Tag Archives: Ghost

THE LAST KNOCK PRESENTS: Five Star Horror – The Scariest

The Last KnockDo you want the scariest horrors out there? Thanks to the amazing Dee Emm Elms, we have a whole new series to bring you: Five Star Horror!

That’s right, it’s all about the best of the best in the genre. So to kick it off right, we discuss the ultimate horror films that bring the fear.

Now, hide in the corner, start trembling, and keep one eye open as we bring nothing but the best damn scariest Five Star Horror films to keep us awake at night.

Of course, this show’s dedicated to Dee Emm Elms! Now check out the author’s book, Sidlings.

Thanks again, Dee Emm for the Five Star Horror suggestion!

This episode’s SCREAM OUTS from Twitter: 

@d_m_elms @Scream_Factory @michasloat @OliviaHusseyLA @AFiendOnFilm @ShoutFactory @jeffreygoldblum @palkodesigns @synapsefilms @Art_Hindle @VicsMovieDen @Oren_Peli @DavidSchmoeller @sm_henley @LinneaQuigley @iamgoreblimey @katiedianne @terry_oquinn @mastermystery7 @ArrowFilmsVideo @LoudGreenBird @blunderground @J2thecarpenter and Paul J. Williams

THE LAST KNOCK presents: Hodgepodge of Horror X

The Last KnockYes, it’s Hodgepodge of Horror X! No, not soft porn, silly head. It’s our longest running series  where we take a look at various horror film from the most recent to that old black-and-white stuff!

And on Hodgepodge of Horror X, we’re going to talk about… Well, we’re not going to tell. Listen in, be surprised, and enjoy the show. Hell, keep a list, watch the movie, and let us know what you think right here at Crash Palace.

This episode’s SCREAM OUTS from Twitter: 

@TheGlennClose @THW_Podcast @sennialn @mattdusk @MccarthyColm @SamesCarolyn @VancityReynolds @isaacrthorne @flanaganfilm @AnnThraxx @AnnaliseBasso @GuyRicketts @luluwilson @ianchampion1 @Paul_Hyett @RonGizmo @nickostler @TraCee_tr @Huckywucky @DavidWilde49 @Tippi_Hedren @RealJillyG @JamesCullenB @billoberstjr @palkodesigns @TotalZackWard @AFiendOnFilm @tomgreenlive @dixiefairy @GreggBishop @MFFHorror @Chillamson @d_m_elms @bruckmachina @RSBrzoska @judaspriest @LoudGreenBird @BillyZane @VinegarSyndrome @jadapsmith @JohnKassir @CCHPounder @Wm_Sadler @ChasFleischer @redbox

THE LAST KNOCK presents: Interview with Ron Shaw

The Last KnockRon Shaw is a writer, author, poet, podcaster, retiree, husband, father, and the man behind Ron Shaw Media. We discuss his latest horror novel, “Uya” and its Native American origins besides bigfoot, ducks in trees, land sharks, and the haunted Victorian trunk in his garage.

Take a look at Ron’s tremendous body of work  at his author’s page on Amazon, and don’t forget to follow him on Twitter.

This episode’s SCREAM OUTS from Twitter: 

@palkodesigns @JonnyNumb @Kent_Harper @livF2 @vanyavetto @1Brandonwyse

Get Ron Shaw’s Uya with a cover from Palko Designs.

THE LAST KNOCK presents: Relocation Horror

The Last Knock

“Moving sucks,” seems to be the cry from those who must pick up all the crap in their lives and relocate. There are services to halt, houses to sell, boxes to pack, and on and on. The turmoil of uprooting and replanting can seem like an endless nightmare.

For the horror genre, those who move often find themselves in precarious positions because that new home, that new locale, may not be what it seems. There’s usually something else in that new abode that awaits fresh souls for taking. So before you pack up and move to that new place with great expectations, listen to this episode and think twice…

And supernatural forces may not have been pleased about this topic. During the recording a number of bizarre interruptions took place, and we hope you forgive any technical hiccups from the Great Beyond.

This show is dedicated to the phenomenal man, writer, editor, and director, Don Riemer of Airworthy. He came up with the relocation idea because of Billy Crash’s cross country move. We can’t thank him enough. And if you need an amazing editor for your film, you can never go wrong with Don – and that’s a Billy Crash guarantee.

This episodes SCREAM OUTS from Twitter:

@joshstolberg @aicforever @LoudGreenBird @Talk2Cleo @isaacrthorne @KeyzKeyzworth @LatashFigueroa @SamesCarolyn @Israel_Finn @RealJillyG

Don’t forget to weigh in with your comments. Billy and Jonny love to respond because they don’t get out much – unless it’s keeping the zombie hordes at bay, or Michael Bay, or BAE. Whatever.

GHOSTBUSTERS (2016) and the Dread of Difference – Part III by Jonny Numb

ghostbusters-2016-post-credits-sceneIn the horror world, nobody knows better what it’s like to be ostracized for having a contrary vision than Rob Zombie. Revered as the dreadlocked ringleader of White Zombie for years before he ever helmed his first feature, he seemed a natural fit for horror cinema. His first two films – House of 1000 Corpses and The Devil’s Rejects – were steeped in 1970s genre influence (particularly the works of Tobe Hooper, Wes Craven, and Sam Peckinpah), and fans responded with enthusiasm. In an unlikely twist of fate, Dimension Films solicited a remake of Halloween to the auteur, who accepted.

Heavily hyped and coasting on the faith of fans looking forward to Zombie’s take on the well-regarded John Carpenter film, it met with mixed reviews but a voracious opening weekend. I was as curious as anyone else, and saw it on opening day in a packed theater.

So here’s the thing: I have watched Carpenter’s Halloween many times over the years, and every time, I try to understand what a majority of horror fans see as its 90 minutes unfold. I simply don’t get it, and I can’t even appreciate its historical value as the forerunner of the “slasher” craze, especially since 1974’s superior Black Christmas does indeed exist.

I followed the film’s promotional campaign and read articles in Fangoria, Rue Morgue, and online outlets like Dread Central with fevered interest, to the point where I probably spoiled the film for myself. My function as a ticket-buying consumer taking my seat in that theater on August 31, 2007, was the hope that Zombie wouldn’t deliver a slavish remake of Carpenter’s film. For what it’s worth, the trailers and stills I’d seen leaned strongly toward that possibility.

Despite some continuity errors that resulted from test screenings and post-production tinkering (an unfortunate norm at Dimension), I appreciated Zombie’s theatrical cut, which created a fleshed-out backstory for Michael Myers (Daeg Faerch as a child; Tyler Mane as an adult) prior to returning to the familiar beats of the 1978 film. The writer-director put his own gritty stamp on these familiar characters and events, bringing a fresh perspective to the well-trod material (diminished over the years by a string of increasingly unnecessary sequels). And the “unrated director’s cut” that popped up on DVD later enriched the proceedings with about 15 minutes of additional footage.

What’s interesting about Halloween is how the fans that championed Rob Zombie’s previous films, and banged the drums for his vision of this remake, recoiled when they finally saw it. Granted, the film cobbled its share of supporters, but the collective reaction – even outside of mainstream critics (the film has a 25% rating at Rotten Tomatoes) – was one of derision. Many cited how it fell short in comparison to Carpenter’s film, others took issue with the violence and some overwrought acting, and more felt the compression of the events of the 1978 version didn’t work next to the new backstory.

The film is not free of flaws, but the greatest irony is that Zombie went from being one of horror’s potential saviors to a pariah whose subsequent works were met with apprehension or pre-emptive condemnation. When questioned about the sequels Dimension had commissioned, Zombie stated he’d do no more than the 2007 version, something that was taken to task when he returned as the writer-director of Halloween II in 2009 (which carries an even less favorable rating on Rotten Tomatoes). The sequel ventured fearlessly into territory so abstract that it became a psychologically dense art film, full of metaphors and hallucinogenic nightmare imagery (yes, I’m one of its few adherents). One can see the liberation of Zombie casting off the chains of fan service he felt (at least somewhat) bound by with Halloween, giving a dual middle finger to his detractors.

And perhaps that’s the point: whether making or viewing remakes, re-imaginings, or re-whatevers, the best course of action is to follow instinct and push the incessantly-chattering voices of the World Wide Web aside. I would bet that the assholes downvoting the Ghostbusters trailer and sending hate-tweets to Leslie Jones are part of the same collective that posts Game of Thrones spoilers on social media for the sole purpose of pissing people off. After all, fairy tales (and some infamous horror movies) have established that trolls are little more than snarky mischief-makers who do their damnedest to throw wrenches in the gears of life, just because. That mischief has metamorphosed into something more sociologically rotten in North American culture, where changing the gender of the Ghostbusters results in a flood of sexist and racist bile spewed by anonymous cowards. For all the civil discourse and productive communication that can take place online, this pre-emptive assault on Ghostbusters shines a shameful light on a generation that’s known nothing but entitlement, and is therefore unable to process a decision that stands defiant in the face of how things should be (not to make an overblown comparison, but such mentalities allowed men to keep slaves and robbed women of the right to vote, but – silly me! – those notions will be absorbed in the sexist-racist vortex where the trolls reside).

Let’s be honest: the worst damage that could have been done to the Ghostbusters name would’ve been 1) putting a sad III behind the title (17 years after the last sequel); 2) bringing back the aging, past-their-prime (Sigourney Weaver excepted) original cast for a depressing nostalgia trip; or 3) having said past-their-prime cast shuffle through an obligatory prologue where they hand over the reins to Ben Stiller, Vince Vaughn, Owen Wilson, and – in a bit of comeback casting – Dane Cook. Megan Fox could play a sexy secretary, because why the fuck not? And the older generation can return to help the young(er) generation during the final showdown, because, you know, teamwork! Up top, bro!

No thanks.

As the United States seems to grow madder – in the Lewis Carrol sense – with each passing hour, Feig and company took a “risk” by doing something as simple as casting women in roles previously inhabited by men, and that Ghostbusters had a “soft” opening weekend speaks as a distressing testament to the type of “groupthink” George Orwell warned us proles about. I would relegate such nonsense to a few ornery cranks, but with the rise of a full-time sexist and racist bully to the Republican nomination for the highest office in the land, I have a nagging itch that this may become our New Normal, whether it be the entertainment we choose to peruse or in our daily lives.

Within this sea of insanity, it seems like the only logical choice is to support the assertive, ghost-chasing gals who avoid drama and actually get stuff done – I’d vote them all into office in a heartbeat. Not only are they cool as hell; they’re unencumbered by the trivialities by which we’ve come to define our own lives (aside from, of course, the low wonton count in Chinese takeout – seriously, what’s up with that?).

Crash Analysis Support Team:

Jonny Numb (aka Jonathan Weidler) co-hosts THE LAST KNOCK horror podcast with @crashpalace, and believes that demons are best expelled through writing (sorry, ladies). You can find his movie reviews here, and at loudgreenbird.com. He is also on social media @JonnyNumb (Twitter & Letterboxd) and @jnumb1 (Instagram).

(Photo by Screen Rant.)

GHOSTBUSTERS (2016) and the Dread of Difference – Part II by Jonny Numb


So here’s the thing: along with Green Room and Suicide Squad, Ghostbusters was one of my most anticipated movies of 2016. That’s right – an uberfan who had faith in the comedic track record of the actors and the quality of Feig’s previous efforts (Bridesmaids, Spy, and the short-lived TV series “Freaks and Geeks”) had me itching with palpable anticipation. As with any big-budget reboot of a long-dormant, much-loved franchise, the potential for greatness or awfulness is equally present, resting on the simple fact that you can’t please everyone.

Is the new Ghostbusters completely successful? No. At times, the actors are allowed to venture too far into improvisational territory (a flaw in all of Feig’s films), which stalls the pace. Some of the punchlines don’t land, and at times, the characters’ deliveries are so feverish that one feels the writers were going for broke in the sheer volume of attempted gags. In the last act, some of the action choreography is hard to follow (but that doesn’t make it any less thrilling). And the cameos from the original cast members often stick out like a sore, shoehorned thumb (I will say, though, that they saved the best for last). All that being said, one of its biggest successes is replicating the sense of camaraderie that informed the all-male teaming of the original: this has nothing to do with gender, and everything to do with smart characterization. I loved this scrappy new paranormal collective, from Kristen Wiig’s meek, puritanically-dressed college professor; Melissa McCarthy’s outspoken scientist; Leslie Jones’s street-smart, take-no-shit transit officer; and especially Kate McKinnon’s discombobulated, non-sequitur-uttering physicist (Feig gets some of the biggest laughs from cutaways to her incredible reaction shots). While Chris Hemsworth’s himbo secretary is a hit-or-miss one-note joke, it’s nice to see the Avengers star poking fun at Hollywood’s fickle attitudes toward the expectations that come with physical beauty.

Perhaps there’s some buried logic to the phenomenon of sight-unseen hatred toward Ghostbusters, something that could be attributed to J.J. Abrams’ ascent to the Spielberg throne as the newly-minted master of the any-season blockbuster. Spielberg has long been considered a strong storyteller and adept visual stylist, but has also earned heckles for his overt sentimentality and saccharine dramatic cues. With a latter-day Spielberg flick, regardless of the subject matter, it’s a fairly sure bet the type of film you’re going to get.

With Abrams, whose successful updating of the ultimate fanboy franchises – the one-two power punch of Star Trek and Star Wars – has rendered him one of the most powerful figures in Hollywood. But this has come not from a wild embrace of risk, but rather an aversion to challenge. Granted, his interpretations of these much-loved, generation-spanning series make for rousing, big-budget entertainment, but the level of risk doesn’t really extend beyond the wild-card actors he uses to fill out the cast (unknowns – or lesser-knowns – buffered by thespian lifers). And even then, the Star Treks lean on Leonard Nimoy cameos and characters who, despite the new faces inhabiting the roles, have already had decades of development. The same goes for The Force Awakens, where all the virtual ink spilled over Rey (Daisy Ridley) and her influence over the future of female-led blockbusters was marginalized by Abrams’ over-reliance on giving fans their due with the requisite appearances by Harrison Ford, Carrie Fisher, Mark Hammill, and the usual gang of costumes and CGI. Ridley is fine, but plays second banana to the wistful nostalgia most fans paid for, making one wonder at the reaction had none of the established characters and actors logged an appearance. Personal friends (more well-versed in the Star Wars mythos than I) tend to be of two schools of thought on the film: that it’s great in spite of – or because of – its heavy leaning on the plot of A New Hope.

Like Spielberg, Abrams is a fine storyteller who also happens to have his finger on the pulse of what the public wants. It’s interesting to gauge my reaction toward Super 8 – his foray into original storytelling – and how the stunning visuals attempted to wrestle the disjointed plot into submission. With nods toward E.T., The Goonies, and Close Encounters of the Third Kind, Abrams once again looked to well-established nostalgia to win over audiences and critics. I responded to the characters’ relationships while struggling with the arbitrary plot developments and ILM-styled overkill. The film has an 82% “fresh” rating over at Rotten Tomatoes, but its existence in 2016 seems relegated solely to jabs from critics comparing it to the NetFlix series, Stranger Things.

Which begs the question: Is there simply greater appeal for mainstream films that give audiences what they want, every time, with a minimum of surprise? While Marvel’s comic-book juggernauts continue to kick dirt in the faces of their seasonal competitors, the films themselves hit familiar beats and draw appeal largely from the impressive ensemble casts that tie the action together. Is there an emotional pulse? Sure. But when will this mass-marketed bubble burst?

To be concluded…

Part III available Wednesday, August 31!

Crash Analysis Support Team:

Jonny Numb (aka Jonathan Weidler) co-hosts THE LAST KNOCK horror podcast with @crashpalace, and believes that demons are best expelled through writing (sorry, ladies). You can find his movie reviews here, and at loudgreenbird.com. He is also on social media @JonnyNumb (Twitter & Letterboxd) and @jnumb1 (Instagram).

(Photo by Geek.com.)

GHOSTBUSTERS (2016) and the Dread of Difference* – Part I by Jonny Numb

ghostbusters-2016-cast-proton-packs-imagesRowan (Neil Casey), the central villain of the new Ghostbusters, is a nerd. He’s so lame, in fact, that he erroneously flashes the hand-sign for “love” – not devil-horns – as he walks into an Ozzy Osbourne concert. His modus operandi is to provoke enough spectral disturbances around New York City that he unleashes a concentration of angry ghosts into the world. He insists that their voices, like his own, have fallen on deaf ears – “kindred spirits,” if you will, to his own underappreciated, “the-world-must-pay-for-my-failings” mentality.

When Rowan optimizes his powers, he resorts to the lameness of having a bunch of cops and National Guardsmen strike Saturday Night Fever poses for his own amusement. Furthermore, he even co-opts the classic “Ghostbusters” logo and repurposes it in order to take on his final form, which bears a resemblance to a slightly less blobby Stay-Puft Marshmallow Man.

It’s hard to tell whether the character of Rowan was a bit of snarky commentary in director Paul Feig’s and co-writer Katie Dippold’s script, which hews closely to the story structure and character-development style of the1984 original. It was a given that a few kooks hiding behind anonymous social-media handles would take to the web to spin their opinions on why an all-female version of Ghostbusters could never work, but the reality was a more widespread outcry.

Like the Westboro Baptist Church, the trolls of the Internet found their target, lugging a ten-ton bucket of bile on their backs in an act of assumed pop-culture purism. When prolific YouTube personality James Rolfe (better known as the Angry Video Game Nerd) released a video stating why he wouldn’t be seeing the new film, he became a folk hero to those anonymous online voices while stirring the anger of trolls eager to burn a path to the film’s box-office failure.

I guess they figured Feig, Dippold, and everyone involved with the new Ghostbusters owed them something – that “something” being a reboot sans estrogen. The outrage even prompted distributor Sony to buckle, promising the outraged contingent a male-centric version, a development that has gone curiously silent. (And I gotta say: what a bunch of pussies for undermining their own film.)

I didn’t go out of my way to read any of the vitriol; I didn’t seek out negative hashtags on Twitter. I have enough real things to worry about in my life – things that affect me on a daily basis – without going out of my way to find more things to get pissed off about (I haven’t been a teenager or a twentysomething in a long time). Granted, I will admit that one of my favorite pick-me-ups is reading negative reviews of the Electric Factory (a popular Philadelphia concert venue) on Yelp – the difference being, I can vouch for the awfulness of the venue based on years of experience attending concerts there (fuck you, Ticketmaster!).

For me, the art of slagging something only takes on artistic value when you’ve actually exposed yourself to what you’re slagging. If you’re basing your opinion solely on conjecture, rumor, and a 2-minute trailer without having seen the film itself, then you deserve to be shamed when someone who’s done their due diligence calls you out on it.

Granted, I read articles about the backlash for months before the film was released. While it is customary to respond to remakes, prequels, and sequels of well-regarded films with apprehension, the pre-emptive scorn loaded upon Feig’s Ghostbusters was more hair-raising than witnessing an actual supernatural occurrence. We horror fans might be the most apprehensive of all, perhaps because our much-beloved genre receives so little respect in the first place: many among us bristled at the notion of The Hills Have Eyes being remade, only to discover that, hey, Alexandre Aja actually knew what he was doing!

Funny: I am as big a fan of the original Ghostbusters as anyone else. That film, and especially the long-running cartoon series, served as my gateway drug into the worlds of horror and the fantastic. Even though the film is not formally classified as being a part of the genre, you can find it reviewed in VideoHound’s Horror Show, John Stanley’s Creature Features, and my first-ever book on the genre (which I still own) – Movie Monsters (“Ghostbusters is scary and funny,” author Gary Poole proclaims). I can nerd out about the Murray-Aykroyd-Ramis-Hudson films with the most devoted of nerds, and that is something I take great pride in.

To be continued…

* Author’s Note: The title is a deliberate nod to Barry Keith Grant’s The Dread of Difference: Gender and the Horror Film, which I would recommend to anybody interested in gender studies as it relates to the horror genre.

Part II available Wednesday, August 24!

Crash Analysis Support Team:

Jonny Numb (aka Jonathan Weidler) co-hosts THE LAST KNOCK horror podcast with @crashpalace, and believes that demons are best expelled through writing (sorry, ladies). You can find his movie reviews here, and at loudgreenbird.com. He is also on social media @JonnyNumb (Twitter & Letterboxd) and @jnumb1 (Instagram).

(Photo by IndieWire.)

THE LAST KNOCK presents: Behind the Horror – Cemeteries

The Last Knock

Cemeteries have permeated the horror genre long before film. From Gothic literature to the present, those final resting places (well, maybe) find their way in many a horror feature. We look at the best cemetery based films, from CEMETERY MAN and MORTUARY, to THE GRAVEDANCERS and THE OMEN – plus many other horror favorites, including NIGHT OF THE LIVING DEAD, and the PHANTASM series! Don’t miss our tip-toe through the tombstones, as we discuss why they’re so prevalent in western culture, and why they deliver the horror…

This episode’s SCREAM OUTS from Twitter: 

@TheresaSnyder19 @palkodesigns @TimBurtonArt @GenovevaRossi1 @dkarner  @LianeMoonraven @jerryWalach @AnnThraxx @theadman40 @RealJillyG @martin19674  @SiaraTyr @MelanieMcCurdie @JJBryan @BleedingCritic @RiversofGrue @PromoteHorror @Loudgreenbird @FearNthCast @RonGizmo @compassiom @stevecourtney79 @THENAMNATION @Amber_F_Shaw @TimothiousSmith @sharkkteethsolo @isaacrthorne @firstscreamto @IvonnaCadaver @Slaful_Stories @machinemeannow @madmanmendez

Top Ten Ghost Tales


the-orphanageI recently watched an absolutely lame, formulaic, and vomit generating ghost tale called Dream House, starring Daniel Craig, Rachel Weisz, Naomi Watts, and Elias Koteas. Sure, the cast is fantastic and the acting is decent for the most part as one would expect, but in short order the predictable plot shined through and the tale was awash in PG-13 ho-hum cliché. By the time the movie comes to its conclusion, the one we could easily see thanks to a big act two reveal, seasoned horror audience members will either be sleeping, or really ticked that ninety-minutes of their lives was wasted on such a mundane venture.

Excellent ghost tales, however, have far much more to offer. As always, we need a great story inhabited by vibrant characters, but we also require that element of suspense to keep us riveted. After all, these are horror movies, not vapid melodramas with happy endings (see Dream House if you prefer a watered down narrative). An oppressive tone certainly adds to the flavor of the film, and if we have a solid theme or two, even better.

As always, my top ten is based upon the life experiences I brought to these films, as well as paying attention to story, transitions, themes, tone, and more. Enjoy:


The Haunting (UK/USA, 1963)

Nell (Julie Harris) enters Hill House with three other souls to find definitive proof that hauntings occur. The film complements Shirley Jackson’s wonderful novel, “The Haunting of Hill House”, and delivers psychological horror in profound ways.

The Legend of Hell House (UK, 1973)

A group of investigators are hired by a rich man to prove there’s life after death in the notorious Belasco house. Roddy McDowall and Pamela Franklin lead the way in this vibrant, intense tale of the macabre.

The Changeling (Canada, 1980)

Still one of horror cinema’s most frightening ghost tales, The Changeling follows George C. Scott as he settles into a haunted house where a ghost has an agenda. Follow the bouncing ball, hold hands in a séance, and watch your back.

The Shining (1980)

Many who hate Kubrick’s masterful horror miss the point that the Torrance family is screwed up and bonkers from the beginning. And this intense film follows them on their deeper journey into madness, mayhem, and murder.

The Sixth Sense (1999)

A mesmerizing and well-calculated psychological horror, The Sixth Sense follows Bruce Willis as he tries to save Cole (Haley Joel Osment) from seeing dead people. A profound mystery with stellar acting and pacing, you may cry at the end as I did.

The Ring (Japan/USA, 2002)

Unlike the original that put me to sleep, Ehren Kruger penned a phenomenal mystery that’s gripping. Beyond excellent performances (Naomi Watts, David Dorfman, Brian Cox, and Jane Alexander), take note of the color and incredible special makeup effects from the legendary Rick Baker.

A Tale of Two Sisters (South Korea, 2003)

Death lingers long after lives are claimed in the hapless Bae family. One of the most beautiful looking horror films thanks to cinematographer Mo-gae Lee, the film’s foundation is intense psychological terror and unease.

Shutter (Thailand, 2004)

After an accident, a photographer (Ananda Everingham) discovers shadows and ghostly images in his pictures. Unsettling and relentless in story and style, this fantastic original outshines the dull and pathetic American remake a thousand fold.

The Orphanage (Spain, 2007)

One of cinema’s greatest and most profound dramatic ghost tales, Belen Rueda leads the way as a mother who brings her family back to the orphanage where she once was raised, with disastrous and gut-wrenching results. Yes, this one made me cry as well.

Paranormal Activity (2007)

This much maligned, low budget found footage phenom relies on sound and pacing to deliver suspense and terror, as a young couple tries to determine if they are being haunted in their home. Curiosity killed the… well, you know.


Ghost stories have probably existed since early humans contemplated their own demise and pondered about what comes next. In all cultures, ghost stories abound, but in Asia the concern that the dead are treated with respect has led to a multitude of haunted tales with no end in site. Ghosts are everywhere in horror, but finding those new narratives with unique foundations is what keeps this well-established subgenre a potent mainstay.

Feel free to leave comments about your favorite ghost tales. And remember to check out THE LAST KNOCK horror podcast on Sunday nights at 9 PM on this site and on iTunes.

Other cool ghost films of note: The Innocents (USA/UK, 1961), The Fog (1980), Poltergeist (1982), The Devil’s Backbone (Spain/Mexico/Argentina, 2001), The Innkeepers (2011), and Paranormal Activity 3 (2011).

Most over-rated ghost films: Ringu (Japan, 1998), Ju-on (Japan, 2002), and The Conjuring (2013).

(Photo of The Orphanage from Heave Media.)

THE LAST KNOCK presents: Interview with Author Ron Shaw

The Last KnockTonight, we not only have the man behind the entertaining “The Ron Shaw Show” podcast, but he’s also the author of ghostly tales. With a degree in English Literature, he served Atlanta as a police officer. Enjoy the ever engaging and tangential Ron Shaw – and try to keep up!

This episode’s SCREAM OUTS: @Annie_Acorn @JoeEliseon @ChristinaPBooks @sccart1 @Susanjeanricci @KEdwinFritz @palkodesigns @1Brandonwyse