Flavia the Heretic (Italian: Flavia, la monaca musulmana, also released Flavia, Priestess of Violence! in the USA and in the UK as The Rebel Nun in the UK) is a 1974 French co-produced Italian nunsploitation horror film directed by Gianfranco Mingozzi. It stars Florinda Bolkan, Anthony Higgins and Claudio Cassinelli. It is set in Apulia during the Ottoman invasion of Otranto, 

Italy 1600: A convent of nuns is invaded by the Tarantula Sect on their annual pilgrimage. The cultists defile the place of worship, holding orgies in the chapel and desecrating the altar. One nun decides she can’t take the religious oppression any longer and attempts to flee the convent ….

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“Arguably the most notorious entry in Italy’s nunsploitation cycle of the 1970s, Flavia the Heretic is a charged combination of arthouse politics and grindhouse sleaze, the exact combination that makes current distributors run screaming. Often released on video in watered-down editions, this nasty concoction is best experienced full strength and gains much of its strength by developing dynamic, interesting characters whose grisly fates pack more of a punch than a dozen slashers.” Mondo Digital

“Flavia The Heretic  is a hard disc to recommend. I personally loved the film, with sweeping visuals, starring personal favorite Florinda Bolkan, and genuinely surprising plot developments that kept me interested throughout the running time. Fans of the film should obviously grab the disc up right away, but any curious newcomers must get rid of any preconceptions and settle in for a history lesson with added blood and guts.” DVD Drive-In

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Wikipedia | IMDb | We are grateful to Temple of Schlock for the US one sheet poster image

WH

The film world in Britain during the early 80s was grim. Most of the grand cinema palaces of yesteryear were, if not already transformed into Bingo halls, falling apart, offering a less-than-enticing combination of bad projection, uncomfortable, dirty seats and programmes which required the audience to sit through endless amounts of commercials and unwatchable travelogues before finally being allowed to see the main feature. With unemployment at an all-time high, people were more inclined to stay home and save their money, watching any of the three TV channels available until closedown before midnight.

Yet, as the decade began, an alternative appeared that would chance viewing habits forever. The video recorder. Although they’d been on the market for a few years, it was in 1980 that the VCR first began to be more than just a rich man’s toy. Although still relatively costly to buy, many electrical stores offered reasonable monthly rental schemes for VCR’s. Seemingly overnight, every household in the country had a video recorder next to the TV and an expensive family night out at the pictures suddenly seemed less attractive when you could choose from a multitude of feature films for the same price and watch in the comfort of your own home, as the number of films available to buy or rent exploded.

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Most major distributors looked upon home video with suspicion, and were reluctant to release their biggest titles onto this new format when there was still money to be made from theatrical reissues, and so the rental shops which began to spring up on the high street were, for the most part, filled with low budget, independent films from a multitude of small distributors who appeared to cash in on the video boom. And it quickly became clear that there was a substantial audience for the material which the British Board of Film Censors had long fought to protect us from.

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The more lurid the cover art, the more sex and violence promised by the blurb, the more the public wanted it. Labels like Go Video, Astra, Intervision and Vipco emerged to release films from all over the world, with horror being the most reliable genre. Big hits were made out of films which had barely ever seen the light of a movie screen in the UK and directors such as Dario Argento and Lucio Fulci became as bankable in the VHS world as Steven Spielberg or Martin Scorcese. The video rental top ten was regularly packed with movies like I Spit On Your Grave, The Driller Killer and The Texas Chain Saw Massacre.

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Some of these were films which the BBFC had banned outright, heavily cut or which stood little chance of being passed if submitted for approval. But there was no compulsory censorship of video, so images that were forbidden in the cinema could be enjoyed in their full gory glory at home. Fledgling video labels were buying up whatever salacious sounding titles that they could find and releasing them without even considering submitting them to the BBFC. And the British public could not get enough of it. Every street corner, it seemed, had a video shop. Even off-licenses, newsagents and petrol stations got in on the action.

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Unfortunately, this frivolous phase of viewing freedom would not last.

It wasn’t long before rumours started spreading about the open availability of films showing extreme, explicit violence, torture and mutilation. Films too extreme even for an ‘X’ certificate were openly available to anyone, even children. The public could use the slow motion and pause buttons to get maximum perverse pleasure from their video sadism. Worse still, it seemed that Cannibal Holocaust and SS Experiment Camp had replaced balloon benders and clowns as a staple of children’s parties. Not innocent mind was safe from the onslaught of the Video Nasties, a term first used in the trade that would be a household word by 1982.

Once the press had their teeth into the story, there was no stopping them. “Ban the Sadist Videos!” screamed The Daily Mail, outlining the dangers that the uncensored world of home entertainment presented to the country’s moral fabric. Various politicians and pressure groups (not least Mary Whitehouse’s National Viewers and Listeners Association) were quick to take up the cause. Teachers groups expressed concern about the effect on impressionable children, and church groups were quick to complain too. Faced with such pressure, the Director of Public Prosecutions agreed to the first obscenity charges to be brought against horror videos, and soon police forces up and down the country were carrying out random raids on shops, clearing the shelves of potentially obscene material.

As the whole concept of horror movies being obscene was so new, worried video shop owners had no idea which films they would be prosecuted for, so in an effort to clarify the situation the Department of Public Prosecutions issued a list of  “nasties”, based on titles which had been successfully prosecuted or which were awaiting trial. The list would vary in length over the next few years, before settling on 39 movies. In addition to the official Nasties list various local councils had their own selection of condemned videos to muddy the situation a little more. Shops found stocking the forbidden films during police raids – and police raids were a weekly occurrence – faced prosecution under the Obscene Publications Act.

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When their day in court came most video shop owners pleaded no contest to the charges of issuing obscene material for gain in order to avoid a lengthy prison sentence – this meant that many movies were condemned as “obscene” without ever going before a jury, or even being watched by magistrates. Some distributors stopped distributing their horror titles in order to avoid the wrath of the DPP. One distributor was sent to jail for marketing Nightmares in a Damaged Brain, despite the fact that it was not the uncut version he was distributing (as much as the retailers, the distributors often had no idea of which version of a film they’d released and, of course, had no way to know that horror films would suddenly fall foul of the Obscene Publications Act). London based Palace Pictures pointed out the absurdity of travelling up and down the country to defend The Evil Dead – which was released on video in the BBFC X-rated cut version – against various local charges of obscenity, so had the case centralised to a court in the East end of London — where the film was found not guilty. This, however, did not prevent other police forces from continuing to seize the film. An acquittal under the OPA did not necessarily set a national precedent, and local sensibilities would continue to come into play (though notably, a single conviction DID seem to set some sort of precedent, conveniently).

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The British Board of Film Censors, who had seen their income drop to rock bottom during the video boom, were quick to back up the dangers of an unregulated system of distribution. The BBFC were soon appointed by parliament to govern the classification of all films to be released on video in the UK. The 1984 Video Recordings Act ensured that Britain would never again fall prey to the immoral whims of smut peddling distributors hungry to make a quick buck. Over the course of the next few years, all unclassified videos would be removed from the shelves of British video stores. By 1988, it was illegal to sell or rent an unclassified VHS tape.

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Of course, it was not only horror and sex films that were released without BBFC certificates but films from all genres, including even children’s films. Many smaller, well established shops had to remove the majority of their stock, forcing a large number out of business. Many distributors could not afford the high price of BBFC classification for their films — particularly if the censors then demanded cuts, as was often the case. By this time, the major Hollywood producers had woken up to the money to be made from video, and the public increasingly had the chance to take home a recent blockbuster instead of an obscure 1970′s horror film. Most small labels simply vanished. The VRA ensured that it was no longer the little guy making the money from the video industry.

Amazingly, as the hysteria died down, BBFC head James Ferman still felt compelled to overprotect the public from the dangers of violent imagery. Even though they were never on any Video Nasties lists he refused to grant BBFC certificates to numerous films, including The Exorcist, The Texas Chain Saw Massacre and Straw Dogs. He had various forbidden images such as nunchakus (chain sticks) and blood on breasts, which he considered to be a trigger image for rapists. Although the Video Recordings Act was brought in to combat violent video, he was even stricter on sexual images – female genitalia was forbidden, as was any sex act involving more than two people. “Instructional” drug use and criminal activity would be cut, to prevent ‘copycat’ crime. And of course, most horror films had to be cut. As a result a strong black market grew throughout the UK for pirate videos of uncut horror or sex videos, and a huge underground fan base emerged, with fanzines, books and film festivals keeping the Nasties alive.

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Strangely, the British public didn’t seem to mind the nanny mentality, happy to believe that censorship of material freely available in the rest of Europe was for their own good. This belief was encouraged by the tabloids, who were only too keen to stoke up public hysteria by linking headline-grabbing crimes to video violence, be it the Hungerford massacre and Rambo, or the Jamie Bulger case and Child’s Play 3.

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However, times change, even in Britain, and with a new millennium came a new maturity. The public no longer seemed overly worried by horror videos – possibly because new bête noires like the internet and video games have taken their place. Once Ferman resigned from the BBFC at the end of 1998, UK film censorship turned over a new leaf.

The Texas Chain Saw Massacre, Straw Dogs, The Exorcist and The Story of O – all considered threats to public safety by Ferman – quickly received uncut certificates. When challenged at appeal over their refusal to pass The Last House on the Left uncut, the BBFC were publicly forced to admit that there was no legal reason for them to arbitrarily cut films that were once banned as Video Nasties – something they had always claimed was a legal requirement they had no control over – and subsequently a lot of the Nasties have now been passed uncut… some with a 15 certificate! With one or two exceptions, Ferman’s immediate successor Robin Duval managed to erase the strict censorship regime which emanated from the Nasties scare and now it is relatively rare for a horror movie to be cut or banned to protect the impressionable minds of the British public.

There are, of course, still exceptions – most recently The Bunny Game has been banned outright, while The Human Centipede 2 was initially banned before finally being released with extensive cuts. But by and large, it is now acknowledged that horror films are not a threat to civilisation. We perhaps shouldn’t be too complacent, given British history and the current moral panic that is once again gripping the country (this time aimed at internet porn, but always likely to mutate as the moralists look to assert control), but it seems unlikely that we’ll ever see a return to the dark days of the 1980s again.

David Flint

Witchboard is a 1986 American horror film written and directed by Kevin S. Tenney (Night of the Demons, Brain Dead). It stars Tawny Kitaen, Stephen Nichols, Todd Allen and Kathleen Wilhoite. The film focuses on a female college student who is harassed and later possessed by an evil spirit after communicating with it through a friend’s Ouija board. The film has spawned two sequels, Witchboard 2: The Devil’s Doorway (1993) and Witchboard III: The Possession (1995).

Brandon Sinclair brings out his ouija board at a party and attempts to contact David, the spirit of a ten-year-old boy with whom he has communicated numerous times. The spirit responds, but Jim, formerly Brandon’s best friend and now nemesis, insults David, making David angry and provoking David to slash the tires of Brandon’s car.

The next day, Linda, Jim’s live-in girlfriend, sees Brandon’s ouija board (which Brandon left behind from the previous night) and tries to contact David. The spirit that appears is actually an evil being (Malfeitor) acting under the guise of David. This malicious spirit starts being nice and helpful, informing Linda where her lost diamond engagement ring is. Meanwhile, at the construction site where Jim is working, Jim’s friend Lloyd is killed by the murderous spirit. Linda again contacts Malfeitor—whom she still believes to be David—and he lies, responding that he did not cause the accident. Linda begins to fall under “progressive entrapment”, in which the spirit changes and starts to terrorize the user, making the person weak and easy to possess…

“It’s a fine example of a horror movie from the 1980′s. It’s packed with fake-out scares, including the impressive fake-out-scare-holy-shit-real-scare-afterall scare, cheesy special effects, and some genuinely cool horror scenes. There’s a moment when you see the world from the spirit’s point of view, we ride along as the camera seems to float down hallways, above beds, etc, and it is fairly freaky.” Fister Roboto, Left Hand Horror

“Witchboard is a winner in a BIG way.  From sets that look like they were constructed in someone’s garage to a plot that literally revolves around a piece of cardboard, this movie should be required viewing for any film student itching to make a scary movie. With almost nothing to work with, director Kevin Tenney somehow gets everything right, and turns out a horror movie that is not only hysterical to watch, but actually manages some brilliant jump-scares in the process.” Tower Farm Reviews

“This is a brilliant, world class example of how truly excellent a terrible ’80s flick can be: big hair, tight jeans, ruthlessly annoying characters, and straight-up bad acting. Yet somehow all of these awful things add up to make something entirely enjoyable.” Erin Page, Twins of Evil

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New Audio Commentary With Writer/Director Kevin S. Tenney and Actors Stephen Nichols, Kathleen Wilhoite And James Quinn |  Audio Commentary With Writer/Director Kevin S. Tenney, Executive Producer Walter Josten And Producer Jeff Geoffray | New Interviews With Kevin Tenney, Tawny Kitaen, J.P. Luebsen, James Quinn, Walter Josten, Todd Allen And More | Theatrical Trailer | TV Spots | Still Gallery

Wikipedia | IMDb

Sleepaway Camp (also marketed on VHS as Nightmare Vacation) is a 1983 slasher horror film written and directed by Robert Hiltzik who also served as executive producer. The film came at a time when slasher films were in their heyday, and is largely known for its twist ending which is considered by some to be one of the most shocking endings among horror films. The film was released theatrically on a limited basis by United Film Distribution Company on November 18, 1983. On its opening weekend it had grossed a total of $430,000 in the US. When it opened, it was the top grossing film in New York, beating out its horror competition by taking in almost double the gross of Amityville 3-D. With a budget of $350,00, it went on to take $11 million at the US box office. 

In the late 1980s, Michael A. Simpson directed two sequels, Sleepaway Camp II: Unhappy Campers (1988) and Sleepaway Camp III: Teenage Wasteland (1989). The killer gleefully tortures and kills anyone who misbehaves or is deemed to be annoying. However, these films had more of a comic tone than the original. Another rogue sequel, Sleepaway Camp IV: The Survivor, directed by Jim Markovic, was partially filmed but never completed. In 2002 the unfinished footage was released and made available as an exclusive fourth disc in Anchor Bay/Starz Entertainment’s Sleepaway Camp DVD boxed set. In 2012 the film was completed and released.

A new film, Return to Sleepaway Camp, was completed in 2003. It was directed by Robert Hiltzik, the director of the original 1983 film. He decided that this chapter will ignore the story lines of the previous sequels, stating that he wanted to pick up from where the original film ended. According to Fangoria.com the digital effects were redone from 2006 to 2008. The film finally found distribution, and was released November 4, 2008, by Magnolia/Magnet Pictures. The purportedly final film in Hiltzik’s Sleepaway Camp trilogy, titled Sleepaway Camp Reunion, was also announced to be in the making but didn’t materialise. Hiltzik now owns the rights to the Sleepaway Camp franchise, which, in 2013, it was announced will receive a reboot.

Plot:

Summer: John Baker and his two children, Angela and Peter, out on a lake. After their boat flips, John and the children head ashore, where John’s lover, Lenny, is calling. As the family swims, a motorboat accidentally runs them over, killing John and Peter.

Eight years later, Angela is now living with her eccentric aunt Dr. Martha Thomas and cousin Ricky Thomas. Angela and Ricky are sent to Camp Arawak. Due to her introverted nature, Angela is bullied, her main tormentors being fellow camper Judy and camp counselor Meg. The head cook, Artie attempts to molest Angela until Ricky interrupts, and the two children flee. While Artie is boiling water for corn, an unseen figure knocks him off the chair, scalding him with the water. Ben eventually storms in, to the sound of Artie’s cries of pain. He is shocked by the chaos casted. Artie’s incident is deemed accidental by camp owner Mel Costic.

Campers Kenny and Mike begin to mock Angela, prompting Ricky and his friend Paul to get into a fight with them. After the brawl is broken up by Gene, Ricky and the rest of the boys involved in the fight leave, while Paul stays behind and befriends Angela. Later, Kenny is drowned by an unseen figure, his body found the next day and his death also ruled accidental by Mel. Campers Billy and Jimmy also pick on Angela, pelting her with water balloons. Billy is killed as well by a mysterious assailant who locks him in a bathroom stall and drops a beehive inside it, leaving him to be stung to death.

The relationship between Angela and Paul grows strained when Paul kisses her twice as a goodnight kiss, causing Angela to have a flashback to her youth when she and her brother witnessed their father in bed with Lenny. Paul is then seduced by Judy, who lures him into the woods and the two are found kissing by Angela and Ricky. Guilty, Paul attempts to explain himself to Angela while on the beach. As Paul talks to Angela, he is shooed away by Judy and Meg, who throw Angela into the water. After being taken out of the lake by lifeguard Hal and having sand flung at her by several small children, a clearly disturbed Angela is comforted by Ricky, who swears revenge on her aggressors. After the affair at the beach, Meg prepares for a date with Mel. During her shower, she is killed by the unseen killer, who slices down her back through the shower stall with a hunting knife.

Meg’s disappearance goes largely unnoticed and a social is held. Angela is approached by Paul, whom she tells to meet her at the waterfront afterwards. The six children who threw sand at Angela are taken out to go camping with counselor Eddie. When two of them ask to go back, Eddie takes them back to his car and drives back to the camp. The other four children are hacked to bits with Eddie’s axe when he returns. Soon after, Judy is killed with a lit straightening iron. The camp is thrown into a panic when Eddie announces the deaths of the four children…

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Reviews:

“Sleepaway Camp takes the summer-camp-murderer formula that the Friday the 13th films created and perfects it with more intense POV sequences and more imaginative deaths. Plus, most of the murders take place just off-screen, or are only seen as shadows on a wall. However, many of the plot twists are completely insane, and most of the characters aren’t developed past first names. But the atmosphere, coupled with some unique themes, manages to make the film worth much more than many of its contemporaries. The twist ending is one of the most shocking in the history of any genre, and it makes up for most of the movie’s shortcomings. But it’s no matter. After the film is over, the killer is revealed, and the bodies are collected, all that remains are fleeting images of men in transparent shirts and girls in ill-fitting swimsuits. Because sex is everything. Don’t believe me? Just ask Sleepaway Camp.” William Tuttle, The Video Basement

“Small amount of blood, zero gore, zero nudity, buckets of laughs, the largest cooking pot I’ve ever seen in my life, water balloon fight on a roof, a Blue Oyster Cult t-shirt, heart-pounding softball action, the world’s fakest looking mustache and the immortal exchange “Eat shit and die, Ricky!” “Eat shit and live, Bill.” Check it out! If you don’t like it, then you’re probably taking life too seriously.” Happyotter

” … there is very little about Sleepaway Camp which is normal. Hiltzik had fashioned a disturbing tale, full of every type of cretin imaginable, and whilst the film often fails to convince, the sheer surrealism of the script and Rose’s convincing performance help cover up its shortcomings. An acquired taste for sure, but those interested in a slasher that’s a little different may take great pleasure in this.” Retro Slashers

“Did ALL males in the early 80s wear the shortest shorts available? The only people in the movie wearing pants are female (or Angela). One guy even has a short shirt. And the main, overly sympathetic counselor guy, wears a shirt that’s so tight it makes him appear to have the largest breasts in the film. In short, I felt really dirty watching this movie.” Horror Movie a Day

“Every minute spent at Camp Arawak provides more delight than the last, leading up to that glorious final scene which is by far one of the most memorable of any 80’s flick I’ve ever seen. If you love slashers, in particular cheesy, 80’s camp-fests then you’re in for the biggest treat. Granted if you’re looking for a serious genre flick, you will hate this. It hasn’t got a serious bone in its body, but if you want to have a bucket load of fun then you really cannot go wrong.” Horror Queen

Wikipedia | IMDb | Official Sleepaway Camp Website | Official Sleepaway Camp Sequels Website | Thanks to Happyotter for some images above

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Paranormal Xperience (aka Paranormal Xperience 3D and PX3D) is a 2011 Spanish horror film. As the title suggests, it was shot in 3D and directed by Sergi Vizcaino. It stars Amaia Salamanca, Maxi Iglesias, Lucho Fernández, Úrsula Corberó, Miguel Ángel Jenner, Manuel de Blas, Alba Ribas, Eduard Farelo and Óscar Sinela

Plot:

Angela a psychiatry student whose skeptical of the existence of the paranormal in the world, is forced to investigate an old mining town for the purpose of proving or disproving paranormal activity. Along with her, she is accompanied by her younger sister Diana Whisper, who lends Angela her van, and a few other students. They journey to the town and go through some ancient salt mines. Aware of the danger provided by tampering with the grounds, through the legend of the sadistic Dr. Matarga, they still open a portal to the after life with disastrous consequences…

The film was released as a 2D DVD and 3D Blu-ray in the UK in February 2014.

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Reviews:

“We spend forty minutes having the students wander around and then forty minutes watching them being picked off by heavy smoker and creepy-mask owner, Martarga. Excuses to split up are forged, getaway vans develop engine problems, nut jobs loom in the corner of the frame and much is made of the fact that the female cast have attractive body parts (one memorable bit of mise en scene places Ursuala Corbero’s denim-short clad buttocks in a lingering, extreme close-up filling two-thirds of the frame while something goes on in the distance, barely glimpsed in the few inches left available, even Matarga notices, going on to compliment her on her ‘buen culo’ twenty minutes later).” Guy Adams, The British Fantasy Society

“The film was beautifully shot using some interesting locations. The ghost town looked pretty creepy (even in daylight) and the choice to set some of the action in a salt mine was a nice touch that offered an interesting look I had not seen in a horror film before. There are several effects/death scenes that are freaking outstanding!! These were achieved using some great practical effects. The sad part was that there is also a death scene where only CGI is used and it looked HORRIBLE.”  Corey Danna, HorrorNews.net

“Predictable and clichéd as it may be (does a film’s twist still count as a twist if we can see it coming from a mile off?), Paranormal Xperience does impress in its gore sequences. Despite being very obviously filmed for 3D (expect to see a lot of fingers, gore and grue thrown at the screen), it’s delightfully nasty at times, making good use of the old eyeball piercing, barbed wire garrotting and smashed glass splatter sequences throughout. The CGI blood is no good, and some of the makeup work is a bit iffy, but it only adds to the film’s charm.” Starburst

“It’s pretty. Shiny. Glossy. PX3D is like Gossip Girl but with more violence. The cast is good looking, some of the kill scenes were good and bloody, and it made a valiant attempt at being a paranormal/torture porn hybrid of some sort. There’s a decent story buried somewhere underneath all of the smooth visuals, though it’s a shame that it wasn’t fleshed out better.” The Horror Club

Wikipedia | IMDb

Hannibal is an American psychological thriller–horror television series developed by Bryan Fuller for NBC. The series is based on characters and elements appearing in the novel Red Dragon by Thomas Harris and focuses on the budding relationship between FBI special investigator Will Graham (Hugh Dancy) and Dr. Hannibal Lecter (Mads Mikkelsen), a forensic psychiatrist destined to become Graham’s most cunning enemy. Hannibal has received critical acclaim, with the performances of the lead actors and the visual style of the show being singled out by critics.

On May 30, 2013, Hannibal was renewed for a second season of thirteen episodes, which will premiere on February 28, 2014. The new series also stars Laurence Fishburne as Jack Crawford, the head of the FBI’s Behavioral Science Unit. Caroline Dhavernas and Hettienne Park also co-star. Scroll down to watch four clips from the new shows.

Season Two, Episode 2.01 synopsis: ‘Will (Hugh Dancy) is determined to fight for his innocence as Hannibal (Mads Mikkelsen) and Jack (Laurence Fishburne) try to wrap their heads around the fact he’s behind bars. Meanwhile, Alana (Caroline Dhavernas) faces a strained relationship with Will while Kade Purnell (Cynthia Nixon) with the FBI pays him a visit. Also starring Hettienne Park, Aaron Abrams, Scott Thompson and Gillian Anderson (X-Files) ‘

Buy Hannibal Season One on Blu-ray or DVD from Amazon.com | Blu-ray or DVD from Amazon.co.uk

We are grateful to Daily Dead for altering us to the YouTube clips.

Posted by Adrian J Smith

Night of the Living Carrots is a 2011 Halloween short animated film, based on Monsters vs. Aliens and produced by DreamWorks Animation. Following the 2009 short, Monsters vs. Aliens: Mutant Pumpkins from Outer Space, a mutated carrot has spawned hundreds of zombie carrots taking control of the subject’s mind. Dr. Cockroach determines that the only way to defeat them and free their victims is for B.O.B. to eat all of the carrots.

The short premiered in two parts exclusively on Nintendo 3DS. It was released to a general audience on August 28, 2012, as a part of Shrek’s Thrilling Tales DVD and DreamWorks Spooky Stories Blu-ray.

Plot:

In a theater, B.O.B. introduces the story in a manner similar to many horror films. He recalls the events of Mutant Pumpkins from Outer Space, saying “it all started with a spooky spaceship, mutant pumpkins and monsters saving the day. But that was only the beginning.”

The scene then shifts to the twist ending of the previous special. The Zombie Carrot emerges and charges at the camera but is stopped short by a gate. Carl Murphy announces to the children of the Modesto suburbs that a costume contest was about to start and that the winner got their weight in candy. B.O.B., dressed as a pirate, takes interest and comes inside but takes all the candy meant for the contest. Outside, he hears a strange voice and is initially frightened by the zombie carrot, but he mistakes it for a child in a costume. Believing the carrot would win the costume contest, he throws it inside where it immediately bites Carl, turning him into a zombie.

All the guests flee the Murphy house and not long after, the carrot is blasted by Dr. Cockroach’s scanner. Doc theorizes that the carrot was contaminated by the mutant pumpkins and that the curse could only be lifted by eliminating the infected carrot. However, the remains of the carrot replicate themselves into more zombie carrots. Before long, all three monsters are completely surrounded…

Wikipedia | IMDb

Gothika is a 2003 supernatural horror film directed by Mathieu Kassovitz from a screenplay by Sebastian Gutierrez for Dark Castle Entertainment productions. Halle Berry plays a psychiatrist in a women’s mental hospital who wakes up one day to find herself on the other side of the bars, accused of having murdered her husband.

Plot:

Psychiatrist Dr. Miranda Grey (Halle Berry) works at a mental hospital and has a car accident after trying to avoid a girl (Kathleen Mackey) on a road during a stormy night, while driving back home. She rushes to try to help the girl. The girl turns out to in fact be a ghost, and possesses Miranda’s body by burning her after she extends her hand to the girl. Miranda loses consciousness. Miranda next wakes up in the very hospital she works for, but as a patient treated by her co-worker, Dr. Pete Graham (Robert Downey, Jr.). Drugged and confused, she remembers nothing of what happened after the car accident. To her horror, she learns that her husband Douglas (Charles S. Dutton) was murdered and that she is the primary suspect. While Miranda copes with her new life in the hospital, the ghost uses her body to carry out messages (most noticeably, she carves the words “not alone” into Miranda’s arm) which leads her former colleagues to believe Miranda is suicidal and is inflicting the wounds on herself.

Meanwhile, Miranda bonds with fellow inmate and former patient, Chloe Sava (Penélope Cruz). Several times in sessions, Chloe had claimed that she’d been raped while in the hospital, but Miranda had always attributed these stories to mental illness. One night, the door to Miranda’s room in the hospital is opened by the ghost that has been haunting her. When she passes Chloe’s room in the hospital, she can hear the rape occurring and momentarily sees a man’s chest pressed against the window. The man’s chest bears a tattoo of an Anima Sola. Miranda realizes that Chloe was not making up these stories, and when she sees Chloe the next day, she apologizes, and the two embrace. Chloe warns Miranda her attacker said he was going to target Miranda next. Miranda begins regaining some of her memories bit by bit, and slowly comes to remember herself killing her husband. She realizes that the ghost had used her body to murder Douglas, thus making Miranda the patsy for his murder…

Reviews:

“Any criticism of this movie that says it doesn’t make sense is missing the point. Any review that faults it for going over the top into lurid overkill is criticizing its most entertaining quality. Any critic who mocks the line “I’m not deluded, Pete — I’m possessed!” should be honest enough to admit that, in the moment, he liked it. It takes nerve to make a movie like this in the face of the taste police, but Kassovitz and Berry have the right stuff.” Roger Ebert, RogerEbert.com

“The jumpy twists are terrifying enough; the loony asylum is a Gothic masterpiece; but the continuity is sloppy.” James Christopher, The Sunday Times

” … it’s at least a well made and nice looking film. Kassovitz and DP Matthew Libatique certainly have good eyes, and kudos to them for keeping the movie visually interesting even when it seems like a third of it takes place in Berry’s tiny cell. The title actually refers to the set design (Kassovitz explains as much on the commentary, saying it has nothing to do with the story or characters), and it’s almost worth watching the flick to appreciate the sets and overall look (a common theme in early Dark Castle movies, actually).” Horror Movie a Day

“Constantly bouncing from derivative to ridiculous and back to derivative again, Gothika will be tolerable for undiscriminating horror fans but should be shunned by everybody else.” Peter Hartlaub, San Francisco Chronicle

“There is definitely some unintentional humor in Gothika and the actors seem to be taking their roles far too seriously, but it is also dripping with dark and creepy horror atmosphere, and there are some genuinely chilling haunting sequences as well (some of the jerky-moving phantoms from Thirteen Ghosts are back on duty here in the psych ward). It’s actually a beautiful movie to look at, and taken at face value it is 90 minutes of an eerie spook-fest and that’s that.”  Staci Layne Wilson, Horror.com

Buy Gothika on Instant Video | DVD | Blu-ray from Amazon.com or on DVD | Blu-ray from Amazon.co.uk

Wikipedia | IMDb

Poor White Trash Part II (1974), also known as Death is a Family Affair and Scum of the Earth, is a Texas-shot American horror film directed by S.F. Brownrigg, starring Gene Ross, Norma Moore, Ann Stafford, Camilla Carr, Charlie Dell and Hugh Feagin.

Helen (Norma Moore) and her new husband Paul (Joel Colodner) arrive at a holiday cottage in the woods where they plan to spend their honeymoon, but their idyll is ruined when a mystery attacker slams an axe into Paul’s chest. Fleeing in terror as night falls, Helen encounters Odis Pickett (Gene Ross), whose shack is the only dwelling for miles around. He persuades the hysterical woman to stay overnight with him and his family, including his daughter Sarah (Camilla Carr), retarded son Bo (Charlie Dell) and pregnant wife Emmy (Ann Stafford). Reluctant, but terrified of the unseen killer, Helen agrees. However, the attacker is not to be dissuaded…

Filmed for three weeks on location in a hundred year old shack in Mexia, East Texas, with a small crew of about seven or eight, Poor White Trash Part II exudes sticky, sweaty sexual malaise and grimy gnat-nibbled discomfort. A consummate tale of backwoods horror, it proves that the promise Brownrigg showed in his debut feature Don’t Look in the Basement was no fluke, emphasising his talent for depicting seedy, morally depraved characters and underlining his consistent streak of compassion for the isolated, under-privileged and vulnerable.

A lot of the appeal of Brownrigg’s films has to do with the strength and talent of his repertory cast, and Poor White Trash Part II is no exception; indeed it’s almost a star vehicle for the most prominent of the troupe, Gene Ross, whose sleazy lascivious good ole boy ‘Pick’ fairly oozes from the screen. Here is a man who introduces his pregnant wife as “the skinny one with the big belly”, and repels her offer of sexual attention by snarling “I don’t want no puckered old blown-up balloon!” We soon discover that he is very friendly with Sarah, his bitterly sarcastic and sexually active daughter: when he tells her that he intends to have a talk “real private, like” with new arrival Helen, she taunts “I know what privates you got in mind – the same sort you been pokin’ in me since I wuz twelve.” This is followed by a heated exchange about how he gave her the clap.

So, not really the sort of film you can imagine the Texas Film Commission being involved with? Think again; actor Charlie Dell (who plays Bo) states that Brownrigg received around $200 a week from the T.F.C. (“and they were very lax about how they counted weeks!”).

Unlike her pig of a husband and her squabbling degenerate children, Emmy (Ann Stafford) is shown to be far more decent, sane and compassionate, but her stoicism in the face of her monstrous husband is perhaps the story’s most horrible facet. She knows how dangerous he is: while father and daughter take delight in taunting the distraught ‘city gal’, Emmy persuades Bo to fetch help, knowing her “likkered up” husband will soon attempt to rape the poor woman. Tucked away within what is essentially an exploitation film is a pointed attack on the primacy of the patriarchal figure in Southern family life: and in the figure of Emmy, the film expresses dismay at the breaking of womens’ spirits in abusive relationships.

In comparison to The Texas Chain Saw Massacre, another tale of Deep South family life released around the same time, narrative momentum is not this movie’s greatest asset; instead claustrophobia is the watchword, as Brownrigg revels in confining us to close quarters with the sort of ‘white trash’ the cast of Pink Flamingos might look down upon. Technically the film is better than its predecessor; Robert Alcott (who’d worked for Larry Buchanan before lensing Don’t Look in the Basement) excels here with what at first seems a limited pallette, his subtle use of coloured lighting giving surprising variety to the wretched interiors and shadowy, threatening woodlands. Art direction is more appreciable too – it seems that this time the budget could extend to rolls of hideous wallpaper as well as Don’t Look in the Basement’s battered furniture. Robert Farrar, whose scores for Brownrigg’s movies are an integral part of their sorrowful mood, livens things up occasionally with electric guitar, lending a stylized exploitation crackle to the proceedings.

Most importantly though, there’s a very entertaining script on offer. The credits name Gene Ross as writer of ‘Additional Dialogue’, a fact confirmed to me by Ross himself. Dell and Carr also added new lines to the script, making it something of a co-operative effort. Replete with choice bon mots such as “I’ll whup you till Hell won’t have it!”, this is a movie for connoisseurs of fetid verbal sniping. Indeed the film is compelling as much for what is said as for what is shown: the violence meted out by the killer seems almost prim in comparison to the psychological violence eating away at the dysfunctional Pickett family.

Brownrigg’s original title for the project was Death is a Family Affair, but there’s no evidence that the film saw release as such. After doing the local rounds as Scum of the Earth for a while it was bought up and retitled again for national distribution. “In the tradition of The Godfather Part 2!”, boasted the distributor responsible for calling it Poor White Trash Part II and then putting it on a double bill with Harold Daniels’ re-issued 1957 pot-boiler Poor White Trash (confusingly, the film’s British Intervision VHS release was simply as Poor White Trash (not Part II).

A note on the director’s credit: in interviews conducted for my next book, Nightmare USA Vol.2, Charlie Dell, Camilla Carr and Gene Ross all maintained that their fellow actor Annabelle Weenick (aka Anne MacAdams, Dr. Masters in Don’t Look in the Basement) was in many ways a co-creator of the films, offering the inexperienced Brownrigg technical advice and also making significant contributions to scripting and the handling of actors.

In exciting news, Grindhouse Releasing have announced that the film will be making its debut appearance on DVD and Blu-ray in the Spring of 2014.

Stephen Thrower, Horrorpedia

Second Opinion:

Scum of the Earth may well be the ultimate back-woods/redneck exploitation film, filthy and grimy, full of characters with no redeeming features and with utterly head-swirling dialogue, what it lacks in cash and dramatic art, it makes up for in sleaze. Brownrigg can be mentioned in the same breath as Andy Milligan, another low-budget director who played to his strengths but has divided critics ever since. The film was released theatrically twice, under two different titles, doing rather better the second time around under the title Poor White Trash II. Whether this is because audiences had a fondness for the Peter Graves-starring Poor White Trash, or simply thought that anything with a sequel must be worth seeing is not known.

Daz Lawrence, Horrorpedia

The Jekyll and Hyde Portfolio is a 1971 horror film directed by Eric Jeffrey Haims from a screenplay by Donn Greer (assistant director of Satan’s Cheerleaders), based on a story by Bonnie Jean, very loosely adapted from Robert Louis Stevenson’s novel The Strange Case of Dr. Jekyll and Mr. Hyde. It stars Sebastian Brook (Rosemary’s Baby), Mady Maguire (A Scream in the Streets), Donn Greer, Gray Daniels (Gallery of Horror, Gremlins 2, The Rain Killer), John Terry, Rene Bond (Necromania, Please Don’t Eat My Mother, Invasion of the Bee Girls), Casey Larrain (The Toy Box), Terri Bond, Hump Hardy, Nora Wieternik, Cathie Demille, Ric Lutze, Melissa Ruiz, Duane Paulsen and Jane Tsentas.

In the US, the film was issued an ‘X’ rating by the MPAA but by 1973 it received limited theatrical showings in North America. It was not released domestically on VHS. In late 1982, British video label Intervision announced plans to issue it on Beta and VHS. However, with the ‘video nasty’ controversy raging and their sleazy box cover (see above) already publicised, Intervision cancelled the release, making it mail order outside of the UK. It seems to have had a very limited Australian release, however. In early 2014, Vinegar Syndrome announced a limited edition Blu-ray Disc release of just 1000 copies on a double-bill with A Clock Work Blue.

Plot:

The Florence Nightingale Institute has a reputation for training highly respected nurses. Unfortunately, director Dr. Dorian Cabala (Sebastian Brook) has peculiar and perverted rules. To make matters worse, a killer begins preying on the students, leaving their abdomens with three star-shaped punctures. As the trainee nurses prepare to stage their own version of ‘Dr. jekyll and Mr. Hyde’ two cops (Donn Greer and Gray Daniels) keep an eye on Dr. Cabala and his charges…

Reviews:

“Eric J. Haims’s film is weird and gory and worth the time a viewer spends with it. Pants optional. I’m going out of my way to not give too much away. Because it’s the kind of film I love discovering from a decade that is chock full of wonder and odd: the 70s. A completely idosyncratic, individual oddball of a film seen by almost no one.” Bleeding Skull

“If you happened to miss the opening credits of this 1971 effort, you could be forgiven for thinking that you were watching an Andy Milligan movie. It’s all here: penny-pinching period sex/horror with elaborate but oddly shabby costumes, grainy 16mm blow-up cinematography, crudely recorded and mixed sound, elderly library music cues, a mix of affordable practical locations and flimsy sets, and amateur thesping that is all over the map, sprinkled with some vintage horror iconography.” By John Charles

“Filled with headache-inducing Milliganesque bad camerawork, bad editing, bad lighting, bad acting, bad plot, bad effects, bad sex scenes. And no, none of this is in the ‘so bad it’s good category’” Chelle’s Inferno

IMDb | Thanks to By John Charles for some of the info for this posting.

Final Exam is a 1981 American slasher horror film. Director and screenwriter Jimmy Huston apparently wanted to go against the norm and decided to feature little on-screen graphic violence. Still, like most slasher films of the 1980s, it was battered by critics and received only a brief theatrical run. Following VHS releases, it was finally released on DVD in 2008 and is available on Blu-ray in May 2014 via Shout! Factory.

Final Exam is referenced in Scream 2 along with other college themed slasher films such as: The House on Sorority Row, Graduation Day, The Dorm That Dripped Blood and Splatter University.

Plot:

Late at night, two college students (Carol Capka and Shannon Norfleet) are busy making out in a parked convertible. Ignoring the girl’s frequent objections, her boyfriend pushes on. Outside, a shadowy man jumps on top of the car, slicing his way through the fabric roof. Reaching inside, the lunatic grabs the young man and pulls him up and out onto the car’s hood. Brandishing a blade, the killer stabs the young man to death.

Sleepy Lanier College is nearing the end of Final Exam week: a frenzied semester cap time of grades, goodbyes, and pranks. As the students prepare for their tests as well as the coming vacation break, little do they suspect a murderer is stalking them one by one. Plain but amiable Courtney (Cecile Bagdadi) is completing her exams and studying hard. Averse to hitting the books, her roommate Lisa (DeAnna Robbins) is busy packing and getting back to the city.

Meanwhile, Gamma Delta fraternity pledge Gary (Terry W. Farren) has pinned his girlfriend Janet (Sherry Willis-Burch)… and paid for it by being treed by his brothers, stripped to his briefs, awash in shaving cream and ice cubes shoved down his underwear. As night falls on Lanier, a freezing Gary hopes his beloved Janet will free him from his humiliation. Untied from the tree by an unknown figure, Gary is relieved, but is stabbed to death by the man that killed the couple in the convertible…

Buy Final Exam on Blu-ray | DVD from Amazon.com

Reviews:

“Whereas so many slashers spend a great deal of time setting up an elaborate and sometimes ridiculous backstory for the killer, Final Exam seems uninterested in the killer as a living human being and instead uses him as a tragic, mysterious force that moves into the lives of those at Lanier College and changes them forever. He’s a perfect storm whose only motivation is carnage and the kind of random maniac that is all too prevalent in real life. The killer actually manages to generate a few decent scares, thanks in part to Huston’s clever direction and Raynor’s minimalistic, yet menacing performance. ” Oh, the Horror!

“In the annals of early 80s slashers, it’s both one of the worst (worst killer ever, for certain) and one of the best (due to its unparalleled levels of unintentional comedy).” Horror Movie a Day

“A few problems keep Final Exam from being a really good slasher. The first half is more of a college drama. The only soap opera elements missing are a pregnancy scare and an outbreak of venereal disease on campus. Killer (Timothy L. Raynor) has no name, background, or motivation. He’s just a big guy with a knife. This lack of character development really robs the film of suspense and tension. The viewer is waiting for a payoff that never comes. Final Exam may not be the most terrifying campus slasher ever filmed but it still manages to be funny and entertaining. Fans of gallows humor will find plenty to chuckle over.” Retro Slashers

Wrong Turn 6 is a 2014 American backwoods-themed horror film being produced by Fox Home Entertainment, directed by Valeri Milev, and based upon a screenplay by Frank H.Woodward. The film stars Sadie Katz (13 Girls, Scorned), Aqueela Zoll (Killjoy Goes to Hell), Chris Jarvis, Roxanne Pallet (Lake Placid 3), Raymond Steers, Harry Belcher, Anthony Ilott, Luke Cousins, Billy Ashworth, Rollo Skinner, Joe Gaminara, and Tabitha Luke Eardley.

Wrong Turn 6 is currently being filmed in Bulgaria…

Images on this posting are from previous Wrong Turn outings.

Buy Wrong Turn: The Collection on DVD from Amazon.co.uk

Buy Wrong Turn 1 – 4 on Blu-ray from Amazon.com

Wrong Turn series on Wikipedia

Sources: Bloody Disgusting, Horror Society

We Are What We Are is a 2013 American horror film co-wriiten (with Nick Damici) and directed by Jim Mickle (Mulberry Street, Stake Land). It was screened at the 2013 Sundance Film Festival and in the Directors’ Fortnight section at the 2013 Cannes Film Festival. It is a remake of the 2010 Mexican film of the same name. The film stars Bill Sage, Julia Garner, Ambyr Childers, Kelly McGillis, Odeya Rush, Michael Parks, Wyatt Russell and Nick Damici.

A seemingly wholesome and benevolent family, the Parkers have always kept to themselves, and for good reason. Behind closed doors, patriarch Frank rules his family with a rigorous fervor, determined to keep his ancestral customs intact at any cost. As a torrential rainstorm moves into the area, tragedy strikes and his daughters Iris and Rose are forced to assume responsibilities that extend beyond those of a typical family. As the unrelenting downpour continues to flood their small town, the local authorities begin to uncover clues that bring them closer to the secret that the Parkers have held closely for so many years. While the town’s doctor who’s daughter was eaten by Frank watches, the daughters both decide to consume their overbearing father, by eating his flesh while still alive…

Horrorpedia opinion: While there is an inevitable backlash against any US remake of a ‘foreign language’ film, We Are What We Are shows the validity of such remakes. This is less a carbon copy than a new interpretation of the basic story, given a Southern Gothic make-over and arguably resulting in a superior film. It could be argued – and we accept that this is a contentious opinion – that remakes like this manage to improve on the story by giving a fresh look at the story. Not that all such remakes do this successfully, but when they do – as in this case – the resulting film is a potent, powerful variation that both compliments and expands upon the original story.

‘What’s particularly impressive about We Are What We Are is what it changes (which is a lot) and what it chooses to keep; the central core of both films is very similar and yet fascinating for different reasons. The film also boasts strong essentials in the cinematography and score departments, while Mr. Mickle acts as his own editor, and the result is two disparate subplots that slowly converge in clever and intense fashion. This is a sober and serious horror tale, but it does remember to include some jolts, scares, and seriously bloody bits, too. It’s just a tight little package, all told.’ Scott Weinberg, FEARnet

‘The best element of the picture is how Mickle slowly, painstakingly builds both suspense and grotesque horror. Mickle is a natural born filmmaker and there is seldom a frame or beat that’s out of step. In fact there’s something very peculiar at work here in just how rich his approach is since there’s a genuine attempt to humanize its characters in a way where we often empathize with their situation even when they’re engaging in utterly horrendous actions. This is in stark contrast to the original Mexican version where its characters are pretty reprehensible as human beings…’ Glen Klymkiw, Film Corner

‘The movie saves most of its modest number of jolts for its last quarter or so, which makes them all the more intense. They stick in your craw – and be warned, they’re not for the squeamish… Mickle’s version has all the American Gothic trappings, maybe even pouring it on a bit thick at times. Despite the generally somber tone, there are a few moments when he seems to be tweaking genre buffs’ memories of movies by the likes of Wes Craven and Tobe Hooper.’ Walter Addiego, San Francisco Gate

‘Mickle takes a slightly different tack altogether, using the Grau screenplay as a jumping point to set more of a mood piece, using the gore to accent the feeling of anachronism he sets up with the central family. The violence of Mickle’s We Are What We Are, builds slowly toward a shocking and gruesome finale worthy of any horror fan’s attention.’ Brandon A. DuHamel, Blu-rayDefinition.com

Buy We Are What We Are on Instant Video | DVD | Blu-ray from Amazon.com

Wikipedia | IMDb

W.H. / D.F.

King Kong vs. Godzilla (キングコング対ゴジラ Kingu Kongu Tai Gojira) is a 1962 Japanese science fiction Kaiju film produced by Toho Studios. Directed by Ishirō Honda with visual effects by Eiji Tsuburaya, the film starred Tadao Takashima, Kenji Sahara, and Mie Hama. It was the third installment in the Japanese series of films featuring the monster Godzilla. It was also the first of two Japanese made films featuring the King Kong character (or rather, its Toho Studios counterpart) and also the first time both King Kong and Godzilla appeared on film in color and widescreen. Produced as part of Toho’s 30th anniversary celebration, this film remains the most commercially successful of all the Godzilla films to date. The US version sported a different edit and Universal Studios library music including cues by Henry Mancini from Creature from the Black Lagoon.

Plot:

Mr. Tako, head of Pacific Pharmaceuticals, is frustrated by the ratings the television shows his company is sponsoring. When a doctor tells Tako about a giant monster he discovered on the small Faro Island, Tako believes that it would be a brilliant idea to gain publicity. Meanwhile, American submarine Seahawk gets caught in an iceberg. Unfortunately, this is the same iceberg that Godzilla was trapped in by the Japanese Self-Defense Forces back in 1955, and the submarine is destroyed. Godzilla breaks out and heads towards a nearby Arctic military base, attacking it. He continues moving inland, razing the base to the ground. Godzilla’s appearance is all over the press, making Tako furious.

On Faro Island, a giant octopus attacks the native village. The mysterious Faro monster is then revealed to be King Kong and he defeats the octopus. King Kong then drinks red berry juice, becomes intoxicated, and falls asleep. Tako’s men place Kong on a large raft and begin to transport him back to Japan. However, a JSDF ship orders them to return Kong to Faro Island. Godzilla had just come ashore in Japan and destroyed a train, and the JSDF doesn’t want another monster entering Japan. Unfortunately, during all this, Kong wakes up from his drunken state and breaks free from the raft. Reaching the mainland, Kong meets up with Godzilla…

Buy King Kong vs. Godzilla on Blu-ray from Amazon.co.uk | Amazon.com

Reviews:

“There are two major fights in the film, the short scuffle near the middle and the big climax. The short one is basically a tease for the climax and establishes the hate the two monsters have for each other. Tsuburaya gives some great personality into these battles. These aren’t just two mindless animals fighting, they have reactions and make plans. (Who didn’t laugh when King Kong walks way from the short scuffle while scratching his head like he’s not sure what he’s up against?) The climax is easily one of the most exciting of the Godzilla franchise.” Daniel Alvarez, Unleash the Fanboy

“This marked the first step into a more comical approach to Godzilla. Many on the production crew were displeased with how lighthearted the film was, believing that Godzilla was more appealing when he was something to be feared. However, Toho wanted to broaden the audience and felt targeting children with the more comical scenes was the way to go.” Monster Movie Kid

“Solid fun. The dubbed dialogue hits all kinds of fantastic comedic moments, such as a character’s tendency to ache and complain about his ‘corns’ or the behavior and stuttering of Mr. Tako, the guy who takes over custody of Kong (bet he wishes he didn’t do that now, eh?). Normally I’d be a bit peeved at the infusion of comedy in a monster movies – I tend to like my monster flicks taken seriously – but considering that the humor and satire is part of the script’s DNA, well, I don’t quite mind it at all. And that adds substantially to the overall funness of this flick.” Andrew Simon, The Ramblings of a Minnesota Geek

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Buy Godzilla Yuki Sakai Works Godzilla Concept Structure by Ban Dai from Amazon.co.uk

Wikipedia | IMDb | Wikizilla | We are most grateful to Cathode Ray Mission for some of these images

Witchboard is a 1986 American horror film written and directed by Kevin S. Tenney (Night of the Demons, Brain Dead). It stars Tawny Kitaen, Stephen Nichols, Todd Allen and Kathleen Wilhoite. The film focuses on a female college student who is harassed and later possessed by an evil spirit after communicating with it through a friend’s Ouija board. The film has spawned two sequels, Witchboard 2: The Devil’s Doorway (1993) and Witchboard III: The Possession (1995).

Brandon Sinclair brings out his ouija board at a party and attempts to contact David, the spirit of a ten-year-old boy with whom he has communicated numerous times. The spirit responds, but Jim, formerly Brandon’s best friend and now nemesis, insults David, making David angry and provoking David to slash the tires of Brandon’s car.

The next day, Linda, Jim’s live-in girlfriend, sees Brandon’s ouija board (which Brandon left behind from the previous night) and tries to contact David. The spirit that appears is actually an evil being (Malfeitor) acting under the guise of David. This malicious spirit starts being nice and helpful, informing Linda where her lost diamond engagement ring is. Meanwhile, at the construction site where Jim is working, Jim’s friend Lloyd is killed by the murderous spirit. Linda again contacts Malfeitor—whom she still believes to be David—and he lies, responding that he did not cause the accident. Linda begins to fall under “progressive entrapment”, in which the spirit changes and starts to terrorize the user, making the person weak and easy to possess…

“It’s a fine example of a horror movie from the 1980′s. It’s packed with fake-out scares, including the impressive fake-out-scare-holy-shit-real-scare-afterall scare, cheesy special effects, and some genuinely cool horror scenes. There’s a moment when you see the world from the spirit’s point of view, we ride along as the camera seems to float down hallways, above beds, etc, and it is fairly freaky.” Fister Roboto, Left Hand Horror

“Witchboard is a winner in a BIG way.  From sets that look like they were constructed in someone’s garage to a plot that literally revolves around a piece of cardboard, this movie should be required viewing for any film student itching to make a scary movie. With almost nothing to work with, director Kevin Tenney somehow gets everything right, and turns out a horror movie that is not only hysterical to watch, but actually manages some brilliant jump-scares in the process.” Tower Farm Reviews

“This is a brilliant, world class example of how truly excellent a terrible ’80s flick can be: big hair, tight jeans, ruthlessly annoying characters, and straight-up bad acting. Yet somehow all of these awful things add up to make something entirely enjoyable.” Erin Page, Twins of Evil

Buy Witchboard on Blu-ray + DVD combo from Amazon.com

New Audio Commentary With Writer/Director Kevin S. Tenney and Actors Stephen Nichols, Kathleen Wilhoite And James Quinn |  Audio Commentary With Writer/Director Kevin S. Tenney, Executive Producer Walter Josten And Producer Jeff Geoffray | New Interviews With Kevin Tenney, Tawny Kitaen, J.P. Luebsen, James Quinn, Walter Josten, Todd Allen And More | Theatrical Trailer | TV Spots | Still Gallery

Wikipedia | IMDb

13/13/13 is a 2013 American horror film written and directed by James Cullen Bressack for The Asylum productions. It stars Trae Ireland, Erin Coker, Jody Barton, J. Scott, Bill Voorhees, Tiffany Martinez, Jared Cohn, Calico Cooper.

For millennia, calendars have added an extra day every four years. In doing so, they violated the ancient Mayan calendar. Now we are in the 13th month of the 13th year of the new millennium, and the few who survive will battle a world of demons.

Reviews:

” …  a bloody intense film that has shades of a family drama as well as apocalyptic overtones. This is a sharp, gory horror film with star making performances by Barton, Ireland, and Coker and an eye popping  cameo by Jessica Cameron. Worth a watch for all involved.” Christopher M. Jimenez, Sinful Celluloid

“13/13/13 stretches itself out by having the leads kill more time than they do infected humans. The rest of the space is filled with more moments of maniacal laughing than an army of funhouse fat ladies at a supervillain convention. Between that and the absurd overacting, one wonders if the film might be trying to drive the viewer as batty as the cast. Anyone left with any sanity by the film’s end will learn that the movie is a schizophrenic zombie itself.” Culture Crypt

” … those looking for on-screen deaths should look no further because this film has a metric ton. The special effects are hit and miss but it does not take away from this bloody flick. Overall, Bressack delivers another film that feels like a punch to throat and does not let up.  I highly recommend this one!” Blacktooth, Horror Society

“ … a take on The Crazies with supernatural twists. Unfortunately, it’s The Asylum’s take on that film, which means a tiny budget, brief shooting schedule and lack of quality talent, which results in the failure to deliver a compelling story. When the dialogue isn’t groan-inducing, the neverending score is just as grating to listen to. The filmmakers spend too much time showing people sitting around and laughing at each other because, well, they’ve gone bonkers.” J.D. Smith, Fangoria

“13/13/13 is typical The Asylum style film making. It’s silly. It knows it’s silly. And if you got it, flaunt it. All in all this movie will appeal to many of the same people who liked the movies mentioned previously. You’ll find plenty of cheesy dialogue, terrible acting, buckets of blood, and moments that will have you laughing out loud. Just one memorable line: “we’re all a little bit Asian”. GraveDave, Life After Undeath

Buy 13/13/13 on Blu-ray from Amazon.com

IMDb

The following Blu-ray Discs will soon be released in the UK or have been announced with a release date to be confirmed. Some titles are imported US releases. This list will be constantly updated so visit this page often for updates.

Absentia – Second Sight Blu-Ray+ DVD combo – Buy from Amazon.co.uk

Released July 7, 2014

Embrace of the Vampire – Buy Anchor Bay Blu-ray + DVD combo from Amazon.co.uk

Released July 1, 2014

Re-Animator Limited Edition 2 Disc Steelbook [Buy Blu-ray from Amazon.co.uk] 

Released June 2, 2014

The Beast within - Arrow Blu-ray + DVD combo from Amazon.co.uk

Released May 12, 2014

Frankenstein and the Monster from Hell – Buy DVD + Blu-Ray combo

Released April 28, 2014

Antisocial [Buy Blu-ray]

The Omen – Limited Edition Steelbook – Buy Blu-ray from Amazon.co.uk

Sisters – Arrow DVD + Blu-ray combo from Amazon.co.uk

Released April 28, 2014

Zombie Night [Buy Blu-ray from Amazon.co.uk]

Released April 21, 2014

Phantom of the Opera (1989, with Robert Englund) [Buy Blu-ray]

Released April 21, 2014

The Hills Have Eyes II (1984, with Michael Berryman) [Buy Blu-ray from Amazon.co.uk]

StageFright (1987) Limited Edition [Buy DVD and Blu-ray Combo Pack from Amazon.co.uk]

Nosferatu, The Vampyre [Buy Limited Edition Blu-ray Steelbook from Amazon.co.uk]

Released May 19, 2014

The Devil’s Due [Buy Blu-ray + UV Copy]

Released June 16, 2014

Tourist Trap [Buy Blu-ray]

Released 21 April, 2014

The Fly (David Cronenberg) – Limited Edition Steelbook [Buy Blu-ray]

Released June 2, 2014

Amphibious 3D (Buy Blu-Ray 3D + Blu-ray)

Julia X 3D (Buy Blu-Ray 3D + Blu-Ray)

Released June 16, 2014

Theatre of Blood [Buy Blu-ray]

Released 5 May, 2014

Dan Curtis’ Dracula [Blu-ray] [Buy US Import]

Mr Jones [Buy Blu-ray]

Released 23 June, 2014

Monkey’s Paw [Blu-ray] [2013] [Buy US Import from Amazon.co.uk]

Bloody Birthday [Buy Blu-ray]

Evilspeak [Blu-ray] [Buy US Import]

Captain Clegg aka Night Creatures (1962 ) [Buy Blu-ray]

June 23, 2014

House of Mortal Sin [Blu-ray] [Buy US Import]

I, Frankenstein [Buy Blu-ray] 

May 26, 2014

The Frankenstein Theory [Buy Blu-ray]

Released June 16, 2014

The ‘burbs Steelbook [Buy Steelbook Blu-ray]

June 23, 2014

The ‘burbs [Buy Blu-ray]

The Demons (Jess Franco) [Redemption Blu-ray] [Buy US Import]

Paranormal Activity: The Marked Ones [Buy Blu-Ray] 

May 12, 2014

Bloodsucking Freaks – Extreme Uncut Collector’s Edition [Buy Blu-ray]

April 21, 2014

Theatre of Blood Steelbook [Buy Blu-ray]

May 5, 2014

The Last Horror Film aka Fanatic [Buy Blu-ray]

June 16, 2014

The Descent – Limited Edition Steelbook [Buy Blu-ray]

April 14, 2014

Death Spa [Blu-ray + DVD Combo] [Buy US Import]

Ravenous [Blu-ray] [Buy US Import]

Zombies 4-Pack [Blu-ray] [Buy US Import]

The Pit and the Pendulum [Buy Blu-ray]
Released May 19, 2014

Pit and the Pendulum Steelbook [Buy Blu-ray]

May 19, 2014

Mary, Mary, Bloody Mary is a 1974 (released 1975) Mexican/US horror film directed by Juan López Moctezuma (The Mansion of Madness, Alucarda) from a screenplay by Don Henderson, Don Rico and Malcolm Marmorstein. It stars Cristina Ferrare, David Young, John Carradine, Helena Rojo, Arthur Hansel, Enrique Lucero, Susana Kamini.

For years, only available on video, Mary, Mary, Bloody Mary was released in the U.S. on DVD in 2013 by 3D Circus, a company who apparently did not have the rights. Bizarrely, they also included a supposed 3D version even though the film was never shot in this process! Provocative modernistic artwork – see below – and the novelty of an obscure horror in 3D ensured that this release sold well, although a definitive high definition Blu-ray from Code Red is planned.

Quentino Tarantino is a big fan of this movie, so in October 2013 he loaned his print to the Mexican Cine de Morelia film festival and made a personal appearance, saying: “It’s not a vampire movie per se, because the lead character, Mary, does not have any supernatural powers, she just has a disease that she has to drink blood.” The director compared Mary, Mary, Bloody Mary to the film Martin (1976), by George Romero, whose protagonist isn’t a vampire either, but has the need to drink blood.

Plot: 

Mary, an attractive young American surrealist artist (Cristina Ferrare) lives in Mexico where she can more readily satisfy her bloodlust. Seducing then murdering her male victims, she then sucks their blood as they lie dying. Secretly stalking her, a masked figure in black, is also committing similar bloodsucking homicides.

Despite the bisexual attentions of her art dealer friend (Helena Rojo), she falls for Ben Rider, a handsome young American drifter (David Young) and begins to question her soulless existence. Meanwhile, the Mexican police and the FBI are closing in and suspect Ben is the perpetrator of the mysterious murders. Eventually, Mary is shocked by the appearance of her killer father (John Carradine), also a blood addict…

Reviews:

“Though Mary, Mary, Bloody Mary doesn’t have any of the surreal touches that Moctezuma’s better known pictures do, it’s an interesting and reasonably well made slice of seventies horror weirdness. The film is fairly well shot, features some nice atmosphere and okay moments of tension and it’s got a pretty cool cast on top of that.” Ian Jane, Rock! Shock! Pop!

“The picture is smoothly put together and has some stylish touches, especially in the transitions from one scene to another. The shock cut to the shark attack victim is one, while other scenes are heralded by a closeup of a bejeweled skull, the closeup of Greta’s corpse (her murder isn’t shown), and so on. Mary’s paintings (with the exception of the portrait of her father) are rather Dali-like representations of brains, hearts, animals, caverns, tunnels, etc. López Moctezuma isn’t able to do much with the mise en scene given the contemporary setting – La mansión de la locura and Alucarda are much more flamboyant in their design–but the overall look of the picture is satisfactory.” Dave Wilt, University of Maryland

“Although in the scenes where she connects with other actors, Ferrare’s portrayal is solid there are other times where she has to be the cold killer. In some ways this makes sense. She is a predator when she needs to feed but still wants to have another connected life when the desire is not so great. Still in the last act the way she seems almost helpless as she is chased by the masked killer seems really out of place.” Soresport Movies

” … although  Moctezuma shows some visual flair in a number of the sequences, he doesn’t appear to have been capable of overcoming its crushing banality.” Phil Hardy (Editor), The Aurum Film Encyclopedia: Horror

” [Carradine's] greatest contribution to the pic is to make the bloodbath climax a laughable one.” Variety

“A disaster… Juan Moctezuma could only procure Carradine for a few days of shooting, and decided to pull the old Ed Wood-Bela Lugosi scam on us? … Not recommended for the squeamish or the intelligent.” Fangoria

“Carradine – and his stand-in – play an unexpectedly energetic role in this expectedly awful U.S.-Mexican sex-horror bomb. Carradine receives “special guest star” billing for his part as “The Man”, the mysterious masked stranger who dogs Cristina Ferrare on his travels through Mexico. For most of the running time, the heavily disguised character is played by the double, who wears a black mask to conceal the substitution; he also wears a large black hat which (combined with the mask) makes him look like one of the characters in the comic strip Spy vs. Spy.” Tom Weaver, John Carradine: The Films (McFarland, 1999)

Buy John Carradine: The Films book from Amazon.co.uk

IMDb | John Carradine on Horrorpedia

We are grateful to Critical Condition and Soresport Movies for some images above.

Evelyn Ankers (17 August 1918 – 29 August 1985) was a British actress born in Chile.

She often played variations on the role of the cultured young leading lady in many American horror films during the 1940s, most notably The Wolf Man (1941) aged 23 opposite Lon Chaney Jr., a frequent screen partner.

Known as “The Queen of the Screamers”, she began her stint as a screamer at Universal Pictures with Hold That Ghost (with Bud Abbott and Lou Costello, 1941). Her other films include The Ghost of Frankenstein (1942, with Lon Chaney Jr. and Bela Lugosi), Captive Wild Woman (1943), Son of Dracula (1943), The Mad Ghoul (1943), Jungle Woman (1944, with J. Carrol Naish), Weird Woman (an Inner Sanctum Mystery, 1944), The Invisible Man’s Revenge (with John Carradine, 1944) and The Frozen Ghost (Inner Sanctum Mystery, with Lon Chaney Jr., 1945).

She also appeared in Sherlock Holmes and the Voice of Terror (1942, with Basil Rathbone), The Pearl of Death (1944, another Sherlock Holmes mystery), and fantasy adventure Tarzan’s Magic Fountain (1949).

Ankers made over fifty films between 1936 and 1950, then retired from movies at the age of 32 to be a housewife, having married leading actor Richard Denning, with whom she had starred in Hold That Ghost). Denning was himself no stranger to monster movies, appearing in Unknown Island, Creature from the Black Lagoon and The Black Scorpion amongst others. Ankers died of ovarian cancer at the age of 67 on 29 August 1985 in Maui, Hawaii.

Buy all six Inner Sanctum Mysteries on DVD from Amazon.com

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Wikipedia | IMDb

Donnie Darko is a 2001 American dark fantasy film written and directed by Richard Kelly and starring Jake Gyllenhaal, Drew Barrymore, Patrick Swayze, Maggie Gyllenhaal, Noah Wyle, Jena Malone, and Mary McDonnell. The film depicts the adventures of the title character as he seeks the meaning and significance behind his troubling Doomsday-related visions.

Budgeted with $4.5 million and filmed over the course of 28 days, it initially grossed just under $7.7 million world-wide. The limited U.S. release of the film occurred during the month after the September 11 attacks. It was subsequently held back for almost a year for international release. Since then, the film has developed a large cult following, resulting in the release of a 20 minutes longer director’s cut.

A 2009 sequel, S. Darko, centers on Sam (Daveigh Chase), Donnie’s younger sister. Sam begins to have strange dreams that hint at a major catastrophe.

Plot Teaser:

On October 2, 1988, Donnie Darko (Jake Gyllenhaal), a troubled teenager is awakened and led outside by a figure in a monstrous rabbit costume, who introduces himself as “Frank” and tells him the world will end at a specific time in 28 days. At dawn, Donnie returns home to find a jet engine has crashed into his bedroom. His older sister, Elizabeth (Maggie Gyllenhaal), informs him the FAA investigators do not know where it came from.

Donnie tells his psychotherapist, Dr. Thurman (Katharine Ross), about his continuing visits from Frank. Acting under Frank’s influence, he floods his school by damaging a water main. He also begins dating new student Gretchen Ross (Jena Malone), who has moved to town with her mother under a new identity to escape her violent stepfather. Gym teacher Kitty Farmer (Beth Grant) blames the flooding on the influence of the short story “The Destructors“, assigned by dedicated English teacher Karen Pomeroy (Drew Barrymore), and begins teaching attitude lessons taken from motivational speaker Jim Cunningham (Patrick Swayze). Donnie asks his science teacher, Dr. Kenneth Monnitoff (Noah Wyle), about time travel after Frank brings up the topic, and is given the book The Philosophy of Time Travel, written by Roberta Sparrow (Patience Cleveland), a former science teacher at the school who is now a seemingly senile old woman.

Dr. Thurman tells Donnie’s parents that he is detached from reality, and that his visions of Frank are “daylight hallucinations”, symptomatic of paranoid schizophrenia. Donnie disrupts a speech being given by Jim Cunningham by insulting him in front of the student body, then burns down Cunningham’s house on instructions from Frank. When police find evidence of a child pornography operation in the house’s remains, Cunningham is arrested. During a hypnotherapy session, Donnie confesses his crimes and says that Frank will soon kill someone…

Buy Original and Director’s Cut on Blu-ray from Amazon.co.uk

Reviews:

“the drowsy surrealism and elaborate inconclusiveness of Donnie Darko will simultaneously guarantee it a rabid cult and put it way off limits to the don’t-get-its. It shares with David Lynch’s Eraserheada stubbornly-what-it-is unhipness that ensures inadvertent, and possibly perennial, hipness … But the flaws, if you find them to be so, are merely grit in the texture. As with any richly woven work of art, if you’re attuned to it, you take what you need from “Donnie Darko” at each given viewing, and you take something different every time.” Rob Gonsalves, eFilmCritic.com

“I guess what bothered me the most is the utter “importance” that was placed on every insight revealed along the way. As if the filmmaker were bashing you over the head to say, “You better pay attention because parts of this film are really, really deep and meaningful.” Well, for some, maybe, but not for me. This is really one of those Rorschach test films. You either love it or hate it. For those who loved it, I have only one word: overrated.” Chris Gore, Film Threat

“But how stimulating to see a film that really can be scary and believes in its own scariness, scariness with a point – not like the preprogrammed generic film-school pseudo-shockers we’ve been offered recently. The scariness is rooted in compassion: you are just afraid for Donnie … This resolution works as an anguished metaphor: there’s almost a kind of thanatos , a yearning for death in the mind of the sufferer. Donnie does not want to be terrified of his demons any more, delusional or otherwise, and doesn’t want them to poison the lives of everyone around him either. Donnie Darko isn’t perfect, either as horror film or psychological study. But what a refreshingly different, distinctive piece of work it is.” Peter Bradshaw, The Guardian

“Donnie Darko: The Director’s Cut is alive, original and intriguing. It’s about a character who has no explanation for what is happening in his life, and is set in a world that cannot account for prescient rabbits named Frank. I think, after all, I am happier that the movie doesn’t have closure. What kind of closure could there be? Frank takes off the insect head and reveals Drew Barrymore, who in a classroom flashback, explains the plot and brings in Grandma Death as a resource person?” Roger Ebert, Rogerebert.com

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