Opinion: Classic horror was more creative than today’s scare factory

by Tara Adams

Writer, Haunt Hunters App 

Older horror movies didn’t just try to scare you, they haunted you.

Before timed jump scares and CGI monsters were rendered to pixel-perfect smoothness, horror relied on something far more dangerous: imagination. The classics understood that what you don’t show is often far more terrifying than what you do.

Think about “Nosferatu,” “Psycho,” “The Haunting,” or “The Exorcist.” These films weren’t built around body counts or shock value. They were built around atmosphere, dread, and the slow, uncomfortable realization that something is very wrong. 

Shadows mattered. Silence mattered. A single glance, a creaking floorboard, or a held note in the score could chill an audience. 

Limitations were the secret weapon. Without digital effects, filmmakers had to innovate. Practical effects, makeup, forced perspective, and lighting tricks were creative challenges. Directors had to solve problems, not just render solutions. When you couldn’t show everything, you had to imply it, and implication is where horror thrives.

Classic horror also trusted its audience. It didn’t spoon-feed lore or over-explain every supernatural rule. Films like “Rosemary’s Baby” and “The Wicker Man” left room for interpretation, debate, and lingering unease. The horror followed you home because the film didn’t wrap everything up neatly. 

Modern horror too often feels obligated to explain itself too much, draining the mystery along with the fear.

There’s also a thematic boldness missing today. Older horror used monsters as metaphors for topics such as sexuality, religion, war, disease, paranoia, and societal collapse. “Godzilla” was nuclear anxiety. “Invasion of the Body Snatchers” was Cold War fear. Even slashers like “Halloween” tapped into suburban dread and the illusion of safety. 

Today’s horror frequently gestures at “trauma” without exploring it deeply, using it as a label rather than a lens.

That’s not to say modern horror has no bright spots. It does. But the industry’s obsession with franchises, reboots, and opening-weekend returns has turned fear into a product line. When every scare is focus-tested and every sequel is pre-planned, creativity becomes collateral damage.

Classic horror endures because it wasn’t manufactured. It was crafted. These films weren’t chasing algorithms or social-media reactions. They were trying to get under your skin and stay there.

And decades later, they still do.

Why "Nosferatu" is the only horror film the Vatican ever recommended

by Tara Adams

Writer, Haunt Hunters App 

When the Vatican released its list of “Some Important Films” in 1995, which was meant to celebrate movies that reflected moral, artistic, and spiritual value, the 45 selections leaned heavily toward biblical epics, humanist dramas, and reverent classics.

And then there was “Nosferatu.”

F.W. Murnau’s 1922 silent vampire film, an unauthorized adaptation of “Dracula,” is thought to be the only horror movie ever recommended by the Vatican's Pontifical Council for Social Communications, which released the movie list 30 years ago in honor of cinema's centennial. 

The Vatican didn’t honor “Nosferatu” because it was scary. It honored it because it was moral.

Unlike modern horror, which often revels in chaos, excess, or nihilism, “Nosferatu” presents evil as something unmistakable, corrupting, and self-destructive. 

Max Schreck’s Orlok isn’t a seductive romantic antihero. He’s a walking plague. He's skeletal, rat-like, and associated with pestilence and death. His presence brings disease to entire towns, rather than temptation or glamour.

In other words, evil in “Nosferatu” isn’t complicated. It’s a curse.

That clarity is precisely what makes the film spiritually resonant. Count Orlok doesn't win. He doesn't evolve. He is destroyed by light: sunlight, purity, and self-sacrifice. The film’s heroine, Ellen, defeats the vampire not with violence, but by willingly offering herself to delay him until dawn. Her act is one of conscious martyrdom, echoing Christian ideas of sacrifice, redemption, and the triumph of light over darkness.

For the Vatican, “Nosferatu” isn’t horror as exploitation. It’s horror as a parable.

The film was included under the Vatican’s “Art” category and has been praised for its groundbreaking visual language, including expressionist shadows, distorted architecture, and imagery that externalizes spiritual decay. Long before jump scares and gore, “Nosferatu” showed how fear could be philosophical, symbolic, and deeply moral.

It might also help that the film doesn't indulge in cynicism. There is no irony. No wink to the audience. The monster is a monster. The cost of evil is catastrophic. And goodness, while fragile, is stronger.

That view aligns far more closely with religious storytelling than most horror that followed. It’s, perhaps, why films like “The Exorcist,” despite its religious themes, didn't make the Vatican’s list. “Nosferatu” doesn’t question faith or blur moral lines. It affirms them in shadow and silence.

A hundred years later, the idea that the Vatican’s lone horror pick is a silent German vampire film feels poetic. “Nosferatu” endures not because it shocks, but because it warns. And because it understands that horror doesn't have to be blood or screams. It can also be the slow spread of darkness when it goes unchallenged.

In the end, that may be why the Catholic Church found it worthy.

Evil exists.

Light matters.

And dawn always comes.

Even for vampires. 🦇

References 

https://www.vatican.va/roman_curia/pontifical_councils/pccs/documents/rc_pc_pccs_doc_19960101_100-cinema_en.html

https://decentfilms.com/articles/vaticanfilmlist

Why the Creature From the Black Lagoon Is Universal’s Greatest Monster

 

by Tara Adams

Writer, Haunt Hunters App 

Universal Studios gave the world no shortage of iconic monsters: Dracula with his aristocratic menace, Frankenstein’s Monster with his tragic pathos, the Wolf Man with his cursed humanity. All are classics. 

The greatest Universal monster, though, isn’t wearing a cape or stitched together in a lab. It rises silently from the water.

The Creature From the Black Lagoon is Universal’s best monster because he is the most purely cinematic, the most misunderstood, and the most hauntingly modern of them all.

Released in 1954, “Creature From the Black Lagoon” arrived late in the original Universal monster cycle, yet it feels ahead of its time. While earlier monsters leaned heavily on gothic castles and old-world superstition, the Gill-man belonged to the natural world. He wasn’t summoned by black magic or cursed by fate. He simply existed. And it was the humans who intruded.

That distinction matters. The Creature isn’t evil. He’s territorial. He’s curious. He’s reacting. Long before pop culture started interrogating who the “real monster” is, the Black Lagoon was already asking the question. The film frames science and exploration as noble pursuits, yet the monster’s tragedy is that he’s punished for being discovered. In today’s age of environmentalism and vanishing species, the Creature feels relevant.

Visually, no Universal monster comes close. Millicent Patrick's design is flawless: sleek, expressive, and graceful, yet eerie. The Creature doesn’t lumber like Frankenstein or stalk like Dracula. He glides. Those underwater sequences, especially the mirrored swimming shots, remain some of the most beautiful and unsettling imagery in classic horror. Even now, they feel dreamlike, romantic, and dangerous all at once.

And yes, there’s romance. The Creature’s fascination with Kay Lawrence isn’t presented as conquest, but as longing. It’s the most melancholic love story Universal ever smuggled into a monster movie. The Gill-man doesn’t want to dominate humanity; he wants to understand it, or at least one fragile piece of it.

Perhaps most importantly, the Creature has endured without dilution. Dracula has been parodied into camp. Frankenstein’s Monster has become shorthand for misunderstood brute. The Wolf Man is forever tied to transformation tropes. But the Creature remains singular. He is still strange. Still elegant. Still tragic.

In a studio stable filled with monsters who speak, scheme, and roar, the Creature says nothing, yet somehow says more.

He is not a king of the undead or a creation gone wrong. He is nature pushed too far, beauty mistaken for threat, and loneliness made monstrous. That’s why, decades later, the Creature From the Black Lagoon doesn’t just swim alongside Universal’s icons.

He towers over them — just beneath the surface.

Review: Coffin Creeps’ talking Captain Howdy doll delivers deluxe-level frights

Coffin Creeps' The Georgetown Project Deluxe Edition

by Tara Adams

Writer, Haunt Hunters App 

If you’ve ever wanted to bring a little hellfire into your home, Coffin Creeps has answered your prayers - or curses - with its 18-inch talking Captain Howdy doll. 

Unboxing the doll is an experience in itself. The sturdy coffin-style packaging, eerie iconography, and bold Captain Howdy branding set the tone before you even lift the lid. And once you do, the demon stares back with that unmistakable pallor, sunken eyes, and grimacing teeth. It's a sculpt that looks screen-accurate and unsettlingly alive. 

Captain Howdy's craftsmanship is sharp: the face is cold, gaunt, and frightening; the black cassock drapes with a funereal heaviness; and the hands and feet are menacing enough to look like they might etch “Help Me” onto your body while you're trying to sleep.

A showstopper is the doll's voice feature. Press the hidden button on its arm, and it recites approximately 30 unholy, spooky phrases that fans of “The Exorcist” will recognize immediately. The audio quality is crisp, loud, and just distorted enough to feel authentically fiendish. 

Coffin Creeps didn’t skimp on the atmosphere, either. The Georgetown Project Deluxe Edition comes with a hand-crafted wooden keepsake coffin box, a durable rosary featuring St. Benedict medals, a Captain Howdy t-shirt, 5-inch Pazuzu statue, and a memorial rose.

Whether you display it in a cabinet, spotlight it in your horror room, or casually leave it on the couch to traumatize your family, this figure has a presence. Its power lies in the balance it keeps between homage and lurking unease. It’s clearly made by people who love the source material and understand what horror fans want: accuracy, quality, and something that creeps us out a bit every time we walk past it in the dark. This Pazuzu delivers.

If you’re a fan of “The Exorcist,” demonic oddities, or just enjoy owning something that feels like it shouldn’t be in your house but you invited it in anyway, the Coffin Creeps 18-inch talking Captain Howdy is a must-have. 

It’s bold, beautifully creepy, and guaranteed to stir up a little trouble … just keep the holy water nearby.

The Georgetown Project is also sold in a Collectors Edition. For more information on the Collectors and Deluxe Editions - quantities are limited - and other products by Coffin Creeps, visit coffincreeps.com.

______________

An observation

What do the words and letters on The Georgetown Project rosary mean?

Another impressive level of detail with The Georgetown Project Deluxe Edition is the rosary that comes with it, which contains medals of a saint you want on your side when dealing with the devil: St. Benedict. 

As a big fan of rosaries, this was one of the features I was looking forward to the most. I could only wonder, would it be made of lightweight, cheap plastic beads, and generic medals, or would it be a durable and usable rosary? 

I was excited to find out that not only is it sturdy and rugged, with the beads linked by a black paracord, but it's also a St. Benedict rosary with actual St. Benedict medals.

St. Benedict, a monk who lived in the 5th and 6th centuries, is known as a main protector against evil. His prayers are used in exorcisms, and his medal contains Latin inscriptions of exorcism prayers. 

Those inscriptions on the medal are:

C.S.P.B.: "Crux Sancti Patris Benedicti,” The Cross of the Holy Father Benedict, located around the cross on the medal.

C.S.S.M.L. across the cross’ vertical bar and N.D.S.M.D. across the horizontal bar stand for "Crux Sacra Sit Mihi Lux” and "Non Draco Sit Mihi Dux,” which mean, May the Holy Cross be my light, and May the Dragon Never Be My Guide.

V.R.S.N.S.M.V.: "Vade Retro Satana, Nunquam Suade Mihi Vana!," located in the circle around the medal, which means, Begone Satan, never tempt me with your vanities!

S.M.Q.L.I.V.B.: "Sunt Mala Quae Libas, Ipse Venena Bibas!," also located in the circle around the medal, which means, What you offer is evil, drink the poison yourself!

PAX: This is located at the top of the medal and means peace.

Monster-Mania turns 65, bringing an X-Files reunion and decades of horror fandom to Oaks

 

Photo courtesy of Monster-Mania Con

by Tara Adams

Writer, Haunt Hunters App

OAKS, Pa. — Monster-Mania Convention marks its 65th show this weekend, rolling into the Greater Philadelphia Expo Center with a familiar chill that’s kept it a staple for horror devotees for more than two decades. 

The Oaks gathering, which runs from Nov. 21-Nov. 23, 2025, promises an extra shiver: an X-Files reunion anchoring a weekend packed with genre icons, monsters, and a heavy dose of nostalgia.

For founder Dave Hagan, the milestone weekend is the latest chapter in what began as a simple “what if” conversation more than 20 years ago. 

Hagan and his family were vendors on the Philadelphia/New Jersey convention circuit when a drive home from a Pittsburgh show with his oldest son sparked an idea to create a horror convention. They wanted it to feel different - more like a friends and family gathering, more welcoming, and lots of fun.

“We do the conventions in honor of my dad,” Hagan said. “My dad used to take me to horror movies all the time when I was a kid.”

The first Monster-Mania landed at the former Clarion Hotel in Cherry Hill, N.J., in 2003. The hotel offered a date that coincided with the weekend of his father’s birthday, so Hagan booked it. The event drew enough fans and energy to quickly outgrow the venue. 

For 22 of its 23 years, the convention has planted roots at Doubletree by Hilton Cherry Hill Philadelphia, while expanding to additional shows in Baltimore, Md., and Oaks.

“It is nonstop,” Hagan said of planning the conventions, which run four times a year. “It’s something that you have to love to do.” 

He said organizing Monster-Mania doesn’t end when he goes to bed. He even dreams of various aspects of its planning.

“I literally wake up from sleeping and have ideas,” he said.

One of Hagan’s goals has always been to recreate the experience of his own early movie fandom. He was the first among his friends to own a VHS player and would host weekend movie nights — the vibe he still wants the convention to capture, he said. 

“I wanted the convention to be like a larger house party,” he said. 

He also wanted the convention to appeal to guests with varying interests, including newer horror movies, retro monsters, and some pop culture. 

Monster-Mania’s guest lists have long reflected that mix. Hagan’s years as a vendor helped him connect with actors like Ben Chapman, who played the Creature in Creature From the Black Lagoon in land scenes and helped him recruit early celebrity guests. 

Chapman appeared at the first Monster-Mania alongside fellow Creature From the Black Lagoon actress Julie Adams, actresses from classic Hammer Films, as well as Doug Bradley, famed for playing Pinhead in Hellraiser. Bradley remains a frequent guest.

Robert Englund, most known for his role as horror icon Freddy Krueger, appeared at Monster-Mania’s second show, a booking that left the Hagans a bit starstruck. 

“Wow, we've got a guy that we went to the movies to see,” Hagan recalled. 

Englund also helped validate the young convention. Hagan recalled running into him near the end of the weekend, and he complimented the show.

“That, to me, meant the world,” Hagan said. 

The 65th edition continues the tradition of mixing marquee names with fan-favorite horror stars. The X-Files reunion will feature six cast members - Gillian Anderson, Robert Patrick, Mitch Pileggi, William B. Davis, Annabeth Gish, and Laurie Holden.

Other guests include Jeremy Davies and Madeleine McGraw from The Black Phone films, Ralph Macchio and William Zabka from Cobra Kai, Juliette Lewis, C. Thomas Howell, Michael Rooker, Linda Blair, Jackie Earle Haley, and Vincent D'Onofrio.

This weekend’s Oaks show features roughly 400 booths and tables — about 100 more than the convention’s hotel-based events — offering everything from classic monster memorabilia to modern horror art and broader pop-culture collectibles.

Through it all, Hagan said the mission remains the same: create a place where fans feel at home. He described horror fans as loyal, knowledgeable about the genre they love, appreciative and respectful.

“Horror fans are a great group of people,” Hagan said. “I think they're unlike any kind of movie fan. We just want you to come out and have a good time. ” 

The full lineup of guests, schedules, and ticket and photo information may be found at https://monstermania.net/.

Photo courtesy of Monster-Mania Con

Halloween lives on: John 5 brings tricks, treats, and guitar firepower to The Sherman Theater

by Tara Adams

Writer, Haunt Hunters App

STROUDSBURG, Pa. — John 5 ignited The Sherman Theater Friday night by mixing blistering guitar work with Halloween swagger and transforming the packed venue into a fog-shrouded haunt.

The stop in the Poconos was part of a co-headling tour with guitarist and singer Richie Kotzen. 

John 5 played some new songs and fan-favorite cuts from across his catalog, ending with a Motley Crue medley that had the crowd singing along. Accompanied by Alejandro Mercado on drums, John 5's playing was sharp, theatrical, and fun rock and roll.

The Motley Crue guitarist engaged with fans throughout the night, throwing out guitar picks and even teasing the crowd about his song, “Que Pasa,” which features Megadeth's Dave Mustaine. 

“I always joke and say, ‘Oh, Dave Mustaine's here,’ and everyone cheers, and I say, ‘I'm just kidding,’” he said. “But tonight, it's true! It's true!” 

“Please welcome to the stage, Mr. Dave Mustaine from Megadeth, come on,” John 5 said with a grin and to cheers from the crowd. “No, he's not here.”

Before joining Motley Crue, John 5 was the lead guitarist for Marilyn Manson and Rob Zombie. 

True to his spooky-season persona, he cycled through several masks during the night, slipping into each one like he was switching characters in a midnight horror flick. The stage was decorated with large jack-o-lanterns that glowed red to add to the Halloween flair. 

Even the crew got in on the fun: his guitar tech walked the stage throwing Halloween candy to the crowd as John 5 played, keeping the trick-or-treat energy alive. 

“We're going to pass out some candy to you guys, because I'm not letting go of Halloween,” John 5 said. “I love Halloween so much. We're all parents, and we don't get candy, so we're going to play some passing-out-candy-to-you music. Happy Halloween, fuckers.”

John 5's setlist included “Season of the Witch,” “Crank It,” “The Ghost,” “I Am John 5,” “Que Pasa,” and the new track, “Deviant.” 

His new album, “Ghost,” dropped in October. For more information on the album and remaining tour dates and meet and greets, visit john-5.com. 

“Thank you guys for having me,” John 5 told the Stroudsburg crowd. “You guys are awesome. I love coming here. I love coming to your town and walking around.” 

Bill & Phil Rise Again: Moseley and Anselmo to team up in 2026

 

Bill Moseley discusses new project with Phil Anselmo at Creature Feature Weekend 

by Tara Adams

Writer, Haunt Hunters App 

SCRANTON, Pa. – Horror and metal icons Bill Moseley and Phil Anselmo plan to team up on another music project in early 2026, Moseley said Sunday during a panel at Creature Feature Weekend in Scranton, Pa.

Moseley and the Pantera lead singer released the 6-track EP, Songs of Darkness And Despair, under the name Bill & Phil in 2017.

“And we're going to do something else, I think, probably in Jan. or Feb,” Moseley said during the panel. “We were supposed to do a Bill & Phil 2, but then last year in the spring, I got hit by a bicyclist on a nature trail.” 

The incident in Raleigh, N.C., left Moseley, who was a pedestrian, lying on the trail with four broken ribs and four broken pelvic bones. The bicyclist appeared to be uninjured, and he climbed back on his bike and rode away, he said.

“They left me with four broken ribs and four broken pelvic bones,” Moseley said. “I didn't even know I was hurt. I had never broken a bone before." 

Moseley further explained, “My first reaction was to stand up and step on the spokes of his fuckin’ bike. And then I was, like, ‘Oh, shit. I'm hurt.’ And he got up, and his bike was OK, and off he rode.” 

The accident and injuries resulted in the delay of Bill + Phil 2.

“So, we were going to do that last year, but, you know, now we're going to do it next year,” Moseley said. 

The actor's numerous roles include Chop Top in “Texas Chainsaw Massacre 2” and Otis B. Driftwood in Rob Zombie's “House of 1000 Corpses” and “The Devil's Rejects.”

Watch Moseley's discussion here: