Scars (2016) DVD Review

rsz_1rsz_scarsScars (2016)

Starring: Danielle Cole, Neale Kimmel, Matt Wells
Written by: Sean K Robb
Directed by: Sean K Robb

Out NOW on UK DVD from LEFT Films

A few months back, I reviewed a movie titled Even Lambs Have Teeth. It was a visceral movie about two girls making the move from victim to aggressor, and it had style and a definite entertainment factor. Scars is along the same basic lines, but distinctly lacking in entertainment factor, and depth of moral questioning about killing. Sad thing is, it has style, or glimpses of it, and should be much more watchable than it is.

There are two girls, Scarlett (Kimmel) and Scar (Cole). Scarlett is a habitual manipulator, who makes her living and gets her kicks out of sleeping with married men, and then blackmailing them. She is callous, unfeeling and not a very good blackmailer; after a string of emotionally-attached guys are hurt and ultimately succumb to her scam, one particular john is not so willing to be screwed around. When she pushes her luck and they get into a fight in a dark alley, Scar appears from the shadows to knock him dead.

rsz_scars1It would be OK, I suppose, if their gig was as vigilantes, saving people from violent street attacks; but they quickly develop a taste for killing men, apparently for no other reason than that things with penises are inevitable woman-users and abusers. Scar’s mantra, and the movie’s tagline, is ‘Killing Dudes is Easy’. But making a movie about killing dudes watchable is not so easy, it would seem.

The structure of the movie shows attempts at creativity and interesting cinematography, but it comes together in a very disjointed fashion. A soap-opera style opening credit sequence à la Murder She Wrote is particularly inspired, making use of noir visuals, and heavy ‘beauty’ imagery that seemed to suggest a much more thematic work than what ultimately follows. Later attempts to add realism with claustrophobically-cropped shots sadly come off as cheap; frequent use of single camera angles for extended shots make for a static, almost theatrical viewing experience, and there is a generally down-market feel to the whole film.

Ultimately, Scars is a slow and uninspiring movie. The pace of the action drags in between stylish shots of Scar applying copious black make-up, limping along between plain walls from a single focal point, while not a lot happens. Danielle Cole was clearly chosen for her looks over her acting ability, while Neale Kimmel is quite forgettable, as is her character. But even this needn’t have mattered. Scars could have been a much more compelling experience had it taken its strife for striking and distinct visuals all the way.

rsz_scars2We are supposed to get the impression of madness in at least one of the girls, but it is sparsely expressed in a very sterile and bland manner. Writer-director Sean K Robb would have benefitted from taking more influence from Rodriguez, Tarantino, even Harmony Korine’s Spring Breakers, which proved that style and flair can make a movie watchable despite questionable plot and characters. It is not sombre and brooding enough to be as slow as it is, and not bold and colourful enough to be as stylish as it wants to be. It is unfortunately just a dull film.


Havenhurst (2016) Review

Havenhurst posterHavenhurst (2016)

Director: Andrew C. Erin

Starring: Julie Benz, Belle Shouse, Fionnula Flanagan, Josh Stamberg

Havenhurst is now available on Cable VOD and Digital HD platforms, including Charter Spectrum, Comcast, DirecTV Cinema, Dish, iTunes, Amazon Instant Video, Google Play, Vudu and more

“Clean slate. Fresh start. The rest is up to you.”

Genre darling Julie Benz stars in this entertaining thriller. She plays Jackie, an alcoholic fresh out of rehab who goes to stay in an apartment building that takes in various addicts and offer them a home, as long as they obey the rules. Her landlady Eleanor (Fionnula Flanagan) offers a warm welcome with a side helping of veiled threats. Jackie is welcome to stay for as long she wants but she mustn’t return to her old habits or she’ll face eviction. Jackie agrees to the terms, but she has another motive for taking the apartment in Havenhurst. Jackie’s friend Danielle has recently disappeared from the building without notice and Jackie wants to find out what happened to her. Luckily she is the newest occupant of the apartment Danielle has just vacated. During her search, Jackie meets some of the other residents, including a young girl named Sarah (Shouse) who reminds Jackie of her tragic past.

rsz_havenhurst_3Havenhurst doesn’t exactly break new ground. And I was surprised that I guessed the nature of the apartment building so quickly. Not that the film tries for a big reveal, but literally, my first thought was correct. Still, that doesn’t matter so much with such enjoyable performances and a smoothly told story. Julie Benz is in good form and Fionnula Flanagan, despite the small part, shines brightly as the overbearing landlady with a very dark secret. Sadly, the villains don’t get much screen time. At least not as much as they rightly deserve. Especially given the slasher roots of Havenhurst. Shouse is a talented young actress and does a decent job as the quiet and traumatized Sarah.

There are a couple of gory scenes but there was certainly room for many more, and it feels a bit like a lost opportunity. I’m not generally fan of torture porn, but this movie could have used a bit more blood and guts. Though, there is at least one scene very heavy on the guts. The practical effects are also a welcome change of pace. No CGI that’s noticeable at least (which is always the best kind of CG). Not that there is great emphasis on special effects. Havenhurst depends more on suspense rather than effects.

There are few places where the movie falls flat. There are an unfortunate amount of jump scares that aren’t scary. The director would have been better off aiming for psychological thrills or, again, gore, instead. There are a lot of side characters who don’t get much, if any development. Jackie’s friend Tim (Josh Stamberg) is more plot device than character. He’s a cop. He’s her friend… and that’s it. There is nothing to indicate how they met, how they know each other, how long they’ve known each other. Same goes for the creepy building superintendant and Eleanor’s son Ezra (Matt Lasky)who could have had a much larger and more threatening part, but appears in only about three scenes. Both Tim and Ezra are wasted opportunities script-wise.

rsz_havenhurst_2While Havenhurst isn’t exactly an amazing film, it entertains and provides a coherent, well told story. Julie Benz fans in particular will enjoy her in this starring role. Just be sure to curb your expectations, and settle in for a decent little thriller with a nice kick at the end.
Kudos for: Julie Benz rocking the brunette dye job.

Lesson learned: Always read the lease agreement.


The Snare (2017) Review

rsz_1the_snare_posterThe Snare (2017)

Director: C.A. Cooper

Starring: Eaoifa Forward, Dan Paton, Rachel Warren

Please note the following review could contain spoilers , you have been warned !!

“Somewhere quiet. By the sea.”

Dark and moody from the outset. Ingrained with a deep sense of something wrong from the very first minute. Gross, disturbing, dark, unsettling and ultimately rather unsatisfying, The Snare comes close to becoming something really quite great, only to falter at the end. Still, if you can take a lot of up close shots of maggots, rape and incest, it’s actually a horrifying little film. If you are sincerely bothered by any of the latter than jump ship (and never watch this movie) as this review will discuss each one in turn.

Still there? All right, here we go.

The Snare is about three friends who become trapped in an empty vacation rental. Alice (Eaoifa Forward), her best friend Lizzy (Rachel Warren) and Lizzy’s creepy boyfriend Carl (Dan Paton) decide to get away for the weekend. Lizzy steals the keys to an empty vacation rental from her father and they take off. Everything is normal until the second day when the elevator won’t work, the stairs are locked and there is no phone service. Thus begins a tale of survival. The food they have goes rotten immediately, the water gets shut off and their sanity whittles away as they slowly starve and thirst to death. But there is a little more going on, the apartment is possibly, probably haunted and Alice is assailed with disturbing waking nightmares of past inhabitants, maybe. It’s hard to tell.

rsz_snare_1Alice is unquestionably the main character and ably played by Forward who has a “resting worried face” that somehow makes even the most mundane scenes fraught with tension. From the very beginning Alice’s dreary and awful life is established with painful clarity. She is obviously a victim of sexual abuse. In the opening scenes her father barges into her room right after she’s gotten out of the bathtub. He gives her only nominal privacy while she tries to get dressed to flee for the weekend getaway. He questions her about Lizzy’s boyfriend who he spies outside the window of her bedroom.

Once Alice has gotten away from her father the abuse continues as Carl starts in on the most disgusting ever game of “would you rather” on the car ride up to the seaside resort. He continually pushes into Alice’s personal space in a way that women will instantly recognize and revile. As the situation deteriorates so too does the mental state of the characters. Carl grows ever more restless and violent. Alice’s visions become all the more brutal, calling up abuse from her past and an uncertain vision of an old woman who might be the ghost keeping them trapped. A lot of horror directors shy away from giving concrete explanation for what’s happening in supernatural thrillers, but there is a fine line behind vague and confusing. The Snare leans into confusing and it’s up to viewers to craft their own explanation.

The film’s climax is a horrific rape scene when Carl finally loses his mind, which results in murder, and then cannibalism, because by then the food is long gone. It’s an awful and unrelenting sequence of scenes that are absolutely nauseating. But it’s an absolute gut punch that a lot of horror films don’t come close to accomplishing, so, good for them? In some ways, that is what horror strives for, to haunt and unsettle and in that much they succeeded admirably.

rsz_snare_2And, the maggots. Oh my fucking gawd, I haven’t seen this many maggots since the last Dario Argento movie I watched. The very first shot in the entire film is a close up of big fat maggots writhing in the guts of a dead rabbit. There is even some maggot eating when the food is low enough Carl has a go at a maggot riddled chicken leg, with predictable results. Which, for the record, was an almost funny scene, or in another movie would have been funny, in this too, The Snare succeeds in just making is horrible and I nearly threw up at the end.

The questions the plot raises is, is this a real haunting? Is it something, a mental state, or Alice’s personal demons that she has brought with her, magnified by the apartment? Unfortunately there is no satisfactory answer. The ghosts are vague and it’s hard to tell if some of them are from Alice’s memories. The Old Woman ghost (Emma Cooper) seems to be the main ghost but it’s very confusing and the ending doesn’t clear anything up at.

For all of The Snare’s queasy merits it has a few flaws. For starters the character’s escape attempts are rather lame. Carl tried to bash open the door to the stairs with a chair, but his attempt begs the question, has Carl ever seen a police drama on TV? It also would have been perfectly possible for the characters to lower themselves from the balcony, and going, one balcony at a time, make it to the ground. There are plenty of clothes, and blankets, curtains and bed sheets, to make a rope. But, again, Carl’s one lame attempt at making a rope ends with it dropping uselessly off the side of the building. The other thing is that Carl and Lizzy are not well developed or nuanced characters. Carl is surly and grotesque and that is established at the outset and he never changes, or only changes for the worse. Lizzy is a fun party girl. But she disappears for huge chunks of film at a time. When she does show up she either complains or is sleeping.

rsz_snare_3C.A. Cooper is a director to keep an eye on. Hopefully he will be making more films of this ilk as he definitely has a knack. A brutally disturbing watch best recommended to those with an iron clad gag reflex. And now, if you’ll excuse me, I have to go scrub my brain out and try not to dream about maggots (again).

Kudos for: Almost making me vomit?

Lesson learned: Stop watching horror films over lunch!


Slasher House 2 (2016) Review

14368789_1267178763315526_1562502904226346982_nSLASHER HOUSE II (2016)

Dir: MJ Dixon
Stars: Francesca Louise White, Luna Wolf, Sophie Portman, Jamie B. Chambers, Sam Cullingworth, David Hon Ma Chu

Released by Mycho Entertainment.

Red (Francesca Louise White, taking over the role from Eleanor James) is still hunting her father, The Demon (Jamie B. Chambers), the serial killer who slaughtered her family. Aided by tech-savvy assistant Luse (Sophie Portman), she investigates a number of murders, hoping each one will lead her to her nemesis. On one of these cases that she saves the life of stripper Amber (Luna Wolf), an individual who goes on to become a valuable ally. After crossing paths with a team of heavily armed operatives obsessed with capturing slashers, Red once again finds herself in a series of pitched battles against a host of monstrous adversaries — each leading her one step closer to the truth about the mysterious Slasher House…

Something that has struck me with MJ Dixon’s Mychoverse series of horror movies is his visual style. Think slashers by way of Argento, with a striking colour palette of blood reds and other-worldly greens.   Slasher House II takes his unique style to the next level, with the bright wigs of female leads, Red and Amber, making them look more like anime heroines than live-action characters.

With more money spent on this than his previous films, the fruits of Dixon’s labours are clear to see. As well as enhanced production values in the look of the film, it’s also reflected in some ambitious effects sequences from Bam Goodall (the Gravestone puppet is very cool, while the scenes with Molly Bannister’s, ahem, friends are another triumph) and some great fight choreography. However, if you’re more used to larger budget horror such as Blumhouse’s output, this may seem a little rough.

13769509_1216502365049833_7221261266634105140_nNevertheless, SHII marks a new kind of Mychoverse movie, with a more action-packed, Blade-esque feel. There are some excellent set-pieces in which White shows impressive martial arts moves — but that’s not all she offers. She delivers some great one-liners with a snarky, world-weary ease that makes her Red a very different character to James’s helpless amnesiac from the previous film. Wolf brings humanity and humour to the movie. She’s got an inherent likeability that marks her out as one to watch. While Portman doesn’t have as much screentime as the other two ladies, she makes the most of it.

Dixon writes fine dialogue and tells a suitably satisfying story for his cast that successfully expands on and encourages viewers to revisit Slasher House. It offers twists and turns, while the non-linear structure adds some depth to the storytelling process. I love that this is movie builds on the Mychoverse mythology, including shoutouts to its predecessor while blowing the story wide open to make a bigger, more complex world.
However, this may pose a problem for casual fans in that it relies on the viewer knowing the original movie, characters and mythos. If you haven’t seen it (or the other Mychoverse movies), you might struggle to make sense of this.

Speaking of these stories, viewers of the previous movie will be aware that several of Slasher House’s villains received their own spin-off films in the form of Legacy of Thorn, Cleaver: Rise of the Killer Clown, and Hollower. So, even though we’ve had no official confirmation yet, it’s probably safe to assume that we’ll see more of these new movie maniacs. I’d most like to see a Gravestone solo flick. His scenes were so marvellously executed, Dixon already has the framework to create a must-watch slasher/comedy.

13710015_1211177188915684_1585350713468624285_nMJ Dixon is a fan of horror, sci-fi and action, and all the cool genre-blenders that combine these. His are films by a fan, for the fans. The Mychoverse is a love-letter to the genre… and Slasher House II might just be the best example yet. It’s fun, witty and furthers the rich mythos of the Slasher House universe. Think Blade II meets Halloween with a little Anime thrown in.

I would recommend this movie just on Mycho’s sheer ambition, but it’s a genuinely good film and one I implore you to check out.


Blood Punch (2014) DVD Review

rsz_bloodpunchBlood Punch (2014)
Starring: Milo Cawthorne, Olivia Tennet and Ari Boyland
Writer: Eddie Guzelian
Director: Madellaine Paxson

Out in the UK on Jan 16th – Blood Punch will be available for purchase from ASDA, HMV, Fopp, Amazon, The Hunt and Base. And available for streaming from iTunes, Amazon Video, Google Play, Vubiquity, TalkTalk and Vimeo on Demand.

A young man is lured into a dangerous love triangle that begins to take a series of shocking and grisly supernatural turns.

Milton (Milo Cawthorne, Deathgasm, Mega Time Squad, ASH vs Evil Dead and When We Go to War) wakes up on Tuesday morning. He wakes to the annoying sound of wind chimes and the urgent need to puke. We can see he’s been sleeping on the couch at a hunting cabin. The walls are littered with brutal reminders of murder and mutilation (such as axes, crossbows, mantraps and mounted hunting trophies). And, once Milton has looked up from the toilet bowl he’s been worshipping, he finds himself staring at a tablet that bears a note saying ‘PLAY ME’.

The intrigue deepens when Milton presses play and finds the tablet contains footage of himself, explaining how the current situation has come about. His surprise at seeing himself on the screen is not because he was wasted the previous night, or because he’s endured some memory-eradicating substance. The reason turns out to be far more ingenious.

rsz_bp1The content of the tablet leads to a little bit of backstory and a proper introduction to the story’s hero.

Milton had been incarcerated in a juvenile detention centre. He’d been there because he was a chemistry student and he’d been caught using his knowledge of chemicals to cook crystal meth. Whilst appearing to repent for his sins, and maybe take a step toward atonement, he encounters a shed load of trouble in the shape of Skyler (Olivia Tennet, Lord of the Rings, Boogeyman and Shortland Street).

Skyler is a forthright character and conducts herself with a ruthless determination that is irresistible. She is looking for a meth cook and she uses her feminine wiles to tempt Milton to fill her vacancy. After showing him that crystal meth has a positive effect on her libido, it doesn’t take long before Skyler’s convinced Milton to join her. She’s even arranged to have her psychotic boyfriend Russell (Ari Boyland, The Tribe, Shortland Street, Power Rangers R.P.M.) organize a jail break. And, for Milton, this is where the troubles really begin.

As a story, Blood Punch has traces of Breaking Bad, Cabin in the Woods and Groundhog Day in its structure – but it is so much more than merely a homage to existing works. One of the clever things about this film is the way everything is made to look so effortless. The story, in less capable hands, could have been confusing and nonsensical. Instead, it’s compelling, quirky and intriguing. The characters, drug dealers, psychopaths and the criminally insensitive, could have been difficult to like. But, instead, they come across as relatable, likeable and even loveable.

rsz_bpIt’s easy to see why Blood Punch has won so many awards (Phoenix International Horror & Sci-Fi Film Festival: Best Horror Feature 2015; New Orleans Horror Film Festival: Best Feature Film 2014; Hoboken International Film Festival: Best Feature Film, Best Director, Best Cinematography, Best Actor, Best Actress 2014). The film has a compelling story that comes from a well-crafted script. The acting is strong and confident from a cast who know what they’re doing. The direction is masterful and assured throughout.

I can’t recommend this one highly enough and would say it’s one of the best horror films I’ve watched in a long time: 10/10.

Night of Something Strange (2016) Review

rsz_112819375_994557477247045_1782208119961988031_oNIGHT OF SOMETHING STRANGE (2016)

Dir: Jonathan Straiton
Stars: Rebecca C. Kasek, Trey Harrison, Michael Merchant, Toni Anne Gambale, John Walsh, Tarrence Taylor, Nicola Fiore, Wayne W. Johnson, Janet Mayson, Kirk La Salle, Al Lawler

Released by Hurricane Bridge Entertainment. See it at the Horror-on-Sea Film Festival on 21 January at 5.30pm.

Night of Something Strange opens with a messy sequence in which we discover the origin of an STD that transforms its victims into ravenous rapist-zombies(!). From here we meet a gang of youngsters on a Spring Break road trip. There’s good girl Christine (Rebecca C. Kasek), her best friend Carrie (Toni Anne Gambale), Carrie’s obnoxious boyfriend Freddy (Michael Merchant), nerdy Jason (John Walsh) and pothead Brooklyn (Tarrence Taylor). On the way to a party destination, they choose to stop over in a seedy motel. Also at the motel are bad chick Pam (Nicola Fiore) and her tough boyfriend Dirk (Trey Harrison) who are hooking up for a night of passion. However, unbeknownst to our horny high-schoolers, the infected necrophiliac who kickstarted this whole mess is on his way to the motel…

Inside the first six minutes of Night of Something Strange we are treated to a prolonged sequence of necrophilia, a man urinating in a woman’s face before he violently rapes her, a bloody wound complete with arterial spray and somebody ripping out an unspecified, but gore-soaked part of a woman’s genitalia with his bare hands, then eating it. Then the film REALLY gets going.

rsz_14917277_1155870461115745_3324279579145028734_oIf that sounds a bit much for you, then you should probably steer clear. Night of Something Strange is a shocking movie that is full-on, in your face, and legitimately disgusting at times… and THAT is why it is so good. Think classic Eighties splatter horror-comedy Night of the Creeps crossed with the excesses of South Park — NoSS is chock-full of gross-out moments, from sexual misadventures to a veritable explosion of body-fluids. As such, it’s absolutely hilarious!

It certainly helps that these moments are brought to life with visual effects and make-up far more impressive than NoSS’s modest budget might lead to you expect. But over-performing is pretty much the norm for this movie.

Take the cast — I think it’s safe to say that most of the leads in the movie probably won’t be immediately recognisable to many viewers, but that doesn’t stop them from knocking their performances out of the park. Harrison does a tremendous job of delivering some killer tough-guy lines with a straight face, while the impressive Kasek shows some real potential as a future Scream Queen. Gambale shows real dedication to her craft with a couple of her scenes, as does the simply fantastic Merchant. It is Merchant’s crass Freddy who very nearly steals the film. Merchant is brave, utterly shameless and throws himself into his role with gusto. He’s awesome! Elsewhere, Fiores clearly has fun playing the witchy Pam and she’s a joy to watch.

rsz_12513692_1002519173117542_1525579911595151897_oOf course, the actors are only as good as the material they’re given to work with, and the writing team of director Straiton, Ron Bonk and Mean Gene deliver great dialogue, some brilliant set-pieces and a plot with some pretty out-there twists. The violent monsters are suitably terrifying villains, especially the menacing Wayne W. Johnson as the lead undead sex-fiend, Cornelius. As the zombies mutate even further later in the flick, their genitalia transforming into lethal weapons, they become reminiscent of the ‘sickos’ in Robert Rodriguez’s Grindhouse segment, Planet Terror, and, along with the laughs and outlandish action, the film even manages to pack in some well-crafted scares and some intense sequences.

This is all under the steady guidance of director Jonathan Straiton, whose keen eye for a good shot is a massive contributing factor to the success of NoSS. Bravo sir!

rsz_11157579_843957512307043_3862393676166830435_oAn unapologetic fist (or perhaps another body appendage) in the face, Night of Something Strange takes your typical Eighties splatter horror flick, sticks it in a blender with some late Nineties gross-out humour, and produces a heady, hilarious, horrific cocktail that really does need to be seen on the big screen with a crowd of laughing, shrieking, gasping genre fans. This is the ultimate horror party movie and it needs to be seen the right way!


Fright Night (1985) Eureka Blu-Ray Review

fright-night-1FRIGHT NIGHT (1985)
Director: Tom Holland
Cast: Chris Sarandon, Roddy McDowall, William Ragsdale, Amanda Bearse
Running time: 106 minutes

Released by Eureka! Entertainment on standard dual format (Blu Ray/DVD) 10th April 2017
(An exclusive Zavvi limited edition steelbook released 26th December 2016 is now OOP)

The UK has been waiting what seems like centuries for a decent release of Tom Holland’s fangtastic 80’s cult classic on any format. Thankfully Eureka! Entertainment have finally delivered on a disc which is surely destined to become one of the must-have blu ray releases of 2017.

The Film: For those unacquainted with Fright Night, it follows teenage horror fanatic Charley Brewster (William Ragsdale) and his ongoing attempts to prove to his mother, girlfriend Amy (Amanda Bearse) and best friend Evil Ed (Stephen Geoffreys) that his charismatic new neighbour Jerry Dandridge (Chris Sarandon) is a vampire. His suspicions are further confounded by the strange activities he sees going on next door including a coffin being taking into the property and Jerry’s friend and live-in helper Billy (Jonathan Stark) assisting with all daytime activities.

As his mother and friends believe him to be crazy, he goes to the one person he is convinced will believe him and be able to help. Peter Vincent (Roddy McDowall) is the presenter of his favourite late night horror show Fright Night, however he is just that – a TV personality – and not an actual vampire hunter. However, as Charley’s girlfriend and best friend become seduced by Jerry’s charms, it is up to Charley and Peter to destroy the evil next-door and hopefully save the neighbourhood.

Following a rather lacklustre remake in 2011 starring the late Anton Yelchin, Colin Farrell and David Tennant, this release of the original (and best) version of Holland’s homage to horror and vampire lore is an essential purchase for any horror fan. For those new to it, Fright Night is intentionally a horror comedy however its attention to providing full on gore and graphic transformation scenes is also the reason it ranked the second highest grossing horror film of 1985 behind Freddy’s Revenge.

fright-night-2The Disc: I never saw the previous US Twilight Time or European blu ray releases of the film, so cannot offer comparisons but this release is based on the Sony 4K scan of the original negative overseen by renowned film restoration specialist Grover Crisp. It looks excellent and is certainly a vast improvement over my DVD copy or any version I’ve seen before on TV. There is a more natural colour palette, finer image detail and Crisp has ensured that classic 80’s look and ‘sheen’ isn’t lost in the restoration. Like a severed artery the film is overflowing with old school SFX and whilst on blu ray some of these do stand out more prominently, it is such a pleasure not to be browbeaten with CGI and instead I was left with a nostalgic glow. I watched the film again in its original Stereo and had no concerns with dialogue or indeed Brad Fiedel’s excellent score. Eureka! have also included a 5.1 Surround Sound option for those wanting a more immersive experience and English SDH subtitles. Sadly, they have not included a chapter menu on either the main menu or via pop-up menu, although this was apparently also lacking on previous releases.

Special Features: Apart from the excellent transfer, what really makes this release of Fright Night an undead treat is the wealth of extras which run at just over six hours. Eureka! have really spoilt fans with the highlight being an edited (two and a half hour version) of Dead Mouse Productions recent You’re So Cool Brewster documentary. A retrospective piece that includes contemporary interviews with cast, crew and many more it mainly focuses on the first Fright Night film and follows the film’s inception, production, casting, special effects, memories of filming and the film’s sleeper success. Fright Night: Part 2 (1988) is also mentioned but fans will need to pick up the full documentary for more in-depth discussion about the sequel.

Fear Fest 2008 Reunion (54 mins) is a panel discussion with cast and crew from both Fright Night and Fright Night: Part 2. There is some repetition from the documentary however we learn more about the sequel, including its now infamous troubled release and the change in attitudes to sexuality and diversity between both films. Holland also mentions upcoming talks for a possible remake/sequel and the script variations he is aware of.

Shock Till You Drop – Choice Cuts (28mins) is an interview with Tom Holland where he discusses his involvement with The Beast Within (1982), his work on Psycho 2 (1983), its release, effect on his career and his views on the studio system. He also discusses his transition from a theatre and TV actor to writer including early writing credits, the initial inception of Fright Night and the film’s major influences.

Vintage Electronic Press Kit (93 mins) is a nice addition but is taken from a VHS copy (with clock counter) and therefore suffers from vertical rolls and frequent cut outs. The kit includes US reviews, two music videos, a making of, three featurettes, news wraps, open end interviews and TV scene clips.

What is Fright Night? (11 mins) is a talking heads piece which appears to be an additional segment from the You’re So Cool Brewster documentary. Cast and crew from both original Fright Night films discuss what they believe the films are about.

fright-night-3Tom Holland: Writing Horror (9 mins) is a special feature which is also available on the You’re So Cool Brewster documentary disc. Despite the title, it has little to do with his writing techniques and is mostly about his directing style. There is also some information overlap from the Choice Cuts extra.

Roddy McDowall: Apes to Bats (21 mins) is a featurette about the actor’s history in Hollywood and cast and crew from both Fright Night films reminisce about their time with him. Again, there is some information overlap from the Choice Cuts and Reunion extras.

Also included are two theatrical trailers (G and R rated versions), plus an image gallery of 64 behind the scenes, props and memorabilia photos.

In conclusion, Eureka! have done the UK proud in bringing Holland’s cult classic to our shores in a release it totally deserves. However, folks will have to wait until April 2017 for it to hit the shelves but I can tell you it is absolutely worth the wait… Until then, be as a cool as Brewster and pick up a copy of the Dead Mouse Productions excellent documentary and pray that one day Fright Night: Part 2 gets a similarly stunning release.

Steven Hickey’s Top 10 Horror Films 2016

Steven Hickey’s Top 10 Horror Films 2016

Just a quick word to start, this has been a very tough list to compile, mainly due to the consistency of the output in the genre this year. I’ve seen very few poor horror movies over the past 12 months, but by the same token, I’m not sure there’s been a real, stand-out obvious modern classic along the lines of The Babadook, It Follows or Crimson Peak. At different points throughout the year each of my top five occupied the top spot (and there is some debate as to whether at least four of them are even horror movies!).
With that in mind, allow me to present my 10 personal favourite horror films of 2016.

HONOURABLE MENTIONS: Under The Shadow, The Eyes of My Mother, 31, Hush, The Shallows

Dir: Adam Wingard
Stars: James Allan McCune, Callie Hernandez, Corbin Reid, Brandon Scott, Wes Robinson, Valorie Curry
Honestly, if the rest of the film was as good as the last 15 minutes or so of Adam Wingard’s surprise sequel to the 1999 hit, there’s a very good chance that it would be sitting at Number One on this list. Unfortunately, this film is not as groundbreaking as its predecessor and some of the characterisation falls flat.
However, I really do think that the climactic sequence within the confines of that familiar house in the woods is arguably the most terrifying and chillingly effective horror scene of the year, one that single-handedly buys the movie a place on this list.

hollwer9. HOLLOWER
Dir: MJ Dixon
Stars: Adam Dillon, Becca Talulah, Nicholas Vince
UK-based micro-budget maestro MJ Dixon has created something astonishing with his Mycho-verse horror franchise. From Slasher House to its sequels Legacy of Thorn and Cleaver, these connected films show tremendous imagination and visual flair.
And Hollower is quite possibly his best effort yet. A taut, lean psychological chiller with a trio of great performances from Dillon, Talulah and Vince, it’s also the most mature and frightening film from Dixon yet. The bar has been raised for Slasher House II — if it lives up this one expect to see that movie on this list next year.

Dir: David Hartman
Stars: Reggie Bannister, A. Michael Baldwin, Dawn Cody, Angus Scrimm
Don Coscarelli’s Phantasm series is one of the most creative horror series there is. There were times when I thought this final chapter would never come.
Then Ravager arrived and somehow managed to be both perfect and disappointing. It gave the fans a real sense of closure, presenting a ballsy, brave conclusion to the tale of Reggie, Mike, Jody and, of course, the sinister Tall Man. Yet as a standalone film for the uninitiated it lacked frights and a sense of cohesion.
But that’s Phantasm for you, a dream-like paradox, tonally uneven but full of heart. We may never see its likes again.

the-witch-poster17. THE WITCH
Dir: Robert Eggers
Stars: Ralph Ineson, Anya Taylor-Joy, Kate Dickie
I’m bracing myself for flak here. The critically acclaimed genre movie of the year was visually spectacular, very deep and different to everything else and… well, a bit dry. There can be no faulting the look of The WItch, the tone, the nightmarish imagery or the stunning performances (everybody in this film is incredible, even the goat!). But I found the story a little flat and ultimately, didn’t care enough about the characters. I’m sure this will be the top horror flick for plenty of people and I can understand that decision – but it was a little too cold and detached for me.

Dir: Sang-ho Yeon
Stars: Yoo Gong, Soo-an Kim, Yu-mi Jeong, Dong-seok Ma, Eui-sung Kim
28 Days Later on a train in Korea. So I wrote in my review of this absolutely brilliant zombie flick back in October and that description is still so apt.
It’s intense, frenetic and breathes fresh life into a subgenre that, like its undead monsters, has been shuffling towards obsoletion. It’s gory, pulse-poundingly action-packed and it doesn’t relent for a single moment, yet still manages to weave a sentimental story about a fraught father-daughter relationship as it does so. A genuine triumph.

conjuring25. THE CONJURING 2
Dir: James Wan
Stars: Patrick Wilson, Vera Farmigia, Frances O’Connor, Madison Wolfe
Much like its predecessor trumped big studio horror rival Insidious: Chapter 2, its sequel surpasses this year’s Ouija sequel and Lights Out. It packs more frights, more heart and some seriously impressive film-making from modern-horror master James than either of its big rivals and delivers some of the very best spooky moments of the year. I can’t be the only fan to hope that Wan’s franchise about real-life demonologists Ed and Lorraine Warren runs and runs – if the next film is even half as good as this we have a real treat in store.

Dir: Fede Alvarez
Stars: Jane Levy, Dylan Minnette, Daniel Zovatto, Stephen Lang
Sometimes the most simple premise delivers the most effective results. Fede Alvarez’s nail-biting thriller about three burglars who pick the wrong house is a perfect case in point. Built around a powerhouse performance from Avatar tough-guy Stephen Lang, this is a film that is utterly gripping and will have you on the edge of your seat throughout. It also boasts a couple of seriously out-there plot developments that do a wonderful job of establishing the robbers’ blind-victim as far less sympathetic and one of the most intimidating screen characters of the year. A must-see.

the_monster_poster3. THE MONSTER
Dir: Bryan Bertino
Stars: Zoe Kazan, Ella Ballentine
This was a film that flew under my radar, then slapped me square in the face when it arrived. Another deceptively simple tale about an alcoholic, The Monster is about a neglectful mother, the tumultuous relationship she has with her damaged young daughter, and a fateful night in which their car strikes, well, a monster. A moving and layered character piece is told in flashback throughout the ongoing game of cat and mouse, the film is both heart-breaking and heart-stoppingly tense. What’s more the central pair of Kazan and Ballentine are amazing. Powerful and brilliant.

Dir: Jeremy Saulnier
Stars: Anton Yelchin, Imogen Poots, Joe Cole, Alia Shawcat, Callum Turner, Patrick Stewart
Assault on Precinct 13 with a punk rock band. A good siege movie is tough to pull off. This is an excellent one. Notable for being one of the brilliant Anton Yelchin’s last roles before his tragic death, this is a tight and surprisingly bloody thriller which ratchets up the tension to nearly unbearable levels and refuses to let up. The cast is fantastic, the direction assured and the plot utterly riveting. For a long, long time, this was my favourite film of the year and remains one that I whole-heartedly recommend.

i-am-not-a-serial-killer-movie-poster-2016-10207764011. I AM NOT A SERIAL KILLER
Dir: Billy O’Brien
Stars: Christopher Lloyd, Max Records, Laura Fraser, Karl Geary
This is not a perfect film, and I’m not sure if it’s even a horror movie, but of all the flicks I’ve watched this year, few have had such a strong effect on me. You’re better off going in not knowing anything, but this darkly comic tale about a borderline psychopathic teen who comes to believe a murderous monster may be operating in his town is hilarious, frightening, disturbing, achingly hip and utterly unlike anything else you’ll see this year. Both Lloyd and Records are awesome and so is this film. These reasons, and so many more, are why I crown it the best of 2016.

And finally
Dir: Kôji Shiraishi
Stars: Mizuki Yamamoto, Aimi Satsukawa, Masahiro Komoto, Masaki Saisho, Elly Nanami
In truth, Sadako v Kayako really isn’t that bad a film. The problem is that, considering the source material, it should have been brilliant. I absolutely love the Ring series and I’m a huge fan of the Ju-On franchise, and this just doesn’t get close to the heights of either of them. It doesn’t help that the titular battle gets just a couple of minutes of screentime, and ultimately this just feels like a terrible missed opportunity.


Top 10 Horror Films of 2016 by Elliott Maguire

Top 10 Horror Films of 2016 by Elliott Maguire


Something that has and will always fascinate me is religion, and what those devoted to their God will do in their name. She Who Must Burn examines this in such a realistic way it’s almost a docu-drama. A horrifying look at religious extremism in a small town with a sense of inevitability and dread that is palpable.


Another title that completely caught me off guard, this dense, slow-burning psychological thriller was all about the characters and the performances, and oh boy did they do a good job of getting right under your skin, especially Teruyuki Kagawa as the last person you would want living next door. Truly the work of a master filmmaker, like the characters in the final frames, Creepy will leave you scarred.

tank8. TANK 432

Coming from Ben Wheatley’s frequent collaborator Nick Gillespie, I had high expectations for Tank 432 until I saw the trailer. Then I thought I had all the twists figured out. So happy I was wrong. This was a much smarter film than its surface would suggest, a hallucinogenic trip to to into the belly of the bull. War is hell indeed.


This was the most purely entertaining cinema going experience of the year for me. An epic horror crowd pleaser, every inch of the screen was used to smartly construct some of the biggest jump scares of 2016. Emotional, terrifying and full of wonder, this was just so much fun.

invitaqtion6. THE INVITATION

From the writers of Night At The Museum and the director of Aeon Flux and Jennifer’s Body…I didn’t see this going well. But imagine my surprise when this turned out to be one of the smartest and most  disturbing paranoid thrillers I’d seen in years. An absolute must-see.


I had never heard of Tabloid Vivant until I watched it for a review, and I still don’t think I’ve seen anything like it. This is an art house film, literally about art, but don’t let that put you off. It’s also accessible, transgressive, imaginative, stylish, unique, funny and in the end quite tragic. It’s also available on Amazon Prime now, so I say open your mind and give it a go.

mindseyeeeee4. THE MIND’S EYE

Our fearless leader Andy Deen recommended this to me and all I can say is fuck me gently with a chainsaw, this is just the shot in the arm jaded horror fans are looking for. Lovingly retro without being cutesy, this is too drawer indie filmmaking. Complex characters, in a simple story told with passion, vigour and ingenuity. It’s stunning. For fans of Cronenberg, Verhoeven and Eric Red, it has to be seen. Bravo Joe Begos. Bravo.


I think this was the film I was anticipating the most this year, and it exceeded my expectations. After this and Blue Ruin, Saulnier has the directorial and storytelling vision that I can relate to the most. This is old school genre filmmaking, the Walter Hill or John Carpenter kind. Every shot is thoughtful, every line important, and every scene of violence painful. Led by the late, great Anton Yelchin as an unconventional hero, this really is one of the most visceral and uncompromising horror films of the year.


Ben Wheatley can do no wrong in my book. He’s a true visionary whose films are always distinctive and High Rise was no different. Disturbing, hilarious, anarchic and horrifyingly relevant right now, this one will is going to stand the test of time.

wailing1. THE WAILING

I still can’t stop thinking about The Wailing. It’s such a layered and literate story, that takes its time burrowing into your consciousness. This is the ultimate kind of horror. It ticks all the boxes, but it all feels natural. Psychologically devastating, horrifyingly violent, and emotionally engaging, there truly hasn’t been a film like this in years. Steeped in folklore and character, this feels like an adaptation of an amazing Stephen King novel. It’s not, but it’s seriously that rich and imaginative. If anything comes close to it in 2017 it will be a very good year for horror.

Honourable Mention: THE NEIGHBOUR

The Neighbour is bound to be one of those films that flies under the radar, but, even though it’s technically more of a thriller than horror, it’s well worth checking out. A tight, smart, brutal crime thriller with standout turns from Josh Stewart and Alex Essoe.

Biggest Letdown: LIGHTS OUT

I’m a big fan of David F. Sandberg’s short films and an even bigger fan of James Wan’s. It should be a match made in horror heaven, but I found this a poorly developed effort. Dumb characters, an uninvolving plot and unimaginative scares made this extremely forgettable unfortunately.

Biggest Surprise: THE INVITATION

5 Most Anticipated for 2017:

a-cure-for-wellness-uk-movie-posterA CURE FOR WELLNESS

Gore Verbinski returns to the horror genre with what looks like a visually stunning mind-fuck. I don’t want to know anything about this going in but I can’t wait to watch it and find out.


A racially-fuelled Wicker Man from Jordan Peele and Jason Blum? Hell yes. I don’t think this could’ve been made at a better time and can’t wait to see what’s surprises it has in store.


Everything about this, from the story behind it’s making to the concept, excites me. Everything I’ve heard so far tells me Alice Lowe has made a defining British cult classic.


The directors of INSIDE. Directing a TEXAS CHAINSAW film. As a horror road trip. With STEPHEN FUCKING DORFF. WHY IS THIS TAKING SO LONG TO COME OUT!?! There is absolutely no way this can be as bad as the last one, so just put the ultra violence in my eyeballs now!!!


I’m a HUGE fan of The Loved Ones, and have been patiently waiting on another Sean Byrne film. Another unique eye with a huge passion for the genre, he’s a fantastic talent and this melding of a metal and the supernatural sounds awesome

The Conjured aka Adaline (2015) Review

conjured1THE CONJURED aka ADALINE (2015)

Starring Jill Evyn, Lane Townsend and Jeremy Walker

Written & Directed by Bidisha Chowdhury

Out on UK DVD October 10th from High Fliers Films

“Adaline’s terrifying visions bleed through from the past and become Daniela’s present day nightmare”.

Daniella is your typical starving artist living in the city. Talented but not yet appreciated, she is a good soul who deserves a break. And she thinks that break has come when she inherits a large estate from her aunt out in the country. But as she struggles to settle in, she stumbles on the houses gruesome past, and soon learns that history has a way of repeating itself.

Although the setup is familiar, it’s familiar for a reason. Lots of haunted house films follow the same central conceit but they are still successful because the filmmaking is skilled, but unfortunately that’s not the case for Adaline.

It’s a very pretty film on the surface, with lots of showy shots of the city and the country and very well-composed framing of the house and characters but my god it’s boring. And while the reasons are many, the main culprit is the script. I lost count of how many random, overlong scenes of chitter-chatter there was here.

conjured2In the opening ten minutes we have not one but two scenes of Daniela chatting with her friend, and both scenes completely lack drama or conflict in any way shape or form. It’s a real slog and proof that the old, basic screen writing rules really are true. But all this could have been edited out if writer and director Chowdhury had been more disciplined. As it is, the film feels stale and unengaging, full of filler.

The performances are also a mixed bag, but when the scenes are filled with so many awkward gaps in conversation that could easily have been cut out in post, again, it’s more the filmmakers issue. As the clichéd sexually confident and adventurous best friend, Emma Claeys struggles with the inane dialogue, her character just there to show how quiet and lovely Daniela is. As Daniela, Jill Evyn does very well with the material she is given, but deserve better.

And then there is the flashback scenes. Daniela finds a diary in the spooky old house, which tells a tale of murder and betrayal. But the visualisation of it is laughable. It feels like you’re on the set of one of those hammy murder mystery tours, with cheap consumes and over the top acting.

But the main issue I had with Adaline was the ridiculously offensive disabled character Marvin (Jeremy Walker). His inclusion in the story is as mystifying as the insensitive way the character is written and portrayed.

conjured3On a technical note, aside from the editing in the dramatic scenes, Adaline is just fine. Chowdhury has a good eye and goes for the more M. Night approach, lots of steady wide shots and patience. The house itself is beautiful and we get to see lots of it, and the ending does jump up the pace a bit even if it did raise more questions than answers for me.

But Adaline is too bland and unengaging for me to truly recommend. Not campy enough for a fun Friday night in, it’s just a bit dull.