Tag: Horror Flick

October Horrorshow: #Alive

I played a game of movie roulette with #Alive, the Korean zombie flick from writer/director Il Cho. The poster I saw shows the film’s main character, Oh Joon-woo (Ah-In Yoo), leaning off of his apartment’s balcony with his phone on a selfie stick taking a sweet pic for his Insta. That, combined with the hashtag in the title, led me to some erroneous conclusions about that plot. But, that’s okay. That happens when one goes into a flick blind.

The poster (shown below) and the title led me to believe this was a black comedy about a teen in Seoul who finds himself amidst a zombie outbreak, and becomes a worldwide phenomenon due to his posts from the infected area. Continue reading “October Horrorshow: #Alive”

October Horrorshow: Girl on the Third Floor

Haunted house flicks are often very formulaic. A family, or a couple, or just an individual, moves into a home they’ve purchased, and not long afterwards, strange things begin to occur. These ghostly tricks and shenanigans are harmless at first — basic funhouse trickery. As the movie goes on, the disturbances become stronger and have more effect, leading to denouement in the final act. It’s a formula that has worked for decades, from The Haunting to The Conjuring. But, the formula can get stale, especially when there are piles of bad movies that utilize it. Girl on the Third Floor, the 2019 film from screenwriter Trent Haaga and director Travis Stevens, starts out as if it will adhere to the formula, then veers into something that, while totally unique, displayed a substantial amount of originality. Continue reading “October Horrorshow: Girl on the Third Floor”

October Horrorshow: The Shed

What would you do, dear reader, if you woke up one crisp morning to find that Frank Whaley hiding in your backyard shed and he won’t leave? This is the question posed by writer/director Frank Sabatella in his magnum opus from last year, The Shed. Oh, wait. I forgot one detail. Frank Whaley was turned into a vampire right as the sun rose, and the shed was the first place he could get to before he was roasted to death, as this horror flick sticks to the vampire trope that the rays of the sun are lethal to vampires. Continue reading “October Horrorshow: The Shed”

October Horrorshow: Horror Rises from the Tomb

Writer/actor/director Paul Naschy was cinematic royalty in his native Spain. But, despite having seen piles and piles of horror flicks and shitty movies combined, this reviewer had never heard of him until doing the research for this post. My favorite factoid about Naschy is that he starred in twelve low-budget werewolf flicks, all as a character named Waldemar Daninsky, and yet each is a standalone film, featuring a new origin for Waldemar’s werewolf curse. That’s fantastic. Who retcons the same character eleven times? Naschy and his cohort over in Franco’s Spain, that’s who. I cannot wait to see them all and share my thoughts on them with you, loyal reader. Continue reading “October Horrorshow: Horror Rises from the Tomb”

October Horrorshow: Ghosts of War

What a disappointing mess. There are a bunch of solid ideas in Ghosts of War, the new horror flick from writer/director Eric Bress. It’s the execution that is lacking.

The film takes place during World War Two, after the Allies have invaded France. A squad of paratroopers, led by Chris (Brenton Thwaites), is assigned to guard a French chateau that had been used by the Nazis. On the short journey to the chateau, we meet the other members of the squad. They are boilerplate WW2 movie characters. There’s the tough guy, Butchie (Alan Ritchson); the smart guy, Eugene (Skylar Astin), the tough from the city, Kirk (Theo Rossi), and the soft-spoken but lethal southerner, Tappert (Kyle Gallner). Accents and attitudes are used to establish their war flick bona fides, and then viewers see them committing a few war crimes before they arrive at the chateau. War is hell, right? Continue reading “October Horrorshow: Ghosts of War”

October Horrorshow: Deadtectives

Deadtectives movie posterHorror films don’t have to be all doom and gloom. In fact, a contender for the goriest film ever made, Braindead, also happens to be hilarious. There is plenty of room for black comedy in the genre. Yes, laughing at the blood and guts and death in a comedy horror is morbid, but no less so than watching a serious take on horror. All horror fans are a little bit diseased in that way.

Deadtectives is a comedy horror flick from 2018. It saw some play in a few film festivals, but otherwise has gone straight to streaming services. Written by Tony West and David Clayton Rogers, with West also directing, Deadtectives follows an eponymous ghost hunting television show that has to make a splash for the season finale, otherwise it faces cancellation. The show is hosted by brothers Sam and Lloyd (Chris Geere and David Newman), alongside psychic Javier (José María de Tavira). Sam’s wife, Kate (Tina Ivlev), serves as producer. The show is fake. All the shenanigans they film are the result of special effects, and the psychic is about as clairvoyant as a sock. Only Lloyd believes in ghosts, while the others treat him as something of an overenthusiastic dork. Continue reading “October Horrorshow: Deadtectives”

October Horrorshow: Blood Vessel

I dig horror flicks set aboard abandoned and adrift ships. The real stories of the Mary Celeste and other vessels, found at sea with no one aboard, make for fascinating mysteries. Add in the supernatural, and abandoned ships become excellent locations for horror. Ships are creepy and claustrophobic. There are countless nooks and crannies where characters can get lost, or in which baddies can hide. They make more noise than a shack in a winter wind. They’re basically oceangoing haunted houses. Blood Vessel, the 2019 horror film from writers Justin Dix and Jordan Prosser, and directed by Dix, doesn’t involve ghosts. Rather, the menace in this film is a family of vampires. Continue reading “October Horrorshow: Blood Vessel”

October Horrorshow: Crucible of Horror, aka The Corpse

There is more content out there than one can possibly experience, and this was true in the days before the web, as well. That’s how an odd psychological horror flick like Crucible of Horror can become largely forgotten, its prints left to decay, its copyright allowed to lapse. The film hasn’t been completely forsaken by the entertainment biz, however. There is a fully restored Blu-Ray version out there, but most versions consist of dismally cared for prints on VHS and older DVDs, formatted for CRT televisions, and with much footage missing. The version I watched for this review had the picture and missing footage restored, but is a 1.33:1 print cropped to widescreen. Maybe someday the version used in the Blu-Ray will become available to stream, but for now this less-than-perfect version is the best streamers can get. Continue reading “October Horrorshow: Crucible of Horror, aka The Corpse”

October Horrorshow: Host (2020)

What a cool, frightening, compact horror flick. Host, filmed in, and released during, this ongoing Covid pandemic is also a film that is of its time — a document of how we have been living, while it has been happening. This little film might, someday, have historical significance. That’s pretty good for what’s basically a haunted house story.

By way of England, Host comes from director Rob Savage and screenwriters Savage, Gemma Hurley, and Jed Shepherd. Inspired by a short film from Savage, Host is a quarantine Zoom call among five friends — Haley (Haley Bishop), Jemma (Jemma Moore), Emma (Emma Louise Webb), Radina (Radina Drandova), and Caroline (Caroline Ward). There’s a sixth, Teddy (Edward Linard), who leaves the call before the plot gets rolling. Continue reading “October Horrorshow: Host (2020)”

October Horrorshow: Mandy

Mandy, the 2018 magnum opus from director Panos Cosmatos, written with Aaron Stewart-Ahn, is a film that will be polarizing to an audience. Its execution is very stylized, and that, combined with its oppressive mood, will be a huge turnoff for many, while many others will find themselves carried away by it all. It’s not completely a love it or hate it kind of film, but the world is rarely so black and white. What most viewers should be able to agree on is that Cosmatos’s film is ambitious, especially in the way it is photographed. Continue reading “October Horrorshow: Mandy”