Wednesday, April 30, 2008

Fangoria's Weekend of Horrors Report - April 2008

Me at Fangoria's Weekend of Horrors!

This year’s Fangoria’s Weekend of Horrors in Southern California marked the first year the horror convention was held at the L.A. Convention Center. Organizers Creation Entertainment and Fangoria Magazine wanted to give more fans the opportunity to attend the usually sold out event. Also, the bigger space meant more vendors would be there, enticing attendees with their gore-drenched goods!

The intentions were good, and the larger venue would have fit a heck of a lot more fans, if only those fans had actually shown up! Unfortunately, this year’s event was pretty barren of attendees. Whether it was the change of venue, lack of big horror movies or stars at the event, attendance was definitely down this year.

George Romero signing autographs

I spoke to many attendees, including fans, press and vendors, and most complained of the convention center’s inability to accommodate the horror crowd. On Friday, there was only one place open for food and they only carried pre-packaged salads and sandwiches. Despite other conventions going on, nothing else was open. On Saturday, they opened up more of the small cafeteria, but even their Starbucks stayed closed (and don’t even get attendees started on the lack of bar!).

Though many grumbled about the lack of good eats and places to sit and hang out, the actual panels and presentations were quite good, though most felt a little stale. Most horror fans don’t need to see the girls from Rob Zombie’s Halloween after the disappointing panel last year. Does anyone even care anymore? The empty auditorium pretty much answered that question. Also, the usual horror celebrities had panels or were in attendance – Mr. George A. Romero (yes, he showed up this year!), Tony Todd, Ken Foree, Clive Barker, etc., etc. – but many horror fans have seen these stars multiple times, and so there was no real draw at the panels this year.

I did catch the panels on the upcoming Black Waters of Echo’s Pond (with actors Danielle Harris, the “Babysitter Twins,” James Duval, writer Sean Clark, etc.), Dead Air (including Corbin Bernsen and Patricia Tallman) and the available-on-DVD Gutterballs (including the cast and director Ryan Nicholson). I gotta say, Black Waters and Dead Air look pretty kick ass, and of course you know how we feel about the ultra-gory Gutterballs.

 Cast and crew of Black Waters of Echo's Pond

I also caught producer Rob Tapert (Evil Dead, the upcoming Drag Me to Hell) who assured the audience that while he may not know what the “next big thing” in horror is, he definitely thinks we’ll have fun with Drag Me to Hell. The Psycho reunion panel was also pretty amazing to witness, as it assembled guests from all four Psycho films and was hosted by our good friend Rob G., who is currently hard at work on a documentary on the Psycho films. Angus Scrimm (The Tall Man from the Phantasm films) graced attendees with his delightful presence over the weekend. It’s funny to think how terrifying he is in those films but what a sweetheart he is in real life!

The absolute highlight of the weekend was an independent film called Red Velvet that wowed the packed audience in the screening room. This whip-smart horror film played with horror conventions while delivering some very satisfying kill scenes and an entirely original killer. The cast and producer were also present to sign autographs during the convention.

 Wicked Lake cast and crew

Another highlight was being able to see friends I only get to see about once a year. The Icons of Fright guys, the Horror Yearbook kids, Mel House and a bunch of new people I had the pleasure to meet. It did seem that a few familiar faces were missing, though.

On an immensely positive note, Shannon Lark won Fangoria’s first ever Spooksmodel Contest!! Congrats, Shannon! You deserve it! If you’re not familiar with Shannon, you will be!

The switch from the Burbank Marriott to the L.A. Convention Center for Fangoria’s Weekend of Horrors was not an easy one this year. I hope that this was due to growing pains and that all the kinks get worked out by next year’s convention, because the friendly, homey vibe that Fangoria’s Weekend of Horrors usually is known for was seriously lacking this year. You can’t blame Fangoria or Creation Entertainment, though, as the panels were pretty cool. I think it’s more getting used to the bigger venue and the venue catering more to convention attendees (like having some freakin’ places to eat open!!).

A lot of people also didn’t attend the convention this year, and I think this was due to the fact that the horror genre has been inundated with Hollywood remakes/sequels, things are a bit on the slow side for the genre at the moment and people just didn’t show up at the new digs this year. I sincerely hope that things will pick up next year and more will attend, because the more the gorier!!

All that said, there are some freakin’ fun horror movies on the horizon (that aren’t watered-down remakes or sequels…yayyy!!) that I am very much looking forward to! And there were some wonderful panels and people in attendance this year as well.

I just can’t wait until next year when the Weekend of Horrors really settles in to its new digs and is able to stretch its legs a bit.

See you all next year!

Tuesday, April 29, 2008

Red Velvet (2008)

When was the last time you saw an original killer in a horror film? The standard stoic Leatherface, the unflinching Jason, the wise-cracking Freddy, the cold and unyielding Michael, along with their many successors/imitators are all well and good, but sometimes you just wish for a killer with a little more quirk along with his or her bloodthirstiness.

Meet Aaron, a writer who has a bickering couple living next door to his apartment. The paper-thin walls do little to mask the volume of their frequent fights. He runs into his neighbor Linda at a nearby laundromat early one morning, and the two proceed to infuriate each other. Pretty soon, though, Aaron has convinced Linda to grab a bite to eat and they end up at a Chinese restaurant for lunch. Linda confesses her boyfriend is a “dumbass” and the cause of most of their fights. The previous night the two got into an argument because her boyfriend was supposed to drive her up to a lakeside cabin, where Linda’s sister and friends were having a birthday party for their friend Frank. The dumbass didn’t want to miss a “big game,” so Linda didn’t go.

Aaron confesses he is a writer and Linda urges him to tell her a story. He proceeds to tell her tales of their Asian hostess’ head ending up in the fish soup and another story about a lazy-eyed, psycho mother who meets her demise at the hands of her family. Linda isn’t fazed, though, and asks for something a little more extreme. Aaron then crafts a tale about her friends up at the cabin being stalked and killed off.

Pretty soon the lines between fantasy and reality are blurred when Aaron gives Linda a ride up to the isolated cabin and certain elements of his story seem to be coming true…

Red Velvet is one of the goriest and wittiest horror movies not just of this year, but EVER! Its highly original script, penned by Anthony Burns from his own story with help from Joe Moe (also a producer), gives the genre of horror hope amid all the PG-13 films made for tweens and wretched remakes clogging the video shelves.

The film was screened to a packed house (standing room only!) at this year’s Fangoria’s Weekend of Horrors in Los Angeles and no one in the audience left disappointed. The script is uproarious in all the right places while still maintaining its horror sensibilities and having some truly splatterific set pieces. From the opening scenes in the laundromat where Aaron and Linda are trading jabs to the hilarious scene where they come up with the “perfect killer,” the film is blackly comedic. And then there’s the gore…the amazingly bloody gore! Like one scene where an unfortunate dude gets sawed in half. Or the scene in which a couple tries to climb out of a deep hole…but the end of the rope is attached to an alligator that keeps getting steadily and steadily closer to falling in the hole every time the couple climbs a few more feet…how’s that for original?

The acting is superb with Henry Thomas giving a manic, off-kilter performance as writer Aaron. Kelli Garner as Linda holds her own as well and proves that she won’t be bullied by Aaron’s snide remarks ‘cause she dishes ‘em right back! It was nice to see her character wasn’t the stereotypical “helpless” female victim, but one who fights back. The supporting cast holds its own through the ever-changing characters’ as Aaron molds his story to fit the personalities and looks of Linda’s friends. Despite the many character incarnations, all of the actors held their own, among them Eric Jungmann (Killer Pad), Michele Nordin and Carlie Westerman (An American Crime).

Heightening the atmosphere is the direction by first-time director Bruce Dickson. The shots are engaging and beautifully bathed in unnatural reds, purples, yellows and oranges (especially for the story-telling scenes). The uniquely disconcerting score also gives the audience the impression that they are entering the “Twilight Zone” and that we are in for something truly special and weird.

My only complaint with the film was the ending, which lacked the punch of the rest of the film. The return of Aaron to his apartment felt a little tacked on and didn’t really add anything to the story, which should have ended five minutes before. Other than that, I am aglow with high praise for Red Velvet. It is truly one of the most memorable and unique horror films I’ve ever experienced.

Available from Amazon!

Monday, April 28, 2008

Psycho III (1986)

Psycho III starts with a startling scene where a young nun screams, “There is no God!” before scaling a bell tower (reminiscent of the one in Hitchcock’s Vertigo) to attempt suicide. After accidentally causing her Mother Superior to plunge to her death, the young nun, Maureen Coyle (Diana Scarwid), leaves the convent. After a trek across the desert, she gets a ride with the sleazy Duane (“call me Duke”), played by Jeff Fahey. She bails when the skeeve tries to get fresh with her.

Back at the Bates Motel and nearby town, people are speculating about what happened to Ms. Spool (who’s fate we find out at the end of Psycho II…or do we?), who vanished without a trace a month ago. A reporter starts snooping around and claims that Norman was behind her demise.

Duane rolls into town and takes a job running the front desk of the Bates Motel and Maureen takes a room there as well. Norman takes a special liking to Maureen while it seems that Mother has returned as bodies start popping up. Has Norman gone mad again or is someone with ulterior motives behind the murders?

Psycho III differs wildly from the first two films. It was made in 1986 and the sleazy slasher feel of the decade is apparent. While it is still an enjoyable film, it doesn’t take itself as seriously as the first two Psycho films. It features gratuitous nudity, disposable characters, bloody kills scenes and so on that are typical of 80’s slashers.

Psycho III marks Anthony Perkins directorial debut and he did a rather impressive job. There are several scenes that hearken back to the original (like a fall down the stairs) that delight and other homages to Hitchcock’s work (like the previously mentioned Vertigo bell tower scene). Perkins also frames scenes with interesting camera angles throughout the film and uses garish neon colors to light scenes.

The acting overall is pretty solid, though Anthony Perkins portrayal of Norman Bates felt a little empty this time around. He looked a bit weary in this film, which made the character that much more weak. Norman was still immensely likable, but Norman’s signature eagerness and neediness was somehow missing. Still, no one can do Norman like Perkins can and he still managed to pull you into the story and made you side with Norman, despite his “psycho” tendencies. The supporting cast, including Jeff Fahey and Diana Scarwid, did a great job overall, though the only person you really care about is Norman.

The kills were pretty violent and definitely bloody, but it just didn’t seem that there were that many of them and that most of the time it was a disposable character getting offed. I did love the scene with one of the victims in the ice box, though (no matter how unbelievable), as well as the Cupid’s arrow kill late in the film.

Though Psycho III isn’t the masterpiece Psycho is or the tension-filled ride that Psycho II is, it is a fun popcorn flick that doesn’t taint the Psycho legacy.

Available from Amazon!

Wednesday, April 23, 2008

One Dark Night (1983)

The 80’s was a grand time for horror movies and it sees like you can always find a hidden gem no matter how many horror movies you’ve already seen. One such hidden gem is 1983’s One Dark Night (aka Dark Night aka Entity Force aka Mausoleum aka Night in the Crypt aka Night of Darkness aka Rest in Peace). It may not be a perfect horror movie, but it is one fun flick that will no doubt entertain!

High school student Julie (Meg Tilly) has always wanted to be one of the Sisters, an ultra-cool clique of girls that sports snazzy satin jackets and go around sneering at people. Problem is, Julie is dating jock Steve (David Mason Daniels), who just happens to be the ex of Carol (Robin Evans), the leader of the Sisters. To get back at Julie, Carol devises one last initiation for her…one where she must spent the entire night locked in a mausoleum.

Carol and her two Sisters Kitty (Leslie Speights) and Leslie (the cutie-patootie E.G. Daily!) fully expect Julie to back out once their plan is revealed, but Julie is determined to prove herself and accepts the challenge, even when boyfriend Steve tries to dissuade her from joining the silly clique. Julie is dropped off at the mausoleum and locked in, given only a sleeping bag, a flashlight and a “sleeping” pill to keep her company while the other girls drive off to plan other hijinks for later in the evening.

What the girls don’t know is that the famous psychic Raymar was interned in the mausoleum earlier that day. He died of unknown causes and was found dead, along with a group of equally dead young women, in an apartment that looked like a war zone. Silverware and plates were embedded in the walls and much of the furniture was smashed. According to some, Raymar was a “psychic vampire” and could drain the life energy from people. He is now entombed in a crypt, but can still use his psychic powers to terrorize, including moving corpses (and other objects, including busting out of his coffin) with his mind.

Meanwhile, Raymar’s estranged daughter Olivia (Melissa Newman) is discovering the truth about the father she never knew as well as her own psychic powers, much to the chagrin of her husband (played by Adam West! Yes, THAT Adam West!).

When Raymar unleashes his electromagnetic powers, Julie, as well as Carol and Kitty who have snuck into the mausoleum to spook her, are terrorized by Raymar as he tries to scare them with moving corpses so he can drain their tasty, tasty life force. Will anyone live through One Dark Night?

This gem follows the familiar pattern of 80’s horror that involved initiations (Hell Night, anyone?), but just because the formula is familiar doesn’t make this flick any less fun! From the cheesy dialogue to the atrocious fashions to the creepy corpses and spooky location, One Dark Night is a crowd-pleasing movie.

The story, written by Michael Hawes and Tom McLoughlin (who also directed), is surprisingly original. There aren’t many horror films that tell tales of psychic vampires, but this one tells it rather well (despite the cheesy instances of lightening bolts shooting out of Raymar’s eyes)! Also, I enjoyed the subplot of Raymar’s daughter Olivia and her discover of her father’s (and her own) powers. While at times it felt a little tacked on, overall it worked with the film and helped make things more interesting.

The acting wasn’t anything spectacular, but Meg Tilly was great as the determined Julie and the bitch Sisters were a hoot (except what was up with Kitty and her always chomping on a toothbrush??). It was also fun to see Adam West play Olivia’s straight-laced and stodgy husband.

The special effects on the corpses were extremely well done and the corpses looked amazing! The corpses here shouldn’t be mistaken with the “undead” or zombies, as they were just dead bodies that Raymar would control and move with his mind. So instead of walking, the corpses hovered a few inches off the floor, which was pretty damn creepy if you ask me. Also, there wasn’t any bloody gore to speak of, just raggedy old flesh and tons of maggots and worms! My favorite little snippet was when one of the girls was being suffocated by several corpses and she put her foot through the stomach of one of them. Maggots proceeded to spill out! Needless to say, it was wicked cool!

One Dark Night isn’t perfect, though, and some will find the dialogue a bit lacking and there are a few scenes that drag on forever. Did we really need a full-fledged tour of the mausoleum as Julie slowly walks through it?. Every hallway looked the same anyway! The ending and the subplot involving Olivia both felt a bit too convenient at times as well. If you want to get nit-picky, there were also some plot holes and characters that didn’t get developed. Despite these flaws, though, One Dark Night was entirely enjoyable and I didn’t get hung up on any of the negatives of the film.

There are few 80’s movies that can take you back to being a kid again, just kicking it in front of a late-night horror movie on TV, but One Dark Night is one that brings the joyful feeling back. This movie isn’t perfect and isn’t a horror masterpiece, but there’s just something about it that recalls the awesomeness of 80’s horror and just the love of horror in general.

If you haven’t checked it out yet, I highly recommend you do some for nostalgic terror! Just a tip, though, don’t watch the “Alternative Director’s Cut” unless you’ve already seen the theatrical cut. The director’s cut is very rough and utilized work prints that don’t feature sound. You definitely won’t have fun when you’re sitting there frustrated because you can’t hear what’s going on!

Available on Amazon!

Tuesday, April 22, 2008

Psycho II (1983)

I’ve always felt Norman Bates was one of the most sympathetic, yet terrifying, horror villains to ever grace our screens. Anthony Perkins’ pitch-perfect portrayal of the psycho makes him seem so innocent and naïve, yet so unstable at the same time. Another great thing about the character is that everyone knows a lonely person like Norman Bates, one whose social skills have been stunted and who come off a little creepy.

Anthony Perkins returns to play Norman Bates in Psycho II, a highly underrated sequel that continues the legacy and furthers the original story of Psycho.

Twenty two years after killing numerous people at the now infamous Bates Motel, Norman Bates (Anthony Perkins) is released after being deemed “rehabilitated” by his doctors. He just wants to lead a normal life, but there are some that aren’t too pleased with his release. Victim Marion Crane’s sister, Lila Loomis (Vera Miles, reprising her role from the original) warns Norman’s doctor that he will rue the day he was released and his motel manager Toomey (Dennis Franz) calls him a loony.

Nonetheless, Norman returns to his motel and manse on the hill, determined to put his past behind him. He starts working at a nearby diner and befriends waitress Mary (Meg Tilly). After some boyfriend trouble, he invites her to stay in his house. Soon after, he begins receiving phone calls and mysterious notes from someone claiming to be his mother.

As people go missing or end up dead, Norman’s façade begins to crack. Has he fully slipped back into his mother’s persona or is someone trying to drive him mad?

There is no doubt in anyone’s mind that Psycho was a landmark movie. It was one of the film’s that paved the way for horror movies and is cited by many filmmakers as an inspiration for their films. You’d think that Psycho II couldn’t possibly live up to the genius of the first Psycho, but this is one sequel that ranks up there with its predecessor!

The story, written by Tom Holland (Fright Night and Child’s Play), is seamless and really pulls the viewer in. There is no hokey-jokiness that ruins most sequels – Psycho II is straight-up suspense and takes itself seriously. There aren’t any plot holes, it stays true to the original and Holland does an excellent job of keeping you guessing and even surprising you in the end! This is probably one of the most solid and loyal-to-the-original sequels I have ever seen in the horror genre!

The acting is also fantastic. Perkins returns as Bates and again makes us equally pity and resent him. We see him more in this film than we did in Psycho and really get a feel for his “unbalanced” personality (even when he is supposedly “cured”). Meg Tilly is wonderful as Mary, who’s hiding her own true self. It was also a great pleasure to see Vera Miles in the role of Lila again. There are also several familiar faces that pop up throughout the film (Dennis Franz, anyone?!).

The atmosphere of the Bates’ big house is decidedly creepy, and the filmmakers use that to the utmost advantage. I especially like the homage of the shower/peephole scene as well as the set up of Norman’s mother’s old room. Director Richard Franklin does a tremendous job and creates some dramatic shots Hitchcock himself would be proud of.

The killings themselves are subtle affairs (except for that butcher knife through the mouth or the shovel over the head bits), but work marvelously with the mysterious atmosphere.

I had always avoided the Psycho sequels because I figured they would be grossly sub-par (and even offensive) to the original, but I have to admit that Psycho II greatly impressed me. If you enjoyed Psycho, you will most likely enjoy its sequel because it honors the original with its spectacular performances, loyal, believable and impressive script and direction all the while keeping you on the edge of your seat.

Available from Amazon!

Tuesday, April 15, 2008

The Iron Rose (1973)

Though the French filmmaker Jean Rollin might be known to the casual cinephile more for his erotic vampire films, his little-known 1973 film The Iron Rose (La Rose de Fer) is instead a very surreal, macabre and poetic film that addresses Rollins’ penchant for darkly introspective films. The Iron Rose definitely appealed to my gothic sensibilities, but its slow pace and focus on visuals instead of plot it won’t appeal to everyone.

A young couple decides to explore an old cemetery after a long day of bicycling through the French countryside. The two just met at a wedding reception the night before but waste no time in descending into a crypt for some hanky-panky. When the come up for air, they realize that night has fallen. In the dark, the cemetery becomes a very foreboding place and the two quickly search out the gates to get out. The thing is, they just can’t find them! As the night continues, the two keep searching for a way out; all the while the woman becomes more and more comfortable with being with the dead in the cemetery.

With its setting in a ramshackle and romantic (ok, most would call it creepy) cemetery, The Iron Rose is requisite viewing for those that revel in the darker and more macabre side of life. Its gothic atmosphere (wildly overgrown cemetery, crumbling architecture) and striking visuals (the opening scene of a woman in red standing at the edge of a roaring sea, the eerie shots of the cemetery) are a tribute to Rollins’ talent as a filmmaker and are the reason why the film succeeds.

The film has little dialogue and not much of a story (“lovers get stuck in a cemetery at night, get spooked, go a little batty” just about covers it), instead relying upon atmosphere, ambiance and emotion to draw the audience in (of course, beautiful actress Francoise Pascal probably doesn’t hurt either). The film is bathed in gothic atmosphere and aches with angst. There are no spooks, no psychos and no monsters stalking the young couple…just the hundreds of dead surrounding them, reminding them of their own mortality.

On the down side, the film is slowly (but deliberately!) paced with not much happening. The couple runs around a lot, knocks over a few headstones, gets into a violent fight, makes love in an open grave filled with bones and the woman begins reciting some darkly themed poetry and philosophy. If you are looking for a straightforward, gory horror film, The Iron Rose isn’t for you. The thing is, though, the slightly repetitive nature of the film works in its favor. We, like the protagonists, feel like we are trapped in a surreal nightmare that we just can’t escape. For some of us, including the female protagonist, this dark atmosphere is beguiling, bewitching and we don’t want to leave it.

More of an art film than a horror movie, The Iron Rose is nonetheless a beautifully enchanting piece of work that deserves to be more widely seen. It also shows what a lyrically visual filmmaker Rollins’ was and continued to be throughout his career.

If you are in the mood for an artistically gothic film, no other rose would smell as sweet as The Iron Rose.

Available from Amazon!

Monday, April 14, 2008

The Ruins (2008)

After being wholeheartedly consumed by Scott Smith’s The Ruins, I was eager (and a little apprehensive) to check out Carter Smith’s (no relation to Scott) visual interpretation of the novel. I was both pleasantly surprised and a bit let down with the film, though it did follow the novel closely. The differences (like different things happening to different characters) and a lackluster ending may have dulled the film a little, but I felt that overall the panic and desperation of the characters was translated quite well into the film.

Two couples are enjoying fun-in-the-sun on a vacation in Mexico when they befriend German tourist Mathias (Joe Anderson). While lounging around the pool, Mathias tells them that in the morning he is heading to an archeological dig of some hidden ruins to find his brother, who followed a girl out there. Eager for something other than margaritas by the pool, Eric (Shawn Ashmore), Stacy (Laura Ramsey), Jeff (Jonathan Tucker) and Amy (Jena Malone) all decide to go with Mathias. Mathias also invites a group of Greek tourists whom he has befriended, but only one named Dimitri (Dimitri Baveas) is sober enough the next morning for the trek.

After leaving a copy of the map to the ruins with the passed-out Greeks, the six tourists are on their way, first taking a bus, then a taxi to their isolated location. When the taxi takes off, they take a small trail into the jungle. They come upon some Mayan children who won’t come near them and it appears that the trail stops abruptly. Mathias discovers that the remainder of the trail was purposely blocked by some palm fronds and they continue on, coming upon a clearing with the beautiful ruins in the middle.

Seconds after reaching the clearing, a Mayan on horseback bursts out of the forest and starts yelling at them. He is armed, and soon two more Mayans join him. The group backs steadily up to the ruins and are forced to climb to the top. More Mayans surround the ruins and start building camps, intent on keeping the group quarantined. There is no sign of Mathias’ brother or any archeologists…just seemingly abandoned tents and the dig, a deep, dark hole that goes directly down into the ruins.

There’s something else about the ruins…there are no birds, no insects, no living things…just a profusion of vines that grow there. Vines that can think, vines that move quickly, vines that mimic noises and vines that are deadly…

The Ruins is an entertainingly gory film, one that is much needed amid the crappy teenybopper “reimagings” of Prom Night and the like. Horror fans should be seeing and embracing films like The Ruins that aim for more genuine scares, better acting and a MUCH better storyline than these blander-than-cardboard remakes.

I truly appreciated that The Ruins stayed so true to the novel, because the novel worked! It had the spectacular gross-out moments (bones stripped bare), shocking moments (“the cell phone cover is cracked…”) and surprises (“I didn’t mean to!”). All of the action felt more accelerated in the film than from the novel, but that also worked as things just keep getting quickly worse and worse for the wayward tourists. My only real complaint was the ending, which differs from the book. I didn’t think it worked as well as the novel and left things a bit too open-ended for one particular character.

Still, despite that, I enjoyed everything else about the film. The gore was absolutely cringe-worthy and definitely brought the images from the book to life. We get broken bones, severed appendages, a bloody brain blow-out, stabbings, cuttings and one nasty little vine that loves burrowing into open wounds. It’s not all gore all the time, though, which leaves room for building tension and establishing empathy for the characters.

As for the characters, they aren’t very developed but they don’t need to be. It’s easy to imagine yourself in the same situation – a tourist hoping to catch a glimpse of some hidden attraction but ending up trapped in a situation you cannot control. When all hell starts to break lose, you really feel for the characters. Credit should also be given to the actors for this, also, and I think they all did a fantastic job. I especially like Jonathan Tucker as the take-charge Jeff. He actually made him more likable in the film than he was in the book.

While The Ruins probably won’t knock your socks off, I still found it to be a pretty enjoyable film, especially in light of other horror films that are in theaters right now. For the love of horror, don’t waste your hard-earned cash on tripe like Prom Night or other half-assed horror films; quite complaining and go see a decent horror flick like The Ruins! While it may not be the best horror film ever made, it’s definitely not even close to the worst and it’s a solid effort and well-worth seeing in theaters!

Order it on Amazon!
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