We’re in a suburban town where a mother is putting on some music in the car for her child. Static starts playing…and she then drives her car to some railroad tracks and leaves her child to die there. Then we head over to the Ryans, a family consisting of the mom Kendall (Selma Blair), the dad Brent (Nicolas Cage), the daughter Carly (Anne Winters) and the son Joshua (Zackary Arthur). Things are, like in most normal families, stressful and a little strained here and there: the dad’s going through a mid-life crisis, brother and sister are picking fights with each other, and the mom is trying to occupy herself with taking fitness classes. The kids go to school as usual, and then the TV screens and radios starts transmitting the static we saw in the opening scene of the film. All hell breaks lose, and parents all over the place are going crazy and hellbent on killing their own offspring. Brent and Kendall are no exception to this mass hysteria, and the children must try to stay safe from the people who should’ve been the safest of all.
Mom and Dad is a black comedy horror film from 2017, written and directed by Brian Taylor (who also directed the recent Hellboy movie Hellboy: The Crooked Man from 2024). It had a limited release, and while getting a generally positive reception it underperformed badly, grossing only $286,313 against its $4 million budget. Still, Nicolas Cage said it was his favorite movie that he had filmed in 10 years, and John Waters named it as one of his top 10 favorites released that year.
Now, a movie about parents going insane and wanting to kill their children sounds like a pretty fun idea for a horror movie, right? While it could have been anything from a serious and grisly movie to something that takes itself too seriously, it fortunately takes the road of black comedy instead which fits perfectly here. It’s pretty fast-paced, and easily entertaining despite not exactly having the thickest of plot. Originally, I expected the movie to be a bit more gory, though… sure, there is a bit here and there but not that much as many of the kills are off-screen.
The major theme of the movie is parents feeling trapped in parenthood. There is a line in the movie, where Brent says: “I mean, I used to be Brent… and you used to be Kendall… and now we’re just… Mom and Dad “. And I think this rings true for many parents, who might end up losing themselves in a busy family life and not having enough time to nurture the relationship to their spouse, their hobbies, and all the other things that gets thrown into the backburner because when you become a mom and dad, that’s your priority. And of course, we understand that this is how it needs to be: no children ask to be born, and making this choice involves all those responsibilities. Some are able to balance being a parent with all the other things in life, and some end up feeling “trapped“ in their own self-made bed, regretting their life choices, regretting getting older, and putting the blame on the children they chose to have. This by itself doesn’t turn them all into child-killing crazies, of course, but something in this movie triggers these deep-laden feelings. It is not entirely clear what actually caused the murderous rampage by parents, except we know it’s got something to do with the static that starts playing everywhere.
Mom and Dad is an entertaining movie filled with madness and fun, and fortunately never takes itself too seriously. Cage is in full unhinged Cage-Rage mode which is always a joy to watch, and even Lance Henriksen shows up here as Brent’s dad to push things even further as all the moms and dads are on a killing spree. Overall a good time, despite not getting much of a conclusion to anything.
Writer and director: Brian Taylor Country & year: USA/UK, 2017 Actors: Nicolas Cage, Selma Blair, Anne Winters, Zackary Arthur, Robert T. Cunningham, Olivia Crocicchia, Lance Henriksen, Marilyn Dodds Frank, Samantha Lemole, Joseph D. Reitman IMDb: https://www.imdb.com/title/tt5462326/
Vidar the Vampire is the first, and for the time being, the last vampire flick from Norway. A low-budget independent production that came and went in 2017. Yes, we cavemen gnomes have come a long way, haven’t we. And later this year, we’ll have our first sea monster flick with Kraken. Skål!
The film starts with a local news report by the broadcast company NDK (Norsk DrittKringkasting) that tells us that a Satanic ritual has occurred in the middle of the God sacred bible belt in Norway, at a place called Jæren, a middle-of-nowhere land not so far from Stavanger (which also happens to be the hometown of Horror Ghouls) . Then we cut to our man, Vidar (Thomas Aske Berg), a skinny guy in his early 30s with a thick Burt Reynolds mustache and dressed in a silver protective suit as he starts a session with his psychiatrist. And he also wears sunglasses. Not because he’s got a severe hangover, but because he’s Vidar the Vampire. He’s frustrated and ready to tell his life’s story, a deep glory rabbit hole that will even get the shrink raising his eyebrows.
Like any therapy session, we start from the beginning where we see Vidar as a young boy as he lives with his strict religious mom at the farm we saw earlier in the news report. He does most of the work at the farm while he gets bullied by some classmates because he’s a loner and not able to get a girlfriend. We jump twenty years forward where Vidar is still stuck on the farm with no girlfriend, friends or future aspirations where the days consist of cleaning pigsties while his mom lies in bed and chewing pills. The only form of dopamine is hidden in Playboy magazines in his small, cramped bedroom. Vidar prays every night to get away from here, and one holy night, he gets heard. Hallelujah! And now it’s where it starts to get a little weird. We have a weird moment with a succubus before, one night, he finally meets the Savior himself in the barn. And here comes the big shocker: it appears that God is actually Satan. That’s how blasphemous we can get in modern times, I guess. After Vidar gives him a blowjob and swallows the unholy juice, he becomes a vampire, of some sort.
And there’s no surprise that things doesn’t get better for Vidar from here on. His God-fearing mom makes Vidar meet an evangelist in the local church in hope to exorcise him. Doesn’t go that well either. Even more crazy shit happens, and nothing can prepare Vidar for when he finally gets to break free from the isolated farm life to dive into the nightlife of urban Stavanger.
So, yeah, It’s crystal clear what the film is really about: a satirical middle-finger to Christianity, a statement that feels more fifty years-or so too late, and was already ridiculously outdated in 2017. If Vidar the Vampire was made in the 1970s, or even in the 1980s, the film would surely stir some controversy before it would be banned completely, and be regarded as an exploitation cult-classic years later. The filmmakers would also probably be put in jail for violation of the blasphemy law. I’m not kidding. A harmless, silly comedy such as Monty Python’s Life of Brian (1979) was banned in Norway for over a decade, and that should speak for itself. Things have changed radically since then with the rise of black metal bands in the early 90s, church burnings and Playboy, which was upgraded with porn on VHS, first imported from Sweden, of course. Good times. Hail Satan.
But the film is more than just poking fun of religion and clowns like Bob Larson. Chronic loneliness is the red thread here as we follow Vidar from one dire scenario to the next where things go from bad to worse, and he loses himself into an empty and hopeless existence of pure black-pilled nihilism. He walks around the streets of Stavanger at night in a farm suit while he tries to score, where he’s already completely damaged and a lost case. He becomes more desperate as his bloodlust also rises and he needs as much pussy as he needs the red human syrup. How about both? He stalks a young woman after closing time to her apartment where he chews her pussy and slurps her dry of period blood after she’s blacked-out. He almost swallows a tampon. Yum. This woman’s name is listed as “Drunk Cunt“ in the end credits (yes, in English for whatever reason). He then gets chased by her pimp as Vidar runs through the back alleys buck naked. We shouldn’t sympathize with a rapist, but still. It’s tragic, cringe, absurd, artsy at some times, and morbidly amusing to say the least, also much thanks to some solid acting and likewise dialogue. To lighten the mood, the film is filled with the most depressive and monotone folk songs that just make you want to kill yourself. Rest in peace in advance.
Vidar the Vampire is overall a weird and unique film, plain and simple, that will appeal to smaller audience as the vampire elements is used more as metaphors where the big question lies: is he really a vampire or just a raving mad incel who’s met the breaking point? And then of course we have the Norwegian language with some inside-jokes. If you can handle subtitles, the film is released on Blu-ray in America by Dread Central/DiabolikDVD. So have yourself a Drunk Cunt and enjoy the misery.
Writers and directors: Thomas Aske Berg, Fredrik Waldeland Country & year: Norway, 2017 Original title: VampyrVidar Actors: Kathrine Jünger Ims, Thomas Aske Berg, Marit Sanden, Sigve Aasland, Ingvar Skretting, Kim Sønderholm, Ruben Jonassen, Martha Kristine Kåstad, Astrid Braut Øksnevad, Balder Scheen Jacobsen IMDb: https://www.imdb.com/title/tt6147514/
A woman and a man who is piss-drunk are stumbling back home after a night out in L.A. They decide to take a shortcut through a dark alley (of course they are), where a large hobo violently attacks the man by biting him on the neck. The woman also gets attacked by similar monster-looking hobos, but she manages to escape, only to get hit by a speeding police car.
Then, we head over to a “flashback“ scene where our protagonist Chuck Steel must try to save his kidnapped wife from the local Yakuza. After a totally over-the-top action-packed fight and chase scene, the tragic outcome is that Steel’s wife falls from a helicopter to her death. And that’s the story of how our hero lost his wife, which explains his moody “fuck off assholes and leave me alone“ attitude. Or…at least that’s the story he tells everyone. He also tells every new partner he gets that he is in no way interested in a partner, hates working with a partner, and is a guy that wants to work alone, something that a rookie cop named Barney is about to find out. Poor Barney is also about to find out that Steel has no problems with causing huge collateral damage whilst haunting some gangsters, all the while ranting his ass off to the poor rookie. Needless to say, Steel is soon without a partner again. His captain, determined to team him up with somebody at last, gives him a final choice: a Swedish woman, a monkey, or a cheese plant. He chooses the woman (much to his regret as she’s not exactly what he hoped for). They go to interview the woman from the opening scene who is now in hospital, but when arriving there he meets an old British man standing over her, ready to ram a stake into her heart. This man is supernatural hunter Professor Van Rental, warning Steel that this woman is about to become a Trampire. Yes, you read that right: a Trampire, because back when vampires ruled over Transylvania they were driven out by the locals who finally had enough, which forced the vampires to live like tramps and took to binge drinking, causing their thirst for blood to become as strong as their thirst for alcohol. Thus, the Trampires now hunt the street for those with a high blood alcohol level, and staying sober has never been more important! Of course, it would be an impossible task to ask the general public to stop getting shitfaced, so the only option is to get rid of the Trampires. Does Steel believe in any of this insane hogwash? Well, of course not…but he’s soon to find out that the professor was speaking the truth, which turns this already bonkers movie into a totally crazy, blood-soaked balls-to-the-wall love-letter to the action films from the 80’s!
Chuck Steel: Night of the Trampires is a stop-motion action horror comedy film from 2018, written and directed by Mike Mort who is also voicing the titular lead role, and this was his feature debut. Budget is said to have been $20 million, of which it doesn’t seem that even a fraction of it was earned back (such a shame). It premiered on the Annecy International Animation Film Festival in France, on 12 June 2018. And this one’s been a long time in the making, as Mike Mort wrote the early draft for it back in 2001. The character of Chuck Steel was something he came up with all the way back in 1986, however, which makes this an even more fitting 80s throwback film. In 2013, Chuck Steel appeared in the short Raging Balls of Steel Justice, and in 2014 Animortal Studio was setup, where the impressive amount of 425 puppets where made for the movie, plus dozens of giant scale-model sets. The movie was finished in early 2018. Then, distribution hell happened and it didn’t get a release until October 2021.
A stop-motion animated horror action comedy, not giving a turd about political correctness and whether the jokes are being “offensive“ by today’s standards , filled with gore, 80’s throwback action and other pleasantries…what’s not to love? The trailer for this movie got me interested immediately, and oh boy, were we in for a ride with this one! First of all, the stop motion in this movie is absolutely fantastic. It’s easy to see that there’s been put so much love and care into all the puppets, model sets and details. The references to the 80s actions flicks, including both the good and the bad, are spot on: there’s an abundance of explosions, car crashes and chases, all accompanied by the beats of typical 80’s music. It’s just as hilarious and energetic as the trailer indicates, but it’s also surprisingly cinematic and polished.
Chuck Steel: Night of the Trampires is one of those movies where I just can’t help thinking: why the hell isn’t this movie more known, why isn’t it receiving more appreciation..? With throwback movies being all the rage these days, this should’ve been a goddamn cult classic by now! Yeah, yeah… the crude humour was probably off-putting for some, but seriously. It’s not often we see something as inspired, something so filled with ridiculous energetic glee as this movie! Sure, you probably need to not only be a fan of 80’s action movies or the 80’s in general to fully appreciate a movie like this, but also have a bit of fondness for some of the typical B-Movie schlock as well. Playing this one to the general audience who are used to watch the latest generic and safe blockbusters will probably put their brain in automatic nah-mode, especially with all the jokes putting the modern offense-level up to eleven which would make them squirm in their seats with discomfort. So, yeah…this is one of those movies where I know it’s not got a very wide audience (obviously), but I still can’t recommend it enough and I think that there’s a much larger audience out there who would have loved the shit out of this film if they just found out about it. It’s filled with awesome animation, fantastic creature designs, gore, has a totally crazy plot, and is a hilarious action-filled adventure featuring the most badass maverick cop ever. A pleasure to watch! Glad we got this one on Blu-ray, which also included a poster and booklet.
Writer and director: Mike Mort Country & year: UK, 2018 Voices by: Mike Mort, Jennifer Saunders, Paul Whitehouse, Dan Russell, Jonnie Fiori, Samantha Coughlan, Romano Marenghi, Geoff Robbins, Jonnie Price, Mark Richard Jones, Laura Tofarides IMDb: https://www.imdb.com/title/tt4278346/
Hobo with a Shotgun was originally one of the delightful and awesome fake trailers made for the promotion of the double-feature release of Planet Terror and Death Proof back in 2007. And just like the same trailer for Machete, and much later Eli Roth’s Thanksgiving, it was made into a full-length feature. But unlike the two/three mentioned, this one was more independent, made far away from the mainstream Hollywood system, and didn’t get any wide theatrical release. A damn fucking shame because this is meant to be seen on a big screen with a solid sound system and not on a laptop. Anyway, in the fake trailer, we saw David Brunt having the days of his life as an unhinged hobo. He was also supposed to play the role in the film, but a severe panic attack with the stress of carrying a whole feature-length on his shoulders made him disappear for weeks. He was reduced to a quick cameo as a “no dirty cop“ while Rutger Hauer took over the title role. The film got funded with 3 million dollars and shot in the back alleys over 24 days in Dartmouth. And no, that’s not a region somewhere in Mordor, but a city in Canada.
We’re in the 1980s where it all starts with some fresh optimism as Hobo is on a cargo train to explore some uncharted territories. Unfortunately, he couldn’t have dropped off in a worse city where they could use a RoboCop, a dozen of Paul Kerseys and maybe a Batman. But we’re soon to learn that you should never underestimate a hobo with a shotgun who’s about to meet the final breaking point. The city is ironically called Hope Town (tagged over as Scum Town) with the slogan “where the railway ends and life begins!“ Too bad that the city is already in its final stage of full psychotic collapse where the trash floats as much as the cocaine, graffiti on every wall, stink of piss and shit everywhere I can imagine, insane rampant crime, corrupt police, punks smashing people’s heads like melons with bump-cars while hookers do their thing to survive — and just everything imaginable to make this the worst urban dystopian nightmare on Earth. Nothing much new that Hobo hasn’t seen his whole life already though. So what is it that’s making Hobo finally raising his eyebrows? Good question.
The answer: As Hobo is shuffling around with a loot-shopping cart in some neighborhood, minding his own business, he gets to witness a random handcuffed guy running with a manhole around his neck (of course). “He’s gonna kill me“, he screams. He gets confronted by a guy in the most spotless white suit with his two sons, Slick (Gregory Smith) and Ivan (Nick Bateman). We learn that the dude in the white dress is called Drake (Brian Downey). He’s a batshit crazy gangster Joker-style sociopath who’s taken over the city, and if you don’t obey him, well, get ready to be decapitated by a barbed-wire noose in broad daylight in full public. We’re still in Canada, by the way, and not in the Middle East. Yeah, well whatever, now Hobo’s seen that. This poor guy was the third son of Drake, by the way, who got gamed over with no continues because he wouldn’t be any part of this deranged family.
The next thing for Hobo is to beg for enough cash to buy a… yes, you guessed it — a lawnmower. Because the grass is always greener on the other side, I guess. And just sitting on the sidewalk with an “I’m hungry“ sign doesn’t do shit, so over to plan B: to get paid by eating glass for the camera. No pain, no gain, as we say. The road to scrambling up enough money has been brutal as he’s also been a victim of police brutality with getting carved “scum“ on his chest before they threw him in a dumpster. Welcome to Fuck Town. But the day is finally here; to buy that shiny lawnmower. The optimism is back in full blossom as Hobo stands in front of it in the pawn store like an eager kid on Christmas morning. And, oops… the store gets robbed by a gang of thugs, of course. A baby gets a gun pointed at its face. As Hobo is trapped in a corner, he picks up a shotgun and blasts away. Hobo has had enough, and a vigilante is born as he goes on a rage-filled rampage around the city, blowing the brains out of all lowlife scumbags he stumbles upon, from sleazy pimps to a pedophile Santa. Hobo for president!
Hobo becomes the one big news headline after another that soon gets the attention of Drake, the crazy guy in the white dress we saw earlier, and he wants Hobo’s head on a platter. In the midst of this, Hobo does all he can to make sure that the young street hooker Abby (Molly Dunsworth) is safe, a golden-hearted hooker, who gave him shelter.
While the film has a far more polished look than the fake trailer, Hobo with a Shotgun still has the heart, spirit and the rebellious energy like a true Grindhouse exploitation ride. Almost everyone is over-the-top in a cartoonish Troma fashion, which can be tiresome in the long run. The two guys who play Ivan and Slick really sticks out, as they do their best to top eachother as they both seemed to approach their roles by mimicking a manic Tom Cruise. Jason Eisener has been clever enough to not give them too much screentime. Rutger Hauer does a more low-key performance in all of the madness where he can make the most cheesy lines sound dead serious and believable. He plays the role with a heavy heart and vulnerability where his eyes show layers of emotions, from fear, despair to pure rage. Top tier acting. Then we have his somber words of wisdom-speech in front of the infants at the hospital which is just sad and bleak, but also true, and even more true in 2025. He and Molly Dunsworth also have some great chemistry going on and is a charming duo to root for. And no, don’t worry, there’s no awkward and cringe sex scene here. Thank God.
The cinematography by Karim Hussain really spices up the film with vibrant use of colors. Yes, we’re used to seeing this in numerous throwback films, but Mr. Hussain adds its own look and personality to it that also fits the tone perfectly. The soundtrack is a solid plus, where we have all from synth/darkwave to some appropriate use of Disco Inferno during a morbid scene that includes a school bus filled with kids. The hospital-invasion scene is especially a standout, where you’ll recognize the tunes if you’ve played Far Cry 3: Blood Dragon, or vice versa. Jason Eisener was a consultant on that game, by the way. He also likes to “borrow“ classic theme music, as he also did in his short film Treevenge, and used the theme from Mark of the Devil (1970) in the opening credits of Hobo. Kids of the 80 and early 90s who grew up with The Raccoons will also have a pleasant surprise to have the nostalgia meter up to eleven.
Hobo with a Shotgun is pretty much a flawless film, and after fifteen years it’s still a unique gem in the modern Grindhouse genre. It’s fast-paced and entertaining as hell. The distinct tone keeps its track steady all through without falling off like a drunken walk-and-turn test, and blends the satire, the overall blood-filled insanity with the more gritty, serious and nihilistic undertones better than it should. That’s perhaps much because the whole cast and crew seemed to be right on the same page as director Jason Eisener and writer John Davies, who undoubtedly had a clear vision from the start. Or maybe the whole thing was just a lightning in a bottle. And Rutger Hauer was a phenomenal actor who couldn’t be a more perfect fit for the title role. RIP.
And I was, of course, curious to see what Jason Eisener would do next. Probably the sequel Hooker with a Shotgun? Oh, well. The years went by, and we finally got Kids vs Aliens, which I also did a trailer reaction of. And the film was a big letdown, to put it in a nice way, where there was no badge to give. Bummer. That said, I read somewhere, sometime long ago, maybe in a fever dream, that Jason Eisener was rumored to direct the remake of The Toxic Avenger. Well, there’s already one made where no distributors have the balls to touch it because it is “not safe enough to market“, so it’s not too late.
The time is also way long overdue for Rob Zombie to finally make his Werewolf Women of the SS with Nicolas Cage as Fu Manchu!!!
Director: Jason Eisener Writer: John Davies Country & year: Canada, 2011 Actors: Rutger Hauer, Pasha Ebrahimi, Robb Wells, Brian Downey, Gregory Smith, Nick Bateman, Drew O’Hara, Molly Dunsworth, Jeremy Akerman, Andre Haines, Agnes M. Laan, Duane Patterson IMDb: https://www.imdb.com/title/tt1640459/
Three friends have traveled to a ski resort to have some fun: Dan Walker, his girlfriend Parker O´Neal, and Walker’s best friend Joe Lynch. It’s about to get dark and nearing the ski resort’s closing time, but they manage to have the ski lift operator let them go for just one final run down the mountain. Unfortunately, the ski lift operator is relieved from duty by another employee, and while he tells them there are three people left, the second operator closes everything when three other people comes skiing down. The chairlift they are still sitting on is then stopped, and the three friends do not realize the big heap of trouble they’re in until the lights on the ski resort goes out. And the biggest problem of all: the ski resort will be closed for an entire week. As no one else knows their whereabouts, they are trapped with seemingly no way to get out of the situation.
Frozen (not to be mistaken for the Disney movie) is a psychological horror film directed by Adam Green. The film premiered on the Sundance Film Festival in 2010, where it apparently caused numerous faintings as certain audience members couldn’t handle the tension of the film. It was later released in North American theaters with distribution from Anchor Bay Films.
Movies where the protagonists are trapped in a single location always come with the challenge of limited scenarios, but with the right amount of build-up and the perfect location these kinds of movies can be very tense. And Frozen definitely is. Not only are they in the dangers of frostbite and literally freezing to death, there’s also wildlife putting their lives at risk. There’s a realistic sense of dread throughout the entire movie, and the realism is of course heightened by the fact that the movie was shot entirely practically: there’s no greenscreen, no CGI, no soundstage, and the actors and actress were in reality suspended over fifty feet in the air on a real mountain in Utah: the Snowbasin Ski Resort in Ogden. Kind of gives me the chills just thinking about it…the shots of the moving chairlift were all done by the director himself and the Director of Photography Will Barratt, because the camera crew were too nervous to do it.
The movie moves at a rather quick pace and doesn’t let down on the tension, the threat is always imminent and you keep wondering what is going to happen. The characters, obviously having tempted fate by ignoring the dangers of going for that “final ride down the mountain“, are people you still feel sorry for despite thinking they acted like idiots. And while being stuck in a chairlift doesn’t sound like a concept that could bring in too many threats, there are actually some pretty inventive ways to put the characters in constant peril.
Frozen is a chilling thrill ride packed with tension, where you can’t help but imagining yourself in such a dire and helpless situation. A nice watch during a cold winter day!
Happy Holidays!
Writer and director: Adam Green Country & year: USA, 2010 Actors: Emma Bell, Shawn Ashmore, Kevin Zegers, Ed Ackerman, Rileah Vanderbilt, Kane Hodder, Adam Johnson, Chris York, Peder Melhuse IMDb: https://www.imdb.com/title/tt1323045/
Colleen and her two teenage daughters Beth and Vera are traveling to their recently deceased aunt’s house which they have inherited. On their way to the house, which is placed in a very secluded area, they stop by a gas station where Beth reads an article about some recent home invasions where parents have been killed, and daughters spared. When driving towards the house, they are being stalked by some people driving a candy truck. They barely have time to settle in the strange house which is filled with dolls and odd knickknacks, when a huge mentally impaired man (Fat Man) an a transvestite (Candy Truck Woman) breaks into the house and attack them. Vera is assaulted by the Fat Man, while Beth tries to escape but is captured by the Candy Truck Woman who says “We just wanna play with dolls“. The intrudes are then killed by Colleen.
Fast forward sixteen years later, Beth has become a successful horror writer and lives in Chicago with her husband and son. Her new novel is titled Incident in a Ghostland, and she appears on a talk show to promote it and says that it’s based on what happened that night. Later, she receives a phonecall from her sister Vera, who begs her to return to the house. Vera and Colleen have been living there ever since the incident, and Vera has since been unable to recover from the trauma. When Beth arrives back at the house, she finds that Vera is still tormented by Fat Man and Candy Truck Woman.
Ghostland (aka Incident in a Ghostland) is a psychological horror film from 2018, written and directed by Pascal Laugier (Martyrs, The Tall Man). It’s a movie that at first seems to be very straightforward, and then proves to be something completely different. It’s also a movie where you should avoid any spoilers, as they may potentially ruin some of the experience, because there are a fair amount of twists and turns here.
Ghostland plays heavily on making the surroundings as strange and atmospheric as possible, with the deceased aunt’s house filled with creepy dolls and dark hallways. The characters are pretty good, but best of all are of course the villains. The Candy Truck Woman (played by Kevin Power) and the Fat Man (played by Rob Archer) looks like some kind of fantasy-nightmare where Marilyn Manson has teamed up with Goonies-Sloth’s big bad brother. It’s also quite fitting how the two sisters, where Vera is grounded in reality while Beth has her feet more planted into fairytaleland, describe the murderers in the way they see them: Beth’s version of them is “a witch and an ogre“, while Vera’s true to nature description is simply “two men in a fucking truck!“ where both are actually a fitting description for the menaced killers. Personally, I guess I would have gone for “witch“ and “ogre“ too…
There was an unfortunate real incident in this ghostland: the actress who played Vera, Taylor Hickson, got a permanent facial disfigurement during the shooting of the film, for which she sued the film’s production company over due to lost work as a result of her permanent scars.
Ghostland does have some disturbing moments, which shouldn’t come as a surprise since it’s made by the same guy who gave us Martyrs. Despite its somewhat Halloween-ish looks it’s far from being a comfort-horror due to the sexual abuse and psychological terror the girls are going through, but it is a suspenseful and twisty movie with a lot of atmosphere, and I recommend going in blindly if you want to check it out.
Writers and director: Pascal Laugier Country & year: Canada/France, 2018 Also known as: Ghostland Actors: Crystal Reed, Mylène Farmer, Anastasia Phillips, Emilia Jones, Taylor Hickson, Kevin Power, Rob Archer, Mariam Bernstein, Alicia Johnston, Ernesto Griffith, Adam Hurtig, Denis Cozzi IMDb: https://www.imdb.com/title/tt6195094/
Deedle, deedle, Blackcoat’s Daughter. What was in the holy water? Gone to bed on an unclean head. The angels, they forgot her.
It’s February, and the students at the Catholic boarding school Bramford Academy are about to get picked up by their parents for a week-long break. Kat, a freshman at the school, wakes up from a nightmare where she’s witnessed her parents dying in a car crash. And later her parents do not arrive to pick her up, and they cannot be reached by phone. At the same time, a senior student named Rose suspects that she might be pregnant, and has lied to her parents about when to pick her up so she can buy some time to get things settled. Kat and Rose ends up being the only two left at the school, aside from two nuns. Kat starts acting weirder and weirder, and receives strange phone calls.
The Blackcoat’s Daughter (aka February, and also aka The Daughter of Evil) is a supernatural horror film from 2015 written and directed by Osgood Perkins. It was his directorial feature debut, and stars Kiernan Shipka as Kat, Emma Roberts as Joan and Lucy Boynton as Rose. While Perkins have made several slow-burn horror films during the years, including the Netflix film I Am the Pretty Thing That Lives in the House (2016) and Gretel & Hansel (2020), he’s gotten most known for his recent satanic horror film Longlegs with Nicolas Cage himself playing a crazy satanic serial killer. And you could’ve easily believed that The Blackcoat’s Daughter belonged to the same universe, as they’re both having satanic devil-worship elements and the same dark, helpless nihilistic atmosphere. Just like the titular character in Longlegs, we here also meet a character who not only ends up becoming a victim to evil forces, but totally embraces it. The conventional portrayal of possessed people needing and wanting to be saved is turned completely upside down.
The Blackcoat’s Daughter is weighed with symbolism, with a narrative that explores the themes of mental illness, loneliness and longing, and how it can open up a crack that invites bad things in and lets them fester. The movie is divided in three parts, skipping a bit back and forth in time until we are left with the inevitably bleak and despairing ending. It’s a very dark and brooding film, never offering any kind of fast pace and the horror elements are often mostly subtle. It may require a bit of patience to fully get the most out of it, and is definitely a movie better suited for those that prefer slow atmospheric horror over fast-paced action and jumpscares. If you liked Osgood’s latest movie Longlegs, chances are you will also enjoy The Blackcoat’s Daughter.
Writer and director: Oz Perkins Country & year: USA/Canada, 2015 Also known as: The Daughter of Evil, February Actors: Emma Roberts, Kiernan Shipka, Lucy Boynton, James Remar, Lauren Holly, Greg Ellwand, Elana Krausz, Heather Tod Mitchell, Peter James Haworth, Emma Holzer, Peter J. Gray IMDb: https://www.imdb.com/title/tt3286052/
Maiden Woods is a small, isolated town surrounded by forest. We start off with a team of loggers that goes missing, and when the foreman tries to find out what happened to them, he encounters the body of one of them. Or, that is…a part of it. Upon finding a severed arm, he is then attacked and killed by some kind of unseen monster. Later, Paul Shields who is the sheriff in town goes together with Donny Saunders, his new deputy from New York, to speak to a farmer who insists that one of his horses has been stolen. Paul believes that the horse has simply escaped and decides to not think too much of it, and goes on to pick up his son Adam who will stay at his place for the night. He and his wife, Susan, no longer lives together after their other son, Tim, died in an accident. During the night, Adam claims he’s seen a creature in the back yard, and Paul also hears some strange noises but doesn’t see anything. The next morning, there are large hoof-like footprints in the snow around his house. Shouldn’t be too strange since they live nearby a forest and all that, but what’s quite peculiar is that the footprints appear to come from an animal that walks on two legs. On top of that, the footprints are left all around town. Paul, of course, believes it to be a prank. What else could it be, right? But then he hears about more animals that have gone missing, and the hunters informs him that all the deer and other animals in the forest seems to have left, indicating that some kind of large predator may have come to the area.
Dark Was the Night (released as Monster Hunter in the UK) is a creature feature horror film from 2014 directed by Jack Heller and written by Tyler Hisel. It is loosely based on the story about “The Devil’s Footprints“, a phenomenon that occurred in 1855 in England where people in a small town woke up to find biped hoof prints all over the place in the freshly fallen snow. Also, the title of the film addresses the 1927 blues-folk song Dark Was the Night, Cold Was the Ground by Blind Willie Johnson.
What sets the movie apart from many typical creature feature films, is the focus on mystery-fueled horror suspense during the majority of the playtime. It’s kind of a slow-burn, the monster is lurking in the dark and out of sight and the atmosphere is much more sinister and dark than the simple premise would make you expect. Hiding the monster is actually a good thing here, as it works wonders for creating the creepy tone. Kevin Durand, which was most recently seen in a role in the vampire horror movie Abigail (2024), does a good job on portraying a worn out and drained sheriff who’s had more than enough on his plate as of late, only to be dealing with something quite out of his comprehension.
And night surely is dark in this movie! And the day is…blue. Just as blue as the sheriff who looks like he’s on the verge of a breakdown at any moment. To be honest, I’m not really sure what the deal with the color palette is, but I have a feeling it’s used to somehow enhance the emotional state of the characters, or to provide a feeling of it being chilly since it’s set during the winter time.
Unfortunately, the movie does fall a bit apart during the final moments, mostly due to the rather lackluster reveal of the monster (could have been a cool game boss, but as something scary in a horror movie, not so much), and a somewhat cheesy ending. Overall, though, Dark Was the Night is a decent mystery-fueled creature feature film.
Director: Jack Heller Writer: Tyler Hisel Also known as: Monster Hunter (UK) Country & year: USA, 2014 Actors: Kevin Durand, Lukas Haas, Bianca Kajlich, Nick Damici, Heath Freeman, Ethan Khusidman, Sabina Gadecki, Steve Agee, Jacob Grigolia-Rosenbaum, Billy Paterson, Terry Fiore IMDb: https://www.imdb.com/title/tt2251281/
Five friends – Phil, Dom, Hutch, Luke and Rob – meet in a pub and start discussing plans for a holiday trip together. Rob suggests a hiking trip to Sweden but the others think it sounds horribly boring and would rather travel to someplace where they can get as shitfaced as possible. Later, Rob and Luke goes into a store in order to buy some more alcohol, but ends up getting involved in a robbery. Luke finds a place to hide, but Rob ends up getting killed by the robbers. Then we fast forward to six months later, where the remaining friends have decided to honor Rob’s memory by taking the hiking trip to Sweden after all. After making a memorial of sorts by placing Rob’s picture on top of it, Dom ends up injuring his knee and they decide to cut through the forest instead of following the marked trail in hopes of getting to the destination sooner. Bad choice. The first bad omen they encounter is a gutted elk, hanged on a tree like a morbid christmas decoration. Having to seek shelter in a creepy abandoned cabin due to a rainstorm, they also come upon a sinister-looking effigy depicting a decapitated human torso made of twigs, with antlers for hands. The tension between them is also growing because of Luke’s survivor guilt and the feeling that the others blame him for not having done something to save Rob. As if all of this wasn’t bad enough and causing some pretty frayed nerves, there’s something evil out there in the woods, stalking them…
The Ritual is a supernatural folk horror film from 2017, directed by David Bruckner and written by Joe Barton. It is based on a novel by Adam Nevill from 2011 by the same name. Despite the film’s story happening in Sweden, they decided to film it in Romania due to tax credits and softer labor laws. It was shot on location in the Carpathian Mountains. And of course, there aren’t any Swedish actors here either, and the locals are played by a mix of Danish, English and Romanian actors. It premiered at the Toronto International Film Festival where Netflix acquired the rights for $4.75 million. And with that being said…the screenshots aren’t of the best quality. It’s Netflix. ‘Nuff said.
The movie is for the most part a very character-driven story, where the subdued tension between the four friends comes more to the surface the further they go into the Swedish forest. The horrific findings like the elk pinned to the tree, pagan symbols on the trees and of course the headless effigy in the cabin all makes up for a gradual build of expectation: something’s wrong in the forest, and they’re about to find out what it is soon enough. There’s a sinister atmosphere from the very start, and you know the characters are not in for a holiday of the fun sort. The survivor guilt ripping Luke to pieces is portrayed in an effective way, not to mention how it’s a very clear “elephant in the room” with them all the time. The interesting thing is, despite how they all more or less collectively blame their friend for not having done anything to save Rob during the robbery, they don’t exactly practice what they preach. When they encounter the dangers in the forest, none of the characters show themselves off as a brave hero facing the dangers head first, pretty much proving they most likely wouldn’t have fared any better if they had been in Luke’s situation back then.
Now, over to the monster, which is being kept in the shadows of the forest for most of the time but comes into full display in the final moments of the movie. I have to give thumbs up for the creature design, it’s truly an interesting take on a Jötunn-inspired creature (from Norse mythology). It also works well to keep the monster hidden during the majority of the film, giving it the necessary build-up before the reveal. The earlier scenes where we see the monster’s disemboweled victims in the trees makes us wonder what kind of creature has done this, and how…
I have read several of Adam Nevill’s folk horror books but I haven’t read this once, so I cannot compare the movie to the novel. Overall though, I’d say the movie does portray a lot of the ominous folklore-horror vibes that I’ve gotten from the other novels, and makes for a fun lost-in-the-woods horror flick with a pretty cool monster design.
Director: David Bruckner Writer: Joe Barton Country & year: UK/Canada, 2017 Actors: Rafe Spall, Arsher Ali, Robert James-Collier, Sam Troughton, Paul Reid, Matthew Needham, Jacob James Beswick, Maria Erwolter, Hilary Reeves, Peter Liddell, Francesca Mula IMDb: https://www.imdb.com/title/tt5638642/
Jessica Loren is a rookie police officer, ready to take on her first assignment: taking the last shift at an abandoned police station that will soon be closed down for good. For some reason she doesn’t quite understand, her mother calls her and pleads with her to not take the job. She believes it must be because her father was killed on duty many years ago. Anyway, Jessica ignores her mother and leaves for duty. The commanding officer at the police station gives her a quick tour, and tells her that a Hazmat team will come around sometime later in order to collect evidence that is difficult to expose of. For this reason, she’s ordered to never leave her post. Sounds like a pretty easy task for a rookie, right? Nothing bad could happen here…right? Well, what sounds like a dull job, soon proves to be anything but as Jessica soon finds herself in stranger and stranger situations. The first incident is when a hobo enters the place and acts all weird, but it gets more disturbing when she receives a series of distress calls from a woman named Monica, who claims that she’s been taken hostage by a cult and believes they’re going to kill her. The thing is: no emergency calls are supposed to come into that police station anymore, as they have been rerouted to the new station. Jessica also finds out that in this exact police station the members of an infamous cult committed suicide one year ago, and she starts suspecting that the calls from Monica indicates that this cult still has some living members. Something is going on at this police station for sure, and while the place may be abandoned by people, something is definitely still there…
Last Shift is a horror film from 2014, directed by Anthony DiBlasi, written by DiBlasi and Scott Poiley. It was filmed in Sanford, Florida, in an actual abandoned police station. The script for the movie had actually not been written yet until the director and writer came upon the place. Sometimes you just need to find the right location and setting first, especially when you’re an indie filmmaker.
DiBlasi’s vision for the film was to have one that focused on atmosphere and would keep the audience wondering and intrigued by the mystery, and on this it definitely hits the sweet spot perfectly. Despite being a one-location movie, it keeps the pacing up and rarely falters. Much of the horror elements and sinister atmosphere comes from the main character’s isolation and increasingly bizarre and creepy events that keeps unfolding around her. Going from the subtle incidents at the beginning to a gradual rise in bizarre occurrences, the tension always keeps building. It’s also obvious that DiBlasi used the Manson Family as inspiration for the cult, while adding some occult and satanic elements into the mix. I guess you could define this movie as a little bit of a slow-burner, where indeed the focus on creepy atmosphere and a tingling sense of foreboding is what drives a lot of the movie forward, keeping its mystery elements in the shadows and revealing little bits and pieces along the way.
Overall, Last Shift is a creepy and effective psychological horror film featuring a satanic cult. DiBlasi also directed a remake titled Malum in 2023 where it appears the focus is a lot more on gory effects and an expansion on the cult elements.
Director: Anthony DiBlasi Writers: Anthony DiBlasi, Scott Poiley Country & year: USA, 2014 Actors: Juliana Harkavy, Joshua Mikel, Hank Stone, J. LaRose, Sarah Sculco, Kathryn Kilger, Natalie Victoria, Mary Lankford Poiley, Matt Doman, Lindsi Jeter, Randy Molnar IMDb: https://www.imdb.com/title/tt2965466/
We’re in a suburban town where a mother is putting on some music in the car for her child. Static starts playing…and she then drives her car to some railroad tracks and leaves her child to die there. Then we head over to the Ryans, a family consisting of the mom Kendall (Selma Blair), the dad Brent (Nicolas Cage), the daughter Carly (Anne Winters) and the son Joshua (Zackary Arthur). Things are, like in most normal families, stressful and a little strained here and there: the dad’s going through a mid-life crisis, brother and sister are picking fights with each other, and the mom is trying to occupy herself with taking fitness classes. The kids go to school as usual, and then the TV screens and radios starts transmitting the static we saw in the opening scene of the film. All hell breaks lose, and parents all over the place are going crazy and hellbent on killing their own offspring. Brent and Kendall are no exception to this mass hysteria, and the children must try to stay safe from the people who should’ve been the safest of all.
