not ready to abandon the magazine I’ve grown to love and respect for its fearless approach to horror en- tertainment over a couple of pixe- lated boobs, I am hoping you can provide some explanation. It’s the first time in my experience that I’ve noticed this in Rue Morgue, and it is particularly difficult to wrap one’s head around when the majority of the content of this issue is so clearly devoted to encouraging artistic freedom in our beloved genre.
ADAM BARRACLOUGH Ingrid Pitt 1937 - 2010 LIKE MILLIONS OF FANS, I am mourning the
loss of British horror star and great human being, Ingrid Pitt. She died too suddenly and too young. To me, the loss was personal as she was my friend. We were collaborating on an ani- mated short film called Ingrid Pitt: Beyond the Forest and a full-length documentary was to fol- low. The short film focuses on her true experi- ence in the Holocaust, escaping the Nazi terror. Ingrid’s story intrigues me because it demon- strates that if one sees real horror, one is able to channel that horror, purge it and bring it to the silver screen. That’s what Ingrid Pitt did so wonderfully and that’s what made her perform- ances so genuine. Ingrid was more than just an amazing actress – she had a kind heart and was a true free spirit.
KEVIN SEAN MICHAELS – NEW YORK CITY, NEW YORK RM#106 PROVIDED SOME RATHER brilliant
insight and commentary regarding A Serbian Film, one of the most controversial pieces of cinema to rear its head in the horror genre in re- cent memory. Also included was The Gore-met’s vital account of the legal battle faced by Rémy Couture, detailing the artist’s struggle with cen- sorship and highlighting the potential threat that encroaching ultra-conservatism poses to free- dom of expression in general. It seems a shame then that we encounter censorship within these same pages, with the still photo on p.19 from The Life and Death of a Porno Gang. While I’m
– HUNTINGTON, WEST VIRGINIA
[Unfortunately that was the only image we were provided for the piece, and couldn’t get a non- pixelated version. Rest assured, we are not cen- soring the magazine and are still big supporters of naked breasts. – Ed.]
I WANT TO THANK YOU ALL for making your
magazine. It is without a doubt my favourite. Not only do you cover the most interesting topics in horror, you do so in a classy way, which is a re- lief compared to other magazines and blogs. I especially want to thank Rue Morgue for the comic and book reviews. You guys are always spot-on! It’s amazing! Thanks to you I’ve dis- covered some of my favourite authors, like Alex Bledsoe. I also want to say thank you for having a big article on A Serbian Film. As I said, you handled it in typical sober, honest fashion. After seeing a small review in an earlier issue, I tracked it down, and I have to say it’s the most shocking film I’ve ever seen, which of course piqued my interest. It was great to read the in- terview and about the country’s background. I can’t say thanks enough, Rue Morgue! MEGAN WOODRUM – STOW, OHIO
LOVE THE MAGAZINE, and I usually never
write in to give an opinion on anything, as I al- ways felt that anyone who gets to live a dream, or work on a project from the heart should be allowed to enjoy it without criticism. However, the new movie Monsters (RM#106) was beyond terrible. Not the article, the movie itself. What a
WANTED TO WRITE YOU a quick email of seri-
ous appreciation for your excellent editorial in RM#103 about the ongoing plague of “floating head” horror movie posters. Since childhood I’ve been a serious collector of fright-themed artwork and have a deep respect for great marketing illus- tration, and your words reflected my thoughts to a bloody T. I get so angry and frustrated whenever a horror movie poster features nothing but blown up portraits of the cast lined up in succession on a flat-coloured background – so much so that I wish I could light a match and set fire to every bus stop display in sight. The respect you showed for what could largely be considered a lost art form was perfectly articulated and I couldn’t help but re-read the article several times. Keep up the great work in the Morgue and down with floating heads! SAM BOWRON – MELBOURNE, AUSTRALIA
WE ENCOURAGE READERS TO SEND THEIR COMMENTS VIA MAIL OR EMAIL. LETTERS MAY BE EDITED FOR LENGTH AND/OR CONTENT. PLEASE SEND TO
INFO@RUE-MORGUE.COM OR:
POST MORTEM TORONTO, ONTARIO M6P 1Y8 CANADA
C/O RUE MORGUE MAGAZINE 2926 DUNDAS STREET WEST
horrendous piece of self-indulgent crap this movie is! The article asks, “Is it a monster movie with a love story or a love story with monsters?” How about this: it’s neither! There were very few scenes that featured any monsters. No terror, no suspense, no gore, no horror, nothing. And there was no love story. The two main characters barely spoke to each other throughout the entire film, let alone be put in a scenario that would force them to become close to each other. The only thing in this movie that was cool was the scenery itself. Awesome visuals ripe for seeing scary giant monsters lumber around in were not taken advantage of. And the scene where the main characters reach the wall? Puh-leez! If I want social commentary about immigration in a post-apocalyptic world, I will watch my local evening news. (I live in Detroit.) My goal in con- suming movies, TV and music is to escape from the things I see every day, not be forced to watch some writer’s idea of politics in a monster movie. Avoid Monsters at all costs. CHUCK ZUBER – DETROIT, MICHIGAN
Photo provided by Kevin Sean Michaels
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