Dark Glasses (Review)

Director: Dario Argento
Writers: Dario Argento, Franco Ferrini
Cast: Ilenia Pastorelli, Asia Argento, Andrea Zhang, Andrea Gherpelli, Mario Pirrello
Year: 2022
Min: 86

A vicious serial killer has been killing call girls and prostitutes, including a brutal slaying early in the film. Diana (llenia Pastorelli) is a call girl, who manages to escape said killer. But, in doing so is involved in a car crash with an Asian family of three. From them, the father ends up dead, the mom in critical condition and a coma, and the little boy, Chin (Xinyu Zhang) gets sent to a orphanage. Diana goes to visit him and gives the kid what looks like a Nintendo Switch. He, then, runs away from the orphanage and asks Diana to let him stay with her. She accepts, but the killer has turned his attention to her. He wants to finish what he started and kill her.

Dark Glasses (Occhiali Neri) is Dario Argento (here directing and co-writing along with Franco Ferrini) first movie since his wretched Dracula 3D. Admit ably Argento's film output has been hit or miss post-Opera, with the vast majority being huge misses. Which is a shame because Argento is one of the genre's true masters, and, at the end of day, my favorite director. While, it never reaches the greatness of say Suspiria (1977) or Opera (1987), it is his finest flick since The Stendhal Syndrome (1996). In short, I am happy to proclaim that Dark Glasses is, for the most part, a return to form for the master. 

The film's opening kill is a spectacular way to setup the movie's killer, and is the most Argento feeling scene he has made in years. It's a brutal garroting that is gorily realistic. Frequent Argento collaborator Sergio (Demons 1&2, The Church, Opera) Stivaletti provides the excellent gore effects, which also include throat ripping and stabbings. On top of the bloodletting there is also a bit of topless nudity from our lovely lead star.

Argento manages to add some legitimate suspense to the film, keeping it very involving. His direction, coupled with the excellent editing and driving score, makes the car chase scene exciting and leads to a violent crash. Even the cheesy snake attack in the water comes off as fun, rather than being groan inducing like say the giant praying mantis in the aforementioned Dracula 3D. In fact, this scene actually feels like the type of wild fun one wants in an Italian horror flick. The movie leads into a tense and great climax that had me cheering. 

Argento also keeps the flick looking good throughout. Now, I must say that there isn't as much stylistic flourishes as his older work. But, we still get some really beautiful wide shots and bird's eye views. The flashbacks and dream sequences use the color red, actually recalling his work on Suspiria. One aspect that has long been missing from Argento's recent work is a great score. Thankfully, this movie corrects that. The soundtrack handled by Arnaud Rebotini and is driving as well as being really catchy.

But, what is most surprising is the amount of heart that this movie has. I really love the relationship between Diana and Chin. Of course, it helps that both of them are great in their roles. Chin is that rare kid in genre movies that is very likable, as little Andrea Zhang does some great work here in his role. Ilenia Pastorelli is especially good in the lead role of Diana. She is obviously sexy and gorgeous but is also a strong, independent character with a good soul. Coupled with Pastorelli's acting talent, it really gives us one of my favorite female lead roles of 2022. Meanwhile, the always welcomed and stunning Asia Argento has a very likable role as Rita, an instructor for the blind.

Some might not appreciate the more syrupy feel, but I think it makes the suspense payoff better. Plus, we get a great doggy heroine in Nerea, Diana's brave and beautiful seeing-eye dog. She ranks right alongside of Sarii from the awesome Predator prequel Prey, making this year a great year for horror hero puppers. Honestly, if I had seen this earlier, she would easily have made my recent list of The 10 Greatest Good Doggies in Horror Movies. And, who doesn't love a great movie dog? I wouldn't wanna meet the person who doesn't anyway.

Dark Glasses is an involving and entertaining return for Argento. Thanks in large part to the acting of Pastorelli and Zhang as Diana and Chin, respectively. Their sweet relationship of surrogate mother and child adds a loving feeling and soul, that helps to make the film more riveting. Rebotini's awesome and driving score is another pleasing factor, especially as an Argento fan. The good looking flick has a couple of good, stylistic moments, as well being very suspenseful and having a climax that me cheer from my seat. This solidly made film actually makes me once again care for a new Argento project. You can experience this joy when the movie premieres in New York City and Los Angeles on October 7, 2022, then starts streaming exclusively on Shudder on the 13th of this same month. 

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The Sadness (Review)

Writer/ Director: Rob Jabbaz
Cast: Berant Zhu, Regina Lei, Ying-Ru Chen, Tzu-Chaing Wang, Emerson Tsai, Wai-Hua Lan
Year: 2021
Min: 99

In Taiwan, a young couple, Jim (Berant Zhu) and Kat (Regina Lei), have a minor argument about him working instead of going away with her as had been planned. On the TV news, a podcast is shown featuring Dr. Wong (Wei-Hua Lan), who warns that the current flu like Alvin virus is mutating and that the nation needs to quarantine. The host of said podcast scoffs at this stating that is all being done cause this is an election year. Before going to work Jim notices a blood covered old woman on a nearbay roof. Immediately there after, he talks to his neighbor Mr. Li (Ralf Chiu, here credited as Ralf Yen-Hslang Chiu) who thinks that the virus is a load of bullshit. 

But, of course, it ain't, and when Jim goes to a café all hell breaks loose. The old lady he saw on the roof viciously attacks the cook. Immediately after, bloody violence erupts. Meanwhile, on the train that Kat is on, murder and violence explodes as people begin to brutally attack and kill passengers Blood and viscera begins to fly, as a body count quickly rises. She helps a woman named Molly (Ying-Ru Chen) who has gotten stabbed in the eye. They both head to a hospital, and hope to be safe there. Kat tells Jim where she is. He heads to there to meetup with her, as they both try to survive the ever increasing acts of brutality and horrific violence that are happening around them. For you see, the virus is spreading quickly and creating more assaulting, murdering, and raping zombies.

The Sadness is a 2021 Taiwanese infected/ zombie/ hardcore splatter/ horror movie. It premiered in its homeland of Taiwan on January 22, 2021 and played a few festivals in the months that followed. The movie's extreme and boundary pushing ways quickly gained it a reputation, as gruesome and shocking. But, it has also been getting praise for the movie's inherit quality. 

Horror has always been indictive and responsive of the world around it. Look no further than the nuclear horror movies of the 1950's or the post 9/11 torture porn era. So then, it comes as no shock that the COVID pandemic era is seeing a rise (pun not intended) in infected horror, as also seen in the recent and well made Argentinian/ Uruguayan Virus-32 (currently streaming on Shudder). But, with The Sadness, we might have already hit our be all-end all of disease horror flicks.  

As would be expected the film is highly topical and its politics very contemporary. It's allegory to the corona virus and the attitudes of denial and political standings inherit with it are certainly blatant. But then, this movie is in your face in every fucking way. That its warranted and timely statements are all wrapped in a balls to the wall splatter movie reminds us that yes, you can make an extreme horror movie with something important to say. Its commentary is not just regulated to COVID, though, as one incredibly uncomfortable and realistic feeling scene involving a creepy businessman hitting on Kat showcases. 

One of the things that really makes the movie work are our two leads. Both Berant Zhu and Regina Lei, as Jim and Kat respectively, are an incredibly likable and believable couple. You care for them and want them to survive, even when it all feels nihilistic. As such, it really adds to the tension and fear that we feel watching them. It also helps that both give great performances. They come off as heroic, but still feel grounded, in a reality where no one suddenly becomes an unbelievable action hero. 

Writer/ director Ron Jabbaz makes his directorial debut with this movie and blows away some guys who have been behind the camera for fucking years. Right off the bat, this is one of the absolute finest and, certainly, most dangerous debuts in many moon. He gives us a very good looking movie, that is also savage in its intensity and extreme content. From the very first moment of violence committed onscreen, your jaw will drop to the floor.

In fact, if you leave with even one takeaway (even though I can't see this being only one), it will be that the ultra-gory, take no shit splatter movie is not dead! Unlike most recent gorefests, this one is dead serious. It isn't trying to be funny or hip. What humor is included is enough to break the intensity with some levity. Also, the flick doesn't bring its message through some pretentious "elevated" bullshit. What this flick is is a true balls to the walls, excellently made genre movie. The climax is powerful and harsh in both story and feel. We also get a totally kick ass death/ grind metal track named "Crying City" by Ashen, which serves as the icing on the bloody cake, ending everything perfectly.  

And, make no mistake, this motherfucker takes no prisoners. The infected in this movie don't simply run and kill. They can also talk, shoot weapons, and commit rape. As a matter of fact, there is a lot of rape, which may make this a disturbing viewing for some. The splatter FX are excellent, shocking, and realistic. They include arterial spraying, eye gougings, bodies hitting the pavement, finger chopping, fleshing munching, arm snapping, barb wire to the balls, stabbings, and more. A couple of set pieces really stand out among all the spattering blood and guts. One of them involving an infected neighbor and garden shears that made even this old gorehound wince! Another one has to be a stab to the aorta which leads to a geyser of blood hitting the train ceiling and passengers. This scene alone counts as the year's best and bloodiest kill. Scratch that. The whole goddamn train scene is easily the year's most horrific, bloody, and nightmarish moment! And, we get even more graphic shit happening after that! 

Look, I'm not gonna beat around the bush, The Sadness is the most uncompromising horror movie in a very, very long time. It's shocking, unmerciful, ultraviolent, and an easy 10 on the gore-meter. But, it isn't simply a mindless gorefest, as it also serves as a terrifying reflection of the post-COVID world in which we live in. The film is the definitive and final word on the infected zombie trope. It is also technically excellent. This is thanks to the strong directing, which gives it a great look, fast pacing, nail-biting tension, and a nihilistic feeling. On top of this, the acting is superb, especially from the two likable leads. That being said, it is most certainly not for the queasy or easily offended. Those with trigger warnings like rape and sexual harassment should definitely avoid as well. All other horror and splatter fans should take heed and jump right in, when the movie begins streaming exclusively on Shudder on May 12, 2022.

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BEYOND THE GATES (Review)

Title: Beyond the Gates

Director: Jackson Stewart
Writers: Stephen Scarlata, Jackson Stewart,

Cast: Graham Skipper, Chase Williamson, Brea Grant, Barbara Crampton, Matt Mercer

Year: 2016

Min: 84

After their dad disappears two estranged brothers, Gordon and the more reckless John (Graham Skipper and Chase Williamson, respectively), meet up for the first time in years. They look through and gather the videotape remnants of their father's old school VHS rental store. In doing so, they eventually run across a VHS game called Beyond the Gates.

They pop in the tape and watch. It is hosted by the a hauntingly beautiful woman named Evelyn  (Barbara Crampton) and is shot in black and white. They decide to actually play the game later in the day, wherein Gordon's pretty girlfriend, Margot (Brea Grant) also joins them. But, things begin to get downright creepy as Evelyn speaks directly to them, names and all. She tells them that they must beat the game in order to see their father. As people begin to die, and they are haunted by increasingly horrific images and occurrences, they want to stop but cannot. As once the game starts it must be played to the end, in order from them all to live and save their father.

Beyond the Gates is the feature film debut from director/ co-writer Jackson Stewart, who cut his teeth on TV including an episode of Supernatural. This film played late last year at some festivals, but it is currently making its first major run on Netflix. While, the movie has its share of flaws, it is most definitely worth a look. There is a wonderful throwback to the 80s feel that makes it endearing.

I'll start with the movie's faults, though. The pacing is a bit off and takes a bit to start. Once the action starts rolling, though, it still has a problem keeping a consistent pace. For a good chunk of it not a lot of interest or excitement seems to happen. The climax starts off pretty good, but it doesn't have the kind of payoff that this movie needed. In fact, when it was all resolved, all I thought to myself was, ''Uh, really that's it?'' I was pissed but I wasn't fully displeased. It ultimately left me accepting it for what the resolution was.

As a director Stewart, handles the dramatic aspects decently enough. Even if, at times, they feel a bit pedestrian. The low budget aspect of the film certainly hurts it, but he does what he can. To the movie's advantage he does not hold back on the gore. While, there is not a huge body count in it, the few kills that do happen are graphic in nature.

A lot of its entertainment value is derived from the endearing quality of it. This is especially true for those of us who grew up in the 80s with VHS and, of course, VHS games. I never played a single VHS game, but I knew of them and was always curious. VHS tapes were a huge part of my growing up. And, while I feel only nostalgia towards them, but their importance is significant to anyone of my generation.

The other draw of the film is the acting. Our three heroes, played by Graham Skipper, Chase Williamson, and Brea Grant, do a good job with their roles. They play well enough off of each other and feel believable in their roles. The always beautiful horror legend Barbara Crampton is great as the VHS game host Evelyn. She seems to relish playing this evil lady and with her inherent beauty, adds a great deal of gothic sex appeal. 

A throwback and tribute to the 80s, Beyond the Gates is a flawed but fairly, entertaining movie. The pacing is slow, and at times, uneven. The resolution of the otherwise exciting climax is flat. But, the flick has a lot of heart and love for the 80s, in particular VHS and VHS games. This gives a level of an endearing quality for those who grew up in this time period. The acting is also good, and the gore is great. The presence of Barbara Crampton is a very welcome factor and helps to seal this a recommended look. With it currently streaming on Netflix, there really isn't reason to miss it.

2.5 out of 4

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RABID (1977) (Review)

Title: Rabid
Writer/ Director: David Cronenberg
Cast: Marilyn Chambers, Frank Moore, Joe Silver, Howard Ryshpan, Patrica Gage, Susan Roman
Min: 91

Rose (the beautiful Marilyn Chambers) and her boyfriend Hart (Frank Moore) are riding a motorcycle through the Quebec countryside, when they crash with a parked vehicle. They suffer a major accident and are rushed to the nearby Keloid Clinic. Although his injuries aren't that severe, she is seriously injured and burned. Dr. Dan Keloid (Howard Ryshpan) goes through with a new radical procedure that involves grafting  morphogenetically neutral grafts from her chest and abdomen to use on her burned skin. One month later, she still in a coma. But, one night she awakens screaming.

This prompts a patient to hug her to help calm her down. As he does this something from her body pricks his skin. He develops a small wound that won't heal. It seems the procedure has resulted in a mutation in Rose. One in which a slit in her armpit conceals a phallic like stinger. When this punctures a human she draws blood from them. This has become the only substance they she can have. In turn, those she punctures become violent, foaming at the mouth zombies. Soon, this begins to spread and health authorities think this is some new form of rabies. One that they eventually find out has no cure, other than killing those contaminated with it.

David Cronenberg's Rabid, which just turned 40 this past weekend, is his second movie. While, it has some similarities with his first movies Shivers, AKA They Came from Within, I do believe this is the better of these two movies. It tells a bigger and more compelling story, has stronger acting, overall, and is highlighted by a larger and more polished look and feel.

The plot moves along well and intelligently. It escalates itself as it goes forward and more of the story unfolds. The climax is bloodcurdling and leads to the what is, for this film, a perfect and unforgettable conclusion. As only he could, Cronenberg manages to mix the gore and violence with smart story telling. This serves as proof of why he was the reigning master of body horror, as no one can make shocking horror that feels as smart and gruesome as he did.

While, not as bloody as some of his other work, the film still manages to pack on the splatter. Like Shivers the FX, which are quite good, are handled by Joe Blasco. The phallic stinger that come out of Rose's armpit is suitably weird and a definite, ''what the fuck?!" moment, especially upon one's first viewing.

The acting is excellent throughout. Porn legend Marilyn Chambers, as the lead character of Rose, made her mainstream (though I use that term lightly here) debut. Chambers had already made a name for herself in the classic and hugely successful skin flick classic Behind the Green Door. Those who think porn stars can't actually act should shut the fuck up and see her in this. She gives a complex and emotional performance, one that is sexy, sympathetic, and intimidating. We feel for her and fear her.

While, the role isn't as righteously sexualized as it could have been, Chambers still uses her sexuality and beauty to get her victims. And, what a stunner she is! Chambers was one of the most gorgeous women to ever grace the adult biz, and with this, one of the most stunning to grace the horror genre, as well. She does appear topless a few times, but again not nearly as much as one might think and usually not in the context that one might have imagined it to be in.

Rabid is great piece of body horror from the master of it. Smart, shocking, and well thought it, it's a solid entry in the sci-fi/ horror world. The climax and ending give the movie an extra punch that stays with you. This is no small part due to the excellent acting, especially from the late, great, and stunningly beautiful Marilyn Chambers. 40 years later it holds up quite well and can sit well alongside of some of Cronenberg's best work. The Soska sisters are working on a remake of it, before that is made and comes out, see this. Even if that movie wasn't being made, you still need to see this, and make it now. And, for those of you who already have, see it again and pick up the excellent Scream Factory Blu-ray, which came out late last year.

3.5 out of 4

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NIGHTMARES (1980) (Review)

Title: Nightmares
Director: John Lamond
Writers: Colin Eggelston, John Lamond
Cast: Jenny Neumann, Gary Sweet, Nina Landis, Max Phipps, John Micheal Howson
Year: 1980
Min: 90

When Cathy was a little girl she saw her mom screwing a man in bed. Later, she finds herself in the backseat of a car. Her mom is driving and making out with a dude. When the guy decides to run his hand up her leg, Cathy tries to stop him. This causes the car to crash. Mom goes flying through the windshield, and a shard of glass cuts her throat. Jump forward to her being an adult. She has changed her name to Helen (Jenny Neumann). Helen is now a stage actress and starring in a new play called Comedy of Blood. As an adult she is stunningly beautiful but also sexually repressed. It doesn't take long for people around her to start dying, all of them getting stabbed by shards of glass.

Nightmares is an interesting, Australian attempt at making a slasher film, at a point when the sub-genre was just beginning to bloom. It should not be confused with the 1983 American horror anthology of the same name. The movie is also known as Stage Fright, which means it also should not be confused with the Michele Soavi giallo of the same name, which came out some years later. Which is interesting and quite the coincidence to note, as the movie feels and looks like an amalgamate of the American stalk and slash flick and the Italian Giallo.

Co-writer director John Lammond has an interesting visual aesthetic for the film. There are some really odd shots, that combine with moments of style to making for an interesting looking movie. A particularly violent stalk and kill in the rain stands as one of the movie's most visually captivating moments. Sadly, the kills lack any real suspense, but are instead punctuated by bloody violence. The shards of glass cut through backs, slice a breast, thighs, etc. Aside, from good bits of bloodletting there is also some fairly graphic sex scenes and ample nudity, throw in for good measure.

Our gloved killer is never really seen, but the movie is unsure if it wants to keep the killer's identity a mystery or not. It seemingly tries to do both, as it tells who the killer is and pretends it is a mystery, at the same time! It's an odd choice, but one has to just go with it and enjoy it. At least, it makes for a different storytelling choice.

The film moves at a good enough pace. It's interesting and entertaining enough, that if you just go with it, you'll find yourself liking it. I, personally, got a real kick out of the ending. In a lesser movie it may have come off as feeling cheap. Here, it made me go, ''Ha! That's pretty cool''

It is also great that the characters aren't a bunch of horny, interchangeable teens but instead are adults. Sure, they have sex on the brain, too, but the age change of the characters is refreshing. The acting is competent from most of the cast. Most fun to watch is the absolutely gorgeous Jenny Neumann. She has this great, wild look throughout the movie, that I got a kick out of seeing her do. There is something genuinely likeable both of her portrayal of the character and the character, itself, even if it is a little over-the-top at times. It also helps that she is a breathtaking beauty. Too bad she quit acting later in the 80s, I would have loved to see her in more films.

Nightmares is good, if flawed fun. What it lacks in suspense or story telling decision making, it makes up for with its positive points. It's a good, albeit at times odd, film that takes inspiration from both American and Italian horror. Adding a good amount of blood and skin and a beautiful and likable lead in Nuemann; this under-seen Australian horror flick deserves a look. It is currently streaming on Shudder and available on DVD from Severin films.

 
2.5 out of 4

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DIG TWO GRAVES (Review)

Title: Dig Two Graves
Director: Hunter Adams
Writers: Hunter Adams, Jeremy Philips
Cast: Ted Levine, Samantha Isler, Danny Goldring, Rachel Drummond, Dean Evans
Year: 2014
Min: 85

In 1977, Jake (Samantha Isler) is haunted by the passing of her older brother, who died after jumping off a ravine and into water. Her family, especially her mother (Rachel Drummond), are also suffering from the tragic loss. One day, Jake runs into three mysterious men. They show her a trick with a rattlesnake that seems to die, only to come back to life. Their leader, Wyath (Troy Rutash), promises he can do the same for her brother. But, he demands a life for a life. She will need to push Willie (Gabriel Cain), a boy who is continuously picked on by bullies and has a crush on her, off of the same ravine. Can she kill an innocent boy to bring back her brother?

To reveal anymore of Dig Two Graves would be to ruin it. Suffice to say that as this excellent slow-burn movie unravels itself, as its dark secrets get revealed. It many times a quiet movie with moments that come and punch hard, when they hit. The film tells a tight and enthralling story that entices you and pulls you in slowly but surely. And, as each truth is revealed you feel it right down to your soul.

There is a lot of character development mixed in with the enriching exposition. This means the pacing is slow and building, but your patience of staying with it pays off immensely. By the time the climax came I was holding on to my seat in the theaters tightly, my heart racing and my eyes glued to what was transpiring on the screen.

The acting is phenomenal. Particularly when it comes to Ted (Silence of the Lambs) Levine and young Samantha Isler. Levine gives a deep and powerful performance as Jake's grandfather and the town's Sheriff Waterhouse. His loving relationship with Jake is the soul of the film. Isler is just incredible as Jake. She gives one of the finest performances from a young actor that I have seen in a genre piece in a many moon. Her character is the heart of the film, and she remains believable throughout. We take this horrifying journey with her and care for what she does and what happens to her.

Director Hunter Adams gives us one of the year's best looking films. He really knows how to use the countryside to it's fullest. There is some truly stunning cinematography even using crane shots, making it look more expensive than it actually did cost to make. He is also a master in his use of shadows. The movie is dark, very dark. Perhaps this might be a bit overdone at times. But, the truth is there is such a haunting and creepy feel to it; that one cannot fault him for his choice in doing this.

Dig Two Graves is a stunning, beautiful, and haunting horror film. The slow building plot unravels itself like one of the rattlesnakes, in the movie only to fully strike at the tense climax. The legendary Levine and newcomer Isler give flawless performances that help to further pull you. Gorgeous to look at, this is classy and smart horror for fans demanding high quality in their genre product. It is currently play at a very limited release and is coming to various streaming platforms, and eventually DVD. See it as soon as you can.

3.5 out 4 

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Kay Brandt Ventures into Mainstream Horror with ''Cutters''

I recently guest write-up over at Covered by Saintilus/ Go United. There I talked about porn filmmaker/ author Kay Brandt's venture into horror movies. You can read that here: https://coveredbysaintilus.blogspot.com/2017/03/kay-brandt-ventures-into-mainstream.html

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GHOSTHOUSE (Review)

Title: Ghosthouse
Director:  Umberto Lenzi (as Humphrey Humbert) 
Writer: Cinthia McGavin 
Cast: Lara Wendel, Greg Rhodes, Mary Sellers, Ron Houck, Martin Jay, Kate Silver, Donald O'Brien
Year: 1988
Min: 95

A creepy and weird little girl has an even creepier toy clown doll, which her dad stole from a corpse for her. When said dad finds out that she has just mutilated a cat, he decides to lock her in the basement. Soon after both he and his wife get sliced and diced. 20 years later, Greg Rhodes (Greg Scott) picks up some screaming on his radio. Using his computer he figures out where it came from. Accompanied by his pretty girlfriend, Martha (Lara Wendell), they head to the source, which is, of course, the house from the prologue! Along the way they meet an annoying hitchhiker with a tendency to play pranks, cause you, that's what stupid and annoying characters did in 80s splatter flicks. They also encounter a group of young friends who decided to check out the house, cause they honestly have nothing better to do with their free time. When the crazy groundskeeper tries to kill one of them with the meat cleaver, the authorities think it's just the dude being a whack-o. However, it's the house who is soon racking more and more of a body count.

Let's call a spade a spade here, and just say that Ghosthouse is an Italian rip-off of Poltergeist with a bit of Amityville for good measure. It was released in Italy as La Casa 3 (The House, if translated to English). In doing this it came come off as a sequel to the Evil Dead films, released there as La Casa 1 & 2. Directed by scholckmeister Umberto (Cannibal Ferox, Rats: Nights of Terror), this flick is by most definitions a pretty bad movie. But, I'll be damned if isn't a fuck of a great time!

The plot, such as it is, is fairly incoherent, dumb, and derivative. You won't find any new ideas here, right down to blood coming out of a faucet. Nor will you find any good acting. In fact, in that department it's downright terrible. Throw in some hilariously bad dialogue and will find much to laugh at, unintentionally of course! There is an annoying as fuck song that is played throughout the movie and is described as a nursery rhyme by one of the characters in the movie. Though, I have no idea what universe that would be the case, other than the universe this silly movie exists in., that is

Oddly enough there are moments of genuine creepiness, that hint at a better movie. But, they are offset by the bits of bad cinema. One thing that is consistently good are the splatter FX. The gore includes blades through the throat, hangings, fan blades to the neck, axe to the head, acid meltdown, corporal bisection, and more. The graphic violence is pushed further than the movies it bites off of, in true Italian fashion. It all gets wrapped up one a cool and decidedly fun ending that will leave you smiling and maybe laughing. I did both!

Ghosthouse is rather silly, unoriginal, and doesn't always make a whole lot of sense. The acting is pretty awful as is the unintentionally hilarious dialogue. But, instead of hurting the movie it just adds to the fun. Fast paced and gory as fuck, the movie is a great treat for undiscriminating gorehounds. It was released on Blu-ray by Scream Factory a few years ago in a double billing with the not as good, but still OK Witchery (which stars Linda Blair and David Hasselhoff and is known in Italy as La Casa 4!). It is also streaming on Shudder, currently.

2.5 out of 4

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TRUTH OR DARE (2013) (Review) (Women In Horror Month 2017)

Title: Truth or Dare
Director: Jessica Cameron
Writers: Jessica Cameron, Jonathon Scott Higgins
Cast: Jessica Cameron, Ryan Kisser, Heather Dorff, Shelby Stehlin, Devanny Pinn
Year: 2014
Min: 84

A group that posts videos on the internet known as the ''Truth or Dare-Devils'' are incredibly famous due to their wild and extreme take on truth or dare. They are on a talk show, where one of their fans, Derik (Ryan Kisser) is angry that they have ignored his e-mails. He is also pissed that much of what they do is fake and planned out. Soon after, he invades the new place where they are going to shoot their next online video. He holds them hostage and is determined to take their show to new and very real levels of extreme violence and bloodletting.

Truth or Dare is the 2013 directorial debut of indie scream queen Jessica Cameron, who also co-wrote the script, along with Jonathon Scott Higgins, and stars in it. It is an unflinching and harrowing movie that makes us all know that Cameron will be a force to be reckoned with in the horror world. It is one of the most exciting and savage directorial debuts, in a very, very long time, as well as the finest bit of extreme cinema since Martyrs.

The story is simple and, for the most part, the action takes place in only one room. This works to keep the budget low, as well, as add a very claustrophobic feel to it. Cameron keeps everything tight and concise. The controlled environment remains intense throughout the film's duration. It doesn't take very long for the movie to start going and, once it does, it never really takes a break from the soul crushing grisliness of it all.

I usually love to tell you guys all of the splatter and gore content in a movie. However, this movie best works when you have no clue what is coming. All I will say is the violence is extremely graphic and does not hold back. Much of what transpires in the movie is boundary pushing. It will test your limits and will shock even the most jaded of gorehounds. Here Cameron's directing is at its most visceral presenting and shooting the violence in a most intense and gut-wrenching manner, making every bit of gore feel and look real.

In lesser hands, this may have come out as only a mindless case of goregraphy. However the movie touches on hot and controversial topics with bold abandon. The movie never plays it safe, nor is it afraid to make us question the morality of our lead characters. Never going for the politically correct or easy escape the movie is a shocker in the most true and pure sense. It also manages to serves as a social commentary on society's obsession with internet fame, and what some will do for it. As well, as a commentary on obsessive and psychotic fandom in general. Most of the time the editing is seamless, but at times it uses jump-cuts. This helps to give the movie a sometimes frantic feel and adds even more tension to what is happening on-screen.

All of this is further elevated by some excellent acting. The trio of drop-dead gorgeous women in this film, Cameron, Heather Dorff, and Devanny Pinn, all indie horror stars in their own right, are all excellent and are far more than just pretty faces. Like their equally talented male counterparts, they managed to give complex performances that run the gamut of emotions. Kudos, in particular, to Ryan Kiser, who as the antagonist, Derik, who is genuinely frightening and profoundly disturbing throughout.

Truth or Dare is an unflinching and truly harrowing movie. It's one of the most audacious and exciting directorial debuts in a very long time and sets up Cameron as a directorial force to be reckoned with. Gruesome and a true experience in hardcore splatter, in ranks among the best of extreme horror titles. It combines social commentary and a script that isn't afraid of going anywhere and couples it with excellent acting.

After a long and award-winning run on the festival circuit, it has finally hit DVD courtesy of Invincible Films. Directed by one its stars and starring two more indie horror ladies, this comes just in time for Feb, Women In Horror Month. Hence now, is the perfect to time to see the next movie that you will not stop talking. If you have the fucking guts to see, that is!

4 out of 4

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