In 1978 Sam Raimi and Bruce Campbell produced a 30 minute horror film called "Within the Woods," which has served as the pre-cursor to the duo's legendary "Evil Dead." Initially, the film was meant to be a trailer that was to be used to coax investors - mostly local Michigan dentists and wealthy types - to cough up enough dough so the hungry filmmakers could produce a full-length terror extravaganza. They eventually netted $1600 and produced "Within the Woods" using many of the creative shortcuts and abusive (to Bruce Campbell) techniques that folks have come to expect from Sam Raimi's ultra creative output.

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You can get a healthy argument started among film geeks about "Psycho's" denouement, that curious scene where a psychiatrist breaks down Norman's psychoses for the audience and the mild-mannered hotel clerk/serial killer stares into the camera. Some argue it's a case of Hitchcock telling too much after showing so well in the nearly perfect thriller. Now, extrapolate that to a feature film, a movie where every character is not only hypothesizing about the motives and feelings of a would-be killer, but the villain himself gives away the plot through tortured speeches and jittery, speed-ramped flashbacks.

That's "The House At the End of the Street" in a nutshell, a thriller that believes its audience is as brainless as it is, shot with a mix of excessive style and pore-revealing closeups, with a central mystery whose tension is more or less undone within the first half hour, and worse, wasting Jennifer Lawrence and Elisabeth Shue in an embarrassing mess.

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Listening to director Wes Craven talk about "Deadly Blessing" is infinitely more interesting than watching the tonally scattered, sloppy 1981 slasher/supernatural thriller. In fact, the director's commentary is so enlightening, I'd advise you to pick up this terrible movie with a very good disc from Scream Factory for the sole benefit of listening to a veteran filmmaker reflect on the challenges of getting a low-budget horror movie made with intrusive producers and a constantly morphing script.

Plus, it stars the late, great Ernest Borgnine as a stern, abusive religious sect leader which you almost never see (you know, excepting the "The Devil's Rain").

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"Breath"

The network ramps up the sex and violence with three new promos for the March reimagining of "Psycho."

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A small-town killing draws out the strange in this Netflix original series from the "Cabin Fever" and "Hostel" director.

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The SyFy series "Being Human" loses control in these new promos.

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A pair of very different vampire movies are on the way from Scream Factory in April, and we've got the Blu-ray details.

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I don't know if the "Evil Dead" remake will be any good, but suddenly it's April release date feels too far away.

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See poor dead Nicholas Hoult ("X-Men: First Class") get a start to his living dead days in this zombie romantic comedy.

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The writing-directing duo of The Butcher Brothers ("April Fools Day," "The Violent Kind") are back with with a sequel to 2006's fugitive vampire clan movie, "The Hamiltons," "The Thompsons."

See what it takes to survive when you're young, endlessly pretty, and addicted to human blood in this exclusive clip.

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Would you like to spend the first moments of 2013 spontaneously exploding? No? Then don't pirate the new horror/sci-fi/bizarro romp "John Dies at the End"! The folks behind the flick, which is available to download legally now have made the handy PSA below warning those who do want to attempt an illegal download of "John" of they're surefire squishy, explode-y, and gross as heck fate.

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Even as the resident "Resident Evil" movie apologist, it's hard not to acknowledge the problems with the series' fifth entry "Resident Evil: Retribution," which serves as a deliberate return to some of the elements found in writer-director-producer Paul W. S. Anderson's 2002 film. "Retribution" resurrects and recycles characters and ideas from the previous movies, making it the first to really acknowledge the continuity of the past films but without expanding on them in any way.

It's weird to say this, but for the first time, I was actually...disappointed in a "Resident Evil" movie.

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After five films, the "Resident Evil" movies are moving towards what director, writer, and producer Paul W. S. Anderson is calling a "spectacular climax" for the series. "Resident Evil: Retribution," the latest movie based loosely on the Capcom video games ends as so many of the other entries in the series have--with a pyrotechnic, mind-boggling finale pushing its heroine Alice (Milla Jovovich) towards the next stage in her battle against the seemingly indefatigable Umbrella Corporation.

Anderson is the director behind "Event Horizon" whose first foray into video games to film was "Mortal Kombat" for New Line. But his bread and butter in recent years have been the "Resident Evil" movies. "The franchise is kind of coming full circle," Anderson told me by phone. "In a way, it's going right back to the first film and that's why you see the return of characters [from 2002's 'Resident Evil']." The conclusion represents the final steps of a formula, one that Anderson says is deceptively simple: you just put a big gun in the hands of a beautiful actress and the fans will keep coming back.

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Watch the horror short that scares Guillermo del Toro.

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VICE and Lionsgate have joined forces to pay tribute to the upcoming Sawyer family sequel "Texas Chainsaw 3D" by hosting a number of awesome fan-designed posters showing various stylistically diverse interpretations of our favorite human skin mask-wearing pal Leatherface.

Here are a few of my favorites.

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