A miniature artist is commissioned to re create a gruesome crime scene for the local police department, unknowingly opening the doors for an evil entity.
Our Halloween Marathon is running (where we update with new reviews daily during October!), but we’re still having the weekly Horror Short Sundays of course. And this time we’re taking a look at In A Nutshell. A creepy horror short where a woman gets a commission to create a “dollhouse” based on photos from the actual crime scene, only to find something strange starts happening once she paints the killer’s symbol on the miniature house walls…
Director: Ryan Valdez Writer: Ryan Valdez Country & year: USA, 2025 Actors: Sarah Palmer, Ivan Djurovic, Hannah Risinger, Sarah Nicklin, Zoë Kasch, Mia Kasch Letterboxd:letterboxd.com/film/in-a-nutshell-2025/crew/
Beyond Darkness aka La Casa 5 is…uh, wait a minute, hold on…La Casa 5? Huh? You haven’t heard of the legendary Italian La Casa franchise? And you call yourself a horror fan?! Because who would know about this franchise that barely exists.
So, here’s La Casa explained: La Casa is the Italian title for The Evil Dead (1981) and La Casa 2 for Evil Dead II (1987). Ok, so where do we go from here, then? We make a fake clickbait sequel that capitalizes on the big success of the two previous La Casas, of course. Ah. Clever. Because if you loved Evil Dead II, you’ll surely love the dull, uninspired, boring and lazy Ghosthouse (1988) aka La Casa 3, directed by the one and only Humphrey Humbert aka Umberto Lenzi.
And already next year we have Witchery aka La Casa 4, which will have zero excuse for being boring and unfunny despite having Linda Blair and David Hasselhoff in the main roles! Then, the year after that, we have the one and only “original La Casa film“ that will be worth watching, Beyond Darkness. Because when we have a director like Clyde Anderson, aka Claudio Fragasso, you know you’ll at least get some showtime in one way or another. We can always count on our man Fragasso, even if he makes a bad movie. Capisci?
The last two, La Casa 6 and La Casa 7 are the Italian titles of House II: The Second Story (1987), and House III: The Horror Show (1989). And no, I’m not making this shit up, La Casa 6 came somehow before La Casa 5, possibly in an alternative dimension called La Planeto Bizarro. The series never made its comeback with the Paranormal Activities, weirdly enough.
Now, back to Beyond Darkness aka La Casa 5 and not aka The Conjuring, and also not to be confused with Joe D’Amato’s Beyond the Darkness aka Buio Omega aka Buried Alive aka House 6. The film starts with Father George giving the last rites to a bald Sinéad O’Connor-lookalike who’s ready to be fried in the chair after killing a bunch of children in the name of Satan. As she walks through death row, the priest sees a vision of her with the ghosts of the children she killed. She then says: Priest! I want you to witness my last orgasm. Uuhm… no comment.
Then we cut to a regular happy-go-lucky American Christian family who moves into a nice old big house. Say hello to Peter, his wife Annie and their two kids, Martin and Carole. And yep, the kid who plays Martin is the same one who made himself a living film legend after pissing on hospitality in Troll 2. Anyway, Peter is a priest, so there’s no chance in blue heaven that they have just moved into a house built on an ancient burial ground. Right? But things already seem to look ominous when Peter’s Holy Bible falls into a pile of mud. The kids discover a hole in the wall with some lightning beaming through. They also have a big black swan rocking chair in the bedroom, and not even the most competent use of light and shadow could make that thing look spooky.
The priest and his wife are about to have sex just when the evil wind from the west blows into the room and rips away all the pages from the freshly-ironed bible. The only page that’s left is an image of Baphomet. The family gets attacked one evening when they get chased by a flying meatcleaver, Evil Dead-style. A legion of ghouls n’ demons emerges in the house as Claudio Fragasso’s favorite fog machine is already working overtime. The soundtrack is overblown with some intense loud organ synth. And yeah, an old antique radio gets possessed, soon ready to be placed in a certain occult museum in Connecticut. OoO the horror! One of the demons looks like a mishmash of Darth Maul and The Lipstick Demon, by the way. Luckily, the priest’s bible has somehow fixed itself so he can chant some prayers to cast them out. Works for a short while, until the boy, Martin, gets captured and dragged to The Other Side by the ghost of the evil lady we saw in the beginning.
Now it’s time for some professional assistance from Ed and Lorraine or Father Russel Crowe.
Instead we have the priest who said the final rites to the evil lady before her execution. And his encounter with her has turned him into a traumatized alcoholic as he shambles through the streets with his moldy bible, acting like a schizophrenic lunatic and dressed like Castiel from Supernatural. Life’s tough. There’s some back and forth bullshit with some older minister at the local church before Father George puts his collar back on and pays a visit to our haunted family to give us the shocking news: This house is cursed! Huh, you don’t say. I seriously thought everything was just a Halloween role-play with all that fake fog. Mom Annie spots Martin in a mirror and…well, just like any mom would have done to save her boy, she dives into the mirror that leads her to The Other Side where she eventually finds him in a casket. She brings him back to the living just as if she went outside on the porch. No ropes needed. The bad news is; Martin is possessed. Now, let the exorcism begin.
By just looking at the cheesy n’ tasty poster and seeing the name Claudio Fragasso as director, the expectations go a certain way. But this is not at the same level as Troll 2, or Night Killer, which both were released the same year as Beyond Darkness. This is actually his most (if not only) professionally-made film, with the most professional actors he ever had the privilege to have on set. And when I say “professional“ I only mean in contrast to Fragasso’s other horror films, like the low bar it already is. Because there are a lot of hiccups here where the clownish aura and energy of Fragasso oozes all over the place like his fog machines. And with a script filled with plot holes driven by hazy, incoherent dream logic, also written by Fragasso and his recently deceased wife Rossella Drudi (RIP) it’s near to impossible, even for the most pro actor, to deliver dumb and cheesy lines without looking like a simpleton.
Then we have the obvious riffing of Poltergeist, Amityville, The Exorcist, Phantasm and The Conjuring before The Conjuring. If James Wan directed the aforementioned movie high on laughter gas from the dentist combined with some early dementia, something like Beyond Darkness would probably be the result: messy, tone-deaf, oddly entertaining, and maybe suitable enough for a goofy and mesmerizing gateway horror.
Director: Claudio Fragasso Writers: Claudio Fragasso, Rossella Drudi Also known as: La Casa 5 Country & year: USA/Italy, 1990 Actors: Gene LeBrock, David Brandon, Barbara Bingham, Michael Paul Stephenson, Theresa Walker, Stephen Brown, Mary Coulson IMDb:https://www.imdb.com/title/tt0103802/
Albert Wilmarth is a folklore lecturer at the Miskatonic University in Arkham. Albert have been receiving letters from a man named Henry Wentworth Akeley, who lives in an isolated farmhouse in Vermont. In the letters, this man claims that he’s got proof that there are creatures surrounding his farm, and they start exchanging letters back and forth. Albert, of course, is a skeptic, and he’s about to enter a debate with Charles Fort about the strange events during some heavy rains in Vermont. Unexpectedly, Henry’s son appears with photos of the creatures as evidence, and it all ends with Albert heading out to visit the man, and is shocked to find him in a completely frail state, immobilized to his chair and preferring the darkness. Yeah…nothing suspicious going on here, not at all…
Henry starts telling Albert about the creatures, how wonderful they are and how much knowledge they have. He also tells Albert something rather disturbing…they can, apparently, extract the brain from a human and place it in a canister where it can live indefinitely. In such a state, a human could even endure the dangers of space travel. How tempting! Or maybe not. Before Albert may start suspecting all this rubbish is only the result of too much isolation (and perhaps too much moonshine), he gets to see one of these “living brains“, who tells him about the journey to Yuggoth, which is where the creatures originally reside. And they urge Albert to take the trip too…
The Whisperer in Darkness is a sci-fi horrormovie from 2011, directed and produced by Sean Branney, Andrew Leman, and David Robertson, distributed by the H.P. Lovecraft Historical Society. It is based on the Lovecraft short story by the same name. It’s made in black & white, intended to capture the look of the classic horror films from the 30’s. And just like their previous film, The Call of Cthulhu from 2005, they’ve managed to capture the moody atmosphere tinged with an underlying unease of the terror of the unknown. Visually, it looks great, and they’ve really captured the 30’s aesthetics.
Plot-wise, the movie follows the original story quite closely until the latter part where originally, the story ends much earlier. It’s during this latter part that the tone of the film takes a kind of shift, where new material is introduced that were not part of the original Lovecraft story. Then we get what I can best describe as some kind of adventure plot, and we even have full-on CGI monster displays which I honestly didn’t expect. And yeah…at this point it ends up straying far from the moody, mysterious vibe which is all about atmosphere and fear of the unknown (which is, of course, the substance of most Lovecraft stories), and they definitely took more liberties here compared to The Call of Cthulhu. Now, I personally don’t think any of this ruins the film in any way, and most of Lovecraft’s stories are a bit hard to put into a full-feature film since the main horror elements in the stories are not really the monsters or creatures themselves, but the mystery surrounding their existence and all the things we don’t know and their implications.
A big kudos to the H.P. Lovecraft Historical Society for bringing some of Lovecraft’s work to the screen while keeping so much of the original mood and atmosphere of the original stories. It’s impressive what they’ve been able to pull off with a very limited budget and mostly dedicated, talented amateurs. These movies are made with obvious love and affection for the original work, and that’s a pleasure to see.
Director: Sean Branney Writers: Sean Branney, Andrew Leman Country & year: USA, 2012 Actors: Stephen Blackehart, P.J. King, Zack Gold, Barry Lynch, Autumn Wendel, Annie Abrams, Daniel Kaemon, Matt Lagan, Casey Kramer, Sean Branney, Andrew Leman IMDb:https://www.imdb.com/title/tt1498878/
Allan Gray is a student of the occult, and we see him arriving at an inn in the village of Courtempierre, France. In his cozy rented room, he is suddenly awakened by a rambling old man entering the place, who ends up leaving a small package on the table with a wrapping paper where “To be opened upon my death“ is written on it. Gray becomes curious, takes the package, and leaves. He starts following a disembodied shadow of a peg-legged soldier, and ends up in what appears to be an abandoned factory of some kind. There, the shadow reunites with his body, while other shadows are dancing around.
Okey-dokey… I’m already a bit lost at this point.
Gray sees an old woman who seems to hold some kind of power over the shadows, and then encounters an Einstein-lookalike. He eventually follow some more shadows, and ends up at a manor where he sees that the lord of the place is the one and same man who entered his room at the inn. Hmm…curiouser and curiouser. The man gets shot by the shadow of a soldier, and Gray helps a servant to get the man back into the manor, but it’s too late to save his life. The man has two daughters: Giséle, who comes into the room and watches her father die, and the other is named Léone, and she is bedridden with some mysterious disease.
Gray is invited to stay for the night, and he enters the library of the manor where he finds a book about vampires. He and Giséle then sees Léone walking outside, and they hurry to get her back inside. When they catch up to her, they see that some old crone is bent over the young woman’s unconscious body, who flees when they come close. When they examine Léone, they notice fresh bite wounds on her body. Obviously we’re dealing with some vampire activity here…among a lot of other oddities in this surreal fever-dream.
Vampyr (German title: Vampyr – Der Traum des Allan Gray) is a gothic horror film from 1932, directed by Danish director Carl Theodor Dreyer. The script for the movie was written by Dreyer and Christen Jul, and it is based on elements from Sheridan Le Fanu’s 1872 collection of supernatural stories called In a Glass Darkly. It was also Dreyer’s first sound film, and it was recorded in three languages. There is very little dialogue throughout the movie though, and it still uses title cards like in the silent films. It was shot entirely on location, in Courtempierre, France.
The film was a massive flop, where it received mostly negative reception after its release in Germany. Dreyer actually edited the film a bit after the premiere, and it was then released in France where it received a bit more mixed reviews, but it was still an overall huge failure: in Vienna, there were even audiences who wanted their money back and it caused such a riot that the police had to restore order with nigh sticks. Yikes. The film premiered in Copenhagen in 1933, where Dreyer didn’t attend as he had suffered a nervous breakdown and was in a mental hospital in France. This entire debacle must’ve taken quite a toll on him…fortunately it didn’t break him though, as he continued making movies until 1964, only 4 years before his death in 1968.
Despite being considered a very low point in Dreyer’s moviemaking career, Vampyr is now seen in a much more favorable light. But I’m not gonna lie: I was mostly sitting like a question mark during the majority of this movie, wondering what the actual big F is going on. Sure, there is a certain narrative going on here with a story hidden behind the veil of apparent illogicality, but it all feels mostly like a nonsensical dream. Which was of course, the point as well: the movie is supposed to have this surreal, dreamlike atmosphere, and the movie definitely nails it. Just like a dream, certain things are never really explained, they just…are. And they make sense only in a dream-logic state. Despite the nonsensical tone, Vampyr delivers a very atmospheric experience where several scenes are bringing out an eerie mood. The disembodied shadows makes for some interesting and inspired scenes, but there are also some other bizarre scenes with special effects that even gave it a little bit of whimsy. I also really liked how the film’s vampire differs so much from the classic “romantic“ vision: here, she’s a haggard old woman who resides only in the coffin she was buried in, no fancy castle for her or anything like that. What the old crone does have, however, is some kind of Renfield-ish accomplice who does get his comeuppance later on in what looks like a scene that must’ve been rather uncomfortable to shoot…
Vampyr is a surreal, weird and dreamlike experience, utilizing some clever camera work, combining light and darkness in a way that heightens the haunting atmosphere. The vampire aspects, despite being the “main story“ here, are a little bit in the background for a lot of the time as there’s so much absurdities going on here. A weird film indeed, and what can probably be considered an early arthouse film.
Director: Carl Theodor Dreyer Writers: Christen Jul, Carl Theodor Dreyer Country & year: Germany/France, 1932 Actors: Julian West, Maurice Schutz, Rena Mandel, Sybille Schmitz, Jan Hieronimko, Henriette Gérard, Albert Bras, N. Babanini, Jane Mora IMDb:https://www.imdb.com/title/tt0023649/
The year was somewhere in the late 1980s where the exciting news had spread in Italy that none other than Klaus Kinski was writing, directing and playing the main role in an upcoming biopic of the legendary violinist Niccolò Paganini. Since Klaus Kinski was still a crowd magnet, director Luigi Cozzi, expected Kinski’s film to be such a hit that a horror film based on Paganini could piggyback on its success. Instead, we have a nonsensical and laughable shiny turd of an amateur hour spectacle that could easily have been sharted out by Claudio Fragasso in a short week. Not that Kinski Paganini was a much better film, but that’s a whole other story, in a different genre.
Paganini Horror starts in the city of Venice with a girl who plays her violin through “The Witches Dance“ from a rare sheet of paper. These notes are of course cursed that makes the girl become possessed, then goes into the bathroom where her mother is taking a bath to drop a hair dryer in her water. FZZZZZZT, FZZZZZZT, added with some old-school cheesy hand-drawn electric effects.
Then we jump to our group of protagonists, an all-female rock n’ roll band (except for the drummer) who’s in the studio and recording. And no, the singer is not Peter Burns. The producer isn’t much impressed as she calls it the same old stuff and nothing original. She wants them to make something mind-blowing and sensational. Well, we’re still in the good ole’ 1980s, so that shouldn’t be that hard. The drummer, Daniel, then meets a mysterious man named Mr. Pinkett to exchange a black suitcase that holds the sheet of notes for… Paganini Horror! The combination of the suitcase is of course six, six…six. OoOoh… This Pinkett guy is played by Donald Pleasance where it’s hard to tell whether he’s completely buzzed-out or high as a kite.
Daniel plays the tune on a piano. The producer is finally impressed even though it fits way more in an Elton John ballad. Daniel says that the unpublished notes were written by Niccolo Paganini. Do you mean Paganini, the famous Italian violinist?, she ask like a braindead imbecile. No, Eilerti Paganini Pilarmi, who else? So let’s rock! The legend says that Paganini used these magical notes in a secret ritual while he sold his soul to the devil in exchange for fame and wealth. According to the real legend, Paganini did sell his soul to Dr. Satan but for talent and not for fame and wealth. Maybe not the best choice as he died piss-poor at age 57. Anyway, a light bulb flicks over their airheads as they believe that these tunes can bring the same success to them. The mind-numbingly bad acting as they look as excited and enthusiastic as some broken NPCs mixed with the stiff dubbing, is enough to give this extra cheese-filled spaghetti clown show a watch. And it gets better/worse.
Our girl band rents a remote castle to shoot a horror-themed music video. Meanwhile, we see this Pinkett guy throwing all the money from a tower while he’s mumbling
go, go, go, go all you little demons. Little demons. Yes, fly away, little demons, so that the real ones can take your place, so that what happened to Paganini will repeat itself this time as well. Let the price for fame be extracted by the one to whom it belongs, his majesty, Satan.
OK. So, uhm, the ghost of Paganini rises from the grave, I guess, to stalk and kill our female rockers one by one with a dagger that sticks out from the bottom of his small violin. Here he’s dressed more like a cheap cosplay version of the phantom of the opera, and is not even close to the awesome-looking ghoulish skeleton we see in the poster. There’s full-on nonsensical dream logic from here on where people randomly fall through green neon-lighted sinkholes, and…well, as we say in showbiz: The show must go on. Don’t have a script, you say? Then improvise! What follows is more retarded acting, cheap effects, cheaper costumes, baffling dialogue delivery and so on. You know the drill..
But to be fair though, the director Luigi Cozzi is not all to blame here. Cozzi was in constant fights with producer Fabrizio De Angelis, who always demanded Cozzi to cut as many gory scenes from the script as possible. Which is pretty odd considering that Fabrizio was also producer on the goriest films of Lucio Fulci throughout the 1980s. It sounded more like pure sabotage when Cozzi got this demand just a few days before the shooting started. He also planned an eight-minute long sequence with scenes of planets, galaxies and parallel dimensions that were supposed to give the movie a stronger “science fiction touch“. Paganini in space? Yeah, why not. This animated short film from Gobelins isn’t that far from the idea.
Cozzi picked the script apart until it was nothing more left to shoot, and most of the script had to be rewritten. Daria Nicolodi (the fresh ex-girlfriend of Dario Argento) then came into the picture to help him with the rewrite, and the next is Italian Trash Cinema history. Nicolodi also plays one of the main characters and she looks as brainfarted as the rest. If the original script and the overall technical aspects would be much better if hadn’t it been for the iron fist of De Angelis, we’ll never know. But if the acting was still as amateurish as in the version that got made, I hardly think so. Some fewer laughs, maybe.
Director: Luigi Cozzi Writers: Luigi Cozzi, Daria Nicolodi, Raimondo Del Balzo Country & year: Italy, 1988 Actors: Daria Nicolodi, Jasmine Maimone, Pascal Persiano, Maria Cristina Mastrangeli, Michel Klippstein, Pietro Genuardi, Luana Ravegnini, Roberto Giannini, Donald Pleasence IMDb:https://www.imdb.com/title/tt0095812/
Ippolita is a young woman who has been paraplegic since a car accident when she was 12. The accident killed her mother, and left her broken in more ways than one. The doctors have diagnosed her paralysis as purely psychosomatic due to mental trauma rather than any physical issues. She’s also gotten very reliant on her father, the wealthy Rome aristocrat Massimo, and more or less craving his attention nonstop. Her attachment issues skyrockets when she finds out that Massimo has gotten romantically involved with a woman named Greta.
Ippolita, wanting more of her own life and especially to get rid of her paralysis, eventually reaches out to her uncle who is a Vatican cardinal. He only recommends her to get in contact with a parapsychologist named Marcello Sinibaldi, who uses hypnosis on her because he believes that she’s having unconscious memories of her past lives. One of these past lives is none other than a witch (well, of course!) who entered a covenant with Satan and was burned at the stake. Ippolita is possessed by her ancestor’s spirit, and even regains her ability to walk, which she does only under a dissociated state. During this state she ends up killing a tourist after seducing him in her own witchy way. Then things only escalate, where Ippolita becomes fully possessed and lets everyone know that she’s learned a few bad words like “cock“ and “whore“. Especially cock, which seems to be her new favorite word. Ippolita is now ready to let her witchy, demonic side out in full. Mamma Mia! Time to call the exorcist!
The Antichrist (original title: L´anticristo), also being released under the title The Tempter, is a supernatural horror film from 1974, directed by Alberto De Martino and co-written with Gianfranco Clerici and Vincenzo Mannino. Yet another cash-in on the success of The Exorcist (1973), but despite all the cheese and nonsense in this film I don’t think anyone can beat The Turkish Exorcist, Seytan. Its place as number-one in the most baffling and hilarious exorcist ripoffs remains unsurpassed.
While this film is another blatant The Exorcist ripoff, it is on a completely other level than the aforementioned Seytan. The Antichrist actually harbors some qualities, especially in the visual department. Joe D’Amato worked as director of photography on this film, under his real name Aristide Massaccessi. This easily explains why the movie feels fairly competent visually, and combined with a score composed by Ennio Morricone and Bruno Nicolai, there are actually some scenes which manage to deliver some decent atmosphere. It doesn’t take long until it stumbles between each of those, however, as the pacing is quite off at times and the special effects are mostly goofy. Ippolita’s character isn’t exactly the most sympathetic to begin with, but her change into a murderous, horny, foul-mouthed witch becomes more ludicrous than shocking. Hearing an adult woman say cock will never pack the same punch as hearing a 12-year old say your mother sucks cocks in hell.
There are some scenes that goes straight into wtf-land with some surreal fantasy-dream-nightmare visuals, and of course we get a rather lengthy Satanic orgy in Satan’s garden in Hell (or wherever it’s supposed to be). With all that talk of cock it was about time she finally got some. Despite some good things, the film is struggling with the pacing issues and some rather laughable scenes which are actually supposed to be scary. Or at least I think so. We have a disembodied flying hand that chokes a guy, a hilarious levitation scene, and so many other things which I suppose are supposed to be horror elements, but just makes you chuckle instead. It’s a totally confused mixture of witchcraft, satanism, possession, sleaze, and goofy effects. But is it still entertaining? Hell, yes!
Overall, The Antichrist is a movie that can be a fun watch if you want to see a sleaze ‘n cheese ripoff of The Exorcist. If you’re in for a challenge: take it as a double-feature with The Turkish Exorcist, Seytan!
Fun Fact: Carla Gravina, who plays the role as Ippolita, revealed that she had some trouble playing the role and would never accept anything similar ever again. After starting the shooting of the film, she said she started to feel some kind of strange disease coming on, which she described as differing between an intense cold, feeling dizzy, getting a feeling of emptiness, headaches, lack of appetite, and so on. Doctors diagnosed that it was most likely due to overwork and “curious psychic influences“…
Director: Alberto De Martino Writers: Gianfranco Clerici, Alberto De Martino, Vincenzo Mannino Original title: L’anticristo Also known as: The Tempter Country & year: Italy, 1974 Actors: Carla Gravina, Mel Ferrer, Arthur Kennedy, George Coulouris, Alida Valli, Mario Scaccia, Umberto Orsini, Anita Strindberg, Remo Girone, Ernesto Colli IMDb:https://www.imdb.com/title/tt0071150/
Three years have gone since the incidents in the first film. And since they lived in a reclusive yet more idyllic area by the woods, they decided it was a good idea to move into a Jakarta apartment building with neighbors up, down, left and right. Because don’t fear thy neighbor. Doesn’t sound like the dumbest idea, but when you first take a look at the place, you’d take the quickest U-turn back to the cabin in the woods and just tell demons to fuck off and touch some grass. Because I’m telling you, when you have a place like this that makes the building in Evil Dead Rise look like a five-star hotel, it’s better to just live in a tent or just under a bridge. Woof.
The place and setting also vaguely reminds me of a Hong Kong horror film called Rigor Mortis (2013). It’s one of those final destinations where you move into just to hang yourself in the tiny living room. So yeah, the setting itself plays the biggest part in Satan’s Slaves 2: Communion. So if you don’t fear thy neighbors, you’ll certainly fear thy place. Or in the worst case, both. Welcome to hell.
A quick trivia: the building used in the film was found by one of Joko Anwar’s followers on X. It’s located on the border of East Jakarta and Bekasi and has been abandoned since 2008. The only change is the open fields seen in the film. Here’s an exploration video of the place, done by a local YouTuber, where the images speaks much for themselves.
Despite being free from the ghosts n’ demons, life hasn’t been too kind to the struggling, near to the lower-class family Suwono. The financial safety they have left is close to be flushed down the toilet as the oldest daughter, Rini, works a dead-end job at a factory after dropping out of high school to be a surrogate mom for her two younger brothers. And where’s their dad, Bahri? He always comes home just in time for dinner, looking depressed, burnt-out and not saying much. One of the brothers adds some positivity to the conversation with his high ambitions to become a full-time gigolo when he grows up. Yay! At least, there’s no disgusting urinating on the floor here, like we saw in the first film (whatever that was about). But Rini has had enough of the situation and plans to leave for a university while she still has the chance before she turns 30. She couldn’t choose a worse day to leave as a big storm hits.
And with the storm comes something wicked… and to make matters even worse, the place gets flooded, the electricity cuts off and all the tenants are trapped in the building. So, the University has to wait. And we learn very early that an ancient burial site surrounds the place. Of course. A legion of ghosts will have a field day.
It starts subtle enough (or maybe not so) with kids almost being sucked into the chute by demonic forces, ghoulish figures that pops up to give some effective jumpscares, and we have a nice static nod to Poltergeist (1982). It gets more physical, to say the least, with an elevator scene where a group of kids dies in a heavy, brutal way. A dozen other residents also dies by the elevator crash that gets piled up in the cramped apartments, disturbing La Ilaha Illa Allah—chanting can be heard throughout the hallways, like in a certain fire temple way back in the day. The supernatural aspect is only the icing on the cake with the isolated surroundings and the sight of the fresh dead bodies lying around.
Writer and director Joko Anwar takes full advantage of the location where not a single room or hallway looks safe or welcoming. Although the old-school approach we saw in the first one is still here, Satan’s Slaves 2 has a way bleaker and nihilistic tone where the atmosphere is as heavy as the concrete environment. Communion also has its fair share of references and nods sprinkled throughout, but manages to be its own thing. And speaking of, there’s also some Stranger Things going on with a group of kids who explore the even more obscure rooms and corners of the building to find some hidden secrets as the storm rages.
We also see a glimpse of the underworld, or The Further if you will, in a very effective way, which I hope we get to see more of in a sequel. So much potential to develop a great franchise here, or at least, a trilogy.
And yes, this sequel is more connected to the first one, apart from just focusing on the same family where there’s still some dark secret to unfold (as in most families). That said, Communion is way more about the atmosphere, mood and the overall mysterious vibe than the story itself, like in the best Lucio Fulci kinda way. It’s unsettling, nightmarish and hellish. A haunted house ride, masterfully directed by Joko Anwar with sharp sound-design, superb make-up effects and just overall a morbid visual treat for all horror ghouls.
Satan’s Slaves 2: Communion became another big win for Joko Anwar and Indonesian horror as it became the highest grossing film in that country in 2022. After its limited theatrical release, it got acquired by Shudder, and as of now, there’s no physical release of the film. Thanks to the Norwegian streaming site SF Anytime, we got the access to see it.
Writer and director: Joko Anwar Original title: Pengabdi Setan 2: Communion Country & year: Indonesia, 2022 Actors: Tara Basro, Endy Arfian, Nasar Annuz, Bront Palarae, Ratu Felisha, Jourdy Pranata, Egy Fedly, Muzakki Ramdhan, Fatih Unru, M. Iqbal Sulaiman, Ayu Laksmi IMDb:https://www.imdb.com/title/tt16915972/
We’re in the Indonesian countryside, and the year is 1981. Mawarni, a once famous singer, has fallen ill and she is now bedridden. The royalties from Mawarni’s singing career are long gone as her popularity has faded, along with her health, so the family is also struggling financially. Their four children, 22-year old Rini, 16-year old Toni, 10-year old Bondu and 6-year old Ian who is deaf, are all trying to cope with the situation. The inevitable happens, and Mawarni dies. Shortly after her burial, Bahri, the husband, must travel to town in order to raise money for the mortgage payments. Rini, together with their grandmother Rahma, is now at home while experiencing strange events as they seem to be haunted by a ghostly presence. They also have the creepiest, most uncanny bathroom ever, with a well and all, where their grandmother eventually ends up dead inside. Was it an accident…or something else at play? Things go from bad to worse as there are more and more obvious signs of occult interference, and as Rini starts looking further into her deceased mother’s past, she finds there are ties to a Satanic cult.
Satan’s Slaves (Indonesian: Pengabdi Setan) is a supernatural horror film from Indonesia, released in 2017. It’s written and directed by Joko Anwar, and it’s a loose remake-prequel to the 1982 film which is called Satan’s Slave (and which we have already reviewed here on Horror Ghouls). Ever since starting his film-making career, Joko Anwar desired to make a remake of the original Pengabdi Setan. It was even his inspiration for becoming a filmmaker in the first place, after sneaking into a theater to watch it as a kid during the 80’s and then getting the full-on heebie jeebies from it. It’s the movies that scare the crap out of you as a kid that really gives the best inspiration later on, innit? Once he got everything sorted for the film’s creation, it took the production team four months (!) to seek out the perfect filming location to accurately represent the 80’s in which the film is taking place. Originally they wanted to film in Puncak Bogor, West Java, but the owner didn’t give them permission, so they had to continue the quest for the perfect place to film. They eventually hit the jackpot when they found an old house in the Pangalengan area, which they later redesigned to make it fit the 80’s aesthetic.
While the original Satan’s Slave from 1982 has some really good visuals and is quite atmospheric despite its rather cheesy vibe, it never really manages to come off as scary (probably a different story if you’re a kid during the 80’s sneaking into the movie theater to see it). Joko Anwar’s prequel/remake is totally different, delivering a brooding, dark vibe throughout. It mixes family drama, dark secrets, folklore and the occult in an investigative haunted house wrap, often reminiscent of the early Conjuring films. I guess you could say that Joko Anwar is Indonesia’s answer to James Wan.
There’s a lot of creepy visuals here, and the house where the family lives is always dark and gloomy. There’s even a bathroom with a well that looks like something straight out from a nightmare or a slightly surreal horror video game. Here, we do of course get several spooky scenes, including the death of the grandmother. As if the bathroom/well room wasn’t creepy and uncomfortable enough, there are also some scenes where two of the kids are urinating on the floor like the entire place is supposed to be a giant toilet. And no, this wasn’t supposed to be tied to any supernatural/occult stuff. It was…oddly disgusting. And I still have no idea why the hell this was a thing…
The story progression in the film is following a somewhat casual horror-investigation-mystery thread, where occult things start happening and the protagonist/s must try to figure out the who, why and what. With the title of the film, I guess it comes as no surprise that there is some kind of satanic goings-on here. And, yes, it’s in the veins of a regular “family gets haunted“ type of story, but with a different kind of flair than what we’re normally used to. I also really love the soundtrack, especially the vintage song Kelam Malam which has that perfect “spooky oldie days“ vibe (I’m also a sucker for oldies music). The songs were performed by The Spouse, Aimee Saras and ‘Tony Marle’.
Satan’s Slaves was a huge success in Indonesia, and ended up being the highest grossing Indonesian film during the year of its release, and it is indeed a very solid entry into the haunted house genre. There was later made a sequel, called Satan’s Slaves 2: Communion. And this one amps up the scares with a ton! Also check out Joko Anwar’s Impetigore from 2019.
Writer and director: Joko Anwar Original title: Pengabdi Setan Country & year: Indonesia/South Korea, 2017 Actors: Tara Basro, Bront Palarae, Dimas Aditya, Endy Arfian, Nasar Annuz, M. Adhiyat, Arswendy Bening Swara, Egy Fedly, Ayu Laksmi, Elly D. Luthan IMDb:https://www.imdb.com/title/tt7076834/
An insecure teenager deletes her social media accounts and learns that what she put online will come back to haunt her.
Our Halloween Marathon is running (where we update with new reviews daily during October!), but we’re still having the weekly Horror Short Sundays of course. And this time we’re taking a look at Selfie. We’ve all seen them, those filter-photos that makes people look like pure nightmare fuel from the deepest uncanny valleys, and yet considered “pretty” by far too many. In this horror short, a young girl is using an app called Selfie to post filter photos of herself where she is totally unrecognizable. Fed up with this fakery, she actually makes the clever decision of deleting the app among the other Social Media apps as well. Good girl! Too bad selfie-barbie-monster doesn’t agree with her…all leading up to a surprisingly vicious ending!
Director: John Poliquin Writer: Colin Minihan, John Poliquin Country & year: USA, 2020 Actors: Peyton Kennedy, Dillon Duchesne, Massi Pregoni, Caroline Simone O’Brien IMDb:www.imdb.com/title/tt11759454/
The movie opens with the nightmare of Glen, a 12 year old boy. He dreams that his home is abandoned, and he goes out to the backyard to enter his tree-house, where is gets struck by lightning. He wakes to a somewhat uncanny coincidence as he sees that some workers in the backyard have cut down the same tree. He and his friend Terry later discovers that the removal of the tree has unearthed a large geode, and at the same time Glen is catching a splinter and leaves a little bit of blood behind. And of course we know that this little detail is going to have some sort of significance later on…and yup, shortly afterwards some strange things start happening.
Then Glen’s parents are going to leave town for three days, and Glen’s older sister Alexandra (whom he refers to as Al for short) will look after him. Al, being a 15 year old girl, immediately gets in contact with her friends to make proper use of the situation and throws a party. While she’s partying with her friends downstairs, Glen and Terry are in Glen’s room. Terry’s brought with him his LP of a heavy metal band called Sacrifyx, as he found a booklet inside the vinyl album that describes some eerie resemblances to the hole in Glen’s backyard and the strange events that followed. They play the record backwards, which of course ends up opening the gate fully. Good work, lads. Downstairs, Glen and Terry discovers that Al and her friends are playing some sort of levitation game, and wants Glen to try it. At this point I was surprised they didn’t bring out a ouija board too just to out the cherry on top. Supposed to be just a silly game, Glen starts levitating for real, causing everyone to freak out. And that’s only the beginning. Something has started a chain of supernatural events, all of it in preparation for something bigger to come…
The Gate is a supernatural horror film from 1987, directed by Tibor Takács and written by Michael Nankin. The movie was a co-production between Canada and the United States, and has since its release gotten itself a cult following.
There are always some films you watch at an older age, and think “oh boy, I wish I’d seen that one when I was a kid“. The Gate is definitely one of those. It’s got all the perfect ingredients for a spooky movie that can be watched and enjoyed by a younger audience. The plot is somewhat simple: children discover that a gate to hell has opened in their backyard, and they must try to close it before all hell literally breaks lose. The kid characters are your typical “smarter than average and definitely smarter than the adults“ kind, which were often a thing in movies like this. Most interactions are between the protagonist Glen, his buddy Terry, and the sister Al, and their chemistry is fine. None of the characters are especially memorable, but they work for the setting.
The movie is using several techniques for the visual effects, including some good old-fashioned stop-motion animation, forced perspective, and of course the classic rubber suits. Ah, the good old 80’s. Towards the ending we get some really crazy scenes with all kinds of demonic and otherworldly elements, including tiny demons (which reminded me a bit of the subspecies in Subspecies), a zombie, and of course a big, big bad. And all of it because of a heavy metal band! Fits right in with the 80’s Satanic panic.
The Gate is a fun 80’s horror with lots of cool practical effects and the typical whimsical 80’s tone, filled with heavy metal, demons, practical and stop-motion effects. It’s one of those light-horror movies speckled with a lot of whimsical fantasy and fun times, never getting heavy in the gore or anything that could be considered particularly scary, which makes it work pretty good as a gateway horror. Fits fell with the title too, I guess.
In 1990, a sequel called The Gate II: The Trespassers was released. A 3D-remake was also scheduled to have a release in 2011, but nothing ever came of that.
Director: Tibor Takacs Writer: Michael Nankin Country & year: Canada, 1987 Actors: Stephen Dorff, Christa Denton, Stephen Dorff, Louis Tripp, Kelly Rowan, Jennifer Irwin, Deborah Grover, Scot Denton, Ingrid Veninger, Sean Fagan, Linda Goranson IMDb:https://www.imdb.com/title/tt0093075/
