In the third book of this middle grade sci-fi series, a teen suddenly fluent in multiple languages discovers he is part alien, and someone wants him dead. At Metier Junior High, Jack Raynes is usually the class clown, but lately he has one problem: mustering up the courage to ask the prettiest girl in school, Jenny Kim, on a date. That is until the day he gets hit in the head with a baseball and wakes up with the mysterious ability to speak and understand any language. Was he suffering from a concussion? Or something more sinister? When his weirdo classmates Ashley and Ethan try to tell him he might be an alien, Jack is ready to shrug them off. But then he overhears someone talking about him in a language he’s never heard before, one that isn’t even human. And that someone is planning to kill him. Suddenly Jack is looking to the last two people he’d ever befriend for help: Ethan and Ashley. After all, aliens need to stick together if they hope to stay alive . . .

Collects Absolute Carnage: Scream (2019) #1-3, Absolute Carnage: Separation Anxiety (2019) #1. The return of a classic symbiote - and it'll be a Scream! Years ago, Patricia Robertson was unwillingly bonded to the clone of Venom that eventually became Mania - and she's been living in fear of symbiotes ever since. But she's also been living with a secret - and with the coming of Carnage, she must take a stand. Patricia will have no choice but to confront her demons head-on - by harnessing the power of Scream! She may think she knows symbiotes, but nothing can prepare her for Knull! Plus: Since the conclusion of DEADPOOL VS. CARNAGE, four of the five Life Foundation symbiotes - Riot, Phage, Agony and Lasher - have been bonded to a stray dog wandering the Midwest. But as Carnage descends on New York, the siren song of Knull is calling!

The Scream franchise is a series of horror movies that debuted in 1996 and became a cultural phenomenon. The franchise began with the movie Scream, directed by Wes Craven and written by Kevin Williamson. The movie follows high school student Sidney Prescott as she and her friends are hunted by a masked killer known as Ghostface. The movie combined elements of slasher films and black comedy to create a unique and self-aware horror experience that proved popular with audiences. Scream was a box office success and spawned three sequels, with the latest one being released in 2011. The franchise is well-known for its iconic Ghostface character, who has become a cultural icon in the horror genre. The distinctive mask and voice created a new symbol in popular culture, with the Ghostface mask being associated with Halloween costumes and pop culture merchandise. The franchise is also notable for its self-referential and meta commentary on horror tropes and clichés. Scream is a franchise that continues to captivate audiences, more than twenty years since its inception.

Drawing on a wide range of examples, this book – the first devoted to the phenomenon of the film trilogy– provides a dynamic investigation of the ways in which the trilogy form engages key issues in contemporary discussions of film remaking, adaptation, sequelization and serialization.

The perpetual night of Scream Street turns even darker when millions of spiders cover everything with suffocating webs, prompting werewolf Luke, vampire Resus and mummy Cleo to combat the crawling menaces while searching for a third relic.

Horror films have always reflected their audiences' fears and anxieties. In the United States, the 2000s were a decade full of change in response to the 9/11 terrorist attacks, the contested presidential election of 2000, and the wars in Iraq and Afghanistan. These social and political changes, as well as the influences of Japanese horror and New French extremism, had a profound effect on American horror filmmaking during the 2000s. This filmography covers more than 300 horror films released in America from 2000 through 2009, including such popular forms as found footage, torture porn, and remakes. Each entry covers a single film and includes credits, a synopsis, and a lengthy critical commentary. The appendices include common horror conventions, a performer hall of fame, and memorable ad lines.

When Shelli's best friend, Jennifer, discovers that Shelli and some of her other friends cheated on the important college placement test, the guilty parties decide that they must silence Jennifer at all costs--except that they seem to be the ones who arebeing silenced, one after another.

In A Critical Companion to Wes Craven, contributors use a variety of theoretical frameworks to analyze distinct areas of Craven’s work, including ecology, auteurism, philosophy, queer studies, and trauma. This book covers both the successes and failures contained in Craven’s extensive filmography, ultimately revealing a variegated portrait of his career. Scholars of film studies, horror, and ecology will find this book particularly interesting.

The Horror Film is an in-depth exploration of one of the most consistently popular, but also most disreputable, of all the mainstream film genres. Since the early 1930s there has never been a time when horror films were not being produced in substantial numbers somewhere in the world and never a time when they were not being criticised, censored or banned. The Horror Film engages with the key issues raised by this most contentious of genres. It considers the reasons for horror's disreputability and seeks to explain why despite this horror has been so successful. Where precisely does the appeal of horror lie? An extended introductory chapter identifies what it is about horror that makes the genre so difficult to define. The chapter then maps out the historical development of the horror genre, paying particular attention to the international breadth and variety of horror production, with reference to films made in the United States, Britain, Italy, Spain and elsewhere. Subsequent chapters explore: The role of monsters, focusing on the vampire and the serial killer. The usefulness (and limitations) of psychological approaches to horror. The horror audience: what kind of people like horror (and what do other people think of them)? Gender, race and class in horror: how do horror films such as Bride of Frankenstein, The Texas Chainsaw Massacre and Blade relate to the social and political realities within which they are produced? Sound and horror: in what ways has sound contributed to the development of horror? Performance in horror: how have performers conveyed fear and terror throughout horror's history? 1970s horror: was this the golden age of horror production? Slashers and post-slashers: from Halloween to Scream and beyond. The Horror Film throws new light on some well-known horror films but also introduces the reader to examples of noteworthy but more obscure horror work. A final section provides a guide to further reading and an extensive bibliography. Accessibly written, The Horror Film is a lively and informative account of the genre that will appeal to students of cinema, film teachers and researchers, and horror lovers everywhere.