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Logo by Kristian Horn
What the &#$% is ZOMBIES & SHARKS?

Greetings, all. Ambush Bug here with another AICN HORROR: ZOMBIES & SHARKS column. I’ve got a shitload of movies for you, some good, some not so much. But all horror. For some reason, we’ve got a lot of retro-reviews this week, but sometimes that’s the best place to find good horror. Before we get into that though…there’s this!

Though I’ll be reviewing it soon, I wanted to let folks know that Black Fawn Distribution; the folks behind IF A TREE FALLS (reviewed here) and IN THE HOUSE OF FLIES (reviewed here) is releasing DEVIL’S NIGHT this week on DVD. The film stars the lovely and talented Danielle Harris. Here’s the official synopsis; The movie tells the story of five frat boys who are involved in a Halloween prank that ends in murder. They keep the accident a close secret until Devil’s Night the following year when a mysterious assailant begins stalking them with a vengeance. One by one the college students start to disappear and, with nowhere to turn, the surviving friends are forced to involve the authorities who are already busy hunting Michael Lymburner, a local serial killing pig farmer. With the police convinced that the murders are somehow linked to Lymburner, the frat boys believe that the killer is someone else, someone who must have witnessed the crime they committed the year before. Looko for my review of DEVIL’S NIGHT coming soon on AICN HORROR and you can find out more about this and other films from Black Fawn here!

Anyone up for calling a psychokinetic troubled teenage girl with mommy issues? Well, if you said yes, you’re in luck. Call the number on the right and you’ll get a message from Carrie herself (actress Chloe Moretz) to help promote the release of the new CARRIE remake which opens March 15th! So here’s that number…just call her, maybe…

I can’t believe I just wrote that…

I’ll be reviewing the porn horror parody THE EVIL HEAD shortly, but if you can’t wait, Friend of AICN HORROR William Wilson took a look at the film over at his website and wanted to share his thoughts with the AICN HORROR audience.
I’ve been covering the developments on THROWBACK an Australian Yowie Horror Survival film currently in production. They’ve released a poster for the film that I think is pretty damn sweet. Look for more THROWBACK info here on AICN HORROR, where we love our Squatchploitation!

Now let’s get on with the reviews!

(Click title to go directly to the feature)

Retro-Review: NIGHT OF THE DEVILS (1972)
Retro-Review: Jess Franco’s EXORCISM (1975)
Retro-Review: THE DAY AFTER HALLOWEEN (1979)
Retro-Review: THE FUNHOUSE (1981)
Retro-Review: BASKET CASE 3 (1992)
WRONG TURN 2 (2012)
JACK & DIANE (2012)
And finally…GET OFF MY PORCH!

Retro-review: Available now from Raro Video!


Directed by Giorgio Ferroni
Written by Eduardo Manzanos Brochero, Romano Migliorini, Gianbattista Mussetto, Aleksei Tolstoy
Starring Gianni Garko, Agostina Belli, Roberto Maldera, Cinzia De Carolis, Teresa Gimpera, Bill Vanders, Umberto Raho
Retro-reviewed by Ambush Bug

THE NIGHT OF THE DEVILS is an excellent example of fine Italian horror. With a focus on mood and atmosphere, Giorgio Ferroni does a fantastic job of telling the tale of Tolstoy’s THE WURDULAK which Mario Bava adapted so well with BLACK SUNDAY. But without being redundant, the director is able to make a chilling and effective little horror film.

Found stumbling through a countryside, a man (Gianni Garko) is taken to a hospital for observation. There he experiences flashbacks and nightmares filled with the surreal and the macabre. Through a series of flashbacks, we find out that the man was taken back to a cabin in the woods which houses a family cursed for centuries. Unlike your typical vampire film, this one bucks conventional rules and doesn’t even go so far as to call them vampires, but they do drink blood and they are evil monstrosities.

A cross between EVIL DEAD and the REC films, this film does a great job of treating vampirism as more of a possession where those afflicted thirst for blood, but retain the thoughts of the their living bodies sans emotion. Though the pale makeup might look remedial by today’s standards, the film does a great job with very little makeup to make these monsters creepy.

Patient to the point of tedium at times, THE NIGHT OF THE DEVILS has a powerful ending as everyone the man (who is never named in this film) comes into contact seems to be eventually overcome by the curse. THE NIGHT OF THE DEVILS is old school for sure, but it takes the material deathly serious.

Though none of them as enchanting as BLACK SUNDAY’s Barbara Steele, typical of Italian cinema of this era (and reminiscent of the old Hammer films), there is a bevy of gorgeous women eager to drop their clothing or have their garments ripped off by monster and lover alike. But despite those trappings, THE NIGHT OF THE DEVILS delivers a lot of scares.

Couldn’t find the trailer, but here’s a pretty cool scene from the film with a lot of laughing and some pretty bitchin’ stuntwork!

Retro-review: Available now from Kino Lorber/Redemption!

Jess Franco’s EXORSICM (1975)

Directed by Jesus Franco
Written by Jesus Franco, Henri Bral de Boitselier, James C. Garner, Marius Lesoeur
Starring Lina Romay, Catherine Lafferière, Jesus Franco, Nadine Pascal, Pierre Taylou, Roger Germanes, Monica Swinn, France Nicolas
Retro-reviewed by Ambush Bug

Try as he might, Jess Franco can’t help but exploit the hell out of his wife in this twisted little gem called EXORCISM, also known as DEMONIAC to some.

I’m not going to lie to you. This was a tough film for me to get through. Not one to really go ga-ga over S&M, maybe this just wasn’t the film for me. But EXORCISM tends to linger a bit too long for my tastes on women in chains being whipped by a cat o nine tails. I love the female form as much as the next red blooded male, but through Franco’s wife Lina Romay is breathtaking, the camerawork featuring her gorgeous form is not. Instead, he simply sets things up the camera and the grinding begins.

Every five minutes is punctuated with either an intricate ritual scene of S&M and devil worship or a heterosexual or lesbian love scene. And if vintage footage of said activity interests you, this might be a worthwhile film to seek out.

It’s too bad though, because the story is kind of compelling. A twisted defrocked priest with weird hair (played by Franco himself) witnesses a nightclub with a central act of a simulated sadomasochistic devil ritual; he is convinced that the participants are really Satan worshippers in need of exorcisms. Though the story is a mystery, it’s never a mystery to us as the viewer that the creepazoid is the guilty one. Franco plays a psycho well and adds a lot of creep as he stalks Lina and performs his own rituals on them. While most exorcism films focus on the demonic possession, this one instead refreshingly focuses on an off kilter exorcist.

Though the acting is rough as is the filmmaking, there’s something compelling about Jess Franco’s EXORCISM, namely the creepy story, the creepy performance from Franco himself, and of course, the un-creepy, but altogether lovely Lina Romay.

This trailer POSSESSES buttocks!

Retro-review: Available now from Scorpion Releasing/Katrina’s Nightmare Theater!


Directed by Simon Wincer
Written by Chris de Roche and Everett De Roche
Starring Chantal Contouri, Robert Bruning, Sigrid Thornton, Hugh Keays-Byrne
Retro-reviewed by Ambush Bug

Films like THE DAY AFTER HALLOWEEN always interest me. While making the film, it seems as if the filmmakers were set out to make an altogether unique movie, but somewhere upon release, the powers that be decided to change the original title of the film, SNAPSHOT, to THE DAY AFTER HALLOWEEN, most likely to cash in on the box office fervor that was John Carpenter’s HALLOWEEN. It doesn’t matter that this film had nothing to do with the series or that the holiday of Halloween isn’t even mentioned in the film. If it meant butts in movie theater seats, I guess all of that didn’t matter.

And it’s too bad. I wouldn’t categorize THE DAY AFTER HALLOWEEN aka SNAPSHOT aka ONE MORE MINUTE as perfect, but there are some things the little stalker film does get right. Still, I think the most effective bits of the film come from other popular films of the time. Less so, 1976’s CARRIE, in which the film’s star, Sigrid Thornton plays Angela, a doe-eyed hairdresser from a religious home. Her decision to become a model is blasphemy according to her overbearingly religious mother. This is a smaller theme in the film, but a key factor in Angela’s character who rebels against her puritanical roots to pursue a life of being a model.

But the film I couldn’t help but think of while watching this film was FAME. Though FAME was released in 1980 and most likely wasn’t on the minds of the filmmakers during production, the key scene in FAME where Irene Cara’s Coco is exploited by a photographer into taking her clothes off is mirrored in this film numerous times as Angela is sucked into the sleazier side of the modeling world and taken advantage of by pretty much everyone she meets.

Because these scenes of exploitation are so sleazy with Angela frowning and crying when asked to disrobe by leering cameramen, managers, or jaded fellow models, THE DAY AFTER HALLIWEEN actually hit me on a more visceral level than I was prepared for. There is a mystery going on centering on a stalker who has Angela in his/her sights, but it’s the scenes of uncomfortable exploitation that make this film more of a horror film than anything.

The opening scenes of THE DAY AFTER HALLOWEEN are actually really well done, with a group of firemen entering a building and finding a sizzling corpse in the middle of a room filled with photos of who we soon learn to be is Angela. This opener is moody and sets a dire tone, but the dedication to looking at the sleazier part of modeling and making everyone who crosses Angela’s path wanting to take a part of her home with them gave me a queasy feeling from start to finish. The sloppy ending doesn’t really give a clear picture of who the stalker is or how Angela feels about who she might think the stalker is and will most likely leave you feeling unsatisfied. But the film incited an uncomfortable emotion in me and for that I categorize it as a successful little horror film, whatever it is called.

The following trailer has boobies!

Retro-Review: Available now on BluRay from Scream Factory!


Directed by Tobe Hooper
Written by Lawrence Block
Starring Elizabeth Berridge, Shawn Carson, Cooper Huckabee, Largo Woodruff, Miles Chapin, Kevin Conway, William Finley, Wayne Doba as Gunther the Monster!
Retro-reviewed by Ambush Bug

Though Tobe Hooper will most likely go down in history for TEXAS CHAINSAW MASSACRE, the director did do some other effective films. Take THE FUNHOUSE for example. This was a film I saw the trailers for as a kid and was dying to see, but wasn’t allowed to do so. When I did get to see it, it was such a special experience that even if it was a piece of shit, I would have savored it because it was denied my viewing for so long. Luckily, though, THE FUNHOUSE is anything but and one of the best films I’m reviewing in this week’s column.

Elements of TEXAS CHAINSAW MASSACRE abound in this stalk and slash film set in a carnival amusement park. Hooper’s attention to sleazy detail come to the surface once again as a quartet of teens make their way through sideshow attractions of two headed cows and dancing girls. The automated mannequins of the sideshow, as well as the other intricate set pieces designed for the funhouse ride itself, are insanely detailed, yet bear the grime of age and overuse. The rusty moving dolls click and whirr, moving in a ragged and unconventional fashion that one can’t help but be creeped out by. The carnival in this film comes alive and though in some cases the same actors are used (Kevin Conway is in this one in three different roles as three different styles of sideshow barkers), all exude that twisted carnie gruff and roughness that can’t be washed off.

Shades of Hooper’s sequel TEXAS CHAINSAW MASSACRE 2 also surface in this earlier film as the monster itself, Gunther, is motivated by sexual rage and is more of a walking, clawing, drooling penis monster than anything else, much like Leatherface in TCM2 with his tendency to use his chainsaw as a symbol for his sexuality in that film. The theme of sex and death is prevalent in most slasher films, but here it is present almost in every story beat. BRIDE OF FRANKENSTEIN is playing on the television at the beginning and a poster of Frankenstein’s Monster is prominent on the wall. This story of a monster looking for a mate moves to the forefront as Gunther first tries and fails to purchase sex from a fellow carnie, which ends badly and then pursues the two female protagonists throughout the film as they try to escape the funhouse they become trapped in. In a scene that is almost never shown in slasher films, one of the girls even offers herself up for sex in hopes to escape being murdered by Gunther.

Though slasher tome wasn’t necessarily written in stone yet in 1981, Hooper bucks convention by having his lead actress and final girl Elizabeth Berridge smoke weed, have sex, and even appear nude in a shower scene reminiscent of HALLOWEEN with a mask being slid over the camera and then voyeuristically entering the bathroom to disrupt a shower. Though some may see this as a swipe, it felt more like a wink to a fellow filmmaker who was having a particularly good run than anything else. The scene itself is also cut much like PSYCHO’s famous scene with choppy edits at the reveal.

The cast in this one is amazing, as Berridge went on to star in AMADEUS. The kid who plays her brother, Shawn Carson, went on to star in another carnival horror film SOMETHING WICKED THIS WAY COMES, and the aforementioned Kevin Conway who went on to be a talented character actor in GETTYSBURGH and OZ. Hell, it’s even kind of cool that the writer of this film, went on to write the abysmal 1990 version of CAPTAIN AMERICA. And if you look closely, you’ll recognize the PHANTOM OF THE PARADISE himself William Finley as the twisted magician.

THE FUNHOUSE pulls no punches and puts the teens who think it would be a good idea to sneakout of the Funhouse ride and spend the night in the carnival making out and getting into goofy teenage no-good. It has some gory kills and an absolutely horrifying monster in Gunther, a split faced monstrosity who moves like a spastic and uncontrollable animal. Hooper even adds creepy little details which give off a feeling of unease, such as an apathetic mother’s alcoholism and a scene where a carnie who “rescues” the young boy suggesting that he may have molested him a bit before returning him home. All in all, if you’re looking for a truly effective stalk and slash film which turns convention on its ear and isn’t afraid to go for the jugular, THE FUNHOUSE is the place to be.

Available as part of a BASKET CASE Trilogy Steelbook Release from Second Sight!


Directed by Frank Henenlotter
Written by Frank Henenlotter & Robert Martin
Starring Kevin Van Hentenryck, Annie Ross, Gil Roper, Dan Biggers, Jim O'Doherty, & the Morrell Twins!
Retro-reviewed by Ambush Bug

Though my least favorite of the three BASKET CASE films, there are moments of charm in this third and final installment of the twisted story of Dwayne Bradley and his conjoined and separated twin brother Belial. Writer/director Henenlotter made a name for himself by focusing on body horror, but instead of going for the more subversive approach that David Cronenberg went, Henenlotter went a more obvious route. In the end, watching these three films in succession makes for an overall satisfying little trilogy despite the fact that Henenlotter kind of went off the deep end with this final installment.

When I reviewed BASKET CASE 2 last week, I commented on the switch in tone from grimy and gritty to cartoonish was a jarring one for the sequel, but I was willing to set all things aside for the fact that the ending of the sequel, which had Dwayne flipping his shit and sewing Belial back onto his side in the final moments, was so batshit crazy. Sadly, Henenlotter glosses over that shocking finale and instead focuses on the sex scene between Belial and Eve, another little lump of flesh that just so happens to be female. I feel this is a missed opportunity as it would have been interesting to see the brothers connected, on the run, and guided by an unhinged Dwayne, but what do I know. Instead, we flash forward nine months to find Dwayne coming out of his psychotic stupor to find Eve about to give birth to Belial’s lumpy offspring.

This story beat does lead to a truly gross birthing sequence as a dozen of the little lumplings are born connected by one umbilical cord. But Henelotter maintains that level of cartoon that made the first sequel so hard to swallow. The shift in tone from the original to the second was not subtle as the atmosphere and grime of New York was replaced by a clean and uninteresting sound stage. Part 3 resembles the sequel more than the first in tone and look, unfortunately. And while the story becomes another heist-like film where a few rogue cops decide to cash in on the reward for the Bradley brothers, it never goes to the emotional depths we saw in the original. Sure it’s fun to peek into Belial’s mind to find out most of the time he is thinking about sex in a rotating bed with twins with enormous fake breasts, but it misses the tactile unease we got when we saw Belial trying to have sex with Dwayne’s girlfriend in the original. The story has become more of a punchline as the cartoonish freaks from the sequel return. These freaks feel as if they’ve fallen off the set of a Sid and Marty Krofft joint than FREAKS.

The acting is pretty low tier here and the return to status quo was disappointing given the impact of the sequels ending that lead into this one, but there are a few inspired, yet comical kills at the hands of Belial, who seems to be able to twist and rend flash to animated levels. Having seen all three of these films, I can appreciate the fact that it plays out as one big story, with the ending of one tying directly into the next. You don’t see that type of dedication any more and I can definitely appreciate it. Still for my money, I’d rather revisit the original BASKET CASE than see it become more of a cartoon with another film. The trilogy comes full circle and has Dwayne reach a point of acceptance that seems to work, but personally, I was kind of wishing it would plunge into deeper depths of body horror.

All three films are now available as part of a BASKET CASE Trilogy Steelbook Release from Second Sight!

New on DVD from Wild Eye Releasing!


Directed by Adam Protextor
Written by Louis Doerge
Starring Armin Shimerman, Tiffany Shepis, Edwin Neal, Tom Taylor, Rachel Howell, Zachary Eli Lint, Cassandra Powell, Devin Smith, Kerry Lane
Reviewed by Ambush Bug

Indie films like this always impress me. Though the filmmakers don’t often have the budget for special effects or top tier actors, they do have big ideas and aren’t afraid to do whatever it takes to make it all work on film. For that special kind of moxy, I have to give it up to DROPPING EVIL.

Appreciators of low budget horror can do far worse than DROPPING EVIL, a film which often times reminded me of EVIL DEAD by way of an acid trip. Full of psychedelic visuals, different film stocks, and all sorts of non-linear storytelling, the film basically serves to showcase the maximum amount of fucked-upedness the filmmakers can cook up and does so pretty successfully.

Simplistic in story at first, DROPPING EVIL focuses on a quartet of kids who decide to go for a drive in the countryside. Of course they bring along alcohol and they also bring some LSD. Though I’ve never done the drug myself, I imagine some of the fucked up stuff at play once the LSD trip is taken is inspired by true events. Maybe not, but it is a madcap and gory romp nevertheless as the bible freak is dosed and flips out on a murderous rampage; a rampage that consists of multiple death scenes for the same characters, guns popping out of people’s foreheads, and a battle between a guy with a car door and a guy with an axe.

On top of all of that, there’s some metaphysical stuff going on in another plane as some otherworldly gods battle it out and watch the events of the LSD trip unfold via a monitor. Scream queen Tiffany Shepis once again shines and brings it all, even though it’s all weird here, to her performance. Even Edwin (TCM’s The Hitchhiker) Neal makes an appearance as the President.

Indie is translation for low budget, low production, and low acting skills, but that doesn’t mean it can’t be fun. DROPPING EVIL is just that. From some creative camera work to some truly trippy ideas, DROPPING EVIL is definitely for those looking for an unconventional horror buzz.

Out now on DVD/BluRay!


Directed by Declan O'Brien
Written by Declan O'Brien & Alan B. McElroy
Starring Doug Bradley, Camilla Arfwedson, Simon Ginty, Roxanne McKee, Paul Luebke, Oliver Hoare, Kyle Redmond-Jones, Amy Lennox, Duncan Wisbey, Radoslav Parvanov, George Karlukovski, Borislav Iliev
Reviewed by Ambush Bug

Aside from the original WRONG TURN, I haven’t seen any of the other WRONG TURN movies. When I saw WRONG TURN 5 next in my “to watch” pile, I worried for a second that having missed three movies in between, I might miss the full effect this latest chapter of inbred hillbilly rampage had to offer.

Turns out, either the filmmakers did a great job of catching me up in the opening moments or maybe, just maybe, there wasn’t much story to catch up to. Either way, I didn’t have any difficulty in getting up to speed with what was what in this film.

In WRONG TURN 5, three monstrous hillbillies in plaid and overalls come under the tutelage of Maynard (Doug Bradley, better known as Pinhead from the HELLRAISER films), a higher educated and more articulate form of hilljack. The three monstrosities are clumsy and ill mannered and look to Maynard for shelter and recovery (apparently from the events that happened in WRONG TURN 4), but when Maynard gets himself arrested, the three hillbillies come to the nearby town to bust him out…and kill some folks along the way.

WRONG TURN 5 isn’t necessarily a bad film. It’s got a bunch of moments of damn gruesome gore and some decently choreographed kills. It’s just that this film is so vicious to anyone who isn’t inbred that it makes one wonder what the whole point of it all is. I know not all films have to be rich in texture and thematic heft. I know that some simply serve to feed that part of us who flocked to the gladiatorial matches in ancient times thirsty to see blood and entrails spilt. I just felt that this film had somewhat of a black soul with little room for hope during its runtime.

But if you’re looking for gory kills and freaky inbred antics, WRONG TURN 5 is ready for you. Doug Bradley shines here as he did in the other film in this column (DEER CROSSING), classing up the joint and showing his skills at giving a thrilling monologues as he plays Dr. Lechter trapped in the cell and threatening the town sheriff of his rescuers plans. The giggling hillbilly is also quite unsettling to see as he can’t stop snickering like Muttley from those old Hanna Barbera cartoons.

It’s a nice set up and a decently exciting execution in terms of action and carnage. Just don’t go looking for emotional depth and deep themes when you take WRONG TURN 5. Then again, if you’re seeking out this film, you know what to expect, and compared to the first installment (the only other one I’ve seen), it is more of the same. As a fan of the FRIDAY THE 13TH films, I know that there is a place in horror for these despicable style romps which punish the innocents, so I won’t knock you if you like this series.

In theaters limited release Nov 2nd!

JACK & DIANE (2012)

Directed by Bradley Rust Gray
Written by Bradley Rust Gray
Starring Juno Temple, Riley Keough, Cara Seymour, Kylie Minogue
Find out more about this film here!
Reviewed by Ambush Bug

I’m always a fan of independent cinema. My one stipulation is that it be entertaining. I don’t care about budget or special effects or big actors. I just want to be thrilled in some way. JACK & DIANE has bits and pieces of really thrilling material going on throughout it’s hour forty-five minute runtime, but between those bits is a whole helluvalot of monotony.

Diane is a waifish free spirit, wide eyed and innocent in the big city and just looking to be exploited by the evils that the roam the city streets. Jack is a tough girl, rugged and jaded in the way the big city works and not taking any shit from anyone in her way. When the two young girls meet sparks fly and so begins a romance that the bard named Melencamp would only be able to encapsulate in song.

As exceptional the performances are in JACK & DIANE from its two leads Riley Keough and KILLER JOE’s Juno Temple, I had a hard time paying attention to this film which focuses on them 100% of the time. Though they play their parts well, they don’t do a lot aside from staring at one another in bed, staring at one another in the street, and staring at one another while getting drunk in clubs. Sure there are a couple of mini-adventures as Jack and Diane get locked in a warehouse, sneak into a motel swimming pool for a dip, and try to sneak out behind their parent’s backs to go out and roam the streets, but for the most part, these kids, who are supposed to be young and full of life, spend most of their time sleeping, mumbling to each other, and staring at the concrete walls of the city.

The melodrama is amped to the TWILIGHT-ian levels as Diane is set to go off to school soon and the newly formed couple find themselves falling in love at the most inappropriate of time. Much verbage is dedicated to lines like “This sucks.” And “I don’t want to go.” And I believe that these actors feel it. It’s only that it’s not too exciting to see it play out in almost real time.

Though advertised as having horrific elements, I struggle to even categorize this film as such. The horror comes from delusions both Jack and Diane seem to see as manifestations of their sexual desire. In times of sexual tension, the inexperienced and innocent Diane gets nose-bleeds, suggesting that this is leading to something horrific. Maybe she’s a werewolf, I thought, that would be a twist. But aside from some dream sequences and waking nightmares of a misshapen monster eating Jack in the throes of passion and flashes of the beast in the dark, the monsters only take up about twenty seconds of this film.

I just feel the need to be brutally honest here because I feel that after seeing the trailer and even reading a story about it in the latest FANGORIA, some might seek this film out as a horror film and that couldn’t be further from the truth. If you’re looking for an allegory on teenage sexual angst through the lens of horror try CARRIE or GINGER SNAPS or the recently released EXCISION. JACK & DIANE is a story of a troubled romance between two girls with blinks of a monster sporadically interspersed between a lot of navel gazing, though the navels are tight and youthful. There are some decent little moments of animation by the world famous Quay Brothers, so that’s kind of cool. More akin to KIDS than any other kind of horror film, JACK & DIANE is a whimsical and decent slice of life story of city youth, but horror, it ain’t.

And finally…here’s an oldie but a goodie by Patrick Rea, GET OFF MY PORCH! Enjoy!

Get Off My Porch from Patrick Rea on Vimeo.

See ya next week, folks!

Ambush Bug is Mark L. Miller, original @$$Hole/wordslinger/reviewer/co-editor of AICN Comics for over ten years. He has written comics such as MUSCLES & FIGHTS, MUSCLES & FRIGHTS, VINCENT PRICE PRESENTS TINGLERS & WITCHFINDER GENERAL, THE DEATHSPORT GAMES, WONDERLAND ANNUAL 2010 & NANNY & HANK (soon to be made into a feature film from Uptown 6 Films). He is also a regular writer for FAMOUS MONSTERS OF FILMLAND & has co-written their first ever comic book LUNA: ORDER OF THE WEREWOLF (to be released in late 2012 as an 100-pg original graphic novel). Mark has just announced his new comic book miniseries GRIMM FAIRY TALES PRESENTS THE JUNGLE BOOK from Zenescope Entertainment to be released March-August 2012. Also look for Mark's exciting arc on GRIMM FAIRY TALES #76-80 which begins in August 2012.

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