• Year: 2023
• Released: 03 Jun 2024
• Country: United States
• Adwords: 1 win
• IMDb: https://www.imdb.com/title/tt18973958/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/new_life
• Metacritics:
• Available in: 720p,
• Language: N/A
• MPA Rating: N/A
• Genre: Horror, Thriller
• Runtime: 85 min
• Writer: John Rosman
• Director: John Rosman
• Cast: Sonya Walger, Tony Amendola, Hayley Erin
• Keywords: apocalypse, lethal virus, catastrophe,

	7.8/10
	26% – Critics
	false% – Audience

New Life Storyline

A mysterious woman on the run, and the resourceful fixer assigned to bring her in. Their two unique stories inextricably link, as the stakes of the pursuit rise to apocalyptic proportions.

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New Life Movie Reviews

Catch it if you can.

When Jessie (Hayley Erin) befriends a stray dog that, unbeknownst to her, has escaped from a laboratory, she becomes an asymptomatic carrier of a deadly ebola-like virus and goes on the run from the authorities. ‘Fixer’ Elsa (Sonya Walger) is hired to track down the girl before the contagion can spread, but finds that her increasingly debilitating medical condition, ALS (Amyotrophic Lateral Sclerosis), hinders her progress.

I attended one day at Frightfest 2023 in Leicester Square, my ticket for the main screen on the Friday. It says a lot about the overall quality of the films screened that day that this one was far and away the best (not including the closing film, That’s A Wrap, which I had to miss in order to get home). New Life is by no means a brilliantly original film, tackling a subject that has been done many times before, and it is extremely low-key, but it was entertaining from start to finish, with engaging performances and solid writing and direction from first-time film-maker John Rosman.

Rosman takes a different approach to the familiar subject matter, New Life more of a character-driven piece than an out-and-out horror movie (although there are still a few scenes of yuckiness), and while, on the face of it, the film is a fairly depressing tale in which ‘carrier’ Jessie unknowingly infects anyone kind enough to help her and ultimately has no chance of a happy outcome, it actually carries a surprisingly life-affirming message, Elsa ultimately learning from her quarry to appreciate what time she has left.

Eye of the tiger

No pun intended – I will not delve or rather explain my reasoning for choosing this summary line! If you know the song and watch the movie, you might be able to guess where my head is at. Or rather the head of our main actress! No this is not a boxing film – other than that I would advice you not to read anything about the movie. Go in blind – watch it without any preconception of what this will be .. it is quite worth it! This may be a slow burner, but when it finally gets going, it hits you quite hard (again no pun intended).

That all being said, the actors are amazing in this – considering what they have to go through, the parallels, between our two main characters and where they end up … and what that means .. if it even means anything … is this an open ending we get? Or is it conclusive and I just read something into it? Well you’ll be the judge, but really clever writing and superbly edited. You could argue the movie will be bit mean to you as a viewer … but you can take it … hopefully! And if you can, this will really hit a home run (finally not a boxing pun)

New Life is amazing.

New life was a shockingly good time! Caught a screening during panicfest and it was literally one of my favorite films at the fest! The “shocking reveal” halfway through made my jaw DROP. Parallel stories for both female leads was such a good move here. You really FELT the pain in both characters for different reasons. Filled with great performances, surprises, scares and heart- this film should not be missed! I got to experience a wonderful Q&A with the filmmakers and it was just an amazing experience!

Sonya Walger really really shines here.

Bravo John Rosman! What an intense, thrilling, harrowing experience.

• Year: 2024
• Released: 22 Feb 2024
• Country: South Korea
• Adwords: 5 nominations
• IMDb: https://www.imdb.com/title/tt27802490/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/exhuma
• Metacritics:
• Available in: 720p, 1080p, 1080p
• Language: Korean
• MPA Rating: N/A
• Genre: Horror, Mystery, Thriller
• Runtime: 134 min
• Writer: Jae-hyun Jang
• Director: Jae-hyun Jang
• Cast: Choi Min-sik, Kim Go-eun, Lee Do-hyun
• Keywords: ritual, coffin, exorcism, grave, shaman, undertaker,

	7.2/10
	93% – Critics
	false% – Audience

Exhuma Storyline

Renowned Korean shaman and her protégé, Hwa-rim (Kim Go-eun) and Bong-gil (Lee Do-hyun) are enlisted by a wealthy Korean American family to identify the mysterious illness of the family’s newborn son. Hwa-rim uncovers the curse to be a ‘Grave’s Call’, a vengeful ancestor’s spirit haunting them. The family’s patriarch, Park Ji-Yong, entrust them to relocate the grave to appease the ancestor, his grandfather. Hwa-rim enlists colleagues, a Feng shui master Kim Sang-deok (Choi Min-sik) and a mortician Yeong-geun (Yoo Hae-jin).Sang-deok specializes in selling burial locations for the wealthy, while Yeong-geun owns a funeral home. During their first encounter with Ji-yong, Sang-deok becomes wary when Ji-yong insists on cremating the grave, which is located in a remote mountain near the North Korean border. Sang-deok backs out, sensing a sinister energy. However, Hwa-rim convinces them that she can perform rituals while the grave is being dug to avoid the curse. Ji-yong tells them about a famous monk named ‘Gisune,’ who provided the grave location for his grandfather.Hwa-rim and Bong-gil perform the ritual, and the excavation proceeds smoothly. One of the grave-diggers severs the head of a human-headed snake, which triggers a bad omen. Yeong-geun insists on cremating the coffin once the rain stops so they store it at a nearby ward. The local custodian opens the coffin and releases the vengeful entity inside, Ji-yong’s grandfather. The entity targets his bloodline, killing Ji-yong’s parents and Ji-yong himself. The grandfather is revealed to be a Japanese loyalist during the Korean occupation era. Before he can reach the newborn baby, Sang-deok cremates the coffin, abolishing the curse.Months later, Yeong-geun informs Sang-deok about the disturbed gravedigger who killed a snake. He revisits the cursed gravesite and discovers the head of an ‘onna’ along with a double burial site for a seven-footed standing coffin. He enlists Hwa-rim, Bong-gil, and Yeong-geun to dispose of the coffin. The four excavate it and rest at a temple, where Hwa-rim learns about Gisune Monk, who is Japanese. That night, Bong-gil witnesses a seven-foot figure obliterating a human and pigs. They find the coffin ripped from the inside. Bong-gil gets possessed and the other three witness the creature turn into a ball of fire and fly back to the mountain. The four are taken to a hospital and Bong-gil recovers after surgery.Hwa-rim investigates the creature’s origin through the possessed Bong-gil. Sang-deok returns to the grave and finds the creature dormant on the coordinates written on the tombstone. He discovers that the grave’s robbers were Korean patriots attempting to unearth a metal pole as part of a Japanese military conquest in Korea. Sang-deok, Hwa-rim, and Yeong-geun devise to unearth the pole when the creature rises after midnight. Hwa-rim will distract the shogun while the others dig. A vision reveals Monk Kitsune embedding a katana inside a decapitated samurai’s body, turning the samurai into a ghoul, with Ji-yong’s grandfather’s grave serving as a cover for the relic. Sang-deok realizes the pole is a sword embedded in the creature’s body. Using the Korean patriots’ wooden tool and blood, he slays the creature based on his elemental knowledge and regains consciousness with the others by his bedside. The four later attend Sang-deok’s daughter’s wedding.

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Exhuma Movie Reviews

an extremely well-crafted and ambitious horror film that has an uniquely korean historical/mythic DNA at its core.

Disturbing, eerie, and tense, the first half of Exhuma is an explosive mixture of south korean folklore and mythicism. It effectively evokes the universal dread and mystery regarding the afterlife, and what we, people still living and walking on this earth, can and should do with regards to that. The spiritual and supernatural bridge dangling between the two worlds. It works excellently as a paranormal occult horror film. Great atmosphere, never looses the steam, with fairly memorable moments.

But then it reaches the mid point of the film, something happens that made me not exactly sure about how I feel about this film as whole. To be clear: I still did like it a lot and it is nonetheless a strong film, but the aforementioned uneasiness and tension quickly goes away, and never quite reaches the same high as the previous half. It is a reveal/decision that I do appreciate: it is ambitious, creative, and is a big swing that we do not often see in a south Korean film. Also helps that practical effects accompanying it are simply amazing. However, the tonal shift/jarring nature of it kinda turned me off. I do recommend going into the film completely blind!

Kinda torn between 3.5 and 4 stars. It the film carried the strengths of the first two acts to the third act, and kept the film more consistent, it easily would’ve been4 stars and maybe 4.5. Again, still a great film and I highly recommend this to anyone interested in horror films with uniquely korean/asian DNA embedded to it.

Korean Horror Delves into the history of the Japanese occupation

“Exhuma” emerges as a bold tapestry of horror, weaving together an array of tropes that challenge the boundaries of the genre. Its narrative is a complex interplay of classic horror elements, grave digging, psychological twists, demon hunting, and unexpected comedy, creating a cinematic experience that is as unsettling as it is innovative. The overlay of the history of the Japanese occupation adds a layer of moral complexity. While some cultural symbolism may be lost on international audiences, the film’s deliberate pacing cultivates a tension that transcends cultural barriers, culminating in a climax that is both disorienting and impactful. “Exhuma” may not prioritize narrative clarity, but it compensates with a visceral journey through the macabre, leaving viewers with a lingering sense of unease and contemplation long after the credits roll. The film’s commitment to a slow-burn approach rewards patient viewers with a thought-provoking exploration of horror that refuses to be confined by conventional expectations.

The hype works at its best

True. In my country the ticket has gone up unreasonably. Reviews came from movie goers even experts e.g directors make this film as a must see not only for horror lovers but also korean movie lovers. Yes. The hype. Now does it worth it? My answer is no.

Actors are well known. The shaman lady supposed hold the major key to scare spectators. Kim Go Eun should have learnt from Vera Vermiga portraying the famous psychich Lorraine Warren. People have no idea how was Lorraine Warren in real. But Vermiga shows no matter her extra capability and expertise, she’s never in fine mood during scanning or experiencing any paranormal activity.

And when eventually the evil is a giant samurai is somehow outrageous. Never described how that’s possible. I am sensing classic Hollywood horror which exploiting unexplained creatures. Not stopping there, the giant samurai could alter into huge fireball. Ouch!

So I was so curious, because viewers comparing it with The Wailing, then I’m disappointed. Indeed The Wailing is a must see, way better plot and end in one horrific scene. Many other must see Korean thriller/horror movies are: The Call and The Forgotten.

Anyway my appreciation is on the script, connecting the history of Peninsula. Other thing to give a thumb up is the cinematography.

• Year: 2003
• Released: 02 Feb 2003
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0338726/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/aquanoids
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: R
• Genre: Horror
• Runtime: 78 min
• Writer: Mark J. Gordon, Eric Spudic
• Director: Reinhart ‘Rayteam’ Peschke
• Cast: Laura Nativo, Rhoda Jordan, Edwin Craig
• Keywords:

	2.5/10
	19% – Critics
	false% – Audience

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Aquanoids Movie Reviews

See Sleestak Swimming and fishing for fresh blood !

AQUANOIDS with Eric Spudic www.ericspudic.com “Killers Of The Sci-Fi Sea, With gore & more…That’s a good movie.”Lara Nativo is a really nice Scream Queen©.There is a lot of footage of Catalina Island,Kind of a travelogue for Gorehounds.There is some political stuff because of the tourism problem with so many deaths,Didn’t we learn from the JAWS movie that danger BRINGS tourists.The AQUANOIDS(monsters) look like the Sleestak from TVland’s LAND OF THE LOST.I liked the movie.Great fight scene between man and woman.The casting seems from a Soap Opera employment agency.Some of the acting seemed forced and other times roles could have been themselves.

Stupid title; crap film.

My colleagues at work often question my taste in film: they cannot understand why I waste my time championing low budget horror when I could be watching the latest blockbuster to wow the masses at the local multiplex. After watching Aquanoids, I’m beginning to wonder why I bother myself.

Set on a small island off the Californian coast, Aquanoids stars Laura Nativo as Vanessa, a beautiful diver who, after being attacked by a hideous fish-man, attempts to warn the locals of the danger that lurks in the surrounding waters. This upsets the nasty officials of the island, who are afraid that Vanessa will scare away tourists and upset plans for the building of a shopping complex.

A shoddy mish-mash of themes and ideas stolen from the likes of Jaws, Humanoids From The Deep, and The Creature From The Black Lagoon, Aquanoids is absolutely awful in almost every way imaginable: the direction is clumsy and amateurish; the script is childish, poorly written, and highly unoriginal; the editing shows no hint of restraint, utilising every gimmicky fade, wipe and split-screen effect possible; the monster make-up and gore is cheap and laughable; the special effects are unconvincing; and the acting is uniformly awful. Even some welcome female nudity cannot stop this one from being a total waste of time.

Whilst watching this lamentable mess, I noticed that one character had the surname McClure, whilst another was named Bruce—possible references to actor Doug McClure (from Humanoids From The Deep) and Bruce the Shark (from Jaws). There is also a scene where several characters discuss their favourite watery monster movies, mentioning Deep Star Six, Leviathan, Tentacles, Alligator 2 and Roger Corman in the process. This leads me to believe that the makers of Aquanoids are genuine fans of horror and B-movies. If this is the case, then those involved should hang their heads in shame for giving us this abysmal addition to the genre.

Z-grade isn’t the word

I’m a pretty big fan of the ‘underwater monster’ B-movie. CREATURE FROM THE BLACK LAGOON is the granddaddy of course, and JAWS the milestone against which all over movies have been judged/attempted to rip off over the past thirty-plus years. AQUANOIDS is somewhere between the two plot-wise, as humanoid-type creatures kill surfers and bathers at a beach, but there the resemblance ends. This is no-budget filmmaking at its very worst, utterly devoid of talent and interest and only worth watching to see how worthless it really is. The hardest thing to like about this film is the camera, which looks little better than your average home video; the shot on video format works against it, lessening the experience against other, better B-movies of the past.

A number of those films are referenced by characters in one SCREAM-like post-modern conversation, giving away the fact that the filmmakers are fans of this sub-genre. It’s a shame they couldn’t do anything with the tired script and awful execution. The creatures are barely seen, and boast rubbishy PREDATOR-style vision; the attacks involve laughable gore effects and one rip-off “monster birth” sequence. The jokes are flat and the acting awful, and brief nudity does nothing to keep you watching. The film’s so cheap that even the guns rarely fire and explosions are effected via some lame CGI work. As the leading bimbo, Laura Nativo is attractive enough, and strangely resilient to the perils of the poor script, but she can’t save this wishy-washy monster flick from being a total disaster.

• Year: 2024
• Released: 12 Apr 2024
• Country: Canada, United States, Ireland
• Adwords: 1 nomination
• IMDb: https://www.imdb.com/title/tt22939186/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/arcadian
• Metacritics:
• Available in: 720p, 1080p, 1080p
• Language: English
• MPA Rating: R
• Genre: Action, Horror, Thriller
• Runtime: 92 min
• Writer: Michael Nilon
• Director: Benjamin Brewer
• Cast: Nicolas Cage, Jaeden Martell, Maxwell Jenkins
• Keywords:

	5.7/10
	55% – Critics
	false% – Audience

Arcadian Storyline

Arcadian is about a man played by Nicolas Cage, and his twin teenage sons, Max Jenkins and Jaeden Martell, who must fight to survive in a remote farmhouse at the end of the end of the world. The challenges of growing up are made worse by the terrors awaiting the boys and their father after the sun has set.—Ben Brewer

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Arcadian Movie Reviews

Arcadian is frustrating as it has the potential to be a terrifying, but…

I’d Watch It Again

“Arcadian” claws its way onto the screen with a promising premise: a post-apocalyptic world where a father and his sons fight for survival against nocturnal horrors. Nicolas Cage delivers a subdued performance as Paul, the father desperately clinging to normalcy for his children.

Nicolas Cage is, as always, a compelling presence. His performance grounds the film, even when the shaky cam and creature design falter. The young actors portraying his sons are believable as well.

Overall, Arcadian is frustrating. It has the potential to be a terrifying exploration of survival, but shaky camerawork and underwhelming creature design hold it back.

Please, take off cameras from Parkinson’s DoP

I was growing slowly confident that finally we went off that time of movie industry where everything must be shot “run and gun” guerrilla style, I mean, where the camera is handheld and sequences are unstable and shaky.

This movie is shaky for the 98% of it.

The directory of photography never heard of tripod, steadycam, dolly or whatever could put a stop to his Parkinson’s movements all across every sort of shot.

This boring, unnecessary and constant shake makes this movie pretty much unwatchable, unless you view it on a mobile phone, otherwise get ready for motion sickness.

Please, directors, forget this handheld mania. It’s not 2010 anymore.

Lost Its Focus

The constant shakiness of the camerawork makes this film physically challenging to watch unless you have an iron constitution that prevents motion sickness. I found the most relief during the scene when the camera is mounted on an ATV. Otherwise, every scene rattles and blurs and bounces and trips on a rock, distracting from the quality acting, storytelling, and world-building. I would have really enjoyed seeing more of everything in the film, but I couldn’t focus fast enough before the camera swished up and down and vibrated until I had to look away. In the end, I listened to more of the movie than I saw of it, which is a shame because I was very excited after seeing the preview.

• Year: 1974
• Released: 19 Jun 1974
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0072267/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_terminal_man
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: PG
• Genre: Horror, Sci-Fi, Thriller
• Runtime: 107 min
• Writer: Michael Crichton, Mike Hodges
• Director: Mike Hodges
• Cast: George Segal, Joan Hackett, Richard Dysart
• Keywords: mind control,

	5.6/10
	41/100

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The Terminal Man Movie Reviews

Haywire & Empty Thriller.

Based on the Michael Crichton novel, this adaptation(directed by “Get Carter” Mike Hodges) tells the story of computer programmer Harry Benson, who, in an attempt to cure his brain seizures, agrees to an experiment where he has micro-computers implanted in his brain, in order to correct the faulty brain chemistry. Things don’t go as planned when his new mind starts to get pleasure from the violent impulses he now feels, and so escapes from the hospital, starting a desperate manhunt to prevent him from murdering anyone, and of course to cover-up the scientific failure.

George Segal is believable as Harry, and the rest of the cast is fine, and though Mike Hodges tries, this film is simply too dreary and downbeat to succeed, and by the end, there doesn’t seem to have been any discernible point to it all.

It manages to make a modern Frankenstein story dull…

… and I am not saying slow, which is different from dull. “Babbette’s Feast” is confined in cast and setting and although I guess you could call it slow, it is not at all dull. George Segal plays Harry Benson, a man with a form of epilepsy in which he becomes violent during his seizures and then awakens remembering nothing. He also is paranoid about machines controlling humans ten years before “The Terminator” was released.

His wife leaves him, and it looks like his outbursts will have him traveling through the criminal justice system which can do nothing for this situation or maybe he will wind up shot dead by some would be victim.

So some scientists think that Benson could be a beneficiary of an experimental procedure in which a small computer is implanted in his brain and his epilepsy is controlled by impulses the computer transmits. Post operation, things seem to be a success, but Dr. Janet Ross (Joan Hackett) discovers that Benson’s brain is becoming addicted to the impulses, and in time – and she actually can calculate the time – he will have more frequent and severe violent outbursts.

But before she can do any kind of medical intervention, Benson leaves. Apparently he has prearranged an escape with some woman he barely knows, sporting a blond wig so you can’t tell he just had surgery.

So the last half of the film is just Benson having those predicted seizures and becoming horrifically violent during each one. It doesn’t have the pathos or irony of the Frankenstein monster’s trek through the German countryside. Segal just begins to shake, his eyes roll up in his head, and he does violence to whomever and with whatever is at hand. That’s it. That’s essentially all that the last half is.

George Segal never really got the credit he deserved for some of the really good roles he had in the 70s. This is not one of those good roles, and I really don’t see how he or anybody else but the writer could have saved a film that is really only half there. I’d give the pre-escape part of the film a 7 or 8. I’d give the last half a three. This is where I come up with my 5/10 rating.

Overlooked and interesting 70’s science fiction effort.

“The Terminal Man” is written for the screen, produced, and directed by Mike Hodges (“Get Carter”, “Flash Gordon”, “Croupier”), based upon the Michael Crichton novel, and tells an intriguing story, the likes of which Crichton always excelled at, that combined science and thrills.

The likable George Segal stars as Harry Benson, a computer scientist who, since a car accident, has suffered from blackouts & seizures that made him dangerously violent. Now a team of surgeons is performing ground breaking surgery on him: attaching electrodes to 40 of his brain terminals that will hopefully counteract his violent impulses. However, as the viewer certainly suspects will happen, this doesn’t work, and his brain ends up craving the shocks / stimuli that it receives, and Harry loses control once again.

I can certainly understand the problems that some people may have with this production, as it’s really not the typical thriller at all. It’s slow, and it’s quiet; there’s not even that much musical accompaniment on the soundtrack. It does exhibit a fairly cold, clinical approach, and the emphasis on the story’s exposition will inevitably bore people more conditioned to non- stop action in what they watch. Even after Harry has made the expected escape from the hospital, he doesn’t spend that much time running amok, and certainly does not kill very many people.

But this movie *is* noticeably intelligent and thoughtful and does offer rewards for patient viewers. It has one striking murder set piece that’s rather artfully done; it takes place atop a water bed, and the sprays of water and the way the blood spreads definitely are what make the scene. And, like other movies of this kind, there is a certain wariness (voiced by Harry) on the part of mankind regarding the computer age and what it could mean for us all.

Another wonderful element to “The Terminal Man” is its incredible cast of both stars and rock solid character actors. Segal is effectively low key in the lead, and is nicely supported by Joan Hackett, Jill Clayburgh (in a small but welcome appearance), Richard Dysart, Donald Moffat, Matt Clark, Michael C. Gwynne, William Hansen, and Norman Burton. (It’s particularly fun to see Dysart and Moffat sharing scenes eight years before they did John Carpenters’ “The Thing” together.) And playing smaller roles are the likes of James B. Sikking, Steve Kanaly, Jack Colvin, Ian Wolfe, Lee de Broux, Victor Argo, and Nicholas Worth.

This is all reasonably engaging stuff, leading up to an ending that, while somewhat conventional, is staged in a very unique way. All in all, “The Terminal Man” is a good movie that does deserve to be discovered or rediscovered.

Seven out of 10.

• Year: 2024
• Released: 05 Apr 2024
• Country: United States, Italy, Serbia, Canada
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt5672290/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_first_omen
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: R
• Genre: Horror
• Runtime: 119 min
• Writer: Tim Smith, Arkasha Stevenson, Keith Thomas
• Director: Arkasha Stevenson
• Cast: Nell Tiger Free, Ralph Ineson, Sonia Braga
• Keywords: nun, prophecy, italy, devil’s son, revelation, anti-christ,

	6.8/10
	70% – Critics
	false% – Audience

The First Omen Storyline

Title: Shadows of RomeChapter 1: A Call to ServiceSarah stood before the ornate gates of St. Peter’s Basilica, her heart pounding with a mixture of excitement and trepidation. She had traveled across the Atlantic Ocean from her small hometown in the heart of America to answer a calling she couldn’t quite explain. At twenty-three, she felt a sense of purpose stirring within her, urging her to devote her life to the church.Raised in a devout Catholic family, Sarah had always felt a deep connection to her faith. Her parents, both staunch believers, had instilled in her a sense of duty and devotion from a young age. Now, as she stood on the threshold of this sacred place, she knew that her journey was just beginning.With a deep breath, Sarah pushed open the heavy gates and stepped into the grandeur of St. Peter’s Square. The sight before her took her breath away. The magnificent basilica rose before her, its towering dome reaching toward the heavens. The square buzzed with the energy of pilgrims and tourists from around the world, their voices blending into a cacophony of languages.As Sarah made her way through the throngs of people, she felt a sense of peace settle over her. This was where she was meant to be, she was sure of it. She had been accepted into a program that would allow her to serve the church in Rome, assisting with various outreach programs and ministries. It was a dream come true for Sarah, a chance to immerse herself in the heart of Catholicism and deepen her connection to God.Chapter 2: A Haunting PresenceIn the days that followed, Sarah threw herself into her work with zeal. She found fulfillment in helping those less fortunate, whether it was serving meals at a local soup kitchen or volunteering at a homeless shelter. But amidst the joy of serving others, Sarah couldn’t shake the feeling that something was amiss.It started with a sense of unease that lingered in the back of her mind, like a shadow lurking just out of sight. Sarah dismissed it at first, attributing it to the overwhelming nature of her new surroundings. But as the days passed, the feeling only grew stronger.One evening, as Sarah made her way back to her modest apartment after a long day of volunteering, she felt the hairs on the back of her neck stand on end. It was as if someone-or something-was watching her, their eyes boring into her very soul. She quickened her pace, her heart pounding in her chest.Just as she reached the safety of her apartment building, Sarah heard a low, guttural sound emanating from the darkness behind her. She whirled around, her breath catching in her throat. But there was nothing there, only the empty street bathed in the soft glow of the streetlights.Shaken but determined to shrug off her unease, Sarah hurried inside and locked the door behind her. She told herself it was just her imagination running wild, that there was nothing to fear. But deep down, she knew that something was terribly wrong.Chapter 3: Uncovering the TruthAs the weeks passed, Sarah’s sense of unease only intensified. She began to notice strange occurrences around the city-unexplained disappearances, whispered rumors of dark rituals performed in secret, and a pervasive sense of fear that hung in the air like a shroud.

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The First Omen Movie Reviews

• Year: 2024
• Released: 26 Apr 2024
• Country: Canada
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt16280912/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/humane
• Metacritics:
• Available in: 2160p,
• Language: English
• MPA Rating: R
• Genre: Horror, Thriller
• Runtime: 93 min
• Writer: Michael Sparaga
• Director: Caitlin Cronenberg
• Cast: Jay Baruchel, Emily Hampshire, Peter Gallagher
• Keywords: dystopian,

	5.3/10
	35% – Critics
	false% – Audience

Humane Storyline

In the wake of an environmental collapse that is forcing humanity to shed 20% of its population, a family dinner erupts into chaos when a father’s plan to enlist in the government’s new euthanasia program goes horribly awry.

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Humane Movie Reviews

Great Concept, Horrible Execution

I watched Humane. I liked the idea. And the movie kept my interest. But I just couldn’t really believe it.

If D. O. C. S. did all that, (by “all that,” I mean details that would spoil the movie if I were to write them,) and any family knew about it, that information would spread like wildfire. It wouldn’t have been a big surprise to the family.

The end was cheesy AF. Not believable at all.

I disliked the politics of the film also. It would have been way more believable to have the World Health Organization doing all of it, rather than a single political party.

There are numerous other things that just didn’t add up in it also.

Buuuuut… it held my interest. And the CONCEPT of the film was very original and intriguing, which is way more than I can say for the other movies coming out nowadays. The movie was good, but it could have been great with just a bit more thought put into it.

It’s not bad

So I won’t go into a movie summary since IMDb already does a pretty good job of doing that. It is watchable, but kind of slow to get started. The acting is very average for all involved except for the two main character husband and wife…they of course are quite seasoned. The soundtrack, yea that is really lacking. And actually takes away from many scenes while always playing softly in the background. But where this film is actually quite strong is the cinematography. Whoever the cinematographer was for the movie knew his business. Not a single shakey-cam anywhere. They set up the scenes and and shots it all really well. That is something so new. Typically it is annoying shakey-cam and high school level film class shots. So it’s worth a watch.

nice enough idea but can’t carry the whole movie

The concept of this movie is pretty good, government needs to reduce population so pays people to be euthanised. Rich guy invites family round to tell them he’s enlisted to do this. All kinda makes sense and can go along with the general idea.

The rest of the movie makes absolutely no sense whatsoever, the company that come and do it, the behaviour of the family, every action, further development of the original concept, decisions of everyone involved, nothing works. There is that single original concept, and thats it.

But actually that single thing was kinda enough to keep watching and see how it plays out, to its inevitable dissatisfying ending.

Nice idea. Ok to watch, could have been waaay better in every single way.

• Year: 1989
• Released: 26 May 1989
• Country: Italy
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0157981/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/maya
• Metacritics:
• Available in: 720p, 1080p,
• Language: Italian
• MPA Rating: N/A
• Genre: Horror
• Runtime: 100 min
• Writer: Marcello Avallone, Andrea Purgatori, Maurizio Tedesco
• Director: Marcello Avallone
• Cast: Peter Phelps, Mariella Valentini, Cyrus Elias
• Keywords: human sacrifice, curse, demon, maya temple, witch doctor,

	4.8/10
	false% – Audience

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Maya Movie Reviews

Alternates Between Gripping Supernatural Moments and Derivative Horrors

In the 8th century, an evil king attempts to extinguish a Mayan Indian tribe but is unsuccessful. He vows revenge and, being a wizard who can move freely between the world of life and death, slips into the netherworld. According to Mayan legend, the king will return when a man who knows of the bridge between the two worlds is killed at a pyramid-like temple. So says a character at the beginning of MAYA, which for at least ten minutes is entirely gripping, as we watch archaeologist Solomon Slivak (William Berger) play out the role of instigator who goes to the temple and gets murdered so the king may return to Earth.

Upon Berger’s exit, MAYA director Marcello Avallone, and his co-writers Andrea Purgattori and Maurizio Tedesco, seem unable to expand much on the concept of the “night as the fracture between two worlds,” as a pre-credit title card notes. At regular intervals, Avallone drifts away from the supernatural, inserting routine stalk-and-slash gore sequences that smack of artistic compromise.

The “night fracture” theme plays out, though, as Slivak’s daughter (Mariella Valentini) arrives in a poverty-ridden Mexican community, asking a lot of questions and falling for a down-and-out adventurer and gambler (Australian actor Peter Phelps). Soon, both of them are snared in the legend of the returning king, and people around them get murdered in horrible ways.

For example, two punk dudes down from Texas to raise hell run afoul of the evil spirit, which crushes both of them with their own truck. A death by fish hook scene is similarly contrived and ridiculous. The best suspense scene shows Phelps’ girlfriend tossed about a bath tub, an invisible force repeatedly smashing her face against metal pipes.

Phelps confronts an old friend of Slivak’s, who is the only one who can stop the evil spirit from sacrificing a small child atop the temple, during the Celebration of the Dead. The doctor yells some mumbo-jumbo, stuff flies off the walls in POLTERGEIST fashion, and the spirit is supposedly sent back to its netherworld. After the dust has cleared, there is one last cinematic jolt, a throwaway ending sequence set in an airport that is almost as creepy as the opening set-piece.

MAYA never strays very far from playing its horror very straight, with knifings and beatings and other earthly killings. When it investigates the underpinnings of the supernatural, however, it becomes for fleeting moments a really fun movie.

This Italian production was filmed in Isla de Margarita (Venezuela).

Decent but flawed supernatural horror obscurity

Italian horror has never especially depended on coherence. Fulci and others made up for it for it with the horror of their visions, Argento and his like made up for it with the intensity of their art. I don’t fault Maya for lack of coherence, but lack of conviction, it has the right moves for the most part but comes off insipid in the end. It has an interesting mythological basis, the resurgence of an evil Mayan king (the awesomely named Ze Bul Bai) who has conquered death and wants revenge, prompting horror, but while it isn’t lacking in engaging incident it has little anchor. The story sees one Lisa Slivak coming to a Venezuelan town on the death of her father and becoming entwined in the weirdness he was researching, indeed became part of himself, with inexplicable death all around building to a climax of sorts. Director Marcello Avallone is adept in creating a sense of unusual place, a certain heady atmosphere that goes a long way towards carrying the film, he also has a real knack for tension, through filters and lighting the ability to summon menace in quiet images, disturbance in the calm before the storm. He also has a knack for sharp and shocking violence, though the film is never all that gruesome (don’t worry, there is a bit of cool gore such as some fish-hook fun) the nasty bits do tend to pack quite a nifty punch. Where the film falls is its lack of a notable hero or villain. Mariella Valentini is perfectly pleasant as Lisa, but hardly memorable, while Peter Phelps does his best as the male lead Peter, but regrettably is written as sort of a dick. There isn’t anyone else to pin interest on either, other characters are mostly either forgettable or dick-heads that deserve demise. As for villainy you can forget about it, this is supernatural territory but the what behind the grisliness on show never puts in an appearance and is never really concrete. And this isn’t a subtle show either, just one where things don’t really add up. Still, for the most part this is a good watch, only really coming apart in the final block. There’s some cool bloodshed, nudity, a Hong Kong style puke scene and some decent atmosphere, its all pretty entertaining. Worth a look for connoisseurs I think, don’t expect too is the best way to get the best of its charms say I.

Marcello Avallone’s best horror movie (out of the two he has made).

Of the nine films directed by Marcello Avallone, only two were horrors: the first was an unremarkable demonic movie by the name of Specters, which not only suffered from a dull and utterly nonsensical plot, but offered little in the way of genuine scares, and even failed to compensate with that staple of 80s Italian horror, OTT gore. That film was followed two years later by Maya, which was just as incomprehensible, if not more-so (that ending! WTF?), but at least presented viewers with a unique setting, a reasonable amount of atmosphere, and more than enough nasty violence to satisfy the gore-hounds (along with plenty of gratuitous female nudity for thems that like it).

Mariella Valentini plays Lisa Slivak, who travels to Venezuela to identify the body of her father, who has died in mysterious circumstances. As Lisa investigates, with the help of rather unlikeable local lothario Peter (Peter Phelps), numerous people begin to die in unusual and gruesome ways. Quite who or what is behind these bizarre deaths is beyond me—the plot is kinda hard to fathom out—but the killings are both creative and sadistic: a would-be rapist has his leg crushed by a truck before getting his head impaled by a metal pole, a naked Latino hottie gets her face bashed in by unseen forces while in the bath (her nose splitting open as it hits the edge of the tub), and another victim is suspended by fishing hooks in her neck. To add to the nastiness, there’s also a stomach churning scene where a ‘finger-wrestler’ has his fighting digit snapped in two (blood spurting from the messy wound), and a strange ritual that sees a man vomiting up live snakes (similar to those weird Hong Kong black magic movies of the early 80s).

5.5 out of 10, rounded up to 6 for IMDb.

• Year: 1927
• Released: 09 Sep 1927
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0017739/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_cat_and_the_canary
• Metacritics:
• Available in: 720p, 1080p,
• Language: None, English
• MPA Rating: Passed
• Genre: Comedy, Horror, Mystery
• Runtime: 108 min
• Writer: John Willard, Robert F. Hill, Alfred A. Cohn
• Director: Paul Leni
• Cast: Laura La Plante, Creighton Hale, Forrest Stanley
• Keywords: haunted house, based on play or musical, last will and testament, black and white, old dark house, silent film,

7.1/10

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The Cat and the Canary Movie Reviews

Amazing “Old Dark House” film

“The Cat and the Canary” has been considered a masterpiece, and that the film is still known today is a feat in itself. It is easily my favorite silent film. Paul Leni (the director) has a great deal of prowess on films like these, and it has been admitted by others.

First, the sets are realistic, making this film a believable “journey back in time” (it was made over 70 yrs. ago). I am shocked to hear one reviewer say this film as broadly acted and visually stunted. The sets are marvelous, especially the drawing room (it looks very nice to be part of a “haunted house”). The camera work (ex. the skeleton double-exposure, the subtitles occasionally moving like a ghost) is very enjoyable, too.

About the acting, first get this straight: Much of the acting is quite normal. But in the fright scenes (especially by Laura La Plante), the acting has nothing wrong with it. Much of it is very funny (contrary to common belief). Flora Finch (Aunt Susan) is funny as the gossiper, and Creighton Hale as Paul is cute. Why do most of you find the broad acting painful to watch? If you can’t find silent films enjoyable, all I can tell you is, tough luck. Classic films are as a general rule better than the new ones, but even new films can be very good.

Creepy Mystery and Horror Silent Film

The millionaire Cyrus West has spent the last years of his life in his mansion nearby the Hudson River considered insane by his greedy relatives and feeling like a canary in a cage surrounded by cats. When he dies, he stipulates that his lawyer Roger Crosby (Tully Marshall) would read his will that is kept in a safe in the twentieth anniversary of his death. On the scheduled day, Cyrus West’s loyal servant Mammy Pleasant (Martha Mattox) and the lawyer welcome the guests in the creepy mansion that people tells that is inhabited by ghosts: West’s nephews Harry Blythe (Arthur Edmund Carewe), Charles “Charlie” Wilder (Forrest Stanley), the scared Paul Jones (Creighton Hale), Aunt Susan Sillsby (Flora Finch), Cecily Young (Gertrude Astor) and West’s niece Annabelle West (Laura La Plante). When Roger Crosby opens the will, West’s mansion and fortune are left to the most distant relative having the name West, meaning Annabelle. However, she should prove first that she is sane; otherwise, the inheritance would be bequeathed to another heir whose name is in a sealed envelope. Out of the blue, a guard (George Siegmann) comes to the mansion and tells that a dangerous lunatic has fled from an institution. During the night, Roger Crosby disappears and Annabelle receives an envelope from Mammy Pleasant where West tells the location of his precious diamonds. Annabelle finds the jewels and wears a necklace, but while she is sleeping, a hand comes from the wall and steals the diamonds from her neck. With the exception of Paul Jones that loves Annabelle, her relatives believe that she is insane. But when Annabelle finds a hidden chamber in the wall with the body of Roger Crosby, Mammy Pleasant decides to call the police and the identity of the lunatic is disclosed.

“The Cat and the Canary” is a creepy mystery and horror silent film by the German Expressionist director Paul Leni. The plots blends black humor with elements of horror using the atmosphere of the expressionism with shadows and lighting, and the result is a stylish movie where even the inter-titles are funny. The beauty of Laura La Plante is very impressive. My vote is eight.

Title (Brazil): “O Gato e o Canário” (“The Cat and the Canary”)

Influential Silent Film Is Still Amusing

The 1922 play THE CAT AND THE CANARY was so popular that it made the fortune of author John Willard, who lived to see it filmed no fewer than three times before his death in 1942. Even today the story remains a classic of its kind, inspiring a host of films that mix comedy, mystery, and horror–not to mention still more that focus on suspicious doings in old, dark houses. When questioned by author Gavin Lambert, director James Whale very specifically indicated that the 1927 film version, along with the 1928 THE LAST WARNING, influenced his own work in such films as FRANKENSTEIN and THE OLD DARK HOUSE.

Both THE CAT AND THE CANARY and THE LAST WARNING were created for Universal by director Paul Leni. But while THE LAST WARNING is not presently available to the home market, THE CAT AND THE CANARY most certainly is, and even some eighty years later is possible to see what all the fuss was about. In term of cinematography, CAT is a remarkably imaginative film, using a series of over-lapping images, close-ups, and dissolves to astonishing effect. In a visual sense it is easily one of the most stylish films of the silent era.

The plot is a classic of its kind. Like the original Willard play, the film’s story mixes a host of already-clichéd ideas with several then-new ones. Today, of course, it can be a bit difficult to them apart! But even so it remains a fair amount of fun. An eccentric millionaire has been hounded to death by his greedy relatives–and when he dies he leaves behind a will that imposes a twenty year waiting period between his death and delivery of his estate to his heir. But who will the heir be? The candidates assemble to hear the will at midnight… and no sooner is the heir named than strange doings are afoot.

The characters are archetypes: the nice girl (Laura La Plante), the mild-mannered boy (Creighton Hale), the fashion princess (Gertrude Astor), the battle ax matron (Flora Finch), and so on. Perhaps most memorable is the housekeeper (Martha Mattox), an exceedingly dour woman most ironically named Mammy Pleasant! Add in an exasperated lawyer, a creepy doctor, secret passages, hairy hands with needle-like finger nails, stolen diamonds, and as many dashes of comedy as you can get away with, mix well, and you have the inspiration for a seemingly endless list of classic films.

Although they may seem overly broad by modern standards, the cast plays at the level of what was considered comic-realistic in the late silent era, the production values are first rate, and the plot is quirky enough in a silly sort of way to make the whole thing fun. But it is really the direction and the look of the thing that scores; in its best moments, THE CAT AND THE CANARY is plenty good indeed.

The film is available in several DVD releases. You should avoid the Alpha release; although the picture is passable, the score is so dire that it completely undermines the film. Although it clearly needs further restoration, the Image release is superior and offers your choice of scores, both of which work with the film rather than against it. Recommended for silent fans and those interested in the development of the classic horror film!

Gary F. Taylor, aka GFT, Amazon Reviewer

• Year: 2023
• Released: 26 Apr 2024
• Country: France, United States
• Adwords: 3 wins & 6 nominations
• IMDb: https://www.imdb.com/title/tt26744289/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/infested
• Metacritics:
• Available in: 720p, 1080p, 1080p
• Language: French
• MPA Rating: N/A
• Genre: Horror
• Runtime: 106 min
• Writer: Florent Bernard, Sébastien Vanicek
• Director: Sébastien Vanicek
• Cast: Théo Christine, Sofia Lesaffre, Jérôme Niel
• Keywords:

	6.7/10
	18% – Critics
	false% – Audience

Infested Storyline

Kaleb, who’s about to turn 30 and has never been lonelier. He’s fighting with his sister over a matter of inheritance and has cut ties with his best friend. Passionate about exotic animals, he comes home one day with a venomous spider and accidentally let it slip away.

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Infested Movie Reviews

In Defense of Arson

What tangled webs they weave when the survivors cannot leave.

Infested is the latest of European Apartment/Isolation Horror with the likes of 2007’s Rec from Spain and 2022’s Lockdown Tower with the latter closer to this kind of rundown building and both from France. While I liked the other two more, this still works. At least the first half, anyways.

A neglected apartment tower’s resident critter expert brings home a poisonous spider only to lose it almost immediately and just as swiftly, that thing multiplies tenfold+. Soon, all the residents will face off with the new eight-legged occupants and hopefully some will survive.

As usual in these When-Animals-Attack films, the characters do some DUMB things. Like over and over.

Wasn’t there a first-floor window to crawl out of? Front door to simply open? Egad, every dumb mistake you could make happened here. Granted, I’d probably panic, too or simply have a heart-attack with my arachnophobia in a dark building full of spiders.

My biggest issue was there were no time jumps to make this even remotely realistic. And to me, the more realistic, the more terrifying it is. Here, the one spider lays its egg sack and pretty much, within minutes the whole tower is covered with them. Plus, they grow to almost human size with each new batch.

Now that said, it didn’t stop me from jumping so many times out of my seat and audibly swearing, I had to constantly pause the movie to recover. So, yeah, they did their job on my fears. And if you also suffer from the same fright of these abominations, you’ll probably get some great scares out of this as well.

You’ll just have to get through some tough/long scenes of character set up in the first half-hour. Despite these feeling like real people who really live in the same tight quarters, it was almost brutal to get through so much exposition to get to what we pressed play for: a Spider Invasion.

It’s not bad, and for the grand majority of the spider-scenes, they did look like real spiders (well, except for the 3-foot kinds.) Just try not to imagine them on your own skin.

***

Final Thoughts: It pains me to give this a mediocre review. I did the same for 2022’s Fall – which explored my greatest fear: Heights. (Spiders are my #2.) That one just suffered through cliches and really bad characters I didn’t care about. This film’s problem was the speed they multiplied and size they grew. Also, since when are spiders social bloodsuckers?

A rather fun creature feature when it focuses on that

Looking for a special present, a man decides to help get over his lot in life by caring for an exotic spider to go along with the rest of the animals in his collection, but when it becomes apparent that the spider has escaped and begun reproducing more voracious creatures like it must get away alive.

This was a disappointing and somewhat underwhelming genre effort. The main part that works for this one is the highly intriguing and at times outright terrifying work of the spider being let loose in the community. With a fantastic opening giving the kind of stellar example of the ferocity and deadliness of the species, there’s quite a lot to like with the gradual reveal of something loose in the building as their lives are interrupted by the discovery of dead residents, strange animal attacks, or the presence of strange webs found all over the building. The series of scenes here involving the swarm of ravenous creatures appearing out of the cracks of the building and attacking in basements, kitchens, bathrooms, or just about anywhere else throughout here while also given enough storyline context about surviving past the extermination techniques due to their rapidly-procreation style or invulnerability to any tactics employed against them. With the stellar pace present that keeps them far more intent in the second half so these terrifying scenes can come about at a frantic clip, these are what manage to provide its best moments. What holds it back is, unfortunately, everything else that transpires here. Most of that is the extremely sluggish and generally uninteresting first half that spends far too much time on the residents of the apartment and the go-nowhere lives they lead. Featuring a highly original series of urban stereotypes involving drug pushers, counterfeiters, sexual miscreants, or other forms of deviance that takes place in this kind of hoodlum environment, these all create a simple enough setup that provides all the necessary build-up to get to know the group but it’s all cliches and uninteresting as a result. Very little of this makes the group stand out from any other community of down-on-their-luck individuals in a low-rent squalor and fearing for their lives due to the company they keep, stuck in a situation that only gets worse with the inclusion of the spiders here. That causes this to be a rather sluggish affair without offering any kind of genre work or interest during this point so it takes far longer than it needs to get to the spider action and thus the running time is inordinately longer than it needs to be, bringing this down overall.

Rated Unrated/R: Graphic Language and Violence.

“Vermines” is a very good film that manages to give a message with social criticism.

“Vermines” is a more complex film than it seems at first glance, the script touches on topics such as gentrification in a French building inhabited by people of African and Arab descent. This type of racism and discrimination is constantly seen in the film and as social criticism it is added to spiders as an example of the animal kingdom that is affected by urbanization, thus emphasizing gentrification as a central theme. Within the horror and thriller genres, the film achieves interesting and distressing scenes. The main characters are endearing and you care about them. The cinematography achieves a great atmosphere along with the filming locations and the camera movements manage to accentuate the action captured on the screen. The cast is top-notch, each actor imbues their characters with their own style. The director does an elegant job, he knows perfectly well what he wants to tell and how to do it. “Vermines” is a very good film that manages to give a message with social criticism.

• Year: 1988
• Released: 14 May 1988
• Country: Japan
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0223150/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/door
• Metacritics:
• Available in: 720p, 1080p,
• Language: Japanese
• MPA Rating: N/A
• Genre: Horror, Mystery, Thriller
• Runtime: 95 min
• Writer: Ataru Oikawa, Banmei Takahashi
• Director: Banmei Takahashi
• Cast: Keiko Takahashi, Daijirô Tsutsumi, Shirô Shimomoto
• Keywords: salesman, home invasion, back stabbing, obsessed with a woman, house intruder, suspense,

	6.6/10
	false% – Audience

Door Storyline

After several strangely threatening calls from a local salesman, a homemaker becomes increasingly afraid to answer her apartment door.

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Door Movie Reviews

Doa ni oto shinaide kudasai

Yasuko (Keiko Takahashi) is alone. The kind of alone where even though she has a husband and a son, she’s alone. Longingly alone. Trapped at home all day, unless she’s running errands. She lives for her family and the only people that she often interacts with are the constant sales calls and salesmen knocking at her door. Some of them are pretty determined. Not all of them are as deranged as Yamakawa (Daijirô Tsutsumi).

He wants to sell her English lessons and she’s made a mistake by leaving the door just chained and not locked. His invasion of her high rise apartment is dealt with by slamming the door, injuring his hand. That’s not where things end.

Yamakawa — like many of the salesmen — knows way too much about his marks. Now, he starts calling Yasuko constantly, breathing heavy, leaving obscenity-laced messages and even leaving tissues stained with his bodily fluids in her mailbox. He nearly gets into her bedroom before her son comes home from school. Yamakawa is innocent now, joining mother and son for a friendly dinner, an invader smiling at the table.

Director Banmei Takahashi, who co-wrote Door with Ataru Oikawa, has a career filled with movies that infuse sex and violence. Incredibly, Keiko Takahashi is his wife and he puts her through hell here, but in the final moments of the movie, she rises above, literal chainsaw in hand, and pays her attacker back. She never apologized for breaking his hand and she’s not about to apologize now.

This was followed by two sequels, Door II: Tokyo Diary about a call girl and the risks she takes, and Door III, in which a salesgirl is “stalked by the strange and supernatural,” which means that now I need to hunt down both of those movies.

Man, the sound of that doorbell is making me nervous now.

Don’t open … the Door

No pun intended – also the main character does not want to do that anyway. I reckon you could call that clever. On the other hand, certain circumstances make things even worse. It also says a lot about your neighbors who care more about when you take the trash out (there are only certain days you are allowed to do so – stinky floors and all that), but not so much about your well being.

The apartment is quite big I have to admit. I reckon the man of the house earns a lot of money – never been to Japan but I don’t think the 80s were cheaper than they are now … and now apparently it is quite … well expensive. So suspend your disbelief and go or rather stay home with those crazy characters.

Some interesting effects – and a mother who has to go above and beyond … who is left to clean up the mess though? Well you have to watch and see … it is a slow burner for most of the time … but when the mayhem starts … well there is no hiding … especially when the camera follows you (a scene that is shot from above is just amazing to say the least) …

it has much suspense

I really liked this and it was so much more thrilling than I thought it would have been. She is there as a beautiful mother and her sweet little boy in this high rise apartment and threatened one after another with spam calls and door to door salesmen. Just this couple and these annoying interruptions and between that front door. It is a strong one, often in Japan being a steel one, and with splendid locks and chain. But there is one guy who is really upset and is sure that he was going to get in. It begins to get something more personal. It is clever that although we are really just in this flat for about an hour it has much suspense and then he gets inside and it is something else. Of course it becomes terrible but somehow Banmei Takahashi also provides some humour and I just about manage to smile in between.

• Year: 2023
• Released: 29 Sep 2023
• Country: United States
• Adwords: 3 wins
• IMDb: https://www.imdb.com/title/tt23186596/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/blackout
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: Unrated
• Genre: Horror
• Runtime: 104 min
• Writer: Larry Fessenden
• Director: Larry Fessenden
• Cast: Marshall Bell, Michael Buscemi, Joseph Castillo-Midyett
• Keywords:

	5.3/10
	false% – Audience

Blackout Storyline

A Fine Arts painter is convinced that he is a werewolf wreaking havoc on a small American town under the full moon.

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Blackout Movie Reviews

Drama with horror elements.

As far as werewolf movies are concerned this is a bit of a disappointment. While I appreciate the focus on the human element, and the suffering of the protagonist, there was really no heart-pounding thrills or werewolf horror that the viewer is expecting to see. I understand that there was little budget for the film, but the horror was minimal compared to what the poster and trailer leads you to believe. I enjoyed the use of art throughout the film, and Alex Hurt’s performance was very good. The rest of the cast was a bit subdued in their performances, and many of the sociopolitical themes seemed unnecessary for the general story. Larry Fessenden is a very talented actor and filmmaker, and will always keep an eye on his projects. I know he’s been focusing on the humanity of the “monsters” in his films lately (Deranged being another), but I hope he remembers to keep them horrific in a classical sense as well.

A message to Larry Fessenden

Dear sir: You have put out in the unwelcoming harshness of commercialization a movie that combines psychosocial realism with fantasy. Your main support has been a lore of werewolf movies that goes back to Henry Hull in London and the by now easily recognizable frame of Sundance independence from Hollywood. The outcome? A stark drama about a young fellow who reassesses his life as a misfit. Here and there, werewolf attacks. A sort of chocolate chip cookie, BLACKOUT with the wandering structures of so many pictures in the same genre creates a drama with horrific elements that could have been a good horror movie; e.g. The wolfman causes a massacre . Next scene: a lengthy talk between his love interest and her boyfriend in her kitchen. Tension and suspense mysteriously vanished.

On the plus side: technically speaking, Fessenden directs better than in his previous works.

Cast: The absolute protagonist of BLACKOUT is Alex Hurt, son of the great William Hurt and his spitting image. The role is demanding and he lives up to it. The supporting team includes veterans like Barbara Crampton, Marshall Bell and James LeGros, whom fans of the eighities’ fantasy/horror will enjoy spotting and naming.

Not a greatly original addition to the lycanthropic subgenre (“The Cursed” for one is better) but a pretty watchable movie.

A watchable at best but decidedly disappointing overall werewolf effort

After a series of strange animal attacks, the life of a small town gets turned upside down when they believe the culprit of the attacks to be an immigrant that fits the mold of their ideal target not realizing the real target is a struggling painter trying to rescue his family’s reputation.

Overall, this was a pretty enjoyable effort with a lot to like about it. One of the better features here is a strong and immersive storyline that brings about the lives of the people within the small town. The central setup of this one revolving around the work of the artist trying to not blow up at everything the residents say about him while they go about their own lives working on illicit property deals or personal squabbles that keep them at each others’ throats. That this all feels remarkably well done for the kind of small-town atmosphere that’s being attempted here that comes out in full force after the attacks start occurring which signals the film’s shift into a full-on political commentary on the nature of mob mentality and small-town-justice taking over their lives. That provides this one with a strong slew of creature attacks that come off rather nicely. The initial attack with the figure’s point-of-view approaching an amorous couple and attacking them which is told from that vantage point the entire time is a standout sequence making for a highly effective opening. A later attack where the victim transforms in their car and runs rampant on a few eyewitnesses to the crash that transformation caused ends up leaving a nice trail of carnage once it’s all over while another solid sequence of his recounting the backstory of his transformation offers a bit more to like. The frantic finale, featuring the full-on attacks in the neighbors’ house or the final assault in the police station where everything gets put into the open for everyone, manages to give this a lot to like. There are some rather big flaws here that hold this one down. One of the biggest issues with the film is a decidedly overlong focus on the lives and nature of the townspeople here leaving this one with only a few pieces of creature action. Going on and on about the lives of the residents to build up an incredibly detailed part of their apathy and prejudice towards others leaves the film without much in the action here as the dragged-out pacing leads to a decidedly overlong running time filled with talky exposition sequences. The ideas are perfectly sound and really don’t have much wrong here with the sociopolitical messaging apparent within them but that doesn’t help the muted amount of creature action even if all of this wasn’t inherently tiresome and cliched being utilized frequently over the years. The other problem with this one is a decidedly unfocused and unclear tone that leaves this one quite scattered and chaotic. The film’s introduction to the town occurs in such rapid succession info-dumping nearly an entire plot on its own regarding who he is and why he’s in town, the residents and their connection to him and his father, the relationships he has with the ostracized locals who are trying to get by without being the subject of racial oppression for their supposed involvement in the attacks and much more in the span of minutes. That this is all serious before handling a lot of the interactions here with a type of low-key humor that misses the mark completely with the scattered focus here. These issues really end up bringing this one down the most.

Rated Unrated/R: Graphic Language, Graphic Violence, Brief Nudity, and an obscured sex scene.

• Year: 1976
• Released: 01 May 1979
• Country: France
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0079075/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/dracula_and_son
• Metacritics:
• Available in: 720p, 1080p,
• Language: French
• MPA Rating: PG
• Genre: Comedy, Horror
• Runtime: 78 min
• Writer: Alain Godard, Jean-Marie Poiré, Édouard Molinaro
• Director: Édouard Molinaro
• Cast: Christopher Lee, Bernard Menez, Marie-Hélène Breillat
• Keywords: vampire, dracula,

5.4/10

Dracula and Son Storyline

With angry villagers driving them away from their castle in Transylvania, Count Dracula (Christopher Lee) and his son Ferdinand (Bernard Ménez) head abroad. The Prince of Darkness ends up in London, England where he becomes a horror movie star exploiting his vampire status. His son, meanwhile, is ashamed of his roots and ends up a night watchman in Paris, France where he falls for a girl. Naturally, tensions arise when father and son are reunited and both take a liking to the same girl.

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Dracula and Son Movie Reviews

Dracula AND SON (Edouard Molinaro, 1976) **1/2

Two years after Christopher Lee claims he swore off horror, Hammer and, most importantly, his signature role of Count Dracula, we find him donning that very famous cape once again for this largely forgotten but surprisingly agreeable Gallic spoof. Thankfully, the print I came across is an extremely good-looking one emanating from Germany that is, unfortunately, accompanied by frankly awful English subtitles (that often do not even bother to translate the intermittent German title cards!) which soon forced me to rely on my knowledge of the French language acquired in high school all those years ago; ironically, I managed to acquire a corrected set of subtitles soon after I finished this first viewing of the film!

Having said that, the film occasionally lapses into Romanian (during the early Transylvanian sequences), English (when Dracula is picked up at sea by a British vessel and lands in that country) and Arabic (when Dracula Jr. is taken in by a bunch of them upon first disembarking on French soil) and, while it runs for a slightly overstaying 93 minutes in the PAL-sourced print I watched, it was reportedly much re-edited when cut down to 79 minutes for its Americanized English-language version (the end result got saddled with a *½ rating on the Leonard Maltin movie guide)! Ultimately, the film serves to show that, even at 54 years, Lee owns the role of the Prince of Darkness (essaying it here for the last time even if the name Dracula is never actually uttered) and it was an added pleasure hearing him speak his lines in perfectly fluent French!

Indeed, there are a steady flow of funny lines and situations to be found in the film: Lee to his child, “Ferdinand, finish your blood and go to bed!” and “Ferdinand, don’t play bowling with your mother’s ashes”; Dracula’s son as an adult – played by Bernard Menez (who had appeared in TENDER Dracula itself 2 years earlier) is so hesitant in plying his trade that, when he is sent by his father to bite an old gypsy woman in the woods, he ends up helping out with the cart she had been laboriously pushing behind her!; Lee is at a loss for words, when about to be thrown into the sea in a closed casket, as to how they will manage to reach the surface; the elder vampire bumps into the glass door of a modern British building when chasing after a prospective victim; French character actor Raymond Bussieres offering Menez a bite to eat in a train station when the latter’s blood-starved stomach starts to make its hunger heard; the son bites into a frozen corpse during a day job in a mortuary and is later sickened by the sheer overdose of blood available for him to sample in an abattoir; their luggage is amusingly coffin-shaped; Dracula Jr. dumps his father’s coffin out of a hotel window in a fit of rage; Lee is taken into police custody (when daylight is imminent) after being suspected of lewd acts in a car!; humiliatingly, he is also being made to advertise toothpaste on TV commercials; Lee pulls up his sheets in embarrassment when surprised by his young new conquest in his coffin, etc.

It goes without saying that this was not the first comic treatment of Dracula on celluloid nor would it be the last – LOVE AT FIRST SIGHT (1979; with George Hamilton at his suavest), FRACCHIA CONTRO Dracula (1985; starring beloved Italian comedian Paolo Villaggio and Edmund Purdom as Dracula) and Mel Brooks’ Dracula: DEAD AND LOVING IT (1995; starring Leslie Nielsen) – and, in fact. Lee himself had already sent the vampiric Count up in a much-earlier Italian spoof starring Renato Rascel, TEMPI DURI PER I VAMPIRI aka UNCLE WAS A VAMPIRE (1959) but, what I found surprising here is the fact that, much like Roman Polanski’s own somewhat heavy-handed spoof of the genre, THE FEARLESS VAMPIRE KILLERS (1967), this flawlessly replicates (at least in the scenes set in Transylvania) the Gothic atmosphere of a Hammer Horror, down to a full-blooded (pardon the pun) music score by Vladimir Cosma; notably, the makeshift cross – formed by peasants from a hammer and sickle a’ la Michael Reeves’ THE SHE-BEAST (1966) – is not only able to hold vampires at bay here but also set them ablaze!

Unfortunately, the predictably upbeat ending is somewhat rushed with Lee meeting his demise in the way of his comeuppance in Hammer’s first Dracula picture and Menez finding himself cured during a train journey merely by abstaining himself from drinking blood for so long…or perhaps through the power of love since, at the very end of the film we find him, father to a brood of children (one of whom bares his fangs in the closing freeze frame!) with the girl (Marie-Helene Breillat who, rather foolishly, does not believe the vampire lore, even if both father and son keep harping on it) who had been the object of contention between the titular characters throughout the film. The actress was married to director Edouard Molinaro (still a couple of years away from making his cross-dressing international hit, LA CAGE AUX FOLLES) at the time and her younger sister, controversial film-maker Catherine, has her last acting job for 16 years here (prophetically, we think she is being bitten but is actually getting it on with Lee in his coffin in an early scene from the film)!

Something different, something rare, something unique

This is not a movie I would consider terrible, since it stars the great Christopher Lee. I was introduced to this movie in a different and strange way, I picked up a copy at a outdoor trading market called “Traders Village” in Fort Worth, Texas in the early 90s when I was probably 12 or 13. I had a thing for the supernatural and in particular vampire movies, so I purchased it on VHS for $3 or so. I had no idea that this was a dubbed foreign movie, but being a young teenager was captivated to watch it multiple times because of the nudity, mainly,at first. Later on through learning who Christopher Lee was, and seeing his characters portrayed in many Hammer horror films, I subsequently returned later to search for what movie I had seen in my youth through nostalgia. Unbeknownst to me at this young age, I had no idea who Christopher Lee was but it probably subconsciously figured into my love for him as an actor in later life, watching his earlier films. LOL. Finding Dracula and Son somewhat difficult to locate, I have ended up here on IMDb, reading the history of the release through the comments section. Though this film may be bad, I look upon it as being special to me and it holds a nostalgic place in my mind and I will always be fond of it.I would recommend watching this just because Christopher Lee is in it, and also it is actually his unique,and last performance as Dracula.

What’s up Drac?… Not so much actually.

“Dracula Père et Fils” was never an excellent film. At the most, it was a sometimes funny vampire satire with good psychological aspects out of the Oedipal conflict father/son and sociological criticisms concerning the immigrants, not so well treated in France.

But to be honest, I admit it was a bit of a deception. The film director Edouard Molinaro himself has lately called it a “failure”, despite the fact he had succeeded in hiring Christopher Lee to incarnate ‘ the Count” (Dracula is never mentioned in the original version) opposing him to a totally different kind of an actor (Bernard Menez, who is actually very proud of this film). The concept here is quite similar to another unfunny vampire comedy “Tempi Duri Per i Vampiri” where Lee was opposed to Renato Rascel.

One should see this movie just to appreciate the almost perfect French accent of the British star who has almost entirely shot it in that foreign language.

Mister Lee has claimed on several occasions he did dub the English version.

I must be one of the rare French moviegoers to have seen the quite different American version and to be able to evaluate the mess they did on the soundtrack.

Most of the dialog has been changed to some ridiculous vulgar trash. The haunting music score by Vladimir Cosma has been misplaced or changed in favor of new music bits, supposedly to speed up the rhythm of the film.

But they didn’t hesitate the butcher the editing either: from the 100 min. in its original form, they reduced it to 79. Not only they shortened it, but added some repetition of Lee opening a door and speaking to a concierge with several stupid accents. Not only unnecessary, but very dull! This scene was initially part of the story and is suddenly supposed to be an hilarious illustration of movie shooting. Appalling!

I have heard Roman Polanski had to suffer similar treatments on his masterpiece “Fearless Vampire Killers” (never try to compare this one to Molinaro’s flick, by the way!)

Not every one has the talent of Woody Allen to transform a Japonese spy movie into a comedy as he did once (admitting it in a prologue) with “What’s up Tiger Lily?”.

In conclusion, here are two different films out of the same celluloid: “Dracula Père et Fils” is a not so good film worth seeing however. “Dracula and Son” is just awful and should be placed alongside with the Raymon Burr’s version of “Godzilla”.

• Year: 1928
• Released: 25 Dec 1928
• Country: United States
• Adwords: N/A
• IMDb: https://www.imdb.com/title/tt0020080/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/the_last_warning
• Metacritics:
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: N/A
• Genre: Horror, Mystery, Thriller
• Runtime: 89 min
• Writer: Wadsworth Camp, Alfred A. Cohn, Thomas F. Fallon
• Director: Paul Leni
• Cast: Laura La Plante, Montagu Love, Roy D’Arcy
• Keywords: based on novel or book, based on play or musical, murder,

6.8/10

The Last Warning Storyline

A producer decides to reopen a theater, that had been closed five years previously when one of the actors was murdered during a performance, by staging a production of the same play with the remaining members of the original cast.

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The Last Warning Movie Reviews

A mystery dressed up as a horror film

Essentially this is part “Cat and the Canary” and part “Phantom of the Opera” – also silent Universal properties. It has some slack parts but the visual atmosphere helps to cover them up, and it has some very inventive title cards where the writing may be initially blurry and come into focus, or the writing may start up clear and then appear to melt down the page, or it may appear to be underwater.

The film is about an actor, John Woodford, in a theatre on Broadway, who dies suddenly when he gets to the part of the play where he is backed into the fireplace by another actor and picks up a candlestick. The lights go out, and when they come back on there is Woodford dead on the floor. The police come to question everybody who was present, then Woodford’s body disappears before the coroner gets there. It is discovered by the police that Woodford and another actor, Richard Quayle (John Boles) were arguing in actress Doris Terry’s (Laura LaPlante’s) dressing room, and both were suitors of hers.

So without a body, the investigation cannot go on, the theatre is closed, and the papers are shown having a field day with the “love triangle” that is insinuated to have something to do with the killing. Several years later, Woodford’s close friend (Montagu Love as Arthur McHugh) decides to reopen the theatre with the same cast as the night of the killing and the same play. Why does the entire cast return? Because to not return would make them look guilty.

But somebody does not want the play to open. Heavy scenery comes crashing down. Smoke bombs go off. Threatening letters are written to members of the cast that they perform at their peril, and some mysterious masked figure is running and jumping about the place and even stealing Doris’ purse and putting her personal possessions in strategic places to make her look like she is in on all of the strange happenings. Is it the ghost of John Woodford trying to avenge himself? Well of course not. But it might be the real John Woodford, having faked his own death, and still mad at Boles and LaPlante for his romantic rejection. Watch and find out what is behind all of this.

The visuals are just great here. The opening scene reminds me somewhat of 1929’s Broadway with all of the pictures of the Broadway nightlife of 1929. Also, the theatre, from the outside, looks like the face of some frightening creature complete with eyes, a nose, and mouth. I just wish better prints were available.

Unseen masterpiece of mystery!

This movie pops up on ebay once in a while and for fans of mystery or horror films, particularly those of Universal, this is a must.

The plot is unimportant – it is about a haunted old theater where an old Broadway play is being brought back despite threats from the ghost of a dead actor.

This film was the last directed by the great Paul Leni. It is really the work of a virtuoso working at his peak. It has everything The Cat and the Canary had and more. The version that seems to be relatively available on video has a good music track too, but unfortunately it seems that the experimental sound sequences the film originally contained have not survived.

Nevertheless, we are lucky that this film has survived as it is such a joyous romp of horror cliches with inventive, wild camera moves and stunning lighting and spooky set design. It foreshadows the great horror classics that were less than two years away for Universal. It is just wonderful filmmaking from a forgotten great director who was at his peak, so if you are into old dark house mysteries or Universal horror movies – FIND IT! – It is one of the best!

8/10 – even better than The Cat and the Canary.

You will never get through the opening performance!

Astute producer Carl Laemmle invited talented German director Paul Leni to join Universal. This proved to be a masterstroke. Before his untimely death in 1929 Leni directed four films one of which, ‘The Chinese Parrot’ is considered ‘lost’, the other three of which are superb. From its astonishing opening sequence ‘The Last Warning’ is a brilliantly inventive and imaginative piece that holds our attention throughout. A great deal of credit must surely go to cinematographer Hal Mohr who, although American born, had assimilated European film techniques during a brief sojourn in Paris. His greatest achievement is the ‘Midsummer Night’s Dream’ of Max Reinhardt. The specially composed score although a little over-orchestrated, is far superior to the usual incongruous, excruciating, tacked on scores with which so many restored silent films are cursed. Such a sadness to lose a director of Leni’s gifts but his influence on Universal’s classic horrors of the 1930’s is there for all to see.

• Year: 2021
• Released: 05 Feb 2021
• Country: Japan
• Adwords: 1 win
• IMDb: https://www.imdb.com/title/tt12740648/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/suicide_forest_village
• Metacritics:
• Available in: 720p, 1080p,
• Language: Japanese
• MPA Rating: N/A
• Genre: Drama, Horror, Mystery
• Runtime: 117 min
• Writer: Daisuke Hosaka, Takashi Shimizu
• Director: Takashi Shimizu
• Cast: Yumi Adachi, Hideko Hara, Fûju Kamio
• Keywords: suicide, curse, japanese folklore, aokigahara,

	5.2/10
	33% – Critics
	false% – Audience

Suicide Forest Village Storyline

One day a mysterious box arrived and a curse began to spread all over. The source of the box is ‘Jukai Village’. The village is hidden in Jukai Forest, a suicide spot that once you enter it, you can never come out.

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Suicide Forest Village Movie Reviews

First Review. Feeling The Pressure!

This is about a cursed box that is linked to Japan’s suicide forest.

This was more slow burning than I expected it to be. It took a while for things to get going and it made things feel a bit disjointed at first. To be honest though, there were webpages that were displayed and may have provided more context to the story had I been able to read them. The subtitles I had were decent but didn’t cover webpage dialogue and I may have missed a few things.

The overall story wasn’t bad and the acting was good. The horror aspects were sparse throughout most of the film but when we finally got there, there were some unnerving and creepy moments that were well done.

I’ll probably watch it again just to see if I can pick up on what I may have missed but I don’t have a problem recommending it for a creepy watch.

Takashi Shimizu – The Savior of J-Horror

The second installment in the “Horror Village” series by Takashi Shimizu, following “Howling Village.” Takashi channeled his Ju-On era by creating a frightening lore surrounding Japan’s infamous suicide forest. The out-of-the-box innovative death scenes and a brilliant cast of prettiest girls proved J-horror still got the originality and aesthetics.

There is no village

There’s only a box.

With fingers, which makes no sense at all.

Take the box to the forest, dump it out, burn it. No more box of gross .

If mom lost 2 fingers AFTER she died & granny lost one. Why didn’t they take M out of the forest? Why did her sister have to? Mom & granny were already dead & there.

There was a village a hundred of years ago. But not when this took place.

Could have been a lot better with more explanations.