Matthew Alan Mullins

Vote for Rick Astley...

NEON has revealed a new billboard for ‘NO OTHER CHOICE’ after the film was snubbed at the Oscars “F YOUR CONSIDERATION”

Manhunter (1986)

Grab your seat for this completely unhinged, wild ride. GET TICKETS NOW.

John Carpenter’s Apocalypse Trilogy A collection of three narratively independent but thematically linked films. Released between 1982 and 1994, these films explore different ways the world could end, focusing on cosmic horror, nihilism, and the loss of self. The Three Films The Thing (1982): Often cited as the first entry, it centers on a research team in Antarctica infiltrated by a shape-shifting alien. It represents the apocalypse of identity, where trust is destroyed because anyone could be a monster in disguise. Prince of Darkness (1987): This film blends science with religion as a group of students discovers an ancient liquid in a church that is actually the sentient embodiment of Satan. It depicts a spiritual apocalypse, suggesting that evil is a fundamental, physical force. In the Mouth of Madness (1994): The final installment follows an insurance investigator looking for a missing horror novelist whose books are literally rewriting reality. It serves as an apocalypse of reality, where the collective mind of humanity is broken. All three films are heavily inspired by H.P. Lovecraft’s cosmic horror, featuring ancient, uncaring forces that dwarf human existence. Carpenter has stated that the trilogy is less about explosions and more about "the end of things... the world we know." This includes the loss of faith in oneself, God, and the fabric of truth. True to the "apocalypse" title, none of the films offer a traditional "happy ending"; instead, they conclude with the implication that humanity's doom is already inevitable.

She adopted a senior cat from the shelter..this was the cat's reaction..🐈🐾🥺❤️ 📹seniorcatmk

FRANTIC 1988 A completely paranoid and quite brilliant Hitchcock style thriller that no one ever talks about. One of the best performances by Harrison Ford.

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Good morning and welcome to Fish For Tea Friday In every place you enter, try to give more than you take. Small acts of positivity can quietly build others up. #CatsOfTwitter

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See you tonight, #MutantFam!

Squarespace’s #SuperBowl ad, starring Emma Stone, has been released. Directed by Yorgos Lanthimos.

In Memory of George A. Romero 4 February 1940 - 16 July 2017

40 years ago "A Date with Elvis" is the third studio album by the American punk rock band The Cramps. It was released in the UK in February 1986 and not until four years later, in 1990, in the US. #punk #punks #punkrock #thecramps #adatewithelvis #history #punkrockhistory

Three films. One bloodline. Tomorrow, we're celebrating George A. Romero's birthday with ROMERO-THON. Kicking off at 7pm EST with THE AMUSEMENT PARK, QUEENS OF THE DEAD, and DAY OF THE DEAD.

One of my favourite episodes

Videodrome (1983) 📼 A seminal work of body horror that explored the terrifying intersection of media, technology, and the human psyche. Initially overlooked, it has since gained recognition as one of the greatest horror films of all time, with the Toronto International Film Festival ranking it as the 89th most important film in history. Released on February 4, 1983, the film struggled at the box office, making only $2.1 million. Critics, including Roger Ebert, labeled it as "relentlessly grim" and "nauseating." However, it has since been celebrated as a visionary masterpiece. Videodrome is well-known for its innovative practical effects created by Rick Baker, such as the "breathing" television and the notorious abdominal "video slot." Ironically, the film—which warns of the dangers of video consumption—found its true audience on home video. After its theatrical failure, it gained a vibrant life through the bootleg video market, with fans exchanging Betamax and VHS tapes in a manner mirroring the film's own plot. Today, it is praised for its foresight regarding the internet, virtual reality, and media addiction, accurately predicting trends like "torture porn," personalized media feeds, and the merging of digital and physical worlds. Videodrome's catchphrase, "Long live the new flesh," has become iconic in cult cinema, representing the enduring integration of humanity and technology.

This is how the brilliant Buster Keaton dealt with censorship in 1920