That is, according to a guest blogger, Katina Solomon. She is a writer for hire writing for a college information website called Zen College Life, and she thought her article on weird horror movies would fit well here. I agree, and I think she made some great choices. Watch these weirdies and your jaw may be dropped permanently!

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The 9 Weirdest Horror Movies Ever Made

All horror movies are weird, when you think about it. How often do you really find yourself fighting a psycho in a hockey mask when you go camping? Or worrying about whether your local hospital will suddenly start spitting out zombies? Not that often. Even so, some horror movies look like documentaries compared with some of the genre's weirder entries. You want a possessed bed? Evil snow? Sentient human waste? Then you're in luck. Here are 10 of the weirdest horror movies ever made, for anyone feeling brave or bored enough to give them a try. Don't say we didn't warn you, though.

Death Bed: The Bed That Eats

1. Immortalized in a Patton Oswalt routine, Death Bed: The Bed That Eats offers everything its title promises. There's a bed, and it eats people who sleep on it. Period. Released in 1977 by writer/director/producer George Barry — who is apparently a one-man operation for gems like this one — the film tells the story of a bed possessed by a demon that kills and eats anyone who tries to sleep or make love on it. The production values are, to put it kindly, not very good, but the final product is just crazy enough to be watchable. Just sit on a couch when you do.

2. Tourist Trap

   The 1970s and 1980s were kind of a golden era for weird American horror. The genre was still considered an illegitimate offshoot of "real" filmmaking, and it took game-changers like The Texas Chain Saw Massacre and Halloween to start convincing people that horror was more than just goofy shocks. That was a tough fight, too, because movies like Tourist Trap were nothing but goofy shocks for 90 minutes at a time. And make no mistake: This is a weird movie. It's all about a group of friends who stumble upon an old man who owns a run-down museum full of mannequins and wax figures that he — wait for it — controls telepathically. He picks the kids off and turns them into plastic monsters to fill up his collection. Creepy, darkly humorous, and definitely worth your time.

3. Teeth

   Mitchell Lichtenstein's slightly campy, definitely uncomfortable horror movie deals with a teenage girl cursed with vagina dentata. It is every bit as awkward and weird as it sounds — it's not uncommon for the horror to happen just out of frame, only for a severed organ to fall with a thump to the ground — and its unevenness keeps it from working as a thriller or a comedy. It's not straight enough to be scary, and it's not nearly funny or smart enough to play as a satire. It's just off-putting.

4. Cannibal! The Musical

   Before they got going with South Park, Trey Parker and Matt Stone did what all college students do: They made a musical about cannibalism in the days of gold prospecting. Originally titled Alferd Packer: The Musical and retitled Cannibal! The Musical when it was picked up for distribution, the horror-comedy tells the tale of Alferd Packer, a prospector involved in a cannibalism incident in the winter of 1873 on a journey from Utah to Colorado. The movie is hilarious and bizarre in equal measure, veering from upbeat songs to moments of absurd gore with a glee that Parker and Stone would later bring to their landmark animated series. Watch it for the experience, but don't be surprised if you start humming the songs. (Photo above courtesy of Troma.)

5. The Baby

   Now this is one for the books. Released in 1973, the film revolves around a social worker who starts working for a family whose patriarch is a mentally impaired man in his 20s who still crawls around and acts like a baby. The man is also regularly abused and sexually assaulted by his mother and sisters (and a babysitter). It's a psychological thriller with a bizarre execution, and it's the kind of insane flick that fell through the cracks of the world and drifted through grindhouses and cable stations in the years after its debut. The ending is the perfect capper to a twisted story. It's a horror movie, yes, but more than anything it's just crazy.

6. Monsturd

   Monsturd is a haunting examination of man's own inhumanity in a postmodern age. Kidding! It's about a killer made of poop. It's a real movie, too. You can buy it and everything. Released in 2003 to an unsuspecting world, Monsturd is about a serial killer who escapes his pursuers by hiding in a sewer, only to fall into a pool of chemicals that turns him into a monster that's half-man, half-feces. Understandably unhappy about his new form, the Monsturd throws himself into a rage-fueled killing spree. Does Monsturd come up through toilets to get people? Watch and find out! Or don't. Actually, just don't. It's boring, badly acted, and impossible to watch without being dangerously drunk. Just enjoy the premise and move on.

7. Night of the Lepus

   If you know your Latin, you know that "lepus" means "hare." That's right: This is a horror movie about giant killer rabbits. Based on the comedy-horror novel The Year of the Angry Rabbit, the film loses any hint of satire or social commentary and goes right for awful scares and laughable effects. The mutant rabbits that do the killing are played by real rabbits set against miniature sets or by humans in rabbit costumes, which makes the film about as scary as an episode of Yo Gabba Gabba! and twice as surreal. All silly, no scary, and weird as can be.

8. House

   This Japanese horror flick from 1977 has a considerable cult following and even earned a recent remastering as part of the Criterion Collection. But don't be fooled: It's deeply, bravely weird. It will break your brain. The plot very loosely deals with a young girl who travels with a few of her classmates to her aunt's home, only to find herself doing supernatural battle with a sentient house that wants to kill them. That description actually sounds somewhat normal (ish) until you see the actual movie. It's a masterpiece of WTFery that can never be topped.

9. Mystics in Bali

   Cheap, Indonesian, and not at all worried about making sense,Mystics of Bali is in the running for weirdest of the weird. The story follows a woman who heads to Bali to investigate the locals and their history of witchcraft; yada yada yada, she befriends a demon queen and transforms into a variety of animals before eventually terrorizing the village as a severed head on a stump of organs. You know, as one does when one goes to Bali. The film's straightforward presentation of twisted images and gore make it a surrealist's dream come true, and it relies more on sheer bizarre ideas than typical shocks and scares. Not for the faint, but a must for the curious.

Casey: 30 Years Later

 In the middle of photo above is actress Beverly Bonner playing the prostitute "Casey" in Frank Henenlotter's cult fave, Basket Case; Ms. Bonner's appeared in nearly all of Henenlotter's films. Recently, she was in Pittsburgh at the Hollywood Theater screening of Basket Case to premiere a new one-act play she's written called Casey: 30 Years Later. The event was sponsored by the imaginative and fun staff of Pittsburgh's Horror Realm convention.

 The premise is that Casey, even brassier and sassier than in her youth, now runs a call girl service for elderly hookers, and is visited by a young journalist who wants to interview her about the people--including the monstrous Belial--seen in the cult movie. (Belial, as it turns out, didn't die.) The show blurred the line between the world of the fictional Basket Case and the world of fans of the film, winkingly raising the idea that the movie was a documentary!

Belial!

 Like the Henenlotter universe it sprang from, Casey: 30 Years Later was crass and tasteless.

And like Frank's films, it was also very funny! I laughed so hard at one point the row in front of me jumped--but they were laughing, too. I thought this was a smart event--more than a personal appearance of an actor at a film showing, this extended the movie's story. Henenlotter gave Ms. Bonner his blessing for the show because he enjoys her comedic talent. It was amply on display here, as she added bits of spur-of-the-moment improv that made the sketch funnier, such as when her costume threatened to malfunction during a cross! I also noticed that Ms. Bonner had written in a few of her better jokes from her stand-up act. (As a guy who supports recycling, I like it when material is saved from a data dump! I do it here all the time!)

Some lines were funny because they were sudden and surprising, and played almost like non-sequiturs. A sample, referring to Belial: "He's ugly as hell, but he knows how to handle a breast."

Beverly Bonner and co-star Michael Varrati on the "set" for Casey: 30 Years Later.

 Sadly, equipment  failure ended the movie halfway through the screening, but because Ms. Bonner's act followed the film, "Casey" saved the day!

Prior to the screening was an appearance by talented comic artist and writer, Joshua Emerick. Basket Case has been turned into a comic strip published monthly in the venerable horror mag, Fangoria, and Emerick is the man behind the art and text new feature. He spoke about his love of the film, how Henenlotter was at first afraid to consider the idea (Frank's now enthusiastically involved, suggesting ideas) and how his three year old daughter loves watching the original Basket Case with him. (!)

 With Emerick was the comic's colorist, Eric Kochanski.

Beverly Bonner, Joshua Emerick, and Eric Kochanski

 The host of the evening was Horror Realm's Barnabus Bailey. Below is Barnabus with actor and film blogger Michael Varrati. In his online film appreciation column, Varrati nails Henenlotter as being like a "12 year-old boy [who] finds the most disgusting things endlessly amusing." (Well, I never grew up either.)

   Also in attendance was genre film reviewer and historian Tim Gross, who has long championed Basket Case as under-appreciated. I think cult horror fans agree!

Barnabus Bailey and Tim Gross.

The folks of Horror Realm asked me to interview Bev Bonner and Michael Varrati after the play, and it was a delight and a privilege.Ms. Bonner and Michael Varrati each talked about working with one of John Waters' recurring performers--Divine and Mink Stole, respectively--and reported that neither was anything like the loud, impulsive, vulgar screen characters they played. Ms. Bonner and Michael Varrati similarly agreed that for themselves as performers, outre material was more involving than any classic dramatic fare they've done.

Ms. Bonner, who studied at the National Academy of Dramatic Arts, said it had not prepared her for the phoniness and blandness of the Hollywood entertainment industry, and she far preferred to stay in New York.

Above, left to right: Max the DSH, Barnabus Bailey, Eric Kochanski, Beverly Bonner, Sandy Stuhlfire of Horror Realm, and Michael Varrati.

A lighted birthday cake was brought out at the end for Ms. Bonner to make a wish on. Ms. Bonner says she wants to present Casey: 30 Years Later at horror cons around the country, and I hope she gets that wish!

The value of SHOCK VALUE

Below is my review of a book I was sent, titled Shock Value. It's a look at the men who shaped the modern horror film. Of all the free books I've been sent for review, this is one of the most impressive. I highly recommend it to all horror fans and lovers of film history.

It's too hot to go out now and do other things--add this book to your summer reading today, and spend some quality time with the masters of horror.

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In a valuable and engrossing new book, Shock Value: How a Few Eccentric Outsiders Gave Us Nightmares, Conquered Hollywood, and Invented Modern Horror, Jason Zinoman gives us a personality-driven, anecdote-rich look at the rise and fall of "New Horror" in American film.
Chronicling the revolutionary changes in horror movies that began in the late 1960s, Zinoman
traces the transition of the horror genre from "queasy exploitation fare to the beating heart of popular culture," as Zinoman puts it. He contends that Peter Bogdanovich, Roman Polanski, Tobe Hooper, and George Romero, among others, invented modern horror. And in so doing, they took horror from being a popular, profitable, but disreputable and marginal genre, to one that is as much respected and scrutinized as any element in pop culture.

The value of this new book is that will foster a greater appreciation for the influence of these filmmakers. The group includes includes men as diverse in style as John Carpenter, Steven Spielberg, Wes Craven, and Brian DePalma. Another plus: it includes a much-needed examination of the under-appreciated imagination and talent of Dan O'Bannon, the brilliant-but-bitter screenwriter who dreamed up 1979's nightmarish sci-fi film, Alien.

The New Horror usually rejected Gothic trappings in favor of mundane settings, lessened or dispensed with supernatural elements, and replaced traditional villains with unemotional murderers committing motiveless killings. Explanations were de-emphasized or dispensed with. Downbeat endings became common. Out with Vincent Price and Christopher Lee; in with Leatherface, interchangeable flesh-eating zombies, and films that replaced traditional horror trappings with a dread of encountering overwhelming and relentless, horror. It aimed for an atmosphere so intense as to be unbearable. This is the sharp observation by Zinoman that underpins his analysis.

One of my few criticisms of the book is that Zinoman overreaches a bit. This is especially noticeable when he says "Horror has become so pervasive that we don't notice how thoroughly it has entered the public consciousness...[It's] the show that goes on in our minds when we go to bed at night. The modern horror movie has not only established a vocabulary for us to articulate our fears. It has taught us what to be scared of."

Author Jason Zinoman.

Really? The dark conventions of the "New Horror" movie of the late Sixties and the Seventies arose with similar conventions in other film genres of the same period, (Easy Rider and Mean Streets come to mind) as a more politically- and socially cynical age emerged, and the mass production sameness of the studio system collapsed. Certainly what audiences became afraid of changed, but that could be said to be following current events as much as new film conventions. Zinoman seems to acknowledge this when he writes about Bonnie and Clyde, released shortly before the groundbreaking Rosemary's Baby. He says that gangster film "reinvented the gangster drama as a counterculture fable with two killers as glamorous and sexy antiheroes." This had been done before--1949's Gun Crazy is one example--but Bonnie and Clyde was a big success as it reflected the current zeitgeist as much it influenced it.

All that said, this book is certainly a "must buy" for modern horror film fans and film scholars alike, being the first serious examination of the birth of "modern horror" in American films. (Right now I'd say we're in a post-modern age.) The late Sixties and the decade of Seventies saw a new vitality in all kinds of films around the world (including horror films), and this book presents in rich detail the story of "New Horror" and the men who created it. (The careers and rivalries of O'Bannon and Carpenter, from their time as fellow students at the USC film school, through the production of their feature collaboration Dark Star, and into very diverging paths afterwards, are especially well-documented.) This sort of journalistic "behind the scenes" approach makes for fascinating reading.

Until its gradual demise in the 1980s, as special effects and an ironic film buff-consciousness became dominant elements in shaping genre movies, "New Horror" was a fruitful time in American film, and Zinoman has described and explained the movement beautifully .

Worst description for a filming schedule EVER

Steven Spielberg is now about to begin production on a long-planned film about Abraham Lincoln that is based on Doris Kearns Goodwin's book, Team of Rivals. The director of E.T. also just signed to work on another film, titled Robopocalypse.

Here's how the website Deadline describes the situation: "Spielberg just committed to Robopocalypse, but it looks like Lincoln will be shot first."

Ow!

Final Girl vs. Spider Baby

Spider Baby stars Carol Ohmart and Sid Haig in a TV ad for a perfumed Danish hand lotion, Sniphmineffinkers.

That funny and finely-writ blog Final Girl has posted a review of the low-budget blackly-comic cinematic gem Spider Baby. Here's the opening paragraph:

"You know what people love? People love Jack Hill's Spider Baby. It's got a certain something something that appeals to the monster kid in all of us (yes, I'm speaking for all of us). It's not just a movie one admires, hates, or feels decidedly "meh" about; no, Spider Baby (1968) is a movie you want to hug. What can I say? I do so love a family of homicidal cuckoo nutsos."

FG 's Stacie Ponder covers the movie as part of her "Final Film Club," where she gets a variety of blogs to post about the same flick at the same time. It's just part off her blogging charisma. (I had wanted to join in the Spider Baby review fun too, but I just didn't have the time, alas and alack.) Check out Stacie's take on this cult classic here-- and then check out her links to all the other Spider Baby blog awesomeness.

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The name "Final Girl" makes me think of Funny Girl, which leads me to imagine Barbara Streisand battling Michael Myers in Halloween.

Cool.

In Chicago this Friday the 13th?

If YOU will be in the Chicago area this Friday, Nov. 13th, check out the sale at HORRORBLES! It's the coolest store in Berwyn, Illinois! (A better compliment is to mention that it's the official sore--I mean STORE!--of Fangoria Entertainment!) It's Illinois' best-known horror and sci-fi memorabilia shop!

This Friday HORRORBLES will be open thirteen hours (11:00 AM to the bewitching hour of midnight!) and everything will be 13% off!

And at 11:00 PM, HORRORBLES will be showing Friday The 13th (1980) and Friday The 13th VII (1988) in their Galerie Theatre! $5 gets you popcorn and soda, and there's only 16 seats in the theatre, so call the store or stop in to reserve your spot!

HORRORBLES sells autographs, prints, t-shirts, toys, masks, movies, models and magazines! And more! (Oh, the only models they sell are of the "plastic, glue together" type--none of the "Elle Macpherson" type, sadly.) They are located at:

6729 W. Roosevelt Rd.
Berwyn, IL.
60402
Phone # (708)-484-7370

HOUSE OF THE WOLF MAN: A review

Above: Promo artwork for House of the Wolf Man by the talented Chris Kuchta. Source found here.


Old horror movies, and movies made with an obvious love of creature feature classics, (like The Monster Squad) are my bag, man.

My opinion of the new "old" film House of the Wolf Man ? Man, it's a mixed bag!

The plot of this black and white homage to the horror hits of yesteryear, according to its IMDB page, is "Five strangers are invited to a castle under the pretense that one may inherit it. Little do they know what dangers await at the House of the Wolfman." There's also a curse, mad science, and some dark family secrets waiting to be exposed, too.

Bad news (as I see it) first: the writing, direction, and acting are very uneven. The writing is generally pastiche Universal Gothic, which is a plus. I like my horror old-fashioned, very much so.

But the script reminds me less of The Cat and The Canary, The Old Dark House or any of the Frankenstein and Wolf Man movies, which is what I think it shoots for, than lesser efforts like Horror Island and the 1941 The Black Cat (with, wisely, less "comedy relief.") Throughout, the acting ranges from bad to well done; a better consistency in the performances would have helped. Too, not all of the performers seemed to be experienced professionals. However, the actors Dustin Fitzsimons (playing the young male lead "Reed Chapel"), Jeremie Loncka (the bespectacled brainiac "Conrad Sullivan") and Cheryl Rodes as the sexy "Elmira Cray" showed the most skill as performers, I thought, and I enjoyed watching them work their craft.

I found myself occasionally wishing that the camera moved more. My impression, after only one viewing, was that wasn't as much camera movement as in films like Bride of Frankenstein or other classic horror films. Not a huge distraction, but it registered. But there's not a LOT of camera movement in good television series either, and as most people are going to see this on a smaller screen, it's probably the complaint is a minor one.

The movie includes sly visual references to the original The Wolf Man, and presents a story that would fit into the classic Universal "universe." Some of the script elements indeed honor the best traditions of old Universals. But sometimes, sadly, the worst as well.

For example, there was some not-very-funny comedy relief, and a couple of examples of outright send-up: an African native character actually says "Cowabunga, oomgowa!" at one point, and another African native character sees a monster and we are shown a closeup of him doing a "Buckwheat"-style, big-eyed, jaw-dropping take. And in a climactic fight, we see the stone walls of the castle shake when hit three times.

I think these things were included to make the film more "authentic," in a sense--but I feel it was a mistake not to scrap them. Fans can forgive such bad choices and bloopers in old movies, but who wants them included in a NEW film trying to be like the horror classics of yesteryear? I don't, and my wife felt the same way. They pushed the film briefly into parody, not pastiche, and as the film is apparently intended as a tribute to the classics, they're out of place. (Again, IMHO--your mileage may vary.)

The scenes of actor and Lugosi impersonator Michael Thomas as Dracula don't make up much more than a cameo, and his last line is the end of the film. Unfortunately, the line isn't very dramatic, and I thought all the momentum of the film evaporated with his last scene, making for an unsatisfying coda.

Now the GOOD news! The lighting, the sets, the set decoration and props, costumes, makeup, and fight choreography are ALL excellent. It looks much better than I expected. (I'm guessing it was shot on hi-def video; it was presented in digital projection.) When there are so very few new movies to see in "glorious black and white", it is wonderful to see one done with such care.

The musical score by Nate Scott is a fantastic asset to the film ; an evocative piece of composition that aids in creating mood and tension.

WARNING: Two small spoilers ahead!

There are two scenes in the film that will stand up to the test of time, and remain in the memories of viewers. The first one involves a mysterious, badly disfigured character revealed in a hidden room. It was one of the creepiest scenes I've ever seen, and I thought one that Browning would have been proud of. The other is the film's climactic fight between the Wolf Man and Frankenstein's Monster--it is what the fight in Frankenstein Meets the Wolf Man SHOULD have been! Great choreography, editing, and camera work come together to make it marvelously memorable. I loved it.

So House of the Wolf Man, if I had to rank it with any of the Universal monster movies, would be somewhere between House of Dracula and Frankenstein Meets the Wolf Man in quality. Which is fitting, I suppose, because it mostly goes in for a 1940s Universal flavor. Too bad that was a lesser decade for GREAT horror films! Still, if only for the look of the film, the music, the makeup, and the two scenes I pointed out for special praise, you should go see it.

Update: I posted pics from the screening here.
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Another, more positive review, can be found HERE.

Chris Kuchta's website is here.

Countdown Day 14: More on Drive-In Super Monster-Rama 2009

Above, an ironically-named sign we passed near the theater.Click on any pic to enlarge it.


Here we are, deep in the Halloween season, and almost a month past the event--but here's the second half of my post on DRIVE-IN SUPER MONSTERAMA 2009. (the first half is here.) Attending the event certainly felt like kickoff to Halloween season to me and Jane.

The whole event had a Halloween atmosphere. Especially one of the cartoons shown:

I'd never seen a Honey Halfwitch cartoon before--but the Monster-Rama duo of Harry Guerro and George Reis had dug one up. (See a pic of Harry and George at this post.) Okay, I can cross that off my list!

Also Halloweenie was the theater snack bar:

Attendance was high, and people came from as far as New Hampshire to see the show. In fact, the cinephiles and horror freaks were so dead-icated to seeing old horror films and previews that some watched them on small screens during the intermissions:

One of those long-distance travelers was Mark Nelson of the fantastic SATURDAY FRIGHT SPECIAL tv show and curator for the annual SPOOKTACULAR event at the Colonial Theater in New Hampshire--here he is above, watching on a laptop beautifully restored rare previews of old movies from the Golden Age.

This year's Monster-Rama had a huge plus not featured in the previous year's: images of Barbara Steele! Shown in the otherwise soporific Terror Creatures From Beyond the Grave AND The Crimson Cult, Steele's beauty would make any film event special. Here, take a look. From TCFBTG:
And from TCC:
I've never seen Steele lovelier than in this movie, where she's horny all the time.

Oh, and speaking of funny headdresses, a preview for Hammer's She had the classic loveliness of Ursula Undress to gaze on, and like Steele, she could wear ANY hat and still look great:

Not so Christopher Lee, also in the same film:

He looks like a beatnik version of Evel Knievel in that helmet and Van Dyke.

Speaking of Lee, here he is playing Charlie Manson from the little-seen softcore 1950s musical horror film, Squeaky Fromme Gets the Grease:

Again, there were some great titles included in the trailers and shorts:

with great images to set a creepy mood--

And classic films starring the GREATS in horror film (and horror radio) history:

That's the face of the man who spooked America with his War of the Worlds Halloween episode of the radio series Mercury Theatre On the Air. This is not:

This trailer was the first time I'd ever seen any footage from Necromancy, a horror film that starred Orson Welles. It was directed by Bert I. Gordon, director of films like King Dinosaur, Beginning of the End, and Village of the Giants. (Welles taking direction from Gordon is a mind-boggling but amusing thought.) After Necromancy was made, a rumor was reported* that Gordon was next going to direct Welles in a remake of Island of Lost Souls, with Welles as the Island. Sadly, it was not to be.

This trailer did not refer to Welles.

Some great faces on view in the lineup of films and trailers, like Vincent Price (of course)--

--as seen in Scream and Scream Again, a sometimes unintentionally funny film. One comedy highlight was seeing a policeman throwing rocks at a murderous android, who is escaping the cop's custody by climbing a very steep hill, almost as high and vertical as a mountain cliff face. The main cop picks up a rock that appeared to weigh ten pounds or more, and with one hand, throws it hundreds of feet nearly straight up, hitting the hand of the previously invulnerable android. Naturally, this causes the android to lose his grip and fall.

Other faces seen were lesser known icons of horror, like Reggie Nalder of Salem's Lot fame:


But there was more than just great faces on view--

Yowza!

This masked creature is the kind I want at my door on Halloween! Woo woo!

What wonderful gals on view. Like Ingrid Pitt in the screening of The Vampire Lovers:

There she is, nibbling on the ear of this guy--

who looked kinda like Klaus Maria (MARIA?) Brandauer, but wasn't. Anyway, I think she was trying to give him pierced ears:

I preferred seeing Ingrid putting the bite on other members of the cast, as in this shot:

Pitt played a character who, in the course of the story, is known by the names "Marcilla," "Mircalla," and "Carmilla." I was hoping the movie lasted long enough that her character finally had no choice but to be called "Icramall," but it ended before then, sadly.

The best gal at the event was this lady--Dolores Mallik. Like her daughter Emma Ross (the manager) and son-in-law Todd Ament (the owner and perfectly professional projectionist), she was very friendly, and regaled me with stories about seeing Lon Chaney, Jr. as the Wolf Man in the Universal movies when they were released to theaters, and how handsome she and her girlfriends thought Chaney was. (She didn't comment on how handsome she thought Max Cheney was--is!--but that's okay.) A soft-spoken, polite woman, she had hidden reserves of strength for dealing with drunken severed heads and other fractious customers:

Below, she displays her secret super-power: electrifying objects with the touch of her hand! (Her idol Lon Chaney did the same thing in the film Man Made Monster, no doubt inspiring her to become the cool superheroine she is.)

I would make the pun that she was re-volt-ing, but she was just too nice and too much fun to say that about. She and her family make going to the Riverside a very pleasant experience.

Can't wait 'til next year!





*the rumor was reported first in this very post! TDSH makes movie history!