For Allison Cook, the weekend trip to a horror convention in Virginia is a fun break from work and humdrum reality. Then she meets a guy who shows her a movie that shouldn't exist, one that upends everything she thinks she knows about reality itself. The movie on the old VHS tape is an unseen and unknown installment of a legendary slasher franchise she's loved since the dark days of her unhappy adolescence. As soon as she sees it, she knows the movie is the real deal, not a fake or a fan film. She can only come to one impossible conclusion-the movie is from some other alternate reality. It is not of this world. And she knows one other thing. She must have it. At all costs. And by any means necessary. But unknown to Allison, possession of the tape comes at a higher price than she ever could have imagined.

(Applause Books). Following his highly successful An Askew View: The Films of Kevin Smith (Applause), John Kenneth Muir now turns to the life and work of legendary cult-film director Sam Raimi. Raimi exploded on the movie scene in 1982, when he was 23 years old, with the audacious, independently produced horror film The Evil Dead . Re-igniting the horror genre to such a degree that Wes Craven credited Raimi on-screen in A Nightmare on Elm Street , Raimi went on to direct two Evil Dead sequels, his own comic-book superhero, Darkman , and an over-the-top, post-modern western, The Quick and the Dead . Raimi's influence on other filmmakers continues to be enormous from the "shaky cam" shots of the Coen brothers to the early oeuvre of Lord of the Rings director Peter Jackson, both of whom have been termed the "direct progeny" of Raimi's works.In 2002, Raimi's Spider-Man had the biggest opening weekend in history, earning more than $114 million at the box office. The Unseen Force also features a sneak peek at the much anticipated Spider-Man 2 . Included are 30 first-person accounts and interviews from a number of eclectic sources from the cinematographers who shot Raimi's early films to the producers, screenwriters, actors, special effects magicians and composers who collaborated to make his films the stuff of legend, earn mainstream success, and still be the focus of obsessive cult followings.

Many British films never make it to the screen. Obstacles of finance, censorship, distribution or creative breakdown can appear in their way, and they might even fail to get beyond the script stage. This book collects new essays by leading scholars that use archival resources to reconstruct the stories behind a range of films by prominent film-makers. These thwarted productions are all too often excluded from histories of British cinema, but the accounts of their unmaking contained in Sights Unseen provides an illuminating insight into the factors which have served to undermine the stability of the film industry in Britain.

After experiencing a precognitive dream that shatters her engagement and changes her life forever, young California psychology professor Laurel MacDonald decides to get a fresh start by taking a job at Duke University in North Carolina. She soon becomes obsessed with the long-buried files from the world-famous Rhine parapsychology experiments, which attempted to prove if ESP really exists. Along with another charismatic professor, she uncovers disturbing reports, including a mysterious case of a house supposedly haunted by a poltergeist, investigated by another research team in 1965. The two professors and two exceptionally gifted Duke students move into the grand, abandoned mansion to replicate the investigation, unaware that the entire original team ended up insane...or dead.

Out walking alone one rainy night, Lucy becomes convinced that someone—or something—is following her. Spooked, she ducks into a cemetery to try and lose her stalker. Panicking in the darkness, she slips and stumbles into an open grave—only to discover she is not alone in there. . . . Lucy manages to escape, but she doesn’t get away unscathed. She begins having terrifying visions and dreams—and she still can’t shake the feeling of an unseen presence, always watching, waiting. . . . Who was the girl in the grave? And what has she done to Lucy?