Splatterday Mourning Cartoon: Godzilla – The Firebird

Ho-wdy, Kaiju Krazies!

It’s Splatterday Mourning Cartoon Time (more or less ;)) and we’re unleashing the awesome power of…

and Godzooky…

Yesiree Blob! Our ‘toon today is a monster-bashin’ of the Hanna-Babera Godzilla cartoon!

Okay, so this series was a tick goofy, but that makes it all the better for a Splatterday Mourning ‘toon! It’s basically Scooby-Doo with a whole lotta monster fights and Ted “Lurch” Cassidy as the King of the Monsters! If that alone doesn’t make you want to tune in while eating Boo Berry and wearing yer fancy duds…

…then all ho-pe for humanity truly is lost. 😉

And if you’re one of those people who thinks Hanna-Barbera “ruined” this cartoon by adding Godzooky (basically a reptilian Scrappy-Doo…SO NOT A BAD THING!!!! ;)), just remember…

Toho did it first.

Hear the roar of the mighty Godzilla below:

Happy #Splatterday, Kinky Ho-mies! 🙂 xoxo

Movie Review: Batman & Harley Quinn

(Seemed appropriate for #HarleyQuinnDay…Big thanks to Prince Adam for sharing his Bat-thoughts with us. 🙂 xoxo)

“Batman and Nightwing are forced to team with the Joker’s sometimes-girlfriend Harley Quinn to stop a global threat brought about by Poison Ivy and Jason Woodrue, the Floronic Man.” (Warner Brothers)

This movie had me the minute it was set in the style of Batman: The Animated Series, featuring the voices of Kevin Conroy as Batman and Loren Lester as Nightwing, The new addition to the Bat-Family, comes in the form of Melissa Rauch, of The Big Bang Theory fame, as Harley Quinn. To be honest, it was her casting that worried me. I though her name recognition from TBBT and the signature voice of her character, would take me out of the movie and be a hindrance to the character. However, Melissa was fantastic and except for one time when she screamed at someone in the film, did I recognize it was her and get pulled out of the film, otherwise the actress totally disappeared and all I saw and heard was Harley Quinn. Hearing Kevin Conroy and Loren Lester again, felt so right and sounded like the pitch perfect dynamic duo. It’s like they have been doing this for 25 years straight, with no time lapses in between. Giving a voice to Poison Ivy for this film was Paget Brewster. She was okay, but I don’t think she was distinctly Ivy enough. That’s not necessarily her fault though because, she only had one scene where she employs Ivy’s trademark seductive, hypnotic sexiness to get a man to do her bidding. Poison Ivy’s partner in crime n this feature is Jason Woodrue aka the Floronic Man. The inclusion of this villain fits, given Ivy’s involvement and I really like his inclusion, not because I’m a huge fan of the character but because, he’s never really used. Come to think of it, even amongst Batman’s heavy hitters, Poison Ivy was underused. Even when she featured in episodes of Batman: TAS. The Floronic Man is voiced by Kevin Michael Richardson. This actor voiced The Joker for four seasons on The Batman but never once did I hear The Joker in this performance, which speaks to his range and versatility. Though, his voice is tailor made for portraying a villain.

As for why Harley Quinn would help Batman and Nightwing, it’s because she’s trying to live her life on the straight and narrow. Especially, since she has separated from The Joker. However, due to her criminal past, no reputable organization would hire someone with a criminal past and record, as a psychiatrist. Though, she makes a point at hinting that late nigh risqué movie producers have shown interest. Instead, Harley take a job at a bar called Superbabes. The waitresses all dress up in skimpy superhero costumes and are often ogled and groped by male patrons. One night Harley is grabbed in the ass, flips the customer over a table and starts a bar fight before heading home. This whole time, Nightwing was tailing her, following her back to a rundown, abandoned apartment. Naturally, there is a scuffle and Harley Quinn not only holds her own against Nightwing but knocks him out. When he comes to, Nightwing realizes that he’s tied up. Harley, changing out of her costume is in her bra and panties. She begins being flirtatious with Nightwing, saying they both have something the other wants. Nightwing protests, in a half assed way, before admitting the idea of being with Harley does sound appealing, The lights go out, the costumes come off and the scene cuts away as the implied sex scene happens off screen. Some reactions online, have people up in arms, throwing a hissy fit over this scene. Firstly, some are calling the moment a glorified rape scene, given that he was tied up and at first refused Harley’s suggestion. If you actually rewatch the scene, you can see that it’s quite clear that Nightwing is more than agreeable to having sexual relations with Harley. Once Nightwing agrees, I view the ropes as some kinky, superhero/supervillain role-play type of scenario. Prior to that scene, when both characters were physically fighting, Harley Quinn was verbalizing that she was tired of people telling her what to be and assigning a label to her. For example, some see her as crazy, others see her only as a villain, while others still, view her as a sex object. She mentions, how she wants to be in control and determine who she is. While some see the sex scene as demeaning, only further objectifying Harley, I saw her initiating the flirtation, and being in control of that situation. I saw it as a moment of empowerment for Harley Quinn. That’s my take on the whole “controversy.”

As for why Nightwing was following Harley and not Batman? The Dark Knight was busy doing detective work, uncovering Poison Ivy and the Floronic Man’s diabolical scheme. Firstly, I love that this film focuses on Batman being a detective. To me, Batman: TAS and issues of Detective Comics, are the only two interpretations, that really key in on this aspect of his character. Speaking of our villains’ plan, it involve using samples of Alec Holland’s (Swamp Thing’s) blood, mixed with a chemical agent, that when dispersed, would turn the human population into plant like creatures, such as Floronic Man and Swamp Thing. I like that the evil plot is perfectly symbiotic with the overall goals and beliefs of our villains, unlike that time when Poison Ivy teamed up with Mr. Freeze in 1997, and their plans were in complete opposition and counterintuitive of each other. Back over at Team Batman, when the Caped Crusader rejoins Harley and Nightwing, he catches them in a compromising position. While he doesn’t say it outright, you can tell he is judgemental of what they did. Nightwing responds with; “Oh right, like you’ve never made out with a villain before.” I loved this line because, it’s a clever callback to Batman’s trysts with Catwoman and Talia al Ghul respectively. It also calls out Batman’s hypocrisy in this moment, but also speaks to the closeness and rapport between Batman and Nightwing, that Dick Grayson can speak to Bruce this way. With Harley assisting Batman and Nightwing, you knew humor would be a key feature of this film and it is. As the three drive in the Batmobile to find Ivy’s location, Harley complains that a burrito she ate earlier isn’t agreeing with her and they should pull over. Batman refuses and Harley retorts; you asked for it, before beginning to fire off some farts. Batman & Nightwing’s facial reactions are hilarious. Yes, I know getting laughs from farts is a bit cheap and childish, but in addition to her sexiness, Harley Quinn has always had a childishness about her, so it works. There’s also a scene where Batman calls the Justice League for potential backup. However, all the heavy hitters are off world, so Booster Gold starts naming a bunch of C and D list superheroes that could help out. As Booster Gold’s voice rattles off names through the intercom of the Batmobile, Harley Quinn and Nightwing shake their head no and make faces in disapproval, before ruffling papers to make it sound like their was static, before hanging up on Booster Gold. This was priceless and had me in stiches. Harley Quinn’s influence is clearly rubbing off on Nightwing. Harley takes Batman and Nightwing to a bar for supervillain henchmen, where she meets an informant, who has info on Poison Ivy’s location. To get info out of an informant, Harley has to sing karaoke. That’s not the fun part though, as Melissa Rauch unfortunately is a terrible singer. However, the henchmen featured at this bar, are ones featured in the Batman 66 TV series, specifically noticeable are Catwoman’s henchmen. They even buy Batman a glass of milk, as a nod to his drink of choice on the Adam West series.

When the unlikely trio finds Poison Ivy and Floronic Man, Harley Quinn pretends to double cross Batman and Nightwing, to gain their trust, However, when she pleads with Ivy to not go through with releasing this pathogen, Ivy realizes Harley lied to her. Even Batman tries to appeal to Poison Ivy’s humanity, pointing out that if she makes even one mistake with the formula, all of humanity will be wiped out. When she still doesn’t budge, Harley Quinn removes her mask and makeup, gives Ivy a “puppy dog” look and begins to cry, lamenting that she doesn’t want to die. Ivy can’t resist Harley crying and agrees not to release the toxin on humanity. She too now turns on the Floronic Man. While some may say Poison Ivy’s turn was too easy, I liked it! It really emphasises the close knit relationship and love that Harley and Ivy share. This is both emphasized in the comic books and animated series. There are a few things, that I didn’t like about this film. Aside from the fight scene between Harley Quinn and Nightwing, which was awesome, the action in this film is extremely limited. And when it is their, the film cuts away from it, When you see the henchman bar fight, you’ll know what I mean. Swamp Thing has a cameo in the third act, condemns Ivy & the Floronic Man for what they’ve done, but refuses to get in the fight. He doesn’t get involved because “It’s not his “fight.” What!? How is it not his fight? They tampered with his blood and what they plan to do, is going to alter The Green, the nature that Swamp Thing is sworn to protect. How is that not his fight? It made no sense. What a wasted cameo. Also, I was let down by the final battle with The Floronic Man and it stems (pun intended), from the reasons I just mentioned.

This film has key voice cast from Batman: The Animated Series, the animation style evokes later seasons of Batman: The Animated Series, which was rebranded The New Batman Adventures but one thing that is different is the tone. Sure, there is some dramatic story telling of the classic animated series, but this is more of a comedy set in that world. So prepare yourself for that but you know what, for me, it really works. I have never laughed so much while watching a DC Animated show, or movie. If you want a good laugh and 75 minutes of fun with characters you love, give this film a buy and a watch. Happy Batman/Harley Quinn Takeover Day everyone!

#FrankensteinFriday: Tales of Frankenstein (1958)

“From the beginning of time, many men have sought the unknown, delving into dark regions, where lie those truths, which are destined to destroy him.

Of all these eerie adventurers into darkness, none was more driven by insatiable curiosity, nor went further into the unknown than the unforgettable Baron Frankenstein.

“So infamous were his exploits that his name stands forever as a symbol of all that is shocking, unspeakable, forbidden. Thus, in our day, many a story, which chills the soul and freezes the blood, is truly a tale of Frankenstein.

“Now, join us in the mystery, the excitement, and the stimulation that comes when we tell a story so weird, so dark, so harrowing, that it deserves to be called one of the many TALES OF FRANKENSTEIN.

Ho-wdy, Franken-Homies!

Stop.

It’s Hammer Time here at Kinky Ho-rror! 😉 We’re resurrecting another patchwork corpse-creature from the Hammer House of Ho-rror! From 1958, it’s…

Ho-ping to scare up some recognition in the States, Hammer teamed up Columbia Pictures with the intent of creating 26 electrifying episodes of Franken-stories, with each studio handling 13. Howl-ever, the two studios couldn’t agree on what parts to stitch on and the whole thing fell apart.

Hammer wanted the series to be made in the same style as their Curse of Frankenstein, Columbia owned the TV rights to the Universal films and wanted to use that version. The resulting pilot has elements of both, with Anton “The Man Who Could Cheat Death” Diffring as a Cushing-like Baron Frankenstein and Don “The Creature Walks Among Us” Megowan as a flat-headed monster. Legendary Universal screenwriter Curt Siodmak directed the film in the style of a ’40s monster chiller.

This one’s a must-see for Franken-fans! It’s got chills and thrills for both fans of Hammer and cl-Ass-Sick Universal fright fare! Anton Diffring is a wonderful stand-in for Peter Cushing and the Monster’s real groovy! It really is a shame that this series didn’t get picked up, but what we have is shockingly good!

Do you dare face the challenge of Tales of Frankenstein?!

Happy #FrankenFriday, Kinky Ho-mies!! 🙂 xoxo

Goon Review: The Resurrected (1991)

(Submitted by his Goon-y Greatness, Mr. Andrew Peters…Thank you, Ho-rror Ho-mie! 🙂 xoxo)

The works of H.P. Lovecraft have been adapted (or at the very least, influenced) many, many times over the years across numerous mediums, most notably video games and movies. I’m sure the Stuart Gordon/Brian Yuzna Re-Animator films or From Beyond come to mind and arguably the most stylish and better adaptations, even if they aren’t fairly accurate. They are modern re-tellings of the source material, but there was a time in the early ‘90s when it felt like there were a handful of H.P. Lovecraft films that came out direct video and kinda fell into the void of forgotten films.

It’s not the fault of the films by any stretch of the imagination, but I believe the blame can be (at least mostly) blamed at the feet of the distributors who seemed to get cold feet when it comes to releasing these films. They don’t seem to want to put the money into making these films, yet except big returns and they can’t quite seem to decide if they want it to be PG-13 or R. Although an example like Necronomicon: Book of the Dead is pretty hard R, The Resurrected comes to mind when I think of a missed opportunity and can’t quite seem to decide what it wants to be. On one end, you have the late and talented Dan O’Bannon directing, but you can’t help to feel he was held back. They hire the guy who wrote a draft of Alien and has other phenomenal writing credits, such as Return of the Living Dead, and essentially shackle him down from doing what he wants. The gore is – or was at the time this film was released – not necessarily tame, but definitely dialed down, the same could be said about the language. The Resurrected has a bit of a case of mistaken identity that it’s too tame for something that would be a theatrical release, but perhaps too much for a TV movie, so it should be no surprise that this was a direct to video release.

Still, for being strapped down to an operating table, The Resurrected still manages to be fun and has that early DTV charm that works in its favor. The thing is shot like a made for TV movie, but has higher ambitions even if the budget won’t allow it. This also plays into the cast and their performances, most notably Chris Sarandon who chew so much goddamn scenery that I’m surprised he didn’t turn into a rat and eat all of the dry wall. His performance as the antagonist is cheeky fun and the same could be said for Jane Sibbett who seems to be putting a PS1 era Resident Evil performance (and I mean that in a good way), but unfortunately not for the lead John Terry, who took me til the end of the film for me to recognize that he was Lt. Lockhart in Full Metal Jacket. Now, I think the man is a terrific actor, I just feel like he was wrong for the part. He’s not quite sleepwalking through his role, but feels subdued and that could be because of the confused narrative of the film. And that ‘90s mullet he’s rocking. Get out of here with that nonsense.

The Resurrected sees John Terry as John March, a private detective that’s been hired by Claire Ward (Jane Sibbett) to investigate her husband, Charles (Chris Sarandon), who has been conducting experiments out of his home and eventually out to an old farmhouse where you can assume only the kookiest of mad scientist shenanigans happen. Charles has been becoming increasingly obsessed with his ancestor Joseph Curwen and eventually Charles quits coming home altogether. This is where John March comes in, who upon his investigation, find that Joseph Curwen had been trying to raise the dead and wouldn’t you know it, Charles is acting rather change. Like, he’s talking like he’s from a previous century and his teeth look like burnt pieces of corn. Yes, what is happening is that obvious, so this mystery isn’t so much of a mystery as it is a race to what you already know and for a movie that clocks in at about an hour and forty-five minutes, it can seem at times like it’s going to take a while.

Upon discovering this, John March just kind of accepts it. He seems rather indifferent, but I think that’s the laid back acting style of John Terry seeping through. His crack assistant Lonnie, who I think is supposed to offer the comic relief, but it often falls flat, and even Claire don’t believe him. That is, until they discover a hatch in the old farmhouse that leads to Joseph Curwen’s secret catacombs, sorta like his own personal Batcave. There’s all kinds of weird beakers and tubes with science-y liquids and human remains… some of which seem to be up and walking around. Suddenly, the film breaks into a really weak zombie flick seeing as how there’s only a handful of creatures. Normally, I wouldn’t mind a slow burn, but the majority of this movie is them beating around the bush and trying to solve something you figured out in the first fifteen minutes. This leads John March to confront Joseph Curwen, where you get to see him tear off an orderly’s head with ease as it shoots out blood and that’s not a bad thing.

Right away, the big problem I had with the film was the old fashioned noir setting and storytelling in this contemporary film. When done right it can work (think of something like Sin City), but maybe it’s the writing or as I mentioned the way this movie is shot, it doesn’t work. John March narrates the events occasionally and the film is told in a flashback form that doesn’t mesh a ‘40s mystery style with a low budget ‘90s gore flick. Throw in some over the top performances and it feels more like a spoof that it does an homage. I was genuinely surprised to learn that this was originally slated for a theatrical release, but the releasing company’s bankruptcy halted that and The Resurrected was then sent DTV, which I feel is a better fit and most likely found more of an audience.

Another negative the film has going against was the number of cliches and The Resurrected is a repeat offender. It tries the same cliches again and again, like it truly believes at some point they just might work. Apparently, the film was taken away from director Dan O’Bannon during editing and he completely disowned this movie and honestly speaking, you can kinda tell. It doesn’t quite live up to the type of quality that’s usually associated with his name. As someone who puts his work out there for others to see, I can respect where he’s coming from, but I don’t think the movie was that bad. Sure, it had it’s share of problems and never lived up to its full potential, but I think it has a charm and is kind of fun.

Speaking of fun, there are a few clever creature designs that do look pretty decent… at first, but the more the camera lingers on them, the more it starts to look like a rubber puppet. Most of the gore happens off screen and you just take a look at the aftermath, as if they had the budget to show it, but not show it happening or perhaps they thought it built mood and suspense (spoiler, it doesn’t). There is the aforementioned head ripping scene that I thought was pretty cool and impressive for the budget, but outside of that the film doesn’t offer much to look at. Even the cinematography is pretty dull and is shot like a TV movie and I even assumed it was at times, but occasionally swearing proved otherwise. It’s not a prime example of either a well adapted H.P. Lovecraft story or the excellent work of Dan O’Bannon, but that doesn’t stop it from trying and that shows, making this film pretty decent and giving it a sense that care was put into making this. I would say check it out for some low budget, ‘90s DTV fun.

#TBT: The “EXXXpress Yourself, Stephen King” Edition

Happy Birthday to the KING of Literary Ho-rror, Mr. Stephen King!
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We’ve been talking about this gentleman a lot recently (but also, always because he rules ;)). With trips to The Dark Tower and visits from IT, the recent ho-rror scene has really been dominated by this man who has been in the public eye for over 40 years.  He has weaved timeless nightmares from the mundane and has created creatures that have haunted us for decades and will continue to do so. Stephen King is truly a SHINING star in terror whose words will CARRIE on through the ages… but do you know what’s truly scary?

Stephen King hamming it up in an American EXXXpress commercial!
That’s f-right, kreeps! King made a ghoulish TV appearance for American Express back in the ’80s!
Like Vincent Price in his numerous commercial appearances, King plays up his spooky persona in a deliciously campy way. Dressed as a villain in one of Corman’s Poe films, Stephen King puns his way through a Gothic mansion before promoting the credit card. It’s truly magnificent!

For some conteXXXt, here’s a groovy 1984 article from PEOPLE:

A flash of lightning, banging doors, scurrying hunchbacks, disembodied human arms…and the cameras are rolling. As fog sifts through the haunted house—an old mansion ghouled up for the occasion—horror novelist Stephen King emerges from the gloom with a flaming taper in one hand and a sinister raven in the other. “Do you know me?” he asks.

Then he gestures toward a table littered with applications for a well-known credit card. “Isn’t life a little scary without it?” asks the maestro of macabre fiction. “The next time you visit your favorite haunt, why not apply for an American Express card?”

King’s gig, which will air in late September, highlights the 10th anniversary of one of TV’s most spectacularly successful commercials. When American Express shot the first spot in 1974 of the now famous ad series, featuring a parade of high achievers whose names are often better known than their faces, only six million people owned Amex cards. Now there are some 18 million. And Amex attributes a big part of the rise to their ads—of which King’s is the 61st and most flamboyant. “We are getting more ambitious with our spots,” concedes Glen Gilbert, director of advertising for Amex. “They’re so well established now, it gives us a chance to experiment and have a little more fun.”

The pioneer flasher of the little green card on TV was actor Norman (Three’s Company) Fell, who did a modest talk piece at the check-in desk of a hotel. And Fell remains the only subject who did not say, “Do you know me?” Rather, he began with “Thanks to TV a lot of people know my face, but not many know my name.”

After Fell the ads swung into the familiar opener that has held through all the spots leading into the spectacular by King, who, like most other Amex guests, confesses he was tickled to be asked to appear. “It’s just such a compliment,” says King, whose new novel, The Talisman, co-authored with Peter Straub, will appear soon after the ad. King did the spot more for laughs than for celebrity. “Certainly it’s not going to do much for my literary reputation, although,” he cracks, “many would say that I don’t have a literary reputation to worry about.”

One thing’s for sure. King, whose writings and film versions of Carrie and The Shining have earned him millions, didn’t do the ad for money. And neither have most of the other guest hosts. The $10,000 payment, plus residuals, has not changed in 10 years.

Despite the modest fee Amex has no trouble finding subjects. Together with Ogilvy & Mather, the Manhattan agency that created the campaign, Amex selects the potpourri of known-unknowns for the spots. Though hundreds of unsolicited requests pour in each year, the agency tactfully puts off the volunteers. “I can’t think of an instance in which we chose someone who approached us first,” says an Ogilvy & Mather executive.

One of the most successful invitations went to the late William Miller, Barry Goldwater’s running mate in the 1964 Presidential election. “It was amazing the recognition he got from the ads,” says his widow, Stephanie. “He used to say, ‘I definitely recommend that before someone runs for Vice-President, they do an American Express commercial!’ ”

Another especially popular advertisement was the one in which Tom Landry, the stonefaced coach of the Dallas Cowboys, appeared in a Western saloon decked out as a cowboy and surrounded by redskins—Washington Redskins, that is, in football garb. “My reputation is sort of stoic, which is planned,” says Landry, “so a lot of people were surprised.”

Other Amex stars were themselves surprised to find that the ads improved not only their image but also sales of their products. “It helped business,” says Roy Jacuzzi, founder of the whirlpool-bath company that bears his name. In 1982 he posed in one of his creations with a rubber duck—and artfully saved the show when the whirlpool quit during filming. Roy jumped out and, off-camera, shimmied under the tub with a pair of pliers and a wrench. The bath soon whirled back to life, with the cameras rolling again and a happy proprietor bubbling inside.

Opera star Roberta Peters agrees the spots provide a business boost. “It definitely helped bring people to the opera,” she says of her 1980 commercial. Peters also admits she is recognized more often since doing the ad. While she was trying unsuccessfully to flag down a Manhattan cab one day, a woman stuck her head out of a car window and yelled, “Do it da way you do it in da cammercial!” Peters obliged. She held up her hand and launched into a soprano trill. “Taaaxiii!”

For your viewing pleasure, here’s the commercial:

HAPPY BIRTHDAY, STEPHEN KING!!! SLEEPWALKERS RULES!!!! 🙂 xoxo

News Bleed: The “Lara Croft vs. Ghostface” Edition

The original Ghostface mask returns in Scream Season 3!!! 🙂 SyFy

Lara Croft raids again in the new Tomb Raider trailer! 🙂Variety

The new TMNT figures are… MONSTROUS! Bleeding Cool

Target unleashes exclusive Universal Monsters goodies! 🙂 Bloody Disgusting

Cult of Chucky will slash its way to Netflix this October! IGN

Linda Hamilton will be back in the new Terminator picture! 🙂 Hollywood Reporter

#TataTuesday: The “Ropes and Titties” Edition, Part 4

(Submitted by the Smuttiest of Smutmasters, Eric…Thank you Kinky Sir! 🙂 xoxo)

Featuring: Lara Croft, Katherine Heigl, Corinne Clery, Alexandra Daddario, Maria Bello & Drew Barrymore.

Bride of Chucky (1998)

Chucky, the doll possessed by a serial killer, discovers the perfect mate to kill and revive into the body of another doll.

The Story of O (1975)

The beautiful O is taken by her boyfriend, Rene, to a bizarre retreat, where she is trained in bondage and sexual perversion.

Texas Chainsaw 3D (2013)

Chucky, the doll possessed by a serial killer, discovers the perfect mate to kill and revive into the body of another doll.

Downloading Nancy (2008)

An unhappy wife orders a guy she meets over the Internet to kill her, but the two of them fall in love

Charlie’s Angels (2000)

Three women, detectives with a mysterious boss, retrieve stolen voice-ID software, using martial arts, tech skills, and sex appeal.

#TerrorTrailerTuesday: The “Super Monsters” Edition

Ho-wdy, Ho-rror Junkies!
Look, up in the sky! It’s a bat! It’s a demon! No, it’s #TerrorTrailerTuesday!

This week, we’re paying tribute to ho-rrific superheroes who fight for truth, justice, and the A-Scare-ican Slay!

Y’know, fiends, movie monsters and comic book heroes have much more in common than we s-care to admit. Both are often depicted as social misfits, are usually created through some bizarre accident, wear a theatrical outfit with a cape and/or mask, and have fabulous powers. The main difference between superheroes and monsters is whether they use their abilities to save or to terrorize. Well, the creeps in today’s trailers like to do a little bit o’ both!

We’ve gathered up the best trailers featuring creatures who walk the line between costumed crusader and monstrous fiend! Grotesque avengers, slimy saviors, mystic masters, demonic defenders, and more lurk in the trailers below!

Check ’em out, Kinky Kreeps! 🙂 xoxo

#MonsterMovieMonday: Killers From Space

Ho-wdy, Kinky Kreeps! I SEE you there!

Just another #MonsterMonday here at Kinky Ho-rror! This week, we’re spacing out with a sci-fi screamer that’ll make your eyes pop! Jeepers Creepers! It’s the peepers of…

Killers from Space is real eye-opener from W. Lee Wilder, brother of the brilliant Billy Wilder! Sure, W. Lee didn’t direct Some Like It Hot, but…

The film stars Peter “Mission: Impossible” Graves as a scientist killed in plane crash who is resurrected by bug-eyed aliens. The saucer-eyed fiends plan to exterminate humanity using giant animals and take over the world…

This one’s a doozy! Featuring the biggest eyes in ho-rror since Peter Lorre, atomic monsters, and terrifying stock footage, Killers From Space is awesome B-movie nonsense to make your Monday monstrous! If it’s good enough for It Follows, it’s good enough for us! 🙂

Killers From Space in It Follows

Stare into the eyes of Killers From Space below:

#SeXXXOnSunday: The Civil War & Incivility Edition

(Submitted by Smutmaster Eric…Thanks, Kinky Ho-mie, and Happy Sunday Funday to all my Kinky Kreeps! 🙂 xoxo)

Captain America: A XXX Parody (2016)

Featuring: Peta Jensen & Charles Dera

Black Widow enters a building, then Tony Stark appears. He asks her to call Captain America, because he won’t answer his calls. When they’re all together, Stark says a General has ordered them to stay in this place they think looks like a prison. An argument, short fight, and sex follow.

A Sluttier Future for All (2013)

In a near-dystopian future, the nymphos are sluttier than you could ever imagine. Ashton Pierce and Bonnie Rotten are the rival gangleaders of their college gone crazy. They get their hands on the foreign exchange student (Marco Banderas), and find out the hard way he’s got enough inches to keep them both happy.