Turistas

Twenty-somethings ending up somewhere bad while traveling. It’s a trope as old, at least, as The Texas Chain Saw Massacre, and it’s a trope that just keeps on giving. Why not? We’re a traveling people. Seeing new things and meeting strangers is what we do during those occasions when we are able to toss off the shackles. Some of us have even been in sketchy situations far from home. Some have been robbed or worse. Who knows? Maybe some of us have been closer to never coming home than we ever knew.

From 2006 comes Turistas, written by Michael Arlen Ross and directed by John Stockwell, whom horror fans might remember for his portrayal of Dennis in Christine. Turistas follows western tourists in Brazil, and the trouble in which they find themselves. The film opens with a harrowing bus ride through the jungle that introduces us to the hapless protagonists. There is Alex (Josh Duhamel); his sister, Bea (Olivia Wilde); her friend, Amy (Beau Garrett); mates from England Finn and Liam (Desmond Askew and Max Brown); and experienced world traveler, Pru (Melissa George). Continue reading “Turistas”

Evil Dead (2013)

Is Evil Dead, the 2013 film from Fede Alvarez, a remake or a sequel? It looks a lot like a remake, but, years after release, Alvarez confirmed in a tweet that, “[Evil Dead] continues the first one.” Case closed. This flick is not a remake. I guess the original was just so good they had to make it twice, or thrice, for that matter.

Working from a screenplay he wrote with Rodo Sayagues, Alvarez made a horror flick that reportedly used tens of thousands of gallons of fake blood. If that’s not an intrinsic endorsement, I don’t know what is.

The movie follows five twenty-somethings who think they’re doing the right thing, but pick the worst place in the world for it. Continue reading “Evil Dead (2013)”

Phantom Brother

The first line in my notes for Phantom Brother, the 1988 shot-on-video (SOV) horror flick from screenwriter Joseph Santi and director William Szarka reads, “Well, it’s trash.” That may be harsh, but my movie notes are written in the heat of the moment, without considering the trials and tribulations of the filmmaking process. Of course, like so many other low budget projects, Phantom Brother is a movie made despite the mountain of barriers that had to be overcome. It is a movie of passion, persistence, and…it’s trash. I’m glad it got made, but this is an obscure movie for a reason. Many reasons, in fact. Continue reading “Phantom Brother”

A Chinese Ghost Story

A Chinese Ghost Story movie posterA Chinese Ghost Story, from Hong Kong actor, stuntman, and filmmaker Siu-Ting Ching (screenplay by Songling Pu and Kai-Chi Yuen), is, according to the internet, a xianxia film. Xianxia are ‘closely related to the wuxia and shenmo genres.’ There is some cultural illiteracy here, on my part, but those strange new terms basically mean ‘based within Chinese mythology.’ Now we’re getting somewhere. If one has seen a Hong Kong martial arts flick that takes place before the emergence of modern China, one will be familiar with the look and feel of A Chinese Ghost Story. It’s a piece of fantasy, encompassing demons and the supernatural, with Hong Kong martial arts movie trickery thrown in, and comedy to keep things light.

The movie follows Leslie Cheung as Ling Choi San, a debt collector suffering from multiple slapstick maladies, who makes the mistake of spending a night in a haunted temple. There, he meets Yin Chek Ha (Wu Ma), a swordsman who retired from the civil service in disgust at the corruption, and now spends his time ridding the country of evil spirits. Yin Chek Ha is at the temple because it has recently been taken over by an evil tree demon (Siu-Ming Lau). All the inhabitants and caretakers have been killed and turned into stop motion zombies by the tree demon. It has also seized some recently deceased souls, which it uses to capture more innocent people to feed its insatiable appetite. Continue reading “A Chinese Ghost Story”

Blood Tracks

From 1985, right in the middle of the decade of the slasher flick, comes a joint UK/Swedish production titled Blood Tracks. Directed by Mats Helge Olsson and Derek Ford, from a screenplay by Olsson and Anna Wolf, Blood Tracks follows a small film crew, a hair rock band, and some scantily clad dancers, who all head up into some snowy mountains to shoot a music video. But, as would happen, they become stranded by an avalanche, while a crazed family of hermits hunts them down in bloody fashion. This isn’t a franchise slasher, or one of the countless American entries, but it is a prototypical example of the genre, wallowing in the conventions and tropes that have done so much to make these flicks successful. Continue reading “Blood Tracks”

The Kindred

This movie was on the way to being a lost film. Released theatrically in 1987, Stephen Carpenter and Jeffrey Obrow’s opus, The Kindred, hadn’t seen a home video release since the VHS days. But, Synapse Films dotted all the i’s and crossed all the t’s, and produced a 4K digital release in 2021. Good for them, because this is a creature feature that deserves to be seen.

Taking elements from monster flicks, cabin in the woods flicks, and mad scientist flicks, The Kindred follows a group of post-grad medicos who are trying to survive attacks from a gooey human/sea creature hybrid at a country house. Continue reading “The Kindred”

Paganini Horror

Happy Halloween, folks. We come to the end of another glorious month of blood, gore, supernatural threats, silly plots, and fun. Early on in preparation for The Italian Horrorshow, I was focused on the big names and the big titles from Europe’s boot. But, it didn’t take long to regress to the mean. This site’s bread and butter is bad cinema, and the final film of the Horrorshow reflects that. Oh, boy, does it.

From writer/director Luigi Cozzi comes Paganini Horror, a story about a pop band that gets more than they bargained for when they use a previously unknown composition by famed violinist and composer Niccolò Paganini as the basis for their new song. Continue reading “Paganini Horror”

Witchery, aka La Casa 4 – Witchcraft, aka Witchcraft (Evil Encounters)

More Italian title trickery! Upon release in Italy, this morning’s film was titled La Casa 4 – Witchcraft, a sequel in name only to La Casa 3 – Ghosthouse. It’s an unfortunately common thing overseas, not just in Italy, for movies to be marketed as a sequel to an unrelated film. Most of the time, we don’t have to deal with that shit here in the States, so we were given the simple title Witchery, although the print I saw used the title for the film’s release in Australia, Witchcraft (Evil Encounters). How silly the business of movies can be.

The good news is, Witchery stars Linda Blair and David Hasselhoff. I’ll repeat that. Linda Blair, adorable teen star of The Exorcist turned prolific b-movie actress, and The Hoff. Continue reading “Witchery, aka La Casa 4 – Witchcraft, aka Witchcraft (Evil Encounters)”

Body Count (1986), aka Camping del terrore

This is the third film from director Ruggero Deodato to be featured in the Italian Horrorshow, after the unforgettable pair of Cannibal Holocaust and Jungle Holocaust. Both of those films were impressive in their storytelling and shocking visuals. Deodato must have had enough of cannibals after that, and instead turned his talents to an American-style slasher/cabin in the woods flick.

Written by many people, including Italian cinema stalwarts Sheila Goldberg and Dardano Sacchetti, Body Count (Italian: Terror camping) tells the story of two groups of youths that are brought together by chance, to be chased around a derelict campground by a masked killer. Anyone with even a passing familiarity with horror flicks will have seen this plot, or something damned close, once or twice. This being the fifteenth year of the Horrorshow, on top of a lifetime of watching horror flicks, I figured there would be nothing all that special about this flick. Continue reading “Body Count (1986), aka Camping del terrore”

Severance (2006)

A horror comedy would seem to be a contradiction in terms. However, horror fans aren’t watching horror because they like death. Well, most of us, anyway. Horror fans look for the same things from film as everyone else. Escapism. Specifically, the ability to experience places, people, and stories that we otherwise would not. Films evoke emotion, but do so in a way that exists outside of everyday life. Combining genres, especially in contradictory fashion, creates a delicacy of mixed emotions that we could never experience otherwise. In what other place than film could one experience the wonderful flavor profile of a humorous decapitation? Continue reading “Severance (2006)”