This was a first time watch for me, and I have to say, while very formulaic, it is a fun watch. Tobe Hooper was a master of using atmosphere, lighting and soundscapes over gore and jump scares. This little gem is sandwiched between two of Hooper’s bigger known films, the made-for-t.v. Salem’s Lot in 1979 and Poltergeist in 1982. Of course, his Texas Chainsaw Massacre in 1974 broke massive ground in the history of horror cinema. While Funhouse is not in my eyes a true slasher, it seems that there were, in the history of this fun house, other “accidents and incidents,” which I suppose makes Frank and his dad serial killers?
The story is a tried and true trope of teenagers sneaking around where they ought not be. Amy (Elizabeth Berridge), Buzz (Cooper Huckabee), Liz (Largo Woodruff) and Ritchie (Miles Chapin) go to the carnival together…instead of the movie. Wait, I’m getting ahead of myself. Continue Reading
As a horror fan I feel rather fortunate that so many of my favorite thrillers released on the year of my birth. A quick Google re-search will reveal a VHS candy store of goody gore and lovable murderers, from The Thing to Poltergeist to Halloween III (the one without Myers) to Amityville II: The Possession (the one that was like The Exorcist but with incest) to The New York Ripper to Pieces, Parasite, The Slumber Party Massacre, and…Friday the 13th…PART 3 (cue groovy disco music). And among the other entries in the franchise, PART 3 is I would say my second favorite. There are many factors that play into my rating but unless you’ve seen it you probably won’t understand. So do me a solid and go pop this flayed VHS cause this review will be chopped full of SPOILERS. Readers…you have been warned! Continue Reading
Let’s get right to the point. Candyman (based on the story The Forbidden by the timeless Clive Barker) scared the shit out of me when I first watched it. I’m not sure if it was the Deep baritone voice of Tony Todd as the terrifying title character which is the first dialogue we hear as we see an army of bees crawl over each other, or the delicate musical score by Phillip Glass which was subtle and really got under the skin. I remember my sister had been to the cinema to watch it and was said it was the most frightening thing she had seen at the time. I was, of course, too young to go and watch it so when I saw the VHS pop up at our local video shop I couldn’t wait to watch it. Thankfully, due to the lax attitude of the owner of our shop and such things as certification being less of an issue at the time, I sat down to watch the film as a young kid who didn’t know any better. When it was done, I agreed with my sister. It was horrifying and stayed with me for some time.
As it happens, I haven’t watched it again since and so in doing this review decided to pick it up in super shiny Blu ray so I could see if it was still as scary the second time around. Continue Reading
After making a splash with their major studio debut, Feast, and shouldering the burden of continuing the formidable Saw series from the third entry on, screenwriters Marcus Dunstan and Patrick Melton came into their own with the release of The Collector in 2009. Dunstan directed the film from a script co-written with Melton that was originally pitched as a Saw prequel. The end result was a horror movie similar to the Saw films in its levels and methods of violence and gore, but with a chillingly different breed of killer.
And in the annals of horror, he and the film he dominantes are barely a footnote. Continue Reading
These holidays (F13) are so few and far between, I couldn’t resist saying a few words about one of my all time favorite horror movie franchises. As a younger fan of the slasher genre, I watched more of Nightmare on Elm Street. In a way, i think that’s because Freddy is more “kid stuff,” especially the flicks starting with part 3, aka Dream Warriors. It became more and more of a build up to those sweet one-liners, such as: “Wanna suck face?” or “How’s this for a wet dream?” or “Welcome to prime time bitch!” and then breaking into that cackling laughter whilst the soon to be dispatched teen flees for however many seconds of life they have left. Good times. But i think it was around 1994-95 when my allegiances changed when Jason Goes to Hell released to VHS. Somehow, one of my buddies (Matt) was able to get his hands on a copy. Fangoria was still really popular back then too and they had done a full spread on the movie. Needless to say, from that moment forward, my slasher heart belonged to Jason Voorhees. Continue Reading
Starring: Brad Dourif, Alex Vincent, Chris Sarandon, Catherine Hicks
Directed by: Tom Holland
Written by: Don Mancini, John Lafia, Tom Holland
What begins like a crime thriller quickly escalates into a bizarre horror about a dying murderer who manages to use black magic to transfer his consciousness into a ‘Good Guys’ doll. ‘Chucky’ finds a home with 6-year-old Andy, initially befriending and manipulating him into helping him commit more murders, and then Andy himself becomes the target as Chucky plans to transfer his consciousness into him before he can be killed in his doll form. Continue Reading
[ blahblahblah Spoilers Probably yaddayaddayadda ]
This is a weird one, you guys. Not in a deliberate, fun way. More in a… I-have-no-idea-what-the-director-was-thinking-half-the-time kind of way. I’m going to keep myself to the format I’ve been using for the most part and not get too far ahead of myself this time. I’ll just say this one might be a little less meaty than my usual review as I’m not sure how much I can say about this one. We’ll see what happens as I get further down this cuppa (Joe)… Continue Reading
[65 minutes. Unrated. Director: Jorg Buttgereit]
Sometimes – okay, a lot of the time – I question the logic that drives my physical-media collection. Why are some DVDs more disposable and trade-worthy than others? Why are others as immovable as Stonehenge? There are films that sit on my shelves, never leaving the shrink-wrap; and others that are so mood-specific, I only re-watch after a passage of years. Salo is a great film, no question about it, but two hours of feel-good vibes it most certainly ain’t.
The same applies to the work of director Jorg Buttgereit.
After a string of shorts, his career began proper with the worldwide-controversial Video Nasty Nekromantik, which took a semi-comedic approach to a young couple’s desire to bring a rotting corpse into the bedroom. While a fine showcase for Buttgereit’s low-budget ingenuity (including some sick – and sick-funny – practical gore effects), the film was little more than the sum of its shock value (and I liked its labored, cheap-looking sequel even less).
The director fared much better with two other efforts: 1990’s actively oppressive Der Todesking (English translation: The Death King), which follows a group of unfortunate souls who fall victim to a lethal chain letter over the course of a week. The film is devoid of hope, and its experimental nature (more anthology than conventional narrative) creates a detachment from the characters that is deliberately cold. One can imagine Buttgereit’s intent: “This is humanity with the forced pleasantries and rule of law removed – see it and weep.” Continue Reading
The mad genius may be an over played trope, but it is still entertaining to watch. I have to wonder though if the character in question on today’s installment of Slashers & Serial Killers would fit into the mold of “mad genius.” Is Hannibal “The Cannibal” Lecter truly mad? Is he insane, mentally ill, certifiable, deranged, demented, or otherwise of unsound mind? Honestly, that’s a tall order. What he does is shocking, sure enough. I think we can at the very least say for certain that he is a genius. You don’t become a physician and practicing psychologist speaking fluently in several languages with perfect memorization and dictation of countless works of art and poetry, not to mention an obsessive culinary skill, without the moniker of said genius. Mad though…that begs the question. Continue Reading
I had the basic plot idea for Literary Stalker – a bad writer with grudges who takes revenge on selected colleagues – many years before I wrote the novel, but it remained on the back burner because it seemed too simplistic. Then I had the further idea of making the work a pastiche, with showcased references to films and other novels, very much in the style of Quentin Tarantino. Having fun developing this, one film in particular popped into my mind – one I hadn’t actually viewed for decades, but which I remembered fondly from way back in the 1970s and ’80s. It was Theatre of Blood, and I got the DVD and re-watched it, several times. The rest, as they say, is history. Continue Reading