The following is a list of the top fifteen films I found to be noteworthy for 2008, in no particular order.
1. Cloverfield
2. Wall-E
3. The Dark Knight
4. Let the Right One In
5. Zack and Miri Make a Porno
6. The Wackness
7. In Bruges
8. Slumdog Millionaire
9. The Wrestler
10. Man on Wire
11. The Curious Case of Benjamin Button
12. Hellboy II: The Golden Army
13. Forgetting Sarah Marshall
14. Be Kind Rewind
My apologies for the lack of entries, as of lately. I’ve been rather consumed by other interests and tasks that have unfortunately prevented me from writing. I’ll keep this brief and right to the primary concern. No, “Sidetracked” is not ending nor is it going to be abandoned any time soon. Expect various items of interest to emerge in due time. For now, I leave you with the assurance that there is no end in sight.
“Always make the audience suffer as much as possible”- Alfred Hitchcock
As I’ve said on previous occasions, Horror is a particular genre within the film industry that’s gone through numerous stages. Unfortunately, the genre appears
to be currently stuck in the remake or “splatter” era, as of lately, with the release of such films as “Saw V,” “The Ring,” “Hostel,” “The Eye,” “P2,” “Captivity,” “One Missed Call,” and so on and so forth. However, a select few of genuinely decent films stemming from the roots of Horror have emerged, such as “Cloverfield,” “Let the Right One In,” “Grindhouse,” “Shaun of the Dead,” “Pan’s Labyrinth,” and a few others. I suppose there’s a variance to the essential key elements of what many would call “decent,” as the average film needn’t really stretch it’s wings far to achieve some sort of profit margin at the box office. Films that take great risks are either abandoned or tend to suffer at the box office; however, there have been a select few times where these said “risks” ended up a success, if handled and executed in a correct manner.
Grindhouse serves as a primary example of a decent film that unfortunately featured poor marketing and a concept that didn’t necessarily appeal to the general theater going audience. The large production budget and poor r
elease window also didn’t help matters. While Grindhouse was one of the best theater going experiences I’ve had and rests high in my list of all time favorite films; the title unfortunately bombed at the box office, although it was later met with a moderate amount of success on DVD. Cloverfield is another film that featured a concept that didn’t necessarily appeal to the general theater going audience… However, Paramount generated hype to the film by selectively releasing details of the plot and launched a full blown viral marketing campaign to further raise interest. With a fairly modest budget, the film was a smashing success and the DVD sales further rose the margin of profit. The risk paid off thanks to a well crafted marketing strategy. Which all ties into a particular film that’s unfortunately been pushed to the side as Warner Bros seems unsure on precisely how to handle it…
This recent “risk” that piqued my interest is a horror film entitled “Trick ‘r Treat.” The plotline entails four different tales all woven together into the same night of Halloween. Think of it as a “Pulp Fiction” sort of affair, in terms of the structure of the plot. I suppose o
ne could hold in regard as a “entertaining” take on the horror genre of film that involves various ghouls, monsters, and folklore one associates Halloween with. The film centers around a mischievous creature named “Sam,” who is essentially the spirit (or mascot) of Halloween and rules and legends surrounding the holiday. The title was directed and written by Michael Dougherty and financed by Legendary Pictures and Warner Bros. However, production on the film has been completed for quite some time and the release of the film has been continued to be pushed back to the point of an indefinite date. Warner Bros has since dropped “Trick ‘r Treat” from it’s current schedule of releases and the fate of the picture’s distribution is unknown, at this time. Fortunately, the film has been screened at a select few venues and is garnering unanimously positive reviews from various fans and critics alike. The only thing I really have at my disposal to fuel my first impressions are the reviews, images, and the trailer released quite some time ago. Below, I’ve embedded a rip of the trailer, courtesy of YouTube.
It’s a rather unique concept that captures my mind and fuels my desire to view this film. Though the demand isn’t from me alone. Numerous individuals have expressed interest in the film and a large amount of dismay towards Warner Bros for shelving it for two ideal Halloween release windows, in a 
row. It’s rare for me to be genuinely enthusiastic about a film, as there’s always a sense of skepticism and cynicism present in my general impressions, since the industry has failed to offer a significant reason to be excited about a film, as of lately. Hence why I’m baffled at the reluctance to Warner Bros to release “Trick ‘r Treat.” The fanbase is clearly present and the film does have an appeal to the general theater going audience, if marketed correctly and efficiently. Not only is choosing to shelf the film an insult to the cast and crew that worked diligently to bring the concept to life; it’s also an insult to the very audience that would be thrilled to see it. The recent bit of rumors circulating around the Internet states that Warner Bros might be testing the film and considering releasing it at a particular point in the future. Whether this true or not has yet to be determined. Until then, I suppose the only thing one can do is spread the word of the film’s existence and await it’s eventual release, whether it’ll be on DVD or will be granted a much deserved theatrical run.
The images found throughout the preview are courtesy of Bloody-Disgusting. If you would like to stay up to date with the bits of news, in regards to the film, you may visit the director’s official MySpace page.
WildStorm (a branch of DC Comics) will be unleashing a 6
part graphic novel series which will utilize the universe of Resistance and it’s primary protagonist named Nathan Hale. Mike Costa touts the writer credit, while Ramón Pérez will be at helm of the art. The issues are expected to cover the various events leading up to the beginning of the second title and serve as a direct tie-in to the game’s plotline. The official synopsis follows below.
The best-selling Sony PlayStation 3 game comes to comics! Nathan Hale leads a desperate fight against the extraterrestrial Chimera as the invasion of America begins! Coinciding with the release of the highly-anticipated second game in the Resistance franchise, the miniseries, from writer Mike Costa (SECRET HISTORY OF THE AUTHORITY: HAWKSMOOR) is integral to the game story and helps further define this complex universe!
Issue one will hit stores on January 7, 2009 and issue two will be released on January 28, 2009, while the third issue is scheduled to be released on February 25, 2009. The release dates for issues four, five, and six have yet to be announced; at this time. Each installment is expected to run around 32 pages and will retail for $3.99. Fans might also recall that a digital copy of issue zero was placed within the “Collector’s Edition” of Resistance 2 as an extra. Overall, I’m intrigued and look forward to giving the series a shot, as I’ve enjoyed the amount of detail and effort put into the story of each game, respectively.
Lately, I’ve been hooked on to sifting through the archives of Anthony Clark’s picture diary known simply as “Nedroid.” Various sketches, full blown pieces of art, comics, and oth
er various elements are scattered thoughout the numerous pages. The art style present is unique and intriguing, while the humor present is subtle yet rather clever, as well. There’s no precise schedule the founder operates under since it’s essentially a leisurely crafted journal. The primary focus is upon “Beartato” and “Reginald” (a bear and bird) in various sketches, comics, and what not. There are also various other characters and things present (such as robots and dinosaurs) in a subliminally engaging style. Overall, it’s definitely worth browsing through to provide a decent amount of entertainment, if you happen to have some time to spare.
“Parkour” is a particular subject not fully explored in the realm of gaming, although there have been a few “explorations” into the unfamiliar territory. The most recent title that come
s to mind is Assassins Creed, which to the game’s credit, was rather fluid and intuitive, albeit a bit clunky and repetitive from time to time. Now, we have Mirror’s Edge which is attempting to further plunge into the free-running style of gameplay by placing the player in the shoes of “Faith,” a runner who “lives on the edge” of a city run by a fascist government (which is strangely never fully elaborated upon). The plot really isn’t anything noteworthy, as it often takes mediocre twists and turns with characters that are rather forgettable. In the end, it’s all about successfully getting from point A to point B in one piece and any amount of drivel poured out to you in the noticeably cheaply animated cinematics isn’t going to drive the point any further, especially due to the sporadic nature of the story, to begin with.
With the abysmal state of the plot, one would hope that the gameplay would at least fair well. Fortunately, Mirror’s Edge does boast solid gameplay mechanics, at its core. The free-running aspect of the controls are rather tight and intuitive and once the title gets going, it’s fun and provides a unique experience unlike anything I’ve 
ever played before. However, the flow of the title often comes to a halt due to the “trial and error” nature of the gameplay. In a game that declares itself as a “free roaming” first person platformer, you’d think the general direction and objective would be clear and the flow would continue at a constant speed. I often found myself ramping up speed and beginning to feel immersed in the experience until I ultimately died over and over again until I figured out the procedural and “correct” method to completing a puzzle. This is mainly due to the inconsistency of the “Runner’s Vision” feature which serves as the essential guideline throughout each level by highlighting various objects the player may traverse at a rather sloppy rate.
The primary concept to Mirror’s Edge is to provide the feeling of “freedom” and allow the player to freely traverse the environment utilizing any
particular method or pathway. This might have been a bit ambitious on Dice’s part since the “freedom” aspect of the title is merely an illusion that gives way to fairly linear gameplay. The game encourages experimentation, albeit to discover the particular solution to each puzzle, which as I have mentioned before ultimately breaks the flow of gameplay and defeats the purpose of a game that claims to root itself in the realm of a supposed “free roaming” mechanic. Combat is often discouraged the developers purposely “optimized” the gameplay to reflect as much. Faith has a very small amount of health, her attacks are weak, and the overall state of the combat is sloppy and unrefined. This wouldn’t be an issue if the developers stuck to the concept of running rather than fighting, but you’ll find yourself placed in moments of the game that force you to take on opponents with the lackluster combat system that often leads to frustratingly cheap deaths. To further add fuel to the proverbial “fire,” playing a platform oriented title from the first person perspective also reduces the judgment of various jumps and often leads to obscured vision and “leap of faith” moments that deliver the frustrating impact of death over and over again.
The visual style to Mirror’s Edge is rather intriguing, as it chooses to rely on a lighter blend of colors rather than the typical bleak and “dra
ined of color” type of visuals we’ve grown accustomed to in a fair share of games throughout this current generation of gaming. The character animations are rather fluid and run fine, albeit with little variety to the actual enemies you’ll encounter. The framerate runs at a solid speed and the lack of a cluttered HUD gives the player a better feel for the environment and sense of realism. One of my primary concerns with the title upon its unveiling was the possibility of motion sickness due to the nature of “free running” in the first person perspective. However, the developers clearly put a decent amount of thought and polish into the visuals, as I had no feelings of nausea or issues with the overall flow in which the game displays movement.
Mirror’s Edge is ultimately a title that attempts a rather ambitious leap, but ultimately falls short and fails to reach its goal due to the numerous design flaws present. The few positive aspects of the game aren’t enough to warrant a purchase and even a rental is questionable depending upon your tolerance and personal taste. Fortunately, the title is very short (even by today’s standards) and the nearly endless string of frustrating “trial and error” gameplay segments and half baked cinematics only needs to be endured for a few hours until it abruptly ends. While it’s refreshing to see a new IP in the sea of sequels and remakes that typically saturate the industry; the numerous flaws ultimately prevent this “experiment” from succeeding.
Pros: Ambitious concept, unique blend of visuals, and it’s quite fun when the flow of gameplay isn’t constantly broken.
Cons: Multiple collision problems in regards to the controls, combat is sloppy and unintuitive, the design of the title is inconsistent and schizophrenic in nature, the plot is poorly crafted and forgettable, and the characters are shallow and unlikeable.
Conclusion: An intriguing concept ultimately foiled by poor design decisions, numerous collisions issues, a terribly shallow campaign, and forgetful plotline. Does not warrant a purchase, much less a rental; pending upon your level of tolerance and personal taste.
I suppose it goes without saying that I’ve been rather busy, as of lately. While it’d be nice to regularly update this journal, sticking to such a schedule would deter the quality of the said entries and the other various aspects of life I currently have ahead of me. I am nearing the end of the particular semester I’ve been attending to for the past few months. One last essential “cram” to the finish amongst the various other side projects I also tend to linger upon from time to time. Suppose I’ll present a brief of overview of what I’ve been pre-occupying the little free time I have with…
I was able to attend a screening of Zack and Miri Make a Porno on opening day. A full review detailing my thoughts on the film will be published in due time. For now, I will simply say that I was very impressed with the final cut of the feature and look forward to my next viewing of it. As far as gaming is concerned, picked up LittleBigPlanet and Resistance 2 and I am enjoying both titles immensely. I’ve also been playing through Half-Life, as it was marked down substantially in honor of the title’s ten year anniversary. The third Futurama film entitled “Bender’s Game” recently hit store shelves and is fairly enjoyable. Plenty of laughs to be had with a rather engaging setting and plotline. The pacing has been improved, although it’s not without it’s flaws…
With that, I’ll depart with a few exceprts of news circulating around the web. Aint it Cool News recently sat down with Spike Jonze in a rather extensive interview regarding his adaption of the novel “Where the Wild Things Are,” The PlayStation 3 recently hit it’s second year anniversary, The trailer to the final Futurama film entitled “Into the Wild Green Yonder” has hit the internet, The Ghostbusters are back, The squid is out, and the end of a hero?
“I was seldom able to see an opportunity until it had ceased to be one”- Mark Twain
Futurama (from Matt Groening and David X. Cohen)first hit the airwaves on March 28th of 1999 and I vividly remember viewing the premiere of the series even if it is
approaching 10 years since the Planet Express Crew first launched into action. The series revolves around the adventures of a man named Phillip J. Fry (or simply referred to as Fry), a former Pizza delivery boy with no aspirations for the future. The story begins the day before the new millennium (2000) and Fry is having a terrible day that takes a rather odd twist when he is called upon a Cryogenics Laboratory via a prank delivery call and is accidentally frozen and set to awake in 1000 years. Fry awakens in the future and now must learn and conform to society’s new standards. In the year 3000; space travel is possible, robots and aliens walk amongst the human race, and the overall state of society reflects that of a desensitized nature.
The series essentially addresses the problems of today and increases the overall magnitude and exaggerates it greatly to reflect upon the possibilities of tomorrow’s issues. Fry finds his only living relative, Professor Hubert J. Farnsworth (referred to as The Professor), and through a slew of events becomes a delivery boy for Planet Express (the professor’s delivery company) alongside a robot that is named “Bender Bending Rodriguez
” (referred to as Bender) and a alien later revealed to be a mutant named “Turanga Leela” (referred to as Leela). Amy Wong (intern for Planet Express), Dr John Zoidberg (the delivery company’s medic), and Hermes Conrad (the company’s accountant) are all introduced, as well. One particular aspect I dig about the character’s are the unique context in which they are displayed and the iconic nature of their personalities and overall design, as well. Essentially, the series follows around the core cast as they deliver packages, save the world, and get caught up in often odd and complex situations.
The series often follows in the vein of many Science Fiction films and novels by featuring a rather complex storyline that ta
kes advantage of it’s fictional setting, while also staying true to the rules and general logic set in place. Despite the blatant point that the series is fictitious material to begin with; it still manages to play upon issues of today, magnified for the world of tomorrow. The entire television series is a tribute and nod to various Sci-Fi series and films of the past. The show is also notable for developing it’s characters and integrating humor within the actual development in a rather seamless manner. That said, it’s a rarity for animated shows to actually put some thought into the characters as the average individual in the target demographic of a television program is generally fine with half baked humor that destroys the very core and soul of their characters, in the process. And for those who have no idea what I just said, refer to “Family Guy” as the prime example for this “cheap” kind of humor.
Considering the series contains the budget of an average television program, the top notch quality of the animation is almost perplexing as it’s a rarity to spot any apparent shortcuts taken. One particular technique I found rather intriguing was the implementation of CGI in shots that are far too complex for 2D imagery. The animation is stylized to fuse right in with the hand drawn animation and is rather impressive as the 
creators could have very well left the two types of animation in different styles and ignored the blatant inconsistency or simply stick to one style of animation to save the headache of blending the two together, seamlessly. In a world where we expect the staff to cut corners wherever they can and only meet the status quo or below; Futurama stands out as presenting a decent presentation. Granted, it’s not perfect and mistakes are still present; but it more or less is equivalent to a well crafted structure with a few issues aesthetically that is forgivable because the core of the actual structure is still solid, regardless of a few minor issues.
Despite the positive aspects of the series, the executives at 20th Century Fox at the time of the show’s lifespan, declined to renew it after it’s fourth and ultimately final season. The 
primary reason of the show’s “cancellation” was chalked up to “ratings” even though Fox aired the series in an erratic manner and often placed it within the 7:00 time slot on Sunday night. If a particular game happened to last longer than anticipated; the series would often be skipped over for the next show in the slot for the evening. There were reportedly a few executives, at the time, that held disdain for the show due to it’s overall style which wasn’t particularly the “norm” expected. It was around the time of the show’s cancellation that Cartoon Network acquired syndication rights to air the series in it’s entirety on their late night adult programming block entitled “Adult Swim.” The series found new life on cable television and the eventual DVD release was met with rather decent sales figures.
With the positive buzz surrounding the series long after it’s production lifespan eventually led to talks of reviving it in some shape or form. This was of 
course after a few shifts in power within the executives at 20th Century Fox and the decent sales figures came in on the DVD box sets. Originally, it was suggested that the creators should revive the series as a single direct-to-DVD feature length film. After a bit of a time and discussion, it was then decided to create four straight to DVD films which would then be re-configured and edited into four separate episodes a piece, equaling a total of 16 episodes and would serve as a fifth season for broadcast purposes. Comedy Central purchased the exclusive right to air the series, including the new films. The first feature length film’s title was announced as “Bender’s Big Score” and was dated for November 28th, 2007.
After more than four years, “Bender’s Big Score” emerged as the official return of Futurama. Visually, the show still holds a high caliber of quality even when it has been stretched out to an hour and a half run time. Fortunately, the same animation studio was able to return as was the original voice actor
s. This grants a smooth and relatively seamless transition between the series and films rather than forcing the audience to shift through a few awkward clunks. The film was also animated in high definition and created specifically for the widescreen format, as well. The only actual difference is the removal of a live orchestra for the score, which isn’t blatantly obvious nor does it make or break the actual quality of the film.
The story to Bender’s Big Score is rather complex and essentially serves as a tribute and “thank you” to the many fans that have followed the series over the years.
We’re first greeted to the introduction of the Planet Express Crew, followed by a jab at the executives at Fox and the newly remastered theme song. The plotline flows fairly well and succeeds in running in the same vein as the series. Instead of merely attempting to strike the particular “spark” that fueled the core of the series and failing; the film succeeds in capturing that same “spark” and further driving the particular essence fans enjoy. To put it simply, if you’re familiar with the original television series, you’ll enjoy this film, despite it’s shortcomings.
It’d be rather bias of me to not state the negative aspects of the film which, unfortunately, are noticeable. The average episode of Futurama typically had about 20 minutes or so granted and the jump to a feature length direct-to-DVD film requires the series to now stretch to roughly 90 minutes. While this is a welcome
addition, the lengthening seems to be rather new to the writers as there were times where the overall pacing slowed down to a perplexing halt. There were noticeably long intervals of the feature where the amount of laughs staggered down to a meager grind that ultimately felt as if it they were awkward transitions to each separate act rather than a well crafted story, as a whole. To the film’s credit, these few moments generally do have purpose to those who are familiar with the series; but ultimately alienates the casual fanbase or those unfamiliar with the show, to begin with. However, these are only minor gripes. If your already a fan, you’ll definitely enjoy this film. Though I would not recommend it as a “hook” for new fans.
To put it simply, Bender’s Big Score is a film for the fans and serves as the grand re-introduction of the series thought to be permanently just a distant memory. While it does not constantly deliver laughs, the film has numerous thematic elements present that helps it soar in other aspects. The entire story takes various twists and turns with a numerous laughs along the way. And while the pacing could have used a bit of work, the tone of the film fits well enough in context to it’s original intent and allows one to be more forgiving of the slower moments of the feature length epic. Overall, Bender’s Big Score serves as a very good start to the return of the series. If you happen to be a fan, then you’ll certainly enjoy it; if not, then I recommend you give one of the greatest Sci-Fi induced televisions series of it’s time a shot.
Pro’s: Production value is on par with the series, story is an overall fun ride, fans will enjoy the numerous nods and cameos, and the “genuine” ending ties the entire complexity of the plotline together in a well crafted manner.
Con’s: Pacing is iffy, the removal of a live orchestra gives the score more of an artificial feel, and the editing could have been tightened up a bit.
Conclusion: Despite a few flaws, the film serves as a well crafted and much needed return to one of the greatest Sci-Fi induced series of it’s time. As a fan, you’ll certainly enjoy this feature length epic as it strikes that very same spark the series always succeded in capturing.
After developing Portal and Team Fortress 2; Valve is now steadily at work on their latest title, “Left 4 Dead,” which will hit Steam and major retailers on November 
4th of this year (2008) for North America and November 7th for Europe. Left 4 Dead was first unveiled at the end of 2006 under the helm of Turtle Rock Studios, which was later acquired (i.e. absorbed, merged, etc) by Valve (given both studios having good relations with one another), hence how they ended up jumping on board the project. The story to Left 4 Dead is as follows; A unnamed virus has swept across the world and everyone affected has become the essential equivalent of a zombie. You take the role of one of the four survivors of the virus who must fight the hordes of victims in a First Person style of gameplay (FPS or First Person Shooter). Sounds relatively simple enough. What sets Left 4 Dead apart from other titles of the same genre is the gameplay and actual assets featured.
Valve’s primary goal with Left 4 Dead is to spark a change in the Co-Op style of gameplay often flawed for various reasons. Clearly, a decent amount of forethought and planning has gone into the gameplay aspect of Left 4 Dead as it’s vastly encouraged you work together or else you yourself will end up dead (along with your other team mates as well) at the hands of the vast amount of zombies featured. Running off on your own to be the sole “hero” i
s not wise and it’s doubtful you’ll last long. Players must stick together in order to fend of the enemies present as well as help each other out when a particular team mate happens to fall into a snag (becoming overwhelmed, falling off a ledge and hanging, injured, etc). To even further mix things up for the player, Valve has added an intriguing new AI (Artificial Intelligence) concept they’ve dubbed “The Director.” As player’s progress; The Director will observe the group as a whole to decide upon the difficulty curve, pacing, number of enemies, etc. There are no set spawn points for enemies within the game. Everything is varied upon the given factors and circumstances of the players. If you have a team that works well together, has little friendly fire, and a decent amount of health; The Director will spawn enemies at a greater number and in a more diverse strategic manner to up the ante and make the game much more difficult. However, if you have a team that’s poorly performing with a low amount of health; The Director will ease up on the player and lower the amount of enemies and set the difficulty curve at a lower rate to offer a bit of a break.
The Director also affects the player’s individual perspective as well. Music and visual effects are implemented in a procedural manner to reflect upon the player’s particular condition and situation. Combine the procedural alterations between the variations of a player’s experience individually and as a whole; and you have a game that encourages a vast amount of playability that further drives the entertainment and value of the product. It’s a r
ather intriguing concept that makes up for the fact it’s yet another title in the over saturated First Person Shooter genre of gaming. One to four players may jump into the roles of “The Surviviors,” although you don’t necessarily need more than one role filled as The Survivors can also be controlled bots via AI. Co-operation, again, is the key as players have the ability to aid each other and any selfish player present will soon be corrected (and can ultimately be booted by other team members in a voting system present). Players can communicate through automated commands courtesy of quick menus present (certain commands will be automatically uttered when reloading or spotting an infected civilian). And to further drive a co-operative style of gameplay, the developers allow players to spot each other through walls, obstructions, etc by utilizing a green glow around each player when blocked by an object.
There is a particular backstory to each character, though there will be no cutscenes in the game to further flesh it out. Instead, the developers have recorded a vast amount of dialogue that will be featured pending upon the various situations the player encounters. This further encourages multiple playthroughs and keeps the gameplay at a solid pace rather than breaking it up with cutscenes or a linear timeline, as well. Overall, I’m very intrigued with what Left 4 Dead has to offer. The concept isn’t particularly original by any means; though the title makes up for it by introducing enforced principles on top of rather solid gameplay. There are additional modes to extend the experience and various other aspects to further add depth to the game itself. Though I still have doubts on whether the actual gameplay will grow repetitive; despite the measures taken. The fact that it’s a First Person Shooter also leaves me leary as the genre has become rather bloated and over saturated in the industry, as of lately. Left 4 Dead hits the PC and Xbox 360 this Winter, with a possible Playstation 3 port in the works. For more information, please visit the official website at www.l4d.com.
For the eighteenth year, Bloody Mary brings forth history’s most terrifying Urban Legends to life at Universal Studios Florida when the sun sets and darkness descends upon guests.
8 Houses: Reflections of Fear, Scary Tales: Once Upon a Nightmare, “Creatures!,” Interstellar Terror, Dead Exposure, Doomsday, The Hallow, and Body Collectors: Collections of the Past.
6 Scarezones: Asylum in Wonderland, Fractured Tales, The Path of the Wicked, The Skoolhouse, American Gothic, and Streets of Blood.
3 Shows: Rocky Horror Picture Show- A Tribute, Brian Brushwood, and Bill and Ted’s Excellent Halloween Adventure.
Opening night is September 26. For further information and additional content, direct your browser to www.halloweenhorrornights.com.
