I didn’t even realize there WAS a fourth Ghoulies movie – I thought the series died after Ghoulies go to college!
The film begins with a very comic book like Female thief dressed in revealing leather who is able to easily overpower and murder the guards. The killing makes her less than sympathetic but progresses the story quickly. She opens a box from Cairo and extracts a jewel – obviously the prize she was here for. Spray-painting a pentagram on the floor she begins a ritual, and the bodies of the slain guards disappear while in the center a hooded figure materilizes, demanding the jewel. She tried to give it to him but steps over the line, breaking the circle – both men vanish in smoke as the cops arrive. The thief leaves and in doing so misses the arrival of two small Ghoulies.
These are not the Ghoulies that you may remember from Charles Band’s films, this is really a pair of two little people in suits – more goblin than Ghoulies. They immediately launch into three stooges style violence upon each other before scampering off into the darkness.
I have a bad feeling about this. At least it’s directed by Jim Wynorski.
On the other side of the credits we meet a pair of wacky cops on a stakeout.They foil a robbery at the local liquor store, getting drawn into a bloody gun fight.
In the sewers, our burglar, Alexandria summons the man in the cloak again. He informs her that there is a second stone and that she must find it for him (and it just so happens to be hanging around the cops neck). This means more human sacrifices, fortunately Art Carney’s character from the honeymooners is down there and ready to get killed.
Our two Ghoulies themselves flash back to the first film to try and connect everything… It’s debatable whether or not this was a wise move, it highlights the very different look of the actors in costume from the puppets used in the previous movies. According to IMDb, the puppetry was a cost the film could not afford.
The Ghoulies sneak into the cops trunk to hitch a ride. They accidentally blast a hole in the roof of his car while he is in the quickie-mart getting milk, then run off into the darkness. And this does nothing to inspire confidence from his superior detective Kate. He heads home, too tired to even boff his girlfriend or a hooker or whenever she is… The Ghoulies follow as he dreams of scenes from the first film.
Elsewhere, the Ghoulies and stop a mugging.
Alexandria luers the cop out by kidnapping his partner, but what she doesn’t know his hooker girlfriend is already absconded with the ruby necklace. It turns out, the cop knows Alexandria – they used to date. When she discovers he doesn’t have the jewel, she commands the brainwashed partner to murder him. We get a fist fight in the warehouse, destroying tons of antiques, conveniently laid out on the table.
Alexandria heads to the cops apartment, but the Ghoulies are already there searching… They pepper spray her and make good there escape.
Detective Kate puts cop to bed and I and meets the hook a girlfriend in a amusingly Catty exchange. Sadly, it’s the last time she’ll see her because Alexandria scoops her up outside the apartment and sacrifices her to hooded guy. Detective Kate notices this happening through the window and it sets the cop off to go look for her. Turns out they used to be Satan worshippers together but she got too into it and he dumped her at the mental asylum.Well now, the inmates are in control of the asylum – and Alexandria is using it as a hideout (And a place to complete her ritual).
Who taught the mental patients Kung fu?
The cop and detective Kate show up just in the nick of time to disrupt the ritual and attempt to save hooker girlfriend.
In some ways, I really like this.The heavily occult themes of this film really harking back more towards the original movie.I can’t complain that the Ghoulies have minimal screen time, once again that also harkins back to the original film. My main objection is that the Ghoulies are little people in costumes that look nothing like the originals rather than puppets. They are constantly cracking wise – it gets grating .Still, overall it’s a stronger entry into the Ghoulies series then part three and one of the better films in this midnight horror collection
It starts off in urban England which gives it an initial 28 days later feel, but soon moves out to the country and we gt far more of a Night of the Living dead vibe. Forget the cover art by the way, it’s not the sci-fi epic about a plague that the cover would suggest. We don’t really see alot of it, we see more of that first shelter that the survivors are huddled in. We see the first zombies, wandering aimlessly…not eve noticing other people…..not hungry. Not yet.
As the film goes on, we se the zombies start to develop senses, becoming triggered by sound and light. as time passes, the hunger kicks in and they become the real threat we’re used too. The progression is original and fascinating.
If this movie has a real problem, it that it’s too long, and WAY too talky. It’s a melodrama in the extreme and would really benefit from some judicious cutting of some of those dialogue scenes. I understand how we got here, the film is based on a book and there’s a LOT of ground to cover. From everything I’ve heard, it’s really true to the source material. Still I think it could have been streamlined into something a bit better paced. This is definitely one to watch, but you need to be prepared for a long somewhat PBS style zombie film and be in the mood for more philosophy than horror.
In the Dead of Winter begins at a bleak prison for somebody out in the mountains… We’ve got a con being released and meeting up with his Friends in their pickup truck. He checks his gun and heads out to cause mayhem…
I can’t help but notice that this film is produced by Tanya York, Donald G Jackson’s old financial partner. That explains the shot on video look to the film and makes me feel just a bit wary.
Sam, the contact that just got out start off by visiting the local sheriff – presumably the man put him in prison. He guns him down front of his family and races off in the truck. accompanied by a combination of new-age jazz and bad Casio soundtrack.
After that, it’s a joy ride in the mountains on snowmobiles, because why not? They’re looking for an abandoned cabin to hide out in, but when they arrive they find it’s not as abandoned as expected! And amorous young couple have already taken up residence for the weekend and Sam and his crew have found their next victims.
When the boyfriend attempts to fight back, they take him outside and bury him up to his neck in the snow – it’s actually a clever gag.
Inside, girlfriend get Sam scan and turns the table on her attackers – it’s a stand-off, with them threatening the boyfriend and her threatening them. It all goes wrong and the couple both end up dead. Time for Sam and his crew to run off.
After some internal squabbling when they get lost, they discover a cave to hole up in. The cave brings bad dreams but in the morning they take off on the snowmobiles until they run out of gas. That’s when they get shot at.
They flee the unseen gunman and desperately searched the woods for cover. Their unseen assailant pursues them in a Snowcat. The guys split up, one group and start all the other starts to succumb to frostbite.
All four of the crew are separated – one finding himself and literate than ice, one getting killed accidentally, and one inexplicably encountering Daniel Boone in the middle of the snowy wilderness. We discover it’s the local sheriff that’s been chasing Sam- apparently he didn’t die from his gunshot wound. I was hoping for a twist, like it was the sheriff’s widow or something.Sam stumbles into a bunch of bear traps and the sheriff leaves him to die. The ending is so straightforward it feels anticlimactic. This one is a definite skip.
If the asylum logo showing up wasn’t bad enough, the film is made by Mark Atkins which feels a little bit too close to Peter Atkins – as if the author himself is perpetuating the Mockbuster feel. In this frame of mind then, it’s no wonder that I find the opening scene of the UPS driver delivering a parcel to feel very much homage to Spider Baby.
The house itself is achieved in an interesting manner, it’s obviously a matte or possibly a CG model. But more often than not however it’s quite convincing. Still, the thought of family (even if they are just care takers or something) is just casually moving in and out of the Winchester mansion seems a little ridiculous.
They arrived to find the house unlocked and surprisingly furnished, not to mention painted bright colors. They were originally meant to be lodging in the caretaker wing But a note left on the kitchen table states that it’s uninhabitable so they get to live in the main house.
We get foreshadowing almost immediately. A photograph from the 19th century of old inhabitants, a mysterious little girl stalking the family’s daughter and a doomsayer who shows up at the house asking what the family is doing there. They let him know they’re just passing through, staying for a couple of months while elsewhere, the daughter follows a creepy ghost girl into the cellar. The doors slam behind them giving her a good shock, though no harm done. From the cellar she brings up a chalkboard that was obviously once used by one of the people in the old photograph – a deaf man. It’s enough to spark the further curiosity and the dad decides to go for a walk and explore the mansion further.
Back in the house, the little ghost girl creeps on the daughter while the other ghosts draw closer and closer to the father. The daughters intentions are a natural, almost as if she is asked – before the ghosts take her away altogether, vanishing into the house.
Together, the mother and father find hundreds of newspaper clippings in briefly give us the story of the window Winchester. It’s brief though because we have to move along to the next nightmare. Mother dreams of dead, malformed babies while ghosts haunt the daughter. I’ve got to admit, the fact that they’re going so heavy on the spooky visitations and character affects this early on in the movie is impressive. By the time we’re 20 minutes in we’ve already seen some ghosts and things ramp up to some pretty scary levels before you even hit the 40 minute mark!
We get a non-stop hunting and even a certain degree of hopelessness when the police arrive around half way point. Not only are they unable to hear the family within the house, but they find themselves attacked outside the house and unable to render any aid whatsoever.
There are plenty of greasepaint ghosts here but there’s also a fair amount of grotesque latex cases as well – way more than I would’ve expected from a low-budget asylum flick. The ghosts are everywhere, they provide the house and the filmmaker understands lighting – he knows enough to keep these make-up jobs in the gloom and in the shadows. He understands blocking and finds the most effective angles to have to shoot these ghosts from, arranged to create the maximum tension.
I always say that I try to make it to the third act of a horror movie because that’s when the action really gets moving, but this film is all third act action with a brilliant variety of beans and a constant dire threat to our main characters. Just when you think you’re about to get a lull in the action, they throw a creepy ghost in a rocking chair at you or a shape in the shadows emerging.
They managed to get a phone call out to the neighbor – he is a paranormal investigator and he shows up at the house to explain the rules and help get them through the night and solve the mystery of the house. It’s a weird place for this exposition, we usually get this kind of thing closer to the beginning, not in the last 30 minutes. He explains there is poltergeist activity going on here, probably stemming from a hidden object. There are various ghosts in various stages of death, and those different ghosts are dangerous in different ways.
Now with some direction, the activity begins again, and they begin to search for their lost daughter (actually I didn’t entirely notice that the house had abducted her) and a way to expel the spirits. There’s multiple twists along the way and an ending that I probably should’ve seen coming, but really didn’t.
While the questing aspect at the end isn’t as intense and some of the ending is over the top, the siege section in the second act of this film makes it a genuinely good horror film and one of the best asylum productions I have ever seen. It’s amazing what a skilled filmmaker can do with such a production. I don’t even care that it’s one of their mockbusters (released at a time to capitalize on the release of the film Winchester) this one is a definite high recommend.
Gingerdead Man 2 begins with a fairytale style recap of the previous film. We get the best moments and an adequate explanation for the sort of insanity that were about to witness.
By the way, I don’t put this out there all the time, but I’m a born-again, conservative, evangelical Christian, so if this title was meant to offend someone it’s me. I find it hilarious – and yes, this scene does appear in the film (at the very end).
The run run run theme song is amazing – it’s like somebody mashed together “run as fast as you can I’m the gingerbread man” with “cherry bomb” and it’s the perfect theme as we movie into a movie studio set where they’re making a horror film. This is Full Moon Pictures kind of making fun of itself – this horror movie appears to be a mixture of Ghoulies and Puppet Master. I’m amused that I have the dagger the dark wizard uses.
Wonder what is better accidentally hits the wizard, he screams cat – and we get a glimpse of John Carl Bulchler who is the director of this unfortunate picture.
Craft service arrives with a box of goodies – cookies, doughnuts, and the Gingerdead Man!
A Make-A-Wish kid arrives at Cheatum studios because his last wish was to see the horror movie studio empire. Things aren’t going well – the studio has too many things in production, they’re running out of money, and horror blogs are constantly trashing them. On the set, people are quitting, fighting and there’s just general chaos.
Meanwhile, the ginger dead man is getting edgy – he’s got to kill somebody before he gets too stale! Normally I’d complain about the fact that the first kill happens off screen, but it’s such a hilarious spectacle – we cut back to the Gingerbread Man standing over at the decapitated corpse with several knives sticking it in another one in his hand that it just works so well.
“1 down, 4 to go!”
In the meantime we get back inside the studio where David DeCatoeu is directing a sci-fi picture on another set, while a porn crew is filming a gonzo movie in the directors office, and the Gingerdead Man is off to find his next victim! This ends up being an extremely offensive kill involving an electrified curling iron. The outrageous and offensive really become the pattern – even when it’s a traditional kill like a stabbing it’s punctuated by the Gingerdead Man delivering the most offensive and ridiculous dialogue the filmmakers can think of. This is how we get scenes like the Gingerdead Man hitting on one of the the puppets from the film, before humping it and then destroying it with a chainsaw (which is bad news for the puppeteer, whose hand is still in there).
They begin to realize something is wrong when the Make-A-Wish boy is abducted by the chainsaw wielding cookie man. They discover the Gingerdead Man has rewired the robot on the sci-fi set and comes after them using it as a Mecha. And that’s about the time when we hit the third act twist.
The brilliance of Gingerdead Man Two isn’t just the fact that you can get away with the cookie saying whatever he wants, no matter how outrageous or offensive, but it’s the self depreciating satire that this film is. It’s a satire that completely deconstructs the Full Moon legacy – much the way Terror Firmer did with Troma. Gingerdead Man is just good, lunatic fun – filled with Easter eggs and inside jokes for horror fans.
Right off the bat I’m pretty sure in trouble when I see the title of this Children of the Corn sequel is“fields of terror”. Also, I see that Alexis Arquette is starring. Seeing Fred Williamson and David Carridine billed towards the end gives me a little bit more hope though, and I actually do usually enjoy Eva Mendez, but I’m not getting my hopes up considering how uninspired the opening is. Ethan Wiley has his work cut out for him here if he want’s to creep me out, and I don’t think this little Elliot-from-ET looking kid walking towards the green screen is gonna pull it off. I want blood to kick this thing off, not lasers and lightning and adobe after effects. The kids look too non-descript, and I’m only 10 minutes out. Our corn children in this film dress and very contemporary clothing – and that detracts from the creepiness. It’s not just enough to have a shadowy kid pick up a scythe to make it scary. Thankfully we do seem to be at the tail end of the 90s, so the embargo on blood and gore from that era seems to be lifting. The kills aren’t particularly original, but they are visceral.
The clothes are only part of it – our protagonists talk about how bad the town smells, they try and make a point of describing how boring the place is. That’s funny, considering it’s a farming community, and everything looks so clean and crisp. The clothing is too nice and trendy – it just doesn’t fit the narrative. Equally out of place is David Carridine’s cameo as the leader of a cult – it’s the first time in a Children of the Corn movie that we have seen an adult that seems to be the head of our corn children and it feels very out of place.
I have to admit though, it passes the watch test. It moves right along at a good steady pace and never really drops my interest. There is a clumsy attempt to expand on the mythology of he who walks behind the rows from the original Children of the Corn, But it seems more thrown in for styles sake rather than story and is gone too quickly, failing to impact the mythology at all.
I got to admit, I wonder if I’m being too hard on this but at the end of the day, this is a very by the numbers sequel. A group of strangers blunder into the town – discover corn children, and murder ensues. It might be alright if you’re just looking fora midless horror flick, and I probably won’t change the channel if they were running this on the Syfy channel.
I’ve never completely understood all the hate that Halloween resurrection gets. Admittedly, this is not up to the quality of the original, but that’s not really what I’m expecting from a late series sequel to a slasher franchise.
It could be because Jamie Lee Curtis is so prominently featured on the cover and that fans were expecting her to be a central component to the film– in all fairness that is a bit of bait and switch. Her prologue in this movie is really nothing more then A dire epilogue to H20 and dispatching her at the beginning (A demand she had written into her contract) surely left a bad taste in certain peoples mouths– much like the way the survivors from Aliens were treated in Alien three.
Nevertheless the idea of turning the Myers house into a bizarre reality television competition, it was actually timely and clever – a twist that we haven’t seen before… OMIGOD IS THAT KATEE SACKHOFF??? Seriously. I love Katee Sackoff – in everything but BSG. I’d totally fogotten aboyt Tyra banks here too. She’s cringeworthy here and there, but her real job is to be cute as the producer of the show. Busta Rhymes also seems wierd casting, but again, we forget how huge this dude was at that moment – he literally had 15 minutes of fame and then vanished from the scene. And you know what? He’s better than he gets credit for.
It’s a paper thin plot with the main characters set up with body cams and exploring the Myers house, but as Michael arrives and starts to slash his way through the hapless contestants, I’m actually quite well entertained – it’s a better entry then some of the late series sequels, most notably my first Halloween film, number six with the curse of Michael Myers (I know that’s a little bar to clear, but when you’re this deep into the series it’s really the way you should be measuring it). Myers kind of lacks motivation outside of his territory being invaded (and that’s more a Jason Vorhees trope. Perhaps someone got them confused) but the third act twist of someone watching the webcast being able to communicate with the final girl inside to help her is actually pretty clever. The whole thing might have been better served as a stand alone or in another franchise (this would make a dynamite Scream sequel). Honestly, this greatest sin is being largely generic and out of place (almost like a fan film or a TV episode) and ultimately forgettable.
But forgettable isn’t the same as BAD.
At the end of the day, you’re either a fan of this or you’re not. It ‘s almost more of a sidequel and perhaps should be held to a different standard. It really doesn’t belong in this continuity (specifically the timeline that skips 2-6, and picks up at H20) I don’t think anything I’m gonna say is gonna change your mind, but if you’ve never seen it – I do encourage you to check it out. It’s a fun watch once you turn your brain off, and having it on DVD is a great reason to grab the set.
Roman starts with a guy welding at steel mill then coming home, lighting up a cigarette and watching for the girl next door at his window. It’s awkward and creepy with a very indie feel to it, setting the tone for what’s to come.
Roman doesn’t have a television, so his room is set up around that window – his chair and table facing it where he can stay here and watch for the girl next door come out. It’s unnerving and we see how awkward he is, and for the life of me I can’t imagine how they’re going to squeeze 90 minutes out of this.
He dreams of her, dancing nude and backlit against random sets of images – in working, eating, flowers and sparks.
The guys at work make fun of him for not having a television, so he draws one on the wall and pretends to watch it – the girls voice coming from it.
Everything changes when he meets a real woman, as he hangs out on the top of his apartment building roof drinking beer – he is surprisingly articulate for such an introvert, but awkward as it is, it’s a charming interaction and now she knows him. A co-worker gives him an old black-and-white TV and he talks the girl over for drinks. This could almost be a romance, at this point… Which is how you know everything is about to go wrong.
Now, he has a secret – and when the next girl comes knocking at his door, it becomes a problem, fueled by his awkwardness and inability to know how to act with other people. (and you know, for being such a social misfit, he sure does attract the cutest women).
There is a lot to love here, from the chilli dogs at the cemetery, to the porn loving superintendent to the beers and holding hands with the severed palm. The movies strangely engrossing and I couldn’t take my eyes off of it. Even being crazy, I really want things to work out for Roman – the closest thing I can compare it to is Adam Green’s Spiral, A similarly awkward head trip with a gawky dude and a cute girl and a dark twist.
Star Lucky McKey would go on to make some of modern horrors more disturbing thrillers such as May and The Woman. This is an interesting project to watch with him, especially seeing him as an actor instead of a director. It’s definitely a high recommend, with an ending I did not see coming, and makes this box set with the purchase price just for this film alone.
Without even looking at the credits, I knew that with a name like paranormal entity this would bean Asylum film. It opens with the 911 call “they’re all dead! My sister is dead! “, before switching to a handheld camera. We get the premise that they were advised to set up cameras in the house to capture the activity, and then cut back to a black screen that gives us a Blair witch type description; This footage was down in their attic a year later, et cetera, et cetera
Back to the handhelds as the narrator introduces us to where the cameras are supposedly placed in the house. It’s a kind of smart idea to give us an idea of what the space looks like and feels like, before we plunged too far into this story. They tried to inject some creepiness right away by introducing us to the slightly catatonic mother – staring at an old stuffed animal. We get a placard telling us that it’s “night one” and start watching footage that has been tinted green to look like nightvision. We go back and forth between this and and daytime footage of annoyed characters who don’t seem too pleased to see the camera. They talk about who they think might be in the house… or might be haunting it, and slowly e to things start to happen – a glass breaks, the television turns on, and a cross falls off the wall – at this point you can tell it’s going to be a slow burner. We get a peek inside the diary, with a plea for God to help the writer. They also sneak in what is meant to be a creepy sketch along with the question “why am I seeing this?”.
Sleepwalking begins at night three around 25 minutes in – and ominous message is written onto a glass coffee table. Around the same time, the wife starts talking about her feelings that something is there – something in the room with her when she goes to sleep, something pressing down on her and trapping her.
As we go further into the film, it stumbles into the typical pitfalls of a found footage haunting film – phenomena and that largely unseen or unremarkable, sounds in darkness that come off as stagehands banging on the walls of screen or actors simply screaming because it’s in the script. Even when they come up with a clever idea like footprints on the ceiling (and ultimately, where they come from), it’s undermined by immediately transitioning over to the mundane stuff like doors slamming and televisions turning on. They fail to reinforce those things with even creepier images . Moreover, the shaky cam work is haphazard and unfocused – even found footage works better when you storyboard and plan your shots. Someone had the beginnings of an idea here, and there are a couple of fun moments – such as when the mother and wife run off and discover the ghost has followed them, or when we get the revelation of where the footprints come from, there’s even one haunting that where the hits come fast and loud enough to keep you off balance, but not enough for a complete movie – There is a good way of making these kind of films, but this isn’t it.
This film maybe okay if you’re in the mood to do a found footage marathon with a bunch of different indie films or burning through a box set collection like this, but it certainly wouldn’t be the centerpiece and isn’t worth going out of your way for.
Live animals starts with the radio report of a missing girl in a rural area as a rancher picks up the feed for his animals. We shift to young people at a bonfire, somebody cloaked in darkness taking photos of them from the car. As the couples break apart from the group to go get busy, we see hands grabbing equipment – a gun, drug darts and needles – and a creepy rubber mask… Oh I’m so happy! These kind of movies are always more interesting when we have a creepy masked killer rather than just some dude walking around with an axe or something! The night atmosphere is beautifully lit, dark with just enough light to make out characters and details but will be enough to create dread. Despite the gun, the killer has the rough and deliberate movement that you see in Jason Vorhees. His murderous rampage makes for a surprisingly long opening sequence, eating up well over 15 minutes at the beginning of this 84 minute film.
Things don’t let up though, we had back to the psycho’s place to find people chained up in the stable. He announces that they are all his property now, and that just like a horse, they need to be… broken. We spent the next 20 minutes watching them be tortured and abused, and then a car pulls up to the stable; A prospective buyer. The unlucky girl chosen, is created up in a wooden box and shipped out.
Overall, live animals is standard torture porn fair, a little on the light side when it comes to gore (with the exception of a couple of scenes towards the very end). I suppose I should be grateful that the rapey parts are merely suggested, but all in all the films a drag and I’m not digging this one. I ended up watching the last third of this on fast forward because there’s not really enough dialogue to make a difference. Indeed, I almost wonder if this was a case of the filmmakers having a location – the stable – and then because they have a location they build a story around it . I almost wonder if this would’ve been better off as a short, there doesn’t feel like there’s enough for to really be a full feature. In any event, it really doesn’t work for me – even with the attempt at a slight twist ending . It may be the first real misfire in this set. Not a big recommend.
You know, that first puppet master film really is something special… From the moment we start with the dissonant carnival music and the close-up shots of the puppet faces, there is something inherently spooky about everything. Richard Band knew what he was doing when he scored this and Charles Band was really about to find his destiny.
Toulon, The creator of the puppets, is a great character – honest and multi layered. There is also the brilliance of starting the film out from puppet Blade’s perspective – the lower angle chattering as the bad guys arrive at the scenic hotel. It’s quite bold of this low-budget production to start things off with the introduction being a period piece before moving the modern day – yet again is this a sense of scope and a lush atmosphere that the film alone may have lacked otherwise.
As the group of sensitives attend the funeral of their fellow psychic in this very hotel, they encounter the murderous puppets – the story is as simple as that. But simple works, and through it Charles Band has crafted his most enduring creation. In this first installment, more care is given to the puppets – both in personality and in animation… Indeed, in later installments We get a lot less stop motion and more close-ups, with clips from this film used repeatedly. Still, it’s great as a standalone or part of the series – and it’s another one where the opportunity to get this on DVD was worth the three dollar price of this collection!
Okay, Jennifer Beals and Britney Murphy. This looks like it just might be an interesting cast – and then I see Glenn Danzig listed as one of the angels – and now I feel fear.
The Prophecy 2 is an interesting follow-up to what was a fairly mediocre movie made particularly interesting by the inclusion of Christopher Walken. In general I’m a fan of Christian mysticism, however, the Prophecy never seemed franchise worthy to me though, so I never followed it up and as a result, don’t know what we’re going to see with two – other than the fact that Walken is here, and joined by Eric Roberts and Glenn Danzig – somewhat bizarre choices.
We begin the film with a shot of someone writing ancient texts dissolving into clouds dissolving into the city and getting us into the modern day setting. Then a person crashes down into Jennifer Beals car window, it definitely wakes me up and gets my attention.
Elsewhere, all monastery, dies in a room covered in papers in writing. It feels very non-Sequitur, is. I cut to a man in a black coat that rests into birds before the city concrete splits reminders for them. I read below emerges from underneath the concrete and between flashes of blood, hands reach out, clawing at the dirt and a muddy body street and read it self out before the concrete back together again. Face risers and we recognize Christopher Walken is back.
Because it’s a sequel, they don’t waste any time with world building. A priest discovers the prophecy and is driven mad, then a dark angel open the gateway to hell to bring us the fallen archangel back – and this is all before we even hit the nine minute mark.
Back at the hospital, Beals visits the man who crashed into her windshield, and sits with him in his hospital room as an angel watches on across the street. The man is getting better, and regaining his humor, entertaining children by jumping up and bouncing on the edges of the beds. He wants her home, and because pulling into somebody’s windshield is kind of like a first date, she probably takes him upstairs and gets knocked up.
Back of the monastery, Christopher Walken pays a visit to the monks, it’s a site that receives visions, and walking is sure they’ve seen the person that he is here to get. Seems uncooperative, but fire cleanses all.
Do you angel purchase on the edge of the bed come and watch his feels sleep… And goes back to importance. That. It’s around this time though, that Glenn Danzig shows up and attacks him, mid air. Our boy prevails, but now is on the hunt.
Walkin for his part is looking for Jennifer Beals since she’s pregnant with an angel baby- A somewhat confusing situation. Angel babies grow faster than regular ones and in just a few days, the doctor informs her that she’s in her second trimester. She searches for answers while Walkin searches for her to prevent her nephilim from being born. He grabs a suicidal Britney Murphy for a sidekick (He needs help because he can’t drive a car or navigate DOS on the computer – can you blame him?), keeping her from being able to die (a trick we saw in the previous film as well). She’s weepy and you can tell that we’ve got a very talky fifty two minutes ahead of us.
In the meantime, Beals visits the corner, to view the body that she suspects is her angel baby daddy, now a stiff, thanks to Walken. The main purpose of this scene though, is for Kenny Banya to make his appearance and explain the plot… describing the angels that he had here in the mortuary for years ago.
Her next stop is the monastery of visions where the teacher continues information dump, this time updating us on angelic script and angels in the second war in heaven, for anybody who missed the first film. It’s here that we first find out about the
In the meantime, Beals visits the corner, to view the body that she suspects is her angel baby daddy, now a stiff, thanks to walk in. The main purpose though is for Kenny Banya to make his appearance and explain the plot… Describing the angels that he had here in the mortuary for years ago.
Her next stop is the monastery of visions where the teacher continues information dump, this time updating us on angelic script and angels in the second war in heaven, for anybody who missed the first film. It’s here that we first find out about the nephilim .
Back in the city, Brittany Murphy hacks computer and gets Jennifer Beals address for Walken, allowing him to arrive there before her.
“You have no idea trouble you got there,” he tells Beals as he puts his hand on her belly. “Nothing personal, just business.”
Her angel baby daddy, not dead after all, crashes through the window to rescue her but Walkin stakes him, and then runs out to Brittany Murphy, waiting behind the wheel of the car to race after Beals. It’s amusing to note that they’re driving the same kind of car that Sam Raimi refers to as “the classic” in the Evil Dead films, just a different color. Our Angelic hero spirits her away to the monastery, hoping she’ll be safer there, as he attempts to get her to the archangel Michael and real protection.
Walken finds them of course, but bills in the angel manage to escape while Walkin blunders into a crowd of cops all who all blow him away. He’s not gonna stay dead long though, and revives while the police are questioning Murphy. He collects her and heads out on his way, revealing to us where the final showdown will be held… Eden.
It’s no longer a garden, but rather in industrial hellscape which opens its gate up to Beals and her angel. They navigate through the steamy maze of pies and hot metal until they finally come across the Archangel Michael… This time played by Eric Roberts.
It’s fairly epic to see Walken and Roberts face off across the rusty gate beneath a tumultuous cloudy sky with the occasional angel soaring through it. As Walken gains entrance, it’s time for angelic melees as he sends Murphy to assassinate Beals, but pretty shortly, will all discover just how hard it is to kill the mother of a nephilim .
If you’re a fan of this series, it may be a worthwhile entry, but it doesn’t stand on its own for me (which makes it out of place in the Masters of Terror box set I got it in) and ultimately I found it a little slow, predictable, and boring… This one is probably a pass.
Can I just say, I’m really excited to see Lisa Zane in The Nurse – it’s the only name I recognize, but I actually kind of dig her from not only Freddy’s dead but also her appearance on the Human Target. She’s front and center as we begin with an emergency situation in a hospital.
After suffering a family tragedy, she pays a visit to the man she holds responsible – unfortunately he’s already in a coma and there’s not too much she can do… Or is there?
It’s odd, I’m not used to seeing Zane as the villain, but as she goes all stalkery, she inhabits the role with relish. She plays unhinged very well – it shouldn’t be a surprise, we saw her start to break down her sanity a bit in Freddy’s dead, but here she is able to really let it all hang out, devilish and brilliant.
After murdering the man’s nurse, she cozies up to the son and gets herself hired on as his personal caregiver. Once there, she plots the death of his entire family – a way to torture him before she dispatches him herself.
It makes for an interesting and suspenseful film, but ends up being a little overblown – the whole thing feels like a TV movie of the week. It’s certainly not the movie that the box cover would lead you to believe it is, but it’s a great entry for Lisa Zane’s acting real. It’s kind of exactly the movie that belongs in a set like this, and is fine as part of this collection though I wouldn’t seek it out on its own.
I like Patrick Lussier, and I’m pleased to see Roy Schneider, Gary Tunicliffe and Rutger However, but that stupid Gothic font worries me. I know that Dimension shot a bunch of these in Romania back to back, along with a couple of Prophecy and Hellraiser films. On the other hand, I rather like a lot of the productions Dimension has done this way so let’s see what we’re in for. Jason Scott Lee is the lead in this film, and that’s not a bad thing either… He was excellent as Bruce Lee in Dragon, I remember really digging that as a teenager when I saw it in the theatre. He is also of course, the voice of David, Nani’s boyfriend in Lilo and stitch.
As I’ve mentioned before, Dracula 2000 is actually one of my all-time favorite vampire movies, but it was also one of those movies that I never thought should have been turned into a franchise. It stands alone really well and doesn’t lend itself all that well to further installments, however this isn’t a direct sequel anyhow. It’s more in the spirit and style of 2000, attaching itself as a sort of alternate universe sidequel film much the way Fulchi’s Zombie attaches to Dawn of the Dead as a sequel. Despite saying West Craven presents, Craven have nothing to do with this film.
We start off with vampire action in what looks like an abandoned subway and it’s good stuff – modern and slick and cool. They’re taking a cue from John Carpenters Vampires with cool vampire weapons and a militant priest. The fact that Lussier directed all three of these Dracula movies helps create a uniform feel. In addition to some modern sensibilities, he still manages to infuse the film with at least a touch of Christian mysticism, possibly the reason our protagonist is a priest.
After despatching the two bloodsuckers he returns home for more support
Roy Scheider is just phoning in his role as the Cardinal of the order, but even that’s enough to elevate this film a bit. We get sweeping dramatic shots of the train heading to Bucharest and the now-defunct priest continuing his journey and his mission to rescue his beloved Julia and destroy the vampire plague. It’s an occupied country, and the soldiers and equipment create a tense atmosphere. They take full advantage of the Gothic and stone look of Romania in crafting their film – it’s an effective use of limited resources.
This film has an interesting origin for Dracula as well, establishing a terminology – they’re correct that the name Dracula is not a proper name but rather an honorific – and aspirational one to be one of the dragons, the priest tells us he’s had many names over the years and has existed for a long time under many guises – it’s actually a really well done recap.
The further they get into the city, especially at night the more abandoned things get, unfortunately instead of coming off as creepy, it just shows the lack of budget. A handful of extras wandering around in the background may have actually helped (but they may have needed to save those for later scene in Dracula’s feeding pit). Nevertheless the blue fog and eerie lighting provides a perfectly creepy horror movie setting for them to kill vampires in.
Like John Carpenter’s Vampires, what we get here is basically a horror tinged action movie with some interesting looking bad guys. The stilts vampire has to be seen to be believed. It’s a film that I think is actually strong enough to stand on its own without the name Dracula, and I almost wish they had, but they needed the brand recognition and I’ll admit I probably wouldn’t have found it without that myself so I completely understand. Dracula 3 : Legacy is full of action, intrigue, infections and has a genuinely well thought out story. Much to my surprise, it’s one to recommend
Dominique is dead it’s one of those movies that’s full of people that I feel like I should at least be peripherally familiar with, folks like Simon Ward and Jenny Agutter and Cliff Robertson. It starts off on the eve of dinner party, with the wealthy couple that are obviously having friction. The husband just fired the chauffeur and the wife is in a generally bad humor.
That evening, the wife, Dominique is depressed and scared and pleads with the new chauffeur driver to help her, but he’s just kind of weirded out by it and sends her back off to her room. She plays piano a lot. Her husband wakes up, and heads out to the patio to find her hung by a noose in a blue moonlight.
Watch Check; we’re nearly a full half hour into this thing! This chick better start haunting us, and quick like!
Husband comes home, lights a cigar and sits back, very satisfied. He does a quick check of the house before heading to bed and just stares at the piano. I’ve got a bad feeling about that piano.
The next day, a gravestone is delivered to the cemetery… It’s a gravestone with his name and the date of death is… Soon. He tracks down the manufacture, who talks about it being ordered by a woman in black, and said she was a mourning for her husband. She paid cash so there’s no trace, but when the husband comes home the piano is playing by itself and distant echoing footsteps ring out through the gloom of the house. Indeed, there is a figure and black walking through the halls, figure that disappears just as swiftly as it manifested.
Over the next day or two similar events occur, and it’s enough to send the husband after the cemetery to dig up the grave and discover whether or not his wife is truly Dead. Dead or alive, the grave is empty.
I figure in black. In the house, outside the house, outside the office, in the street. He has a vision of his wife hanging again conservatory, but he’s convinced it’s a plan… a conspiracy to drive him mad.
Soon, the grave has a death date etched in its stone surface, and that date is tomorrow. The piano place itself as the husband rises from sleep with a gun in his hand and stocks the house, shooting at the ever present spectral figure. The bullets miss of course and the driver comes out to find out what’s wrong. Wracked with guilt, the husband admits he drove Dominique to her death, then fires the chauffeur.
Now he’s all alone.
Cruel Will starts with a news report at the scene of a gruesome murder before flashing us back two weeks earlier. A man sits alone in his apartment, smoking and going through bills before having a sudden heart attack. The credits roll, and I still know nothing more about where this song is going and I did when I pushed play
It turns out he’s the father of a young woman, Lily, who has just moved into a new home with her husband Paul. She’s already behind on her exams, and this is only gonna push her further back. It’s also causing a strain on her relationship, considering there was bad blood between Paul and the father. Indeed, we have a kind of bait and switch here as we focus more on paul now, who starts having visions. Visions of the white Lilly possessed, and strange things happening
Out of nowhere, a mysterious man drops off a package for Lilly, it’s a recording from her dead father promising that he’ll come back for her.
Paul thinks he’s going crazy, and gets pissed at his shrink that he won’t prescribe him anything. The doctor is convinced that it’s all in his head and that everything was OK. Nevertheless Paul finds himself sinking into madness, the more he feels as if his father-in-law to haunt him.
It doesn’t help Lily’s teacher has the hots for her and is slowly trying to move in on her. It all culminates into a violent confrontation between Paul, now fully crazy and everyone else as he siezes the urn with the father‘s ashes and runs away, plunging his entire life into an unraveled mess.
It’s a very personal haunting, a very personal madness. I keep using both words because even by the time I hit the end of this movie, I’m not entirely certain what happened. I’m not sure if Paul was crazy, possessed perhaps, or genuinely being haunted and tormented by a ghost. Same goes true for the wife Lily. It’s not nearly as pronounced with her, for most of the film she’s just trying to cope, but once in a while we see something crack.
Ultimately though, the film is slow and that combined with it’s ambiguous nature, is a bit of a turn off for me. I’d like to have more answers at the end, and the entire movie plays like a CW show… brief moments of action punctuated by long stretches of attractive people talking about their feelings and hallways. It almost feels padded in this way, and this particular subject matter might’ve been better served in a short film that could’ve better made use of what is a thin plot. This one probably would’ve been a pass if it weren’t part of a set like this. However this sort of collection is exactly work in the midst of. A strange curated collection.
As Kill Baby Kill starts, I have no idea what’s going on, a young woman running out of a gothic environment and somebody getting skewered while we get little girl laughing in the background… Even if this wasn’t a bava film, I’d pretty much be on board from this point.
A doctor arrives in a desolate patch of Italian wilderness, surrounded by gorgeous ruins. In the distance people carry the coffin to its final destination as a doctor finds the local pub to meet up with the local inspector so he can perform the duties of coroner.
And autopsy determines that a coin had been inserted into the dead girls heart, it follows local legend about those who die vilently. Still, it doesn’t actually help them figure out whether it’s murder or suicide.
On his way home, the doctor is attacked by two gravediggers who object to the exclamation. The assult is stopped by a mysterious woman who vanishes as suddenly she appeared, leaving the doctor weary and broken to stumble into the inn he is staying at.
Elsewhere, the mysterious woman performs a rite on a young girl, lashing her so death will not touch her. She declares to the doctor that the entire town is under a curse. It certainly looks like it, with the foggy ruins, and atmospheric cemeteries. She directs him to the third household to discover his answers.
The house is old and sprawling in empty, covered by cobwebs. He finds a cranky old woman who demands he leave, as well as a ghostly child and bouncing balls floating in the halls. Meanwhile, his assistant is haunted by nightmares and visitations of a creepy doll. Across the street, the bell tolls in the abandoned Church and the assistant is convinced that the devil is here. They’re all bad portends, because the curse of the town is anyone who sees the dead little girl is the next to die, if they’re not buried immediately, the rise like a zombie.
It might be easy to mistake the Devil’s Partner for a redneck, hillbilly film. You got an old mountain man bringing out a sheep in the wilderness, but then we get a good look at the arcane document that he is writing in its blood and see a hand reach over to help him and my faith in the occult thriller is restored.
Our credits go over a bus on the road headed to the flats, and a lone passenger getting off in a rumled suit to pop in to the local café. He’s way out of place in the small town restaurant. And he announces he’s looking for his uncle, the place clears out And the cops show up.
They suspect foul play in his death, he wasn’t very liked in the community.
As our hero Nick inspects the spell written on the floor, the dog mauls the local mechanic Dave, coincidentally opening up a job for Nick so he can stay in town. He takes employment at local garage, catching the eye of the girl who runs the local restaurant. The real horror here though, is that he’s wearing a bowtie in the shop! Also he’s picking up the local drunk for more arcane rituals. He gets trampled by a rabid horse.
It’s really not good to be an animal in this movie.
After discovering the body of the dead drunk,the local sheriff pops over to the shack Nick has been staying in, discovers the spell written underneath the rug, while his Yorkie sidekick digs up a goat bone on the side of the building. The sheriff starts to think there’s more going on here than meets the eye, and contrives a way to trick Nick into revealing himself.
Despite being a B feature from 1961, The Devil’s Partner is actually a pretty solid flick. It would be perfect horror host fodder, and I’d be completely content to stick around at a drive-in to watch this after the main feature. It’s flooding around YouTube and has popped up in several collections, it might just be worth your time.
19 Doors starts off with a screen writer meeting with her producer. He’s found her a location for thier next film, an old rooming house above his friends local bar, and it’s perfect for a horror movie. It’s a good efficient preamble and leads into some unique looking credits. Not too flashy not over the top, not the same animation I’ve seen a hundred times befre. That leaves me with a good feeling about this movie despite the shot-on-video resolution.
After scouting a location, the writer locks herself up in a hotel room, and it’s spooky enough to drive her out of her room to go explore some of the rest of the place. She starts to have visions of the place’s brothel history. Ghostly children wander up here and that’s around the time she breaks out the Oujia board.
Reading the description or backwoods, it’s got me thinking this is probably going to be a knock off of “The Hills Have Eyes”. They waste no time getting into action with the generic couple abducted while on vacation. Unfortunately our backwards baddies don’t appear to be monsters, just a evil family.
I suspect I’m going to complain to the entire movie about them not being mutants.
Anyhow, a company sales team rents out the woods for a paintball match – one of those obnoxious team building exercises we occasionally hear about. The teams promptly get themselves raided and lost. While one team discovers the damage of the campsite, the other finds a derelict old house where they encounter our villainous backwoods family
Once everybody is captured, the real fight begins. There are elements of religious cult in here as well as some Saw influence. But it almost feels like they didn’t commit fully to Either. They really needed to choose one or the other – heighten the religious horror, heighten the hillbilly horror or focus on the torture. Still, the way they mash all of these elements together makes for a solid film, as long as it’s in a vacuum – that is, it’s good but only if you’ve never seen any other backwoods film. At the end of the day, there are way better options out there if you’re in the mood for hillbilly horror, but for a quick fix, this’ll do just fine.
Feeding grounds starts off in a barren desert gas station – the sort of place you expect to see in the “Texas Chainsaw Massacre” or in “Pumpkinhead”. Carrion lies ominously in the middle of the road.
Everything feels micro budget and amateurish, but that’s not necessarily a bad thing. The opening stinger leaves me confused though. What was it that made our first two victims sick? What was it that got them? It seemed like it was just a dude in a cowboy hat, but really I’m not sure what’s going on. After the police come, we move swiftly on.
We are introduced to our main cast. The guys seem more douchebag than normal, with some non-descript pretty girls and one chick wielding a video camera. They’re heading out to a cabin, and roll past a wooden sign – “Doom Desert”.
Hmmm. That’s just a little bit too on the nose.
Still, nothing happens until the hour mark when somebody finds an ear. Beyond some rocks falling it’s the most exciting thing happen yet in the film and I find myself itching for some action.
Down the road a bit, we find a bunch of human remains – mostly bloody chunks, and these send our cast running back to the cars. The film begins to slow down now because because someone needs to get sick. Almost imperceptibly, we get a glimpse of a bite or injection or something one of the characters… and it means that whatever things out there, they are watching. Still, at this point I feel like I’m watching “Cabin Fever”, but on the road. The sick turns into madness and anger as one of them ominously informs the rest of the group;
“The more you fight, the quicker they’ll come”.
In the end, there are some good ideas here – by I wish they had gone over the script a couple more times to bring in the action and the atmosphere sooner. For an 81 minute movie, there’s no excuse for this to be so talky(and yet it still fails to explain the roles of this world and its illness and unseen creatures) and slow as it is. Despite a near-perfect moment in the last shot of the film, this is Syfy Channel fodder at best.
I’m going into the dark kind of blind but the first thing I see is Neve Campbell and Byron James in the credits so I kind of know what kind of film this is gonna be. It starts in a graveyard, with James and his partner hunting something, so it’s definitely a good start. Gunfire and severed hands. Yeah I think I’m gonna like this.
The gravedigger and his son head back to the graveyard to do the job while nearby at a cafe teenage waitresses are asked about what happened. In the background we hear they going to being investigated as well. I’m hoping all of your storiescome together in the second act
Some interesting daytime action at the graveyard, as a tombstone shakes and is pulled into the ground. We see tunnels underground, reminding you a great deal of Nightbreed was digging up – I’m digging the creature feature vibe.
Speaking of the creature, we get on first glance of it and about the halfway mark – beautifully realized when kept in the shadows. Of course, I have no idea what it is or how it ties in, but the grave diggers are justifiably terrified. Time for the director in the leather jacket to step in (that’s obviously a pellet gun by the way, kind of shame them trying to pass it off as a real one)
As we enter the third act, it seems like there are tunnels throughout the whole town – you never know when something is going to reach up and grab you. The creatures are made all the more are terrified by their pervasive infestation, much like in Aliens. The teeth evoke a primal fear, and as long as they’re kept in the dark they are brilliant. Unfortunately, as we get further into the movie and we get more light on them, they actually look less threatening – even comical at times. In any event, it’s at this time Brian James arrives back on the scene save the day.
At the end of the day, it’s a mixed bag with multiple influences but really ends up being tremors with a lower budget – and no desert. Well-made and a lot of fun. It’s movies like these that are the reason I keep buying these sets!
Dark Spirits takes place in a nice warm locale – I’m not sure exactly where, but it sure feels Eastern European. IMDB say Czech republic and Prague, and you can see they are making the most of the visual splendor of thier locale. It’s a good thing, because I recognize that font they used for thier credits and while the end logo does have a nice style to it, the familiar font and transitions make it look cheap. The locale counters that nicely. Once we’re introduced to our heroine, we are plunged into a nightmare sequence with the atmosphere heightened by surprisingly affective use of high contrast filters that desaturate. In the dream, she sees The death of her sister, and when she wakes she discovers that indeed, her sister is dead. She is called into an investigation where she finds circumstances wern’t exactly the same as in her dream, but is haunted none the less.
In the street from a distance she spots what she thinks is your sister – and in her apartment, small disturbances begin to happen, and shadowy figures abound.
The biggest problem here is that the film is paced like a European art film – a lot of talk, lots of coffee drunk out of teacups and a lot of build up. That’s fine except this isn’t a European art film, it’s a horror movie, and we need the pace to continue at a quicker clip to get us to that climactic final five minutes where everything pays off. If you catch this one…just keep your thumb on the fast forward button
It starts off well enough, production values are professional and the locale is slightly wet – Hard to tell if it’s Flordia or Louisiana (It’s supposed to be Louisianan) But description promised voodoo and it’s not apparent immediately despite the lovely young African-American Lauren who leads our hero to a remarkably sterile house of ill repute. The joint remind me of the stark hallways we see in the projects of “Candyman” and the KEEP OUT sign on one of the doors is a little too on the nose. Instead of being obvious it just looks cheap. There is definitely something eerie going on behind that door though. When, from the depths of the cathouse a flying hand appears out of nowhere, I definitely feel like I’m in Charles Band territory. We have blood within the first 10 minutes and a nice intro as we switch into the story property in matters mystic and a nice 80s synth score.
After we’ve had some time to get used to our characters we are sent into a dream sequence which reminds me a great deal of the serpent and the rainbow. I like abstract dream sequences and for the sake of art and pure freakiness. It’s a bit of an attempt to elevate them a tad higher than it deserves, but it’s fun. We spent the first act talking a lot about the main characters father and how he believed he had discovered a method for raising the dead – it’s all good backstory, but it makes me really long to get the second act started in earnest. BTW, these people are far too pretty to be voodoo masters, but man, I can’t argue with that 80s spiral perm.
When the third act arrives, it doesn’t disappoint – though it does seem like this is an attempt to be more intellectual than we are used to in a Full Moon Film. It’s very traditional supernatural horror, and there’s nothing wrong with that, it’s just I was hoping for a little bit more proper voodoo. Nevertheless, it’s inventive enough to remain entertaining andengaging, with a parting shot that’s a proper sendoff. Full Moon rarely dissapoints. Indeed, I’m not even sure what is doing on this collection – I checked there is no more from that studio but it was worth it just for this one.