Darko's Recently Viewed Diary

Day 20 of 31 Frights was Zombie Flesh Eaters, a classic slice of low budget horror that has perhaps the all time great wtf? moment during which a zombie attacks a shark.

Zombie Flesh Eaters is very much a product of it's time, cheap, trashy and indebted to a dozen more famous features. In recent years the genre has had something of a resurgence with big screen entries such as Shaun of the Dead and World War Z and even TV has moved in on the action with the much loved, but dull as dishwater The Walking Dead.

ZFE is from a much trashier time and as such it manages to be far more fun that it has any right to. The plot really is simple, a seemingly abandoned boat is found floating in a New York harbour but unknown to the first responders it's not quite as empty as it first appears. Soon we have one dead harbour patrol dude and one dead once more zombie. This opening may hint at a New York dealing with zombies but things take a quieter route once a dashing journalist and the attractive daughter of the boat owner decided to investigate and, it's not long before our heroes are stuck on a Caribbean island and at the mercy of the undead.

One of the films most pleasing points is the fact that it never bothers trying to explain what has caused the dead to rise. There are heavy hints that it may be the result of voodoo but it could just as easily be a virus which makes for some interesting reading once you consider that the film can easily be read as an Aids allegory. Granted the film was made a number of years before the Aids epidemic took off but that only makes it all the more interesting.

Part of the problem with many of these genre films is that the filmmakers try to turn their cheap blood and guts picture into some sort of social commentary and for the most part, fail miserably. By not only not explaining the outbreak but also not bothering to tack on a social commentary Fulci managed to craft one of the genres most enjoyable entries. ZFE is all about the slow building sense of foreboding and gore FXs and in both areas it gets and A+. The way all hope is slowly lost till the entire world is on the edge of oblivion lends the film a bleakness that enhances the terror and leaves us with one of horrors most memorable final moments.

Day 21 was the 1920's classic Dr. Jekyll and Mr Hyde. There's something strangely compelling about silent cinema and in particular horror. The exaggerated movements and reactions create a child life sense of unreality that makes for some truly unnerving cinema.

Dr. Jekyll and Mr Hyde is one of silent cinemas true classic. A triumph in every department and while the early scenes do drag somewhat they also do a fine job of setting up the finale and Jekyll's fall from grace. Exploring the duality of man it's an intelligent and gorgeous to look at tale of the horror the exists within all of us. Barrymore's dual performance is one of silent cinemas finest and modern filmmakers could learn a lot from the simplicity of the transformation and subsequent uses of Hyde.

The melancholic ending has always been a favorite of mine and the tale has been told a thousand times since, rarely has it been told so well.

Day 22 of my 31 Days of Fright was Evil Dead 2. There's really not a whole lot you can say about the Evil Dead 2 that hasn't been said a thousand times before. It's a ridiculously over the top, non stop descent into madness that has to be seen to be believed. Campbell is at his best and his psychical humour is one of a kind. Raimi's direction is just as wild and eccentric as you expect and the whole thing will have you laughing like a mad man. Really is one of the finest examples of a comedy or a horror that you are likely to stumble across.

Day 23 was Creepshow 2 which is one of those dull as dishwater anthologies that really should have been so much more. The original is hardly a classic but at least it was fun and had a few interesting ideas. Sadly part 2 is a cheap quickie that goes on for far too long. There are one or two decent ideas but they go nowhere and bar the opening story you'd be hard pressed to recall a single minute of it.

Day 24 was Freddy vs. Jason. Look, there is nothing really original or interesting to see here and had it never been made the world would be no better off but for a little throwaway fun it does the trick. Freddy, once again is played far too tongue in cheek and lacks any real menace and the kids aka the heroes are the kind you hope will be knocked off sooner rather than later. Jason is the usual, hulking dumbbell and I'm constantly surprised by just how easily Jason, a thing who stumbles slower than a drunk at 4am on a Sunday can out run a nubile teenage girl running like Usain Bolt on crack. Stupid is the word that best expresses what Freddy vs. Jason is about and it's all the better for it. It's not something to sit down with and expect anything of note bar a a few fun kills. Best enjoyed intoxicated.

Day 25 continued with the genre of cinema in which stupid people being killed by a slow moving dimwit. See No Evil, starring a wrestler and produced by WWE is exactly what you expect. A stupid, stupid movie with few likeable characters, so little character development that you'd have space to spare on the back of a matchstick box and plenty of gore. Which to be honest, is a recipe that can make for some great braindead cinema.

I knew exactly what I was getting when I threw the Blu-Ray of See No Evil into my player and at 3am in the morning it was the perfect antidote. It's 90 minutes of cheese with an ending that is so brilliantly stupid that you have to love it. The fact that the sequel is being made by the twins behind American Mary has me quite interested in the franchise, which is shocking considering that it's a slasher film from WWE.... What's most interesting about it all is the fact that there exists, a novelization of the damned thing.

Day 26 was a little Korean horror with the rather damn fun Killer Toon which is pretty much The Ring only this time with evil comics. The set up is identical to a dozen other films and there's not a single original moment but some of the visuals are inspired and the deaths are very well handled. There are quite a few twists along the way and while it does at times feel like a retread, it's always entertaining.

Day 27 saw a return of one of the months more enjoyable 80s characters. Pumpkinhead 2: Blood Wings from master of the late 80s/early 90s horror sequel Jeff Burr. Much like the original there's not a whole lot original going on here and each of the characters could have been lifted from the Writing Horror 101 handbook but Burr knows what his audience want and as such, we see a whole lot of Pumpkinhead. The creature FX is once again the best thing on display and the film takes a child like glee in having various dirt bags get massacred. Sometimes it's the small things in life that work the best and while no one will mistake Blood Wings as a classic it sure as hell is a lot of fun.

Day 28 was the plain odd Strange Circus from Shion Sono. A completely bonkers film that frequently asks the viewer what is real and takes great pleasure in repeatedly pulling the carpet from beneath your feet. Visually it's a treat with some of the finest cinematography around and the sheer oddness on display makes for one of the most memorable films you are ever likely to see. It's a film best experienced cold and one that should be at the top of everyone's to watch list.

Day 29 of 31 Frights was a little seen Canadian wilderness slasher called Rituals. Starring Hal Halbrook in one of his against type roles it plays out like a lesser Deliverance that slowly evolves into a nihilistic and nasty revenge tale with some of the most beautiful scenery ever committed to celluloid. Sadly over look and long forgotten it's one of those true lost gems that deserves to be reevaluated.

For the penultimate day of 31 Frights, something a little interesting was in order but sadly I ended up watching the rather terrible Nomads. From John McTiernan, director of some true action classics and starring Adam Ant and Pierce Brosnan I expected something a little interesting. Sadly what I got was jumbled, ridiculous, poorly made crapfest where Brosnan once again tries on a stupid accent. There's a great set up here and initially the film promises a lot but by the 15 minute mark it's clear that what were getting is little more than a rejected music video for some crap new wave band that no one wanted to see.

Day 31 was The Relic, something a little easy going. Something which in the past I've thrown on to kill 2 hours. Watching it yet again I was struck by just how much fun it all is. Yes the film has massive problems, it's far too dark looking and we rarely see the creature but Tom Sizemore kicks all kinds of ass and when we do see the creature it looks amazing. There are few things as much fun as a creature feature done right and sadly in this day and age, utter tosh like Sharknado and Sharktopus are being viewed as classics of the genre. Gone are the days when a director would strive to make a legitimately good creature feature and here are the days where making a film as bad as possible is seen as a good thing. The Relic may have it's faults but it's a beautiful film to look at and features some truly inspired moments.

Been awhile since I updated this but here be the horrors I watched over the past 6 or so month.

Spiders - An somewhat old fashioned monster movie that's all about the fun. The FX are cheap, performances aren't all that but when the mayhem kicks off it's fun to watch. It plays out like a 70s creature feature and is perfect late night, post pub fodder.

Big Ass Spider - Much like Spiders this is a low budget creature film that pays homage to all those films you loved as a kid. There's a lot going on here and it's nice to have a film such as this where the central characters are likable and the lack of a single cynical bones is pleasant treat. It's big dumb and all the better for it, with a pretty kick ass opening and the best use of Where is My Mind? since Fight Club.

https://www.youtube.com/watch?v=7T69VjRNyTk

Purgatory - A horror western that's all about the story. Feturign a fine cast of character actors and a number of interesting ideas it's one of those film that I've fondly remembered since I first saw it. Re-watching it I was struck by how adult it was.


Stitches - A piss poor attempt at a slasher that's cheap and has more plot holes than you care to count. Not even the deaths can save it and let's hope the hinted at sequel never gets off the ground.

The Lords of Salem - As a huge fan of The Devil's Rejects I was really looking forward to this and wasn't disappointed. Here;s my thoughts of it from another thread

it's up there with the best that the genre has to offer. A truly unique tale that's told in a restrained and adult manner. It's been a long time since a film has managed to create such an unrelentingly grim sense of fireboding and while the end does squander the buildup it's still a magnificent piece of work. Zombie's imagery is exceptional and called to mind Kubrick, Argento, Polanski, etc yet it never feels like imitation. The first entry into number 5 features one of cinemas most mind blowingly beautiful moments and there's really not a single moment in the film that you couldn't hang in a gallery.

It's the most nature, restrained and intelligent horror I've seen in quite sometime and the lack of gore and jump scares is refreshing. It's a film all about mood and atmosphere and anyone looking for something a little different is in for a treat. I really hope that Zombie's decision to move away from horror is temporary as I really want to see what he does next.

Piranha 3DD - Unwatchable crap that really shouldn't exist. It's the most cyncial and uninteresting of films and one that should be forgotten sooner rather than later.

Cottage Country - A horror comedy that's genuinely funny. The cast are game and the script is strong and it's not afraid to go dark places. It really is just good fun and deserving a far higher profile than it has.

Zombie Night _ The Asylum do zombies and it's not half bad. Decidedly low budget with some cheap FX work, poor performances and some of the slowest chase scenes ever, yet there's also a lot to like. There's a cynical, nihilistic feel to the film that helps separate it from many of it's contemporaries.

The Exorcism of Emily Rose - An uninteresting and bland film that takes a fascinating premise and does nothing with it. It's the Exorcist for the iphone generation and about as interesting as you'd expect. All the elements are there for a great lil horror but nothing here works.

The Blob - As much fun now as I imagine it was when first released. McQueen is great, the creature is fun and it's such a product of it's time that it's impossible not to warm to it.

Ghost Ship - The opening is great but alas everything that follows is just so trite and familair that you can't help but feel that you've seen it all before. A great cast is wasted on a script that isn't all that good.

Rajin Cajun Redneck Gators - The kind of nonsense that the SyFy channel churns out on a regular basis, only here it's actually somewhat fun. Yes it's cheap but it's also cheerful and fun, something that most of it's cohorts lack.

Anacondas: Hunt for The Blood Orchid - The original was bland and this isn't much better. There's plenty of kills but they lack any originality and the entire thing feels like a shot on the quick cheapie made simply to retain the rights.

Last Days on Mars - I can't remember the last time I saw a film so derivitve, it's pretty much Alien meets the Thing meets Ghosts of Mars by way of every space horror of the past 30 years. There isn't a single original moment to be found here and it's one of those films that squanders a great cast and an tense set up on a genreic and bland zombie tale.

Still, taken for what it is, a low budget genre piece it's not half bad and features some nice suspense, gorgeous visuals and a wonderfully evocative score which is responsiable for creating most of the tension.

The Call - A great set up is squandered on a film that's more interested in repeated shots of Halle Berry looking worried than in doing anything remotely interesting. It's a dumb film with an ending so stupid that you it makes you want to bang your head off a wall.

Arctic Predator - Another Syfy movie of the week that is actually enjoyable. The script is strong and there's some nice ideas in play but like many others the cheap production values really hamper it. It's the sort of film that you'd like to see get a rewrite and a serious budget raise.

Paranorman - Just as great the second time as it was the first time. It's a kids film that manages to be both beautifully haunting and fun at the same time. It's a lovingly crafted homage to the horror films of the past aswell as stop motion as a medium. Really cannot recommend it enough, it's just a joy to watch/.


Abraham Lincoln: Vampire Hunter - Enjoyed this the first time and rewatched it in 3D awhile back and enjoyed it just as much the second time. It's a big dumb blockbuster that has some great moments as well as some of the worst green screen and CGI that you will ever see. It's the kind of film that you can throw on after the pub and just go with it.

The Cottage - The final third lets down this fun little horror that for much of it's running time is more concerned with exploring it's characters than it is cheap gore. The final third does turn into a generic mess but even then there's a lot to enjoy and the film has a wonderful streak of dark humour running throughout it.

Dolan's Cadillac - Based on the Stephen King short story this is a rather decent little revenge thriller let down by a rather flat lead performance. The set up is interesting and the references to Randall Flagg are at first intriguing but soon get a little weary given that Flagg here is just a sex trafficer who gets outwitted by a school teacher and one of cinemas oddest plans. Some of the cinematography is nice and there's some tension created but there's much better King adaptations out there.

Battle of the Damned - Dolph Lundgren vs Robots vs. zombies and every bit as dumb and fun as you'd expect. It's the kind of cheesy, 80s-esque nonsense that is the perfect end to a Friday night. Some impressive FX work, decent performances and good deaths help elevate this out of the bargain basement pile.

The Hypnotist - More a thriller than a horror but there's elements in play that would feel right at home in any genre picture. The story isn't all that interesting and the attempts at suspense fail more often that they succeed but two strong central performances help. There's nothing original here, just a competently made thriller which will only surprise those who have never seen a film before.

13 Sins - It's been years since I saw the original and as such I properly enjoyed this a little bit more than I would have. Like all good low budget fare that impresses the set up is far more interesting than most and the entire affair doesn't reek of low budget film making. Much like The Hypnotist, there isn't all that much original here and it's thanks to some nice camera work and the performances that it manages to stand out from the crowd.

ParaNorman - Watched this for the second time this year with my younger brother and I enjoyed it just as much as the first time I saw it when it came out. A beautiful crafted love letter to genre cinema with more heart, brains an visual panache than any big budget horror in years.

Monster House - A fun little haunted house monster film with a likeable script, a number of nice nods to some genre classics and a finale which is both visually inventive and a lot of fun.

Tucker & Dale vs. Evil - Just as fresh and funny the 5th or 6th time as it was the first. Anyone with even a passing interest in genre cinema owes it to themselves to watch this as soon as possible. It's one of the few horror comedies that works and when it hits it's funnier than pretty much anything else out there.

The Hills Run Red - A low budget, direct to disc horror that manages to be far better than anyone would ever give it credit for. There's a lot wrong with the film but the story is interesting and a somewhat original spin on tired material and the blood letting is amongst the best in recent years. William Sadler is obviously having a blast as the demented director and it's hard not to get caught up in the nonsense. Not a classic but a damn sight better than most recent horror.

Hideaway - made by Dennis Quaid's production company abides swiftly disowned, this is one of those mid 90s horror thrillers which thinks that fancy CGI will cover up the numerous issues. There's an interesting story here but it never goes anywhere and most of the cast sspend the duration looking lost. It's a bland, boring and not the least bit fun.

Not necessarily horror but many genre sites covered The Machine so I figured I'd throw up a little review here.
Threw on The Machine over breakfast and fell in love with it, it's one of the most striking films I've seen in quite some time and one of those low key science fiction tales that deserves a far bigger audience.

The premise here is rather straight forward it does subvert expectations and asks some interesting questions while exploring a wide range of themes, most memorably, just what it is that makes us human. Visually the film is gorgeous, and unlike most recent genre entries The Machine is a vivid picture bathe in deep red. The sanitised, clinical look that the genre has favored is wonderfully jettisoned in favor of an at times grim and gritty yet visceral world. Colour is brilliantly used to convey mood and it's rather striking to watch.

There's a wonderful evocative, retro 80s score in use and it manages to instantly draw the viewer in and remind them of all those great genre pictures of the 80s. The film is very much a throw back to a time when sci-fi was more concerned with asking questions than CGI. As such the film's most important element is the relationship between Vincent and the Machine, there's a vulnerability to their relationship that's a nice counterpoint to the harsh brutal world which the characters inhabit.

It would be easy to go on about the film but honestly, it's one of those low budget gems that everyone should give a go. it's not perfect and the ending feels somewhat rushed but The Machine remains one of the best films of the year and one which I'll happily pick up on Blu-Ray and revisit again.

They Live - More sci-fi than horror but it's from that wonderful period when the words A John Carpenter film weren't a warning. They Live is one of those great little genre pictures that knows exactly what it wants to do and isn't concerned with subtext or a need to subvert expectations. It's 85 minutes of ridiculous over the top nonsense with one of the most wonderful 5 minute fight scenes that you are every likely to see. It's also full of great one liners and Roddy Piper falling down a lot and looking perplexed.

Terrorvision - One of those 80s curios that you hope will be far better than it is. The set up is pure Band nonsense with a ridiculous set up and a cast of characters who feel like they walked out of a sitcom and onto the wrong set. Some decent low fi creature FX and a few fun kills is all that really helps one stand out as anything other than a crappy, low budget sci-fi farce that's not really worth anyones time.

Seedy Arling

Deleted User wrote: »

They Live - More sci-fi than horror but it's from that wonderful period when the words A John Carpenter film weren't a warning. They Live is one of those great little genre pictures that knows exactly what it wants to do and isn't concerned with subtext or a need to subvert expectations. It's 85 minutes of ridiculous over the top nonsense with one of the most wonderful 5 minute fight scenes that you are every likely to see. It's also full of great one liners and Roddy Piper falling down a lot and looking perplexed.

I have come here to chew bubblegum and kick ass. And I'm all out of bubblegum.

The Battery - One of those no budget gems that manages to take a well trod path but offer up something a little different. Shot for $6,000 this is one of the more interesting takes on the zombie apocalypse as it's less a film concerned with blood and guts as it is the relationship between two mismatched acquaintances forced by circumstances to band together. The near constant bickering makes for more humane and likeable characters and while the acting is nothing to write home about both our leads manage to elevate the material out of the ordinary. The final act siege is one of the most low key and affective that we've seen. It's a wonderfully realized set up that's intimate and rather charming in it's simplicity.

The Battery won't be for everyone one, it's a horror film for people who like a little more to their horror than needless violence. It's a film about how ordinary people face the unimaginable and while it's budget does show it doesn't detract from what is one of the best low budget genre pictures in a long time.

Neither of these are horror films but they both feature elements of the genre and both have an underlying sense of mounting dread that most horror films would kill for.


Cold in July - Based on a novel by Joe R. Lansdale, one of my favorite pulpy authors and directed by Jim Mickle, who has delivered two of the past decades best films it's fair to say that I went into Cold in July with high expectations.

Cold in July is a gleefully entertaining Southern noir with a distinct 80s look and feel, it's the kind of back to basics, nuts and bolt genre film that you've always wanted John Carpenter to deliver. The film opens with the death of an intruder during a home burglary gone wrong. Richard Dane the all American family man shoot and kills the son of a notorious criminal who it turns out has just gotten paroled from prison and is in a vengeful mood.

In an interesting change of pace, the post murder scenes are played not as some heroic moment by our antagonist but rather are played out in total banality. There's no long speeches or deep insights into it, rather it's shown to as the messy endeavor that it is. The most striking moment in the4 early scenes is not the murder but rather the aftermath when Richard and his wife clean the blood and brain matter from their couch and wall. Done in complete silence and sound tracked to "Forgetting You" it's a striking scene and one that lingers long in the memory.

In the days that pass Richard finds himself obviously displaying signs of PTSD but considering that this is Texas in the 80s he medicates himself with beer early in the afternoon and a new security set up. It's all very matter of fact and works brilliantly and building an underlying sense of unease. It's with the introduction of the deceased's father Ben that the film takes a detour into classic 80s slasher film territory. Ben, brilliantly played by Sam Shepard seems indebted to Michael and Jason given his ability to disappear in the blink of an eye, shows up to make Ricard's life hell and one can easily see how the remainder of the film will play out.

Only this isn't your typical genre picture and as such the film takes a interesting turn around the mid way point and evolves into a far more intelligent and interesting film than one would expect. To say anything more risks ruining the surprise suffice to say that once the great Don Johnson pops up, Cold in July transcends genre expectations and delivers one of the years best thrillers.

While the twists and turns and sudden and unexpected tonal shifts were present in the original novel it's Mickle and Nick Damici's script that really shines here. They have an intricate knowledge of genre cinema and have crafted a film that manages to touch upon a number of genres without ever felling self serving or confused. There's a deft touch evident that elevates Cold in July from being a great genre picture to being one of the best cinematic outings of 2014.

Performances here are flawless with Shepard and Johnson being the obvious standouts. Shepard has spent most of the past number of years typecast so it's refreshing to see him given something a little different. He's wonderfully demented yet grounder and his relationship with Johnson's character is nicely played. Johnson here feels like a throw back to his most icon role. It's easy to believe that he's playing an older Sonny Crockett, a feeling that's compounded by a wonderful moment of Johnson driving at night while Jeff Grave's brilliant 80s infused synth score pays homage to Jan Hammer's "Crockett's Theme". In fact the entire scene feels like an homage to the wonderful scene in the pilot for Miami Vice where Crockett and Tubbs drive toward danger as "In the Air Tonight" plays. Michael C. Hall is equally good in his role as Richard and played the tortured soul better then most. He doesn't quite have the presence of Shepard or Johnson but then his character calls for a more understated and banal performance.

Cold in July is easily one of 2014's best cinematic offerings. An adult thriller that wonderfully subverts genre cliches and expectations and isn't afraid to go against type. It's bold, interesting and brilliantly crafted and is almost certain to feature on my favorite films of the year list.



Blue Ruin - Blue Ruin is one of those low key revenge thrillers that strives to say something different. Traditionally cinematic revenge stories have been more of a celebration of violence than anything else. They use the act to showcase visceral scenes of torture and death yet rarely have anything interesting to say.

Blue Ruins strives to do something a little unexpected, it's tells a familiar tale of a loner whose entire life is defined by an act of violence two decades ago and whom has been unable to get on with his life. When we first meet Dwight he's living rough, eating from dumpsters and meandering through life with no purpose till the day he learns that the man responsible for a tragedy in his past is to be freed. What follows is a tale we've seen a dozen times before, a Dwight sets out on a vengeful quest for justice stirring up the past. The plot really couldn't be much simpler and it's through the simplicity of it that Blue Ruin is most striking. There's no bombastic score or over the top came work here, rather what we get is a raw, unshowy and rather depressing look at what can drive someone so far. Visually reminiscent of No Country for Old Women this is no frills fare that's all the more striking for it.

What is most striking in Blue Ruin is how violence is used. It's never fetishised and is always shocking. There's a finality to it that's hits home, it's sudden, unexpected and affects all involved. Dwight is not some hardened bad ass and as such his actions have consequences, they mold him and leave him scarred. For me the films most striking moment was the scene of Dwight returning home to clean up the broken glass and then posting his set of keys through the letter box. It's a beautifully tender moment where Dwight says good bye to the last shred of humanity, he knows that what he has done and will do mean that he no longer belongs in civilized humanity. Visually and thematically it's reminiscent of the finale of John Ford's The Searchers where Ethan turns his back and walks off into the unknown.

I can understand why so many people dislike the film, it does nothing new and for some the lack of gratuitous violence will be a turn off but for me that's what elevates the film. It's a genre picture that knows it's genre and rather than strive for originality it instead opts to tell an intelligent, well rounded story that knows the limitations of the genre and molds a pitch perfect story around those. One criticism I can't understand is that the film is slow, when criticism such as that are leveled at a genre picture I instantly assume that it's simply a case of a viewer unable to articulate their feelings. Calling Blue Ruin slow is akin to calling a film you don't understand pretentious, it's simply doesn't fit and comes across as misinformed.

Video Nasties: Draconian Days - A follow up to Jake West's Video Nasties: Moral Panic, Censorship & Videotapes, this second documentary on the BBFC and the UK's morale crusade to ban offensive material is very much what you'd expect. A lot of talking heads discuss the manner in which the UK became more and more conservative when it came to cinema and censorship and the film does have a tendency to go into far too much detail. Much of what were told is overtly familiar and as such the film does feel over long. The most interesting aspect is how it examines how the media, in particular tabloid newspapers began crusades to ban video nasties but it's over far too quickly and never really gets to the meat of the issue.

Anyone who has watched and enjoyed West's first documentary on censorship will enjoy this follow up even if it is a little light on any real insight and favors personal stories of it's many talking heads over anything all that interesting.

jh79

[Deleted User] wrote: »

Video Nasties: Draconian Days - A follow up to Jake West's Video Nasties: Moral Panic, Censorship & Videotapes, this second documentary on the BBFC and the UK's morale crusade to ban offensive material is very much what you'd expect. A lot of talking heads discuss the manner in which the UK became more and more conservative when it came to cinema and censorship and the film does have a tendency to go into far too much detail. Much of what were told is overtly familiar and as such the film does feel over long. The most interesting aspect is how it examines how the media, in particular tabloid newspapers began crusades to ban video nasties but it's over far too quickly and never really gets to the meat of the issue.

Anyone who has watched and enjoyed West's first documentary on censorship will enjoy this follow up even if it is a little light on any real insight and favors personal stories of it's many talking heads over anything all that interesting.

While I enjoyed the first and the trailers that came with it I did think Anchor Bay (when they were a good dvd label ) "Ban the sadist videos" did a much better job.

jh79

jh79 wrote: »

While I enjoyed the first and the trailers that came with it I did think Anchor Bay (when they were a good dvd label ) "Ban the sadist videos" did a much better job.

At this stage there has been so many docs on the whole video nasties phase that there's little new to be said on any of it. Ban the Sadist Videos was good but even then it was just covering much of the same ground as a few others.

So with some real life stuff going on I didn't get to do my 31 Days of Fright this year as I wasn't in a place where I felt like watching horror films. Still with it being the season and all I threw on a few horror films last night

The Sacrament - I'm a huge Ti West fan and count House of the Devil as amongst the best genre films ever made, it's a wonderfully unnerving and lovingly made throw back to all those 80s classics. The Sacrament, while a genre film at heart isn't necessarily a horror film. The film follows a group of Vice reporters who head off to the remote wilderness to visit that sister of a friend whom has gave up all her earthly posessions to live in a commune. The first hour of the film is quintessential West, a slow steady build up where the tension is constnatly mounting and there's a real sense that things aren't as blissful as they appear. The films biggest problem is that it's somewhat obvious where things are going but West's assured direction, strong writing and willignness to show the aftermath is deeply movign. The Sacrament may not be a film for everyone but for those looking for something a little different it's a beautifully evocative and unnerving film that is incrediably rewarding.

V/H/S - Found footage as a genre is one which I've never really warmed to, much as I loved the Last Broadcast far too often the genre is home to cheap and poorly made films which at best can be described as barely competant. V/H/S is one of the few that manages to do something interesting and actuallys uses the asthetic in a fun manner. While the shorts may be soemthing of a mixed bag there's not a dud amongst them and there's a manic, gleefull debauchey to it all that's fun.

V/H/S/2 - This is how you do a sequel, everything here is dialed all the way to 11 and the shorter, tighter run time really helps. The standout is Safe Haven, a piece of cinema that everyone should expereince. It's depraved, violent as hell, funny and above all else is just fun.

Christine - One of the odder John Carpenter endeavours, this killer car film based on the novel by Stephen King is perhaps most notable for the fact that its two leads turned into decent filmmakers. The whole killer car thing isn't all that creepy or unnerving and while Christine manages to be quite creepy at times, for the most part there's no sense of menace of evil there. The human characters are stock and none have anything of any real note to do but petfomances are good and it's always nice to see the victim turn the table on his bullies. Christine is destined to be remembered as mediocre Carpenter fare, it's nowhere near his worst but also a long way from his best.

The Town That Dreaded Sundown - a film that's been on my to watch list for a long time. It's one of those films remembered more for its legacy than the actual film. The docudrama style really works at creating something a little different and the film's influence on Zodiac is obvious. What's most surprising about the film is just how funny it is, there's a number of moments that shouldn't work given the serious nature of the story but it does.


Stake Land - one of the better genre films in a long time and further proof that Jim Mickle is one of the most interesting directors working today. The set up is pretty much The Road with added vampires and has some genuinely brilliant ideas in play.

Pieces of Talent - one of those low budget gens that comes out of nowhere and puts most big budget genre fare to shame. This is as low budget as they come yet the film looks fantastic with every dollar in screen. The story is somewhat old hat but the strong performances and gorgeous visuals really help.

Septic Man - from the writer of Pontypool, this is one of the most off the wall and insane horror films in a long time. Deliciously dark and at times rather gross, it's a film that's all about the atmosphere. Septic Man is gross, vile, funny and at times rather sweet. It's a film sure to decide audiences but for those looking for something a little different it's well worth checking out.

All Cheerleaders Die - by far the best teen horror in many a year, it's a horror film that sets out to do nothing more than entertain. The cast are surprisingly good and the the film manages to walk the tightrope between horrir and comedy without going overboard. The deaths are fun, the gags hit the mark and there's a gleeful sense of fun to it all

Excision - an odd, odd film that's visually breathtaking and features done if the most imaginary, interesting and twisted visuals in cinema. When your film features a scene where you lead straddles a dead body missing the top of its head, you know that this isn't a film made for the masses. It's a hard one to recommend and tin ally the film never sits right but for sheer bombast it's hard not to warm to.

Liam McPoyle

Deleted User wrote: »

The Town That Dreaded Sundown - a film that's been on my to watch list for a long time. It's one of those films remembered more for its legacy than the actual film. The docudrama style really works at creating something a little different and the film's influence on Zodiac is obvious. What's most surprising about the film is just how funny it is, there's a number of moments that shouldn't work given the serious nature of the story but it does.


Stake Land - one of the better genre films in a long time and further proof that Jim Mickle is one of the most interesting directors working today. The set up is pretty much The Road with added vampires and has some genuinely brilliant ideas in play.

Pieces of Talent - one of those low budget gens that comes out of nowhere and puts most big budget genre fare to shame. This is as low budget as they come yet the film looks fantastic with every dollar in screen. The story is somewhat old hat but the strong performances and gorgeous visuals really help.

Septic Man - from the writer of Pontypool, this is one of the most off the wall and insane horror films in a long time. Deliciously dark and at times rather gross, it's a film that's all about the atmosphere. Septic Man is gross, vile, funny and at times rather sweet. It's a film sure to decide audiences but for those looking for something a little different it's well worth checking out.

All Cheerleaders Die - by far the best teen horror in many a year, it's a horror film that sets out to do nothing more than entertain. The cast are surprisingly good and the the film manages to walk the tightrope between horrir and comedy without going overboard. The deaths are fun, the gags hit the mark and there's a gleeful sense of fun to it all

Excision - an odd, odd film that's visually breathtaking and features done if the most imaginary, interesting and twisted visuals in cinema. When your film features a scene where you lead straddles a dead body missing the top of its head, you know that this isn't a film made for the masses. It's a hard one to recommend and tin ally the film never sits right but for sheer bombast it's hard not to warm to.

Horror movie of the year for me and Ive been doing my best to big it up for the last number of months (hence it forms part of my sig). The ending irked me a wee bit but apart from that I loved it. David Long and Joe Stauffer are in a group Im part of on Faizebuke, I was chatting to David on it after I watched the flick, incredibly nice guy and Joe seems like a gent too.

For those of you that havnt seen it and want to support the indie horror scene click the link in my sig, you can buy a signed 2 disc edition direct from the makers for less than €30 incl shipping.

There are a few "artsy" moments which don't necessarily work but they can easily be forgiven considering how the film was made. It's very much a calling card film and one which should open a lot of doors for those involved. One thing that really does the film a disservice are all the reviews calling it torture porn, while there are amine or two moments of gore the vast majority is left to the viewers imagination.

Nurse - another oddity that doesn't quite work. The tone here is all over the place and its obvious that the film is intended as a light hearted horrir comedy but neither aspect ever gels. The gore is decent if nothing original and performances range for serviceable to weird. The films biggest problem is that when it should embrace the absurd it seems reluctant to go too far and instead reigns in the goofiness when it should be embraced. Nurse feels like some forgotten 50s genre picture with added lashings of the red stuff

Night of the Living Dead (remake) - a somewhat redundant remake that does just enough to justify its existence. The FX work is good though there's been so much cut that its hard to really judge. The cast are all having fun and Todd playing against type is the star, the rest if the cast do what they can with the rather one note script. It's not a patch on the original but it's a decent time killer.

Idle Hands - one of the few horror comedies that actually works, the tone is pitch perfect and the film takes glee in grotesque deaths played for laughs. The soundtrack is fantastic and the cast play it all with just the right manic energy. It's not a film ever likely to be fondly remembered but it deserves to be and it's been a long time since we've had a horror comedy half as good.