double feature


MAJOR SPOILER WARNING! In order to properly compare these two films, I have to give DETAILED SPOILERS. If you haven’t seen Sam Raimi’s The Evil Dead or Fede Alvarez’s  Evil Dead remake, there are MASSIVE SPOILERS BELOW for each film. You have been warned!


After seeing  Fede Alvarez’s Don’t Breathe recently, it made me go back and revisit his Evil Dead remake. Since I haven’t done a Comparison In Horror in a while, I thought it would be a perfect opportunity to compare Raimi’s classic with Alvarez’s update…

(Click on the highlighted movie titles to go to the full length reviews and on the photos to enlarge them!)


Sam Raimi’s classic The Evil Dead has five young people going up to a secluded cabin in the woods for a weekend of partying and fun. When they get to the rundown cabin, they find an old book and a tape recording in the creepy cellar that claims it is the book of the dead and wrapped in human flesh. Thinking it’s all a joke, they play the recording, which includes someone reading from the book and find out the hard way that it’s all too real, as they unleash horror beyond their imaginations.

Fede Alvarez’s remake has five youths going up to a old family cabin that hasn’t been visited in years. They are there as an intervention for one of their number, who is addicted to heroin. When they get to the rundown cabin they discover some spooky goings on have occurred there and find an old book in the creepy cellar that claims it is the book of the dead. Despite being wrapped in plastic and barbed wire and filled with warnings to not read from it, one curious person does and unleashes horror beyond their imaginations.

There are some differences in plot details, but basically both flicks have a cabin with five unsuspecting youths, two of whom are brother and sister, being attacked and possessed by an ancient evil conjured from reading an ominous book that has been left there by others.



Both flicks basically have the same antagonists. They are ancient evil spirits known as Deadites that are unleashed when either the book is read from directly, or recorded reading from the book is played back. They want the souls of all those in the cabin and possess and torment the occupants claiming them one by one. There are slight differences, too. The methods in which they can be stopped are slightly varied. The original 1981 film requires the possessed victim be totally dismembered to render them harmless, while the new film offers a variety of demises such as burning, boiling water…and the old favorite, bodily dismemberment. Their origins are also slightly different as well. The Deadites in the original seem to hail from somewhere around ancient Sumaria, while the Deadites from the 2013 remake seem connected more directly to Satanism or The Devil and claiming a certain amount of souls will unleash their master, The Dark One.



Here there is a vast difference in our leads. The 1981 version has ill-fated Ash Williams (Bruce Campbell). In Raimi’s classic, the now iconic Ash is a mild mannered fellow and a little on the cowardly side, leaving it up to alpha male Scott (Richard DeManicor) to hack up his possessed sister Cheryl and generally do the hero stuff till the Deadites get him, too. This leaves Ash all alone to man-up and battle the Deadites. It’s not till the sequels that he starts to take on the mantle of a hero, although an arrogant and bumbling one.

In the 2013 version, Alvarez wisely chose not to try to recast such an iconic character and left Ash out of things altogether. Instead, we get siblings David (Shiloh Fernandez) and his heroin addicted sister Mia (Jane Levy). When Eric (Lou Taylor Pucci) reads from the book and unleashes the Deadites, vulnerable Mia is the first possessed and David steps up into hero mode trying to battle the evil and somehow save his little sister. In it’s last act this update throws us a twist by having Mia freed of her possession, by some clever thinking by David and then having her brother killed. Mia then takes vengeful center stage against the dark ones, becoming the sole surviving heroine when she started out the film as possessed and villainous.



Here, settings are exactly the same. Obviously there are differences due to different creative talent, actual location and budget, but both take place in old cabins deep in the North American woods. Raimi filmed much of his epic in Tennessee and the remake filmed on locations in New Zealand.



Both movies have opening scenes that really establish the mood and tone. The original The Evil Dead opens with the camera racing through the woods with some ominous growling heard as it reaches the car carrying our main protagonists. It is quick and to the point, but sets the tone right away that something bad is going to happen to our five unsuspecting travelers.

Alvarez’s Evil Dead opens with a pretty young girl being chased by some rednecks in the woods and being violently captured. She finds herself tied to a post in an old cellar and only after some dialog with her captors, do we realize that these are her family and she is actually a possessed Deadite who curses her father as he sets his own daughter on fire. It is a shocking beginning that certainly sets the tone very well for what is in store for the remake’s group of young folk.

Both openings are perfect for setting us up for what is to come, starting us off with an atmosphere of fear and foreboding. Raimi’s may be simpler, but Alvarez’s is no less effective and a little more shocking.



In terms of their climaxes, both films have endings that resonate.

The Evil Dead ends with Ash having barely escaped a vicious assault from his possessed friends by burning the book in the fireplace resulting in a roller coaster bloodbath of gore. As the sun starts to rise, he limps out the door only to have the camera race towards him growling like in the opening and coming right at his face as Ash utters  a horrible scream. The film cuts to black and ends with the credits rolling; Ash apparently not as triumphant as he believed. It is ferociously quick and very effective, a last jolt before you leave the theater.

Evil Dead 2013 has Mia, free of Deadite possession, battling the Dark One in a rainstorm of blood with a chainsaw…a battle that costs her a hand. She cleaves the evil doppelgänger of herself in half and slowly walks off holding her bloody stump as the blood rain abates and the sun rises. The last shot is of the book sitting on the ground, as the cabin burns and then suddenly slamming shut as to indicate the evil has not been completely defeated. It is not quite as effective as the original’s, but still works very well.



There are other similarities and differences. The original was shot at a cost of around $400,000 dollars,  while it’s remake benefited from a budget of around $17 Million. Sam Raimi’s classic has some stunningly original camera work concocted on a shoestring budget by Raimi and cinematographer Tim Philo, while Alvarez’s re-imagining has some sumptuous and spooky visuals captured by Aaron Morton.

Also adding atmosphere for both films are their scores. The Evil Dead has a truly unsettling score featuring frantic strings mixed with disturbing growls and sounds concocted by Joseph LoDuca. Evil Dead 2013 has an equally unnerving score also featuring some glaring sounds and sound FX by Roque Baños. Both are really good at setting mood and atmosphere.

Raimi’s masterpiece is infamous for it’s ‘tree rape’ sequence featuring Ash’s sister Cheryl and while Alvarez pays homage to it with Mia, it’s not nearly as shocking as what Raimi did in 1981 and wasn’t trying to be. He also pays homage to Ash’s hand loss in Evil Dead II with Mia losing a hand in her blood soaked battle with the Dark One.

The 1981 film does have a bit of a twisted sense of humor, while the 2013 remake seems to take itself very seriously, though not too seriously that we don’t have a blood spattered good time.

Speaking of blood…Raimi’s flick is filled with some wildly inventive low budget gore FX, mixing prosthetics with stop motion animation and tons of blood. It was released unrated. Alvarez’s flick is extremely violent and gory, but does so within the restraint of it’s R rating…though it does push the boundaries of that quite a bit. Raimi’s inventiveness with his gore has a charm that the top of the line FX of the remake just don’t have, despite being excellently executed by the FX team and quite effective in their own right.

As with all Raimi associated flicks, Raimi’s 1973 Oldsmobile Delta 88 appears in both Evil Deads with it being Ash’s car in the original and a junked heap at the back of the cabin in the remake.


So, we have one flick that is a horror masterpiece and one of the greatest horror flicks of all time and a remake which is a solidly effective horror and while it pays tribute to the original quite well, also has it’s own identity, too. Both films have basically the same plot, but differ when it comes to it’s characters and climaxes. Original director Sam Raimi went on to an illustrious career in movies, including making two classic sequels (see our reviews for Evil Dead II HERE and Army Of Darkness HERE) and three Spider-Man films, while Fede Alvarez is off to a good start with Evil Dead 2013 and Don’t Breathe.

In conclusion, the remake may not be on the same level as the classic masterpiece original, but it is a scary and bloody good time that can stand on it’s own and also makes a nice companion piece to the Ash and Evil Dead saga…which includes the new series (yup, review for that HERE!).

-MonsterZero NJ




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from the dark



(Clicking the highlighted links brings you to corresponding reviews and articles here at The Movie Madhouse!)

Irish horror film begins in the rural countryside where a farmer (Gerry O’Brien) is doing an excavation and unearths what appears to to be the corpse of something humanoid buried beneath the ground. It proves to be not quite dead and attacks him. At the same time young couple Sarah (Niamh Algar) and Mark (Stephen Cromwell) are traveling through the area and run into car trouble. As fate would have it, they arrive at the farmer’s home to seek help and encounter the man with a severe neck wound and acting strangely. The farmer isn’t their only problem, though, as something else is out there in the dark night…something with a thirst for human blood.

Conor McMahon’s last film was the 2012 clown horror/comedy Stitches but, here he goes for a completely serious approach as he tells his Irish vampire story. He generates some nice tension and suspense, especially when using a plot device dealing with the creatures aversion to light…of which there is a lack of. There is some nice atmosphere and McMahon gives it a deliberately smoldering pace which works very well in maintaining the mood. There is plenty of action and more than adequate blood spilling and we also get a fiery and resourceful heroine from Algar’s Sarah, who has to battle the creature once Mark is badly wounded early on. It’s a small film and true, some scenes could have used more impact but, otherwise this is a fresh twist on the time-worn vampire story and a case where the ambiguity of our blood sucking fiend works very well for it. The Nosferatu-like creature (Ged Murray) is effective and kept in shadow and there is a tense cat and mouse game between it and Sarah for the last act. McMahon also establishes Sarah and Mark’s relationship and character very quickly which helps us sympathize and empathize with them throughout the story. There is some crisp cinematography and good use of the remote Irish locations by Michael Lavelle and a spooky score by Ray Harman to add to the film overall. A solid little horror.

I liked this little movie. It could have used a bit more intensity at times but, the minimalist approach worked very well in maintaining a subtle creepiness and the scenes of full-on horror are very effective. It’s atmospheric and manages to add a few small fresh twists to vampire lore while delivering the bloodshed and suspenseful action expected. Niamh Algar makes for a very endearing and feisty heroine and our creature is effectively vicious and mysterious. A good little horror that goes for a smaller, more intimate story in an age of bombastic FX overkill. Recommended.

-MonsterZero NJ

3 fangs.





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(Remember, clicking the highlighted links brings you to other reviews and articles here at The Movie Madhouse!)

Final Exam is a 1981 slasher that has a bit of a following, though I’m not sure why. Even with the personal nostalgia of having seen this at the legendary Oritiani Theater in Hackensack, N.J. in 1981, it didn’t impress me much then and it still doesn’t upon a recent revisit.

The almost nonexistent story starts with two college coeds being murdered on campus by a mysterious figure (Timothy L. Raynor). We then switch to another campus where the film changes gears into a lame college comedy for almost an hour before the killer shows up and the film switches gears back to a horror. Our generic coeds are stalked and murdered in fairly uninteresting ways till the ambiguous killer and our final girl Courtney (Cecile Bagdadi) face off in the school gym. That’s kinda it.

Written and directed by Jimmy Houston, Final Exam is a rather tame and lame slasher that can’t decide whether it is a horror or an Animal House style campus comedy. It doesn’t even try to mix the elements, but just jarringly switches from one type of flick to another. The killer is so mysterious that his identity is never given and his motivations never revealed. Just a random psycho, killing random kids at colleges. Bargain basement writing with no imagination or ingenuity. Even the most basic Halloween rip-offs gave their killer some kind of identity and reason for their ill deeds. This robs our villain of having any personality or presence, as he is just some big guy with a grudge and a knife and the lack of any reason for his crimes makes the proceedings rather pointless. That might be forgivable if there was any suspense, or, if we cared about the characters, but there is little or no tension and the characters are as generic as they come. The kills are also fairly routine and uninteresting, so there isn’t even anything to boost the film on a gore level. The movie isn’t even funny during the first hour that Houston spends introducing his stereotypical characters in a more frat house sitcom style format before becoming a horror film again in the last act. It’s all rather dull and Houston’s camera offers no style or atmosphere.

The cast are all dull and forgettable, as well. Final girl Bagdadi is perky, but it’s wasted when she comes up against Timothy L. Raynor’s silent and nameless killer, who evokes little fear or impact. The rest of the cast are stereotypical college types portrayed by mostly unknowns, most of whom have stayed that way.

Obviously, I have no love for this movie, even with the 80s nostalgia it now carries. It’s dull, pointless, has little to no story and the killer and victims are equally dull and forgettable. It’s a boring horror that can’t decide whether to be a slasher or frat comedy and fails miserably at both. All due respect to those who are part of this film’s cult following, but I just don’t get it.

2 knives.

final exam rating




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Afflicted is a Canadian found footage horror flick directed and starring Clif Prowse and Derek Lee, that cleverly documents a young man’s transformation into a monster and while the film isn’t always successful in what it sets out to do, it is still very effective and also one of the more intimate examinations of what it’s like for an average person to turn into a creature of the night.

The story has two friends, amateur filmmaker Clif (Clif Prowse) and IT man Derek (Derek Lee) planing a year long trip around the world despite Derek’s recently being diagnosed with cerebral arteriovenous malformation. Clif plans to document their travels for a web series/travel blog and thus his camera follows them every step of the way. But, an experience of a lifetime soon turns into a nightmare as Derek is attacked in Paris by a girl named Audrey (Baya Rehaz) whom he takes back to his room from a party. Bloodied and left with some nasty wounds, Derek can’t remember what happened but, insists he’s fine and he and Clif continue on with their trip only to discover that Derek is starting to change. He can’t eat and he starts to blister and burn violently when out in the sun. But, he also has increased strength and enhanced agilities, too. Clif continues to document as it becomes apparent his lifelong friend is changing into something unearthly, not realizing that it puts him in mortal danger as it appears Derek can only now feed on blood… human blood.

I’ll start out by saying that this flick does have a few flaws that hold it back a little but, gets a lot more right than it does wrong. Prowse and Lee start out the film with a lighter tone. An almost party/road trip atmosphere then it starts to turn darker and more grim as Derek gets ravaged and starts to change. The changes are subtle at first but, gradually get worse as Derek seems to sicken and yet get stronger by the day. The found footage format works really well as we follow Derek on his path of transformation and discovers both his new strengths and weakness, such as his aversion to sunlight and food. There are some very creepy sequences as the condition worsens and Derek and Clif begin to realize Derek is becoming a creature of myth… and a dangerous one. Sure we’ve seen this before but, the film is successful in presenting the negative effects of his transformation and the emotional turmoil that comes with it. It is only when he is reveling in his new strengths that things get a bit borderline silly and it evokes scenes from Chronicle and Paranormal Activity: The Marked Ones and changes the tone of the film a bit from the more smoldering intensity of the negative aspects of Lee’s change. The flick also switches gears a bit about halfway through as Derek decides to hunt Audrey down and get answers, while being pursued by Interpol… as let’s just say he’s been very bad. When it becomes more of a hunt/chase film, it is still entertaining but, changes tone a bit and is not nearly as gripping as us watching him transform and feeling his pain and experiencing the increasing danger Clif may be in. His encounter with Audrey also gets a bit over-the-top as compared with the more grounded moments earlier on but, still presents an interesting twist on a very familiar horror story as Derek must now face that he is a monster. For the most part though, the film works and Prowse and Lee have some potential as filmmakers and the horror elements of the flick work a lot better than when it veers into the superpowers elements… though those have their entertainment factor too, as it is part of a very familiar type of horror character. The film has some nice atmosphere and the cinematography by Norm Li is well shot and without loosing the found footage feel. The portrayal of some of the more fantastic elements of Derek’s transformation, such as his augmented strength and agility, are well staged and help keep them from crossing the line into silly.

As for the cast… It’s basically a two man show with Prowse and Lee playing ‘themselves’ and they are fine as they come across as real people and Derek Lee actually portrays his torment and confusion quite well and can be scary when he wants to be. Prowse comes across a caring friend and inquisitive filmmaker but, also someone who may be too close to the situation to realize how dangerous things are getting. Baya Rehaz is effective as Audrey and gives her character a presence in her brief screen time and appears quite formidable and yet not entirely inhuman when Derek tracks her down for their climactic confrontation in Paris. The scene goes over-the-top a bit but, overall works.

I liked this flick and with the found footage format at a point where it’s starting to wear out it’s welcome, it is a novel use for it that puts an interesting spin on a very familiar horror story. The horror elements of this story work far better than the more over-the-top elements and the shift in tone when the film changes story focus at halftime isn’t as involving as what came before but, isn’t a failure either. Prowse and Lee show some real promise as filmmakers and overall this was a refreshing twist on a an overly saturated horror sub-genre and manages to give this somewhat neutered horror staple back a little bit of it’s teeth. Watch through the credits for a chilling epilogue.

3 sets of fangs.


WARNING: this trailer shows A LOT…







Filmaker Tommy Wirkola’s horror/comedy sequel Dead Snow 2: Red vs Dead is arriving in the  US on October 10th, 2014 and as a huge fan of Dead Snow, I can’t wait. Right now we have the official US release poster and trailer for this eagerly awaited 2nd installment to hold us over.

source: Youtube/







Filmmaker/ Musican Rob Zombie has finally released some details about his, up till now, mysterious new film project ’31’. Not only does he give plot details but, has revealed it will be fan-funded! About the plot of this new horror he had this to say…

“Welcome to my next film. It is called ’31,’ ” …

“It is the story of five random people kidnapped on the five days leading up to Halloween and held hostage in a place called Murder World. While trapped inside this man-made Hell they must fight to survive playing the most violent game known to man… a game called 31.”

“What kind of film is this you ask? It is a fast paced, mean dirty film for those who like it rough. Get ready for a sick piece of celluloid! This is some hardcore business for the blood-thirsty gore hounds.”

The film’s official site, where you can contribute in exchange for some cool stuff, also had this to say about ’31’

“31 has no rules. 31 has no boundaries. It is ever so simple. Do whatever you can do to kill your opponent before they kill you. Keep this up for 12 hours and freedom is yours.”


“Who are the opponents? Well… a group of vile, filthy, blood-thirsty clowns known as THE HEADS. They come in all shapes and sizes and each grows nastier than the last.”

Sounds cool to me!

(click image to enlarge)

Check out this video of Rob Zombie himself  explaining his reasoning to fund the project in this way…

source: Youtube/Bloody




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blair witch 2 poster



While this Blair Witch sequel is not that good, it’s not quite as bad as it’s reputation suggests. Sequel has some good ideas, such as being about the mania caused by the movie The Blair Witch Project and not a direct sequel to the film itself and tells the story of a group of oddball characters that seek to find out if there is some truth behind the movie and if there really is a witch that inspired the film. Obviously some weird stuff starts to happen to them as they investigate and death and madness soon follow.

The biggest problem with Blair Witch 2 is simply not doing anything interesting with the ideas director Joe Berlinger and his 3 co-writers, Dick Beebe, Daniel Myrick and Eduardo Sanchez, have come up with. The film is a lot of talk and finger pointing as strange occurrences start to make the characters unravel and turn on each other. Video evidence changes and disappears, characters vanish and then turn up dead, but this spooky activity never comes together to form a solid story. It’s almost like a bunch or random acts that are only thinly related. By the time we find out what happened, we really aren’t that interested anymore, despite the fact that better handled, it could have been very unsettling. It also doesn’t help that the film is peppered with police interviews and scenes that occur after-the-fact and thus we know what’s coming. It neuters any suspense the film might be building. There are some mildly spooky images and sequences throughout and a few bloody moments, but not enough to make this film work completely or consistently. I appreciate the effort to do something different then a generic sequel, but the filmmakers just didn’t take their concept far enough. At least there is a spooky score by Carter Burwell and some cool songs on the soundtrack CD. (see track listing below)

The cast is fine, though the characters are stereotypical Hollywood cliche’s such as the handsome con-artist with a past (Jeffrey Donovan), the hot Wiccan (Erica Leerhsen), the attractive yuppie couple (Tristen Skyler and Stephen Barker Turner) and the hot Emo Goth chick (Kim Director). My biggest peeve cast-wise, though, is that the actor, Lanny Flaherty, playing the local sheriff, is so awful that even had the film been better he would have ruined it. Yes, he’s that bad.

Director Joe Berlinger gives the film some decent atmosphere and some creepy moments but, doesn’t seem to be able to assemble all his parts into an effective whole. Apparently the film was taken away from him and re-edited with new footage shot to make it more of a horror film, but if this is better than what he delivered, then I doubt I want to ever see a director’s cut… though, as a film geek, I’d probably watch it if it ever surfaced. Again, some cool ideas wasted without anywhere to go with them.

2 and 1/2 hot goth chicks.

blair witch 2 rating




  1. The Reckoning- Godhead
  2. Lie Down- P.O.D.
  3. Goodbye Lament- Tony Iommi/Dave Grohl
  4. Dragula- Rob Zombie
  5. Mind- System Of A Down
  6. Stick It Up- Slaves On Dope
  7. Suicide Is Painless- Marilyn Manson
  8. Soul Auctioneer- Death In Vegas
  9. Ps- Project 86
  10. Old Enough- Nickleback
  11. Feel Alive- U.P.O.
  12. Tommy (Don’t Die)- Steakknife
  13. Arcarsenal- At The Drive In
  14. Human- Elastica
  15. Feel Good Hit Of The Summer- Queens Of The Stone Age



I’m not a big fan of top 10 lists and all that year end fuss but, I thought I would give a bit of a look back at what I liked and didn’t like in the horror genre this year and, or course, share it with all of you. These are just my opinions and since the world is filled with different tastes and preferences and each horror film effects, or doesn’t effect, everyone differently, I certainly don’t expect everyone to agree with my selections but, this is how I look at what the horror genre had to offer this year…



EVIL DEAD (2013)

To a degree it’s sad that the best horror of the year was a remake but, I had a blast with Fede Alvarez’s re-imagining and it had some nice scares, plenty of gore and Jane Levy rocked in the lead. Alvarez showed he’s a director to keep an eye on and he paid tribute to the original while doing his own thing. Fun horror! Read my full review HERE…




Rob Zombie’s latest horror is not for everyone but, I enjoyed this out-there story of a Salem Mass. DJ (Sheri Moon Zombie) who is sent a record that, when played, sets in motion the return of a coven of Devil worshipping witches and their plan to bring great evil into our world. Zombie’s flick has some really disturbing visuals and some very subtle and creepy scenes to go along with it’s more shocking moments and evokes the works of some of horror’s best directors while remaining a Rob Zombie film. His most solid directorial effort and a refreshingly off-beat and very unsettling movie. Even the soundtrack was disturbing and, as usual in a Zombie film, there are some great songs included in it that almost become a character in the film themselves. An acquired taste but, I really enjoyed it. Read my original review HERE…



MANIAC (2013)

For a guy who bitches a lot about all the horror remakes, it is quite ironic that two of my favorites this year are in fact remakes but, Franck Khalfoun’s re-imagining was a vast improvement over the sleazy and overrated original and Elijah Wood gave me the creeps. There were some truly shocking and disturbing moments, strong tension and the film made creepy use of it’s POV shooting style. An art house style horror that really worked for me. Read my full review HERE…




Sure Mary isn’t perfect but, this story of pretty Mary Mason (Katharine Isabelle), a down on her luck medical student who is lured into the world of underground body modification surgery for money and then is turned into a sadistic killer when horribly wronged, is a breath of fresh air in a genre saturated by generic haunted house and home invasion thrillers. A wickedly fun and disturbing flick from the Soska Sisters and one that made me second guess myself and I give it a lot of credit for that. Read my full review HERE…




Yes, this film is from 2012 but, I didn’t catch up with it till this year and it deserves a shout out for being one of the more original flicks I watched during 2013. Another surgery themed flick has a troubled teen Pauline (AnnaLynne McCord) whose obsession with surgery and bizarre fantasies leads this demented ugly duckling to commit some horrible acts. A trippy and disturbing  little movie with a really strong performance by McCord who disappears into the role. A nice turn by Traci Lords as well as Pauline’s overbearing mother also gives this flick some weight. Read my full review HERE…



JUG FACE (2013)

Chad Crawford Kinkle gave us an unsettling and offbeat little horror about a rural backwoods community presided over by a supernatural creature that resides in a large sink hole just inside the woods. The creature watches over the village and even cures ills as long as the residents feed it the appropriate sacrifice when it calls for it. When one of the intended sacrifices has other ideas, she brings it’s wrath down upon her entire village. Read my full review HERE…





This flick sadly went direct to home media but, Chucky’s first horror in almost 10 years is a fun, gory and suspenseful tale that returns to the series’ more serious roots and sets Chucky loose in a spooky old house. It had some nice suspense, some vicious kills, Fiona Dourif made a plucky wheelchair bound heroine and there’s some nice surprises for fans of the series too. Chucky was back in style and didn’t get the attention/respect he deserved. Read my full review HERE…





Don’t get me wrong, The Conjuring is a well made and fairly enjoyable horror flick especially in it’s spooky first act, but with a second act that gets not only theatrical and a bit hokey, but climaxes with yet another routine exorcism, it lost it’s grip on me much like Wan’s Insidious did in it’s second half. A good flick, but not the masterpiece internet hype makes it out to be. Also doesn’t hold up under repeat viewings as the scares have lost some of their effect and the flaws only get more obvious. Read my full review HERE…



youre next

YOU’RE NEXT (2013)

With all the positive buzz and internet hype I heard about this flick, it was a major disappointment when I left the theater having seen this predictable and routine home invasion flick with transparent plot twists and a completely contrived excuse for the lethal skills of it’s final girl… though Sharni Vinson was effective in the part. Otherwise the bland cast recites some really bad dialog and does incredibly stupid things to set themselves up as victims both invaded and invader alike. A weak script and a shaky cam obsessed directer make this not only one of the year’s biggest disappointments, but one of the weaker horrors I saw this year. See my full review HERE…





After the entertaining and effectively chilling first flick, this shameless and stupid cash grab sequel is awful in almost every way. A poor script and story, lame direction and a laughable climax makes this hands down the worst horror I saw this year. Ashley Bell does try really hard, but the actress is given garbage to work with and garbage is what this sequel is. Read my full review HERE…




I’m not going to defend this flick, it had some glaring story problems, a highly questionable timeline…our plucky heroine Heather (Alexandra Daddario) should be in her forties not a nubile 20 something…and numerous other issues, but it gave me some chuckles and a couple of real hotties being chased by a chubby, balding Leatherface…who should be like 60 here…there were also some gruesome kills and did I mention it’s got Alexandra Daddario? A guilty pleasure for sure for, as bad as this was, I had fun watching it and it did have some nice cameos and homages to Hooper’s original masterpiece. Read my full review HERE…





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As a horror movie fan and an all around movie geek, I try to give even some really bad movies a break if there is something to entertain within it. Some movies are delightfully bad and I have no problem giving them credit even if they are entertaining for the wrong reasons. But occasionally a movie comes along that should have been ripe for a fun time and yet just doesn’t live up to it’s potential either as a solid flick or as campy fun…and sadly, The Devil’s Rain is one of them.

The story has the Preston family being hunted…for centuries apparently…by a cult of Satanists and their leader Corbis (Ernest Borgnine), to regain a book that is in the family’s possession that will grant the cultists great power. When the mother and father are taken, son Mark (William Shatner) goes to confront Corbis and win his parent’s freedom. When Mark fails and becomes one of Corbis’ soulless servants, his brother Tom (Tom Skerritt) comes looking for his family and must find a way to destroy Corbis and his followers by releasing the souls that Corbis has imprisoned.

This Robert Fuest directed horror was universally panned when it came out and while I don’t think it’s quite as terrible as it was accused of being, it is a rather dull flick despite a heavy dose of horror trappings. Fuest tells his tale filled with Satanic ceremonies, sinister visuals, psychic phenomena and plentiful make-up FX, with a very slow pace and fails to really instill any menace in what should be a story filled with dread. The cinematography by Alex Phillips Jr. is quite good and makes good use of the desert locations and the spooky sets, but fails to give the film the atmosphere it needs to chill us. The movie has a very good cast with Eddie Albert, Ida Lupino, Keenan Wynn and a young John Travolta joining Skerritt, Shatner and Borgnine, but only Ernest Borgnine really seems to get the material, giving his Jonathan Corbis some nice over the top villainy. The rest of the cast seem to perform by-the-numbers, not that the script…written by three people no less…gave the characters or story much development to work with. The dark humor and sinister sense of fun that Fuest brought his Dr. Phibes films starring Vincent Price, is sadly missing. This film could have used a bit of those movies’ morbid sense of humor, especially when things get borderline silly in the last act. The production value on the film is fine and it’s make-up effects by Ellis Burman Jr. are top notch for the time…especially during it’s climactic meltdown…but there is just very little life in a movie that’s plot was well suited for some over the top horror fun…and with people turning into human rams and scenes of dozens of melting cultists, you’d think the director would have had a good time with it.

Still, the film has developed a bit of a following and the fact that Satanist Anton LaVey is listed as a consultant adds to it’s infamy, but bottom-line, the film simply doesn’t live up to it’s potential and is an oddity and a curiosity at best. Oddly the very last scene has the kind of creepiness the rest of the film desperately needed, but it’s far too late. Even the film’s marketing failed, as it used it’s climax as the focal point of it’s advertising, so anyone going in to the movie already knew how it was going to end.

If you’re a horror completest or just a fan of bad movies like I am, it’s worth a look, but this could have been a lot of fun had the filmmakers and cast chose to have fun with the material. And by that I don’t mean make a joke or comedy of it, just perform the scenes with some gusto instead of this almost funeral-like deadpan. You know there is a problem when Shatner isn’t being theatrical. At least veteran actor Borgnine enjoyed himself and Skerritt had Alien and Shatner the return of Star Trek to keep their careers afloat while, sadly Fuest all but disappeared from feature film-making. In a time of endless remakes, this flick is one that could use a redo by someone who gets material like this, like Eli Roth or Alexandre Aja, and make it the fun horror blast it could have been. It has it’s fans, so I guess that’s something.

-MonsterZero NJ

2 horny goat Borgnines.

devils rain rating




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Interesting flick evokes both the horror films of the 70s and the slashers of the 80s as it tells the story of the beautiful and virginal, high school student Mandy Lane (Amber Heard) and what befalls her and her friends at a weekend getaway at a secluded ranch. Mandy is the beautiful object of every boys’ desire and as she and her group of friends party and all the boys plot to get into her pants, someone else stalks the group with far more homicidal desires.

Director Jonathan Levine (Warm Bodies) gives Lane a visual style that evokes 70s flicks like Texas Chainsaw Massacre, but his story is very 80s slasher complete with promiscuous teens meeting gruesome deaths. Despite the similarities with past horrors, Levine adds his own slant to the proceedings and Mandy Lane is not your typical slasher, as Jacob Forman’s script has it’s share of twists and surprises. There are some arty touches and a deliberately slow burning pace to go along with some vicious kills, and you never feel things are quite right, even when nothing wrong is going on. The cast are all fine with leading lady Heard fitting the bill as the beautiful nymph every boy wants and you can’t quite tell if she’s oblivious to her effect on the young men around her, or if she’s just playing them all like the love sick puppies they are. Once the bodies start to pile up, though, her Mandy shows she’s more than just a pretty face.

It’s an odd little horror that will probably evoke very mixed feelings from movie and horror fans alike. Not a great flick…It has it’s faults such as revealing the killer’s identity a bit too early…but one that has it’s own identity among-st the many other horrors of it’s kind. When all is said and done, it is an effective slasher.

Originally set to be released by Dimension Films, they sold it off to Senator Entertainment who then went out of business leaving Mandy Lane unreleased here in the US, adding to it’s reputation. After 7 years it finally saw a release October 11, 2013 on Blu-Ray, VOD and DVD by new distributor RADiUS-TWC, who are part of The Weinstein Company, which, ironically, also includes Dimension Films. Mandy Lane has finally come home. Also stars Hell On Wheels’ Anson Mount.

3 (out of 4) Mandy Lane’s