It Comes At Night (2017) Review

ican1IT COMES AT NIGHT (Dir- Trey Edward Shults, USA, 2017)

Starring- Joel Edgerton, Kelvin Harrison Jr, Christopher Abbott, Carmen Ejogo, Riley Keough

Another American indie horror arrives with a wealth of praise and has set out to continue the consistent drive of intelligent and original genre flicks coming out from across the shore. Is it a sign of film-makers responding to the increasing polarised splits in the country through politics and society that has caused this rush of horror films that reflect the current climate? Only time will tell. However, one thing for sure Trey Edward Shults IT COMES AT NIGHT does arrive with a marketing campaign that significantly points to this film being a straightforward horror which in reflection it is to an extent. But those expecting a quiet-quiet-boom shock laden horror story might be disappointed.

The film opens with a family disposing of a relative who has been infected by a fatal disease that has supposedly ravaged most of America. The family in question is husband and father Paul (Edgerton) his wife Sarah (Ejogo) and their son Travis (Harrison Jr). The infected relative in question is Sarah’s dad and Travis’s Granddad. The family are locked up in a house in a secluded woodland area. Boarded up and closed off as if to suggest no one is occupying the place. It’s not long though till an intruder breaks in, Will (Abbott), who after being subdued informs Paul that he has a family desperate for food. After eventually trusting Will, Paul brings the family into the boarded up house and it seems as if everyone is getting along fine and working as a unit. Yet its not long before a couple of incidents involving Travis’s dog and the son of Will and his wife Kim (Keough) sets off a tense and chilling conflict between both family groups.

One noticeable trait of IT COMES AT NIGHT is that setting a post apocalyptic story in a woodland area on the edge of civilization will allow the film-makers to at least not worry about the factors of production design or portraying the ravaged city scape that usually features in bigger budgeted outings that feature the world in devastated form. This is however essential to the story as it’s focus is on it’s characters and it also makes the ongoing threat of contagion ever more disturbing as once our characters don gas masks we know that their paranoia of the plague is real and its their actions that lend the films dramatic edge.

ican2Essentially this is a story of decent people driven to desperate means for survival and breakdown in any decency when it comes to folk wanting to protect their own family unit which makes the films conclusion, and I wont lie its not a pretty one, even more darker and in the long run with the characters actions, essentially futile. There is no denying that Shults film has a certain resonance with the current climate in America and even in our own country with a society split and mistrust felt by all sides against every one be it foreign or domestic. Paul’s protection of his own unit and his own boarded up house seems to fend off any intruders yet even welcoming them in eventually leads to confusion and chaos and acting on own selfish impulse which ultimately can seal ones own fate.

Edgerton (who is always a great character actor see THE GIFT for proof of that), also working as executive producer, is brilliant as Paul presenting him as an ex school teacher who seems to relish the role of protector and commander in chief of his house, yet his obsessive nature of sticking to rules and routine distracts him from the fact that his own son is suffering from the nightmarish reality that is happening around to him. As Travis, Harrison Jr, is also brilliant managing to convey the film from his perspective and its from the eventual fiery disposal of his granddad’s corpse that we see the film through his eyes, from listening to Will and Kim’s intimate conversations in the attic space, to his possible affection for her and his own horrific nightmares which add as some of the films intense shock scenes. It might have been better for Shult’s to flesh out the female characters a bit more as they seem more to be in the background for much of the running time. However Ejogo does have one of the best lines in the film that pretty much foretells the bleakness to come. When Paul states that “everything’s gonna be all right, to which she replies, “You don’t honestly believe that do you?”

However Shults also works brilliantly with his cinematographer Drew Daniels to capture the confined space of the house with its widescreen cinematography giving it an edge and elevating it to be its own character. The murky almost entirely dark spaces occasionally lit by lantern or flash light add an intense visual feel. Even a long tracking shot towards a door is filled with tension as in the viewer is left at the mercy of the camera as it approaches making us expect or anticipate either it to be busted open or a loud knock to unsettle bot the characters and the audience in what awaits beyond it.

ican4Like Robert Eggers THE WITCH, IT COMES AT NIGHT portrays the stark breakdown of the family unit and its unwillingness to cope in desperate situations and just like that film from last year this is another fine example of American horror going through a renaissance in both reflecting troubling times and using genre cinema as a template whilst retaining an original independent feel.

8.5/10

It Comes At Night (2017) Review

ican1It Comes At Night (2017)

Dir: Trey Edward Shults
Stars: Joel Edgerton, Carmen Ejogo, Kelvin Harrison Jr, Christopher Abbott, Riley Keough, Griffin Robert Faulkner, David Pendleton

Released 7 July in cinemas by Universal Pictures

The world has been devastated by a lethal, highly contagious disease. In the aftermath of the outbreak, Paul (Joel Edgerton), his wife Sarah (Carmen Ejogo) and their son Travis (Kelvin Harrison Jr) have managed to create some semblance of a life for themselves in their heavily protected isolated rural home, yet they still mourn the loss of Sarah’s father, Travis’s grandfather. Even so, their very survival is reliant on following a strict list of rules and precautions from which they cannot deviate. However, one night the family are disturbed by an intruder in their home and, after subduing him and taking him captive, learn that the man, Will (Christopher Abbott) claims he is desperately foraging for supplies for his own family.

Paul is then faced with a series of impossible decisions that will have him questioning his own humanity.

Aside from the record-breaking Get Out, has there been a genre film this year more heavily hyped than Trey Edward Shults’s It Comes At Night? A darling on the festival circuit, yet subject to some backlash from some early viewers, I can see both points of view.

Sadly the marketing and even the title of the film are somewhat misleading. A lot of fans were led to believe It Comes At Night was some of sort of horror/mystery, the sort of project M Night Shyamalan might have penned a few years ago. Yet it is no such thing.

ican2However, what it IS is a fantastic film in its own right.

Shults’s film is a claustrophobic, devastating masterpiece and one of the finest pictures I’ve seen this year. It looks exquisite, with camerawork that is truly mesmerising at times. The visuals – along with an unsettling soundtrack that is truly worthy of high praise – cultivate a deep and permeating sense of dread that runs throughout, ratcheted up during some truly terrifying nightmare sequences. Seriously, these sequences are unbearably tense and make for some of the most genuinely frightening moments I’ve seen on the big screen this year.

It’s a story about battered, damaged human decency and the consequences of decisions. It’s a film with a message, a sort of visual poem, and it is one that is guaranteed to provoke a strong visceral reaction in audiences.

The cast are uniformly incredible, with Edgerton and Abbott at the fore, both absolutely nailing their roles as men we sympathise with and yet come to fear in equal measure. Ejogo and Riley Keough are fantastic too, delivering nuanced performances that show both actresses’ considerable range. Harrison also delivers as the most decent and innocent character in the film, but even his Travis is not without fault. It’s these human faults, not just in Travis but each and every character that drives the story. The disease, as terrifying as the idea of it is, is simply a McGuffin. It is what this mysterious virus has caused these people to come that truly drives this story.

ican3It’s a story that is personal, sentimental, heartbreaking and beautifully told. I don’t believe this will be a film for every taste – I’m sure some viewers may find it a little slow-moving or unnecessarily abstract in some sequences, but those who do connect with it will genuinely relish the experience. I’m not sure that It Comes At Night is even a horror film (although it contains sequences that will horrify even the hardiest of viewers) but I am sure that in this reviewer’s eyes, it is quite simply brilliant.

A must see.

9/10

The Madame in Black (2017) Short Film Review

rsz_mib1The Madame in Black (Svarta Madam) (2017)

Directed by: Jarno Lee Vinsencius
Written by: Jarno Lee Vinsencius
Starring: Demis Tzivis, Ida Gyllensten and Ellinor Rosander

“After playing the infamous urban legend game “The Madame in Black”, Alex and his sister, Sarah, experience the wrath of the evil witch Madame in Black.”

On some levels, short horror films can be far more effective than full length movies. With short horror films there is little time for the audience to second-guess surprise developments. Knowing that there’s less than half an hour of a film makes us (as viewers) aware that every second of the narrative is important and will likely have some bearing on the resolution. This brevity of time is one hell of a tool for focusing attention. The Madame in Black uses this brevity to shrewd effect.

The storyline is relatively simple and it’s nothing we haven’t seen touched on in Candyman (1992), Urban Legends: Bloody Mary (2005) and countless other movies. A character sits in front of a mirror and says a name three times in an attempt to summon a supernatural entity. In this film, starting in Hörby, Sweden, 1995, brother and sister Alex and Emma try this childish summoning with their grandmother’s mirror.

rsz_mib2It does not end well.

Fast forward twenty-two years and, whilst Alex and Emma are physically mature, their idea of a fun evening’s entertainment remains as childish as it had been back in 1995. To make the situation worse, they still have granny’s mirror.

The Madame in Black is a masterclass in tension and suspense. With moody lighting, awkward camera angles, strong performances and lots of shocks, this works on every level. It’s no surprise that this film has claimed awards at the Actors Awards, Los Angeles (2017), Barcelona Planet Film Festival (2017), Direct Online Film Festival (2017), and many, many others. Well worth checking out. 9/10.

Wish Upon (2017) Review

wu1WISH UPON (2017)

Dir: John R Leonetti
Stars: Joey King, Ryan Phillippe, Sydney Park, Shannon Purser, Mitchell Slaggert, Ki Hong Lee, Elisabeth Rohm, Sherilyn Fenn

Released 28 July by Orion Pictures

Clare (Joey King) is a teenager who has plenty to deal with. After her mother committed suicide before her eyes when she was little, her father Jonathan (Nineties star Ryan Phillippe) has struggled to make ends meet, resorting to scavenging for valuables in dumpsters. This makes Clare a target for bullying from the popular kids at school and leaves her without the confidence to pursue her unrequited crush on handsome fellow student Paul (Mitchell Slaggert).

But this all changes when her father discovers a curious music box – one that Clare soon learns has the power to grant wishes. After turning her fortunes around, Clare is living a charmed life… until she realises there is a price to pay for each wish.

I think it’s best to cut to the chase and state that Wish Upon is very much a teen horror movie. That doesn’t mean it’s bad, but if you’re expecting the complexity and emotional depth of a Babadook or The Witch, you will be disappointed. This is Blumhouse-style horror, nothing more and nothing less.
Instead Wish Upon is a fun update on The Monkey’s Paw for the Pokemon Go generation.

wu2A blend of Wishmaster and Final Destination, with a little The Craft sprinkled in for good measure, director Leonetti delivers a film that looks great and even manages to deliver a couple of moments of surprising gore and spookiness. Yes, this does include a couple of feeble jump-scares, but we’re now at the point when I feel those are inevitable in a new release. One effectively tense sequence during a thunderstorm is a real highlight.

The cast are all competent at worst, with King carrying the bulk of the film’s emotional weight admirably. Last seen by genre fans in The Conjuring, she is developing into a very impressive actress. She is ably backed up by the supremely likeable trio of standout co-stars Ki Hong Lee, Shannon Purser and the scene-stealing Sydney Park, who is certainly a face to look out for in the future. It certainly helps that each of the characters gets to recite well-written and often very witty dialogue from Barbara Marshall’s sharp screenplay.

There’s also some eye-catching production design on display, especially in the sinister music box which feels like a nice mix between the creations of Guillermo Del Toro and Hellraiser’s infamous Lament Configuration puzzle box. I imagine a line of replicas will be forthcoming and will make a significant amount of cash!

wu3However, the film does have some flaws. It isn’t the most original of plot lines (at times lifting quite heavily from the superior films that came before) and the story is perhaps a little too simple, missing some opportunities to be cleverer. Also, some emotional beats miss their mark by some distance (every cool-dad-saxophone scene is excruciatingly cringe-worthy) and, sadly, the ending is heavily telegraphed and marred by some iffy effects work.

Nonetheless Wish Upon is an enjoyable way to spend 90 minutes, and I imagine it will go over very well with youngsters who are only just discovering the genre.

Perhaps the biggest compliment I can pay it is that Wish Upon feels like a fun, intriguing, opening chapter of a new sleeper franchise – and I will certainly be on board for any further instalments.

6/10

Spidarlings (2016) Review

rsz_spidarlingsv2SPIDARLINGS (2016)

Starring Sophia Disgrace, Rahel Kapsaski, Lee Mark Jones and Rusty Goffe

Written and Directed by Salem Kapsaski

Available NOW online at – http://watch.troma.com/

Poverty stricken lovers Eden and Matilda have enough trouble just getting through the days. Their Landlord is trying to terrorize them and strange things seem to be going on at “Juicy Girls”, the place where Matilda works… but when Eden buys a pet spider the real troubles start.”

Despite a myriad of technical issues, Spidarling’s is a pretty endearing piece of trash cinema, and it’s easy to see why it was picked up by Troma.

Opening with a funk-tastic animated title sequence that’s accompanied by a quite polished punk song, Spidarling’s immerses you unapologetically in the lives of skint couple Eden and Matilda, lovers who are the definition of punk. Their tiny flat and style screams “I don’t give a fuck and I don’t give a fuck if you give a fuck that I don’t give a fuck” but a lot of this is blamed on their lack of income. Eden is smart but lazy and doesn’t work, and Matilda appears to just lounge around the burlesque club Juicy Girls. Bored, fed up, behind on their rent and without a clue what to do. Enter, a spider!

For what will be a penny budget Spidarlings doesn’t lack ambition. While technical issues are rife, the experimentation is great to see. Lots of inventive animation and sudden disorienting edits, as well as ransom cutting to songs all really sell the attitude and world of the characters.

rsz_sd1However, Spidarlings falls into a lot of traps that show a lack of experience. Whether down to a choppy colour grade or lack of equipment, the film looks as if it were shot on a consumer camcorder from the nineties. It misses a lot of visual detail and just looks jarring. Also the sound was flimsy. Eden seems dubbed in post while Matilda is often inaudible, and many of the musical sequences are either too loud or too quiet.

But then again, this all adds to the DIY, trashy John Waters micro-budget transgressiveness of it all. You don’t feel like you’re dealing with a safe group of filmmakers, which is great. And it’s two hour runtime manages to flirt from body horror, domestic melodrama, black comedy, slasher and musical as if it’s on shuffle. Each situation however shares a common theme, and that is the strong undercurrent of feminism. Every bloke around the lovers is either a pervert, greedy fucker and often much worse. Some of it doesn’t always hit the spot but that’s the risk of throwing the kitchen sink in there.

The performances are eager and veer from OTT, to delightfully strange, or almost zombie-like and it all adds to the kaleidoscope of tones. Disgrace and Kapsaski hold the thing together and are a surprisingly sweet couple. Along with the engaging leads and diverse supporting cast are the the tunes, and again while the recording and editing holds them back, they are still surprisingly catchy and may just stick in your head for better or worse!

rsz_sd2With gallows black humour and a story that throws the rules out the window, Spidarlings won’t be for everyone. And it can’t be denied that at two hours it’s way too bloody long. But for fans of John Waters, Troma and underground cinema you could do a lot worse. One thing is undeniable, the feminist blood runs strong through this with, viscerally and unapologetically.

Is this a good film? I’m not sure it’s trying to be. But it’s an experience.

6/10

Father William: Part 1 by Shaun McLaren – Book Review

fwilliamFather William: Part 1 by Shaun McLaren – Book Review

Inevitably, when you put a priest in a horror story, there comes that question of trust. Do we trust that Father Merrin is able to beat evil in The Exorcist, seeing as he’s a last resort? Why should the Thorns trust the ramblings of Father Brennan in The Omen? There’s a healthy lack of trust in religion throughout many macabre tales, but the church is generally seen as a force of good.

Not so in Shaun McLaren’s Father William (Part one). Right from the off, you can tell the titular Father’s a wrong ‘un. That side is well hidden from the townspeople, until young girls start going missing. Suspicion grows as their disappearances are linked to offers of redemption by wicked old William. And just who are those weird masked figures hefting around wriggling sacks in the night?

The story has the rough, pulpy feel of a Guy N Smith novel, with the same kind of melodrama, mixed with overly floral descriptions of locations evocative of the time period. There are also constant reminders that men are men and women are women. Though where Smith added plenty of gore and nastiness to his B-movie shenanigans, there’s little here to make your spine feel chilly or guts feel like a faulty Indesit. The horrors are swift and brutal, but with a nasty edge that feels unpleasant more than unsettling.

Father William is definitely a rotter, but by the end he comes across more cartoony than scary, all sat on a throne waving a fist, Cobra Commander style. The story presents a more serious tone until then, with William coming across as a sneakily manipulative character. So seeing him literally tossing lackeys around really diminishes what went before. The same goes for the other characters, who flit and sit around without having much impact on anything, or each other. Sure, this is part one of a series, but as a starter, it leaves you more than a bit peckish for something meatier.

One final sin the book commits is coming to a screeching halt. No cliffhanger, no compelling reason to pick up the next part. Just a full stop, right as things seem like they might be getting interesting, and it’s a full stop that seems to answer the only question you might have. Maybe with room to grow, future instalments of Father William’s saga will be more compelling. I don’t trust I’ll be there to see them though.

Score: 4/10

Pick up a copy of Father William here:

Amazon UK: www.amazon.co.uk/dp/1521544034
Amazon US: www.amazon.com/dp/1521544034

Torso Hacks It’s Way Onto Blu-Ray from Shameless Screen Entertainment – August 28th

rsz_torsoTORSO HACKS ITS WAY ONTO BLU-RAY!

From Sergio Martino, director of the stylish ALL THE COLOURS OF THE DARK and the truly disturbing MOUNTAIN OF THE CANNIBAL GOD, comes this fine gem of a slasher giallo that sits well up there with the best of Mario Bava and Dario Argento.

Delicious students, who we can only assume are studying for a masters degree in stripping, head off for a vacation in a mansion remote enough to ensure undisturbed carnage, should a killer be lurking nearby…

Luckily for fans of psychosexual thrillers, a black-gloved, saw-wielding nutter has followed them to their bordello of nudity and soon starts mutilating his way through a cast of fine beauties, including the ever delicious Suzy Kendall.

Now for the first time in the UK, sink your teeth into Sergio Martino’s sadistic giallo classic, restored on limb-slicingly glorious Yell-O-Ray!

Please note this is the reverse artwork – the main artwork will be revealed closer to the release date.

Release date: 28 August 2017

EXTRAS
Brand new interview with director Sergio Martino
Shameless trailer park
Collector’s reversible sleeve with new and original artwork

SPECS
Shameless numbered edition
Fully uncut
All region

Distributor: Shameless Screen Entertainment
Format: Blu-ray
Certificate: 18
Catalogue number: SHAM209
Release date: 28 August 2017
Year: 1973
Stars: Suzy Kendall, Tina Aumont, Luc Merenda

Bella In The Wych Elm (2017) Short Film Review

rsz_bellaBELLA IN THE WYCH ELM (2017) – Short

Directed by Thomas Lee Rutter
Cast: Lee Mark Jones, James Underwood, Traci Templer, James Taylor
Running time: 36 minutes
Distributed by Carnie Film Production.

In 1943 four young boys were out poaching illegally on the Hagley Hall estate in Worcestershire when they discovered a human skull hidden inside a wych elm tree trunk. Initially reluctant to tell anyone, one of the boys was too shocked by their discovery and confessed all to his parents. Upon police investigation, an almost complete human skeleton was found forced inside the trunk of the tree, with a hand discovered some distance away.

Bella in the Wych Elm is a black and white documentary short which tells the tale of the skeleton from discovery to her presumed identification. It was two years in the making and is clearly a labour of love for all those involved with two versions of the film existing, the original and a special silent movie edition with intertitles. I watched the original version which is narrated by ‘Tatty’ Dave Jones, who has a very broad Birmingham accent and he relays the tale as if chatting to you over a pint in your local pub. The film is made to look old and damaged with the filmmakers citing influences ranging from early silent films such as Haxan: Witchcraft Through the Ages (1922), the works of Guy Maddin, the book and film of Wisconsin Death Trip and exploitation pseudo-documentaries such as Legend of the Witches (1969).

rsz_bella_2It was deduced from forensic examination that the body was forced into the trunk whilst still warm as it could not have been achieved once rigor mortis had set in. However, the discovery did not really come into public conscience until three years later in 1944 when the first graffiti message relating to the mystery appeared on a wall in Upper Dean Street, Birmingham, reading “Who put Bella down the Wych Elm – Hagley Wood”. Since the 1970s the Hagley Obelisk near to where her remains were discovered has also been sporadically defaced with graffiti asking “Who put Bella in the Wych Elm?”

Rutter’s short places the story in the realms of witchcraft and ritualistic murder, although the reality of her death is shown to be far less fantastical. He drops in a couple of very effective scares, what appears to be an original score and his influences, in particular Haxan, are definitely apparent.

Bella_SkullHowever, the short is also strongly tied to its geographical roots and it would be hard to imagine it having the same provincial tone if made by a non-local film crew. Although limited by a low budget at times, this creepy little tale lingers after the closing credits and comes recommended. 6/10

Bella in the Wych Elm has its premiere at Kidderminster Town Hall on 19th July 2017. More information can be found on Facebook (@BellaInTheWychElm) and Twitter (@Bella_Wych_Elm).

Altar (2017) Review

rsz_altarALTAR (2017)

Starring Stefanie Estes, Brittany Falardeau, Deep Rai and Jessica Strand

Written and Directed by Matthew Sconce

ALTAR is the terrifying story of a group of former college classmates who get lost driving to a college reunion camp out in the Sierra Nevada mountains. After stopping for the night, they stumble onto something much darker. They must battle to escape the evil they unleashed to not only save their own lives but their souls as well.”

I’ve watched so many found footage horror movies at this point that I kind of want to know what attracts filmmakers to the format. It’s not like they have a particularly good reputation now with critics and audiences, and the big hitters like Blair Witch and Paranormal Activity feel like an age ago now. I’m honestly curious, because the amount of found footage movies in recent years that have found a real genuine reason to be made in such a way is very small. Most of the time it just seems to be an excuse by a filmmaker to get away with dodgy camerawork and sound. As if it excuses a lack of skill or talent. Which it absolutely doesn’t. Because if the story isn’t still told right in the edit, and if the performances aren’t even more believable than in a traditionally shot movie, then the audiences attention has already jumped ship. Truth is, it takes real skill and passion and filmmaking prowess to make a good found footage movie.

Which brings me to Altar. Which, to my surprise, was actually a very cool found footage horror!

rsz_altar1All those complaints in my little rant? Well, it seems Matthew Sconce has the same, and sought to avoid them all here. The camerawork is coherent while still convincingly “found”, the sound is effective and the acting is mostly very engaging. And you know what, it’s actually pretty scary occasionally. We can’t forget that!

As you can probably tell from the plot description, the storyline for Altar doesn’t offer anything in the way of originality but the ace up its sleeve is the characters and actors. The lead siblings Maisy (Estes) and Bo (Parr) are incredibly engaging. Complete opposites, with Maisy outgoing and spirited and Bo introverted and suffering from crippling anxiety and shyness, they nonetheless have an incredible bond that is not something you see many genre films even attempt to develop. Not only that, but Bo’s characterisation is what justifies the found footage format, with the camera being a kind of protective barrier for the aspiring filmmaker. The rest of the cast do well too, each character transcending stereotypes and it’s a pleasure to see.

rsz_altar3Once the horror does kick off (and it admittedly does take a while) the film is in a race to get to the finish line which I really did not mind. It felt very well-structured as the films emphasis is much more on characterisation. There’s a few great jump scares and some fantastic tension, but in terms of violence, due to the ambiguous nature of the threat it’s all a bit PG 13. Also, the production values in one pivotal scene kind of give away the budget, with a plastic-looking set that really draws attention to itself when it should be creating fear.

But all this can be forgiven. Altar is a slow build chiller that gets away with it because those slow moments are filled with characters you’re interested in spending time with.

7/10

Burn (2017) Short Film Review

rsz_burnBurn (Short 2017)

Director: Judson Vaughan
Writers: Chris Barnes and Judson Vaughan
Starrings: Max Cavenham, Emma Kelly and Matti Kolirin
Runtime: 15min

Synopsis (from IMDb): “In the midst of national hysteria and incomprehensible personal tragedy, a child is born bearing the scars of other people’s sins.”

To say I was burning to see this would be an understatement. It feels like forever since I found out Chris Barnes would be going on his very own film journey. We had since discussed the film a little bit but finally I have had the pleasure to watch it.

Burn tells the story of a personal tragedy and life thereafter for the family involved. The father of the family Peter (Max Cavenham) has made some videos to be played after he is gone for his son Charlie (Matti Kolirin). Due to the circumstances surrounding his father’s death, young Charlie becomes distant and disconnected as his mother Lou (Emma Kelly) tries her best as a single parent, with the added pressure of public scrutiny weighing heavy on her.

rsz_burn2As the story unfolds the relationships get more strained, leading to a satisfying conclusion.

In the tradition of discussing short films, I have to remain vague but rest assured Burn is worth your time, you’ll… Burn through it! Excellently crafted with tight narrative, if I had a hat I’d tip to Chris for trailblazing his way down his own filmmaking path (I’m not sorry for the puns). I believe Chris even made a cameo so had his on screen debut too, fairplay.

If you’re a fan of horror and especially independent film please support Burn and Chris over at www.TheSlaughteredBird.com for more horror and independent film coverage.

Verdict: Feel the Burn!

rsz_burn18.5/10

Listen to my conversation with Chris Barnes and UKHS’ own Andy Deen on The Bazaar – The Fear Merchant Podcast below:
https://soundcloud.com/thefearmerchant/e013-triple-six-fest