Halloween 2022

October 26 - November 1, 2022 FREE fwweekly.com

HALLOWEEN 2022

The former “oneman Fort Worth film industry” is back.

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eople who work day-to-day, blue-collar, service jobs intersect most of our lives all the time, but we don’t give many if any of them a second thought. The pseudo-cheery teenager handing us our order at the drive-thru window. The bedraggled serviceperson who came out to replace the worn-out element in our water heater. The Big Lebowski-looking fella who painted all the exterior trim on our house for cheap. A delivery person for a chain sandwich shop, a waitperson, a landscaper, a maintenance employee, or a bartender. I’ve never confirmed the specifics precisely, but I know that at one time or another Fort Worth native Bret McCormick has been at least half of these folks, so you wouldn’t think he was a disfigured serial killer butchering our unsuspecting neighbors as a janitor at a Texas high school.

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And he’s not.

He just plays one in his latest movie, Christmas Craft Fair Massacre.

It’s a wacky, no-budget horror film that will be available from Wild Eye Releasing on DVD and Tubi in mid-December. In fact, it’s so low-budget, it actually cost him more to rent the Bedford Movie Tavern for the premiere than it did to actually complete the production.

To be honest, it seems fitting in a way, for this previously, partially, and perhaps still part-time demented master of Texas schlock to reemerge from the shadows. A tall Timothy Leary-looking figure of no small renown, McCormick is not exactly a Cowtown knockoff of Ed Wood. He’s more of a Roger Corman disciple, and his body of work is characterized by madcap low-budget zaniness, often produced by sheer force of will alone, when so many others might have quit. At his best, he was half-Stanley Kubrick, half-Mel Brooks, a Frankenfilmmaker, a celluloid dervish of stoic edge with sometimes trashy, sometimes eruditely hashy, blunt humor. After all, most of us weren’t put on this planet to be a big noise or make a big splash. And even if we were, many of us were disinclined to perform the pandering required to put our names up in the big bright lights. McCormick would humbly admit to said ranks. They Live. We live. He lives!

Otto is a directionless young punk whose parents watch religious TV all day and tell him they gave away his college money to help support a television evangelist doing the Lord’s work. Otto isn’t a character in The Abomination. Otto (played by Emilio Estevez) is the main character in the 1984 classic Repo Man, but what if the college money that Otto’s parents sent to that broadcast prophet had yielded a miracle in the clenched opposable-thumbless fingers of “The Monkey’s Paw”?

This — drumroll, please — is Bret McCormick’s territory.

There were more than a few directionless young punks in rural Texas in those days, so McCormick introduces us to Cody (Scott Davis), who is aimlessly adrift, perhaps, but handsome in a redneck, quasi-mulleted sense and even possessed (initially) of a girlfriend.

Cody, like Otto, competes with a televangelist for the attention of his mother Sarah, but she is obsessed with binge-watching the technicolor savior Brother Fogg to secure spiritual deliverance. She has a terrible cough, suspects a tumor, and wonders why her son Cody rejects the TV preacher’s delusional aplomb.

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HALLOWEEN 2022

He Lives!

But here’s the difference.

Remember when you were a twentysomething sitting around on a crappy couch in a crappy apartment, watching a crappy direct-to-video monster muddle? You were momentarily inspired, and you thought, “Hell, I could do that!” And then, praise the Lord and pass the corndogs, you actually went out and did it?

Of course not.

You may have had the crappy couch in the crappy apartment and been susceptible to the almost obligatory viewing of crappy direct-to-video monster shows, because these are the easy half of the equation.

Watching movies and laughing at their inadequacies requires no exertion, little time, and even less talent.

Some of us, however, have seen the 1986 schlock horror classic The Abomination. And the who is the why of the how.

McCormick: “I realize my unconventional cinematic sensibilities aren’t for everyone, but if I can make a feature for less than $1,000 and immediately turn a profit, I find myself in a brave new world.”

Ariel hangs out with her crazy redneck friends, pulling dumb stunts like doing the splits between two trucks racing down a country road, her feet precariously balanced on the open-window doors of the two vehicles. But as played by Lori Singer, Ariel isn’t a character in The Abomination. McCormick’s budget for The Abomination was 1/1,170th that of the cheesy 1984 classic Footloose ($8.2 million), which starred Singer and, as Ren McCormack, Kevin Bacon.

So, what’s an aspiring filmmaker who sprang from a crappy couch in a crappy apartment to do?

It’s simple, really. And more realistic.

Cody and girlfriend Kelly (Blue Thompson) race their friends down a country road, driving close enough to pass beers back and forth between their truck cabs. It’s certainly more realistic than Singer’s Footloose stunt and practically a rite of passage in Texas anyway.

Meanwhile, Sarah’s cough worsens, and she desperately prays to Brother Fogg for a continued on page 5

Saturday, October 29 | 10:30 a.m.–2 p.m.

Join us for a free day of lectures featuring artists and scholars from the exhibition.

cartermuseum.org/SWLtalk

HALLOWEEN 2022

Speaking with Light Symposium

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October 30, 2022– January 22, 2023

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remedy, divine intervention, and salvation.

And that’s where the weird salivating begins.

Cody’s mother coughs up a bloody lung tumor and, feeling better, tosses it in the trashcan. Then, she goes to bed and sleeps the sleep of the damned — sorry, I meant “dim.”

After a day of provincially rambunctious country road beer-swapping, Cody comes home loaded and passes out. The heaven-castout (or hell-cast-forth) bloody lung tumor begins to pulsate. If this sounds wacky or farfetched, remember the parallel points in Repo Man and Footloose. Otto is fetching cars and chasing a space alien stashed in the trunk of a missing 1964 Chevy Malibu. And Ren and the quite fetching Ariel are — as Peter “Starlord” Quill in Guardians of the Galaxy so eloquently puts it — challenging a towering prig (played

by John Lithgow) to a “dance-off.”

This is where McCormick really demonstrates his knowledge of the material and his meager budget. The bloody, burgeoning, heaven-sprung lung tumor can’t hide in cars (yet), and a dance-off is out of

the question. So, the bloody, pulsating tumor hits the linoleum and oozes its way to comatose Cody’s bedroom.

Here, instead of discussing how said pulsating, bloody lung tumor scales Cody’s bed, we must examine the influence of Frankenstein. Victor Frankenstein’s goal is to use science to stave off death, an arguably noble intention, but his efforts backfire. He creates a monster. Defying science, Cody’s mother attempts to prolong her demise by praying to and paying Brother Fogg, clearly an ambassador of the Lord. She implores Fogg for a miracle cure and receives one.

It’s alive! But unlike Mary Shelley’s monster, it doesn’t flee from human beings — it wants to devour them. It’s way more bent on world domination than the Evil Plankton in SpongeBob SquarePants and arguably as gross and otherworldly as the creature in John Carpenter’s 1982 version of The Thing (whose production and special effects costs were a thousand times higher).

The throbbing, bloody lung blessing is actually a curse, and it crawls into the sleeping Cody’s mouth, where it plants its seeds. continued on page 6

Speaking with Light: Contemporary Indigenous Photography is organized by the Amon Carter Museum of American Art. The exhibition is co-curated by John Rohrbach, Senior Curator of Photographs, and Will Wilson, Photography Program Head at Santa Fe Community College and a citizen of the Navajo Nation. Major support for the exhibition is provided by the Henry Luce Foundation. Additional support is generously provided by Debra and Ken Hamlett, The KerleeWollenberg Family Fund, and Ann and Russell Morton. The accompanying publication is supported in part by the Native Arts and Cultures Foundation.

Cara Romero (Chemehuevi) (b. 1977), Water Memory (detail), 2015, inkjet print, Amon Carter Museum of American Art, Fort Worth, Texas, P2021.54, © Cara Romero. All rights reserved.

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A coughed-up tumor comes to life and dines on human flesh in McCormick’s 1986 fright The Abomination.

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An unruly, coked-up Dan Haggerty of Grizzly Adams fame starred in McCormick’s 1990 thriller Macon County War.

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Later, Cody regurgitates the tumor, or one of its brothers, and tucks it under his bed, where it grows into a voracious eating machine, eager to be fed.

Here, we must comment on McCormick’s Alien turn. Ridley Scott also has his extraterrestrial creature impregnate a male character orally, but that fecundated male’s pregnancy results in a nasty newborn-performed Caesarean. As The Abomination’s budget was 1/13,956th of Alien’s ($11 million), McCormick remains frugally faithful to The Abomination’s theme of oral deliverance. Cody repeats his mother’s regurgitative labor, producing another living, bloody offspring from his kisser.

Cody soon begats another tumorous offspring, and, in a matter of days, the growing clan of tumors are hangry.

In Repo Man, Otto never repossesses the 1964 Chevy Malibu and misses out on the alien in tow. Cody gets possessed by his mom’s bloody, coughed-up tumor and feeds his growing litter of abominations any humans he can manage to kill: friends, strangers, his boss, and the tumor’s original progenitor, his own dear mother. In Footloose, Ren and Ariel win their dance-off against the local preacher, but McCormick does them one bet-

ter. Cody places one of his offspring in the toilet of the sinister televangelist. Unfortunately for Brother Fogg, the aperture of a toilet bowl is much wider than the eye of a needle.

In bizarre, lean ways, The Abomination is cleverer and more pointed than Repo Man, and some of its $2.68 special effects may be better (though created in the same playful vein). The shoestring-budgeted indie is also more relevant than Footloose, whose smalltown characters seem based on rural Texans.

In fact, to be snidely candid, The Abomination doesn’t borrow from Footloose so much as perform a twisted, irreverent response to it.

Can’t say too much more without giving up the entire plot, but the film was shot mostly in Poolville, Texas, in 10 days in September 1986. Bret McCormick did the most with what he had and accomplished what many of us thought we could do sitting around on a crappy couch in a crappy apartment if we just got the chance.

Clearly, McCormick didn’t wait for chance.

In 1983, a screenplay McCormick wrote with Lon Bixby was optioned by Hollywood legend Peter Fonda for $1. Paltry, yes, but it still gave McCormick showbiz cred.

Then, from 1985 to 1998, the budding filmmaker produced more than 20 low-budget features, including Tabloid (1985, a collection continued on page 7

B-movie legend Joe Bob Briggs gave 1997’s Rumble in the Streets three and a half stars.

“Joe Bob says check it out.”

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ture. Exploding house. Four motor vehicle chases, with four crashes, explosion and fireball. Drive-In Academy Award nominations for Michael Ironside, as the you-know-who, for saying, ‘Whose body would you like to hold next to you in bed while the other lies rotting in a grave?’ Two and a half stars. Joe Bob says check it out.”

Bret has always been the one-man Fort Worth film industry, but I remember the ole boy when he was making monster flicks for 30 bucks in his cellar.

Seven dead bodies. Six breasts.

Face-clawing. Dirt clod to the eyes. Bloody scotch-glass crunching.

Hand-slicing.

Hand-burning.

Hand-crushing. Close-up heroin injections. Guy executed by gunshot in a place where … naw, we’re just not going into it.

Leg-stabbing. Flaming cop. One motor vehicle chase, with crash. One mugging. Aardvarking. Electrocution.

Drive-In Academy Award nominations for Peggy Ann Mitchell, for writing and singing the main theme song, “She Tries to Fly,” a great song in a genre that usually thrives on bad songs.

Kimberly Rowe, as the hooker who says, “I keep thinking I know you from somewhere — I always remember guys on bikes,” and, “I don’t do that much heroin — just enough to stay straight.”

Mike Nicole, as the scruffy, wisecracking drug connection who says, “My name’s Bob, but I spell it backwards.”

David Courtemarche, as the lovestruck, homeless singing cowboy.

Patrick Defazio, as the sick, perverted, twisted street cop.

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of shorts that includes McCormick’s clever “Barbecue of the Dead”), the afore-discussed Abomination (1986), Ozone: Attack of the Redneck Mutants (1986), Macon County War (1990, a.k.a. One Man War and starring unruly, cokedup Grizzly Adams star Dan Haggerty), Highway to Hell (1990, starring screen legend Richard Harrison, who appeared in more than 100 motion pictures from 1955 to 2000), Armed for Action (1990, starring Martin Sheen’s younger brother, Joe Estevez, uncle to Repo Man star Emilio), and Blood on the Badge (1992, also featuring Joe Estevez). In 1992, McCormick also produced both Redneck County Fever and Reanimator Academy (which included a small role for Sarah Paxton, who would go on to appear in Last House on the Left in 2009 and the 2022 Marylin Monroe biopic Blonde) after one-weekend shoots. He was also an associate producer on Night Trap (1993, starring future Hollywood mainstays like John Amos, Robert Davi, Lesley Ann-Down, Michael Ironside, and Mike Starr), and then he produced the 1994 documentary Children of Dracula (a fangin-cheek nod to a genre that would eventually evolve into comedy-reality features like What We Do in the Shadows two decades later). McCormick would also go on to write the screenplay for Fatal Justice (also starring Joe Estevez) that year.

From there, McCormick produced Cyberstalker (1995, starring former Re-animator star Jeffrey Combs), Striking Point (1995, starring Robert Mitchum’s second son, Christo-

Rumble in the Streets, which McCormick produced for horror legend Roger Corman, received a second, particularly expository Joe Bob write up:

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pher Mitchum, who appeared in more than 60 films, including three with John Wayne), Space Varmints (1995), Takedown (1995, starring Richard Lynch, a stalwart Hollywood villain of The Sword and the Sorcerer fame), Bio-Tech Warrior (1996), Rumble in the Streets (1997), Time Trap (1997, starring Jeffrey Combs), and the inimitable Repligator (1998, starring Gunnar Hanson).

In the 1995 book Sleaze Merchants: Adventures in Exploitation Filmmaking, author John McCarty calls Tabloid “a cross between The Rocky Horror Picture Show and the perverse early works of John Waters.” Pop-art icon Andy Warhol even gave it an endorsement, describing it as a contemporary Norman Rockwellian vision of “Americana.”

The Confluence of Cult website calls McCormick’s “visceral Super 8 indie” The Abomination a “messy tangle of glorious splatter and existential absurdity” that stands out as a “worthwhile curio, a sort of 8-track [David] Cronenberg demo.” And the subsequent, non-McCormick-produced 1992 version of Highway to Hell — starring Rob Lowe’s younger brother Chad Lowe, Ben Stiller, Jerry Stiller, Patrick Bergen, Kristy Swanson, and rockstar Lita Ford — was produced for a budget of $7.5 million and grossed only $26,055 at the box office. Juxtapose that data with the fact that McCormick put together the 1990 version for $20,000 and recouped his budget and then some.

Night Trap earned McCormick his first Joe Bob Briggs review and rating: “Nine dead bodies. Twelve breasts. Blood-drinking. Wrist-slitting. Two bodies flung through plate-glass windows. Hooker tor-

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In a review of Time Trap, The Terror from Beyond the Daves website claims, “The best way I can describe Time Trap is Star Trek meets Land of The Lost” and rates it “7/10 stun blasters!!”

And Repligator, ranked the 1,096th best film of 1998, received the following review from Triskaidekafiles: “Things could stand to get a little cheesier, but I love the ludicrousness of every damned thing in this movie.

It’s like watching a terrible Doctor Who story from the classic series but with more boobs.

I’d almost say watch this just for the entertainment value alone, because, damn, if it isn’t something unique.”

A nod from Andy Warhol? Comparisons to John Waters, David Cronenberg, Star Trek, Land of the Lost, and Dr. Who? And a fricking Academy Award nomination from Joe Bob Briggs, the all-time, undisputed master of B-movie horror pictures?

Who is this masked, creeping cinephile, and what happened to him?

IKEA Grand Prairie

Trunk or Treat!

October 28th, 5:00pm - 7:00pm

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Join us for food, games, and prizes. The best decorated trunk will win a prize, courtesy of IKEA! Also, from October 24th October 30th, children of IKEA Family members can enjoy a free meal if wearing their costumes!

1000 IKEA Way Grand Prairie TX, 75052

Scan barcode for more information and IKEA Grand Prairie events!

As McCormick notes in his recent book, Texas Schlock: B-Movie Sci-Fi and Horror from the Lone Star State, he became obsessed with Edgar Allan Poe when he was not much more than a toddler and fell straight into the suspenseful, buttery-popcorn embrace of B-Movie horror titillation as he approached pubescence.

“Who had time for sports when The Green Slime was playing at the Poly Theater just down the road on Vaughn Boulevard?”

McCormick writes. “Who wanted to attend a church or a school function when Dracula Has Risen from the Grave?”

By the time he was old enough to get a job, McCormick — reminiscent of a young Quentin Tarantino — says he was unfit for anything outside a movie theatre. In 1975, he began work as an usher at Cineworld, Fort Worth’s first multiplex. And one day, at Eastern Hills High School, he met an incredibly talented kindred spirit. His name was Bob Camp. Bret and Bob and a small band of Eastern Hills amateur film aficionados began shooting Super 8 movies devoted to vampires rising from the grave, skateboarding werewolves, psychedelic hallucinations, and a Blob-esque stop-motion monster known as “Splot.”

After high school, McCormick briefly studied under filmmaker Andy Anderson (Interface, Positive I.D.) at UT-Arlington and then earned an associate’s degree from the Brooks Institute of Photography in Santa Barbara, California.

McCormick’s buddy Camp would go on to co-found and become a director for Spümcø, the animation studio that created the wonderfully raucous Ren & Stimpy Show, a brilliant, groundbreaking forerunner of so many of the animation series we see and love today. McCormick himself would chase the delightful

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And Bret McCormick, the director, co-writer, and producer, for doing things the drive-in way, Three and a half stars.

Joe Bob says check it out.

From 1985 to 1998, McCormick produced more than 20 low-budget features, including 1985’s Tabloid, a collection of shorts that includes McCormick’s clever “Barbecue of the Dead.”

B-Movie dreams that so enchanted his youth.

At the end of the day or, in fact, the second millennium, McCormick was burned out and frequently burned by double-dealing, middling movie distributors and ruthless, bottom-feeding con artists. He walked away from showbiz and didn’t reemerge in the filmic sense until Christmas Craft Fair Massacre.

“Rob Hauschild of Wild Eye Releasing sent a crew down to interview me for a special feature on the upcoming re-release of The Abomination,” McCormick said, “and I had a bizarre reawakening. I was excited to learn that their camera guy, Mark Polonia, had made over 80 features! … Somehow that meeting sparked my interest in learning how super low-budget movies were being made today. I found out that you could make feature films for practically nothing with your cellphone and edit your footage with free software available online. For the second time in my life, I was bitten by the movie bug.”

McCormick admits that Christmas Craft Fair Massacre was a test project, and the entire experience was positive.

“I’ve already earned more money from the movie than I spent making it,” he said with a laugh. “If that had been the case the first time around, I never would have stopped making movies. I realize my unconventional cinematic sensibilities aren’t for everyone, but if I can make a feature for less than $1,000 and immediately turn a profit, I find myself in a brave new world.”

Look for Christmas Craft Fair Massacre this Christmas season and an upcoming production with a working title of Attack of the Killer Cow Patties sometime next year.

McCormick can be reached at BretAnthonyMcCormick@gmail.com. l

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Music Awards are back!

Along with the Black Dog Jam at Scat Jazz Lounge Thursday and the jam nights at Lazy Daisy Coffee Bar, McFly’s Pub, and Pinky’s Champagne Room & Velvet Jazz Lounge, the Playtown Blues Jam at Lola’s Fort Worth (2000 W Berry St, @LolasFortWorth) is nominated for best open-mic at FWWeekly.com/music-awards-ballot-2022.

Check out Playtown from 8pm to 11pm with special guest Johnny Mack. There is no cost to attend.

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The Pink Cactus DFW, the Keller-based charcuterie and upscale picnic experts, Friday will be at Panther Island Brewing (501 N Main St, 817-882-8121) at 6pm, hosting the Charcuterie Workshop Halloween Edition. Attendees will learn how to style and arrange a well-balanced board, learn styling techniques, build salami roses and a salami river, and add spooky final touches. A screening of Beetlejuice follows the workshop. All needed ingredients and materials, an hour of instruction, and your first beer are provided. Tickets are $65 at The-Pink-Cactus-DFW-LLC.Ticketleap.com.

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As all Amigo Guitar Shows are buy-sell-trade events, you are encouraged to Saturday bring all the music-related items that you can carry to GuitArlington 10am-5pm Sat-Sun at the Esports Stadium & Expo Center (1200 Ballpark Way, 817459-5000). “By getting bids from several exhibitors, you can quickly establish the market value of your item and proceed to sell or trade with confidence.” You may see everything from guitars and amps to records and memorabilia from individuals, online companies, retailers, and more, and you may also even get in a bit of celebrity people-watching. Tickets are $20 at AmigoGuitarShows.com/GuitArlington.

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Head to Granbury, winner of our Readers’ Choice for best day trip in Best Of Sunday 2022, for the final weekend of Little Shop of Horrors at the Granbury Opera House (133 E Pearl St, Granbury, 817-579-0952) as part of the Broadway on the Brazos series. Meek floral assistant Seymour Krelborn stumbles across a new breed of plant he names Audrey II after his co-worker crush. This foul-mouthed, R&B-singing carnivore promises fame

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Hosted by Open Worship (@OpenDTX) and Mosaic Worship (@MosaicMonday FUMC), the October installment of the fall Pub Theology series at The Bearded Monk (122 E McKinney St, Denton, 940-999-7238) begins at 8pm. On the third Monday of the month thru Mon, Dec 19, drink beer and contemplate theological quandaries with masters-in-divinity scholar Jenny Bates and Pastor Laura Byrd, who both like “asking the hard questions with no Sunday school answers.”

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Just in time for Halloween, Cowtown Movie Classics is hosting two screenings of Tuesday the “blood-soaked classics that turned Christopher Lee and Peter Cushing into icons.” See The Curse of Frankenstein tonight at 8pm, then the Horror of Dracula on Sun, Oct 23, at 8pm, both at Downtown Cowtown at The Isis Theater (2401 N Main St, 817-8086390). Admission is free with the purchase of a snack and drink. (For more spooky events, check out our Halloween 2022 section starting on pg. 23.)

By Jennifer Bovee

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and fortune to the down-and-out Krelborn as long as he keeps feeding it blood. Over time, Seymour discovers Audrey II’s outof-this-world origin and plans for global domination. Tickets start at $30 at GranburyTheatreCompany.org.

Make a Halloween-themed charcuterie with Kellie from The Pink Cactus DFW Friday.

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Sounds Halloween Shows & Parties in North Texas

More than one place is revisiting the 1975 film The Rocky Horror Picture Show this Halloween. Let’s do the time warp again!

Harvest Hall (715 S Main St, 817-251-3050) FRI 10/28: Grapevine Main LIVE! featuring Epic Unplugged: Top 80s Hits Cover Band.

HALTOM CITY

THE COLONY

IKEA Grand Prairie

Trunk or Treat!

The Haltom Theater (5601 E Belknap St, 817-677-8243) SUN 10/23: The Haunted Haltom Bash featuring Whitney Peyton, UBI of ces cru, and Stoner.

(TIX @ Facebook.com/HaltomTheater.)

Lava Cantina (5805 Grandscape Blvd, 214-618-6893) SAT 10/29: Halloween Bash featuring live music on the roof, a DJ inside, and a screening of the Rocky Horror Picture Show out back. (TIX @ LavaCantina.com.)

October 28th, 5:00pm - 7:00pm

Join us for food, games, and prizes. The best decorated trunk will win a prize, courtesy of IKEA!

MANSFIELD

DALLAS

Fat Daddy’s (781 W Debbie Ln, 817-453-0188) SAT 10/29: Halloween Bash featuring costume contests, drink specials, and live music by The Velcro Pygmies with modern acoustic duo Love Is War. (TIX @ FatDaddysLive.com.)

Amplified Live (10261 Technology Blvd E, 214-350-1904) SAT 10/28: Halloween Party featuring Champagne Yacht Club.

(TIX @ Amplified-Live.com.)

Also, from October 24th October 30th, children of IKEA Family members can enjoy a free meal if wearing their costumes!

To submit your Halloween Happenings, email Marketing@FWWeekly.com.

Three Links (2704 Elm St, 214-484-6011) MON 10/31: Psychedelic Halloween featuring Hooveriii and Psychic Love Child.

(TIX @ ThreeLinksDeepEllum.com.)

1000 IKEA Way Grand Prairie TX, 75052

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Scan barcode for more information and IKEA Grand Prairie events!

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Glass Cactus (1501 Gaylord Trl, 817-778-2805) SAT 10/29: Halloween Bash featuring costume contests, DJ Spider, and live music

by KISS tribute band, Destroyer.

(TIX @ GaylordTexan.com)

See Chaz Marie at Farina’s in Grapevine on Sat, Oct 29.

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Farina’s Winery & Cafe (420 S Main St, 817-442-9095) SAT 10/29: Farina’s Halloween Bash featuring a costume contest and live music by Chaz Marie. Call for reservations.

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Tulips FTW (112 St Louis Av, 817-367-9798) SUN 10/30: Metalachi with Mad Mexicans.

(TIX @ TulipsFTW.com.)

OCTOBER 2022

The Rail Club DFW (3101 Joyce Dr, 817-386-4309) SAT 10/29: Halloween Party featuring costume contests and live music by Chris Cornell Experience, Man in the Box, and Rokken tributes. (TIX @ Prekindle.com)

FO R T WO R T H W E E K LY

Lola’s Fort Worth (2000 W Berry St, @ LolasFortWorth) WED 10/19: Rocky Horror-themed painting class by Art:30tx featuring live music by The Matthew Show.

(TIX @ PaintingAndMusicLolas.Eventbrite.com)

Cour tesy IMDb

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OCTOBER 2022

fwweekly.com

HALLOWEEN 2022

O CC T TO OB B EE R R 21 09 2- 225 , fwweekly.com 2 0 2 2 fwweekly.com O

By Jennifer Bovee

You know it’s Halloween in Fort Worth when this guy is up and around.

OR R TT W WO OR R TT H H W W EE EE K K LL YY FF O

Halloween is here, and Día de los Muertos isn’t far behind.

Our weekend plans shift toward pumpkin spice and scary nights out with the temperatures dropping. North Texas is bountiful with festivities this season. Here are a few to check out.

While the Rocky Horror Picture Show first hit theaters in 1975, it’s been a consistent fan favorite ever since and rears its fabulous head around Halloween every year.

On Wednesday, Art:30tx hosts a Rocky Horror-themed painting class with a performance by The Matthew Show at Lola’s Fort Worth (2000 W Berry St, @LolasFortWorth). Tickets are $30 at PaintingandMusicLolas.EventBrite.com. All needed supplies are included.

On Sat, Oct 29, you can do the Time Warp at two area hot spots. The Halloween Bash at Lava Cantina (5805 Grandscape Blvd, 214-618-6893) features live music on the roof, a DJ inside, and a screening of Rocky Horror out back. Tickets start at $5 at LavaCantina.com. Hosted by Los Bastardos, Ridglea Theater (6025 Camp Bowie Blvd, 817-738-9500) is also screening the film and will have Rocky Horror-themed items for sale, including prop packs (#AudienceParticipation). Tickets are $10-80 on Eventbrite.com.

Haunted houses are also still going strong, and I’m not talking about the hell house at your grandma’s church.

The No. 1 Haunted House in America, per USA Today, is right in our backyard and has been for 30 years. You can book time slots every half hour at Cutting Edge (1701 E Lancaster Av, 817-348-8444) Fri-Sun, then Thu-Mon, Oct 27-31, and Sat, Nov 5.

Tickets are $45 at CuttingEdgeHauntedHouse.com.

Dark Hour Haunted House (701 Taylor Dr, Plano, 469-298-0556) has a new theme every year, and for 2022, it’s The Coven: The 13 Awaken. Dark Hour opens at 7pm Thu-Sun thru Sun, Oct 20, plus Mon, Oct 31. Tickets are $60 at DarkHourHauntedHouse.com.

Located on the grounds of Scarborough Fair, each of the five haunted houses at Screams Halloween Park (I-24 at FM 66, Waxahachie, 972-938-3247) has a different theme. There’s also a haunted cemetery, games of skill, and live entertainment throughout the park. Plus, you can drink beer and sing Scary-Oke at the pub.

Screams is open every Friday and Saturday 7:30pm-1am thru Oct 29. Tickets are $42 at ScreamsPark.com.

On Sunday from 5pm to 10pm, the inaugural La Catrina Contest featuring culture, food, and music is happening in Sundance Square (425 Houston St, 817-222-1111), presented by Colección Mexicana, shopping headquarters for Mexican accessories, artisanal products, pottery, and more, and Paco’s Mexican Cuisine. The contest will showcase 20 contestants of all genders and cultural backgrounds from North Texas who will be judged based on dress, headpiece, and makeup. There is no cost to attend.

For live music happening for Halloween, check out Crosstown Sounds at FWWeekly.com. To submit your events, email Marketing@FWWeeklycom. l

Cour tesy Cutting Edge Haunted House

Spooky Times Have Found Us

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HALLOWEEN 2022

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