Tag: Horror

TOURIST TRAP (1979)

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Directed By: David Schmoeller

Written By: David Schmoeller and J. Larry Carroll

Cinematography: Nicholas Von Sternberg

Editor: Ted Nicolaou 

Cast: Chuck Connors, Tanya Roberts, Jocelyn Jones, Jon Van Ness, Robin Sherwood, Keith McDermott, Dawn Jeffory 

Four people go in search of their missing friend. What they find is Slausen’s Lost Oasis, and mannequin-dressed museum, and a seemingly abandoned mansion owned by gentle old Mr. Slausen. He agrees to help with their car trouble, but some of the girls decide to look for a working phone inside the house even though Mr. Slausen warned them not to. Hidden within the home is Mr. Slausen’s misunderstood mask-hidden younger brother. What they learn is that the mannequins seem very much alive, or is there something much more terrifying behind the mask?

A great old-school horror of the 1980s. That was a video store heyday that haunted the shelves. It took me this long to finally watch and it’s a shame as this is definitely a film that stays on your mind.

This is one of those films you think you have seen a long time ago then when watching realize you never did. Even as you have seen the poster title for the longest time.

This film at first seems like it will be run off like the poster that could be for any 1980s generic horror film, but this one set itself apart with a kind of creepy puppet tree. That leads to a disturbing atmosphere throughout.

The characters/victims are the usual suspects. You never get to really know them and barely care about them. You were just appalled that they have to go through this torturous violence for nothing. 

The mask of a character from an episode of the Nickelodeon show  SALUTE YOUR SHORTS. The episode was creepy out of nowhere and didn’t seem to be as intentional as it is in this film.

Were it not for the originality and creepy atmosphere the characters and kills are pretty basic and almost not eventful. Except for most of the cast, conveniently short summer outfits.

Especially Tonya Roberts cleavage heavy, and tube top that only adds to its exploitation factor.

This is a shame, considering its originality and other aspects as it becomes more and more unsettling 

There are some action sequences, though they are slow and it seems like the characters wound,  very easily.

The film is not too far off. it’s believable at least in the first half of the film. 

The film seems to be designed to be more atmospheric with a smaller number of characters which leads to the film feeling more intimate. When there is a Chase the film has more time like the killer to stalk.

As a fan of Chuck Connors, this film is quite enjoyable as he is clearly having fun in his role and he is truly the big-name star of the film, especially at the time of its release.

The film is inventive when it does things that are there to surprise you like switching around the final girl you might expect. The survivor truly ends up, becoming someone you would least expect. By the end, the film still offers something that makes it feel even creepier.

That makes you wonder in the end if there is still a certain psychosis meaning that the killer has succeeded. it certainly leaves the audience with something unexpected and unsettling. 

Grade: B 

1BR (2019)

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Written & Directed By: David Marmor

Cinematography: David Bolen 

Editor: David Marmor, Rich Fox And Anna Rottke 

Cast: Nicole Brydon Bloom, Giles Matthey, Taylor Nichols, Alan Blumenfeld, Naomi Grossman, Celeste Sully, Clayton Hoff, Susan Davis

When Sarah lucks into a sweet one-bedroom at Asilo Del Mar Apartments in Los Angeles, she thinks she’s hit the jackpot. It’s got plenty of space, friendly tenants, group BBQs, and even a cute neighbor next door. All is not what it seems: loud noises start keeping her awake at night; her cat is missing; everyone seems to be a little too helpful and friendly, except for the weirdo, Lester. Soon, Sarah learns she didn’t choose this apartment – It chose her.

This film is short. It might’ve been more effective as a short, but I don’t know if it could’ve made it or been felt as deeply if it was a short short. 

As you get a little more backstory and understand how everything works more.

The film is interesting though it’s never quite strong enough. The premise is strong, but it feels here. They try to do more hands-off presentations and try to be more psychological and subtle, which does work as more of the scares psychologically physically. 

There are scenes of violence. It seems the territory they’re trying to mental rather than going for shocks or anything that could be seen as exploited.

One of the hurdles, the film never quite gets over is how bland and basic the film feels no matter what happens as one can understand that it wants to be more subtle. No, the film feels like it needs to have more life in it. 

Even as you were talking about a certain subject that is played a little bit more clinical it doesn’t feel like it has that much of a spirit.

Though it keeps your interest up until the end and makes the mistake of trying to be shocking or at least add a new shock in each act, which then pushes it into overkill, also helps the film to keep the viewer interested as if it didn’t it would pretty much almost be a drama with some extremes.

Again, this feels more like the type of film that feels part of a yearly Halloween anthology or could easily be an episode of an American horror story except without as much sensationalism. It could’ve said the same thing in a shorter time. 

By the end, you can’t say that the film is bad as it has plenty of promise that it just falls short of truly fulfilling, but there are great ideas and decent acting throughout. Once the filmmakers get a little more season could really give the audience more of a run for their money.

Grade: C

THE SUBSTANCE (2024)

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Written & Directed by: Coralie Fargeat 

Cinematography: Benjamin Kracun  

Editor: Coralie Fargeat, Jerome Eltabet and Valentin Feron 

Cast: Demi Moore, Margaret Qualley, Dennis Quaid

A fading celebrity decides to use a black-market drug, a cell-replicating substance that temporarily creates a younger, better version of herself.

Whatever you might have heard about this film you are not entirely ready for where it takes you. 

Again this is one of those films that is best to go. Into blind. Which allows for surprises and plenty of discovery. 

It has equal parts David Lynch, David Cronenberg, and even a bit of Stanley Kubrick in style, but director Coralie Fargeat manages to make it her own.

As there are symmetrical shots and angles. Colorful production design, and plenty of gore that at first seems artistic until it truly gore for the gusto in the third act. At certain points it feels like science fiction, but more a cruel satire that truly becomes a horror movie. It also feels French and European while taking place on American soil. 

it’s amazing, disturbing, uncomfortable, and beautiful. That truly seeks to disturb, disrupt, and challenge. Which for some will make it all the more stronger. 

The film offers a full-blown assault on sensibilities and your senses. It manages to build a world while revealing so little and having limited spaces and locations. 

It haunts you afterward. Each time you think about the film, you want to go back to see if there is anything you missed. as you want to study the film. It’s that intricate, and pristine 

It’s not only the effects that are scary or disgusting but the characters. Dennis Quaid as The lead character’s manager is always his over-the-top stylish suits and seems like he cares. He twists lives in his client’s backs and eats sloppily and disgustingly. 

The film is a tale of feminism and the perils of aging for women and how they are treated in the world but especially in Hollywood and the spotlight. This film explores what some are willing to do or forced to do who choose to want to stay in the spotlight. How cruel they are treated for even trying.

It’s also a tale of greed, how there is never enough time, and how quickly it can be stolen or used. When you are younger you always think you have enough time and still want more and are more prone to be jealous that you will even betray your own best interests. How at times a person can lavishly sacrifice just to have the spotlight to themselves even as it does damage to themselves. Not playing by the rules and regretting. Losing sense of oneself.

Self-hatred giving up on yourself for others to prosper. As you feel your life isn’t worth living anymore. Too much work not enough benefits. Needing the adoration to feel worthy. 

Demi Moore gives one of them. the best performances of her career. While getting one of the best roles of her recent career. This is the perfect movie for her to make a comeback. Even as critically as most of the characters treat her. She still looks extraordinarily beautiful. The horror is that for so many years Ms. Moore has been the model for what was seen as perfect and beautiful that many women aspired to be like or look like and now here she is not considered good enough. 

It also offered her the most range in a role. Yet it also, feels familiar or like a reality she might be facing only magnified. As the film shows how aging especially for women is seen as a horror in society and how many of them have resorted to some kind of substance be it surgery, fillers, creams or ointments to try to keep their youth or look youthful. Even as it becomes a violence against themselves. Taking themselves down the. Face the reality they find themselves in. Trying to reach or keep an idealized version of themselves and literally buying into it 

At certain points, it feels like a TALES FROM THE CRYPT movie. Which only reminds the audience of Demi Moore’s appearance on that show in an episode. By the end, it also reminds the audience of another production that she was part of the animated Disney film THE HUNCHBACK OF NOTRE DAME. 

You could also throw in some RE-ANIMATOR. As well as the story THE PICTURE OF DORIAN GRAY. As well as THE GAME, DEATH BECOMES HER, THE TOXIC AVENGER, FIGHT CLUB, and SECONDS. With those ingredients, she used them to make something piercingly original 

It even tackles eating disorders. As when she can’t really punish or fight her double. She strikes back the only way she knows how overeating bad food. as she robs her of her youth. 

Vanity destroying yourself to give yourself more time. Almost like an addiction the same as a vampire uses blood to survive and stay young or at least keep up appearances. Usually preying on the young here it is reversed. 

As the younger self has all the promises or is given promises of course she becomes more selfish hoping to live just a bit longer. 

This film by the end becomes a fable of addiction to the limelight of fame and attention and how lonely it can become once it begins to fade. Even though you have a following how quickly they can abandon you and if you are never prepared for your eventual downfall. You have truly nothing left. How these rules seem to apply mostly unfortunately to women. Hollywood is a fickle mistress. 

Grade: A 

THE WRATH OF BECKY (2023)

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Written & Directed By: Matt Angel and Suzanne Coote

Based on characters created by: Nick Morris, Lane Skye, and Ruckus Skye

Cinematography: Julia Swain 

Editor: Stephen Boyer 

Cast: Lulu Wilson, Seann William Scott, Courtney Gains, Matt Angel, Denise Burse, Jill Larson, Michael Sirow, Aaron Dalla Villa, Kate Siegel

Two years after she escaped a violent attack on her family, Becky attempts to rebuild her life in the care of an older woman – a kindred spirit named Elena. But, when a group known as the “Noble Men” breaks into their home, attacks them, and takes her beloved dog, Diego, Becky must return to her old ways to protect herself and her loved ones.

Wow, this film is much shorter and gets to the point faster. As we already know the character. It also leads to one of the biggest problems of the film. There is no suspense. We know she can take on these villains as she is faced with much worse and much tougher.

So even if it was like a horror film, where we are just here for the kills. It still proves to be disappointing as the kills aren’t that inventive or any real creativity to the table. it also seems like for a hit film. The budget is much lower for this film, which is strange.

The film plays like a familiar song only with its own different beat that isn’t as catchy but serves the purpose of it.

Even the inciting incident just seems so ridiculous and minor. that feels lame, weak, and unneeded just as her enemies could’ve felt a little more dangerous instead it almost feels like you’re watching a deadly version of PROBLEM CHILD. 

So the film wants us to believe that she is tapped into a much bigger conspiracy and leaves very few victims in this film and they’re not that impressive. There is no joy even as she’s getting her revenge through it all. which is a similar problem to be found in the bigger budgeted THE EQUALIZER films, but they still find a way to be entertaining. This film wants to have a dark sense of humor and a try, but it never quite rises to the level.

It’s giving the audience it’s what it wants, but it also feels a bit lazy. which is a shame as the first one was no masterpiece, but it was a fun little sadistic action film that was surprising. Instead what we get here is gory and goofy.

The film tries to offer a twist only it’s not that shocking and you don’t really care and it’s nice to see Seann William Scott on screen and he certainly is menacing. You just wish the project matched his talent and intensity. 

By the end, there is promise of a sequel, which hopefully will help redeem the franchise. If you are a huge fan of the first film, you might take a chance and watch this. Though truthfully there is no need.

Grade: C-

NIGHT OF THE HUNTED (2023)

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Directed By: Franck Khalfoun

Written By: Franck Khalfoun and Glen Freyer 

Based On An Original Screenplay By: Ruben Avila Calvo and David R.L. 

Cinematography: Steven Petitteville

Editor: Stephane Roche 

Cast: Camille Rowe, Jeremy Scippio, Aleksander Popovic, J. John Bieler, Manaia Abdelrahim 

When an unsuspecting woman stops at a remote gas station in the dead of night, she’s made the plaything of a sociopath sniper with a secret vendetta. To survive she must not only dodge his bullets and fight for her life, but also figure out who wants her dead and why.

This film is pretty cut and dry. Though quite vicious at heart. It is a woman trying to escape the clutches of a sniper and watching as she tries to survive others who are unlucky enough to cross this gas station get massacred 

The villain doesn’t really offer a definite reason for his actions as throughout his spouse, many talking points that we have become familiar with in shootings and spree killers in the news so it doesn’t take any particular political angle 

It’s more of a survival story while there is plenty of tension, and we get to know the main character throughout the villain stays faceless for the most part

We feel sorry for the various victims who didn’t really do anything to deserve the fate that they ended up with the film at 90 minutes does feel a little long and maybe could’ve been shortened by 30 minutes then it would’ve been a welcome addition to maybe an anthology series That would be hard to find one as this is more of a thriller story not necessarily a supernatural story or a fantasy story or even science fiction even though it does have a monster involved it’s more of a human monster, not particularly supernatural chest, skilled

Directed By Franck Khalfoun, who previously made the underrated remake of Maniac here he comes with an original story that is very bare, and makes the most out of it, as we see the various ways in which she tries to escape or survive longer and how is she gets information and reacts to anything personal he might know about her.

In the end, we suspect who the sniper might be as by the end, there are a few questions none of them truly answer.

Give the movie a chance to actually worth your time 

Grade: C+

ONE DARK NIGHT (1982)

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Directed By: Tom McLoughlin

Written By: Tom McLoughlin and Michael Hawes 

Cinematography: Hal Trussell 

Editor: Michael Spence and Charles Tetoni 

Cast: Meg Tilly, Melissa Newman, Robin Evans, Leslie Speights, Elizabeth Daily, Donald Hotton, Adam West, David Mason Daniels, Kevin Peter Hall

As part of an initiation into a club called the Sisters, a young girl must spend the night in a mausoleum.

We might be judged better and find its audience because of the time that it was made in over the years found admiration for it, Writer Director, and as always, we respect things the older they get that doesn’t necessarily make them better, but if you find something in it that speaks to you or ahead of its time then it is worth admiration

strangely, this film feels like your typical drive-in fair and offers up something a little different

But it plays more like a 1980s typical horror film where more of the fascination is the culture of the times and what was allowed as this film is pretty clean. It does offer up to jump scares that are inspired but ultimately corny. 

The movie it’s all set up and then one stuff does happen. It is somewhat interesting but by that point, you might find yourself not really caring or excited just because something is finally happening. 

It’s a film. I would say that might be fine if you have younger children, except for drugs, but ultimately it feels like a film that’s more scary for younger children than maybe an adult audience.

There’s a reason it’s not particularly scary. Is there any excessive violence or exploit materials pretty basic a television truly isn’t really as offensive as the slang and verbal word juvenile could’ve been for school kids

as it feels like a movie, that’s dressed up for a younger audience where you’re thinking, oh man, we’re gonna see something that we shouldn’t have, and then by the end, you’re like that’s it could’ve easily watched this in one of our normal films only it shows itself to be that way almost like it’s a student with better production values

This is one of those films that even being under 90 minutes feels long

At least this film is pretty much a mostly female affair as far as the cast as they take center stage, and the few men in the film are more on the sidelines either watching or coming in at the last second trying to be heroic 

Even Adam West being in the cast here seems more for name and star recognition value than actually giving him much to do 

Sorry, if you were watching this film just for him as he is in it but he’s not in much of though it is one of the rare times where he is in a dramatic role 

Grade: C-

AXE (aka LISA LISA) (1972)

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Written & Directed By: Frederick R. Friedel 

Cinematography: Austin McKinney

Editor: Frederick R. Friedel and J.G. Patterson Jr.

Cast: Leslie Lee, Jack Canon, Ray Green, Frederick R. Friedel, Douglas Powers, Frank Jones, Carol Miller 

Three criminals on a murder spree arrive at a farmhouse, where a girl is living with her paralyzed grandfather.

This film also goes by the title, LISA, LISA is pretty much cut and dry as kind of a revenge tale. It’s barely over an hour, and today would’ve probably been an episode of an anthology series of horror. 

The film’s characters are pretty simple. They might remind some of the movie PEARL with the farm girl and the handicapped paraplegic father, and the dispensing of characters in particular with an axe

though here, pretty early, on all the victims are understandable while they are killed, as most are at least two of the three gangsters are pretty horrible from the beginning with one being maybe a little more sensitive and innocent, but the main two you won’t feel any sympathy for throughout, and they really bring about their demise on their own by their own actions

As they both try to sexually assault the main female character, at times, you also wonder if really the paraplegic father is playing along in a role to them, unfortunately, that twist does not come to a satisfying end 

The film is pretty dry and everybody gets what they deserve to a certain extent the only truly shocking part or more surprising part is the end that goes with just desserts but it’s not all that it’s not going to change your worldview or anything 

The film comes off as schlock and exploitation the more exploited towards violence, and I guess just sleazy characters, as the first half of the film feels almost like a music video, devoted to its soundtrack, which is mostly bongos that after a while gets very annoying as nothing really happens. Which was actually put together in only 8 hours.

if he becomes what you have to put your attention on to help guide you, but after a while, it becomes very annoying. 

The film at many times, tries to go for atmospheric to make it a little, more artistic or deeper than what it is.

This is from a classic, but if you’re just looking for something maybe to put on more in the background or research, the history of our might well be worth it as it is more odd than a necessary artifact to check out.

The writer and director even gives himself a co-starring role here truly showing that this was a passion project. It seems for him.

Grade: D+

GIVE ME PITY (2023)

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Written & Directed By: Amanda Kramer

Cinematography: Patrick Meade Jones

Editor: Benjamin Shearn

Cast: Sophie Von Haselberg, Cricket Arrison, Reshma Gajjar 

Sissy St. Claire graces the small screen for her first ever television special, an evening full of music and laughter, glamour, and entertainment. But Sissy’s live event quickly begins to curdle into a psychedelic nightmare.

This film is best not to know anything going in and discover before reading this write-up. As there are spoilers. 

Now this film will probably be compared to the film, LATE NIGHT WITH THE DEVIL, as they are similar somewhat in presentation. Only this film doesn’t show any of the behind-the-scenes action we just see the special as presented with no real backstory before or after. as both films are inspired by movies, such as DEATHWATCH.

this film is hard to exactly explain or identify. it takes place as a live TV special where the film stays in that perimeter for the remainder of the running time and it’s filmed in the same way

Though the special might be haunted or it might just be a collection of errors paired with the star, either overreacting or having a mental breakdown as she might be seeing things or the actual truth as we in the audience, wonder the same thing.

The Songs throughout are funny, but might also be autobiographical for the main character as throughout the special she seems to share a little bit too much with the audience over and overreact in the same way  

The film is brilliant as it is not necessarily quite a thriller or a horror film yet it stays entertaining and is almost a one-woman show for the star played by Sophie Von Haselberg all in front of the camera as she seems to break down.

The lead actress and special is almost a Bette Midler type star Sophie Von Haselberg’s character resembles, but also mixed with Ilana Glazer.

The film gets darker and more unsettling as it goes along, especially when it comes to what are supposed to be skits

The film is an example of how the main character’s past still haunts her, and his manifesting which she talks about early in one of her pieces and one, on ones with the audience

Writer-Director, Amanda Kramer has made another one-of-a-kind film. This one is definitely a classic and not one to ever be forgotten. 

As with most of her films, they are very inspired as she wears her influences on her sleeve, but she managed to make something so original and special with them that you can’t help but be amazed by the end. 

The film definitely has a style. not to mention tons of imagination and obvious skill that went into the making and performing in this film.

The film is psychedelic at times before reason and not annoying. It’s as it shows. It has more of an artistic side. Even in its own strangeness.

Grade: B+

PAUL DOOD’S DEADLY LUNCH HOUR (2021)

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Directed By: Nick Gillespie

Written By: Nick Gillespie, Matthew White and Brook Driver

Cinematography: Billy J. Jackson 

Editor: Tom Longmore

Cast: Tom Meeten, Katherine Parkinson, Kris Marshall, Kevin Bishop, Johnny Vegas, Mandeep Dhillon, Steve Oram, Alice Lowe, Pippa Haywood

A weedy charity shop worker is set on winning the big national talent show. But when the actions of 5 selfish people cause him to miss his audition, he sets out to seek deathly revenge. It’s 1 lunch break and 5 spectacular murders.

This film comes across more of a comedy of errors with macabre violence.

The film is a crowd-pleaser that gets you to root for the character right from the beginning. He tries to murder the characters but they are usually done by themselves or some mistake they make In fleeing.

The characters are over the top cruel and mean. So you really feel no sympathy for them and the nastier they are the gorier their deaths. That is where the film offers its surprises, in how the deaths happen.

The film ends up strangely heartwarming. That seems to want to comment on the predatory nature of social media. Though the films feel good premise of social media justice feels a bit like bad timing. As more and more mentally ill people commit mass murder. Using it to show their handiwork and try to be immortalized in infamy.

The film comes across as the lead character Simple and sweet. Though with a dark side. The character is pure yet the film is cynical. 

The film offers impressive practical special effects. Which is where it looks like most of the film’s budget comes from.

What seems like it will be a vigilante tale of revenge. As each character seems a bit off, It’s more a tale of karma and justice.

Grade: C+

THE SACRAFICE GAME (2023)

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Directed By: Jenn Wexler

Written By: Jenn Wexler and Sean Redlitz

Cinematography: Alexandre Bussiere

Editor: Mathieu Berube and Arthur Tarnowski

Cast: Mena Massoud, Chloe Levine, Olivia Scott Welch, Georgia Acken, Madison Barnes, Gus Kentworthy, Derek Johns, Laurent Pittre 

It’s bad enough that boarding school students Samantha and Clara can’t go home for the holidays, but things take a deadly turn when a murderous gang arrives on their doorstep – just in time for Christmas.

The film starts out as an interesting thriller, and then it gets a bit more harder as it goes along.

Like the main characters as an audience member, you were not quite prepared for what you get you might see certain things, but there are plenty of surprises.

What keeps the sound fun is that it keeps you guessing like a game even though after a while it becomes a little bit predictable, but still offers a few surprises.

As we watch the tables, turn on the villains that we want to see punished, who then become the victims, who are used to a certain extent, though we feel a little for them, even as they were careless before that seems to be their only bad vice. Not necessarily likable, but good for some comic..

Like most things, those who you think are the most evil or nothing compared, as there is usually someone worse.

The film keeps a wicked sense of humor as it becomes a cat-and-mouse game towards the middle. 

Not going to like you are most likely going to suspect some of the choices, but luckily it stays entertaining throughout.

The production design works as it does feel the production, or like it is taking place at that certain time, which also helps with the film’s mentality and mood.

This is a good starter, a horror film that can teach those new twists and the tricky nature of them, and a film such as as this film seems perfect for a younger female audience.

Mena Massoud who played Aladdin in the live-action, Disney movie is a villain here, which is subversive casting. As he goes from playing, you know one of the most innocent and beloved Disney characters, who is kind of a heartthrob to a cold-blooded, killer and leader of a gang looking to sacrifice for a single goal

The cast is female, driven than male who are mostly victims. 

the film is not excessive or exploited and its protagonist ends up being two teenage girls. Luckily, the film is never boring and stays entertaining being a period piece of the 1970s it adds to the texture somewhat the wonder if it’s more to explain or do away with cell phones and more tap into disillusionment and the satanic panic of the times

Georgia Acken is memorable playing Clara, one of the more mysterious underage hostages who might remind the audience of a young Elliot page as she appears to have the same strength in her performance. 

Grace: B-