,“Terry Bellefleur”
Joe Manganiello,“Alcide Herveaux”
Stephen Moyer,“Bill Compton”
Anna Paquin,“Sookie Stackhouse”
Jim Parrack,“Hoyt Fortenberry”
Carrie Preston,“Arlene Fowler”
Alexander Skarsgard,“Eric Northman”
Sam Trammell,“Sam Merlotte”
Rutina Wesley,“Tara Thornton”
Deborah Ann Woll,“Jessica Hamby”

Read on for the spoilers!

Season Four will revolve heavily around witchcraft. According to Ball this arc will be kicked off with a Wiccan ceremony that accidentally summons an“older entity” (which we assume isn’t friendly).

Expect to see new werewolves, shape-shifters, and“a new child.” (Arlene's serial killer love-spawn?)

Russell Edgington, the Vampire King of Mississippi, will return. Ball says the decision not to kill him was very deliberate, and when he comes back,“he’ll be pissed.”

Guest stars this season include Gary Cole and Fiona Shaw as a witch.

Bill and Sookie aren’t going to get back together so easily. Their journey will be long and arduous.

Niall, Sookie’s great-fairy-grandfather from the Charlaine Harris books, will appear in the future (but probably not this season).

Tara and Pam will finally cross paths.

In addition, Ball showed a quick“sneak peek” scene from the upcoming season, and we have it right here for your viewing pleasure. Enjoy, fangbangers!

Paleyfest 2011runs through March 17th; keep tabs on things by following thePaley Center on Twitter.

Video courtesy of Annette Slomka.

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Help the Horror Cause - Request FEARnet HD from Your TV Provider

Last October FEARnet HD launched on Verizon FiOS (Channel 197), and as of now they remain the sole outlet for the fledgling network's high definition horror, thriller, and suspense films. But you can help expand its reach.

FEARnet's currently working with all the major TV providers to get FEARnet HD added to their channel lineups, and that's where you, the horror fans, come into play. Just enter your zip code and cable provider info intoFEARnet's Channel Finder application, or call 877-FEAR-247 to request it from your TV provider.

Here are a few highlights of what's coming up this month on FEARnet HD:

The Grudge 3
John Carpenter'sEscape from New York, Eyes of Laura Mars, Ghosts of Mars, andThe Fog
Night of the Living Dead (1990)
Bug
A Nightmare on Elm Street (1984)
Hard Candy
Sleepwalkers
Mary Reilly
Tooth and Nail
AnatomyandAnatomy 2
Frontier(s)

Along with the HD component, FEARnet On Demand currently delivers 50 hours a month of movies, originals, and exclusive content to the more than 24 million homes currently receiving it. Online,FEARnet.comis the web's #1 site for genre movie viewing, where users can explore the world of the macabre on a visually arresting video-rich environment packed with movies, interactive community features and fresh original content.

Help the horror cause by taking one minute– because that’s literally all it takes – to get FEARnet HD via the cable provider in your town!

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Death Hunter Werewolves vs. Vampires Slays Its Way Onto DVD

I'd argue a more appropriate title would beDeath Hunter: Some Guy Bitten By A Werewolf Partially Cured By An Antidote That Leaves Him With All The Abilities Of A Lycan Without Actually Transforming Into One Begins Running Around Looking Like A Chemo Patient Blade But Barely Uses His Lycan Powers Vs. Werewolves& Vampires, but that's just me.

Death Hunter: Werewolves vs. Vampiresis an American movie I had never heard of when I stumbled upon a DVD listing on a Thai website I scour every so often. At the time it didn't even have an IMDB listing. It still doesn't have one. Needless to say I purchased a cheap import and reviewed it over a year ago. As you can read for yourself, I was less than impressed.

Now you'll get your chance this May to tell me if you agree or disagree with my assessment when MTI Home Video releaseDeath Hunter: Werewolves vs. Vampiresto DVD on May 24th. DVD features include closed captioning, option Spanish subtitles, 16:9 widescreen format, 5.1 Dolby Digital Surround Sound, deleted scenes, and trailers.

When his wife is abducted by a group of blood-thirsty Vampires, John Croix is left to die in a forgotten region of the desert. It is here where an unspeakable evil exists. Now, by no choice of his own, Croix will come face-to-face with the most terrifying creatures of the night. Still a man, but possessing all the strength and power of a werewolf when the moon is out, Croix becomes a reluctant hero for mankind when he learns that his wife may still be alive. Croix sets out on a mission to rescue his wife - venturing deeper and deeper into the Vampire's lair- in his quest to save her before she is lost to the world of the undead forever.

Death Hunter: Werewolves vs. Vampiresis directed by Dustin Rikert (Alien Invasion Arizona) and stars Sam McConkey, Paulino Hemmer, Mike Lawler, and Shari Weidmann, all of whom appear in Rikert's next film:Easy Rider: The Ride Back. You read that correctly. Below you'll find the trailer for this low budget action-horror flick directed by the same guy who has since gone on to make anEasy Riderprequel.

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