Facebook

FilmNerd

Category: Reviews

  • The Dead Come Home (1989)

    The Dead Come Home (1989)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]

    Born in 1961 in New Jersey, James Riffel attended the NYU Film School, aka the Tisch School of the Arts. As with many aspiring filmmakers, Riffel decided to make a horror film as his directorial debut. He found an old house in Cherry Valley, NY, and chose that as his primary filming location. Under the working title The Road, Riffel assembled a small cast and crew to shoot their gory horror film. Filming wrapped in 1988 using the title The Dead Come Home, and Troma eventually picked it up. Through a collaboration with AIP, Troma released the film on VHS as The House on Tombstone Hill. Later, once Troma gained full ownership of the film, they tried re-releasing it as Dead Kids on the Block. Due to legal troubles, they had to change the title, this time to Dead Dudes in the House.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”50″ bar_bg_color=”#EDF000″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Mark (Douglas Gibson) has brought six of his friends to an old house he bought to help renovate it. There’s Ron (Mark Zobian), Bob (Victor Verhaeghe), Jamie (Sarah Newhouse), Steve (J.D. Cerna), Linda (Naomi Kooker), and Joey (Eugene Sautner). While working on the house, one of the group accidentally breaks a headstone, resurrecting an old woman seeking vengeance. Soon enough, our would-be homemakers meet a grisly demise at the hands of this murderous granny. Characters are cut in half by broken windows, stabbed in the back with scissors, and mangled with power tools. However, the victims don’t stay dead; they come back to life and kill anyone alive in exceedingly gruesome ways. Before long, two teens named S (Rob Moretti) and Ricky (James Griffith) end up at the house as would-be victims. Who will escape from this house on Tombstone Hill when the dead come home?

     

    Review

    Whether you call it The Dead Come Home or Dead Dudes in the House, this is a lackluster horror film. While the acting isn’t terrible, most of the main characters are forgettable, and none are fully developed. Admittedly, Victor Verhaeghe has some moments as an arrogant meathead who does kung-fu with his organs hanging out. Also, props to actor Douglas Gibson for playing the dual roles of Mark and the killer old woman. Though it’s a guy wearing makeup, it offers some camp potential just for the absurdity of senior drag. Speaking of makeup, the effects were done by Ed French, whose credits include Sleepaway Camp, The Stuff, and Blood Rage. His gore effects are the movie’s central strong point, each more disgusting and creative than the last. While some effects don’t work as well as they should, they’re still well done.

    The biggest problem with this film is how much filler there is to pad out the runtime. Scenes of characters trying to open sticky doors, throwing rocks at windows, and more to get the movie to feature-length. Not only that, but the film leaves us with so many unanswered questions as to what’s going on. Why is the old lady killing people, why do her victims become undead, and how did Mark find this house? Given how uninteresting the majority of the movie is, it’s hard to care about these questions being answered. The film plays out like a lower-budget version of The Evil Dead, minus the charm and creativity. This one provides some decent splatter effects for gorehounds, but it’s not enough to save an otherwise dull movie. Overall, The Dead Come Home isn’t the worst Troma movie, but it’s not exactly a hidden gem either.

     

    Buy The Dead Come Home from Amazon: https://amzn.to/3LUQOxV.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][et_pb_code _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    Where to watch The Dead Come Home (1989)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”The Dead Come Home” data-year=”1989″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

  • Filmgore (1983)

    Filmgore (1983)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]As I mentioned in my review of Famous T & A, many studios created compilation tapes to stock video stores. They were cheap to produce, gave audiences exactly what they wanted, and always made a profit. Charles Band and Ken Dixon had already made two compilation tapes, including 1982’s The Best of Sex and Violence. They got B-movie icons like John Carradine and Sybil Danning to deliver wry commentary over the clips shown. Band and Dixon hired Cassandra Peterson, who exploded in popularity as the horror hostess Elvira, for their next tape. They also brought Forrest J. Ackerman, the founding editor/writer of Famous Monsters of Filmland, to write Peterson’s quips. While the other compilations focused on violence or nudity, this one focused primarily on blood and guts. In 1983, Charles Band released the compilation tape Filmgore through his Wizard Video label.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”60″ bar_bg_color=”#EDF000″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    The Mistress of the Dark, Elvira (Cassandra Peterson), hosts this gallery of gore, offering her snide quips and “valuable assets.” First on the chopping block is Herschell Gordon Lewis’ 1963 splatterfest, Blood Feast, about an Egyptian caterer who’s a cannibal. Next, we get two of the most highly regarded 70s shockers, The Texas Chain Saw Massacre and The Driller Killer. Then, we move on to Drive-In Massacre, Ted V. Mikels’ The Astro Zombies, and Carnival of Blood. We’re also treated to low-budget movies like Dr. Jekyll’s Dungeon of Death and Fiend, from Don Dohler of Nightbeast infamy. After this, we return to HG Lewis with what he’s considered his best film, 1964’s Two Thousand Maniacs! The collection ends with the notorious 1975 stinker Snuff, a pre-existing no-budget shocker re-edited with a gory ending. With Elvira as your guide, check out some of the goriest scenes that Hollywood has to offer.

     

    Review

    Compared to the earlier comp tapes, Filmgore is better than Famous T & A but worse than Sex and Violence. What makes this one more enjoyable is Cassandra Peterson, who’s entertaining as always as Elvira. She delivers each line with her tongue firmly planted in her cheek and has fun commenting on the movies. Also, while the other compilations were either trailers or random clips, this one offers the cliff notes of several films. Admittedly, this does lessen the impact of The Texas Chain Saw Massacre but prevents you from suffering through Snuff. Then again, spotlighting all the bloody scenes might also entice people to seek out the full movies. It’s similar to modern movie reviewers on YouTube, where people more or less condense a film to explain the plot. These comp tapes were ahead of their time, or I’m giving them too much credit.

    In terms of actual production, this is as cheap as you can get: one set, one actress, and one camera. The quips written by Forrest J. Ackerman aren’t the most clever, but they’re fun in a cheesy way. Cassandra Peterson is at least given more to do here than Sybil Danning, who looked confused the whole time. Some of the films chosen don’t feel like they belong, like The Astro Zombies, which isn’t all that bloody. The same thing could apply to The Texas Chain Saw Massacre, but at least the violence felt gruesome. At around 90 minutes, this compilation goes by fairly quickly and delivers on what it promises. There are better comp tapes out there, but this is a decent one to watch. Overall, Filmgore does what it sets out to do, but don’t expect anything of substance.

     

    Buy Filmgore on Amazon: https://amzn.to/4jUPIxY.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Friday the 13th: The Final Chapter (1984)

    Friday the 13th: The Final Chapter (1984)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]

    Though it was to end the series, Friday the 13th Part 3 grossed $36.7 million on a $2.2 million budget. Paramount decided to make another sequel, but producer Frank Mancuso, Jr. was adamant that this would be the last film. Instead of Steve Miner returning, director Joseph Zito was brought in due to his work on 1981’s The Prowler. Tom Savini, who created the effects for the original Friday the 13th, was brought on after working with Zito. While most of the cast was relatively unknown, future superstars Corey Feldman and Crispin Glover were hired for the film. For the role of Jason, Zito hired Ted White, an accomplished stuntman who worked with John Wayne and Clark Gable. On a budget of $2.6 million, filming lasted between 1983-1984 in Topanga Canyon and Newhall, California. After a brief post-production, Friday the 13th: The Final Chapter hit theaters on April 13, 1984.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Picking up directly where the last film left off, Jason Voorhees (Ted White) has escaped from the morgue. He returns to Crystal Lake, where a group of teens stays for the weekend to smoke, drink, and have sex. There’s Paul (Alan Hayes), his girlfriend Sam (Judie Aronson), the virginal Sara (Barbara Howard), and her boyfriend Doug (Peter Barton). Also, there are Teddy (Lawrence Monoson) and Jimmy (Crispin Glover) vying for twins Tina and Terri (Camilla and Carey More). They’re staying near the Jarvis family – Trish (Kimberly Beck), her mother (Joan Freeman), and her younger brother Tommy (Corey Feldman). Soon enough, Jason makes his way to them and starts killing the teens off one by one. It’s up to Trish and her brother Tommy to fend off Jason and stay alive. Will they become Jason’s next victims, or will this be Jason’s final Friday?

     

    Review

    Even though this didn’t end the series, Friday the 13th: The Final Chapter is one of the best entries. Hiring Joseph Zito as director was the most intelligent decision the producers could’ve made since he did a great job. He creates a sense of dread and tension that makes this one of the scariest films in the franchise. Also, he brought Tom Savini back, who delivered some of his best effects work and created some wonderfully gruesome kills. We get a hacksaw to the throat, a corkscrew/cleaver kill, and a guy’s head getting smashed in the shower. Even the less graphic kills are memorable, either for being darkly comedic or having a psychological twist. Given his background as an old-school stuntman, Ted White was a great choice to don the hockey mask. He has an imposing figure that helps make Jason feel like a powerhouse of terror.

    The strengths of a Friday the 13th movie are the kills and the characters, and this has some great characters. Monoson and Glover have great chemistry and feel like two old friends who playfully trade insults back and forth. Admittedly, the rest of the teens come off as somewhat disposable, but none are annoying or unlikeable. On the flip side, the Jarvis family is easy to sympathize with, being a broken family trying to stay together. Beck and Feldman work well as brother and sister and manage to hold their own against White. As always, Harry Manfredini adds to the suspense with one of his best scores in the series’ history. Despite the subtitle no longer being relevant, this is still one of the best slasher films of the mid-1980s. Overall, Friday the 13th: The Final Chapter is an excellent entry and a high watermark for the series.

     

    Buy Friday the 13th: The Final Chapter from Amazon: https://amzn.to/3QzXGP6.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][et_pb_code _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ sticky_enabled=”0″]

    Where to watch Friday the 13th: The Final Chapter (1984)

    data-api-key=”LMVDLdLSH5ZJnQ4FMGMgyJCB8cmGbfCV” data-object-type=”Movie” data-title=”Friday the 13th: The Final Chapter” data-year=”1984″ data-theme=”light”>

    [/et_pb_code][/et_pb_column][/et_pb_row][/et_pb_section]

  • Fear Town, USA (2014)

    Fear Town, USA (2014)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]

    In 1999, comedians Matt Besser, Amy Poehler, Ian Roberts, and Matt Walsh founded the Upright Citizens Brigade (UCB) theater. The comedy troupe helped launch the careers of Aubrey Plaza, Andrew Daly, Nick Kroll, Ben Schwartz, and Donald Glover. In 2006, aspiring filmmaker Brandon Bassham joined UCB and directed several comedy shorts for them and College Humor. With a cast and crew consisting of UCB players, Bassham shot his horror spoof around New York. Around 2013, Bassham launched an IndieGogo campaign to fund his first full-length feature film and managed to raise $6,000. Through an actor friend, Amber Nelson, Bassham met with Troma founder/president Lloyd Kaufman and struck a deal. Troma provided extra funds for the film, about $4,000 for a total of $10,000, in exchange for distribution rights. In 2014, Troma released Brandon Bassham’s directorial debut, Fear Town, USA.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    It’s St. Blevin’s Day, and everyone who’s anybody will be partying it up, getting drunk, and crushing pussy. Everyone except for friends Mark (Mark Vigeant), Dan (Dan Kenkel), Myles (Jon Bershad), and Andrew (James McCarthy). While the guys play some D&D, bullies Brad (Dan Black) and Todd (Matt B. Mayer) boast about attending the party. Determined to lose their virginity, the boys set out to get to the party only to get lost. Meanwhile, friends Jen (Anna Callegari), Kelly (Cody Lindquist), and Rachel (Amber Nelson) also attend the party looking for fun. While 17-year-old Dana (Dana Clinkman) is looking for her online boyfriend, a group of uninvited guests decides to camp out. Little do our partygoers know that an escaped mental patient is killing anyone he comes in contact with. This St. Blevin’s Day will be remembered as our happy-go-lucky partiers try to survive Fear Town, USA.

     

    Review

    That synopsis only covers so much of Fear Town, USA, as so much more happens here. This movie feels like Brandon Bassham threw everything at the wall and saw what stuck to mixed results. There are vengeful spirits, demonic cults, nosy psychics, absent-minded cops, contemplative stoners, and even The Devil. With the many central characters, each plotline feels like its story could be a separate movie. Unfortunately, this approach makes it difficult to have a character to follow since there are so many to remember. In addition, not a single scene goes by without at least one or two gags or jokes happening. Plenty of these jokes land, and some don’t, but there are so many that it’s overwhelming. The movie also occasionally runs into the issue of dragging a joke out so long that it’s no longer funny. Thankfully, it’s not to Adult Swim levels of anti-humor.

    The acting is mostly decent, though plenty of the actors play their roles like they’re in a comedy. Thankfully, it’s not to the same degree as Llamageddon, where most of the acting was intentionally bad. Plus, unlike that movie, some jokes work, such as one with the killer having trouble with a bow and arrow. There’s plenty of crude humor involving bodily fluids, sexual references, and using slurs that refer to one’s orientation. While there aren’t many, some kills, including a knife going through a guy’s groin into a woman’s head, are gruesome. Also, so many odd moments, especially the ending, will leave you baffled and wondering what you’re watching. Still, even at 90 minutes, the movie feels padded to reach that length, and 20 minutes could’ve been trimmed. Overall, Fear Town, USA, is a bit disjointed, but it has some decent humor that you won’t soon forget.

     

    Buy Fear Town, USA, from Amazon: https://amzn.to/3ZptVoj.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Puppet Master X: Axis Rising (2012)

    Puppet Master X: Axis Rising (2012)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]Following the release of Puppet Master: Axis of Evil, Charles Band announced a direct follow-up in October 2011. Originally titled Puppet Master Forever, Band decided this would be the first film in the series he’d be directing. He hired newcomer Shane Bitterling to co-write after meeting him following the death of Axis’ screenwriter Dominic Muir. With this new writing assignment, Bitterling made it a personal goal to write the best Puppet Master movie to date. Charles Band hired Tom Devlin’s 1313 FX to recreate the original puppets using molds of the originals from decades ago. In addition, Christopher Bergschneider would be designing four new Nazi-themed puppets that Band slowly revealed on the Full Moon website. Unlike the last film, this one would be shot in the United States on a twelve-day shooting schedule. In 2012, the retitled Puppet Master X: Axis Rising made its way onto DVD shelves.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Following the last film, Lady Ozu (Terumi Shimazu) is betrayed and shot by Nazi commandant Heinrich Moebius (Scott King). Meanwhile, Danny (Kip Canyon) and Beth (Jean Louise O’Sullivan) return home with the remaining puppets, except for Tunneler. Just as they’re figuring out what to do, Danny and Beth are taken to meet with Major Collins (Kurt Sinclair). Given what happened last time, he puts them under the protection of Sgt. Stone (Brad Potts). Meanwhile, Moebius and his right-hand woman Uschi (Stephanie Sanditz) are working on creating the perfect, undead soldier. They’ve kidnapped a scientist named Freuhoffer (Oto Brezina), who discovers Toulon’s life-giving serum inside Tunneler. With this discovery, he creates four new puppets for the Third Reich – Blitzkrieg, Bombshell, Kamikazee, and Weremacht. With Sgt. Stone’s aid, it’s up to Danny, Beth, and their puppets to save the world from tyranny once again.

     

    Review

    Like the last installment, Puppet Master X: Axis Rising isn’t on par with the earliest installments, but it isn’t terrible. Sure, the film suffers from a lack of budget, but you can tell the filmmakers put their hearts into it. As the director, Charles Band does a good job trying to give this film a 1940s war movie feel. Also, for a relatively new screenwriter, Bitterling works some well-needed humor into the script to give it some charm. Everyone in the cast delivers an appropriately over-the-top performance, with King and Sanditz standing out as the villains. Also, Brad Potts, a former marine turned actor, shines as the gruff and scraggly yet reluctant Sgt. Stone. Tom Devlin and his team have done a great job recreating several of the original puppets from scratch. The four new puppets added to the mix are a nice touch, even if slightly non-PC.

    Unfortunately, some of the recasting drags the film down, particularly Kip Canyon, who has the charisma of a wooden block. Jean Louise O’Sullivan, for her part, tries her best as Beth and even has some badass moments. You can tell they didn’t have quite the budget they needed when you look at some of the action sequences. For instance, there’s a big scene where the good puppets battle with the evil puppets during the climax. Sadly, the fight is in a small room with just a podium, a few actors, and some WWII-era posters. Still, compared to Puppet Master: The Legacy, this is one of the series’ better entries. At slightly under 90 minutes, parts of the movie drag, but it gets the job done. Overall, Puppet Master X: Axis Rising is a promising improvement over the last entry in a long-running franchise.

     

    Buy Puppet Master X: Axis Rising from:

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • X (2022)

    X (2022)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Originally from Delaware, Ti West is a horror director who rose to prominence in the mid to late 2000s. His feature film debut was 2005’s The Roost, followed by 2007’s Trigger Man and 2009’s House of the Devil. Between 2011-2013, he directed The Innkeepers and The Sacrament and segments for V/H/S and The ABCs of Death. Midway into the decade, he directed episodes of TV shows like Scream: The TV Series, Wayward Pines, and The Exorcist. In late 2020, A24 announced they would be producing Ti West’s latest horror film, his first in nine years. Principal photography took place from February to March 2021, primarily on New Zealand’s North Island at a farm in Fordell. For the main cast, they hired Mia Goth, Jenna Ortega, Brittany Snow, Scott Mescudi, Martin Henderson, and Owen Campbell. After premiering at South by Southwest, X hit theaters in March 2022.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.19.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Set in 1979, aspiring porn actress Maxine (Mia Goth) goes on a road trip with her boyfriend/producer Wayne (Martin Henderson). Along with Maxine and Wayne, there’s Bobby-Lynne (Brittany Snow), Jackson Hole (Scott Mescudi), RJ (Owen Campbell), and Lorraine (Jenna Ortega). He managed to secure a deal with local farmer Howard (Stephen Ure) to use his guest house as production space. Howard demands they don’t engage with his wife Pearl (Mia Goth), who sneaks around to spy on them. It turns out Pearl is jealous of how the cast & crew are youthful while she’s old and frail. As night approaches, Pearl starts killing off the cast & crew one by one, her husband being complicit. As the body count rises, the unsuspecting victims are put through the wringer as they struggle to survive. Who will manage to escape, and who will be the next victim?

     

    Review

    Ever since I first saw the trailer for X, I immediately knew it would be great, and it was. Ti West perfectly captures the look of a low-budget genre film from the 1970s like The Texas Chain Saw Massacre. While it doesn’t have the raw documentary style of Tobe Hooper’s classic, it retains a similar down-and-dirty feel. In a time when most modern horror films have gotten soft, X goes for the jugular to shock the audience. The film has plenty of blood, guts, and T&A, similar to what you’d see in a vintage exploitation picture. Rather than being excessive, the violence is effectively used to complement the more tension-filled scenes. Even before the horrors start, there’s an ever-present sense of dread, where you feel like something’s going to happen. It all builds to an unnervingly gruesome climax where it seems like anything can happen.

    Everyone in the cast is excellent, with Mia Goth standing out for playing the dual roles of Maxine and Pearl. As Maxine, she’s spunky, ambitious, and somewhat self-absorbed, but as Pearl, she’s terrifying and grotesque yet rather tragic. Brittany Snow is also entertaining as the narcissistic Bobby-Lynne, who thinks she’s better than everyone else. On top of delivering a now-iconic screaming face, the young Jenna Ortega shines as the naive but ambitious Lorraine Day. While providing plenty of shocks, the film also talks about aging and how young people can waste their youth. As horrifying as she is, you can’t help but sympathize with how Pearl resents the wastefulness of the younger folk. The film has some slow spots at an hour and 46 minutes, but they’re not enough to ruin the experience. Overall, X earns its place as one of the best horror films of 2022.

     

    Buy X from Amazon: https://amzn.to/3rcBiiM.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • The Whale (2022)

    The Whale (2022)

    [et_pb_section fb_built=”1″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]

    After reading a review in The New York Times, filmmaker Darren Aronofsky saw a play by Samuel D. Hunter. Titled The Whale, Aronofsky was so moved by the show that he met with Hunter, and the two started collaborating. Aronofsky wanted to adapt Hunter’s play to the big screen, but it would take ten years for that to happen. The biggest challenge was casting the lead role of Charlie, a morbidly obese English teacher living alone. One day, Aronofsky watched the trailer for 2006’s Journey to the End of the Night on YouTube, starring Brendan Fraser. Sadly, Fraser’s career had gone downhill after calling out the then-head of the Hollywood Foreign Press Association for sexual assault. Alongside Fraser, Sadie Sink, Hong Chau, Ty Simpkins, and Samantha Morton were cast in one of Aronofsky’s most challenging films. After earning critical acclaim at the Venice Film Festival, The Whale opened in December.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Charlie (Brendan Fraser) is an overweight English teacher teaching online courses with the webcam turned off for fear of embarrassment. Since leaving his wife Mary (Samantha Morton) for another man, Charlie has become a recluse with hardly any outside contact. He’s cared for by Liz (Hong Chaung), a nurse who continually urges him to go to a hospital. Knowing he doesn’t have much time left, Charlie tries reconnecting with his estranged daughter Ellie (Sadie Sink). She wants nothing to do with him but changes her mind when Charlie agrees to write her essays. Charlie also gets visits from Thomas (Ty Simpkins), a missionary for the New Life Church that tries to evangelize Charlie. Soon enough, Liz brings Mary to discover that Ellie was seeing Charlie, leading him to plead with his ex-wife tearfully. Will Charlie succeed in his endeavors, or will he die not having made amends?

     

    Review

    I had been anticipating The Whale for months since hearing the buzz it generated at the Venice International Film Festival. Now that it’s finally out, I can safely say that the movie lived up to my expectations and then some. First, Brendan Fraser deserves all the acclaim he’s been getting for giving the best performance of his career. After a while, you forget that he’s wearing a fat suit and believe he gained that much weight. While it’s easy to sympathize with his struggles, Fraser almost challenges you to accept how grotesque he is. He constantly asks people to acknowledge him for his identity rather than sugarcoat and dance around the subject. Fraser knows how much of a failure he is and wants to feel like he’s done at least something right. He deserves an Oscar for his performance, and I hope this reignites his career.

    Of course, that’s not to say the rest of the cast lacks, as everyone, including Fraser, performs well. Sadie Sink is excellent as the broken, spiteful daughter who reluctantly agrees to spend time with her dad. Hong Chau is another standout as Charlie’s only true friend who still cares for him despite his stubbornness. Ty Simpkins is also great as a missionary who wants to help Charlie despite his flaws and past actions. Darren Aronofsky continues to impress as a director, choosing to film the movie in a 4:3 aspect ratio. This helps to make the film feel more claustrophobic and isolated like you’re right there with Charlie. Like many of Aronofsky’s works, this will divide some people, especially with its depiction of fat people. Overall, The Whale is an excellent film about grief, shame, and remorse, punctuated by a career-defining performance from Brendan Fraser.

    [/et_pb_text][et_pb_code _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]Buy Your Tickets on Sale to watch “The Whale” playing in theaters starting December 9th[/et_pb_code][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • The 12 Slays of Christmas (2022)

    The 12 Slays of Christmas (2022)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]For decades, Charles Band bought numerous properties for his studios to produce some of the strangest movies imaginable. During the Empire Pictures days, he purchased the old Dino De Laurentiis studio outside Rome for filming space. Then, in the early days of Full Moon Features, Band started Castel Film Studios in Romania with Vlad Paunescu. There was even a period in the early 2010s where Full Moon shot some movies in China. In June 2021, Charles Band opened a new studio in the most unlikely of places – Cleaveland, Ohio. As the Akron Beacon Journal reported, Charles Band purchased a Fairmount Avenue home in Cleaveland Heights for filming purposes. Some films made there included Baby Oopsie, The Resonator: Miskatonic U, and Sorority Babes in the Slimebal Bowl-O-Rama 2. Just in time for the holidays, Full Moon put together The 12 Slays of Christmas in the Full Moon Manor.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”50″ bar_bg_color=”#E09900″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Friends Britany (Cody Renee Cameron), Mandy (Dare Taylor), and Christine (Lauren Nicole Smith) get stuck while driving through a snowstorm. They take refuge in a nearby manor filled with Christmas gifts, decorations, and a bountiful feast that’s fully prepared. The girls make themselves home when they meet the manor’s lone occupant and caretaker, Ignatius (Tom Fitzpatrick). Delighted to have guests over, he lets them open whatever gifts they want and dine on his feast. One of the girls finds an old book called The 12 Slays of Christmas, which Ignatius happily reads to them. The book contains twelve poems, each about a specific character from Full Moon’s back catalog. Each present the girls open is a miniature figure based on whatever character is being read about. But will the girls’ tow truck arrive on time, and what else does Ignatius have planned for them?

     

    Review

    Honestly, I’m not sure if I can call this a movie since it’s short and primarily a clip show. Out of its 45-minute runtime, I’d say about 30 minutes is original footage, and the rest is stock footage. Admittedly, the wraparound segments are well-made and have excellent production value, adding a Christmas-like feel to the experience. The film has a cozy feel with the Christmas tree, colorful lights, and other assorted decorations. As far as the cast goes, the four players do a decent job, though Tom Fitzpatrick is the standout. With a look inspired by Riff Raff from The Rocky Horror Picture Show, he’s having fun with the role. The three central actresses are easy on the eyes and have some fun banter with each other. As a whole, the main story is at least well put together and decently acted.

    As for the rest of the movie, there’s not much more to say since it’s mostly stock footage. We get footage from the Puppet Master series, the Demonic Toys movies, the Subspecies franchise, and many more. Admittedly, seeing all this footage made me want to watch those movies instead, but that might’ve been intentional. This feels like a celebration/advertisement of Full Moon’s properties while promoting a new line of merch. The miniature figures the girls unbox seem like figurines that Full Moon could be selling online soon. I should probably be more upset that this is a glorified clip show/advertisement, but I can’t be mad. At 45 minutes, it didn’t take too much of my time, it didn’t look cheap, and the acting was fine. Overall, The 12 Slays of Christmas isn’t terrible, but if you want a Full Moon movie for Christmas, watch Trancers.

     

    Watch The 12 Slays of Christmas on Amazon: https://amzn.to/4dbKKKx.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Avatar: The Way of Water (2022)

    Avatar: The Way of Water (2022)

    [et_pb_section fb_built=”1″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]

    In 2006, James Cameron announced that he’d want to make sequels to Avatar if it was a hit. Fortunately, the movie grossed over $2 billion worldwide, breaking the record for the highest-grossing film set by Cameron’s Titanic. The film earned nine Oscar nominations and won three for Best Art Direction, Best Cinematography, and Best Visual Effects. With this overwhelming success, Cameron confirmed a sequel was in the works in 2010 with a 2014 release in mind. However, like the original, the first of many sequels would take longer than expected, with filming starting in 2017. With a budget of $350–460 million, the film is one of the most expensive ever made, surpassing Avengers: Infinity War. After three years of filming, the movie was scheduled for a late 2020 release, only to be delayed eight times. Years after the original, Avatar: The Way of Water hit theaters in December 2022.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Years have gone by, and human-turned-Na’vi Jake Sully (Sam Worthington) is raising a family with Neytiri (Zoe Saldana). Their children include Neteyam (James Flatters), Lo’ak (Britain Dalton), Tuk (Trinity Jo-Li Bliss), and Kiri (Sigourney Weaver). Unfortunately, their peace is interrupted when the RDA returns full force to mine Pandora for its resources. Among them are a group of avatars with memories of dead marines led by Colonel Miles Quaritch (Stephen Lang). After Quaritch captures a human boy named Spider (Jack Champion), who befriended the Na’vi, Jake and his family flee. They move to the eastern seaboard to take shelter with the Metkayina clan led by Chief Tonowari (Cliff Curtis). Despite objections from the other tribespeople and his wife, Ronal (Kate Winslet), Tonowari welcomes Sully’s family with open arms. As Jake’s family learns to adapt to their new home, Quaritch and his team are on the hunt.

     

    Review

    After more than a decade of waiting, how does the long-awaited sequel to the initial blockbuster stand up? If you enjoyed Avatar, you’d enjoy Avatar: The Way of Water since it’s the same movie, for better or worse. Like its predecessor, the film is visually stunning and impressive on a technical level, only to stumble narratively. This film’s most significant innovation was being able to film motion capture underwater, which had never been done before. Despite the difficulties this presented for the crew, it’s undoubtedly impressive, and Cameron deserves credit for his ambition. Still, all these innovations mean very little if the story and characters aren’t exciting, which is the case here. This one hits similar beats as the original: humans invade Pandora, Quaritch leads the invasion, and Sully defends the people. Granted, there are some slight changes, but it’s more or less the same movie.

    While Jake Sully and Neytiri were at the forefront of the first film, the sequel focuses on their kids. Aside from having 73-year-old Sigourney Weaver playing one of the kids, they all do a fine job. I found Lo’ak, played by Britain Dalton, to be the most interesting with his subplot of feeling like an outcast. Like the last film, Stephen Lang is the biggest highlight, though he doesn’t have the same impact since he’s CGI. Part of what makes it so hard to feel for the characters since they’re almost all digital creations. Say what you will about the original, but that at least had a good mix of human and digital characters. With an over three-hour runtime, it culminates in a final battle that’s not as exciting and has obvious sequel-baiting. Overall, Avatar: The Way of Water is all style but no substance, more so than its predecessor.

    [/et_pb_text][et_pb_code _builder_version=”4.19.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]Buy Your Tickets on Sale to watch “Avatar: The Way of Water” playing in theaters starting December 16th![/et_pb_code][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

  • Play Dead (1983)

    Play Dead (1983)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]

    One of the most popular horror subgenres of the 1970s was the animal attack genre, which started with 1971’s Willard. The decade brought us Frogs, Killer Bees, Jaws, Grizzly, Kingdom of the Spiders, and Piranha, amongst others. An off-shoot of this subgenre was movies centered around domesticated animals running amok, most prominently dogs. After The Omen, a wave of killer dog movies filled movie theaters, including Dogs, The Pack, and Dracula’s Dog. The United Construction Company decided to produce its own film in Texas to capitalize on this trend. They hired Peter Wittman, whose only credit was co-writing and producing Skullduggery, to direct the movie. Filming began in 1981, with Yvonne De Carlo, best known for her role on The Munsters, as the lead. After premiering in Britain in 1983 and West Germany in 1985, Troma released Play Dead to the US in 1986.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”60″ bar_bg_color=”#EDF000″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Audrey (Stephanie Dunnam) and her brother Stephen (David Ellzey) attend their mother’s funeral when Aunt Hesther (Yvonne De Carlo) arrives. While everyone’s mourning, Hesther is scornful because her sister stole her boyfriend, married him, and killed herself after he died. After the funeral, Stephen urges Hesther to make things right with Audrey, so she gifts her a rottweiler named Greta. However, it turns out that this dog is part of Hesther’s plan to get revenge on her late sister. Using some Satanic black magic, Hesther possesses the dog and commands her to kill anyone she feels has wronged her. Each of the murders is staged as an accident, which puzzles Detective Otis (Glenn Kezer) as he investigates the deaths. After her brother and her boyfriend Jeff (David Cullinane) wind up dead, Otis suspects that Audrey might be responsible. Little does he know that a demon dog is on the loose.

     

    Review

    Despite the ridiculous premise, Play Dead is one of the more competently made and decently acted films of its kind. While not all that scary or intense, the movie offers plenty of camp and bizarre moments. The biggest thing this has going for it is Yvonne De Carlo as Hester, the vindictive aunt seeking her revenge. De Carlo commits to the role even if this isn’t on par with something like The Ten Commandments. She comes off as menacing while adding some dark humor through her dry delivery and occasionally chews the scenery. Stephanie Dunnam makes for a sympathetic lead, and Glenn Kezer shines as the straight man trying to solve this case. Also, the dog who plays Greta is incredibly well-trained and comes off as both lovable and vicious. All-in-all, the acting ranges from pretty good to decent, though most of the supporting cast is forgettable.

    Considering this was Peter Wittman’s first time as director, he does a surprisingly good job behind the camera. At barely under 90 minutes, the film goes by reasonably quickly, though some slow moments drag the movie down. The kills are relatively tame, though they’re fun in a goofy way just for how absurd they are. There are a few sequences where Wittman uses slow motion to heighten the mood, and they do a decent job. Interestingly, the art director was Robert Burns, whose biggest claim to fame was The Texas Chain Saw Massacre. His other credits include serving as art director on The Hills Have Eyes, Tourist Trap, Disco Godfather, and Re-Animator. I wouldn’t go so far as to call this a lost classic, but it’s worth checking out for cult fans. Overall, Play Dead has some decent performances and is reasonably well-made, but don’t expect something mindblowing.

     

    Buy Play Dead from Amazon: https://amzn.to/3jex0qC.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

    [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]