Sole Survivor (1983)

Sole Survivor is a little-known and underappreciated horror film that had obvious influence on the Final Destination series. When I watched it a few days ago, I was surprised that I hadn’t given it a look sooner, as it was a solid, entertaining film.

Denise (Anita Skinner) is the sole survivor of a deadly plan crash. The crash and Denise’s survival was predicted by a washed-up actress named Karla (Caren Larkey) that Denise is working with on a commercial. After the crash, Karla seems to want to warn Denise of some other imminent threat and her doctor warns her of “survivor’s guilt”, where Denise may experience intense depression and guilt over her survival. Soon, strange things start to occur…Denise begins seeing menacing people and is involved in several near-death accidents. Turns out that Death is after Denise and is sending the recently deceased to try to finish her off…

Sole Survivor is a well-made film that manages to maintain a sense of tension throughout its entire running time. It also has some pretty haunting images, especially one where we see Karla’s vision of Denise after surviving the plane crash. The camera pans over the mangled, lifeless bodies of the crash victims and comes to rest on Denise, still strapped in her airplane seat with a shocked look on her face. I also thought the creepy people that come after Denise were very effective, with their slack, expressionless faces and zombie-like movements.

The story combines psychological terrors with real-life threats in a very effective manner. Its story’s twists kept my eyes glued to the screen for the entire running time and I loved the downbeat ending and creepy last scene. Sole Survivor is an intriguing and entertaining film that you should definitely check out!

Available on Amazon!

Damn Your Eyes (2009)

 

Damn Your Eyes is a short film that emulates the gritty stylishness of spaghetti Westerns by faithfully recreating the feel of the classic Italian-lensed Westerns, complete with a mysterious desperado out for revenge, a distinct score, old-school shootouts and plenty of bloodshed.
Sam (Jakob Von Eichel), a mysterious stranger, arrives in town to exact revenge on the men who wronged him when he was only a child. He encounters Louisa (Marisa Costa), a prostitute who dreams of a better life. Meanwhile, Dennis (Ray Reynolds), the town’s lawman, is familiar with Sam’s past and makes it his personal duty to stop him before the violence escalates.

Writer/director David Guglielmo has created a stunning short film with Damn Your Eyes. While not strictly horror, Damn Your Eyes has that outlaw aesthetic and plenty of violence that will no doubt attract horror fans. The visuals are impressive, creating a faithful-looking Wild West even on the film’s tight budget (the short was supposedly filmed for just $5,000), and the direction is sharp and focused, really engaging the viewer. While the film has limited locations (mainly a saloon and two different houses), it never feels like this negatively impacts the film. Instead, it shows how the film overcame its budgetary limitations while still delivering a visually arresting story.

While the visuals used really capture the feel of a spaghetti Western, I also must mention the excellent use of music throughout that gave the film a haunting, lonesome quality so associated with Westerns. The score really gave the film that extra polish and feel of completion.

As for the acting, it was top-notch. I really loved Jakob Von Eichel as the mysterious sharp-shooter Sam. Equally impressive was Marisa Costa as saloon prostitute Louisa, exuding equal parts vulnerability and tough-as-nails attitude.

I loved the authentic feel of the film and the vivid world it created. With dashes of grindhouse grit, Western bravado, gallows humor and even a few gruesome bits sprinkled throughout, not to mention the engaging story that unfolds on-screen, Damn Your Eyes was an absolute joy to watch. My only complaint is that it wasn’t long enough. However, the short has been receiving rave reviews, and hopefully this will allow filmmaker Guglielmo to push forward with a sequel or perhaps even a full-length feature.

I certainly hope to see more of writer/director David Guglielmo, because this is one of the best (and one of my favorite) short films I've seen!!

For more info (and to watch this amazing short yourself), please visit the short film's official site!

I Spit on Your Grave (2010)

I’ll be honest with you; I had absolutely no interest in seeing this remake. While there is no doubt that the original is a very brutal and notorious affair (so notorious, in fact, that I had avoided watching it until late last year), I had no desire to see it hashed out in a slick, Hollywood version. I’m not a huge fan of the original to begin with (no matter what anyone says it still feels misogynistic to me and I hate they didn’t spend nearly as much time on the revenge as they did the rape), so I was in no rush whatsoever to check out this remake.

Wow, sometimes I love it when I’m wrong…

If you are not familiar, the film is about a young author named Jennifer who heads out to an isolated cabin in hopes that the peace and quiet will inspire her writing. On the way there she meets some odd characters at the local gas station. These good ol’ boys give her a hard time, but she drives away thinking nothing of it. As the next few days pass and she settles in to her new location, she begins hearing strange noises at night. She doesn’t think too much of them, but one night she gets a surprise visit from the three overgrown boys from the gas station and their mentally challenged friend. They degrade and humiliate her, all while video-taping, but she manages to escape and runs into the sheriff in the woods. She tells him her story and they head back to the cabin to investigate…but the worst is yet to come. Soon, Jennifer finds herself brutalized, violated and violently gang-raped. The men leave her for dead, but soon she seeks her righteous retribution…

As you can see, this film added several new touches to the revenge story. It focuses not just on the assault and the events leading up to it, but also on the aftermath as the rapists try to cover their tracks of the crime. I liked how the latter part of the film showed us what went on with the rapists after they assumed Jennifer was dead and how events eventually led up to Jennifer’s revenge.

While this film does not skimp on the brutality of the rape, I felt it went a bit further than the original in making us feel for Jennifer. The scenes where they humiliate and belittle her in the cabin were just as hard to watch as the rape scenes were, and really got my blood boiling. By the time the guys had finished their nasty business (which is quite and endurance test), I was about ready to reach through the screen myself and attack them myself. Their characters are so vile that you just can’t help but wish the worst to befall them.

The rape scenes themselves will make your stomach churn and actress Sarah Butler, who played Jennifer, must be given mad props for so realistically portraying the victim. I also must commend the actors who played her attackers, because I doubt any of these fellas will be getting a date anytime soon!

By the time of the revenge scenes, I was just itchin’ for the villains to get their due (and hoping I wouldn’t be shortchanged like in the original). I was hoping for vast suffering for all of them, and boy, did the film deliver! I won’t give anything away, but the dudes definitely get their due!

Finally, a remake that gets it right! I Spit on Your Grave pays homage to the original while updating (hey studios, take a lesson: “updating” should not mean “dumbing down”!) and improving it. Thank you director Steven R. Monroe for giving us a fresh remake that exceeds the potential of its original source material!

If you’ve been wishy-washy on checking this one out (like I was), do yourself a favor and watch it! It is actually a great remake and also a great horror film all-around!

Order it on Amazon!

The House that Cried Murder (1973)

This 1970s obscurity somehow weaseled its way to the top of my Netflix queue and let me tell you, this House is one fixer-upper!

Wealthy daddy’s girl Barbara builds an ugly, modern monstrosity just cuz she is bored and wants to truly do something with her life. She plans on moving into the house with her boyfriend, the slimy David, who works at the same firm her father owns. Despite warnings from her father that David “stinks”, Barbara gets her way and ties the knot with David. Daddy’s little girl should have listened to her father, because David really does stink! The adulterous asshole sneaks off during their wedding reception with his ex-girlfriend. Sure enough, Barbara finds him pants down in the bedroom! Barbara takes a pair of scissors to David’s arm before storming off through the wedding guests with a bloodied wedding gown and burning rubber out of there. She disappears, and neither David nor her father hears from her for days or weeks. Despite the tumultuous events of the wedding day, Barbara’s father is overly chummy with David and tells him from now on will be treating David like a son. Meanwhile, David and his ex have re-connected after their lousy rendezvous and are apparently living together. Their bliss is short-lived when they are terrorized in their own home by ominous phone messages, severed chicken heads and expensive bridal gowns.

The House that Cried Murder is one stinker of a movie. First off, the transfer is so bad that the film is littered with scratch marks, weird jump cuts and switches between being too dark or too washed out. Now, I’ve seen plenty of old films in all different states, but this is one of the worst-looking ones I’ve ever seen. Furthermore, the actually lighting in the film is nonexistent, leaving actor’s faces perpetually drenched in shadows while the rest of the surroundings are washed out. I could have overlooked all this had the film actually been decent, but it just drags on and on with no real tension or scares to speak of. Barbara may be crazy, but at least she isn’t the annoying little twat that David’s ex is…good God, I just wanted her to meet a terrible demise but I was denied even that as she is scared off by the chicken head, phone calls and other shenanigans that start to plague her and David.

The film is packed full of more filler than your average hot dog, with pointless scenes of David and his ex strolling a street fair, Barbara and David walking through a field, and so on. This film really needed to get to the action already. Only, I guess there really wasn’t too much action to really get to, now was there? The climax and ending of the film feature a neat little twist, but getting there was absolute torture and the ending doesn’t make up for the boredom I suffered sitting through this dilapidated House. I just wanted this wretchedly boring movie to end…maybe they should call this The House that Cried Uncle instead.

If you are an absolute fiend for bad ‘70s movies (with bad music to match, natch) and this is one you haven’t seen before…well, I would say to skip it anyways. However, if you are a masochist, by all means check this film out; but in my opinion this House should be condemned!

Order it on Amazon!

Mr. Mullen (2010)

Scott Goldberg is known within the independent film scene for his political films, and his newest short, Mr. Mullen, is yet another example. Goldberg is a passionate filmmaker who hopes that his films will shake up the status quo and make people take a harsher look at the U.S. government and politics in general. Though his opinions might differ from your own, at least his films will make you think and really question your beliefs. I love films that challenge you and have a deeper meaning and would much rather sit through an intelligent film rather than a brainless hack ‘n’ slash (though I love those films too!).

Mr. Mullen is about corrupt and hypocritical government officials and how one man becomes completely fed up with the system and decides to take his revenge. With the economy in shambles and the empty promises of politicians filling the airwaves, this film feels perfectly apropos for the turbulent times.

The film has a gritty look that meshes perfectly with the frustration of our lead character, a character that many can empathize with. This character has lost his job, his savings and seemingly everything dear to him while the politicians around him continue to lie and live like fat cats. With so many unemployed citizens in the U.S. right now, this is probably a familiar tale for many.

Scott Goldberg has taken a nation’s anxieties, anger, frustration, pain, hopelessness and despair and placed them in Mr. Mullen. Not only does he address the down-the-toilet economy, staggering unemployment and the desperate populace, but he also focuses on the seemingly lost generation of people who don’t care about politics and are more interested in the latest celebrity gossip than important issues that actually affect them. This issue truly hit home because I feel like one of those brainless people sometimes! It is definitely time for me, and others like me, to wake up and take note of what is happening in our nation and our world.

Not only does Mr. Mullen shake and wake you, but it is also beautifully shot and edited. In the beginning it feels a bit fragmented, but this only highlights the fact of how disconnected each of us are not only from each other but also from the government and our own elected politicians. I also loved the stark cinematography of the film and how it is shot in chilly grays.

Mr. Mullen is not necessarily a horror movie, but its message is certainly nightmarish! Just like in They Live, people need to wake up and get involved to really make a difference! People need to take back their life, liberty and pursuit of happiness and stop letting big business and government control them. I, for one, am definitely glad to get this wake up call and thank Mr. Goldberg for creating such an important short film.

For more information, please visit mrmullenfilm.com!

Something Just (2010)

After being impressed with Scott W. Perry’s film Insatiable, I was eager to check out his new short film, titled Something Just.

Something Just stars Alan Rowe Kelly, Jerry Murdock, Evan Robert Smith, Joslyn Jensen and Joseph Zaso. It was written, produced and directed by Scott W. Perry and co-produced by Jeremiah Kipp. If you are a fan of indie horror, more than one of these names is probably familiar to you!

Synopsis: In order to stop a child killer, the guardian of one of his victims seeks the aid of a shady figure from his past.

Alan Rowe Kelly, a regular figure in the independent horror scene, stars as the creepy child killer and delivers quite an imposing performance as a psycho. The first scene where he kills a young girl is very disturbing. It’s not that there’s a lot of blood, but the scene has more of a psychological impact with the disorienting score and echoing effects of the sounds and images on screen.

Don’t expect this film to be your cookie-cutter psycho story, though! Perry weaves a surprising twist into the proceedings with the introduction of one of the victim’s guardians who would do anything to stop the killer, including dealing with a mysterious man from his past. I like how this twist makes the film unique and gives it a much more layered, complex story. And the ending, which I won’t give away, is both surprising and satisfying!

The film also looks fantastic and the cinematography by Dominick Sivilli is great. In the beginning we are in the killer’s dingy house and dark basement, but later the film takes on a dreamier atmosphere with soft, washed-out colors and a park setting.

Something Just just goes to prove how much Scott W. Perry has grown as a filmmaker. Not only has he put together another fantastic cast, but the film feels more mature than previous efforts and deals with the more serious subject matter of child predators. With this steady progression, I can’t wait to see what Perry does next…perhaps a full-length film?

Dark Night of the Scarecrow (1981)

Dark Night of the Scarecrow, a 1981 made-for-TV movie, has finally been released on DVD! This film has been called one of the best made-for-TV movies, so I set out to see how it has held up over the years. I was also excited to check it out since it takes place around Halloween!

The film is about harmless simpleton Bubba (played by the recognizable Larry Drake), whose closest friend is a young girl named Marylee (Tonya Crowe). Though Bubba is in his 30′s, he still has the mind of a child. Though he is perfectly harmless, a few local yokels, including mailman Otis Hazelrigg (Charles Durning), perceive him as a threat. When Marylee is attacked by a dog, the men assume Bubba harmed her and form a lynch mob to hunt him down. Bubba hides in a field dressed and trussed up like a scarecrow. The ignorant men find him anyway and shoot him. Soon after, they find out Bubba didn’t hurt Marylee but actually saved her life from the dog. They go to trial, but are acquitted of all murder charges when they plead self-defense.

Soon after, all four of the men see a scarecrow that looks eerily similar to the one Bubba was dressed up as when they killed him. At first, they believe that Bubba’s mother or the District Attorney or even Marylee is out to avenge Bubba’s death. But as they each begin suffering unfortunate “accidents”, they start to believe Bubba is back from the grave.

Dark Night of the Scarecrow is a very well-done film, especially considering since it was made for television! This release has been cleaned up and looks stunning – thanks VCI Entertainment! I really wasn’t expecting much going into this film, but I was really pleasantly surprised at how much I enjoyed it. I especially enjoyed the “revenge” aspect of the film. No matter who was doing the avenging, whether it be the District Attorney, Bubba’s mama, Marylee or Bubba himself, it was just satisfying to see the four hateful men get what they deserved!

I suppose I was expecting a slasher-esque storyline with a killer scarecrow slicing its way through a small rural town, but thankfully Dark Night of the Scarecrow avoided this. Instead, it really focused on the unlikable, greedy and ignorant murderers. As mentioned above, it sure was nice to see them become paranoid, then scared, then eventually meet their end!

Since the film was made-for-TV (and aired on the CBS channel, no less!) there really isn’t any blood or gore to speak of. Those looking for a bloody slasher had better look elsewhere! However, it doesn’t need gore to be a good movie and therefore succeeds in other areas. For one, I loved the Southern Gothic feel of the film. The scarecrow costume was definitely creepy and the scenes where it is stalking the local yokels were appropriately tense. I also loved that it was set during Halloween. A few scenes are set at a Halloween party with revelers in costumes and the climax is set in a pumpkin patch, making this movie perfect to watch this time of year!

The story, written by J.D. Feigelson, was engaging and I was enthralled the whole way through. There wasn’t a minute where I was bored, despite the slightly slower pace of the film. In addition, the characters were well fleshed out (every single one of the actors did a fantastic job with their characters) and I liked the variety of characters Feigelson gave us. The direction was also well done by Frank De Felitta (best well-known for being the author of Audrey Rose) and never once did it feel like I was watching just a made-for-TV movie. Instead, the film had a very cinematic feel and no doubt could have been released in theaters and made a pretty penny!

Dark Night of the Scarecrow is a Southern-fried creep-fest that’s a fun treat this autumn! It is one of the few “killer scarecrow” movies I’ve seen that is actually GOOD and worth seeing more than once. This film will definitely become a Halloween staple in my house and I look forward to the tradition of watching it every fall.

Available on Amazon!

Tormented (2009)

This is a pretty fun “teen scream” type of flick from the U.K. that was pretty entertaining. It’s about a high schooler who is mercilessly picked on by the popular clique until he commits suicide, but returns to pick off his classmates one by bloody one. The film starts with the overall “good girl” and class president-type Justine (Tuppence Middleton) giving the eulogy at Darren Mullet’s (Calvin Dean) funeral. However, she can’t even remember who he was. Soon after, popular dude Alexis (Dimitri Leonidas) asks Justine out and she quickly falls in with the popular clique, who used to harass Darren endlessly. Before long, students start dying grisly deaths and it appears that Darren Mullet has returned from the grave for revenge against those who bullied him.

Tormented has entertaining characters, grisly deaths, ocular horror, a nice revenge story and a surprising ending! It also looks slick and polished and there is a fair assortment of characters (the popular kids, the nerds, the goths, etc.). The tense relationships between cliques are nothing new, but Tormented keeps things interesting with witty dialogue and colorful characters. Even though the characters seem to be stereotypical, writer Stephen Prentice gives each of the characters a distinctive voice and keeps things fun and light.

Offsetting the laughs is the gore…and I gotta say that there are some pretty inventive deaths here! There is plenty of spatter and a high body count in Tormented, and my favorite, most squirm-worthy death scene in one involving ocular horror! Ouch!

The cast all does a fantastic job and director Jon Wright really brings out the best in every single one of them. Wright also gives us a very pretty, very visually stimulating film. Tormented looks great and has that slick look, however it’s not so slick that it detracts from the actual story.

I was pleasantly surprised how much I enjoyed Tormented. It’s a fun flick that I think most horror fans will enjoy. Check out this British film if you get the chance!

Available from Amazon!

Witchouse (1999)

Full Moon Pictures’ films are always hit and miss (mostly miss, at least for me), so I had pretty low expectations for Witchouse. Like most Full Moon Pictures’ movies, it is low-budget, has no-name actors (except for Ariauna Albright and an ex-Red Power Ranger!) and has a plot that sounds ripped off from Night of the Demons. However, I adore Night of the Demons, so I can’t deny that there was a part of me really hoping that Witchouse was a hidden horror gem.

Well, Witchouse wasn’t the gem I wished for, but it still wasn’t THAT bad.

The plot is awfully familiar: gothy outcast invites kids who have wronged her to a party at an isolated, creepy house, conjures a demon to get revenge and pretty soon everyone is popping up as scrunchy-faced demons.

You are probably thinking you’ve seen this all before in better movies (which is exactly what I thought when the film started) because Witchouse is pretty much a lower budget version of Night of the Demons. It has some pretty bad acting and silly effects, but despite these flaws, it still manages to have that Full Moon charm!

Take the first killing: a couple is first to arrive at the creepy house and head down to the basement for some quality “bow-chikka-bow-wow” time. However, they are not alone in the basement and a silhouetted shape seems to glide over to them, eyes glowing green, before they are both impaled. The green glowing eyes completely sold this scene for me, despite the fact that it never happens or is referenced again in the movie! I also thought a scene where a potential victim uses a silver plate to reflect some bolts of electricity being hurled by a demon was pretty cool. The effects were certainly cheesy, but they reminded me of old-school horror movies, which gave me the warm fuzzies! Both of these scenes could be described as “bad” and/or “corny” by most movie viewers, but I found them oddly endearing. Charming scenes like this make this otherwise derivative movie worthwhile!

While director David DeCoteau is known for parading around male flesh, Witchouse is remarkable restrained in this respect. The few pecs he does put on display are amazingly refined, though, and there are a few instances of men running around in their tighty-whities (both which I enjoyed!). There is also restraint when it comes to gore, as most deaths occur off screen and the focus is more on the special makeup FX of the demons. They look okay, but nothing too special.

The story, by Matthew Jason Walsh, is pretty generic as discussed earlier. The characters and dialogue are both pretty bland, but one stoner couple is pretty hilarious AND the girl totally kicks a demon’s ass. It’s pretty sweet when she just cold clocks the demon and it goes tumbling backwards into a room. However, the rest of the characters are all pretty interchangeable and forgettable, so there’s not really anyone to root for.

Still, Witchouse has its moments despite its many flaws! If you enjoy cheesy, corny B-movies from Full Moon Pictures you should definitely check this out. Just keep your expectations low, drink a few beers and enjoy this Night of the Demons-lite movie!

Available from Amazon!

Red Mist (2008)

After loving Paddy Breathnach’s hallucinogenic and freaky Shrooms, I was excited to check out Red Mist, another film from the Irish director. In Shrooms, Breathnach combined many different horror tropes to create a very inventive and visually stylish film, something I hoped would be replicated in Red Mist. Breathnach does use familiar horror scenarios in Mist, but they are so cliché that the film is just a bore to sit through.

The story is about some stereotypical med students (the good girl, the goth, the bookworm, the asshole, the rich girl, the sensitive guy, etc.) who apparently think they are all still in high school because they pick on socially awkward stutterer Kenneth (Andrew Lee Potts). As in most horror films of this ilk, a prank goes horribly wrong and dear old Kenny ends up on a coma. No one wants to implicate themselves, so they decide to keep the secret within the group and not tell the police or hospital staff. The only one who seems upset over this decision and the overall situation is good girl Catherine (Arielle Kebbel), who feels somewhat responsible since Kenneth had a crush on her. She secretly pumps Kenneth full of experimental drugs that she hopes will pull him out of his coma…unfortunately all that awakens is Ken’s spirit and it’s out for revenge! Kenneth’s spirit begins taking over bodies and killing off the group one by one as payback for leaving him in a coma. Can Catherine stop Kenneth before she’s next?

I really wanted to like this movie since it was directed by Paddy Breathnach, but the more I think about it the more I dislike it. It just felt so generic and predictable, not to mention how silly the premise was. I mean, a coma patient’s spirit possessing others’ bodies and killing people for revenge? Really??? The story just kinda plodded along, and while the direction was competent the film just couldn’t keep my interest, especially with some gaping plot holes (since when can med students pick up any drugs they fancy in the hospital pharmacy?). The film tries to combine elements of a slasher movie, medical drama and possession tale but here the combo just doesn’t work. While the clever combination of sub-genres worked in Breathnach’s Shrooms, here it just feels trite and lazy.

Besides the snooze-worthy story, the characters are pretty unlikable. They try to give Kenneth a tragic backstory, but it never really goes anywhere and the opening scenes (which are quite horrifying and effective) are never really referenced again in the film. Plus, all of the other characters are stereotypes and even the final girl Catherine is bland, so there is really no one to truly root for. The acting varies from grating to annoying to tolerable, so it’s not like the actors make their characters any more likable.

To top it off, none of the deaths are memorable. One girl gets her head slammed multiple times in a car door, another gets her wrists slit open, one slams her head repeatedly against a mirror and stabs herself, a dude gets seduced and then gets Drain-O poured down his gullet, yada, yada, yada. Nothing to write home about.

The only positive thing about the film was the direction, which creates a surprisingly claustrophobic feel in such sprawling hospital. The lighting, believe it or not, is also very well done and while it’s not something I talk about in every film review I believe it bears mention here. However, technical details will not save a doomed film, and the fact still remains that there are better, more entertaining films out there besides Red Mist. Shrooms, for example!

Red Mist was a disappointing effort from director Paddy Breathnach. It’s just plain boring, too cliché and its premise is silly (but not in a good way). Furthermore it has shoddy character development and the acting isn’t what you would call Oscar worthy. It may have nice direction and technical details, but those alone don’t make a memorable film and already Red Mist is dissipating from my memory. Skip it.

Available from Amazon!

The Killer Must Kill Again (1975)

Expecting another typical giallo, I was surprised to find how sadistic The Killer Must Kill Again really was. This is definitely not your standard Italian giallo, but something much more sinister and disturbing.

It begins with Giorgio (George Hilton) being nagged by his crazy, but rich, wife Norma (Tere Velázquez). Going out for a drive, Giorgio witnesses a serial killer (Michel Antoine) dumping a body, so he then blackmails the killer and hires him to kill his bitchy wife, making it look like a kidnapping so her rich daddy will pay the ransom.

Well, during the kidnapping/murder things go awry as two kids (Alessio Orano and Cristina Galbó) steal the serial killer’s car…with the body of Norma in the trunk. The serial killer then tracks the two kids down to a seaside town where he indulges in some sadistic revenge.

I wouldn’t call The Killer Must Kill Again a giallo, but rather a mean-spirited and violent crime thriller. First off, we know who the killer is all along, so we don’t have the standard giallo whodunit. Secondly, the killer is only after the two kids, so all other victims are people that get in his way. However, the film is just as suspenseful besides these facts and does a wonderful job at ratcheting up the tension while we anxiously wait for the killer to catch up to the two oblivious teens.

While we wait for the killer to arrive, we begin to feel closer to the two teens, making what subsequently happens to them (especially the innocent character that Cristina Galbó plays) all the more hard to watch. When the killer arrives, he finds the virginal girl all alone in an abandoned house (her loverboy is off getting busy with a slutty local, played by Femi Benussi, but annoyingly dubbed – almost to the point where I wanted her to hurry up and die). The killer brutally rapes her in a very uncomfortable and shocking scene that cuts back and forth between the chilling rape and her boyfriend getting it on with the other woman. You are simultaneously disgusted and titillated by the two different scenes, making for a very awkward viewing experience. Kudos to director Luigi Cozzi for making us feel such dissonance with this scene!

Besides the character development that makes us feel for the victims, I thought the actors also did a wonderful job. The real standout was Michel Antoine (aka Antoine Saint-John) as the killer. Not only were his cold, chiseled features scary, but his silent demeanor was also menacing. Without his stoic performance the film might have fallen apart, but he owned his role as a sociopath. The other actors were equally good, though George Hilton faded into the background when the killer/kids storyline took precedence. I especially liked Cristina Galbó as one of the kids – she brought such innocence to the role! I also thought the handsome Alessio Orano did a great job as the sleazeball boyfriend.

Though the likable kids suffer thoroughly at the hands of the killer, their outcome is not as expected. I also liked the tidy wrap-up at the end of Giorgio’s storyline, but after witnessing such disturbing violence I had hoped the ending would have a bit more resonance. While The Killer Must Kill Again has its fair share of nasty brutality (especially towards women), its ending was a bit too “happy” for me. It is a solid film, but probably one I’ll only watch once. Take that to mean what you will…

Available from Amazon!

Hellgate (1989)

Hellgate has got to be one of the worst, all-over-the-place horror films I’ve ever seen! From the weird gags to groan-worthy jokes to the silly ghost/zombie/ghost town/magical crystals/revenge storylines that crisscross the mess of the movie, I was shaking my head is disbelief most of its running time. However, though there is no doubt this is a horribly bad movie, it still has a certain charm to it.

The film opens with a bunch of college kids on vacation who have rented a cabin in the woods. While they wait for their last friend to arrive, they tell scary stories, including the local tale of the Hellgate Hitchhiker. In the 1950s, a motorcycle gang kidnapped poodle skirt cutie Josie (apparently, poodle skirts use that rip-away technology that stripper clothes utilize!) and took her to the town of Hellgate. No one besides her dad tries to help her, which results in him killing her by accident. Years later, the father still grieves for his daughter but when a crystal is found that appears to reanimate the dead (and make turtles moo like cows or make the newly undead explode or liquefy passerby), he decides to bring back his precious daughter and get revenge on everyone. Josie now haunts Hellgate’s back roads and tries to lure unsuspecting strangers back to Hellgate, which has become a ghost town.

Meanwhile, it turns out the buddy of the college kids gets lost on the way to the cabin and is seduced by Josie (who strikes weird poses like she’s a newbie on American’s Next Top Model or something), but gets away right before her father zaps him with the crystal’s laser beam (I’m not making this up). He finally makes it to the cabin but convinces his friends to return to Hellgate in case Josie needs help. There they are greeted by the rest of the undead denizens of Hellgate…

This movie is flippin’ all over the place and from the first couple of scenes there is TONS to make fun of (Josie’s lame attempts at escape from the bikers, her black granny panties, the fact that no one helps when she is kidnapped, not even a guy with a big-ass shotgun (!), the silly scene where she is killed when a motorcycle crashes through a brick wall she just happened to be standing in front of – and this was only 5 minutes into the movie!!). The silliness only continues from there…some of it good (the banter between the college kids), some of it groan-inducing (ahem, the mooing turtle).

Despite its weird charm, the film still seems confused as to what it really is – sometimes it plays it straight, other times it plays it outrageous, and it tries to cram way too many sub-genres (ghosts, haunted towns, zombies, etc.) into its already silly story. For the most part it doesn’t work and I was rolling my eyes more than I was laughing or enjoying myself. However, this film is such a disaster I couldn’t look away! Its over-the-top nature (Zombie can-can dancers! Copious scenes of glass breaking in slow-mo! Tons of shots of Josie lying in bed pouting over the escaped college student while her nipple pokes through a huge wine stain on her dress! The crystal’s laser making things go all explody!) and straight-up weirdness kept me watching ‘til the bitter end.

Besides just laughing at the bizarre nature of the film, I will say that the zombie make-up, especially in the scene with the cars (these zombies can drive…but in this movie I guess anything is possible), is pretty kick ass. The scene itself, with the zombies starting to crowd around the college students, is one of the few well-done scenes in the film and really stands out against the rest of the trashiness of the rest of the movie.

If you are looking for a truly BAD movie to torture your friends and neighbors with that you can still laugh it, a good option may be Hellgate. At least you can have a few laughs in between the eye rolling and the exasperated sighs. However, under no circumstances would this ever be considered a GOOD movie! Thank god this was the last film for BOTH director William A. Levey and writer Michael O’Rourke!

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7 Days (2010)

7 Days (aka Les 7 Jours du talion) just had its world premiere at 2010’s Sundance Festival and this torture thriller opened to a lot of buzz. I wasn’t expecting much with this film, perhaps just a more artsy version of Saw, but 7 Days explores much more emotional depths with its gritty and melancholy look at vengeance.

Surgeon Bruno Hamel (Claude Legault) and wife Sylvie (Fanny Mallette) have a strong, loving relationship and a cute young daughter named Jasmine (Rose-Marie Coallier). One afternoon, Jasmine goes out to distribute invitations to her upcoming birthday party but never returns home. The frantic parents and police search the nearby neighborhood and soon find the brutalized body of Jasmine, who has been raped and killed. The police soon track down the alleged rapist and killer, Anthony Lemaire (Martin Dubreuil), who has a long rap sheet of sexual offences. Bruno is not satisfied with what the police have in store for Lemaire and after a carefully orchestrated plan kidnaps Lemaire as he is transported by police and takes him to a remote cabin. Bruno tortures Lemaire for the seven days that lead up to the date that would have been his daughter’s ninth birthday. As he slowly wrenches the life out of Lemaire, the police, led by Detective Hervé Mercure (Rémy Girard) who has experienced his own family tragedy, try to stop Bruno from becoming the monster he is trying to kill.

7 Days is certainly an affecting piece of cinema, one that will certainly leave viewers stunned and shaken up. It is not, as I first assumed, Saw for the art crowd. First off, it has a stark and cold gray color palette that sets the somber and grim mood of the film and makes it heartbreakingly beautiful. The direction by Daniel Grou is unsettling and unwavering in its look. For example, there is a truly disturbing shot of the lifeless Jasmine that lingers over every spot of blood and every speck of dirt on her brutalized and broken body. It is one of the most horrifying images of a murdered child I’ve ever seen in a film and it makes the viewer terribly angry and hopelessly sad all at once. Grou also lets the camera linger on the tortured body of Lemaire as well as a dead carcass of a deer, and while some shots are drawn out too long (and frustratingly indulgent), for the most part the demented direction of Grou fits the melancholy mood of the story perfectly.

The story, adapted for the screen by Patrick Senécal and based on his book, is certainly nothing new (a parent who will sacrifice everything to see that the murderer and/or rapist of their family member is appropriately punished), but it is the emotional turmoil of the story that kept me watching. The more and more Bruno tortures Lemaire the more and more he himself is turning into the monster he is so desperately trying to punish. Some of the torture is so harsh (sledgehammer to the knee, whipped with chains, a surgery where Lemaire can feel it all even though he is paralyzed, etc.) that I sometimes found myself starting to sympathize with Lemaire, even though he was a pedophile, rapist and murderer. This conflict is also echoed in Bruno, who begins to struggle with the idea of killing Lemaire. Writer Senécal really makes us think about what is right and what is wrong or if there is just gray area that is better left to one’s own interpretation. And, gosh darn it, I like a film that challenges me to think!

The actor who plays Bruno, Claude Legault, does an awe-inspiring job of portraying the conflict mentioned above. The inner turmoil he faces is brought to light by Legault’s subtle but strong performance. I must also commend Fanny Mallette for playing the heartbroken mother, Sylvie. She did a wonderful job of playing the mourning parent who was still strong when her husband abducted the killer and she had to face the police by herself.

As for the film being billed a “torture thriller”, don’t confuse that with the term I so loathe, “torture porn”. 7 Days is not about being exploitative at all, but rather examining the complex emotions and actions of a victim-turned-potential-killer. It is heavy on the emotional drama, which definitely won’t please some horror fans. As mentioned before, gorehounds looking for a cheap thrill will probably be disappointed. 7 Days aims much higher than your standard exploitative horror film and while I like a challenging horror film, some people simply don’t and will be put off by the film’s art house themes. However, if you are looking for a thought-provoking and cringe-inducing film 7 Days may be right up your alley!

And guess what? You can catch 7 Days on video-on-demand as part of the Sundance Selects VOD rollout! Check your local cable provider for availability.

Hurt (2009)

So, Hurt’s poster, with a woman peeking out from a dilapidated building, makes it look like another run-of-the-mill slasher horror movie, but I can promise you it is nothing like its poster makes it appear to be. Instead of the typical balls-to-the-wall horror flick, Hurt takes its time building up its dramatic story. Instead of a psycho slasher it’s filled with equally dark and devastating family secrets. It’s always nice when a horror film decides to take the more psychologically terrifying route as opposed to the in-your-face blood and guts approach.

After her husband’s untimely death, Helen Coltrane (Melora Walters) and her two teenage kids, Conrad (Jackson Rathbone) and Lenore (Johanna Braddy), are forced to move in with her brother-in-law Darryl (William Mapother). He lives in the middle of the desert in a dilapidated junk yard, so suffice to say the kids aren’t exactly thrilled, especially Lenore. It also doesn’t help that Darryl is a little odd and seems to have the hots for Helen. And yet, the family is stuck there until they receive a settlement from their late father and husband’s death.

Things get even more complicated when Helen brings home Sarah (Sofia Vassilieva), an abused foster child that her husband had been keeping an eye on before his death. When Sarah arrives the tense atmosphere of the household escalates as sinister “accidents” begin happening. When these accidents become deadly in nature, it is not long before dark family secrets are revealed.

I was immediately pulled into Hurt from the opening sequence of the titles moving fluidly through the dry desert landscape to a mysterious car wreck. The photography was stunning and the setting of the desolate desert really mirrored the Coltrane family – dry, withered, empty. Hurt shows the fragility of family relationships but also the frightening strength love can give, whether it is for good or for bad.

Hurt may not be a traditional horror film, but it’s psychological twists and turns make it for an excellent, low-key thriller.

Though I pretty much suspected from watching the trailer who the bad apple was, it still didn’t detract from my enjoyment of the film. In fact, I just wanted to know why and how the perpetrator committed the heinous acts (one particularly hard scene to watch is when a pet duckling is found with its neck broken). When the motivations are explained it all makes perfect, tragic sense.

My only problem with the film is how the “bad guy” went from a charmed life to being a manipulative and crafty villain in the span of just weeks. The divide just seemed far too wide for a regular person to cross in such a short amount of time, but then again, I suppose the need for revenge can change anyone.

The actors soon helped put these quibbles to rest with their stunning performances. Melora Walters as the weepy, wounded mother just oozed vulnerability, while Johanna Braddy as daughter Lenore brought some backbone to the family. Braddy portrayed Lenore as grieving, but also determined to move on and live her life. She is also the first person to suspect that all isn’t as it appears to be. The wonderful William Mapother played Uncle Darryl with just enough skeeviness to creep me out, but also with a few tender moments to make you rethink him as a monster. Sofia Vassilieva as the not-so-innocent Sarah gave a solid performance. Her character made me uneasy, but it wasn’t until halfway through that I really knew if she was good or evil. When she decides to take that path, though, there is no turning back for her and it’s a joy to watch the transformation!

Just what happens to the Coltrane family? Well, at first beloved family articles go missing or are destroyed. A beloved pet duckling is killed. Things become more sinister as medications are switched, people are impaled on rusty pipes or crushed by the abundant parts of metal in the junk yard and wild wolves zero in on the prey. The villain messes psychologically with the family’s heads, getting them to blame and turn on each other, before waging an all-out brutal revenge scheme on them. Don’t go into this movie looking for blood and guts, but it does have several nice moments. Overall, though, it’s much more about the psychological terror caused by all the first few subtle acts that begins to rip the Coltrane family apart. By the time they realize who is behind the sabotage it is far too late.

Directed by Barbara Stepansky (who also co-wrote the screenplay with Alison Lea Bingeman), Hurt is a tense, psychological thriller that I really enjoyed. Ignore the misleading poster, because Hurt offers much more than its poster shows.

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The Curse of Micah Rood (2009)

The Curse of Micah Rood is a short film based on an old and true Connecticut legend of cursed apples that have a pattern that looks like a blood stain in their center. The legend dates back to 17^th century Connecticut, and the variety of apple was available up until the 1930’s.

Filmmaker Alec Asten has stayed true to the original legend of Micah Rood and constructed an eerie short film on the supposed true events.

The film begins in 17^th century Connecticut and hard-working farmer Micah Rood. Rood is obsessed with his apple orchard, which yields some of the sweetest fruit in New England, and he is convinced the townspeople are stealing from him. Because of this, he distrusts pretty much anyone and has become a recluse. His suspicions are further aroused when a traveling peddler comes to his farm and seeks shelter. He seems overly interested in Rood’s apples, putting Rood on the defensive. The next morning Rood discovers that the peddler has stolen apples from him and exacts swift and brutal justice underneath his prize apple tree. Obsession and madness soon follow when the apples are discovered to be tainted in their middles with blood-like splotches.

Filmmaker Alec Asten has crafted a taut and intriguing short film that is also visually rich. The unique story, with the screenplay by Nick Checker, is one that hasn’t been explored before and it makes for an eerily haunting film. The fact that the film is based on a true story makes it that much more interesting. The Micah Rood apple, with its distinctive bloody spot in its middle, mysteriously appeared in conjunction with the legend, but the last known variety of the apple tree was destroyed by a hurricane in the 1930’s. Still, its strange markings have never been scientifically explained and there have never been any other apple varieties like it.

Besides the rich story, the film is wrapped in an ominous tension that keeps building until the startling finale. The cinematography by Marc Wishengrad is filled with stark tones, flickering shadows and splashes of vibrant color, all which help build suspense and create a spooky atmosphere. I especially loved the shots of blood dripping from the apple trees.

The acting was also surprisingly good, especially for a low-budget film. Ron Palillo, best known for playing “Horshack” in the ‘70s show Welcome Back Kotter, does well playing Micah Rood, though sometimes the character’s thick Scottish accent gives the short an unintentionally comic feel. Some of the dialogue feels a bit heavy-handed and melodramatic at times, but other than those two problems I enjoyed this short very much.

The Curse of Micah Rood is an excellent short film that relies on psychological thrills as opposed to copious blood and gore. If you dig historical horror stories that are based on true legends, The Curse of Micah Rood is a very engaging film to check out!

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Seventh Moon (2009)

Eduardo Sánchez returns to direct his third film after co-helming The Blair Witch Project and directing his under-appreciated Altered. Like his previous films, Seventh Moon keeps the cast small and the action psychologically intense, creating an atmospheric film. Yet, Seventh Moon is probably my least favorite of Sánchez’s projects, hampered by unnecessary shaky cam and too much repetition.

Newlyweds Melissa (Amy Smart) and Yul (Tim Chiou) are honeymooning in Yul’s home country, China, during Hungry Ghost month. Every seventh moon on the seventh month the gates between the living and the dead open and the dead are free to roam the earth. Chinese leave offerings for the dead so they won’t enter their homes and play evil tricks on the. Melissa and Yul happily go along with the traditions, but don’t believe in the ancient legends. They have their driver, Ping (Dennis Chan), drive them to a destination in the country, but Ping gets lost and must wander to a nearby village to ask for directions. When he doesn’t come back, Melissa and Yul go looking for him, but find only live animal offerings tied up in the village’s courtyard. None of the villagers will open their doors and Yul can’t quite make out what they keep chanting. Sufficiently spooked, Yul and Melissa head back to the car and try to drive away, but after something dashes across the dirt road, they crash the car and must continue on foot as the spirits of the dead close in on them.

From the get-go Seventh Moon failed to really grab me. From Yul and Melissa taking part in the rituals and burning offerings in the city to when they ended up in the desolate countryside I just never got fully invested in the story or the characters. I appreciated that the writers, Jamie Nash and Eduardo Sánchez, tried something new and didn’t stick with a traditional Western horror story but I just didn’t enjoy how the story was executed.

First of all, the unnecessary shaky cam got really annoying really fast. Its use made sense in The Blair Witch Project, but I was baffled by its use here. Does Sánchez really want to be known as “that guy” who uses unnecessary shaky cam in all his films? I understand using it to put the audience “in the moment”, but its use here just distracted me from the actual story and took me out of the story rather than making me feel a part of it. Plus, there were several frustrating scenes where you couldn’t see what was going on. Perhaps this was the intent of the filmmaker in order to make it spookier, but to me it just made the film more frustrating to watch.

Second, the story was rather undeveloped and the film is basically just one big chase scene. Melissa and Yul flee from the ghosts, hide somewhere, the ghosts discover them, they run again, hide again and start the whole process over…and over…and over. Gets really boring really fast. And, of course, the whole “don’t trust country-folk” moral of the story is itself pretty generic.

As for the good, I really enjoyed Amy Smart’s performance as Melissa. Despite all her screaming, she was definitely the one in charge and kept a level head throughout the whole ordeal. Unlike some horror heroines, she didn’t just sit there and sob and rely on the guy to save her. Instead, she was the leader, crafted the plans and in the end faced off with the ghosts herself. Kudos to Nash and Sánchez for creating a strong female lead! We need more of these kick ass heroines in horror movies!

I also thought that the last scene in the film (despite the shaky cam used) was pretty damn heart-stopping, as Melissa is chased by what looks like hundreds of ghosts (you can see this in the trailer below, so, no, I’m not spoiling anything!). The ghosts themselves were pretty eerie, and Sánchez wisely kept them out of focus for the main bulk of the film. Their design was simple, but, boy, was it ever effective! I’ve got to give special FX company Spectral Motion props for making Asian ghosts scary again!

Still, despite the positives, the repetitive scenes and shaky cam movements spoiled Seventh Moon for me. A mediocre effort from Sánchez that stands in sharp contrast to his far superior earlier films.

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The Last House on the Left (2009)

Another week, another horror movie remake. This time around, it’s Wes Craven’s cringe-worthy classic, The Last House on the Left (which is loosely based on Ingmar Bergman’s The Virgin Spring), being remade by director Dennis Iliadis and written by Adam Alleca and Carl Ellsworth. Wes Craven’s original is a gritty and shocking film whose disturbing subject matter should at least be experienced once (that’s as much as I could handle). The remake, while competently made, lacks the down-and-dirty look and intense feel of the original. It is among one of the better reboots out there, but if you look at recent remade films out there like Friday the 13^th, it’s not saying much.

Following the story of the original pretty closely, the remake tells the story of upper class family the Collingwood’s – doctor daddy John (Tony Goldwyn), overprotective mother Emma (Monica Potter) and 17-year-old Mari (Sara Paxton) – who are heading to their isolated summer house for a relaxing vacation. The first day there, Mari begs mom and dad to take the car into town to visit her friend Paige (Martha MacIsaac). They acquiesce, and Mari roars into town, looking to have some fun with Paige.

They meet twitchy Justin (Spencer Treat Clark), who invites them back to his motel room to get high. Once there, the impromptu party is interrupted by Justin’s dad and recently escaped convict, Krug (Garret Dillahunt), Uncle Francis (Aaron Paul) and Sadie (Riki Lindhome). Turns out they are all on the run after killing some cops and don’t want to leave the girls behind as witnesses. They drag Mari and Paige out to the woods, torture them, rape one of them, and leave them both for dead.

The quartet of killers seeks respite from a harsh storm in the nearby house of the Collingwood’s, not realizing that they are the parents of Mari. When the parents realize what they have done to their daughter, they seek swift revenge on the murderers.

This is a pretty cut and dry remake with just a few changes made to the script (well, and one big and glaringly evident change that you can see in the trailer). Nothing is really done to make it its own film or to make it a better film, period. I will credit the writers with not dumbing down most of the film (well, except for the dialogue) like other remakes, but they really should have risked a bit more with the script and written something different to make this remake stand out. Unfortunately, while it’s a well-made and watchable film, it is easily forgotten whereas the original will be seared in my mind forever.

As for the brutal rape scene, yes, it is graphic and seems to go on forever, but the rest of the girls’ tortures seemed easy and breezy in comparison. Where in the original film their entire ordeal was horrific and humiliating, in the remake it is the rape scene that is the most brutal. Why is this a problem? Well, with the rape scene being the most disturbing, all of the other scenes that are supposed to be filled with tension pale in comparison. The rest of the film is just easy to sit through, which made it rather dull. Even the blood-splattered revenge sequence, while ultimately satisfying (except for the SILLIEST use of a microwave this side of Microwave Massacre!), felt like it lacked viciousness.

Also lacking viciousness was the acting from Garret Dillahunt, who played Krug. He was about as scary as a box of kittens and didn’t have a glimmer of intimidation in his glare. As the leader, he was supposed to be the most frightening of the killers, but I was no way threatened by him and felt he did a poor job portraying a sadistic psychopath, especially when compared with David Hess’ unnerving original performance. Aaron Paul and Riki Lindhome did a much better job playing Krug’s thugs, Francis and Sadie, both giving creepy and menacing performances. I also thought Sara Paxton did a fantastic job playing Mari, with fantastic performances also coming from Monica Potter and Tony Goldwyn as her parents.

The original The Last House on the Left was a fantastic social commentary on the paranoia of the changing times (Craven was inspired to write the film in response to the atrocities going on during the Vietnam War), loss of innocence, not trusting strangers, and a “what if” scenario to see what people would do when pushed to their physical, emotional and psychological limits. The remake sticks to these original concepts, but doesn’t realize that times have changed and these themes have been done to death and that perhaps new, more current ones should be explored. Therefore, it brings nothing new to the table and is ultimately a forgettable movie. However, I will say that it is much better than the teeny-bopper, bubblegum horror remakes like Friday the 13^th, Prom Night, etc. that the studios insist on putting out. If you have your mind set on seeing a remake, I would tepidly recommend this House…but not without reservations.

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Long Weekend (1978)

Earlier this year I watched the disappointing Nature’s Grave, which I found out was actually a remake of the 1978 Australian film Long Weekend. As I dug a little deeper I discovered that many people held Long Weekend in high regard and it had been called one of the greatest nature-run-amuck films ever made. So after watching the unremarkable remake, which was supposedly shot-for-shot of the original, I felt it was only fair to go back to the source and watch Long Weekend.

Long Weekend isn’t your standard nature’s revenge flick – it is far more subtle, and is more of a psychological struggle between a bickering city couple and the unfamiliar outdoors they’ve chosen as a vacation spot. Some could argue that there is a supernatural element to the proceedings, but everything that happens also has a perfectly logical, natural explanation as well…it just seems supernatural because the city slickers aren’t familiar with nature and definitely don’t respect it.

Before I get ahead of myself, let me give a brief synopsis of Long Weekend:

Peter (John Hargreaves) and Marcia (Briony Behets) are a married couple who are obviously having some issues. To hopefully patch up their marriage they head out to a deserted beach for a long weekend. Peter brings his dog, Cricket, and his trusty rifle to shoot at random stuff as he drinks beer, leaving a trail of litter in his wake. Marcia does nothing but complain that they are far away from her friends and how she would much rather spend a nice weekend at a luxury hotel, all the while burning a hole in the ozone layer as she constantly hoses down the campsite with bug spray. The couple continues to have a flippant disregard for the environment – Marcia flicks cigarette butts everywhere, Peter throws beer bottles into the brush and kills innocent animals (he runs over a kangaroo, kills a mama duck with an errant bullet and shoots a sea cow repeatedly). Soon, the laws of nature come into play and Peter and Marcia face the harsh justice of the jungle.

Long Weekend is a gorgeous film, with wide panning shots of the crystal-clear surf and white sand beach. The pristine environment makes the destruction Peter and Marcia cause that much more ugly and harsh. It’s a very sharp contrast between the food wrappers, cigarette butts, bottles of beer and the once pure coastline. Yet, in the finale when Peter stumbles upon another abandoned campsite we see how humans may come and go but Mother Nature seems to bounce back from any blight humans mar her with. Director Colin Eggleston definitely crafted a socially conscious and stunning film that was way ahead of its time.

As for the story, writer Everett De Roche really involves the audience in his cautionary tale. As mentioned earlier, it has a bit of a supernatural feel to it, but you could also look at it from a very rational point of view as well. It’s all in how you perceive the film, and I like how De Roche left it ambiguous for the audience. I also like how the characters were so unlikable, yet you were still interested to see what would happen to them and even a bit concerned for their safety (even though they brought their misfortune on themselves). All their trouble basically stemmed from poor decisions they made and their unfamiliarity with the outdoors. I mean, who really steals an eagle egg, smashes it and doesn’t expect the bird to come after them or approaches a possum and doesn’t expect to get bitten? Though the two leads make poor decisions, there is a part of you wishing they get out alive and perhaps learn a lesson not to mess with nature. Kudos to De Roche for making us care about such unlikable characters.

Both Briony Behets and John Hargreaves must also be commended for their strong performances in Long Weekend. They are basically the only two characters in the film, plus they are rotten individuals (she is always nagging while he is just an asshole, plus they have their own nasty secrets that come out as the film progresses), and yet we cannot take our eyes away from them. I think the biggest problem with the remake, Nature’s Grave, was the acting. In the remake the two leads didn’t have the fiery chemistry that Behets and Hargreaves possess, nor did they play it as realistically. Hargreaves and Behets really sell the characters and really involve us in the story, making us want to see and learn more about their vile characters.

There is also a lot to discover within the story itself, as the secrets of the secluded beach reveal themselves. The film is slow-paced, but that doesn’t make it bad by any means! Instead, it spends time building the tension and is punctuated by several shocking scenes (Peter’s crossbow accidentally going off and almost hitting Marcia, an aerial attack by an eagle, a menacing shape in the water while Peter is out swimming, Peter’s exploration of an overgrown campsite, and so on). The atmosphere of slowly-building dread is nicely accompanied by a beautiful score that helps accentuate the eeriness and tension of the film.

If you happen to come across Nature’s Grave, I recommend skipping it and renting the far superior original, Long Weekend. Though this is not your typical “animals-run-amuck” revenge film, it is still a breathtaking and tension-filled film that deserves to be seen by those that like their slowly-creeping horror!

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Nature's Grave (2009)

Australia has always captivated me. “The land down under” just seems so wild, untamed and dangerous, featuring some of the world’s most venomous/poisonous animals, insects, reptiles and plants known to man. I’ve always wanted to visit there, but the thought of adding to the destruction of its unique ecosystem just turns my stomach. I don’t want to be just another one of those disrespectful tourists that go tramping through nature, spoiling the region’s natural beauty and tranquility! Not to mention that I might come face to face with some of its more deadly inhabitants!

So, when I received the film Nature’s Grave (releasing August 4th, 2009 from Screen Media Films), which just so happens to be set in breathtaking Australia and shows how Mother Nature can strike back against careless humans, I was eager to check it out! The film opens right away on some jaw-droppingly beautiful shots of Australia’s north coast before cutting to bickering couple Peter (James Caviezel) and Carla (Claudia Karvan), who are taking a long weekend and leaving on a camping trip to try to patch up their disintegrating marriage. Of course, some stormy weather keeps them on the road longer than they expected, so they don’t arrive to the isolated, hidden beach they are planning to camp on until very late at night. Right away Carla gets a strange feeling about the place, but stubborn Peter seems more interested in getting drunk, going surfing and spending time with his dog, Cricket, than working through any of their problems (one of which is that he is a selfish prick).

The couple is supposed to meet some friends there, but they never show. As Peter kills and terrorizes the local wildlife, throws beer bottles into the ocean, hacks away at trees and Carla sprays bug spray over everything and tries to spend most of the time as far away from nature as possible, the surrounding wilderness takes on an ominous feeling. It seems that Mother Nature isn’t taking too kindly to their intrusion. They hear strange crying noises at night, Peter is attacked by an eagle, animals break into their food and something very large lurks in the water just off shore. Carla insists they leave, but Peter can’t be bothered by her warnings and just wants to stick it out.

When they realize just how much danger they are in, it’s already too late and it’s time for Mother Nature to get even…

I wasn’t aware of this before watching Nature’s Grave, but it is actually a remake of a 1978 Australian film titled Long Weekend. From what I hear it has a bit of a cult following and is definitely worth a look. As for Nature’s Grave…eh, not so much, I’m afraid. It is supposedly a shot-for-shot remake of Long Weekend, but I’m guessing it is missing A LOT of the previous film’s subtleties and nuances.

Nature’s Grave is directed by Jamie Blank, who directed the awful Storm Warning and the mediocre Valentine and Urban Legend. Often times the film feels flat, and feels like it’s missing any kind of emotional connection with the audience. There are some beautiful shots of the Australian wilderness and wildlife, but at times it just didn’t feel like there was enough. I also thought the film’s creepy moments lacked punch and could have used with a few more scares.

The story, written by Everett De Roche (he also wrote the original Long Weekend), moves at a slow-but-sure pace, and I actually enjoyed the slowly-building dread. However, the characters are highly unlikable, with an over-the-top performance by Caviezel that feels like he’s never taking his character seriously to Karvan’s strangely reserved character that doesn’t even fight back when her husband tells her to “go fuck yourself”. Neither character is interesting and you don’t want to root for either, which kills any kind of tension that De Roche tried to build in his story. Without anyone to root for to survive, I found myself waiting for Mother Nature to extract her revenge on these two characters.

Though there are a few creepy scenes – one where something is lurking in the ocean’s crystal blue waters, another where a dead animal is seemingly moving of its own accord and, towards the end, another where Peter finds some other “campers”, most of the “revenge” that happens occurs because of the two characters’ doing. In the end, it’s really their own stupidity that catches up with them as opposed to Mother Nature. This really is a pity, because I was really hoping to see the characters ripped apart by animals or plants after how disrespectfully they treated nature.

Nature’s Grave isn’t that memorable of an affair. Though it has a few spooky scenes, the performances of the two actors and the way their characters are written are just grating and make the film hard to sit through. And when their final curtain finally comes, it just doesn’t feel vicious enough for what you’ve had to put up with the last hour and a half. My advice? Seek the original Long Weekend out…it has to be infinitely better than its remake, Nature’s Grave.

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Frightmare (1983)

Not to be confused with the 1974 English cannibal film of the same name, Frightmare (aka The Horror Star) is the story of recently deceased horror veteran Conrad Radzoff (Ferdinand Mayne) who claims that death will be his best performance yet! The night after he is entombed into his specially constructed mausoleum (complete with a blinking neon star), a group of drama students break into the crypt and decide to take old Conrad back to their place for some partying! After a creepy dinner with the diners all wearing masks, they each take turns dancing with the corpse and one girl even goes to far as to smooch him! They put Conrad back into his coffin, but are too tuckered out to take him back to his final resting place, so they just put him in their attic and call it a night.

The next morning the cops discover Conrad is missing from the mausoleum and his widow enlists the help of a psychic medium to find out where he is. Turns out he’s in hell, but is hellbent on returning and getting revenge on the young whippersnappers that disturbed his slumber. His widow heartily agrees, saying, “Burn them! Burn them! BURN THEM!”

Having been summoned, Conrad rises from the dead and stalks the kids in the house, killing them one by one.

What is so interesting about Frightmare is that it tries to bridge the gap from Gothic-tinged Hammer horror (think fog-shrouded cemeteries, genteel-looking old men in Dracula capes, damsels in distress) with the kids-being-stalked-by-an-unstoppable-killer slasher formula. I liked the “classic horror” atmosphere of the film, but the slasher aspect felt a bit off. The story had some holes (a cop, who looks more like a mafia don, keeps popping up but doesn’t add anything to the story), pacing problems, awful dialogue (“We did something BAD!”) and the kills left a lot to be desired. Even though the result is a mixed bag, this seemingly strange combination of old and new horror styles makes Frightmare worth a look anyway.

The film was written and directed by Norman Thaddeus Vane and one good thing about his script is that he spent more time developing the character of Conrad Ragzoff than he did the kids’ characters. I felt much more empathy for Conrad than I did any of the annoying college kids, who exist mostly to get picked off. Conrad is one of the best things about the film, and the character is obviously an homage to Christopher Lee. Actor Ferdinand Mayne even resembles Lee and has the same kind of aristocratic air as he does.

Speaking of Mayne, he was truly a joy to watch in this role, especially in the opening scenes when he is still alive and in the videos he leaves behind for the funeral and those that appear to greet visitors to his crypt. Another actor to note in the film is Jeffrey Combs, who plays one of the clueless kids in one of his earlier roles. Most of the actors who play the college drama students don’t have much to do, but they all do a pretty good job of playing stupid and dying horribly. Even the “Final Girl”, just sits around and whimpers and only survives because she faints dead away at the sight of the resurrected Conrad.

As for the deaths, Conrad kills most of the kids with telekinetic powers rather than with his bare hands. One girl spontaneously combusts into a fireball, another girl gets squashed by a flying coffin, a guy gets locked in Conrad’s crypt as it fills with poisonous gas, another guy gets decapitated by a flying sword, and so on. The only “hands-on” deaths occur when a guy gets his tongue/jaw ripped out and then strangled, a woman gets her mouth stuffed with a wad of cash and another guy gets stuffed into a coffin and burnt alive in the crematorium. It was disappointing that the deaths weren’t at all gory (especially since at least half of the film was trying for that slasher vibe), but it wasn’t a deal-breaker. Instead, the film treated the deaths in the more restrained, classic horror tradition instead of going all-out like a slasher flick.

Still, there are some pretty silly scenes throughout the film besides the previously mentioned death scenes. One was the partying scene where the kids pass around Conrad’s corpse like he’s a party favor, which is so disturbing it borders on ludicrous! Another more “laugh-out-loud” scene is the over-the-top séance scene where Conrad’s widow and psychic medium are trying to contact the dead Conrad. The ladies put on such hysterical performances here that I dare you not to laugh! The film also features some god-awful music and sound effects that sound just like one of those cheap Halloween party CD’s, complete with howling and growling.

Frightmare has a lot of issues and I think it would have a lot of problems connecting with horror fans today. Still, it is an interesting little movie that tries to combine old-school horror with the slasher formula. Sometimes it doesn’t succeed, but it is still interesting enough to check out, especially if you love Gothic-tinged horror movies. Though Frightmare isn’t a “must-see” for all horror fans, those that appreciate both the old and new aspects of horror filmmaking may just find themselves enjoying it like I did!

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