Category Archives: Film

The Sky, Review by Case Wright (Dir. Matt Sears)

Posted on by casewright

Matt Sears only creates shorts, therefore, I am primed to like this creator. The Sky takes the Alien invasion/destruction genre and compresses it to two ordinary friends who are going to watch it end. The short brushed up a little too close to the Cardinal Sin of making a pitch masquerading as a short. I do give him a pass on this because it did deliver on the apocalypse.

Ellie and Victoria are old friends who are salt of the earth archetypes. Ellie has a string of boyfriends and is on the outs with her mom. Victoria doesn’t want to die alone. They decide to drink the British version of Two Buck Chuck, do shrooms, and watch it all end. Ellie’s mom tries to reconnect with her for the final moments, but she is on a pier somewhere not nearby. It is revealed that somehow Victoria contrived to prevent Ellie from spending the end of the world with her instead of having a reconciliation during this lovely Gotterdammerung.

Ellie leaves Victoria to die alone as she is hallucinating on shrooms. We are not sure whether or not she actually sees her mother, but we do see them both die. This film was made during COVID; so, it has an out with a whimper feel to it. I have not seen Matt Sears’ other shorts, but this is a Stephen King style story-telling- regular people who have to live with a monster in the basement- i.e. it’s never about the monster, it’s about how ordinary people live with a monster.

It reminds me of the song Veronica. It’s not about the Alzheimer’s; no, it’s about how loved she was that a man left everything to help the love of his life- die. Here, there’s no hope, but humanity continues.
So yes, I approve.

Horror on the Lens: A Cold Night’s Death (dir by Jerrold Freedman)

Posted on by Lisa Marie Bowman

For today’s Horror on the Lens, we have a made-for-TV movie from 1973.  As you can tell from the video below, it originally aired as a part of ABC’s Tuesday Night At The Movies so it’s only appropriate that we are also sharing it on Tuesday.

A Cold Night’s Death tells the story of two scientists (Eli Wallach and Robert Culp) who are sent to a remote research station to investigate the apparent disappearance of another scientist.  They soon come to suspect that they may not be alone and soon, paranoia rears its ugly head.  With its frozen landscape and its ominous atmosphere, this movie feels like a distant cousin to John Carpenter’s The Thing.

Enjoy!

October Positivity: Early Warning (dir by David R. Elliott)

Posted on by Lisa Marie Bowman

First released in 1981, Early Warning opens with a shot of a crowded, polluted city.  On the soundtrack, we hear the voices of newscasters.  The world is tottering on the brink of war.  Gas prices are skyrocketing.  Inflation is rising.  People are losing their jobs and their homes and many of them are having to skip meals in order to have enough food to last through the week.  Riots are breaking out across America.  Crime is running rampant.  The rich are getting richer.  The poor are getting poorer.  The President is a doddering old fool who sounds incapable of bringing America together.

Wow, that all certainly sounds familiar!  It’s tempting to say that Early Warning predicted the state of the world in 2022.  However, the truth of the matter is that the movie was made at the tail end of the Carter years and, as we all know, history tends to repeat itself.

Early Warning makes the argument that all of the problems in the world are due to the …. are you ready for this? …. One World Foundation.  (The One World Foundation could have picked a less obviously evil name.)  Led by Alexander Stonefield (Joe Chapman), The One World Foundation manipulates humanity by raising prices, destroying cities, and causing natural disasters.  They have a plan to start a nuclear war, by encouraging countries to invade one another and then supplying nuclear weapons to both sides.  They’ve decided that the best way to control humanity is to assign everyone a number and to…. okay, well, you know where this is going, don’t you?  Yes, this is one of those movies.  Before Left Behind, there was Early Warning!

The One World Foundation may be able to manipulate the world but their security sucks because a reporter manages to sneak into their headquarters and record a meeting where Stonefield explains, in exacting detail, everything that he’s planning on doing.  (You have to wonder why Stonefield even felt the need to have that meeting.)  The reporter is caught by a group of silly-looking guards who all wear white knee socks and tap shoes.  He’s killed but not before he put the recording in a mail box.  That’s putting a lot of trust in the U.S. Postal Service but whatever.

Another journalist, Sam Jensen (Christopher Wynne), teams up with a religious activist named Jenny Marshall (Delana Michaels) and soon, they’re doing their own investigation.  It turns out that the One World Foundation is going to have yet another meeting, this one at a hotel in the middle of the desert.  While Sam and Jenny try to uncover the truth, they fall in love but, unfortunately, Sam’s not a believer.  Can this be fixed before Sam is gunned down by a mysterious, helicopter-riding assassin known as The Cobra?

Early Warning is a bit of an odd film.  Jenny is often inappropriately cheerful, even when she’s got guards in knee socks trying to kill her.  Sam is a remarkably whiny hero.  There’s a strange sequence in which Sam and Jenny stumble across a survivalist compound in the middle of the desert and one of the survivalists is played by none other than George “Buck” Flower.  But perhaps the strangest thing about the movie just how low-rent and incompetent the One World Foundation is.  For an organization that can drive countries to war and wipe out someone’s savings just by pushing one button, One World has a remarkably difficult time tracking down two people.

(Of course, that’s always been my issue with most conspiracy theories.  It’s hard for me to buy that a group could be competent enough to control the world while also being too incompetent to properly cover up their activity.)

Early Warning is an early example of an evangelical end-of-the-world thriller.  One gets the feeling that the filmmakers were probably inspired by the then-recent success of The Omen films.  The budget was obviously low but that often works to the film’s advantage.  The grainy images feel appropriate for a movie about paranoia.  What doesn’t work to the film’s advantage are the stilted performances and a screenplay that can never decide whether it wants to primarily thrill the audience or primarily preach at them.  Still, to me, it’s interesting as an early example of a cinematic genre that, even if it doesn’t get much publicity, is still going strong.  It’s also interesting to see that, in 1981, people were just as quick to say the world was ending as they are in 2022.  The world appears to have been ending for a while now.

The TSL’s Horror Grindhouse: The Bunker Game (dir by Robert Zazzara)

Posted on by Lisa Marie Bowman

The Bunker Game, which made its debut on Shudder earlier this year, opens with what appears to be a bit of alternate history worldmaking.   The viewer watches a black-and-white documentary that presents a world in which the Nazis conquered Europe during World War II but, ten years after Germany’s victory, the United States dropped an atomic bomb.  As a result, Europe is now an atomic wasteland.  A handful of survivors managed to find shelter in Italy, hiding out and forming a new society in an underground bunker that was built by Mussolini in the 30s.  The underground society is an authoritarian one, where mad scientists experiment on the citizens and storm troopers seem to be around every corner.  However, there is a small rebellion brewing….

Sounds potentially interesting, right?  Well, don’t get too attached to the alternative history spin because, within the first few minutes of the film, it’s revealed that the people in the bunker aren’t actually citizens of an authoritarian state and, while the Bunker is indeed real, the rest of Europe is just fine.  It turns out that documentary was just a part of an elaborate and very expensive game.  Instead of being the last refuge of the Third Reich, the Bunker is full of LARPers, people who have spent a good deal of money so that they can spend a week pretending to be …. well, Nazis.

Now again, this sounds like it could be potentially interesting.  Why would a group of people pay money in order to enter a real underground bunker and pretend to be some of the most evil people who have ever existed?  It’s an intriguing premise but, just as with the alternate history angle, don’t get to attached to it because it doesn’t take long for the film to abandon the whole LARPing plot.

Instead, unforeseen circumstances lead to the game ending early and most of the LARPers heading home. The Bunker Game proceeds to tell a fairly standard story about a handful of people who find themselves isolated in the now-deserted Bunker.  When one of their friends disappears, they split up to search for him and soon, some sort of supernatural force is killing them one-by-one.  The group is made up of identifiable types.  One person is quirky.  Another person is serious and professional.  Another is a stereotypical zoomer.  Another one is too uptight and obviously destined to go crazy before the movie is over.  For the most part, the film focuses on Laura (Gaia Weiss) and her cousin, Harry (Mark Ryder).  Harry is determined to leave the Bunker and never again deal with any LARPers.  Laura, meanwhile, finds herself strangely drawn to the Bunker, even once it becomes obvious that something is killing all of her friends.  Harry cannot understand why Laura would want to be part of the Bunker Game in the first place.  Laura cannot understand why anyone would want to live in the real world.  Most viewers will probably be able to guess where this is all going.

That said, The Bunker Game gets the job done.  The underground bunker is a wonderfully creepy setting and, even if they are playing types, the cast still does their best to bring their characters to life.  (Of course, all of them are playing characters who spent a lot of money so that they could pretend to be Nazis so, well-acted or not, most viewers will have limited sympathy for them.)  Though it’s hard not to regret that the film didn’t do more with its potentially interesting plot, director Roberto Zazzara does a good job of creating and maintaining a properly ominous atmosphere.  For what it is, The Bunker Game works well enough.  One can regret that it’s not thematically challenging while also acknowledging that, whatever flaws the narrative may have, the film still gets the job done.  Those who are just looking for a well-made horror film and who aren’t necessarily concerned with whether or not the plot makes total sense will probably enjoy The Bunker Game.

FWD, Review By Case Wright

Posted on by casewright

There are times when a writer/director knows that he has made something pretty bad. I had to write in “FWD” above because the writer/director didn’t bother to make a poster of any kind. I’d probably hide my involvement.

The story has an email chain letter that was common in 1999 and the main character did not forward it; so, she’s been marked for death. I did like the touches of the antiquated email and the large monitor to tell me – this is from simpler times and this film was done by someone who is creatively simple.

It was a painful ripoff of Scream and I did not like that. I remember Scream when I was a youth and just because you found an old monitor doesn’t mean that you can build a short around it. The actresses’ talents here were wasted.

Sometimes people create when they should just binge Netflix and leave the rest of us Normals alone. I encourage you to watch this terrible short because we all know what you did to deserve it.

Invasion of the Pod People (2007, directed by Justin Jones)

Posted on by Jedadiah Leland

One day, someone said, “Why don’t we remake Invasion of the Body Snatchers but instead of having the pod people act emotionless, we’ll have them turn into predatory lesbians?”

Of course, the movie went straight into production.

Erica Roby plays Melissa, who works for a PR firm in Los Angeles.  After a meteorite shower, she starts to notice that the people at work and in her apartment complex are all getting strange new ginger root plants and they are all starting to act out-of-character.  For example, Melissa’s formerly bitchy boss, Samantha (Jessica Bork), suddenly wants to make out all the time.  Meanwhile, the husband of one of Melissa’s clients break into Melissa’s apartment, says that his wife has been replaced, and then shoots himself.  It doesn’t take a genius to figure out that the body snatchers have once again arrived on Earth and that they’re replacing humans with doppelgangers.  (The main difference is that the body snatchers waited for their victims to fall asleep while the doppelgangers just hatch from the plant and beat whoever it is that they are replacing to death.)  Melissa and her co-worker, Billie (Danae Nason), team up with Detective Alexander (Marat Glazer) to track down where the plants are coming from and destroy them.  It’s a Body Snatcher film so don’t expect a happy ending.

Actually, the idea of doing a softcore version of Invasion of the Body Snatchers seems like such an obvious one that I’m surprised that no one did it until 2007.  In everything from its visual look to its dialogue to its attitude towards sexuality, Invasion of the Pod People feels like the sort of film that used to show up on late night Cinemax during the 90s.  The 90s version, though, would have had Shannon Tweed and Andrew Stevens and that would have been an improvement on the people who are starring in the version that was actually released.  Invasion of the Pod People had potential to be a guilty pleasure but the visual style is so flat and unappealing and the soundtrack is so muddy that the movie feels much longer than just 85 minutes.  With a little fine-tuning and a more invested cast, Invasion of the Pod People could have been a Skinemax classic but it was just released ten years too late.

Horror Scenes That I Love: The Martians Attack In The War Of The Worlds

Posted on by Lisa Marie Bowman

Today’s horror scene that I love comes from the 1953 film, The War of the Worlds.

Now, it’s probably not quite correct to say that I love this scene.  This is a scary scene and not necessairly one that you’ll want to revisit a hundred times.  Instead, this is a scene that I think is extremely well-done.  It’s a scene that perfectly establishes the fact that, in this film, humanity has no hope when it comes to defeating the Martians.  Trying to reason with them, as Uncle Matthew does, is useless.  Trying to fight them, as the army does, is useless.  Matthew is atomized as he approaches in peace.  The tough and plain-spoken military man — a reassuring authority figure in so many 50s films — is destroyed as he orders everyone out of the bunker.  The Martians, meanwhile, are unstoppable and, even worse, they are without mercy or concern for the people that they are destroying.

Seriously, this is a frightening scene when viewed today!  I can only imagine how it traumatized audiences in 1953.  If you need evidence of this fact, just consider that YouTube actually put a warning on the video that it might be too traumatic for some viewers.

After watching this scene, all I can say is Thank God for the common cold.

International Horror Review: Massacre in Dinosaur Valley (dir by Michele Massimo Tarantini)

Posted on by Lisa Marie Bowman

As I watched the 1985 Italian film, Massacre in Dinosaur Valley, I found myself wondering one thing.

“Where are the dinosaurs!?”

Perhaps I’ve been spoiled by the Jurassic Park franchise but whenever I see the word “dinosaur” in a title, I expect to see dinosaurs.  That’s actually probably the main reason why I, or anyone else for that matter, would watch Massacre in Dinosaur Valley.  Unfortunately, there are no dinosaurs in this film.  Instead, a paleontologist shows up to explain that the valley is called Dinosaur Valley because it is the home to so many fossils.  This, of course, is the equivalent of telling us that, even though a city is really boring now, you should have seen it several thousand years ago.  Unfortunately, we also don’t get to see any fossils in Massacre in Dinosaur Valley.

An actual screen shot from Massacre in Dinosaur Valley

There is, however, a massacre.  When a plane crashes in the valley, the pilot is killed but the majority of the passengers survive.  Insane Vietnam vet John Heinz (Milton Rodriguez) declares himself to be the leader of the survivors, even while his drunk wife (Marta Anderson) taunts him about everything from his lack of sexual prowess to the fact that his war record apparently isn’t as impressive as he claims.  The majority of the survivors would rather be led by Kevin Hall (Michael Sopikw), a soldier of fortune who is first introduced hitching a ride on a truck and then admitting that he doesn’t even have the five dollars that he promised to pay the driver.  Kevin seems like a bit of a loser but he’s better looking than Heinz and a good deal more laid back as well.

That said, it really doesn’t matter whether Kevin or John is in charge of the survivors because, what the valley lacks in dinosaurs, it makes up for in cannibals.  When the cannibals attack, the survivors rather foolishly split up and quickly discover that, if the cannibals don’t get you, the quicksand will.  Kevin ends up making his way through the jungle with Myara (Gloria Cristal) and Belinda (Susan Hahn).

Massacre in Dinosaur Valley was released towards the end of the infamous Italian cannibal cycle.  In Italy, it was originally given the much more honest title of Nudo e selvaggio, which translates to Naked and Savage.  In some parts of the world, it was released as Cannibal Ferox 2, in an effort to associate the film with Umberto Lenzi’s infamous shocker.  The plot of Massacre in Dinosaur Valley obviously owes much to Cannibal Ferox.  Fortunately, there’s far less animal cruelty in Massacre In Dinosaur Valley.  Unfortunately, the plot moves slowly and none of the film’s violence or gore is as nightmarishly realized as in the equivalent scenes from Ferox.  As well, no one in the Dinosaur Valley cast can really duplicate the charisma of Ferox‘s Giovanni Lombardo Radice, Lorraine De Selle, and Zora Kerova.

That said, even if he wasn’t a particularly dynamic actor, Michael Sopkiw was still a likable lead and he was the best thing that Massacre In Dinosaur Valley had going for it.  Sopkiw is a bit of an enigmatic figure when it comes to the history of Italian exploitation films.  He was an American actor and a model who, in quick succession, starred in four Italian films.  He started his career with Sergio Martino’s 2019: After The Fall of New York and then went on to star in Lamberto Bava’s Blastfighter and Monster Shark before ending his acting career with Massacre In Dinosaur Valley.  Sopkiw was good looking and he had a likeable screen presence.  It’s easy to imagine that he could have had a career similar to Michael Dudikoff’s if he had stuck with it.  But Sopkiw apparently decided that acting in B-movies wasn’t for him and he instead went into botany and started a company that makes special glass bottles that protect their contents from exposure to the sun.  Good for him.

4 Shots From 4 Horror Films: The Early 50s

Posted on by Lisa Marie Bowman

4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

This October, I’m going to be doing something a little bit different with my contribution to 4 (or more) Shots From 4 (or more) Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we take a look at the early 50s!

4 Shots From 4 Horror Films: The Early 50s

The Thing From Another World (1951, dir by Christian Nyby, DP: Russell Harlan)

It Came From Outer Space (1953, dir by Jack Arnold, DP: Clifford Stine)

The War of the Worlds (1953, dir by Byron Haskin, DP: George Barnes)

House of Wax (1953, dir by Andre de Toth, DP: Bert Glennon, J. Peverell Marley, and Lothrop B. Worth)

Horror Film Review: Dark Was The Night (dir by Jack Heller)

Posted on by Lisa Marie Bowman

The 2014 horror film, Dark Was The Night, takes place in the town of Madison Woods.

Madison Woods is a small, isolated town that is located somewhere up north.  It’s one of those dreary blue collar towns where everyone knows everyone else.  Most of the citizens work in the logging industry, attend the same church, and drink at the same bar.  It’s not a town where much happens.  The police force consists of two guys, Sheriff Paul Shields (Kevin Durand) and his new deputy, Donny Saunders (Lukas Haas).  Donny worked in New York City before moving to Madison Woods.  Shields is currently estranged from his wife.  That’s the type of thing that passes for big news in Madison Woods.

When one of the local farmers complains that one of his horses has disappeared, Shields and Saunders assume that the horse has just run off.  When other animals start to disappear, Shields continues to insist that it’s all just a coincidence.  When the local hunters start to talk about an ancient legend of a monster that lives in the woods, Shields replies that there are no monsters and, for good measure, there’s no God as well.  (In many ways, Shields is a perfect example of the old joke about how the best way to spot an atheist is to wait a few minutes and he’ll tell you.)  Even when weird cloven footsteps start to show up around town and Shields himself spots something in his backyard, the Sheriff continues to insist that there is a rational explanation for all of this.  Meanwhile, Saunders hangs out at the bar and drinks and really, who can blame him?  As far as I can tell, it’s not like Madison Woods has a movie theater or anything like that.  It’s a really boring town.  You can either develop the beginnings of a drinking problem or you can start random fights or you can get ripped apart by the thing in the woods.  Make your choice.

Eventually, Shields and Saunders do discover that there is something lurking out in the woods.  And, despite their attempts to come up with a rational explanation, the creature proves itself to be more than just some animal.  Instead, it’s a true supernatural monster, tracking its prey through the community.  As a group of loggers discover at the start of the movie, the creature is just as quick to attack humans as it is to go after deer and other wild animals.  With the entire town locked away in the church basement (because, as Night of the Living Dead proved, the basement is always the safest place), Saunders and Shields try to figure out how to stop a monster that neither one of them has ever seen before.

Dark Was The Night was loosely inspired by a true story.  In 1885, the citizens of Topsham in the UK were stunned to wake up one cold morning and discover a series of cloven footprints in the snow.  The footprints led through the entire city and it appeared that whatever was responsible for them had stopped in front of every house and place of business.  Some claimed that the footprints belonged to the devil while others said that it was just some sort of animal.  The Devil’s Footprints, as the story became known, serves as a bit of Rorschach test.  Those inclined to believe in the supernatural have little trouble believing that the Devil visited the town of Topsham while the more rational among us assume that the footprints were left by a wild animal and then people saw whatever they wanted.  Dark Was The Night moves the story to the modern day and to America but the question remains the same.  Is there really a monster in the woods or, as Shields initially believes, are people just seeing what they want to see?  Unfortunately, the film reveals the monster’s existence within its opening minutes.  The film would have perhaps been more effective if there had at least been some mystery about whether or not Shields’s initial instincts were correct.

Dark Was The Night is a deliberately paced film, which again would be more effective if there was any mystery at all as to whether or not the monster actually existed.  On the plus side, the film is full of atmosphere and Kevin Durand and Lukas Haas are both effective as the two lawmen who find themselves in over their heads.  Fans of Lost will remember Durand as the evil Martin Keamy, who was one of the most heartless characters to ever appear on that show or any other show.  Durand gets to play the hero in Dark Was The Night and gives a good performance as a man who discovers that not everything has a rational explanation.  That said, while the film has some interesting ideas and performances, it ultimately becomes just another monster-laying-siege film and the ending is one that most viewers will see coming from miles away.  It’s not a bad film but it’s still never quite as good as one might hope.