I review 300 sequels, 100 remakes, and 50 prequels of my favorite horror movie franchises. The movies are ranked. Their position in the list is established by the sum of 8 ratings: stars, gimmick, rewatchability, story, creativity, acting, quality, and creepiness.

I review 50 of my favorite horror movie prequels. The movies are ranked. Their position in the list is established by the sum of 8 ratings: stars, gimmick, rewatchability, story, creativity, acting, quality, and creepiness.

The third volume of The Cambridge History of the Gothic is the first book to provide an in-depth history of Gothic literature, film, television and culture in the twentieth and twenty-first centuries (c. 1896-present). Identifying key historical shifts from the birth of film to the threat of apocalypse, leading international scholars offer comprehensive coverage of the ideas, events, movements and contexts that shaped the Gothic as it entered a dynamic period of diversification across all forms of media. Twenty-three chapters plus an extended introduction provide in-depth accounts of topics including Modernism, war, postcolonialism, psychoanalysis, counterculture, feminism, AIDS, neo-liberalism, globalisation, multiculturalism, the war on terror and environmental crisis. Provocative and cutting edge, this will be an essential reference volume for anyone studying modern and contemporary Gothic culture.

The first volume to provide an interdisciplinary, comprehensive history of twentieth and twenty-first century Gothic culture.

Most scholarship on Mary Lambert's Pet Sematary (1989) overarchingly focuses on the Stephen King novel (1983), and tends strongly towards housing the story within the Gothic literary tradition. The film itself is often absent from considerations of North American horror cinema of the 1980s, and from wider horror scholarship in general. This Devil's Advocate stands as a corrective, and provides a holistic analysis – textual, contextual, and industrial – of the film, in order to properly situate it as an important entry into the history of horror cinema. This book joins a growing body of works – both journalistic and academic – that aim to revisit older films in order to call attention to and/or redress the gendered imbalance in our written horror histories. McMurdo charges Pet Sematary with several contributions to the horror genre: as an important entry within the tradition of “grief horror”; as a horror film that both adheres to and defies the generic conventions of its historical context, one both engaged with and respondent to its time of creation; as a film that changed the fortunes of the cinematic Stephen King “brand” on the cusp of a new decade. Pet Sematary is the highest grossing horror film directed by a woman in cinematic history, and it stands as a story that we keep returning to – as seen by the 1992 sequel, the 2019 remake, and a forthcoming prequel. Pet Sematary’s modern relevance and importance to genre history then, is manifold, and this book argues it is past time for its reconsideration as a classic of horror cinema.

Since 1966, the Star Trek television franchise has used outer space and the thrilling adventures of the crews of the U.S.S. Enterprise to reflect our own world and culture. Kirk and Spock face civil rights issues and Vietnam war allegories while Picard, Data, and the next generation seek an ordered, post-Cold War stability in the Reagan era. The crews of Deep Space Nine, Voyager and Enterprise must come to terms with our real life of war, manifest destiny in the 21st century, and the shadow of 9/11. Now, as the modern era of the franchise attempts to portray a utopia amidst a world spinning out of control, Star Trek remains about more than just the future. It is about our present. It is about us. This book charts the history of Gene Roddenberry's creation across five decades alongside the cultural development of the United States and asks: are we heading for the utopian Federation future, or is it slipping ever further away from reality?

“A fascinating and frightening book” (Los Angeles Times)—the bestselling true story about a house possessed by evil spirits, haunted by psychic phenomena almost too terrible to describe. In December 1975, the Lutz family moved into their new home on suburban Long Island. George and Kathleen Lutz knew that, one year earlier, Ronald DeFeo had murdered his parents, brothers, and sisters in the house, but the property—complete with boathouse and swimming pool—and the price had been too good to pass up. Twenty-eight days later, the entire Lutz family fled in terror. This is the spellbinding, shocking true story that gripped the nation about an American dream that turned into a nightmare beyond imagining—“this book will scare the hell out of you” (Kansas City Star).