Devouring Horror One Bloody Chunk At A Time….
If you’re a sucker for ‘80s horror, then I might have something for you. From writer/director Daniel Benedict comes a tries-to-be- fun-for-the-whole-family film called, The Bloody Man—a tale of a typical family that faces a demonic force bound and determined to rip them apart from […]
Movie Reviews Movies & TVIf you’re a sucker for ‘80s horror, then I might have something for you. From writer/director Daniel Benedict comes a tries-to-be- fun-for-the-whole-family film called, The Bloody Man—a tale of a typical family that faces a demonic force bound and determined to rip them apart from the inside out. Is the power of family strong enough to overcome the dark forces of evil? I guess you’ll just have to read on to find out.
The Bloody Man delivers most things a hokey ‘80s horror flick should. It’s got the so-bad-it’s-good score, the fashion and the dialogue, in addition to a cast of cheesy, stereotypical characters that one would expect to see in a film of this era.
The protagonist of the film is a young boy named Sam (David Daniel) who is seemingly carrying the weight of the world upon his shoulders. Not only does he have to deal with the typical bullies at school, but he also has his share of problems at home. The domestic problems stem mainly from Sam’s older brother Michael (Sam Hadden), who’s an asshole, and his whiny younger sister Amy (Olivia Sanders), but the sudden loss of their mother Laurie (Lisa Wilcox) certainly doesn’t help matters. Throw in a father that really isn’t present very much throughout the film but manages to bring in a stepmother named Kim (Tuesday Knight). Michael and Amy don’t mind Kim so much, but for several reasons Sam in another story.
As for the antagonist, we get an odd, not so scary “demon” that initially looks like a pin-less Pinhead that bleeds from his head. Obviously, this is Bloody Man, who stems from a comic book and is summoned to possess and destroy Sam’s family from the inside out for some weird reason. I know that this is a pretty vague summary, but if I tried to write something more detailed, it’d be even more painful.
I’m going to let you in on something: The Bloody Man is a really slow burn that comes in at a whopping two-hour runtime. You read that right…TWO fucking hours. Nothing remotely exciting happens until maybe the last 10 minutes of that runtime. I mean, sure, there are some fun little easter eggs and throwbacks in some scenes, but if you’re looking for gore, action, or jump scares, they’re few and far between. In fact, I couldn’t watch this film in one sitting. I had to keep pausing it to get up and move around because I was bored. Also, the acting tends feels flat and monotonous, especially with the Amy character. I mean, if you like shrill screaming and fake crying, then you’ll enjoy it immensely.
The Bloody Man is a very mild horror movie. It would be a good first horror movie for exceptionally patient children or for people who really don’t like to be scared. I think I understand what writers Daniel Benedict and Casi Clark were striving for, but, unfortunately, I think they missed the mark. However, if you want to make the commitment, The Bloody Man is currently streaming on Prime for $2.99.
I’ve never been to Louisiana, but I’d sure like to go some day. See the old graveyards of New Orleans, visit the voodoo shops of the French Quarter, grab some delicious seafood at some shack out in the sticks. But more than anything, I’d love […]
Movie Reviews Movies & TVI’ve never been to Louisiana, but I’d sure like to go some day. See the old graveyards of New Orleans, visit the voodoo shops of the French Quarter, grab some delicious seafood at some shack out in the sticks. But more than anything, I’d love to go deep into the bayou. That’s a place of absolute mystery and more than a little danger, with an otherworldly feel to it.
Few movies catch the real feel of a true swamp. Southern Comfort is sure one. The Legend of Boggy Creek is another. But when it comes down to capturing that mystic feel, no movie ever did it better than The Witchmaker, a most unusual supernatural thriller from the hallowed year of 1969, the year the Devil broke through into mass culture.
Not only does The Witchmaker (also known as The Legend of Witch Hollow) catch that bayou ambience, but it’s a standout film in other ways as well. While definitely an exploitation film…sometimes overwhelmingly so… it’s also far more intelligent and genuinely spooky than you would think. And to its credit, it’s not just a knockoff of Rosemary’ s Baby, the film that started the Satanic avalanche in 1969. It unfolds in a completely different way and even creates an entire society of witches, complete with rules of conduct and rituals.
Who do we have to thank for The Witchmaker? Would you believe good ol’ Hank Kimball from Green Acres had a lot to do with it? Comic actor Alvy Moore not only starred in the film, but was a producer, along with character actor L.Q. Jones who was best known for being in Westerns, and the director, William O. Brown. Moore and Jones had quite an interest in esoteric film; in addition to The Witchmaker, they also co-produced another devilish film, The Brotherhood of Satan, and the cult sci-fi oddity A Boy and His Dog. Although he’ll always be best known as Hank Kimball, a look at Moore’s credits reveals a surprisingly long and eclectic career.
Director Brown was a bit of an enigma who only did one other movie, the forgettable sex farce One Way Wahine. He also wrote the bulk of The Witchmaker. Based on his clever script and some of the interesting visual touches of The Witchmaker, it’s a bit of a shame that he didn’t pursue further film assignments.
Well, you ready to head down to the bayou and meet Luther The Berserk? Follow me…but be warned, there are spoilers in the coming missive!
The movie starts with a bang and a scene of pure grindhouse hijinx. We see a blond hotty swimming in a swampy lagoon. Now why any rational person would be swimming in an area brimming with snakes, snapping turtles, leeches and presumably gators is a mystery that is never solved here. But our young miss eventually pulls herself out of the murk and goes about drying herself out.
Suddenly from out of nowhere, a huge man jumps her from the bushes with a roar! Yeow! It isn’t long before this bulky, grunting character has smothered the girl to death. One would then think something very unwholesome is about to occur. And it does, but not quite in the way you might be thinking. The girl’s body is strung up from a tree and hung upside down. In a queasy scene, he cuts her throat and gathers the blood in a metal bowl. Then he uses the blood to inscribe an ankh on the girl’s body.
This is our introduction to Luther The Berserk (John Lodge), the villain of the piece. Luther has a sallow, almost yellowish complexion, dark-ringed eyes and wears what looks like clothes from an earlier time. In this opening scene, which certainly grabs your attention, one might think Luther is just a depraved human beast. But we learn there is quite a bit more to him than that.
Next, we see a boat cutting through the dark waters of the swamp. In it are the protagonists of our film. Their leader is Dr. Ralph Hayes, an expert in parapsychology and the occult (Alvy Moore). Also, along for the ride is hard-bitten journalist Vic Gordon (Anthony Eisley), who is here to record what happens on the excursion. The others are students and associates of Dr. Hayes. They include his faithful secretary Maggie (Shelby Grant) and students Owen (Tony Brown), Patty Ann (Robyn Milan) and Tasha (the very statuesque and Nordic looking Thordis Brandt). Ferrying them to a remote cabin in the swamp is Leblanc, played by the beloved character actor Burt Mustin, who played an endless number of old codgers in the ‘60s and ‘70s.
It has to be remarked how absolutely eerie and otherworldly the swamp looks, even in broad daylight. Masses of Spanish moss are hanging everywhere and a constant foggy mist swirls about, muting the sun. The movie was filmed in Marksville, Louisiana in the heart of Cajun bayou country and it sure looks like it. This authenticity adds immeasurably to the ambiance of the movie, even more so in the spooky night scenes.
There have been eight unsolved murders of women in the vicinity, including the blond we saw slaughtered in the opening scenes. This bayou has long been rumored to be the haunt of witches. Leblanc, who believes the others are there to scout scenes for a future movie, discusses the legends of witchcraft with Dr. Hayes. He tells him that REAL witches are far different and more dangerous than the “conjure women” who cure ailments with magic herbs. They are immortal creatures who extend their lives by offering blood sacrifices to Satan.
Hayes and his crew are attracted to the area because of its reputation and its distance from civilization. Tasha is said to be very psychically sensitive, with witchery in her own bloodline. The remote swamp cabin they will be staying at has no electricity and they will essentially be cut off from the world during their stay there. Once Leblanc drops them off, he will not return for a week. Hayes reasons that having none of the radio and electrical signals of an inhabited area will enhance Tasha’s latent abilities, which he plans to study. She may even lead them to any real witches in the area. Well, be careful what you wish for….
We learn more about Luther and what makes him tick. He is the leader of an ancient and powerful witch coven and he’s been in the swamp for a VERY long time. In fact, there is no real sign that he’s a part of the modern world or even aware of it. He lives in a decrepit shack deep in the bayou, but it’s only a front…his real dwelling place is a huge, ornate cavern deep underground, dominated by a very evil and cool looking devil statue, which is prominently seen during the film. After praying to Old Scratch, Luther summons another member of his coven, the old crone Jessie.
The two have an interesting conversation which is alternately prosaic and chilling. They talk about their witchcraft and deviltry like old comrades who don’t fully trust each other. The movie’s clever script gives a lot of background information in a conversational way. An entire culture of witches is created, with detail and depth to it. What is currently troubling Luther is that his coven is currently understaffed. It lacks a thirteenth member that will bring it back to full strength. But he has sensed that a powerful new presence has entered the swamp…Tasha. He intends to convert her to his coven, but she needs to be weaned away from the other intruders who incidentally need to be killed to preserve the secret of the coven.
At one point, Luther spies a topless Tasha sunning herself in the swamp. In addition to enjoying the view, he also tries to establish a connection to her mind. The result is Tasha running in slow motion through the swamp in terror with hands covering her bounteous breasts. The scene reminds us that we are indeed watching a grindhouse film. But it also indicates that Luther’s interest in Tasha is not primarily sexual, but more that of a mentor getting a read on a possible student.
Back at the cabin, we find out more about our crew of psychic investigators. Vic is an avowed skeptic and gets into a prolonged but interesting conversation with Dr. Hayes. The scene is talky but provides a lot of information that makes the investigators seem like more than just a bunch of boobs bumbling around in the bayou. I can’t really say enough about Alvy Moore’s performance as Hayes. Not only does he come across as a learned academic with a broad knowledge of the occult, but he shows quirky humor and flashes of temperament. He comes across as a living, breathing human being with faults, hidden courage and more. If you watch his performance here and still see him as only Hank Kimball, then you’re watching a different movie than me.
A game of supernatural cat and mouse now begins between Hayes’ group and the forces of Luther. A séance testing Tasha’s power erupts into a dangerous scene. Old Jessie the crone casts a spell that turns her into a HOT young witch, mostly so she can try to seduce the males of the group, especially Owen. The swamp at night becomes a dark netherworld of fog and Spanish moss, where sudden death can strike at any moment.
When Luther ambushes and kills Patty Ann, Hayes realizes he and the others are in over their heads and they are in a fight for their lives. There is a very poignant scene where Hayes is overcome by grief at what has happened to Patty Ann. Reading between the lines, we sense there may have been more than a “student-teacher” relationship between the two. “You get to know some of your students,” he laments. “You don’t think you’ll have to bury them.” Again, a great acting bit from Alvy Moore.
Luther and the young version of Jessie finally manage to wrest Tasha away from Dr. Hayes and take her to the coven’s underground headquarters. Her heritage of witchcraft is revealed, and she watches as the two witches make their prayers to Old Nick’s statue. Luther is a strangely schizophrenic character, articulate and almost humble at some points but bestial and sinister at others.
Finally, Hayes makes the decision to fight the coven. He tells Vic that wild garlic will help make a person “invisible” to a witch. Vic volunteers to get the wild garlic treatment so he can find and infiltrate the coven’s headquarters and possibly rescue Tasha. Hayes and his faithful secretary Maggie will stay at the cabin and treat it with herbs and sigils so it can resist the witches’ power. Maggie is quite the loyal and courageous woman, but she isn’t afraid to talk back to Hayes or even stand up to him and tell him he’s responsible for what’s happened. With just a few scenes, Shelby Grant manages to infuse some energy and personality into her character.
Half expecting to get caught, Vic is amazed when he learns the garlic actually works…he can stand right next to a witch and not be detected. He enters Luther’s lair, where what seems to be a full witches’ orgy is in progress. Luther has summoned the rest of the coven from the four corners of the Earth in what is the movie’s best scene by far. They are quite a diverse group. There’s the Hag of Devon, who is actually an attractive young girl; Felicity Johnson, who turns into a black cat; Amos Coffin, a cadaverous Puritan looking fellow played by horror host Larry “Seymour” Vincent; San Blas, a bearded monk; and more, including a gorgeous Asian woman whose name I didn’t catch.
The witches conduct a sabbat, something like a meeting of the local Moose Lodge, where Luther tells them that Tasha may be a new member for them. During the course of the meeting, it’s revealed that the young (or young looking) witch Marta has transgressed against the laws of the coven, which she admits. As the others eagerly watch, she is whipped by Luther as punishment. The minute the whipping is done, it’s party time and all the witches, including Marta, participate in a raucous orgy where much alcohol is consumed and lustful shenanigans break out, including a belly dancer cutting loose with a hip shaking exhibition. This whole scene with the witches’ sabbat is the peak of the film.
During the course of events, the invisible Vic wreaks havoc amongst the witches, causing a Satanic ceremony to be botched and the wrath of the Evil One to descend on his followers. In the confusion, Vic snatches an entranced Tasha and makes a run for it back into the swamp, where he hopes to get her to the cabin.
An enraged Luther now lives up to his title of “The Berserk” and pursues them into the swamp, flinging mystic bolts of power at them. This scene reminded me of something from the Dr. Strange comic, with Luther standing in for a villain such as Baron Mordo.
I won’t give away the ending of the movie, but if you’ve seen enough Satanic movies from this period, you can kind of guess what direction things are going to go in. It’s an abrupt conclusion that in some ways doesn’t make sense, but in other ways seems perfectly logical.
The Witchmaker was very much a bridge between the old horrors of the ‘60s and the rapidly developing Satanic subgenre that would explode in the early ‘70s. There was a real attempt to create an actual society for the witches, an alternate reality for them to inhabit. Luther and his coven didn’t seem to be a part of the “real” world. I’m guessing most of them were ancient beings who dated back to an earlier time and who had no desire to join a technological, modern society. Or any need to, as well. The swamp belonged to Luther, that’s for sure, and any who entered it were stepping foot in his world. How many young girls did he sacrifice over the centuries?
In the late ‘60s and early ‘70s, parapsychology and ESP were also exploding. Writer/director Brown again did his research and much of the scientific side of the occult that Dr. Hayes and crew practiced is described in detail during the movie. Hayes trying to reduce the electromagnetic interference that could interfere with psychic phenomena sounds quite plausible. On the other end of the scale, he also knows older, more arcane lore like the usage of wild garlic. The Witchmaker has one foot in the old world and the other in the modern.
With all the cleverness of its concept and execution, it’s still an exploitation movie. In 1975, the movie was re-released on the drive-in circuit with the new name The Naked Witch, which contained some more explicit footage. I wonder if Alvy Moore and L.Q. Jones knew about this and had any hand in the new, sexier scenes. Did the coven’s orgy get more hot and heavy than the relatively tame scenes in the original? Did we get to see more of Tasha, Patty Ann and young Jessie? I honestly don’t know but I’d be interested to find out.
The Witchmaker is a low budget film that hits far above its weight class, to use a boxing analogy. While not perfect, it’s a very interesting and entertaining artifact from a lost era of horror history, one I find a lot more intriguing than the current time period. Check it out if you can!
Oh, what might have been. Director Kelsey Egan’s first full-length feature, Glasshouse, is a beautifully filmed dystopian tale. An airborne pandemic known as The Shred takes its toll by robbing people of their memory and, eventually, almost all mental capacity. The focus is on a […]
Movie Reviews Movies & TVOh, what might have been.
Director Kelsey Egan’s first full-length feature, Glasshouse, is a beautifully filmed dystopian tale. An airborne pandemic known as The Shred takes its toll by robbing people of their memory and, eventually, almost all mental capacity.
The focus is on a family of women and one Shred-infected boy (Brent Vermeulen) whose refuge is a conservatory – a hermetically sealed glass house, if you will – where toxins are kept out and memories remain mostly intact, thanks to a dinnertime recitation and other rituals orchestrated by the mother (Adrienne Pearce).
To preserve their premises and safety, older sisters Evie (Anja Taljaard) and Bee (Jess Alexander), wearing homemade oxygen masks, routinely patrol outside and shoot intruders on sight. They then use the bodies for macabre practices, from glue-making to garden pollination to tea party games with youngest daughter Daisy (Kitty Harris).
Everything changes when Bee elects to drag in an ailing male intruder (Hilton Pelser), who may or may not be their missing older brother Luca. To reveal much more would be a disservice for those of you inclined to give Glasshouse a peek.
Filmed at an actual conservatory in South Africa, the look of this movie is nothing short of sumptuous. The house is as gorgeous as you might imagine, and the grounds evoke a sense of serenity at odds with reality. There are lovely gardens bathed in sunlight and forested surroundings that serve both as luscious backdrop and cloak of isolation.
Though staged as contemporary drama, the clothing is Edwardian, adding to the film’s mystique.
The premise is intriguing, the musical score at once enchanting and foreboding. And the ensemble cast is terrific, blessed with resonant dialogue.
So, what went wrong?
Well, let’s keep this short and (not so) sweet.
To say Glasshouse moves at a snail’s pace is an insult to snails. Slow as molasses? Insult to molasses. Sloth-like? Uh, you get the picture. It has a run time of 97 minutes, but it feels like days.
Despite director Egan’s best intentions, what could have been a precious gem sadly settles for polished turd. Vaguely reminiscent of The Beguiled, originally starring Clint Eastwood and then with Colin Farrell in a remake, Glasshouse lacks that film’s character development and suspense. It’s not nearly as beguiling. (See what I did there?)
Pretty picture it is. Compelling (or scary, for that matter) it is not.
Ultimately, you’re forced to the conclusion that Glasshouse shatters under the weight of its looooong drawn-out pretentiousness. And that’s a waste considering all the assets at Egan’s disposal.
As said at the beginning, oh what might have been.
Let’s face it. Everything pretty much sucks right now and it’s hard not to be down about current world events. However, thanks to the latest offering from iconic horror writer/director Todd Sheets, we have a new gory goody called Final Caller to help us lift […]
Movie Reviews Movies & TVLet’s face it. Everything pretty much sucks right now and it’s hard not to be down about current world events. However, thanks to the latest offering from iconic horror writer/director Todd Sheets, we have a new gory goody called Final Caller to help us lift our spirits. In common Todd Sheets fashion, Final Caller isn’t for the squeamish as it’s a blood-soaked, gore-filled good time.
Final Caller essentially is a fun slasher film that focuses on two main characters. The first of which is a serial killer known as The Outsider (Jack McCord). He’s kind of an odd fellow, and we get to see what he’s about in the first scene of the film. He’s a bit “BTK Killer”-ish in his ways. The second main character in Final Caller is Roland Bennett (Douglas Epps), an obnoxious, unlikeable, loud-mouthed radio host who’s in the middle of a rough divorce with his just as obnoxious wife Claire (Jane Plumberg).
From the opening scene, the graphic violence and gore begins with The Outsider playing with a victim while giving a speech as to why he’s doing what he’s doing. The opening credits roll and then we meet Roland, who’s on his way into the studio to start his show. We see that he’s having a bad night, but it’s about to become a lot worse. Roland’s told by his show’s producer Jessica (Rachel Lagen) that the station manager will be listening to the broadcast because there have been too many complaints from listeners coming in. So, the first call of the night comes in…and guess who it’s from? A guy calling himself The Outsider who goes on about Druids and performing human sacrifices to appease the gods, so Roland calls him a nutjob and hangs up on him. Not a good idea.
As the night goes on, insanity’s not only taking place over the phone, but Claire decides to show up at the studio with divorce papers in hand and refuses to leave until they’re signed. You must feel bad for poor Roland, at least a little bit. Anyway, things get bloody once the psycho stops calling on the phone and decides to show up at the studio to get his point across. Madness ensues. However, is it only The Outsider that Roland and the others must worry about? You’ll just have to watch and see.
Final Caller is a must-see for fans of B-movies or of Todd Sheets’ films. The gore is over-the-top fun. There are many familiar faces throughout the movie, including Antwoine Steele, Dilynn Fawn Harvey and Julie Anne Prescott. The only complaint I have is that the dialogue is like that of a Rob Zombie movie. I know I drop plenty of expletives in my everyday conversations, but in this movie, it just seems like overkill listening to the characters dropping them like rose petals. Also, the acting is a little flat but not terrible.
If you want to see Final Caller, it’s currently available on digital and DVD.
Of all the practitioners of the Weird Tale, perhaps none is as slippery as H.P Lovecraft. Despite being among the most well-known figures in horror literature for the last century, adaptations of his works are relatively few and far between. When an adaptation does rise […]
Movie Reviews Movies & TVOf all the practitioners of the Weird Tale, perhaps none is as slippery as H.P Lovecraft. Despite being among the most well-known figures in horror literature for the last century, adaptations of his works are relatively few and far between. When an adaptation does rise from the depths, the end result often bears little resemblance to the story from which it is based.
Lovecraft’s stories are predicated on the fear of the unknown and the unknowable. The things that lurk in the dark, and in the spaces beyond the darkness. The typical Lovecraft story ends when the narrator catches the briefest glimpse of the horrors beyond our world. Upon realizing the implications of the nightmares they’ve witnessed, they are driven to madness. The reality of Lovecraft’s monsters is so cosmically unfathomable that mere implication of their existence is enough to drive one insane.
In prose, such ideas can work (sometimes). In cinema, that just doesn’t fly. Sure, you can toy around with implications and suggestions, but by the end of the movie, you’d better show the damn monster or you’ll have some pretty unhappy viewers. Thus is the inherent peril courted when adapting a Lovecraft story. Stick too close to the source material and rather than instilling the audience with awe and horror, all the audience feels is boredom. Stray too far, and you lose the very essence of that Lovecraftian mood.
H.P. Lovecraft’s Witch House is the latest attempt to bring Lovecraft to the cinematic realm. Directed by Bobby Easley, and written by Easley and co-writer Ken Wallace, the movie is based on Lovecraft’s 1932 short story The Dreams in the Witch House.
Miskatonic University student Alice (Portia Chellelynn) is studying the possible existence of alternate dimensions. In her studies she finds that certain geometric patterns, Non-Euclidian Geometry, may hold the secret to her research. When a personal tragedy necessitates a move into a new living situation, she takes up residence in the attic of the notorious Hannah House. Despite the vermin infestation in her room and the bizarre behavior of her housemates, Alice is thrilled to discover that the shape of her room’s architecture is an exact match for the geometric patterns related to her studies. With the help of another resident, Tommi (Julie Anne Prescott), Alice dives into the history of the house and the meaning behind the shape of her room.
If you’ve read a Lovecraft story before, you have a pretty good idea where this is headed. If you have not read a Lovecraft story before, you still have a pretty good idea where this is headed.
H.P. Lovecraft’s Witch House takes its sweet time getting to the meat of things. After a stellar opening credit sequence, and a nice, bloody introduction, the pace grinds to a halt as the plot elements are set up.
When the lurking evil finally creeps its way into Alice’s life, the movie truly shines. Kaleidoscopic editing, and stark colors fill the screen. Deep blues coat the scenes like a monochromatic painting. Bright greens and reds fade in and out again as bizarre apparitions dance and cavort across the screen. Garish rituals and erratic behavior dominate the frame. Like Alice, the viewer can never quite make complete sense of what the images mean. But one thing is clear: it’s evil.
Visually, during the hallucinatory nightmare sequences, the movie commands complete attention. For the rest of the running time, unfortunately, the movie’s not quite as strong. Plot development is clunky and utilitarian. Scenes and dialogue exist to establish some story element or another, and provide little in the way of entertainment, or even just engagement. Characters plod their way through scenes in aimless slice-of-life moments. Repeated motifs of child abductions and satanic imagery break up the monotony, hinting at the plot to come. Such sequences are ominous, but never quite feel Lovecraftian.
The great irony in that being that as an adaptation, the movie is largely faithful to the original text. The short story itself is often criticized for being less Cosmic Horror, and more along the lines of your classic Occult Horror.
Whether this works for you will be a matter of personal taste, but as far as faulty adaptations go, we can’t blame the filmmakers for this one not feeling like Lovecraft. The blame falls squarely on Lovecraft for not feeling like Lovecraft. The adaptation is pretty spot-on.
All that said, you might expect that after weighing the pros and cons, H.P. Lovecraft’s Witch House may not be worth your time. You might think that bizarre imagery and cool colors may not be enough to override the limitations of plot and storytelling.
You would be wrong. This movie rules. It more than makes up for any shortcomings in the plot by embracing the spirit of low-budget, schlocky horror of years past.
Gore makes its presence known from the introductory scene, and a healthy dose of senseless violence rears its head a time or two as things progress. Not as much as I would prefer, but enough to keep things interesting. Spontaneous sex scenes erupt for no reason and completely gratuitous nudity flashes across the screen just often enough to remind you that cinema truly is the greatest form of art.
Forgive me for being crass, but the fact of the matter is H.P. Lovecraft’s Witch House is exactly the breath of filthy air that I needed in my life. It’s the perfect party movie. Grab some friends, gather your favorite recreational substance, and feel free to talk during the boring parts. You’ll miss key pieces of information, but who cares? The cool parts are just around the corner, and the less you know about the plot, the better. After all, uncovering the truth may just drive you to madness.
H.P. Lovecraft’s Witch House will be available on DVD and VOD July 5.
Visual Vengeance—a new imprint of Wild Eye Releasing—is here to salvage as much SOV horror, exploitation, and sci-fi from the ‘80s and ‘90s as possible and they do it by way of high-quality (ironic, I know) Blu-ray releases of the era’s most infamous titles. Their […]
Movies & TV NewsVisual Vengeance—a new imprint of Wild Eye Releasing—is here to salvage as much SOV horror, exploitation, and sci-fi from the ‘80s and ‘90s as possible and they do it by way of high-quality (ironic, I know) Blu-ray releases of the era’s most infamous titles.
Their latest such release will be Brent and Blake Cousins’s 1991 SOV action-horror bloodbath Slaughter Day slated for release on September 13.
From Visual Vengeance: “[Slaughter Day is a] rarely seen super obscurity of the shot on video era, and arguably the most insane and ambitious micro budget horror action movie ever made! In the rural recesses of Hawaii, a pair of friends must fight an ancient evil force brought to life by an occult book that possesses a group of construction workers, turning them into murderous maniacs. Shot and edited on consumer grade equipment by twin brothers Brent and Blake Cousins, Slaughter Day is packed from start to finish with kinetic lo-fi action scenes, gonzo camerawork and a truckload of homemade gore.”
Info and Select Bonus Features:
– First time ever available on disc
– Archival 1991 SD master from original tapes
– New audio commentary with Brent and Blake Cousins
– Interview: The Cousins Brothers Today
– Limited Edition Slipcase by The Dude Designs — FIRST PRESSING ONLY
– Early short films
– Liner notes
– Collectible Mini-poster
– ‘Stick your own’ VHS sticker set
– And More
Enjoy the trailer, Horror Fans….
Follow Visual Vengeance on social media to keep up with the latest news on their upcoming releases!
TWITTER: @VisualVenVideo
INSTAGRAM: Visualvenvideo
FACEBOOK: facebook.com/visualvenvideo
Isaac Rodriguez’s high concept, found footage nightmare A Town Full of Ghosts is coming soon to scare city slickers near and far and we have the trailer! When Mark and his wife Jenna go all-in to purchase an isolated ghost town with dreams of tourist […]
Movies & TV NewsIsaac Rodriguez’s high concept, found footage nightmare A Town Full of Ghosts is coming soon to scare city slickers near and far and we have the trailer!
When Mark and his wife Jenna go all-in to purchase an isolated ghost town with dreams of tourist dollars filling their heads, and they hire a film crew to document the endeavor for their video channel, things go south in a hurry once it becomes clear that the ghost town comes with…well, ghosts!
A Town Full of Ghosts stars Andrew C. Fisher, Mandy Lee Rubio, Lauren Lox, Sarah Froelich, Isaac Rodriguez, Keekee Suki, and Vania Vasquez and premieres on digital June 17.
Watch the trailer below, Horror Fans….
Writer/director Ronny Trocker’s Human Factors is a tale about perspective…I think? Perspectives told from each member of a family who are affected by a random home invasion and other pressing issues they’re all experiencing, such as jealousy, mistrust, lack of confidence and self-worth. This seems […]
Movie Reviews Movies & TVWriter/director Ronny Trocker’s Human Factors is a tale about perspective…I think? Perspectives told from each member of a family who are affected by a random home invasion and other pressing issues they’re all experiencing, such as jealousy, mistrust, lack of confidence and self-worth. This seems like a pretty interesting premise, right? In a world filled with nothing new, I was excited to see how this was going to deliver. Stick with me for a minute and let’s see if I think Human Factors pulls off an original idea successfully…or if it falls flat.
We start off with meeting our family which is comprised of the father Jan (Mark Waschke), mother Nina (Sabine Timoteo), daughter Emma (Jule Hermann) and son Max (Wanja Valenin Kube). There’s also the most adorable and interesting member of the family, the pet rat named Zorro. Later on, we meet a few other folks who pop in, including Nina’s brother and his partner.
The weird chain of events kicks off with a supposed home invasion that takes place at the family’s weekend getaway at their vacation home. Did it happen or did it not happen? Will we find out? Questions, questions.
So, this is where the story kind of goes all over the place and the watcher starts to wonder what the fuck is going on, because, quite honestly, nothing exciting or really horrific happens for the entire one hour and 42-minute runtime of the film. Not only does nothing really happen, but the things that do happen don’t make sense in an obvious kind of way. We’re shown the same things from different angles, but that’s about it.
Essentially, Human Factors is not a horror film, folks. Psychological thriller? Perhaps. Emotional drama? Sure. But horror? No. I mean, the film is beautifully crafted and is gorgeous to watch. The acting is very well done, and the storytelling did hold my attention as I wanted to see where the film was going to go, since as I’d mentioned before, it was going in so many weirdly boring directions. However, nothing came together in the end. It was just a ball of frustrating confusion. Oh, as a plus—you get to read the movie because it’s subtitled. So, if you’re up to date on your German, French and Flemish, then you’re all good just to listen.
Give Human Factors a chance if you’ve got nothing else going on. It’s nominated for several awards, so what do I know? I believe it may be currently streaming on certain platforms, so look for it wherever you find your entertainment.
Children of Sin is a crazy, blood-soaked tale about a less-than-perfect pair of parents who send their rebellious daughter and homosexual son to a strange “religious” retreat called Abraham House to save their souls from going to Hell…oh no!! But is everything really as it […]
Movie Reviews Movies & TVChildren of Sin is a crazy, blood-soaked tale about a less-than-perfect pair of parents who send their rebellious daughter and homosexual son to a strange “religious” retreat called Abraham House to save their souls from going to Hell…oh no!! But is everything really as it seems? Grab a glass of a delightful, artificially fruit-flavored beverage and get comfy as I tell you a little more about Children of Sin.
This film comes to us from writer/director Christopher Wesley Moore (Triggered/Blessed Are the Children) and essentially Moore tells a story about a family made up of the pervy asshole stepdad, Robbie (Jeff Buchwald), the anything-for-her-man mom Tammy (Keni Bounds), the troubled…aka whorish… daughter Emma (Meredith Mohler) and Lewis Hines as the gay brother Jackson, who’s the most destined to burn in Hell according to Robbie.
Because the kids aren’t living up to Robbie’s ideal family and religious standards, the kids are shipped off to something called Abraham House to save them from damnation. Emma and Jackson are told that they only have to stay at the facility for three days and as long as they follow the rules, all should be fine, and Tammy will come pick them up. Sounds easy-peasy, right?
Once inside of Abraham House, we’re introduced to Mary Esther (Jo-Ann Robinson). The woman who runs the retreat with the love of the Lord in her heart and a mind for punishment for those who don’t share that same love for Him in theirs. Mary Esther is a perfect mix of Mrs. Voorhees (Friday the 13th) and Sister Jude (American Horror Story: Coven) in her personality and approach to carrying out her vicious kills. But Mary Esther doesn’t see herself as a bad person. All she wants to do is help the children who are sent to her by their desperate parents. However, her staff and the kids under her care that we meet along the way see the truth, and they’re terrified. They try to follow Mary Esther’s rules, but she’s got a strict “three strikes and you’re out” policy in addition to other harsh punishments.
As things in Abraham House begin to turn into a crazy bloodbath at the hands of Mary Esther for one reason or another, plans for an escape are made as Emma and Jackson start to fear for their mother as she’s not called to check in on them as promised. They think that Robbie has done something terrible to her. They do manage to get away, but what they find when they return home might be even worse than what they’d just left at Abraham House.
Children of Sin is a completely fun, really bloody good time. It’s got a great ‘80s B-movie feel to it. You would never be able to tell that this film was made on a budget of around $20,000. The cinematography, gore effects, production design and score are all fantastic. The cast does an amazing job and the story flows smoothly. However, there are a couple of spots where things run a little too long and/or could use a little more backstory or explanation. There are also depictions of suicide, and sexual/religious abuse, so if you’re sensitive to those types of things, there’s your heads up.
Congrats to Christopher Wesley Moore on a job very well done! If you’d like to give this film a watch, it’s currently streaming on Amazon Prime. Enjoy!
There’s something strange happening in Room 203. A grisly past has kept tenants away for fifty years. A strange odor fills the apartment. A hole in the wall resists any attempt at repair. Room 203 has remained empty for decades. Until now. When Kim (Francesca […]
Movie Reviews Movies & TVThere’s something strange happening in Room 203. A grisly past has kept tenants away for fifty years. A strange odor fills the apartment. A hole in the wall resists any attempt at repair. Room 203 has remained empty for decades. Until now.
When Kim (Francesca Xuereb) and her life-long friend Izzy (Viktoria Vinyarska) move into the empty apartment, the only concerns they have are breaking away from their past and looking forward to their future. The landlord, Ronan (Scott Gremillion), is a bit of a creep and the antique stained-glass window in the master bedroom is off-putting, but aside from that, the room is perfect. Their optimism quickly sours as the evil within Room 203 returns to claim another set of victims.
Directed by Ben Jagger, Room 203 is a decent lazy-afternoon movie. Engaging enough to play on a whim, but nothing that will really knock your socks off. While it doesn’t bring anything new to the haunted house genre (or haunted room, as the case may be), it manages to be mostly entertaining.
The mystery surrounding Room 203 is slowly unveiled through the journalistic investigation of Kim, along with help from a fellow classmate, Ian (Eric Wiegand). Their investigation is intertwined with a minor romantic subplot as the two grow closer to one another. All the while, Kim becomes concerned about Izzy’s increasingly bizarre behavior. As the relationship between Kim and Ian grows, the relationship between Kim and Izzy wilts.
The chemistry between Kim and Ian comes across as genuine and is actually rather cute. However, while their scenes do work well individually, they tend to get in the way of the core of the actual story. At nearly two hours long, Room 203 feels bloated, with a little too much character development for its own good. Based on a novel by Nanami Kamon, Room 203 very much feels like an adaptation. While a novel can take time to explore character-oriented diversions, cinematic story-telling can quickly become bogged down when doing the same. Such indulgences become burdensome if the B-story is not top notch. Unfortunately, the romantic interactions between Kim and Ian just don’t carry enough weight to warrant the time spent with them.
When we do get back to the meat of the story, major developments occur at a rapid pace, escalating to their conclusion before the audience can even process what exactly has unfolded. Too much time is spent on extraneous sequences and not enough time is spent on explaining what’s happening in Room 203.
Why can’t the hole be fixed? Why does the room stink sometimes? What’s the deal with the bird? How is the stained-glass window important?
Once the mystery was explained, and the evil spirit was vanquished, I found myself more confused than informed about the nature of the entity. The little details tying up all the loose ends seem to have been left out of the script in favor of keeping the running time under two hours. And on the rare occasions those details are mentioned, they’re glossed over so quickly that they are immediately forgotten.
Room 203 manages to simultaneously include too much story and not enough. It’s never outright bad, but more often than not, it’s never quite as good as it otherwise could be. When it does stick to its horror elements, it is a fun watch. With a satisfying mix of unsettling atmosphere and the occasional gory special effects, the film knows how to be horror when it wants to be. In those moments, it truly shines. With 30 minutes or so trimmed from the length, Room 203 could have much more impact.
The performers all around put in good work. From the main cast, all the way down to the small parts which sometimes last for only a scene or two. Everyone on screen comes across as believable and interesting. Viktoria Vinyarska’s performance is the most memorable as Izzy devolves from a fun-loving, if troubled, party-girl into an unpredictable nightmare of a roommate.
The role of Kim is less spectacular, but vitally important. The main character of the story is often burdened with the thankless task of maintaining the rules of reality while the rest of the world spirals into insanity. Due to this story necessity, Francesca Xuereb is given fewer opportunities to flex her acting muscles. She does a fine job of keeping the story grounded, and when those opportunities do appear she proves that she is equally capable of letting loose.
Room 203 may not be anything to go out of your way to see, but for what it is, it’s worth giving it a watch if it comes across your path. If you’re looking for a comfort-watch, something to pass the time on those lazy, rainy afternoons when you don’t have anything better to do, Room 203 is the perfect fit.