Well, at least now we know that Colin would never lie to us.

Inside delivered on all fronts, making us laugh, flinch, scream, cheer and generally be glad we don't have a uterus (ok, maybe that last one was just me).

The crowd got into it early and often, amazing directors Alexandre Bustillo and Julien Maury from minute the first with the beachball antics.  I think a little piece of Julien's heart was broken when that sad, deflated beachball was thrown at his feet.  We spoiled a good thing just then, but it would be made up for.

Seriously, it's movies like Inside that bring a smile to my face when thinking of the future of cinema.  Not only that there are directors courageous enough to make such bold and original films, but that there are studios (albeit foreign ones) to give guys like this carte blanche and that there is a definite audience for their work, as we proved last night.

Sadly, Inside may not see a North American cinema, as early rumours have their deal being DVD only release pact.

I'm sure we can look to a half-hearted, slightly less thrilling, American remake starring Jennifer Love Hewitt or something, but that's just not the point.  The fact is, that we gave those guys a huge boost last night, and when they make that film that brings them worldwide fame and repute, our response to their incredible work will have been part of what moved them forward.

It was also the perfect way to cap this year's Madness.  I seriously think every film ended up being better than what played the night before.  This is especially amazing considering the electric response Argento got on Night One.

You guys deserve a huge round of applause for keeping this program running strong and for the fact that it gets better every year.  I heard many of you say that this was the best line-up in almost a decade, but great films are only half as good without a great reaction from the crowd, and that's the main thing the directors had to comment on after last night's rave-up at the Ryerson.

If you missed the Q&A, they claimed to have done everything they wanted to do with the film from day one, developing the characters they wanted and ending it how they saw fit.  Every shock and slice was authorized and they never held back.  That's what makes the Madness films the most daring of the fest, and particularly, that's what made Inside the best film we ran this year, in my personal opinion.

I wish there were another screening I could tell you to see, but alas, it's all over now.  So look for the DVD in coming months at Suspect Video, or Queen Video or your local indie rental house, and let Alexandre Bustillo and Julien Maury blow your mind.

As for me, I'm pretty much out.  Thanks for reading and for your input.  Also another huge shout out to my crew of friends and helping hands, particularly Colin Geddes, Chris Sanchez, Sanjay Rajput, Darryl Shaw and Suzie Maynard.

See y'all next year!

We were taught a great many lessons by Mastumoto last night in Dainipponjin, and I plan to outline just a few of them.  For anyone who missed out, you're just a plain chump.  I'm tired of being nice.  We've warned everyone how awesome these last few screenings are going to be, and by now you should just know to show up. 

Don't give me that, that's no excuse.

Dainipponjin taught us that the male nipple does have magical and practical uses.  So many years men felt empty because their nipples didn't serve any real purpose.  We dreamed of being able to use them, like women, to provide life.  We though 'hey, what if they served the common good and produced useful healthy fluids?  Like beer or motor oil?'  Now we know, they're essentially electrical outlets.  And baby's best not be messing with them.

We discovered the most effective defense mechanism this side of 'duck and cover'.  Baby or Die! is surely the most potent and handy finishing move that anyone can integrate into their self-defense scheme.  Perhaps that's what Michael Jackson was onto all those years ago.  I just severely doubt his baby would be capable of that kind of menace.  Lindsay Lohan's first born, however, might just be the one.

Dainipponjin also taught us that movies sometimes echo real life.  I can't remember how many times I've seen a giant superhero fight a big red baddie and thought to myself; this CG battle to save my city is entirely too far fetched.  Wouldn't it make more sense if everyone were in costumes, beating eachother up Disneyland style?

Finally, we learned that superpowers are hereditary.  If your Dad could grow into a giant crimefighter, then so can you.  This makes me wonder what Baby or Die's life will be like, not to mention its offspring.  It also gives me hope for the future because if I'm going to inherit my father's superpowers it means I'll very soon be awesome at driving really big trucks and growing moustaches.

Thank you Dainipponjin.  because of you, my future is brighter.

So, just to keep everyone rolling in fresh material, our good friend Bob was nice enough to send us some stills from the Flash Point screening the other night.

Wilson Yip was blown away by the response, and we were just plain blown away by Wilson Yip.  Also we have a great shot of the true star of the night... Colin's laptop!  His mac has been the underappreciated star of this year's fest, and were it not for that computer, we'd never know that we're all on a first name basis with Donnie.

Donnie!

Enjoy the snaps!

... some actual press.  My apologies to those who don't get tone, but my Sukiyaki Western Django round-up was entirely fictional.  Hard to believe that publications like "Japanese Western Quarterly", "Feathers of Fancy" and "Bow and Arrow! Magazine" don't exist, I know... but that's just the sad world we live in.

First off, the program itself continues to get nice over-arching summations in the mainstream press which, after 20 years, is a nice bit of recognition.  Time and Reuters both gave us nice little write-ups, which are presently getting copied and pasted into many mid-level publications throughout continental North America.

Pop Journalism did a tidy little review on Argento's Mother of Tears taking a fan's perspective instead of an entirely critical one, which is pretty much essential to having any appreciation of Argento.

The Onion AV Club Blog gave Stuck a glowing review.  I think we're all hoping that this review will lead to even more cornrows in the future of horror cinema.

Blog TO has been really good to the Madness program, really appreciating the films not only for what goes on-screen, but the atmosphere in the crowd that the lot of us try so hard to create.  Check out their reviews on Vexille (here) and Sukiyaki Western Django (here).

Finally, some kind words from Cinematical, praising Adam Mason's The Devil's Chair for Mason's ability to keep things fun and frightening while still flaunting a knowledge of the genre and the audience he's trying to reach.

We'll post some more press as it comes in, but for the time being, if you care what the pros think, there you have it.

Thanks to Salar Madadi for the photo of the world's most accomplished and decorated zombie journalist.

OK, maybe not ever, but Flash Point really delivered in the beat-down category.  Seriously, that last half-hour was totally rad. 

First off, here's the video from last night, courtesy of my own personal Jesus, Sanjay Rajput.  The Intro is above, the Q&A below.

Second, From the sounds of your reactions Donnie Yen is, in fact, the new black.  And, from the sounds of what Wilson Yip said about working with him he a) totally knows it and b) really loves that his job is to beat the holy hell out of everyone.

It's pretty refreshing that given all the years we've seen fight sequences get outright ridiculous with wire usage, that someone can still do incredible martial arts movies without relying on them.

I think at some point before that final run there may have been a story to follow, but after all that, it was pretty secondary to seeing a shootout and a punch-up on open farming land.

If anyone was so unfortunate to have missed it, I'll do my best to re-enact it right now:

punch punch kick kick kick punch punch kick punch kick kick kick punch kick kick punch punch punch punch kick kick kick punch punch kick grapple hold hold throw sail through the air thud.

I betcha that didn't do it justice.  Well for the rest of the action you may have missed, I think you'll just want to check out the next screenings today at 12:30 at Scotiabank 14, and just save me a lot of typing.

I pity the fools in the theatre nxt door if they think they'll be able to enjoy whatever it is they're watching while Flash Point drowns out with its awesomeness.

...This video surely would have won.

Sheleigh Bober got wicked creative with us and not only made sure the song "George Romero" by the Sprites was heard at this year's Midnight Madness, but took it a step further and actually made it the soundtrack to a short film about their own trip to the Diary of the Dead screening.

We'll find a way to reward you for your hard work, somehow.

For now, here's an imaginary gold star.  Way to go!

So, here's a quick rundown on The Devil's Chair screening last night.

10 Things we've learned from The Devil's Chair:

9. Anyone named Rachel probably didn't get much sleep last night.

8. Q&A, presence is necessary... standing, optional.

7. In horror movies, the blonde is always infinitely more trustworthy than the sluttier brunette.

6. Garbage bags, even those containing the mangled souls of the damned, should be properly sealed before taken out.

5. The Brits will still fight to the death for their freedom to use the C-word at their own leisure.

4. Sorry, Adam Mason, but NO WAY was that only two gallons of fake blood.

3. People are usually deemed criminally insane for a reason.

2. Long underwear is officially back.

1. An insane asylum is probably the worst possible place to do acid.

There are still another Devil's Chair screening to be seen, if you missed out.  Saturday, 3:00 at the ROM.

This is probably the first time I've had to slap a Parental Guidance warning on a Q&A, but The Devil's Chair director Adam Mason and star Andrew Howard used some fairly colourful language at times.  If you don't like the C-word, consider yourselves warned.

This also goes down as my favourite Q&A thus far due to Howard's reaction.  Seeing his own performance for the first time unnerved him so much that he did most of the session crouched onstage, his knees to weak to support himself for too long a period.

Again, a big thanks to Sanjay Rajput for getting us the video in a timely fashion.  Sleep truly is for the weak!

Well, our good friend Suzie Maynard (whom you may remember recently narrowly escaped the clutches of many zombies after they accosted her at a Yonge St. bus stop) has provided us with some stellar shots from the duration of the Madness program.

I especially appreciate this because in my struggle to man two cameras at once, I often end up screwing up the photos, for the sake of video documentation.  I know, inept isn't the word we're looking for, but it's frighteningly close to accuracy, no?

Anyway, again a reminder that if you wish to share pictures with Kool & the Gang here at the blog, send them off to our email, ultra8pictures@gmail.com.

Thanks again, Suzie.

Photos: (Top) Mena Suvari and Russel Hornsby at the Stuck premiere

Stuart Gordon at the Stuck Q&A with Colin Geddes.

Colin Geddes doing one of his many famous introductions.

And that would be me with a tiny rendering of Colin Geddes through my camcorder's viewfinder.

Rarely these days can people come to a wide consensus on anything.  Especially when it comes to critical thought, there are too many factors in play for discerning minds to completely agree on anything.  This is particularly true in film.

Too many elements go into filmmaking for every critic to agree on a film's merits and only three films in cinematic history have so captured hearts and minds alike:  Citizen Kane, Breathless and now... Sukiyaki Western Django!

The reviews have been pouring in all day and they are nothing short of astounding.

Hideki Kinetawa of Japanese Western Quarterly called Miike's film "a triumph.  For too long the fans and scholars in the Japanese Western Community have suffered with half-measures and sloppily made B pictures.  If Sukiyaki Western Django is not deemed the second coming of The Seven Samurai, I will protest in the ancient Yakuza way of cutting off my pinky finger and mailing it to the writer of the first poor review I read."

But that's not all.

William Horrace of the Canterbury Daily Shakespeare watch chimed in with the following:  "Not since Kurosawa's Ran has the bard so magnificently and lovingly been integrated into a Japanese work of cinematic art.  Truly, Miike understands the subtle nuances of Shakespeare, evidenced by the powerful yet understated reading of a scene from Henry VI halfway through the film.  Kick off your buskins and see this fantastic Shakespearean treat!"

Jason Burris of Feathers of Fancy, Canada's leading birdwatching publication said he "just couldn't get over the raw beauty and emotion of the opening egg scene with Quentin Tarantino." He added, "I think it was a Condor egg".

Troy Trotsky of Bow and Arrow! said that "Miike's dedication to weaponry and skill should be applauded.  Many films have made use of bows and/or arrows, but never before has one had the forethought to use it to kill one human being by shooting an arrow through another human being's gaping abdominal wound.  Bravo!"

These are just some of the clippings that were dropped on my desk this morning, but surely, combined with your enthusiastic reaction last night, it is not a stretch to predict that this film will win at least 15 Oscars this year.

If you missed last night's screening and don't want to regret the remainder of your time here on Earth, there are two more Sukiyaki Western Django screenings:  Tomorrow at 12:30, Varsity 8 and Friday at 9:30 p.m., Varsity 4.

Hey everyone, here's pretty much everything you missed from last night's opening of Sukiyaki Western Django.  Y'know, aside from an epic, bitchin' Japanese western (laughs at those who missed out).

The Intro footage has the Q&A as well, because for some wacky reason Colin decided to do it beforehand last night.

We'll get the footage of Takashi Miike's awesome video intro up as soon as possible.  Yar, I be a pirate... but a pirate with permission.

Thank you to our friends for not only coming up from Detroit to partake in the madness but for also providing us with this footage.

Another very special thank you goes out to the mystery fan who supplied us with the snapshots below.  I'll give you a shout-out once Colin tells me who you are!

Well, everyone, your raucous applause and dedication to the cause of human-zombie integration has been recognized.

Not only is the Midnight Madness audience officially nominated for the annual Colin Geddes Prize for the Promotion of Living-Undead Harmony, but it now seems that your reaction has helped George A. Romero's Diary of the Dead get sold.

The Hollywood Reporter tells us that Romero sold the rights to Diary yesterday for somewhere between $2-2.5 Million to the Weinsteins (a fact we will NOT hold against him).

Our congratulations go out to George and his people.  We, as an incredible audience, take every last inch of credit for the sale of the incredible satire that you painstakingly created.

Way to go, everyone.

You guys are really outdoing yourselves.

Thanks for all the photos, videos and presents you guys are sending us.  We're doing our best to get as much of it up as possible.  The above clever montage from the Diary of the Dead premiere comes to us courtesy of Sarah Gopaul.

We'll keep posting these things as we get them, so shoot our proverbial zombie heads off with your camera shotguns as much as you possibly can.

Pictures below are courtesy of Mark McAlpine, Jesse Hill and Salar Madadi repectively.

Well, it's time to sing our daily hymn of praise to the good people at Bloody Disgusting for providing us with yet more exclusive footage and goodies.  They're really making it difficult for everyone in town to NOT want to see The Devil's Chair when they keep throwing treasures like the Mason blog and this 5-minute clip our way.

This from the exclusive Bloody Disgusting Review:

First off, much thanks to Sanjay Rajput for the video,  This does set a record for time on getting this video in.  The intro is in the first clip, the three following this post maked up the entire Q&A.  We thank you for opting to help us over the possibility of actually getting to bed before 4 a.m.

"What's wrong with you?" 

No, not you Sanjay. 

That one line seemed to be wedging itself in everyone's mind last night like Stephen Rea's face through our collective dashboards as we sat in awe of our first look at Stuart Gordon's Stuck.

Why did we all laugh so much at such horrifying acts of inhumanity?  Oh, that's right... we're all a little mad.  Nevertheless guys, that was easily the best audience reaction we've had thus far at Midnight Madness.  I don't know if everyone was just trying to forget it was a Monday, but we all got it.

We laughed.  We cried.  Then we just laughed some more.

That's the genius of Stuart Gordon.  He showed us horrifying acts of indifference towards humanity, but made the motivation for these acts so selfish that we couldn't help but see it as caricature, which I think was the only way a story like this could sell to an audience.  We can't accept that there are people that would go through such lengths to save themselves unless we think it's fantasy.

The trouble is, as hyperbolic as a lot of the main characters' actions are (especially that cruel, cruel Mena Suvari) we never forget that this actually happened.  Everything in Stuck is unbelieveable because what we see in the opening credits of the movie- inspired by a true story- forces us to believe it.

Stuart ran that show (the movie and the screening) like nothing I've ever seen, and for those that missed the screening, I am deeply sorry.  He was gracious and candid and open about everything from working in Canada to his hopes to do another Re-Animator sequel starring George Wendt as Dick Cheney and afterwards he stayed long enough to shake everyone's hand and give an autograph to anyone that wanted.

And as if the high tension, action and horrifying comedy of Stuck weren't enough last night, THAT was Stuart Gordon's world class performance.

The next screening is Wednesday at Scotiabank Theatre 4 at 4:00... do yourselves a favour and be there if you weren't there last night.

 ?Androids can?t behave irrationally.  It just doesn?t make any sense.?  Yet somehow, they did, and it was sooooo sweet.

The Madness got ratcheted up a notch last night with our screening of Sori?s Anime odyssey, Vexille.

This may have been the most tame of our programme in terms of gore, guts and creep factor- but it is the early odds-on favourite for the loudest film we?re going to show.  Colin said during the intro that this was a film he saw at Cannes and his biggest beef with it there that it needed to be bigger and louder.

Mission accomplished.

Sori?s exquisite images of a futuristic Japan populated almost exclusively by clones had some truly great action sequences and the characters just leapt off the screen.  Although one of the main action sequences was pretty much nicked directly from Star Wars, that didn?t cut the tension or stop the action- which started in the first five minutes and didn?t stop till the credits started rolling.

However, if you need one good reason to catch our next two Vexille screenings (Tuesday at noon, Scotiabank 14; Saturday at 11:30 p.m., Varsity 6) it?s easily the score.  Done by electronica god Paul Oakenfold, it amps the action up to manic levels.  At turns pumping and melodic, Oakenfold was able to write interesting and diverse pieces for each new sequence, whether it be driving acoustic guitars for a chase through the Tokyo suburbs or pounding rhythms for the film?s crucial action sequence through an off-shore tunnel.  Big sound really brings the brilliant score to life, so music fans should give it a look for the score alone.

Sadly, Sori couldn?t make it out last night, so there?s no audio or visual treats today, but look into that score.  You?ll be glad you did!

For the past couple days, we've been asking for your photos and videos from your own Midnight Madness experiences.

We've received some good stuff, but so far only one that's made us stand up and say 'This needs to be seen by as many people as possible'.

This comes courtesy of our friend Sue Maynard.  She informs us that both zombies were nothing but courteous, escorting her not only to the bus stop, but onto the bus and walking her the whole way home.  Tragically, upon arrival at her residence, they burst through her bedroom wall and fed on her sweet, sweet brains.

We'll miss you, Sue.  Life can be cruel sometimes.

Please keep sending in pictures and we'll get them up and treat them with the utmost respect, for the sake of your grieving families.

What do you get when you add screaming fan-boys, 50 live zombies and acute social commentary?

Naturally, you get a George A. Romero premiere.  He unleashed The Diary of the Dead onto the world last night and returned to the form that first put his name in horror history.  The film is a sharp, biting criticism on the information age and how much technology has come to govern our lives.

One of the key lines in the film, just as everything?s falling to pieces is: ?keep shooting, we have o document this for whatever remains when it?s over?.  With shots at the 24/7 news media, myspace, and blogging (blogger hangs head), Diary takes dead aim at how we consume and manufacture information in the digital age.

While many shots taken are a direct result of the Katrina debacle in New Orleans (?We could call the National Guard?? ?The National Guard?  Really??) Romero?s themes of every man and woman for themselves have not changed and, sadly have gained resonance in the forty-odd years since his first film.

The audience, though, was equally impressed with the film?s devotion to zombie lore as it was with the social commentary.  Romero always seems to find new ways of dispatching the undead, while still maintaining (as he confirmed in the Q&A) that ?the best way to kill a zombie is still a good, old-fashioned shotgun?. 

Romero seems to be okay with self-reference, dropping nods to his prior films with shopping carts appearing occasionally and to the genre itself.  The film starts with students making an independent zombie picture and the main criticism the director has after one take is simply; ?Zombies don?t run, they?re undead.  If you ran you would break your ankles?.

While Romero denied that he saw self-referential film as a genre, he would concede that he?s proud to still be making these kinds of pictures after so long and that sometimes the tributes he inspires (ie. Shaun of the Dead and NOT the Dawn of the Dead remake) are flattering and actually help develop the zombie film.

All in all the film takes a comment that needs to be made and places it, again, in the framework of a film the general wouldn?t usually be inclined to take seriously.  It is well-crafted, intelligent, culturally relevant, entertaining cinema- and for that George A. Romero should be applauded.

I'll get video of zombies on the red carpet up as soon as possible, but for now I'll leave you with Romero's final words of advice on what to do if zombies were to invade Toronto?

?Just don?t take the D.V.P.?

Photos (from top):

George A. Romero and Colin Geddes during Q&A at the Diary of the Dead premiere.

Diary star Amy Ciupak Lalonde on the red carpet.

George A. Romero at the Diary fo the Dead pre-party.

Zombies walking the red carpet at the Diary of the Dead premiere.

Here it is, for those of you that missed out!  Exclusive footage from the Mother of Tears premiere.  We've got some kind words from Dario Argento, followed by Colin's intro and then Dario and Asia Argento introduce the film before the entire crowd sings Dario 'happy birthday'.

Apologies for some shaking with the camera... it was my first day.  More video to come, I promise!

For those of you that missed out, there is still another screening of Mother of Tears on Friday, Sept. 14 - 11:15 p.m. at Varsity Theatre 6.

If you show me yours. 

Pictures and videos, that is.

This is just a slice of what goes on every night at the Madness.  I'd love to see what all of you have captured on your phones, cameras, etc.

If any of you out in the Midnight Wilderness have pictures or videos from any of our midnight screenings feel free to send them to us at ultra8pictures@gmail.com and we'll try to get some of the best of them up here soon.

We look forward to your submissions.

MORE COMMENTARY AND EXCLUSIVE VIDEO ON LAST NIGHT'S SCREENING FROM DARRYL SHAW!

What really disturbs and inspires modern horror directors?

Surely they've been desensitized by the over saturation of violence in our culture, correct? Well, they should be!

Anyhow, once you get used to the massive amounts of dyed Karo syrup and foam latex body parts, the only way to keep yourself motivated to sustain bone chilling horror is to take a quick look around and soak in what's really
really wrong with the world... Besides the fact that you're lavishly exploiting situations of human torment (Hey! You're here aren't you? Don't judge! Or maybe make a film about judging.)

It's at this point this often socially shunned genre takes on an ironic quality... A message! (other than don't go up those stairs, don't get into a stranger's car, don't eat random sticky things from the Ryerson University Theater's floor etc)

Yep, all the best horror films have 'em. Even the best Troma flicks (Don't give up the fight for truly independent cinema!)

Before everyone gets too wrapped up in Romero Mania tonight, some words on Midnight Madness Round Two last night with Xavier Gens' Frontiere(s).

Gens himself was there to introduce the film and answer questions afterwards and it's fresh to see a filmmaker so happy with what he's done and eager to get people seeing his film.  Last night was the first time an audience saw the film and the reaction was incredible.

I got a chance to talk with Gens beforehand as the audience was streaming in and he was borderline giddy to get things underway.  Introducing the film he was appreciative and hopeful for what the audience was about to see and only minutes into the film, everyone understood they were in for something unique.

The film starts off torrid and hardly relents for the almost two hours as a clan of Neo-Nazis systematically terrorize and pick off the four members of the principle cast before a showdown with the final victim.

There's some intense violence and severe discomfort throughout the film so everyone from claustrophobics to the blood-squeamish can consider themselves warned.  It also marked the second film in a row from this year's Madness to feature a severed Achilles tendon (or two... what is this Colin?  A fetish?).

What we can say from this film and the buzz building around A L'Interieur is that French horror is taking off in a big way.  A lot of the people behind the scenes on these films know each other, work together and are friends and it shows in the high quality of the finished cut of each film.

Frontiere(s) especially marks a shift towards political commentary.  The whole scenario plays out as reaction to the election of an extremist right-wing government.  Early in the film there's actually a script line that tells it all, as a character quips: "Great, now we've got our George Bush".

When asked during the Q&A if the film was a direct reaction to Nicolas Sarkozy's recent ascent to the French Presidency, Gens commented that the film was actually a reaction to the re-election of Jacques Chirac in 2002 and the direction his country has taken since. 

While certainly not the easiest film to watch, Frontiere(s) has enough action and deep enough layers to make it more than a politically charged take on Hostel.  There's much more to this film, and anyone with an interest in revenge flicks, French politics, the new face of horror, or simply in well-crafted cinema would be a fool to give this stellar film a pass.

More pics and video to follow.

Well, it seems like everyone loves us today.  Both the National Post and the Toronto Star ran nice, long, features on the history and development of Midnight Madness after 20 years with TIFF.

Both articles entertain for different reasons, so be sure to give both a look. 

The Post works like more of a history of the program and comes from lots of perspectives, giving tonnes of perspectives on all the elements that make our midnights mad.  Everything from joint smoking and fireworks outside the Bloor Theatre and Quentin Tarantino staking out all the madness screenings while showing Reservoir Dogs to recent events like Nacho Cerda finding himself in a triple homicide and the lap dance that Nick Nolte got one night at a Bovine Sex Club Madness party that ended with that infamous and beautiful mug shot.

The Post article also featured some exclusive artwork from Kagan McLeod, who has been producing artwork on the spot throughout the entire fest.  We hope to see more of his work soon, but thank him kindly for access to this wonderful rendering of tonight's man of the evening, George A. Romero!

The Star focuses a bit more on our current programmer, so for a good look at The Madness of King Colin, give'r a read.  It's got some especially good stories from some passing-out incidents last year.

Well, it's about time Midnight Madness got its very own theme song.  Thankfully, fate aligned this year that we found something that completely works with our program and that we can use unofficially, so as to not have to pay for it.

Our tune comes from a band called The Sprites, aptly titled "George Romero".  The song praises the Diary of the Dead director (left, opposite, talking to Shaun of the Dead director Edgar Wright) for the educational value of his back catalogue with lyrical gems like:

"It's the end of the world; I want to live inside a shopping mall".

Not only does the song help educate a new generation of freak shows just like you and me, but it also sends props to other stars of this year's Midnight Madness like Dario Argento (Mother of Tears) and Stuart Gordon (Stuck).  The song also mentions Tom Savini and Sam Raimi.

So, there's your 2007 theme music courtesy of Colin Geddes and the Madness gang.  If someone can manage to play this song loud enough for Colin or any of our bloggers tonight, I'm sure we can work out some kind of prize to give you.

The good folks at Bloody Disgusting have really outdone themselves this time! They're running a package of publicity and reviews surrounding our upcoming screening of Devil's Chair on Wednesday night.

They've got a bunch of material from director Adam Mason, including an ongoing blog and a Podcast with co-writer Simon Boyes. Do give it a look, as it's always great to hear about the films directly from their makers and this one looks like it'll slay (sorry, really sorry 'bout that pun).

In addition to the bonus materials, they do a daily review of the Madness screenings, including one from last night's screening, Frontiere(s), so check in regularly to partake in the goodies!