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Lex Ortega’s Belibette Album Review

Lex Ortega’s Belibette Album Review

 

From the dark mind of Lex Ortega comes his latest offering of pain and suffering to the world, this time thru his music with his band Belibette.

In 2015, Lex Ortega took the entire horror film industry and visually raped all who saw his film Atroz. Atroz is without a doubt the most brutal and all most hard to watch films in existence. Lex is back this time with his band entitled Belibette with their debut lp 72 Huries and from Atroz to his music, he hasn’t let up one bit!

Me personally growing up, i was always in to heavy metal, hard core and some death metal for the most part. Each genre had different sounds and speeds to them, but basically, it was whatever moved me is what I liked. Well, after I heard Belibette ,I let Lex know that I had to review it!

I mentioned how each style of music i listened to had its own sound and speed, well Belibette is what is called grind core. imagine if you will, taking some brutal lyrics, crashing snare drum and a lightning fast guitar riff and dumped it all in to a blender then threw a handful of razor blades in the mix for good measure while Lex growls and howls into the microphone!

The tempo is blazing fast and the vocals styling of Lex is honestly like nothing ive ever heard…..and further more (laughing),nothing i could ever understand. The band is from Mexico and all lyrics are sung in Spanish as well….that doesn’t help as I didn’t exactly ace Spanish classes in school.

But never the less, the vocal styling is truly a mystery on how they (the front man) can not only pronounce what it is they are saying, but also cant figure out how it is possible for them to be able to speak the next day after performing.

I’m going to leave you with the video for the track Sutil Posesión. I think the strobe light effect really captures the feeling of grind core. Kind of like feeling your heart pounding . I commend Lex and his band on the debut  and hope they tour the states and I get the chance to experience Belibette first handed, but in the mean time, check them out and be sure to support !!

Keep it Evil




Posted by John Roisland in Categories, MUSIC REVIEWS, 0 comments
Circus of the Dead director Bloody Billy Pon need our help!!

Circus of the Dead director Bloody Billy Pon need our help!!

 

Bill Pon, a.k.a Bloody Bill NEEDS OUR HELP! For those of you just hearing about this devastating news, Bill has been diagnosed with stage 4 cancer. No, this is not a joke nor is it a story line for one of his new movies, this is very real!

On top of being the writer /director of one of my all time top horror films, Circus of the Dead, Bill is also one the most genuine and nicest people I’ve met in the horror industry. We have spoke on the phone numerous times, texted, emailed and he has also guested on my very first pod cast for House of Tortured Souls Live! The man called me friend, and that’s how I think of Bill, as a friend.

He always and only has nice things to say about others and is always supportive while trying to make it happen for himself. Bills life time dream is to be making movies, and thru this endeavor has left him without insurance. So it is up to us to try and help our friend out the best we can.

A gofundme has been started in attempt to try and help and his family financially cope the astronomical medical bills that are already piling up. There are tons of crowd-funding  projects going on as we speak , all for great up and coming new indie films…..sorry guys, but this one is by far more important!

Below is the official gofundme link for Bill.

PLEASE, I know the holidays are coming soon…but anything will help!!!

All our Love Bill!!

Keep it Evil

 

BILLY PON GO FUND ME

Posted by John Roisland in BRUTAL REALITY, EDITORIALS, EVENTS, HORROR NEWS, IN THE SPOTLIGHT, 2 comments
Bandit Motion Pictures : The Bad Man

Bandit Motion Pictures : The Bad Man

The Bad Man, the newest release  from the creative mind of Scott schirmer and all the crew at bandit motion pictures have done it again with what is probably their darkest film yet. Scott Schirmer (writer /director/producer Plank Face, Harvest Lake , Found) brings you the story of a clown and a young couple.

The Bad Man stars Ellie Church (Plank Face, Frankenstein Created Bikers, Headless, Harvest Lake, Space Babes from Outer Space) as Mary, Jason Crowe (Space Babes from Outer Space, Harvest Lake) as P.J. and Arthur Cullipher as Lawernce the Clown.

The basis of the story is Mary and PJ are visiting a B&B that Mary’s recently deceased grandmother owned. While their Lawernce shows up claiming to have a previous reservation for the night. Reluctantly the couple agree and let Lawernce stay, …after all, its only for one night.

Mary awakens the next morning alone only to find Lawernce, who is now in clown makeup, carrying a unconscience , gagged and bound PJ around the house. Mary is quickly over powered after threatening to kill the clown by Clowns gimp, a slender man in black jeans, black boots and a gas mask.

The movie moves along with our young couple being drugged, raped, humiliated and tortured all while Clown is breaking their will and turning them each into his own creatures. Mary he now has dressed as a baby doll in white dress , with Betty Boop style make up and PJ is now his dog, on all fours, with a choker collar that the gimp has taken to in a not so friendly manner.

Now im not going to give away any spoilers on the ending, but the story moves on only to find out that this breaking of the will is a part of an entire sub culture where people own humans that are totally submissive,  broken spirited pets/slaves.

There is a nice cameo by Alyss Winkler as Mantis and Ellie Church does a great job as does Crowe, but Arthur Cullipher’s performance hands down made this film. Cullipher’s performance was simply brilliant and at times will give you chills. He is everything that clown fearing folk fear. From happy go lucky , laughing and giggling to as a circus clown does, to the sleaziest and most violent , all while in clown make up.

The Bad Man is a solid film but kind of a slow burn at times…but it always keeps you. A power that Scott Schirmer seems to have is to be able to never give away to much at once, but always keep his audience captive.

So did I like The Bad Man, YES!  The Bad Man a solid film that takes you down a very dark road!

 

Keep It Evil

Posted by John Roisland in MOVIE REVIEWS, 0 comments
TOM SAVINI TURNS 72 TODAY!!! HAPPY BIRTHDAY TOM!!!

TOM SAVINI TURNS 72 TODAY!!! HAPPY BIRTHDAY TOM!!!

 

Thomas Vincent Savini was born on November 3, 1946. He is known for his amazing talent as an actor in such films like From Dusk Till Dawn, Planet Terror Creepshow 2 and many many others. In 1990 he directed Night of The living Dead which was a remake of the 1968 classic that was directed by the late, great George A Romero. Tom recently directed a new episode of Flicker, which is a new web series created by Robert Tinnell, telling bite sized horror tales paying homage to silent horror films from the 1920’s.

‘Most of all, Tom Savini is known for his creativity in over the top special make up effects for such films like Friday The 13th, The Prowler, The Burning, Martin, Dawn of The Dead, Creepshow and many many others.

The Godfather of Gore was inspired by the 1957 film, a Thousand Faces. He became fascinated with the magic and illusion of film . While Tom was a combat photographer in Vietnam, he got his first taste of real carnage, which ended up being in his films later on.

Tom Savini has a special makeup effects program located in Monessen, Pa at Douglas Education Center.

In 2013, I had the pleasure of meeting this man at Douglas Education center and even though I knew he was busy at the open house, I was just in awe. Here is the guy that I looked up to my entire life. When I was a kid, I spent majority of my time watching horror films and his name often appeared in the credits under special make up effects.

As a lover of the 70’s and 80’s horror films, I was in shock at just how well the makeup was done, it looked real, it looked disgusting and it looked painful. If Tom’s name was on a film, you knew you were in for a treat of carnage.

One year as a Christmas Gift, I was given VHS tapes of Tom’s work. Scream Greats and Horror Effects and I would watch those back to back all the time. I was overly obsessed with film making and enjoyed seeing how all this magic comes to life on screen.

Say what you want about Tom Savini, but to me he is a legend, a mentor, a filmmaker and a friend.

SMOKE AND MIRRORS, which is a documentary on the life of Tom Savini, is in post production and will hopefully see the light of day very soon.  The film was written and directed by Jason Baker.

 

LET’S ALL WISH TOM A VERY HAPPY BIRTHDAY, TODAY!!!!!

HAPPY BIRTHDAY, TOM!!!

 

 

 

Posted by Jonathan Hughes in Categories, CELEBRITY BIRTHDAYS, EDITORIALS, 0 comments

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Thirty – 10/30/18

10/30 – 2016: DON’T BREATHE/TRAIN TO BUSAN

And yet again, I came upon a year where it was too hard to decide which films to feature, and it got narrowed down to two: a home invasion thriller that upends the premise of a classic chiller from the Sixties, and a zombie action drama unlike anything audiences had seen before.

If you’re old enough to remember (as I do) the Terence Young-directed thriller from 1967, WAIT UNTIL DARK, the best screen adaptation of Frederick Knott’s smash play there will ever be, you’ll recall Audrey Hepburn as the “champion blind lady”, who manages to get the goods on three crooks trying to outsmart her, including a terrifyingly good Alan Arkin.  FEDE ALVAREZ, who totally retooled Sam Raimi’s EVIL DEAD in a gore-drenched remake in 2013, got the brilliant idea of taking that scenario and flipping it around. The result? The cracklingly good ‘home invasion’ flick, DON’T BREATHE…which literally describes what you’ll find yourself doing through the second and third acts of his DEAD follow-up.

Once again tapping the talents of his muse/leading lady JANE LEVY, and adding DYLAN MINNETTE and DANIEL ZOVATO into the mix, the three of them play juvenile burglars out to make one last big score. Zovato’s “Money”, the wannabe-badass of the group hits upon a plan. Rumor has it that there’s an old, blind Iraq war vet who lives alone, and has a shitload of cash stashed somewhere in his house.

Old. Blind. Isolated. Rich. Easy pickins, right?

Except, of course, if the man in question happens to be STEPHEN LANG (AVATAR, BAND OF THE HAND, LAST EXIT TO BROOKLYN), who usually plays ‘not-fuck-with-able’ sighted characters on his worst days. So is the man he plays here going to be an easy target? Not on your life.

I won’t disclose how they find out, but the three thieves soon learn they’ve got their hands full. And worst of all, they’re on the Blind Man’s turf. Where they know next to nothing about his house, he has that blind person’s super-heightened senses of everything that’s around him, especially sound. And that’s where the title comes in.  BREATHE is a mindfuck all the way around. The “bad guys” turn out to be so much less dangerous than their intended ‘victim’, and even though they were up to no good, you end up rooting for them to be able to get the hell out of the predicament they made for themselves.

But much like the script that Alvarez crafted with writing/producing partner RODO SAYAGUES, you never have any idea of what’s coming next, and the twists and turns will keep you on the edge of your sofa, all the way up to the gasp-inducing finale.  I didn’t care much for Alvarez’s take on the Raimi film, to be completely honest, but DON’T BREATHE won me over immediately. I don’t doubt that if you love a good, solid thriller, the same will happen for you with this one.

As for our other feature…

Like many people, I gave up on THE WALKING DEAD at about Season Six. Or was it Seven? No matter. By the time Negan was finally introduced after what seemed like a lifetime’s worth of speculation, I was pretty much “zombie’d-out”. With multiple TV series devoted to them (including FEAR THE WALKING DEAD), I just didn’t feel like anything new could be done with the sub-genre. Or at least, no one was trying very hard to.

And then, along comes TRAIN TO BUSAN.

This pulse-pounding thriller from Korean director SANG-HO YEON, took what appears to be a simple enough premise – transferring the scenario of Romero’s DAWN OF THE DEAD from a shopping mall to a commuter train – and, using the tried-and-true conceit of character investment by the audience, turns his film into a grueling, 90-minute terror ride that fans have taken again and again since its initial release. (It was one of the biggest box-office smashes in Korea that year, and for good reason!)

Work-obsessed businessman Seok-woo (YOO GONG) is taking his daughter, Soo-an (SU-AN KIM) to be with her mother, from whom he is estranged. But what seems like the beginning of a downer of a family drama, takes a sharp left turn, as father and daughter board the train leaving Seoul and bound for Busan, just as a mysterious zombie virus descends upon the city, transforming those affected by it into speedy, groveling flesh-munchers, infecting any and everyone who happens to get bitten.

The terror grows with the size of the undead hordes, and the chances for survival shrink faster than the Seoul skyline in the distance. As the struggle begins, a beefy laborer, Sang-hwa (the scene-stealing DONG-SEOK MA) who starts out having an antagonistic relationship with Seok-woo, soon joins forces with him as a badly-needed ally, as he tries to keep himself and his daughter alive, while also still trying to fulfill his promise to Soo-an to get her to Busan to see her mother.

 

As I often like to say, “Terror needs no translation”, and that definitely applies here. Director Yeon, working from the script he wrote with JOO-SUK PARK, knows his way around an action sequence, and manages to blow the audience away with several suspenseful setpieces, involving situations that have never been presented before the way they are here, even in top-notch zombie thrillers like 28 DAYS LATER and WORLD WAR Z (which TRAIN shares some similarities with.)

International filmmakers are ‘bringing it’ with their takes on the zombie genre, with everything from BUSAN, to the recent Chinese productions of ZOMBIOLOGY and LOST IN APOCALYPSE. I wish George Romero were still here to see this, and to remark on it in his own unique way…

POST-MORTEM SCRYPT: 2016 bounced crazily between sci-fi/horror, the supernatural and man-made monsters with such offerings as 10 CLOVERFIELD LANE, THE CONJURING 2, SPLIT, THE WAILING, RAW, THE AUTOPSY OF JANE DOE, UNDER THE SHADOW and the excellent THE GIRL WITH ALL THE GIFTS.

Posted by Samuel Glass in EDITORIALS, FAMILY HORROR, FEATURED CONTENT, GORE OR EXTREME HORROR, HALLOWEEN, MONSTERS AND CREATURES, OPINION, SLASHERS AND BAD HUMANS, THRILLER, TRIBUTE, ZOMBIES, 1 comment

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Twenty-Nine – 10/29/18

10/29 – 2015: BONE TOMAHAWK/GREEN ROOM

A tense tale about the search for a missing woman in the Old West, (BONE TOMAHAWK), and the story of a punk rock band that accepts a gig from Hell (GREEN ROOM). You wouldn’t think these two films had very much in common, and you’d be right. Except that it not only introduced audiences to two remarkable new filmmaking talents, but also gave them two films that went to some unexpected places, redefining what it means to ‘gaze into the abyss’…and see with terrifying clarity, what it is that’s staring back.

S. CRAIG ZAHLER hasn’t been a big part of ‘the scene’, so when BONE TOMAHAWK arrived, it felt kind of like a random lightning strike, and had about the same effect on fans! When you see names like KURT RUSSELL, DAVID ARQUETTE, RICHARD JENKINS, PATRICK WILSON and MATTHEW FOX associated with a film from a relative newbie, you know that script has got to be something special. And it certainly is.  How best to describe this without spoiling the living hell out of it? Okay – for you film buffs out there who go back as far as I do, think THE SEARCHERS-meets-THE HILLS HAVE EYES. For you latter-day movie kids, think DEADWOOD or TOMBSTONE, with just a taste of THE DESCENT thrown in.

When the wife of a small-town settler (WILSON) vanishes, Russell is the sheriff who rounds up a posse to go after her and the people who took her, probably Indians by all the signs. So in the first half of the film, you think that what you’re getting is a modern-day take on a classic kind of Western.  And for the most part, you are.  Then, the second half kicks in.  And I don’t want to say more than that, except keep the smelling salts handy.

For old hands Russell and Jenkins, this is familiar territory, and their roles fit them like old, worn, favorite gloves. Even Arquette doesn’t have to stretch here, his own cameo pretty much an extension of the role he played in the underrated cult classic, RAVENOUS. (And Arquette gets beautiful support from an unexpected cameo by no less than SID HAIG, but I won’t say where or when that happens).

But it’s Matthew Fox who gets the part that’s the most ‘against-type.’ His leading man good looks serve him well, to augment a character you probably could only spend two minutes with before wanting to kill him. It’s quite the revelation.  But not as much as the 180-degree-turn BONE TOMAHAWK makes, into territory that most Westerns wouldn’t even think about going into. This is one of those you’ll be telling your friends about once you’ve seen it, and there are scenes I can promise that will stay with you for a very long time.

On the other side of this, GREEN ROOM is a brilliantly crafted B-thriller with great performances, and a sad footnote, as the movie that pretty much defined the career of the late ANTON YELCHIN, even as he exploded onto the pop culture scene as the “new” Ensign Anton Chekhov in J.J. Abrams’ retooling of the STAR TREK series.

The follow-up to his bracing revenge tale, BLUE RUIN, writer/director JEREMY SAULNIER brings to light the tragic and unsettling tale of a punk band called “The Ain’t-Rights”, composed of Yelchin as “Pat”, along with JOE COLE, CALLUM TURNER and ALIA SHAKWAT as his band mates. Closing out their most recent tour, they were set to do a gig that was arranged by a college boy fan, which fell through without warning.  Stuck with no other options, their benefactor quickly sets up another gig for them.  Out in the middle of nowhere. At a clubhouse.  For neo-Nazi types.

Not the best of circumstances, but money is money and a gig is a gig. Things are pretty dicey from the get-go, and it doesn’t help that the band kicks off their set with a rousing cover of The Dead Kennedy’s classic “Nazi Punks Fuck Off.” Even with that, they do manage to win over the surly crowd. Or so they think.

Retreating back to what passes in this shithole for their “green room”, they’re told not to go in, but someone forgets something in there, and does it anyway. And that’s when they see it: the murdered body of a girl they saw earlier when they were playing in the club.  Things go south fairly quickly, when the skinhead staff trap them inside the room because of what they saw. But two things make it apparent that they probably won’t be allowed to leave alive: when Amber (IMOGEN POOTS), the dead girl’s ‘best friend’ becomes a captive as well, and when the leader of the skinhead cell, Darcy, arrives to take charge of things and “clean up the mess.”  In other words: ‘no loose ends.’

Yet again, we have a script that’s impressive enough to attract an amazing lineup of talent, but especially for the role of the deeply evil Darcy, a complete game-changer for PATRICK STEWART, who said in an interview that when he read the script, the part scared him so badly that he knew he had to do it. Darcy began an arc of parts that Stewart has accepted to change his “Captain Jean-Luc Picard” image, and this was certainly a great way to start.

Every step Saulnier takes with GREEN ROOM proves beyond a doubt, that BLUE RUIN was definitely no fluke, and as a ‘good luck charm’, the cast of ROOM includes the monumentally talented actor/writer/director MACON BLAIR, who was the star of RUIN, and is behind the tremendously dark and funny character piece, I DON’T FEEL AT HOME IN THIS WORLD ANYMORE., made for Netflix. Here in ROOM, Blair has a pretty important role as well as Darcy’s main lieutenant, and that’s about as much as I can say about that.

Bracing, razor-sharp and violent, GREEN ROOM isn’t for the squeamish, and provides some pretty sweet surprises not only for lovers of survival chillers, but mystery lovers as well, as The Ain’t-Rights begin to learn that there’s more than just a case of domestic violence going on behind the scenes.

So that gives you two options of films that gained a lot of traction from word-of-mouth, and rightfully so.

POST-MORTEM SCRYPT: THE WITCH, THE INVITATION, THE VISIT, CRIMSON PEAK, KRAMPUS, THE FINAL GIRLS, INSIDIOUS: CHAPTER 3 and GOOSEBUMPS were just some of the movies that gave horror fans a widely diverse selection to choose from, in both quantity and quality, for 2015.

Posted by Samuel Glass in EDITORIALS, FEATURED CONTENT, GORE OR EXTREME HORROR, HALLOWEEN, MONSTERS AND CREATURES, MYTHS AND LEGENDS, OPINION, SLASHERS AND BAD HUMANS, THRILLER, TRIBUTE, 0 comments

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Twenty-Eight – 10/28/18

10/28 – 2014: THE GUEST

Full disclosure: beyond clips from the show, I never saw DAN STEVENS in any full episodes of DOWNTON ABBEY, but I get it. His role in director ADAM WINGARD’S THE GUEST was about as far from the Abbey as he could possibly get…and then some.

If you are already familiar with Wingard’s previous work, (YOU’RE NEXT!, A HORRIBLE WAY TO DIE, the V/H/S series), then you’d think you know what to expect. That’s kind of true, but even familiarity with his other films isn’t going to prepare you for some of the wicked twists here.

When “David” (STEVENS) comes knocking on the front door of the Petersen’s place one day, and announces that he knew their deceased son from the war, their natural inclination is to welcome him into their home. Which they do. There’s immediate chemistry between him and their daughter, Anna (MAIKA MONROE of IT FOLLOWS), yet Anna senses there might be something else there…something possibly on the dangerous side. And actually, she was way underestimating that instinctive assessment.

Wingard and writer SIMON BARRETT don’t bring anything new to the table, in terms of subverting our prejudices about what a “good guy with a gun” looks like, or what he will do. But what they do with their scenario is done as well as you think it could be, from the same guys who gave us YOU’RE NEXT! THE GUEST is more of an action-suspense thriller with some decent nods to horror conventions, just like that film was.  And both Stevens and Monroe just kick ass in their respective roles, and left me hoping that we might see a sequel someday.

POST-MORTEM SCRYPT: 2014 was damn near an embarrassment of riches, that gave us movies like HOUSEBOUND, THE PURGE: ANARCHY, GOODNIGHT, MOMMY, SPRING, DEAD SNOW 2: RED VS. DEAD, THE BABADOOK, WHAT WE DO IN THE SHADOWS, A GIRL WALKS HOME AT NIGHT and, of course, IT FOLLOWS.

Posted by Samuel Glass in Categories, EDITORIALS, FEATURED CONTENT, HALLOWEEN, OPINION, SLASHERS AND BAD HUMANS, THRILLER, TRIBUTE, 0 comments

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Twenty-One – 10/21/18

10/21 – 2007: TRICK ‘R’ TREAT

Vying for the title of “The Perfect Halloween movie,” the ascent of TRICK ‘R’ TREAT to top the lists of many horror fans, as their new favorite anthology ever (which Yours Cruelly completely agrees with) is yet another tale of one of those “Little Films That Could…And Did!”

Writer/director MICHAEL DOUGHERTY had one hell of an ally helping him get his movie made: his former boss, BRYAN SINGER, who agreed to produce it through his company, Bad Hat Harry Films. When Warner’s had no idea how to market it, they dumped it into theaters and then onto DVD, thinking it would sink without a trace. They were gravely mistaken. Word-of-mouth is a powerful form of communication among movie fans, and that’s how the scoop on TRICK ‘R’ TREAT went out. Soon the DVD began to develop a loyal following, which is how a sequel finally came to be greenlighted.

But enough backstory. The reason why anyone is talking about this great little gem of a holiday shocker is the story, and the wonderfully dark way in which it’s told.  It’s an anthology piece, but unlike most anthologies that have stand-alone stories all linked together by a single theme, like HOLIDAYS, for example, this one hearkens back more to a classic story collection like DEAD OF NIGHT, ASYLUM or TALES FROM THE CRYPT, typically in which a group of people are all held in a place where their stories unfold, one-by-one, and they all get terrifyingly closer to knowing why they’re there, and what their fates will be.

A young couple, Henry and Emma (TAHMOH PENIKETT and LESLIE BIBB) are returning from a party, in costume. While he enjoys everything about All Hallows’ Eve, she’s more of a Halloween “Grinch.” (In a story where such “Grinches” never fare well, as you’ll soon see).  As they return home, neither one of them knows that they’re being watched.  Or who is watching them…

In spite of his warnings to the contrary, Emma snuffs out the lit Jack O’Lantern in their yard before midnight…something you aren’t supposed to do. Henry, who’s already gone into the house, doesn’t realize that his girlfriend is about to pay the ultimate price for her holiday transgression. But when he comes back out, he discovers that she definitely has…in the most gruesome way possible.  And this is just the opening sequence!

Zombie ghosts, vampires, werewolves,  serial killers and “Sam” (QUINN LORD) – the cutest-yet-most-terrifying demonic presence ever to grace a movie screen all await you, in interlocking stories that follow the townsfolk as they celebrate Halloween…each in his or her own way. And the ‘monsters’ and these people, as well as the horrific secrets they have in common, are all revealed in a manner unlike many anthologies had attempted to carry through on, but the ones that followed TREAT got a clue from Dougherty’s deft storytelling skills pretty quickly, (example: the brilliantly hellish anthology, SOUTHBOUND.)  Murder, betrayal, revenge, retribution…all neatly tied up in a bag not unlike the one that little “Sam” has been known to carry…with blood dripping from the bottom!

The storytelling alone would be good enough for it to warrant the growing following it’s gotten since its release to DVD, but the cast being augmented by the talents of ANNA PAQUIN (before TRUE BLOOD), DYLAN BAKER and BRIAN COX certainly doesn’t hurt, (though the fates some characters suffer most certainly do!)

You could always do worse than this for a night of treat-laden terror! And fans have long been stoked about the news about that sequel, due out very soon!

POST-MORTEM SCRYPT: Springing out to yell “BOO!” in 2007: GRINDHOUSE, REC, THE ORPHANAGE, INSIDE, 28 WEEKS LATER, PARANORMAL ACTIVITY, THE MIST, THE GIRL NEXT DOOR and Stephen King’s 1408!

Posted by Samuel Glass in ANTHOLOGY, EDITORIALS, FEATURED CONTENT, GORE OR EXTREME HORROR, HALLOWEEN, HORROR COMEDIES, MONSTERS AND CREATURES, MYTHS AND LEGENDS, OPINION, SATANIC/DEMONIC, SLASHERS AND BAD HUMANS, THRILLER, TRIBUTE, VAMPIRES, WEREWOLVES, ZOMBIES, 1 comment
TRICK OR TREATS!!!

TRICK OR TREATS!!!

 

 

 

The doorbell rings, slowly the door opens and you shout TRICK OR TREAT!!!!! Awaiting the home owners  hand to reach out  as they drop candy and other goodies into your Halloween Bag like it was Christmas morning. remembering theses times are such great memories that I hold dear and is also a huge part of  who I became today, a proud horror and Halloween junky! Tonight I am here to talk to you about the TREAT, yes, the Halloween Candy!

Halloween for me, before I really grew into it, was always a huge event for me. The decorations, the costumes, and lets face it, no matter how cheap of a costume you had, in your mind as a child you looked exactly like who you were dressed as.  Hearing the person at the door compliment you on how you looked, that made it even that much more exciting!

But lets face it, after the chilly autumn night of door to door festivities was thru and sat your butt on the floor of your living room still wearing part of your costume, it was time to count the loot! The bag gets dumped into a huge pile on the floor and your eyes glaze over as you wipe a drop of saliva now building in the corner of your mouth. There it was in all its glory…HALLOWEEN CANDY!!!

 

 

Back when I was a kid, the big scare of terrorist candy existed. Stories of razor blades and needles in apples and rat poison sprinkled over popcorn balls was all the scare. So because of this, mom and dad went thru and did a safety check. Nothing bad was ever found, but this is a safety precaution my wife and I still practice with our little ones today.

Now if you noticed, I mentioned apples and popcorn balls. Yes when I was a kid, homemade treats were an accepted treat for you to receive ….boy how times have changed. Now a days sadly if the sweet little old lady on the corner hands you something that isn’t sealed in a store-bought wrapper, it’s tossed.

The style of candy at Halloween has definitely gone with the times, and what I mean by that, is marketing! Major brands will release their Halloween brand and put a bat or a ghost on the label or even call it limited. Their are even those that you can order online that specialized in the molds they have, ie. coffins, skeletons and so forth.

But did you know after all the holiday special packaging and limited time sales, Halloween is second in candy sales to yes, you guessed it , Christmas.

But in case you were wondering since I  mentioned sales, here’s a look at how much is spent on our spooky holiday sweets:

1)Reese’s $509,000,000.00

2)M&M $500,000,000.00

3)Snicker’s $456,000,000.00

4)Hershey’s $324,000,000.00

5)Kit-Kat $306,000,000.00

That’s a lot of damn chocolate!

Now it says in polls online, that Skittle and Starburst are also little ghouls favorites as well. But Tootsie Rolls, Mary Janes , and Candy Corn are the least favorites.  And lets be honest if you got a pencil or tooth brush in your bag, the house got toilet papered or egged next year!

 

So as you’re having to get off your couch yet again as your doorbell is ringing on the 31st, think back to how much fun your night was as a kid. Have fun with the kids as they come to your house, trust me they will always remember you.

And by all means, sneak one or two of those  Halloween Candies your handing out for yourself, put a little smile on your face…after all it is Halloween.

 

 

 

HAPPY HALLOWEEN!!!

 

Keep it Evil

 

Posted by John Roisland in Categories, 0 comments

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day TWENTY – 10/20/18

10/20 – 2006: PAN’S LABYRINTH

“Hell Is For Children”, Pat Benatar told us, but nobody knows this better than one of my favorite filmmakers, GUILLERMO DEL TORO.  “War Is Hell” is a topic that’s never been up for debate, and at its hungriest, it’s a bloodthirsty beast that spares no one, especially kids. Del Toro chronicled its devastating effects on the little ones in not one, but two classic films: THE DEVIL’S BACKBONE and PAN’S LABYRINTH.

LABYRINTH is the harrowing story of young Ofelia (wonderfully played by IVANA BAQUERO), whose pregnant mother has recently married the cruel warmonger, Captain Vidal, (a stunning portrait of evil portrayed excellently by SERGI LOPEZ.) Vidal is part of the fascist Falangist army that was an integral part of Franco’s rule over Spain at the time, 1944.

Ofelia, a huge fan of fairy tales, finds herself living one, when a faerie leads her into a Labyrinth, where she meets the old Faun to whom it belongs, and vice versa.

The Faun tells her that she’s actually a princess, and that her real father, the King, has been waiting for her in the “make-believe” realm.  But in order to see him again and take her rightful place once more, she must pass three crucial tests.

 

One of those tests involves bringing back something from the lair of the fearsome “Pale Man”, a task that she barely accomplishes without losing her life.

As gruesome as some of the horrors are in the world of the Labyrinth, none of them holds a candle to the brutalities perpetrated by Ofelia’s vain, cruel stepfather, and that’s part of the point.

Ofelia’s brave quest to complete all of the tests and finally see her real father, leads to a violent and finally tragic collision of both worlds. Is the story destined for a “happily ever after” kind of conclusion? Maybe, but keep in mind that this is a Guillermo del Toro story…

Masterful character actor DOUG JONES added two more unforgettable entities to his ‘coterie of creatures’, with his stunning dual portrayals of the Faun and the Pale Man. Though he would continue to play creatures well after LABYRINTH, the next one to make such a powerful impression on audiences wouldn’t come about until del Toro’s latest breathtaking film, THE SHAPE OF WATER.

If you’ve never seen a Guillermo del Toro film, this would be an excellent place to start. If you have, especially this one, there’s no better way I can think of to revisit his brand of dark magic…

POST-MORTEM SCRYPT: 2006 also delivered unto horror-hungry fans such outstanding films as SLITHER, BEHIND THE MASK, THE HOST, FIDO, THEM, SEVERANCE, SILENT HILL, Aja and Levasseur’s shockingly good remake of Wes Craven’s THE HILLS HAVE EYES and THE BABY’S ROOM.

Posted by Samuel Glass in EDITORIALS, FAMILY HORROR, FEATURED CONTENT, GORE OR EXTREME HORROR, HALLOWEEN, MONSTERS AND CREATURES, MYTHS AND LEGENDS, OPINION, SLASHERS AND BAD HUMANS, THRILLER, TRIBUTE, 1 comment

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Nineteen – 10/19/18

10/19 – 2005: THE DESCENT

Thanks to films like DOG SOLDIERS, NEIL MARSHALL has now become the ‘go-to guy’ for action movies, especially when it’s action/horror. But the other great film that cemented his position was THE DESCENT, a subterranean ‘monster mash’, with something you don’t see everyday…an entire cast of kick-ass female characters!

Sarah (SHAUNA MACDONALD) and her ‘band of sisters’ are off on an adventure, as her buds rally ‘round her, to help her through the tragic deaths of her husband and daughter in a terrible accident.

Are you thinking “Lifetime” movie right now? Forget it. Sarah and her friends aren’t here for a book club…their idea of kicking back is going spelunking, which means exploring underground caves, for those not familiar. And in this case, it means previously uncharted caves, adding to the excitement.

And the terror. If you have seriously bad claustrophobia, you may want to leave now, because even though I don’t, there are a couple of harrowing sequences when I had to remind myself to breathe!

And just to make it interesting, how about throwing in an unexpected band of C.H.U.D.s to keep things lively? (If you never saw that movie, that stands for Cannibalistic Humanoid Underground Dwellers, which these beasties definitely are.)

So the battle against fears both rational and irrational suddenly turns into a ferociously bloody fight for survival, as the creatures respond to what they think of as a ‘dinner bell’, with our spelunking sisters being the main course on the menu. Who will make it out alive, if anyone? There’s some further wrinkles developed in the story, that makes the answer to that question even more intriguing. An answer you’ll love to discover…when you’re not biting your nails down to the quick!

In spite of two different controversial endings, (both which are available on the Blu-Ray and some DVD versions), THE DESCENT garnered enough of a following to spawn a sequel, which of course can’t touch Marshall’s deft hand directing the first one.  But that’s also still worth a look.

POST-MORTEM SCRYPT: 2005 was also “Ground Zero” for the explosions of SAW II, THE DEVIL’S REJECTS, LADY VENGEANCE, THE JACKET, HARD CANDY, LAND OF THE DEAD, THE EXORCISM OF EMILY ROSE, NOROI: THE CURSE and THE CALL OF CTHULHU.

Posted by Samuel Glass in EDITORIALS, FEATURED CONTENT, GORE OR EXTREME HORROR, HALLOWEEN, MONSTERS AND CREATURES, OPINION, SLASHERS AND BAD HUMANS, THRILLER, TRIBUTE, WOMEN IN HORROR, 0 comments

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Eighteen – 10/18/18

10/18 – 2004: SHAUN OF THE DEAD/DAWN OF THE DEAD

What the hell do you do with a year that not only gave us one of the best remakes ever of a George A. Romero masterpiece, but also the great horror dramedy that was inspired by the original version of said film?  Why, you review them both, of course!

The now-famous horror-comedy team of SIMON PEGG and NICK FROST, together with their frequent partner-in-crime, director EDGAR WRIGHT, had long since been fans of Romero’s entire body of work, when they began to cook up their own impossibly nutty take on not just that film, but the entire zombie genre, SHAUN OF THE DEAD. Think of what would have happened if the MONTY PYTHON group had gotten hold of the original script for DAWN, and put their own special “stamp” on it, and you’re pretty much there.

 

Pegg plays the titular electronic store clerk Shaun, of course…a rather ordinary bloke living a rather ordinary existence, save for a few unfortunate things…like his strained relationship with his mum, and his girlfriend, who’s now his ex. And like every guy who’s been through this, even though he has his best bud and roomie, Ed (FROST) who has his back like always, nothing is going to be the same for him, until he has his girl, Liz (KATE ASHFIELD) back.  But there is the bothersome matter of a zombie apocalypse to deal with, right in the middle of his “get my ex back” campaign.

  

There’s plenty of action in this, in between the guffaws and gaffes, not to mention enough bloodletting to satisfy gorehounds who might otherwise be inclined to skip it.  But as writers, Pegg and Wright never forget to give us fully-realized characters, and some stunning and memorable setpieces, including a look at Shaun’s daily routine in before-and-after apocalypse mode, which even with repeat viewings is still as funny and frightening as it was the first time.

A dead-on (pun intended) skewering of everyday British life, pop culture and the human condition (not to mention the condition of the undead who were once your family, friends and neighbors) SHAUN is never less than a brilliantly-conceived, funny-as-hell, sometimes gory and sometimes even touching tribute from two absolute super-fans of not just George Romero, but the sub-genre of horror that he singlehandedly created. In fact, the mutual admiration society they had going on was so intense, that George actually gave both Simon and Nick cameos in LAND OF THE DEAD!

Which brings us to the ‘new and improved’ version of DAWN. If it had been any other writing/directing team, I could imagine this remake of a classic would have sunk from the multiplexes without a trace. Until you consider that the writer and director in question are JAMES GUNN and ZACK SNYDER.  Now we’re talking!

The original DAWN opening, somewhat picking up from NIGHT OF THE LIVING DEAD, was pretty scary stuff, and you’d think that there wouldn’t be too many ways to make it scarier. But that’s where Snyder and Gunn say “Here, hold our beers.”

A family morning wake-up call has never been more horrific.  In the blink of an eye, the drowsy family morning routine of Ana (SARAH POLLEY) goes from being blasé, to a total bloodbath, when their infected daughter bites and kills her husband, turning HIM into an undead flesh-eater. The shocking sequence where she escapes, only to witness her entire neighborhood descending into mayhem is as unforgettable as anything Romero ever pulled off.

  

That’s not the only place where Gunn as a screenwriter stuck to the original Romero story beats, but still brought his own vibe and dark sense of humor to the proceedings. As Ana takes her chances with a group of survivors who decide to hole up in a local mall, just like in the original, the story pulls in the rest of the outstanding cast including VING RHAMES, JAKE WEBER, MICHAEL KELLY, TY BURRELL and MEKHI PHIFER.

And Phifer’s other half in the film, Luda (INNA KOROBKINA) is very, very pregnant, soon providing us with the horrific answer to a question we didn’t exactly get from, say, THE WALKING DEAD: what happens to pregnant women in the zombie apocalypse, who give birth to…well, you fill in the blank.

Not the biggest ‘feel-good’ zombie film in the bunch by a long shot (and those who have seen it multiple times know exactly why), this DAWN remake still stands tall as one of the better ones in the scads of Romero tributes, knockoffs and wanna-be’s.

POST-MORTEM SCRYPT: SAW, THREE…EXTREMES, SHUTTER, THE VILLAGE and GINGER SNAPS II: UNLEASHED were just some of the other goodies dropped on horror fans in 2004.

Posted by Samuel Glass in EDITORIALS, FAMILY HORROR, FEATURED CONTENT, GORE OR EXTREME HORROR, HALLOWEEN, HORROR COMEDIES, MONSTERS AND CREATURES, OPINION, THRILLER, TRIBUTE, ZOMBIES, 0 comments

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Seventeen – 10/17/18

10/17 – 2003: HIGH TENSION (a.k.a. SWITCHBLADE ROMANCE)

Ah, yes…HIGH TENSION; the film that had me hating on director ALEXANDER AJA and writing/producing partner GREGORY LEVASSEUR so much, that I categorically refused to watch anything they put out for years. The movie was that good…and the ending that infuriating. (They eventually won me back with their remake of THE HILLS HAVE EYES.)

It was only in English class in school, that I was ever introduced to the concept of the “unreliable narrator.” I don’t remember ever having seen it in film before HIGH TENSION, and once I did, I decided I really didn’t like it. And from the response of the audience I was with, I knew I wasn’t alone in that sentiment.  Maybe it had so much to do with the first two thirds of the movie being one of the best, bloodiest, most nail-biting slashers that had come along in a very long time. Being strung along in that context does not work well for those who invest heavily in the characters and the scenario.  And how could you not?

The film opens with two young college girls traveling through the beautiful but very remote French countryside. Marie (CECILE DE FRANCE) and Alexia (MAIWENN, a.k.a. MAIWENN LEBESCO of THE FIFTH ELEMENT), are on break, of course, and going to spend their time off at the farmhouse of Alexia’s parents. It’s supposed to be the most tranquil, ideal getaway. Which is going to become an absolute fucking nightmare.

Because not all that far off, a deranged killer (PHILIPPE NAHON) is on the loose, and from the stunningly gross first shot we see of him, we know that anyone in his path is in for a world of hurt…and worse.

We get the usual welcome home as the girls reach their destination, Alexia’s parents welcome them, and they get settled in.  Everything is fine…until Alexia’s father answers the doorbell in the middle of the night. Bad move, dad.  What follows that knock is two acts’ worth of some of the most bloody (literally) brilliant, harrowing and horrific scenes of suspense and carnage this side of De Palma. The first time I saw this, I just knew I was watching a modern classic unfolding before my wondering eyes.

After viciously laying waste to the family, The Killer snatches up Alexia and takes her hostage..for  Gawd only knows what.  And Marie, who has managed to duck him at every turn, goes to save her best friend, and you root for her to succeed every step of the way.

Then…along comes the final act.

It wasn’t that long ago that I hated this movie so much, that in a purposefully vindictive act of sabotage, I would have spoiled the entire film for you, here and now, just to spare you from the feeling of outrage and betrayal that I felt when it was all said and done.  But no, I’m not going to do that – I’ll take the high road.  I’ve a better understanding now of what Aja and Levasseur intended, and though I still may not like it, I do respect it with some time gone by.

So I will just let you do the viewing, and you can decide how you feel about the film as a whole. But De France and Maiwenn are fantastic, playing their roles the way they were directed to, and the audience’s investment in them and the other characters really helps with the shock value, when the blood, bone and brains start to fly.

To sum it up with just my opinion: HIGH TENSION is a film with bite, that also sucks. Depending on how you look at it. And I guess, taking into account the definition I used before about what ‘art’ is, it’s also a very ‘artfully’ realized piece of horror cinema.

POST-MORTEM SCRYPT:  Also terrifying audiences that year: A TALE OF TWO SISTERS, GOZU, IDENTITY, DEAD END, OPEN WATER, DARK WOODS, thr remake of WILLARD, and the remake of THE TEXAS CHAINSAW MASSACRE.

Posted by Samuel Glass in EDITORIALS, FEATURED CONTENT, GORE OR EXTREME HORROR, HALLOWEEN, OPINION, SLASHERS AND BAD HUMANS, THRILLER, TRIBUTE, 0 comments

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Sixteen – 10/16/18

10/16 – 2002: MAY

“If you can’t find a friend…MAKE ONE.”

Not the exact tag line, but it does capture the main idea behind what I have come to regard, as the best film that writer/director LUCKY MCKEE and his main muse, ANGELA BETTIS, have ever collaborated on. And we’re talking about a duo who also gave us the excellent MASTERS OF HORROR episode, “Sick Girl”, and the movie that almost ran people out of the theater, THE WOMAN, McKee’s excellent team-up with late, great horror author JACK KETCHUM (THE GIRL NEXT DOOR).

I have always been of the half-joking opinion, that there should be a law that states that Angela never be allowed to do movies with any other director but Lucky, and MAY is the reason why. It’s a brilliant, horrific and heartbreaking meditation on loneliness, self-hatred and just that overall feeling of “not being able to fit in.” What would have happened in CARRIE, how would the story have played out if she’d still been bullied, maligned and ostracized, but she had no telekinetic powers to lash out with? MAY provides one truly unsettling and yet also depressingly dark answer to that question.

Bettis, of course, plays the title character, but before that, we see her as a young girl – lonely and isolated, and her condition with a lazy eye doesn’t help things at all.  Her mother gives her a “friend’ to keep her company: a doll in a glass case. But not just any doll.  This is one of the creepiest dolls I think I’ve ever seen in film history – it makes ANNABELLE look like Raggedy Ann!

The grown-up May, some years later, loves to sew and make things. That aptitude translates into what she does for her day job, working for a veterinarian, helping with the animals and even with some surgeries.

Her lesbian co-worker, Polly, (ANNA FARIS with one of her great, subtly funny turns) has something of a crush on May, but things between them stay mostly in the ‘friend zone’.

It’s only when she meets a hunky mechanic named Adam (JEREMY SISTO), that May begins to see the possibilities of having a life beyond her mostly solitary existence. It’s her ‘uniqueness’ that draws both Adam and Polly to her, who consider themselves to be equally “weird” people, but there’s more than a bit of miscommunication going on here.  While their own “off-beat-ness” is something of an affectation, what they’re reading as “quirky” and “interesting” about May is a whole hell of a lot more than that: May’s sanity is hanging on day-by-day, by the slenderest of threads, and it wouldn’t take much at all for it to snap like a rotten twig.  As Adam and May begin to date, he soon realizes because of certain behaviors she exhibits, that this poor girl just simply isn’t ‘all there’ and breaks it off with her.

Then, Polly decides that it’s the perfect time for them to take their friendship to the next level, until she, too, begins to see and sense what Adam did, and she also shuts May out of her life.

Remember what I said about her sanity, and about how it wouldn’t take much for her to lose it? Seems like bald-faced rejection is what finally does the trick.

I don’t want to say anymore than I have to, except that it all leads to an inevitable, bloody and devastatingly sad conclusion. All this girl ever wanted was a true friend, and even at the climax, she never really gets one.  If there were any justice in the cinematic world, Bettis should have gotten an Oscar nod out of this singular and unforgettable performance, but I doubt that the Academy, even though they recognized a movie like THE SILENCE OF THE LAMBS – they weren’t quite ready for a film like MAY.

McKee knows at all times exactly what kind of audience he’s aiming for, and he hits the bull’s-eye every time. He does character-driven pieces like no other filmmaker I know, and MAY offers a seductive promise of a neo-Gothic brand of horror, to those fans who are always hungry for something that ventures pretty far off the beaten path of “mainstream” thrills and chills. He likes to examine the human condition in a way that is unapologetically blunt and in-your-face. You can see these attributes in most of his work, but not as sharply defined as it is in MAY.

Sisto, Faris, as well as indie fave JAMES DUVAL and WILL ESTES, all give great performances as friends or friends of May’s ‘friends’, but the responsibility for reaching out and touching the audience most profoundly, rests on Bettis’s slender shoulders, and she is more than capable of handling that task. I don’t hear too many people discussing this movie anymore, which is a damn shame. If any film is deserving of a much wider audience, MAY is definitely one of them.

POST-MORTEM SCRYPT:  This is also the year that gave us RED DRAGON, DOG SOLDIERS, BUBBA HO-TEP, JU-ON: THE GRUDGE, THE RING, DARK WATER, SIGNS, THE EYE and 28 DAYS LATER.

Posted by Samuel Glass in EDITORIALS, FEATURED CONTENT, HALLOWEEN, OPINION, SLASHERS AND BAD HUMANS, THRILLER, TRIBUTE, WOMEN IN HORROR, 0 comments

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Fifteen – 10/15/18

10/15 – 2001: FRAILTY

When the world lost BILL PAXTON, it didn’t just lose an endlessly talented, gifted actor. It turned out that he was one helluva director as well, whose abilities behind the camera will now never be fully realized. But at least we have one great example of what we could’ve expected, in the only film he helmed before his untimely passing: FRAILTY.  If you love thrillers with premises and endings that will keep you up with the lights on, and talking about it with friends and family for weeks after seeing it, FRAILTY will be more than happy to oblige you.  There have been similar films about faith, religious mania, and how someone affected by both could have trouble separating the real from the unreal. But this is a movie that goes a whole lot farther than that…

Fenton Meiks (MATTHEW MCCONAUGHEY in one of his best performances), walks into an FBI office one night and announces that he has important information on the man known as the “God’s Hand Killer”, a statement that immediately grabs everyone’s attention. But Fenton also states that he won’t speak to anyone but the lead investigator on the God’s Hand case, one Agent Wesley Doyle (POWERS BOOTHE).

Doyle immediately turns all of his attention to Fenton, who confesses on the spot that he just finished burying his brother, Adam, in the family rose garden, “just like he promised”, since it was Adam he fingers as the killer the Feds are looking for.  After confirming this by contacting the office of the sheriff of the town Fenton is from, he asks exactly how Fenton knows that Adam was the “God’s Hand” Killer.  Rather than answer him directly, Fenton shifts gears, and by way of explanation, begins to tell the agent all about his dark family history.

It was up to widower Dad Meiks (PAXTON) to raise his two sons alone. But things begin to careen off the rails, when late one night, Dad wakes up his sons to tell them that he has received a message from God, via an angel: he and his family have been chosen to become “God’s Hands”, and to rid the earth of demons – demons disguised in human form. Where the younger boy, Adam is psyched to have been given such a task – kind of like a superhero – the older Fenton had pretty much determined that his father’s cheese done slid off his cracker, (as Stephen King would say.)

As much as Fenton hopes this is just a crackpot idea that Dad has that will eventually be forgotten…no dice. Dad soon starts collecting things that he was ‘shown’ he should use to prepare for their ‘holy mission’: an axe, some rope, a length of pipe – things a serial killer would use. And not long after that, things get even worse: now, Dad has an actual list of people that “God” has tasked them to take out.  To Fenton’s growing dismay, things begin to escalate – especially when Dad brings home the first victim. It’s then that a battle of wills begins between father and son, with the youngest caught in the middle.

The story alternates between Fenton’s flashback tale, and the uneasy bond he forms with Agent Doyle. The resulting climax isn’t just jaw-dropping, you will want to see this twice, maybe three times, just to confirm what this movie is asking you to do at its very core – more of an act of suspension of belief, rather than disbelief.

A labor of love for Paxton, BRENT HANLEY’S incredible script offers more of a reversal/”fake-out” version of THE SIXTH SENSE’S stunning climactic twist reveal, and you can tell from the way that he crafted the picture, Paxton was looking forward to the intense shock to the system that audiences would experience at the end. And he was right, because I have only seen FRAILTY once, yet that ending still haunts me.

He is amazing as Dad Meiks, so surefooted and iron-willed, armed with this “mission from God”, while MATT O’LEARY and JEREMY SUMPTER as the younger Fenton and Adam, respectively, give very well-modulated performances for child actors.  McConaughey portrays Fenton as one cool customer, and Boothe does a wonderful job of portraying the blinkered Doyle, who is so determined to get answers about the identity and whereabouts of the “God’s Hand” Killer, he never contemplates for a second that getting the answers may not be the triumphant achievement he’s expecting.

FRAILTY is part of the legacy that Bill Paxton left us, of a talent he was only beginning to explore. I’m saddened by the fact that we won’t get any new films from him as a director or actor, but grateful that we have things like this to remember him by.

POST-MORTEM SCRYPT: 2001 was also the launchpad for THE DEVIL’S BACKBONE, THE OTHERS, PULSE, ICHI THE KILLER, SESSION 9, JOY RIDE, FROM HELL, BROTHERHOOD OF THE WOLF and THE HAPPINESS OF THE KATAKURIS.

Posted by Samuel Glass in EDITORIALS, FAMILY HORROR, FEATURED CONTENT, HALLOWEEN, OPINION, PARANORMAL, SATANIC/DEMONIC, SLASHERS AND BAD HUMANS, THRILLER, TRIBUTE, 0 comments

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Fourteen – 10/14/18

10/14 – 2000: PITCH BLACK

When RIDLEY SCOTT’S ALIEN threw down the gauntlet for other filmmakers who braved exploring the sci-fi genre, and all the sub-genres therein, there were a lot of misfires that fans got out of the deal; a lot of copycat wannabes, and ideas that were tremendous on paper, but they just didn’t pan out.  Luckily for us, PITCH BLACK happens to be one of the ones that did.

Carolyn Fry (RADHA MITCHELL – SILENT HILL, THE DARKNESS) is a pilot on a routine trip, hauling cargo and passengers, including a group who are off to start a settlement on another planet.  When a freak meteor storm cripples the ship and makes it necessary to ‘lighten the load’, she has two choices: eject the cargo or the passengers. But before she can make the most damning call of the two, the ship crash-lands on an unfamiliar planet that happened to be nearby.

Two problems quickly become apparent: the first is that two of her passengers happened to be a bounty hunter named Johns (COLE HAUSER, OLYMPUS HAS FALLEN), and his ‘cargo’…a legendary dangerous convicted criminal named Richard B. Riddick (VIN DIESEL, THE FAST AND THE FURIOUS). And now Riddick has disappeared, and is out there…watching, waiting to make his move.

The second problem? They quickly find out that they’re not alone, the hard way. Vicious, carnivorous alien creatures live on this planet, just underground…and because the light is death to them, they only come out at night to hunt and to feed, when it gets dark.

The planet, once site of its own settlement is now desolate, with not a soul to be found. And Carolyn and the survivors of the crash soon find out why.  Every number of years or so on the planet, a total eclipse occurs, leaving everything in complete, utter darkness. And lucky them…they just got stranded not long before the next eclipse is set to happen. They may have been travelers before…but now, they’re about to become snacks.

Working from a screenplay crafted by director DAVID TWOHY, with JIM AND KEN WHEAT (THE SILENT SCREAM, LIES), PITCH BLACK is a clever, nerve-wracking thrill ride with a damn good scenario, that almost bests what are considered to be the top sci-fi horror classics – even ALIEN itself.

Plus it has a fantastic supporting cast that includes KEITH DAVID (THEY LIVE, John Carpenter’s THE THING), CLAUDIA BLACK (FARSCAPE) and LEWIS FITZ-GERALD (BREAKER MORANT, THE WOLVERINE).

Twohy has a knack for working with modestly-budgeted, well-scripted sub-genre films, as he proved all too well before with WARLOCK, (starring JULIAN SANDS in the title role,) and the underrated, underwater ghost chiller BELOW. He keeps the pace brisk, the suspense taut and follows the Golden Rule of never showing the audience too much of the creatures, designed by master effects artist PATRICK TATOPOULOS (STARGATE, DARK CITY).

Though some characters here are better developed than others, everyone gives memorable performances, particularly Mitchell, Hauser and David.  But it’s Diesel’s Riddick that you walk away from the film remembering most. A murderous convict who barely considers himself to be human, PITCH BLACK becomes as much about him trying to locate some shreds of humanity left in his blasted soul, and actually doing it, under the direst circumstances that anyone could possibly imagine.

So unforgettable was his portrayal, that Universal attempted to cash in with a sequel, THE CHRONICLES OF RIDDICK, which is still being debated today as to whether or not it was a worthy follow-up. (It has DAME JUDI DENCH in it, so call me biased.)

In any case, it’s yet another great choice for your upcoming ‘Halloween Horrorthon’. In fact, if you really want to get a good group debate going, double it up with ALIEN and see which one comes out the victor!

POST-MORTEM SCRYPT: 2000 also gave us AMERICAN PSYCHO, GINGER SNAPS, BATTLE ROYALE, SHADOW OF THE VAMPIRE, FINAL DESTINATION, THE GIFT, JU-ON (a.k.a. THE GRUDGE) and WHAT LIES BENEATH.

Posted by Samuel Glass in EDITORIALS, FEATURED CONTENT, HALLOWEEN, HORROR HEROES, MONSTERS AND CREATURES, OPINION, SCI-FI HORROR, SLASHERS AND BAD HUMANS, THRILLER, TRIBUTE, URBAN DECAY/DYSTOPIAN FUTURES, 0 comments

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day THIRTEEN – 10/13/18

10/13 – 1999: THE SIXTH SENSE

How in the wide, wide world of sports could it be possible to make and break your career right out of the gate, with your first smash box office hit? Ask extremely controversial director M. NIGHT SHYAMALAN, because that’s exactly what happened with THE SIXTH SENSE, one of the best paranormal ‘mind-fuck’ chillers ever made. And there had been some really good ones that came before, and that followed it. But none had quite the same impact that this did, only the third film he’d made.

BRUCE WILLIS, whose last big film the year before, THE FIFTH ELEMENT, didn’t exactly set multiplex box offices aflame (although now it’s a beloved sci-fi cult classic) stars here as Dr. Malcolm Crowe, a disillusioned child psychologist. Tragically attacked by one of his former charges, who then commits suicide, Malcolm considers himself a failure, and is looking for redemption from the horrific debacle.

His potential chance comes in the form of Cole Sear, the role that defined the career of HALEY JOEL OSMENT, although he’d done some films and TV before, including a small role in FOREST GUMP. As the famous line goes, Cole sees “dead people”, who don’t seem to know they’re dead, and worst of all – they all want to talk to him, though he has no idea why he has this connection to the spirit world.

It’s Malcolm who finally seems to be the most helpful adult that Cole can confide in, as he advises him to listen when the spirits communicate with him, to see what it is that they want. And as it turns out, they want many different things. Perhaps the second most stunning sequence in the film is Cole’s encounter with the ghost of a young girl named Kyra Collins, (future star of “THE O.C.” MISCHA BARTON), whose untimely death via a mysterious illness, turns out to be a lot more than her family knew about.

Shyamalan’s greatest gift isn’t just the cleverness of the storytelling. He has real empathy for all of his characters, even the unlikable ones, and therefore you become equally invested in them.  So much so, that until you’ve seen this multiple times, you don’t realize how he’s setting you up for one of the most stunning ‘reveals’, not just in horror film history, but film in general.  And that’s how he also managed to make and then break himself all at once. Not unlike ORSON WELLES did with CITIZEN KANE, Shyamalan made one of the most audacious debuts to come from a fledgling director up to that time period, and in the films that followed, audiences expected every “Shyamalan twist” to be just as gasp-inducing as the first time. But he soon discovered that the hardest act to follow was himself.

Willis gives one of the best performances of his career outside his usual forays into action blockbusters, (DEATH BECOMES HER has the other great turn). HALEY JOEL OSMENT seemed destined for super-stardom, as one of the least saccharine, real little kids ever to break into cinema. OLIVIA WILLIAMS has what amounts to a cameo as Malcolm’s wife, Anna, but what she does is effective and vitally important to the story, and she’s perfect for it. DONNIE WAHLBERG as the distraught former patient, whose horrendous act of violence sets the plot in motion, shows where the acting chops in that family really are.

But the one to really watch here is TONI COLLETTE, as single mom Lynn Sear. I would go as far as to put her performance right up there with ELLEN BURSTYN’S in THE EXORCIST. As a mother desperately trying to understand what’s going on with her kid, and feeling nearly powerless to help, she neither overplays or underplays it, hitting the sweet spot particularly in a scene that is a tear-jerker: when she truly comes to believe in her son’s abilities, as he reveals something to her that he couldn’t have possibly known about otherwise. (Everyone who’s seen it remembers that scene.) In fact, watching it back again, it comes as no surprise that THE SIXTH SENSE was nominated for – you got it – SIX Oscars, including nods for Osment, Collette and of course for Shyamalan’s directing.

After a rough period of diminishing returns on his features, that seemingly began with LADY IN THE WATER, going rapidly downhill from there, “Night” has made a considerable comeback with THE VISIT, SPLIT, and the soon-to-be-released GLASS. (I wonder if that one holds any interest for me? Hmmm…)  But THE SIXTH SENSE is that one that every director wishes they had in their arsenal, but also fears…because it’s that ‘lightning-in-a-bottle’ that you can only really capture once, and never again.

POST-MORTEM SCRYPT: This was the same year that also gave us RAVENOUS, AUDITION, THE BLAIR WITCH PROJECT, STIR OF ECHOES, SLEEPY HOLLOW, and existenZ.

Posted by Samuel Glass in EDITORIALS, FAMILY HORROR, FEATURED CONTENT, HALLOWEEN, OPINION, PARANORMAL, THRILLER, TRIBUTE, 0 comments

SID HAIG Turns Dreidels Into “DREAD-DLES” In The New Holiday Shocker HANUKKAH

Remember the old joke about holiday slasher movies eventually covering every holiday on the calendar? (People still want to know what happened to Eli Roth’s plans to make his GRINDHOUSE ‘fake trailer’, THANKSGIVING into an actual film!)

Well, it really isn’t a joke anymore! Beloved cult icon SID HAIG is now starring in the upcoming slasher HANUKKAH, co-starring CHARLES FLEISCHER (WHO FRAMED ROGER RABBIT?, ZODIAC), P.J. SOLES (HALLOWEEN, CARRIE, ROCK AND ROLL HIGH SCHOOL), CAROLINE WILLIAMS (THE TEXAS CHAINSAW MASSACRE 2, TALES OF POE) and writer/actor JOE KNETTER (ZOMBIE BUKKAKE).

The sophomore feature of writer/director EBEN MCGARR (SICK GIRL), HANUKKAH’S plot goes a little something like this:

“Obediah Lazarus is the son of Judah Lazarus, the original Hanukiller. In 1983, Judah terrorized NY for seven nights and was preparing to sacrifice his eight-year-old son, Obediah, on the eighth night. Judah was convinced it was God’s will, like Abraham and Isaac, to sacrifice his only son to God. Luckily for Obediah, police tracked Judah down and stopped the sacrifice, but Judah was gunned down in the process. Warped by hatred with no guidance, Obediah Lazarus becomes a religious extremist, intolerant of non-Jews, “bad Jews”, and those he perceives to be enemies of the Jewish faith. He is about to unleash eight nights of horror. A group of Jewish teens are getting ready to party for the holidays, but are in for a Festival of Frights. With the help of a wise Rabbi, they deduce that the murder victims have violated Judaic law and that their only chance at survival is to embrace their faith.”

Does this mean that we’ll be seeing a menorah used as a blunt instrument? Watch for the release of HANUKKAH to find out!

Trailer For HANUKKAH:

Posted by Samuel Glass in CAST AND CREW NEWS, COMING SOON, HORROR NEWS, NEW RELEASES, SLASHERS AND BAD HUMANS, 0 comments
HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Twelve – 10/12/18

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Twelve – 10/12/18

10/12 – 1998: FALLEN

When you look at the filmography of an actor like DENZEL WASHINGTON, you don’t see a lot of missteps.  Lots of different, fascinating, captivating performances in a wide range of projects, in various genres. You know what else you don’t see? A lot of horror/sci-fi/fantasy films.  That can’t be coincidental. Denzel doesn’t seem to be the kind of actor that gravitates towards monster and slasher films by choice.  In most cases, one could hardly blame him.  We know there’s a lot of trash out there…because we have to watch it.  So it has to be one special script that can attract the attention of a Denzel Washington (or someone of his type). Something so amazingly different, that once he read it, he was immediately on board with doing it.  FALLEN just so happened to be that story.

Written by NICHOLAS KAZAN (FRANCES, AT CLOSE RANGE, REVERSAL OF FORTUNE) and directed by GREGORY HOBLIT, (a TV director known mostly for HILL STREET BLUES, L.A. LAW and N.Y.P.D. BLUE, until he directed 1996’s PRIMAL FEAR, which introduced movie audiences to EDWARD NORTON), FALLEN isn’t your average script by any definition of the word. Skipping much of the blood and gore that a film like this would usually rely on and goes for the psychological chills instead.  Not to mention – it takes a ROLLING STONES tune not known for being inherently creepy, and changes all that in the blink of an   eye.

FALLEN casts Denzel as Detective John Hobbes. Every good detective has his nemesis, and John’s was the notorious serial killer Edgar Reese (a fantastic turn by THE PROPHECY’S ELIAS KOTEAS). It’s been Hobbes’ determined efforts that finally landed Reese into the gas chamber seat he so richly deserves.

But on the day of Reese’s execution, as Hobbes sits with the other witnesses, Reese does something unexpected…and chilling. As they’re strapping him in, he sings directly to the cop – The Stones classic “Time Is On My Side”.  An attempt by a deranged psychopath, to make one last show of braggadocio? You would think so.  Not so fast, though. When dead bodies start turning up, killed in the same manner that was Reese’s M.O., and John starts getting hang-up calls in the middle of the night – something that Reese loved to do to taunt him – John starts to get the feeling that even though he saw Reese die, none of this is really over.

Then, suddenly, random strangers begin singing “Time Is On My Side”…to HIM. And that’s where shit really starts to get real.

Reese was ‘nice’ enough to leave him several clues, which lead John to articles about a celebrated cop named Robert Milano, who was not only eventually disgraced, but ended up committing suicide. His boss, Lt. Stanton (DONALD SUTHERLAND) balks when he hears Milano’s name and warns John to drop it, but hey, would any cop that Denzel plays drop anything?

His sleuthing eventually leads him to Milano’s daughter, Gretta (EMBETH DAVITZ), a student of theology who has even more dire warnings about this case than Stanton did. Still refusing to turn it loose, John hikes up to the old Milano family vacation cabin, out in the middle of nowhere, where Robert decided to air out his head with a bullet.

Kind of ironic that Koteas, who played a good guy in THE PROPHECY, plays the baddie in FALLEN, which is headed in almost the same direction as the previous film.  Do I mean…ANGELS again? Why, yes, I do, and not the good ones.

Meet AZAZEL.  

If Pazuzu from THE EXORCIST had an evil older brother, Azazel would be it. Possessing people by the power of touch, he’s one of the FALLEN (get it?) who has a bone to pick with both mankind and The Deity Who Made Them, and for him…payback’s a bitch. He doesn’t exactly care about John Hobbes, but since the cop came after him while he was hiding out in Edgar Reese’s body, why not have a little “fun” destroying his life, the same way he did Milano’s?

And so the battle of wills begins between a man and the demonic angel who has it in for him.  Will it be a win, a loss, or a ‘draw’? Check out FALLEN and see!

Besides Sutherland and Davitz, the cast also boasts ROBERT JOYJAMES GANDOLFINI and AIDA TURTURRO (in a small cameo), both pre-SOPRANOS; GABRIEL CASSEUS as John’s sweet, mentally-challenged brother, Art, and giving one of his best and most frightening performances – JOHN GOODMAN as Jonesy, John’s partner of over a decade. Goodman wasn’t known for playing baddies yet, though the Coen Brothers gave him wackadoos to play that were pretty close, (especially in BARTON FINK). The real douchebags he would eventually play in films like DEATH SENTENCE were far off yet, but you can see hints of that in his performance here.

DP NEWTON THOMAS SIGEL seems to have a gift for making Philadelphia look creepy, and he uses that talent to full advantage here. And TAN DUN’S dark, ambient score is never intrusive, which is a good thing for a movie that’s heavier on creeping dread and unease, than buckets of brains dashed across the screen.

All-in-all, FALLEN is one more excellent recommendation one can make to that person that hates horror films, but loves Denzel Washington movies.

POST-MORTEM SCRYPT: 1998 was also a year that included BLADE, RINGU, THE X-FILES, THE FACULTY, APT PUPIL, and JOHN CARPENTER’S VAMPIRE$.

Posted by Samuel Glass in EDITORIALS, FEATURED CONTENT, HALLOWEEN, MYTHS AND LEGENDS, OPINION, PARANORMAL, SATANIC/DEMONIC, SLASHERS AND BAD HUMANS, THRILLER, TRIBUTE, 0 comments

HELLABRATION DELUXE! Thirty-One Days of SHOCKTOBER: Day Eleven – 10/11/18

10/11 – 1997: LOST HIGHWAY

For viewers who are about linear, sensible, relatable storytelling with the whole ‘beginning-middle-and-end’ thing going on, DAVID LYNCH has always been a tough nut to crack. If you cannot accept that it’s about his own unique vision, and just go along for the ride, then it’s best to avoid his body of cinematic work. Even his more accessible films like WILD AT HEART and BLUE VELVET, still never stray far from his strange sense of playing with time, identity and very unreliable narrators and narratives. And nowhere is this more true than in his seemingly undecipherable horror-melodrama, LOST HIGHWAY.

Some critics and Lynch fans have called it a meditation on the creative process itself; others have called it yet another chronicle of dissociative identity disorder, as in Adrian Lyne’s JACOB’S LADDER, or Alexander Aja’s macabre murderfest, HIGH TENSION (a.k.a. SWITCHBLADE ROMANCE). In any case, a film where BILL PULLMAN suddenly morphs into BALTHAZAR GETTY, isn’t going to be something you casually pull up on Netflix for date night.

Fred Madison (PULLMAN) is a musician by trade, specifically a sax player.  He and his wife, Renee (PATRICIA ARQUETTE) have been having problems of late, with Fred convinced that she’s having an affair, while he’s out working. Meanwhile, they experience the kind of random weirdness that any couple in a David Lynch film would – with one of the most startling things being the tapes.

The tapes? Yep – mysterious video tapes in plain brown envelopes that just appear on the Madisons’ doorstep. And each time they play them, it’s a view of their house, with the ‘cameraman’ coming in a bit closer each time. Strange, for sure, and you’d think they’d be more alarmed about it.  But they don’t feel the need to get the cops involved…until one of the tapes turns out to have been shot not just inside the house, but in their bedroom…while they were sleeping.

But things are about to get even more effed up. At a party, Fred meets a “Mystery Man” (probably the strangest and most unsettling role that ROBERT BLAKE ever had in his career), who seems to know Fred…very well. Something this man does during their encounter plays like a party trick…or is it a warning? A way of explaining events that haven’t happened yet?

You won’t have time to think too hard about that, because shortly after that party, Renee Madison is found brutally murdered, and Fred goes up for it immediately.

But wait. If you thought things were strange before, here, hold David’s beer. While Fred is locked up in jail, awaiting arraignment, weird lights flash in the cell, Fred seems to have one hell of a headache, and then suddenly…he’s just not there anymore.  He’s been replaced by a much younger guy, named Pete Dayton (GETTY). Completely flabbergasted, since Fred Madison is their alleged perp and not Pete, the cops have no choice but to let him go.

While Fred played music, Pete’s a mechanic, and he works for a very volatile gangster who goes by the name of Mr. Eddy (the late ROBERT LOGGIA, adding another great role to his already impressive collection.) Eddy has a stunning blonde girlfriend named Alice Wakefield, and isn’t it rich, that except for the platinum blond hair, Alice could be Renee Madison’s twin sister?

Pete is immediately smitten with Alice, of course, and a dangerous affair begins between the two of them. But as if Pete didn’t have enough problems already, there’s the ‘small’ matter of how the hell he managed to wake up in Fred Madison’s cell. Pete’s parents (GARY BUSEY and LUCY BUTLER) seem to know all about how that happened, and it has something to do with a “mysterious man” they met.

Starting to get it now? No? That’s probably intentional, as it seems to be with most Lynch films.  You always seem to be just on the edge of figuring out what the hell is going on, and then the answer is snatched away again by another weird, random event or characters.

The rest of the film is just like that: feeding you clues and hints about how Fred’s and Pete’s lives intersect; their connection to Renee/Alice, and the part that the Mystery Man plays in all of it – someone whom even Mr. Eddy seems to know. And yes, Fred does eventually come back into the picture, but how it happens and what it means, takes a whole lot more time and ink to ponder than what we have here.

If the ambiguities of TWIN PEAKS were a major turn-off for you, and/or you just don’t care for Lynch’s work, anyway, you might want to stay as far away as possible from LOST HIGHWAY. It makes it more than a little difficult to judge the quality of the performances, if you have absolutely no idea what the hell the characters are supposed to be doing in the first place. But the cast – at least to me – seemed to be doing pretty well.  And there’s the usual raft of cameos from a diverse range of actors that goes from HENRY ROLLINS, to GIOVANNI RIBISI and NATASHA GREGSON WAGNER. Hell, even RICHARD PRYOR (in his last screen appearance) turns up for a hot minute!

Technically, as with Lynch’s other films, it’s damn near perfect. DP PETER DEMING, who shot all of the SCREAM sequels after the original, THE CABIN IN THE WOODS, and would shoot MULHOLLAND DRIVE for Lynch after this, does his part to…enhance the weirdness, I guess? And of course, no Lynch film would be complete without the presence of composer ANGELO BADALAMENTI, who does one of his best jobs creeping out viewers since the TWIN PEAKS score, while NINE INCH NAILS’ frontman TRENT REZNOR kicks major ass on putting together the soundtrack, one of the best ever for a Lynch film (it introduced me to RAMMSTEIN, SMASHING PUMPKINS and a LOU REED cover I’d never heard before!)

They say that if something is a piece of art, it’s not going to be a thing that everyone can agree upon, which I guess means that LOST HIGHWAY is definitely art.

Back in my video store clerking days, I issued a challenge about HIGHWAY, to co-workers and customers alike: I would come out of my own pocket to pay $100 to anyone who could sum up the plot of this film, in a way that made complete sense as a straightforward, logical narrative.

Take this as a recommendation, a warning, or whatever you like…I never had to pay up.

Other “HONORABLE MAYHEM” of the cerebral kind released that year included CUBE, EVENT HORIZON, FUNNY GAMES, THE KINGDOM, THE DEVIL’S ADVOCATE and SCREAM 2.

Posted by Samuel Glass in EDITORIALS, FEATURED CONTENT, HALLOWEEN, OPINION, PARANORMAL, SLASHERS AND BAD HUMANS, THRILLER, TRIBUTE, 0 comments