That play on words comes out of Megadeth's first album title. The display of top notch makeup, effects, music scores and set design (and not always top notch acting), doesn't get horror much respect in the film world at large. Horror is to cinema what so called "heavy metal" is to pop music. The weird, often by choice, relative at the family reunion who'd rather show you their tattoos or pet snake than photos of babies or a cute puppy. And the evolution of things that make us afraid over film's history definitely includes the creepy and grotesque. Filmmakers from the most talented to the least competent have tried their hand at horror, some making a nice living remaining in the genre for their whole careers. Wes Craven, Francis Coppola, Stanley Kubrick and now, Martin Scorsese, have all made heartwarming human interest stories and f____d in the head descents into movie madness.The great Tony Timpone, editor of "Fangoria", appears in this and is one of the foremost enthusiasts of the macabre. I've met him several times at Montreal's "Fantasia" festival over the last two years and he's a prince, one of the easiest to talk with celebrities you could ever meet from the film world. He emcees several of the Q+A sessions each summer, hosting "Pig Hunt" (in 2008) and "Dreaded" (in 2009) recently. If this normal looking gentleman is an ultimate horror guy, the clergyperson you see each week or the manager in a suit at your bank might be too. The limits some place on themselves when deciding just what it is about horror that they like and dislike are interesting. Hardcore slasher types don't need a strong plot or wonderful production quality to enjoy that primary emphasis on the bloodletting. Those who aren't primarily fans of the genre require something more, not resting on the laurels of convention to stay involved in any provocative material. And there will always be those who hate horror with a passion, never warming up to anything that smacks of some comic or sadistic cruelty.Horror evolves, however slowly. In an essay on so called "torture porn" in "Premiere" back in 2007, Eli Roth (director of "Cabin Fever" and "Hostel") remarked that seeing dead bodies floating down flooded streets in New Orleans during the endless news reports of Hurricane Katrina was much more horrific than anything one could find in a mere movie. And many, horror fans or not, would agree with that sobering assessment of where the true priorities of society's real horrors deserve to be placed.

Written by Ilise S. Carter of NEWYORKCOOL.COM Not for the Faint of Heart! Horror has long been the unwanted mutant under the stairs of the film industry and, despite the occasional break out hit, has remained a largely marginalized genre since Nosferatu flickered across silent screens. As a result, horror films have long had a reputation for being cheap, low class and accessible to everyone with a home movie camera, a twisted dream and some prop blood – and oddly enough this is mostly true. Perhaps more than other type of film-making, horror is truly directed its fan's appetites.This fan phenomenon is lovingly documented in Christopher P. Garetano's Horror Business with interviews ranging from horror legends to homegrown visionaries and every sort of fan in between. Shot with hand-held cameras in the collectors' conventions, the backyard sets and the living rooms where fans and filmmakers gather, the film gives its subjects ample room to explain their personal connections to the world of violence, the occult and fantasy that make up the oeuvre.This mix of objectivity and affection are what makes Horror Business so much fun. Whether it's drive-in film critic, Joe Bob Briggs, explaining the three pitfalls of amateur filmmakers (i.e., too many zombies, don't cast your friends, and lesbian vampires); or Long Island filmmaker "Slave" lamenting the current vapid state of pop culture; or designer Andy Gore showing off his line of serial killer pillows, you can't help but share in their enthusiasm – even if you do feel a little cooler.

Indeed, this is a good movie. In fact, it's downright refreshing. The decision by filmmaker Christopher P Garetano to focus his film on the new breed of horror movie makers was truly an inspired one. And by "new breed" I don't mean the likes of Eli Roth, Rob Zombie or Alexandre Aja. I'm talking about guys like Ron Atkins, David Stagnari and Mark Borchardt. Who? Exactly, these are the grassroots filmmakers, the guys the general movie-going faithful don't even know – save for maybe Borchardt who was the subject of the 1999 film 'American Movie'.Director Garetano skillfully inter-cuts lively moments of a handful of these "new breed" filmmakers struggling to get their flicks made with clips and sound-bites from classic films of a sadly bygone era. Seeing newspaper one-sheets and hearing radio spots for old films like 'Torso', 'Last House On The Left' and 'The Texas Chainsaw Massacre' brought a nice nostalgic touch to the film, and it's hard not to want to pick-up a handy-cam and join these fellas in their plight to make the next low budget masterpiece.Most of the guys spotlighted in this doc come across as likable, everyday kids who just want to make something different – something anti-establishment, anti-Hollywood…maybe even something a little bit dangerous; kudos to them all! The doc is also peppered with small interview clips from the likes of Sid Haig, Joe Bob Briggs and the master of no-budget spat-fests himself, Mr. Hershell Gordon Lewis who all give their take on what it takes to make it in the world of horror cinema. The general consensus seems to be this: entertain people. Hallelujah!

First, there is a lot of potential here. Through this doc, we encounter some of the most interesting people... i.e. indie horror film makers. The problem with this film is that it never settles down and really explores the people it features. We may have been better off just seeing a couple of the filmmakers and getting more in depth with them. I would have liked to learn more about a couple of these guys, but the film just doesn't take us there.Then, there is no central theme to the movie. Yes, the theme is the making of horror movies, but there is no one, clear idea or focus that pulls us from beginning to end. You are never watching this and wondering "what's gonna happen" or "what's gonna become of this person." That is what good documentaries do. They pull you through to the end of the story. Here, there is not much of a story. It is more of a hodgepodge of ideas. And I think there are areas, such as stock footage, etc. that were needlessly put in. I know how this can be as a filmmaker. It probably comes from the fact that Mr. Garetano did every aspect of production. It is hard to be objective when you write, direct, produce, and edit. Believe me, I know.With all that said, I applaud Mr. Garetano for his effort and passion in getting this project done. Remember, every project is a stepping stone and learning point on the way to something better. Keep plugging away!