Check Out This Month's Issue of The Dark Side

marilyn-burnsOne magazine that I enjoy but very rarely get chance to read is The DarkSide, a bi-monthly publication that is produced over here in the UK.  Their selling point for me is the variety of material they cover, refusing to whore themselves to the latest trend and instead often interviewing stars from Italian cannibal films and old slashers.

The current release (issue 140) keeps up the usual quality, featuring interviews with The Texas Chainsaw Massacre’s Marilyn Burns, legendary filmmaker Wes Craven and, making a rare appearance, cult producer John Dunning, who is on hand to discuss not only his early work his David Cronenberg but also his contributions to the slasher genre.

Lion’s Gate had bought the rights to do a sequel to the original My Bloody Valentine but so much time had passed since the film came out that they instead decided to remake it,” says Dunning on how the recent 3D re-boot first came about. Bizarrely, despite rumours of another Dunning slasher receiving the modern makeover, he continued, “Just recently I tried to get them to consider a remake of Happy Birthday to Me and they weren’t having any of it.”

my-bloody-valentine-3dWhilst the interview with Burns focused more on her lesser known work than her run in with Leatherface, they did briefly touch upon her cameo in The Texas Chainsaw Massacre: The Next Generation. “What happened was I was given a small speaking part as a nurse but the Screen Actor’s Guild said, “No you cannot do this because it is against our rules and regulations.” Then they mentioned, “However, you can still be in it if you want – and support the movie – but you cannot use your voice,” says the actress.

Other features include a short piece on Lind Blair (Hell Night), an interview with filmmaker Julian Richards (The Last Horror Movie) and the usual host of reviews and retrospectives. The UK price is £3.95 and you can find out more about ordering by visiting the official site

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6 Responses to “ Check Out This Month's Issue of The Dark Side ”

  1. united kingdom makes better horror mags than the usa sometimes1

  2. The one thing I didn’t agree with in the mag was during the interview with Wes Craven where they both accuse torture porn of lacking the character and depth of The Last House on the Left. Craven wrote that movie as a gory and sleazy exploitation flick, it was only in the years since that he tried to justify it artistically. And none of the rapists in the movie are sympathetic or well drawn. David Hess is creepy but he doesn’t bring anything of depth to the role. I just feel Craven thinks a little too highly of Last House, because it was badly made smut.

  3. I agree Christian. Though, I think Last House(the original) is a rare piece of truly scary cinema. Craven had never shown the movie much love until recent years. It seemed to me, that he always chalked it off as what it was intended to be, a seat filler with enough shocks to carry out to a wide audience. But, now he considers it art. When he originally made it, it was meant to be only entertainment.

    Cunningham doesn’t like the movie. Never has, and still says never will.

    I like the movie a lot, and the following twenty years worth of horror movies. All good stuff.

  4. Have you read excerpts from Wes Craven’s original draft? It’s pure sleaze, with them mutilating them and then sodomizing their corpses. That’s not art with a social commentary, that’s exploitation. And that was what the filmmakers set out to achieve.

  5. Im pretty sure Wes and Sean made Last House knowing it would be controversial inorder to make a name for themselves.

  6. I don’t know if I agree with all of this. Sure it’s very sleazy and exploitive and yeah, that was probably the original intention, but I can’t say it’s without artistic merit, nor do I think it’s full of flat characters. Just the reaction shots after the hoodlums do something horrible says they were shooting for something more. Also, I read that Craven was brought up in a very strict home where he wasn’t allowed to see much in the way of cinema, only newsreel footage, which totally makes sense and explains the documentary feel of the film.

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