Wayne Harry Johnson Jr.'s AHOCKALYPSE is an extraordinarily fun tongue-in-cheek roller coaster ride through Minnesota with just the right amount of gore to still categorize it as a horror film. There's beer, nudity, sex scandal, kung-fu and zombies. What more do you need?
Grief is something that everyone deals with at some point in their lives. If you’re lucky, you’ll be well into adulthood before it strikes, but as long as you have other people in your life, eventually you’re going to lose some of them. And despite all the books that have been written on the subject, all the TED Talks, all the films… it hits everyone differently. Sometimes in ways you could never expect.
Being a big fan of Adam MacDonald’s 2015 survivalist film Backcountry, it was no surprise that his latest movie PYEWACKET, which houses an occult premise (not to mention having the same executive producers as The VVitch) would attract my attention. It is no secret that I love a good film surrounding itself in satanism and ritualistic folklore, So I was thrilled at the chance to check this movie out and see what it had to offer.
It really must take a special kind of person to work in a morgue. Constantly seeing (actual) blood and guts and dead bodies, always smelling formaldehyde (and smelling like formaldehyde), and God forbid if you work on the night shift, then it’s just you and the bodies all night long. The protagonist of THE NIGHTSHIFTER (original title Morto Nao Fala), Stenio (Daniel de Oliveira; The Dead Girl’s Feast) is one of those special people. His ability to stomach a job that very few people can is not the only thing that makes him unique. What truly sets him apart from every other working stiff (pun very much intended) is that he can talk to the dead bodies in the morgue.
CHAINED FOR LIFE is an exploration in one of my favorite film sub-genres: films about making films, which just had its international premiere at the Fantasia Film Festival on July 18th. From Sullivan’s Travels (Howard Hawkes, 1941) to Hail Caesar (Coen Brothers, 2016), movies about the making of movies have been around for almost as long as movies themselves.
THE DEVIL'S DOORWAY, the first feature film from director Aislinn Clarke, is a found-footage horror film that combines demonic possession with the true history of Magdalene Laundries and the vicious treatment bestowed upon women at the hands of sadistic nuns. The film stars Lalor Roddy (Don't Leave Home), Ciaran Flynn (Hunger), Helena Bereen (Don't Leave Home), and Lauren Coe (The Halycon).
Many time in my past I have written about my love for found footage and documentary style horror movies. Even though the genre is so used and abused, I will always give the movie a chance and see for myself. Add in the plot of something demonic or paranormal and I'm there quicker than you can finish the title. Most of the time the movies make a sucker out of me but I am there nonetheless. When DARKNESS REIGNS crossed my path, of course I was going to give it a go.
Being a big fan of Adam McDonald’s 2015 survivalist film Backcountry, it was no surprise that his latest movie PYEWACKET, which houses an occult premise (not to mention having the same executive producers as The VVitch) would attract my attention. It is no secret that I love a good film surrounding itself in satanism and ritualistic folklore, So I was thrilled at the chance to check this movie out and see what it had to offer.
The "based on a true story" disclaimer before any horror film always sucks me in right in, and the one at the beginning of BLOOD CHILD was no different. Though I'm not ready to give this movie a high star rating, it has intrigued me to later research what the possible "true story" is, because it seems to be an interesting story to be told. BLOOD CHILD may not have hit the nail on the head from a critical standpoint, but I think it definitely brought a style of storytelling to the table that I crave from the horror industry.