March 13, 2026 17:00
In 2002’s DeathBed, Karen (Tanya Dempsey) and Jerry (Brave Matthews) move into a new apartment. Karen is an illustrator of children’s books. Jerry is a professional photographer who occasionally does “nudie stuff.” Their new landlord and building superintendent is Art (Joe Estevez).
At first, the new apartment seems ideal. But then, strange things start happening. Karen starts to have visions of a woman being strangled in the apartment. She struggles to finish her latest illustration project and instead finds that strange and disturbing pictures have been drawn while she was apparently asleep. Jerry gets weird at work, telling models to pose as if they’ve been tied down to a mattress. Jerry and Karen’s sex life gets a bit more adventurous but even that leaves Karen worried. She feels as if she’s losing control.
Could the apartment be haunted?
Or could it have something to do with the creepy bed that Karen and Art previously found in a hidden room and which Karen decided to make the centerpiece of the new apartment?
Karen starts to do research. At first, she can’t find any evidence that a murder was ever committed in the apartment but then she discovers that the name of the street was changed in the 40s and that her new apartment actually has a very long and rather macabre history. Meanwhile, Jerry worries about her sanity. Deadlines are blown. Murders are committed. And the viewer is left asking one question….
Would you rent an apartment from Joe Estevez?
Actually, I’m being way too snarky with that question. DeathBed is surprisingly effective horror film and Joe Estevez gives a likable performance as Art. Personally, I still think Karen was way too quick to explore a previously hidden room with him but, otherwise, Art comes across as being a genuinely nice guy.
DeathBed is actually one of the better films that I’ve seen from Full Moon Pictures. While I wasn’t a huge fan of Danny Draven’s direction of Hell Asylum, he does an excellent job with DeathBed, creating and maintaining an atmosphere of ominous doom and gradual decay. What makes the film so effective is that Karen and Jerry don’t fall apart immediately. Instead, it’s a gradual process. The viewer can see it happening but Karen and Jerry can’t. Brave Matthews and especially Tanya Dempsey are well-cast as the troubled couple. Dempsey gives an especially strong performance, playing a woman who has used her art to create the ideal life that she’s never had.
DeathBed has an interesting story and a few creative twists, even if the film’s actual ending what come as a huge surprise to experienced horror fans. I appreciated that Karen’s visions of the previous murder appeared to carry hints of the infamous Black Dahlia case. It served to remind the viewer that real life can sometimes be just as terrifying and mysterious as the movies.
Would I rent an apartment from Joe Estevez?
Well, probably not. Not after seeing what happened with Karen and Jerry. But I don’t blame Karen and Jerry for wanting the apartment. It’s a nice apartment. It’s just that there are times that hidden rooms should definitely remain hidden.
Posted by Lisa Marie Bowman
Categories: Film, Film Review, Horror
Tags: Brave Matthews, Charles Band, Constance Estevez, Danny Draven, DeathBed, Full Moon Pictures, Joe Estevez, Lisa Marie Bowman, Lunden De'Leon, Meagan Magnum, Michael Sonye, Mona Lee Fultz, Rick Irvin, Tanya Dempsey
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Jurgen Habermas & Wolfgang Röllig have died.
Jurgen Habermas father served in the German army during World War II, but the family opposed Nazi ideology. After the war, Habermas became a prominent philosopher and sociologist known for his critical views on totalitarianism and his advocacy for democratic discourse, which inherently opposes the principles of Nazism. He criticized the Lutheran Church’s alliance with Hitler during the Nazi regime. He argued that the church’s collaboration with the regime represented a failure of moral responsibility and an abandonment of its foundational ethical principles.
He denounced the anti-Semitic roots of Martin Luther’s writings in relation to the Lutheran Church’s alliance with the Nazi regime. He reflects on how Luther’s anti-Jewish sentiments have historically influenced attitudes within Protestantism, contributing to a climate of anti-Semitism that persisted into the 20th century. Habermas argues that Luther’s writings contain significant anti-Semitic themes that set a precedent for the treatment of Jews in Xtian Europe. This historical context – crucial for understanding why some factions within the Lutheran Church aligned with Nazi ideology.
He emphasizes that the church should critically examine its history, including Luther’s writings, to acknowledge how these elements contributed to the moral failures during the Shoah. Habermas believes that confronting this history is essential for the church’s role in promoting ethical discourse today. Habermas contends that the remnants of Luther’s anti-Semitism can still be seen in some contemporary attitudes and beliefs, making it imperative for the church to address and rectify these issues.
Likewise he rebuked corrupt Calvinist theology – no different than Luther’s, both antisemites theologies slandered Jews and Judaism. He notes that both Luther and Calvin’s anti-Jewish sentiments have had lasting effects on how Protestant communities interacted with Jewish people throughout history. This interplay has perpetuated cycles of discrimination and alienation. By linking Calvin’s thoughts to current attitudes, Habermas stresses the necessity for Protestant denominations to engage in meaningful reflection and correction of these past ideologies to ensure they do not continue to influence modern beliefs and practices.
Jürgen Habermas has posed the question, “Where was Jesus during the Shoah?” By asking this question, he highlights the complicity and silence of the church in the face of extreme suffering, urging a reevaluation of the church’s role and responsibilities. His polished definition of justice, in the shadow of the Shoah – an essential moral obligation to prevent repetition of past atrocities and to ensure recognition of the dignity of all individuals.
He held that Europe as the ‘Body of the Church’ must remember in order to address their long history of slander and war crimes which resulted in the Shoah, as the basis – the fundamental – of post war justice. Habermas suggests that true justice must contribute to building a future that honors human dignity and prevents the repetition of past atrocities, thereby establishing a moral framework that guides contemporary societies.
He traced the roots of anti-Semitism back to the Gospels, particularly discussing the implications of certain New Testament passages. He examines how specific texts and interpretations have historically contributed to anti-Jewish sentiments within Xtianity. Habermas emphasizes that the early Christian church, in its efforts to establish its identity apart from Judaism, sometimes portrayed Jews negatively, setting the stage for centuries of anti-Semitic attitudes.
Habermas points out that theological positions derived from these texts have justified discrimination and violence against Jewish communities throughout history, culminating in the eternal church disgrace of the Shoah, a crime on par with Cain’s murder of his brother. He warned that if the church ignores its historical guilt regarding anti-Semitism and the Holocaust, it risks rendering Christianity irrelevant. He reflects on the consequences of such neglect, suggesting that failure to confront and acknowledge this past could lead to a disconnect between the church’s teachings and moral integrity.
He posits that if Xtianity fails to engage with its past, it could become akin to ancient religions, like those of the Greek gods, viewed as obsolete and disconnected from modern moral challenges. In highlighting these concerns, Habermas underscores the necessity for the church to embrace its responsibility, advocating for a transformative approach that honors human dignity and reconciles with the affected communities.
Wolfgang Röllig (1932-2023), philosopher and sociologist known for democratic discourse and critical theory. Critiques the roots of anti-Semitism in Xtian theology, particularly in Gospels, emphasizing the church’s complicity during the Shoah. Defines justice as a moral obligation to recognize historical wrongs and prevent future atrocities, emphasizing a transformative ethical framework. Warns that ignoring historical guilt could render Xtianity irrelevant, stressing the need for moral renewal. Suggests that Xtianity must engage with its past to maintain relevance in contemporary society. He demanded that the European church own its responsibility for the post War “Rat Lines” and Polish pogroms.
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By mosckerr on March 14, 2026 at 12:00
[…] DeathBed (2002) […]
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By Lisa Marie’s Week In Review: 3/9/26 — 3/15/26 | Through the Shattered Lens on March 15, 2026 at 21:00