Last December, the producers of RESIDENT EVIL: AFTERLIFE granted FANGORIA exclusive access to the Toronto set of the fourth chapter in their action/horror franchise, derived from the best-selling Capcom video games. Fangoria.com has been presenting a series of one-on-one interviews with the movie’s cast and crew since July, right up to AFTERLIFE’s release by Screen Gems starting with midnight shows tonight.

HOUSE OF FRANKENSTEIN? HOUSE OF DRACULA? MAD MONSTER PARTY? THE MONSTER SQAUD? Yeah, there are a number of monster mash-up movies out there to choose from. But what other horror picture features Dracula, Frankenstein’s Monster, The Wolf Man and The Mummy…in miniature form? “Undersized. Undead. And angry.” That’s the tagline for THE CREEPS, Full Moon’s direct-to-video 1997 release that brought together four of horror’s most famous monsters, albeit in scaled-down sizes. The once-colossal Frankenstein’s Monster reborn as a three-foot fiend? Hey, it’s the jumbo shrimp of horror cinema! But what else would you expect from Full Moon and the Band family…

Out in stores now, the first issue of Wildstorm Comics’ IDES OF BLOOD packs a wallop of political scandals, vampire action and mystery (see review here). The series’ writer Stuart C. Paul spoke with Fango about creating a universe where Julius Caesar and vampires co-exist.

We all have one of those movies—a flick you saw in the past that you can’t remember the name of, or who is in it, or even what it’s about…you can only remember one scene. So you incessantly describe the scene to every horror fan you meet, in hopes that somebody will remember the film’s title so this lone moment stops slowly drilling a deep and bloody hole into your brain.

THE EXORCIST spawned dozens of films dealing with devils, demons or Satanic cults in the 1970s, and one of the best but most underappreciated of those films was 1977’s THE SENTINEL. Directed by DEATH WISH’s Michael Winner, it opens with a young model, Alison Parker (Cristina Raines), moving into an old New York brownstone apartment whose only other tenant is a blind priest (John Carradine) who spends his days staring out his window.

Scott Jackson is a talented artist who is truly inspired by the world of horror. His website, MonstermanGraphic.com, showcases the work he has done for several bands and musicians, such as Kiss and Megadeth, along with the custom artwork and logo designs he’s done for many publications. Jackson also runs The Monster Store, where he sells T-shirts sporting his designs as well as incredible posters depicting many horror icons. In this interview, he discusses when art changed from a hobby to a career, the origins of both his websites and other ventures and what his future holds.

I’m a sucker for seeing vintage frights on the big screen, and if you’re a New Yorker, it has been a cinematic feast in the Big Apple these last few weeks. The Film Forum recently concluded its 3-D fest and then directly segued into a gimmick-laden William Castle salute (ending this Monday), while Lincoln Center has a bunch of cool screenings coming, starting with Ridley Scott’s ALIEN on Monday (see item here). Meanwhile, over at the Brooklyn Academy of Music’s repertory house, the ongoing Bela Lugosi’s Dead, Vampires Live Forever festival (see item here) will be running till September 30. That’s where I caught 1970’s COUNT YORGA, VAMPIRE on the big screen for the first time last week, and dug every grindhouse minute of it.