We are in the 1970’s, and Dr. Henry West has created an institute in order to research people with supposed supernatural abilities. When a woman named Judith Winstead arrives at the facility, Dr. West gets to experience a series of amazing abilities for the first time. In fact, Judith’s supernatural powers even gains the attention from the U.S. military, who assumes control over the lab under orders of national security in hopes of utilizing Judith’s powers as a weapon. But something is not quite right with Judith…and it becomes clear that her supernatural powers are stemming from something else than herself…
The Atticus Institute is made in a “mockumentary” style (faux documentary), meaning that it’s somewhat similar to the found footage genre but without any shaky cams. It does stand out with its rather unique concept though, and I have at least never seen a movie where the military is mixed up in a supposed demonic possession, hoping to use it as a weapon (although you could easily imagine that this is something they’d probably be interested in doing if such things actually existed). Still, it’s not a movie for you if you’re in for some fast-paced action, because there’s a lot of talking heads here. However, with several “interviews” mixed with the “footage”, the movie gets a somewhat authentic feel to it. This “authenticity” is quickly punched back to the ground by having a bunch of well-known actors, though, as several of them have had roles in major movies and TV-Series (like Dexter and Lost). But that’s just nitpicking, as we do of course know it’s all fake. Still, it’s actually doing a pretty good job of feeling like an actual documentary.
The Atticus Institute is a nice entry into the mockumentary horror genre, which derives a bit from the typical found-footage bunch (meaning no shaky cameras or running around screaming while filming the ground). Its slow burn may turn some people off, however, and the ending feels a bit underwhelming and rushed. There’s nothing groundbreaking here, and there’s more than a fair share of horror-cliches we’ve seen a ton of times before, but the combination of mockumentary and demonic possession helps it feel fresh enough.
Director: Chris Sparling Country & year: USA, 2015 Actors: Rya Kihlstedt, William Mapother, Sharon Maughan, Harry Groener, John Rubinstein, Julian Acosta, Lou Beatty Jr., Anne Betancourt IMDb: www.imdb.com/title/tt5119116/
We meet the young, starving artist Carter who lives in a cramped apartment complex, where he spends most of his time in his room, jerking off to a blonde cam girl. He immediately catches sight of the escort Riley, whom he falls in love with at first glance and starts dating. At the same time, Sebastian is in town, looking for prostitutes who should have the mark of a baby Cthulhu on one of their butt cheeks. And he always goes straight to the point by asking, with his Oscar-worthy line: “Ladies, would you mind taking off your skirts? I would like to look at your … asses”. By the way, he is a sleazy cult leader who is looking for the chosen woman to give birth to the child of the alien / God Cthulhu, and then destroy humanity. Riley eventually pops up on his radar after he sees a nude portrait of her, which has been drawn by Carter, with that specific Cthulhu mark – something Riley only thinks is a birthmark. It is not long before Carter has to team up with a group of Monster Hunters to save his damsel and the world from its doom. And by the way, yes, the jealous and mildly insane roommate Erica is secretly in love with Carter who opens up for a bit of a silly triangle drama, or something like that.
At first glance, Call Girl of Cthulhu could easily sound like a porn spoof with a crazy premise that belongs in the 1980s in a corner somewhere in Tromaville. A dizzy ride with a lot of good cartoonish humor, energy and self-awareness that makes a lot itself with a small budget and limited resources. While some of the old-school effects are quite impressive and inventive, others looks like something one could see in an elementary school play. And what’s the deal with Sebastian’s henchmen with the pacifiers in their mouth? Talk about some edge-lords, I guess. Mr. Lovecraft did encourage others to borrow ideas from his stories, but maybe he would have rolled in his grave to this insanity, where we are entertained with monster dicks, monster tits, zombies, sleazy nudity and an unique insight into an escort’s lugubrious everyday life. Or he might have loved it, who knows. Regardless, there is a lot of enthusiasm and love for Lovecraft’s imagination that balances and walks the line perfectly on spoofing and praising him with dedicated amateur actors who seem to have a lot of fun.
Director: Chris LaMartina Country & year: USA, 2014 Actors: David Phillip Carollo, Melissa LaMartina, Nicolette le Faye, Dave Gamble, Helenmary Ball, Sabrina Taylor-Smith, Alex Mendez, Craig Peter Coletta, Elena Rose, George Stover, Leanna Chamish, Troy Jennings, Stephanie Anders, Ruby Larocca IMDb: www.imdb.com/title/tt2689354/
A man is organizing the affairs of his recently deceased uncle, and accidentally comes across a series of notes and paper clippings which tells about the Cthulhu Cult and an ancient horror lurking beneath the sea. Intrigued by all of this, he continues to investigate, getting more and more drawn into the mystery of this cult and the creature Cthulhu, which is a gigantic entity worshipped by the cultists: a creature in the shape of an octopus, a dragon, and a caricature of the human form. There is an occult phrase that, when translated, says “In his house at R’lyeh dead Cthulhu waits dreaming“, meaning that the cultists await its return. As he learns more and more about this cult and the cosmic entity they worship, he gets closer to losing his sanity completely.
H.P. Lovecraft is one of the most influential horror writers of all time, especially his Cthulhu mythos. His works have even created a sub-genre within horror that’s called “Lovecraftian horror“. While there aren’t actually that many movies that are fully based on his stories, there are a lot of them who are heavily inspired by his tales of cosmic horror.
The Call of Cthulhu is both a faithful rendition of H.P Lovecraft’s short story by the same name, as well as a homage to the black and white silent movie era. This, of course, means you get lots of gesticulation from the actors since the dialogue is shown only with intertitles, aka title cards, causing body language and facial expressions to have a much bigger significance in order to portray the character’s feelings and emotions.
The film’s highlights are, of course, the creative visuals. The soundtrack is also top-notch, fitting every scene perfectly and fulfilling the film like hand in glove. In such a nightmarish tale of cultists and ancient horrors, I think it hits the nail on the head with portraying the intended feeling of impending doom, where the protagonist’s investigations slowly reveals upon him just how insignificant humankind really is.
I dare say that you do not need to be a Lovecraft enthusiast in order to appreciate this movie. There’s a lot of mood and atmosphere to admire here, especially if you can value the 1920’s style.
Director: Andrew Leman Country & year: USA, 2005 Actors: Matt Foyer, John Bolen, Ralph Lucas, Chad Fifer, Susan Zucker, Kalafatic Poole, John Klemantaski, Jason Owens, D. Grigsby Poland, David Mersault, Barry Lynch, Dan Novy, Daryl Ball, John Joly, Jason Peterson IMDb: www.imdb.com/title/tt0478988/
The year is 1967, and the place is Bridgewater State Hospital For The Criminally Insane in Massachusetts. The documentary filmmaker Frederick Wiseman, with his camera man John Marshall, was allowed to spend 29 days in the institution to film and witness the daily routines with its inmates and workers, filmed in black and white that sets an eerie tone from the first frame. The documentary starts with a light-hearted welcome, with a song number performed by the hospital’s talent show called Titicut Follies, but I guess it didn’t take long before the filmmakers were eternally grateful that they could leave this concrete hell hole at any time and never set their feet there again.
The documentary is completely free of narration, and the experience is like witnessing an absurd and sometimes very disturbing fever dream where the images speak for themselves. But this is far from a dream. It’s raw, unfiltered, claustrophobic and not far from a fly-on-the-wall feeling. We see a group of inmates who are constantly being ordered to take off their clothes in one of the gathering rooms. They also have only a small bucket to piss in, and possibly also shit and vomit in, which they have to take with them through a long corridor to empty. Several are stripped of all their clothes and have to stay butt naked in completely empty cells, while the guards humiliate and bully them like they were animals. We get a scene with an older guy named Jim, who makes the strongest impression. He’s in a psychotic episode. He’s probably sick and tired of walking around naked, so who can blame him. It also looks like he has blood around his mouth, judging from that blurry picture quality. Regardless, the guards think it’s funny. And this is just a glimpse of a completely rotten and corrupt industry that has not been much improved over the years, where fair treatment is as difficult to get as winning the lottery. And I think that what we see here is just the tip of the iceberg, and God knows what was going on when the cameras weren’t rolling.
Wiseman ended up with 80,000 feet of film, which I guess is several hundreds of hours of footage, and he spent a whole year to edit it down to an 84-minute film. Showing this to the public would not be easy when the bureaucrats (or bureau’rats, if you will) in the government of Massachusetts tried to ban the film for being screened at the New York Film Festival, claiming that it would violate the “privacy and dignity” of the inmates. As if their privacy and dignity wasn’t violated long ago already. It wasn’t until 1991 that the film was officially released to the public, since most of the inmates had passed away and privacy concerns wasn’t longer an big issue. Little did they imagine that even fifty years later, the film still feels fresh and manages to provoke as it’s unfortunately still relevant. The DVD is available at Amazon.com and Amazon.co.uk. And on YouTube.
Glenn Danzig is a creative guy, to say the least. Founder and frontman of the horror-themed punk band The Misfits, Samhain, and his life long band Danzig with eleven studio albums, 18 singles, and two solo albums. He’s also a huge fan of underground horror comics and started his own label in 1994, called Verotik (yes, without the A) with adult themed comics filled with blood, gore, nudity, Satan, porn and other insanities. Anything but mainstream, it seems. I’m not familiar with the comics, so I have no idea. And after pushing 60, Glenn Danzig finally managed to pursue his new career as a film director and screenwriter, and as we speak he’s already made not one, but two films. How ’bout that. The second film is in post-production with the colorful title Death Rider in the House of Vampires. A horror/western with Danny Trejo, Julian Sands and Eli Roth among the cast list. Sounds fun. His first directorial debut is called Verotika (this time with the A), an anthology of three segments based on the comics with inspiration from Mario Bava’s Black Sabbath, among others.
And it’s just pure amateur trash from start to finish.
We start off in an underground dungeon where a chained woman gets her eyes plucked out, Lucio Fulci-style, by the nails of the sexy horror hostess Mirella before she welcomes us darklings to … Verotika. A somewhat reduced Elvira with low energy is the best way to describe Mirella, played by the porn actress Kayden Kross, with acting skills like a nipple with zero motivation. Just like all the rest of the actors we get to meet during the film’s three segments of this anthology.
The first story is titled The Albino Spider of Dajaette, but let’s just call it The Tits Have Eyes. It’s already awkwardly difficult to convey what’s going on, but here we go: A young lady with pink hair gives a guy a blowjob. The guy wants to take off her top and get to proceed right to the climax. But she won’t. At the same time we see a CGI spider crawling on a rose. And it turns out that her boobs have eyes for nipples. “Your chest! They are looking it mi,” he says startled with a bad and exaggerated French accent, before leaving in shock and disgust. This is obviously not the first time a date / customer has been intimidated by her staring boobies. Because, who wouldn’t. Then a tear falls from one of the crying tits, that hits the spider we saw earlier. The scene with the spider looks like something from the archive of an unused cut scene from a PS 1 game. The spider then becomes a humanoid creature, played by a guy in a ridiculous spider costume that supposedly required 8 hours to get him inside. “Only I truly love you” he says to Dajette, with lots of other crap we forgot right afterwards. The creature then kills people in the apartment complex. The highlight is when we see the crotch area on the spider costume ripped off as if the actor really had to take a piss, and no one bothered to fix it. Because it’s just like Ed Wood once said: “Filmmaking is not about the tiny details. It’s about the big picture“. This segment is also the “best” in the anthology, and the only one with a glimpse of a story with a real start, middle and an end. And to be honest, the only one that’s merely watchable.
The second story is called Change of Face, but could just as well be called Change of Flares. And this one just … sucks. And it’s just downhill from here on. We’re in a strip club. And flares are everywhere. Four in a whole shot at one point. I seriously thought that this was just a part of the technical incompetence, but no. This is an effect Glen Danzig chose to add for some reason. It doesn’t add anything but distraction. As for this entire segment, nothing much happens here. It’s like a random scene from a porn film just without the porn, with badly filmed stripping scenes that seems to go nowhere. At some point, when we have already lost interest, we are introduced to “The Mystery Girl”. Another stripper who swings around the pole with a black silk robe and skeleton stickers on the chest, while Glen Danzig’s singing voice are heard from the clubs speakers. The Mystery Girl also likes to rip people’s faces off while the police have no clue and are dumber than a bucket full of sardines.
Next and last is Draukija: Contessa of Blood. Or just simply Bathory. Or Nothing Happens In This Segment Either So Just Skip To The End Credits. We are in the Middle Ages, filmed in the woods with a cheap green screen which should make us believe that it is a castle in the background, when most of the film was filmed in the Skid Row area of Los Angeles. However, this woman, Drauijha, sacrifices some young virgins to bathe in their blood to gain eternal youth. There isn’t much to say, other than the countess rips out someone’s heart, a scene that should be at least memorable. But as ultra cheap, lazy and just lackluster the gore aspects are in this film, as with the rest of the production value, there isn’t much to be impressed by.
And that was Verotika, Glenn Danzig’s first glorious piece of cinema magic (sarcasm). I’ve also noticed that many compares Verotika to Tommy Wiseau’s The Room. And yeah, the trailer sure gives some Tommy Wisau-vibes. But when his name gets thrown all over the place to describe this movie, the hype gets blown to the heavens, which can give some really false expectations. And I think that’s where the feeling of underwhelming and disappointment lies for the highly anticipated viewers. Because as whole I would say with great confidence that Verotika isn’t even near the same level of entertainment value as The Room, a film worth rewatching countless times. Verotika, on the other hand, just leaves an aftertaste that feels more like a bad hangover.
Director: Glenn Danzig Country & year: USA, 2019 Actors: Ashley Wisdom, Rachel Alig, Alice Tate, Kayden Kross, Scotch Hopkins, Sean Kanan, Nika Balina, Jody Barton, Brennah Black, Kris Black, Kansas Bowling, James Cullen Bressack, Katarina Bucevac, Cody Renee Cameron IMDb: www.imdb.com/title/tt9425078/
It is Halloween, but Harper isn’t really in the mood for a scary celebration as she is already struggling with a real fright in her life: an abusive boyfriend who keeps sending her angry text messages. However, her friends are determined to have a fun night out and enjoy themselves, so she covers her black eye with make-up and they all head over to a costume party. They meet up with two other guys, and the six of them ends up looking for a haunted house attraction in order to make their Halloween night complete. Very much on random, they encounter the sign for such an attraction on a lonely country road, and decide to check it out. Upon entering this Haunted House attraction, they’re forced to leave their cellphones and have to sign liability waivers (which probably sounds like big red flags right there for our naive protagonists, but in real life there are such attractions that actually requires you to sign liability waivers before entering. Like for example McKamey Manor, which requires a 40-page waiver before you’re allowed inside). They do as they’re told, and is shown some rather mainstream horror effects upon entering…until they suddenly witness a scene where a “witch” is branding a girl with a red-hot poker (which they of course think is just an act). From there on things start going more and more wrong, and the attraction goes from fun to deadly in no time.
Haunt is a “haunted house attraction” horror movie, a little bit in the same vein as Hell Fest. With the writers of A Quiet Place as directors and Eli Roth as producer, it certainly did sound like something that could be both suspenseful and gory. And you see quite early in the movie that there is a lot to appreciate here: the cinematography is quite eye-candy, and there is a lot of claustrophobic atmosphere once our protagonists enters the Haunt. There are some rather interesting characters who are inhabiting the place: people in several costumes, wearing masks and behaving in creepy ways which makes you wonder who, or what, they really are…
Now, while Haunt manages to pack in a good amount of suspense, it feels like there is a little bit of lost potential here where the actual killing scenes felt very toned down…especially with one of the kings of gore (Eli Roth) being the producer and all. The killing scenes come and go rather rapidly, some of them even proceeding to the next scene so fast that you’re barely able to get a glimpse of what really happened. The movie doesn’t dilly-dally with its audience though, or try to be “smart”…instead, it delivers a straight forward slasher where teens are killed because they make dumb decisions and freaks are murderous because…well, because they’re freaks, I guess.
However, despite not being the most memorable movie in the genre, Haunt was a fun ride all in all!
Directors: Scott Beck, Bryan Woods Country & year: USA, 2019 Actors: Katie Stevens, Will Brittain, Lauryn Alisa McClain, Andrew Caldwell, Shazi Raja, Schuyler Helford, Phillip Johnson Richardson, Chaney Morrow, Justin Marxen, Terri Partyka, Justin Rose, Damian Maffei, Schuyler White, Samuel Hunt, Karra Rae Robinson IMDb: www.imdb.com/title/tt6535880/
Los Angeles, 1967. Alice is a still grieving widow who works at home as a spiritual medium, and is accompanied by her two daughters when tricking their customers into making them believe that spirits are present. The oldest daughter, Lina, one day suggests that they implement a Ouija Board into her mother’s readings. The youngest daughter, Doris, tries it out alone and invites an evil presence into their home, not realizing how dangerous it is.
This is a prequel to Ouija from 2014, and this time with Mike Flanagan in the director’s chair. And that really shows. Compared to the first movie which was a very formulaic teenage horror flick, this prequel packs in a good bunch of tension and atmosphere. I also liked how the movie has a style that reflects the time period it’s supposed to be set in with a bit of a “retro” style to it, even starting off with the old Universal logo. The performances are good, and the visuals well done.
If you’ve seen the first movie, you more or less know how it will end, but strangely that still doesn’t take anything away from the viewer experience. You already know that the family will not experience a happy ending, but the point of this movie is not to reveal a twist at the end but to explain the journey that led to it. If there’s anything I’d like to nitpick on, it’s the “ghostly gape” scenes that, instead of building the tension and atmosphere further, manages to take us into cringe-land instead. Seriously: big, gaping mouths rarely look scary, and they’re such a tedious horror-trope to watch these days. Now, I personally don’t think these scenes ruins anything for this movie, but my personal opinion is that it would be much better without them.
Overall, Ouija: Origin of Evil is a very decent, yet quite unexpected prequel of a film that didn’t really warrant any sequels or prequels. While the movie doesn’t manage to become scary, it’s still quite atmospheric and a big step-up from the first. Also, here is a little fun fact: for those that have seen Mike Flanagan’s Oculus from 2013, you get a little Easter Egg where you can see the mirror in the basement.
Director: Mike Flanagan Country & year: USA, 2016 Actors: Annalise Basso, Elizabeth Reaser, Lulu Wilson, Henry Thomas, Parker Mack, Halle Charlton, Alexis G. Zall, Doug Jones, Kate Siegel, Sam Anderson, Chelsea Gonzalez, Lincoln Melcher, Nicholas Keenan, Michael Weaver, Ele Keats IMDb: www.imdb.com/title/tt4361050/
On a remote New England Island in the 1890s, two lighthouse keepers have to stay there for four weeks. Thomas Wake, the oldest between the two, has been watching over the lighthouse for a long time and is used to the unfavorable conditions. His new assistant, Ephraim Winslow, does not settle in with ease however. Ephraim is getting more and more frustrated by the older man’s fussing and complaints, where he is being bossed around constantly. When the four weeks are over, and the boat still doesn’t come to pick up Ephraim due to very bad weather, they both realize they might be stuck on the island for far longer than anticipated. Plagued by bad dreams and hallucinations (or are they hallucinations?) Ephraim tries to keep his sanity on the forsaken rock – but this proves to be difficult as deeply sunken secrets are about to break the surface.
The Lighthouse by Robert Eggers (who earlier gave us the very haunting and creepy film The Witch) is a very atmospheric black & white film, and is actually loosely based on a real-life tragedy that happened in 1801. Two Welsh Lighthouse keepers, who were in fact both named Thomas, became trapped due to a storm. That incident is referred to as The Smalls Lighthouse Tragedy. The movie was also shot on 35mm black and white Double-X 5222 film, and due to this, they needed a lot more light, so they put up flickering 500-800 watt halogen bulbs in period-correct kerosene lamps. These lamps were just a few feet away from the actor’s faces, so the result is a lot of imagery that simply looks stunning, especially with the facial expressions and grimaces being heavily toned due to the contrasts. Plain and simple, it is beautiful to watch.
There is a good amount of claustrophobic dread to appreciate from The Lighthouse. And with Ephraim’s dreams and visions (or are they all just dreams and visions?) with mermaids and giant tentacles, we get a dose of some of the old and classical myths and legends from sea folk. Thomas tells supernatural tales of sea gulls and bad omens, but while Ephraim tries to ignore the old man’s ramblings, it’s evident that there are certain things laying under the surface that causes him to become vulnerable to the tales. It doesn’t take long before Ephraim is slowly descending into madness…whether it be from the isolation, Thomas and his bossy demeanor and tales, the past…or maybe a mix of it all, who knows. When the men realize they are stranded, possibly for a long time to come, they both start drinking their senses away, somewhat easing up the tension for a little while as the drunken men starts dancing and singing sea shanties – but it doesn’t take long until the songs turn into insults and aggressive behavior, and a battle for dominance as the cabin fever starts to creep in.
“Nothing good can happen when two men are trapped alone in a giant phallus”, is the line Robert Eggers have used to describe this film. And he has done a very good job of portraying just this concept!
Director: Robert Eggers Country & year: Canada | USA, 2019 Actors: Robert Pattinson, Willem Dafoe, Valeriia Karaman, Logan Hawkes, and a lot of sea gulls IMDb: www.imdb.com/title/tt7984734/
Lizzy Macklin and her husband Isaac lives isolated on a harsh and untamed land in the Western frontier in the late 1800s. Soon, a newlywed couple (Emma and Gideon) moves into a house close by. The isolation starts cracking Emma’s psyche, causing her to suffer from Prairie Madness (an affliction that causes a mental breakdown due to the isolation and harsh living conditions, something that would happen to European settlers who were not used to living like this). Emma is clearly not able to get used the the isolation, and starts raving about “demons of the prairie”. Emma’s madness soon starts affecting Lizzy as well, and she starts wondering if there really is an evil demonic presence out to destroy them.
The Wind is a western horror-thriller written by Teresa Sutherland, and director Emma Tabbi’s feature film debut. Western horror is still a somewhat rare thing to come by, where most horror movies in this genre belongs to the “lesser known” list (probably with the exception of Bone Tomahawk from 2015, which managed to get a fair amount of publicity). And this is despite the setting of the western period being pretty perfect for all kinds of horror-related ideas…but oh well.
Now, The Wind is a movie that focuses more on psychological horror and a fair amount of relationship-based drama, and for this reason it’s chugging along rather slowly. In other words, it’s very likely to not keep everyone’s attention, and the suspense it’s trying to build is somewhat subtle and does not always matches the pace. The movie has a strong and chilling start, but then starts jumping back and forth in time to show us a series of recent scenes and “flashback” scenes. A lot of the story is told through flashbacks, and sometimes it can actually be a little confusing to follow.
All that being said, The Wind is beautiful to watch with some great cinematography, and there’s definitely some atmosphere to appreciate. Still, there could have been a lot more actual horror to The Wind…but if you’re in for a slow horror mystery with a bit more drama than chills, you’ll likely find something to enjoy here.
Director: Emma Tammi Writer: Teresa Sutherland Country & year: USA, 2018 Actors: Caitlin Gerard, Julia Goldani Telles, Ashley Zukerman, Miles Anderson, Dylan McTee, Martin C Patterson IMDb: www.imdb.com/title/tt8426594/
Charlie (Chad Lowe) and his girlfriend Rachel (Kristy Swanson) is on their way to Las Vegas to get married. On the road they take a detour and stop by a gas station, where the owner Sam warns them about two Joshua trees and not driving while falling asleep… eh, okay, thanks for the warning. Bye. While they drive past one of the aforementioned Joshua trees, they’re pulled over by a police car. Little do they know that they’ll encounter the notorious Sgt. Bedlam Hellcop: a scarred big dude with some obscure biblical text inscribed on his face, who kidnaps young virgins to take them to Hell and hands them over to Satan.
After Charlie’s girlfriend is taken to Hell, our old gasoline man Sam tells Charlie that a group of virgins have been kidnapped by The Sergeant aka Hellcop, one of them whom he was planning to marry himself. Since then he settled down by the road with his “Sam’s Last Chance Gas Station”, in order to dedicate the rest of his life to warn others. At least those who’d be crazy enough to believe him. Sam gives Charlie a shotgun and his old vintage car, that has a magical ability to enter the portals of Hell. However, if he’s not back in 24 hours he’ll be stuck in Hell forever. Best of luck.
Highway to Hell is a small, obscure film written by Brian Helgeland who’s known for The Postman, L.A. Confidential and A Nightmare on Elm Street 4: The Dream Master. A prominent screenwriter who is one of the most successful in Hollywood who still keeps going today. This movie had a distribution deal with Hemdale Films, which had titles as The Terminator, Platoon and Return of the Living Dead in its catalogue. The newcomer Ate De Young from Netherlands is directing his first American film, and wanted the film to look as American as possible. The funny thing is, for some reason I always assumed that Highway to Hell was filmed in the Australian deserts since there’s Mad Max-vibes are all over the place. And mixed with some quirky underworld-fantasy elements that could be taken straight out from Beetlejuice, the film has an imaginative and slightly surreal universe with a lot of funny moments and great ideas.
I especially like the concept with all of the corrupt police officers who have to spend all their eternity in a small, dusty doughnut diner, where none of them are ever allowed to have any coffee or doughnut, while the sassy waitress is laughing in their face. There’s also a bunch of cameos popping up, and the whole Stiller-family can be seen here. A young an unknown Ben Stiller plays a wacky cook, Amy Stiller as Cleopatra and their parents Frank Stiller and Anne Meara also says hello. How cute. Gilbert Gottfried also shows up as a dementia-suffering and not-so-convincing Adolf Hitler, and the ex-guitarist from The Runaways, Lita Ford, as a hitchhiker.
The most interesting character of all is Sergeant Bedlam Hellcop played by C.J. Graham who developed a claustrophobia during the filming that became so severe that he couldn’t be in his make-up for more than two hours. I wish there was some more backstory on him, though, and it would have been interesting to see him in a spin off-film (Hellcop vs. Maniac Cop could have been cool). However, Highway to Hell isn’t as awesome as I remembered it from watching it repeatedly on VHS in the 90s. The ending is pretty anticlimactic and dull, which gives an impression of studio interference going on. Still, it’s a fun, lighthearted and entertaining ride for the whole family to enjoy.
HorrorNews.Net called it “one of the greatest campy horror films to never arrive on DVD”, and was so hard to find at one point that the director had to do the shameful act and torrent it just to get a copy himself. Hemdale Company was also on the verge of bankruptcy during the making of this film, which caused it to collect dust on the shelf for one year until it finally got screened in only eight cinemas, and flopped spectacularly. Ouch. It later found a bigger audience at Home Video and became a cult film over the years. Ate De Jong made his second and last American movie with the comedy Drop Dead Fred before he dropped back to Europe to continue his directing career. In 2016, Highway to Hell was finally released on DVD and Blu-ray, with a director-commentary track.
Director: Ate De Jong Country & year: USA, 1991 Actors: Patrick Bergin, Adam Storke, Chad Lowe, Kristy Swanson, Pamela Gidley, Jarrett Lennon, C.J. Graham, Richard Farnsworth, Lita Ford, Gilbert Gottfried, Anne Meara, Rags, Amy Stiller, Ben Stiller, Jerry Stiller IMDb: www.imdb.com/title/tt0104418/